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CHEF DAIJIRO HORIKOSHI + (TAKUMI’S CHEF Daijiro Horikoshi is a maste … TAKUMI’S CHEF Daijiro Horikoshi is a master artisan who has devoted his life to perfecting Kaiseki cuisine.Chef Daijiro San … with respect you don’t sound like any ‘normal’ kind of Chef to us … what’s your story and how did you end up in Bali? Did you train in a Japanese kitchen, and did it involve years of internship under a Master?I am the son of the third generation of a tempura restaurant located in Osaka. The restaurant had a 62-year history before it closed. My grandmother started the restaurant, and my mom took over before I eventually took over from her. I ran the restaurant for over 16 years, and in 2012, I moved to Bali. When I was 13 years old, I had the opportunity to travel with my stepfather, who was a Native American leader from the United States named Dennis Banks. We travelled to 23 countries around the world, and this experience exposed me to different cultures, religions, and people. When I decided to move to Bali, it was because my wife had a dream of living on a tropical island. We wanted our children to have a global experience and learn English, so we chose Bali as it offered a mix of different cultures. It was the perfect balance for us, and we couldn’t find it anywhere else in the world.Tell us first about KOHAKU, and your journey to making edible crystals…Although I don’t have a pastry background, I grew up in a traditional Japanese environment due to my grandmother’s influence. She was a geisha and introduced me to various aspects of Japanese art, tradition, and confections. When I moved to Bali, I missed Japanese sweets, as they were not readily available, so I started making Japanese confections on my own. I never thought about turning it into a business until a friend suggested it. Together with another friend, we started the business, and my wife encouraged me to pursue it further. That’s how our Japanese confection brand, KOHAKU, came to be.How does this relate to cuisine in Japan?Kohakuto, which means ‘amber sugar’ in Japanese, has a connection to Japanese tea ceremonies. Japanese confectionery has always been closely associated with tea and tea ceremonies. The tea ceremony involves not only tea but also meals, and it holds a deep relationship with Japanese cuisine.There are two types of kaiseki, one for parties and the other for tea ceremonies. Both have a connection with tea and confections. So, the idea of creating edible crystals relates to the long-standing tradition of Japanese traditions.Why does Japanese cuisine appear so different and innovative to Westerners, compared to more traditional styles, like say classic French, or Italian? Should the Old School be more innovative?I don’t see a big difference between Japanese cuisine and other traditional styles like French or Italian. Each cuisine reflects its own history, culture, and region. I don’t think one is more innovative than the other. It’s difficult to answer whether the old school should be more innovative because innovation is subjective. What may seem innovative today might become traditional in the future. As chefs, we are always learning and trying to create dishes that make people happy. We focus on making something good rather than just being innovative. Our job is an ongoing journey of learning and creating.Where does innovation go too far, and when should we recognize and respect classic cooking practices?From my perspective, innovation goes too far when it becomes disconnected from our everyday lives and focuses solely on being different for the sake of standing out. Some chefs get caught up in trying to show how they are different from others, losing sight of the true essence of cooking. It’s like we lose our direction and wander aimlessly. Whether it’s in cooking or any aspect of life, we need to take a moment to pause, reflect on where we stand, and look back at our past and the processes that brought us here. It’s essential to respect the ingredients we use and show appreciation to everyone involved, not just for the sake of being different.Tell us about Takumi, your restaurant, and the inspiration behind it.Takumi is a restaurant where we currently serve Kaiseki-style Japanese cuisine. We offer a choice of nine-course or six-course degustation menus, and we will soon be launching vegan courses as well. Our focus is on traditional and authentic Japanese cuisine. The inspiration behind Takumi is unique. We are not simply importing Japan to Bali; instead, we are creating Japan here. We utilize the amazing local ingredients available in Bali and Indonesia, embracing the wealth of flavours they offer. As a Japanese chef, I incorporate Japanese culinary techniques and strive to express the true essence of Japanese cuisine. Additionally, I am passionate about training young chefs in Bali, sharing my knowledge, skills, and the history and philosophy of Japanese cuisine, in order to elevate the level of Japanese culinary expertise in the region.Why is great service such an important part of the culinary experience?Great service is crucial because it enhances the overall dining experience. When customers pay a significant amount for their meals, they should be able to enjoy them fully. It’s important to create an atmosphere where people can feel happy and comfortable. The emotions and atmosphere in a restaurant can significantly impact the perception of the food. Service acts as an additional spice that complements the dishes coming out of the kitchen. It’s not just about the food; it’s about the complete experience – from the moment guests enter the restaurant until they leave. We aim to leave a lasting memory and ensure that our guests have a truly enjoyable time at our restaurant.Who are your heroes in the world of cooking?Although it may sound cliché, my heroes in the world of cooking are my grandmother and my mother. However, my true heroes are the young chefs working in the Takumi kitchen. Each of them brings their unique experiences, which I have never had. Their willingness to learn and their different perspectives make them admirable and worthy of respect. These young chefs are my heroes because they challenge themselves and strive to become respected in the culinary industry.What knives do you use?I primarily use a small petty knife. I don’t have a specific brand preference. I own several Japanese knives, but my favourite is the small petty knife, which I use for personal use at home. I don’t typically use large knives in my cooking.What’s the most exciting new ingredient you are incorporating into your food?Well, every week brings new and exciting ingredients to our kitchen, even if they are the same vegetables we’ve used before. Each batch has its own unique qualities, and that’s what makes it thrilling. We have conversations with the ingredients, exploring their potential and listening to what they have to say. When they arrive in the kitchen, we greet them and get to know them. ‘Hello, my name is blah blah blah, who are you?’ We might say to a red radish. It’s a delightful way to engage with the ingredients and understand their desires. Do they want to be a sauce, a garnish, or simply shine on their own? We listen to their aspirations and help them become what they want to be. It’s the chef’s job, and it’s the most enjoyable and exciting aspect of our work.What motto inspires your life as a chef?Well, I’ve touched on this in previous answers, but it’s a question worth pondering. As a chef, I find immense joy and satisfaction in working with ingredients and creating dishes. It’s the happiness and fun that come from this process. There are many people involved in the culinary world, from suppliers to farmers, fisherman, and even drivers. My motto is simple: I want to make people happy. I strive to bring joy to others through my creations and my work. It’s not just about the guests; it’s about everyone who is connected to food and to me. I want to contribute to a collective happiness and create a positive impact within this circle. As a chef, I am just one part of a larger ecosystem, and my goal is to make everyone in this circle happy.IG & FB: @kohakubaliwww.kohakubali.comIG: @takumibaliFB: @Takumi Baliwww.takumibali.comkumibali FB: @Takumi Bali www.takumibali.com)
Dadalan Sejarah Wangunan Monumen Perjuangan Rakyat Bali + (THE BACKGROUND OF THE ESTABLISHMENT OF THE … THE BACKGROUND OF THE ESTABLISHMENT OF THE MONUMENT OF BALINESE STRUGGLESporadic struggles for independence against the Dutch Colonial Government emerged in most parts of Indonesia. The violent oppressions by the Dutch resulted many rebellions in various dominions of kingdoms and sultanates under the Dutch colonialism. But unfortunately, the Dutch could easily suppress them by applying their divide et impera (divide and rule) tactic to break the strength of those kingdoms and sultanates by playing off against each other, between a king and the other, between the royal family and the king, the king and his people, and between people as well.The long war experiences and also the more and more Indonesian youth got academic education had aroused the spirit of unity among various social strata and ethnic groups and the awareness to defend their country and to drive away the colonizers. It was initiated by a number of intellectual youths from various regions that on October 28th, 1928, for the firsttime, the Indonesian youth held a conference in which they declared the so called the Sumpah Pemuda or the Youth Pledge. They swore that they were of one mother country: Indonesia, one nationality: Indonesian, and of one language: Bahasa Indonesia or the Indonesian language. This declaration was simultaneously participated by many youth organizations from various islands and ethnics in Indonesia such as, Jong Java of Central and East Java, Jong Pasundan of West Java, Jong Minahasa of North Sulawesi, Jong Ambon of Maluku, Jong Celebes of Sulawesi, Jong Madura, Jong Sumatranen, Jong Batak of Batak ethnic group, etc which later on resulted an idea to form the Jong Indonesia to accomodate all ethnics in Indonesia.This spirit of Sumpah Pemuda has also awakened various youth organizations in Indonesia.One well-known organization, among others, is Sarekat Islam, which was originally as a mere religious movement, then developed into the first popular movement in Indonesia, then the Indische Partij party which also moved in politics. At that time on the island of Java nationalist figures emerged such as dr. Soetomo, HOS. Cokroaminoto, Suwardi Suryaningrat (Ki Hadjar Dewantoro), Douwes Dekker, Tjipto Mangunkusumo, Agus Salim, Soekarno, Muhammad Hatta, and so on. Their pioneering work eventually also inspired other regions to do the same, namely to unite the regions in expelling the Dutch occupation, one of which was a struggle carried out by the Balinese people.Bali Island is one of the bases of the struggle against the Dutch, among which the famous is the Jagaraga War of 1848-1849 in Buleleng, the Kusamba War of 1849, the Banjar People’s Resstance in 1868, the Puputan Badung War of 1906 launched by the King of Badung, Puputan Klungkung in 1908 and also the Puputan Margarana War in the Marga Village of Tabanan conducted by Liutenant Colonel I Gusti Ngurah Rai along with Laskar Ciung Wanara who had waged in all-out war (Puputan) against the Dutch in 1946.The struggle performed by I Gusti Ngurah Rai has left deep memories for the people of Bali, so as to commemorate his services, a monument, street name, airport name, and so on were erected. The awarding of his services is solely because he has set an example to the younger generation in the struggle for independence which is done unconditionally. The government’s attention to the services of the fighters in Bali was realized by the construction of a grand monument located in the Niti Mandala area, Denpasar known as the the Monument of Balinese Struggle.What is presented in this monument is to recall all the struggles of the Balinese heroes before and after independence. It is also hoped that this monument will also has some benefit in an effort to increase the appreciation of the younger generation in living up to the patriotic values demonstrated by the heroes who sacrifice all his body and soul in defending the dignity of his people without ever expecting retribution.The monument was designed by Mr. Ida Bagus Gede Yadnya, a young man who was at that time was a student in the Department of Architecture, Faculty of Engineering, Udayana University, Denpasar. He succeeded in winning and becoming a champion in the design competition of the the Monument of Balinese Struggle which was carried out in 1981 by setting aside his senior architects in Bali.After the design and drawing improvements were made, in August 1988 through the budget of the Provincial Government of Bali a groundbreaking was carried out, as a sign of the start of the construction of the monument. After going through various obstacles and trials due to the depreciation of the Rupiah in 1997, finally this monument could be completed also in 2001. After that, the development was continued with the making of dioramas that depicted the life history of the Balinese from time to time. In addition to the dioramas, a park was also built to add the beauty and comfort of this monument, which as a whole could be completed in 2003. On June 14, 2003, in conjunction with the Opening of the 25th Bali Arts Festival in 2003, Indonesian President Megawati Soekarnoputri had the pleasure of inaugurating the Monument of Balinese Struggle. Since then the monument has been officially opened for public.PURPOSE AND OBJECTIVESThe purpose of making dioramas that tells a story of the struggle of the Balinese people is to reconstruct important historical events that have occured in Bali, so that what is implied in them will be more easily appreciated by younger generation.The aim is to perpetuate the spirit of the struggle of the Balinese people from time to time and pass down the spirit of patriotism in the form of self-sacrifice, love of the motherland, love of unity and love of peace, togetherness to the next generation of the nation, and the main thing is to maintain the integrity of the Unitary Republic of Indonesia (Homeland).THE PHILOSOPHICAL BASIC OF THE MONUMENT OF BALINESE STRUGGLEThis monument is an embodiment of lingga and yoni. Lingga is male symbol (purusa), while yoni is female symbol (pradana). The meeting between the two elements is a symbol of fertility and well-being. In addition to the Lingga-Yoni philosophy, this monument is also based on the philosophy of the Mandara mountain screening (Mandara Giri) in ocean of milk (Ksirarnawa). This story comes from the Adi Parwa book, the first chapter (parwa) of the Mahabarata epic. It is said that the gods and giants (daitya) sought the water of eternal life (tirtha amertha) by turning around Mandara mountain in the ocean of milk. The implementation of the screening of mount Mandara is regulated as follows:1. Turtles (akupa) as the base of mount Mandara2. Besuki Dragon (Naga Besuki) as a strap and turning mount.3. The gods hold the dragon’s tail and the daitya hold the head, while at the top of the mountain sits God Shiva.After working with great difficulty turning the Mandara mountain then successively came out: crescent (Ardha Chandra), Goddess Sri and Laksmi, flying horse (kuda Ucaisrawah), tree of happiness (Kastuba Mani), and the last came out Goddess Dhanwantari who brought Tirta Amertha. The story of searching for Amertha water is then reflected in the shape of this monument, with the following explanation:1. The earthen pitcher containing tirta amertha was symbolized by a kind of pot (swamba), which is located on the top of the monument.2. Naga Besuki’s tail is realized near the pot.3. The head of the dragon is manifested in the entrance gate (Kori Agung).4. Turtle (Bedawang Nala/ akupa) as the foundation of the monument is located on the edge of the lake and its head on Kori Agung.5. The pond that surrounds the monument as the symbol of Ocean of milk (Ksirarnawa).6. Mandara mountain (Mandara Giri) as the overall shape of the monument building.Philosophically, the initiators of this monument wish to give a message to the younger generation that the struggle to achieve success can only be done with hard work, perseverance, and mutual cooperation as told when the Gods and Daitya together seek eternal life.Another symbol depicting the power of God Almighty (Ida Sang Hyang Widhi Wasa) contained in this building is a building plan in the shape of an octagon and an eight-leaf lotus. The eight-leaf lotus is called Asta Dala as a symbol of the omnipotence of God Almighty called Asta Aiswarya, namely:1. Anima : the mildness nature like atom.2. Lagima : the lightness nature like ether.3. Mahima : the great nature that fills all places.4. Prapti : the nature of reaching all desired places.5. Prakamya : all wills are achieved by Him.6. Isitawa : the nature of dominating everything and the most important One.7. Wasitwa : the most powerful character.8. Yatrakama Wasayitwa : His nature and His will cannot be challenged.The symbol of patriotism and nationalism can be found in the 17 number of foot steps towards the main entrance, 8 main pillars of the building and the height of the monument is 45 meters. If these figures are strung together, the numbers 17, 8, and 45 are arranged which show the date, month, and year of the Proclamation of Indonesian Independence, August 17, 1945. Indonesian Independence, August 17, 1945.)
