BALI PROVINCE ADMINISTRATION

Bali is one of Province of Indonesia Archipelago led by an elected Governor. For governmental administration purpose the island is divided into 8 Kabupaten (Regencies): Badung, Bangli, Buleleng, Gianyar, Jembrana, Karangasem, Klungkung, and Tabanan, and one municipality, the Kotamadya of Denpasar. Each Kabupaten (Regency) is headed by a Bupati (Regent), while the municipality of Denpasar is led by a Walikota (Mayor).

Every Kabupaten, and Kotamadya, consists of several Kecamatan (Districts), which are headed by Camats (the Chief of the District). A Kecamatan has several Desa-Administratips, the administrative village, with an elected Chief of Administrative Village Kepala Desa/Perbekel in every village to manage the governmental administration. Beside the Kepala Desa/Perbekel there are several traditional Chiefs of village, The Bendesa Adats, who are responsible for the traditional and religious affairs in every Desa Adat (Village Custome), the Traditional Village. Usually a Desa Adat has a smaller area than the Desa-Administratip, which means there are several Desa Adats in a Desa-Administratip.

The smallest society is a Banjar, the association of a number of families, with its various sub-associations (women association (PKK), youth club (Sekaa Truna Truni), Traditional Music Club (Sekaa Gong), Dance Group, etc). A Banjar is led by its two elected Chiefs, The Kelian Dinas who assists the Kepala Desa/Perbekel, and the traditional chief Kelian Adat who assists the Bendesa Adats. The condition and the progress of a Banjar’s members could be easily indicated by the condition of its Public hall Balai Banjar, and its alarm-drums tower, the Bale Kul-Kul.

ABOUT BALI

Bali is one of the province of Indonesian archipelagos, which is divided into 8 districts Gianyar, Klungkung, Karangasem, Bangli, Buleleng, Tabanan, Jembrana, and Badung regency, plus the city is the provincial capital of Denpasar.

Bali province itself is an island called Bali and has other small islands namely Nusa Penida, Nusa Ceningan, Nusa Lembongan, and Menjangan Island.

Bali is famous for its cultural tourism, has grown since the arrival of Dutch merchant ships led by Admiral Cornelius de Houtman in 1679 in order to set sail in search of spices, when he got in Bali, it became obvious there were no spices at all but many unique inhabitants with completely different life style from those of any other islands they had ever seen. Finally Houtman sailed back to his base-port of Batavia, in Java, with nothing but a bundle of reports about a “new” island he had found, the island which was called by its habitants : “Bali !” and from then on the name of Bali spread rapidly throughout Europe, and the world.

Today, Bali, which is still called Bali, lives in the 21th century along with other parts of the world. Nearly three and half century after it was “found” by Houtman its requirements probably are not too much different from the needs of any other region but Bali today is not the same as the Bali Houtman had seen three and half centuries ago. There have been improvements made by the progress of modern technology for the comfort of Bali’s guests. However, what so called changes have been made are not more than an outward appearance, just gratifications to comfort the guests’ outward life, while inwardly the culture of Bali itself is still the Bali of centuries ago.

The ceremonies the people perform for their deities, and the customs the people retain, or the traditions they protect among the fast stream of technological developments, all are kept up as is the life style itself.

WAYANG

Wayang means shadow, used to name this kind of performance since originally the public could only see the shadows of leather puppets played by the Dalang player from behind the screen. It uses a special coconut-oil lamp, hung above the Dalang’s head, for the lighting. The Dalang uses Sanskrit language and Old Javanese Kawi language during the story, but then he translates them himself into the common Balinese language.

A Wayang-Kulit is the name of the puppet show, but that word is also used to mention a piece of carved-leather puppet. People call is Wayang Peteng, the night show, if the play is to entertain them at night, from about 9 pm until midnight. If it is played during the day then called Wayang Lemah, the Noon Show, for it is the part of a temple ceremony, and the Dalang plays his puppet without a screen.

In its further advancement people wanted more than just shadows which is in fact only ib black and white. They wanted colors, more dynamic movements, and more realistic play. So they created another play where the roles of puppets were taken over by dancers. They used a stage or arena instead of a screen, and the public then could see a more colorful playinstead of only shadows. However this later show is still called Wayang with an additional word Wong has no Wayang (shadow) to show, but only Wong (men)

TOPENG

Topeng is another version of danced-drama where every player puts a mask, the topeng, on his face. If the other danced-dramas are full of symbols, and metaphorical lyric, in contrast, everything of Topeng seems more realistic, prosaic, and comprehensible, either satrirical or comic. A Topeng performance is played by only two, three, or four dancers. Two of them adapt the role of Penasar & Kartala, the royal attendants who are also the clowns, the communicators, and the dancers who sould build up the atmosphere and arouse a sense of humour amongst the public. If one plays the communicator the other appears alternately to play different role he only changes the mask, the actions, the movements, the voice, but not the dress. Usually they play out the genealogical history of the high-caste family. The name of Topeng is also used to describe the solo dance, wherein the dancer puts a mask on his face. The popular one is Topeng Tua, The Old Man’s Mask. The dancer for this topeng should master all sorts of an old-man’s actions. Topeng Bebondresan is a series of masks expressing several ridiculous characters. The dancer of Bebondresan, undoubtedly, should be proficient in acting as much as each mask leave the dancer’s mouth uncovered to allow speaking or singing.

