The function of Bali's forests has changed, and so have the lives of the fauna which inhabit them. These changes result from efforts aimed at environmental preservation, as well as the incorporation of the forests and its fauna into the tourism industry. In spite of these changes, however, many forest-dwelling fauna continue to live in nature peacefully and happily.The forest-dwelling animal most prevalent in Bali is the long-tailed monkey (Macaca species). This kind of monkey is commonly found in umerous places all over the world. In fact, the long-tailed monkey is spread all over Indonesia, and can be found in just about all areas of the archipelago. In spite of the ubiquity of this monkey, known as bojog in Balinese, a certain mystery still surrounds it. This mystery recalls the Balinese people's belief in the close ties between their own society and that of the monkey. That locals regard the monkey highly is evident in the place the animal occupies in Balinese folk tales and fables as well as in the Hindu epics. In the Ramayana, the Hindu epic, Sugriwa and Hanoman are monkeys who play heroic roles. Hanoman, the king of the monkeys, is particularly notable. In India, infertile women pray to Hanoman by stripping in front of his statue and asking him to deliver them from sterility. The ancient Egyptians also showed similarly high regard for the baboon, which was accorded the special task of honouring the sun at dawn and at dusk. Buddhist symbolism depicts the monkey alongside the elephant as Buddha's escorts. The Chinese Swen Wu Kong (swen means monkey) is similarly heroic. Swen Wu Kong was popularised via a 16th century novel, in which he, alongside two others, escorted a priest from China to India in search of the sacred Buddhist scripts. This story was recently repopularised via a Chinese television serial, the highly popular dubbed version of which appears on Indonesaian television as Kera Sakti (Sacred Monkey). In Bali, monkeys which inhabit certain locations are also regarded with awe. The people of Sangeh, and Alas Kedaton Tabanan, two places where the long-tailed monkey lives, believe that monkey kingdoms exist in these places, and have so since long before their promotion as tourist attractions. The monkeys | |
of Sangeh and Alas Kedaton Tabanan are also believed to adhere to curious burial rites, whereby they bury their own dead. This belief derives from the fact that the rancid stench of decomposing animal corpses never seems to emit from the forest, even though monkeys are in abundance there and certainly die frequently. It is believed that the monkeys must have a special burial ground. No-one however has been able to prove, to date, exactly how the monkeys bury their dead, |
but the communities that live around Sangeh and Alas Kedaton Tabanan firmly believe that they do. They also believe that the world of the monkey consists of both niskala (beyond the realm of the senses) and sekala (able to be sensed) elements, thus following the Balinese (human) world view. Further, not only in Sangeh and Alas Kedaton, but all over Bali, it is believed that every community of monkeys has a king who oversees the unique and mysterious social activities of his monkey kingdom. As a primate, the long-tailed monkey's social life pproximates that of humans. Their communities are structured hierarchically. They live in communities which are relatively uniform in size and structure.But there are various kinds of family relations and terri -toriality within monkey communities. | |
Consequently, these monkeys have developed an ingenious way of cleansing their nostrils of the exhaust residue ? by rubbing their noses with clumps of grass.The monkeys in Uluwatu, meanwhile, find their food in the wild. They eat leaves and the leftovers of offerings placed at the temple by locals who go there to pray. The forest at Uluwatu ends abruptly at a steep limestone cliff. The monkeys have learned to climb up and down the cliff, as they often go to the beach below to search for food such as seaweed, small fish or prawns. | |
The Neka Museum in Ubud has as part of its collection a that depict monkeys - among them I Gusti Keut Kobit's 'Coiled by the Serpent Lasso' (1953) which depicts a scene from the Ramayana, and Ida Bagus Made Togog's 'Grateful Animal' (1950), which depicts the Indian fable Tantri Kandaka. Many stone and wood carvings in Bali depict the Ramayana epic, of which monkeys are a central part, in detail, and are displayed in the home as decorative ornaments or wall hangings. In the performance arts, such as the Ramayana dance-drama, monkeys, particularly the monkey king Hanoman, is also central. The Kecak dance is another example of the centrality of monkey characters in the arts in Bali. As is the case in Java and in other areas of Indonesia, the monkey is often portrayed as a comic figure in village plays. This monkey comedy genre is also performed on the village level in Bali, whereby players move from house to house, busking their talents in return for small contributions. |
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