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Being in the middle of the Archipelago area having more than 13,000 big and small is-lands with about three million population who are mostly Hinduism followers has contributed to the uniqueness of the cul-ture of the Archipelago.

The nature of Bali with its tropical climate really offers a very beautiful view and it also becomes an inspiration for Balinese people in processing their cultivation. Even though the natural conditions in the other parts of the Archipelago are not much different from Bali, but the combination of nature, tradition, and the behavior of its people has brought Bali to be very typical. The typical face of Bali then gets a place in the eyes of the agents and the observers of tourism as well as foreign tourists. Since there was a contact with the outside parts and the for-eign countries especially during the Dutch colony, Bali has become a discussion for the devotees of the Eastern cultures.

Entering the era of 1960s, when Bali Beach Hotel was operated, Bali developed better to become the main tourism destination in

Bali that is almost unseen on the world map is just a very small island. It consists of the biggest island, the Island of Bali and some smaller ones around it such as Menjangan Island in Bulelelng Regency, Serangan Island in Denpasar Regency, Nusa Penida and Nusa Ceningan in

GEOGRAPHY

BALI AT A GLANCE

Klungkung Regency. With the width of 5,632 square kilometers and the length of 529 kilometers, Bali Island is inhabited by three million populations consisting of na-tive and urban people with density of 517 persons per square kilometer in eight re-gencies and one city. The largest regency is Buleleng in the North of Bali which has 1,365,88 square kilometers or 24,55% of Bali Island. Geographically, Bali is located between 8°03’40”-8°50’48” South lon-gitude and 114°25’53”-115°42’40” East longitude. Bali Strait borders Bali and Java Island in the west and Lombok Straits bor-ders Bali with Lombok Island in the East. Meanwhile, Indian Ocean borders Bali in the South and Java Sea in the North.The nature of Bali becomes unique be-cause it seems as if it were divided in two the northern and the southern parts by the mountains ranging from the west to the east. Two of the mountains are volcanic, they are Batur Mountain (1,717 meters) and Agung Mountain (3,140 meters).

The higher land of Bali has four lakes, they are Batur Lake (1,607 hectares), Beratan Lake (375,60 hectares), Buyan Lake (336 hectares), and Tamblingan Lake (110 hectares). Besides from the ground, the four lakes become the sources of water for watering ricefileds and fulfilling the daily needs of the people in Bali through more than 200 rivers flowing to the sea. The rivers having the source from the four lakes are such as Unda, Ayung, Petanu, and other big rivers which mostly flow to the South of Bali. As the other regions in Indonesia, Bali has tropical climate that is influenced by the breeze of the two

Indonesia and even in Asia. The economic condition in Bali developed increasingly to a better one. Along with the development, religious and cultural lives also glowed so that Balinese culture and tourism got more preferred by tourists.

The historical records show that Bali be-comes sedimentation and last destination of the history as well as the great period of Majapahit culture. The combination of Ba-linese local wisdom and the Javanese cul-ture of the Majapahit era having the nuance of Hinduism could bear a unique Balinese Hinduism culture. Being in the middle of the rows of the islands from the east to the west of the Archipelago, with its unique culture, Bali is then often called ÌNusa ning NusaÎ or an island among the thousands of islands. The charisma of Bali now does not merely become a destination of invest-ment, but it remains to outpour the power of spiritual enlightenment.

The tropical climate of Bali with its two sea-sons rotating every year and the mountains ranging in the middle of Bali Island from the west to the east ends make Bali quite fertile island. Various kinds of tropical plantation can grow well both in the cold mountain area and in the hot beach area. The tem-perature varying between 22° celcius to 28,7° celcius with humidity of 60% in the dry season and 100% in the rainy season may influence to the fertility level of various tropical plantations which grow in Bali.

FLORA AND FAUNA

The daily routines of the Hinduism people in Bali which are always colored with various ceremonies cause a very high need for us-ing the parts of plantations. Various kinds of fruits such as snake fruit and orange, be-sides being very popular used for offerings, they also become very famous fruits in the Archipelago.

Besides the beach areas around Bali, Jembrana Regency in the west of Bali is the biggest coconut supplier in Bali. Mean-while, fruits and flowers are supplied from the mountain areas such as Bedugul, Ban-gli, North Badung. The trees growing in parts of Bali Island are most used as build-ing materials. The trees of jackfruit and kwanitan are commonly used for Balinese building constructions. Bali, which is thick of the ritual performances, besides using

plantations, also uses various kinds of ani-mals for complting the rituals. Chicken, pig, and duck are the kinds of the animals that are mostly used in the rituals. The usage of other kinds of animals especially the ones have slow growth, is mostly needed in big ceremonies called tawur bhuta yadnya that is performed every five years. Tiger, for ex-ample, is only used in the ceremony called Eka Dasa Rudra performed every one hun-dred years. In term of animal, Bali has a famous bird called Jalak Putih which is very rare and its populations are very low and tend to decrease. Besides its habitat in West Bali National Park is pushed by housing devel-opment and pollution, stealing and smug-gling actions also become the reasons of the decrease of Balinese jalak bird.

seasons rotating every six months; the dry season is from April to October and the rainy season is from October to April. The amount of the rainfall in Bali is between 1,250 millimeters to 3,000 millimeters per year. The monthly temperature is between 22° celcius to 28,7° celcius and the wind blows between 34 kilometers per hour to 14 kilometers per hour.

