Pasek Tangkas - Arya Tangkas Kori Agung

Some religious ceremonies in Bali are usually completed with sacred or wali dances. They are closely related to the procession of the ceremony. By its absence, it may be considered incomplete, as this dance constitutes a part of the ritual itself. And,

of course, they are always performed in sacred places like at temples and other areas where the ceremony takes place.

For hundreds of years ago, wise men and yogis have practiced meditation and extolled the benefits. In today’s hectic world there is no better time to take up meditation.

What is Meditation?
In simple terms, meditation is quietening your mind. If you stop for a moment and watch your thoughts you will notice that you are always thinking. You may be worrying about this and that, planning something, replaying earlier events or conversations. All the time your mind is an incessant chatterbox. With meditation you can clear your mind, quieten and even stop, the chatter - and reap enormous benefits.

Why Meditate?
The benefits of meditation are immense. Practicing meditation regularly has been shown to reduce stress and lower blood pressure. Living a calmer life allows you to live longer and more happily, you look younger than your years, and you are much more able to cope with life’s inevitable setbacks and difficulties.

Meditation has also been shown to increase alpha brainwaves. Alpha brainwaves are the type of brainwaves used in creativity and problem solving. The more you meditate the more creative you will become which could lead to both personal and professional breakthroughs.

How Do You Meditate?
There are tapes and CDs available to help guide you into a meditative state but they are not necessary. All that you need is to find a time and place where you can relax and not be disturbed. The environment should be quiet and comfortable. You can play soothing, quiet music if you wish.

The intention is to relax your mind. One way to do this is to focus on an object or a sound to occupy the mind and stop it chattering on about anything else. Some people who meditate focus on a candle flame or a flower. Or you could close your eyes and focus on a sound in your mind, such as Ah-umm or Ohmm.

The most important thing to remember about meditation is not to force anything.

Meditation is not concentrating, it’s not forcing, it’s not even trying. Meditation is relaxing and allowing. It is Being.

When Do You Meditate?
You can meditate at any time you choose - morning, noon and night. You can even fit in a session of meditation during your lunch break from work. There are no rules about meditation. See what works for you. And equally, there are no rules about how long you should meditate. If you can only manage five minutes a day you will still feel the benefits after a very short period. Some of the Eastern holy men meditate for hours, or even days, at a time. While their experiences might be more heightened than yours, it really isn’t necessary to meditate for great long periods.

Meditation is easy. Meditation is relaxing. And meditation is very good for you - try it and see for yourself.

Bali Art Festival had been held for thirty times since it was proposed for the first time in 1979 by the late Prof. DR. Ida Bagus Mantra, who also the former’s governor. A lot of people still taken a great interests especially the artists both locally, nationally and internationally to the annual cultural event in Bali. Each year all participants of them always come and participate into the yearly event.

The Bali Art festival is already 30 years, three decades in its journey of cultural event in. it would become a good moment for developing and building art and culture as well as economy development because the annual event will be along with commemoration of 50 years anniversary of Bali Government and 100 years anniversary of Indonesia National Identity and also to succeed the Visit Indonesia Year 2008.

The Thirtieth Bali Art Festival 2008 will be held from June 14 until July 12 and this year theme as the cultural event overall is "Citta Wretti Nirodha—Self Restrain toward Balance and Harmony". The Thirtieth Bali Art Festival 2008 will be presented the masterpiece of art and culture to be appreciated by people.

The most awaited in the Bali Art Festival is the opening ceremony which always involved more than 300 artists to parade and perform on the street and in front of the stage of honor where Indonesian President usually open the festival officially. It is planned that President Yudhoyono will attend and open the Thirtieth Bali Art Festival. The opening ceremony will be held in Bali People Struggle Monument at Renon Square, Denpasar and from there, those artists will be marching down to Bali Art Center Werdhi Budaya at Jalan Nusa Indah Denpasar.