SAYAN AKIDIK LAHAN CARIK RING BALI, SANE NGAWINANG SISTEM SUBAK RERED, PARIWISATA MAJU + (THE NARROWING AREAS OF RICE LAND IN BALI C … THE NARROWING AREAS OF RICE LAND IN BALI CAUSE THE SUBAK SYSTEM TO BE THREATENED, TOURISM IS ADVANCED.Om SwastyastuI respect the jury. And also, the audience I am proud of.I express my gratitude to Ida Sang Hyang Widhi Wasa, because with His blessing and grace, we can gather in the same place on this good day. Ladies and gentlemen who have gathered here at the Bali Public Participation Speech Wikithon event. Today, let me present an oration entitled "The Narrowing of Rice Field Areas in Bali, Causing the Subak System to Be Threatened, Tourism to Advance"OK, ladies and gentlemen.Subak is a Balinese irrigation system which functions to regulate the distribution of irrigation flows that irrigate each plot of rice field area according to the customs of Balinese society. The Subak system has been recognized by UNESCO as a world cultural heritage. This is what causes Bali to become fertile because of the subak system, which means that the rice fields in Bali do not lack water. Making rice fields in Bali into natural tourist attractions that are in great demand in Bali, for example in Jatiluwih, Tegalalang Rice Terrace.Currently, Bali is famous for its very beautiful tourist attractions, because of this, Bali is nicknamed "Paradise Island". However, the impact of tourism in Bali which is increasingly developing has caused many rice fields to be converted into Bali tourism infrastructure and converted into housing complexes, especially now that Bali is being hit by a long drought which is causing farmers to fail to harvest, such as in Penebel, Tabanan, Farmers failed to harvest up to 107 hectares. And the status of Subak land changed to empty land. Then this land can be used as tourism infrastructure and a housing complex in Bali. Of course, this must be taken into account, because now people are becoming less aware of Balinese traditions, customs and culture due to the great influence of today's increasingly advanced technology.I have said a lot, and I have made many mistakes. Hopefully the tradition of the subak system in Bali will remain sustainable and the Balinese people will still remember this ancestral heritage. I hereby apologize profusely, if any of my words do not match what the audience thinks. I close with Parama Santhi.Om Santhi Santhi Santhi Om.Parama Santhi. Om Santhi Santhi Santhi Om.)
Program KIP ring Kabupaten Bangli kari Salah Sasaran. + (The Smart Indonesia Card (KIP) is also cal … The Smart Indonesia Card (KIP) is also called the Smart Indonesia Program (PIP). This is the Jokowi government's first program which is part of the Healthy Indonesia Card (KIS) and the Prosperous Family Card (KKS). The Smart Indonesia program aims to increase access for school-age children from poor families to school. KIP is a card intended for poor and vulnerable families who want to send their children (aged 7-18 years) to school for free. KIP recipients are given regular cash funds from the government which are stored in the KIP card function to attend school for free, both those who have registered and those who have not yet registered in schools or madrasas so that the dropout rate can drop drastically.So, the target of KIP is for students who excel and are less fortunate. But in fact its implementation is not in line with expectations, many cases occur regarding KIP being mistargeted. One of them occurred in Bangli Regency. A real example is in my own village, namely Banua Village. Those who are entitled to get KIP (Smart Indonesia Card) are children or students whose families are on the line or in the Poor Family Card (KK) group so that at first glance the KIP program is right on target, but if you look more deeply In fact, the KIP or PIP program still finds errors in its implementation. There are many students in my village whose families are not in the poor family, but in fact these students are underprivileged students. And because of the implementation of the poor KK, students who are not included in the poor KK, who are in fact less well off, cannot make KIP. Even though these students are students who excel and really need the KIP. An example of a student who experiences KIP inaccuracies is myself. I'm not in the poor KK line so I can't get the KIP, even though in fact I really need the card myself. Not to mention that the KIP cannot be made because I am not a poor family member, but in reality my family and I are not someone who can afford it. So, that was the inaccuracy of KIP in Bangli Regency, so what about the wrong target? I have also experienced this wrong KIP target. At that time, I was in junior high school, one of my friends from Trunyan Village had a KIP and received a scholarship even though he himself was someone who was capable and quite rich, had a nice house and had no economic difficulties. This is what makes me feel that KIP in Bangli is still not on target and its implementation tends to be inappropriate and even unfair. Then what solution should the government take? In my opinion, what the government must do to overcome the problem of inaccuracy and wrong targeting of the KIP is, first to do research on the students who receive the KIP, whether they are really underprivileged students? We can see this from the condition of their homes, their parents' jobs, their parents' income every month and so on, well if someone fulfills the things that make them get KIP as I explained above and they are a smart and outstanding student then in my opinion they are worthy of getting KIP. In short, the Bangli Regency Government must be more careful in recruiting students who are worthy of receiving the KIP.dents who are worthy of receiving the KIP.)
ULUWATU LACE + (The Yak spoke with Ajit Khatai, ceo of Ulu … The Yak spoke with Ajit Khatai, ceo of Uluwatu handmade Balinese lace – the 50-year-old true Bali legacy fashion brand – about life in Bali, the journey so far and the future for the brand.How has Bali been for you?Been here since the beginning of the 2020 pandemic. I think one word for life here would be: healing.What does Uluwatu Handmade Balinese Lace mean to you?Magical and challenging on so many levels. A fashion business in Bali. A brand that’s core skill-set is lace. Only two colours (white and black) to the range planning. Tourists as primary customer. Language barrier. An immensely talented pool, which is aging.How is it that sophistication and simplicity exists seamlessly in Uluwatu Lace? We know it’s not easy. How do you manage to achieve it?It looks easy, because ours is a story of Bali. We carry the soul of everything that’s beautiful here. By layering simplicity over and over, we are able to create sophistication. Our pursuit is perfection. Our founder Ni Made Jati focussed on love for creating great designs. She was inspired by modern women who are independent and rebellious. Over the years, we have redefined this modern woman. I think these three elements, Bali, Simplicity and Perfection are our secrets.How did the brand start…In the 1970s it seemed a good business proposition. Bali had an abundance of lace skills. An influx of foreigners was allowing exploration of new silhouettes (before lace was predominately used on Kebayas). Our founder saw the possibilities. Those were times when Bali was getting started on its lasting reputation of being heaven; of secret idyllic beaches where seekers and hippies found the surf, sand and beads, and loads of sunshine to tan their skin. She adapted the lace to the new world, from airy over layers to breezy gowns for the evening fire. The Bohemian spirit has been alive ever since.Uniquely, the Uluwatu Lace brand is cemented deeply in Bali’s history and colonial past. Can you briefly tell us more…No-one starts out to make history. Our journey gave us two rights: time and place. Bali’s lace tradition of krawang or Lobang is a rich living craft. Earliest evidence showing its use is in the 10CE, during the end of the Majapahit reign. Almost 1,000 odd years of existence. There is an unsubstantiated belief that Kerawang is the classic crochet lace of Northern Europe. Said to be carried by missionaries who travelled with the Dutch East India Company (VOC). The timeline could be anywhere around 1600CE. But the real impact can be attributed to after 1796, when the VOC was abolished and the Dutch government gained control over Indonesia, which continued until 1941.And then there was the modern journey…Yes. Somewhere around mid ’70s, Kebaya was getting its space as a classic apparel which was introduced as modesty. Lace got incorporated into the Kebaya. We have been trying to perfect the art form ever since then. This evolved into the temple culture, to exactly the same clothing culture we witness in Bali today. We have managed to transform it into something desirable globally. Breaking the limitations of design was the tipping point. With just two colors, white and black, it was a sure recipe for disaster. The fact that we are still here is something bigger than a miracle. But here we are…Why white and black?Our journey was for excellence. I suppose we reached this point naturally. It is difficult to reason why in a 50-year journey. An intelligent guess is, white was preferred due to the tropical climate and black was easy to handle. In the early years, consistent yarns in colors was not an easy proposition. Whatever the reason, we are memorable because of the two colours.How many people are involved in making your designs?Our family is around 500 individuals. More than three quarters of this number are involved in the design creation and the rest are in support operations. Each person in our ecosystem is a lifelong partner to creation of these exclusive designs.What makes this brand click?Love and Bali. You immerse in this paradise. In return the paradise diktats that you respond with honesty. That’s what we give. We do not dilute our principles to suit business obligations. Our products are made in the old fashioned way. We have steered clear of shortcuts. Each and every piece is made in the same traditional method of bamboo hoops and slow needle whirring to make the lace. Love has its own karmic journey. Maybe it’s the love that’s responding back.What are the attitudes in fashion changing over the decades? Where is fashion’s future for designs with your niche?Look at the fashion around the world. Lace and crochet are consistent. Lace is here to stay. That speaks loads on the future of lace in fashion. It’s a classic embellishment in fashion. Women love it. It’s not going away anytime soon. We are a lace brand. We need one purchase to happen in a thousand in our market to stay in business. That’s a simple logic for excellence. We have to keep creating the most simple, sophisticated designs with the same passion. Great designs don’t need volume. We are content right now.What does high thread count mean to you and why is it important to your company?Yarn is the key. Our yarn goes through immense stress, which makes it absolutely essential to have a unique tensile strength, which is stable in the lace making process, avoiding brittleness. We have conjured up a specific blend of rayon yarns to achieve this over the years. It stays unbroken for the longest stretch of action. That brings the unique sheen to our lace.How has the Covid Pandemic affected your brand?It’s been a kind of blessing in disguise. We found time for course correction. Our focus diverted from sales to being janitors (cleaning up the brand). We found scope to refine our skills. Created a data-bank of designs. Refined the skills that had been acquired over 50 years. We updated software and improved processes. Basically we did a lot of clean-up. We had to ensure our designs remain heirloom pieces. Creating possibilities of engagement to lace designs. We conceptualized a Balinese Lace Museum and initiated the process of getting nominated as a heritage craft. It was a long list.Which design will be your all-time superstar creation? Is there a story in its creation?We love almost all our ’70s designs. The decade when chic, colour and pool parties were the epitome. The age of revolution … styles that clicked. Then we were busy making something revolutionary to be loved. We got our foothold in fashion in the ’70s.How are you involved in the creative community in Bali?As the flag bearer of Balinese Lace Fashion, we are the finest on the block. Both the founder and myself are pretty much very private people. Our direct visible engagement remains slower than we would like. However, we engage with artists, graphic artists, photographers, musicians and actors. We love to be the support to young creative talents.What are the current design projects at Uluwatu Lace?This year we are engaging in a lot of very interesting projects … I like to call in non-invasive cross-innovation, where we identify non-parallel creative techniques to come together in an organic symbiotic visual extravagance. Our designers are busy rejecting designs to arrive at acceptable designs. For example, imagine trying to combine lighter Endek fabric with Balinese lace. Both techniques cannot overpower each other. The balance of weight, colour and flow is an absolutely challenging experience.Which particular Indonesian / international celebrities could wear your designs and embody what they mean?For us, Happy Salma is the epitome of what Uluwatu Lace is supposed to mean. She is the purity of how our design should be expressed. In the case of Hollywood, I would love our designs on Alicia Vikander. Her athletic features and Grecian expression are timeless. And of course, Priyanka Jonas Chopra’s dusky exoticism. If they are reading this … we love you!What’s next for Uluwatu Lace?Short-Term: make our mark on the Paris, New York, London and Tokyo fashion scenes. Medium Term: Get listed in UNESCO heritage craft category. Long Term: hopefully keep creating inspiring designs. We have a goal to make the brand 100% sustainable with minimum carbon footprint. Engage with blockchain technology to track the impact of our brand. We also hope to have a community fingerprint, where we go beyond our business obligations and leave lasting imprints within the community that defines us.IG: @uluwatu_handmade_balinese_laceFB: @uluwatulacebaliwww.uluwatu.co.ide FB: @uluwatulacebali www.uluwatu.co.id)
