Religion in Bali by C. Hooykaas

(n 1) A performance of wayang lemah, shadow theatre on the ground, not for the pleasure of
humans but for the placation of the superhumans. The puppet in the center, standing on one foot
(eka pada) only is Tintiya (a chintya = a cintya = He Who cannot be imagined). Behind Him the
kakayon or gunungan (tree group or mountain group), used for marking the different acts.
(n 2, 4) Same. There is no screen; the puppets are leaning against a thread, stretched between two
branches of the dapdap tree, symbol of undestructibility.
(n 3) A pendasar or penasar, 'basic puppet', one of the four, Twalèn. Notice his girdle; the patron
of blocks, black grey white, called polèng, is a prerogative for exceptional persons and
exceptional circumstances. As a rule it points to his bearer's flying capacity or other supernatural
power.
(o 1) Relatives and neighbours cooperate in the preparation of the numerous offerings.
(o 2) Great is the variety of the elaborate offerings for the gods.
(o 3) Remarkable are the gayah, made of pork, partially representing the senjata, weapons or
emblems of the gods of the nine directions (E S W N SE SW NW NE Centre), called nawa
sanga, 'nine nine'.
(o 4) As soon as a caru, offering to the netherworldly beings has been brought,
(o 5) A dog is allowed to eat them, leaving little time to bhutas and kalas.
(p 1) Whole roasted pigs constitute offerings; they are packed in palm leaves.
(p. 2) Innumerable cookies/pastries are made from dough; here some more elaborate creations.
(p 3) These offerings, hanging from a platform, are called sampéyan and senteg.