Tri Hita Karana

Tri Hita Karana was derived from Sanskrit– meaning: three, welfare, and cause. In the culture of Bali the complete sentence of Tri Hita Karana symbolizes the three aspects that bring about well being. These harmonious relationship are:

(1) Spiritual environment (Parahyangan) = the relationship between human being with God, 

(2) Social environment (Pawongan) = the relationship of human being with other human being and 

(3) Natural environment (Palemahan) the relationship between human being with the environment and other creatures.

1) The harmonious relationship of Human being with God

The sacred texts known as the Vedas are the basis of Balinese Hinduism which say that God (also called: Brahman) created this universe with all of its contents. The Almighty placed the planet and heaven in the sky. The Balinese believe that harmony is not only for human beings but for all creatures, the earth, the heaven, God, and the universe including animals and plants.

2) The harmonious relationship of human beings

When the human being can maintain the harmonious relationship with God, then it is reflected in his/her daily actions towards other human beings.   These actions include positive discussions, working towards a general consensus, building happiness together, and releasing all the difficulties of life for the sake of each other. In most of the mantras God mentioned the importance of human relations– to avoid bad actions and negative outcomes. The Almighty God has given the same opportunity to all human beings.  Humans must recognize the importance of making the right choices in life, because the choice of one impacts all.  The harmony must be implemented in truth, for it comes from the inner-most part of the heart of every individual. In Bali Culture, harmony can be shown through sincere tolerations and respect, not only for the ones we know but also for the the ones we do not know.

3) The harmonious relationship between human being and the universe, environment & other creatures

The source of happiness depends on the harmony between human being with
universe, the earth, the sky, and with other creatures. The Culture of Bali is to think, speak, and show this harmony through all daily activities.

When harmony among these 3 aspects is realized, the Balinese believe the maximum benefit to human spiritual mentality and physical well being will be achieved.

from: tropicalecohome in Bali

Balinese Alang Alang Thatched Roofing

Alang alang thatching has been used in Indonesia for hundreds of years on the islands of Bali, Lombok, Sumbawa, Timor and Sumba as a traditional system of roofing. There are slight variations in the application of the material throughout these different places but by far the neatest and strongest form is found in Bali.

The blades of alang alang thatching are constructed from the grass Imperata Cylindrica which is called locally ambongan. It is also called alang in Indonesian and Malay. It is known in Australia as bladey grass because of its tendency to cut skin. It is a tough and resilient grass and grows best in harsh conditions and poor ground. Some of the strongest examples are found on sandy margins at the edge of beaches and on cliff tops. Because of the demand for alang alang for tourism projects in Bali and the loss of the beachfront margin to hotels, there has been a lot of grass production in fertile soils that were normally used for other farming, also using fertilizer to allow faster harvesting. The alang alang made from this raw material is inferior which shortens the lifespan of the roof material.

Traditionally, the batten used to form the spine for the pieces that are laid onto the roof was a strong, small diameter bamboo, but because of the difficulty getting supplies of this material the practice now is to use split pieces of larger bamboo. This change has affected the form of the blades of grass as they wrap around the batten, causing right angles rather than a smooth curve. This also shortens the lifespan of the roof material and also produces an unattractive, irregular and untidy finish. In addition, and most importantly, this split bamboo is very prone to insect attack as it still has a lot of bulky cellulose that is exposed by splitting the bamboo.

Currently, the fabrication of each length of alang alang is still done in the same traditional way as before. The worker selects a bunch of grass approximately one meter long and wraps 150 mm of the base of the bundle over the batten. A small split bamboo is laid about 50 mm down from the batten, parallel to the batten and at right angles to the blades of grass and the bundles of grass are progressively lashed to this using a continuous length of either black ijuk twine or twine made from bamboo. The traditional length of one piece of alang alang is three meters.

Balinese roofs are commonly, but not always, made with bamboo rafters. The alternative is timber which is more expensive. The rafters for alang alang roofs have additional short rafters, set at a lower pitch, overlapping the bottom end of the main rafter. This creates a slight upward lift to the roof at the eaves. Both the main rafter and this additional rafter are finished with a bamboo or wood fascia. When sufficient alang alang has been made to complete the roof, if the rafters are bamboo, it is lashed in place, starting at the bottom of the rafter near the outer fascia. It is lashed with fine bamboo at every rafter using a tucked twist as a knot. They cannot nail it as the bamboo rafters would split The alang alang is then progressively placed all the way up until the ridge. The spacing from the fascia to the lintel is tight, approximately 40 mm, and then from the lintel to the peak or ridge there is approximately 50 mm spacing. Timber rafters can also use lashed bamboo if the lower edge of the rafter has a radius.

If there are hips these are also finished using the same grass. A bamboo pole as long as the hip has alang alang tied to its end in a similar fashion as a broom. This is then lashed or nailed to the timber hip so that the bamboo pole does not protrude beyond the outer fascia. Small bundles of alang alang are then lashed and spiked with bamboo nails to the broom stick progressing from the eave to the top, forming a big roll over the top of the hip.

The ridge or peak of the roof is then finished with decorative terracotta capping pieces. The drooping eaves are then cut horizontally to create the traditional Balinese roof. In Lombok and Sumbawa there is the same cut finish. In Sumba and Timor the alang alang is left uncut, with the grass drooping down, Tahitian style.

The alang alang roof is good insulation against heat and is very attractive to look at, both inside and out. It is durable, with reports of it lasting to twenty years, although by this time it would be very thin and unattractive. More commonly it has a life span of seven or eight years.