Based on the Census 2000, the popula-tion of Bali is 3,146,999 populating eight regencies and one municipality. Four previ-ous censuses recorded the population of Bali, such as in 1995 Bali had 2,904,828 people, in 1971 it decreased to 2,120,000 people, the census in 1980 recorded that the population of Bali was 2,469,930, and 1990 increased to 2,777,356 people.

The differences of features and potencies in the regencies/municipality make the population in Bali does not spread evenly in the regencies/municipality. The Regency of Buleleng and Denpasar Municipality are the ones having biggest population; 17,74% in Buleleng and 13,92% in Denpasar.

In term of the population density, Denpasar is in the first position with population den-sity of 1,068 people per square kilometers or population of 532,440 populating an area of 123.98 square kilometers. The re-gency in second position is Gianyar hav-ing population density of 1,068 people per square kilometers and the regency with the lowest population density is Jembrana hav-ing 217,199 people populating and area of 841,80 square kilometers or 275 people per square kilometers.

As a community, the humans of Bali are tied to the social and cultural elements that the Balinese people call It as a tie of Tri Hita Karana, as obligations to conduct spiritual life (parahyangan as atma (soul), to main-tain areas for living and land (palemahan) as angga (body), and to do life in the society (pawongan) as khaya (power).

POPULATION AND PEOPLE

The human, the society, and the culture of Bali, in their present developments, were actually colored by the history of the culture and the behavior of the society in the an-cient era of Bali, the era of Bali Majapahit, and modern Bali. The comprehension of life consisting of atma, angga, and khaya, quoted from Hinduism religion, makes the Balinese people life unique and flexible in viewing changes. The cultural and the be-havioural developments of Balinese people from the Balinese ancient period to modern Bali conducted flexibly have also brought economic, scientific, and technological de-velopments which are always combined with local cultures. Balinese culture seems to have development continuously by showing the features of the local cultures.

After performing social activities in various new groups of professional ties, till today Balinese people are still tied with the tra-ditional structures of the local cultures. Traditional groups, clan groups, and other social groups are the real forms of the Ba-linese people’s participation in traditional, religious, and cultural activities.

Bali, with its unique people and culture, is believed that it is not a new developing mi-gration area. The daily routines of the Ba-linese people which always present the pre-sent the features of the local culture show that Bali has covered a very long history. Various archeological findings in different parts of Bali prove that the long history of Bali Island have together with the histories of the other region and the other countries.As the other regions of Archipelago, the early period of the social lives in Bali can be categorized as the periods of the so-cial lives in Bali can be categorized as the period of Pre History. There were not any records found denoting the structures of the social lives in the period. The ones becomes references are the findings of

BALI FROM TIME TO TIME

various instruments used as the means for supporting the lives of the Balinese people at that time.

From the pre-history findings, the pre-his-tory period in Bali, as found mostly in other regions, includes three parts of cultural levels. The first part is a living period that depended on hunting culture. With simple instruments made of stones found at Sem-biran area, North Bali and at Batur area, the Balinese people were assumed to be able to survive. Some kind of better instrument made of bone was also found in Selond-ing Cave at Bukit area, South Badung. This proves that the hunting period covered quite long period followed with an improve-ment of better mindset.

The pre-history findings can also reflect that Balinese people began to leave the hunting period to begin the planting period. Even though they had begun the better structure of their lives in the planting period lived by moving from one place to place. Archeo-logical remains in the form of bronze ket-tledrum and various goods made of metal in Pejeng area, Gianyar prove that a society with better structure was already estab-lished in that period.

Together with the transition from the pre history to hidtory periods, the influence of Hinduism religion from India coming to

Indonesia is assumed to give strong influ-ence to the cultural development in Bali. This transition period commonly called as the Ancient Bali Period between the 8th and the 13th century, clearly experienced a change again because of the influence of Majapahit that intended to unify the Archi-pelago based on their oath called Sumpah Palapa Gajah Mada in the beginning of the 13th century. Governmental and social structures had adaptions following the gov-ernmental model of Majapahit Kingdowm. Conflicts between the local culture of the Ancient Balinese and the Javanese Hindu culture from Majapahit in the form of the Balinese people’s refusal caused oppo-sitions in different parts of Bali. Gradually and firmly, with the effort of adaptation and mixture of the two parties, Bali succeeded in finding a cultural model that is in accord-ance to the people’s mindset and the natu-ral condition in Bali.

The adaptation model which seemed then to form the Balinese society and culture that are now inherited becomes unique and typical, absorbing the Hinduism elements from Javanese Majapahit but it is thick of the local colors. The development model of Balinese culture in the following periods, the colonial and the independence periods, naturally followed the same direction, that is to accept outer influence melting into the colors of the local culture.

The culture of Balinese people does not move away from their interaction to their environment. The mindsets of the Balinese people in fulfilling the matters of the in-ner self until the outer world are the pic-tures from a combination of human logical reasoning and the potency of the nature around them. In this small island, human behaviour has its own characteristic in do-ing their daily activities. The manners of speaking, language, dialects, and attitude in communication very clearly show their original regions. The behaviour in perform-ing religious and art activities also appear local colors representing each of the re-gions in Bali.