Another version of solo Topeng is called Sidakarya, meaning the Bringer of Luck, which is also called Dalem Truna, the King of Unmarried Youth, or just called Pajegan. This dance is only performed during a certain ceremony, where the dancer, with his ugly mask, frightens the children but then scatters an amount of coins to be fought over by the crowd.

SENDRATARI

The name of Sendratari derived from the words Seni Drama, the art of Drama, or Theatre, and Tari, meaning the dance. Actually this type of performing art has been known by the Balinese since the Gambuh Dance was known as a danced-drama, a long time ago. However, people gave their positive responses when Sendratari was announced for the first time in the 60’s by the students of the Conservatory of Instrumental Arts and Dance (KOKAR), Denpasar, by enacting the famous episode of Ramayana story.

Unlike the other danced-dramas, with their strict rules of costuming, Sendrataris seems to give a wider chance for the dancer to wear varied dresses, even the adapted western ballet’ costumes. It has an unlimited number of dancers, unlimited variation of stories, and unlimited sympony arrangements for the gong orchestra as well. The dances were developed from the elements of Wayang Wong, with large additional variations. Some performance uses the Dalang story teller, but very often he is neclected.

SANG HYANG

Trance, which is said to be the arrival of a holy spirit into the body of the exorcist, is something quite natural for the Balinese. Entranced dancers are found in any performances. The players of kris dance in the Barong Sahadewa, or the Rangda of Barong Landung, or the Calonarang, or the Baris Tumbak, or the dancers of Abuang and Pendet during a certain ceremony in the temple, all are in trance shortly before the dance is ended. But amongst those ways of trance probably the dancers of Sang Hyang are the ones with their own specification.

There are many versions of Sang Hyang. All of their dancers are not really dancers, nor know how to dance. They are only able to dance while they are in trance, and know nothing at all after it.in Sang Hyang Dedari, for instance, there are two girls, very young virgins, considered to be holy. These girls dresses in Legong costumes, sit in front of smoking fragrant incense and offerings, while a number of women are chanting the Sang Hyang songs to invite the evil spirits to come down to the earth. Soon after the holy nymphs Dedaris (Vidiadari: the heavenly nymph) enter into the body of the girls both of them rock back and forth. At last they fall down fully in trance, and the chant stops. The girls are taken from the temple where that ceremony was held, to the place where the Sang Hyang dance will be performed (usually is not far from the temple). In this performance the girls dance and dance with closed eyes, unconscious sometimes dancing on the smallest branches of a tree, or even on the coconut leaf-stems (but not too high), and very often they dance by standing on the shoulders of two men walking around the area.

Another version of this trance dance is Sang Hyang Jaran, the horse Sang Hyang, where the male dancer dances on the burning coconut husks with his hobby-horse. It is called Sang Hyang Delling if the medium are puppets which are played by children.

Though Sang Hyang is a ritual dance, and believed to be sacred, in recent days the Sang Hyang Jaran is performed as a regular show, especially every full-moon and dark-moon night.

REJANG

Rejang is a ritual mass dance, performed by rows of girls in their best dress. Their steps and movements are very smooth and slow, symbolic of their surrender to the God. Their arms rise almost never higher than the hip while the bodies move passively but full of devoutness.

The famous Rejang Dance is shown in the village of Tenganan, on the Usaba day of the first month, Kasa, according to the lunar calendar. The unmarried girls and boys of that village, considered still untouched by the magical impurity suppose to come from sexual intercourse, dance the Rejang (for girls) and Abuang (for boys) accompanied by the metalophones orchestra Gamelan Selonding which is only found in this village. This special ceremony, which is only held once a year, is great chance for the boys to observe and choose their fiancées. A boy, who is attracted by one of the girls, my walk up to the girls and take his place in the dance. If the girl is interested she may respond by following theboy to his boyfriends’ seats.

PEREMBON

At the end of the fifties there were two dancers from the village of Singapadu, near Celuk, who saw that not every dancer could enact a role in every performance. There are remainders, by chance, but they are good dancers. Suppose those “wasted” figures are combined in a certain composition: Why not?

These two men, Pak Keredek and Pak Griya, then assembled those who were “wasted”, gave a role to each of them according to their ability and talent, and launched the idea for the story but let the details be developed by the dancers themselves. So a performance was born. Pak Keredek and Pak Griya titled it Perembon, derived from two Balinese words Para (a prefix, meaning plural) Imbuhan (the remainders, whatever is left).

Within a very short time people fell in love with this performance. It is really free, comical, adaptative, and responsive to any idea launched by the public during the show. No strict rule should be followed by the dancers since Perembon is a combination of a number of dancers from all sort of performances. The figure of aking in Perembon may be adapted by a Topeng dancer, who is not able to converse for the mask covers his entire face, or maybe an Arja dancer, who should only sing the difficult lyrics. The other dancers are different from from each other. Maybe the Arja’s princess has a Wayang Wong’s mother and two Legong’s friends and a Topeng attendant. But it is no exaggeration to say that Perembon is the most amusing performance to see.

PENDET

The original form of Pendet is a ritual dance for a certain offerinh presentation during a temple ceremony. The dancers, male and female a like, carrying small flower offerings in their hands, dance the Pendet before the shrine.

