Showcasing Bali's Heritage: The Marvel of Barong Dance and Keris by Sekaa Barong and Keris Sari

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This is one of the most commonly found cultural performances in Denpasar City—the Barong and Keris Dance. One of the prominent groups involved is Sekaa Barong and Keris Sari, a cultural tourism group in Bali, Indonesia, dedicated to preserving and showcasing traditional Balinese arts and culture. The group is committed to promoting the beauty and significance of Bali’s cultural heritage through their performances and activities.

Sekaa Barong and Keris Sari specializes in two important cultural elements: the Barong dance and the Keris dance. The Barong dance is a traditional Balinese dance that depicts the eternal battle between good and evil. It features a large mythical creature called Barong, representing good, and a demon-like creature called Rangda, representing evil. The dance is accompanied by vibrant music and colorful costumes, captivating the audience with its energetic movements and dramatic storyline.

The Keris dance, on the other hand, showcases the traditional Indonesian weapon known as the keris. The dance incorporates fluid and graceful movements, symbolizing the beauty and precision of the keris. It is often performed as a solo dance, accompanied by traditional gamelan music.

Sekaa Barong and Keris Sari actively participate in cultural tourism activities, including performances at various venues and events. They contribute to the promotion of Balinese arts and culture by showcasing their skills and talent to both local and international audiences. Their performances often attract tourists who are interested in experiencing the rich cultural traditions of Bali.

In addition to their performances, Sekaa Barong and Keris Sari also engage in educational activities. They offer workshops and training sessions to teach the younger generation about the traditional dances and the cultural significance behind them. By passing down their knowledge and skills, they ensure the continuity of Balinese cultural heritage for future generations.

Furthermore, Sekaa Barong and Keris Sari actively collaborate with other cultural groups and organizations to promote cultural exchange and cooperation. They participate in festivals, exhibitions, and cultural events both locally and internationally, representing the vibrant artistic traditions of Bali.

Through their dedication and commitment, Sekaa Barong and Keris Sari contribute to the preservation and promotion of Balinese cultural tourism. They play a significant role in showcasing the rich artistic heritage of Bali, attracting visitors from all around the world who are eager to witness the beauty and uniqueness of Balinese arts and culture.

Kumbasari Art Market: An Affordable Hub for Balinese Art and Souvenirs

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Art enthusiasts must know about Kumbasari Art Market. Long before the famous souvenir centers emerged, this market was a must-visit destination for tourists seeking artistic souvenirs for their family and friends. To this day, Kumbasari Art Market remains vibrant and worth visiting.

It is located on the west side of the Badung Traditional Market, precisely in the Gajah Mada Heritage Area. The market is separated from Badung Market by the "Korea" River, Tukad Badung. Having undergone three phases of revitalization, this market is referred to as the only art market in Denpasar. Kumbasari Market was established in 1977, experienced a fire in 2000, and was renovated, reopening in 2001.

The building is quite spacious, covering an area of 6,230 square meters. It consists of five floors, with four floors designated for art product vendors. The remaining floor is allocated for vendors selling basic necessities and religious ceremony supplies.

On the second floor of Kumbasari Art Market, various types of clothing are sold, including traditional Balinese attire such as udeng, kain, and destar. Bed covers, beach sarongs, and various woven crafts from Bali are also available. The third floor features an array of paintings, sculptures, and Balinese ornaments like carvings, shoes, sandals, and women's bags. On the fourth floor, you can find various handicrafts and souvenirs made from shells, paper, and some crafts from outside Bali.

Not many people realize how vital this market is, as it serves as a wholesale center supplying products to art vendors in Sanur, Kuta, Canggu, and Ubud. Most locals are unaware of this because the majority of vendors here source directly from artisans in remote areas.

The range of crafts sold at Kumbasari Art Market is diverse, including brasswork, ceramics, glass, rattan, and wooden crafts. An important piece of information that tourists often overlook is the pricing. Don’t be surprised when shopping here; prices are significantly lower compared to souvenir centers. Since the products are sold wholesale, they are naturally much cheaper.

For those who know about these affordable prices, it’s worth a visit. Additionally, prices are negotiable, as is common in traditional markets. The location is also very accessible.

The Uniqueness of the Sidik Jari Museum in Denpasar: Exploring Finger Painting Art

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Here’s one of the unique museums in Denpasar that you won’t want to miss. As the name suggests, it might sound strange at first, but when you visit, you'll be amazed by the collections at this museum located at Jalan Hayam Wuruk No. 175, Tanjung Bungkak.

