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Baligrafi Ja-Ya-Nya + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Wreddhya Jaladhi + (Wreddhya Jaladhi comes from Old Javanese. … Wreddhya Jaladhi comes from Old Javanese. Wreddhya Jaladhi is the fertility of the oceans which is based on protecting the oceans as a source of life. The shape of the gajah mina is a symbol of the fertility of the oceans. Interrelated characters mean living a life that cannot be separated from the existence of the ocean. the white color indicates the sanctity of the ocean which always shines and provides safety to all living things. This baligraphy is a participant in a baligraphy competition held in the context of the Bulan Bahasa Bali V in 2023. This baligraphy belongs to the Dinas Kebudayaan Provinsi Bali.ngs to the Dinas Kebudayaan Provinsi Bali.)
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.)
Indifference to Others + (You must be familiar with the conflict bet … You must be familiar with the conflict between Russia and Ukraine. Recently, it has been in the spotlight again because the two countries are indeed in a high-level crisis stage. So, invasion could happen at any time. Based on the latest international news, the war between Russia and Ukraine is still going on today (Wednesday, May 18, 2022) and has entered the 84th day. According to the latest news, Ukrainian officials say that peace negotiations between the two countries have reached a stalemate. The Guardian reported that Russian Foreign Minister Sergei Lavrov had said he believed there could be no peace deal if negotiators tried to “transfer dialogue” as the West says instead of talking about the immediate situation in Ukraine. To date, many fighters have surrendered and they have been transferred to territory already under Russian control. According to the United Nations, to date, there have been six million refugees who have fled Ukraine since the Russian invasion in February. Ukrainian citizens who managed to take refuge in various places, one of which is Poland, have a sad story. They are willing to leave their children and wives and are willing to fight for their country. There are also residents who take their children out of Ukraine because they have to find a safer place even though half of their lives are still in the area where they live.Apart from the problems between these two countries, as social beings we certainly hope for the best, namely peace. The refugees are foremost human beings who cannot live alone and definitely need the help of others. If people normally want a peaceful life, surely the refugees from Ukraine also want a peaceful life. The difference occurs if they evacuate to another place. We, who have a place to live, may not feel the way they do. In general, humans have hearts and a spirit of humanity. Imagine if we were in the position of the refugees. Of course we also want to be helped, right? Automatically when refugees come to our territory, it would be nice if we accept them openly. Greet them with what we have even if this is temporary. What we could provide, we should try to take the initiative to give to them. Teach them about caring, sincerity, patience and other things that support their current situation and current condition. It’s enough for simple things, such as the food they need, adequate medicine, and a basic place to live.Any simple form of giving will certainly help Ukrainian refugees. This assistance must also be communicated with the Indonesian government, so that there will be equality and justice in shelter areas. It is necessary to include education for the refugees. This will be very beneficial for refugees and also those who receive them. Starting from the basics, such as starting to entertain them with the culture that we have. No need to go far. Just basic things. In addition, the Indonesian people also need more education about Ukrainian refugees, so the desire to help will be channeled properly. The assistance is quite simple for Ukrainian refugees, what is certain is food, a proper place to stay and good treatment for them so that in the long term, there will be a good impact on both parties.ere will be a good impact on both parties.)
Wana Parwa + ([EN] After losing the dice game, the Panda … [EN] After losing the dice game, the Pandavas lived for twelve years in the jungle. In the thirteenth year, they had to disguise themselves unnoticed. If their disguise is uncovered, then they must repeat the period of exile in the forest for another twelve years.The Mahabharata incident occurred around 5,000 years ago, in the last quarter of the Dwaparayuga era. At that time, human life could reach 1,000 years with a long young period. So, do not be surprised if the Pandavas exiled themselves for a dozen years and can still have strong children. Not surprisingly, Bhisma, the elder of Hastinapur's nobles, was still alive when Arjuna, his grandson, had a son named Abhimanyu.In the forest, the Pandavas meet various magical things. One of the most important is the meeting of Maharaja Yudhisthira with a python who was Nahusa, his own ancestor. Nahusa was cursed to be a snake because of his arrogance. There was also the Yaksa Prasna incident, when Maharaja Yudhisthira was tested by Lord Yamaraja, the controller of death.by Lord Yamaraja, the controller of death.)
Arjuna Wiwaha + ([EN] Kakawin Arjuna Wiwaha is a modificati … [EN] Kakawin Arjuna Wiwaha is a modification of the historical story in the Mahabharata, especially in Wana Parwa. This Kakawin tells about Arjuna's journey to search for magic weapons from Lord Shiva. In 1019-1042 A.D., the story of this ascetic Arjuna was translated and written in the form of ancient Javanese kakawin by Mpu Kanwa. The writing of this kakawin was done during the reign of King Airlangga.At the beginning of this kakawin there is a story about Arjuna who did a hermitage on Mount Mahameru to get blessings from Lord Indra. Then, he was seduced by two angels. But Arjuna passed the test. As a blessing, he was given a magic weapon by Lord Indra.There is also a story when Arjuna killed demon Niwatakawaca who controlled the demigods’ realm and disturbed the peace of the demigods.This Kakawin, although in some parts does not correspond to its original history, is very popular among the Balinese. This kakawin is the most widely quoted and studied in schools. However, as a historical reference, this kakawin is not credible because many parts have been modified. There are many parts that do not fit the Mahabharata story according to the original as written by Maharsi Wyasa. Therefore, this kakawin is classified as a literary work, not a historical epoch.s a literary work, not a historical epoch.)