I Ketut Rida + (The senior poet I Ketut Rida was born in B … The senior poet I Ketut Rida was born in Banjar Kanginan, Sulang Village, Dawan District, Klungkung, September 11, 1939. He finished school at SGA Stella Duce/ Kanisius Yogyakarta in 1958, then continued his B1 Indonesian Language at Dénpasar, but did not finish.From 1960 to 1987 he was appointed a teacher at an elementary school. For about 20 years, I Ketut Rida has served as the Principal of an Elementary School. In addition, he was appointed as a supervisor for kindergarten, elementary and SDLB. In the village, it was also believed to be the traditional bendésa of Sulang VillageKetut Rida said that he has been pursuing writing or composing since he was a child. Every day Ketut Rida gets stories from his grandmother. That's why Ketut Rida is feeling happy. After completing his B1 Language Department, his attention to writing activities grew, focusing on studying the Kawi language, especially in Adiparwa.He has produced several new literary works of Balinese and Indonesian literature and has received several award certificates, such as:In 1977–1978, Ketut Rida became the second winner of the Indonesian Language Writing Competition for Elementary School Teachers at the Bali Province. In 1979, he became the first winner of a prose writing competition at the Bali Arts Festival (PKB). In 1980, he won first place in the Balinese Novel Writing Competition in the framework of Language Month. In 1982, he became the second winner of Composing Geguritan at PKB. In 1991, he won first place in the Balinese Short Story Competition in the Bali Post daily. In 1995, he won the first prize in the Balinese Short Story Competition at PKB.From 1970 to 1980, many of Ketut Rida's essays were published in the Bali Post. His collection of poems entitled “Nyiksik Bulu” was published by the Dénpasar Language Center in 2004. His Balinese novel entitled “Sunari” was published by the Obor Foundation, Jakarta in 1999. This novel “Sunari” earned I Ketut Rida the Rancagé Literature Prize from the Rancagé Cultural Foundation in Bandung in 2000. In 2014 Ketut Rida received Widya Pataka from the Governor of Bali with his book entitled “Lawar Goak”. Bali with his book entitled “Lawar Goak”.)
Satya Cipta + (The struggles of Balinese women take on a … The struggles of Balinese women take on a new life in the art work of Lombok-born Balinese artist, Satya Cipta.“My approach to every artwork revolves around a question to myself and mostly other women,” she said. “What is a woman in Bali? Are we ‘complementary’ beings? Are we social creatures made to accompany men live their lives?”Her work draws on social reality with a strong substance of feminism. She does this whilst preserving artistic teachings from Balinese traditional techniques, which she believes should be a national asset, in hopes to imbue an authentic Balinese spirit in full, sans western influence.Read more about Satya's work and women of Bali here: https://online.fliphtml5.com/uwtp/svwc/#p=26tps://online.fliphtml5.com/uwtp/svwc/#p=26)
Theo Meier + (Theo Meier was born in 1908 in Basle, Swit … Theo Meier was born in 1908 in Basle, Switzerland. He was educated in the arts at the Basle School of the Arts. He had worked as a portrait painter for the University of Basle. He made his first trip to Berlin, where he met Liebermann and Hofer at the Berlin Academy, as well as Emil Nolde, one of the contemporary painters he admired most. He studied with Otto Dix who influenced him greatly.Meier left Europe for the South Pacific at the age of 24. To finance his travels, he founded a club, where each member promised a monthly fee in exchange for which they could choose one of Meier's paintings upon his return. He sailed to Papeete via Guadeloupe, Martinique, and the Panama Canal, inspired by the beauty he encountered, but also disillusioned by the presence of Western influence.After returning briefly to Basel, he went to Bali where his life was changed forever. In Bali, he found an innocence that he did not find in Tahiti. He befriended the German painter Walter Spies, and later moved into the German artist's bamboo house. He married his first Balinese wife in 1936. When the Japanese arrived in Bali in 1941, Meier was granted permission to stay in Bali, unlike his friend Walter Spies who met his death aboard a prisoner of war ship crossing the Indian Ocean. Unfortunately, many of his paintings were lost, some of which were given to Japanese sailors. After the war, Meier remarried, fathering a daughter.After 15 years in Southeast Asia, Meier briefly returned to Switzerland, but then returned to Bali, followed by Thailand. In 1957, he married Laiad, his third wife. In 1961, Meier moved to Chiang Mai, Northern Thailand, where he lived with Laiad in a beautiful teak house on the banks of the Ping River. He was a prolific artist and continued to paint until his death in Thailand in 1982.paint until his death in Thailand in 1982.)
Anak Agung Gede Oka + (There seem to be a number of A.A. Okas, and there may be confusion between the 1930s Batuan artist (one work int he Bateson-Mead collection), an artist from Mas, and the Batuan artist born in 1955.)
Tyra Kleen + (Tyra Kleen (29 June 1874 - 17 September 19 … Tyra Kleen (29 June 1874 - 17 September 1951) was a Swedish artist, author and women's rights activist. Her paintings, illustrations, lithographs and publications were important to the Swedish fin de siècle art movement. But above all she was an independent ethnographical researcher.In 1919, after WWI, she traveled to Java and Bali on a Swedish cargo ship. In Solo (Surakarta), Kleen worked with Beata van Helsdingen-Schoevers to write an anthropological study on the ritual court dances of Solo. Both also participated in the dance lessons. Kleen felt that dancing not only involved making the right movements on the sound of music, but that it also involved the transition into an altered state of mind to become in harmony not only with oneself, but with the Universe.Unfortunately, this project ended in July 1920 in turmoil due to clashing personalities, and van Helsdingen-Schoevers died 17 August 1920 of an unknown disease. The project was finished in 1925 with help from "Volkslectuur" (the commission of folk literature), Mabel Fowler and miss Gobée, wife of the Head of the Office for Internal Affairs, titled "The Serimpi and Bedojo Dances at the Court of Surakarta", with 16 pages of text. In July 1925 there appeared a new edition with 30 pages of text. The coloured plates were reproductions made by the Topographic Service of Kleen's drawings. For everyone involved, but especially Kleen, the result was very disappointing, because she wanted to participate in this project in order to result in a standard reference work that could be presented worldwide.When she arrived in Bali in 1920, she started a new project on the mudras, or ritual hand poses, of the Balinese Hindu priests with the assistance of the Rajah of Karangasem, Gusti Bagus Djilantik, whom she had met in Solo the year before, and of Piet de Kat Angelino. This was a turning point in her career because de Kat Angelino was able to explain to her the mudras and also encouraged the priests to cooperate. He was district-officer (controleur) of Gianjar and Klungklung for over a decade and had been collecting material on Balinese priests for years in his home in Gianjar. At his home, she could draw priests and their mudras. Their work together is presented in the book Mudras, with text and illustrations by Kleen, who acknowledged that much of the technical information about the poses and ceremonies came from de Kat Angelino and later on from R.Ng. Poerbatjaraka. Kleen spent the whole of 1921 in Java, working on the material collected in Bali the year before. She exhibited her pictures of the priests at the Art Society in Batavia. Collaboration with de Kat Angelino continued and she met him in Amsterdam on her way home. With his help an exhibition was arranged at the Colonial Institute in Amsterdam. The exhibition was favorably reviewed by de Kat Angelino in the magazine Nederlandsch Indië, Oud en Nieuw. What was the reaction at that time in the Netherlands on her work in Bali? Anne Hallema, a Dutch journalist and art-criticus wrote a critical and extensive article on the Mudra's which appeared Elseviers Geïllustreerd Maandschrift, Jaargang 34, 1924 pp. 145–147. He disqualified her work as an artist but praised her for her scientific contribution. He ends his article with stating that we have to be grateful that this stranger from the land of Selma Lagerlöf toke the initiativ to study the mudra's of the Balinese priests in performing his Hinduistic rituals. Specially the Indologists and Orientalists should be happy with the appearance of this publication.Another crucial exhibition was Två vittberesta damer (Two Travelling Ladies) at Liljevalch's Public Art Gallery in Stockholm 1922, where she showed art and artifacts from Java and Bali together with Swedish photographer and author Ida Trotzig contributing works from Japan. This exhibition was the starting point for the "Bali-fever" in Sweden. Kleen's depictions of mudras were shown at the Victoria and Albert Museum in 1923.Besides Mudras, Kleen published two other books about Bali: Ni-Si-Pleng, a story about black children written for white children (1924), and, seven years later, Tempeldanser och musikinstrument pa Bali, printed in 300 numbered copies, translated in 1936 as The Temple Dances in Bali.Kleen's study on the mudras, the exhibition in Amsterdam at the Colonial Institute and the publication of her books made her internationally known. For her scientific ethnographic work on Bali, Kleen was awarded the Johan August Wahlberg silver medal in April 1938, given to individuals who have "promoted anthropological and geographical science through outstanding efforts".Walter Spies was the central figure in the circle of artists residing on the island in Ubud, Klungklung and Karangasem. He was considered to be the greatest expert on Balinese dance and drama. Together with the British dance critic Beryl de Zoete, he wrote the standard 1938 work Dance and Drama in Bali. Spies was jealous of the international success of Kleen[citation needed] and wrote a very critical nine-page review of the Temple Dances in Bali in the journal Djawa (1939). He complained, "the text and the depictions are filled with so many mistakes, errors and incorrect statements that one must shake one's head." Spies claims that as an ethnographic document the book has no value. As a result, there were nearly no references to the work of Kleen in any ethnographic periodicals or publications after this critical review. It is only in 1962 that C. Hooykaas in his article "Saiva-Siddhanta in Java and Bali" supported the importance of the study on mudras by de Kat Angelino and Kleen.Kleen contributed work to various European magazines, including Sluyters' Monthly, Nederlandsch Indië Oud en Nieuw, Ord och Bild and Inter-Ocean, between 1920 and 1925 and influenced in this way the perception and expectations of foreign visitors to Bali. Furthermore, she influenced with her colourful, vivid and dynamic art-deco drawing style the development of painting by local artists in Bali, not in a one-way influence but more a kind of mutual influence.Mostly these local paintings were made for the touristic market and depicted daily life instead of exclusively being concerned with gods, demons and the Ramayana and Mahabharata epics. In this way, she took part in the marketing of "the last paradise". This also meant that she became associated with this type of magazine drawing instead of her more important ethnographic publications. more important ethnographic publications.)
