The History of Wayang Bali

Bali Personal Drivers - The origins of Wayang Kulit (Shadow Puppet) in Indonesia is still debated by experts and there is still no agreement, whether Wayang Kulit is native from Indonesia, from India or from other countries.

Some the inscriptions found revealed that, wayang show in Bali has a fairly long journey. In the inscription issued by The King Ugrasena that has Saka year 818 (896 AD), which is now store in the Village Bebetin (Singaraja), mentioned :

"... Pande tambaga, pamukul, pagending, pabunjing, papadaha, parbhangsi, partapukan, parbwayang, panekan, dihyang api, tikasana, metani kasiddhan dudukyan hu "

The translation was approximately :

... the coppersmith, gamelan, interpreters song / singer, interpreter angklung bamboo percussion, mallet percussion, flute-players, masked dancers, puppet play.
(Goris, 1954:55; simpen AB., 1974: 3; Rota, 1977/78: 10)

The above inscription mentions that several groups of people that describe a particular profession, including the person that demonstrates the wayang or also known "Dalang" (the puppeteer).
Other inscriptions that mention the existence of a wayang show in Bali, among others :
.:. Inscription Dawan (Klungkung regency) year 975 Saka (1053 AD).
.:. Inscription Blantih year 980 Saka (1058 AD).
.:. Inscriptions Gurun Pai from Village Pandak Bandung (Tabanan), issued by The King Anak Wungsu in 1071 AD.

From inscriptions mentioned above, it is almost certain that around the year 896 AD in Bali have discovered a wayang show with a group that has been organized and demonstrate the wayang skill has a distinctive profession, among the various professions that existed at that time. From these inventions, it is possible that before the year 896 AD, the wayang show also existing in this area, but unfortunately the evidence to support this claim, so far not been found.

According to Angela Hobart, Wayang Bali appeared during The Majapahit Empire (XIII to XV century). On the period of The Kingdom of Gelgel with its King Dalem Watu Renggong (1560-1550 AD), he was awarded a one "gedog" (box) wayang from The King of Majapahit around the XV century, where the wayang shapes is makes no difference with the shape of the Wayang Bali right now, which is the same as the shape of wayang relief contained in Taman Sari (Klungkung), that came about in the century XVI / XVII AD. (Hobart, 1987: 22).
If this assumption is correct then wayang kulit has switched from Java to Bali between X to XIV century. This is possible because at the time Javanese Hindu influence in Bali is very strong. Bali was conquered by Majapahit in the year 1343 AD as a manifestation of the oath of Gadjah Mada (Chronicle Smarapura, TT: 38B and 39A). After the collapse of the Majapahit Kingdom in East Java, scientists, priests, and nobles fled to Bali for the displaced and brought with it a classic literary texts. In the time between the two periods, wayang kulit, "wayang wong" (people puppet), and "topeng" (mask) is known in Bali (randon, apcit;: 52-53).

Wayang Bali if viewed from its shape (prototype) apparently older than The Javanese Wayang, Wayang Purwa. Although scientific investigation has not produced answers to the above conclusion, but Mangkunagoro VII of Surakarta expressly states that, the more naturalistic style of Wayang Bali admittedly superior in age, so as a person receives is axiomatic that stylization constantly evolving beyond naturalistic shape (Mangkunagoro VII, 1957:7; Claire Holt, 1967: 135).
The further older of Wayang Bali prototype, is also corroborated by the existence of the relief shape which resembles with the shape of wayang on temples in East Java such : reliefs on Candi Jago in Tumpang (Malang); Candi Surawana and Tegalwangi near Pare (Kediri) or on Candi Panataran in Blitar. All shapes of characters are similar to the shape of Wayang Bali that have not been exposed to the influence of Islam (Soedarso Sp., 1987: 5-6)

The Wayang Bali Myth

The Balinese, mythologically considered a wayang show comes from The Gods in heaven. This myth is mentioned in two papyrus manuscripts are Siwagamma and Tantu Pagelaran. In papyrus Siwagama mentioned as follows :

“... sinasâ ring lemah, ryyarepaning salu-agung, ginawâken pangung Hyang Trisamayâ, kumenaken kelirning awayang Bhatara Iswara hudipan, rinaksâ dê Sang-hyang Brahma Wisnu, ginameling redep kecapi, rinorwan pamanjang mwang gulâ ganti, sinamening langon-langon, winahyaken lampah Bharata kalih, Sanghyang Kala Ludra lawan Bhatari Panca Durga, sira purwakaning hana ringgit ring Yawa Mandala, tinonton ing wwang akwêh".
(Pus Dok Bali, 1988: 60-61; Hobart, ibid: 22)

The translation was approximately :

"... On the earth right in front of home great hall, made a stage or arena Hyang Trisamaya, held a wayang show put on curtain, Bharata Iswara act as puppeteer / speaker, accompanied by Sanghyang Brahma and Sanghyang Wisnu, accompanied by gamelan gender and the harp, sing a song gula-ganti, followed by a charming dance, tells about the journey of two gods, namely Sanghyang Kala Ludra/God Shiva with Bhatari Panca Durga/Goddess Uma, thus the beginning of wayang (ringgit) in the island of Java, people watching are quite a lot".

