It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent.
The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

A Brief History

Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have developed batik to its present day art form as the highly developed intricate batik found on the island of Java in Indonesia.
Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (AD 800), however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life.
Some experts feel that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear as certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.
Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also an important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth.
Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and other housewifery arts to Central Javanese women.

Selection and Preparation of the Cloth for Batik

Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.
The cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.
Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.

Batik Design Tools

Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.
Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.
For close-up pictures of canting.

Wajan

The wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.
The best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.
The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.

Cap

Creating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.
Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.
The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.
Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and the bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.
Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.
Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.

Dyes

Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.
The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day.
In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.
The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.

Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth. Click here to see the step-by-step process of making batik.

Waxing

Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream.
Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.
Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.
The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.
If the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of cloth.
Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.

Dyeing

After the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.
The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax.
When the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process.
When an area that has been covered with wax previously needs to be exposed so that it can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath.
If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the marble effect was accepted.
The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberally used.

Special Treatments to the Batik Cloth

Prada or Gold Cloth

For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.

Batik Designs

Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.
Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.
In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.
Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.
High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.

Kawung

Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

Ceplok

Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.

Parang

Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.

Washing Batik

Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.

Modern Batik

Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are no longer dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.
Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.
The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices.
Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.
During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.

Batik Home Furnishings

One of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to purchase some truly magnificent home furnishings made of batik. As the fabric is truly unique to Indonesia, this is definitely the best place to purchase authentic batik! Batik factories can product batik to your order, with custom colors and designs in large rolls, ready to use for your home decoration projects. The 100% cotton fabric is usually preshrunk in the batik dying process and other fabrics are usually available with the batik design, should your design requirements warrant. Higher end shops also have design consultants who can help you with the layout of the room you are planning to design with your batik fabric and work with you on additional furnishings (pillows, bed covers, and cushions) to complete your color scheme.
If you are unable to visit Indonesia, but are still interested in batik fabric, the best place to start is by looking for discount fabric with beautiful batik designs and you may very well be on your way to creating you own batik creations for your home. The timeless designs of beautiful batik motifs have been utilized by skilled fabric designers around the world who want to share the beauty of batik with an even wider audience across the globe. You'll soon be getting compliments from visitors to your home about the beautiful home furnishings made of batik, or your new wardrobe pieces!
 

Additional informaiton on Batik in Indonesia

Batik Designs: A Cultural Development Influenced by Changes in Time & Environment
Batik Canting - beautiful wall hangings from antique batik
Canting Batik - traditional hand batiking tool from Indonesia
Kebaya - Indonesian Traditional Dress for Women - read about the blouse that is worn with the batik kain (sarong) in much of Indonesian traditional dress.
Watch a You Tube video by Piet Verboven of the batik making process!
Links to other sites with good info on Indonesian batik.

DOWNLOAD HERE VIDEO BATIK

taken from : http://www.expat.or.id/info/batik.html

Brief synthesis

The Borobudur Temple Compounds is one of the greatest Buddhist monuments in the world, and was built in the 8th and 9th centuries AD during the reign of the Syailendra Dynasty. The monument is located in the Kedu Valley, in the southern part of Central Java, at the centre of the island of Java, Indonesia.

 

The main temple is a stupa built in three tiers around a hill which was a natural centre: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,520 m². Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha.

 

The vertical division of Borobudur Temple into base, body, and superstructure perfectly accords with the conception of the Universe in Buddhist cosmology. It is believed that the universe is divided into three superimposing spheres, kamadhatu, rupadhatu, and arupadhatu, representing respectively the sphere of desires where we are bound to our desires, the sphere of forms where we abandon our desires but are still bound to name and form, and the sphere of formlessness where there is no longer either name or form. At Borobudur Temple, the kamadhatu is represented by the base, the rupadhatu by the five square terraces, and the arupadhatu by the three circular platforms as well as the big stupa. The whole structure shows a unique blending of the very central ideas of ancestor worship, related to the idea of a terraced mountain, combined with the Buddhist concept of attaining Nirvana.

The Temple should also be seen as an outstanding dynastic monument of the Syailendra Dynasty that ruled Java for around five centuries until the 10th century.

The Borobudur Temple Compounds consists of three monuments: namely the Borobudur Temple and  two smaller temples situatued to the east on a straight axis to Borobudur. The two temples are Mendut Temple, whose depiction of Buddha is represented by a formidable monolith accompanied by two Bodhisattvas, and Pawon Temple, a smaller temple whose inner space does not reveal which deity might have been the object of worship. Those three monuments represent phases in the attainment of Nirvana.

