Perhaps the most significant difference is where exactly one finds artists and artistic performances. In Java, while folk art does exist in the form of plaiting, weaving, textiles, and metalwork, most of what we regard as Javanese art - wayang, dances, gamelan - flourishes in the royal courts, such as those in Yogyakarta and Surakarta, which are closed off, both spatially and culturally, to most people save tourists and members of the nobility. In Bali, on the other hand, the arts are so fully integrated into society that there is no word for "art" in the Balinese language. They cannot be dichotomized into "Great" or "little traditions, or "courtly" art versus "folk," "peasant," or village arts; not only the aristocracy can create informal beauty, but a commoner may be as finished an artist as the educated nobleman. Artistic life revolves around not courts or villages, but the temple - a place in which all sorts of people interact and participate in common religious festivals, regardless of class or caste. The arts in Bali also serve specific social functions: elaborate religious-artistic ceremonies help coordinate irrigation schedules, for instance, while ceremonies on slightly smaller scales mark the beginning of important phases in a person's life.