Nitisastra + ([EN] Kakawin Nitisastra is thought to have … [EN] Kakawin Nitisastra is thought to have been written by Dang Hyang Nirartha, although the real author was never known. However, Nitisastra is actually a written work originating from Canakya Nitisastra in Sanskrit, written by Canakya Pandit during the reign of King Asoka in Magada, India.Kakawin Nitisastra contains proper manners to be human, characteristics of a pious and impious person, the obligations of a student, a person who is married, and an obligation for priests. There are also many metaphors and parables about good and bad behavior, foods that are appropriate to eat and those that are not, and how to serve the four teachers.A copy of the palm-leaf manuscripts of Kakawin Nitisastra is still preserved in Gedong Kirtya, Singaraja. In 1978, this manuscript was copied into Latin script by Hindu Religion teachers from PGAH Singaraja. Then, there is also a newer copy in the Balinese script from the Bali Provincial Culture Office, completed with meanings in alus singgih Balinese.What caused Kakawin Nitisastra to be said to have been written by Dang Hyang Nirartha was because this kakawin was found together with Kakawin Nirartha Prakreta. The contents of the two kakawin do not differ much. Many writers suspect that this kakawin was written when Dang Hyang Nirartha lived in Gelgel. when Dang Hyang Nirartha lived in Gelgel.)
Tutur Parakriya + ([EN] Lontar Tutur Parakriya describes a co … [EN] Lontar Tutur Parakriya describes a conversation between Bhatara Siwa and his son, Bhatara Kumara. The narration in this palm-leaf manuscript begins with Bhatari Uma's request that Bhatara Kumara ask Bhatara Siwa about the teachings that lead one to liberation. Bhatara Kumara then asked about the origin of the universe. Everything that exists comes from God in the spiritual realm (niskala). From the stagnant state then arises the basic material forms of the universe called the matras. From the matras, following successive nada, windu and ardhacandra which then causes a condition called wiswa. From wiswa comes letters which included swara (vowels) and wyanjana (consonants) which were the embodiments of the gods. With the embodiment of such gods, the priests are encouraged to worship them equipped with pure paraphernalia consisting of flowers, seeds, rice, incense, oil lamps and sandalwood water. The use of such equipment is in line with the understanding of the holiness of the form of God Almighty, which is stated in various media including Omkara. The manifestation of God in other relationships is in the relationship between the god and the cardinal directions.This Tutur Parakriya lontar manuscript is mostly about phonetic characters and combinations of those characters that give birth to various forms in the universe. By processing various types of letters, various types of energy will be obtained for human life. This palm-leaf manuscript is not a historical record, but a teaching called aksara yoga. Some mystics in Bali use a combination of lettters to gain mystical power.nation of lettters to gain mystical power.)
Wrespati (Wrihaspati) Tattwa + ([EN] Lontar Wrihaspati tattwa is one of th … [EN] Lontar Wrihaspati tattwa is one of the lontar texts which becomes the source of belief of the Hindu community in Bali. Actually, this palm-leaf text is a Sanskrit text that is thought to originate from the tenth century. Possibly, this Sanskrit text is also a copy of more authentic Puranas. The Sanskrit text in Wrespati Tattwa consists of 74 verses and each verse is given a translation and commentary in ancient Javanese language. Such system has been common since the reign of King Dharmawangsa in Panjalu. Therefore, this palm-leaf text was probably translated into ancient Javanese around that era.Wrespati (Wrihaspati) was a great rsi who became a teacher of the gods. He is a brahmana who rules Planet Jupiter. Therefore, if Planet Jupiter approaches the moon, Hindus consider it a good day to start learning spiritual knowledge. In Wrespati Tattwa, there is a dialog between Rsi Wrihaspati and Lord Shiva, the ruler of Mount Kailasa. The content of the dialog includes the existence of cosmic consciousness or cetana, and cosmic darkness or acetana.Cetana and acetana cause various types of differences in the universe. Cetana and acetana also cause an increase and deterioration of the mind. Because of increased awareness, humans reach higher planets after death, which is known as swargaloka (heavens). Conversely, when human consciousness degenerates, they sink into terrible planets called naraka (hell). So, heaven and hell are on other planets, not on Earth.Many people mistakenly interpret the teachings of Wrespati Tattwa and conclude that heaven and hell only exist in the mind. This is a wrong conclusion. In fact, if the text of Wrespati Tattwa is interpreted more deeply, the mind is cause of humans’ going to heaven, hell or achieve liberation. The mind binds man in the chains of desires, and without intelligence and knowledge, man will be made degenerated by his own desires.Lontar Wrespati Tattwa also teaches about how to achieve liberation. According to this text, liberation can only be achieved if one is freed from illusions. Illusion means to think that he is a gross body and think that this material nature is his eternal abode. Such awareness can only be achieved by a process called yoga. Yoga does not mean merely gymnastic movements. Yoga means connecting the mind with spiritual awareness.necting the mind with spiritual awareness.)
Banawa Sekar + ([EN] One of the shortest kakawins is Banaw … [EN] One of the shortest kakawins is Banawa Sekar, which is commonly called Banawa Sekar Tanakung because it was written by Mpu Tanakung in 1351 AD. Banawa Sekar means "boat of flowers". This Kakawin was written by Mpu Tanakung (not his real name) when King Hayam Wuruk committed a great holy sacrifice (Sraddha) addressed to his late grandmother, Dyah Rajapatni Gayatri, at Majapahit palace square.There are only 12 stanzas in this kakawin, divided into three chapters. The first chapter describes the magnificence of the sraddha ceremony performed by Raja Hayam Wuruk. Many priests, royal families, nobles and all Majapahit officials were present to offer prayers and respect for the deity of Rajapatni Gayatri which was seated on a white throne.The second chapter describes various offerings from many descendants of the Majapahit aristocracy. There are offerings in the form of poetry, dances and so on. The last offering was a flower boat by King Hayam Wuruk. He offered a boat made from a variety of colorful flowers. There are gadung flowers, lotus, kayu mas, sanggalangit, jasmine, magnolia and so on. The boat was very beautiful.The final chapter expresses regret of the poet for not being able to explain the grandeur of the ceremony as the king expected. He hoped that the kakawin would be received by the king and make him happy before the kakawin was later copied in the form of palm-leaf manuscript.Zoetmulder (1983) transliterated this kakawin into Latin script and translated it into Dutch and Indonesian.d translated it into Dutch and Indonesian.)
