Bali, sparkling jewel of the Indonesian archipelago with its magical mixture of Balinese culture and tropical weather, is located 8 degrees south of the equator. It is one of the country's 33 provinces with the provincial capital in Denpasar towards the south of the island.  Bali is home to a population of over 3 million, the vast majority of which are Indonesia's small Hindu minority.  Bali is also the largest tourist destination in the country and is renowned for its highly developed arts, including dance, sculpture, painting, leather, metalworking and music. 

Bali lies between Java in the West and Lombok in the East.  The island is 153 km long and 112 km wide (95 by 69 miles) with a surface area of 5,633 km².  It is famous for its beautiful landscape. A chain of six volcanoes, between 1,350 meters and 3,014 meters high, stretches from west to east. There are lush tropical forests, pristine crater lakes, fast flowing rivers and deep ravines and picturesque rice terraces and fertile vegetable and fruit gardens cover its alluvial plains. 
 

The island is surrounded by coral reefs.  The beaches in the south tend to have white sand while those in the north and west have black and grey volcanic sand.  Bali has two active volcanoes.  Mount Agung, Bali’s highest peak, rises to an impressive height of 3,142 m (10,308 feet).  It last erupted in March 1963.  An eruption around 30,000 years ago, from Mount Batur, Bali’s second active volcano was recoded as of one of the largest known volcanic events on Earth.  The mountainous region covers Bali from its centre to the eastern side of the island.  It is due to this terrain that the roads tend to follow the crests of the ridges across the mountains and the coast.  

Casa Artista is located near to Seminyak Beach, one of Bali’s trendiest areas. Within walking distance, you will find many chic boutiques offering a wide range of comfortable styles. Local art galleries and a wide variety of home decorating shops are also located within walking distance of Casa Artista. 
 
 

BALI’S FAMOUS DISTRICTS 
 

Seminyak 
 

Seminyak is the most upmarket of the west coast's beaches, with high-end accommodation and mostly high-end restaurants and bars to serve its residents. The atmosphere is more sophisticated and laid-back than Kuta, and the beach in particular is quieter during the day, although this area too is developing fast. 
 

The northern end of Seminyak's Petitenget Beach is administratively a part of Kerobokan, although the actual village of this name is some four kilometers further inland. 
 

Kuta  
 

Only 10 minutes away from Casa Artista, Kuta, is famous for its classic surf with waves that break over sand instead of coral. 
 

The beach was first discovered by surfers and hippies in the 60's and has now become known around the world, not only for its waves but also for magnificent sunsets, shopping and nightlife. Once a sleepy fishing village it is now a tourist Mecca with a year-round free-form beach party of surfers, hippies, visitors and vendors.  It is truly the centre of tourism and entertainment in Bali. 
 

Sanur beach 
 

Almost on the direct opposite of Kuta, on the south-eastern coast of Bali, Sanur has a 1km long white sand beach protected by a coral reef.  The surf is gentler here than other areas of the island which makes it the ideal place to relax, enjoy the sun and go snorkeling.  It is also an excellent place to watch the sunrise. 
 

Sanur is a very mellow town that embraces tourists yet retains the pace of old village life.  The first resort developed in Bali, Sanur maintains Bali’s largest traditional village and only a stones thrown away from the beach, ancient temples stand as solemn as they have centuries past. 
 

It is a place of remarkable contrasts: a golden mile of gorgeous hotels that attract paradise seekers every year, yet, nestled within the grounds of the 11-storey Inna Grand Bali Beach Hotel (a war reparation gift from the Japanese) sits the sacred and special temple of Ratu Ayu of Singgi. 
 

Serangan Island 
 

Serangan is a small island that lies off the Balinese coastline just south of Sanur. The waters surrounding Serangan Island are popular with surfers especially during the wet season when west-south-west winds blow and the waves average 4-6ft. 
 