The Thirtieth Bali Art Festival 2008 will also be held international events along the 29 days of art festival like Asia Dance Music Festival and International Shadow Puppet Festival. Also from national scope of event are Java and Bali Art Ambassadorial Students (Jakarta, West Java, East Java, Central Java, Jogjakarta, Banten and Bali), Traditional Art and Handicraft Festival, Indonesian Keroncong Festival and from Bali will present maestro's masterpieces performance parade, colossal ballet, drama gong play, Legong Mask and many more to be enjoyed in a 29 days of festival.

The Thirtieth Bali Art Festival will also hold many contests and competitions for house making ladies, children, teenagers, and students. Beside contest and competition, Bali Art Festival will also held a full month exhibition for industrial products, handicrafts, designs, book exhibition, photo exhibition, painting and also architecture exhibition.

The Bali Arts Festival always taking place when the school holiday is on the way to attract students to involve and actively taking part in the Bali's biggest festival as performers, competitors or just visitors. Bali Arts Festival is indeed a positive influence for students and people.

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

The lion barong is one of five traditional Barong. In Bali each region of the island has its own protective spirit for its forests and lands. Each Barong for each region is modeled after a different animal. There is a boar, a tiger, a dragon (or serpent) and the traditional lion. The lion is the popular one as it comes from the Gianyar region where Ubud (the home of tourist viewed ritual) is located. Within the calonarong, the dance drama in which the Barong appears, the barong responds to Rangda's use of magic to control and kill her to restore balance.

Rangda mean is the demon queen of the leyaks in Bali, according to traditional Balinese mythology. Terrifying to behold, the child-eating Rangda leads an army of evil witches against the leader of the forces of good - Barong.

It is suggested that Rangda may be derived from the 11th century JavanMahendradatta who was exiled by the king, Dharmodayana, for allegedly practising witchcraft against his second wife. The tale surrounding this is that she proceeded to take her revenge by killing off half the kingdom, which by then belonged to her and Dharmodayana's son Erlangga, with plague before being overcome by a holy man. The name Rangda means "widow". queen

Rangda is important in Balinese culture, and performances depicting her struggles with Barong or with Erlangga in that tale are popular tourist attractions as well as tradition. She is depicted as a mostly nude old woman, with long and unkempt hair, pendulous breasts, and claws. Her face is traditionally a horrifying fanged and goggle-eyed mask, with a long, protruding tongue.

Bali is a Hindu island, and it is suggested that Rangda may also be associated with Durga, the Hindu mother warrior goddess, and Kali, the black mother goddess of destruction, transformation and protection in Hinduism. While Rangda is seen as fearsome and by many as the personification of evil, she is also nevertheless considered a protective force in certain parts of Bali, much like Kali is seen as a benevolent mother goddess in the Indian states of West Bengal, Assam and Kerala. The colors associated with her - white, black and red - are identical with those associated with Kali. Her iconography is similar to that of both Kali and Chamunda, who are closely related.

Bali has been given many names in its colourful history, one of which is the 'Island of Temples'. Depending on what is classified as a 'temple' in Bali, there are tens of thousands of them scattered throughout the island, each of which has an 'odalan' (anniversary) every 210 days (6 Balinese months).

The temples in Bali range from the household temples or 'Sanggah' to be found in every family compound, through to the 'Kahyangan Tiga', the three major temples of every village, up to the 'Sad Kahyangan' temples that are used for worship by all Balinese, e.g. the temples at Besakih, Tanah Lot, Uluwatu, Batur, etc. With so many temples found throughout Bali, each having its own day for its 'odalan', visitors to Bali will rarely miss an opportunity to be able to witness one of these occasions somewhere in the area that they are staying. Depending on the cycle of 'odalan', the ceremony will either be a small one-day event or a larger ceremony, stretching over several days, depending on the number of people who will be coming to help in its celebration. For the larger 'odalan' of the 'Kahyangan Tiga', visitors come to pray from neighbouring villages, with long and colourful processions of people dressed up in their finest accompanying their 'barong' (something like a Chinese Dragon, a holy heirloom of the temple considered to be the protector of the village) as well as an escort by their village 'gamelan' (orchestra). These occasions are most important for the communal harmony of the Balinese, where whole villages will descend upon another village to pray at their 'odalan', adding their blessings for the success of the occasion. At such times the village holding the 'odalan' will organise a number of performances to help to entertain their many guests, as well as adding more to the blessing of the temple. Going well into the night, there might be a number of different performances, including a variety of the more classical dance performances enacting various stories of Hindu scripture, or Topeng (Mask Dance), Arja (Balinese Opera), or perhaps the most riveting of all of the performances, the Calonarang, an enacting of the eternal struggle between the Barong and Rangda.