Sabha Parwa + ([EN] Sabha Parwa is the second of the eigh … [EN] Sabha Parwa is the second of the eighteen Parwas (great chapters) of Mahabharata. Narration in Sabha Parwa begins with the invitation of the five Pandavas to Hastinapur to play dice. Hastinapur is located about 45 minutes from Delhi, so the distance is not too far. Keep in mind that all events in the Mahabharata are real. However, when the Mahabharata entered into various cultures in the world, this historical record was rewritten in the form of poetry, folktales and songs. In Indonesia itself, the Mahabharata was much changed its story to suit the interests at that time. This causes kakawin tobe unreliable as a source of history, but a literary work.Mahabharata was written by Maharsi Krishna Dwaipayana Vyasa, the greatest and most respected sage by all Hindus.In Sabha Parwa, the saddest story is when Drupadi, the wife of the Pandavas, was dragged into the courtroom because her husbands lost bets. When Drupadi was almost stripped naked by Dussasana, Sri Krishna, who was Lord Vishnu himself, protected her by giving a very long string of saris to cover her body.Sabha Parwa is historical evidence that God is always present for anyone who surrenders to Him and becomes His faithful devotees. to Him and becomes His faithful devotees.)
Babad Brahmana Catur + ([EN] Sometimes many people still consider … [EN] Sometimes many people still consider Babad Brahmana Catur text and Dwijendra Tattwa text are the same, but these lontar texts belong to two different categories. The Babad Brahmana Catur tells about the journey of Dang Hyang Nirartha, a Hindu priest from the late Majapahit era (1489 A.D.). He came to Bali and became an advisor to the Balinese kingdom in Waturenggong era. This chronicle mainly describes about the places that he had visited in Java, Bali, Lombok and Sumbawa, until finally he reached spiritual elevation on the crest of Uluwatu. Not only that, this chronicle also tells the miracles that he had made and various holy places built by him and by some of his descendants.The Babad Brahmana Catur text is an important genealogical source for descendants of the brahmana clan (soroh) in Bali. Copied several times by different authors, this manuscript still survives to the present time in the form of palm-leaf manuscripts and latin transliteration. Fortunately, Indonesian translation is available, too.Broadly speaking, this chronicle gives a glimpse about the situation when Majapahit collapsed—it had a major influence on the development of literacy in Java and Bali. As a Hindu religious leader, Dang Hyang Nirartha had a mission to defend the sacred teachings from extinction. In a unique way, he finally managed to maintain this religious system in Bali with its religious and cultural foundations that can be seen today.ltural foundations that can be seen today.)
Adi Parwa + ([EN] The battle between Pandava and the Ka … [EN] The battle between Pandava and the Kauravas took place some 5,000 years ago in India and was recorded by Rsi Wedawyasa as the Epic of the Mahabharata. There are 100,000 verses in this book which are divided into 18 Parwas (big chapters). Each Parwa has a section called Kanda.Adi Parwa is the first part of the Mahabharata which tells about the ancestral lineage of the Pandavas and Kauravas. It was stated that they were descendants of the Lunar Dynasty. In ancient times, humanity was ruled by the great kings of two dynasties, namely the Sun and the Moon. The two dynasties began from Lord Surya (the sun-god) and Lord Candra (the moon-god), so the quality of the kings of their descendants far exceeded those of ordinary humans.Adi Parwa mainly tells about the creation of the universe in four stages, the appearance of the divine incarnations (avataras) of God in the previous eras, the birth of Pandavas and Kauravas and the birth of Maharsi Krishna Dwaipayana Wyasa who is the incarnation of God and the most respected sage for the Hindus around the world. The most important part of Adi Parwa is the story of the appearance of Sri Krishna, God Almighty, into this mortal world to speak the Bhagavad-gita which is considered one of the most important Vedic scriptures for Hindus.At the time of Dharmawangsa reign in the Panjalu kingdom, Adi Parwa was translated into ancient Javanese together with other parwas by the Javanese poets at that time. Some names of places in Sanskrit are distorted during translations. Because of this massive literacy project in Dharmawangsa era, many names of places in the Mahabharata were used as names of places in Java until now.used as names of places in Java until now.)
Yama Purana Tattwa + ([EN] There are various events that cause p … [EN] There are various events that cause people to die. There are people who die naturally due to age, there are those who die from illness even though they are young. In many instances, some die because of accidents, natural disasters or being killed. The most unfortunate thing is that it was suicide.According to Yama Purana Tattwa, reasonable death is referred to as starch, whereas death due to accident, disaster or because of an animal is called wrong starch. Death due to murder or suicide is called starch. The ways in which humans deal with death have different effects on the consciousness of the spirit after death. The spirits of people who die naturally are different from those of those who die in accidents or commit suicide. Lontar Yama Purana Tattwa gives a category of these types of death and describes the state of a person's spirit if he dies in a certain way.Lontar Yama Purana Tattwa is a collection of dialogues between Lord Yama, the lord of death, and the great rsi in Janaloka. This ejection also mentions deaths due to landslides, which must be made a special ceremony so that the spirits that die do not turn into preta, or ghosts. This ejection also mentions the order of death ceremonies for people who died naturally and unnaturally.people who died naturally and unnaturally.)
