BARONG DANCE IS FIRST PLACE VISITED FOR BESAKIH TOURS

Barong is a character in the mythology of Bali. He is the king of the spirits, leader of the hosts of good, and enemy of Rangda in the mythological traditions of Bali. Banas Pati Rajah is the fourth “brother” or spirit child that accompanies a child throughout life. Banas Pati Rajah is the spirit which animates Barong. A protector spirit, he is often represented by a lion, and traditional performances of his struggles against Rangda are popular parts of Balinese culture. The Barong Dance is often portraited with two monkeys

The Barong is the magical protector of Balinese villages. As & lord of the forest with fantastic fanged mask and long mane, he is the opponent of Rangda the witch, who rules over the spirits of darkness, in the never ending fight between good and evil. During the Galungan Kuningan festivals, the Barong (there are many types, including barong ket, barong macan, and barong bangkal) wanders from door to door (nglawang) cleansing the territory of evil influences.

Barong and Kris dance like the kecak dance the Barong and Kris dance is a battle between good and evil spirit. Barong can take various forms but in this dance he takes the form of the dance Barong Keket, the most holy of the Barongs. The Barong Keket is a strange creature, half shaggy dog, half lion and is played by two men in much the same way as a circus clown-horse. His opponent is the witch Rangda.

The fight between Barong and Rangda is also the topic of traditional narratives, usually performed in the temple of the dead. The most famous is the story of Calonarang, a widow from Jirah who is furious because she cannot find a suitable husband for her daughter Ratna Manggali. All the eligible young men are scared of her black magic, so she gets revenge by wreaking havoc over the kingdom of Daha. The king, Erlangga, tries to punish her, but all his attempts fail. She kills all the soldiers he sends to destroy her. Then Rangda decides to destroy Daha. She summons all her disciples and in the still of night they go to the Setra Gendrainayu cemetery, to present offerings of dead flesh to Durga, the goddess of death. Durga agrees to the destruction, although she warns the witch not to enter the city of Daha. But the witch does not heed Durga’s advice and the kingdom is soon hit by grubug (a plague) and the villages quickly become cemeteries, people dying even before they can bury their dead. Corpses are scattered everywhere and the stench is unbearable.The only person who can defeat the witch is Mpu Bharadah. At the king’s request, Bharadah sends his disciple Bahula to steal Calonarang’s magic weapon. Bahula pretends to ask for Ratna Manggali’s hand in marriage, and while the witch is away, Bahula steals the magic weapon with the help of Ratna Manggali. Then he gives the stolen weapon to his teacher Bharadah. The weapon turns out to be a manuscript containing the key to ultimate release (mokswhich has been used upside-down by Calonarang. Bharadah goes to Daha to challenge the witch. With the help of the Barong, she is defeated. Before being killed, she asks to be released from her curse and purified.

The story goes that Rangda, the mother of Erlangga, the King of Bali in the tenth century, was condemned by Erlangga’s father because she practiced black magic. After she became a widow, she summoned all the evil spirits in the jungle, the leaks and the demons, to come after Erlangga. A fight occurred, but she and her black magic troops were too strong that Erlangga had to ask for the help of Barong. Barong came with Erlangga’s soldiers, and fight ensued. Rangda casted a spell that made Erlangga soldiers all wanted to kill themselves, pointing their poisoned keris into their own stomachs and chests. Barong casted a spell that turned their body resistant to the sharp keris. At the end, Barong won, and Rangda ran away.

Somebody can die or get seriously injured in a Barong dance. It is said that if Rangda’s spell is too strong, a weak soldier may not be able to resist it, even with the help of Barong. He may end up hurting himself with his own keris. The masks of Barong and Rangda are considered sacred items, and before they are brought out, a priest must be present to offer blessings by sprinkling them with holy water taken from Mount Agung, and offerrings must be presented.

Barong Dance is one of the distinctive arts community of Bali, where Barong it self is symbolic of goodness with shape like a lion. in Barong dance it tells the story about battle between Barong and Rangda, Rangda is a symbolic of badness with shape like a giant with a big canine. Both of them is a reflection of human action in daily life with the good and bad behavior, or in Balinese it’s call Dharma and Adharma. Barong is like a doll which being moved by person inside it, Barong is very heavy, this dance usually performed by two big mans that lift and moving the barong from the inside. The story goes that Rangda, the mother of Erlangga, the King of Bali in the tenth century, was condemned by Erlangga’s father because she practiced black magic. After she became a widow, she summoned all the evil spirits in the jungle, the leaks and the demons, to come after Erlangga. A fight occurred, but she and her black magic troops were too strong that Erlangga had to ask for the help of Barong. Barong came with Erlangga’s soldiers, and fight ensued. Rangda casted a spell that made Erlangga soldiers all wanted to kill themselves, pointing their poisoned keris into their own stomachs and chests. Barong casted a spell that turned their body resistant to the sharp keris. At the end, Barong won, and Rangda ran away.