The temple was used as a Buddhist temple from its construction until sometime between the 10th and 15th centuries when it was abandoned. Since its re-discovery in the 19th century and restoration in the 20th century, it has been brought back into a Buddhist archaeological site.

 

Criterion (i): Borobudur Temple Compounds with its stepped, unroofed pyramid consisting of ten superimposing terraces, crowned by a large bell-shaped dome is a harmonious marriage of stupas, temple and mountain that is a masterpiece of Buddhist architecture and monumental arts.

Criterion (ii): Borobudur Temple Compounds is an outstanding example of Indonesia’s art and architecture from between the early 8th and late 9th centuries that exerted considerable influence on an architectural revival between the mid-13th and early 16th centuries.

Criterion (vi): Laid out in the form of a lotus, the sacred flower of Buddha, Borobudur Temple Compounds is an exceptional reflection of a blending of the very central idea of indigenous ancestor worship and the Buddhist concept of attaining Nirvana. The ten mounting terraces of the entire structure correspond to the successive stages that the Bodhisattva has to achieve before attaining to Buddhahood.

 

Integrity

The boundaries contain the three temples that include the imaginary axis between them. Although the visual links are no longer open, the dynamic function between the three monuments, Borobudur Temple, Mendut Temple, and Pawon Temple is maintained.

The main threat to the ensemble is from development that could compromise the extraordinary relationship between the main monument and its wider setting and could also affect the Outstanding Universal Value of the property. The approach to the property has to a degree already been compromised by weak developmental regulations.

Tourism also exerts considerable pressure on the property and its hinterland.

There is a growing rate of deterioration of the building stone, the cause of which needs further research. There is also a small degree of damage caused by unsupervised visitors.

The eruption of Mount Merapi is also considered as one of the potential threats because of its deposit acidic ash as happened in 2010.

 

Authenticity

The original materials were used to reconstruct the temple in two phases in the 20th century: after the turn of the century and more recently (1973-1983). Mostly original materials were used with some additions to consolidate the monument and ensure proper drainage which has not had any significant adverse impact on the value of the property. Though the present state of Borobudur Temple is the result of restorations, it retained more than enough original material when re-discovered to make a reconstruction possible.

Nowadays the property could be used as a Buddhist pilgrimage site. Its overall atmosphere is, however, to a certain degree compromised by the lack of control of commercial activities and the pressure resulting from the lack of an adequate tourism management strategy.

 

Protection and management requirements

The protection of the property is performed under Indonesian Law No. 11/2010 concerning Cultural Heritage and its surrounding cultural landscape. It is executed under a National Strategic Area and the Spatial Management Plan by the Ministry of Public Works in accordance with the Law concerning Spatial Management No. 26/2007 and Governmental Regulation No. 26/2008 concerning National Spatial Planning and will be enforced further by another presidential regulation regarding the Management for the Borobudur National Strategic Area that is still being drafted by the Ministry of Public Works.

The legal and institutional framework for the effective management of the property is regulated by a Presidential Decree Number 1 Year 1992. The established zones within the World Heritage property are respectively under the responsibility of the Borobudur Heritage Conservation Office under Ministry of Education and Culture, of state-owned institute PT. Taman Wisata Candi Borobudur under the Ministry of Enterprises, and of the local governments (Magelang Regency and Central Java Province). A study on the integrated management of Borobudur Temple Compounds has been conducted, including attention for the ecosystem, social and cultural aspects, ecotourism, public and private partnership and organisational feasibility study. This study is the basis of the still to be developed visitor management approach.

In order to ensure consistency between the 1992 Presidential Decree and the 1972 JICA Master Plan zone-system indicated in the World Heritage nomination dossier and to strengthen the regulations regarding development, a New Presidential Regulation is still being formulated by a Coordinating Board (14 Ministries and local authorities as well as representatives of local communities) and by formalizing the role of the proposed Management Board into the wider zones. In addition, the protection of the property has been ensured by the regular financial contribution by the national budget.

Monitoring programs has been effectively executed to monitor the growing rate of deterioration of building stone and also damage by unsupervised visitors. A research is being conducted to determine the long- term impact of deposit acidic ash of eruption of Mount Merapi to set further protection and conservation management of the property. Furthermore, a risk preparedness plan will be formulated in 2012.

