Yesterday I found an interesting writing on Balinese culture, religion and people which is entitled “From Royal House to Nation” by Scott Johnsen. Here is a piece of his insight on Balinese religion:

Bali, with its thousands of temples, has long been known in tourist literature as “The Island of the Gods.” Now one can find a new slogan alongside the old: “Bali: The Island of God.” It would be incorrect to say that Bali has only recently acquired ideas of an ultimate divine form: the god Siwa has long had something like a “highest of the high” conception, and there were a variety of other concepts of ultimate divinity known primarily to Brahmana priests, including that of Sang Hyang Widhi. Nonetheless, when Christian missionaries chose this latter divinity as the Balinese “one god” (Covarrubias 1994 [1937]:263, Bakker 1993) – the most notable missionary achievement in an otherwise rather bleak record of failure (Hanna 2004 [1976]) – this began a popularization of this deity that grew after the second world war (Swellengrebel 1960:71-3) and became the centerpiece of Balinese efforts to gain formal state recognition for their religion.

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When a grand ceremony is held, the performance of Wayang Lemah is obligatory. As its name suggest Wayang Lemah is always performed in the daylight (“wayang” means “puppet” and “lemah” means “day”) and is usually performed as long as the high priest officiates the ceremony. Wayang Lemah is an exorcistic play, it is performed primarily for invisible audiences: the spirit, divinities and the demons, it is a part of ceremony which functions to ensure the success of a ceremony and obviously not an entertainment for mortals.

The stage for Wayang Lemah is simpler than the spectacular Wayang Peteng (Night Shadow Puppet) since it does not need a screen and wick lamp and there will be no shadow. Wayang Lemah stage consists of three young, cut banana trunks for placing the puppet during the play (the pointed handle of the puppet can easily stuck into soft banana trunks), on either side of long banana trunk, which runs across and forms the actual stage, two big branches of evergreen dapdap tree had been pushed vertically through the banana trunk into the ground; at top they branched out in three directions symbolizing Hindu trinity.

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Over the last eighty years, visitors have contrived various names for Bali praising its richness in culture, its extreme fertility, its endless beauty, and the artistry and the charm of its people. The names are range from ‘The Last Paradise’ to ‘The Morning of the World’, from ‘The Island of Gods to Island of Thousands Temples. If we imagine Bali as a product, various brands have been given to this single product, and the last attempt to give another brand for Bali was not come from the visitor to the island but from the Indonesian Ministry of Tourism and Culture.

A new brand for Bali which called “Bali: Shanti Shanti Shanti” has been launched by the Indonesian Ministry of Tourism and Culture. To shed a better light on this new brand for Bali, here is the explanation on the new brand provided by the Ministry of Tourism and Culture:

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Head cloth, or udeng is the most striking part of Balinese traditional dress. An udeng is actually a piece of square cloth about one meter on each side. It may have overall design but it is usually symmetrical. The wearer folds the cloth into a triangle rolls up the long end several times until the remaining triangle is small enough to cover the head, and ties it to the head. The entire udeng is tied to the head in such way that the point of the triangle faces toward the rear and the knot is centered on the forehead, then one side of the triangle is pulled behind the knot, making a crest known as “jambul,” after the tuff of feather on the head of some birds.

There are many style of udeng; above mentioned technique is used to make a general udeng which are widely used by Balinese men. Some men prefer to use different style of udeng to distinguish themselves from the crowd but some use a different kind of udeng as a mark of their social or religious role, for example: priest used a distinguished style of udeng, known as “udeng mangku” as a sign of priesthood; this style has a knot on the back of the head and the triangle cover the head. Pecalang (traditional security force) also use a unique style of udeng known as jejantaran as sign of their role as a security force.

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Crossroad is one of many revered and feared spot in Bali. offering are given to the spirits who dwell on that crossroad sometimes a statue is erected as a symbolization to honor the spirit in that place and as a guardian to ensure the safety of passing people.

The main crossroad in any Balinese village becomes the center of the village, the central point for community activities and ceremonial events. Palace, market and village temple are build around the crossroad since the intersection is an open space where the four cardinals points meet so it is easy to be reached from all parts of the village.

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Padmasana, the seat of God is an obligatory shrine that must be established in every Balinese Hinduism temple. No temple is considered to be complete without this shrine. The word Padmasana is derived fro the word “padma” means “lotus” and “sana” means “seat”, Balinese believed that God sits on a lotus flower. It is a roofless shrine with an empty throne on its top, the throne of God.

The padmasana presents the form of Balinese macrocosmos. It is divided into three sections – the familiar Tri Loka: Bhur (the world of demon), Bwah (the world of human), Swah (the world of gods). At the base of padmasana, in Bhur Loka is Bedawang Nala (the turtle of universe) which support the world on its back. It is being held by two snakes, Anantaboga and Basuki. It is sometimes said that the snakes are holding the turle so as to keep it from causing catastrophic earthquake by moving too violently.

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