[A. G. Maisey]

Totally agreed Gustav, I am well aware that there are lot of people who can form opinions based on absolutely no relevant experience at all.

For instance, many politicians can come up with wonderful opinions based upon what they would like to be the fact, but which is not.

I can understand why you, & perhaps other people as well, might think that this Bali blade has been made with pamor miring, I'll tell you why I believe it to be pamor mlumah.

1) if we look carefully at the white lines of contrasting pamor material what we can see is that those lines flow lengthwise along the blade, where a line of white pamor curves, that curve has been caused by the contour of the blade that was created by carving and by hot work manipulation, it has not been caused by twisting.
When a layered bar is twisted, the lines of pamor form angles across the blade, they do not form straight layers of pamor that flow along the blade. You can see this yourself if you select one of the short, straight lines of white pamor, and then move to the other side of the odo-odo and see where that same layer of pamor emerges from the black iron. We can often follow the same line of white pamor along the length of the blade, periodically interrupted where it is covered by black iron.

2) in some places in the body of the blade we can see a continuous exposure of white pamor material, this is pretty obvious on top of, & along, the odo-odo. This feature will not be found in a pamor that has been created by twisting.

3) this particular variation of wos wutah (beras wutah, wosing wutah) is pamor wusing wutah gedhegan, it is only one of the many known variations of wos wutah used in Balinese keris.

4) I have seen this pamor being made, not once, but several times, the contorted lines of pamor are created by surface manipulation, ie, punching and/or filing, this surface manipulation is further altered when the blade is carved.

If we just look at a finished blade it is often extremely difficult to understand how it has been made & how the pamor pattern has been created, but if we have seen enough of that type of blade, and have had the experience of seeing it made, & of making similar patterns ourselves, then it is relatively easy to understand the process that created it.

This difficulty in understanding is not limited to people living outside the areas where we find an active keris culture, there are many people living in keris culture areas who have not the vaguest idea of how a craftsman works, and in reality, the only way to gain that understanding is to learn how to do it yourself. I did not learn to make keris because I wanted to earn my living as a keris maker, my own profession pays very much better than making blades. I spent many years and a great deal of money in learning how to make keris because I wanted to fully understand how this was done. Back in the 1970's & before, the whole thing was still one big, unsolved mystery, and for many people , it still is.

There is a book named "Keris Bali", the author is Ida Bagus Dibia, it was published in 1995. I.B. Dibia was a serious, educated, Balinese gentleman with lengthy & strong interest in keris.

I will not comment on his writings, but I do recommend that if ever you get the opportunity to read this book, then you must do so. The knowledge you will gain from reading this book --- it is tri-lingual, Indonesian, French, English --- will give you some understanding of how far generally available keris knowledge & understanding has progressed in the last 30 years.

For those people who have a good understanding of keris manufacture, a reading of Groneman's "The Javanese Keris" will also demonstrate just how little was understood in the past.

Of course the generalised use of the internet has contributed greatly to this, hours & even days spent in public libraries & museums have now been pruned to asking Dr. Google a few pointed questions.