Hampi Trip

 

Our first outing after almost 2 years of home stay – Hampi it was, unanimously chosen because of its intriguing history, long golden era and short name?!

The Innova which took us to Hampi from the Bangalore airport was very comfortable – one, due to the vaahan chaalak and two, due to the bucket seats which veered our conversation towards bucket lists and that was fun.

“Our” resort was built on the lines of the nearby Kamalapura Palace (now no more) and exuded grandeur and grace. The suite boasted of a jacuzzi, a king+queen sized bed, a large balcony and myriad seating areas. The sitout cum balcony overlooked the other more expansive accommodation on one side, the library, spa and a cute corner store on the other side and the absolutely dense trees in front. The expansive sky glowed in its beauty at sunrise and sunset. The resort was home to a lush variety of trees and an astounding variety of birds – 200 and more species we were told. On our morning walks around the resort, we would hear owls, egrets, bulbuls, parakeets, peacocks and many more avians hidden in the luxuriant foliage but found (ferreted) out by the two bird lovers in the family and their camera.

The evening we reached, we decided to spend some time at a (his)tory telling session – a daily ritual here. A local knowledgeable speaker would enlighten his audience (resorteers) about the Vijaynagar empire and also feel bold enough to elicit questions and doubts. He was doing a good job but hadn’t bargained for Kuppu who himself was a trove of historical facts and who suddenly had everyone’s ear for a while with his articulate narration. Of course, he didn’t steal the speaker’s thunder – he created some thunder of his own.

Hampi’s connection with Ramayana is well known. This region is believed to be Kishkinda, the forest domain of monkeys (they are seen in large groups even today). Specific locations also lend credence to this belief.

The 1^st Rama temple - Malyavanta Raghunatha temple we went to was unique in more ways than one. This temple is a tribute to Lord Rama and Ramayana. The sanctuary of the main temple abuts a rock carved with a scene showing Rama, Sita, Lakshmana and Hanuman.

The rock protrudes above the roof of the temple where it is topped by a partly reconstructed tower. We were pleasantly surprised that we could drive right up to the entrance of the temple atop the Malyavanta hill. Unlike most temples in India, this temple is open day and night. We entered to the meditative chants of 2 priests reciting the Ram Charith Manas and learnt that this akhanda parayanam has been going on 24 / 7, 365 days for a decade now. When one priest gets up, another one immediately takes his place – we saw this happen when we were there. The pujari explained in chaste Hindi that about 500 pilgrims going from Ayodhya to Sri Lanka (on a yearly pilgrimage) would pass through Hampi and seeing the temple in a state of disrepair, some of them decided to stay back and sanctify it with their devotion. This soulful, uplifting recitation is in Gujarati and Hindi. 

The sculptures of Sita, Rama, Lakshmana and Hanuman are carved out of a single boulder and are depicted in a sitting position without any weapons. Rama is in a meditative pose and Hanuman instead of folded hands is seen with outstretched hands as if showing something to Rama. Rama is supposed to have stayed here for 4 months in the rainy season, waiting for the rains to subside to continue his search for Sita. This is a functioning temple. We learn that this temple is mostly overlooked by travelers. My mouth forms a big WHY?

From a small doorway in the wall behind the temple, we went up the Malyavanta hill. This hill has round shaped boulders and many natural caves and rock shelters. It is believed that while Rama, in exile, was wandering in this region, he performed obsequies to his father Dasaratha and Lakshmana was able to get the required water for the rituals by splitting the stone with his arrow. 

Another breathtaking temple of Rama we visited was the Hazara Rama temple. Hazara is the only temple situated in the core zone of the royal enclosure. It is dedicated to Lord Vishnu in his aspect as Rama. The temple has some of the most exquisite carvings ever seen anywhere. It is outstanding for both the subject and the quality of its craftsmanship. The outer face of the compound walls depict day-to-day lives, processions of elephants, horses, soldiers, dancing girls and men and women going about their work. The outer walls of the temple depict on their panels, we are told, 108 scenes from the Ramayana, carved in 3 tiers, that should seen from left to right and bottom to top.

The pictorial narration begins with Valmiki telling the story and ends with the triumphant coronation of Rama at Ayodhya. The carvings are in excellence condition. We could say we saw cultural profusion at its finest here. Our guide stated that anybody who perambulates thrice around the temple, taking in the paneled narration, will understand the entire Ramayana.

