Home | Writers | Headlines | Writer Spotlights | Contributing Authors
If you are a writer yourself, help us grow the database? Get listed! — A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

Jakarta Post / What Media Says
Feb 06, 2025

Jakarta Post / What Media Says
Feb 01, 2025

Bali Beyond the Postcard: Unveiling the Island’s Hidden Complexities

Story / Review


By Desca Angelianawati, Teguh Affandi
Jan 19, 2025

Recently, Bali has become a hot topic due to the peculiar and often troubling behaviour of some foreign tourists. For many, Bali is an irresistible allure, a majestic invitation they’ll go to great lengths to answer just to remain on this enchanting island. Bali’s identity is deeply tied to tourism, its diverse attractions almost inseparable from its essence. In the eyes of tourists, Bali tells a singular story—a mesmerizing slice of paradise. Its exotic appeal, encompassing natural beauty, culture, traditions, and the lives of its people, has always been its main draw.

This charm, however, also conceals a complex reality, as highlighted in the preface of Malam Pertama Calon Pendeta (The First Night of the Priest-to-Be). 

Gde Aryantha Soethama writes in the preface: “For a long time, it’s been common knowledge that Bali’s caste system and traditional customs are sources of conflict within its society.” Balinese writers, for years, have delved into these layered, intricate issues that lie beneath Bali’s exotic facade. The choice of storytelling focus has always been crucial: should one break away from conventional narratives or follow the common thread of portraying Bali through its singular lens?

Unmasking Bali: a Complex Layers Beneath Its Singular Image

The 17 short stories in this book explore the conflicts arising from Bali’s traditional customs. Gde Aryantha Soethama continues to dissect issues of class, caste, and societal structure that remain deeply embedded in Balinese life. The rigid hierarchy—where higher castes are forbidden from marrying lower ones, or where one’s worth is dictated by caste—is a recurring theme in these stories.

The titular story, “Malam Pertama Calon Pendeta,” underscores the rigid caste dynamics. Aji Punarbawa, born into the Brahmana caste, is forced to marry another Brahmana woman for the second time, abandoning his first wife, Krining—his true love—who belongs to a lower caste. The family insists that Aji become a priest to restore the sanctity of their griya (Brahmana residence), despite his protests. Ironically, Krining, the “lesser” in caste, becomes the key to restoring the family’s honor, highlighting the complex contradictions of the system.

Krining reflects:


“Now I have the chance to be valued. It’s extraordinary—when the Brahmana plead for my opinion, beg me to sacrifice for them. In the end, they have to admit it was an ordinary woman who restored the sanctity of Griya Rangkan.”

Similarly, caste rebellion is evident in “Ordil Jadi Gancan.” Here, Ordil destroys his father’s cremation tools because his father never married his mother due to caste differences. Those who challenge class boundaries, like Ordil, often meet a grim fate—chased, hunted, and forced to erase their identity.

Other stories like “Surga untuk Petani” (Heaven for Farmers) explore caste dynamics with biting satire. A Brahmana priest fails to enter heaven, while a farmer strides in effortlessly, symbolizing the ultimate triumph of sincerity over superficial status:
“Farmers dedicate their entire lives to cultivating the land, serving and cherishing Mother Earth—not just for their families but for everyone, including you.”

Through characters like Krining, Ordil, and the humble farmer, Gde Aryantha Soethama unravels the illusion of caste supremacy, questioning the human-made structures that dictate one’s worth.

Irony takes another form in “Belukar Pantai Sanur.” Set during the pandemic, a holy figure exploiting his religious garb is caught engaging in illicit drug transactions. The story subtly critiques the hypocrisy within those perceived as sacred.

Unmasking Bali in a Singular Story

Bali’s allure to tourists is unparalleled. Miguel Covarrubias, in his classic Island of Bali (1937), painted an indelible image of Bali’s exotic charm—a place where people moved in harmony with nature like underwater ballerinas. Films like Eat, Pray, Love (2010) further cemented Bali’s image as a haven of tranquillity and spirituality.

Yet, the commodification of Bali’s culture comes with consequences. In “Pangus Ukulele,” Pak Bondo, a wealthy man seeking peace in Ubud, attempts to recreate serenity by surrounding himself with traditional Balinese decor, only to find himself trapped in the “touristified” version of Bali. Meanwhile, in “Joged Timuhun,” locals protest tourism projects that threaten the sanctity of their temples, demonstrating a resistance to the commercial exploitation of sacred spaces.

Unmasking Bali: Beyond the Single Narrative

Chimamanda Ngozi Adichie’s warning about the danger of a “single story” resonates here. Bali has long been portrayed as the “Last Paradise,” with literature often focusing on caste conflicts, customs, and tourism-driven disparities. Soethama’s preface acknowledges this tendency among Balinese writers to dwell on traditional issues, a pattern that reinforces Bali’s singular story.

But the single story casts a shadow over other potential narratives. Writers who wish to shift their focus face the challenge of breaking free from the expectation to write exclusively about Bali’s traditions. As readers, we can hope for diverse voices that present Bali from new perspectives, uncovering stories that have yet to be told from its hidden corners.

The richness of Balinese literature lies in its potential to explore these untapped tales. By doing so, it can move beyond being a mirror of its famed traditions and instead reflect the island’s multifaceted reality.

The article was written by Teguh Affandi, a book enthusiast in the Indonesian literacy arena, a promising Indonesian author, and a talented assistant editor at one of the Indonesian publishing magnates in Bahasa Indoensia. The article was later translated by Desca Angelianawati for IDWriters. 





We accept short stories, poems, opinion pieces, book reviews, essays, creative nonfiction, and features on a complimentary basis. So, if you are interested, please write us an email at hello@idwriters.com. If your submission is selected, we will do an editorial review. We will not consider writings published elsewhere, including your website, unless they were initially written in Indonesian. IDWRITERS may then use excerpts, quotes, or portions of your original guest post in a subsequent article to link to your original guest post for additional exposure.


At a Glance

As of now, our resource library is a powerhouse: 602 writers, 835 books from 258 publishers, 783 contributing authors, and a total of 1161 pieces—391 news coverages, 229 clippings, and 541 book reviews. We've sourced from 365 distinct outlets to enrich our content. Add 81 translated works and 58 handpicked standout resources, and you've got a snapshot of our dedication to cultivating a vibrant literary landscape.

About Us

Ready to dive into the magic of our writer's directory? It's not just a cool space for writers to connect; it's like the ultimate toolkit for event hosts, lit organizers, artsy souls, librarians, book nerds, and everyone curious about Indonesian writers. Think of it as the cozy HOME for INDONESIAN WRITERS, where we're on a mission to smash those pesky language barriers holding back Indonesian books and lit from taking over the world. Read more!

Got burning questions, awesome comments, juicy articles, or just some cool info to drop? We're all ears! Shoot us an email, give us a shout on X, Facebook, or Instagram, or hit us up using the contact form. Let's make this a conversation!








You cannot copy content of this page