burial of a corpse (NGABEN) from bali

Cremation was formerly held, first rangkain Yajna Pitra held Cremation cremation procession one of them aiming to purify the spirit is geographically people s died on. This tradition is still done orally by the Hindhu society almost all in Bali. According to Religion Hindhu especially in Bali, the human body is made up of smooth and rough body also karma.

Rugged body is composed of 5 elements i.e. solid, liquid, heat, wind and a vacuum, five elements are called Panca Maha Bhutas, at the time of this element will died five fused back to its origin, and fluffy in the form of the spirit left the body of the rough will be purified by the time the ceremony of Cremation.

And karma/the results of acts committed during life, will always be attached to and will affect to the next life and the moment reincarnation. The word Cremation comes from the word meaning a lunchbox and beya ngabu meaning, to make something ashes needed fire and in the teaching of religion a Hindhu have strength as the fire God is Brahma.

So the ceremony of Cremation itself is the process of purification of the spirit to the way burned using the fire in order to be able to go back to the creator, the personification of the God Brahma fire could burn all the filth that are attached to the bodies and spirits of people who have died. cremation ceremony is regarded as the symbolic introduction atma/soul to nature pitra or baka.

The process of the delivery of the Atman to nature pitra is the main principle usually pored over symbol called the cremation ceremony (Ngaben), this process is a first principle in the cremation ceremony of ontology. cremation ceremony held a few days after the person dies, this ceremony can be done individually, fellow one big family, one of village in accordance with a person's skill level economic, customs and traditions of the local village where the person died, so that the body of the deceased should be buried first more wait for the next few years and determine the good days that have been determined by the pastor who will lead the ceremony.

The ceremony is usually performed with a vibrant nightlife, no SOBs, because in Bali there is a belief that we should not cry over those who have died because it can inhibit the soul's journey towards her place.

the history of gopala dance in bali

Gopala was a term written in Kawi language which means cow. The shape of the dance group, and is usually performed by 4 to 8 people, son of Gopala dancers describe the behaviour of a group of cow herders in a pengembalaan field. It contains a humorous motion-motion with motion material which is a mix of Balinese dance gestures that already exist that have been developed with new motion-motion. This dance is a joint creation between I Nyoman Suarsa (dance arranger) and I Ketut Gede Asnawa (as stylist accompaniment).

Dance is a dance-themed Gopala populist who performed a group of children or adolescent Son, where the dance is done by I Nyoman Suarsa as Director of dance and I Ketut Gede Asnawa, MA as a stylist tabuh, taken from episodes of the story pragmentari: "STRI ASADHU" The work of Mother Ketut Arini, s. St. this dance was created in 1983. Gopala was a term written in Kawi language which means cow. 

gopala dance

This dance is a dance group, and is usually performed by 4 to 8 person dancer son. In the dance tells the Gopala activity carried out by the shepherd in the fields of agriculture/rice fields. All the activity of the last poured into forms of dance such as: studies of animal motion cow, mow the lawn, keep out the birds, ploughing rice paddy, rice harvest and motion, etc. related to the activity of the farmer.

The above motion in sports into a pattern of work on the new aesthetic nuance with the smell of the present. This dance movement comes to life when done with earnest and uplifting.

The Meaning Cut Tooth in Bali ( METATAH )

   In the tradition of Hinduism in Bali in particular, when a child starts to teenager or adult is obligated to carry out the ceremony of the Tooth. Tooth or ceremony which usually also referred to by the term Mepandes, or Mesangih is a great ceremony Bhatara meaning to find the true human nature apart from the bondage of darkness from the influence of a very Sad in man.

A very sad is the six types of enemies that arises from the nature of karma or asubha deeds that are not good in man itself, namely:

1. Kama, lustful nature indriya.
2. Lobha, grasping and greedy nature.
3. Krodha, ruthless nature, and Crabby.
4. Mada, drunk and infatuation
5. Moha, confused and arrogant.
6. Matsarya, the nature of envy and irihati.

