Rabu, 28 Januari 2015
Kamis, 14 Agustus 2014
Planing your Trip in Bali and book now for better prices.
Bali Tour Location
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Airport Transfer Service
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Note: - Valid from 1st January 2015 until 31st December 2015 - 1 US$ = IDR, subject to daily exchange rate - Tour Price starting from IDR. 350.000/vehicle - One day Tour $40 Dollar - Half Day Tour $30 Dollar - Extra hours for 1 hours IDR. 50.000 Tour Example: APV Car Maximum 7 Participants. AVANZA Car Maximum 6 Participants Including > Car, Driver, Gasoline, Information about bali, AC, Service and Mineral water. Duration Approx 8 – 10 hours include (One Day Tour): • We go to 5 Places . What To Brings: casual cloth,, camera, money, sun glasses and sun screen. Pick up time : Ubud at 9.00 AM Sanur at 8.30 AM Kuta/Legian/Seminyak at 08.00 AM Nusa Dua/Tanjung Benoa at 8.00 AM Book Now Email : jinggo_1965@yahoo.co.id |
Contact Us for best experiences tour in Bali
I am Dewa Jinggo and Balinese driver. I have alot of experience to be driver guide in bali.
We take just $40 dollar for one day tour around 10hours.
and we are aveilable for shopping tour, culture tour, View tour, carry up or pick up.
Its cheaper driver in Bali than other driver.
Contact
Email: jinggo_1965@yahoo.com
Phone : +62 81 338418940
We take just $40 dollar for one day tour around 10hours.
and we are aveilable for shopping tour, culture tour, View tour, carry up or pick up.
Its cheaper driver in Bali than other driver.
Contact
Email: jinggo_1965@yahoo.com
Phone : +62 81 338418940
Kamis, 24 Juli 2014
Monkey Forest Ubud
The Ubud Monkey forest is a small nature preserve on the southern outskirts of Ubud. Along with its lush surroundings and a beautiful temple are hundreds of monkeys - Balinese macaques, to be more specific. They're very tolerant of people, but are famous for stealing food and sunglasses from tourists, so you have to be careful around them.
Remember it is important to treat monkeys with respect, the forest is their home and you are visiting them. You are their guests! You will also be asked to stay on the paved paths. The monkeys may become aggressive if you stray into their home areas.
The monkeys in the forest are called Balinese or long tailed macaques. There are now around 139 macaques in the forest. There are 10 adult males, 55 adult females and 74 young monkeys. The adult males are the larger monkeys with the big teeth. They can weigh up to 10 kilograms. The females are a bit smaller and weigh up to eight kilograms, you can tell them by their 'moustaches' - not like humans.
Most of the baby monkeys are born during May to August. Mum and Dad are protective of their babies, so do not get between mum and a baby as she may get upset.
The monkey forest is a holy place and an important cological reserve.
There are three holy temples in the forest. The Pura Dalem Agung is the main temple for the village of Padangtegal. This temple is in the southwest of the main forest area.
There is also the Holy Bathing temple which is down a long flight of stairs near the stream; this is in the northwest of the forest.
The thiid temple is the Pura Prajapati (cremation) is on the eastern side of the forest near the graveyard.
The monkey forest is great value and a good way to spend a morning. It is cheap at 10,000 Rph for adults and 5,000 Rph for children. The forest has a market and there are markets and restaurants outside the front gates.
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Balinese Dance
Dance and drama have historically played an important role in Balinese society. Through this medium, people learned about the tales of the Ramayana, Mahabarata, and other epic stories from Balinese history. The following are brief descriptions of some of the better known dance-dreams that are performed regularly on Bali.
Baris
This is a warrior's dance. It is usually performed by men, either solo or in group of five or more. The dancers try to portray the full range of emotions displayed by a warrior, such as anger, courage, ferocity and passion. It is a dance that requires great skill, with the artist having to display the whole range of inner emotions, mainly through facial expressions.
