It should be noted that the cultural inheritance from the past includes the splendid temples, the ruins of palaces and monasteries, the assorted kinda traditions, cultural events, traditional folk and performing arts, architecture and other traditional activities. It’s important to note that this is all part of the living culture of Yogyakarta, color of daily activities of live and the local denizens behavior, especially the Javanese residential area with its traditional way of life and customs. Thus, because of its culture fertility and inheritance, Yogyakarta has long been called the cradle of Javanese culture.

The other legendary name for Yogyakarta City, among the elders as well as the youth generation that is the City of Art and Culture. Traditional and modern expo are held almost every twenty-four hours and night about the art of theater, pantomime, music, classic and contemporary dances, poems, etc. Those are flow in the heart of the city. Even more, there are abundant of cultural ceremonial, such Sekaten, Gunungan, Labuhan, Malioboro Fair, etc, which make the city has high appraise of tradition, art, and culture.

The Tatras, separate from the Carpathian Mountains, are the youngest in that part of Europe and were formed at as is time as the the Alps – equally testified by their severe rocky shapes. The most eminent top on the Polish side is Rysy (2 499 m higher up sea level). The Tatras are home to several animals, including catamounts, eagles, chamois, marmots and brown bears. To protect the local wildlife, completely of the mountain region was included in the Tatra National Park and on the United Nations Educational Scientific and Cultural Organization Biosphere List.

HOW TO GET THERE
The Tatras are located along Poland’s southerly border. They’re divided between Poland and Slovak Republic, the latter containing the absolute majority share. Almost of the tourists traveling to the Polish Tatras stay in Zakopane, a town of 30,000 at the foot of the mountains. The easiest way to get there’s from Krakow, which is just one hundred ten kilometer north of Zakopane. You will be able to drive at that place by car (it takes around two hours), or take a train or a bus (buses are more advisable, as the travel takes less time). Other big metropolises near Zakopane are Katowice (two hundred kilometer) and Czestochowa (250 kilometer). The borderline crossing with Slovak Republic in Lysa Polana is just twenty-three kilometer from the town centre. It offers comfortable entree to famous resort hotel in Slovakia such Tatranská Lomnica and Starý Smokovec, as well as the towns of Poprad and Kežmarok.

TRIBES
The 3 big Dayak tribes who domicile this state are Ngaju, Ot Danum, and Ma’anyan Ot Siang. Ngaju, as if another tribes, moves from one region to another. They adhere to the old Kaharingan religious belief, which is the form of ancestor hero-worship, mixed with animism elements. They’ve seen advance. Many of them live in the towns, have enjoyed an education and they’re intelligent.

The Ot Danum live in longhouses, which occasionally have as many as fifty rooms. The unique longhouse is known as Betang. With around 6,000 people, the Ot Danum is the biggest among the 3 tribes. They’re known for their skill in braiding rattan, palm leaves, and bamboo. Made by the women, such as productions are sold in several cities such Banjarmasin, Kualakapuas, and Sampit. As if other Dayaks, the men are good hunters, using simple tools. The art of Central Borneo clearly endures the marks of the Kaharingan religious belief, which is the traditional belief of the Dayaks in the hinterland of Central Borneo. The construction styles are the elements of the Hindus, Chinese, and Hindu-Javanese. Apart by their aesthetical properties, such as products are valued for their magic appraise.

The celebration of Pagerwesi is based on the ancient scripture, Sundarigama, which stated that “Budha Kliwon Shinta Ngaran Pagerwesi payogan Sang Hyang Pramesti Guru kairing ring watek Dewata Nawa Sanga ngawerdhiaken sarwa tumitah sarwatumuwuh ring bhuana kabeh”, means “Wednesday Kliwon Shinta is known as Pagerwesi, when Sanghyang Pramesti Guru (God as Supreme Teacher) with Dewata Nawa Sanga (Gods that protect nine directions) meditate for the welfare of all being in the world”.

On this day, Balinese make and present special offerings to the Sanghyang Pramesti Guru (God as Supreme Teacher) as a sign of gratitude to the God as Supreme teacher and the gods of nine direction for their meditation. Another offering is also presented to the holy spirit of each family’s ancestors, a ceremony and prayers are held at respective family temple as well as at village temples throughout the island. All members of the family also make a visit to their deceased family member that have not been cremated in the cemetery.

There is a great difference on manner and scale of festivity in celebrating Pagerwesi between south Bali and North Bali. In South Bali, Pagerwesi is celebrated modestly and with little pomposity and festivity, no penjor (a lavishly decorated tall bamboo pole) is erected. However, in north Bali, people celebrate it feverishly. Pigs and chicken are killed and cooked into various traditional Balinese dishes, make a visit to the relative and give a sumptuous feast to the visiting relatives are obligatory. Penjor is erected in every house compound’s gate. North Bali is full with celebration and festivity.

Photographs illustrating the Balinese way of living were extremely successful within the foreign audience and contributed considerably to the increasing afflux of visitors to this island. This ‘photographic’ phenomenon complemented the tradition of painting which towards the 19th century and the early 20th century started to lean towards an increasing interest towards concepts of naivety, primitivism and exoticism, as well as ‘democratizing’ the means of production and consumption of images from far-away lands.

In the upcoming exhibition Bali Kuno: A Celebration of a by Gone Era, The Mansion in collaboration with Quidzy and Maurizio Rosenberg Colorni as guest speaker will present an outstanding collection of photographs from 20th century Bali. Not only are these aesthetically remarkable and a testimony to the evolution of photography as a means to replacing painting, the previously established driving representational medium, but they also constitute a unique and valuable core of historical information on old yet often still perpetuating cultural practices within the island.

Our aim is to contribute to the retrieval, re-contextualization and re-distribution of these important documents into their original historical and physical setting, bringing back to light several aspects of its ‘visual anthropology’.

Although what we see within these images is typically a record of Balinese life, each photograph also distinctly speaks of the perceptions and mis-perceptions around this culture as seen from the eyes of those who captured such scenes: namely, expatriate Europeans as well as tourists, most of which remain unknown to this day. Hence we realise the profound impact and significance of this new technological method of reproduction, enabling virtually anyone who owned a camera to convey their own vision of this so-called ‘Island of the Gods’ and in turn affecting the very customs and self-awareness of the Balinese as a people, as to provide a mirror to their own traditions. A typical example is manifested in the very popular subject matters within the corpus of old Bali photographs portraying semi-nude women. Whilst on one hand the Balinese naked breast was a pivotal point in attracting foreign visitors for the Netherlands government, on the other it was regarded by the Dutch as a demonstration of ‘savagery’ of their colonised people, an opinion which radically changed the dress customs in Indonesia where soon women started covering up with scarves in front of tourists and members of high social ranks. This also encouraged the wearing of the kebaya, a clothing item which in later years also played an important role as a symbol in defining and asserting Indonesia’s own and independent identity within nationalistic movements.

It is thus established that though visually accurate, not even a photograph can speak the whole truth of the past. Yet by providing a ‘slice’, a material ‘imprint’ of old Bali, we invite you to scrutiny as well as to celebrate the rich cultural and historical patrimony which is inherent to this island’s continuing reality.