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• Menerapkan Konsep Pariwisata Berbasis Masyarakat  + (Tourism has a significant impact in terms … Tourism has a significant impact in terms of employment and local income. However, dependence and wrong management can make tourism one of the causes of over-exploitation of nature and make Bali's condition even worse during the COVID-19 emergency. People are increasingly choosing to work in the hospitality sector rather than the domestic sector, namely agriculture and plantations, so that during a pandemic the agricultural sector also becomes difficult due to the lack of land, good systems and human resources. Though this sector can be a solution to improve the economy of Bali.</br>One solution that can be done without choosing one of these two sectors is to apply the concept of community-based tourism or CBT. This concept can be developed by forming a tourist village so that it can become a forum or economic stimulus for rural communities. The concept of a tourist village that is widely developed in the Java area itself focuses on rural life and natural conditions that are a tourist attraction. Community activities in farming and farming can be an alternative attraction for tourists from outside the region, especially because Bali itself has a unique agricultural system. By implementing this system, the level of sustainability or sustainability of tourism and nature will be better. Of course, when there are disasters or natural phenomena that affect mass tourism like what Bali currently has, the concept of tourism planning is a good solution. If tourist visits decline, there is still a reliable agricultural sector. In addition, this concept can then become the new face of tourism in Bali with the growing trend of the hospitality business, beach panorama and hedonistic, while cultural attractions are starting to be abandoned. This CBT concept requires a good master plan so that its development is right on target. In addition, this concept can also be a solution to achieve the SDGs or Sustainable Development Goals and avoid excessive exploitation, especially to nature.essive exploitation, especially to nature.)
• CWAN  + (Tourism is one of the important factors in … Tourism is one of the important factors in the nation's economy, especially for the Balinese people. The occurrence of the Covid-19 pandemic has had a huge impact on the community, especially in the tourism sector in Bali. The emergence of Covid 19 resulted in a drastic drop in tourism income in Bali, starting from small traders, large businesses such as hotels, resorts, villas, drivers, luxury restaurants.</br>In an effort to revive Bali's tourism at this time after being affected by Covid 19, there are several ways that need to be input between implementing CWAN (Cheap, Work Together, Available, Negotiation).</br>Cheap in the sense of lowering or lowering the price of the main conditions for traveling in Bali such as swab tests or PCR, and quarantine will be very influential for the interest of visitors to visit Bali because they do not spend more money than they should and do not reduce the money prepared for the holiday.</br>Work Together requires relations between one country and another, regional relations with other regions as well as groups and individuals need to work together, commitment and the right policies. Cooperating with the foreign minister, the tourism minister, and the health minister to vaccinate their citizens before giving travel permits so that those who visit and those who visit are safe from the COVID-19 virus.</br>Available can be interpreted as providing facilities such as referrals regarding COVID-19 that is happening in Bali so that tourists know the latest Covid-19 situation in Bali. Able to provide information, health care and appropriate follow-up so as to provide a sense of security and comfort.</br>Negotiation, giving tourists additional services at prices that have been negotiated, for example, there are tourists who hold birthdays, weddings, etc. in Bali, so the place, decoration, consumption, can negotiate the price that will be given to the customer. tourists with complete health protocols at affordable prices and always improving the quality of service balanced with national and international events.</br>With the above stages, we hope to be able to make changes to make Bali tourism worldwide again, improve the economy so that it contributes greatly to the country's foreign exchange income. to the country's foreign exchange income.)
• Jaga Bali: tindak tegas bule tidak beretika  + (Tourists are foreigners who travel, who co … Tourists are foreigners who travel, who come to enter another country that is not the country where the person lives with the aim of finding popular and famous places including beaches, mountains, hills, restaurants, cafes and various other attractions.</br></br>But unfortunately tourists who come to Bali are now increasingly making Balinese people uneasy because of tourists who use the road recklessly, enter the sacred area with dirty conditions (menstruation), occupy the holy place, naked in the middle of the art performance, there are even tourists who take indecent photos in the sacred area.</br></br>Strict action is needed for foreigners who come to Bali, it is hoped that the government will appoint subordinates to be more strict in guarding the sacred areas visited by foreign tourists, give assignments to the police to maintain traffic security if they see irresponsible foreigners must be followed up directly and provide sanctions / punishments.</br></br>Not only officials who can take firm action, in the future it is also authorized for Balinese citizens who see the behavior of irresponsible tourists.ee the behavior of irresponsible tourists.)