The sanctuary, however, is empty except for a pedestal as the sculpted figures of Rama, Sita and Lakshmana have disappeared. In a nearby hall, on one of the black granite pillars, the sculptor’s imagined image of the deities is engraved.

Outside this temple, as in some others, one can see remnants of a colonnade of mandapas on either side of the pathway. These point to the ancient bustling market that once existed.

The much talked about monolithic sculpture of Lord Lakshmi Narasimha lives up to the awe it has created. It is an outstanding work of sculptured art, about 6.5 meters tall and hewn out of a massive boulder. Seated on the coils of the Sesha with the hood above the head of the deity, Narasimha is seated in padmasana with a yogapattika. The image of Lakshmi seated over his left lap is mutilated. Only the left arm can be seen. The sculpture seems to reiterate the fact of our “smallness” in the presence of God and Nature.

A few meters away, a large monolithic Sivalinga captures our attention. The lower part remains in water throughout the year, the source being a small canal drawn from Tungabhadra river. The superstructure though, is all but dilapidated. The Badavalinga temple, as it is called, has a 3 meter high large Sivalinga carved out of 1 rock. The pedestal remains in a bed of water with a small damaged shrine. Legend has it that it was commissioned by a poor woman, hence the name.

The Vittala temple, which also takes pride of place in temple visits here, is dedicated to Vishnu, Vittala being his other name. In front of the temple is the famous ratha or stone chariot with the Garuda shrine. 

The chariot originally had stone horses drawing it but at present elephants cover up for the destruction of the horses. Only the horses’ tails survive to tell the tale. The tail and part of legs still remain mute spectators of the damage caused by the Bahmani rulers.  The two other stone chariots are in Puri and Mahabalipuram. The Ratha in Hampi was inspired by the one in the Konark sun temple. This famous Ratha can also be seen on the 50/- note. The large Ranga Mandapa, a dance hall, close by is well known for its 56 musical pillars known as SaReGaMa pillars attributed to the musical notes emerging out of them when gently tapped. Our guide did not want to deny us the melodic experience, so tap he did. It really must have been music to the ears in an earlier era.

The Hemakunta hill will be etched in my memory for a long time. The large Virupakhsa temple, dedicated to Lord Shiva, is located at the bottom of the hill on the other side, is motorable and can be reached easily. But our guide pooh-poohed the idle idea and tempted us by saying that the view from the hill that slopes down to the temple is worth the effort. That it was.

Climbing and descending the sloping shelf of granite with uneven, sometimes steep steps and broken slabs required not only a herculean effort on my part but also the support of 6 pairs of hands (by turns, please), not forgetting the hand of God. Now it all seems slightly distant but it was strenuous exercise then, to be sure. The view from the hill was remarkable. Distant rock formations, about 30 temples on a nearby hill and the Tungabhadra river in the distance.

The imposing tower of the gopura of the Virupaksha temple rises more than 50 meters above the street. We could see it beckoning us as we struggled and slithered down the hill. The deity in the temple is represented as a Mukha Linga, with an embossed brass face mask. Pujas and rituals take place here regularly. It is a functioning temple as is the 1^st Rama temple we visited. There is a small shrine of Pampa Devi (Parvathi) too. Shiva is sometimes called Pampapathi. The open mandapa of the main temple is astounding. 

The interior of the mandapa is a spacious open hall with a ceiling that is entirely covered with splendid paintings. Divided into panels portraying scenes from Ramayana, Shiva’s life and touching slightly upon Mahabharatha, the colours of the paintings are still quite intense and bright.

We couldn’t have left the temple without being blessed by Lakshmi, the temple elephant. As we were climbing the steps, we heard another guide advise, tongue in cheek “if you don’t have money (to get the blessings) give your UPI ID with the password”. Helpful, indeed. 

We saw 2 Ganesha monuments that had unusual names. A plain pillared mandapa houses a huge monolithic (a word that describes almost all monuments here – shows the skill and brilliance of the sculptors of those days) sculpture of Ganesha sitting on a pedestal. The 4 armed, 2.5 meter tall Ganesha is also known as the mustard seed Ganesha (Sasive Kalu, we were told, in the Kannada language). If the image is seen from the back and if you use a bit of your imagination, you’ll visualize Ganesha seated on the lap of his mother, an almost inconspicuous Parvathi. The image, it is said, was made by merchants who had profited immensely from the sale of mustard seeds. Hence the name. The Kadale Kalu monolithic Ganesha is 4.5 meters tall and carved out of a huge boulder. The deity has a sanctum built around it with an elegant, pillared mandapa.