Walter Spies + (Walter Spies is a German artist born in Mo … Walter Spies is a German artist born in Moscow, September 15, 1895. Apart from being a painter, he was also a music and dance artist. In 1923 he came to Java and settled in Yogyakarta. He worked as a court pianist and was asked to help with the palace's artistic activities. He was the first to introduce numerical notation for gamelan in the Yogyakarta palace. This notation was later developed in other palaces and is used today.After his contract was completed in Yogyakarta, Spies moved to Ubud, Bali, in 1927. He was close friends with the King of Ubud, Tjokorda Gede Agoeng Soekawati. Spies also got to know many local artists and was very impressed with Balinese art. He collaborated with Wayan Limbak, polishing the sacred Cak dance into Kecak.With the support of the King of Ubud, together with the Dutch painter, Rudolf Bonnet, Spies founded Pita Maha, a community of Balinese artists in 1936. Spies also introduced many modern artist techniques to Balinese artists. There are still quite a lot of followers of Walter Spies' painting style in the Ubud area.Spies died on January 19, 1942 when his ship Van Imhoff was bombed by Japanese forces during World War II.ed by Japanese forces during World War II.)
Ketut Swardana + (Was born in 1969 in Singaraja. He graduat … Was born in 1969 in Singaraja. He graduated in 1990 from "Fine Arts School" in Denpasar, bali. He's an active painter who keeps searching for professional painters as his teacher and companion. In the past he has worked through a joint system with "Pierre Poretti", an artist from Lugano, Switzerland.Most of Ketut Swardana's works are an expression of creativeness on canvas. The quality of his work improves with each passing day. For Swardana, the most important factor to his art is satisfaction to his feelings.o his art is satisfaction to his feelings.)
Wayan Dastra + (Wayan Dastra, born in Ubud, 7 June 1980. H … Wayan Dastra, born in Ubud, 7 June 1980. He is a painter who graduated from ISI Denpasar. Since the 2000s, he has been diligent in participating in joint exhibitions, including the joint exhibition of the Cambodian Studio at the Jakarta Cultural Center (2018), “Spirit Barong” at the Jakarta Cultural Center (2010), “Absolute” at the Archade of Kuta Galeria Bali (2006). Many of his works take the theme of everyday life of ordinary people who are possessed something magical-mystical. are possessed something magical-mystical.)
Wayan Djiwa + (Wayan Djiwa was born in Banjar Binoh Kaja, … Wayan Djiwa was born in Banjar Binoh Kaja, Denpasar, 1906. He is a Palegongan gamelan maestro. Based on the mastery of the Gender percussion, he studied the gamelan Legong Keraton in 1915 which was pioneered in Banjar Binoh. Apart from being an expert in the art of karawitan, he is also known as undagi, a skilled traditional Balinese architect. a skilled traditional Balinese architect.)
Wayan Eka Mahardika Suamba + (Wayan Eka Mahardika Suamba was born in Bat … Wayan Eka Mahardika Suamba was born in Batuan, August 17, 1985. He started studying painting when he was 10 years old, his grandfather I Wayan Taweng and his uncles I Wayan Bendi, I Ketut Sadia, I Wayan Diana. He has exhibited together such as “Mother Rupa Batuan” at Bentara Budaya Bali (2019), Endih Batur at Taman Budaya Bali (2018), “Experience Rudolf Bonet's Home” in Ubud (2016), “Golden Generation” at Arma Museum, Ubud ( 2018), "The Dynamic Heritage" at the Santrian Gallery, Sanur (2018). He has won nine TITIAN PRIZE Finalists (2018).as won nine TITIAN PRIZE Finalists (2018).)
Wayan Suastama + (Wayan Suastama is a painter born in Lalang … Wayan Suastama is a painter born in Lalanglinggah, Tabanan, Bali, 1972. He studied fine arts at ISI Denpasar. Since 1995 he has been diligent in displaying his works in joint and solo exhibitions, both at home and abroad, such as the Bali Megarupa (2019) exhibition. In 2000, his work entered the final of the Philip Morris Art Award. In general, his works often feature female figures with soft and charming colors. He is active in the art community Militanarts.Read Full article in Sawidji Artist BiographyWayan Suastama and the Art of IntrospectionIn pursuit of art, I wished to have a better understanding, so I went to SMSR Batubulan Denpasar. I didn’t have the ambition to be a painter or this or that, I just wanted to understand art better. In fact, in SMSR I chose to study graphics and communications. This was a study of typography and graphics.https://sawidji.com/about-sawidji/artists-sawidji-gallery/wayan-suastama/ji/artists-sawidji-gallery/wayan-suastama/)
Wayan Sumahardika + (Wayan Sumahardika was born in Denpasar, Ma … Wayan Sumahardika was born in Denpasar, May 11, 1992. He obtained a Masters degree at Undiksha Language Education Study Program, Singaraja. He became a director, scriptwriter and founder of Teater Kalangan. His manuscript won first place in the Indonesian Monologue Script Contest at the UIN Jakarta Festival, first place in the Traditional Drama Script Writing Competition for the Bali Provincial Culture Service 2018, and 1st Place in the Modern Drama Script Writing Competition for the Bali Provincial Culture Office 2017. Some of his performances were staged at the event. Indonesia V Theater pulpit, Bali Emerging Writers Festival, Bali Arts Festival, Bali Mandara Nawanatya, 100 Putu Wijaya Monologue Festival, Canasta Theater Parade, North Bali Young Theater Parade, Jembrana Hamlet Festival and Bali Language Month Festival in Bali Province. Writings in the form of poetry, short stories, essays, and theater reviews have been published in a number of media such as Indopos, Media Indonesia, Bali Post, Bali Tribune, Tribune Bali, Tatakala.co, Bale Bengong and have been compiled in several anthologies.have been compiled in several anthologies.)
Wayan Turun + (Wayan Turun was born in Banjar Kedaton, Ke … Wayan Turun was born in Banjar Kedaton, Kesiman, Denpasar, 17 July 1950. He completed his formal education at SR I Kesiman, in 1966. He graduated from SMEPN in 1969 in Denpasar, and he completed SSRI in 1971 in the same city. Since childhood he has loved the arts. Artistic blood flows from his mother, a janger dancer. He is known as a skilled undagi (traditional Balinese building architect), and is also skilled at making bade (corpse towers). He studied Asta Kosala Kosali (basic rules of traditional Balinese architecture) from Pekak Kenjing, Anak Agung Mel, and Ida Pedanda Oka. Apart from that, he studied philosophy about art and religion from Ida Pedanda Kekeran, Ida Pedanda Made Sidemen, Ida Pedanda Bajing, Ida Rsi Agung Penatih and Ida Dalem Pemanyun. Because of his expertise in Balinese and Old Javanese literature, he was often trusted to write inscriptions and copy lontar. He also wrote literary works, such as kidung and kakawin. For his services in the field of arts and culture, he was awarded the Cultural Upakara Charter from the Mayor of Denpasar in 1995.harter from the Mayor of Denpasar in 1995.)
Utsaha Nanggulangin Luu ring TPA Suwung +
Widi Widiana (I Ketut Widiana) + (Widi Widiana whose real name is I Ketut Wi … Widi Widiana whose real name is I Ketut Widiana is a Balinese pop singer born in 1974. Most of his songs are about love. He was born into a family of artists. His father is a song teacher and dancer, his mother (Ni Made Kibik) is also a dancer. Widi and his brothers formed a band called the Diana Band. Since 1991, the band has performed from banjar to banjar, hotel to hotel, event to event.As a single singer, Widi started his career in 1994 with the album "Tungan Tiang", which is a compilation album with other Balinese pop singers. His first solo album appeared in 1996, "Sesapi Putih", followed by a compilation album, "Tresna Kaping Siki", in 1996. the same year. The second solo album was born in 1997 with the label "Sampek Ing Tay". Then the next album titled "Special Fried Rice" (2015), "Formalin Sik Luh" (2017). In 2005 he won the best male singer version of the "Bali Music Award I". He has since given birth to more than ten solo albums. given birth to more than ten solo albums.)
W.O.J. Nieuwenkamp + (Wijnand Otto Jan Nieuwenkamp (Amsterdam, J … Wijnand Otto Jan Nieuwenkamp (Amsterdam, July 27, 1874 – Fiesole, April 23, 1950), was a Dutch multi-faceted autodidact. As an artist he was active as a painter, draftsman, sculptor, etcher, lithographer, and designer of book covers and of ex-libris. In addition, he was also known as a writer, architect, explorer, ethnologist and collector of East Asian art.He is said to be the first European artist to visit Bali (note: not verified), being greatly influenced by and himself influencing the island's art and culture, and making it better known in wider world. He was also deeply involved with various other parts of the then Dutch East Indies.other parts of the then Dutch East Indies.)
Anak Agung Meregeg + (With his cousins, including Soberat, A.A. Meregeg was one of the defining artists of the Ubud style. Dermawan (2006: 148) has his year of birth as 1908 and states that he was born in Padangtegal, rather than Batuan.)
Yong Sagita + (Yong Sagita, born in Buleleng, November 30 … Yong Sagita, born in Buleleng, November 30, 1961. He is a Balinese pop singer who triumphed in the 1980s – 1990s. He started his career as a singer in 1985 through Aneka Records. At that time, through the group 2S (Sagita and Sayup), he launched his first album titled "Madu signed Tuba". Then in 1986 launched the album "Ngipi Lucut". In 1987, Yong Sagita moved to Maharani Records and released the album "Karmina". His popularity rose when he released the album "Drooling" in 1988 with his hit song titled "Jaje Kakne". The album sold well in the market. In 1989 he released the album "Karmina III" with his hit song "Ciri-Character", which was also a bestseller in the market.which was also a bestseller in the market.)
Wayan Sila + (“The very first night I slept over at my n … “The very first night I slept over at my new studio an owl flew into the garden. It wasn’t a coincidence that I noticed it perched in a tree,” says Balinese artist Wayan Sila. “This was aspecial experience and powerful omen. A gift from the Gods to me.”The owl is much revered by indigenous cultures and in folklore around the world as aguardian spirit, as well as a wise creature capable of extraordinary sight. Balinesemythology reveals that if an owl visits a family compound while a female member ispregnant this is indeed a positive sign. Burung Hantu literally translates from bahasaIndonesia into the English language as ghost bird; or the owl, the mysterious bird of thenight.“I have a unique connection with owls. It is a potent image that resonates with my heart. Iwas intuitively led to draw the owl and then I began to include it in my works. It has nowmanifested into a personal symbolic image, equivalent to the Barong. The owl alsoencourages me to reflect on the joy that I derive from my family life,” says Wayan.Born in Ubud, 1970, Wayan Silawasinspired by his grandfather, well known local artistWayan Barwa. From an early age he regularly visited Barwa’sstudio and gallery,surrounded by the paintings of his Balinese heritage, this was the perfect scenario for achild to learn to draw and paint.Wayan soon became adept in the “Ubud Style” of modern traditional Balinese painting. Inthe evolution of Balinese painting during the last century, from its origins of the ClassicalKamasan style that concerned teachings from the Hindu Epics, each village then began tocreate their own distinctive style.The Ubud style moved away from the religious and began to be characterized bynarratives that involve daily village life and depictions of rural and environmentallandscapes. The artists from Ubud were quick to adopt western influences in the 1930’s,depth of field, shades of color, localized narratives and the development of the humanfigure. The Kamasan style was originally a collective work and never signed by anindividual. The new personalized and expressive form of Balinese painting has its rootsfirmly entrenched here in Ubud.Wayan’s canvases are beautifully composed and resound with an overwhelming sense ofbalance and harmony. His highly detailed works are first sketched in pencil then outlinedin black Chinese ink, finally they are rendered in acrylic paint with a fine kaus bamboo, asmall piece of bamboo crafted with a tiny point to apply the medium. A large canvas, 100 x80 cms, may take up to six months to complete. “In 1997 I was inspired to include owls in my compositions after seeing a wonderful sketch by a Japanese child.”Wayan’s relationship with the burung hantu then activated an endearing association withthe people of Japan, to whom the owl is symbolic of happiness. He first visited Japan in2002 and his premiere solo exhibition there was in 1998. Every year since then Wayan has enjoyed the privilege of exhibiting work in galleries, department stores, even in theIndonesian Consulate in Tokyo. He has held over 15 solo exhibitions in Japan, andnumerous other exhibitions in Bali, Jakarta, Spain and also at the prestigious Agung RaiMuseum of Art in Ubud.“It’s an honor for me to be invited on intercultural exchange programs teaching youngJapanese students traditional Balinese painting techniques. I do this each year when I visitJapan.” Wayan has since developed a healthy market for his works there and continues toell to the Japanese tourists who often visit his Ubud studio/gallery.Wayan Sila, acrylic on Canvas, 2012,45x 60cm.Wayan SilaGarden + Bale studio of Wayan Sila.Wayan Sila. 2012, chinese ink +acrylic on canvas, 60x80cm.Wayan’s cooperative works with Japanese poet Yoko Jatiasih have been the focus of two books. They initiallycollaborated in 1998 to create music and poetry for his paintings. In 2004 their first book “Kata Kata” Echoes From TheWoods, and then in 2010 “Pelan Pelan” were published.Browsing through these books, the creative synergy between the two is easy to recognize. Yoko’s short poems, no morethan 6 lines, resonate with an uncomplicated intelligence. Upon the opposing page to the text are Wayan’scomplimentary images created especially to accompany each poem.As you contemplate the words essence, as well as study Wayan’s images, the mysterious bird of the nights’full roundeyes are firmly transfixed upon you. The fusion of words along with the images perplex the imagination, and then defyyou to believe their medium is the owl’s silent and alluring gaze.In 2011 Wayan relocated to his new studio gallery in Jalan Bisma in Ubud. Journey 400 meters along Jalan Bisma until theroadside urban development gives way to the effervescence of the padis. Down on the right hand side nestled in thesawah you will find his small abode. Look for the sign on the road then follow the narrow path that divides the greenswaying fields to his studio/gallery encircled by the bamboo fence.Wayan has created a personal space that reflects the elements that enrich and sustain him. Situated in the middle of theyard he has built a bamboo bale which functions as his studio, yet also as a place of quiet retreat. The surroundinggarden is abundant with organic vegetables, fruit trees, medicinal herbs, ornamental shrubs and flowers. Indeed, Wayanhas created his special own oasis.As you enter his two Bali dogs are quick to offer enthusiastic toothy greetings. The verdant vegetation is soothing andinviting. I discover two rabbits, four exotic birds and frogs and snakes frequent visitors, so Wayan tells me. Stonecarvings covered with brilliant green moss hide among the foliage, shrines and small Hindu temples are adorned withofferings and the sweet sent of burning incense seduces the senses. An outhouse serves as a simple kitchen and two rooms contain Wayan’s gallery painting collection and books for sale.When we observe Wayan’s paintings we enter into a beautiful and extraordinarily tranquil world. His owls’ peer outfrom within forests and lush scenes, their big eyes possess a magnetic pull and communicate a language that isdeciphered in our hearts. Wayan Sila is a painter of immense sensitivity and his works are vehicles of healing qualities and love.re vehicles of healing qualities and love.)