Physical properties Ready Metatah (tooth)

The ceremony was part of a Tooth Manusa Yadnya, which in fact if physical characteristics are already treading a teenager can carry out the ceremony of the Tooth. Its characteristics are as follows:

1. In women it can be done after getting the first menstruation.
2. In men can be performed after changing the sound.

The Purpose Of The Ceremony Of The Tooth

1. Remove dirt in the form of kala, bhuta, they and the Giants in the sense of body and soul is covered by Sad ripu figure so that it can find the true human nature.
2. To be reunited with the father and the mother have been sacred intangibles
3. To avoid punishment in the hell later dropped by Lord Yamadipati be bite the base of petung bamboo. It is stated in the Ejection Atmaprasangsa.
4. Fulfill the obligation of parents to their children to become a true human being.

the history of the creation of the weaving dance

Dance woven is dance describing  women's woven fabric made in Bali (a type of traditional cloth East Bali). And make the fabric weaving  starting process from spinning the yarn to weave in with the feeling of calm and joy. This dance is generally performed by three people or more dancers. The dance weaving was created by  I Nyoman Ridet and I Wayan Likes in 1962.

This illustrates that dance has a unique culture and activities in the community. In this dance symbolized how harmonisnya and giatnya the people of Bali in the life. From this history compelled the author's inspiration for this Dance are woven to create a masterpiece dance which until now is still preserved by the younger generation of Bali for the sake of fixed eksisnya culture in Bali. With this, it can have a substantial interest in tourists with the unique artistry of dance weaving for example.

 Weaving Dance From Bali

Dance weaving serves to preserve the culture of weaving-weaving in Bali and also preserve the traditional tools used in weaving. Weaving dance danced more than 1 person, for it has the form will use the form of the presentation of the Group. In presenting any dance, needed an excellent compactness as well as in the presentation of dance weaving, because if one dancer among with other dancers don't perform the movement with unison, then it would seem less well served.

Pendet Dance From Bali

Pendet dance was originally a cult of the many practiced in the temple, the place of worship of Hindus in Bali, Indonesia. This dance symbolizes a welcoming over the decline of the gods to the natural world. Slow-time, as the development of the times, the Balinese artists change the Pendet being "speech Wellcome", even though it still contains a sacred steer-religious. Creator/choreographer modern dance forms are I Wayan Rindi.

Pendet dance is a statement of an offering in the form of ceremonial dances. Not like other dances performances that require intensive training, Pendet dance can be performed by all of the people, namely women, adults as well as girls. Pendet dance tells about the goddesses the gods down to Earth. Usually this Pendet dance performed in groups or in pairs by young women.

picture pendet dance

The dancers dress as dancers Pendet religious ceremonies. Each dancer will bring offerings be round containers/bokor (container which contained colorful flowers) that would be the end of the dance in a sprinkle to the invited guests as a symbol of welcome. Pendet dance often functioned as a dance accompanist religious ceremonies. But the times, ini Pendet Dance more often again performed in major events as a welcoming dance guests are important in an event.However, the Pendet Dance did not lose purity and still contain a high religious aura. This dance became a cultural heritage that we should keep the later there is no other country that mengakuisisikan heritage Pendet Dance them.

Story of oleg tamulilingan dance

Dance Oleg Tamulilingan was created by Balinese dance artists namely I Mario. Oleg could mean a weak supply movements, while tamulilingan means nectar-sucking weevil. Oleg Tamulilingan dance depicting the movements of a beetle, fall in love and was playing around with a flower in a garden. This dance is very beautiful. 

Dance Oleg Tamulilingan is the work of a great artist of copyright I Ketut Marya aka I Mario is the most popular among a number of his creation. This dance is done in 1952, at the request of John Coast, United Kingdom origin of artists who were very impressed with the arts of Bali, to be promoted to the Europe and the United States.

