Rabu, 29 Februari 2012



WW2 Japanese Gun at the South/West corner of Lombok, Indones 

Forgotten in the dense jungle of the South/West corner of Lombok, Indonesia,lies a big Japanese gun (German made in 1902). Reaching it is not easy also because only a few know where it is.

WW II Wreck diving in Lombok (Indonesia)

Diving Japanese submarine boat in Nara Bay, off the coat of Lombok. According to local people, this vessel was waiting for it's mother vessel when the allied airplanes spotted and sunk them. She was sunk in the first part of the WW II (Aproximately 1942)
In the wreck there were still some boxes of Nambu ammunition between caliber 7mm-40mm AA rounds.
She is located at the depth of 43 meters of seawater. Perfect depth for Deco dive/Trimix I course.


HISTORY OF BALI indonesia indonesian village festival super 8 movie

Bali, Indonesia, 1908- A Short Film

Bali has always had visitors from afar, but few in 1908 had access to a camera that could film moving images.

Watch an extremely rare short film of Bali, and enjoy traveling back into the start of the 20th Century

Bali, Indonesia, 1925- Life in a Balinese Village

 Bali has often been called the "jewel of Indonesia," because of the islands rich culture, and ancient beliefs of animal ism, mixed with a Balinese style of Hinduism. These beliefs still maintained a balance between ancient beliefs, and the outside world, beyond this fabled isle.

In 1929, when this rare film was made, rural life was recorded, and you can see how traditional village life was unique, despite the modernization of the early 20th Century-. Enjoy.

Sang Hyang and Kecak Dance (1926)

 A film by (Willy) W. Mullens
 Bali - Sanghijang und Ketjaqtanz (Sang Hyang and Kecak Dance)

The Sanghyang is a trance dance performed by young girls. We can imagine that the sight of little girls swaying in an incense-filled atmosphere, surrounded by seated men with arms akimbo, must have looked particularly weird to Europeans in 1926. Mullens may have worked with Gregor Krause, who was based in Bangli, especially since these images fit into the scheme of Krause's book. They add depth to the idea of Bali's culture, but present some of the most extreme and exotic visual aspects of that culture.

Bali - Leichenverbrennung und Einascherung einer Fürstebwitwe (Royal Cremation) and Bali/ 1926

in 1926 the first moving pictures of Bali were made available to the world by a Dutch film-maker named (WILLY) W. Mullens.

The royal cremation featured the corpse of a queen of Bangli being carried on to a cremation tower before being taken to the graveyard and burnt in a lion-shaped sarcophagus.

Film pertama mengenai Bali adalah film dokumenter “Royal Cremation”. Film ini dibuat oleh seorang Belanda yang bernama W. Mullens pada 1926 (Anda bisa lihat seperti apa isi film tersebut melalui video klip RIA Novosti yang diambil gambarnya dalam masa 82 tahun [hyperlink]. Jadi Anda bisa bayangkan, pengaruh apa yang dapat diberikan oleh pertunjukan serupa terhadap orang-orang Eropa yang hidup di tahun 20-an ketika film belum menjadi pesona). Film tersebut ditakdirkan sukses, dan setelah “kesuksesan pertama” ini, seniman sinematografi dari Prancis, Jerman, dan Amerika silih berganti membuat filmnya di Bali

Calon Arang, 1927

In 1927 the image of the witch was brought to the screen in the first fiction film set on Bali, Calon Arang. Little is known of this film, and no copies survive, but the makers probably had links with the Italians who owned the moving picture theatre in Denpasar, where Charlie Chaplin played on the screen for enthusiastic Balinese audiences. The film Calon Arang was described as a tropical romance featuring palm trees, beachcombers, and 'the inevitable bevy of dusky beauties such as never were seen on land or seas'. This comment tells little about the film, but it does show how conscious the image-makers of Bali were of trying to add depth and respectability to the idea of Bali.

The Rangda (witch-heroine of the Calon Arang story) and the kris dance eventually became the most potent of all the elements of Bali's image, and could be counterpoised to the superficial image of the tropical paradise. The gentle figure of the young female dancer of the Sang Hyang trance dance was balanced by the horrible figure of the witch of Calon Arang. If Dr Krause tried to emphasise harmony and the organic community in his description of Bali, then the Rangda represented the other side of this image, the feeling that lurking under the harmony there were wild forces ready to run amok. The 'Island of the Gods' has also been called 'The Island of the Demons', most notably in a German film shot in 1931, and later in a Dutch novel of 1948.

Little is known of a Dutch film titled Mahasoetji: Van Java's Vulkanengweld en het Wondere Bali made in 1929 by NIFM. However, the next important movie shot in Bali has the most wonderful title of Goona-Goona, An Authentic Melodrama.