• 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.</br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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".</br></br>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.</br></br>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.)
• Umbu Wulang Landu Paranggi  + (Umbu Wulang Landu Paranggi, born in Kanang … Umbu Wulang Landu Paranggi, born in Kananggar, Waingapu, East Sumba, East Nusa Tenggara, August 10, 1943. His poems have been published in many mass media, including the Indonesian Pulpit, Basis, Pusara Magazine, Arena, Yogya Pioneer, Bali Post, Journal CAK, Kolong Magazine. Some of his poems are also summarized in joint anthologies, including Manifes (1968), Milestone III (1987), The Ginseng (1993), Saron (2018), Tutur Batur (2019). </br></br>Umbu used to take care of the literature room at the Pelopor Yogya weekly, which was headquartered on Jalan Malioboro. On March 5, 1969, together with several other figures, Umbu founded the literary community Persada Studi Klub (PSK). At that time Umbu was dubbed the President of Malioboro. The pioneers of Yogya and PSK gave birth to hundreds or even thousands of poets scattered throughout Indonesia.</br></br>Since 1978 Umbu lived in Bali and in July 1979 was asked to become the literary editor of the Bali Post daily. As he did in Pioneer Yogya, Umbu faithfully, diligently, and painstakingly, nurtured the seeds of writers to grow into well-known figures in Indonesian literature.</br></br>For his dedication to the world of literature, Umbu was awarded a number of awards. These include the 2018 Cultural Award from the Faculty of Cultural Sciences, University of Indonesia, the 2018 Dharma Kusuma Award from the Bali Provincial Government, the Literature Service Award from the Language and Book Development Agency in 2019, and the Jakarta Academy Award (2019). Umbu died on April 6, 2021y Award (2019). Umbu died on April 6, 2021)
• I Gusti Bagus Rai Utama  + (Universitas Dhyana Pura Asst. Professor of Tourism at Dhyana Pura University, Bali Br. Tegaljaya, Dalung, Kuta Utara Badung, Bali Denpasar, Bali 80351 Indonesia http://www.undhirabali.ac.id)
• Uuk Paramahita  + (Uuk Paramahita was born in Denpasar, April … Uuk Paramahita was born in Denpasar, April 17, 1978. He completed his art education at ISI Denpasar. Since 2001 he has been involved in many joint exhibitions at home and abroad, including exhibiting at “20 Finalists of Nokia Art Award in Jakarta, 2001; The faces at Junge Gesichter at Agon. e.V Passau, Germany, 2012; The Fourth Silk Road International Art, Shaanxi Provencial Museum of Fine Art, Xian China, 2017. Many of Uuk's works feature tiny figures combined with the surrounding issues. He processes many childhood memories into interesting works of art.od memories into interesting works of art.)
• Bart Verheijen  + (Verheijen is a post-doc in History in the … Verheijen is a post-doc in History in the University of Amsterdam. He holds a PhD in Napoleonic history from Radboud Universiteit Nijmegen. His works focusing on the age of revolutions, political theory in the 19th century, colonial citizenship and Indonesian history and culture. He lived and worked in South East Asia including Myanmar and Indonesia for three years and affiliated with Hasanuddin University in Makassar, Sulawesi.sanuddin University in Makassar, Sulawesi.)
• W. Mustika  + (W. Mustika was born in Kuta, Bali, Septemb … W. Mustika was born in Kuta, Bali, September 11, 1970. He pioneered the Rumah Semesta Community since the publication of his 4th book: When the Universe Talks (2013). To date, he has written and published 11 books on life and spirituality. He has also written the poem "Klungkung, Tanah Tua Tanah Cinta" (2016) which was included in the poetry anthology book with the same title. Rumah Semesta is a community that, apart from working in the field of humanity, also focuses on being a shared learning space to understand life, as a place for people to release the inner burdens of the joys and sorrows of life and also as a place to learn together to understand one's spirituality.together to understand one's spirituality.)