Kemerdekan RI warsa 77 antuk ngelingin perjuangan para pahlawan + (at the Ri 77th anniversary event by rememb … at the Ri 77th anniversary event by remembering the struggles of the heroes, as the millennial generation fills independence day by protecting Bali, introducing Balinese culture and traditions, tolerance between tribes, races, and religions that we must do as millennials, on the 77th Independence Day of the Republic of Indonesia. Millennials also participate in flying the red and white flag on various roads and residents' houseslag on various roads and residents' houses)
Not Buried Not Burned + (in Bali province, Bangli district, Kintama … in Bali province, Bangli district, Kintamani district, Trunyan village. Trunyan village has a very unique burial tradition and is different from the villages in Bali, where the bodies are not buried and not burned, but are only placed on the ground covered with bamboo filled with white cloth, but the corpses do not emit an unpleasant odor. A corpse that is placed under a tarumenyan tree will not emit an odor because the tree can neutralize the odor arising from the corpse. And what's unique is that the tarumenyan tree can only grow well in the traditional village of Bali Aga Trunyan and this tree is believed to have existed since 500 years ago. With the unique tradition that belongs to the Balinese Aga tradition, Trunyan Village attracts many tourists to visit there to see the Balinese Aga traditional traditions and see tarumenyan trees that have been around for a long time and can feel the effects of tarumenyan trees first hand.he effects of tarumenyan trees first hand.)
Monkey forest + (monkey forest attractions or Sangeh monkey … monkey forest attractions or Sangeh monkey forest.The monkey forest is located in the village of Sangeh, Abian Semal District, Badung Regency.The forest-dwelling monkeys in the Sangeh monkey forest are quite tame.in the monkey forest area in Sangeh there is a temple called Pura Bukit Sari.The existence of the holy place indicates that this place is sacred.place indicates that this place is sacred.)
Danu Bratan Temple + (pura Beratan or Bratan Pura is a large wat … pura Beratan or Bratan Pura is a large water temple and temple in Bali, Indonesia - the other main water temple being Pura Ulun Danu Batur. This temple complex is located on the northwest bank of Lake Bratan in the mountains near Bedugul, Tabanan Regency. Water temples fill the entire area in the watershed; on the downstream bank there are many small water temples specific to each irrigation association (subak). This temple is actually used for offering ceremonies for the goddess Dewi Danu, the goddess of water, lakes and rivers. Lake Bratan is one of the important lakes in terms of irrigation.he important lakes in terms of irrigation.)
Danu Bratan Temple + (pura Beratan or Bratan Pura is a large wat … pura Beratan or Bratan Pura is a large water temple and temple in Bali, Indonesia - the other main water temple being Pura Ulun Danu Batur. This temple complex is located on the northwest bank of Lake Bratan in the mountains near Bedugul, Tabanan Regency. Water temples fill the entire area in the watershed; on the downstream bank there are many small water temples specific to each irrigation association (subak). This temple is actually used for offering ceremonies for the goddess Dewi Danu, the goddess of water, lakes and rivers. Lake Bratan is one of the important lakes in terms of irrigation.he important lakes in terms of irrigation.)
Balinese Culture Art + (seni budaya bali seni budaya bali kasub a … seni budaya bali seni budaya bali kasub antuk akéhnyané seni tradisional bali. kawéntenan seni rakyat sakadi seni tradisional dados aset sané mabuat sané sampun panglimbak pariwisata ring pulau dewata bali. mangda seni bali sayan kasub, iraga ngawigunayang pariwisata pinaka sarana nglimbakang seni bali ring para wisatawan mangda seni bali sayan nglimbak lan sayan kasub ring dura negara. mangda seni bali nenten ical wenten makudang-kudang pamargi: 1. ngawigunayang seni bali ring sajeroning pakaryan soang-soang. 2. malajahin budaya lokal. 3. ngenahang seni budaya ring makudang-kudang wewidangan. 4. ngawangun budaya pinaka identitas. 5. ngekspor barang seni. 6. nenten ngutang tradisi tradisional. 7. ngawigunayang produk lokal. 8. uning ring budaya soang-soang. 9. malajah indik budaya, taler.10.nenten keni panglalah saking budaya dura negara.ngiring ajegang seni budaye bali mangde tetep lestariLet's keep Balinese culture in order to remain sustainableese culture in order to remain sustainable)
arok + (the arok is smart, smart pickpocket (steal … the arok is smart, smart pickpocket (stealing wallet), clever thief, clever megal. until clever spell. always god tawanga. East hill god, west hill god, north west hill god. when he comes, everyone is afraid of him. because the money in his pocket can be moved (taken by Arok)in his pocket can be moved (taken by Arok))
Literature jalanan rusak yang buat susah + (when I came home from school I passed the … when I came home from school I passed the South Nangka road, the road there was quite damaged which made it a little difficult for me to pass it when I was in a hurry. I hope the governor of Bali repairs the damaged road so that motorists feel safe when passing through it. I mean the holes on the side of the road need more so that they can help the flow of water when a flood occurs so that it doesn't make it too difficult for motorists when driving, especially at night. make a sign to dispose of trash in its place on the side of the road so that pedestrians/riders can see the sign. and I think it gives a slightly colored street direction sign so that at night it can be seen by motorists passing through itan be seen by motorists passing through it)
broken boards and beach + (when I passed the South Nangka road, the r … when I passed the South Nangka road, the road there was very damaged and it was difficult for motorcycles and cars to pass when they were in a hurry. I hope Mr. Governor of Bali will immediately repair the road. when I was on vacation at the beach I found a lot of trash on the coast, and from that I hope that residents throw garbage in its place.that residents throw garbage in its place.)
broken roads + (when the pole starts to move in, the pole … when the pole starts to move in, the pole takes the South Nangka road, the road is broken and I can't afford to let my child pass." The pole hopes that the governor of Bali will fix the road so that those who pass it will feel safe. The pole hopes that the PDAM Sing Sai will take the road. The pole hopes to sleep. the people of Sane go through to the pasih tingling of Luwu carelesslyh to the pasih tingling of Luwu carelessly)
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.)