The Borobudur Heritage Conservation Office has conducted community development programs targeting especially at the youth to raise their awareness. In improving and empowering local community as specialist guide for Borobudur Temple Compounds, several training programs have been conducted. The community development related to economical sector (small enterprises that produce traditional handicrafts, culinaries, etc) have already being conducted by the municipalities of Magelang Regency and Central Java Province.

Long Description

 

Borobudur is one of the greatest Buddhist monuments in the world. Founded by a king of the Saliendra dynasty, it was built to honour the glory of both the Buddha and its founder, a true king Bodhisattva. The name Borobudur is believed to have been derived from the Sanskrit words vihara Buddha uhr, meaning the Buddhist monastery on the hill. Borobudur temple is located in Muntilan, Magelang, and is about 42 km from Yogyakarta city.
This colossal temple was built between AD 750 and 842: 300 years before Cambodia's Angkor Wat, 400 years before work had begun on the great European cathedrals. Little is known about its early history except that a huge army of workers worked in the tropical heat to shift and carve the 60,000 m³ of stone. At the beginning of the 11th century AD, because of the political situation in Central Java, divine monuments in that area, including the Borobudur Temple became completely neglected and given over to decay. The Sanctuary was exposed to volcanic eruption and other ravages of nature. The temple was not rediscovered until the 19th century. A first restoration campaign, supervised by Theodor van Erp, was undertaken shortly after the turn of the century. A second one was led more recently (1973-82).
A harmonious marriage of stupas, temple-mountain and the ritual diagram, this temple complex was built on several levels around a hill which forms a natural centre. The first level above the base comprises five square terraces, graduated in size and forming the base of a pyramid. Above this level are three concentric circular platforms crowned by the main stupa. Stairways provide access to this monumental stupa. The base and the balustrades enclosing the square terraces are decorated in reliefs sculpted in the stone. They illustrate the different phases of the soul's progression towards redemption and episodes from the life of Buddha. The circular terraces are decorated with no fewer than 72 openwork stupas each containing a statue of Buddha.
Stylistically the art of Borobudur is a tributary of Indian influences (Gupta and post-Gupta styles). The walls of Borobudur are sculptured in bas-reliefs, extending over a total length of 6 km. It has been hailed as the largest and most complete ensemble of Buddhist reliefs in the world, unsurpassed in artistic merit, each scene an individual masterpiece. The narratives reliefs on the main walls read from the right to left, those on the balustrade from left to right. This was done for the purpose of the Pradaksina, the ritual circumambulation which the pilgrims make moving on the clockwise and keeping the sanctuary to the right.
The Karmawibangga reliefs on the hidden foot are devoted to the law of karma. The Lalitavistara series do not provide a complete biography of the Buddha, from the Hushita heaven and end his sermon in the Deer Park near the Benares. Jataka are stories about the Buddha before he was born as Prince Sidharta. Awadana are similar to Jataka, but the main figure is not the Boddhisatva, and the saintly deeds are attributed to other legendary persons.
The stories are compiled in the Dvijavadana (Glorious Heavenly Acts) and the Awadana Sataka (Hundred Awadanas). The first twenty panels in the lower series of the first gallery depict, the Sudhanakumaravadana. The series of reliefs covering the wall of the second gallery is devoted to Sudhana's tireless wanderings in search of the Highest Perfect Wisdom. The story is continued on the wall and balustrade of the third and fourth galleries. Its depiction in most of the 460 panels is based on the holy Nahayana text Gandavyuha, the concluding scenes being derived from another text, the Badracari.

DOWNLOAD VIDEO BOROBUDUR

• INTRODUCTION 

 

The Javanese are the dominant ethnic group of Indonesia. Non-Javanese Indonesians often complain of a Javanese "colonialism" having replaced the Dutch version. Although Javanese culture is just another regional culture, it has far greater power to influence national culture.
The Austronesian ancestors of the Javanese arrived perhaps as early as 3000 BC from the Kalimantan coast. Apparently the island's agricultural bounty was renowned from the earliest times: "Java" comes from the Sanskrit Yavadvipa ("island of barley").
Over the centuries, various native Javanese states emerged. Most were fragile coalitions of regional lords under central dynasties, often embroiled in bloody succession struggles. In the fifteenth century AD , Java's north coast ports fell under the influence of Muslim Malacca, and under the rule of the descendants of non-Javanese Muslim merchants. The Dutch government took control of Java in the 1830s. A population explosion turned three million Javanese in 1800 to twenty-eight million by 1900. The Javanese took the lead in the Islamic, communist, and nationalist movements that challenged colonialism from early in the twentieth century.