• W.O.J. Nieuwenkamp  + (W.O.J. Nieuwenkamp (27 July 1874 – 23 Apri … W.O.J. Nieuwenkamp (27 July 1874 – 23 April 1950) was an artist from the Netherlands who once lived in Bali. He studied art at the Amsterdamse Kunstnijverheidsschool. Between 1917 – 1919 he toured Sumatra, Java, Bali, Lombok. He did many works of art, including paintings, etchings, lithographs, book cover designs. Apart from that, he is also known as an architect, ethnologist, explorer, writer, art/antique collector. He was the first European artist to visit Bali. He arrived in Bali in 1906. He came to visit Bali again from 1917 to 1919 and finally in 1936/1937. He painted a lot about the natural, social and cultural beauty of Bali.tural, social and cultural beauty of Bali.)
• 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.</br></br>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.</br></br>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.</br></br>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.</br></br>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 Gde Yudane  + (Wayan Gde Yudane was born in Kaliungu, Den … Wayan Gde Yudane was born in Kaliungu, Denpasar, 1964. He graduated from Karawitan Arts at ISI Denpasar. He has worked on many musical works for concerts, theater/performance arts, literature, and films. He won the Melbourne Age Criticism award for Creative Excellent at the Adelaide Festival, Australia (2000). He performed at the Wangarata Jazz Festival, Australia (2001), toured Europe with the Temps Fort Theatre, the France and Cara Bali Group, as well as the Munich and La Batie Festivals. </br></br>His works include the music for the films Sacred and Secret (2010), Laughing Water and Terra-Incognita, and Arak (2004), and so on. Crossroads of Denpasar is one of his works that was ordered by radio New Zealand and later purchased by radio Australia and BBC London. Another work, Paradise Regained, which was inspired by the 2002 Bali bombings, was played by pianist Ananda Sukarlan in various international performances. His collaborated with Paul Grabowsky, The Theft of Sita, performed at the Next Wave Festival, New York City, 2011.e Next Wave Festival, New York City, 2011.)
• Wayan Gunasta  + (Wayan Gunasta alias Gungun, was born in Ny … Wayan Gunasta alias Gungun, was born in Nyuh Kuning, Ubud. He has written poetry since he was a teenager and has been featured in many articles in the Bali Post. In addition to poetry, he pursued the art of cartoons, vignettes, sketches, painting. He has studied "character design and animation" in Japan. Since 1979 he has been diligent in exhibiting his works at home and abroad, such as Balai Budaya Jakarta (1979), Frementale Art Gallery (Australia, 1994), Oriental City (London, England, 2004), V Gallery (Yogya, 2007), etc. His published cartoon and comic books include Mahabhrata Comic Series (1992), Bali in Cartoon (1997), Gunasta Sketsa Rhythm (1999), Bali Pulau Cartoon (2004), Propoor Tourism (2006), Balinese Coloring Book Series (2008). He initiated and published a collection of poems by eighty-one Balinese poets whose works were published in the Bali Post, entitled Edition Hitam Putih (Wayan Pendet Foundation, 2006).tam Putih (Wayan Pendet Foundation, 2006).)

• Wayan Jengki Sunarta  + (WAYAN JENGKI SUNARTA was born in Denpasar, … WAYAN JENGKI SUNARTA was born in Denpasar, Bali, June 22nd, 1975. He is a graduate of Udayana University, Cultural Anthropology, Faculty of Letters, and studied painting at ISI Denpasar. Jenkgi has been writing poetry since the early 1990s, and later also wrote lyrical prose, short stories, features, essays/art and culture articles, critics/art reviews, and novels.</br></br>His writings are published in various local and national mass media, among them Kompas, Koran Tempo, Media Indonesia, Republika, Suara Pembaruan, The Jakarta Post, Jawa Post, Pikiran Rakyat, Bali Post, Jurnal Kebudayaan Kalam, Jurnal Cerpen Indonesia, Majalah Sastra Horison, Majalah Gong, Majalah Visual Arts, Majalah Arti, and Majalah Sarasvati.Arts, Majalah Arti, and Majalah Sarasvati.)
• 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.</br></br>Read Full article in Sawidji Artist Biography</br></br>Wayan Suastama and the Art of Introspection</br></br>In 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.</br></br></br>https://sawidji.com/about-sawidji/artists-sawidji-gallery/wayan-suastama/ji/artists-sawidji-gallery/wayan-suastama/)
• I Wayan Suja  + (Wayan Suja was born in Batubulan, 8 Decemb … Wayan Suja was born in Batubulan, 8 December 1975. He was graduated from the Indonesian Art Institute in Denpasar in year 2001. He started to have exhibition in year 1994. He was awarded Finalist of 7th Phillip Morris Art Award in year 2000 and awarded Best Sketch and Best Work in the previous years. His artwork was one of the best 30 in The 2005 Sovereign Art Prize, Hongkong.in The 2005 Sovereign Art Prize, Hongkong.)