In its futher development Pendet is danced by organized rows of girls to welcome guests, or as the opening dance in the beginning of a performnce. Instead of offering s they carry small silver trays full of flowers to sow. This dance is also named Panyembrama.

Since its movements and steps are very simple Pendet becomes the first every beginner should learn. The way of teaching ismvery simple. the teacher steps slowly, her mouth imitating th drums and gongs, while her body and arms are moving slowly, repeated by the students stepping behind her.

OLEG TAMBULILINGAN

Oleg means the supple sway of a dancer. Tambulilingan is the Bahasa Bali for Bumblebee. Oleg Tambulilingan, a combination of Oleg dance and Bumblebee dance, was created by I Ktut Maria in 1952, to express the actions of a Bumblebee couple with all of their supple feminity and lively masculinity. Recently it has become the favourite duet number included in the Legong performance, the performance of several single dances. The female, who appears first, dance smoothly in her long tailed Kain Songket cloth with the long silken scarves hanging from her sides. She depicts the happy bumblebee, enjoying a bright day, and flying here and there to sip honey from any flower. In the middle of her dance appears the male bumblebee, stepping in shyly observing the beauty, but then, attracted by the appearance of the female he tries to come closer and closer. Accompanied by the Gong Kebyar orchestra, with its rising flops of drums and cymbals, both of them moving faster and faster around the stage, especially after the male actions respond to the female. They flit and flirt, and in the ens of the dance they leave the stage together, hand in hand.

LEGONG KRATON

As it was the custom in the former days, every palace in Bali had always maintained a Logong team to dace anytime they are needed. Usually the dancers are ordinary common girls from the villages, taught in the court by the dance-teachers who were former Legongs. They are chose to become Legong s for their beauty when they were children. It is called Legong Kraton, the Palace's Legong, for they were living and performing the dance only in the court or palace (Kraton).

A team of Legong consist of three girls, one to adapt the role of the female attendant of the court, the Condong, and the other two to play the role of the royal person Legongs. The most familiar story is about a king from Lasem, which has a close link with the history of East Javanese kings during the 12th and 13th century.

Legong was distilled from the Gambuh dance, but with some more difficult and faster variations. A good dancer does not always means a good Legong. The performance itself is very tiring. Three dancers have to play all figures of the story without changing their costumes.

KEBYAR

The name of Kebyar is also used to describe the complete gamelan orchestra which accompany this kind of dance. It was recorded for the first time in the diary of a Dutch Regent in Buleleng (Singaraja) in 1915.

The famous Kebyar dancer was the late I Ktut Maria, who was born in Tabanan in 1895 and died in 1968. He was also the creator of the famous Kebyar Trompong dance, the combination of the sitting dance Kebyar Duduk and Trompong play. (Trompong: a row of small gongs in its 3 meter long table, usually played by 4 musicians together but sometimes it is only played by a singel player). Kebyar Trompong expresses the mood of a happy boy in his puberty age, moving here and there to show his new and bright dress, and somtimes playing his fan or sticking the Trompng instrument once or twice. But unlike the Baris dance, where the dancer dominated the gamelan, in Kebyar the dancer in dependent on th gamelan orchestra, especially the drums and cymbals. Actually Kebyar is the exhibition of the Gong Kebyar orchestra, not the dancer.

Another version of this dance is Legong Kebyar, danced by a couple of girls or a girls and a boy.

JOGED

In its former version Joged dance wasaccompanied by women's bamboo music, which consisted of several sizes of big of bamboo tu es, from one meter to about two meters long, pounded vertically to produce varied tones in a certain composition. Then the Joged became more popular with its longer name, Joged Bumbung, The Bamboo Tubes Dance.

These days Joged Bumbung is no longer danced by several girls at once but only one girl encircled by the public which are mostly boys. She has a fan in hand to touch one of the boys. The one who is touched should come into circle to dance with the Joged for some moments. The dancing elements of Joged derived from the solo Legong; quick, rapid, perfect, but intimate and smooth. The dancer wears the long sleeved Kebaya, bright cloth Kain Songket, and frangipani head dress.

Nowdays Joged Bumbung is accompanied by Angklung music, chained bamboo tubes of various sizes struck by a pair of sticks to play the melody, complete with several bamboo flutes, cymbals, and a gong.

JAUK

Jauk is a classical singel dance to express the actions and movements of a demon. As dance Jauk is shown between several numbers of singel dances. athe dancer, aboy or an old man, wears the classical coetume of a knight with a demon mask on his face. He must show his talent in imitating all sorts of movements, without changing his facial expression, since the mask his face.

The steps and movements of Jauk seem to have a lpt of resemblance with the elements of Baris dance, but his manner is more exaggerated and violent. It also dominates the music. The dancer's long nailed fingers are used to signal the music player to slow down or to speed up the rythm, or to change the melody according to the steps and movements he wants to improvise.

The original Jauk is a play where the dancers are wearing the demon masks. They enact a certain episode of Ramayana or Mahabharata story in old language Kawi version.

JANGER

Formerly the janger dance was performed by two rows of boys facing each other, sitting on the floor with a set of fruit and flower offering in between. In its futher developments one of the rows was taken by a row of girls facing each other.