In the Royal Enclosure (structures associated with the royal family), there are damaged structures that as elsewhere speak f the vandalism that occurred and also vestiges that still echo stories of a remarkable bygone era. The Queen’s palace is now a mere terraced platform which, they say, formed the basement. It’s an excavated palace structure of which only the basement, floor and lower portions survive. 3 watchtowers with balconies (only one in a mildly good condition) must have provided security to the royal ladies. The huge compound also houses a two storeyed Lotus Mahal, so called because of the gopuras which appear like inverted lotuses. One of the best- preserved structures, this domed pavilion with its arched openings and balconies must have served as a pleasure/entertainment area. It is now closed to the public. The Queens’ bath is a large, square structure with an ornate interior. Around the bath are beautifully decorative balconies projecting into the well and still in good condition. An arcaded corridor roofed with ornate vaults of different designs runs around the square pool – one can imagine how it must have been in its heyday.

The most imposing courtly structure here are the elephants’ stables. The stables comprise a long line of eleven chambers each of which, it is said, could accommodate an elephant. The arched doorways make for an interesting façade. The central chamber housed the King’s elephant and the raised structure above it must have been used by musicians. Another structure overlooking this parade ground is almost as impressive as these stables. An elevated gallery could have served as a grandstand from which to enjoy the activities on the ground below (mainly martial sports) and not as guard’s quarters as has been suggested by some, including our guide.

A quadrangular enclosure, close to the Hazara Rama temple, is by far the largest in the royal center. Dominating this area stands a square, multistage granite platform. On the shallow reliefs, royal activities are depicted. The platform is popularly believed to have been the place from where the King addressed people and also participated in the celebrations of the Dasara festival. Hence the name Mahanavami dibba .We were also privy to a secret chamber – a few steps which led to an underground room where confidential matters must have been discussed. A spacious plaza near the Zenana enclosure was probably used as a parade ground for troops and animals. 

A large step-well, still in fairly decent condition, makes us slow down and admire it.

We were almost nearing the end of our holiday. We visited Anegondi, a quaint village, the 1^st capital of the Vijaynagar Empire on the banks of the Tungabhadra. The river is amazingly clear here. I recall what a tourist had said “Snan karna hai tho Ganga mein snan karo, pani peena hai tho Tungabhadra ka piyo”. It was a beautiful, refreshing sight. After a brief tussle with rocks and steps we came to a cave formed by 2 mammoth boulders. Aruna entered the cool cave where, we were told, Rama meditated and also vanquished Vali on the other side of the river. 

We drove around this well-preserved village which also serves as a residence of a local line of Rajas who claim descent from the Vijayanagar emperors. Many traditional houses with wooden pillars and mud-clad walls and flat, plastered roofs have been preserved. Motoring down the narrow lanes of the village was a rugged but delightful experience.

A rocky climb and a little walk later, we could see Pampa Sarovar and Durga temple at a distance. But we were deterred by a huge family of monkeys on trees, cars and ground. Though a Hanuman devotee, harmless simians also scare me. 

We reserved the last day for the Tungabhadra dam. The car was not allowed in, so we decided to walk the 2 miles or so to the dam. The slight incline on the deserted road was welcome. We didn’t huff and puff at all. Only a few gates of the dam were open but the gushing of white waters was a spectacular sight, though it was a long distance view. The bus that was standing there refused us because only those who went up in it could go down. The downward walk was easier and exhilarating with the trees breezing us on. We must have saved a few rupees (bus fare) but what gave us more joy was that we had burnt a few calories (which didn’t stay burnt in me for long).

We were also treated to a special car drive before we left. Our lady chauffer (doubles up as the resort’s concierge) took us for a spin in the resort premises. The refurbished ambassador car stands in the porch of the resort and any of the resorteers can have a ride. Just before we left the resort, we were encouraged by the resort lady to enjoy the topless experience. We had fun and giggled like children all the way till our Innova picked us up near the gate. 

