Pakang Raras who was about fourteen years old, was flying kites one day with his attendants, Punta and Wijil, when the string broke and they lost their way in the forest. They were driven by a great storm to take shelter in the palace gardens of Daha, where the king’s young daughter was bathing in a pool. She took Pakang Raras home with her and became her page. He taught her to play the gamelan and she took a great fancy to the charming youth, and gave him fine clothes and a kris.

They used to sing Kekawin together about Arjuna and Suprabha, and one day after she had gone to her own room to rest, Pakang Raras followed her and made love to her. After that he went in everyday. And they exchange gift of flowers. But one day her maid Bajan saw him and told the King, who ordered his patih to take Pakang Raras away and kill him. When he was told that he must go at once with the patih to Blambangan, Pakang Raras knew that he was going to be put out of the way and asked leave to go and change his clothes for the journey.

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Pura Samuan Tiga, an exceptionally unique temple situated in the village of Bedulu, 25 km from Denpasar, 5 km from Ubud, and only 400 m from Elephant Cave (Goa Gajah) sanctuary. Built in 10^th century in the reign of King Chandrasangka Warmadewa, this sacred temple was the royal temple of ancient Warmadewa dynasty. As suggest by its name, Balinese believe that Pura Samuan Tiga is a venue for the great meeting of the gods, deities, and saints – the word “samuan” means “meeting” and “tiga” means “three.”

This sacred temple is flanked by a meeting of two rivers – river Pande and river Tegending – on the east side and a reminiscent of an ancient pool on the west side and sacred trees such as banyan, pule and curiga which grow around the temple serve as giant umbrella. Unlike other Balinese’s temples that consist of three courtyards, Samuan Tiga temple has seven courtyards separated by walls and split gates, connected only by stairs that leading up to the innermost courtyard, the meeting hall of gods, deities and saints.

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In 1904, when most of Bali still ruled by native princes and wrapped in medieval splendor little touched by the outside, W.O.J. Nieuwenkamp, the first foreign artist to visits Bali, landed on the north coast of this little-known island with a bicycle and an irrepressible lust for adventure. The bicycle proved useless as the island had few suitable roads but today it becomes the only testimony to Nieuwenkamp’s visit to Bali, immortalized in the image of a man riding a bicycle on the wall of Meduwe Karang Temple in North Bali.

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Meru, an elaborate multi-tiered temple structure with thatched roof of sugar palm fiber called duk, is surely a prima ballerina of many temple courtyards. Towering majestically among other shrine, meru is a symbol of the temple prestige. A temple with an eleven-tiered meru is surely has more prestige than just a temple with a five-tiered Meru.

The shrines symbolize the world mountain, Gunung Maha Meru, and has one to eleven tiers or, as they are called, tumpang, or “levels.” There must always be an odd number, although one meru at Pura Taman Ayun in Mengwi has two. The tumpang are square and diminish in size toward the top, so that the effect is that of a Chinese pagoda, except the colors are somber.

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The Grand Palace Hotel is located only 20km to the west of Malang region, East Java, where is a holiday resort - Batu and Pujon which the most popular tourism resort and agro tourism. Malang perched on a picturesque plateau 450m above the oppressive heat of the lowlands, was a popular retirement place because of its cool and refreshing climate.

The Grand Palace Hotel is an executive classic hotel combined with eastern and western atmosphere style where located in the heart of the Malang town. The Grand Palace Hotel offers totally 60 rooms; devided into Superior, Deluxe, Executive Suite and President Suite.

The following is rough picture of how performance may originate in Bali. There is a temple feast coming on; what dancers shall be asked? “Let us fetch those good dancers from —.” Not all of them can come. “Never mind, let those come who can; we will change the story, or find another people to fit in.” so they arrive. The dresses do not fit, one is ill and cannot dance; another takes his place. The audiences are already assembled, expecting something splendid, lamps are lit. But first the dancers must eat, then they must dress. Slowly they eat and dress. Then some one says: “we really must begin” the gamelan of course already playing. Meanwhile, the chief actors are still occupied discussing the story. If you ask at this stage what the play is to be about you will only get the answer “I don’t know yet.”

The first thing to do is to send out the condong (attending of the principal lady), who must go first and announce her mistress. A message is sent to the gamelan, to play a condong melody. She comes out, and wind deviously about the stage in the usual condong dance, uttering the usual words which the lady-in-waiting addresses to every princess: “Come out, my Lady, do not tarry. The way is made smooth, all is ready for your coming.” At this stage her mistress is only generalized princess, with a generalized title for a name. After she has been appealed to for some time in vain, this abstract lady winds her way out, and dances and converses with her attendant. She is perhaps still in ignore of her identity; in fact there was an occasion when the heroine played her part throughout without discovering who she was, though her nose had been cut off without knowing it, in the course of the play.

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