It has long played an important role in local religious history. Despite its size, there are actually four temple compounds found on the island with Pura Sakenan considered as one of the holiest sites of worship for Balinese Hindus. The origin of Pura Sakenan dates back to around 1250 during the reign of Raja Sri Masula Masuli. Interestingly enough there is also a local ‘Bugis’ community of approximately 300 Muslims who live side by side with the Hindus in complete harmony. 
 

Serangan Island is also known as Turtle Island as it is the nesting ground for the Green Sea Turtle. Unfortunately exploitation of the turtle for its meat and eggs resulted in the near elimination of all the turtles in the area. In 2004 with the aid of international funding a Turtle Conservation and Education Centre was established and the government imposed a strict ban on turtle trading. With local help, the aim of this centre is to nurture the growth of newly hatched turtles and release them at an age where survival rates are quite favourable. The fishermen of Serangan now try to safeguard these ocean creatures to prevent extinction. 
 

Nusa Dua 
 
 

Nusa Dua on the southeastern coast of Bali was specially planned to meet all the demands of well organized tourism. 
 

In Bali, it offers the best, in terms of structure and services.  It is an exclusive complex of 5-star hotels lining its pristine white sand beach, all with inclusive facilities, luxurious shops and exclusive beaches.  Nusa Dua is also the site of a world-class golf course built next to the ocean. 
 

The Beach offers excellent swimming conditions with crystal clear waters suitable for snorkelling and scuba diving.  During the wet season, the outer reef is a popular surf break. 
 
 
 

BALINESE CULTURE & TRADITION 
 

Culture 
 

Anthropologists have suggested that the Balinese are an amalgamation of a number of races; The Chinese from the North, the Indians and the Arabs from the west and other racial groups coming directly to Bali, or by way of Java, from the east.  They are blessed with golden-bronze skin, long, glossy black hair, charm and mystical smiles, happily living in a rich and dynamic culture. Although Bali has been influenced by numerous cultures throughout the ages, there are still pockets of villages where fraternization with outsiders is restricted.  This is a people and a society that is known as the Bali Aga (Old Bali) which allows us a glimpse into the traditional culture of a Bali centuries past. 
 
 

Balinese society is very community oriented.  A person in Bali cannot exist in solitude.  Much of the rituals require massive effort which the village shoulders co-operatively.  Everyone has their role to play; from playing an instrument in the orchestra to dancing in ceremonies.  This too, can be observed in their young.  As the parents go to plant rice or tend to their daily duties, the children, all of whom are seen always on their best behavior, play with their age group but are constantly under careful watch of the older ones.  Fights seldom occur and loud screams or cries are even rarer, as if they have been taught to be at harmony with their surroundings.

The Balinese have an interesting built in population-control mechanism through their naming structure.  In Bali, the first child is called Wayan, the second child is Made, the third child is Nyoman and the fourth, the last, is Ketut.  If one family should have more than four, traditionally, it’s back to Wayan, Made, Nyoman, and Ketut.  The culture discourages a family having more than four children. 
 

Some say that the Balinese people have reached the height of self-contentment.  It is not an exaggeration when a Balinese is asked what heaven is like, he would say, “Just like Bali without the worries of mundane life”.  The Balinese want to live in Bali and be re-incarnated in Bali. This does not imply that the Balinese are resistant to change.  Instead, they adapt change into their own system of living. 
 

Religion 
 

Bali Hinduism is a faith that has roots in Indian Hinduism and in Buddhism.  It adopted the animistic traditions of the indigenes peoples which inhabited the island around the first millennium BC.  This influence strengthened the belief that the gods and goddesses are present in all things.  Every element of nature, therefore, possesses its own power which reflects the power of the gods.  A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. 
 

Balinese Hinduism is deeply interwoven with art and ritual and is less preoccupied with scripture, law and belief than Islam in Indonesia.  In their arts, traditional paintings faithfully depicting religious and mythological symbolism meets with foreign influences that have given birth to contemporary works.  They are free in their creative thinking yet strongly and distinctively Balinese.  Wood and stone carvings, gold and silver crafts parallel the development of paintings, gracefully evolving with external forces to enhance their characters.  In their dance, music and theater is laden with religious connotations again performed mostly to appease and to please the gods and the goddesses.  
 
