Guide to Bali Prayer
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Cultural Landscape of Bali Province (Indonesia) No 1194Rev
International Assistance from the World Heritage Fund for preparing the Nomination Cultural Landscape of Bali Province 30 June 2001 (Indonesia) Date received by the World Heritage Centre No 1194rev 31 January 2007 28 January 2011 Background This is a deferred nomination (32 COM, Quebec City, Official name as proposed by the State Party 2008). The Cultural Landscape of Bali Province: the Subak System as a Manifestation of the Tri Hita Karana The World Heritage Committee adopted the following Philosophy decision (Decision 32 COM 8B.22): Location The World Heritage Committee, Province of Bali 1. Having examined Documents WHC-08/32.COM/8B Indonesia and WHC-08/32.COM/INF.8B1, 2. Defers the examination of the nomination of the Brief description Cultural Landscape of Bali Province, Indonesia, to the Five sites of rice terraces and associated water temples World Heritage List in order to allow the State Party to: on the island of Bali represent the subak system, a a) reconsider the choice of sites to allow a unique social and religious democratic institution of self- nomination on the cultural landscape of Bali that governing associations of farmers who share reflects the extent and scope of the subak system of responsibility for the just and efficient use of irrigation water management and the profound effect it has water needed to cultivate terraced paddy rice fields. had on the cultural landscape and political, social and agricultural systems of land management over at The success of the thousand year old subak system, least a millennia; based on weirs to divert water from rivers flowing from b) consider re-nominating a site or sites that display volcanic lakes through irrigation tunnels onto rice the close link between rice terraces, water temples, terraces carved out of the flanks of mountains, has villages and forest catchment areas and where the created a landscape perceived to be of great beauty and traditional subak system is still functioning in its one that is ecologically sustainable. -
THE BALI TEMPLE RUN Temples in Bali Share the Top Spot on the Must-Visit List with Its Beaches
CULTURE THE BALI TEMPLE RUN Temples in Bali share the top spot on the must-visit list with its beaches. Take a look at some of these architectural marvels that dot the pretty Indonesian island. TEXT ANURAG MALLICK he sun was about to set across the cliffs of Uluwatu, the stony headland that gave the place its name. Our guide, Made, explained that ulu is ‘land’s end’ or ‘head’ in Balinese, while watu is ‘stone’. PerchedT on a rock at the southwest tip of the peninsula, Pura Luhur Uluwatu is a pura segara (sea temple) and one of the nine directional temples of Bali protecting the island. We gaped at the waves crashing 230 ft below, unaware that the real spectacle was about to unfold elsewhere. A short walk led us to an amphitheatre overlooking the dramatic seascape. In the middle, around a sacred lamp, fifty bare-chested performers sat in concentric rings, unperturbed by the hushed conversations of the packed audience. They sat in meditative repose, with cool sandalwood paste smeared on their temples and flowers tucked behind their ears. Sharp at six, chants of cak ke-cak stirred the evening air. For the next one hour, we sat open-mouthed in awe at Bali’s most fascinating temple ritual. Facing page: Pura Taman Saraswati is a beautiful water temple in the heart of Ubud. Elena Ermakova / Shutterstock.com; All illustrations: Shutterstock.com All illustrations: / Shutterstock.com; Elena Ermakova 102 JetWings April 2017 JetWings April 2017 103 CULTURE The Kecak dance, filmed in movies such as There are four main types of temples in Bali – public Samsara and Tarsem Singh’s The Fall, was an temples, village temples, family temples for ancestor worship, animated retelling of the popular Hindu epic and functional temples based on profession. -
Introduction