GOONA GOONA - 1932 - Rare documentary filmed in Bali 

Available at www.robertsvideos.com or call 1-800-440-2960 GOONA GOONA 1932 - Directed by Armand Denis & Andre Roosevelt - Rare documentary filmed in Bali - a.k.a. KRISS  


Its American title was Love Powder, but most exhibitors preferred to stick to the film's original moniker Goona-Goona. This was the second of the many exotic documentaries assembled by intrepid explorer-hunters Andre Roosevelt and Armand Denis. Amidst reams of authentic expedition footage, the producers endeavored to contrive a dramatic plotline involving the romance between a Balinese prince and a servant girl. Our hero finally wins the heroine's love with the help of a magic potion concocted by the local witch doctor. Goona-Goona was re-edited to conform to American censorship restrictions by Al Friedlander, the head of First Division Pictures.

The remote little island only became news to the rest of the Western world with the advent, a few years ago, of a series of documentary films of Bali with a strong emphasis on sex appeal. These films were a revelation and now everybody knows that Balinese girls have beautiful bodies and that the islanders lead a musical-comedy sort of life full of weird, picturesque rites. The title of one of these films, Goona-goona, the Balinese term for "magic", became at the time newyorkese for sex allure. The newly discovered "last paradise" became the contemporary substitute for the nineteenth-century romantic conception of primitive Utopia, until then the exclusive monopoly of Tahiti and other South Sea islands. And lately travel agencies have used the alluring name of Bali to attract hordes of tourists for their round-the-world cruises that make a one-day stop on the island."
(Miguel Covarrubias, Island of Bali, 1937)

Actual organised tourism came to Bali in the 1920's. By 1930 up to 100 visitors a month were arriving, mostly by sea. Their ecstatic reports were so positive that by 1940 this figure had increased to about 250 per month, not including the passengers on the various cruise ships that advertised a day or two in Bali as the highlight of their winter schedules.

The Dutch Steamship Line, K.P.M., initiated the first tourist passages to Bali on its cargo ships and several enterprising characters were quick to take advantage of these developments. A Persian-Armenian, M.J. Minas, was the first to realise the tourist potential. He introduced moving pictures to the villages, travelling with a portable projector, and he established the first movie theatre in Buleleng. Minas started picking up passengers off the K.P.M. ships in about 1920. An American adventurer, Andre Roosevelt, arrived in Bali in 1924 and joined Minas, bringing American Express and Thomas Cook patronage with him. Andre Roosevelt undertook in the 1920s to develop the tourist market, although this did not deter him from suggesting measures to preserve the integrity of Balinese society and its culture:

Having leisure, my friend Spies and I started a scheme which would tend to slow down the invading forces from the West and keep the Balinese in their happy, contented ways for a few decades longer ….. We want to make of Bali a national or international park, with special laws to maintain it as such.
(in Hickman Powell, The Last Paradise, 1930: xiv-xvi)

The black-and-white film Goona-Goona, An Authentic Melodrama, also called Der Kris and The Kris, was originally shot in 1928 and 1929 by Andre Roosevelt and Armand Denis with assistance at the outset from Spies. Walter Spies wrote about his collaboration with Roosevelt: "I'm doing the directing and most of the work; a certain Mr Roosevelt turns the handle. I've got a marvellous, very simple story for it and have found some very good actors."

Much of it was re-filmed in 1929 after a processing accident in Surabaya in November 1928. Walter Spies was not involved in the re-shooting. The film was first released in America in 1930.

Goona-Goona was most likely the movie which inspired K'tut Tantri, author of Revolt in Paradise, and later famous as Surabaya Sue, to travel to Bali in 1932:

It was a rainy afternoon and, walking down Hollywood Boulevard, I stopped before a small theatre showing a foreign film and on the spur of the moment, decided to go in. The film was entitled Bali, the Last Paradise.
I became entranced. The picture was aglow with an agrarian pattern of peace, contentment, beauty and love. Yes, I had found my life. I recognised the place where I wished to be.

(K'tut Tantri, Revolt in Paradise, 1960)

Although K'tut Tantri mentions that her decision to travel to Bali in 1932 was inspired by a film entitled Bali, the Last Paradise, this must be incorrect. Hickman Powell published a book about Bali with a similar title in 1930, but there was never any film of that name. There was a film entitled Bali, the Lost Paradise, a 12-mm black-and-white film made by Michael Lerner but this was American, not foreign, and was not made until 1939, seven years after K'tut Tantri's arrival in Bali. Der Insel der Dämonen was not released until 1933 and so Goona-Goona was probably the only film of Bali that could have been viewed in America in 1932.

The film was very successful and actually started an American craze for all things Balinese. In New York high society goona-goona, a Malay and Javanese term for love magic, was turned into a popular phrase. Goona-Goona can be credited with linking sex and magic in the popular image of Bali.