I cannot say I’ve written the last world till I have spoken about the spectacular landscape. We cannot but notice the remarkable scenery in this part. Granite boulders dominate the landscape as hills, long ridges or piles of rocks haphazardly strewn about. Rounded boulders, detached boulders, some perched precariously as if about to roll over – have provided for centuries an inexhaustible supply of building materials, although our guide said the stones are protected over a 10 kilometer radius.

Strikingly beautiful and rugged boulders form continuous hills on both sides of the road – they are packed closely together or are seen one above the other. The massive and unique rocky appearance of the terrain hemmed in by granite peaks should be seen to be believed. These, interspersed with paddy fields, sugarcane and banana fields in some places, create a contrasting harsh and cool pattern.

As we traveled, at one place on the side of the road, we could see 2 huge boulders clinging to each other, called Akka Thangiyara gundu or sisters’ stone. It is a popular landmark of Hampi. Our guide had his personal take on this – he said that the 2 sisters were talking ill of the place and of the ruins and the spirit of Hampi heard them, and angered, turned them into stones. Turning back as we drove he told us, tongue in cheek, not to say negative things about Hampi. 

The wonderful confluence of religion, mythology, history and landscape in Hampi made our visit an awe-inspiring one. Notwithstanding the damage and destruction wrought on the once glorious monuments, we were able to appreciate the legacy surviving in the ruins and in untouched structures which retained their erstwhile grandeur.

 

 

 

In Yogyakarta

Yogyakarta (Jogja for short) our next stop is a city on the island of Java in Indonesia. It is renowned for classical fine art, batik, ballet, drama, music and puppet shows and as a centre of education. From its name one can infer that it is a flourishing city.

The airport is pretty small although it is the 3^rd busiest airport in Java. It gets really hectic on the departure side with the heavy queueing for baggage drop and also because the domestic and international lines are not separate.

When we reached our hotel, we were welcomed in a traditional manner with smiling faces, fresh jasmine flower garlands and a welcome drink. While Ashwin and Aruna went through the formalities of checking-in, Kuppu and I took care of the informalities. One of the staff asked us if we wanted a back and neck massage. We don’t decline good offers, so we got a a relaxing 5 minute much kneaded massage.

We left early for Borobudur the next morning because it was quite a distance from the hotel and we wanted to keep the sun at bay, at least briefly.

Borobudur is a 9^th century   Mahayana Buddhist temple ranked as one of the greatest Buddhist monuments in the world. The main temple

stupa is built in 3 tiers around a hill – a pyramidal base, 3 circular platforms and at the top the monumental stupa.

Like the Hindu temple complex, Prambanan, Borobudur was unknown and neglected for almost 1000 years, covered under thick layers of volcanic ash.

The 3 tiers of the temple building correspond to the 3 worlds or the 3 levels of progression as advocated by Buddhism. The first one at the base level (which has been reinforced & walled) denotes the world of desires. The reliefs in the corridors show ugly men with paunches denoting greed and selfishness. The second level is the transition sphere. Man is supposed to be in the process of reforming, releasing himself from materialistic concerns. We see hundreds (count is 208) of small Buddha statues in niches in the balustrade. Arranged on the terrace are 72 latticed stupas containing the statues. Some of the statues are damaged and have lost the head or arms. It is believed that if you can reach inside and touch the cloth on the statues (a very formidable task) your wish will come true. The sculptures and reliefs here relate to Siddharta’s life. 

The third level is the sphere of perfection and contentment, a world of formless spirit. The big stupa (a large bell-shaped dome) which has no open work is said to show the Buddhist concept of attaining Nirvana. The complex is vast and the sight of such a large number of stupas is daunting, to say the least.

At Borobudur we were told one may meet high school students who look forward to having a conversation in English (with you) to polish their language skills. The local schools have projects for their pupils, one which is to visit local monuments and interact with foreign tourists. Each student maintains a record of such meetings. We had a few students approach us for our signatures, proof that they were academically and linguistically engaged, and we managed to ask them questions and elicit slow answers in English. They do have some way to go but they were learning. 

The Prambanan temple was next on our itinerary. It is supposed to be the 3^rd oldest Hindu temple in the world after Chenga Narayana temple in Kathmandu and the LingaRaja temple in Bhubaneshwar. A 9^th century temple complex it is dedicated to the Trimurthi. It is also considered to be the largest temple dedicated to Lord Shiva in Indonesia.

Located not far from the Buddhist Borobudur temple, the proximity shows that Buddhism and Hinduism lived peacefully next to one another.