Desa-Kala-Patra, place, time, and situa-tion, are the three elements as the forma-tion of various kinds of Balinese humans’ behaviors in doing their daily routines. Even though the cultural package of the Balinese humans seem to have typical characteris-tics of their regions, but they aim to one di-rection that is the offering. In the Balinese literatures they also find the idea of accept-ing the differences having one purpose, bhinneka tungal ika, the truth is the only one. For Balinese people, an honest sacri-fice is a form of truth or dharma and there Hinduism religion gives the way for its fol-lowers to build Karma.

The Balinese people, especially the Hindu-ism followers, are unique. It seems as if it were a common view that a Balinese girl dances beautifully and in a supple way at a community hall or at a temple, and even at a hotel, in fact the afternoon before she worked to paint the wall of a building or got sweatful as a merchant at a market. Such behaviour seems to be like a figure having two personalities but Balinese hu-mans actually tend to see it as a character in carrying out their daily routines as an ef-fort in building karma. The morals of good conduct in accordance with swadharma or behaviour in accordance with status are held strongly by most Balinese people in performing karma. Therefore, it may be very possible that a female merchant, who does not have any significant in the crowd of a market, at a moment later, will become a focus as Rejang dancer at temple cer-emony.

ART AND CULTURE OF BALI

DAILY ROUTINES OF BALINESE HUMANS

If it is observed more deeply, it is very pos-sible that such behaviour can happen be-cause of Balinese Hinduism social struc-tures. Not only the model of social levels of the Majapahit inheritage is followed com-pletely, but the local traditions also give colors to the structuring Balinese society. It is the reason why social structures are found different from one to the other vil-lages but they have the same commitment in one structure model of Desa Adat, the traditional village.

Art and cultural experts often say that Ba-linese art and culture tend to be created to be a dedication to the Creator and colored by a high dedication feeling to the art itself. It can be understood if a traditional art work can reflect a taksu or enpour an attracting power because creating process of the

ART, FROM DEDICATION TO PERFORMANCE

work is encouraged by the intention to pre-sent a good work, apart from ego of copy right and its selling value.

Balinese art and cultural works used to ap-pear as an obligation performed by certain professional group in an effort to present a perfect dedication to the God through religious activity. Dance and karawitan, the gamelans are created to state a happiness feeling to welcome the Gods going down to a temple ceremony. Art expressed into paintings and carvings always present in various equipment of offering used as me-dia to do spiritual communication. Mean-while religious songs are presented as an expression of worships for the prosperity blessed by the Gods.

Besides as art practitioners, Balinese hu-mans are also art devotees who are strong-ly adhering to their art. In an opera art, various acts supporting the art creation are

packaged for filling people’s mindsets. The leaders in the past were also consistent to see art activities as an effective media for sending messages to their people. It can-not be denied that literary arts developed fast and gave clear direction to the other art forms. Then there is a clear split between a sacred art and performance.

When contacts with foreign countries in Bali entered tourism era in the middle of 1960s, various tourism facilities were grad-ually presented for presented for entertain-ing tourists. Then Balinese art and culture were developed and redesigned for the sake of tourism so that art and culture can go together intimately with tourism sector.

Dances in Bali are closely related with re-ligious processions and it is even believed that the age of the dances is as old as the determination of the structures of Hindu religion. The God of Ciwa believed by the Hinduism followers as the God of Dances with His title of Ciwa Nataraja in a dancing act translated as a movement of power to fill the space when He created the Nature.

The dances mastered by dancers used to be sacred ones as inseparable part from a procession and were only performed at a temple ceremony. Then some kind of dance appeared to complete religious cer-emony and even it was developed further to be a social communication media as well as an entertainment.

Seen from the function, both dances and gamelan music can be categorized into three groups as the following:

Religious dance or the tari wali is a dance including the music gamelan are performed at a ceremony at a temple. This dance is commonly performed in the inner yard or the jeroan of temple. The dance equipment such as clothes, mask or barong are sa-cred and kept in the temple by the pen-yungsung, then members of the temple and certain rituals are presented when they take, dance, and keep them back. It can be a situation in which the sacred dances do not oblige a holy place and equipment, but they require the dancers are the children and the ones in menopause ages. There are still many religious dances that can be found in the villages and the temples in Bali having requirements and processions that are still followed and performed properly till now.

Ceremonial dance or the Tari Bebali is a kind of Balinese dance that is performed at a temple ceremony and this dance is usu-ally performed with a story related to the ceremony being held. Topeng Pajegan, Topeng Panca, Drama Tari gambuh, and Wayang, for examples, are kinds of cer-emonial dance frequently performed to accompany a temple ceremony. The cer-emonial dance is usually performed at the inner yard existing between the outer and the main yards of a temple.

Performance dance of the tari balih-balihan is a development from the religious and the ceremonial dances that is dedicated as an entertainment with a story, creation, and a gamelan which are more creative. This dance often uses a story that is popular for people and it can be used to invite the audience’s emotion into the performance so that the audience is as important as the dancers and the musicians. Topeng (Bondres), Drama Gong, Arja, and Sendra-tari are few parts of so many performance dances. This kind of dance used to be per-formed at night at a ceremony at the outer-yard of a temple in order to give entertain-ment and amusement to people but in the later development it is not performed in the relation to a religious ceremony.