This dance is a dance performed by a paired panari woman and a male dancer. Dance movements Oleg Tamulilingan illustrates the flexibility of a dancer, and the prowess of the male dancers. Both dancers showing movements romancing with great dynamics. Oleg Tamulilingan is a dance dance bebalian or entertainment. If performed at the temple, this was simply a dance as entertainment is not associated with upakara in the temple. This dance is also performed for entertainment when when there are events either in hotels or in government agencies.

picture oleg tamulilingan

Dance this Tamulilingan Oleg at the start with the appearance of the dancer with rocking slowly while both hands hold the scarf upward and then right agem Mace, memungkah nyeledet, menganggukan head. The flexibility shown by a female dancer nyeleog slowly then agem left.Women dancers feet should be able to play lancingan so that lacingan are not wrapped around the legs. Metimpuh sitting in the movement follow the movements of the hand and the eye is a very dynamic seledet. This metimpuh movement ends with a nyeleog body movement to the right nyeleog left, stand right agem. Nyeledet eyes right, cormorant eyebrows menganggukan head. The move left agem, cormorant eyebrows menganggukan head. 

Walking legs shake, ngenteb, and nyilang in the chest with a hand shake gently. Changed with the right hand and left hand holding a scarf over the shake, the movement was diulangan three times.The next movement sit metimpuh, ngejet hand gestures, seledet right, seledet left. Concludes with a movement of the left hand is placed on the knee and the right hand is placed on the waist. When the dancer woman sitting, women enter male dancers. 

The left hand holds the kancut, right hand holding or playing the fan, step slowly left and right, right agem Cormorant eyebrows menganggukan head right nyeledet, elog-elog. While women dancers standing then ngehadap to a male dancer (face to face). Exchange tempatsebanyak twice. Dancer woman ngegol while holding a scarf over her, while male dancers teaching dancer. These movements mimic the motion of a beetle are movements express their sense of affection. Range of motion dance Oleg Tamulilingan can really shows are in love of a pair of teenagers who are expressing a sense of affection

The history and uniqueness of indigenous village Pengelipuran

    The village Penglipuran is one of the indigenous countryside had a specific order from the traditional village structure, so that it is capable of showing the face of the beautiful countryside. The physical setup of the structure of the village is inseparable from the culture of the people who are already in effect hereditary.And thus the indigenous village of Penglipuran is a cultural object. Custom Penglipuran village atmosphere can be felt starting from entering the area with the green grass pradesa on suburban roads and hedgerows pulled over along the way, adds to the coolness on the procession of the village.

    The superiority of indigenous village of Penglipuran is situated in the village of similar physical structure of uniform from one end of the main village up to the lower part of the village. Tofografi village is composed in such a way that in the main area of the village of higher position and so on declining areas downstream.

welcome in  pengelipuran village

    On the area of the village lies the Pura penataran and Pura Puseh which is the main area of the village that is unique and specific because along the corridors of the village used only for pedestrians, the sides are equipped with attributes of the structure of the village; like the wall of penyengker, angkul – angkul and telajakan a uniform.

house of people in pengelipuran village

The uniformity of the village beside the face due to the uniformity of shape also from the uniformity of materials i.e. materials ground to wall penyengker and angkul – angkul (pol-polan) and roof of bamboo are cut in to the whole building of the village.

tample for pengelipuran village

The use of bamboo is good for roof, wall or other needs is a necessity to use because Penglipuran village surrounded by bamboo forest and is still a territory of the village of Penglipuran. Another attraction is the burial of his ways have a uniqueness that contrasts with other villages in Bali.

LOCATION Pengelipuran village

   The village is located in the Penglipuran Neighborhood of custom Kubu Bangli district, Kabupaten Dati II Bangli. Spacious custom village Penglipuran approximately 112 ha, with borders of indigenous village Stronghold to the East, to the South of the village of indigenous Gunaksa, and on the West The Tukad-sang, while to the North the village of Kayang customs.