The Fingerprint Museum showcases artistic works painted using a unique technique that involves creativity and imagination through fingertip dots of primary colors on canvas, resulting in stunning and spectacular artworks. The owner, Gede Ngurah Rai Pemecutan, is also the artist and the grandson of the National Hero from Bali, I Gusti Ngurah Rai.

This fingerprint painting technique was discovered accidentally while he was painting a Baris dance theme on July 9, 1967. However, the painting was never completed as he had hoped, which frustrated him. In an attempt to ruin the unfinished painting, he pressed his paint-covered fingers onto the canvas, sparking the idea to create paintings solely with his fingertips instead of using brushes.

The painting method developed by Gede Ngurah Rai Pemecutan earned him recognition from the Museum of Indonesian Records (MURI) as the pioneer of fingertip painting techniques and for having the largest collection of fingerprint paintings. The museum now houses 640 paintings created by him. His goal in establishing the Fingerprint Museum in Denpasar was to showcase a variety of his art collections and display his poetry written on stone.

At the Fingerprint Museum in Denpasar, visitors can not only view paintings and poetry but also delve into Balinese culture, particularly Balinese dance. The museum offers courses in Balinese dance, painting, and Balinese music taught by professional instructors. Isn’t it exciting to learn about the origins of the Fingerprint Museum? So, what are you waiting for? Visit this museum soon!

Exploring Bali's History at the Bali Museum: The Oldest Cultural Collection in Denpasar

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Museum Bali is a legendary museum that many people pass by every day without realizing it. It is located on Jalan Mayor Wisnu, just east of Puputan Badung Field and south of Pura Jagatnatha. The museum was inaugurated on December 8, 1932, under the name Bali Museum and is managed by the Bali Museum Foundation.

Covering an area of 2,600 square meters, this museum is the oldest in Bali and has inspired the establishment of other museums. Based on its collections, the Bali Museum is an ethnographic museum that houses and displays cultural artifacts from prehistoric times to the present, reflecting all aspects of Balinese culture. Its collections include archaeological, historical, fine art, and ethnographic items.

If you want to learn about the history of Balinese cultural heritage, this museum is the perfect place to visit. You can see collections such as traditional dance costumes, various types of masks, wayang (puppets), keris (daggers), and a range of prehistoric artifacts that help you understand Balinese culture.

Initially established as an ethnographic museum by W.F.J. Kroon, the assistant resident for South Bali, in 1910, the museum was created to protect and preserve cultural artifacts. This idea was based on a proposal by Th.A. Resink and received positive responses from scholars, artists, cultural figures, and all the kings in Bali. Kroon then commissioned Kurt Gundler, a German architect in Bali, to collaborate with traditional Balinese builders (undagi) like I Gusti Ketut Rai and I Gusti Ketut Gede Kandel to plan the museum’s construction.

One of the unique features of this museum is its architecture, which adopts local culture based on the lontar (palm leaf manuscript) Asta Kosala-Kosali. The museum has three courtyards: the outer courtyard (jaba), the middle courtyard (jaba tengah), and the inner courtyard (jeroan), each separated by walls and gates (candi bentar and candi kurung) as entrances. There is also a Balai Kulkul (bell tower) in the southern part of the middle courtyard.

In the northwest corner stands a Balai Bengong, which was used during the royal era as a resting place for the royal family to observe the surroundings. In front of the Tabanan building, there is a Beji (bathing place for the royal family). The roofs are made of ijuk (coconut fiber), a material traditionally used only for temples in Bali. The inner courtyard features three main buildings to exhibit the museum's collections:

  1. Gedung Karangasem: with traditional East Bali architecture, showcasing Panca Yadnya collections.
  2. Gedung Tabanan: for displaying prehistoric, historical, and fine art collections.
  3. Gedung Buleleng: featuring North Bali architectural style, dedicated to traditional textile collections.
Come and discover the history of Bali by visiting the Bali Museum!