Barong is probably the most well known dance. It is also another story telling dance, narrating the fight between good and evil. This dance is the classic example of Balinese way of acting out mythology, resulting in myth and history being blended into one reality.

 

KERTHA GOSA IS SECOND PLACE VISITED FOR BESAKIH TOURS

Bali Kerta Gosa located in Klungkung Regency and use a s justice court palace long time ago. As the former kingdom, if reasonable Klungkung has many a time this is a tourism object. One of them is the Taman Gili in Kerta Gosa, cultural heritage Semarapura Klungkung Palace. Kerta Gosa is a building (bale), which is part of the building complex Semarapura Palace and was built around 1686 by peletak basis of power and the first holder of the throne that is the kingdom of Klungkung Ida I Dewa Agung Jambe.

Kerta Gosa consists of two buildings (bale), namely akerta Gosa Bale and Bale Kambang. Bale Kambang called because the building is surrounded by a pond that is Gili Park. The uniqueness Kerta Gosa with Bale Kambang this is surface on the ceiling or roof bale is decorated with traditional painting style of Kamasan (a village in Klungkung) or style of puppet that is very popular in the community Bali. Initially, the paintings that decorate the ceiling are made of cloth and parba. New since 1930 is replaced and created at the top of the plasterboard direstorasi ago according to the original image is still intact and up to now. Cultural heritage as Kingdom Semarapura, Gosa and Kerta Bale Kambang enabled to judge the matter and the religious ceremony that is especially yadnya cut teeth (mepandes) like children king.

Function of the two buildings is closely related to the function of education through the paintings that were presented at the puppet ceiling buildings. The paintings are a series of stories that take on the key themes, namely Swargarokanaparwa and parwa Bima Swarga a guide punishment Karma Phala (result of the good-bad deeds performed during a human lifetime) and the re-incarnation into the world because of the deeds and sin – sin. Because no one said that if the psychological, theme paintings decorate the ceiling Kerta Gosa building load values education mental and spiritual. Painting is divided into a row of six terraced.

Bottom row illustrates the themes derived from Tantri Story. Suite second from the bottom illustrates the theme of the story. Bimaswarga in Swargarakanaparwa. Catenarian next theme Bagawan Kasyapa story. Fourth row to take a theme that is characteristic Palalindon or meaning and the meaning of the occurrence of earthquakes in mythologist. Continuation of the story is taken from the theme Bimaswarga painted on the fifth row that is located almost on the cone-shaped roof building. In the last row or the sixth place by a description of the life of Nirwana. In addition to the building ceiling Kerta Gosa, puppet paintings also decorate the ceiling in the west that is Kerta Gosa Bale Kambang. On the palate this painting Bale Kambang puppet who comes to take the themes from the story of Kakawin Ramayana and Sutasoma.

The theme comes from guide kakawin this function that the building is the place Bale Kambang under one’s belt religious ceremony that is Manusa Yadnya cut teeth children in Klungkung king. The attractiveness of Kerta Gosa paintings than in the traditional style of Kamasan at Kerta Gosa Bale and Bale Kambang, other important heritage that is still around and cannot be separated in terms of the value of history is noble pemedal (gate). Pemedal Court located in the west Kerta Gosa emits a very cultural heritage values Palace. Pemedal this Court on the value of art are traditional Balinese architecture. This is the gate that functions as a cantilever holder of the throne of power mechanisms (Dewa Agung) in Klungkung for over 200 years (1686-1908). In the event of war against the Dutch military expedition known as the Puputan Klungkung on 28 April 1908, the holder of the throne last Dewa Agung Jambe followers and autumn. (The recording of this monument is now enshrined in Puputan Klungkung which is located across the Kerta Gosa). After the defeat in the building core Palace Semarapura (viscera) and destroyed the settlement was made. Rubble highest remaining Kerta Gosa, Bale Kambang Taman Gili with its Portal Palace and the object appeared to be a very interesting both in the tourism and especially cultural historical studies. Kerta Gosa was also work as the center court during the Dutch colonial bureaucracy in Klungkung (1908-1942) and since nominated officials head into indigenous areas in the kingdom of Klungkung (Ida I Dewa Agung Negara Klungkung) in 1929. In fact, the court used equipment such as chairs and tables, wood carving and the paint is still there prade (gold paint). Objects to the evidence the court heritage institutions such as the traditional customs that apply in Klungkung in the colonial period (1908-1942) and the period of Japanese occupation (1043-1945). In the year 1930, had made the restoration of the painting there is a puppet in Kerta Gosa and Bale Kambang painted by the artists of Kamasan. Restoration last painting done in 1960.

 

BESAKIH TEMPLE IS THIRD PLACE VISITED FOR BESAKIH TOURS

Besakih Temple, known as Bali’s ‘Mother Temple’ for over 1,000 years, sits 1,000 metres high on the southwestern slopes of Mount Agung. Besakih is an artistic and unique complex that comprises at least 86 temples which include the main Pura Penataran Agung (the Great Temple of State) and 18 others. Besakih is the biggest and holiest of the island’s temples and is surrounded by breathtaking and scenic rice paddies, hills, mountains, streams, and more.

