Yesterday, I accidentally visit the Pura Sadha (Sadha temple) in Kapal village, Badung regency. A feature in this temple quickly arouse my curiosity, this temple has replicas of sacred mountains in form of multi-tiered-roofs shrines known as meru that can be found in the north and east part of inner courtyard of the temple.

As a matter of fact the replica of mountains and lakes in the form of multi-tiered-roofs shrines (meru) are standard features of South Bali temples, but only when I visited Sadha Temple I realized their significant and function. The main purpose of placing replicas of mountains and lakes in temple is to save the time and effort needed to actually visit them since in the yester centuries pilgrimage to the mountains and lakes need a great deal preparation and time. These replicas serve as representative shrines for the gods who resides in the mountains or lakes all over Bali.

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When a grand ceremony such as Ngenteg Lingih (held once every 30 years) or deification of ancestor soul (nyekah) is held both Balinese and visitors will have a chance to see the rare Ketungan and hear its unique rhythmic sound. Ketungan, as a matter of fact is not a musical instrument but a long wooden mortar made of tree trunk complete with some long wooden pestles which is used to thrash the rice in order to detach the grain from the husk. When the rice is thrashed using the mortar, the long trough of the mortar is filled with rice and then the rice is pounded using the tall wooden pestles.

The ketungan is sounded by pounding the wooden pestles continuously into the ketungan. The collision of wooden pestles against the wooden mortar will produce deep continuous sounds which can cover surprisingly long distance. Ketungan is usually sounded by 6 or more women; each of them hold a long wooden pestle and pound the mortar with a specific rhythm. The different rhythms of the pounding will produce a complex interlocking pattern of polyrhythm. Sometimes the outer side of the wooden mortar is also pounded with a wooden hammer or two, adding new rhythms to the complex rhythm of the wooden pestles.

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