History of Sumerta

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Regarding the historical background of Sumerta Village, there is no definitive or written record available to date, but the writer has tried to compile the history of Sumerta Village based on interviews and literature studies. According to stories from elders mentioned in Eka Suwarnita Desa Adat Sumerta (2014: 2-3), it is said that Sumerta Village was formerly called Wongaya and eventually became Sumerta Wongaya. The name Sumerta is believed to have been derived from one of the local rulers at that time, as found in the Babad Ki Bandesa Krobokan Badung. The excerpt from the chronicle is as follows:

“…walian ikang kata, ceritanen mangke tmajanira Ki Gusti Pasek Gelgel Aan, pada sahing Hyang Widi, apasanakan rahning nalikang rat, tembenia Gde Pasek Sumerta tmajanira Ki Gusti Pasek Aan, angalih lungguh mareng jagat bandana, sira kawuwus Pasek Sumerta, muang lungguh hira raju ingaranan Sumerta, apan sira Ki Pasek Gegel winuwus widagda wicaksana, sida pwa sira anampa sajnira Sang Natheng Bandana…” (Anonim, 2014: 3)

Ki Pasek Sumerta’s departure to the jagat bandana (Badung) according to the story above is believed to have occurred at the end of the reign of Dalem Waturenggong. The term Sumerta appears several times in the excerpt, referring to a notable figure. Based on interviews with the caretaker of Puseh Sumerta Temple (I Made Rai Suta Maskaya, 2018), it was also explained that Sumerta Village was once led by a figure named I Gusti Ngurah Sumerta. This gives rise to the assumption that the area formerly known as Wongaya changed its name to Sumerta due to the legacy of a prominent leader in the region. According to the Babad Ki Bandesa Krobokan Badung, this figure was Gde Pasek Sumerta, while according to the caretaker of Puseh Sumerta Temple, it was I Gusti Ngurah Sumerta. 

Regarding the existence of Puseh Sumerta Temple and Kebon Sumerta Temple, which are the objects of inventory, their construction background can be traced back to a 15th-century Śaka charter still held by the family of the caretaker of Puseh Sumerta Temple in Banjar Sima. The charter roughly details an order from I Gusti Ngurah Sumerta to Ki Bendesa Bekung in Sumerta Wongaya to promptly build Puseh Temple and Kebon Temple within a year, with the reward being land complete with seeds/plants (Anonim, 2014: 3).

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History of Poh Manis

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Talking about the history of Taman Pohmanis Traditional Village cannot be separated from the inscription stored at Pemrajan Agung Pohmanis, which is freely described in the Babad Kesatria Sukahet. It tells of the disappearance of a young child from Puri Klungkung, the son of I Dewa Karang. I Dewa Karang was the son of I Dewa Paduhungan, who was the son of I Dewa Sumretha, the child of Dalem Sagening from his panawing wife. I Dewa Sumretha, son of Dalem Sagening, was estimated to be of the same age as Dalem Dimade, who reigned from 1665-1686 AD. During Dalem Dimade’s rule, a rebellion led by I Gusti Agung Maruti took place, and the kingdom was taken over. Dalem Dimade and his two sons, I Dewa Pemayun and I Dewa Jambe, fled to the village of Guliang Pejeng, where Dalem Dimade eventually passed away. As an adult, I Dewa Jambe strategized to reclaim the kingdom of Swecapura Gelgel with his brother, I Dewa Paduhungan, defeating I Gusti Agung Maruti. 

I Dewa Jambe, around the same age as I Dewa Paduhungan, successfully defeated I Gusti Agung Maruti, reclaiming the kingdom and moving its center from Swecapura Gelgel to Smarajaya Klungkung. I Dewa Jambe ascended the throne in 1710-1775 AD without using the Dalem title, with the name Ida I Dewa Agung Jambe. 

The son of Ida I Dewa Agung Jambe, I Dewa Dimade, continued the reign in Smarapura Klungkung from 1775-1825 AD with the title Ida I Dewa Agung Dimade. During the suppression of I Gusti Agung Maruti’s rebellion in Swecapura Gelgel by Ida I Dewa Agung Jambe, his son, I Dewa Dimade, was still a small child, around the same age as I Dewa Karang, son of I Dewa Paduhungan. The power struggle caused chaos, prompting I Dewa Karang and his retinue to be taken to Denbukit (Buleleng) by I Ngakan Kaleran (Kertha et al., 2001: 9-10).

It is told that a nobleman named I Gusti Ngurah Bija ruled the Bun Kingdom, which had around 5000 inhabitants. The Bun Kingdom is now located north of Angabaya Penatih Village, east of Sibang Badung Village, south of Lambing-Tingas Badung Village, and west of Sedang, Angantaka, and Jagapati Badung Villages.