Bali: Ida Boda teaching legong 1930s

silent film: Ida Boda teaching legong with the gamelan pelégongan of Kelandis, Bali. Filmed by Colin McPhee, c. 1931-38. Courtesy of the UCLA Ethnomusicology Archive. Accompanies World Arbiter CD 2011: Bali 1928 recordings volume 1: Gamelan Gong Kebyar. see www.arbiterrecords.com

Bali 1930s: Ida Boda with gamelan pelégongan of Kelandis,

 silent film: Ida Boda with the gamelan pelégongan of Kelandis, Bali. Filmed by Colin McPhee, c. 1931-38. Courtesy of the UCLA Ethnomusicology Archive. Accompanies World Arbiter CD 2011: Bali 1928 recordings volume 1: Gamelan Gong Kebyar. see www.arbiterrecords.com

Bali: I Marya dancing Igel Trompong with Gong Belaluan.

 silent film: I Marya dancing Igel Trompong with Gong Belaluan. Filmed by Miguel Covarrubias, c. 1930-35. Film excerpt courtesy of Rocio Sagon Vinaver, Djahel Vinaver and José G. Benitez Muro. Accompanies World Arbiter CD 2011: Bali 1928 recordings volume 1: Gamelan Gong Kebyar. see www.arbiterrecords.com

Bali: I Sampih dancing Igel Jongkok 1930s

 silent film: I Sampih dancing Igel Jongkok (Kebyar Duduk) with Gong Peliatan (A. A. Gede Mandera, kendang player) Filmed by Colin McPhee, c. 1931-38. Courtesy of the UCLA Ethnomusicology Archive. Accompanies World Arbiter CD 2011: Bali 1928 recordings volume 1: Gamelan Gong Kebyar. see 

Colin McPhee Videos 1930's

 These are some silent movies Colin Mcphee shot in Bali in the 1930's
they can also be found at


Charlie Chaplin original home movies Java Bali 1932 

Charlie Chaplin visited Java and Bali with his half brother Sidney in 1932. Together they took 16 mm black and white movie footage.
Charlie Chaplin travelled to "Batavia" (now Jakarta) on a mail steamer from Singapore......with his half brother Sydney they travelled to Bandung where they refreshed at the Grand Hotel Preanger....they went on to Garut, Borobudur Temple, Surabaya and then to Bali. Mr Chaplin was shown aroun Bali by artist and poet Wouter Spies (the young blonde headed man in the footage)....for 25 usd Charlie Chaplin hired out a local village to dance and perform whilst on Bali. Charlie Chaplin commented on the bare breasted ladies of Bali. Full details are in Mr Chaplin's writings "A comedian sees the world".....



Bali Tempo Doeloe 1932 

Bali Paradise Isle 

Bali Tempo Dulu ( The World Parade) 

Bali Paradise Isle

Procesión religiosa Covarrubias Bali 1932 

Bali: Mojigangas Balinesas (Big Puppets) Covarrubias 1932 

Bali Danza Baris Gedhé (or Gede) Covarrubias Bali 1932

Bali: Mario, bailarín bailnés danzando. Covarrubias 1932.


Bali, Indonesia,1933- Balinese Gamelan and Dance- 

The fabled and renowned island of Bali has always been known for its distinct culture, which is expressed in the islands architecture, arts and importantly dance.

This rare film shows a typical Balinese festival in the early 1930s, which includes the original timeless dance and music of the local people. 


virgin of bali

Bali: Opera Arja. Covarrubias 1932. 

Covarrubias Documents in Bali: Arja Opera Performance 1932

Bali: Danza Legong. Covarrubias 1932.

Covarrubias documents in Bali: Legong Dance Performance 1932


Bali: Teatro-danza Barong. Covarrubias 1932.


The 'Island of the Gods'
(Pulau Para Iblis)

Film ini di sutradarai oleh 

Germany 1933

The 'Island of the Gods' has also been called 'The Island of the Demons', most notably in a German film shot in 1931, and later in a Dutch novel of 1948.
Probably not released until 1933, Der Insel der Dämonen was also known as The Island of Demons and confusingly, also as Black Magic. Credits for the film include Producer-Director, Baron Viktor von Plessen; Camera, Dr Dalsheim; Scenario, casting and choreography, Walter Spies.

During 1931, Walter Spies' house in Campuhan, Ubud was packed with a crowd of film people. Viktor Baron von Plessen was making the classic Bali-film, Insel der Dämonen with a collaborator, Dr. Dalsheim. Spies's name was the guarantee for a scenario faultlessly faithful to Bali with the right actors and effective choreography. This was the occasion for which Spies remodelled the kecak , the so-called monkey-dance. He increased the number of participants to more than a hundred young men sitting in a circle, and also introduced the figure of the dancer-narrator who recites, in the light of a central standing lamp, tales from the Ramayana involving the exploits of Hanoman, the monkey-general.

The film was a love story about two peasants. Their harmonious village life was destroyed by a Rangda-like witch who created an epidemic which devastated the happy village community. Only exorcistic rituals could stop her and return the village to its normal state. The film runs the full gamut of the images that interested Spies. It starts with beautifully-filmed landscapes featuring water-filled rice terraces reflecting the sky, and scenes of hard-working (but happy) farmers in the fields. Then came the ideal community, disrupted by a bitter woman whose shifty looks betrayed her evil nature, who was eventually revealed in the form of Rangda. Throughout the scenes of witchcraft and exorcism Spies wove documentation of Balinese dances and rituals. This documentation guaranteed the authenticity of the scenes, showing that they were giving an insight into the 'real' Bali behind the superficial tourist images. 