Meanwhile in papyrus Tantu Pagelaran manuscripts, also mentions about the origin wayang show from the gods in heaven. The contents are as follows :

“... Rep saksana Bhatara Iswara Brahma Wisnu umawara panadah Bhatara Kalarudra; tumurun maring madyapada hawayang sira, umucapaken tatwa bhatara mwang bhatari ring bhuwana. Mapanggung maklir sira, walulang inukir maka wayangnira, kinudangan panjang langon-langon. Bhatara Iswara sira hudi-pan, rinaksa sira de Hyang Brahma Wisnu. Mider sira ring bhawana masang gina hawayang, tineher habandagina hawayang; mangkana mula kacarita nguni ...".
(Pus Dok Bali, 1987: 43; Pigeaud, 1924: 103 – 104; Hazeu, 1979: 43-44)

The translation was approximately :

"... The gods were afraid, Shiva is intangible, Kalarudra willing to destroy all of the world. Lord Iswara, Brahma and Vishnu knew it, then fell to the earth and held a wayang show. They tell who is Kalarudra and Durga. The show is held on the stage with curtain, while the puppets were made of animal skins carved and chiseled and accompanied by a charming song. Iswara act as puppeteer, accompanied by Bhrahma and Vishnu. They wander the earth by playing music and play the wayang. Hereby created a wayang show ...".

The above two texts fairly clearly mention the wayang shows in Java (Yawa Mandala), but implicitly approximates the form of a wayang show in Bali. It was marked by convening the wayang show in a special place (Bale Gede), puppeteer assisted by two people, right and left, called katengkong /tututan, and use of accompaniment / gamelan gender. These three Gods (Lord Iswara, Brahma, and Vishnu) until now believed to assist a puppeteer to achieve success, for their wayang show. It is clearly stated in the Dharma Pewayangan.
Above data indicate that, the existence of wayang in Bali is so old and its artist-makers are given special status as a special title when compared with the other artists.

Of various types of performing arts that exist and flourish in Bali, wayang performances including the types of "ulameng-lungguh" (respectability) in the cultural life of the people of Bali (Rota, 1990: 5).
A foreign humanist, Covarrubias said that, a puppet show is not only an important entertainment for the people of Bali, but it is thought to be the ancestors of traditional Balinese theater, he said :

"... With elaborate is magic, religious significance, its undiminished popularity, and as the most important firm of Balinese entertainment "(1973: 243)

Reference : pdwi.org

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Why This Beach Called Lovina ....?

Bali Personal Drivers - There is no source of accurate, about the origins of why this beach called Lovina. When referring to the history of Lovina Beach, then it will never be separated from the figure of The Deceased Anak Agung Panji Tisna, a descendant of the king of Buleleng and a famous writer.

In one version which growing in the area of ​​Buleleng, Lovina name was given because there are two trees planted by the son of Anak Agung Panji Tisna which then grow mutually bind each other. Lovina in Latin means is "love".

Meanwhile, according to the sons of Anak Agung Panji Tisna, Anak Agung Panji Tisna was the first man, who built a bungalow as a resort in the village of Kaliasem in 1953. His first bungalow was build on property that belonged to him and then he gave the name, with Lovina. It is said that the name of Lovina is taken from the name of a small hotel in India "Lafeina". In this hotel, Anak Agung Panji Tisna stayed and wrote a book with the title "Ni Ketut Widhi" which has been translated into several languages​​.

Around the end of the decade of the 80s, there is a version that comes from the Regent of Buleleng, Ketut Ginantra (1988-1993), he said that the name of Lovina interpreted as an abbreviation of LOVE and INA, which means Love Indonesia.

Another version from Wikipedia, the meaning of "Lovina".

"Love" and "Ina" which translates as "Love Indonesia", is not true in the context of Panji Tisna. The term "INA" stands for the Indonesian contingent or group of athletes for the Asian Games 1963. Meanwhile, Lovina founded in 1953. According to Panji Tisna, “Lovina” has a philosophical meaning, a mixture of two-syllable word "Love" and "Ina". The word "Love" from the English meaning genuine love and "Ina" a Balinese word means "Mother". The meaning of "Lovina", according to Anak Agung Panji Tisna, is "Love Mom" or virtuous meaning is "Love Mother Earth"

In the Reader's Digest magazine published by the 1960s, there is an article about Lovina, which in 1959 was visited by the author. In the magazine article, the author mentions that Lovina as a tourist unspoilt beaches in Bali. This is an initial moment for Lovina name began to be known by the world, which not many people know about it. According to the history, in that era the tourism business in Indonesia is still not widely known. After the first President of the Republic of Indonesia Soekarno build the Bali Beach Hotel in Sanur (was built in 1963), then the business began to be known in Indonesian tourism.