Janger enacts the story of Mahabharata, especially the episode of Arjuna Vivaha. Arjuna, the third brother of Pandawa, was in meditation and enticed out by Supraba and her friends, the heavenly nymphs Vidyadaris. Other stories are about the big war Bharata Yudha of the Mahabharata story, or sometimes just a fictitious romance.

During the play one of the boys adapt the role of a Daag, the story teller to translate the lyrics sung by the other Janger dancers. Nowdays the story in Janger is much more free for it is a very adaptable performance. Any public progress could easily influence the lyrics and the language, especially because the Janger dancers are the youth. Very often youth's popular slang is launched by one of the Janger to make humorous terms, or one of the dancers intentionally makes mistakes for jokes. Janger is accompanied by the music Arja. Flutes for melody, a small singel gong Tala-Tala for the rythm, a couple of drums, cymbals, and several other percussion instruments.

GENGGONG

Genggong is the name of a kind of misical instrument, one of the oldest music instruments in Bali, or possibly in the world. Many books describe that this kind of instrument found in many parts of the world, in many versions and shapes.

Balinese Genggong is made of the skin of palm-leaf stem (Arenga Saccharifera), about 10 to 20 cm long, 2 or 3 wide, 2 to 5 mm thick. Its center part is very thin to allow it vibrate when blown. The orchestra is played by a team of 30 to 100 players, each person has one Genggong to blow by mouth, with several bamboo flutes to play the melody while the bass is produced by an instrument called Guntang.

Very often a Genggong play has some dancing too. Usually it is just improvisations, derived from the action of animals like the butterfly dance. Tiger dance, Monkey dace, or even just a "no name" dance performed by one of audience.

GAMBUH

Gambuh is the oldest dance in Bali, performed only during a certain ceremony in a certain temple. From the elements of Gambuh were born many dances. Nobody knows how and when this dance was created. Most people are interested only in its dancing; the movements, the steps, the expressions of the dancers, but not the story nor the difficult Sanskrit lyrics. The number of dancers depend on the story, between 3 to 30 dancers, males and females.

Music for Gambuh is a combination of several long and big bamboo flutes, of about 1 meter long and 3 to 5 cm in diameter, to play the melody, accompanied by one or more Balinese traditional violins, the Rebabs, a couple drums, cymbals, gongs, and several other pecussion instruments.

Usually thestory of Gambuh is about Pakang Raras, some episodes derived from thenlegend which is very closely linked with the hiatory of East Javanese kingsoms during the 15th century. Gambuh is known amongst dancers as the most difficul dance. Its original stricnesss should be dance. Its elements sould be danced in its original strictness.

DRAMA GONG

Drama Gong is the futher development of dance-drama and folk opera. It is more realistic than the operas, leaving the difficult lyrics and songs and dances, but still the gamelan music remains. So then people called it "Drama Gong", the drama accompaniend by gong orchestra.

The number of players is unlimited but the cast always includes king, queens, a good looking prince and his friends, another prince with a bed character, a beautiful princess, and some other players to adapt the simpler roles. The stories are completely free, so are the dialogues. They use the local language, Bahasa Bali, and Bahasa Indonesia at once, and even some words of English if they have to shpw a role with that language. Drama Gong is the favourite show for the youth. It is played from about 10pm until dawn.

CUPAK AND GRANTANG

There was a widow who lived in a small village with her two sons. I Cupak, the older son, have an ugly face, he also greedy, impolite, lazy, idiotic, and cowardly. His younger brother, I Grantang, is a handsome boy, polite, good-hearted, clever, and deligent. It is said that both of them are the sons of the God Brahma, therefore they have very strong magic powers. One day, because Cupak was very dull and annoyed his mother, he was ordered to go away and not to come back home. Grantang who felt like being a loyal brother secretly followed his elder brother. Finally both of them arrived in a country which was in the confusion due to the wickedness of a giant. The supernaturally powered Grantang wanted to help the people. He went to a very deep well, where the giant hides hilself, followed by his elder brother. But the coward Cupak only helped him by holding a long rope to go down into the well.and soon after Grantang reached the bottom of the well Cupak took the rope. Instead of helping his younger brother to kill the giant Cupak certainly called on the King in order to recover the rewards.

Grantang who succeeded in defeating the giant used the bones of his enemy to climb up the surface. But how disappointed he was when found another turmoil caused by his elder brother.

BASUR

A man named Basur, a magician, has son named Tigaran, who has set his heart on getting Sukasti, the daughter of Nyoman Karang. Unfortunately that girl was promised to her cousin Tirta, a student. Tirta himself wanted to become a wizard and help mankind rather than to become a common person who may have wife. It is hard for Tirta’s father to persuade his son to marry, but then he overcomes Tirta with two magic syllables which were beyond his son. Then Tirta consents to marry Sukasti.

On the other side Basur tries in vain to stir-up his crazy son Tigaran to fight Tirta, so he kidnaps Sukasti himself one night when Tirta was away hunting. The crazy boy Tigaran is about to take Sukasti by force to make love when Tirta return and fights him to recover his wife. Basur, by his own magic powers, transforms himself in to the shape of a bird and carries disease to Sukasti who then falls dangerously ill, and at last is at the point of death. The first witch-doctor called was defeated by Basur’s magic powers, but the second succeeds in defeating Basur and so heals Sukasti.