Ceremonies In Bali 1936 

An elaborate funeral ceremony in Bali in the 1930s. Transferred from an original 35mm nitrate print. Footage from this subject is available for licensing from www.gettyimages.com

1939 Danza Keris (Trance y Danza en Bali)



Honeymoon in Bali

Released as Honeymoon in Bali. Balinese resident Bill Burnett visits New York City and meets and falls in love with shop manageer Gail Allen. Gail is determined to be free and independent. So when Bill proposes, Gail declines and Bill goes home to Bali. Before to long she wonders if she made a mistake, but when she goes to Bali to tell Bill she made a mistake, it may be too late for their love. 

Bali in 1940, before the Japanese occupation 

A year before the Japanese invasion the island looked peaceful and unspoiled by tourism. Women went still around bare-breasted.

Bali, Indonesia, 1940- A Village Journey

Bali is a mystical Island in Indonesia. A place where the ancient mixes with the modern, and natural beauty is preserved, as well as the unique beliefs of the Balinese. Village life in Bali may of changed since the tourist boom, but here is a brief glimpse into what a Balinese village was like in 1949.


A Bali rural cremation ceremony in 1940

Not the impressive funeral ceremony we use to see in documentaries of this beautiful isle, but one in the country just before WW2. Wish I could tell you more about the deeper meaning of all the phases the ceremony goes through. Few tourists around although I spot two vintage cars at the end.


Bali, Indonesia- 1941- Dance, and a Gamelan Orchestra

Bali has long been the home of traditional dance, and the fabled Gamelan orchestra, which plays the timeless ancient music of Indonesia.

Bali, Indonesia-1946- Tranquil Scenes of a Local Village- 

 The timeless rural scenes of Bali, have fascinated generations of people around the world, on an island were natural beauty, inter-mingles with the ancient religious belief of the local Balinese.

This short video shows scenes of a village, including the local market, and offerings being brought to the temple at a time much of the World was still at war.

Bali, Indonesia- 1946- Dutch Troops Enter Bali

 The actual official surrender of Bali only took place in mid-1946, when a newly formed Dutch East Indies army had finally arrived on Java, whilst the embattled British Commonwealth army were slowly leaving.

Java and Sumatra were at the forefront of a war of independence with Indonesian nationalists fighting the re-occupation of their lands, so Bali was effectively under the rule of the defeated Imperial army, long after their surrender, until one of the European powers arrived.

This was one of the many paradoxes, of the Indonesian Independence War.


Director:  HAL WALKER

George and Harold, American song-and dance-men performing in Melbourne, Australia, have to leave in a hurry to avoid various marriage proposals. They end up in Darwin, where they take jobs as pearl divers for a prince.

Crosby and Hope
They are taken by boat to an idyllic island on the way to Bali, (the location is unclear, but possibly in the Maluku Islands). They vie with each other for the favours of exotic (and half-Scottish) Princess Lalah, a cousin of the Prince. The hazardous dive produces a chest of priceless jewels, which the prince plans to claim as his own.
After escaping from the prince and his henchmen, the three are shipwrecked and washed up another island. Lalah is now in love with both of the boys and can't decide which to choose. Following further romantic complications, the boys participate in a traditional marriage ceremony, both thinking they're marrying Lalah. In fact, she's being unwillingly married to the already much-married King.
Harold conjures up Jane Russell from a basket by playing a flute and thinks that he's going to get her. But she chooses otherwise and George walks off with both Jane and Lala. Harold is left alone on the beach, demanding that the film shouldn't finish and asking the audience to stick around to see what's going to happen.

Road to Bali was the first "Road to..." picture since 1947's Road to Rio, and was known during production as The Road to Hollywood. It was the sixth film in the series, and the next to last to be made, as well as the last "Road" film to star Dorothy Lamour. The film was a co-production of Bing Crosby Enterprises, Hope Enterprises and Paramount.[1]
The giant squid that threatens Bob Hope in an underwater scene was previously seen attacking Ray Milland in the Paramount production Reap the Wild Wind directed by Cecil B. DeMille and the erupting volcano climax was taken directly from the Paramount production Aloma of the South Seas (1941) also starring Lamour.

u can wacthing here  

Bali, Indonesia-1950s- A Tooth Filing Ceremony and Temple Dance-

Bali is an island were despite modernization, the traditions seen in this video are as common today, as they were over 60 years ago.

Watch how a series of cememonies which are ann essential part of Balinese life, and the dance which is entwined in the thousands of years of history, that make the island of Bali's culture so unique today


Alley to Bali/1954

Alley to Bali is the 53rd animated cartoon short subject in the Woody Woodpecker series. Released theatrically on March 15, 1954, the film was produced by Walter Lantz Productions and distributed by Universal International.

