foundations of active Hindu temples. Remarkable Bronze Age artifacts around Ubud include the enormous bronze gong known as "The Moon of Pejeng." It is still displayed in Pura Panataran Sasih in Pejeng, east of Ubud.
Nearby at the archaeological museum in Bedulu are a collection of stone sarcophagi unearthed in the area, which give mute testimony to the death rituals of the its people's ancestors.
In the 8th Century, a Javanese mystic, called Rsi Markandya came to Bali from Java on pilgrimage with a group of followers. He meditated where the East and West Wos Rivers meet in Campuan, on the edge of Ubud, and declared the place holy. Accordingly, a shrine was built, and later expanded by Nirartha, the Javanese priest who is regarded as the father of Bali's religious institutions and practices. This temple is now known as Pura Gunung Lebah or Pura Campuan.
With the spread of Hindu-Buddhist culture in Bali in the 10th to 12th Centuries, Shivaite holy men established hermitages and teaching monasteries near Ubud, at the bequest of local rulers. The temple-memorial complex at Gunung Kawi and the cave temples at Goa Gajah (east and northeast of Ubud) are undoubtedly the most impressive architectural remains from this period. By this time, the people of the Ubud area already practiced sophisticated wet rice farming, kept a variety of livestock and employed techniques of stone and woodcarving, metalworking and thatching that are still very much alive. Many of the dances, dramas, puppet plays and elaborate rituals and superstitions that animate Ubud culture today originated in these early kingdoms nearby.
The Balinese legend of Rangda the witch originated in the Ubud area at this time, when the half-Balinese King Airlangga ruled Java and Bali, with its capital located then in Batuan, southeast of Ubud. The Barong and Calonarong dances which visitors still enjoy derived from the story of Airlangga's struggle against the plagues and evil spells cast by Rangda, who is purportedly buried in a tomb near Kutri, southeast of Ubud.
The "Golden Age" of the Majapahit Kingdoms
Airlangga's sons divided his empire, and Bali was ruled by Anak Wungsu, who established a flourishing kingdom between the Petanu and Pakerisan Rivers, east of Ubud. This strip of land is regarded as the richest archaeological and architectural region in Bali, and is best explored by making Ubud one's home base and renting a car or motorbike for explorations by day.
The Javanese Majapahit dynasty "conquered" Bali in 1343, when its military forces led by the great hero, Gajah Mada subjugated the Pejeng Dynasty, based in Bedulu, just east of Ubud. According to Majapahit reports, the "vile, long-haired Balinese princes were wiped out," and more refined models of Javanese culture were adopted. Indeed, a great flowering of Balinese culture took place under the Majapahit rulers, who were chosen from the military leaders of the Javanese incursion. Balinese genealogies, known as babad, which were written at this time on palm leaves, document the Majapahit ancestry of Bali's aristocratic families, who still inhabit the palaces of Ubud.
Facing the Islamisation of Java and the subsequent decline of the Majapahit Empire in the 16th Century, many scholars, dancers, craftsmen, intellectuals and priests migrated to Bali, bringing along their skills and sacred texts. Many settled in the small kingdoms in and around Ubud, among them Nirartha, the "super-priest" who is regarded as the progenitor of all of Bali's pedanda Siwa high priests and their prominent Brahmana families. The seat of the Majapahit overlord of Bali was moved from Samprangan near Gianyar, to Gelgel, and Bali entered a cultural "Golden Age" under the Gelgel kings.
Competing Rajadoms Rise and Fall and Rise Again
When Gelgel fell, and its remnants regrouped in Klungkung, secondary kingdoms arose throughout the island and engaged in ongoing power struggles. In the early 18th Century, a palace was established in Timbul, south of Ubud, by a descendant of the Gelgel line. His ambition to create a dream kingdom, based on the ideal of Majapahit Java was more or less fulfilled, as he drew to his court the finest musicians, dancers, carvers and artisans, and built a splendid palace filled with lavish gardens. As the story goes, his cultural accomplishments were so great that upon witnessing them, people could not help but exclaim, "My heart's delight!" In Balinese, "sukahatine." The word evolved into "Sukawati," which is now the name of this visionary king's line of descendants, and the town where he built his palace.
Throughout the 18th Century, control of the areas around Ubud and Gianyar passed back and forth between the Sukawati Dynasty whose princes are called "Tjokordas" and the Gianyar Dynasty, with its "Anak Agungs" and "Dewas". Ultimately, the region became a patchwork of small dominions ruled by princes from one faction or the other, or the scion of an intermarriage between them. This is still the case, and while Ubud's palaces house a core line of the Sukawati family, other palaces in the region belong to Gelgel-Gianyar stock or a separate royal line from Blahbatuh.
During the 19th Century, Ubud became an important court under its Sukawati feudal lord, owing allegiance to Gianyar. In 1884 Gianyar was overthrown by Sukawati princes from the nearby town of Negara, and after ten years of conflict, a Sukawati from the palace in Ubud sided with Gianyar and cooled the conflict. Perhaps the experience of centuries of adept politicking between these two dynasties gave them both the ability to understand the value of diplomacy and compromise when the Dutch asserted their power in Bali.