Pura Besakih features three temples dedicated to the Hindu trinity. Pura Penataran Agung in the centre has white banners for Shiva, the destroyer; Pura Kiduling Kreteg on the right side is with red banners for Brahma, the creator; and Pura Batu Madeg represents Vishnu, the preserver, with its black banners. You can visit other temples in Pura Besakih, but many of their inner courtyards are closed to the public as they’re reserved for pilgrims. Pura Besakih is the only temple open to every devotee from any caste groups. This is because of its nature as the primal centre of all ceremonial activities.

Pura Batu Madeg, containing a central stone, indicates that the area of Pura Besakih was already regarded a holy place since ancient times. In the 8th century, a Hindustani monk had revelations to build homes for people during his isolation. Throughout the process, many of his followers died due to illness and accidents. On its completion it was called ‘Basuki’, referring to the dragon deity ‘Naga Besukian’, believed to inhabit Mount Agung. The name eventually evolved into ‘Besakih’. Other shrines were gradually built and Pura Besakih was made the main temple during the conquering of Bali by the Majapahit Empire in 1343. Since then, Pura Besakih has had several restorations as earthquakes in 1917 and Mount Agung’s series of eruptions in 1963 damaged the complex. The lava flow passed by Pura Besakih and it is believed to be a miraculous signal from the deities that they wanted to demonstrate their power without completely destroying the holy complex their devotees had built for them.

The largest temple in the complex, Pura Penataran Agung, has different areas representing seven layers of the universe, each with their own shrines. Pura Pasimpangan on the downstream side (on the east of the main street) and Pura Pangubengan upstream are approximately three kilometres apart. Located on higher ground, the closest to Mount Agung’s peak, Pura Pangubengan has great vistas and it’s about a 30-minute walk from the main Pura Penataran Agung. Around 10 minutes to the east of Pura Pangubengan is Pura Batu Tirtha. It is where holy water is sourced for the ‘karya agung’ ceremonies at Pura Besakih and Pekraman villages. Four temples in the complex reflect four forms of God at compass points: Pura Batu Madeg in the north, Pura Kiduling Kreteg to the south, Pura Gelap in the east, and Pura Ulun Kulkul in the west. ‘Batu ngadeg’, literally ‘standing stone’, is found in the shrine of Meru Tumpang Sebelas at Pura Batu Madeg. This is where Vishnu is believed to descend. Still in the courtyard of Pura Batu Madeg, in front of Meru Tumpang Sebelas is the Pesamuan shrine (quadrangle-shaped with two lines of 16 poles) as a symbol of how Vishnu’s power interrelates with the world. At least 20 minutes to the northwest from Pura Batu Madeg, down the footpath to the valley and along the river, is Pura Peninjoan – erected on a tiny hill. The beautiful views from here include all the shrines of Pura Penataran Agung, beaches and southern Bali in the distance. On the west is Pura Ulun Kulkul, famous for the main and most precious ‘kulkul’ (Balinese wooden slit gong) on the island. Kulkul is a signaling device to summon or convey special messages. On the northern side of Pura Ulun Kulkul is Pura Merajan Selonding where the ‘Bredah’ inscription mentions a king in Besakih, and a set of ancient gamelan called ‘Selonding’ are kept. Pura Gua, located on the eastern side of the main street, is the home of the dragon deity. There’s a big cave at the canyon of the river on the east that has its mouth closed due to erosion, but people still sometimes practise yoga there. Pura Jenggala, southwest of Pura Penataran Agung, is also often called Pura Hyang Haluh by the local devotees. The ‘Setra Agung’ burial grounds is south of the temple. Here are sacred ancient stone statues in the form of the mythical garuda bird. Pura Basukian Puseh Jagat is located southeast of Pura Penataran Agung, the main foundation of Pura Besakih.

Pick up time: 08:30 am
Duration: approx. 10 hours

Tour includes:

  • Super comfort and fully air-conditioned vehicle
  • Experienced English-speaking driver
  • Exclusive private touring
  • All parking fee as per itinerary
  • Petrol for vehicle

Tour excludes: entrance fee as per itinerary, meals fee and any other personal (optional) expenses

Area Covered for Pick Up:

  • Seminyak, Legian, Kuta, Nusa Dua, Jimbaran, Sanur, Ubud, Denpasar, Benoa Harbour, Airport
  • Please contact us for pick up in different area

Terms Payment

  • Payment is Cash Payment
  • Payment is on the day itself with our driver
  • Payment with other currency will convert based on daily exchange rate

  Regular Price:


IDR 750.000
 / Minibus ( 1 till 4 person included)
IDR 1.363.000,00 / Minibus ( 1 till 12 person included)