 

Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour. 
 
 

BALINESE ARTS 
 

Music 
 

Balinese music can be compared to Javanese music, especially that of the pre-Islamic period when Javanese tonal systems were imported to Bali. 
 

Balinese gamelan, a form of Indonesian classical music, is louder, swifter and more aggressive than Javanese music. Balinese gamelan also features more archaic instrumentation than modern Javanese gamelans. The island is home to several unique kinds of gamelan, including the gamelan jegog, gamelan gong gede, gamelan gambang, gamelan selunding and gamelan semar pegulingan, the cremation music angklung and the processional music bebonangan. Modern popular styles include gamelan gong kebyar, dance music which developed during the Dutch occupation. Played with the virtuosity and rapid changes of tempo and dynamics, the music is performed by clubs that generally play their own compositions. 
 

The Balinese Gamelan groups are constantly changing their music by taking older pieces they know and mixing them together as well as trying new variations on their music. Their music is always constantly changing because they believe that music should grow and change; the only exception to this is with their most sacred songs which they will not change. A single new piece of music can take several months before it is completed. 
 

The gamelan usually accompanies dance, Wayang puppet performances, or rituals and ceremonies. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. In Wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. 
 

Other Balinese instruments include bronze and bamboo xylophones. Gongs and a number of gong chimes, are also used, such as the solo instrument trompong, and a variety of percussion instruments like cymbals, bells, drums and the anklung (a bamboo rattle). There are two sizes of bamboo flutes, both used in theatrical music, and a rebab (two-stringed spike fiddle). 
 
 

Traditional Dances 
 

Kecak Dance 
 

The Kecak (pronounced: "KEH-chahk") is a Balinese music drama performed primarily by men, interestingly enough, with no musical accompaniment.  Also known as the Ramayana Monkey Chant, the piece is performed by a circle of 100 or more performers wearing checked cloth around their waists, percussively chanting "cak" throwing their arms in the air.   The men not only provide the rhythm for this dance but also act as the various monkey armies that are featured in the story and as the undulating snake in one of the scenes. 
 

In the 1930s Wayan Limbak worked with German painter Walter Spies to create the Kecak from movements and themes in the traditional ‘Sanghyang’ exorcism ritual and the portions of the Ramayana. This collaboration between artists worked to create a dance that was both authentic to Balinese traditions but also palatable to Western tourist's narrow tastes at the time. Wayan Limbak popularized the dance by traveling throughout the world with Balinese performance groups. 
 

It depicts an epic battle from the Ramayana where Prince Rama fights the evil King Rahwana, with the help of the white monkey army, to rescue his kidnapped wife Dewi Sinta. 
 

It is an impressive dramatic performance not to be missed, especially against the backdrop of the Tanah Lot Temple at sunset. 
 

Barong Dances 
 

The dance presented here is called Barong Keket, the most popular of the Barong Dances. The Barong Keket wears a mask of a mythical lion follower by his friend monkey.

The name of the Barong depends on the animal represented in the Dance. If the mask is of a tiger, ‘Macan’ in Balinese, the Barong is then called Barong Macan.

Barong, a mythical creature with long swayback and curved tail, represents the positive, a protector of Mankind, the glory of the high sun, and the favorable spirits associated with the right and white magic. 
 

’Rangda’, the widow-witch, represents the opposite complement. She rules the evil spirits and witches. Her habitat is darkness and her powers come from the practice of black magic and the destructive force of the left. 
 

Both figures are of the same earthly substance but possessing strong magical prowess. Somewhere in a mythical past, the Barong was won over to the side of humanity and, in the dance, fights on behalf of the people against the intruding death forces of the Rangda. 
 

The barong play represents an eternal fight between Good and Evil. The story of Kunti Sraya, a favorite theme of drama, is derived from the one of the main episodes in the famous Hindu epic, the Mahabarata. It is about Dewi Kunti, the mother of the five Pandawas who for various reasons, has promised to sacrifice Sadewa, one of her five sons to Rangda. 
 