Ubud as a Darling of the Dutch Colonists
At the end of the 19th Century, the Dutch began to involve themselves in Balinese internal affairs, fueling conflicts among rival kingdoms, which collectively were referred to as "The Wars of the Rajas." The raja of the kingdom of Gianyar, and associated feudal lords, including the Sukawatis who established the royal palace of Ubud, capitulated to the Dutch and benefited by their protection. To escape prevailing turmoil elsewhere, artists, musicians and literati took refuge in Ubud, and were welcomed by eager patronage from the palace and the Dutch colonial administrators who stood behind and beside it.
During the latter part of the 19th Century and the first decade of this one, Bali's kingdoms fell one by one to the Dutch, following bloody battles, and in some cases, ritual mass suicides called puputan (meaning "finishing"). The Gianyar region was spared from large-scale tragedy, which in part accounts for its cultural wealth and consistent prosperity, not to mention the survival of its royal bloodlines. Under Dutch colonial controllers, Ubud was favored as a cooperative and exemplary Balinese community, and the palace was given relative autonomy to preserve and develop traditional arts and culture with the encouragement of its colonial overseers. During the 20s and 30s, Ubud was heralded as a cultural hotspot, and became a chic destination for
adventurous foreign writers, anthropologists, artists and other creative spirits and culture vultures. Tjokorda Gede Agung Sukawati opened the main palace of Ubud to foreigners by creating within its walls, Ubud's first hotel (still in operation under the management of Tjokorda Putra, a son of the last king).
Yet Another Era of Battle, International and Internal
With the Japanese occupation from 1942 to 45, however, the celebration of a new bohemian paradise was temporarily suspended. Ubud's rulers both struggled against and cooperated with the Japanese in efforts to preserve their cultural heritage and their sphere of influence. When the Japa nese were defeated on the global battlefield, the Dutch tried to regain control, but on 17 August 1945 Indonesia declared its independence under Sukarno. Four years of fighting with the Dutch ensued, and many Ubudians were imprisoned, including members of the royal family, who took a leading role in the Dutch attempt to establish an alternative government in Bali.
In 1949 the Dutch capitulated to the new Republic of Indonesia, and once again Ubud became very chic with those in the know as the government of Bali slowly opened its doors and its bank accounts to tourists. In 1965-66, a coup in Jakarta and its repercussions led to a chaotic campaign to cleanse Bali of "communists," and at least 5% of its population was massacred methodically or by mobs run amok. Ubud was not excluded from the bloodbath, which at times ran along class and caste lines, and in certain interpretations, reflected a consolidation of power among the Balinese "of caste," in response to the threat of a people's movement demanding land reform and the revocation of hereditary privilege.
The World Sends Its Curious to Call
Beginning in the 1970s, a young generation of backpackers began to arrive in Ubud as they scoured Asia looking for inspiration, mystical experience and a good place to hang out. Ubud responded by providing an increasing number of services to accommodate the wishes of their western guests. Cafes, bungalows and bars began to appear, and young Balinese from Ubud started to hang out with their foreign friends, learn English, learn business, and adopt whatever aspects of western culture appealed to their aesthetic sensibilities. In more than a few cases, these Ubudians married their foreign friends, and founded all manner of businesses and other projects together -- not to mention families. As a consequence of the easy mixing of locals and foreigners for decades, Ubud seems to have become one of the most socially integrated places in Southeast Asia.
The Prognosis for Paradise
The challenge for Ubud now, is to avoid becoming a victim of its own popularity; of being loved to death. It is undergoing rapid development, and has been "discovered" by a tide of jetsetters and successful business people and glamour from around the world, and from the increasingly unpleasant Indonesian capital in Jakarta. Land development is largely without planning. Commercial forces hold sway in most arenas. In reaction to the rapid influx of foreign ways, there is a strong current of reactionary neo conservatism, leading the retreat into an accumulation of increasingly expensive rituals and their innumerable concomitant tasks and responsibilities. Those who have prospered from tourist dollars continue to do so, and social and economic inequalities are becoming uncomfortably apparent.
Brand new BMWs park alongside rice fields sprouting "For Sale" signs, where women are bent double, cutting crops by hand for about ten cents a day. Elite, high-caste ladies wear silk, French brocade and solid gold jewelry to the temples. While they sip coffee, gossip, and complain about their husbands' alleged indiscretions with foreign lovers, the men in question
huddle in dark corners to answer hand phones which are pressed tight to their ears to shut out the sound of the gamelan, their hands lavishly adorned by Rolex watches and enormous rings.
How Ubud's future takes shape will be partly determined by the wider economic and political milieu . Far more influential will be the actions of its leaders, many of whom are descendants of the Sukawati royal family who still control vast tracts of land and exercise various hereditary privileges, not all of them uncontroversial. These leaders have taken it upon themselves to serve as the custodians of Ubud's cultural integrity, and as such are the preservers of much of its value. Their sensitivity and their potential for benevolent and humanitarian leadership will make or break this town.
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