STREET ART FROM BUDAKELING

THE old woman laughs at a picture of herself. That afternoon, at the end of September, artist Made Budhiana from Denpasar visited her at her hut in Banjar Jabe village, Budakeling. Budhiana brought the art magazine Visual Art, July 2005 edition. There was an article by anthropologist Jean Cocteau about the woman from Budakeling. "Looks like my older sister who died hanging herself," said the old woman in Balinese upon seeing her face in the magazine. The woman is insane. She is 80 years old. She is illiterate, can?t speak Indonesian at all. Accompanied by two dogs, she lived in the smelly, filthy hut with no electricity. Perhaps the cow pen next door was cleaner. However, she stole the art world?s attention. Jean Cocteau referred to her as an "outsiders? art" player. That is because she collects rocks from where Gunung Agung?s lava river used to be at around Budakeling. And then, one by one she draws the faces of humans and animals. The sketches are na?ve, childish, funny but ?magical.? She piles them up at a road bend not far from her hut. The shape reminds us of the old menhir and dolmen throne of rocks, a place of worship in the megalithic era. She always gives offerings such as fruits, imitation gold, and incense at the pile. Since the end of the 1990s Made Budhiana has been routinely documenting Ni Tanjung?s activities. He?s afraid that her ?rocky art? would be taken apart by the people?because they are considered to dirty the area. Together with Ktut Jaya, a local painter, he takes pictures of Ni Tanjung?s work developments. "At first I was afraid because Ni Tanjung snapped at him. I was afraid that she?d suddenly throw things at me," recollected Budhiana. He remembers that, when he accompanied Ni Tanjung drawing, passing truck drivers would yell at him: "Don?t be too serious or you?ll become as crazy as she is." What impresses Budhiana about Ni Tanjung?s work is that, with only with white chalk water, the drawings could look so expressive. According to Budhiana, it?s different from the tendencies of the rock or wooden statues in today?s Bali, which, because they have too many ornaments and decorations, have become sweet. "I once gave Ni Tanjung yellow and blue paints. And it turned out that in her works were becoming more apparent figures with strange eyes and mouths. She once said that what she drew were bethara (spirits) that she saw," said Budhiana. If studied carefully, Ni Tanjung also draws many pictures of houses. Some look like puras, some like mosques. In Budakeling there is indeed a Muslim community; perhaps that was what Ni Tanjung was thinking of. Budhiana also gave her a pair of scissors. Ni Tanjung used it to make paper puppets which she later hung in front of her hut. Budhiana also presented her with a pair of scissors to cut zinc, so that Ni Tanjung could take advantage of the used cans around her hut. Budhiana would like to see the old woman?s ?creativity? to continue. *** Among her pile of rocks, Ni Tanjung often dances, mumbles to herself, grouses, and conducts her particular rituals. It makes her increasingly a laughing stock. However, she doesn?t mind. Her moves are nimble. Even a little coquettish. In the past, she was indeed, said the people there, an Arja and Legong dancer. "I once played a Rolling Stones song from the Jeep, and Ni Tanjung danced to it. Her moves followed Jagger?s song beat," said Budhiana. Often when she had an ?attack? she would dance carrying a small mirror. She would dance looking at her own reflection in the mirror and looked at anyone?the passers-by behind her. All her weird actions by the locals are considered insane. However, they became astonished when those resulted in something. The trigger was apparently someone was interested in her works. One ?mystery visitor??who stayed in Ubud?paid Rp15 million for the rocks through a village official. This caused a ?furor? among the villagers. It seems that there was someone who was more ?insane? than the real insane person. "The buyer was reportedly Kartika Affandi," said Budhiana. The huge sums did not go to her at all. Ni Tanjung?s expression suddenly changed when Ktut asked about it. It looked as if she was confused and as if about to run amok. "As far as I?m concerned, the money was kept by the family or village, for Ni Tanjung?s cremation later," said Wayan Redika, a painter from a neighboring village. Suddenly Ni Tanjung went inside her hut and emerged holding her mirror. ?My mother brought me this from Yogya." She then lifted it above her head, looked up, swaying flirtatiously, and went down the asphalt road to her ?throne of rocks.? She danced coyly, surprising cars driving by. "Jayaprana and Layonsari?" she yelled to Made Budhiana and Ktut Jaya. Her eyes wide open darting here and there, she sang about the everlasting love between Jayaprana and Layonsari. Her voice became increasingly audible when she copied the movements of the figures in the drama. She continued to sing, even as we bade farewell. That afternoon, from the ?altar of Ni Tanjung?s shrine," we left for Tirta Gangga. From there is a straight path to the former bathing location of the kings in Puri Karangasem, although when we return to Denpasar we must pass the old woman?s way again. And when we returned, the surprising thing was that Ni Tanjung was still on her ?throne of rocks.? In the darkness of the night, under the faint glow of the moon she was sitting all alone. Her right hand was holding a brush, her left handling a rock. Looking serious, she was painting. Ni Tanjung, good night. By: Seno Joko Suyono (Bali) Tempo No. 07/VII/17-23 October 2006