As with other public ceremonies held by the Balinese, visitors to Bali are very welcome to attend an 'odalan' if they so wish, as long as they are ready to observe dress requirements & do not interfere with the proceedings of the ceremony. We help our guests with any questions that they might have about a particular ceremony, as well as give assistance with dress requirements needed. In this way we hope our guests will be able to develop a deeper understanding of the complex life of the Balinese.

Ngaben or the Cremation Ceremony is the ritual performed to send the dead through the transition to his next life. The village Kul Kul, hanging in the tower of the village temple, will sound a certain beat to announce the departure of the deceased. The body of the deceased will be placed at Bale Delod, as if he were sleeping, and the family will continue to treat him as if he were still alive yet sleeping. No tears are shed, for he is only gone temporarily and he will reincarnate into the family.

The Priest consults the Dewasa to determine the proper day for the ceremony. On the day of the ceremony, the body of the deceased is placed inside a coffin which is then placed inside a sarcophagus in the form of a buffalo (called Lembu) or a temple structure called Wadah made of paper and light wood. The Wadah will be carried to the village cremation site in a procession.

Rejang dance is one type of ceremonial dance. The dance is used to welcome the descendent God during temple ceremonies along with other ceremonial dance like warriors dance (baris gede). Rejang is normally performed in groups by young girls in the middle or inner yard of the temple. While Baris Gede is performed by group of men or boys.

Here are some of the pictures I took from several occasions. They include rejang in Tenganan village with their famous and expensive double ikat woven cloth. Also Rejang of Asak with round distinctive headdress and typical pattern of single ‘ikat’. Others are from village of Ngis, Basangalas and Abian Jero, all located underneath of Lempuyang village. The headdresses here are dominated with colorful leaves. The clothes are rather common and not uniform but still very colorful. Danced by females, Rejang dance is a procession of those who have just barely learned to walk to those who can barely walk, moving in a slow and stately fashion towards the altar, twirling fans or lifting their sashes. Their costumes range from a very simple attire to an elaborate dress complete with headdress as you would likely find in Tenganan.

Inside the curtain booth, the topeng actor places his masks, all neatly covered with white cloth, in their proper order of appearance. After dedicating an offering, he unwraps the first mask, eyeing it for some time as if he were taking into his personality all that is individual about the character reflected in the immobile face. He quickly puts it on and turns. Already his movements are rendered as dance and a transformation is apparent.

The curtain trembles, the gamelan buds to a fervent pace of expectation, and dancing feet visible behind the curtain slowly lift and settle to the ground. A stoic-looking man with wide eyes and a questionable smile draws apart the curtain. In swift motions of defiance, he hovers inside the booth, uncertain whether to come out or not. He then begins to march forward, gazing inquisitively, putting a finger to his forehead, taking a bit of his clothing, and, in one delicate gesture, letting it drop from his hand. He resolves to dance, radiating the sound of' the gamelan in the vibration of his fingertips and pattering feet. After a few moments, he retreats to the curtain and vanishes.