Cambridge University Press 0521624444 - Varieties of Javanese Religion: An Anthropological Account Andrew Beatty Excerpt More information 1 Introduction This book is about religion in Java ± its diverse forms, controversies, and reconciliations; more abstractly it is about cultural difference and syncretism. At a time when anthropology is increasingly preoccupied with cultural pluralism in the West, and with the challenges to personal identity, mutual tolerance, and social harmony that it presents, the example of Java reminds us that some of the more `traditional' societies have been dealing with similar problems for quite some time. The varieties of Javanese religion are, of course, well known, thanks to a number of excellent studies. In what follows, however, my chief interest is in the effect of diversity upon Javanese religion. In looking at the mutual in¯uences of Islamic piety, mysticism, Hinduism, and folk tradition upon each other, and at their different compromises with the fact of diversity, I hope to give a credible and dynamic account of how religion works in a complex society. The setting for this book ± Banyuwangi in the easternmost part of Java ± is particularly appropriate to such an enterprise. In the standard viewof things, the various forms of Javanese religion are unevenly distributed among village, market, court/palace, and town. Although most communities contain orthodox Muslims as well as practitioners of other tendencies (Koentjaraningrat 1985: 318), a rough spatial separa- tion along religious and cultural lines (or a polarization within the most heterogeneous villages) has, allegedly, been characteristic of Java from the early years of the century (Jay 1963), though the sharpness of divisions has ¯uctuated with political developments. -
Santosh-Francis Scale of Attitude Toward Hinduism
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap This paper is made available online in accordance with publisher policies. Please scroll down to view the document itself. Please refer to the repository record for this item and our policy information available from the repository home page for further information. To see the final version of this paper please visit the publisher’s website. Access to the published version may require a subscription. Author(s): C. B. J. Lesmana, Niko Tiliopoulos and Leslie J. Francis Article Title: The Internal Consistency Reliability of the Santosh-Francis Scale of Attitude toward Hinduism among Balinese Hindus Year of publication: 2011 Link to published article: http://dx.doi.org/ 10.1007/s11407-011-9108-5 Publisher statement: The original publication is available at www.springerlink.com Running head: SANTOSH-FRANCIS SCALE OF ATTITUDE TOWARD HINDUISM 1 The internal consistency reliability of the Santosh-Francis Scale of Attitude toward Hinduism among Balinese Hindus C. B. J. Lesmana Udayana University, Denpasar, Indonesia Niko Tiliopoulos The University of Sydney, Australia Leslie J. Francis* The University of Warwick, UK Author note: *Corresponding author: Leslie J Francis Warwick Religions & Education Research Unit Institute of Education The University of Warwick Coventry CV4 7AL United Kingdom Tel: +44 (0)24 7652 2539 Fax: +44 (0)24 7657 2638 Email: [email protected] C:\Users\Leslie\Desktop\Sandy Hughes\Articles\Tiliopoulos\S-F Scale Balinese Hindus.doc 02/02/2012 SANTOSH-FRANCIS ATTITUDE TOWARD BALINESE HINDUS 2 Abstract The present paper intends to make a contribution to the empirical psychology of religion among Hindus. -
Understanding the Sai Baba Movement in Bali As an Urban Phenomenon*
Workplace and Home: Understanding the Sai Baba Movement in Bali as an Urban Phenomenon* Gde Dwitya Arief Metera** Abstract Since the transition to post-New Order Indonesia in 1998, new religious movements such as Sai Baba have become popular in Bali. In contrast with the New Order era when Sai Baba was under strict scrutiny, these groups are now warmly accepted by a far wider audience and especially from educated affluent urbanites. In this paper, I discuss several factors that make Sai Baba movement generally an urban phenomenon. I ask how change taking place in Bali regarding the economic and demographic context may have contributed to the people’s different mode of religious articulation. The economic transformation from agricultural economy to modern industrial economy in Bali has changed people’s occupations and forced urbanization. I argue that the transformation also creates two emerging cultural spaces of Workplace in the city and Home in the villages of origin. Workplace is where people are bound to modern disposition of time and Home is where people are tied to traditional disposition of time. These two cultural spaces determine people’s mode of religious articulation. As people move from their villages of origin to the city, they also adopt a new mode of religious articulation in an urban context. I suggest that to understand the emergence of new religions and new mode of religious articulation in Bali we have to look at specific transformations at the economic and demographic level. ____________ * This paper was presented at the 6th Singapore Graduate Forum on Southeast Asian Studies, Asia Research Institute, Singapore 13-15 July 2011. -