Barong & Rangda
This is basically a story about the struggle between good and evil. Good is personified by the Barong Keket, a strange, fun-loving creature in the shape of a shaggy semi-lion, and evil is represented by Rangda, a witch. Ultimately, the two characters engage in battle, at which point the Barong's keris bearing followers rush in to attack Rangda. The witch, however, uses her magical powers to turn the keris knives in upon their owner's, who fall into a trance and begin to stab themselves.
The Barong uses magic to protect his followers from the knives. In the end, the Barong triumphs and Rangda retreats to recuperate her strength for the next encounter. The Barong and Rangda dance is a very powerful performance and is not taken lightly by those involved, nor should it be by those in the audience.
Kecak
The Kecak, as a dance, developed in the 1930's, in the village of Bona, where it is still performed regularly. The theme is taken the Ramayana and tells the story of Rama, who, with the help of the monkey army, tries to rescue his wife from the clutches of (the evil) King Rawana. This is a very exiting dance to watch, and is performed by a large group of chanting men sitting in a circle, chanting & waving their arms and swaying to and fro in unison.
This dance tells the story of Princess Rangkesari who is held captive against her will by King Lakesmi. Rangkesari's brother, Prince Daha, gathers an army together to rescue his sister. Princess Rangkesari then tries to persuade Lakesmi to let her go to avoid a war, but he denies her her freedom. On his way to battle, Daha is attacked by a raven (a bad omen), and is later killed in battle. The dance only takes the story up to the point where the king departs for battle, and it is performed by three people, two 'Legongs' and their attendant, the 'Condong'. The Legong is a classical and graceful dance, and is always performed by prepubescent girls, often as young as eight or nine years old.
Sanghyang Trance Dance
The Sanghyang is the force that enters the bodies of the entranced dancer. There are a number of Sanghyang dances, but the most common are the Sanghyang Dedari and the Sanghyang Jaran. The Sanghyang Dedari is performed by two girls, and is very similar in style to the Legong; the main difference is that the Sanghyang Dedari girls are supposedly untrained and can keep in perfect time with each other, even though their eyes are firmly shut. The accompanying music is provided by a female choir and a male Kecak choir.
In the Sanghyang Jaran, a boy dances around and through a fire, riding a coconut palm hobbyhorse. This is frequently called the "Fire Dance", for the sake of tourists. In both dances, a priest is always on hand to help bring the dancers out of their trance-state at the end of the performance.
In Bali, masks are considered sacred objects and are revered as such. The best ones are traditionally carved on auspicious days and the dancers who wear them are believed to be possessed by the spirits of the masks.
Characters can be identified from the shape of the features; noble characters always wear full, refined masks; while evil is represented by bulging eyes and garish colours. The characters are silent, but communicate using complex gestures of the hand, head and body. The story lines usually follow popular myths, or episodes from history.
Wayang Kulit (Shadow Puppet)
Wayang Kulit is one of the great storytelling traditions of the Javanese and Balinese. The Wayang show normally consists of a small 4 piece orchestra, which provides the musical accompaniment, to around 60 'puppets' carved out of flat pieces of water buffalo hide and the Dalang (puppet master.) The Dalang has to be both incredibly skilled, as well as knowledgeable, and he not only manipulates all the puppets, but also provides a different 'voice' for each one. Good characters normally speak in ancient 'Kawi' and the evil or coarse characters speak Balinese. The Dalang, must be fluent in both languages. |
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Story of Ubud
In the 8th Century, a Buddhist priest called Rsi Marhandya came to Bali from Java on pilgrimage with a group of followers. He meditated where the East and West Wos Rivers meet in Campuan, on the edge of Ubud, and declared the place holy. Accordingly, a shrine was built, and later expanded by Nirartha, the Javanese priest who is regarded as the father of Bali 's religious institutions and practices. This temple is now known as Pura Gunung Lebah or Pura Campuan.