People believe that it is not easy to perform the Basur story for the dancers should be protected by very strong magician; otherwise the dancer who adapts the role of Sukasti could really be killed by “outsider’s” magic powers.  

RAJAPALA

Rajapala is a boy. One day he goes to the forest alone hunting for birds accompanied by his blow-pipe. In the forest he finds seven nymphs bathing in a lake. A sudden idea comes into his mind. He steals one of the nymph’s magical dresses. When they want to fly back to the heaven one of the nymphs could not follow her friends for she had lost her magical dress. At the right moment, when the nymph is in sorrow, Rajapala show himself to offer his help but only if that nymph wants to become his wife. In her sadness the nymph, Ken Sulasih, has no other choice but to accept that  offer. And Rajapala takes Sulasih home.

A few years after their marriage, when they already have a son they named Durma, Ken Sulasih find her magic dress hidden under the stacks of paddies in the rice-barn. She takes it to fly back to the heaven, leaving her husband and her son to stay on the earth.

CALONARANG

This is a semi historical story taking place sometime during the reign of King Airlangga in East Java, in the 11^th century. Calonarang herself is quite unknown except that she is said to be a widow-witch from the village of Dirah. She lives with her only daughter Ratna Manggali, who is said to be very beautiful.

Very often Calonarang practices her magic power in the middle of the village cross-roads, and so the village is always in trouble. Many people have died of her pestilences while others were living in fear. Knowing that his people were in trouble the king then asked a great ascetic of Lemah Tulis, named Empu Beradah, to solve this problem. The priest, who also has a great magic powers, then orders his son Bahula to marry Ratna Manggali and get the secret of her mother’s magic powers.Ratna Manggali steals the lontar palm-leaves herself, where her mother’s magic power is inscribed in the form of magic sentences, and gives them to her husband, by whom then it is given to Empu Baradah to be read. After reading the secret the priest meets the widow-witch to ask her to purify herself, but Calonarang refuses for she knows that purification means “sacrifices herself”. She believes that her power is the strongest in the world and only Durga (the wife of Shiva) herself could defeat her. However at last Calonarang is killed, not by the priest, but by own powers. She forgot that Durga’s power were too strong for her, and as a result, when Durga comes to her aid, she is burnt out by the power that Durga gives to her.

RAMAYANA

The whole Ramayana story is a long romance, but usually the performance takes the episode when Rama, the prince of Ayodya, enters the forest of Dandaka accompanied by his wife Shinta and his younger brother Laksamana. In the middle of their journey Shinta saw a golden deer which actually is the transfiguration of a demon, the servant of Rahwana from Alengka kingdom. At the same time Rahwana is hiding himself in order to kidnap Shinta away from her husband. While her husband is hunting the deer Shinta heard a scream which she thinks must be her husband’s, and she orders her brother-in-law to help. But Laksamana, who knows well that the scream is of the deer, refuses to leave Shinta alone. It makes Shinta angry, and she accuses him of wanting her if her husbanddied. So Laksamana leaves her alone but after scratching the earth around her with his kris for protection by the power of his magic. Rahwana appears, when Shinta is alone, by transfiguring himself as a hungry old priest. He is begging her for some betel-nut to chew. When Sinta is passing the betel-nut suddenly Rahwana draws her away and flies her to his kingdom. In the air they are met by the giant bird Jatayu who then tries to save Shinta. But Jatayu is defeated by Rahwana.

Rama and Laksamana, in their search for Shinta, are helped by the white monkey Hanuman, the red monkey Sugriwa, and thousands of monkey soldiers.

JIMBARAN

Jimbaran Bay is fringed by one of the best beaches in Bali. The sand is fine and white, and the calm waters make it very suitable for swimming, children and adults alike. The southern end of the beach close to the Four Seasons Resort is the quietest but the whole stretch is very pleasant indeed.

Arrive at around 5PM, take a seat in one of the restaurants located on the beach, order food drink, and enjoy the romantic sunset while waiting for your orders. The sunsets in Jimbaran are very beautiful.

A traditional fish market is located at the northern end of the bay right by the beach at the junction with Jalan Tukad Ayung. The catch comes in every morning here and customers include most of Bali's fine dining restaurants. All manner of fish and shellfish are on available. Best to visit between 6AM-9AM.

NUSA DUA

Nusa Dua is known as an enclave of large international 5-star resorts in south-eastern Bali. It is located 40 kilometres from Denpasar, the provincial capital of Bali, and administered under Kuta South District. Nusa Dua means two islands.

Geger Beach is located in Sawangan, about 3 kilometers from the southern area of Nusa Dua. The sea here is calm so farmers grow seaweedhere and tourists swim here

Immediately north of Nusa Dua enclave is the peninsula of Tanjung Benoa that includes less exclusive hotels and Benoa village. A multi-denominational area, it includes a mosque, and Chinese and Hindu temples in close proximity. Much of the beach's sand was eroded away following the mining of the nearby barrier reef for construction materials.