Catur Dewata + (Catur Dewata is the designation for the four manifestations of Ida Sang Hyang Widhi. These four gods include God Iswara in white located in the east. Lord Brahma in red in the south. Lord Mahadeva in yellow in the west. Lord Vishnu in black in the north.)

The Guardian + ("Guardian II" is part of a series of black … "Guardian II" is part of a series of black and white photographs by ManButur Suantara exploring Water. When one hears ‘Water’, immediately our minds go to all the things that are sensory and visual. We think of the colour blue and we associate the feeling ‘wet’. Around us, Water is ocean, lake, rain, and dew. In feelings, we may associate coolness, wetness, thirst, and by association dryness. In ManButur’s Water series, its most interesting that those associations are the least pronounced.We are inadvertently guided to experience Water, in a different way. Here, Water is present, but as a quiet supporting role. A presence that does not scream out. Yet, its presence transports us to a place quite different. Here, Water have merged together the earth and the sky.ave merged together the earth and the sky.)
Marko Randelovic + ("Marko Randelovic is an award winning film … "Marko Randelovic is an award winning filmmaker and photographer from West Yorkshire, United Kingdom and is of mixed British and Serbian heritage.Marko travels and works nomadically, often collaborating with charities and organisations to tell interesting cultural stories through the eyes of local people.He tries to provide an insight into the inspiring lives of people from across the world, the problems they face and how they strive to overcome such challenges." they strive to overcome such challenges.")
Infrastruktur Jalan + ("Om Swastyastu, Thank you for the time giv … "Om Swastyastu, Thank you for the time given to me. My name is Ni Luh Ari Purnama Yanti from SMA Negeri 1 Tabanan. To the judges who I really respect and the audience who I really love. I feel very happy to be able to deliver the oration entitled "Road infrastructure"Ladies and gentlemen, as we know, road infrastructure greatly influences the economy today. If there is no road infrastructure or the roads are in disrepair, what else is there to earn a living nowadays? How do I take merchandise abroad? In this millennial era and era of globalization, road infrastructure is very necessary in today's life. Many people today earn a living on the streets, some become Ojols, some become traders and others; Candidates for leadership in 2024 should be able to see the condition of their people in villages and cities, so that they do not create social inequality. So that the roads in villages and cities are the same, so that the materials are good and can last a long time and people can earn a living on smooth roads. And for the 2024 Leader Candidates to be honest about the road and development assistance, so that it doesn't happen that the funds are disbursed but the roads and construction are not completed, let alone non-existent? Don't prospective leaders feel sorry when they see their people earning a living through damaged roads? On a rocking bridge to pass east to west over rivers and seas? there are also those who cannot leave the village because the roads are damaged but in the city the roads are good. However, there are also damaged roads in the city, which makes it difficult for large trucks to pass and causes traffic jams. The 2024 Leader Candidates should now be fair and honest with all their people. 2024 Leader Candidates so that they can pay more attention to their people, so that during the campaign they don't just make sweet promises to their people so that they are not called Sweet Promises of Leader Candidates.OK, that's all my speech, I hope what I say can be heard by the 2024 Leader Candidates. Thank you for your attention, everyone present. "Meli bungkung aba to the temple Sambilang ngayah, Kirang Langkung nunas ampura titiang sisya wawu melajah". I end with the paramashanti "Om Shanti Shanti Shanti Om".paramashanti "Om Shanti Shanti Shanti Om".)
"Urati ring Luu Plastik Mangda Palemahan Asri" + ("Om swastiastu" To the presenter, thank y … "Om swastiastu"To the presenter, thank you for the time given to me. The judges whom I respect, the audience whom I am proud of and the participants in the Balinese oration competition whom I love, there is the title of my work "Caring about Plastic Waste for a Clean Environment". I thank God Almighty or Ida Sanghyang Widhi Wasa for being able to gather in good health today.Earth there are currently many problems with plastic waste which can cause great harm to the earth. Ladies and gentlemen, plastic waste is a big danger if we don't pay attention to the surrounding environment and can cause disaster in the future.Then who will remember? Not just ourselves, all of us, both students, teenagers and parents, everyone living on earth, including Bali, which is famous for its natural beauty, should care about the existence of plastic waste. This is a behavior that includes teenagers as the main actors.Remember, the job of teenagers is not only to decorate and take selfies in beautiful places, but no one pays attention to the rubbish in front of them, which causes disasters such as landslides, floods, pollution and others.So that we are not exposed to danger, we should throw rubbish in the trash, we should not throw rubbish in the surrounding environment such as rivers, roads, sewers, etc. Come on, let's not throw rubbish carelessly so that the surrounding environment remains beautiful and sustainable! We should work together with the government and all communities to create a clean environment free from plastic waste."Om Santhi,Santhi,Santhi Om"astic waste. "Om Santhi,Santhi,Santhi Om")
Red Chair and the White Room + ('Red Chair and the White Room is a mixed m … 'Red Chair and the White Room is a mixed media presentation by exploring social and cultural changes through a symbolic portrait narrative. A Sawidji Collaboration that looks upon current social and cultural changes through a symbolic portrait narrative. With art and photography by D.D Reich and ManButur Suantara. With additional costume and installation support by Juniari and Meliani.Excerpt:This is not a story about a boy and a girl.. Our portrait story is one of all of us. Each portrait takes us through a transformation. Transformations that are connected and represents a collective reality that we face as a traditional community. Enjoy the Online Narration of this exhibition. https://sawidji.com/2022/08/17/red-chair-and-the-white-room-a-collaboration/-chair-and-the-white-room-a-collaboration/)
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.)