GAMBUH ; THE CLASICALL DANCE IN BALI FROM EASTERN BALI

Originating in the royal courts of 17th century Bali, gambuh combines dialogue, music and dance to enact romantic tales of courtly life, love and political intrigue based on the adventures of Panji, a historic Javanese prince. Gambuh requires a large cast of dancer-actors and musicians and is distinctive and difficult to perform for various reasons, including its Kawi (an ancient form of the Javanese language) text, which few people understand today, and the unusual meter-long, end-blown bamboo flutes of its orchestra, which take years to master. In gambuh, the dance-drama is accompanied by a small gamelan group consisting of about 17 musicians. The dancers can number anywhere from 15 to 25 depending on the lakon (story) and the availability of performers. Formerly, gambuh casts could number 60 to 70 performers and crew, made up of all levels of society. Contemporary performances typically last two to three or more hours; in the past they could last a few days. The heart of the dramatic spectacle of a gambuh performance is not so much the plot unfolding as the continuous presentation of its illustrious dramatic personae, always preceded and accompanied by their attendants, who translate the ancient Javanese court language, Kawi, into Balinese for the audience. Gambuh is performed in only a pocketful of villages today at Budakeling Karangasem The origin of gambuh can be traced back to 1007 A.D. the first mention of gambuh appears in a lontar, palm leave manuscript, with a Candra Sengkala (a method of expressing time), in the year of 929 Caka or 1007 A.D. This lontar mentions that in 1007 A.D. King Udayana Warmadewa of Bali had married a Javanese princess from Daha, east Java, named Cri Gunapriya Dharmapatni. When the princess went to Bali, in her entourage she brought Javanese dancers and artist with her. According to the lontar, King Udayana was very fond of Javanese dancing and in this period developed the dance known as gambuh, here is an excerpt from the lontar: “Sri Udayana suka angetoni wong jawa angigel iki marmane kinwang para aryeng Bali anunggalaken ring sasolahan Jawi, yata nimitani ring Bali ana Gambuh. Gambuh ngaran gabungan. Ing keratin Bali ketekang mangke ana bale pagambuhan.” Translated into: “Sri Udayana liked to see the Javanese to dance and that is why the aryas (the nobles) in Bali combined the Balinese and Javanese style of dancing into gambuh. Gambuh means combination. And from that time until now there was always been a bale pegambuhan (place where gambuh was performed) in the palace of Bali.” In Besakih temple there is still a bale pegambuhan, and on certain occasion Gambuh companies from several district of Bali perform gambuh performances there. Outside the palace or temple compound, gambuh is usually played in a large palm covered rectangular space with two umbrellas at the end where the dancers enter, and two lances at the opposite end, where they sit when not in action. The cast of gambuh is the most complex and complete of all dance drama with the prabu manis (gentle king), prabu keras (coarse and proud king), the princes, the princess, prabangsa (brothers of king), arya (nobles), patih and temenggung (minister), kadyan-kadyan (knights), condong (lady in waiting), penasar (attendants and clowns). Each of these characters has its own dance technique, expressions and musical melody. Each of noble characters (range from king to minister) usually has its own attendants or heralds characters (two up to four attendants or heralds), this makes the gambuh the most lavish and pompous drama performance known in Balinese history.

