
Religious beliefs, rites and festivals guide a Balinese from birth to death and into the world thereafter. Religious customs in Bali define the plan for a town, the construction of a home and the distribution of responsibilities with Bali 's communities. Holidays, entertainments and social gatherings in Bali are all determined by the religious
Balinese calendar and occur within the context of ritual observances. Some might find such a life style confining, for the Balinese it is an essential, rich source of inspiration.
Bali, a masterpiece of nature formed by an east-west range of volcanoes providing exceptional fertile soils, was confronted with major cultural invasions in the past. The Balinese were always able to manage such intrusions, simply by integrating and adapting the foreign elements into the Balinese flexible living traditions. A striking evidence of this polyglot is the Balinese art displaying Indian, Hindu-Javanese, Chinese, Islamic and even some European elements. One may assume, especially with regard to the Balinese tourism industry, that Bali 's century-aged culture is vanishing; nothing could be farther from the truth.
During
the struggle for the lost kingdom of
famous King Airlangga of Java (1019-1042)
his mother fled to Bali, bringing the courtly Java-
nese language to the island. Until the late 14th
century Bali remained more or less under
Javanese influence.
When the last great Javanese kingdom, Majapahit, fell apart, many of its
cultured
people moved to Bali, gathering at independent 'Balinese King' Dewa
Agung's base
Gel-Gel, near Klungkung. With Java in turmoil the last exodus to Bali
took place in
1478,
founding its enlightenment.
Since every village in Bali has several and every home at least one house temple there are actually more temples than homes. Most of them are shrines and may not be considered real Balinese temples, but the walled compounds are still assumed to be numbered 10,000. A significant mark of all temples in Bali is the uneven number of the buildings' stapled roofs. The holiest temples of Bali all carry at least one building with eleven roofs, the maximum number, displaying the importance of the god to whom it is dedicated.
There is little to compare Balinese dances with. They tend to be precise, jerky, shifting and jumpy. To the Balinese expert, every movement of wrist, hand and fingers is of a great importance as well as the facial expressions of the Balinese dancers that are carefully choreographed to convey the character displayed. The Balinese dances are remarkably similar to the Balinese Gamelan music - accompanying most of the performances - with its abrupt changes of tempo and contrasts between silence and crashing noise. Accordingly, each Bali dancer seems to move completely independent.
Every Balinese is an artist and
craftsperson. Painting and carving have been integrated with abundant Balinese ceremonies and festivals, as part of everyday life until 50 years ago. Nowadays, Balinese architecture and sculpture are the least affected arts by western influence. Every square
centimeter of a Balinese temple gateway is intricately carved, but never completed without a couple of stone statues as guardians. Therefore, Balinese architecture becomes sculpture and sculpture becomes architecture.