Directorr:  Don Patterson

Woody and Buzz Buzzard seek the attention of a curvacious Balinese woman named Babalu who wants to sacrifice them to the angry volcano god of her island, who is in need of long pig for his dinner instead of his usual vegetables. So the sexy seductress performs an alluring dance to get the two sailors to follow her. At one point Buzz accidentally winds up in the arms of a female gorilla who thinks he is handsome. Neither Woody nor Buzz end up with the beautiful Babalu, but they do escape from the volcano's wrath with their lives.


Tidak ada data yang menjelaskan sutradara dari film ini. Tetapi data dari CITWF film ini di produksi oleh BALI FILM Ltd. Mungkin sudah pasti orang Bali sendiri yang menyutradarai film ini. Dan juga hanya satu film ini saja yang terproduksi oleh Bali Film Ltd.

Namun ini berdasarkan novel sastrawan terkenal Anak Agung Pandji Tisna Atau nama samaran A.A Pandji Trisna. Beberapa cerita yang beredar adalah A.A Pandji Trisna ini sendiri yang membuat film itu yang berdasarkan pada novelnya sendiri yang muncul pada tahun 1936, dalam judul bahasa inggrisnya The Rape of Sukreni.

A.A Pandji Trisna membuat film ini dikatakan orang sebagai film independent-nya dia, 

 Dalam cerita ini pengarang mengisahkan nasib malang yang di derita oleh seorang gadis bali bernama Sukreni.Pada awalnya nama Sukreni waktu kecil adalah Ni Widi.Sukreni adalah anak Men Negara,seorang perempuan anak orang kaya dari Karang Asem dan telah bersuami dengan I Nyoman Raka.Ketika Ni Widi (Sukreni ) masih berumur delapan bulan Men Negara meninggalkannya.Ia meninggalkan suami anak dan orangtuanya.
Dari pengembaran Men Negara tibalah Ia di desa Bingin Banjah.Di sinilah Dia berrsuami dan mempunyai anak gadis bernama Ni Negari. Karena kecntikan anaknya tersebut, Men Negara memanfaatkan anaknya untuk menunggu warung .Warung Men Negara laris sekali, hal ini karena salah satu sebabnya adalah ditunggu oleh Men Negari anaknya tersebut.

Melihat kecantikan Ni Negari ,I Gusti Made Tusan salah satu pelanggan warung dan juga seorang kaya di kampong terebut mencintai Ni Negari.Tetapi sayang Ni Negari tidak suka kepadanya.

Pada suatu hari Men Negara kedatangan tamu, yaitu I Made Samba dan Sukreni. Melihat Sukreni yang mempunyai wajah lebih cantik dari Ni Negari timbul niat jahat I Made Tusan untuk memperangkap Sukreni..

Oleh Men Negara Sukreni disuruh menginap di warungnya.Sukreni diminta tidur bersama Ni negari anaknya.Rupanya sebelum itu Men Negara telah disuap oeh I Made Tusan,yang memeng menginginkan Sukreni tersebut.Karena akal busuk Men Negara dan I Made tusan tersebut, maka di warung tersebut I Made Tusan berhasil merusak kehormatan Sukreni..

Karena malu,maka Sukreni meninggalkan tempat terkutuk tersebut tanpa sepengetauan Men Negara menuju Singaraja, menumpang di sebuah milik orang Tionghoa.Di situ ia mengubah namanya menjadi Ni Made Sari, agar orang tidak mengenalnya lagi.

Setelah kejadian tersebut,,paginya I Sudiana teman menginap Sukreni menceritakan kepada Men Negara, bahwa sesungguhnya Sukreni adalah Ni Widi, anak Men Negara Sendiri.Mendengar penjelasan tersebut bukan main menyesalnya Men Negara.Karena ia telah mencelakakan anaknya sendiri.

Kabar tentang Sukreni yang telah ternoda tersebut sampailah kepada orangtuanya.Mula-mula Sukreni diusir dari keluarganya,karena dituduh telah berbuat nista atas kemauannya sendiri.Tetapi setelah mengetahui bahwa perbuatan tersebut merupakan paksaan dari I Made Tusan,akhirnya timbul rasa iba orangtua Sukreni,sehingga ia disuruh pulang.
Dikisahkan pula perbuatan terkutuk I made Tusan mengakibatkan Sukreni melahirkan seorang anak laki-laki yang diberi nama I gustam. Gustam mempunyai perangai tidak baik.Pekerjaannya adalah berjudi dan mengadu ayam. Sekolahnya ditinggalkan.Ketika umurnya Sembilan belas tahun ia dihukium karena mencuri di sebuah warung milik orang tionghoa di Singaraja.Ketika anaknya dihukum itulah Sukreni berniat pulang kerumah orangtuanya. Karena kesedihannya memikirkan anaknya tersebut akhirnya Sukreni meninggal dunia.
Sementara itu I gustam di dalam penjara berkenalan dengan orang-orang jahat yang suka merampok.Keluar dari tahanan Gustam melakukan perampokan-perampokan di mana –mana. Pada suatu kesempatan rumah yang dirampok oleh Gustam dan kawan-kawan adalah rumah Men Negara.Kebetulan saat itu yang menjaga adalah I Made Tusan. Rumah Men Negara dibakar.Terjadilah pertempuran hebat.anta I Gustam dan I Made Tusan. I Gustam tertembak olejh Made Tusan sehingga meninggal dunia.Sebaliknya I Made Tusan terluka parah oleh parang I Gustam. Sebelum I Made Tusan meninggal karena lukanya,ia mendengar suara dari Made Asman, anak buahnya bahwa I Gustam yang dia bunuh itu adalah anaknya sendiri. I made Tusan merangkul anaknya, karena lukanya yang parah I Made Tusan pun akhirtnya menyusul meninggal dunia.