Benoa Port is also located here for yachts and small ships previously, but in December 2012 became Benoa Cruise International Terminal of turnaround port to serve both embarkation and debarkation of cruise passengers. As turnaround port tourists can arrive by plane and leave by a cruise ship or conversely.[2]

On December 26, 2012 the Bali Governor signed permit to utilize, develop and manage the Benoa Bay area. Reclamation of an 838 hectares by PT Tirta Wahana Bali International will be used for luxury tourist facilities such as hotels, villas apartments, international hospital, and entertaintment centers including a Disneyland-like theme park.

BLUE POINT BEACH

Bali island seemed almost inseparable from the words "Beautiful Beach Tourism" because it is rich in fact Bali Beach Beautiful including Blue Point Coastal Tourism Bali. Keep in mind, if the Blue Point Beach is different from other beaches in Bali, even in Indonesia. Blue Point beach is located in the area of Uluwatu exactly one line with 2 other attractions that Dream Land Beach and Garuda Wisnu Kencana Monument. Well, what is the difference between Blue Point Beach with other beach in Bali? And what is beauty to be found on the beaches?

According to its name 'Blue Point' which means (The Landscape with a Blue Beach) because it's when you've got Blue Point Beach Resort, which will make you excited is a blue color ocean as far as the eye could see, and nothing else? Of course not! Blue point that makes it look different to the other beaches in Bali is located surrounded by high cliffs, where his regular sand beach surrounded by the sea. From the cliff you will see the scenery so spectacular, the ocean is dark blue pamper your eyes.

For those of you who want to enjoy the beach, you have to climb down first through the steps that have been supplied by local people, located between the cliffs. When you've arrived at the shore, you will see high waves his average is 2-4 meters, then the Blue Point Beach surfers make this as one of their favorite beaches.

But for those of you who want to enjoy the crystal clear beach with a smaller waves, you can come down from the left of the Blue Point, there are a stairs that lead you to the seashore where the way to the shore you will pass a cliff cave, then go into the cave, after penetrating the cave, you will see the open ocean, there's the one part of the beach with its 'sand'. Here is his usual foreign and local tourists, sunbathing and soaking in the seaside.

DREAMLAND BEACH

Dreamland Beach is a tourist resort located in the south of Bali in an area named Pecatu. Dreamland beach surrounded by cliffs towering, and surrounded by a fairly large rocks around the beach. This beach is the location within the complex Pecatu Graha Bali (Kuta Golf Links Resort) which is about 30 minutes from Kuta beach.

Dreamland beach itself is almost similar to the Kuta beach. White sand and a steep gully eye sight are so appealing to the eye. Location of white sandy beach just below the narrow steep rock walls perfect for enjoying the sunset or simply watch the surfer’s attractions. The waves were high and great demand by fans of water sports surfing (surfing), even Dreamland surf spot has become a sort of new to the area of Bali.

Dreamland was given the name because it was first in the area there is a housing project and tourist attraction. But the project is delayed and neglected while the villagers Pecatu who once lived as farmers really hope the project is completed and they could pursue other business in the field of tourism. Because that land around the beach called Dreamland

GARUDA WISNU KENCANA

Designed and built by Nyoman Nuarta, one of Indonesia’s foremost modern sculptor, the Garuda Wisnu Kencana statue or GWK and its pedestal building will be standing 150 meters tall with its wings span 64 meters across.

Made from more than 4000 tons of copper and brass, the statue is picturing Lord Wisnu, as the source of wisdom, riding on the back of the mythical bird Garuda as the manifestation of conscience toward Amerta, the perennial goodness.

The statue and its pedestal will be surrounded by more than 240 hectares cultural park which was once an abandoned and unproductive limestone quarry. The cultural park will provide attractions for both local and foreign visitors with supporting facilities such as Lotus Pond, Festival Park, Amphitheater, Street Theater, Exhibition Hall, as well as Jendela Bali The Panoramic Resto and souvenir shop. At present time, the statue of Wisnu, the statue of Garuda, and the hands of Wisnu have been placed temporarily in three different plazas within the park.

GWK Cultural Park is intended to educate, especially the young generations about the importance of preserving and cultivating world’s cultural heritage.

The Statue of Wisnu

As the anchor point of GWK, the 20 meter tall copper statue of the Lord Wisnu has been placed temporarily on the highest hill of Ungasan where visitors can enjoy sunset or sunrise over the magnificent view of Kuta, Benoa and Sanur.

The statue of Wisnu is an illustration of the Almighty God in maintaining and caring all life and its being. The god Wisnu is the owner of Amerta in the form of water as the source of fertility , giving wealth and life to the universe.

The Statue of Garuda

Right behind the Plaza Wisnu is the Plaza Garuda where the 18 meters tall statue of Garuda placed temporarily.

At the present time, Plaza Garuda becomes the focal point of a massive alley of carved limestone pillars which covers more than 4000 sqm open space area namely Lotus Pond. The colossal limestone pillars and monumental Garuda statue make Lotus Pond a very exotic space. With its room capacity that can accommodate up to 7000 people, Lotus Pond has gained good reputation as the perfect place to hold big and international events.

The Statue of Wisnu’s Hands

The statue of Wisnu’s hands was added to GWK Cultural Park in 2007. It’s one step closer to finishing the complete Garuda Wisnu Kencana statue. This piece was placed temporarily on Tirta Agung area.