2 • LOCATION

The island of Java is roughly the size of Britain. Some 63 percent of the island is cultivated; 25 percent of the surface is devoted to wet-rice paddies. The northern coastal plain faces the shallow and busy Java Sea. Along the southern shore, plateaus fall sharply to the Indian Ocean. The Javanese homeland consists of the provinces of Central Java and East Java (minus the island of Madura) and the Special Region of Yogyakarta. Javanese have also settled for centuries along the northern coast of West Java, particularly in the area of Cirebon and Banten.
Numbering between 60 million and 80 million people, the Javanese account for more than 40 percent of Indonesia's total population.

3 • LANGUAGE

The Javanese language is Austronesian. It is most similar to neighboring Sandiness and Madurese. It divides into several regional dialects.
A speaker of Javanese must adjust his or her "speech level" according to the status of the person addressed. There are basically two "speech levels": nikko and kromo . Nikko is the language in which a person thinks. It is only appropriate to use nikko with people of equal status whom one knows intimately, and with social inferiors. Kromo is spoken to older people, people of higher status, and those whose status is not yet known by the speaker. Many of the most basic sentences differ markedly at the two levels. In nikko, "Where [are you] coming from?" is Soko ngendi. In kromo, it is Saking pundi. Mastering kromo is an acquired skill.
Javanese do not use surnames. They go only by a single personal name. Two examples are the names of twentieth-century Indonesian leaders Sukarno and Suharto, both Javanese.

4 • FOLKLORE

Javanese recognize several classes of supernatural beings. Memedis are frightening spirits. These include the gendruwo, which appear to people as familiar relatives in order to kidnap them, making them invisible. If the victim accepts food from the gendruwo, he or she will remain invisible forever.
The greatest spirit is Ratu Kidul, the Queen of the South Sea. She is believed to be the mystical bride of Java's rulers. Her favorite color is green. Young men avoid wearing green while at the Indian Ocean shore so that they will not be pulled down into Ratu Kidul's underwater realm.
Another set of legendary figures are the wali songo. These are the nine holy men who brought Islam to Java. They are credited with magical powers such as flying.

5 • RELIGION

All but a fraction of Javanese are Muslim. However, only a portion regularly follow the "five pillars of Islam" and other practices of orthodox, Middle Eastern Islam. They have come to be called santri and are further divided into two subgroups. The "conservatives" keep to orthodox Islam as it has been practiced for centuries by the Javanese. The "modernists" reject local traditions and embrace a form of Islam supported by Western-style educational institutions.
Non-santri Javanese Muslims are popularly termed abangan or Islam kejawen. They do not perform the five daily prayers, fast during the month of Ramadan, or make the pilgrimage to Mecca. Their religious life focuses on ritual meals called slametan.
As much as 12 percent of the population of the island of Java adhere to religions other than Islam. There are several hundred thousand Christians. Among these, Roman Catholics are particularly numerous.

6 • MAJOR HOLIDAYS 

 

The first day (beginning at sunset) of the Islamic year ( 1 Sura) is regarded as a special day. On the eve of the holiday, people stay up all night. They watch processions such as the kirab pusaka (parading of the royal heirlooms) in the town of Solo. Many meditate on mountains or beaches. The birthday of Muhammad ( 12 Mulud) is celebrated in Yogya and Solo by holding the Sekaten fair the week preceding the date. Ancient gamelans (a type of orchestra) are played at the festival. On the holiday itself, there is a procession involving three or more sticky-rice "mountains" (symbolizing male, female, and baby).

7 • RITES OF PASSAGE

On the thirty-fifth day after birth, a ceremony is held with special food and much family celebrating.
Arranged marriages still occur in villages, but most Javanese choose their own partners. The process begins with the man formally asking the woman's father or male guardian (wali) for her hand. On the night before the wedding, the woman's kin visit the graves of ancestors to ask for their blessing. Kin, neighbors, and friends come for a slametan feast.
The wedding ceremony itself is the conclusion of the Islamic marriage contract between the groom and the bride's father or wali. The groom, with his party, proceeds to the bride's house. There is a festive meal with music and dancing. The groom can take the bride away after five days. The trend today is for wealthy families to display their status by reviving the more elaborate traditional ceremonies.
Javanese hold slametan (ceremonies) for the deceased on the third, seventh, fortieth, one-hundredth, and one-thousandth day after death. On Ramadan and certain other holidays, people put flowers on the graves of their departed loved ones.