DANCES

RELIGIOUS DANCE

CEREMONIAL DANCES

PERFORMANCE DANCE

The Dancing art actually contains an ele-ment of singing and music. Arja dance and the other kinds of drama dances are a combination of singing, movement, and music.

Karawitan or gamelan music, for Balinese people, becomes a very important part in carrying out religious lives including cultural activities. It is very seldom found that a Hin-duism ceremony at a temple is not accom-panied by the gamelan music or dances usually called wewalen. As the dancing art, the gamelan music also has sacred levels which determine its function at a perfor-mance. As a creative development, kara-witan or the Balinese music art varies from singing art in the form of acapella (cak and genjek), bamboo music, till a music with complete instrument called Gong Kebyar and Gong Gede.

The arts of painting and sculpture or carv-ing are parts of fine arts which are very fa-mous because they do not merely function as decoration, but they are often used in Hinduism rituals. Painting, sculpture, and carving arts can be divided into two parts, they are classical and modern styles. The classical style can be seen clearly that it has motive of puppet both in its form and theme. The Balinese classical painting can only be found at Kamasan village, Klung-kung. The Kamasan painting style takes form and theme of puppet by using bright colors. The Kamasan painting style on the ceilings of the Bale Kertagosa and Taman Gili Klungkung are the remains of Klung-kang Kingdom that show a theme taken from Maharata story. Still based on the puppet style, the models of sculpture and carving arts show similar style with three di-mension performance. A bit different from classical painting, the carving art develops quite faster because of the needs for the carving in the other arts uch as in the mask dance, wayang wong, and in architecture. In the further development, modern paint-ing style appeared after the coming of the outer influence in the Dutch colonialization. Not only the theme, but the scretch style and the use of its media is more varied. The styles of Ubud, Pengosekan, Keliki, and Batuan are the pioneers of the modern style. The Balinese artists of the art schools both in Bali and outside Bali gave new colors to the development of the fine arts. Balinese art develops from this movement, especially due to the frequent contacts with tourism that caused more galleries and art shops appeared in numbers at tourism ar-eas.

Wrestling with art does not merely aim for satisfaction in carrying out a dedication. Definitely, fine arts and skill become an ap-plied art that is at last needed by people dan tourists for souvenirs.

Handwoven crafts and carvings now be-come daily needs of the Hinduism people in Bali. The sokasi, dulang, bokor, and other ritual equipment now become a field of liv-ing for some Balinese people. On the other hand, the creation and the development of the art works are much preferred by tour-ists coming to Bali. Handicrafts of gold or silver, sculpture, and wooden carving since long have been able to get international markets. With Balinese art touches, various art works and handicraft products can give an opportunity for the economic improve-ment of Balinese people.

SINGING/GAMELAN MUSIC ARTS

FINE ARTS

HANDICRAFTS

Architecture, in general, cannot be included into the group of fine arts, even though at last a form of beauty will be seen because there are technical principles in it and a space of taste that is similar with designing face. The function of architecture for vari-ous activities and users will also bear a dif-ferent form and a face so that it can be said that architecture is a result of a process of different motivations (art, technical and taste) to be used to fulfill one of the five hu-man needs (clothes, food, house-working place-architecture, health, and education).

More specifically, Balinese traditional ar-chitecture that does not only follow the principles of art, technical, and space of taste, but there is a structure of tradition and Hinduism philosophies in it. A process of collecting wood for building material, for example a wood from certain trees, till becoming building elements are the steps that must be carried out based on the val-ues of philosophy, tradition, and religion. A tree with certain height when cut fall-ing down to the river, for instance, cannot be used for building materials because it can give bad things to the user. Such tra-ditional architecture has many rules and structures of the tradition and religion that must be comprehended and understood by Balinese traditional architect called un-dagi. Therefore, an undagi is basically the main person who must be able to master art, composition, portion, technique, taste of space, religious philosophy, traditional rules, and must comprehend mantras be-cause an undagi has a right to carry out a religious procession called ngeruak karang when he starts his work, during the work till the warming ceremony for the building

ARCHITECTURE

TEXTILE AND FASHION

BUSANA MADYA

BUSANA ALIT

called pamelaspas, In carrying out his de-sign, the undagi is assisted by some imple-menters who are expert in their fields, such as stone workers, carpenters, strcture and carving workers called sangging. In Bali people have Balinese traditional buildings with various styles because they have dif-ferent functions, users, and regions so that the buildings have different styles. All of the rules and the structure of the Balinese tra-ditional architecture are composed in an ancient scripts such as the Asta Bhumi, Asta Kosala-kosali, and various traditional scripts on procedures of rituals for build-ings.

Till the period of the Dutch colonialization in Bali, Balinese people still wore very sim-ple fashion, and even topless or only with a piece of cloth for covering their chests even though they went to a temple for attending

Busana/Payas Madya is one level simpler than payas agung that is worn at the per-formance of routine ceremonies, such as temple ceremonies. However, the com-ponents to be worn are the same with the payas agung and this fashion is not worn for daily activities.

This kind of fashion is usually worn when carrying out preparation works at a tradi-tional activity. The dress being worn is the same with the one worn every day, but it has a cloth (wastra) at the bottom and wearing a scarf (selempod) tied around the waist as a sign that the person is carrying out a traditional activity.