The 'Bali Hai' of South Pacific (1958)

The 'Bali Hai' of South Pacific (1958) had nothing directly to do with Bali, but everything to do with Bali's image. The island shown as Bali Hai was not in the right ocean, but the name and the soothing sea-breeze-like notes of the hit song were thought to be sufficiently close to something resembling "Bali". Hollywood made Bali the paradise of paradises by combining all the ideals of the South Seas into one.

In the last ten years this island has been written about, filmed, photographed, and gushed over to an extent which would justify nausea. I went there half-unwillingly, for I expected a complete "bali-hoo", picturesque and faked to a Hollywood standard; I left there wholly unwillingly, convinced that I had seen the nearest approach to Utopia that I am ever to see.

In the 1958 film version, Bali Ha'i is portrayed by the real-life island of Tioman in Malaysia. However, the scene[clarification needed] was filmed on the north shore of Kauaʻi and Mount MakanaHanalei Bay.
was used as Bali Hai which is still known as Bali Hai today. Tunnel's Beach is often referred to as "Nurses' Beach" and the scene where Bloody Mary sings of Bali Ha'i takes place on

BALI 1960

Bali circa 1960 (archive footage) 

8mm mute footage. people, markets, workers, carriers
beautiful archive from a client (published with their permission)

Pelebon Raja 1967

B & W stills from the last Raja of Karangasem's cremation in 1967.

B & W stills from the last Raja of Karangasem's cremation in 1967.Born in 1889,passed away in 1966.

Bali Summer 1968 - First Encounters

The reality of the island, its people and culture hit me unprepared and I stopped in my track of travel from Germany to Australia. Here the first surviving images on film taken during the first months ... while living and painting in Ubud. (This also for Shane !)

The Procession (Pendet) Bali 1969

An island with 10 000 temples, each of which celebrates it's "birthday" about every 200 days in the Balinese Calendar. All ceremonies are proceeded by the Pendet dance to please the spirits. Here some events I could witness, prior to the onslaught of "Culture Tourism" ..


 Never to anger a child is the most important of Bali's "10 Commandments" raising children in Bali. Living in a village for 14 month, and subsequent year long travel working on Guide to Bali in 1969, I was most impressed by the dignity, natural strength, beauty and culture manifested in the children of Bali. The images, like all images of Bali from my archive, were taken in 1968/9 during joint travels with one camera shared by my collaborator and Friend Werner Hahn and me


Bali 1969 - Island trip with a borrowed Camera

 This is the first of a number of shows representing my time in Bali from 1968 to 1971. After a year as painter living in Ubud I moved to Sanur to produce my first Guide book Guide to Bali.
Manfred Vogelsaenger came to Bali and let me have his Hasselblad for a day: from Kuta to Kintamani and back ..


Bali nel 1970 circa, di Alice e Gérard Saudan_1.mpg 

 Bali nel 1970 circa, di Alice e Gérard Saudan da Crana Onsernone -- Vevey in Svizzera



A photographer, obsessed by the memory of his wife who left him, imagines that a girl he meets is his wife. When she also decides to leave him, he is unable to accept the separation and kills her in the belief that he has killed his wife........

BALI 1970 



Bali - Stories from 1970's and 1980's . 

Taken from Australian Broadcasting Commison radio history program - Hindsight . This edition was titled -Australians In Paradise " . It was broadcast years ago before they archived programs on the net , thus is not available to be heard anymore . The program traced the history of travel , tourism and surfing in Bali . Here are some edited excerpts. 

Balinese gamelan : footage + music of I Wayan Lotring from 1972

I made this tribute to Lotring on the 30th of August, 2010. [PdR] The video contains segments of wonderful and unique footage - from a 20-minute documentary published on http://www.youtube.com/user/jackusful by Jacques (..), whom I contacted - of legendary Balinese musician I Wayan Lotring (1898-1983) dancing and playing in 1972. I rearranged the footage a bit and combined it with a segment of Lotring's composition 'Liar Samas', played by himself and his orchestra in 1972. You can find the complete recording on a marvellous 2cd-album, released by Ocora, titled 'Hommage a Wayan Lotring', an album I highly recommend, a very worthwhile buy if you like gamelan music from Bali.
In the 1920's and 1930's Lotring was an absolute sensation on Bali, revolutionising musical form of gamelan pieces on kebyar, pelegongan and gender wayang, and in so doing paving the way for others on Bali to take gamelan into new directions.
I would expect Canadian composer Colin McPhee to have filmed him in the 1930's but haven't seen that footage (only a few photographs of Lotring by McPhee). In his book 'A House in Bali' McPhee meets Lotring and even devotes a chapter to him. A nice read that brings you in the midst of musical history on Bali.

