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Unexpected Offerings On A Return To Bali
Last month, I spent a week on the Indonesian island of Bali as a guest of the Ubud Writers & Readers Festival. This was my first visit to that blessed place since I'd fallen in love with it 34 years ago.
Like me, the island had lost some of its innocence in the intervening years. Unlike my earlier trip, when the Balinese I met had simply welcomed me with wide eyes and hearts, this time most immediately asked me if I'd been there before. When I answered, "Yes, 34 years ago," their eyes opened wide for a different reason and they smiled and shook their heads. "Oh, Bali has changed much since then!" they'd laugh, though many of them couldn't say exactly how because they hadn't even been born 34 years before.
Of course, to my eyes too, Bali had changed. The streets were much busier, clogged with trucks and motor scooters, than I remembered, and the towns were more built up; the road from Denpasar to Ubud was lined with many more buildings and fewer rice paddies than I recalled.
But in a deeper sense, the spirit of the place seemed hardly changed at all. During a few free days of wandering, I passed a number of festival processions flowing through the streets. Every day I was enchanted as I had been three decades before by the sweet, simple canangsari offerings – hand-sized compositions of colorful flowers on green coconut leaves, some graced with a cracker – that were meticulously placed outside my door and on bustling sidewalks, off-the-beaten-path foot trails, temple thresholds and business entrances alike. And while I realize I know nothing about the difficulties of being Balinese – the need to scrupulously follow rigorous traditions, for example, or the unpredictabilities of relying on a tourism economy – the people I met exuded a gentleness, tranquility, contentment and sense of sanctity in the everyday that was as exemplary, expanding and restorative for me as it was 34 years before.
But it wasn't until my last day in Ubud that Bali's soul-binding offerings really came to life for me.
After a few minutes following this narrow path, and frequently having to step aside for a seemingly endless succession of motor scooters, we entered what seemed an enchanted land of rice paddies, palm trees and, here and there, one-story "villas" with red tile roofs. As we threaded through the paddies on this narrow path, we passed a spa, an art gallery, a couple of "house for rent" signs-of-the-times and a fledgling neighborhood of new homes called Dragonfly Villas. After about 20 minutes, we came to a sign and a stone pathway that led to Sari Organik.
An open-to-the-breezes restaurant of some two-dozen tables blossoming in the middle of verdant rice paddies, Sari Organik has one of the most exquisite settings of any restaurant I've ever visited. We sat in this tranquil place sipping juice from fresh-cut coconuts, and as sunset slowly gilded the paddies, the centuries seemed to slip away.
I went back on my last day to pay homage to Sari Organik and to see if it could possibly be as magical in the harsh light of midday. Happily, it was equally lush and glorious and vibrant at noon, pulsing with the peaceful energy of the land around it. I savored an omelet of organic mushrooms, tomatoes and onions, fresh-squeezed orange juice and delicious strong coffee, and struck up a conversation with a smiling, energetic woman who turned out to be the restaurant's extraordinary founder and owner, Nila, who told me that her goal is to help the local farmers grow a diversity of crops organically, so that they can preserve the environment and become economically self-sustaining. (You can read more about her amazing story here.)
After that serendipitous encounter, I walked back through the rice fields, feeling singularly content. I had gotten to do just about everything I had been hoping to do on Bali, I was thinking. There was just one exception – I hadn't heard a gamelan orchestra. I'd caught snatches of gamelan music at a couple of different performances during the festival, but I hadn't had that soul-transporting immersion in the music that I remembered vividly from my first trip to Indonesia.
Just as I was having these thoughts, approaching the end/beginning of the path, the sounds of a gamelan orchestra drifted on the air! I could hardly believe it – it was as if my thoughts had conjured those notes.
I reached the sign for Sari Organik. To my right was the wide, paved driveway that led to the main street, but then I noticed to my left a narrow, hard-packed dirt path that paralleled a rock wall twice my height. The sounds of the gamelan were coming from somewhere beyond that wall. The wall disappeared into a densely vegetated interior, with a couple of red-tiled roofs visible in the distance. I figured that if I followed the path, eventually it would lead to a break in the wall where I could enter and discover the source of the gamelan music. I wanted to see the orchestra with my own eyes.
So I set off down this winding path, following the sinuous curve of the wall and the music's tantalizing rise and fall.
I startled two workers who were on their way to restore a magnificent old house set among the paddies on the other side of a stream that paralleled the trail. They laughed and welcomed me to the forest. A few minutes later, a lone and lanky Western woman with a backpack passed me and pressed on into the green. After 15 minutes of ambling, I came to a lush setting where palm trees, twining vines, giant ferns and slick bushes with propeller-like leaves tangled the air. Still there was no break in the wall, and the gamelan music was sounding fainter and fainter.
I stood in the shade of that jungly patch, puzzling over what to do, wondering if I would ever find the break in the wall, when suddenly it hit me: I had already found the break in the wall; it was in my mind. Listen! I didn't need to see the orchestra – my wish had been to hear the gamelan. And there it was, all around me. What more did I want?
I walked back down the path and the sounds of the music swelled in the shadowed air. When I reached a point where it seemed loudest of all, I stopped and closed my eyes. Gongs, flutes and drums gonged and trilled and boomed in layered patterns, lapidary high notes skipped like diamonds across a pond, bong-gong-gong-booming low notes reverberated in my ribs, rising and falling and rising, staccato and slow, each note like a drop of water from heaven, submerging me in a pool of otherworldly harmony. Time stopped.
After a while – ten minutes? twenty? – the music ceased, and the forest echoed with its silence.
Then the harmonies flowed anew, and suddenly I felt released. It was time to move on; I had a taxi to catch, a plane to board.
I realized that all day I had been regretting my imminent departure, despairing at having to lose this blessed place. Now Ubud had answered that need, bestowing one last canangsari-lesson that would allow me to leave: I didn't need to see the gamelan to hear its music, and I didn't need to be in Bali to have Bali in me. It was already there, gonging and trilling and booming, rice paddy blooming, and it always would be.
[Photo Credits: Don George]