Yadnya - Hinduism Philosophy to Achieve Spiritual Awareness of SME Owners As Taxpayers: a Literary Discourse
International Journal of Business and Management Invention ISSN (Online): 2319 – 8028, ISSN (Print): 2319 – 801X www.ijbmi.org || Volume 4 Issue 5|| May. 2015 || PP-38-43 Yadnya - Hinduism Philosophy to Achieve Spiritual Awareness of SME Owners as Taxpayers: A Literary Discourse Ni Putu Eka Widiastuti1,3, Eko Ganis Sukoharsono2, Gugus Irianto2, Zaki Baridwan2 1Accounting Science Doctoral Program, Economic and Business Faculty, Brawijaya University, Malang-Indonesia 2 Lecturers of Accounting Science, Economic and Business Faculty, Brawijaya University, Malang-Indonesia 3Economic Faculty, UPN “Veteran”, Jakarta-Indonesia. ABSTRACT: This article is to explore the philosophy of Yadnya – a Hinduism philosophy that has the meaning of sincere, truthful, and fair devotion. Yadnya is expected to create spiritual awareness for taxpayers of small and medium enterprises (SME) as creative economy, especially those who embrace Hinduism. This principle is the basis for fulfilling religious obligation (religious rituals of Hinduism), conducting business activities, and performing the obligations to the state (tax). Spiritual consciousness linear to the principle of Yadnya is able to increase revenues for the country from tax, to generate the spirit of unity, and to increase the welfare of SME owners. KEYWORDS: SME taxpayers, Spiritual Awareness,Yadnya – a Hinduism philosophy I. INTRODUCTION The choice to comply with tax obligation for SME owners is an individual behavior affected by several factors such as freewill and the surrounding environment. The factor of freewill makes SME owners as taxpayers fulfill their duty voluntarily, and makes them free from the intention of evading tax. The external factor that makes them fulfill their obligation is policy from the government. -
Durgā Mahiṣāsuramardinī in Likely Tantric Buddhist Context from The
https://pratujournal.org ISSN 2634-176X Durgā Mahiṣāsuramardinī in Likely Tantric Buddhist Context from the Northern Indian Subcontinent to 11th-Century Bali Durga Mahiṣāsuramardinī dalam konteks agama Buddha Tantrayana dari Subkontinen India Utara dan Bali pada abad ke-11 Ambra CALO Department of Archaeology and Natural History, The Australian National University [email protected] Translation by: Christa HARDJASAPUTRA, Alphawood Alumna, Postgraduate Diploma of Asian Art, SOAS University of London Edited by: Ben WREYFORD, Pratu Editorial Team Received 1 April 2019; Accepted 1 November 2019; Published 8 May 2020 Funding statement: The research for this study was funded by the Southeast Asian Art Academic Programme, Academic Support Fund (SAAAP #049), at SOAS University of London. The author declares no known conflict of interest. Abstract: This study examines the significance of the originally Hindu goddess Durgā Mahiṣāsuramardinī (Durgā slaying the buffalo demon) in Tantric Buddhist temple contexts of the 8th–11th century in Afghani- stan and northeastern India, and 11th-century Bali. Taking a cross-regional approach, it considers the genesis of Tantric Buddhism, its transmission to Indonesia, and its significance in Bali during the 10th–11th century. Drawing primarily on archaeological and iconographic evidence, it suggests that Durgā Mahiṣāsuramardinī is likely to have reached Bali as part of a late 10th–11th century phase of renewed transmission of Tantric Buddhism from the northeastern Indian subcontinent to Indonesia, following an initial late 7th–8th century phase. Keywords: Bali, Durgā, Heruka, Mahiṣāsuramardinī, maritime networks, Padang Lawas, Tantric Buddhism, Tantric Śaivism, Tapa Sardār, Uḍḍiyāna, Vajrayāna, Vikramaśīla, Warmadewa Abstrak: Penelitian ini melihat signifikansi dari dewi Hindu Durgā Mahiṣāsuramardinī (Durgā membunuh iblis kerbau) dalam konteks kuil Buddha Tantrayana pada abad ke-8 hingga ke-11 di Afghanistan dan timur laut India, serta abad ke-11 di Bali. -
