Should a temple be seen as a work of art, its carvers as artists, its worshipers as art critics and patrons? What is a temple (and its art) to the people who make and use it? Noted anthropologist Hildred Geertz attempts to answer these and other questions in this unique look at transformations in material culture and social relations over time in a village temple in Bali. Throughout Geertz offers insightful glimpses into what the statues, structures, and designs of Pura Désa Batuan convey to those who worship there, deepening our understanding of how a village community evaluates workmanship and imagery. Following an introduction to the temple and villagers of Batuan, Geertz explores the problematics of the Western concept of "art" as a guiding framework in research. She goes on to outline the many different kinds of work—ideational as well as physical—undertaken in connection with the temple and the social institutions that enable, constrain, and motivate their creation. Finally, the "art-works" themselves are presented, set within the intricate sociocultural contexts of their making. Using the history of Batuan as the main framework for discussing each piece, Geertz looks at the carvings from the perspective of their makers, each generation occupying a different social situation. She confronts concepts such as "aesthetics," "representation," "sacredness," and "universality" and the dilemmas they create in field research and ethnographic writing. Recent temple carvings from the tumultuous and complex period that followed the expulsion of the Dutch and the increasing globalization and commercialization of Balinese society demonstrate yet again that any anthropology of art must also be historical.

This is the first study to examine in detail ritual objects known as 'Lamak', a fascinating and unique form of ephemeral material culture which is a prominent feature of Balinese creativity.

"The best book on Bali for the serious visitor…Has the freshness of personal experience."--Dr. Hildred Geertz, author of Kinship in Bali and Professor of Anthropology at Princeton University In Bali, what you see--sekala--is a colorful world of ceremony, ritual, dance, and drama. What you don't see what is occult--niskala--is the doctrine underlying the pageants, the code underlying the rites, and the magic underlying the dance. In this book, author Fred Eiseman explores both tangibles and intangibles in the realm of Balinese religion, ritual, and performing arts. The essays collected here topics ranging from Hindu mythology to modern gamelan music. Eiseman's approach is that of a dedicated reporter in love with his subject--he has the knowledge and patience to explain the near-infinite permutations of the Balinese calendar, and yet he is still moved by the majesty of the great Eka Dasa Rudra ceremony. The author's 28 years experience on the island shows and this book rewards close reading--even by the most seasoned students of Balinese culture.

In Storytelling in Bali, Hildred Geertz makes a case for the importance of the role of informal storytelling as an engine of social change in Bali in the 1930s. This is a study of more than 200 texts dictated by the painters of the village of Batuan in 1936 to the anthropologist Gregory Bateson. It is completed by three years field work in Batuan in the 1980s. The tales reveal a set of strong ambivalences about the magical powers of kings, priests and sorcerers, and about social strains within villages and families. These narratives were related in the daily settings of home and coffee shop and also in the spectacular dance-dramas of the time.

The rich religious tradition and architecture of Bali are on display in this informative guidebook. Bali is an island with literally tens of thousands of temples, a proliferation of religious architecture probably not equaled anywhere else in the world. Each temple is like a model of the universe in miniature, reflecting Balinese assumptions about the nature of the universe and man's place in relation to the gods, the ancestors, and the rest of creation. This book is intended as a general introduction to the architectural symbolism of the typical Balinese temple and the cosmological significance of its layout. The informative text is complemented by dozens of watercolor illustrations and will provide a useful guide to many of the temples that the reader is likely to visit during a stay on the island.

Tales from a Charmed Life is the last in a trilogy of works by Hildred Geertz exploring the complexity of Balinese history, religion, and society. A landmark study by one of the most distinguished anthropologists of Indonesia, it centers around the stories and paintings of Ida Bagus Madé Togog (1913–1989), an artist and ritual specialist who played a significant role in the history of Balinese ethnography. In the 1930s, Togog was central to Mead and Bateson’s pioneering studies of "Balinese character" and came under the influence of expatriate artists Walter Spies and Rudolf Bonnet to emerge as a major representative of the Batuan style of painting. Togog’s art and anecdotal stories of his most memorable life experiences are here interwoven with Geertz’s illuminating commentary to construct an innovative framework for understanding Balinese culture. Togog shares stories of his early life, relating dilemmas from his childhood and youth. Growing up in the wake of Dutch colonization, he came into contact with new languages, customs, and economic opportunities that presented him with puzzling and poignant experiences. He tells of his association with Spies and Bonnet and later Mead and Bateson and his role in the creation of a genre of painting for which Bali is now famous. This is a view of Bali from the inside—a vivid, highly personal look at a world where spirits, ancestors, and sorcerers have the power to intervene in one’s life. According to Togog, who narrowly escaped death numerous times, his was indeed a "charmed life." The other volumes in the trilogy are The Life of a Balinese Temple: Artistry, Imagination, and History in a Peasant Village (2004) and Images of Power: Balinese Paintings Made for Gregory Bateson and Margaret Mead (1994).

This easy to read introduction to Bali Indonesia tells of my journeys to this magical island and why a visit is highly recommended. You will learn about traditional healing, cremations, Balinese culture and get insight on how to travel to see the real Bali. Anyone planning a trip to Bali will get a introduction which will made their journey more meaningful and exciting. Through my personal stories during my many visits to Bali, I hope I will entice you to travel to this special destination and help you avoid getting caught in mindless travel. You will learn how to navigate the "Real Bali". Although you may not have a reservation to Bali yet, you can still prepare, dream, travel in your mind and get a taste of what your visit would be like. If you have already been to Bali this book will bring back wonderful memories you can relive and cherish. Testimonial by Alan Cohen “This inspiring book powerfully captures the beauty, mysticism, and culture of one of the most extraordinary places on the planet. Dr. Mel Borins has achieved a remarkable feat in a short space: revealing, honoring, and celebrating an island and people who bring a rare treasure to the planet. If you have never visited Bali, you will want to go. If you have visited, this book will deliver to you the delicious fragrance you remember. You will also find here keys to healing body, mind, and spirit. Many Kudos to Dr. Borins for blessing us with a vision that nourishes the soul.”

Covering the history of Bali from before the Bronze Age to the presidency of Megawati Sukarnoputri, this examination highlights the ethnic dynamics of the island and its place in modern Indonesia. Included is an analysis of the arrival of Indian culture, early European contact, and the complex legacies of Dutch control. Also explored are the island's contemporary economic progress and the environmental problems generated by population growth and massive tourist development.

"Bridges to the Ancestors effectively reveals the Lingsar festival as a site of cultural struggle as Harnish explores how history, identity, and power are constructed and negotiated. He addresses the fascinating interaction between music and myth and the forces of modernity, globalization, authenticity, tourism, religion, regionalism, and nationalism in maintaining "tradition.""--Jacket.