The temple complex is a collection of sharp, jaggedly sculpted towers in contract to the vast horizontal bulk of Borobudur. Though there were once 224 temples (big and small) on these temple grounds, many have been destroyed in the earthquakes that were not infrequent. So you see temples that are intact or in some stage of renovation as also piles of rocks showing the extent of damage. In spite

of the signs of destruction, there is a grandeur and complexity with dark grey and black spires rising to the sky. The lush and green gardens and the vast park surrounding the temple complex also add to the aura.

The 3 main temples here are the ones dedicated to Shiva, Vishnu and Brahma. Lord Shiva’s is the tallest structure having 3 chambers beside the main one which have the statues of Agasthya, Goddess Durga in her mahishasura mardini avatar and Lord Ganesha. The Shiva statue here is awe-inspiring. He stands on a gigantic lotus flower in a meditative pose. The sacred water is much sought after by Hindus and devotees because of its magical powers. 

I managed to climb the high uneven steps of this temple. It was an arduous effort but even in the light of Aruna’s phone, the magnificence of the statue was evident. Let me tell you, it was not only the tough climb that was forbidding, the people milling around also had to be tackled. Kuppu decided to save himself for the walking that lay ahead – he was wise and declined the climb. Aruna managed to take pictures too.

The temples of Vishnu and Brahma are smaller in size and have only one chamber for the main deity. The four headed statue of Brahma is most impressive, we were told. Ashwin and Aruna managed to see the deity, take pictures and even do pradhakshana. The bas reliefs on the walls of the Shiva and Brahma temple depict scenes from the Ramayana whereas Vishnu’s temple’s sculptures depict Krishna’s exploits. 

Right in front of these three main temples are the three Vahana temples. The shrines of Hamsa (Brahma’s vahana) and Garuda (Vishnu’s vahana) are empty. Garuda holds an important place in Indonesia and is a national symbol of Indonesia. It is also the national airline. It might be a coincidence, but in this temples complex dedicated mainly to Shiva only Shiva’s vahana Nandi's statue has survived the vagaries of time and tide.

The eagerly awaited ballet of Ramayana is performed at the Trimurthi open air amphitheatre in the same compound inside the park. The open air performance (we were lucky because after October it is held indoors) set against the starry sky and the lit backdrop of Prambanan is spell-binding. Before entering the theater, we saw several of the actors in their costumes standing on a raised platform – promotional purpose we assumed. We took pictures with Rama, Sita and Hanuman, who were happy to pose with mere mortals. 

It was a nice and cool night – the weather Gods seemed to smile on us – and the ambience of the theater was spectacular. The semi-circular seating arrangements (stone seats with cushions), the stage in front with the musicians playing traditional Javanese instruments – the Gamelan, rising steps in the middle and on the sides of the seats for characters to enter and exit and the Prambanan in the background made for a beautiful experience. The graceful and fluid spectacle, the focussed detail of choreography, the vibrant costumes contributed to the beauty of the ballet which is not like the western ballet performance but is more Javanese. Even the visualization is in the Javanese style. Come to think of it, it is a different culture absorbed in the most artistic way. 

Enacted by over 200 professional dancers and musicians (most of the dancers are students), the story is narrated, rather sung in the local language (for those not familiar with the events there is a digital display briefly narrating the present scene). The ballet performers act out the story in traditional Javanese costumes. The ringing chimes of a live Gamelan orchestra accompanies the act. The tale is told in four episodes which are sometimes shown on four different days. We were lucky to see the entire story in one sitting. The acting was superb – Ravana’s pompous arrogant walk said it all. Sita’s demure manner and grace were endearing. Hanuman’s humility and innate respect was shown by his walking on his knees much of the time. The Vanara sena was a vibrant band of school kids who enacted their part like professionals. Rama’s and Lakshmana’s bow and arrow skills were very good in the beginning – hitting the target bang on. Later it went a little awry and Vali and Ravana had to really field well and run and stand in the arrow’s way. The burning of Lanka scene was the classic climax of the ballet. The best part was the huge Hanuman figure coming up from the fire. There was tremendous applause from the spectators and cameras clicked all around. 

With the exotic locale, the excellent acting, the bewitching costumes, the superb choreography, the evening turned out to be a very special one for us. I, for one, haven’t seen a more enthralling rendition of the Ramayana. 