Reference : wikipedia.org, buleleng.com

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The History of Pendet Dance

Bali Personal Drivers - If traced from history, the Pendet Dance has long been entrenched in the culture of Bali. Wayan Dibia, The Professor of Indonesian Arts Institute (ISI) Denpasar, said the Pendet Dance is one of the oldest dances among its kind which exist on Bali island. Dibia also said, that the creator or choreographer of the modern form of Pendet Dance are two artists which born in Sumertha village of Denpasar, namely I Wayan Rindi and Ni Ketut Reneng. "Both of these artists create the Welcoming Pendet Dance with four dancers to be presented as part of the touristic performances in a number of existing hotels in Denpasar, Bali" he added. He also said if since its creation Pendet Dance always used as the opening act for the another dance performance presentation.

I Wayan Rindi (? -1967), is a dancer who is widely known as an the dance aspirant with the ability to compose and preserve the art of Balinese dance through learning its on future generations. During his life he actively teaches a variety of Balinese dance performance, including Pendet Dance to the family and to the community in the vicinity of his residence.
In 1961, I Wayan Beratha reworks the Pendet Dance such a pattern as it is now, including adding the number of dancers to five dancers. Then a year later, I Wayan Beratha and his friends created the Mass Pendet Dance with the number of dancers is not less than 800 person, that featured in the opening ceremony for the Asian Games in Jakarta.

The Pendet Dance source inspiration is a procession called "mamendet" or "mendet" during the sacred ritual "Odalan ceremony", which is took place in the temple. Mamendet procession takes place after the priest proclaimed "Puja Mantra" (prayer), and after Sidakarya masks performance - a sacred theater which is philosophically legitimize the religious ceremony. Almost every Odalan ceremony, in temples both large and small in Bali is accompanied by mamendet procession. Even in some large temples like Pura Besakih is located at the foot of Agung Mount, usually exclusively featuring the mamendet procession with Baris Pendet dance. Baris Pendet dance is a dance that performed in pairs or in mass by men with bring amenities offerings and flowers.
Mamendet procession is etymologically derived from the word "mendak" (welcome). Its dancers do not always specially prepared, and generally can be performed by all participants including men and women both older and younger. When the gamelan was chanting "Gending Papendetan" (Mamendet music), those who want "Ngayah Mendet" (make Mendet offerings), will dance sincerely and alternately perform in holy temple courtyard. They can dance a solo, in pairs, or even mass.
An elderly grandpa, can vigorously bringing offerings and flowers and then dancing with a full improvisation to interact with gamelan accents. Or a frail grandma, no warning is suddenly rose with lively to waddle with the innocent expression. The teenagers who are still energetic can also often be seen mamendet by dancing with earnestly. Its all done in the frame of art as an offering which means the excitement to welcome the presence of the Gods.

Read also The Controversy of Pendet Dance.

Reference : isi-dps.ac.id

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The History of Besakih

Bali Personal Drivers - Bali and Java islands were once an island and named Dawa. In East Java, precisely in Rawang Mount (now known as Rawung Mount) there is a Yogi (recluse), which was named Resi Markandeya. He came from Hindustan (India), by his followers was named Batara Giri Rawang, because spiritual holiness, proficiency and his wisdom (sakti sidhi ngucap). In his hermitage on Hyang Mount (DIYENG Mount in Central Java, who came and said DI HYANG) he received revelation from Hyang Widhi Wasa, that he and his followers clearing forest on the island of Dawa, and if it has been completed, then the land was parceled out to his followers.

The Yogi Markandeya implement the command and immediately leaving to the east with his followers about a 8000 people. Upon arrival at the destination the Yogi Markandeya tells his followers to cut down the jungle. When working, many of his followers are sick, and die, and some are dead eaten by wild beasts.

Seeing this incident, the Yogi Markandeya commanded to stop the work. The Yogi Markandeya then returned to his hermitage. On a day which is seen as a good day (Dewasa Ayu), accompanied by some rishis and recluse, he pleaded "wara nugraha" into the presence of Hyang Widhi Wasa for the success of his work. The Yogi Markandeya then departed with his followers are about 4,000 people who came from the village of Age (people on the slopes of Raung Mount) by carrying agricultural tools including plant seeds. Upon arriving at their destination, the Yogi Markandeya immediately "tapa yoga" meditation with other yogis and dedicate "Upakara Yadnya", "Dewa Yadnya and Buta Yadnya". After the ceremony was completed, he commands his followers to continue to work clearing the forest, ranging from south to north. When there are enough forest being cleared, the Yogi Markandeya commanded that work halted, and he began a land distribution for his followers who each used as rice fields, dry fields and housing.

In the place where it started clearing forests, the Yogi Markandeya planting, pitcher (payuk) containing water, also "Pancadatu", such as gold, silver, copper, iron and bronze with "Mirah Adi" jewel (major gems) and also upakara (offerings), which has been sprinkled with "Tirta Pangentas" (holy water). The place where the means were planted were named BASUKI. Since that time the followers of the Yogi Markandeya who comes on at the next time, and worked clearing forest for opening new territory, no longer affected by the disaster which has ever experienced as a first.

Above quotation are from "Lontar Markandeya Purana" which explains the origin of the village and Besakih Temple, which as mentioned earlier is named Basuki, and then now known as "Besakih".

Reference : babadbali.com
Photo : commons.wikimedia.org

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