Sanghyang Trance Dance 
 

The Sanghyang Dedari is a ceremonial dance for prayer and ceremony. In this particular dance, the dancers become mediums used to contact the spirit world. 
 

A group of women chant a centuries-old song, calling the divine spirits from heaven to dance in the bodies of the young girls as they kneel before a smoking brazier of incense. The dancers sway to the rhythm of the music and as it increases in tempo they fall senseless to the ground. 
 

They are bodily lifted up by their attendants and hoisted on to the shoulders of men who carry them to place where they will dance. The chorus of song now begins once more and the tiny figures, their eves firmly closed, sway to the music in perfect harmony, following the movements of a simplified Legong. These young dancers have never had lessons, and they could not repeat this performance in a normal state of consciousness. 
 

Sanghyang Jaran Trance Dance 
 

Sanghyang Jaran is a male version of the Sanghyang Dance involving a man who tramples a fire of coconut husks on a horse, ‘Jaran’ in Balinese. The Jaran is represented by a simple hobby-horse of palm leaves. The red hot coals are scattered and the man dances in a trance like a horse, snorting and neighing, seemingly unscathed by his ordeal. 
 

Regular Sanghyang performances are held in Bona and Gianyar enabling those with a short time in Bali to witness these rarely performed dances. 
 
 

Baris Dance 
 

Baris Dance is a traditional war dance that glorifies the manhood of the triumphant Balinese warrior. The word Baris means a rank or file of soldiers and is referred to the warriors who fought for the kings of Bali. There are numerous kinds of Baris, distinguished by the arms borne by the dancers; spear, lance, kris, bow, sword, or shield. 
 

Originally, the dance was a religious ritual. The dedication of warriors and their weapons during a temple feast. From the ritualistic Baris Gede grew the dramatic Baris, a story prefaced by a series of exhibition solo dances which showed a warrior's prowess in battle. It is from these that the present Baris solo takes its form. 
 

A Baris dancer must undergo rigorous training to obtain the skill and flexibility, which typifies the chivalrous elegance of the dance. A Baris dancer must be supple, able to sit on his heels, keeping his knees spread wide apart in line with his body. His face must be mobile to convey fierceness, disdain, pride, acute alertness and, most importantly, compassion and regret, characteristics of a warlike noble. The Baris is accompanied by a Gamelan Gong. The relation between dancer and orchestra is an intimate one with the gamelan entirely attuned to the changing moods of the warrior's imperious will. Such a spectacular show of style, mental control of and physical dexterity would intimidate any enemy worthy of the Baris! 
 

Janger Dance 
 

A folk dance introduced to the island in the thirties, Janger also has its origin in the Sanghyang trance ceremony, in which the women chant the Sanghyang song and the men alternate with the gruff sounds of the Kecak. When the dance first came into existence, it spread through the Banjars like fire. Every village had to have a Janger group, and the dance became a popular social event between young boys and girls. 
 

The flute begins an eerie tune, and faraway voices chant a strange song that flows from a loud melody to a nearly inaudible high pitch. Two girl singers appear wearing splendid, floral crowns with multi-colored spikes. They advance, allowing another pair to enter, until twelve girls have filed on stage. 
 

Slowly, they kneel opposite each other, cocking their heads and darting their eyes to accent the rhythm of the orchestra. As the chanting continues, twelve young men silently repeat the girls' entrance. 
 

In contrast to feminine delicacy, their movements are deliberate and strong. All wear painted moustaches and bear the self assured look of a courtier. 
 

Suddenly, the male formation breaks into frenzied activity of twists, jerks and lunges -all in the tight syncopation of a military drill. Instantly, the shock wave ceases, the men freeze in their positions, and the lonely flute carries the dance back to the soft sways and chanting of the girls. The juxtaposition of the subdued motions of the girls against the dynamic thrusts of the men, the harmonious feminine song against the jagged yells of male voices, makes Janger an artful composition of dance, music and chorus. 
 