8 • RELATIONSHIPS

The Javanese avoid confrontation at all costs. They react even to disturbing news with a resigned smile and soft words. They never give a direct refusal to any request (however, they are very good at giving and taking hints). In addition to polite speech, proper respect requires appropriate body language: bowing and slow, graceful movements. Children who have not yet learned to behave in a dignified way are said to be durung jawa, "not yet Javanese."

9 • LIVING CONDITIONS

In Javanese villages, individual houses and yards are enclosed by bamboo fences. Village houses sit on the ground and have earthen floors. They have a framework of bamboo, palm trunks, or teak. The walls are of plaited bamboo (gedek), wood planks, or bricks. The roofs are made of dried palm leaves (blarak) or tiles. Inside, rooms have movable gedek partitions. Traditional houses have no windows. Light and air enter through chinks in the walls or holes in the roof.

10 • FAMILY LIFE

The nuclear family (kuluwarga or somah) is the basic unit of Javanese society. It includes a couple and their unmarried children. Sometimes a household also includes other relatives and married children and their families. A married couple prefers to set up a separate household if they can afford to. Otherwise, they usually move in with the wife's parents. Taking more than one wife is rare. The divorce rate is high among village folk and poorer city folk. After a divorce, the children stay with the mother. If she marries again, the children may go to live with other relatives.
Javanese mothers remain close to their children throughout their lives. Fathers, however, become more distant after children reach the age of four. Fathers are regarded as the heads of the house, but the mother exercises more real control. Parents are supposed to be constantly correcting and advising their children, however old the child is. Children, though, never criticize or correct their parents except in the most indirect ways.
Descendants of a common great-grand-parent form a golongan or sanak-sadulur. Their members help each other hold major celebrations and gather on Islamic holidays. Larger still is the alurwaris, a kinship group directed toward the care of the graves of a common ancestor seven generations back.

11 • CLOTHING

For everyday wear, Javanese follow the Indonesian style of dress. Men and women also commonly wear sarongs (a skirtlike garment) in public. Ceremonial clothing for men includes a sarong, high-collared shirt, jacket, and a blangkon, a head cloth wrapped to resemble a skullcap. Women wear the sarong, kebaya (long-sleeved blouse), and selendang (sash over the shoulder). The woman's hairstyle is called sanggul (long hair in a thick, flat bun at the back—now achieved with a wig addition). Handbags are always worn. Traditional dance costumes and wedding attire leave the chest bare for men and the shoulders bare for women.

12 • FOOD

The most common meal ingredients are rice, stir-fried vegetables, dried salted fish, tahu (tofu), tempeh (a bar of fermented soybeans), krupuk (fish or shrimp crackers), and sambel (chili sauce). Favorite dishes include gado-gado (a salad of partially boiled vegetables eaten with a peanut sauce), sayur lodeh (a vegetable and coconut milk stew), pergedel (fat potato fritters), and soto (soup with chicken, noodles, and other ingredients). Dishes of Chinese origin are very popular, such as bakso (meatball soup), bakmi (fried noodles), and cap cay (stir-fried meat and vegetables). Common desserts are gethuk (a steamed cassava dish colored pink, green, or white) and various sticky-rice preparations (jenang dodol, klepon, and wajik).

Recipe

Nasi Tumpeng (Festive Rice Cone)

Ingredients

• 6 cups cooked white rice
• 6 scallions
• 1 hard-boiled egg
• 1 small shallot or pearl onion
• 1 small red chili
• Bamboo skewer

Directions

1. With clean hands, mound the rice into a cone shape about four inches in diameter and about five inches high. Press firmly to form a cone that will hold its shape.
2. Carefully peel six or eight lengths of green scallion, and tie them together about one inch from their end. (A small rubber band could be used for this.)
3. Place the tied end on top of the rice cone. Drape the green ends evenly to form stripes down the side of the cone.
4. Thread the chili, pearl onion or shallot, and hard-boiled egg onto the skewer. Carefully insert the skewer into the rice cone to make a garnish top for the cone.