Hinduism in Bali & Indonesia
HINDUISM IN BALI FREE DOWNLOAD Frances Hawker,Putu Resi,Dr Bruce Campbell | 32 pages | 01 Aug 2009 | Crabtree Publishing Company | 9780778750253 | English | United States Hinduism in Bali & Indonesia Religious Offerings If you walk down any street on Bali, you will see petals of flowers arranged beautifully and put down on the street as an offering. Part of a series on. There were an estimated total of over Hinduism in Bali million Hindus in Indonesia according to Indonesian census in — 1. There are multiple holy days and festivals when the locals come together, make offerings to the gods as a way to communicate with the Hindu deities and spirits that descend from mountains and volcanoes on these days. The general beliefs and practices of Agama Hindu Dharma as practised in Bali are Hinduism in Bali mixture of ancient traditions and contemporary pressures placed by Indonesian laws that permit only monotheist belief under the national ideology of panca sila. The earliest evidences of Hindu influences in Java can be found in 4th century Tarumanagara inscriptions scattered around modern Jakarta and Bogor. Dance, music, colorful ceremonial dresses and other arts are a notable feature Hinduism in Bali religious expression among Balinese Hindus. About Us Contact Us Advertise with us. But after Islam had established itself in the archipelago as a socio-political force starting from the 13th century, Hinduism gradually lost ground to this quickly expanding religion. Watugunungthe last day of the Pawukon calendaris devoted to Saraswatigoddess of learning. Text classification. This was a polemic in the legalization of Balinese Hinduism as one of the official religions in Indonesia. -
Religion in Bali by C. Hooykaas
Religion in Bali by C. Hooykaas Contents Acknowledgments Bibliography 1. Orientation 2. First Acquaintance 3. Kanda Mpat 4. Some Dangers 5. Impurity 6. Demons 7. Black Magic 8. Holy Water(s) 9. Priests: Pamangku 10. Priests: Padanda 11. Priests: Amangku Dalang 12. Priests: Sengguhu 13. Priests: Balian 14. Priests: Dukuh 15. Trance 16. Laymen 17. Humble Things 18. Rites de Passage 19. Burial and Cremation 20. The Playful Mind 21. Cows Not Holy 22. Legends to the Illustrations 23. Plates at the end of the book Acknowledgements First of all I thank my wife who from the outset encouraged me and advised me. In the field of photography I received help from: Drs. P. L. Dronkers, Eindhoven: a, b 1. Prof. Dr. J. Ensink, University of Groningen: n 1, n 2. Mrs. Drs. Hedi Hinzler, Kern Institute, Leiden. d 2, m 2, u 1 5, w 1, w 2, x 2, x 3. Mr. Mark Hobart, M. A. University of London: k 1, k 4, o 4, o 5. Mrs. Drs. C. M. C. Hooykaas van Leeuwen Boomkamp: g 3, k 2, k 3, m 3, o 1, o 2, p 1 3, q 1 5, t 2, t 5, v 1 4, w 3 4, x 1, x 4. Koninklijk Instituut voor Taal , Land en Volkenkunde, Leiden: f 1. (Gedong) Kirtya, Singaraja, Bali, Indonesia: c 1 3, z 1 (original drawings). Library of the University, Leiden: h 1 6, i 1 7, j 1 8. Museum voor Volkenkunde, Delft: d 3, d 4. Rijks Museum voor Volkenkunde, Leiden: f 2, r 1, y 2. -
The Byar: an Ethnographic and Empirical Study of a Balinese Musical Moment
The Byar: An Ethnographic and Empirical Study of a Balinese Musical Moment Andy McGraw with Christine Kohnen INTRODUCTION HE repertoire of the Balinese gamelan gong kebyar ensemble (see Tenzer 2000 and the T glossary provided in Appendix A) is marked by virtuosic, unmetered tutti passages, referred to as kebyar, that often introduce pieces or function as transitions within compositions. The kebyar itself often begins with a sudden, fortissimo byar, a single, tutti chord that is performed by the majority of the ensemble.1 The sheer virtuosity and power of this famous repertoire is encapsulated in the expert execution of a byar, in which twenty to thirty musicians, without the aid of notation, a conductor, or beat entrainment, synchronize to produce a shockingly precise and loud eruption of sound. During several fieldwork sessions in Bali over the past decade, McGraw has occasionally heard expert performers and composers claim that they could identify regional ensembles simply by hearing them perform a single byar. Several informants suggested that the relative temporal alignment of instrumental onsets was the primary distinguishing characteristic