The curtain shakes again. Suddenly, it is pushed aside in the grand gesture of a buxom movie star stepping into the limelight. There before you stands an extremely shy, effeminate young man who draws a limp hand to his mouth and blushes at his abrupt exposure. Languidly he clings to the curtain. Terribly sweet at heart, he cannot bear everyone laughing at him, which of course everyone is. Feeling he should come out for a moment, he coyly moves on stage, swinging to and fro with his hands dangling in the posture of loose noodles. Helplessly, he just stands there looking ridiculous, unable to move except to flutter his eye lashes, while the audience rocks in laughter. Such abusiveness is too much for him. He quickly seeks sanctuary behind the curtain. Thus was the introductory display of masks for one performance of Topeng. Both the stoic and the clown were enacted by one man-the principal Topeng actor, who by changing his mask impersonates a series of different characters.

Topeng means something pressed against the face-a mask. Topeng masks survive from the 1 6th century. Today's mask play, commemorating historical exploits of local kings and heroes, was influenced by the traditional Gambuh dance. Often called the "chronicle play", Topeng stories are drawn from the babad literature, genealogical histories of important noble families, set in the villages, kingdoms and temples of Bali.

The medium of a mask play necessarily alters the telling of history. The borderline between fact, legend, and the miraculous has little importance in Topeng, in which many episodes include divine intervention or acts of magic.

The intent is not to reconstruct exact personalities of the past, but to portray their types: sweet or manly, heroic or simple-minded. The noble characters, usually a king and his family, dance in the refined style. Their stature is so lofty, they do not design to speak and express themselves only in pantomime. They are accompanied by two clumsy clowns, who wear half-masks which leave their mouths free to talk as interpreters for their dignified masters. Along with the nobility and clowns is always a marvelous display of crude caricatures, whose sole function is decorative and entertaining. There are many forms of Topeng, depending upon the set of masks used and the style of the performers. A popular solo performance is the classical Topeng Tua, representing the movements of an old man. In a normal Topeng play, three or four actors, usually all men, impersonate the characters. A full set of Topeng masks, numbering from thirty to forty, belongs to the principal Topeng actor who is responsible for the series of eccentric personalities that produce the comedy of the play. To watch a good Topeng actor is truly inspirational. Through an endless resource of bizarre mannerisms and tones of speech, he manages to concentrate the whole of human folly into one serial panorama of grotesquely masked comics.

In Bali, many religious activities performed by the people, in devotional, magical and artistic spirits. They are kind of social affairs that bond people together. Prayer, music, dance, song, painting, carving, beautiful offering, flower, incense, fragrance, costume, etc. all give their charm to the activities. It is not like some people might think about some form of Hindu rituals, yoga practice in all of it's form, various postures, meditation, liberation through quest for knowledge for the absolute, through selfless actions, even fasting and penance, etc. The Balinese practice more on the devotional aspect of Yoga, known as the path of Bhakti.

Some people even think that the Balinese practice more the form of animistic rituals rather than practicing ritual of one of the world greatest religions. Other people still call the religion of the Balinese Hindu Bali. In fact that is not true. The Balinese learn, practice and have the spirit of Hindu Dharma religion more than other form of animistic and primitive religions, without losing respect to the later religions mentioned.

Sure that the Balinese have many things that still need to enhance, in the ritual, daily life, the quest for the ultimate, etc. in order to achieve the goal stated by Hinduism as the goal of Dharma; it is soul liberation and earthly welfare for all sentient beings. No direct meaning of Dharma in English, but we can say that it's include righteousness, duty and cosmic order.

The following are some fundamentals of Hindu religion which also called Sanatana Dharma
( Eternal Dharma ) as learned to be practiced by the Balinese.

Tri Pramana, three means to know something:
1. Agama Pramana, through knowledge from the scripture and sage.
2. Anumana Pramana, through experiment and analytical study.
3. Pratyaksa Pramana, through direct experience.

Panca Shrada, five holy convictions:
1. Belief in the existent of the ultimate One.
2. Belief in the existent of the Soul.
3. Belief in the existent of Karma Law.
4. Belief in the existent of Reincarnation.
5. Belief in the existent of Moksa or Liberation.

Tri Guna, three intrinsic qualities of matter:
1. Satwam, truth and goodness.
2. Rajas, active and full of passion.
3. Tamas, passive or inertia.