KUTA

Once a lonely little village on the road from Denpasar to Bukit Peninsula, Kuta is now the tourist Mecca of Bali, popular mainly among the young and adventurous. Kuta beach is one of the first favorite beaches discovered by tourist. Coconut trees line the sand beach as far as the eyes can see towards the north stopped by the runway of Denpasar's airport far in the west. The sunset in Kuta is most breathtaking. On the south, the beach is fenced by the airport's runway, which gives the visitors a breathtaking landing experience. Kuta Beach bustles with tourists' vendors and locals. It's the most popular beach in Bali and the island's number one party zone. The beach stretches as far north as the eyes can see. As short walk away north, the waves will invite to surfing. Rapid development and an influx of visitors haven't kept the surfers away and Kuta still remains one of Bali's best surfing beaches and a great place to enjoy a beach lifestyle.

While the surfers are still part of the Kuta scene, it's the shopping, nightlife and party vibes that attracts thousands of visitors. There's a huge choice of accommodation, restaurants and entertainment. The accommodation in Kuta range from a modest home stay for a few dollars a night to luxurious, five star, international hotels costing several hundred to several thousand dollars a night. Legian Street, situated directly behind the row of hotels that face the beach, is lined with shops of all varieties. We can find any Balinese handicrafts here, from the least expensive to the most exquisite; or unique stores such as the leather store staffed by two young Balinese men that will perfectly sculpt a leather jacket. (They are all extremely talented artists). _At night, Kuta is alive with night life. Western influences create discotheques, dance clubs, and pubs. Gastronomical demands inspire a multitude of restaurants, serving traditional Indonesian and Balinese food to various ethnic meals from Japan, Switzerland, etc. As if these were not enough, various Balinese dance performances are staged in Kuta every night. One of the best Kecak performances is found in Kuta.

GITGIT WATERFAL

Gitgit Waterfall is a beautiful tourist destination in north part of Bali. Gitgit waterfall is located in the plateau area with the height about 35 meters and it is surrounded by tropical tree and emits the constantly natural water debit during the year. Waterfall voice around the charming nature was amazing and it was the separate attraction which can be enjoyed by each visitor who comes to visit. There are some plantations protecting the rain forest around the waterfall and in this place we often met the wild monkey to get the water from this waterfall.

Gitgit Waterfall is one of the famous tourist destinations in Bali which is located in Gitgit countryside, Sukasada sub district and about 10 Km from Singaraja Town or about 70 Km from Denpasar. It is set at height land about 300 meters above sea level. Beside of Gitgit, there is another important spot point like the monument for hero struggle of Singaraja resident who dead on the battle against the Dutch colonialist. This monument is called Bhuwana Pangkung Bangka. This Monument is extant monument and idol of people struggle action against the Dutch colonization. This monument is located in Gitgit countryside and Sukasada sub district and about 17 Km from Singaraja Town . It is situated on the hill bank. The facilities are available at Gitgit Waterfall is consisted of the parking area, restaurant and art shop. It is not far from the waterfall place, there is a place for taking a rest while enjoy the beauty panorama of rice terrace and Buleleng Beach. In order to visit the Gitgit waterfall, all visitors will follow the walkway down until the spot point. This road is one of the omissions in Dutch era where the local resident uses it to access other regions. On 1975, this waterfall is opened as tourist destinations in north part of Bali . Since it is appointed as a tourist destination in Bali, many tourists from domestic and foreign countries visits this waterfall and it is one of the famous tours in Bali visit this place.

SEMBIRAN

If somebody ask about the oldest village in Bali then the answer should be one: Sembiran. It is the nme of a village, thet lies about 30 kilometers to the east of Singaraja.

It was fond there that 17 out of its 20 temples contain a number of Megalithic relics. The inhabitants beliave that they are the descendants of the people of Medang Kemulan kingdom, a kingdom in East Java of the 8th century. Eo far the language spoken there is influensed by the Bahasa Kawi, the ancient Javanese language. It is much different from the dialect of Bahasa Bali, the language which used by the Balinese in any other part of the island. They call themselves "Bali Aga" or "Bali Asli", the original Balinese natives. Sembiran can be reached drive up by a car for about 3 kilometers from the main road between Singaraja and Amlapura. Standing on this steep hill visitors can see to the North as far as the Java Sea, with the group of hills in between, and terraced fields spread miles away.

MUSEUM GEDONG KIRTYA

The idea come from two Dutchmen, F.S. Leifrinck and Doctor H.N. Van der Tuuk, at collect and house the Lontar book (palm leaf book). Then a private institution named "Kirtya Liefrinck-Van der Tuuk" was establish in 1928, with its main duty collecting and studying Lontars from all over Bali and Lombok islands. Then this library is under the management of the Indonesian Government, in this case Education and Culture. The name was changed several years ago into a clearer name: Perpustakaan Lontar Gedong Kirtya, the Gedong Kirtya Lontar Library, and nowaday the library status changed become a museum (Museum Gedong Kirtya). The collection was increased by a large number of Lontars and ordinary book of Balinese literature, including some prasastis, the written metal-plate documents of the earliest Pejeng Dynasty (9th century).

LOVINA

Thae village is called Kalibukbuk, 12 kilometers to west of Singaraja, but since there is a bungalow compound named Lovina there people use this last easier name for the beach reaort.