BUDAKELING LEADS TO TOURISM vILLAGE

Budakeling, a traditional village located on East Bali, is prepared to become a tourism village in Bali. Aside from intended to create a new destination, the village also has a superior potency that is worth visiting, ranging from amazing nature, art and culture remaining beautiful and the people still uphold the values of traditional Balinese culture. “To explore and discover the potential of Budakeling Village, Faculty of Tourism, Udayana University in cooperation with Bali Government Tourism Office has carried out an in-depth research. Budakeling Village indeed deserves to become a tourism village,” said the Head of Bali Government Tourism Office, IB Kade Subhiksu, recently. Budakeling countryside is very beautiful, clean, comfortable and safe as well as has friendly people who becomes very important to be maintained. Traditional arts denoting a distinctiveness of Budakeling remains to grow flourishingly because it is still deeply involved up to these days. One of them is the unique and interesting gambuh art of Budakeling. This element should exist in building a quality, sustainable and competitive tourism, as well as it can improve the socio-economic welfare of the people, create jobs and contribute to the country’s foreign exchange. “Based on Bali Regional Regulation No. 3/1991 on Cultural Tourism, Bali tourism development is undertaken based on Balinese cultural values because Bali is a single unit of ecology and spatial structure along with a relatively homogeneous population,” he said. This development program, he explained, posed an effort to increase the tourist attraction and improve the image of Bali in the eyes of international community. For the development of tourism village programs, it has also been carried out a workshop to encourage relevant parties so they would be more passionate and motivated to make Budakeling a Tourism Village. “If this program can be realized, then the welfare of Balinese people can be improved through sustainable tourism development undertaken by implementing community-based tourism,” he added. in BAHASA INDONESIA ; SEKILAS TENTANG KAWASAN DESA BUDAYA DAN SPIRITUAL BUDAKELING Membangun Citra Agung Persatuan Bangsa Indonesia melalui perjalanan suci kesadaran diri ( Budhi ) dari Tepi Timur Bali Budhakeling melalui kreativitas dan aktivitas budaya dan spiritual. Desa Wisata BUDAKELING adalah dharma /kewajiban suci di zaman Kali yang gelap ini, ia adalah cahaya terakhir dari peradaban dunia ini yang semakin punah. Keberadaannya di ''muka'' (bahasa setempat: prarai) Gunung Agung-- gunung tertinggi di Bali, menyebabkan desa ini selalu berada di bawah pengawasan bayang-bayang kesadaran mahkota, makuta mandita(Tuhan). Kesadaran agama dan budaya yang mampu melampaui menuju persatuan yang agung Indonesia gemilang. Sutasoma menancapkan kaki-kakinya di pusaran desa Trah Mpu Tantular pengarang Kakawin ''Bhinneka Tunggal Ika''. Sutasoma nenek moyang Danghyang Astapaka penemu citra pertiwi Budakeling. Desa seharusnya bangkit dan mampu melakukan tugas besar bhawanamayiprajnya memimpin ritual kesadaran yang sebenar-benarnya melalui kreativitas budaya. Desa ini dijadikan kota satelit suci tempat pengembangan idealisme budaya adicita adistana, aksara merancang masa depan surgawi. Di desa adistana Budakeling inilah sudah diadakan sebuah ritus baru Bhawanamayiprajnya, Tarpanadhatu, membangun pikiran murni. Selanjutnya, membaca Manggala dan teks Kakawin Sutasoma karya Mpu Tantular. Persembahan Mahawinduprasapta tujuh abad Bhinneka Tunggal Ika, penghormatan terhadap nilai sejarah eksistensi bangsa, Indonesia-Mahardika. Kekuatan murni dari tradisi besar yang pernah dimiliki oleh bangsa Indonesia ini dan yang masih terwariskan di Bali dengan spirit panunggalan sejarah sinkritisme hindu-budha, sintesa sistematik baru spirit-ilmu-taksu. Sebuah perjalanan panjang