[9] According to a recent genetic study, Balinese, together with Javanese and Sundanese, has a significant admixture of Austroasiatic and Austronesian ancestries.

Even in rural and neglected villages, beautiful temples are a common sight; and so are skilful gamelan players and talented actors.

[11] Even layered pieces of palm leaf and neat fruit arrangements made as offerings by Balinese women have an artistic side to them.

[13] Balinese artists are also skilled in duplicating artworks such as carvings that resemble Chinese deities or decorating vehicles based on what is seen in foreign magazines.

According to Walter Spies, the art of dancing is an integral part of Balinese life as well as an endless critical element in a series of ceremonies or for personal interests.

In modern Bali, these customs are normally not strictly observed, but visitors to Balinese temples are advised to cover their legs.

[21] The Balinese from before the third wave of immigration, known as the Bali Aga, are mostly not followers of Agama Tirta but retain their animist traditions.

This system of agriculture is extremely water-intensive and requires a substantial network of irrigation to be effective as a subsistence strategy in Bali.

Religious officials from these water temples exert spiritual and cultural pressure on the participants in this system and ensure its continuation.

[26] This system of physical infrastructure represents a durable network of belief that encourages its continuation by the people who participate and provides a levelling mechanism where people who would otherwise be incapable of participating in wet-rice agriculture to take part in the same subsistence activities as those who live in regions more naturally supportive of water-intensive crop growth.