• 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.)
• I Wayan Januariawan  + (Wayan was born in Jauary 1986. He is a gra … Wayan was born in Jauary 1986. He is a graduate of the Indonesian Institute of the Arts in Denpasar. </br>Donal wishes to revive and embody the “tradition” of painting in the history of the development of modern art through the method of painting on the spot. He returns to nature and tries to appreciate and permeate the phenomenon of form, where aspects of light play a vital role in the absorption of objects by the eye and are then transferred to the canvas plane.</br></br>The choice of objects painted by Donal on the spot is also an object in the surrounding environment that is familiar in his daily life as a Balinese. Thus, what appears visibly to Donal’s works is the painting of landscapes, trees, or parts of certain plants that are painted close-up, or a collection of natural objects.</br></br>Donal views painting as part of the culture of society. He wants to present things that might look simple, natural, and beautiful (in the eyes of ordinary people) in the hope that this will be the entrance for them to be able to respond to even deeper things, that is, the ideas in each of his paintings.</br></br>Based on Donal’s view of his creative process as serious and intense, painting on the spot with impasto techniques, we can read this as Donal’s effort to celebrate and give meaning to painting as a way of presenting beauty and peace of mind through the elements of art—especially colors, which all support light. Donal puts painting as mainstream in his creative process. His struggle and his trust in the power of painting is an inseparable part of a human being’s sense of beauty.</br></br>He joined in group exhibitions from 2005, and had solo exhibitions from 2014. 2005, and had solo exhibitions from 2014.)
• Peran Krama Bali Kaanggen Ngwangun Pariwisata Bali Mangkin lan Selanturnyane  + (We all know how the condition of Bali tour … We all know how the condition of Bali tourism is after the Covid-19 pandemic. Tourists are not allowed to go to Bali so that Covid-19 virus does not spike again. This causes Bali tourism to decline. Balinese people who work in the tourism sector do not get jobs. The Bali government has issued a policy that is used to suppress the spread of the Corona Virus. One of the policies is the implementation of restrictions on community activities or what is known as PPKM (Pemberlakuan Pembatasan Kegiatan Masyarakat). This causes the spread of Covid-19 to decrease. </br></br>Because the government already has efforts to reduce the spread of the Corona Virus, we as the next generation can help the government to improve Bali tourism. There are many procedures that can be used to improve Balinese tourism. The first way is to promote Balinese tourist destinations using social media. This requires the participation of the Balinese people. Those who like to upload photos while on vacation to tourist destinations in Bali can also help develop and improve Bali tourism. Indonesia has a website that is used to promote Indonesian tourism. </br></br>Second, the public can help provide tourist destinations in accordance with health protocols related to government policies, as well as maintaining the cleanliness of tourism places. This causes a sense of security. </br></br>Third, Bali has many cultural works that are popular abroad, for example, such as carvings, paintings, sculptures, and so on. Maybe Balinese artists can provide counseling to the younger generation on how to make art. This can foster a sense of love for domestic products and can encourage Balinese cultural works with the younger generation.</br></br>Well, that's a little bit about the procedure to restore Bali tourism during the pandemic. We should always remember our identity as Balinese people, namely to develop Balinese culture.eople, namely to develop Balinese culture.)