Various styles and performances of Ba-linese traditional fashion has developed from the three kinds of the fashion that are adapted with local conditions in terms of clothes, philosophical value, and aesthetic value applied in the fashion. Some of them that are quite popular are the payas agung, lelunakan, deeng, fashion of Tenganan Pe-grinsingan, Bungaya, Asak, and other re-gions.

a ceremony. At the time, only the nobles wore complete dress including chest cov-ers, but seen from the kind of the fashion at the time, it seems that there was already a grouping of Balinese dress even though it looks very simple.Fashion for Hinduism people in Bali is not merely the one worn in their bodies, but it is also set on the buildings especially the holy buildings at a ritual. At a performance of a ceremony at a temple, there are levels of ceremony of masang busana or masang penggangge, that to set fashion and deco-ration at the temple buildings. Basically, Balinese traditional fashion can be divided into three groups as the following:

BUSANA AGUNG

FOOD

Busana/Payas Agung means that complete dress with other various make ups that are usually worn at big ceremonies such as at wedding ceremony, tooth filling ceremony, and at other big ceremonies. The kinds of motives golden cloth called songket and golden paint called perada on cloth or on other golden jewelries become unsepara-ble parts.

One typical thing from an ethnic is food. The natural condition and crops in Bali with tropical climate and the daily activities of the Balinese people colored by art and religious ceremonies have great influence on the kind of the typical food if this island. As a staple food, rice certainly becomes a feature of the tropical people in Asia, es-pecially in Indonesia, and Balinese people also consume rice as staple food.

In relation to religious activities, quality Ba-linese rice (white and red rice, ketan and in-jin) support the creation of Balinese women for making various kinds of Balinese typical food/cakes (jaja Bali) for the needs of vari-ous offerings both that can be eaten and that only become religious symbols such as sarad, gebogan, pajegan, etc. With the

habits of Balinese people on the strong and spicy ingredients, Balinese food often does not suit to non-Balinese people even more with the Balinese vegetable called lawar that is sometimes mixed with blood and raw or half cooked meat. But now many restaurants and hotels adapt to Balinese food, especially the lawar in order to be ac-cepted by the urbants or the domestic and foreign tourists such as it is made without blood, replacing the use of the raw meat with chicken and duck that have been cooked and using soft ingredients.

June 20, 1979, in the afternoon, the peo-ple of Denpasar and other regions of Bali came to Puputan Square on Jalan Sura-pati, Denpasar. At that time a parade of the first Bali Art Festival was held. Even though they had been already familiar with art per-formances in their daily lives at temples or at the community halls, the performance of Bali Art Festival always attracted Balinese people’s attention to come down from the mountains to watch the show. Together show from the art and cultural peaks of the eight regencies (at that time) in the parade of the Balinese Art Festival really opens the Balinese people’s eyes on art and cultur-al resources spread till the deep sides of Bali. The varieties of art and culture of Bali spreading in all parts of Bali invited Prof. Ida Bagus Mantra, who at that time became Governor of Bali, to place them at an art festival. Discovering and preserving the Ba-linese art and cultural potencies had been promoted by Ida Bagus Mantra when he became General Director of Culture. The idea to place Balinese art and culture had actually appeared when the Government of Bali in 1974 built a cultural stage (Art Cent-er) at Abian Kapas, Denpasar.

The building of cultural park and the perfor-mance of Bali Art Festival were welcomed. From year to year, Bali Art festival is held at Art Center inviting people to watch tradi-tional and new creation arts from Balinese artists. The arts that are seldom shown, then they are always performed at the Bali Arts Festival in order to be witnessed by the public. Besides dances and gamelan music as the mascot of the performance, literary art, fine arts, handicraft, and creation and contemporary arts are always enclosed on

BALI ART FESTIVAL

the schedule of the festival lasting for one month.Balinese Art Festival does not only become an event of preserving Balinese art and cul-ture, but it also fills the sides of the tourism in Bali. The performance Bali Art Festival in the middle of the year from June to July becomes a right moment for showing art performances as tourism package. The performance during the school holiday and the coming of the tourists place the event of Bali Art Festival has entered the age of 33 years old. Bali Arts Festival, seen from the introduction and inheriting the art and culture, it seems that it has become one of the routine medias in art of Balinese peo-ple.

Since occupied by the Dutch, Bali seemed to be opened widely for the visits of for-eign people. Bali was not only visited by the foreign people as visitors, but many cultural observers and devotees came to record Balinese art and culture. The cul-tural devotees consisting of men of letters, writers, and painters spread the unique-ness of Bali to foreign countries. The infor-mation through various media by foreign people in fact could attract visitors coming to Bali. Their astonishment on the land of Bali arouse people’s interest in titles to Bali – The Island of Gods, The Island of Para-dise, The Island of Thousand Temples, The Morning of the World, and other names ad-miring Bali in tourism world.

In 1930, in the heart of Denpasar, a hotel was built to accommodate tourist visit at that time. Bali Hotel, a building with colonial architecture style became a historical mile-stone of Bali tourism and till now the build-ing is still there standing firmly in its original style. Not only by receiving tourist visit, art delegates from Peliatan village also made cultural visits to some European countries and the United States. The visits indirectly introduced the existence of Bali as a tourist destination suitable to be visited.