 The Bun Kingdom is now a rice field area known as Carik Pengumpian, as it was destroyed by I Gusti Agung Mhahiun from the Mengwi Kingdom during his northern expansion into Badung territory. Some inhabitants of the Bun Kingdom worked as traders (panghalu), trading up to Denbukit (Buleleng). One day, a trader from Denbukit gave a child to a trader from Bun, asking him to take the child to Badung (Kertha et al., 2001: 2-3). 

The Bun trader happily accepted the child, who was then placed in a katung (kalesan), and the child's name changed to I Dewa Kalesan. When the trader arrived in the Bun Kingdom, many villagers gathered after hearing the news of the abduction of I Dewa Karang’s son from Klungkung. The trader shared the story of receiving the child in Denbukit. Hearing this, I Gusti Ngurah Bija immediately went to Klungkung to inform I Dewa Agung Klungkung (King of Smarajaya Klungkung) that the lost prince was now in the Bun Kingdom and requested that the child be raised there. I Dewa Agung Klungkung was delighted and confirmed that the child was indeed I Dewa Karang’s son, allowing the child (I Dewa Karang) to be raised in the Bun Kingdom with 400 followers. 

I Dewa Karang (I Dewa Kalesan) grew up in the Bun Kingdom, and news of this spread to the Badung Kingdom, where I Gusti Ngurah Jambe Pule ruled. The King of Badung asked I Gusti Ngurah Bija to send I Dewa Karang (I Dewa Kalesan) to Badung, where he would be given a place to rule in the eastern part of the Badung Kingdom, specifically the Taak region, with 1000 followers (35 from Badung, 40 from Bun, and the rest were perarudan). I Dewa Karang (I Dewa Kalesan) and his followers then cleared the forest for one month (sasih) and eventually found a high place (tegehe). This event led to the names of Banjar Menguntur, Banjar Sasih, and Banjar Tegehe.

Upon continuing north, they reached the intended territory named Taak, under the control of the Badung Kingdom. Senggehu Taak’s house (jero gede) became the center of power for I Dewa Karang (I Dewa Kalesan) under the name I Dewa Gde Sukahet, and Jero Gede Taak’s name changed to Puri/Jero Gede Batubulan. Senggehu Taak’s residence was relocated east to a plain called Pegat Ebang, overgrown with alang-alang grass, which later inspired the name Banjar Pegambangan.

I Dewa Kalesan, also known as I Dewa Karang or I Dewa Gde Sukahet, had seven children, including I Dewa Gde Pameregan from his prami wife and I Dewa Wayan Panenjoan from his panawing wife. The rulership passed to I Dewa Gde Pameregan, who had nine children: I Dewa Rai Guwang, I Dewa Gde Dukuh, I Dewa Gde Ngurah, I Dewa Made Batan, I Dewa Ketut Tegal, I Dewa Wayan Muntur, I Dewa Made Muntur, I Dewa Nyoman Badung, and I Dewa Gde Rai. The rulership was meant to pass to the youngest son, I Dewa Gde Rai, but a rebellion led by I Dewa Made Lukluk, a descendant of I Dewa Wayan Panenjoan, in collaboration with I Dewa Manggis Jorog from the Gianyar Kingdom, resulted in the murder of I Dewa Gde Rai in Payangan and I Dewa Made Muntur in Bangli. I Dewa Gde Rai was deified with a meru tumpang solas (now candi tumpang pitu) at Pura Puseh Batubulan. After his death, I Dewa Made Lukluk took power. He had no children, so a son from Gianyar, I Dewa Gelugu, ascended the throne as I Dewa Oka. The reign of I Dewa Gde Sukahet was replaced by the dynasty of I Dewa Manggis (Gianyar). The bad behavior of the knights (royal family) in Batubulan at that time angered the King of Badung, who handed over Batubulan to the Sukawati Kingdom, which had already fallen under Gianyar's control in 1810 AD. The following is a quote from the inscription at Pemrajan Agung Pohmanis regarding the murder of I Dewa Gde Rai in Payangan:

“…long after, an uprising happened in Badung. I Gusti Jambe lost, and I Gusti Ngurah Kaleran returned. Years after the uprising, in Batubulan, I Dewa Made Lukluk informed I Dewa Agung Manggis, tricking I Dewa Gde Rai (Sukahet) to Payangan, where he was killed. I Dewa Made Muntur was killed in Bangli…” (Free Translation of the Inscription at Pemrajan Agung Pohmanis).