I Nyoman Popo Priyatna Danes + (“What the modern architecture is still try … “What the modern architecture is still trying to achieve today has been implemented in the traditional Balinese architecture for centuries now, where the concepts of energy conservation and environmental preservation are amongst the fundamental elements in every design.” – Popo DanesFrom private homes and restaurants to starred hotels and luxury resorts, the renowned Balinese architect Nyoman Popo Danes is known for his exemplary designs that showcase a distinct flair of being in harmony with the local culture and nature. This green-conscientious architect always integrates eco-friendly aspects of Bali’s traditional architecture into his designs.“While some architects are very focused on making their buildings look stunning from the outside, my main concern has always been the functionality of each aspect of the building. I always make sure that my designs are in harmony with their natural surroundings; that each room has a function; that a strong connection between the architecture, landscape, and interior is established. I don’t care if my architecture is not photogenic, as long as it serves its function well.”As an international destination, Bali attracts people from all corners of the world with its uniqueness. Therefore, Popo believes that every building on the island needs to be able to help these people feel that they are in Bali. “When you travel, you want to be immersed in the local atmosphere. In Bali, a building should exude the feeling of locality so when you enter it, you know you’re not in Jakarta, Hong Kong, or anywhere else.”The works of the two-time ASEAN Energy Award winner (in the category of Best Practice in Tropical Architecture) are known as some of the most striking in design, functionality, and environmental consciousness. Air conditioners take up the biggest energy consumption in a building, and Popo’s eco-friendly creations have the ability to ‘communicate’ with nature to lessen energy consumption through the overuse of air conditioners.“I create buildings that have open pavilions (just like in typical Balinese buildings) to allow breeze to blow in, and I don’t put too many glass windows. Then again, air circulation or heat is not the only reason why air conditioners are overused. People also tend to turn their air conditioners on to escape from the noise pollution outside their buildings. When all windows and doors are shut, it’s quiet inside. This is where nature steps in. Towering trees can be a great noise filter, and they also serve as a fresh, cool air provider.”From Indonesia to India and China to the Philippines, most of Popo’s architecture projects involve challenging landscapes. “It’s never easy. A lot of projects i’ve been doing so far (especially for luxury resorts) involve slanted soil, hilly surfaces and everything else not flat. Of course I can always take the easy job; for example in Bali, I get so many offers to design a building on a flat surface. The thing is, in order for me to build it, I have to get rid of a rice field. I will never build anything on a rice field. Rice field is a symbol of prosperity for the Balinese, and is home to the goddess of prosperity, Dewi Sri.”e to the goddess of prosperity, Dewi Sri.”)

(Ida Bagus Made Togog (1913–1989) was a traditional painter in the Batuan)

Jean Couteau + ("...apart from Bali on which his many book … "...apart from Bali on which his many books focus — like Time Rites and Festivals in Bali Today I, Bali Today II, Bali Inspires and Lempad ( 2014 ) — he has written numerous books on Indonesian artists, such as Affandi, Arifien Neif, Srihadi Sudarsono, Walter Spies, Made Wiante and many more.He is indeed a learned man. But his demeanor displays a humility that can be too much, even for his close Indonesian friends. They say he is more Javanese than the Javanese. He would never stand up, for instance, to demand his due, leaving himself victim to people’s manipulative tendencies.Yet he is held in high respect. ..."full piece at https://www.thejakartapost.com/life/2018/03/05/jean-couteau-self-critique-as-a-way-of-criticizing.htmlself-critique-as-a-way-of-criticizing.html)
Hildred Geertz + ("Hildred was born in Queens, New York on F … "Hildred was born in Queens, New York on February 12, 1927 and reared there and in Teaneck, New Jersey. A graduate of Antioch College, she received her Ph.D. from Radcliffe College in 1956. Her first book, The Javanese Family (Free Press of Glencoe, Inc.), was published in 1961. After her initial fieldwork in Java, she taught at The University of Chicago from 1960 to 1970 before coming to Princeton University in 1970. At Princeton, Hildred taught courses on the history of anthropological theory, the anthropological study of life stories, the anthropology of art, and the ethnographer’s craft.In 1972, Hildred became the first chairperson of the Department of Anthropology at Princeton University, and thus the first woman chair of a department at Princeton, a position in which she served for many years. She was named Professor Emeritus in 1998.Hildred did extensive fieldwork in Morocco, and in Java and Bali, Indonesia and returned to Indonesia repeatedly during her career to conduct the research which helped fuel her extensive list of publications. She completed more than two years of fieldwork research in the village of Batuan on the island of Bali. Working in the same village that was studied in the 1930s by Margaret Mead and Gregory Bateson, she focused on the interconnections between different Balinese art forms and how and why such forms have changed through time. She investigated the effects of economic development and tourism on Balinese artistic endeavor.The first book from the research in Batuan, Images of Power: Balinese Paintings Made for Gregory Bateson and Margaret Mead, was published in January 1995 (University of Hawaii Press). In 2004,The Life of a Balinese Temple: Artistry, Imagination, and History in a Peasant Village was also published by the University of Hawaii Press. Among her other works, Professor Geertz is co-author with her former husband Clifford Geertz of Kinship in Bali (University of Chicago Press, 1975), and co-author with Clifford Geertz and Lawrence Rosen of Meaning and Order in Moroccan Society (Cambridge University Press, 1979). Most recently, in 2017, at the age of 90, her book, Storytelling in Bali, was published by the Dutch publishing house Brill."shed by the Dutch publishing house Brill.")
Made Janur Yasa + ("In the year and a half the pandemic has p … "In the year and a half the pandemic has persisted, Bali’s almost decimated tourist economy has had had far-reaching financial and social effects on the resident population. It is, however, during times of difficulty when good souls shine bright. The silver lining of the pandemic has been witnessing the wholehearted efforts of individuals and organisations who have stepped up to support and help the, often newly, vulnerable communities, even when faced with their own difficulties.From food donations to education programs, the list of goodwill initiatives on the island has been heartwarming to say the least; in reality many would have suffered gravely without such community efforts.One creative initiative changed the dynamic. Made Janur Yasa is a restaurateur, a partner in the unique vegan restaurant Moksa in Ubud. In May 2020, as Bali was in the depths of the pandemic lull, Janur began a program called Plastic for Rice, a barter system that encouraged locals to trade in collected plastic for rice. In an interview with NOW! Bali when the program started, he says that he remembered how villagers used to barter in the early days, rice for sea salt, farm to sea. He said that this gave people spirit, making sure that people don’t get used to receiving without working.Through this plastic for rice system, Janur provided a double solution: cleaning littered plastic in the environment; as well as providing much-needed sustenance to those in need, especially in rural areas.The program started in Banjar Jangkahan and Banjar Penulisan, Batuaji Village, Tabanan, the regency where Janur comes from. It was set up as prototype, a system to be replicated in other villages… and it was.Three months later, Plastic for Rice became Plastic Exchange. In that time, as reported in August 2020, the movement had spread to 44 banjars and 1,345 households.But beyond that it had evolved beyond a simple ‘system’, and became a movement. It was adopted by other charitable organisations as a solution to provide food fairly in rural communities; it became a vehicle for environmental education, to teach the effects of plastic but also the value of waste. It has allowed people to feel empowered, useful, independent. It has seen new leaders being born.Today, Plastic Exchange is found in over 200 villages across Bali, has collected 50.000+ kg of plastic and distributed 55.000+ kg of rice."astic and distributed 55.000+ kg of rice.")
John Darling + ("John Darling moved to Bali in 1969 and de … "John Darling moved to Bali in 1969 and developed a rapport with its people and an affinity for their way of life. Of particular interest was their religious traditions and the changes to the Balinese society and economy that occurred as a result of the influx of tourists.Australian documentary filmmaker John Darling standing next to camera on tripod in a jungle area in Bali John Darling during filming of Lempad of Bali (1978). Courtesy Sara Darling. Photographer unknown. NFSA title: 1586432 His first documentary, Lempad of Bali (1978) which he co-directed with Lorne Blair, explores the life and work of 116-year-old artist I Gusti Nyoman Lempad and his subsequent funeral, detailing the complex, Balinese funerary customs. This production won the Documentary Award at the Asian Film Festival in 1980.Darling’s subsequent films formed his Bali Triptych (1987) series. Each hour-long episode – Between the Mountain and the Sea, The Path of the Soul and Demons and Deities – presents in vivid detail the history, culture and way of life of the Balinese people.Darling worked with other filmmakers, including John Moyle for Bali Hash (1989), which juxtaposed the raucous nature of the Hash House Harriers gathering of international tourists and the peaceful Balinese ceremonies occurring at the same time."Full article at https://www.nfsa.gov.au/latest/john-darling-bali-documentary-filmmakerSee also:My Friend, John Darling by Rio Helmi. Ubud Now & Then, June 26, 2013. http://ubudnowandthen.com/my-friend-john-darling/My Favorite Redhead: John Darling by Made Wijaya. Ubud Now & Then, July 3, 2013. http://ubudnow.webhost66.com/my-favourite-redhead-john-darling/w.webhost66.com/my-favourite-redhead-john-darling/)
BALI DAKI NAPI BALI MEWALI? + ("OM SWASTYASTU" "OM AWIGHNAM ASTU NAMO SID … "OM SWASTYASTU""OM AWIGHNAM ASTU NAMO SIDHAM""OM ANO BADRAH KRATAWO YANTU WISWATAH"I would like to express my thanks to the presenter, for the time given to me, the honorable ladies and gentlemen of the jury and prospective members of the Bali Province DPD, as well as my fellow participants, whom I am proud of. Before that, let us pray to the presence of Almighty God. Thanks to Him, we can gather here with happiness at the Bali Public Participation Wikithon with orations, which carries the theme, Election 2024: what are the most urgent problems to be addressed by Bali's prospective leaders ? Hopefully events like this can be held frequently to develop a threatening Bali.Happy guests, as we know, Bali is known as the island of a thousand temples with its very beautiful environment, which is often visited by foreign tourists, because Bali is one of the focuses of tourism in Indonesia. This is what drives many foreign tourists to come to Bali. Even though Bali is a tourist destination, this is not the main topic of discussion, but there are problems that have a significant impact on Bali. As we know, this so-called era of destruction, if we talk about the problems in Bali, will cause Bali to collapse. Unfortunately, the problems in Bali have not received treatment that is useful for the island of Bali.Happy guests, if you look at life now it is certainly different from previous life, especially with the problems, the most important problem is related to the environment and land of the island of Bali which has been built up and used as a tourist attraction, this is what will make the island of Bali In terms of land and environment, it will become increasingly narrow, if all the land and environment in Bali is made into a tourist attraction, where will we (humans), animals and others live and live our daily lives? Talking about the land environment that has been converted into a tourist spot, of course there are many daily activities carried out to produce plastic waste for society, this is what will become Bali's next problem. The existence of rubbish in Bali is very sad and gets very little attention, this is what creates big dangers, for example: floods, dengue fever and others. Moreover, as has recently been reported, the rubbish bins or Suwung landfills in Bali are very full and cause fires, giving rise to smoke pollution which causes disease. Are we all willing to live and do activities in dirty places? Of course, many of you are reluctant to live in a dirty place. Happy attendees, if I conclude it is related to the problems in Bali, so that Balinese leaders can provide solutions related to problems: the transfer of land or the environment to become tourist attractions and the rampant waste which has not received special attention from the government. Based on these problems, if we don't work together from now on as the front guard, it is certain that the island of Bali will gradually collapse. The island of Bali, which has been nicknamed a thousand temples, will lose its sanctity. Based on these problems, my hope is that the elected leader of Bali 2024 will be able to find a solution so that the Balinese people can implement the noble values that exist in Bali, namely TRI HITA KARANA, because these problems are related. with the TRI HITA KARANA value, so that Bali can return to the way it was before.Happy guests, that is the speech I can deliver, I hope you all are aware of the current condition of Bali.re aware of the current condition of Bali.)
Generazi Z Menuju Bangkit + ("Rising from the Ballad of Silence" Curre … "Rising from the Ballad of Silence"Currently, we are not just gathered as individuals but as part of a generation, a generation that plays a significant role in shaping our future, Generation Z.Rise, oh Generation Z, from the ballad of silence that often silences our voices. In the dynamics of social and political complexity, we are called not to be passive spectators but active participants. This is a call to assert our identity, express opinions, and advocate for social justice values.For too long, we have been trapped in silence, feeling restrained by norms that may not always align with our aspirations. It's time to understand that our right to speak and express opinions is unquestionable. Rise above the fear, fear of conflict, or rejection. Now is the time to transform silence into constructive rebellion.Let's stop the apathetic attitude and allow social and political issues to grow without genuine responses. Remember, the policies and decisions made by the generations before us will shape the world we inherit. Don't let those above us determine our path without scrutiny from below.I invite us all to embrace differences, to listen without prejudice, and to speak with integrity. We are voices capable of shaking the foundations of inequality and injustice. In openness and courage, let's together create the change we envision.Be pioneers of change, Generation Z. Rise from the ballad of silence, speak up, and show the world that we are change agents capable of bringing social and political justice. Thank you.g social and political justice. Thank you.)
I Made Nanda Adi Saputera + ("Small but full", is the appropriate expre … "Small but full", is the appropriate expression to introduce a student of SMP Negeri 1 Selemadeg who comes from the foot of the mountain. I Made Adi Saputera, who is familiarly called Nanda, was born in Mendek, October 8, 2004. This class VIII B student likes to organize. He is included in the OSIS board for the 2017-2018 term and has just been inaugurated as the OSIS board for the 2018-2019 term. As a student council administrator, he has never reneged in carrying out his obligations. Apart from that, Nanda also participates in extracurricular Nyastra Bali. He also has hobbies of football and drawing. The second child of Ida Ayu Komang Yunika with I Wayan Merdana from Banjar Mendek, Wanagiri Kauh Village, Selemadeg Tabanan District, is very fond of studying literature, especially writing Balinese script. According to Nanda, writing Balinese script is an art based on feelings. He taught himself this hobby. His teacher noticed his aptitude and provided guidance to participate in competitions. When he was in elementary school, he won first place in the Balinese script writing competition at the Selemadeg district level in 2017 and first place in the Balinese script writing competition at the Tabanan level in the framework of Porsenijar 2017.When he was in junior high school, he started by learning to write Balinese script in lontar. Thanks to his perseverance in learning, he won 1st place in writing Balinese script at the Tabanan regency level papyrus at Porsenijar in 2018, the 1st place writing the Tabanan regency invitation lontar at the Balipost Goes to School event in 2018 and at the Tabanan district ambassador at the Balinese script writing competition at Bali Arts Festival (PKB) in 2018. Like other smart students, after graduating from SMP Nanda intends to continue his education at SMA Negeri 1 Tabanan. He also wants to continue his education at top universities such as the University of Indonesia (UI) or the Bandung Institute of Technology (ITB). This 14-year-old student who has dreams of becoming a painter said that his achievements are inseparable from the motivation of his parents and teachers. He emphasized that every child has the right to learn, regardless of who, from where, and wherever they go to school. In essence, EDUCATION IS A RIGHT, BUSINESS IS A RESPONSIBILITY. IS A RIGHT, BUSINESS IS A RESPONSIBILITY.)
Duo Saraswati + ('Music is making connection' Duo Saraswati … 'Music is making connection'Duo Saraswati is a cello-piano duo consisting of brothers Jan and Kris van der Plas. Whilst they both grew up and had their education in The Netherlands, they make the connection between traditional Indonesian music and the classicalmusic from Europe through their Balinese background. They performed in the Concertgebouw during a live radio performance and in April 2023 they will go on tour to Indonesia and perform in Jakarta, Medan, Surabaya and Denpasar.Equality through differenceIn a world that tends to think more in contrasts, the duo embraces their differences because that is what defines them. The combination of two cultures is a way for them to bring people from various cultures together.Indonesia and The Netherlands unitedThe repertoire of Duo Saraswati is varied and always tries to find connection between European and Indonesian music. Examples of this is gamelan music composed by Colin McPhee played on cello and piano, and bringing together songs of Mochtar Embut and the Sonata of Francis Poulenc.Jan van der Plas (1997) was a guest player at the Amsterdam Sinfonietta and during his studies he performed multiple contemporary works. Young composers are eager to work together with Jan. He studied at the Conservatorium van Amsterdam with Gideon den Herder and Jelena Očić, with whom he graduated his master's in 2021. Jan plays a cello made in 1967, built by Jaap Bolink, made available by the National Instrument Fund.Kris van der Plas (2002) is a young pianist with a strong motivation to make chamber music. In 2020 he was the first prizewinner of the regional final of the Princess Christina Concours in which he also became national finalist.Kris is regularly asked to play by singers and instrumentalist because of his flexibility and broad knowledge of the repertoire.Currently Kris is studying with Frank Peters at the Conservatorium van Amsterdam.eters at the Conservatorium van Amsterdam.)
Arie Smit + (15 April 1916 – 23 March 2016. Dutch-born … 15 April 1916 – 23 March 2016. Dutch-born Indonesian painter who lived on Bali.Smit was the third of eight children of a trader in cheese and confectionery in Zaandam. His family moved in 1924 to Rotterdam, where Smit eventually studied graphic design at the Academy of Arts. In his youth he was most inspired by the work of three artists named Paul (Signac, Gauguin and Cézanne). In 1938 he joined the Royal Netherlands East Indies Army. After three months he was sent to the Dutch East Indies , where he worked as a lithographer for the Dutch army's Topographical Service in Batavia, engraving relief maps of the archipelago. Etching Balinese mountains onto maps ignited his desire to one day go to Bali.In early 1942 Smit was transferred to the infantry in East Java, but was soon captured by the invading Japanese forces. He spent three and a half years in forced labor camps building roads, bridges, and railways on the Burma Railway in Thailand, and Burma. After the Japanese capitulation in August 1945, Smit convalesced in Bangkok until January 1946. After being stationed in Denpasar, Bali as a staff writer for the infantry, he returned to the Topographical Service in Batavia in September. Until its discontinuation in 1950, he remained employed at this service, eventually becoming head of the drawing department, but in his spare time he criss-crossed Java as a painter and in October 1948 had his first exhibition in Batavia/Jakarta.[5] After Indonesian Independence on December 27, 1949, all Dutch nationals had to choose between Dutch or Indonesian citizenship within two years. Smit briefly considered emigrating to South Africa, but decided to stay; he became an Indonesian citizen late in 1951. In the following years he taught graphics and lithography at the Institut Teknologi Bandung in West Java.BaliOn invitation by the Dutch artist Rudolf Bonnet he visited Bali in 1956, together with Dutch artist Auke Sonnega. He soon met art dealer James (Jimmy) Clarence Pandy, who ran a gallery and souvenir shop. Pandy invited Smit to stay in a house on stilts at the beach of Sanur. Smit and Pandy remained friends and formed a partnership. Pandy was well-connected; Sukarno would sometimes bring his state guests to his gallery. With his love for bright colors, Smit was captured by the Balinese landscapes in its 'riotous light', and soon decided to stay to depict its villages, rice terraces, palm trees and temples.In 1960, while touring the village of Penestanan in the Ubud District where he then lived, he came upon some boys drawing in the sand. Impressed by their talent, Smit invited them to his studio, where they became the first of a growing number of students. With minimal instruction but lots of encouragement and material support, his pupils created a naive style of genre painting that became known as the 'Young Artists' style, which at its peak had 300-400 followers. Though he is considered the father of the movement, its style is quite different than any of Smit's own styles over the years.From the time of his arrival in Bali, Smit moved some 40 times, "to see what is beyond the next hill". He stayed longest in his favorite areas of Karangasem and Buleleng. He finally settled in 1992 in the village of Sanggingan near Ubud under the patronage of Pande Wayan Suteja Neka, founder of the Neka Art Museum. In recognition for his role in the development of painting on the island, Smit received the Dharma Kusama (Flower of Devotion, a Balinese cultural award) in 1992 from the government of Bali. The Arie Smit Pavilion was opened at the Neka Art Museum in 1994 to display his works and those of contemporary Balinese artists. The Museum Bali in Denpasar and the Penang Museum in Malaysia also have collections of his work. Smit further had exhibits in Jakarta, Singapore, Honolulu and Tokyo. Smit lived near Ubud for the rest of his life, but died on 23 March 2016 in a hospital Denpasar at three weeks before turning 100.enpasar at three weeks before turning 100.)
Anak Agung Cukit + (1930s Batuan artist who continued to work in the 1950s. Also a gambuh dancer. A portrait of him has been painted by Bonnet. Also known as "Dewa Cukit" and "Dewa Gede Cukit".)
Agung Raka + (1930s Sanur painter. Bateson and Mead note … 1930s Sanur painter. Bateson and Mead notes refer to Gusti Gede Raka and Gusti Putu Raka co-painting a work.May be the same person as Gusti Putu Raka (and/or Gusti Gede Raka); in Bateson's catalogue, described as the son of Gusti SodangRelated ArtistsAlso known as: I Gusti Putu RakaMother: Anak Agung Made Glogori Putu Raka Mother: Anak Agung Made Glogor)
I Made Wahyu Senayadi + (A graduate in Fine Arts from the Indonesia … A graduate in Fine Arts from the Indonesian Art Institute (ISI) Denpasar, Senayadi has exhibited two and three-dimensional works in exhibitions, including two solo shows, throughout Bali and Java since 2005. He represents a new wave of Balinese artists dedicated to innovating within the contemporary format experimenting with conventional and non-conventional media. “I am very grateful for having my work recognised in the UOB Painting of the Year Awards,” said Senayadi, born in 1985 in Marga, Tabanan, Central Bali. “Through this award, I trust it will help provide a bridge to the goals that I want to achieve in my career.”Despite his visual challenges during the past five years, Senayadi has excelled in his artistic pursuits. In 2018 he was recognised as one of Nine Finalists in the TiTian Prize, a biannual art award presented by Yayasan TiTian Bali (Bali Art Foundation) recognising Balinese talent innovation within the visual arts. In 2019 Senayadi distinguished himself with eye-catching and ingenious works made from natural coconut fibres, ‘Menanti Keberuntung/Longing #1’ and ‘Buta Bongol/Deaf Monster’ during ‘Mahardika’, a group exhibition at TiTian Art Space in Ubud.up exhibition at TiTian Art Space in Ubud.)