Tourism activities, that began to bloom at that time, once stopped due to World War II between 1942 to 1945 that was followed by a more heroic struggle to seize the In-dependence of Indonesia including the struggle happening in Bali until 1949. In the middle of 1950s tourism of Bali began to be redesigned and in 1963 Bali Beach Ho-tel (the Grand Bali Beach Hotel) was built in ten floors at Sanur beach. It is the only

TOURISM FACILITIES hotel with high building and tourist home-stays (hotel, homestay, pansion) built later were only with one floor. In the middle of 1970s the Government of Bali issued a local regulation controlling the maximum height of building is 15meters. The regula-tion was based on cultural factor and the traditional layout of Bali so that Bali stays to have cultural values that can be the base of tourism sector. Definitely, since the op-eration of Bali Beach Hotel in November, 1966 tourism facilities of accommodation developed with better design because it is there side by side with Bali Beach Hotel than Kuta that developed naturally mov-ing from local homestays. Homestays and pensions developed more dominantly than standard hotels. As Kuta, the area of Ubud in Gianyar developed naturally, grew at the local people’s houses staying with the nu-ance of the villages. The building of tourism accommodation facilities with international standard was at last begun with the de-velopment of Nusa Dua area to be an in-ternational tourist resort. Managed by Bali Tourism Development Corporation, a body established by the government, Nusa Dua area was developed to fulfill the interna-tional standard tourism needs. Some hotel operators entered Nusa Dua area as inves-tors that at least this area could lift tourism development of Bali. In the later periods, tourism accommodation grew very rapidly at tourism centers especially in Badung, Denpasar, and Gianyar Regency.

The beach areas Kuta, Jimbaran, and Ungasan became the tourism areas of Badung. Sanur and the city became the tourism areas of Denpasar. Ubud, Kede-watan, Payangan, and Tegalallang became the tourism areas development of Gianyar. To control the very rapid development,

the Government of Bali then determined fifteen areas in Bali to be tourism accom-modation areas including their supporting facilities appeared in various styles, from a house, standard hotel, villa, bungalow, and boutique hotels with various selling prices. These varieties can give better value for Bali because they offer many choices to the visitors.

The following result of the increase of tour-ist visit, various supporting facilities such as restaurants, art shops, art markets, en-tertainment and recreation facilities grew rapidly in the centers of tourism accom-modation areas or in tourist object areas. The visitors coming to Bali can have many choices in doing their holidays in Bali. The formations of tourism organizations such as Indonesian Hotel and Restaurant As-sociation, the Association of Indonesian Travel Agencies, and the other tourism or-ganizations in Bali that professionally man-age and give tourism services seem to be a guarantee of the comfort for having holiday in Bali.

Bali is a small island but it cannot be de-nied that the combination of the nature and Balinese people every span of the land in Bali as if it had an attracting power to be reached for having holiday. Balinese people make every span of the land in Bali as if it had an attracting power to be reached for having Holiday. Balinese people always carry out their daily routines without artifi-cial touches and they believe that Bali will always spread aromatic of attracting power for tourism. Sunrise can be seen at Sanur beach, and in the afternoon sunset is pre-sented at Kuta beach, only thirty minutes from Sanur. In one day time, a trip can be done to the deep side of Bali to see Ba-linese people carrying out their daily rou-tines Weariness of doing one day trip to the deep side of Bali can be combined with recreation during and after dinner. Even though many tourists like beach weather and night entertainments at tourism ar-eas like Kuta and Sanur, but most tourist

Denpasar is the youngest town in Bali, it is just thirteen years old since dedicated on February 27, 1992. The determination of Denpasar as a municipality was performed gradually through the improvement of the status of administrative town and mu-nicipality. However, seen from its history, Denpasar that used to be part of Badung Regency had very important role for the history of Bali today. With an area of about 12,780 hectares, Denpasar has population of 522,386, it is almost the same with the population of Badung. Denpasar becomes

A GLANCE OF TOURISM IN BALI

DENPASAR CITY

coming to Bali spend their time for explor-ing Bali to visit tourist objects. The beauty nature, the cool weather of the mountains, the farmers at the ricefields, the undersea nature, the daily routines of Balinese wom-en at the markets, and religious ceremo-nies at the temples are the interesting sides of Bali preferred by tourists. The Province of Bali used to have eight regencies with seven regencies in the South Bali and one regency in the North Bali. Historically, the division of the eight regencies’ areas fol-lowed the models of royal government before the colonization era. Entering the 1980s, as the capital of Bali Province and Badung Regency, the status of Denpasar was upgraded to an administrative town that then it became a municipality, and at last in 1992 it was determined as a munici-pality having the same level with a regency. Thus, since 1992, the Province of Bali was formally divided into nine regional govern-ments as regencies and a town.

the most crowded area in Bali with popu-lation density of 4,088 people per square kilometer. Denpasar that used to be the center of the kingdom government gradu-ally and definitely develop as a trade city. Receiving heritage from Badung Regency as a tourism area, Denpasar has a main tourism area at Sanur. From the north side Sanur with the Grand Bali Beach Hotel till Sanur Beach Hotel, Sanur is crowded with hotels, restaurants, and various supporting tourism facilities.

