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so that, once more, the work is clearly group oriented and the seka ideal of a massive attack on a common task the controlling norm
Geertz feels that the making of large gongs recent
acknowledges that there is a general trad. that large gongs were manufactured in the hamlet during precolonial times, but during the late 9th and early 20th centuries they certainly were not Tihingan craftsmen turned out only the small metellophones, cymbals and gongs then, and larger gongs - which they felt were beyond their technical capacities - had to be imported from Java; during the Japanese occupation, however, such importing became impossible, and pressured by the unsatisfied market (as well as by a progressive shift in Balinese musical tastes toward large, noisier, and less subtle orchestras) the Tiingan craftsmen slowly began to make bigger and bigger gongs
the process of change was gradual, pragmatic, collective and competitive between seka contracts for large gongs were secured by a wide range of persons as time passed certain more skillfull individuals emerged by Geertz admits, however, that the lines between laborers, craftsmen and master craftsmen are not in any case, clearly drawn and have no other ritual or other institutional symbolic support a master craftsman is merely a man who has a competence suerior enough to that of his fellows to lead a large gong party effectively 
roles of master craftsman and craftsman ave little or no importance outside of the immediate gong-making task

10. notes from Wagner, The Art of Indonesia [[underlined]]

p.161: Balinese keris handles do not show stylized forms but full sculptures; Wagner says stylization may be due to Islam on Java
p191: "The third court, to which one also gains access through a gateway, is the temple proper. There are no idols here. The Balinese imagine their deities as residing upon the peaks of the many volcanoes which tower up in the interior of the island. A stone seat for a deity, padmasana [[underlined]] (padma= lotus), has indeed been erected here; this spot, for the most part lavishly decorated, is where the deity invoked is thought to be present, invisible to human eyes, during the ceremony.
In a similar way, in the neolithic era, certain megaliths served as seats of ancestors.
Here tower up the symbols of the celestial mountain, meru [[underlined]], the seat of the gods. With their roofs piled one upon another like a multi-storeyed building, they dominate the landscape of Bali. A meru indicates the rank which its diety holds among the other gods. The higher the god, the more roofs their are. Their number is always uneven ((like the curves on a keris)), with the highest number being eleve. This eleven-storeyed meru is dedicated to Shiva, the Maha-Deva (Supreme Deity), who resides upon the Gunung Agung.....
Next to the Merus stand countless small shrines and recesses for offerings. The fact that on Bali art is closely connected with 


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