With the spread of Hindu-Buddhist culture in Bali in the 10th to 12th Centuries, Shivaite holymen established hermitages and teaching monasteries near Ubud, at the bequest of local rulers. The temple-memorial complex at Gunung Kawi and the cave temples at Goa Gajah (east and northeast of Ubud) are undoubtedly the most impressive architectural remains from this period. By this time, the people of the Ubud area already practiced sophisticated wet rice farming, kept a variety of livestock and employed techniques of stone and woodcarving, metalworking and thatching that are still very much alive. Many of the dances, drama, puppet plays and elaborate rituals and superstitions that animate Ubud culture today originated in these early kingdoms nearby.
The Balinese legend of Rangda the witch originated in the Ubud area at this time, when the half-Balinese King Airlangga ruled Java and Bali , with its capital located then in Batuan, southeast of Ubud. The Barong and Calinarong dances which visitors still enjoy derived from the story of Airlangga's struggle against the plagues and evil spells cast by Rangda, who is purportedly buried in a tomb near Kutri, southeast of Ubud.
Airlangga's sons divided his empire, and Bali was ruled by Anak Wungsu, who established a flourishing kingdom between the Petanu and Pakerisan Rivers , east of Ubud.
The Javanese Majapahit dynasty "conquered' Bali in 1343, when its military forces by the great hero, Gajah Mada subjugated the Pejeng Dynasty, based in Bedulu, just east of Ubud. According to Majapahit reports, the "vile, long-haired Balinese princes were wiped out,” and more refined models of Javanese culture were adopted. Indeed, a great flowering of Balinese culture took place under the Majapahit rulers, who were chosen from the military leaders of the Javanese incursion. Balinese genealogies, the babad, written at this time, document the Majapahit ancestry of Bali 's aristocratic families, who still inhabit the palaces of Ubud.
Facing the "Islamisation" of Java and the subsequent decline of the Majapahit Empire in the 16th Century, many scholars, dancers, craftsmen, intellectuals and priest migrated to Bali , bringing along their skills and sacred texts. Many settled in the small kingdoms in and around ubud, among them Nirartha, the "super-priest" who is regarded as the progenitor of all of Bali 's pedanda Siwa high priests and their prominent Brahmana families. The seat of the Majapahit overlord of Bali was moved from Samprangan near Gianyar, to Gelgel, and Bali entered cultural “Golden Age" under the Gelgel kings.
When Gelgel fell, and its remnants regrouped in Klungkung, secondary kingdoms arose throughout the island and engaged in ongoing power struggles. In the early 18th Century, a palace was established in Timbul, south of Ubud, by a descendant of the Gelgel line. His ambition to create a dream kingdom, based on the ideal of Majapahit Java was more of less fulfilled, as he drew to his court the finest musicians, dancers, carvers and artisans, and built a splendid palace filled with lavish garden. As the story goes, his cultural accomplishments were so great that upon witnessing them, people could not help but exclaim, "My heart's delight!" In Balinese, "sukahatine." The word evolved into "Sukawati," which is now the name of this visionary king's line of descendants, and the town where he built his palace.
Throughout the 18th Century, control of the areas around Ubud and Gianyar passed back and forth between the Sukawati Dynasty whose princes are called "Tjokordas" and the Gianyar Dynasty, with its "Anak Agungs" and "Dewas". Ultimately, the region became a patchwork of small dominions ruled by Princes from one faction or the other, or the scion of intermarriage between them. This is still the case, and while Ubud's palaces house a core line of the Sukawati family, other palaces in the region belong to Gelgel Gianyar stock or a separate royal line from Blahbatuh.
During the 19th Century, Ubud became an important court under its Sukawati feudal lord, owing allegiance to Gianyar. In 1884 Gianyar was overthrown by Sukawati princes from the nearby town of Negara , and after ten years of conflict, a Sukawati from the palace in Ubud sided with Gianyar and cooled the conflict. Perhaps the experience of centuries of adept politicking between these two dynasties gave them both the ability to understand the value of diplomacy and compromise when the Dutch asserted their power in Bali .
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