Roelof Goris + (1898 – 1965 Curriculum vitae 1898 born in … 1898 – 1965Curriculum vitae1898 born in Krommenie (North-Holland) on June 91917 final examinations gymnasium (A and B)1917-1918 military service1918-1926 studied Indonesian languages (linguistic officer), Leiden University; Arabic (Snouck Hurgronje), Sanskrit, Javanese and Old Javanese (Vogel and Hazeu), Hindu-Javanese history (Krom), and general linguistics (C. C. Uhlenbeck); amongst his older fellow students were W. F. Stutterheim and P. V. van Stein Callenfels1926 PhD under the supervision of N.J. Krom, Leiden University1926 officer for the study of Indonesian languages at the Archaeological Service, charged with the checking of transliterations of Old Javanese inscriptions1928-1939 adjunct archaeologist of the Archaeological Service in Bali1939-1941 librarian to Mangkunegoro VII, Surakarta (Central Java)1941-1945 service in the Royal Netherlands-Indies Army; civilian internee1946 on leave in the Netherlands1947-1958 linguistic officer of the Netherlands-Indies and later Indonesian Government, head of the Singaradja division of the Institute for Linguistic and Cultural Research of the University of Indonesia1958 retirement1959 librarian of the Faculty of Letters of Udayana University, Denpasar (South Bali)1962 research-professor, teaching Balinese epigraphy and early history1965 died in Denpasar on October 4Special activities and positionsScientific adviser of the Kirtya (Foundation) Liefrinck-van der Tuuk (set up in 1928), 1932-Co-worker at the Bali MuseumTeacher at a secondary school and a training-college for teachers (S.M.A. and S.G.A.)Teacher of German, 1951S.M.A. and S.G.A.) Teacher of German, 1951)
Literature Berbakti Pada Pemimpin + (A : Hi, what are you looking at on your ph … A : Hi, what are you looking at on your phone?B : Look, on February 14, 2024 there will be a huge event.A : February 14? That will be Valentine’s day.B : No, it’s not Valentine’s day. You’re still young. Don’t think about girlfriend only. You see? February 14 is the grand election.A : The grand election… of what?B: I will tell you. The grand election is when we elect the president, vice president, parliament members and senators – all at the same time.A : I don’t want to think about it. I’d better go out with my girlfriend.B : Don’t say that, Gus! In Bali, we believe in Catur Guru concept. There are four gurus to be respected.A : The first one?B : It’s Guru Swadyaya, the Almighty God. The second one is Guru Rupaka, our parents at home. The third one is Guru Pengajian, the teachers at schools. Then, the last one is Guru Wisesa, leaders or government. If you prefer to abstain, it means you don’t respect the four gurus.A : If you are going to vote, what are your hopes for the prospective leaders?B : My hopes are, first, they should not be corrupt. Then, they have to support the people and mingle with the people. Lastly, since we are living in Bali, I want to vote for those who strengthen and preserve Balinese culture.A : I think you’re right.B : Of course. Now, remember to come to the voting center on February 14, 2024.A : So it will be in the morning then? What about the night vote?B : Don’t vote blindly at night, okay?e? B : Don’t vote blindly at night, okay?)
A A Ngurah Paramartha + (A A Ngurah Paramartha was born in Denpasar … A A Ngurah Paramartha was born in Denpasar, October 14, 1974. He completed his art education at ISI Denpasar. Since 1995 he has been actively displaying his works in various exhibitions, such as the “Kamasra” exhibition at Bali Cliff Resort Jimbaran (1996), Indonesian artist “Colour Wheel” at the Dublin Ireland Painting Gallery (2009), “Ulu-Teben”, the MilitantArt group.= at Bentara Budaya Denpasar (2015). His solo exhibitions include “Secret Desire” at Hide Out Fine Art Ubud (2003), “Exploration of Life” at Ten Fine Art, Sanur (2011). His works tend to be figurative by showing imaginary figures with multiple interpretations.ary figures with multiple interpretations.)
The Red Chair and White Room, a Collaborative Online Exhibition + (A Sawidji Collaboration "This is not a st … A Sawidji Collaboration"This is not a story about a boy and a girl.. Our portrait story is one of all of us. Each portrait takes us through a transformation. Transformations that are connected and represents a collective reality that we face as a traditional community."A mixed photography and multi media presentation exploring social and cultural identity and its changes. Through a symbolic portrait narrative. By Dewi Dian Reich, ManButur Suantara, Ketut Kaprus Jaya.In the purity of arts’ expressions, it is needed now even more desperately than before, to serve as a bridge. A bridge to connect people, connect minds as well as to touch hearts. Providing a catalyst. Even perhaps like a conduit that may lead people to raise important questions. To inspire learning and better understanding. Not only for ourselves. But to a wider community as well as the environment in which we live and receive Natures’ many gifts.On this note Sawidji Artists invite you to join us, on this day of Independence 17th August, for the online version of our exhibition ‘Red Chair and the White Room’. An exploration of changes social behaviours and its potential impact on cultural identity. Through symbolic representation via a portrait narrative. The Online Exhibition is available below in both English and Bahasa Indonesia.elow in both English and Bahasa Indonesia.)