  VIRGIN IN BALI, A / 1972



George Ardisson stars in this Italian-Indonesian co-production as David Rank, a bowler-hatted London bank employee who takes the advice of a Hyde Park Corner speaker and drops out of straight society in favour of living on the island of Bali. He admires the local culture, enjoys the native women, and is having a marvelous time until the local police chief gets tired of his hell-raising ways and threatens to send him back to Blighty. David falls in with local smuggler Porfirio who proceeds to blackmail him--even while the randy Englishman is seducing Porfirio's wife Elaine. There's some fascinating mondo style footage recording traditional Balinese rites such as bull racing, as well as a gorgeous Alessandro Alessandroni score that is worth the price of admission alone, but the knockabout comedy and cheap softcore thrills otherwise offer minimal entertainment value.

BALI - LOTRING en 1973

 Bali : Wayan Lotring fut un des plus grands musiciens balinais du XXè siècle. Il fut entre autres le créateur du Legong Kraton vers 1915 (il avait alors une vingtaine d'années). Le film fut réalisé chez lui à Kuta en 1973, mais au cours du prémontage, la production a décidé d'abandonner le projet. D'où ces rushes très abimés noir et blanc à partir du négatif couleur qui ne reflètent que peu ce que le film fini aurait pu être. Le négatif original est perdu.
Mais telles quelles ce sont les seules images vivantes de ce grand musicien.

 suite et fin des images de Lotring. C'est peu sur la trentaine d'heures de film.
Ce montage n'était qu'un essai, il manque tout ce que Lotring avait alors raconté devant la caméra

Bali - Joged bumbung à Jembrana (Bali-Ouest) 1974

 Gamelan de bambous enregistré dans le village de Yeh Mekecir en avril 1974

Old Surf Movies: Bali and Hawaii (1978-1980) 

Home surfing movies I made with my brother, Craig Tissot, during a trip to Bali in 1978 and Hawaii in 1979-80. Bali: Kuta Beach, Nusa Dua, Uluwatu. Hawaii: Honolua Bay, Haleiwa, Ala Moana. You had to hike to Ulu back in those days. Shot with Sony 8mm camera with Ikleite housing. All footage by Brian & Craig Tissot. Music by Tony Kaltenberg's Spiral Waves album, the song is "High Tide at Ten Mile"

 BALI 1978

 Home surfing movies I made during a trip to Bali in 1978 (in order): Kuta Beach, Sanur, Nusa Dua, Uluwatu. You had to hike to Ulu back in those days. Shot with Sony 8mm camera. All footage by Brian Tissot. Music by Tony Kaltenberg.


Bali: Island of the Gods/1979
 Director: PHIL NOYCE

Documentary film, Australia
This film was made as an in-flight program for passengers traveling to Bali on the Australian Qantas Airlines flights.


A touching memoir of Bali from the 1970′s during a time of innocence, before things got complicated on the island of the Gods…