• BALI MELALI: Nangiang Pariwisata Ring Bali  + (Who doesn't know about the island of Bali? … Who doesn't know about the island of Bali? The island is already famous to foreign countries. Tourism in Bali is the source of the economy that supports most Balinese people. But as it is now, Bali tourism has dimmed since the Covid-19 virus is endemic in the world. It has been two years since the Covid-19 virus has attacked our beloved earth. Several policies have been implemented. However, Bali tourism has not been able to return to normal. We as citizens, especially as young Balinese, should provide and carry out creative efforts that can stimulate tourism in Bali.</br></br>In this era of globalization, everything is digital and sophisticated. We can use this advanced technological development as a tool to generate tourism in Bali. One of the creative businesses that can generate tourism in Bali is an application called BALI MELALI. This application uses technology in the form of VR or Virtual Reality. In the BALI MELALI application, it displays tourism destinations in Bali. If you use this VR technology, tourists or anyone who has downloaded the BALI MELALI application can see the tourism places that we want. Using this VR, tourism destinations in Bali can be seen for real, this can foster a sense of longing for Bali and cause tourists to want to come again to Bali.</br></br>In the BALI MELALI application, it not only displays well-known tourism destinations, but should also display places that are not widely known. In Bali, there are actually many tourist destinations that are not well known. If you only show places like Kuta Beach, Pandawa Beach, many tourists will already know. That's why in this application it is very good if it shows places that are not known by many people. Not only that, the BALI MELALI application does not only display virtual or images, but can be filled with sounds that are in that place. For example at Candikuning Waterfall, if we travel to waterfalls, there are definitely sounds like the sound of gurgling water, the sound of trees blowing by the wind, the sound of birds and so on.</br>The presence of images and sounds in the BALI MELALI ibi application can certainly cause longing from tourists and travel to Bali. Hopefully the business in the form of the BALI MELALI application can help Bali tourism return to normal. Hopefully Bali tourism will rise soon.al. Hopefully Bali tourism will rise soon.)
• Pemberantasan Korupsi Demi Kelancaran Program Nangun Sat Kerthi Loka Bali  + (Who doesn't know that Bali is one of the r … Who doesn't know that Bali is one of the regions with the largest tourism revenue in Indonesia. Even in 2023 Bali began planning a development called Nangun Sat Kerthi Loka Bali which means as 6 main developments for the welfare and happiness of human life. Nangun sat kerthi loka bali itself has goals related to advancing Bali tourism, where there are 6 main sources, namely, atma kerthi, segara kerthi, danu kerthi, wana kerthi, jana kerthi, jagat kerthi which means for the welfare of human life in each part.</br>But development in Bali will not be able to run well if there are still many unscrupulous people who utilize development funds for personal gain or can be referred to as corruption. Examples such as the case of corruption of Paibon Wargi Temple development funds in Klungkung Regency and the case of corruption of SPI funds at the Udayana Campus. This is one of the factors inhibiting development in Bali. Even those who are supposed to investigate corruption cases turn a blind eye and are mute to all these incidents.</br>Therefore, it is hoped that the Bali Provincial Government can take these problems seriously. So that the Nangun Sat Kerthi Loka Bali program runs well without any cases of corruption in the development.ny cases of corruption in the development.)
• 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.</br></br></br>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.</br></br>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.)
• Cokorda Ngurah  + (Worked with Lempad. Of Puri Saren Kauh. Related Artists I Gusti Nyoman Lempad Father: Cokorda Oka)
• Thomas Wright  + (Wright is a Ph.D candidate in Anthropology … Wright is a Ph.D candidate in Anthropology from The University of Queensland, Australia. He held a bachelor of journalism majoring in Anthropology and International Relations from the same university. His research interests include Bali, Indonesia, ethnography, political ecology, water, tourism, pollution and knowledge., water, tourism, pollution and knowledge.)
• 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 a</br>special experience and powerful omen. A gift from the Gods to me.”</br></br>The owl is much revered by indigenous cultures and in folklore around the world as a</br>guardian spirit, as well as a wise creature capable of extraordinary sight. Balinese</br>mythology reveals that if an owl visits a family compound while a female member is</br>pregnant this is indeed a positive sign. Burung Hantu literally translates from bahasa</br>Indonesia into the English language as ghost bird; or the owl, the mysterious bird of the</br>night.</br>“I have a unique connection with owls. It is a potent image that resonates with my heart. I</br>was intuitively led to draw the owl and then I began to include it in my works. It has now</br>manifested into a personal symbolic image, equivalent to the Barong. The owl also</br>encourages me to reflect on the joy that I derive from my family life,” says Wayan.