Existing at the 8° of South longitude and 115° of East longitude, in the middle of Bali Island, Badung Regency has an area 41,852 hectares stretching along from the middle of Bali till the south end of Bali as a form of keris. The area that is inhabited by about 332,000 populations is divided into six districts and forty administrative villages and 119 traditional villages. The population density in Band Regency is about 720 peo-ple per square kilometers but this density is not even. The density of the housings is bigger in South Badung that become a tourism area, meanwhile in the North Badung is relatively lower with the feaure of a farming area.

Gianyar regency having borders with Den-pasar, Bangli, and Klungkung is often placed an area keeping the source of inspi-ration for developing art and culture. Kara-witan, dances, skillful arts, and other fields of art are believed to be developed from Gianyar Regency. It is apart from the posi-tion of Gianyar in the past as the center of the kingdom history on the transition before and the beginning of Majapahit era. The ar-eas Bedahulu and Pejeng in the north of Gianyar historically became the centers of the kingdom government before the Ma-japahit era.

Meanwhile, Samplangan in the east of Gi-anyar is the center of the government in the beginning of Mjaphit ruled in Bali. In the pe-riods of the Dutch colonization and the In-dependence, the areas of Ubud, Peliatan, Mas, and surroundings get stronger to be the centers of developing art and culture. It can be determined that along the history

BADUNG REGENCY

GIANYAR REGENCY

The areas of South badung like Kuta, Ker-obokan, Nusa Dua, Tanjung, and Bukit Jimbaran becoming tourism areas have brought Badung to be the biggest area re-ceiving the regional income compared to the other regencies. Different from the tour-ism accommodation in the South Badung, North Badung become object of tourist visit, both natural object and tourist attrac-tions such as rafting. The open attitude of the people accepting tourism industry as the other sides of their employment make Badung get better as a tourism destination.

Gianyar is very close wrestle with art and culture. With an area of 36,800 hectares and population of 354,530 in 2001, Gian-yar belongs to an area with middle density, different from Denpasar as a trade city with high density in the city center, the density in Gianyar tends to lead in the side areas especially in the areas of Ubud districts. The west side of Gianyar that covers the areas of Sayan to Payangan has devel-oped to be tourism accommodation with boutique class hotels which give priority to privacy, meanwhile the center area of Ubud develops accommodations of pensions and homestays in the middle of the local houses of Balinese.

Other areas in Gianyar, that are not tourism accommodation area, develop to be tour-ism supporting areas with handicraft indus-tries. The areas in Gianyar seem to support and complete each other in developing Gi-anyar as cultural and tourism town.

Of the eight regencies and one municipality in Bali, Bangli Regency is the only regency that does not have side area. However, Bangli has the biggest lake in Bali, that Batur Lake that waters most of farming areas in South Bali. With such big role of Batur Lake to the farming areas in South Bali, symbolically, the subaks in Bali con-sider Ulun Danu Batur becomes the ori-entation of worship to the God of Wisnu, the Caretaker of the nature. Being in the middle and the high land of Bali, the tem-perature in Bangli is quite cool and even very cold in the evening for Kintamani area. With cool climate that is always foggy and rains, Bangli area, especially the mountain area in Kintamani become the supplier of quality fruits. In the height 400 meters on the sea level, the mountain area in North Bangli becomes the biggest supplier of bamboo in Bali. Balinese traditional build-ing in nearly all parts of Bali use bamboo for

Compared to the other regencies in Bali, Klungkung is the smallest regency in Bali. Klungkung has an area of 315 square kil-ometers with population of about 170,612 spreading in four districts. Even though its area is small, Klungkung also has the com-pound of islands of Nusa Penida, Nusa Lembongan, and Nusa Ceningan. With its borders of Bangli, Gianyar, and Karangas-em, most people depend themselves on farming for their living. Before the explosion of Agung Mountain, the area Gunaksa was the supplier of the best Balinese rice togeth-er with Tabanan area. Seen from the size of Klungkung Regency, it is hard to believe that Klungkung used to be the center of the government in Bali. Even Bali was ruled from Gelgel, Klungkung when it reached the golden era of the government era of Dalem Batur Enggong in the 15th century. After the revolt of Patih Gusti Agung Maruti, the government center was then moved to Klungkung in the government era of Dalem Dimade. As the center of kingdom in the past it caused that in Klungkung handicraft art develop that referred to the lives of cul-ture and religion. The villages of Tihingan are a very famous village of gamelan maker, Budaga village is known as the maker of ceremony equipment made from bronze

BANGLI REGENCY

KLUNGKUNG REGENCY

the roof of the traditional building in nearly all parts of Bali use bamboo for the roof frame supplied from Bangli area. Besides, the roofs of the traditional buildings in the mountain area in Bangli even use bam-boos as their roofs. The social structures and social dialects in the mountain area of Kintamani show that not only the ancient scripts proved that Bangli had an important role in the history but the social structure of Bali Mula is also maintained properly. The house building style at the areas of Pen-gotan, Penglipuran, Bayung Gede, Sribatu, and the other ancient villages prove that their social structures were designed prop-erly in the past. Besides the cool weather and the beautiful view around Batur Lake, various historical remains in Bangli become big potency I supporting the development of tourism in Bangli. Various accommoda-tion and restaurants have been built since the development of tourism in Bangli.

and metal. Satria village is known as the maker of umbrellas and clothes for tem-ples. Besides, Kamasan village is known for classical painting of puppet that is not merely a painting but it is thick of religious teachings. Kamasan village, about four kil-ometers in the south of Klungkung, is also known as the maker of bokor and other sil-ver equipment that are always used in the performance of ceremonies.