Catur Asrama, four stages of life:
1. Brahmacari, learning knowledge and wisdom.
2. Grehasta, build a family, collecting wealth.
3. Wanaprasta, toward more spiritual life.
4. Sanyasin, renounced earthly matter.

Catur Yoga, four ways to achieve unity with Brahman or the absolute:
1. Jnana Yoga, unity through knowledge and wisdom.
2. Bhakti Yoga, unity through devotion.
3. Karma Yoga, unity through selfless action.
4. Raja Yoga, unity through spiritual practice or meditation.

Catur Warna, four professional division of society:
1. Brahmana, religious matter profession.
2. Ksatrya, political and military profession.
3. Waisya, business profession.
4. Sudra, employee and physical work profession.

Tri Warga, three means to achieve Moksa or liberation:
1. Dharma, righteousness.
2. Artha, financial.
3. Kama, pleasure or desire.

One of the messages is, whenever we collect material things or wealth, and whenever we enjoy pleasures, we should always do such things in accordance or based on Dharma or truth.

Sadripu, six enemies:
1. Kama, pleasure or desire.
2. Lobha, greed.
3. Krodha, anger.
4. Mada, drunk or under influence of strong emotion.
5. Moha, confusion.
6. Matsarya, jealousy.

Sadatatayi, six types of sadistic killer:
1. Agnida, burn other belonging.
2. Wisada, poisoning.
3. Atharwa, practicing negative magic.
4. Sastraghna, run amok.
5. Dratikrama, raping.
6. Rajapisuna, slandering to the result of some one death.

Saptatimira, seven darkness or drunkenness:
1. Surupa, beautiful face.
2. Dhana, wealth.
3. Guna, knowledge.
4. Kulina, genealogical matter.
5. Yowana, youth.
6. Sura, alcoholic or unhealthy drink.
7. Kasuran, victory.

Trikaya Parisudha, three type of conducts that should be purified:
1. Kayika, physical action.
2. Wacika, speech.
3. Manacika, thought.

Panca Yama Brata, five things concerned with moral life:
1. Ahimsa, non violence.
2. Brahmacari, self control on passion.
3. Satya, faithful or sincerity.
4. Awyawaharika, act based on peace and sincerity.
5. Asteya, non stealing and non cheating.

Panca Niyama Brata, five things concerned with moral life:
1. Akrodha, not controlled by anger.
2. Guru susrusa, loyal to implement the teacher's teaching.
3. Sauca, purity of body and mind.
4. Aharalagawa, eat as much as needed.
5. Aparamada, sincerity in learning and practicing holy teaching.

Dasa Yama Brata, ten things concerned with moral life:
1. Anresangsya or Arimbawa, not egoistic.
2. Ksama, forgiving.
3. Satya, faithful or sincere.
4. Ahimsa, non violence.
5. Dama, able to advice one own self.
6. Arjawa, honest in defending the truth.
7. Ijya, loving all creature.
8. Prasada, purity of heart and never thinking about reward.
9. Madurya, polite and have good manner.
10. Mardawa, humility.

Dasa Niyama Brata, ten things concerned with moral life:
1. Dana, giving charity.
2. Ijya, devotion to the absolute and ancestors.
3. Tapa, self exercise for self endurance.
4. Dhyana, focus to the absolute.
5. Swadhyaya, learn and understand the holy teaching.
6. Upasthanigraha, controlling sexual desire.
7. Brata, faithful to one own oath.
8. Upawasa, fasting.
9. Mona, controlling speech.
10. Snana, purifying the body-and-mind, and praying.

Veda scriptures often mention sacrifice, in which Brahmana groups often refer to this as physical religious sacrifice such as using fire, water, food etc. Although some other Vedic scholars and Hindu sages refer to this as a general sacrifice that can be performed and offered by human, this include non-egoistic actions, learning knowledge and wisdom and propagate them to the society, devotion, etc. which is not always associated with physical religious offering. In Bali today, the first mentioned meanings of sacrifice is more prominent, although some more philosophical based Ashram and Hindu or Dharma religious groups has born in Bali to bring forward also their more philosophical meanings.