I Gusti Agung Wijaya Utama + (A photography graduate from the Indonesian … A photography graduate from the Indonesian Art Institute (ISI), Denpasar.Balinese photographer I Gusti Agung Wijaya Utama S. Sn has a unique vision to raise awareness of the past through distinct, eye-catching fine art and reconstruction portrait photographs. Gung Ama, as he is known, does not use digital technology, but a process from the past; the Afghan Box Camera. As the name suggests, the camera is linked with Afghanistan, being first used in villages by travelling photographers before there were any photography studios.“Digital technology and the modern mindset desiring immediate outcomes and satisfaction are impacting upon the art of photography and contributing to the erosion of traditional Balinese values,” said Gung Ama, born in Batubulan Gianyar in 1988, whose interest is photography began in 2006. “Nowadays, smartphones equipped with sophisticated cameras are affordable and an essential modern icon and tool. Moreover, social media and selfies dramatically impact lifestyles and alter our concept of identity. By recreating the nostalgia and curiosity of old Bali through manual, handmade photos, my objective is to reignite cultural memory while inspiring awareness and discussion among all the generations.”“My photography reflects the growing sentiment within the Balinese seeking a return to the wisdom of the past,” Gung Ama said. “In the face of modernity and the homogenisation of cultures, I believe it is important to celebrate and embrace cultural icons to help reinforce our identity. In addition, it’s essential to be reminded of our forefather’s messages, culture lost and the wisdom of the past.”Article by Richard Horstmanof the past.” Article by Richard Horstman)
Symon + (A stylistic heir to Walter Spies, Le Mayeu … A stylistic heir to Walter Spies, Le Mayeur and his mentor, the Indonesian-Dutch painter Arie Smit, Symon was among the last in the lineage of foreign artists who have helped raise Bali’s international profile as an exotic destination for art and design. Renowned for his vivid pop style with new iconic motifs, he was born on April 13, 1947, as Ronald Thomas Bierl in Detroit, Michigan, the United States, and made Bali his home in 1978. He was installed in the Puri Kaler of Ubud Palace by the Ubud royal family, who had for decades been patrons of foreign artists. Symon later took over Arie Smit’s cottage in nearby Campuhan, where his studio grew into local landmark. In 2014, he moved full-time to his other destination studio at Alas Sari in North Bali, Art Zoo, which he had founded in 1998.Symon, who passed away on April 15, 2020 of natural causes from sepsis, was incredibly prolific and successful, creating many thousands of artworks in several countries.His work was widely collected by tastemakers like former minister Joop Ave, especially during the 1990s and 2000s trend for Asian neotraditional style. Many collectors built submersive Symon environments, as at Qunci Villas in Lombok, West Nusa Tenggara. A book series on Southeast Asian interiors had to swap some paintings in many of its featured homes because too many of their architects and owners had put Symons on their walls.Symon’s art is cherished for its vivid color, strong outlines and exuberant energy. His figurative paintings and sculpture project a friendly, fantastical appeal, combining the rawness of real-life models and scenes within compositions from mythology and lesser-known Bali history. His sense of line, hue and witty slogans draw from his origins as a cartoonist in the 1960s American counter-culture.Raised in a house at the corner of Detroit’s Normal Road and Common Street, he was far from normal or common and yearned to escape convention. He was an exciting personality to be around, popping with fresh ideas. An outrageous showman, he would tell wild anecdotes and burst into rhyming raps. As a precocious teen under the pseudonym John Ka, he wrote to Beat Generation poets like Allen Ginsburg, William Burroughs and William Carlos Williams, who sent him new poems to illustrate. He soon became an artist in underground zines like Fifth Estate and got to know New York legends like Frank Zappa and Andy Warhol.Until making Bali his permanent home, he kept trying new locations. As a youth, he twice ran away to Rome, where he studied under the sculptor Emilio Greco and got the attention of film director Federico Fellini, who dubbed him “the magician of the air”. On the overland route from Amsterdam to India, a road accident in Turkey broke his hip. While recovering he renamed himself Simon White. He finally made it to India and then went north to Nepal.Over eight years in Kathmandu, Simon helped preserve the traditional art of Tibetan woodblock printing. With three partners he opened Himalayan antique shops in London, Amsterdam and New York. Like many “Easties”, he became expert in Asian traditional knowledge, which later infused his artworks. In the mid-1970s, Simon spent periods in the New York art scene, Colombia and Wales, England. In each new location, his studios echoed Warhol’s Factory in being a networking hub and a venue for arty “happenings”. He formed several creative teams, from the Psychic League in Rome and Fantabulous Group in Nepal to the Levitation League in Legian, Bali. In his Ubud garden, he staged theatrical productions at the amphitheater designed by the futuristic architect R. Buckminster Fuller. In each location, he trained up teams of local artisans. In Nepal he hired Tibetan refugees to carve new and replacement woodblocks to the old ones he printed from. He brought screen printing to Bali in the 1980s and then to Cambodia in Minefield Studios at Siem Reap in the early 1990s. His most famous breakthrough was JakPak, a range of convertible clothing co-created with Annie Anderson and Kiyoshi Okuda, in which pop-hued jackets and hats could turn into bags through hidden pockets. JakPak became Bali’s first clothing export and an international phenomenon collected by the likes of Mick Jagger.Symon kept ahead of the curve, since his aim in life was constant reinvention under a motto “towards a functional reality”. Many of his creations were practical as well as fun, from JakPak to his Toyniture — quirky furnishings like his Lady Chairs and giant dining table. He conjured outlandish architecture, like his key-hole windowed pagoda at Art Zoo, which he filled with sculptures and oddities. The maximalist effect of all these “studio atmospherics” beguiled visitors and in turn became props for his paintings. The Art Zoo remains visually stunning. Symon’s heir and Art Zoo’s Balinese manager aim to reopen it as a destination where locals and tourists can continue to appreciate Symon’s distinctive art of Bali.ppreciate Symon’s distinctive art of Bali.)
I Made Mahendra Mangku + (Abstract became the visual language that M … Abstract became the visual language that Made Mahendra Mangku chose to express. Various abstract explorations are presented, such as the play of lines, colors, and splashes. As an artist who grew up in Sanggar Dewata Indonesia (SDI), his work tends to be different from those of the Eleven Group; a group of eleven members from SDI's 90s generation. He doesn't fill his canvases with brushstrokes of paint, nor does the boisterous Balinese icons and symbols appear absent in Mangku's work. In his paintings, Mangku tends to use one color as a base and then fill it with several colors and lines. Sometimes he also crashes contrasting colors with certain compositions that are still calming. It presents a silence that feels sentimental, like spaces of contemplation in the midst of worldly life. No matter how dark the colors he uses, Mangku's works are still sweet, calming and meditative, and he is often referred to as the “Poetic Painter”. Although now known for his abstract works, Mangku had time to explore in a realist and figurative style while still in college. Even in his first year at ISI, he has won two awards at once for best sketch and best watercolor painting. Meanwhile, while attending SMSR Denpasar, he was more focused on watercolor with the splash technique which earned him the nickname Mangku (a priest in Balinese tradition who sprinkles holy water when giving blessings, ed.). His choice to pursue abstract began in 1993, because abstracts provide more space for improvisation and exploration. Since graduating from ISI Yogyakarta, Mangku has returned to Sukawati and is actively working in his personal studio, De'carik Art Studio. He recently exhibited 15 paintings and watercolors at the Singapore International Artist Fair (SIAF) 2018 on 10-13 May in Suntec City, Singapore. It is planned that Mangku will hold a solo exhibition in August 2018 at Art:1 Gallery, Jakarta and Komaneka Art Gallery, Ubud.Born in Sukawati, 30 December 1972Education1988-1992 SMSR Denpasar1992-1997 ISI YogyakartaAwards:1998 Award from the Minister of Arts and Culture of the Republic of Indonesia;1997 Best Painting Dies Natalis ISI Yogyakarta; 1996 Finalist Philip Morris Indonesia Art Award 1992 Best Watercolor Painting ISI Yogyakarta; 1992 Best Sketch ISI Yogyakarta Milestones:1992 In his first year of college, Mangku received two awards for the best watercolor painting and the best sketch at ISI Yogyakarta1998 Graduated from college, Mangku returned and settled in Bali. This year he also held a duet exhibition with Toris Mahendra at Sika Gallery.2000 His first solo exhibition Between Two Side, Arisma Gallery, Ubud.2018 Singapore International Artist Fair (SIAF), Suntec City, Singapore.rtist Fair (SIAF), Suntec City, Singapore.)
Namtamin Kalanguan Jagat Bali ring Ambaralaya + (According to Mr. Sandiaga Salahudin Uno as … According to Mr. Sandiaga Salahudin Uno as Minister of Tourism and Creative Economy of the Republic of Indonesia, Bali is the province that contributes the most foreign exchange from the tourism sector in Indonesia. However, since Covid-19 has wreaked havoc on the world, tourists no longer travel to Bali. Likewise, Bali's tourism life is dead. This has a bad influence on the economic, social, and psychological aspects of the Balinese people. Balinese people who work in tourism currently do not have a livelihood, this causes problems in the economic field. Because everything that is needed must be purchased using money, it makes people sad, problems arise in the psyche. Under these circumstances, there are now many beggars and buskers at crossroads who wear Balinese traditional clothes, problems arise in the social sector. Because the death of Bali tourism has a bad effect, it is necessary to find a way out so that tourism can bounce back.Since the arrival of the Covid-19 pandemic, digital technology or in the network is growing. This digital technology can generate Bali tourism. How to? In my opinion, currently, the government can sell the existence of art, culture, and natural beauty to the world market through the website. The website can also be filled with virtual exhibitions using 360-degree technology, such as digital exhibitions that have often been carried out by people abroad. With one website, you can fill in several videos and virtual exhibitions from art museums throughout Bali. Through this website, tourists do not need to come to Bali, but only with digital experience, they can enjoy the natural beauty of Bali.Now what can also be developed is the performing arts or performing arts which can be recorded and shared online or digitally. Balinese people who have not got jobs can be embraced to learn together performing arts such as Kecak and other colossal dances. It needs to be noted, those who want to watch every video on the website must buy a ticket in advance.From some of the opinions I conveyed above, the development of digital technology can be a bridge to awaken Bali tourism while preserving Balinese art and culture. In addition, currently, each tourist spot must prepare health protocol equipment so that anyone who wants to travel to these tourist attractions still pays attention to health protocols to prevent the spread of the Covid-19 pandemic. Hopefully, the pandemic can disappear soon, the world will return to normal, and Bali tourism can rise and stand strong.nd Bali tourism can rise and stand strong.)
Adrien-Jean Le Mayeur de Merpres + (Adrien-Jean Le Mayeur de Merpres was a Bel … Adrien-Jean Le Mayeur de Merpres was a Belgian painter who lived in Bali and donated his house in Sanur as a museum. He was born in Brussels, Belgium, February 9, 1880. The Impressionist painter arrived in Bali in 1932 and first rented a house in Banjar Kelandis, Denpasar. It was also at Kelandis that he became acquainted with Ni Nyoman Pollok, a Legong dancer who was 15 years old at the time, and later became a model for his paintings.Le Mayeur's works using Ni Pollok as a model were exhibited in Singapore for the first time in 1933 and sold out. Then Le Mayeur bought a plot of land on the shores of Sanur Beach which he used as a studio and house. That is where every day Le Mayeur painted with Ni Pollok as the main model. In 1935, Le Mayeur married Ni Pollok.In 1956, the Minister of National Education of the Republic of Indonesia, Bahder Djohan, visited Le Mayeur's house and was fascinated by these gentle works. Bahder then suggested to Le Mayeur that his house would later be used as a museum. Le Mayeur agreed and worked even harder to improve the quality and add to his collection of paintings.On August 28, 1957, Le Mayeur signed a testament in which Le Mayeur bequeathed all his possessions including land, house, and everything in it to Ni Pollok as a gift. At the same time, Ni Pollok then transferred everything that was inherited from her husband to the Government of Indonesia to be used as a museum.In 1958, Le Mayeur suffered from ear cancer. Accompanied by Ni Pollok, he was treated in Belgium. Two months later, on May 31, 1958, Le Mayeur died at the age of 78 and was buried in Brussels. Ni Pollok then returned to Bali to take care of his house until her death on July 18, 1985 at the age of 68 years.Le Mayeur's works can be enjoyed at the Le Mayeur Museum, which is located on the shores of Sanur Beach, Denpasar.ed on the shores of Sanur Beach, Denpasar.)