Survivor + (A collection images in black and white by … A collection images in black and white by ManButur dedicated to the meaning and value of Trees. ManButur Suantara interviewed by Sawidji Gallery for the article 'I Hear You Tree'. Part of several discussions regarding the power and contribution of Trees into human lives. As started by artist Made Budiarta in 'Inauguration of Trees'. Made Budiarta in 'Inauguration of Trees'.)
Detya Matsya Baerawa + (A dirty environment will generate negative … A dirty environment will generate negative energy and disrupt life.Similarly, Sang Hyang Baruna was angry when he saw the ocean turning blood red due to the corpses of the troops that were thrown into the sea after the Bharatayuddha war ended. He then brought a red giant to life because of his wrath. The value for the government is to always be a role model and be able to solve problems related to cleanliness. Especially the thorny problem related to garbage in Denpasar City. Such as the problem at Suwung landfill. The government must be able to immediately find the best solution regarding this matter so that it is resolved immediately and not forgotten. Because the value of cleanliness is one of the things that will be passed on to children and grandchildren later.ed on to children and grandchildren later.)
Titus Rosier + (A hospitality expert with more than sevent … A hospitality expert with more than seventeen years of experience in the industry, Titus Rosier joined the vibrant award-winning W Bali – Seminyak resort in June 2021, leading its talented team as General Manager. Beginning his professional career in the Middle East, Titus has gained extensive experience working across various countries and properties for Marriott International. Departing from his last venture in the Middle East, Titus was ready for a new challenge and decided to move to Indonesia based on the love he has for this amazing country, choosing the magical island of Bali as his new home. A Dutch native, Titus has a passion for sustainability which he implements through developing significant initiatives and exceptional programs including the launch of zero-waste cocktails. This beverage program uses leftover fruit skin to create invigorating concoctions. Besides battling food waste, the team at W Bali is also actively focusing on reducing plastic usage to remove all single-use plastic from the property in 2023. Additionally, W Bali has partnered with several Bali-based NGOs, such as S.O.S Kitchen, to donate fresh and edible leftovers from the buffet breakfast to be distributed to people in need including children's orphanages and impoverished areas in Bali. W Bali has also partnered with Sungai Watch and together with the Marriott Business Council Indonesia, they are working on a waste solution in Bali. The ambitious goal is to remove 100,000 kilos of waste per year from the Bali's rivers. of waste per year from the Bali's rivers.)
Education + (A leader is a person who holds the duty an … A leader is a person who holds the duty and responsibility to lead and can influence the people he leads. A good leader is a leader who is able to lead his followers to achieve a certain goal. A good leader must be willing to listen to input and complaints from his staff. The leader does not have to agree with the opinions of the staff, but must respect every opinion.Everyone certainly aspires to be a leader, myself included really want to be a good and responsible leader. And if later I become a leader in my area, I will help people in need and be fair to all of them. Now one of them is in the field of education, I will improve the quality of education in my area, because I live in Gowa district, South Sulawesi, I will name it as Gowa Education District, meaning that elementary to high school level education will be applied free of charge or not paid, the way is like this will help children who really want to go to school but are constrained by money, so there is no reason for children in Gowa district not to go to school. And I will also complete the standard facilities in every school in my area. That's probably what I will do when I later become a leader in my area, become a useful person for the people around me. a useful person for the people around me.)
Bali, Nature and The Culture. + (A little paradise with a lot of beauty in … A little paradise with a lot of beauty in it, that's Bali. An exotic island in Indonesia that is famous for its beautiful nature and culture. Often dubbed as the 'Island of the Gods' because of the strong Hindu culture in Bali. The island is categorized as the Lesser Sunda Islands with the capital city of Denpasar. The rich culture and friendly people make this island a popular tourist spot among tourists. Like a prima donna who is favored by all circles. There is no doubt about its popularity in the eyes of the world. Bali's economy is largely supported by the tourism sector. The tourism industry is centered in South Bali and in several other areas. The main tourist sites are Kuta and its surrounding areas such as Legian and Seminyak. Bali not only presents a wide selection of natural attractions, but also interesting arts and culture. The temple buildings, local customs and habits of the Balinese people who are very thick with their culture make Bali always alive for National Tourism. Balinese people are very strong in maintaining their local customs. They strongly uphold and maintain their traditions until now. By presenting the beauty of nature and the uniqueness of local culture, Bali Island is able to attract millions of tourists every year.o attract millions of tourists every year.)
The Sleeping White Wood + (A series of photographs exploring a differ … A series of photographs exploring a different, subtler side of the White Wood of Banyan. The fearsomeness of time evident in the turns and creases of this beautiful Sacred Tree.Botanical Notes..The White Wood Tree of Banyan was thought to be a ‘Bunut’ Tree or ‘Banyan Tree. Like many similar Ancient Trees in Bali. However, statements from local residents confirm that the genus of the tree has not yet been expressly confirmed. By the Ministry of Forestry or any University research teams. Their reluctance to confirm the genus of the tree is due to some particularities.It is said the White Wood does not flower but bears fruit (we were a direct witness to the abundance of fruit on The White Wood). It has also been said that the White Wood will shed all its leaves every few months. Though Banyan Trees may shed leaves to retain moisture, it is unusual for a tree to shed leaves this regularly in a moist climate. So for all these reasons, the villagers have continued to call this tree Pohon Kayu Putih Bayan (the White Wood of Banyan).yu Putih Bayan (the White Wood of Banyan).)
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.)