Javanese often buy prepared food from peddlers making the rounds of neighborhoods. They enjoy lesehan, late-night dining on mats provided by sidewalk food vendors. For special occasions, the tumpeng slematan, a cone-shaped mound of steamed rice, is served ceremoniously. The guest of honor holds a knife in his right hand and a spoon in his left. First, he cuts off the top of the cone, usually featuring a hard-boiled egg and some chilies in a type of garnish, and places it on a serving plate. Then he cuts a horizontal slice from the top of the rice cone and serves it to the most-respected (usually the oldest) guest.

13 • EDUCATION

See the article on "Indonesians" in this chapter.

14 • CULTURAL HERITAGE

The full gamelan orchestra is an important part of traditional rituals, festivities, and theater. It consists of bronze gongs, keyed metallophones (like xylophones), drums, a flute, a rebab fiddle, and a celempung zither. It also includes male and female vocalists. The music (either loud or soft styles) includes hundreds of compositions (gending) in a variety of forms.
Traditional dance emphasizes precise control of the body, particularly in graceful hand movements. The most revered dances are the bedoyo and srimpi, in which young women symbolically enact combat. Male dancing includes the tari topeng in which solo performers portray folktale characters.
Javanese literature goes back to the eleventh century AD , beginning with adaptations of the Hindu epics Ramayana and Mahabharata. The earliest surviving literature in modern Javanese includes babad, poetical chronicles of Java's history. Novels and short stories are produced in Javanese but must compete with better-known works in Indonesian.

15 • EMPLOYMENT

Some 60 percent of Javanese earn a living from agriculture. They grow wet rice and dry-field (tegalan) crops (cassava, corn, yams, peanuts, and soybeans). In mountain areas, many peasants engage in market gardening (vegetables and fruits).
Traditionally, Javanese look down on manual labor and commercial occupations. They prefer white-collar jobs and, most of all, aspire to bureaucratic service. However, most nonfarming Javanese work as artisans or as petty traders (many are women). With Indonesia's economic boom, more Javanese are taking factory or service jobs. Poverty has forced many Javanese into low-status jobs such as maid, street peddler, fare-collector, parking attendant, or ngamen (street musician who plays on sidewalks or on buses between stops).

16 • SPORTS

See the article on "Indonesians" in this chapter.

17 • RECREATION

On the whole, urban middle-class Javanese prefer pop culture to the traditional performing arts as a source of entertainment. However, the urban poor, peasants, and some members of the elite still enjoy the traditional performing arts.
Java's master art form is the wayang kulit shadow-puppet play. Flat puppets are manipulated against a screen lit by a lamp or electric bulb overhead. The plays are based on the Hindu epics Mahabharata and Ramayana and include intrigues, romance, comedy, and tragedy. Nowadays, wayang is broadcast on the radio, blaring from open-air eateries.
Today a popular form of theater is central-Javanese ketoprak. Based on stories from Javanese history, and Chinese and Arab tales, it emphasizes spoken comedy and melodrama rather than music and dance.

18 • CRAFTS AND HOBBIES

Batik textiles are the best-known Javanese craft. The intricate designs are created in several dyeings. The space not to be dyed in a particular color is covered with wax. Batik styles differ radically. Some emphasize dense geometric patterns in brown, indigo, and white. Others feature delicate floral patterns in red and other bright colors.
Other noteworthy crafts are leatherwork ( wayang puppets), woodcarving (dance masks, furniture, and screens), pottery, glass-painting, and ironsmithing ( kris swords).

19 • SOCIAL PROBLEMS

Javanese peasants must support themselves on smaller and smaller landholdings. Many lose their land and must become tenant farmers, sharecroppers, or wage-laborers for the better-off peasants who can afford fertilizers and some machinery. The military helps industrialists suppress labor unrest in the factories that are multiplying in Java's crowded cities.

20 • BIBLIOGRAPHY

Keeler, Ward. Javanese Shadow Plays, Javanese Selves. Princeton, N.J.: Princeton University Press, 1987.
Oey, Eric, ed. Java: Garden of the East. Lincoln-wood, Ill.: Passport Books, 1991.

WEBSITES

Indonesian Embassy in Canada. [Online] Available http://www.prica.org/ , 1998.
Interknowledge Corp. [Online] Available http://www.interknowledge.com/indonesia/ , 1998.
World Travel Guide. Indonesia. [Online] Available http://www.wtgonline.com/country/id/gen.html , 1998.