lintasan spirit zaman telah semestinya menjadikan pulau ini sebagai surga dewata masa depan, sekarang menjadi desa wisata budaya dan spiritual. Tidak ada satupun kebudayaan di dunia ini yang lepas dari agama. Hasil kebudayaan adalah persembahan agama dan pertahanan hidup bangsa. Karya Sutasoma adalah persembahan Mahakawya Yogiswara Mpu Tantular terhadap bangsa dan Ketuhanan Yang Maha Esa. Sebuah karya besar yang dikarang oleh pujangga dari kerajaan Majapahit tujuh abad yang lalu, akan kembali digemakan dengan suara mahabajra, suara cakra pranawa, sapta ongkara, tujuh api, tujuh samadi. Memperingati mahawinduprasapta tujuh abad bhinneka tunggal ika tan hana dharma mangrwa. Siapapun di antara putra putri bangsa ini segera dapat mengetahui dan mengenang kembali betapa sebuah negara dibangun dengan falsafah panca sila-- dengan slogan ''Bhinneka Tunggal Ika'' oleh para pendiri the founding father Soekarno, Hatta, dan Mohamad Jamin, 60 tahun yang lalu. Mpu Tantular adalah seorang di antara mahakawia penyair terbesar yang pernah dimiliki bangsa ini. Dari karyanya, Kakawin Sutasoma (Porusadasanta), mengalir benih-benih kesadaran muasal dan universal itu membangun citra agung persatuan seluruh bangsa Indonesia. Berbeda tetapi tetap satu Indonesia Merdeka. Pasca merdeka semestinya Mahardika. Mungkin kita telah hampir lupa, bahwa kendaraan kesadaran yang dimiliki bangsa ini telah merasuki pintu hilir eutopia hiperealistik dan hegemoni baratisasi, yang didominasi adikuasa (dengan rujukan superpower Amerika). Namun ujung kesadaran utama milik bangsa sesungguhnya ada di pintu hulu adistana (superideal, merujuk prinsip kemurnian pribadi, mandala dharma, dan atau mandala-mandala desa). Sebagai wujud kuasa surgawi-- Ketuhanan Yang Maha Esa sebagaimana tersurat butir pertama Pancasila. Jika demikian betapapun nilai-nilai keutamaan bangsa itu tak pernah akan tercampakkan sedemikian rupa. Momentum naramangsa pramangsa zaman kali ini sebagai perlambang-- manusia pemakan atau sebaliknya pemakan manusia sesungguhnya menantang kita untuk berpikir, merenung, merefleksi sejarah masa lalu dan memproyeksikan ke depan. Segala kemampuan diperlukan untuk tranformasi dan transmisi nilai-nilai budaya yang bertumbuh terus dengan semangat pembaruan semesta (Ongkarapranawa). Hidup bhawanamaya adalah sebuah yadnya, persembahan demi kebaikan dan keharmonisan dunia dan akhirat. Adakah kita telah melangkah menuju kemerdekaan yang mahardika? Mahawinduprasapta adalah sebuah ''bom waktu'' Pangutpati, hidup kembali, untuk manusia yang berkesadaran murni (bhawanamaya), melalui kegiatan kreativitas dan aktivitas budaya yang kami persembahkan dari tim menejemen, semoga bermamfaat. PROGRAM KREATIVITAS DAN AKTIVITAS BUDAYA 1. Belajar Menari dan Karawitan Program ini mengarahkan para siswa mengetahui dan melakukan sendiri olah tari Bali dan alat penggiring gamelannya, dengan mengetahui maksud dan tujuan diadakan tari bali ini akan mempermudah didalam mempelajarinya. Termasuk didalamnya cara menggunakan pakaian tari bali. 2. Belajar Pupuh dan Maca Pat ( lagu Klasik Bali ) Program ini merupakan rangkaian yang tidak terpisahkan dengan budaya kesenian bali sebagai pengiring didalam tarian dan gamelan bali, dengan iringan pupuh dan maca pat ini tarian dan gamelan bali akan semakin sempurna. Disamping itu pupuh dan maca pat ini juga digunakan dalam pelaksanaan upakara ( 5 macam upakara yajnya ) sebagai pengiring, disamping juga ada suara genta pandita, suara kentongan pura, suara Gamelan, dan Suara Mantra Pandita ( Panca Suara/ Githa ). 