Peken Bali + (A: Excuse, me. Where can I get some lawar here? B: Oh, just over there, the most delicious one is at the west part of the Bali market. A: Over there? Thank you, very much. B: Yes, there. anytime, brother!)
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.)
Achmad Obe Marzuki + (Achmad Obe Marzuki was born in Jakarta, Ju … Achmad Obe Marzuki was born in Jakarta, July 30 1975. He has lived in Bali since 2002 and is active in the arts, including playing theater, writing poetry, reading poetry, photography and painting. He deepened his writing skills through a journalism course at Planet Senen, Central Jakarta in 1995. He joined the Jakarta Theater Forum and the South Jakarta Cultural Service's Fairy Tale Institute (1995-1996). Reads his poems in the free pulpit on the 1998 TIM reform stage. Joined the AGA Theater (Waterhouse Children) and founded the API Community (Indoor Market Children) in 2000. Founded Pelangi Art Bengkel Handicraft 2001. Together with Sanggar Poerbatjaraka he was involved in the performance Layon ( 2008) and Hong (2008) at the VI Nusantara Student Theater Gathering in Surabaya. Now he has joined the Jatijagat Life Poetry community in Denpasar, Bali.t Life Poetry community in Denpasar, Bali.)
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.)
Aji Janantaka + (Aji Janantaka is a mythical lontar which t … Aji Janantaka is a mythical lontar which tells the origin of wood in Bali. This lontar tells about woods that have a hierarchy like a royal system among humans. Based on the story in Aji Janantaka, Balinese people determine the types of wood that can be used to build shrines, house buildings, or make utensils and masks. There are sacred types of wood that can only be used to build holy places and may not be used for ordinary building materials.The story in this lontar begins with a king named Pratipa who ruled in the land of Janantaka. The king had five ministers namely Matwa, Rangga, Tumenggung, Arya and Kadeyan. In addition, he had five other officials, namely Punggawa, Manca, Perbekel, Pecalang, Kelihan Banjar, and Kasinoman. They were all attacked by a plague of leprosy which could not be cured by any means. It is said that this plague was originated from Lord Shiva who displeased King Pratipa because the king had made an offense.King Pratipa then sent Matwa to go to Lord Dharma in heaven to ask for healing. According to Lord Dharma, the entire kingdom had to be moved from Janantaka to Wanapringga. Dewa Dharma then gave them purification for their ailments. However, this purification meant that they would all be dissolved and be reborn into trees.All types of trees originating from the king, Arya, Rangga, Demung, Tumenggung, pecalang, Perbekel, kliyan and kasinoman cannot be used for building holy buildings because they had previously been affected by leprosy (known as “cukil daki” or “ila” disease). The trees that are considered contaminated include the Bengkulitan, Taru Brokan (deformed tree due to being eaten by pests), Embud Hati tree, Soca Menengan Sunduk tree, and Soca Nyuwun Lambang tree.This lontar can be referred to as a simple botanical taxonomic palm-leaf manuscript centered on local trees that grew in Bali in the past. There are also Brahmin tree class and Taru Sari tree class. Both types of trees can be used as sacred building materials. There are also jempini, bayur and bentawa trees belonging to the taru sakama-kama class, which can be used for any purpose.Apart from the types of trees, Lontar Aji Janantaka also describes types of fragrant flowers that can be used for ceremonies. These fragrant flowering trees are classified as sekar madewi, namely cananga, frangipani, canigara, tigaron, sebita, kembang kuning, kemoning, tigakancu, tampak bela, katrangan, nagasari, jasmine, jempiring, pudak sari, pudak cinaga, pudak kalasa, sekar gambir, chrysanthemum, magnolia, ratna, and gadung kasturi.emum, magnolia, ratna, and gadung kasturi.)
Aji Pari + (Aji Pari means ‘the spell of rice'. This l … Aji Pari means ‘the spell of rice'. This lontar is written in ancient Javanese and is one of the lontars which contains teachings about traditional agriculture. Aji Pari is in the same category as agricultural lontars such as Usada Taru Pramana, Aji Janantaka, Usada Carik, and so on.Aji Pari in general contains mantras about the greatness of rice from the time it is planted to post-harvest. This lontar is closely related to the Subak organization, which is thought to have existed since the ninth century. Within the Subak organization, there are many special ceremonies for rice starting from before planting to after harvest. In other words, rice is treated like a human undergoing developmental phases.Lontar Aji pari likens rice to a sacred tree which is a form of the goddess Sri (the goddess of prosperity) as a tree. Therefore, in each phase of rice development, it is given different names. Lontar Aji Pari revealed that traditional Balinese and Javanese people highly respect rice plants as the main source of food in an agrarian society.Based on what is contained in Aji Pari's lontar, it can be assumed that the rice seeds in Bali came from Java, to be precise during the Airlangga era or before. Perhaps at that time there were native Balinese rice species, but in allegory this lontar states that Bhatara Sri came from Kamulan (East Java). This indicates that there was a better breeding of rice species in East Java at that time, which was later developed in Bali as well.which was later developed in Bali as well.)
Alexander R. Cuthbert + (Alexander Cuthbert is Emeritus Professor o … Alexander Cuthbert is Emeritus Professor of Planning and Urban Development at at the University of New South Wales in Sydney, Australia. He was educated in Scotland with degrees in Architecture, Planning and Urban Design, and a Doctorate from London School of Economics and Political Science. His main interest has been in urban design, with teaching and practice in Greece, Britain, the United States, Hong Kong and Australia.he United States, Hong Kong and Australia.)
Om Swastyastu + (All religions in Indonesia have their own greeting, even the Hindu religion has the greeting "Om Swastyastu". Om Swastyastu means I hope you are in good condition by the grace of Hyang Widhi.)