Read more: http://www.everyculture.com/wc/Germany-to-Jamaica/Javanese.html#ixzz2gilz9GxY

Balinese Ceremony and Ritual 

The Balinese Celebrate Life through Ceremony & Daily Rituals

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It is said there is never a day in Bali without a ceremony of some kind and if you include all the life cycle rites (baby ceremonies, puberty rites, weddings, cremations,Temple festivals), then this adage is probably true. There are definitely certain times that are “ceremony-heavy” such as the full moons in April and October and the high holy days of Galungan (see below for more info). Balinese religion (called Agama Hindu Dharma) consist of three primary elements: Hinduism based on what is practiced in India but differing substantially from those traditions, animism (where every living thing has a soul) and ancestor worship (the Balinese deify their ancestors after a proscribed process of cleansing has been done).
Temple festivals are held on the anniversary of when the temple in question was consecrated. This could be an annual event, held on a new or full moon or more likely every 210 days, based on the wuku system, a complex calculation of overlapping days of confluence, some being more “powerful” than others (think of Friday the 13th).
An Odalan or temple ceremony usually lasts for three days, but larger ones (which occur every 5, 10, 30 or 100 years) can last for 11 days or longer. The gist of what is happening here is that the Balinese are honoring the deities that rule over the temple by giving them a myriad of offerings, performances of vocal music, dance and gamelan music. They invite them down from their abode on Mount Agung to partake in the activities.
The temple is dressed up in colorful golden clothes, the images of the deities are taken to the local holy spring to be bathed and dressed in their best, shrines are cleaned, performances are rehearsed, committees are formed and then the big day arrives. Usually people take their offerings to the temple in the late afternoon, after the heat of the day has gone, and everyone's work and school obligations are over.
The offerings, consisting of fruits, rice cakes and flowers, are brought in on women's heads and placed at strategic points around the temple. These are blessed with holy water by the temple Pemangku or priest. The pilgrims then pray, are blessed with and drink holy water and then take the offerings home to share with their families. The gods have taken the sari or essence of the offerings, leaving the “leftovers” for the humans to consume. In the evenings, there could be spectacular performances of music and dance by local groups.
Since every village has at least three major temples (and often many more than that), there is always some kind of community religious activity going on. Aside from the village temple festivals, every household compound's family temple (mrajan/sanggah) also has its ceremony every 210 days.
Aside from the Odalan, there are a dozen or so life and death cycle rites that are performed throughout a child's life:

1. Gedong-gedongan : this is done in the 8th month (Gregorian calendar/7th month Balinese calendar) of pregnancy to ask blessings for an easy birth. The pregnant woman and her husband wade into the river, where eels and small fish are placed face down on her protruding belly to show the baby the right way out!
2. Birth: Only the husband and the midwife/doctor are allowed to hold the placenta or after birth. This is washed and then buried on the right (if the baby is a boy) side of the northern pavilion or left (if a girl). With it are buried a comb, a dance fan, a pen, a book—whatever the family wishes the child will grow up to enjoy.The parents are not allowed to go into the kitchen for three days.
3. Three Days after birth: the parents undergo a simple cleansing ritual so they can go into the kitchen
4. Rorasin: 12 days after the birth the umbilical cord has usually fallen off. This is placed in a special shrine dedicated to Kumara, the Guardian of Babies.
5. 42-day ceremony: Once a baby has reached this age, a rather large ritual is performed for her/him. This is to ensure that her/his development will continue unhindered. One of the things done at this time is that a baby chick and baby duck are brought in to peck off/dust off cooked rice that is on the baby's third eye. This is to show the child how to use her hands and feet as well as her mouth to gather food, as the animals do. She is placed under a cockfighting basket where she grabs items that have previously been placed into a clay pot. It is said that whatever she grabs is her vocation.
6. Three month ceremony: This is also quite a grand ceremony that all the relatives and neighbors are invited to. This marks the first time a child touches the ground for the first time (he is carried everywhere previously). In some villages, this is when the child is “replaced” by a dressed up eggplant or cucumber. The priest sings the praises of the the eggplant so that spirits of chaos that might be lurking around will follow the eggplant when it's thrown out the front door, while the real baby stays protected.
7. Odalan or six months (210 days) ceremony. This is the baby's birthday and will be celebrated ritually every 6 months. But no birthday cakes here!
8. Three odalans is traditionally when the child has her or his hair cut off and head shaved to represent purity.
9. Menek kelih or puberty. Not all castes perform this ceremony. It happens when the girl gets her period and the boy's voice cracks. They are paraded around the village announcing to all that they are now adults (and in the olden days, ready to marry)
10. Tooth filing: In their late teens, Balinese get the top middle teeth filed; this symbolizes the filing away of greed, anger, lust, drunkenness, envy and confusion.
11. Wedding: the ultimate fusion of male and female
12. Death: within death, there are a number of rites. The first is the ritual cleansing of the corpse by the family and the banjar (neighborhood), then comes the burial or the cremation (if the family can afford to cremate right away, they will choose that option) and then the post-crematory purification rites where the soul becomes a deity that shall be worshipped in the family temple.