3. Belajar membuat Sarana Upakara Keagamaan ( basis budaya ); Program ini merupakan hal terpenting didalam kegiatan aktivitas budaya, karena yang dapat dilihat adalalah hasil budayanya sendiri sebagai sarana budaya upakara, bahan yang akan digunakan semua menggunakan hasil tanaman perkebunan setempat seperti ; bamboo, lontar, janur dsb. 4. Belajar Membuat permaianan anak – anak klasik dan memainkannya. Program kegiatan ini merupakan rangkaian yang tidak terpisahkan dari kegiatan budaya hidup sehari – hari masyarakat di bali khususnya di bali timur. Jauhnya dari penggaruh budaya metropolitan kota membuat permainan anak – anak ini menjadi aktivitas rutin sehari – hari setelah mereka membantu orang tuanya mencari rumput disawah. Jenisnya adalah : a. Metajog ( berjalan dmenggunakan kaki bamboo ) b. Mecebleng ( melompat dengan garis kotak – kotak ) c. Meciwa ( bermaian menggunakan batu kecil ) d. Curik – curik ( berjalan beriringan dibawah gerbang tangan 2 orang kawan ) 5. Belajar membuat makanan bali ; Program ini dibuat merupakan kegiatan sebagai penggalian dan revitalisasi budaya makanan Bali yang hamper punah seperti lawar, laklak, renggina dsb. 6. Belajar membuat lukisan, tenun dan batik bali dan kerajinan lainnya. Program ini merupakan program unggulan pemerintah provinsi Bali, karena hasil karya inilah yang menghasilkan banyak devisa dan pajak dari hasil export kerajinan Bali. 7. Belajar membajak sawah dengan sistem subak ( system pertanian di Bali ) Program kreativitas ini diharapkan peserta masih ingat akan kegiatan masyarakat Indonesia tahun 60-an, karena kegiatan ini disini masih utuh dan sangat berlangsung dengan sempurna. 8. Belajar merias pengantin Bali Program ini merupakan kewajiban bagi masyarakat Bali untuk dapat tetap menjaga dan melestarikan gaya penganten khas Bali, karena mempunyai dampak yang luas ketika masyarakat internasional menginginkan acara perkawinan mereka menggunakan gaya khas Bali. 9. Belajar mengenal sistem olah raga (yoga ) di Bali; Yoga (Aksara Dewanagari) dari bahasa Sansekerta berarti "Proses penyatuan", yang bermakna "penyatuan dengan alam" atau "penyatuan dengan Sang Pencipta". Yoga merupakan aktivitas yang menitikberatkan pada aktivitas meditasi.,di mana seseorang memusatkan seluruh pikiran untuk mengontrol panca inderanya dan tubuhnya secara keseluruhan. Masyarakat global umumnya mengenal Yoga sebagai aktivitas latihan utamanya asana (postur). Yoga juga digunakan sebagai salah satu pengobatan alternatif, biasanya hal ini dilakukan dengan latihan pernapasan, oleh tubuh dan meditasi, yang telah dikenal dan dipraktekkan selama lebih dari 5000 tahun. Yoga memberi ketenangan bagi mahluk hidup yang keseharian hidupnya dipenuhi hiruk-pikuk dan kompleksitas. Motivasi manusia berbeda satu dengan yang lain, ada yang ingin mendapatkan anuegrah alam dengan menyerap hawa halus alam melalui yoga, merestorasi olah pikiran agar lebih terkonsentrasi dan mengarah pada satu titik tujuan hidup yang sejati, memperoleh anugerah kesehatan yang alami, memusatkan energi diri ( kundalini ) pada tahap kehidupan yang diinginkan, tahap kepedulian terhadap kehidupan spiritual mereka, atau ada juga yang hanya mengikuti karena situasi lingkungan saat ini dan sebagainya . AKTIVITAS YOGA ; Healing /Inisiasi Event / Melihat dan mempraktekan langsung 10. Belajar mengenal rumah adat bali ; Program ini merupakan wadah pelestarian dan revitalisasi rumah khas adat bali, karena rumah khas adat bali ini mempunyai efek dan penggaruh besar terhadap kelangsungan hidup penghuninya dalam hal karir,jodoh,hidup dan mati. Pengenalan ini diharapkan para paserta akan dapat memahami betapa pentingnya rumah yang efektif serta sesuai dengan penghuninya, tidak sekedar mengikuti mode atau tren masa kini. Demikianlah gambaran program yang kami tawarkan kepada Bapak / Ibu pengasuh atau pengajar disemua sekolah. Adapun besarnya biaya yang dikeluarkan mengikuti program ini adalah sebagai berikut : Keterangan : • Untuk mengikuti semua program atau satu kelompok diatas 150 peserta dikenakan biaya Rp.100.000,- /peserta, sudah termasuk bahan yang digunakan dan dapat dibawa pulang peserta , kecuali pakaian tari Bali harus dikenakan biaya lagi. • Waktu yang dilaksanakan 4 jam.

