On the importance of being refined in Bali

Some years ago, when we were about to start our first serious six month visit to Bali, my husband and his former doctoral supervisor sat me down to explain to me some rudimentary Balinese ways of seeing the world. They hoped to help me understand how Balinese might interpret my actions or demeanor, so that I would be better equipped to avoid making any extreme social faux pas which might reflect badly not only on me but on my husband as well. The discussion was wide ranging and helpfully touched on many points of Balinese etiquette, including the characteristics that are associated with the Indonesian words halus and kasar. While I am still very much a novice in the latter regard, I have since found their elucidation of this aesthetic to be so useful that it is about time I passed it on.

Let’s talk about physicality first. In paintings, carvings, wayang kulit (shadow puppet theater) and topéng (masks), to name but a few of the arts of Bali, and Java,  halus characters are always extremely refined and are often depicted looking downwards:

'halus' figures

As the images above show, such characters are recognized by their fair skin and fine proportions. Their features are symmetrical and graceful, and their movements are flowing. Their bodies are slim with little hair; their eyes, nose and mouth are thin; their fingers and toes are long and delicate; and their teeth are white and uniform.

a 'kasar' mask

Kasar characters, on the other hand, appear coarse, sometimes to the point of looking brutish or even demonic. They typically have darker skin which is often a deep or reddish brown, are hairy, and have crude features. Their eyes are big, often bulging, their noses are bulbous, and the masks of kasar characters almost always have misshapen, or missing, teeth. Their bodies are bulky and they usually walk clumsily or make exaggerated, blundering movements.

The ability of these two types to control themselves is an important means of differentiating between them. The lowered gaze of an halus figure reflects their self-control, expressed in their grace and economy of movement. Their courteous bearing and manners demonstrate their refinement and self possession.  And their actions are veiled. The less visible the actions of someone, the more halus they seemingly are, and the more power they are likely to be attributed. Such individuals are seen to achieve their goals through indirectness, behind the scenes, by deploying others to act on their behalf.

In contrast, kasar figures act immediately in the world, and their actions and motivations are on display for all to see. They are often characterized as unable to discern what lies below the surface at a deeper level, making them potentially more vulnerable to manipulation.  They are associated with unbridled desires and emotions, and with being quick to anger. They are lacking in calmness and patience, and are vulgar and coarse in their tastes.

In the stories and myths of Bali halus figures include gods and benevolent kings, while kasar individuals may be peasants, clowns, ogres or demons. But how do these ready-made categories play out in everyday life in Bali, especially in relation to the island’s visitors? Simply, the more graceful and indirect one’s behavior, the more halus one is presumed to be, and vice versa. If visitors to Bali appear coarse and ruled by their appetites, they are recognized as lacking a certain awareness and self-control.  Having said that, halus and kasar exist on a spectrum, and one is not necessarily seen as better than the other.  What is required is an appropriate combination of attributes at the right moment. So it is possible to be direct, like my husband, and still be perceived as upright, courteous and self-possessed. But, being direct, he would be the first to say that a little refinement goes a long way in Bali.