This tragedy left Puri Taak in chaos, with deep sadness and disappointment spreading due to slander and deception. The remaining members of Puri Taak felt unsafe, so they decided to flee. I Dewa Wayan Badung fled to Taman Intaran Sanur with I Dewa Gde Dukuh to Gria Taman Intaran/Ida Pedanda Gde Alang Kajeng. I Dewa Nyoman Badung and I Dewa Wayan Muntur fled to Denpasar to seek protection from I Gusti Ngurah Kajanan at Puri Satria and were eventually relocated to Kusiman (now Kesiman).

It is told that the evacuation of I Dewa Nyoman Badung along with I Dewa Wayan Muntur, under the command of the ruler of Badung at the time, was directed to Kusiman Village (now known as Kesiman). During the journey, they were accompanied by followers from Pungakan Banjar Kalah and other individuals named I Kepang, I Taring, I Mastra, I Ngembu, and I Garda. From Banjar Sumerta, they were escorted by I Pinrih, I Malang, I Silur (the son of Nyoman Del), and I Medil. Additionally, Bagus Pengunteran joined with his sons, Bagus Coak and Bagus Made Bandem. Other followers included I Lebah and I Trekas. I Dewa Wayan Muntur was also accompanied by two individuals, I Gulingan and I Mandesa.

I Dewa Nyoman Badung passed away in Kesiman. He had three children. His daughter was married to I Dewa Gde Pande, the son of I Dewa Gde Dukuh from Taman Intaran. Under the orders of I Gusti Ngurah Gede (the ruler of Badung at the time), I Dewa Gede Pande and I Dewa Wayan Muntur together headed towards the village located at the border between Badung, Mengwi, and Gianyar territories. The ruler of Badung at that time wanted I Dewa Wayan Muntur and I Dewa Gde Pande to develop and cultivate a new territory at the northeastern border of Badung (now Denpasar) as a defense against the Mengwi Kingdom, which had taken control of Bun, and the Gianyar Kingdom, which had taken control of Batubulan Sukawati. Eventually, I Dewa Wayan Muntur, together with I Dewa Gde Pande (I Dewa Nyoman Badung’s son-in-law), went to the border region, accompanied by 40 followers from the Pasek, Kalah, and Karang Buncing clans, including Pan Edan, Pan Gejor, Pan Gobyah, and Pan Gudug, who settled in Kalah Penatih. Meanwhile, I Dunia, I Tusan, I Enteg, I Nedeng, I Runia, and I Tebeng accompanied them to the border region called Pemanes (now Pohmanis) (Kertha et al., 2001: 22). This border area was a dangerous place, as battles often took place there. This is proven by the presence of historical markers such as earthen ramparts surrounding the area, place names like "carik cucukan" and "kalangan," which are associated with warfare, and because the area served as a defensive fortress for Badung at the time. The name "pemanes" evolved into "pemanis" and later "pohmanis," a name that is still used today.

The presence of I Dewa Wayan Muntur and I Dewa Gde Pande, along with other community members in the Pemanes area, succeeded in suppressing military invasions from the Mengwi Kingdom in the north and the Gianyar Kingdom in the east, thus creating a safer environment. This growing sense of security allowed the people to gradually build "jero" (palaces), residents' homes, sacred temples (pura), and divide agricultural land for farming. Upon hearing that the Pemanes area had become safer, the King of Badung was very pleased and sent more followers from the Pande and Senggehu clans to further support Pemanes as a northeastern defensive fortress for the Badung Kingdom. Based on the above description, around 1740 AD, Mengwi’s military invasion defeated the Bun Kingdom, and at almost the same time, a power struggle occurred in the Batubulan Kingdom, resulting in the death of I Dewa Gde Rai (who is now venerated at the Meru Temple in Pura Puseh Batubulan). During these times, several royal families, such as I Dewa Wayan Muntur and I Dewa Nyoman Badung, left Batubulan and moved to Pemanes (now Pohmanis) with their followers (panjak tatadan) to develop and cultivate a new area on the outskirts of the Badung Kingdom, around the 17th 

The term "taman" (garden) only emerged when the village was divided into two customary "banjars" (local communities), namely Taman and Pohmanis, which were once collectively known as Pemanes/Pemanis/Pohmanis. The term "Taman" is associated with the presence of the Pura Taman Sari temple on the western side of the village, which is now owned by the Brahmana from Geriya Bindu Kesiman.