Bali 1979.
The flight from Sydney to Denpasar had gone smoothly enough. Now it was just a matter of getting through customs and down to the coast where I’d been promised a room within spitting distance of the beach, three meals a day and a guide with extensive local knowledge. All free of charge. Of course there was a catch. Standing nervously over by the baggage carousel was my Dad. Not far away was my Mum. Next to her, my kid sister and, somewhere out of sight lurked an older brother.
Bali. 1979. Not every story that starts with those words is a story of empty surf breaks, glassy barrels and something a little bit to the left of the law. Sometimes it’s simply a story about a family holiday. Kuta or Sanur. They were the options back then. We were at Kuta. Even 30-odd years ago it was a bit of a dive with Europeans, Japanese and Australians sprawled out along a small stretch of the beach, all saying ‘yes’ or ‘no’ to a constant stream of locals peddling woodwork, sarongs or an oil massage that left you gritty with sand. One main street led back from the beach and there were some crossroads. Bungalows and low-rise concrete hotels were scattered between lush gardens. I remember a pub (called The Pub), Poppies restaurant, a disco or two. And enough shops to keep a teenage girl busy. I soon had the hippie-chic look sorted: hand-made lace, woven vest, drawstring pants with dragon print and lace-up leather sandals. For the beach, there were batik bikinis. I was quite taken by these and at dinner one night wondered about the possibilities of buying them in bulk for sale back home. My Dad said I’d have to pay duty at customs; it would end up costing me more than I’d get for them; I was sure there’d be a way around it.
Kuta had a nice beach and warm water, but it didn’t take us kids long to figure out that the real Bali experience was elsewhere – with a family in a losmen, somewhere north or south of where we were. We got on our bikes and went hunting, cycling out along a busy pot-holed road to a place called Legian. From the main road we went down a sandy track to an unspoiled beach. There was a warung, not much else. We sat for a while with a couple of surfers who were out of action – one from a scrape along the reef that had got infected, the other from a nasty burn which made me less keen to get a motorbike of my own. Further down the beach, there was a slab of concrete and some bamboo scaffolding. The first stage of a three-story resort.
Our parents meanwhile had been doing a bit of research of their own and it wasn’t long before they broke camp and set themselves up in a Balinese paradise over at Sanur in a villa that had a private garden, a pool, a fountain and the beginnings of a small exotic zoo. The décor was all wood, black stone, and traditional fabric with not an artificial surface in sight. It was quieter over that side, the general flavour more European with lake-like swimming in the reef-protected bay and civilised frisbee throwing on the sand. Nice, but kind of boring.
Back in Kuta and free of adult supervision we went our separate ways: I went shopping, my sister got sunburnt and my brother found out about magic mushroom omelettes. The place to go was down a back path to a warung with a sandy floor and a stick-like tree decorated with broken egg shells. ‘It’s an egg-tree,’ the 12 year-old who served our omelettes told us, before she sat back to watch us ‘go funny’. I don’t remember what we’d done with our little sister (something responsible I hope), but I had a pretty nice afternoon wandering around, watching the people and the colours in the soft afternoon light of the monsoon season, getting my picture taken with a bunch of Japanese tourists who had gone swimming in their underwear and sitting on the sand watching friendly hallucinatory spiders crawl all over my legs. At some point, I bought a lot of batik bikinis.
When our parents returned we set off to see a bit more of the island, driving around in an old Cadillac-turned-taxi and joining up with one of those culture-slash-shopping-slash-culinary ventures designed to give tourists a taste of the real Bali. We went to Tanah Lot and saw the temple and then up to Ubud. There were visits to workshops of local artists, a spectacular festival ceremony, a chook fight (men only), incredible food, breathtakingly lush country-side and people more lovely than you could imagine.
I was in Bali in 1979 and I didn’t surf. So I can’t tell you about scoping missions in search of stand-up barrels or epic sessions on virgin waves with just me and a mate. All I can tell you is the fragments of memories of a 16-year-old girl on her last family holiday. Of how a ladder went through the fuselage just before take off and how a plane-load of hot, sweaty tourists spent the night grounded on the tarmac without water, food or air conditioning. Of how there were bad moods all round by the time we finally made it back to Sydney. And how, as we headed towards customs, I was thinking about my stash of 100 bikinis and how maybe I should have listened to my father after all.

Kuta Beach - wonder where they are now? Taken on my Kodak Instamatic

Tanah Lot - Big Brother getting into the groove with a 'Man-Bag'

Cock Fight - My Dad and brother snuck off to this one.

On the way to Ubud. Just beautiful

Up from Sanur, test-driving bikinis.


Agnes Chan:Bali Island 峇理島 1980-07 Indonesia 印度尼西亞 

Denpasar 1980 


Bali Mid '80s Hans Hoefer Photoworks 

One of my Polaroid diaries, 1978 - 1988.
To see entire archive or order archival ink jet prints visit hoefernet.com - Hans Hoefer Photoworks.


Documentary film by


Visiting a 116 year old man

 Lawrence and Lorne Blair visit the then 116 year old artist I Gusti Nyoman Lempad from Bali. The artist then proceeds to die a conscious death on the day of his choosing. This footage comes from The Ring of Fire series

A re-release of an acclaimed documentary classic by John Darling - A film about the life and death of the 116-year-old Balinese Master-Artist.

In April 1978, in a village situated in the fertile central hills of Bali, the island's greatest living artist died at the age of 116. Lempad's longevity was cause enough for wonder, but the magnificent body of art and architecture that he left behind is a greater tribute to an unusual man. He lived his creative life through the most traumatic century of Balinese history.
LEMPAD OF BALI tells the story of this remarkable person against the background of the island's changing fortunes over the past one hundred years. It begins by showing him just before his death and then follows the elaborate preparations for his cremation and the consequent release by fire of his spirit into the next world. A wide selection of Lempad's work is shown including the drawings, paintings, sculpture and architecture which have enriched the cultural life of Bali. As a counterpoint to the art, the story of the island itself is given through the use of archive film and photographs, including the several waves of invasions that it has experienced, occupation by the Dutch and the Japanese and, in more recent times, by international tourists.

The production of this DVD has been made possible by the generosity of the Australia -Indonesia Institute.

This DVD has both an English and a Bahasa Indonesia soundtrack.

“A stunning documentary” – Hollywood Reporter

“A documentary gem” – Clement Semmler, Sydney Morning Herald

"There are few documentaries I’ve ever seen that can equal
LEMPAD OF BALI’s depth, symbolism and lyricism.” – Joe Quiriro, AsiaWeek

“The most accessible, thorough commentary on Balinese life to date." - Made Wijiya, Bali Post (English edition)

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