 

Paintings 
 

The place synonymous with the traditional form of Balinese painting is the village of Kamasan, near Klungkung. Up until the beginning of this century, and in the service of the kings of Gelgel and Klungkung, it was only natural that the painters and illustrators, called 'Sangging', should settle in this one area. As it was not uncommon for ruling families from other parts of Bali to acquire the use of a Sangging to decorate their own palaces or temples, the Kamasan style of painting quickly spread throughout the whole of Bali. 
 

Until the start of this century, the dominant form of painting was the portrayal of Hindu epics, on 'Langse' - large narratives painted either on broad, rectangular cloths or on 'Ider-ider', which were much narrower cloths about 30cm wide and several meters long. Langse were placed in temples as wall hangings, or used as curtains in the palaces. Ider-Ider were hung around the roofs of temples and shrines, and were used decoratively in the royal courts on festive occasions. The artists also painted on wooden boards which were placed between rafters as ceiling friezes. Aside from large representational paintings, the 'Sangging' were also expected to decorate everything from gourds, wooden altars, bamboo vessels, headboards for princely bed chambers and in particular to illustrate astrological wall hangings on bark paper or cloth. The style for which the artists of Kamasan are famous is based on the East Javanese 'Wayang' art. These were basically two-dimensional, iconographic representations following strict rules and guidelines as to how the characters should be portrayed. For example, a person's character and status can be seen from the colors used to portray them, his head dress, or even the direction in which he is facing. Noblemen always have had very refined faces, while coarse characters have large, bulging eyes and fangs. Today in Kamasan you can still find people who are dedicated to painting in the traditional 'Wayang' style. One of the most famous Kamasan artists is I Nyoman Mandra, who, aside from producing his own paintings and doing restoration work, started a school to try and keep the Wayang tradition alive. 
 

It wasn't until the early 1900's, that Western influence reached Bali. The use of Asian symbols in the works of Paul Gauguin, Toulouse Lautrec and Camille Pissaro created a new trend for Asian-influenced art and European painters began to move to Bali. Ubud's fame for art can be traced to the arrival of German painter Walter Spies, and Dutch painter Rudolf Bonnet. Together with Indonesian artist Gede Agung Sukawati, they established the Pitamaha Group which encouraged Balinese artists to be more expressive and less tradition bound. Aside from the Kamasan school there is now a wider range of different styles. 
 

BATUAN STYLE 
 

Strongly Wayang based, this style involves hundreds of intricately painted representations of Balinese life, filling every available nook and cranny of the canvas. Batuan artists like I Wayan Bendi, Ni Wayan Warti and I Made Budi make much more of a statement about life in Bali with subject matter that includes everything from traditional village activities to camera-toting tourists and even surfers. 
 

Earlier Batuan artists, Ida Bagus Made Togog and Ida Bagus Made Wija, dealt much more with the darker, supernatural side of life in Bali with people depicted as extremely vulnerable to the spirits and powers of nature. 
 
 

KELIKI STYLE 
 

Keliki art is very similar to the Old Batuan Style with the one exception being size; Keliki paintings measure 20 cm by 15 cm. They contain scenes of mythical and Ramayanic characters engaged in battle, good versus evil, on sinister backgrounds. Keliki artists also follow the tradition of the old Wayang artists in that they seldom sign their work. 
 
 
 
 

UBUD STYLE 
 

Influenced by the Western use of perspective and everyday-life subject matter, the Ubud style is one of the most Expressionists of all the Balinese schools. Despite this, Ubud art still retains many traditional features, including attention to detail and very stylized characters. 
 
 
 
 
 

PENGOSEKAN STYLE 
 

From this village, on the outskirts of Ubud, a new style sprang up during the 60's. These paintings tend to be more realistic and less expressive than the Ubud style concentrating on just a few natural components like birds, insects, butterflies and plants. 
 