Karangasem regency is located in the east end of Bali island with an area of 83,954 hectares and inhabited by more than 369,000 people. Karangasem area is a hill area with dry area that is almost close to the condition of the dry nature in Karangas-em is also sharpened when his area was attacked by the lava of Agung Mountain when exploded in 1963. Most of Karangas-em, especially the north area, was covered by the lava of Agung Mountain when ex-ploded in 1963. Most of Karangasem, es-pecially the north area, was covered by the lava of Agung Mountain explosion in 1963 that killed thousands of people. Entering the 1980s, this area gradually got green

Nearly most of the north area of Bali is un-der the government of Buleleng Regency. Thus, Buleleng is the regency with the largest regency among the other regen-cies in Bali. The borders of the mountains stretching from the east to the east along the middle of Bali belong to Buleleng re-gency. That is why Buleleng is the regency having complete areas such as the moun-tain, land, lake, and north sea of Bali. Even though having the largest area in Bali, most Buleleng area is the dry area, especially the mountains area in the west and the east Buleleng. The natural condition owned by Buleleng make Buleleng cannot depend on wet farming. But this condition can bring Buleleng to be the gardening area of fruits supplier such as orange, clove, and coffee at the mountain area, meanwhile along the side areas are the suppliers of tobacco. The history of Bali from time to time till the third millennium era has brought influence to

KARANGASEM REGENCY

BULELENG REGENCY

filled by the grasses and other kinds of dry plantations and other greenings through designing farming and gardening sectors. The blocks of the rice fields in the sides of Karangasem town were redesigned to fol-low their first forms. The organizations of subak had very important role in develop-ing the farming areas. Since the middle of 1990s, the area of north Karangasem, especially the areas covered by the lava, Tulamben definitely changed to be marine tourism area with the corrals and interest-ing fishes. Accommodation facilities such as hotels, restaurants, and marine recrea-tions were built at Tulamben area. Not only the beauty of the hills, the undersea view also become interesting place in Karangas-em. The native Balinese people who mostly inhabit Karangasem give local colors to the local art and culture of Karangasem. The people at the villages till now still apply the ancient tradition of Bali inherited by their ancestors. Even though there is a toler-ance of cultural influence through Hinduism religion, their consistency not to accept the influence of Bali Majaphit caused the herit-age of the ancient Bali can still maintain till today.

Buleleng Regency to participate in tourism industry. The side areas of north Bali, espe-cially the areas of Lovina and Kalibukbuk are the local potencies of tourism accom-modation that owned by Buleleng. Wholly various art and cultural heritages Buleleng has typical features rather different from the colors of art and culture of South Bali.

When hearing the heavy sound of bamboo with light movements, that is the art of the karawitan jegog. The gamelan music in-strument made of bamboos becomes the typical feature of Jembarana, one of the re-gencies in Bali that is located in the west of Bali. If the Karawitan art in other areas of Bali has similarities, jegog has different nu-ance so it is typical to be heard. Jembrana with the capital of Negara has an area of 841,8 square kilometers that most of the area are forests. The forests of Negara area with tropical flora and fauna are the green area of Bali Island so that this area is deter-mined as protected area that is known as West Bali National Park.

In neighbor with East Java, the condition of the nature and the forest in West Bali is more similar to the condition of the nature in East Java. The situation of the teak and the coconut forests in East Java seem to be

JEMBRANA REGENCYstill in the area of West Java and gradually shift to the impression of the nature of Bali in the area of the border between jembrana and Tabanan. Not only the nature, most of the population of Jembrana as urbants from Java who follow Islam. It is very pos-sible that the close distance between Jem-brana and East Java compared to Tabanan causes they give strong influence between the two regions that are separated by Bali Strait.

Even though Jembrana reflects the very strong Javanese, it does not mean that Jembrana does not have any Hinduism his-torical record. The range of some temples in the south beach of Jembrana such as Perancak Temple, Rambut Siwi, and some other temples show that Jembrana keeps an important record of the Hinduism trip Java to Bali in the beginning of the history of Bali.

The first impression to see Tabanan area is the green and fertile area. The bends of hills and mountains in the north border with the lakes of Beratan, Buyan and Tamblin-gan seem to picture that Tabanan area is always full of water. The cool climate and weather and the declivity of the land from mountain area in the north side till the side area in the south side make Tabanan su-perior in wet ricefield and gardening. North Tabanan, from Bedugul area is the supplier of fruits and vegetables, meanwhile mid-dle and south Tabanan are suppliers of quality rice. With its area of about 893,33 square kilometers, Tabanan is inhabited by 374,000 people spreading evenly in ten districts. Even though the chances of liv-ing in tourism sector and in other sector are very open, most of people of Tabanan still work at their rice fields.

TABANAN REGENCY

The decrease of people working in the rice fields is because of working in other sector, is responded with farming model in mod-ern and efficient ways. Therefore, till now Tabanan still become the supplier of rice for Bali. Based on the natural condition, Taba-nan proceeds natural and farming tourism as superior potencies in tourism fields. The areas of Tanah Lot, Penebel, Jatiluwih, Pu-puan, Antosari, and Bedugul are the places that always visited both by foreign and do-mestic who are longing for the beauty of the nature.

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