Aside from these major rituals, there are also honor days which occur every 35 days and are made for

1. Anything out of metal: daggers, knives, gamelan instruments and now cars and the like
2. Any fruiting trees
3. Any domesticated animals, such as pigs, cows, chickens, goats.
4. Shadow puppets and dance paraphenelia
5. Literature (Goddess Saraswati)
6. Kuningan : the end of the l0 day cycle of Galungan

Then we have Nyepi, the day of Silence, when one is not allowed to cook, light fires, go outside the home, drive, have sex or make a lot of noise. It occurs in March or April and one can palpably feel the energy in the air diminish for 24 hours.
Galungan is the day when the victory of Dharma or Justice/Truth wins over Adharma. It is when the family ancestors descend into the family temples, led there by seeing the long curved bamboo pole (penjor) that are erected in front of every Balinese house. For ten days, the ancestors are feted in the family temples; many temple festivals occur at this time of year and there is great feasting. On the last day, Kuningan, the ancestors are seen off with a flurry of yellow offerings and yellow rice.
There are also days to honor Dewi Sri, the goddess of rice, within the rice-growing cycle and other agricultural products.
Yes, nearly every day is a day to celebrate something in Bali! The above essay was written by Rucina Ballinger, founder of Dyana Putri Adventures.

Hari Raya Saraswati, the Goddess of learning, science and literature.

In accordance with Balinese Hindu belief, knowledge is an essential medium to achieve the goal of life as a human being. This day celebrates Saraswati in Bali, a special day devoted to the Goddess of learning, science and literature. Saraswati rules the intellectual and creative realm, and is the patron saint of libraries and schools. For Balinese Hindus, she is celebrated as she succeeded in taming the wandering and lustful mind of her consort, Brahma, who was preoccupied with the goddess of material existence, Shatarupa. On this day no one is allowed to read or write, and offerings are made to the lontar (palm-leaf scripts), books and shrines.
Saraswati Day is celebrated every 210-days on Saniscara Umanis Wuku Watugunung and marks the start of the new year according to the Balinese Pawukon calendar. Ceremonies and prayers are held at the temples in family compounds, villages and businesses from morning to noon. Prayers are also held in school temples. Teachers and students abandon their uniforms for the day in place of bright and colourful ceremony gear, filling the island with colour! Children bring fruit and traditional cakes to school for offerings at the temple.

Hari Raya Nyepi, the Silence Day

The month of March brings us Nyepi - Bali's official day of silence (24hrs). Nyepi marks the first day of the Balinese Saka calendar (1929) and is practiced island-wide where the Balinese dedicate an entire day to introspection and spiritual cleansing, embarking on a new year based on the Balinese lunar calendar.
Nyepi is my favorite day of the year. The night before the silence begins, there is an island wide parade of paper mache monsters (Ogoh-Ogoh) sent about making a rukus to scare evil spirits off the island, back to where ever they came from. Starting from approximately 6 a.m. on Friday, March 23 and continuing until 6 a.m. the next morning, EVERYONE will stay in their family compounds (or hotels) and silence will overcome the island. There are no cars, no tv's or loud radios, no lamps or fires and no airplanes overhead as the airport is closed. This is the only place in the world where the government will shut down an airport for meditation & introspection!

Waisak, is an annual holy day honoring:

• The Birth of Prince Siddharta (also known as the Buddha) in taman Lumbini in 623 BCE.
• Prince Siddharta achieving nirvana or enlgihtenment and becoming the Buddha in Buddha Gaya at the age of 35 in 588 BCE.
• Buddha Gautama's death in 543 BCE at the age of 80.

Waisak is celebrated in Bali mainly at the very few Buddhist ashrams on the island. There is a huge celebration at Borobudur Buddhist temple outside of Jogyakarta when thousands of Buddhist pilgrims come to pay their respects.

taken from : http://www.balispirit.com/events/bali_ceremony_ritual.html