 

Textiles 
 

One of the most striking things about Bali is the rich variety of cloths and materials that are to be seen in thousands of shops throughout the island. However, only a small proportion of these are indigenous to Bali. The myriad of batik clothes and sarongs available everywhere are mainly imported from Java. Large proportions of the woven cloths (lkat) found in and around the Kuta/Legian, area, are imported from the islands of Sumba and Flores. Bali does however, have a very rich textile industry of its own. 
 

The beautiful Songket fabrics worn by performers of traditional dance are a good example. In Songket, gold and silver threads are woven into the cloth to create complex motifs of birds, butterflies and flowers. Sometimes they use so much gold and silver that the underlying cloth is barely visible. Endek or weft ikat is another common method used in Bali. In weft ikat weaving, the weft threads are dyed to create the design and then woven with plain warp threads. These cloths are recognizable by their abstract designs and bright colors. 
 

The least common form of weaving to be seen in Bali is the Geringsing, or double-ikat and it is the most sought after. This is when both the warp and weft threads are dyed to their final designs before being woven together. With the exception of certain areas in India and Japan, this weaving technique can only be found in the small Bali Aga village of Tenganan, East Bali. 
 
 
 

Carvings 
 

STONE CARVING 
 

Bali's modern-day centre of stone carving is the village of Batubulan situated halfway between the towns of Denpasar and Ubud, Gianyar. 
 

Stone carvings were mainly used to decorate temples and palaces and the carvers had much more leeway their use of subject matter than the artists and illustrators. There is little difference between the iconography decorating temples and that of private buildings. Gateways represent the dividing line between the inner and outer world. 
 

As well as, portraying deities and demons, the carvers included many scenes from public life and there are many temple surfaces enriched with the antics of the Dutch Colonists, including scenes of bicycles, drunken parties, car breakdowns and even airplanes. 
 

Excellent examples of Balinese stone carving can be seen all over the island. The temples in the North tend to be much more creative (with the exception of Pura Puseh in Batubulan). If you plan to tour northern Bali, it is worth taking the time to visit Pura Meduwe Karang in Kubutambahan, Pura Dalem in Jagaraja and Pura Beji near Singaraja. In order to see the work of Balis most famous stone-carver and accomplished artist, I Gusti Nyoman Lempad, visit Pura Sagen Agung in Ubud. 
 
 
 

WOOD CARVING 
 

Wood carving, like stone carving, has traditionally featured largely in temple and palace architecture with little free standing 'sculpture' work produced commercially. 
 

Immaculately carved demons and mythical beings placed within floral motifs decorate pillars, door panels, lintels and window shutters with the aim of protecting buildings from evil intruders. 
 

When producing objects for everyday use, sculptors had a much freer hand in choosing subject matter. Whole villages specialize in producing certain styles of work. The village of Mas, near Ubud, is probably the best known for its carvings of female figures, Buddhas, characters from Hindu epics and the traditional Topeng and Wayang Wong masks. 
 

Although there have been noteworthy carvers like I Nyoman Cokot, Ida Bagus Nyana and Ketut Nongos, the arrival of European influences has heavily influenced this art form. Wood carving has started to develop along more innovative and commercial lines and artistic integrity has suffered as a result of the commercial boom in the tourist industry. 
 
 
 
 

ESSENTIAL INFORMATION 
 

BALI'S AIRPORT is listed as "Denpasar"(DPS) which is the name of the island's capital. Most international visitors arrive directly or via one of Asia's major gateways.

PASSPORTS & VISAS To enter Bali or Indonesia, visitors must have a passport that is valid for at least six months beyond their scheduled departure date from Indonesia.

Most citizens of western countries are granted a thirty day, non-extendible Visa Upon arrival in Indonesia. Citizens from Asean (Association of Southeast Asian Nations) do not require a visa, only a valid travel document.

Please check with your country's embassy in Jakarta for visa requirements or by contacting the Embassy of Indonesia in your country before leaving home.

IMMIGRATION

All foreigners wishing to enter Indonesia must have a passport valid for at least six months from the date of arrival along with proof (ticket) of onwards or return passage. Please contact the Indonesian Embassy / consulate in your country well before the 1st Asian Beach Games in order to check if you require any immigration documents necessary to visit Indonesia. 
 