History of Peguyangan

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The precise and written background history of the Pakraman Peguyangan Village has not yet been discovered. However, based on a literature study of the contents of the Dresta Ilikita of Pakraman Peguyangan Village, the author found several elements referring to the village's history, such as the name Pakraman Peguyangan arising from the tale of the elephant Kyai Panji Sakti, which maguyang (rolling around), and the place where the elephant maguyang is referred to as peguyangan. The term peguyangan is also linked to the contents of a copper inscription at Pura Dalem Batan Celagi, which states that the caretaker of the inscription was granted the freedom to pay taxes because they were given the responsibility to take care of and ngaci sam sat kahyangan, meaning "who guards the place of hyang." Maintaining the prahyangan must be pageh (steadfast/consistent), which then leads to the terms pageh and hyang becoming the origin of the name peguyangan (Anonymous, 2011: 1).

History of Penatih

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The journey of Maha Rsi Markandya, accompanied by his disciple named Bhujangga Sari, involved building Pura Gunung Raung, Pura Payogan, and also constructing Pura Tangga Hyang Api at the confluence along the banks of the Oos River. It is said that Bhujangga Sari had long pursued knowledge and wished to establish a pasraman on a piece of white land, which was found to be inhabited by the Bali Aga people from the Taro region. The temple built on this White Land is named Payogan Hyang Api, serving as a worship site for tri sakti and a place for pakraman worship. The name Tanah Putih is the origin of the name Penatih, derived from the words pinih and tih, which mean first (tih) (Dhaksa, n.d.). 

After Bali was successfully conquered by the Majapahit Kingdom around the 14th century AD, Patih Gajah Mada, under the orders of Queen Tribhuwana Tunggadewi, sent Dalem Ketut Kresna Kepakisan (Dalem Samprangan) to become the Adipati of Bali along with several followers, such as Arya Kanuruhan, Arya Demung, Arya Belog, Arya Mengori, Arya Tumenggung, Arya Kenceng, Arya Delancang, Arya Kepakisan, Arya Pangalasan, Arya Kutawaringin, Arya Gajahpara, Arya Getas, and Arya Wang Bang. They were also accompanied by merchants like Si Tan Kober, Si Tan Kawur, and Si Tan Mundur. The Penatih region was inhabited by Arya Wang Bang Pinatih, who held the title Kyai Anglurah Pinatih Mantra, with an army of 35,000 comprised of the people from Arya Buleteng. Under the rule of Kyai Anglurah Penatih Mantra, Penatih underwent many developmental changes, including the construction of sacred buildings. The Pura Payogan Hyang Api, which had previously existed during Bhujangga Sari's time, was also restored. Initially established for the worship of tri sakti, it was expanded to include several ancestral shrines (kawitan), namely Palinggih Manik Angkeran, Palinggih Dukuh Blatungan, Palinggih Padma Siwa, and Palinggih Padma Budha (Padma Kurung). The construction of these two Padma (Siwa-Buddha) was a tribute to their ancestors, Mpu Sidhimantra, a follower of Buddhism, and Mpu Sedah, a follower of Shiva (Dhaksa, n.d.).

After its restoration and the addition of several shrines, Pura Payogan Hyang Api was renamed Pura Penataran Agung Penatih, which means: Pura refers to a place that is sanctified, Penataran means that which is owned by the ruler, and Penatih is the name of the region and the ruler at that time. Today, Pura Penataran Agung Penatih is inherited by the residents of the Pakraman/Adat Penatih Village, worshiped as Kahyangan Tunggal and as the Kawitan of Arya Wang Bang Pinatih (Dhaksa, n.d.).

History of Kesiman

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Kesiman, as an administrative region, is located in the City of Denpasar. According to Eka Ilikita Desa Adat Kesiman (1990), the name Kesiman comes from the words "Ku" and "Sima." This term is mentioned in the Babad Wanggayah, which tells the story of Ida Dalem Batu Ireng. Ida Dalem Batu Ireng built a prahyangan named Dalem Tungkub, which was disungsung by the Pasek Dangka. Then, from Taman Hyang Batur, he continued his journey to Bukit Bali, Batu Belig, and Sumerta. The arrival of Ida Dalem Batu Ireng in Desa Sumerta was ignored by Anglurah Bongaya, and he continued his journey to wander angider bhuwana (angrebong) towards Desa Tangkas, seeking a river and intending to attain moksa using water as a medium, as he believed that achieving moksa through water was the best way and could bring blessings. The river was later named Sungai Ayu or We Ayu, where “we” means water and “ayu” means peace; today, this river is known as Sungai Ayung. After Ida Dalem Batu Ireng attained moksa, his followers established a memorial in the form of a large stone named Batu Sima. The three descendants of Dalem Batu Ireng followed the yadnya moksa at Sungai Ayung, and then Bendesa Mas and Gaduh built a grema (desa pakraman) named Pendem, complete with Prahyangan Desa Puseh and Manik Aji in the Abian Nangka ambengan forest (Eka Ilikita Desa Adat Kesiman, 1990: 3-4).

