Bali Travel News

On 6 March 2008, Hindu devotees in Bali will celebrate the Çaka New Year that is commonly known as Nyepi or Silence Day. The Çaka year calendar system was begun in 78 AD; therefore, the year 2008 becomes Çaka New Year 1930. So, what are they doing in welcoming the New Year?

According to its name, Nyepi or Silence, is a ‘tranquil’ ambience. On that day, the Island of Bali is lifeless. No activities. Every street is silent. From Canggu to Seminyak, from Jimbaran to Ubud every where the road will be empty. On the day, Hindu’s performs Catur Brata Penyepian or four abstinences, Amati Geni (non-fury), Amati Lelanguan (no extravagant parties, devotees usually perform fasting), Amati Lelungan (going nowhere), Amati Karya (abstain from doing regular or negative activity like gambling etc.). One day after Nyepi is Ngembak Geni. Devotees resume to perform worldly activities and it is taken advantage of to carry out an informal and friendly day in which they visit each other, their family and relatives.

Tourists are advised to stay at their hotels.

Topeng literally means “pressed against the face” or mask. All actors in Topeng dramas are masked refined characters wear full masks; clowns and servants sport a half- mask which facilitates speaking. Topeng is a tremendously popular form in Bali, as it relates local lore and historical tales concerning the royal lineages in scenes of everyday life. Topeng is also immensely entertaining, as the use of humor and clowns is extensive.

The first dancers to emerge are the pengelembar or introductory characters — three or four ministers at the court. Next to appear is the penasar, by far the most important character in the play. His role is a combination of storyteller, royal servant, stage director, and at times music conductor. He extols the virtues of the king in a sung soliloquoy alternating between Kawi and Balinese. As in many dance dramas, form takes precedence over plot.

His younger brother and sidekick Kartala then comes out and the two engage in slapstick antics. Both the penasar and Kartala wear half-masks and speak in colloquial Balinese. The king then appears, moving with delicate steps and thus showing his refined nature. He gestures — as his full mask prevents him from speaking — and the penasar translates for him.

Inevitably there is a kingdom to conquer or a person to rescue. The servants of an opposing king appear and more clowning takes place. Often a series of masked dancers with grotesque features appear one at a time under the guise of joining the king’s army or going to pay homage at the palace. Here, the audience goes wild. Masks with three sets of teeth, burlesque women — even tourists in cock-eyed berets appear on the scene. If the audience is receptive, these antics could go on for hours. Imbedded in the joking, however, are values of religious piety and honesty that the Balinese treasure. Topeng, along with the wayang kulit shadow play, is the primary medium through which Balinese history, values, and even a knowledge of current events are transmitted. In the end, the two factions contend, and the “bad guys” admit defeat.