    * Free Tourist Visa

      Non extendable visa-free entry to Indonesia for 30 days is available to passport holders of Brunei, Chile, Hong Kong SAR, Malaysia, Morocco, Peru, Philippines, Singapore, Thailand and Vietnam.

    * Visa on Arrival

      Passport holders of 52 nationalities are entitled to 7 days and 30 days of non- extendable tourist visa upon payment of USD$10 and USD$25 respectively upon arrival at major airports in Indonesia. These are Australia, Austria, Argentina, Bahrain, Brazil, Belgium, Bulgaria, Cambodia, Canada, Cyprus, Denmark, Estonia, Egypt, France, Finland, Germany, Greece, Hungary, Iceland, India, Iran, Ireland, Italy, Japan, Kuwait, Laos, PDR, Liechtenstein, Luxemburg, Malta, Maldives, Mexico, Monaco, New Zealand, Norway, Netherlands, Oman, People’s Republic of China, Poland, Portugal, Qatar, Saudi Arabia, Spain, South Africa, South Korea, Suriname, Switzerland, Sweden, Taiwan, United Arab Emirates, United Kingdom and United States of America.

    * Regular Passport Holder

      Regular passport holders of all countries and non-tourists of the aforementioned countries are required to apply Indonesian visas at Indonesian Embassies or consulates in their home or neighboring countries prior to the departure of Indonesia. The conferences secretariat will issues an invitation letter upon request. The sole purpose of this letter is to facilitate the participant’s travel visa arrangements and does not imply the provision of any financial or other support by the conference secretariat. 
 

Diplomatic and service passport holders of foreign nationals may obtain Visa on Arrival by sending written information to the secretariat prior to departure to Indonesia by submitting name and detail of the passport to support the application 
 
 

AIR TRANSPORTATION

Air transport is the easiest and comfortable means of travel to Indonesia. A number of carriers offer international direct flight to Bali and many of the world’s major carriers connect Bali via regional air hubs in Jakarta, Singapore, Kuala Lumpur, Bangkok, Hong Kong, Seoul, Sydney, Guam and Taipei 
 

International airlines serving Bali include Garuda Indonesia the national flag carrier ( Jakarta, Darwin, Melbourne/Sydney, Perth, Osaka, Tokyo, Seoul, Singapore )., Air Asia (Kuala Lumpur), Singapore Airlines, Malaysian Airlines (Kuala Lumpur), Royal Brunei (Bandar Seri Begawan), Korean Airlines (Seoul), Thai Airways (Bangkok), Japan Airlines (Osaka, Tokyo), Cathay Pacific (Hong Kong), China Airlines (Taipei), Qantas Airways (Darwin, Melbourne, Perth, Sydney, Singapore), Continental Micronesia (Guam). 
 

Many domestic airlines flying to Bali frequently on daily basis include Garuda Indonesia (the most frequent one), Lion Air, Batavia Air, Adam Air, Merpati Nusantara, Mandala Airlines and many more 
 

International airlines representatives available in Bali are Air Neq Zealand, Cathay Pacific Airlines, China Airline, Continental Micronesia, Eva Air, Garuda Indonesia, Japan Airlines, Malaysia Airlines, Merpati Nusantara, Qantas Airways, Royal; Brunei, Singapore Airlines and Thai Airways International. Most of these airlines offices are located in Bali’s Ngurah Rai International Airport and Denpasar. 
 
 

AIRPORT DEPARTURE TAX

An Airport tax of 150.000 Rupiah is imposed for travelers on International routes and 30.000 Rupiah for those on domestic routes. Airport tax is payable after check in at airport 
 
 

CUSTOMS

Customs allow on entry at maximum of one liter of alcoholic beverages, 200 cigarettes or 50 cigars 100 grams of tobacco and a reasonable amount of perfume per adult. Cameras, video camera, portable radios, cassette recorded, binoculars and sport equipment are admitted provided they are taken out ton departure. They must be declared to Customs 
 

Prohibited are firearms, narcotic drugs, pornography, trans-receivers and cordless telephones, films, pre recorded video tapes and laser disks must be screened by the censor board. 
 