When Adipati Sri Aji Kresna Kepakisan became the Adipati of Majapahit in Bali, one of his companions, Arya Wang Bang, established a palace on the banks of the Ayung River, right at the place where Ida Dalem Batu Ireng attained moksa. Arya Wang Bang Pinatih Majapahit there met the Balinese community, declaring himself as the envoy of Sang Prabhu Majapahit to continue Sima Krama practiced by the Balinese in the territory of Dalem Batu Ireng, which was called Ngerebongan. After Arya Wang Bang received the inheritance from Ida Dalem Batu Ireng (Dalem Moksa) on the banks of the Ayung River, he then affirmed the legacy of Ida Dalem Batu Ireng by naming the place Kusima and the core place of Ida Dalem Batu Ireng moksa apengrebongan, named Amuter Bhuana. Arya Wang Bang emphasized the meaning of Kusima, which is “ku” meaning strong or firm, and “sima” representing the territory of Prahyangan Dalem Muter. The Prahyangan built by Arya Wang Bang on the banks of the Ayung River was completed on the day of Wrespati wuku Sungsang (Sugihan Jawa), marking the occasion when the Balinese community from Java performed the Sugihan Jawa ceremony. Over time, the term Kusima evolved to be called Kesiman up to the present day (Eka Ilikita Desa Adat Kesiman, 1990: 4).

Kesiman, with its long historical journey, began as a kingdom, district, sub-district, village, and eventually as an adat village. Chronologically, it is also necessary to outline a brief history of the civilization of Denpasar City, as Kesiman is administratively located in Denpasar City. The establishment of the Denpasar Palace in 1788 marked the crowning of I Gusti Ngurah Made as king, with the abhiseka title I Gusti Ngurah Made Pemecutan (1788-1813), as he was a descendant of Pemecutan. The successor to I Gusti Ngurah Made Pemecutan at the Denpasar Palace was I Gusti Gde Ngurah, with the abhiseka I Gusti Ngurah Jambe (1813-1817), serving as King of Denpasar II. Meanwhile, his brother named I Gusti Gde Kesiman founded a palace on the eastern side of the Badung Kingdom, named Puri Kesiman, in 1813 (Geriya et al., 2011 in Amerta et al., 2018: 11-12).


Bale Kulkul Kesiman Kedaton (1906)
Tjokorda Sakti Kesiman (1862)

I Gusti Gde Kesiman, as the first King of Kesiman, previously served as the regent of the Badung Kingdom. After the death of I Gusti Ngurah Jambe, the second King of Denpasar, in 1817, I Gusti Made Ngurah took over the throne as the third King of Denpasar from 1817 to 1829. Due to his young age, the governance was managed by his uncle at Puri Kesiman. I Gusti Gde Kesiman's influence facilitated cooperation based on mutual understanding among the three palaces in the Badung Kingdom: Puri Pemecutan, Puri Denpasar, and Puri Kesiman. This collaboration strengthened the Badung Kingdom, making it respected by neighboring kingdoms. His proficiency in the Malay language also allowed I Gusti Gde Kesiman to communicate easily with foreign traders visiting the Badung Kingdom (Gora Sirikan, II, ANRI, 1964 in Geriya et al., 2011: 38-39).

When I Gusti Gde Ngurah ascended to the throne as the fourth King of Denpasar in 1829, he held the title of Cokorda Denpasar. Following the death of I Gusti Gde Kesiman in 1865, the leadership of the Badung Kingdom began to shift towards Puri Denpasar. At least three more kings ruled from Puri Denpasar before the outbreak of the Puputan Badung war in 1906: I Gusti Gde Ngurah as the fifth King of Denpasar (1863-1883), I Gusti Alit Ngurah as the sixth King of Denpasar (1883-1902), who bore the title I Gusti Ngurah Jambe Pemecutan, and finally, I Gusti Ngurah Made Agung, who became the seventh King of Denpasar in 1902, ultimately falling in the Puputan Badung war on September 20, 1906. In addition to I Gusti Ngurah Made Agung, I Gusti Ngurah Pemecutan (1890-September 20, 1906), the eighth King of Pemecutan, also perished. Furthermore, on September 18, 1906, the King of Kesiman, I Gusti Ngurah Agung/I Gusti Gde Ngurah Kesiman, had already succumbed, pierced by a kris (traditional dagger) within the palace.

After the Puputan Badung war in 1906, the Badung Kingdom with its three palaces—Puri Pemecutan, Puri Denpasar, and Puri Kesiman—officially became a colonial territory under the Dutch Colonial Government. Dutch colonial influences began to be implemented, such as the construction of immigrant settlements, museums, schools, offices, markets, ports, roads, bridges, and more. The city of Denpasar was used to refer to the capital of the afdeling of South Bali, with the site of the former Puri Denpasar utilized as the government center of the Dutch East Indies at the afdeling and onderafdeling levels, along with its officials, namely the Assistant Resident and the Controller (Boon, 1938 in Geriya et al., 2011: 63-64). Kesiman also became one of the district names, namely Kesiman District, overseeing areas located in Benculuk, Tegehkuri, and Tonja, led by a Punggawa named Jero Gede Rai from Singaraja. Around the year 1920, the Kesiman District Office was moved to Bencingah Puri Kesiman (now the East Denpasar Sub-District Office).

Bale Kulkul Kesiman Kedaton (1906)

The sequence of officials who served in Kesiman District includes I Gusti Ngurah Gde Kesiman (1921 – May 1954), I Gusti Ngurah Anom Pacung (1954 – December 12, 196), I Gusti Ketut Redung (1960 – 1963), I Gusti Kompyang Rogig Sugriwa (1963 – 1965), and I Gusti Ngurah Gde (1965 – 1970).

Around 1970, Kesiman District changed its name to Kesiman Sub-District, overseeing 11 villages: Kesiman Village, Tonja Village, Penatih Village, Sumerta Village, Sanur Village, Renon Village, Sesetan Village, Panjer Village, Serangan Village, Ubung Village, and Peguyangan Village. In 1978, there was an expansion of sub-districts in Denpasar City, which initially only had two, namely Denpasar Sub-District and Kesiman Sub-District, which were divided into three: West Denpasar Sub-District, East Denpasar Sub-District, and South Denpasar Sub-District. After the subdivision of the sub-districts, the expansion of villages followed, along with the change in status from village to kelurahan. Thus, Kesiman, which was originally a sub-district, became Kelurahan Kesiman on December 1, 1979, along with the addition of two expanded villages, namely Kesiman Petilan Village and Kesiman Kertalangu Village, which are traditionally overseen by the Kesiman Adat Village in the East Denpasar Sub-District.

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Assyuhada Mosque

by Artificial

The construction of the Masjid Asy-Syuhada involved the residents of Kampung Bugis and the Hindu Raja of Badung, Cokorda Ngurah Sakti. This historic mosque stands as evidence of the peaceful coexistence of Islam and Hinduism in Bali for many years. The mosque is situated in the middle of the village at Jl. Tukad Pekaseh, Serangan, South Denpasar, Denpasar City, Bali 80229, and serves as a hub for local Muslims' religious activities and a popular destination for those interested in learning about multiculturalism on the island. The mosque's ancient features, such as the old Quran, wooden pillars, and high pulpit, are a testament to its long-standing presence and historical significance in Bali.

The Masjid Asy-Syuhada is believed to be an original building, with only minor renovations such as replacing the roof with tiles and adding a dome. The mosque's interior features asbestos cement board on the ceiling and marble tiles on the prayer hall floor.

The mosque's architecture reflects a blend of Balinese and Bugis cultures. The Balinese influence is evident in the mosque's fence, roof, and decorative elements, while the Bugis culture is reflected in the pulpit, which is made of intricately carved wood and iron fencing. The wudu area, a separate building from the mosque, is a modern addition.

The peaceful coexistence of Balinese Hindus and Muslims in Kampung Bugis, Serangan, is a beautiful example of interfaith harmony. Despite belonging to different banjars, they are not geographically separated. During festivals such as Eid al-Fitr and Galungan, they visit each other's homes and exchange food, known as jootan in Balinese.