Reefs worldwide are being destroyed by global warming, pollution, over fishing, bombing, and cyanide fishing. These events are killing our oceans. Bali is confronted with the same problems and often has less resources to combat them. The 1998 El Nino incident which raised water temperature worldwide, has caused a phenomenon called bleaching in which the coral dies due to the increase in temperature and gives the visual effect of the reef being bleached. Our own reefs here in Bali have experienced the same fate. Compounding this is the continuous bombing and cyanide fishing being used by local fishermen.

Here and now in Pemuteran Bali just off the shore of Taman Sari Hotel is a pilot project, the only one of its kind in Indonesia. Pemuteran Bay leading the way in conservation is experimenting with a radical new approach to artificial reef construction by means of ‘Mineral Accretion’ to literally grow our own reefs. Mineral Accretion is a chemical process pioneered and patented by Professor Wolf Hilbertz and Dr. Tom Goreau, two marine scientists. These very scientists offered to be on hand personally and spearhead the project to train, educate, build and place these artificial reefs right here in the ocean in Pemuteran Bay. All construction was carried out using locally available materials and skills. All of the structural and electrical design work was undertaken by Wolf and Tom.

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Sitarasmi Mask Dance

Dancer : Ayu Bulantrisna Djelantik
Choreography : I Wayan Dibia and Bulantrisna
Masks : Ida Bagus Anom
Costume Designer : Harry Darsono
Costume crafter : I Md Redha
Gamelan Composer : Putu Putrawan

Synopsis:
This is newly created solo mask dance for woman, first launched in Bali on May 7th 2006 with performances at DANES ART GALLERY and later at the QUEST FOR GLOBAL HEALING CONFERENCE, UBUD BALI. This mask dance expresses the emotions of Sita in the latest stages of the Ramayana story written by Bagawan Valmiki 1000 yrs BC.

Happiness:
after taken captive by the demon King Rahwana for fifteen years, Sita was freed by her husband King Rama and his army. She prepares herself happily to at last be united again with her beloved.

Grief:
her happiness and longing, was overshadowed with sadness to leave her ladies in waiting, who have protected and accompanied her during captivity.

Pain and Despair:
when they united, King Rama and his people could not believe that his wife was faithful and rejects her. She felt the deepest pain and anger and turns away.

Healing and Strength:
Although she proofed her purity by remaining unscathed by the fire she jumped in, she rises up from the ashes, finds her healing and inner calmness and decided to leave Rama…

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There are several dances which are considered more sacred that others: Rejang, Pasutri, Mendet, Baris Gede and Topeng Pajegan. These are usually performed in the innermost courtyard (Jeroan) of temple. Part of what makes “sacred” is that there is little on no rehearsal of the forms; they are performed for the deities and it is not the compactness of the form that takes precedence in the ritual, but the actual presence of the form.

In the Samuan Tiga Temple of Bedulu, older women called Permas dance Rejang to help purify the temple area.

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A violent solo pantomime mask dance of a demonic warrior wearing a tall, pagoda like helmet.

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To the western eye the mature coconut palm is the epitome of the tropics, but to the Balinese it merely represents a source of life. Every component of the palm – from its leaves, trunk and fruit is utilized on a daily basis.

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The entire island of Bali is sub-divided into unique village organizations of approximately 100 households each that are united under a common banner known as the banjar. Functioning as a community of close family members and neighbours, the banjar plays a significant role in the planning and execution of many of the religious and social activities that are an intrinsic part of everyday Balinese life.

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