While there is no restriction on the amount of foreign currency that may be brought into Indonesia, those who bring in to the currency worth more than 100 million Rupiah must be declared to customs upon arrival at the first port of entry. 
 
 

CLIMATE

Bali enjoys warm, tropical weather all year. Temperatures average is between 21° to 33° C (68° to 93°F) year round. In the mountains, however, it can go as low as 5°C at night. Humidity varies between 60% and 100%. In general, Bali experiences two seasons: moist and wet. The dry season is normally from May to October, where as the rainy season is normally from November to April, during which it can rain for several hours each day. The rain tends to be intermittent, however, with plenty of sun in between. There is comparatively little difference between the day time and night temperatures. All conference sessions will be held in air conditioned venues 
 
 

TIME ZONE

Bali is in the Central Indonesian Times zone, which is GMT + 8 hours. 
 
 

LANGUAGE

Bahasa Indonesia is the national language, but English is widely spoken and understood. 
 
 

CURRENCY

The Indonesian currency is Rupiah (IDR). The currency exchange is approximately USD 1 = IDR 9.175. Most foreign currencies are easily changed at airports, banks, hotels or money changers. The currency exchange rate fluctuates regularly. Check your bank for the latest exchange rates. Banking hours are from 08:00am to 14:00 afternoon Mondays to Fridays and from 08:00am to 11:00am on Saturdays. Bank in hotels usually stay open longer hours while money changers are generally open till evening. ATM is available in many places, provides VISA, MASTER, ALTO and more. 
 
 

TRAVELERS’ CHECKS & CREDIT CARDS

Travelers’ checks are accepted by leading banks and hotels in principal cities, including Bali. The use of travelers’ checks in Indonesia is as popular as in any other countries. Diners Club and American Express, Visa and Master Card are widely accepted at hotels, department stores, shops, restaurants and pubs. According to Indonesian banking regulations, payment by credit cards should be charged in local currency. 
 
 

IDD (International Direct Dialing)

Country Code (Indonesia): 62

City Code (Bali): 361 
 

ELECTRICITY

220 volts, 50Hz, rounded two-pin plugs 
 
 
 

BALINESE FACTS 
 

    * Bali Aga means the "original Balinese". The Bali Aga people live in the villages of Tenganan and Trunyan.

    * The Hindu-Balinese population has a belief in reincarnation. Babies up to six weeks old are treated with reverence as they are thought to have the soul of a reincarnated ancestor.

    * The "Wallace Line" passes between Bali and Lombok islands and between Kalimantan and Sulawesi. In 1869 Alfred Wallace reasoned that there are Asian and Australian animals on either side of the Lombok Strait because Ice Age sea levels prevented animals crossing.

    * Rice is Bali's main crop. The elaborate irrigation systems encourage a cooperative way of life between the rice growers.

    * Cremation is a very important event in Bali when the dead person's soul is released to the gods.

    * In some regions of Bali there are bull races across the rice fields to please the god of harvest.

    * Bali is one of 17,508 islands that make up Indonesia.

    * The Bali Sea laps ashore from the north and the Indian Ocean from the south.

    * Denpasar ranks as Bali’s largest city.

    * The high mountains are the main reason for Bali's extreme fertility. The rain and humidity they create irrigates the rice fields, and the volcanic ash is very fertile.

    * Spread around the island are several more or less well maintained royal palaces in memory of the powerful kings that once ruled here. Their descendants still inhabit many of these buildings. Large and small statues and sculptures can be found practically everywhere, often made to protect travelers and the population in general.

    * Most of Bali today is an agricultural landscape with few remaining wilderness areas. One of these is Bali Barat national park, located on the western part of the island and with a rich variety of animal and plant life. The Balinese tiger once roamed these forests but unfortunately is extinct today.

    * The Balinese language is very different from the official Bahasa Indonesia, and mirrors the caste-system. Traditionally the language was separated in th