NGELAWAR : MAKING BALINESE FOOD ATRACTION

NGELAWAR :
Atraction of making balinese food is usually when the Balinese have ceremony or traditional event culture,

Lawar merupakan makanan khas yang sudah tidak asing lagi bagi warga Bali. Makanan khas ini menjadi menu utama pada setiap sarana upakara (upacara) keagamaan. Jadi, tidak hanya untuk santapan teman nasi saja.

Lawar pun bermacam-macam. Ada lawar ayam, lawar babi, lawar kuwir, hingga lawar penyu. Sebelum dilarang dikonsumsi, lawar upakara di Bali memakai penyu. Sekarang, warga memakai daging kuwir atau daging babi. Katanya, lebih enak lawar kuwir atau lawar babi ketimbang lawar daging ayam. Bumbunya lebih merasuk. Tetapi, tidak semua orang senang atau bisa mengonsumsi babi.

Traditional Touring Bikes On Road Village

Traditional Touring Bikes – Cycle Touring Specifically For Traditional Road Bali Touring

This ‘special ‘ package is unique to Eastern Bali Adventure Tours. Offering cycling adventure followed by entrance into the traditional road village, and Balinese Farm.
On arrival at the Village you can interact to comunity and enjoy our exotic traditional farming, then watch the ‘how comunity live in the village in uniqly.

Having beverage in the village such as coconut, palm wine and any kind of fruits.

Photograph on Spiritual places and Bali Home

Nearly every culture in human history has sought to honor the divine, the mysterious, the supernatural, or the extraordinary in some way. Most often this happens at sacred sites - special places where the physical world seems to meet the spiritual world. These might be awe-inspiring natural places, sites connected to a god, a saint or a hero, places where miracles occurred, or special buildings consecrated for worship or ritual.

Sacred sites remain spiritually meaningful to millions today and the ancient practice of pilgrimage is as popular as ever. But you don't have to be a believer to recognize that holy places, religious architecture, and sacred art are some of the most beautiful and interesting sights you'll encounter in your travels.

Sacred Destinations is an ecumenical guide to more than 100 sacred sites, holy places, pilgrimage destinations, religious architecture and sacred art in over 5 distric around the estern bali.

Happy exploring!

Making Photograph on spiritual places especially in eastern Paradise Bali is many places can we find, because eastern bali is still origin and far from city, so you can find many majestic places and many spiritual scene can be background on your photograph.

Bali Home is a brand of the village in eastern bali, no technology, no chemichal and less of artcitech plan. You can fell Bali before//

Art Event and Weeding Organizer

WEDDING PACKAGE IN SPIRIT ATMOSFERE AND TRADITIONAL BALI HOME

Wedding package in spirit atmosfere on eastern Bali Paradise is special momment in your life, spirit can cover your long life marriage.

Weeding in Bali Traditional Home also an exciting momment while in Bali, we have community to support your wedding.



also we provide wedding photography & videography service, experience capture wedding moments with candid and photo journalism style. We deliver your wedding to be unforgettable in extraordinary wedding pictures.