Far away from the city's pollution Lovina offers its special powers of attraction with its quiet atmosphere and seascape as far as the eye can see. Bamboo huts spread over the coconut grove shades, in harmony with the stretched fishermen's net along the shore. Here and there the rice-field lie in silence. During the night the frogs snd crickets and grasshoppers and earthworms never forget to present their beautiful natural music.

This a long beach beach link several villages in row along the road to Gilimanuk: Tukad Mungga, Kalibukbuk, Tasikmadu, Bunut Panggang, Yeh Kuning, and Temukus.

ULUWATU TEMPLE

Unlike the other temples in Bali which always face the South, or the West, or the South-West, the temple of Uluwatu is facing the North-East. That means it has a close link with Rudra, the deity who has seat at the South-West point of the compass.

This temple was built, most probably, in 976 AD, when Bali was under the rule of Warmadewa and his family. Since it was here that a well known priest Dang Hayang Niratha to Moksha, release from the cycle of life and death which in Balinese language is called Ngaluhur, it is called Pura Luhur, the place where the holy priest was Ngaluhur.

Very often this place is used by mystics to practice meditation. The temple is located at the top of rocky cliff, about 50 meters above the sea level. Anytime it can be shaken by the strong wavew of the Indian Ocean. In the evening the visitor can see the Sunset while enjoy performance of Kecak Api (the Fire Kecak dance).

KERTAGOSA

Kertagosa was built in the 17th century, when Bali was ruled by the dynasty of King Kresna Kepakisan. Kertagosa itself is the name of building, one of the buildings in alage area around the king of Klungkung’s palce. The palace itself, Puri Semarapura, was destroyed during the war between the Dutch and the Kingdoms in Bali, at the beginning of the 20th century.

Separated from the Puri (Palace) lies a complex of justice buildings they are the Hall of Justice “Kertagosa”, the Floating Hall “Bale Kambang”, and the water pool surrounding, which all are called “Taman Gili”. The ceilings of these buildings are covered by paintings on fibrous cement  sheets. The original paintings were done with traditional Balinese colors on canvas, then letter replaced a new in 1930 by using the fibrous cement sheets, and again were renewed in 1960. the paintings are the sample of early traditional arts before being influenced by outlandish styles and techniques.

TENGANAN

A legend tells the story of king Bedahulu who lost his favorite horse one day, and found it dead somewhere else. The people of Tenganan who were following him that search then asked the king to reward them the land as far as the smell of the dead horse covered.

But the farther they walked the more the smell accompanied them, and it only ended after a few days when their leader pulled out a large piece of rotten flesh from under his dress.

Tenganan is one of the Bali Aga villages in Bali, the village of original Balinese, with its own customs and traditions differing from other parts. This place is known as the only place where people make the famous Kamben Gringsing, a special tied-dyed woven cloth using traditional colors. Sometimes its complicated process takes as long as five years for a piece.

The unique ceremonies in this village mostly occur one a year. One of them is the famous Rejang dance with the Gamelan Selonding accompaniment (Selonding: a kind of percussion music which is only found in this village), and the Perang Pandan attraction or Mekare – kare, a ceremony in which the men have to fight with thorned pandanus palm leaves for weapons. The medical care for the wounded dancers is the responsibility of the magicians who will, in this ceremony, show their magic powers.

TAMAN UJUNG

Karangasem existed as a big kingdom at one time with its capital Karangasem (now it is called Amlapura). As was the custom of those days the king stayed at his Puri, the palace, and sometimes spent his time in a gardened bungalow Taman Ujung, or if he pleased he could go to his water pond palace Tirta Gangga. Unlike the Puri which still remains in the recent days and has become one of only two complete palaces in Bali (the other one is the Puri Gianyar), Taman Ujung and Tirta Gangga were ravaged by the eruption of mount Agung in 1963. Only a small part of Taman Ujung was restored though not tp its original condition.

The restored bungalow in Taman Ujung shows the combination of Balinese carvings and middle-ege European architecture.

Standing at a farther distance, either in Taman Ujung (4 kilometers from Amlapura) or Tirta Gangga (5 kilometers from Amlapura), and one can imagine their beauty during the former days.

BESAKIH MOTHER TEMPLE

As the biggest temple in Bali, the Mother Temple of Besakih is the center of all temples in the island. The history of Besakih began in the last years of the 8th century, when a Shiva priest, Sri Markandya, led a contingent of settlers in a ceremony of burying the five Metals “Panca Datu” (gold, silver, iron, copper, and precious stone) at a place on the slopes of mount Agung. On that place then people built a temple which is called Pura Besukian.

Besakih is a group of three main temples and a number of small temples are. The main temples are: Pura Batumadeg, (temple of the standing stone) on the North West to represent Vishnu the Preserver, Pura Kiduling Kreteg (temple on the South of the bridge) on the South East to represent Brahma the Creator, and Pura Penataran Agung in the center to represent Shiva the Dissolver. This last temple is also another group of small temples, including the oldest temple Pura Basukian (Basuki: the Cosmic Serpent), Pura Bangun Sakti, and Pura Manik Mas.

There are about 55 ceremonies held yearly in this temple, but the main festivals are the Bethara Turun Kabeh (the Gods descend all together) which is held on the full moon of tenth month of the lunar calendar, the Panca Wali Krama festival (once every 10 years) and  the Eka Dasa Rudra festival (once every 100 years).