the misteries of trunyann village

The village of Trunyan is squeezed tightly between the lake and the outer crater rim of Batur, an almighty volcano in Kintamani. This is a Bali Aga village, inhabited by descendants of the original Balinese, the people who predate the arrival of the Hindu Majapahit kingdom in the 16th century. It is famous for the Pura Pancering Jagat temple, but unfortunately visitors are not allowed inside. There are also a couple of traditional Bali Aga-style dwellings, and a large banyan tree, which is said to be more than 1,100 years old. At Kuban sub-village close to Trunyan is a mysterious cemetery that is separated by the lake and accessible only by boat - there is no path along the steep walls of the crater rim.

The village of Trunyan itself is situated at the edge of Batur Lake. This location is inaccessible except by boat, and it takes around half an hour across the calm waters. Getting to Lake Batur takes around two hours drive to the northeast of Denpasar along the main road to Buleleng and through Bangli Regency.

Unlike the Balinese people, the people of Trunyan do not cremate or bury their dead, but just lay them out in bamboo cages to decompose, although strangely there is no stench. A macabre collection of skulls and bones lies on the stone platform and the surrounding areas.

The dead bodies don't produce bad smells because of the perfumed scents from a huge Taru Menyan tree growing nearby. Taru means 'tree' and Menyan means 'nice smell'. The name of Terunyan was also derived from these two words.

The women from Trunyan are prohibited from going to the cemetery when a dead body is carried there. This follows the deeply rooted belief that if a woman comes to the cemetery while a corpse is being carried there, there will be a disaster in the village, for example a landslide or a volcanic eruption. Such events have been frequent in the village's history, but whether women had anything to do with it is a matter of opinion...

You can visit both the village of Trunyan and the Kuban cemetery by chartered boat from Kedisan. Sadly, nowadays the boat trips are now blatant tourist traps, as touts and guides strongly urge you to donate your cash to the temple project or leave a donation for the dead. These touts ruin an otherwise fascinating experience.

Kecak Dance

Kecak DANCE

Kecak (pronounced: /'ke.tʃak/, roughly "KEH-chahk", alternate spellings: Ketjak and Ketjack), a form of Balinese music drama, originated in the 1930s and is performed primarily by men. Also known as the Ramayana Monkey Chant, the piece, performed by a circle of 100 or more performers wearing checked cloth around their waists, percussively chanting "cak" and throwing up their arms, depicts a battle from the Ramayana where the monkey-like Vanara helped Prince Rama fight the evil King Ravana. However, Kecak has roots in sanghyang, a trance-inducing exorcism dance.^[1]

Kecak was originally a trance ritual accompanied by male chorus. German painter and musician Walter Spies became deeply interested in the ritual while living in Bali in the 1930s and worked to recreate it into a drama, based on the Hindu Ramayana and including dance, intended to be presented to Western tourist audiences. This transformation is an example of what James Clifford describes as part of the "modern art-culture system"^[2] in which, "the West or the central power adopts, transforms, and consumes non-Western or peripheral cultural elements, while making 'art' which was once embedded in the culture as a whole, into a separate entity."^[3] Spies worked with Wayan Limbak and Limbak popularized the dance by traveling throughout the world with Balinese performance groups। These travels have helped to make the Kecak famous throughout the world.

Performer, choreographer, and scholar I Wayan Dibia cites a contrasting theory that the Balinese where already developing the form when Spies arrived on the island.^[4] For example, well-known dancer I Limbak had incorporated Baris movements into the cak leader role during the 1920s. "Spies liked this innovation," and it suggested that Limbak, "devise a spectacle based on the Ramayana," accompanied by cak chorus rather than gamelan, as would have