Bali, according to a research of the STSI Academy of Arts, has more than 6000 seka or organizations involved in one way or another in the field of the arts, most of which for the performing of dance and music for religious purposes. Almost every banjar or every village has its own Gong Kebyar, gamelan orchestra, or at least its Gong Bleganjur. A bottomless pool of cultural latent, of people and groups competing each year for the privilage of presenting their show to the city crowds of Denpasar.

The Bali Art Festival is an all-around event: the first performances open at 10 a.m. and there is a broad range of activities and exhibition that remain open until deep into the night: exhibitions of paintings, photos, architecture, a handicraft fair, cooking demonstrations etc. The main performances, and the time when the at its highest is at night, with the main shows starting at 8 p.m.

Tow hours procession of the most colourful and talented dancer and musician become the main event during the opeing of the Bali Arts Festival. Groups of dancers and supporters from other provinces in Indonesia and also other neighbouring country in Asia give different highlight to this event. Don't miss the chance to see this unforgettable sight.

The idea of the Bali Arts Festival is the brainchild of the former Director General of Culture (1968-1878) and Governor of the island (1978-1988) Ida Bagus Mantra. His basic idea, in line with the national motto "Unity in Diversity" (Bhinneka Tunggal Ika) was to redynamize the island's culture by emphasizing the role of its territorial cores: the banjar neighborhood and the desa adat (village). The creativity of the banjars (neighborhood associations) and desas (customary villages), which are the fertile ground of Balinese arts, was encouraged. The small seka sebunan association spawned by the banjars and villages were given the opportunity to be creative and to perform at the Bali Arts Festival.
By sponsoring a series of contest between banjar, villages, and regencies, complete with prizes and high exposure, Ida Bagus Mantra succeded in gaining the enthuasiastic support of all the rural opulation for whom performing at the Art Centre became the epitome of success.

It was to Made Bandem, though, the head of the Arts School of Denpasar, that befell the most difficult task: prevent the Arts Festival from simply being a venue for traditional performances, which would be a recipe for failure. Bandem's challenge was thus to create new types of dance suited to the demands of a newly urbanized population, but which nevertheless remained very Balinese. His answer were the "Sendratari" Ballets, colossal productions of several hundred dancers that combined elements of dance, music, and theatre. Unlike "traditional" theatre, Sendratari ballets tell well-structured naratives in Balinese, instead of Kawi. Ordinary people were thus given easy access to myths and epics which they had started forgetting: Ramayana, Mahabharata, Bima Swarga, Arjuna Wiwaha, Sutasoma etc. The success went beyond the expectations, and added to the village preparatory contest. It gave the Bali Arts Festival the success it has enjoyed since its creation more than twenty years ago.