Anak Agung Ayu Bulantrisna Djelantik + (Anak Agung Ayu Bulantrisna Djelantik was b … Anak Agung Ayu Bulantrisna Djelantik was born in Deventer, the Netherlands on September 8, 1947. She is the eldest daughter of Dr. Anak Agung Made Jelantik (UN Doctor). She has loved dance since childhood and is now a Legong dance maestro. Besides being known as a dancer, she works as an ENT specialist and lecturer at the Faculty of Medicine, Padjadjaran University, Bandung. Bulantrisna is the granddaughter of Anak Agung Anglurah Djelantik who was the last king of the Karangasem Kingdom, Bali. At the age of ten, Bulantrisna was invited by President Soekarno to the Presidential Palace in Tampaksiring, Gianyar, Bali to entertain Palace guests. Her main mentors are Anak Agung Mandera and Gusti Made Sengog, the first generation of Legong dancers. Besides Legong dance, Bulan also mastered other dances, such as Oleg. Dancing for the Moon is a release of emotion, creativity, joy, moving with soul, and as a means of prayer. Her love for dance is not only limited to movement, but she also founded a dance studio called "Ayu Bulan" in 1994. One of her dance creations is the Legong Asmarandana dance. Bulantrisna died on February 24, 2021 at Siloam Hospital, Semanggi, Jakarta due to pancreatic cancer she suffered.rta due to pancreatic cancer she suffered.)
Anak Agung Bagus Sutedja + (Anak Agung Bagus Sutedja, the governor of … Anak Agung Bagus Sutedja, the governor of Bali who headed the island twice, was born in 1923 and vanished on July 27, 1966. His first term as head of Bali's executive body, from 1950 to 1958, was determined by the Regional Government Council, while the legislative body, Paruman Agung, which was composed of delegates from Bali's eight kingdoms, was superseded by the Temporary Regional People's Representative Council (DPRDS). He was re-elected as Bali's governor in December 1959, having served as the island's temporary regional head from 1958 to 1959 before being ousted by I Gusti Bagus Oka. His second term of office ended in 1965, a few months after the G30S/PKI. His second term of office ended several months after the G30S/PKI occurred in 1965. He was then replaced by I Gusti Putu Martha. He "disappeared" on July 29 1966 in Jakarta, thought to be a victim of political kidnapping that occurred at that time.cal kidnapping that occurred at that time.)
Anak Agung Gde Mandera Erawan + (Anak Agung Gde Mandera Erawan (Agung Bangl … Anak Agung Gde Mandera Erawan (Agung Bangli) is a traditional dance maestro from Puri Kaleran Peliatan, Ubud. He was born in artist family, son of Gung Kak Mandera, maestro of traditional music the founder of Kelompok Musik and Tari Gunung Sari and a dancer mother. Gung Kak Mandera was one of artist of Bali that travel arround in Europe and performed in Paris in 1930s. Almost all of countries had already visited by Gung Aji to perform Balinese dance to the world. it can be said that his life was dedicated for traditional dance and music arts of Bali. Maintain and preserve it to keep this culture existed. He inherited his late father role to lead group of Gunung Sari Peliatan, which hold a performance in every week in Balerung Peliatan. Legong Nandira is Tari Legong with male dancer is one of his creations. with male dancer is one of his creations.)
Anak Agung Gde Rai + (Anak Agung Gde Rai or usually called as Ag … Anak Agung Gde Rai or usually called as Agung Rai, born in Peliatan, Ubud, on July 17th, 1955. He is a humanist (cultural practitioner) and an artist who has big role in preserving and promoting arts of Indonesia, particularly Bali. He is the founder of ARMA (Agung Rai Museum of Art). The poverty during his childhood motivated him to change their family life to make it better by continuously work hard. When he was young, he has ever become “merchant” of artistic goods for tourists in Bali. Agung Rai has a dream to become a teacher, but he has to burry it since cant afford the tuition. Then, he learned to paint. But, he realized his skill is yet sufficient as painter. Otherwise, he took a course of English and became a tour guid. From his interaction with the tourists, he got sense of business to try as seller of artistics goods made by his neighbors in his hometown. Since then, he is becoming a merchant in arround Sanur, Kuta until Padangbai. As a merchant, his sense of business and arts was developed. Then he mad friend with many arts collectors. He followed his friend to be a collector of maestro’s artwork. From a collector, he became a currator for artwork exhibition. Such as, in 1989, Agung Rai went to Japan and took a hundred of artworks from fifty painters that joined a group of Sanggar Seniman Agung Rai (Agung Rai Artists Group). This paintings then was shown in Japan for two months. Anxiety and worry for his country’s cultural preservation mainly in field of arts make him obssessed to establish a museum and arts galery. Then, with wonderful effort of him, in June 9th 1996, ARMA Museum officially opened by Prof. Dr. Ing. Wardiman Djojonegoro while at that time have position as Minister of Education and Culture. ARMA is one of museums with most complete collection in Indonesia. From classical artwork until contemporary, even artwork of local artist and other countries. Moreover, ARMA periodically held an exhibition of artworks. The popularity of ARMA is masively increasing since it often held various cultural event such as music performance, theatre, providing bookroom with various collection for visitors, held seminar of culture and art. Events in ARMA mostly in international scale and often were hold by various artworkers and culture from many countries. With various arrangement of these kind of event, ARMA achieved predicate as most popular museum and the best museum in Indonesia based on tourist as how it was compiled by world travelling site, TripAdvisor. For his effort to preserve arts, Agung Rai was awarded many awards. Such as, in 2002 he was awarded by Indonesia Government as “The pioneer in advancing the fine arts”. In 2012 he was chosen as Chief of Himusba (Himpunan Museum Bali) 2012-2017. In 2016 “TripAdvisor” awarded ARMA as the best museum in Indonesia. The choice was determined by the tourists who has visited the various museums in Indonesia. The Books of Agung Rai and ARMA can be read in “Gung Rai, Kisah Sebuah Museum // Gung Rai, A Story of Museum” (KPG, 2013), “Saraswati in Bali: A Temple, A Museum and A Mas” (BAB Publishing Indoneisa, 2015”, “Agung Rai, Sang Mumpuni // Agung Rai, The Maestro” (Lestari Kiranatama, 2017)., The Maestro” (Lestari Kiranatama, 2017).)
Anak Agung Made Cakra + (Anak Agung Made Cakra was born in Denpasar … Anak Agung Made Cakra was born in Denpasar, November 11, 1928. He is a musician and Balinese pop songwriter who was very popular in his time. He taught himself music at the age of seven. In 1943, when he was still a SR (People's School), he participated in a Japanese song competition in Singaraja, and managed to get the attention of a Japanese musician who was present at that time. The Japanese musician then mentored and employed him.In 1950 he collected music in Denpasar and formed an orchestra group and in 1953 the group performed around Denpasar. He also joined the kroncong orchestra group Puspa Teruna led by Ida Made Rai. Then he joined the Melati Kusuma keroncong orchestra led by Merta Suteja, the Merta Kota keroncong orchestra and the Cendrawasih keroncong orchestra. He is also involved in routine musical activities at RRI Denpasar Station. He then formed and led the New Dawn keroncong orchestra group.In addition to performing music, Gung Cakra also writes songs and musical compositions. One of his most famous songs is entitled "Kusir Dokar". In 1963, the song was often played by the band Putra Dewata founded by Gung Cakra and his colleagues. The band's musical instruments were made by Gung Cakra himself with easily available materials. In 1976, Gung Cakra began to enter the recording studio through Bali Record. Apart from "Coach Dokar", his popular songs are "Bungan Sandat" and "Ada Kene Ada Keto".e "Bungan Sandat" and "Ada Kene Ada Keto".)
Anak Agung Pandji Tisna + (Anak Agung Pandji Tisna (11 February 1908 … Anak Agung Pandji Tisna (11 February 1908 – 2 June 1978), also known as Anak Agung Nyoman Pandji Tisna, I Gusti Nyoman Pandji Tisna, or just Pandji Tisna, was the 11th descendant of the Pandji Sakti dynasty of Buleleng, Singaraja, which is in the northern part of Bali, Indonesia. He succeeded his father, Anak Agung Putu Djelantik, in 1944.On the last page of Pandji Tisna's book, I Made Widiadi, written in 1955, he wrote his life story in chronological order. He was a writer and a novelist. He refused to be the king of Buleleng, but being the eldest son, the Japanese occupancy troops forced him to be "syucho" after the death of his father in 1944.During his reign, he became the leader of the Council of Kings of all of Bali from 1946 to 1947 (Paruman Agung) and the Regent of Buleleng. In 1947, because his uniquely Christian faith did not fit in with the predominant Hindu religion, Pandji Tisna surrendered the throne to his younger brother, Anak Agung Ngurah Ketut Djelantik or I Gusti Ketut Djelantik, also known as Meester Djelantik, until 1949.He died 2 June 1978 and was buried in the graveyard on the eastern side of his land near the chapel he built years before.There is a museum in Lovina dedicated to AA Pandji Tisna and his family: https://www.facebook.com/pg/The-Little-Museum-Anak-Agung-Panji-Tisna-KM-0-Lovina-Bali-1402058299856241/about/a-KM-0-Lovina-Bali-1402058299856241/about/)
Andrew Clay McGraw + (Andy McGraw received his Ph.D. in ethnomus … Andy McGraw received his Ph.D. in ethnomusicology from Wesleyan University in 2005. Dr. McGraw has published several articles and a monograph (on Oxford) concerning traditional and experimental music in Southeast Asia and has written articles on jazz, music in American jails and Cuban music. He is an active performer and directs a Balinese gamelan orchestra for the Richmond community.elan orchestra for the Richmond community.)
Antonio Maria Blanco + (Antonio Blanco was born on September 15, 1 … Antonio Blanco was born on September 15, 1911, in Manila, the capital of the Philippines. Both of his parents were Spanish, a fact that Blanco believed linked him geographically and spiritually to Miro and Salvador Dali. His father settled in Manila during the Spanish - American War, where he attained prominence as a physician. Blanco was educated at the American Central School in Manila. During his high school years he loved the arts, literature and language classes but struggled in scientific subjects. It is no wonder that he spoke six languages - Spanish, French, English, Tagalog, Indonesian and a bit of Balinese. After completing high school in Manila, Blanco studied at the National Academy of Art in New York under Sidney Dickinson. During those early formative years, Blanco concentrated on the human form, fascinated by the female body more than any other subject matter. To further his studies and ignite his traveling spirit, he traveled extensively throughout the world before he finally landed in Bali in 1952. The King of Ubud gave Blanco a piece of land to set up his home and studio in Campuan, Ubud, at the confluence of two sacred rivers. Blanco and his Balinese wife, the celebrated dancer Ni Ronji, lived in their mountain retreat, barely leaving it for the world outside. Following a brief trip to the United States, where Blanco acquired many new collectors, the couple never left their fantasy home again.Living in serene surroundings with his four children, Tjempaka, Mario, Orchid and Maha Devi, Bali became Blanco's center. He was fascinated by the island and completely captivated by its charm. Blanco lived and worked in his magical hilltop home until his death in 1999, feverishly creating his fantasy portraits of beautiful women. Surrounded by lush gardens, rice fields and with a Banyan tree standing over his family's temple, Antonio Blanco proceeded to create a new reality for himself. His artistic outpourings of this isolated world became much sought after by eager art lovers, collectors and promoters. Within a few years, Blanco became the most famous foreign artist to make Bali his home. He was recognized in both Indonesia and abroad, receiving numerous Blanco Awards and commanding huge prizes at international auctions.By the end of his life, Blanco had begun building his museum at his studio in Campuan. Dramatically, he died just before its inauguration. His funeral was marked by a very important Blanco Cremationin Ubud. It was Blanco's dream to turn his studio-mansion into a museum. His son, Mario, fulfilled this dream by following his path to become a painter. The Blanco Renaissance Museum is now open to the public, exposing both the maestro's and Mario's art works. both the maestro's and Mario's art works.)