We saw hundreds of Vespas in the park as we came out and it turned out to be a meeting of the Vespa club. Afterwards, the riders rode in a group on the roads, much like the community of Harley Davidson riders.

Having seen the Ubud Palace, we were keen to see the Sultan’s palace here. The Sultan’s palace is the cultural and political heart of the city. It is also called the Kraton. It is effectively a walled city – a unique compound with schools, shops, banks. Around 1000 of its residents are employed by the Sultan. The place is attended by dignified, elderly retainers wearing traditional Javanese dress. The present Sultan, Sultan X, lives in the palace and functions as the governor from there. The palace and the private office, viewed from the outside, are very modest looking. But as we walk farther we can see a series of luxurious halls, spacious courtyards and pavilions. A large part of the Kraton is used as a museum. It holds extensive collections including gifts from European Monarchs -  our guide (a tired looking but witty lady) looked askance at us and moaned “nothing from India”. Gamelan instruments were neatly arranged in one pavilion where a vocal recital was also going on. Gamelan is the traditional ensemble music of Java and Bali. It can be smooth and soothing and rousing too.

 A modern memorial building is dedicated to the much-loved Sultan IX’s photos and personal effects. There was a photo taken after the Sultan’s circumcision (there is a special dress worn for the ceremony). Our guide could not control herself – ‘he is looking sad in the photo, must be feeling sick’ and made a quick snipping gesture and a sound of something being cut-off. It must have been an uncomfortable experience for the Sultan, but we couldn’t help smiling.

The Royal family tree was interesting – the male members were represented by branches, the females by leaves and those who had died young, by flowers. The Sultan’s connection with the people is a strong one. There is a genuine respect and affection for the leadership among the people. That is why it is considered an honor to be a guard at the palace. This position of dedicating their lives to royal protection is hereditary. When the guards become too old to function effectively, they are not thrown out but are taken care of, we were told.  

Cameras are forbidden in some areas, especially in the handmade batik textiles room. Certain designs and fabrics can be worn only by the Sultan’s family so that there is naturally a fear that the exclusive patterns may be replicated. The princesses, we were told, could marry whomsoever they like – but if the groom is not royalty he and an uncle have to carry the princess during the wedding.

A very aristocratic palanquin was on display in a spacious veranda – not in use anymore our guide lamented, because these are ‘modern times and a car is preferred’. Two huge metallic objects caught our attention. We realized they were bells, one rung for Namaz and the other rung during emergencies. The most opulent part of the palace was the reception hall – an open golden pavilion with its marble floor, intricately decorated roof, stained glass windows and columns of carved teak. It was absolutely spectacular. 

As we finished our tour, our guide gushed over her favorite Indian star Madhubala’s beauty and acting. One couldn’t miss the glow on her face as she spoke of her. It was heartening to hear an actress and a yesteryear one at that being admired by a foreigner – normally, anywhere, it is Amitabh Bachchan or Shah Rukh Khan or Salman Khan!!.

On our way out of the palace area, in the park to our left, we saw the two much talked about banyan trees said to bring good fortune if one could walk blind folded between them without mishap. Many youngsters are said to attempt this banyan tree challenge. We didn’t want to go off-track so we proceeded on our route with our eyes open.

The Batik museum is home to a vast and precious Batik collection. One of the well-informed guides explained the various stages of Batik making and the amazing variety of tools used. One can even attempt a simple batik design and take the fabric home. Otherwise the whole-process entails immense patience and very close, precise, intricate detailing of design and colour. Some of these fabrics take years to be completed. We cannot but appreciate the end product more after that bit of information. The sales section was abuzz with customers and the price range suited every pocket. Eye catching designs in pleasant colours were quite a temptation. Granted, Malaysia and India also specialize in the production of Batik fabrics but then each place has its own distinct stamp.

Our last halt was at the code Museum. The introduction on the screen in the reception area was in the local language and the two guides really wanted us to feel comfortable but their English language skills were inadequate. However inside the rooms with the exhibits, the information about the machines used to create the secret code and the Indonesian technique of deciphering the II world war code was in English too.

         As in Bali, so in Java. The same patience and calmness was seen here also. I think we found here an additional reason for their equanimity – Indonesians consume very little salt and do not keep (not even in hotels) salt and pepper on the table. You have to ask if you want it. I think we do need to adopt one or two of their calming techniques.