The actual life span depends on many factors. An alang alang roof, as it is made from organic materials, is constantly under a process of decomposition. Modern Balinese roofs that we have documented have lasted from between seven and fifteen years. The factors that have affected these periods of time are the quality and quantity of material used to fabricate the original elements, the pitch of the roof, wind damage, whether there is water from an upper roof falling on it and whether there is overhanging trees that both drop leaves and prevent the outer surface from drying during sustained periods of rain.

The only negative comment made about alang roofs in Bali is the amount of dust from the small insects that have their life cycle in the bamboo rafters and the battens that form the spines of each individual piece of alang alang.. There is very little dust, however, from the inner surface of the alang alang as it is not attacked by insects and is hardly decomposing.

(source: http://www.tropicalbuildings.com/products/thatched-roofing/)

All you ever wanted to know about Kecak

http://youtu.be/t0HY0oD84OM

Bali's Famous and Inspiring Kecak Dance Has a Rich and Varied History

Click Image to Enlarge

(8/31/2014)

The iconic Kecak dance, performed by large groups of shirtless men chanting in rhythmic counterpoint as other dances presents scenes from the ancient Mahabrata, is a staple of the Balinese dance repetroire that is enjoyed by thousands of Bali visitors each day.

Performed by groups of tens or more men - oftentimes numbering as much as 150, each segment of the kecak is punctuated by choruses of chanted"cak...cak....cak" (pronounced as 'chak,chak, chak') .

Dance aficionados in Bali argue endlessly that the haunting sounds of the kecak represents the sounds of an army of primates in the service of monkey-like warrior Vanara; duplicates the percussive sounds sounds of the drums and gongs of a gamelan orchestra (gamelan suara); imitates the sound of the household gecko lizard or, at its most basic level, draws its inspiration from the "cak" singing of farmers heard in the evening from roadside arak stands across Bali.

When we sat all these alternative descriptions before an aged Bali dance master, the old man scratched his chin and suggested that each explanation of the unique sound of the Kecak, considered individually or severally, might well be true.

The earliest reports of the Kecak predate the Dutch occupation of Bali when, according to local folklore, the village of Bona in Gianyar was besieged by a deadly epidemic that claimed a large number of lives. Prayers for salvation were offered in a local temple when a Sanghyan medium, deep in trance, delivered a message from the resident deities demanding a new form of music and dance unaided by the bronze instruments of a traditional Balinese orchestra.

More contemporary chronicles claim the dance was rejuvenated and reworked in the village of Bedulu by German-born artists Walter Spies and Balinese dancer Wayan Limbak to support a film project in the 1930s or, alternatively, was reborn in Bona under the supervision of I Gusti Lanang Oka and I Nengah Murdarya.

The most recent revitalization of Kecak is credited to I Made Sija of Bona who helped organize and train Kecak cultural groups who eventually traveled the world promoting Balinese culture starting in the mid-1960s.

Not subject to debate is that the fact that  Kecak dance presents a scene from the ancient Ramayana tale of the battle between good and evil within the context of the abduction of Sita and the ensuing battle by Vanara against the evil King Rahawana.

Setting aside the hour or so to attend a Kecak dance during a Bali trip should form part of every visitors "must do" list. Village-based dance groups present dances on an almost daily basis across Bali, with one of the most popular presentations found at sunset each evening at theUluwatu Temple in South Bali.

Those contemplating taking in a kecak might find the follow plot synopsis useful in following the story line.

Scene 1

Rama, Sita and Laksmana enter the dance area where the Kecak chorus of men, sitting in concentric circles have literally "set the stage" by singing a mesmerizing chanted prologue. As the three dancers circulate a golden deer appears, begging capture by Prince Rama. In pursuit of the golden deer, Rama leaves Sita and Laksmana alone on the dance floor.

Suddenly a scream for "help" is heard, prompting SIta to insist to Laksmana that the voice in distress must be that of  her husband Rama. Sita implores a reluctant Laksmana to investigate the screams, snidely suggesting Laksmana perhaps seeks advantage in the death of her beloved Rama. Insulted at Sita's insinuations, Laksmana departs the stage leaving Sita utterly alone in the forest.

Scene 2

The evil King Rahwana appears, intent on kidnapping Sita. His initial attempts are unsuccessful causing him to transform himself into Bhagawan - an elderly man begging water from the Goddess Sita. When Site returns with the old man's water she is kidnapped by Rahwana still posing as the aged Bhagawan.

Sita's screams for assistance are heard by the mythical Garuda bird flying nearby who responds by trying aid the captured Goddess. The Garuda's efforts to assist, however, are thwarted when Rahwana shoots the bird's wing with an arrow. The dastardly Rahwana then brings Sita to Alengka Pura - his personal palace.

Scene 3

Meanwhile, Rama, his loyal servant and Laksmana have become lost in the forest of the Ayodya Palace. Longing for his beloved wife Sita, who is now in the palace of the evil Rahwana, Rama seeks the assistance of the White Monkey Hanoman to deliver his ring to the captive Sita as sign of their enduring love.

Scene 4

Accompanied by the demoness niece of Rahwana, Trijata, Sita now spends her days lamenting the absence of her husband Rama.

Later, at the Alengka Palace, the White Monkey Hanoman appears, declaring himself the Emissary of Prince Rama and presents Sita with the ring of her husband. Sita, in turn, presents flowers to Hanoman to be given to Rama, together with a message imploring for urgent rescue. Wasting no time, Hanoman wreaks havoc on the Alengka Palace, destroying much of Rahwana's princely estate. In retaliation, the guards of the palace capture Hanoman who is bound and prepared to be burnt at the stake. Calling on his considerable reserves of magical power, Hanoman escapes and rescues Sita to be returned to Rama.

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