of a byar. This would be the equivalent to being able to identify symphony orchestras by hearing, for example, only the first sforzando chord of Beethoven’s Eroica Symphony. This paper concerns the expression and recognition of group identity as conveyed through performance and listening. Is the temporal structuring of an ensemble’s byar indicative of their musical identity? What is the minimal temporal scale of the expression of such identity? If such differences are not empirically evident or statistically significant, what implications does this have for Balinese conceptions of musical identity? What does this approach reveal about Balinese and non-Balinese listening habits and abilities and how they overlap or diverge? Because these questions are extremely complex we have limited our investigation to the smallest building block of the kebyar repertoire: the musical moment of the byar. -
Diversity of Cultural Elements at the Reliefs of Pura Desa Lan Puseh in Sudaji Village, Northern Bali
Advances in Social Science, Education and Humanities Research, volume 197 5th Bandung Creative Movement International Conference on Creative Industries 2018 (5th BCM 2018) Diversity of Cultural Elements at The Reliefs of Pura Desa Lan Puseh in Sudaji Village, Northern Bali I Dewa Alit Dwija Putra1*, Sarena Abdullah2 1School of Creative Industries-Telkom University, Indonesia 2School of Arts, Universiti Sains Malaysia, Malaysia Abstract. Northern Bali as a coastal region is the path of global trade traffic from the beginning of the Christian Calendar so that the relations of Balinese people with the outside world are so intense and have an impact on the socio-cultural changes of the society, especially the of ornament art. Ornaments applied to temple buildings in Bali are the result of classical Hindu culture, but in the reliefs of the temple of Desa Lan Puseh in the village of Sudaji, North Bali describes multicultural cultures such as Hinduism, Buddhism, China, as well as Persia as well as elements of European culture. The formation of these ornaments is certainly through a long process involving external and internal factors. The process of dialogue and acculturation of foreign cultures towards local culture gives change and forms new idioms that leave their original forms, as well as new functions, symbols, and meanings in Balinese society. This research uses the socio-historical qualitative method to write chronologically the inclusion of the influences of foreign cultural elements on Balinese social life with visual analysis through the stages to be able to describe and reveal the transformation of relief forms in the temple. This paper also proves that elements of foreign culture such as Islam and European had enriched the ornamental arts of Balinese tradition. -
The Story of Rama
The Story of Rama A Curriculum Packet for Educators Spring 2011 Dear Teachers, We are glad you are choosing to bring your students to the Asian Art Museum, where they will experience the first exhibition in the United States dedicated to the arts and culture of Bali, an island in Indonesia that has captured the imagination of the world for centuries. You and your class are scheduled to take a special tour of Bali: Art, Ritual, Performance at the museum. Students will learn how art and stories can teach us about culture. Culture influences how everyone views the world, and students will learn about this by studying how the Hindu epic of the hero-prince Rama (the Ramayana) appears in the visual, performing, and literary arts of Bali. “The Abduction of Sita” (kidnapping of Rama’s wife), a pivotal chapter in the Ramayana, is also an ideal lens through which students may understand how art is “lived” in Bali, the only Indonesian island whose majority population is Hindu. To prepare for your visit, we encourage you to try one or all of the lessons in the enclosed inte- grated standards-based classroom unit, The Story of Rama: Revealing Art, Ritual, and Performance through Story. We also encourage you to review your tour confirmation and theGuidelines for Teachers, Students, and Chaperones. For more information on the Bali exhibition, please visit our microsite www.asianart.org/Bali. In the meantime, if you have questions or preferences, please contact us at [email protected] or speak directly with your docent, who will contact you about two weeks prior to your tour.