Panca Yadnya, five sacrifices:
1. Dewa Yadnya, sacrifice to God.
2. Pitra Yadnya, sacrifice to ancestor.
3. Rsi Yadnya, sacrifice to sage.
4. Butha Yadnya, sacrifice to nature and its spirit.
5. Manusa Yadnya, sacrifice to people and society.

Other mantras from Veda and other Hindu scriptures familiar to the Balinese are the followings.

Besakih is known as the ‘Mother Temple’ in Bali. The largest and most important temple on the island, it sits on the western slopes of Gunung Agung along with 6 Balinese people and had a good experience. Visitors to Bali will be offered a trip to Besakih temple, by touts and streetside travel agents in Kuta and other places. Your experience may not turn out exactly as you had imagined though.

Besakih temple is really a collection of temples, sprawling down the hillside and its sheer size means it has become a tourist trap. When I visited with my Balinese friends, we arrived at 10pm, the touts, guides and hawkers mostly gone. During the day its a frenzy of activity.

Balinese people often visit Besakih temple to receive blessings and lay offerings at certain shrines. Special calendar dates are more auspicious than others and during a big ceremony it can be an impressive sight. The fact that Besakih is sprawling and that so many people have attached themselves to it, for commercial reasons, often takes away from the experience, for tourists. Best times of day to visit for a real feeling of the place are early morning and late at night, when the temple is more empty and quiet.

Many local Balinese men earn their living at Besakih as ‘temple guardians’. This title is self created, and they basically want to use the place as a turnstyle, charging you money for having them walk turn round.

One aspect of a Balinese temple is that worshippers will bring offerings. Besakih gets visitors from all over the island and the temple can appear strewn with the remains of the last days offerings, plastic bags, paper and drink containers. Quite the opposite of a church or mosque.

•How to get to Besakih temple:
You can get to Besakih from Kuta, by heading to Sanur, then taking the Kusamba Bypass to Klungkung. Head north through Klungkung, taking the righthand turnoff at Menanga to Besakih. The journey fom Kuta should take about 3 hours.

Many westerners have become Balinese through the Suddhi Wadani ceremony and the Manusa Yadnya (ceremony for human) ceremony. Suddhi Wadhani ceremony can be paralleled with taking a vow ceremony. In this ceremony someone make a vow to become a Hindu follower, but in order to become a Balinese another series of ceremony have to be performed. To be a Balinese someone has to be “reborn” in Balinese way. A Balinese is given various ceremony since he/she in the womb of his/her mother until he/she pass away, even long after he/she passed away a ceremony is held for him/her.

The series of ceremony is begun with the magedong-gedongan housing of the soul) ceremony on the seventh month of pregnancy. Next ceremony is birth ceremony; it is celebrated by welcome to the world ceremony (penyambutan). Next ceremony is ceremony of seven day for the fall of the umbilical cord (kepus pungsed), followed by the ceremony of the twelfth day, the forty-two day ceremony and the third month ceremony. Upon this third month ceremony, the child is allowed to touch the ground and given a name. After these ceremonies, there will be an otonan ceremony (Balinese birthday ceremony).

Contrary to most of people in the world who are so interested with their birthday party that they are fond of creating something to make their birthday to be a luxurious moment, Balinese prefer to celebrate their birthday with spiritual touch. Balinese call it otonan.

Otonan is quite different from common birthday party. It is held twice a year because its celebration is based on wuku. Wuku itself is based on Balinese Pawukon system in which each cycle consists of 30 wuku. Each Wuku lasts for a week; so a cycle comprises of 210 days. The wuku is a bit similar of zodiac; each name reflects characters of someone who was born on that wuku. What wuku and day a Balinese was born; on that same wuku and day the otonan is held. This birthday celebration needs not a fancy dress because Balinese use only simple traditional dress on that celebration.