</br>Born in Ubud, 1970, Wayan Silawasinspired by his grandfather, well known local artist</br>Wayan Barwa. From an early age he regularly visited Barwa’sstudio and gallery,</br>surrounded by the paintings of his Balinese heritage, this was the perfect scenario for a</br>child to learn to draw and paint.</br>Wayan soon became adept in the “Ubud Style” of modern traditional Balinese painting. In</br>the evolution of Balinese painting during the last century, from its origins of the Classical</br>Kamasan style that concerned teachings from the Hindu Epics, each village then began to</br>create their own distinctive style.</br>The Ubud style moved away from the religious and began to be characterized by</br>narratives that involve daily village life and depictions of rural and environmental</br>landscapes. The artists from Ubud were quick to adopt western influences in the 1930’s,</br>depth of field, shades of color, localized narratives and the development of the human</br>figure. The Kamasan style was originally a collective work and never signed by an</br>individual. The new personalized and expressive form of Balinese painting has its roots</br>firmly entrenched here in Ubud.</br></br>Wayan’s canvases are beautifully composed and resound with an overwhelming sense of</br>balance and harmony. His highly detailed works are first sketched in pencil then outlined</br>in black Chinese ink, finally they are rendered in acrylic paint with a fine kaus bamboo, a</br>small piece of bamboo crafted with a tiny point to apply the medium. A large canvas, 100 x</br>80 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.”</br></br>Wayan’s relationship with the burung hantu then activated an endearing association with</br>the people of Japan, to whom the owl is symbolic of happiness. He first visited Japan in</br>2002 and his premiere solo exhibition there was in 1998. Every year since then Wayan has </br>enjoyed the privilege of exhibiting work in galleries, department stores, even in the</br>Indonesian Consulate in Tokyo. He has held over 15 solo exhibitions in Japan, and</br>numerous other exhibitions in Bali, Jakarta, Spain and also at the prestigious Agung Rai</br>Museum of Art in Ubud.</br></br>“It’s an honor for me to be invited on intercultural exchange programs teaching young</br>Japanese students traditional Balinese painting techniques. I do this each year when I visit</br>Japan.” Wayan has since developed a healthy market for his works there and continues to</br>ell to the Japanese tourists who often visit his Ubud studio/gallery.</br></br>Wayan Sila, acrylic on Canvas, 2012,</br>45x 60cm.</br>Wayan Sila</br>Garden + Bale studio of Wayan Sila.</br>Wayan Sila. 2012, chinese ink +</br>acrylic on canvas, 60x80cm.</br>Wayan’s cooperative works with Japanese poet Yoko Jatiasih have been the focus of two books. They initially</br>collaborated in 1998 to create music and poetry for his paintings. In 2004 their first book “Kata Kata” Echoes From The</br>Woods, and then in 2010 “Pelan Pelan” were published.</br>Browsing through these books, the creative synergy between the two is easy to recognize. Yoko’s short poems, no more</br>than 6 lines, resonate with an uncomplicated intelligence. Upon the opposing page to the text are Wayan’s</br>complimentary images created especially to accompany each poem.</br>As you contemplate the words essence, as well as study Wayan’s images, the mysterious bird of the nights’full round</br>eyes are firmly transfixed upon you. The fusion of words along with the images perplex the imagination, and then defy</br>you to believe their medium is the owl’s silent and alluring gaze.</br>In 2011 Wayan relocated to his new studio gallery in Jalan Bisma in Ubud. Journey 400 meters along Jalan Bisma until the</br>roadside urban development gives way to the effervescence of the padis. Down on the right hand side nestled in the</br>sawah you will find his small abode. Look for the sign on the road then follow the narrow path that divides the green</br>swaying fields to his studio/gallery encircled by the bamboo fence.</br>Wayan has created a personal space that reflects the elements that enrich and sustain him. Situated in the middle of the</br>yard he has built a bamboo bale which functions as his studio, yet also as a place of quiet retreat. The surrounding</br>garden is abundant with organic vegetables, fruit trees, medicinal herbs, ornamental shrubs and flowers. Indeed, Wayan</br>has created his special own oasis.</br>As you enter his two Bali dogs are quick to offer enthusiastic toothy greetings. The verdant vegetation is soothing and</br>inviting. I discover two rabbits, four exotic birds and frogs and snakes frequent visitors, so Wayan tells me. Stone</br>carvings covered with brilliant green moss hide among the foliage, shrines and small Hindu temples are adorned with</br>offerings and the sweet sent of burning incense seduces the senses. An outhouse serves as a simple kitchen and two </br>rooms contain Wayan’s gallery painting collection and books for sale.</br>When we observe Wayan’s paintings we enter into a beautiful and extraordinarily tranquil world. His owls’ peer out</br>from within forests and lush scenes, their big eyes possess a magnetic pull and communicate a language that is</br>deciphered 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 Danes</br></br>From 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.</br></br>“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.”</br></br>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.”</br></br>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.</br></br>“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.”</br></br>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.”)