Every Saniscara, Umanis, Wuku Watugunung, they celebrate Saraswati Day, the knowledge day. It is based on the Pawukon (Balinese calendar) system and the Saniscara (seven day cycle).

The name Saraswati came from "Saras" meaning flow and "wati" meaning a women. So, Saraswati is symbol of knowledge, its flow (or growth) is like a river and knowledge is very interesting, like a beautiful women.

Saraswati is the Goddess of Knowledge, symbolized by a beautiful woman with four hands, riding on a white swan among water lilies to tell humanity that science is like a beautiful woman. Her hands hold a palm leaf; a lontar, (a Balinese traditional book which is the source of science or knowledge); a chain (genitri with 108 pieces) symbolising that knowledge is never ending and has an everlasting life cycle; and a musical instrument (guitar or wina) symbolising that science develops through the growth of culture. The swans symbolise prudence, so that one's knowledge may distinguish between good and evil and the water lilies (Lotus) are symbols of holiness. The Lotus flower is the holiest for Balinese.

In the afternoon of Saraswati day we are not permitted to read or write the book because all the books are offered. In the evening, called Malam Sastra, people read books (especially religious books) in their houses or in the temple.

• Pangredanan (the day before Saraswati)
  This is the day of preparation. All the books and lontar are collected together, cleaned and dusted.
• Saraswati Day
  Saraswati day itself is celebrated by the Balinese people bringing offerings to their holy books and scrolls in their houses, while students celebrate it at school, usually in the morning, and the office-workers in their office. The philosophy of Saraswati day is that the most important thing for human life is knowledge.
• Banyu Pinaruh
  The day after Saraswati Day is Banyu Pinaruh day. "Banyu" means water and "Pinaruh" mean wisdom. In other words, we must have wisdom which always flows like water and which is useful for human kind. We pray for Dewi Saraswati (manifestation of God) to give us cleverness and wisdom. The people usually take a bath in the sea or a lake or river and drink traditional medicine which is made from many various leaves which is very good for our health. The philosophy of Banyu Pinaruh day is the second most important thing for human life is good health.
• Soma Ribek
  Two days after Saraswati Day, on Soma (or Monday), Pon, Wuku Sinta, is Soma Ribek day. "Soma" meaning Monday, and "Ribek" meaning full. On this day, Balinese bring offerings to the rice box. They thank God for food and beverage in their lives and pray to Dewi Sri (Goddess of prosperity, manifestation of God) to give prosperity. This celebration remind them to be selective when choosing food and not to over eat to improve their health. The philosophy of Soma Ribek day is the third most important thing for human life is food and drink.
• Sabuh Mas
  Three days after Saraswati Day, on Anggara (or Tuesday), Wage, Wuku Sinta, is Sabuh Mas day. "Sabuh" means belt, and "Mas" mean gold. On this day, Balinese bring offerings to the deposit box or the place where they keep their jewelry. They thank Mahadewa (manifestation of God) for cloth, money, gold, etc in our lives. This celebration remind them to be selective when spending money. The philosophy of Sabuh Mas day is the fourth most important thing for human life is cloth and gold, etc.
• Pagerwesi
  Four days after Saraswati Day, on Buda (or Wednesday), Kliwon, Wuku Sinta, is Pagerwesi day. "Pager" meaning fence and "Wesi" meaning iron. On this day, Balinese pray to Sang Hyang Pramesti Guru (manifestation of God). All Balinese have offerings to their Sanggah (temple in their home) and at all of their temples. This is the second biggest holiday after Galungan day for the Balinese. The philosophy of this celebration is that they must keep knowledge, health, food, cloth and gold high in their lives to keep the universe in balance.

The Tumpeks occur when the sixth day of the seven-day week falls on fifth day of the five-day week, Keliwon. There are therefore six of them in each Balinese year of 210 days. The common characteristic of Tumpek ceremonies is that they show respect for objects. Man-made objects, when completed, are brought to life through special ceremonies. This applies to houses, temples, masks, puppets, musical instruments and weapons. Thereafter they must be treated with respect and given offerings.

They are: