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• Scion Charlotte Spence  + (Scion Charlotte Spence has a plan for all … Scion Charlotte Spence has a plan for all you luxury, globe-trotting party vagabonds. Behold the House of Karma.</br></br>Charlotte, can you give us a brief background of who you are, and what brings you here today?</br></br>Hey, of course! This feels like a first date. I’m a 26 year-old Brit, currently based between Sydney and Bali (the dream!); I moved over to Australia for university about six years ago and have been lapping up the sunshine ever since. I’m really excited to be chatting to you today and keen to share a fun new project I think you’ll like the sound of . . .</br></br>What are your current passions?</br></br>I take after the rest of my family, so travel is really important to me and has been a big part of my life for as long as I can remember. Nothing excites me more than exploring new cultures. I’m also a drama kid at heart so I love the theatre, live music, fine dining . . . or just a good old party to be honest.</br></br>IG @Atomic.Blonde_ Who is she and when did you discover her?</br></br>Haha! Atomic Blonde is my latex-wearing, tech house playing, DJ alter ego! I discovered her about four years ago, when I realised I could turn ‘playing my favourite music to my friends’ into a viable side hustle. Since then, I’ve been lucky enough to play a whole host of my favourite events in Australia, alongside my DJ partner ‘Dutch Kiss’. We’re all about self-expression, uplifting music and high camp fun.</br></br>You are about to launch House of Karma. Briefly, tell us what it is?</br></br>House of Karma is an U35 members’ collective for the world of luxury travel and experiences. Drawing on the beauty of Karma’s current resorts, we’ll soon bring this to the next generation of ‘luxury rebels’, with pop-up festivals, wellness retreats, out-of-the-box experiences and networking events, both at Karma destinations and in our members’ home cities.</br></br>You are finally working for your father?</br></br>I am, and it’s really quite lovely so far! Dad and I have a lot in common in that we both have that entrepreneurial streak, and see Karma more as an entertainment industry than a hospitality one, so it’s great to have that initial common ground with my ‘boss’. I’m also massively inspired by him and have been my whole life, so working alongside him is a privilege I don’t take lightly. Pitching to him is still rather scary though – he’s tough!</br></br>Do you have any other siblings joining the ranks?</br></br>Yes! My sister and brother are both a bit younger so still at Uni and school but I have every confidence that they’ll be joining me soon. My sister is heading to do her first Karma sales training in India in a couple of months and I’m sure my brother will follow suit – once he finishes tearing it up on the school cricket pitch of course!</br></br>What are the strengths and touches that you, as a woman, will bring to what is typically seen as a male dominated service, a members club?</br></br>Oh, good one. I firmly believe that everyone should have a seat at the table or a foot in the door, and so I’d like to think that what I’ll bring to the world of members clubs is a whole heap of inclusivity. Yes, of course, there is an element of ‘selection’ involved, but I actually like to refer to House of Karma as a ‘collective’ rather than a ‘club’. Essentially, if you’re ambitious, open-minded, and down for one hell of a party, then we’d love to have you at our place.</br></br>What type of person would a HoK member be?</br></br>A House of Karma member is someone just like me; a luxury rebel, pampered vagabond, or hedonist who craves the unexpected and the reprieve from routine. We’re chatty, ambitious, and always looking for the next big adventure . . . with a side of fabulous!</br></br>Can you tell us more about the Bali launch?</br></br>Absolutely. We’re planning a huge party down at Karma Beach to celebrate our big launch on 13th June. After a VIP long lunch we’ll be opening the beach up to the masses, with drag queens, international DJs, signature ‘House of Karma’ cocktails and a whole lot of dancing in the sand. Come by and get a sense of what we’re all about!</br></br>And the international roll out?</br></br>Following this, we’ll be hosting our first ‘Founding Member’ networking events in Sydney and Perth, taking that signature Karma experience to Australia, before expanding across the globe later in 2023.</br></br>House of Karma is highly inclusive. Can you tell us about some of the LGBTQIA+ events you have in the planning?</br></br>Inclusion is something I am hugely passionate about and will never stop fighting for, and so at the heart of the House of Karma will be HEAPS of events for my LGBTQIA+ icons and allies. Think ‘detox and retox’ retreats at Karma destinations post-Mardi Gras, LGBTQIA+ networking nights and hot parties co-hosted by queer clubs all over the world.</br></br>More bang for your buck. Can you tell us what perks and privileges members can enjoy on joining?</br></br>It’s honestly a bit of a ‘too good to be true’ thing! Our members will benefit from nights of free accommodation at our resort destinations, huge discounts across spa, F&B and rooms year round, a bespoke ‘pimp my villa’ package, and invites to exclusive events both at Karma resorts and in their own cities! And that’s not even to mention all the members-only experiences we’ll be curating – think boat parties on the Nile, party weeks in Mykonos and a glamping festival on Gili Meno…</br></br>How does the House of Karma benefit from the global aspect of the original Karma brand?</br></br>I think that is what makes us unique. Karma already has so many breathtaking destinations, so half my work is done in that respect! Now it’s just about leveraging those locations and turning them into the perfect playground for all my like-minded House of Karma souls.</br></br>And vice versa, how does the group benefit?</br></br>To quote my father, “any great company recognises the need to evolve as new generations emerge” and I think that is just what we are doing here; moving with the times and bringing a whole new tribe of ambitious, experience-seeking young vagabonds into the Karma fold.</br></br>Lastly, you are looking to create global FOMO around HoK member’s wristbands. Any hints at how you intend to achieve this?</br></br>This is something I’m excited to see evolve. Let’s just say I hope to see House of Karma memberships soon become a must-have fashion statement. Get ready to see an influx of ‘HoK’ bracelets hitting the wrists of those around you soon . . .</br></br>Tel: +62 361 848 2202; +62 811 38203360 </br></br>IG: @wearehouseofkarma</br></br>www.houseofkarma.com.au</br></br>houseofkarma@karmagroup.comuseofkarma.com.au houseofkarma@karmagroup.com)
• Ida Bagus Sindu Putra  + (Sindu Putra, whose full name is Ida Bagus … Sindu Putra, whose full name is Ida Bagus Sindu Putra, was born in Sanur, Bali, July 31, 1968. Now he lives in Lombok, NTB. He wrote poetry as a teenager and has been active in the Coffee Drink Studio. His poems were published by the Bali Post, Kompas, Koran Tempo, Kalam, etc. He won the Kusala Sastra Khatulistiwa award for his poetry book Tales of the Fire Dog. Other poetry books that have been published are the Night of the Night Birds Camp (2000), The Weed House (with IAO Suwati Sideman, 2003), Segara Anak, Origami Birds, Tales of the Fire Dog, In Lombok I Get Poetry (2018).e Fire Dog, In Lombok I Get Poetry (2018).)
• Sandikala  + (Some parents, especially in Bali, always f … Some parents, especially in Bali, always forbid their children to go out and even do activities during the hour of the hour, referring to the time approximately 18.00 – 19.00 (after sunset).</br> It is said that during these hours, the Butha Kalas are roaming around, so if we leave the house or do our activities during the drama, bad things will happen, such as accidents being disturbed by spirits and other mystical things. Apart from that, parents in ancient times also forbade their children to sleep during the skits. It is said that he sleeps when the sun will hit the sand (step on the sun) which will have bad consequences for oneself. There are also those who say, sleeping during a sandykala can be eaten by batara kala. Usually if you sleep past 7 pm, when you wake up your head will hurt.</br> Sandikala comes from the password (meeting of two fields), and kala (time). Thus, what is meant by a drama is a meeting between day and night, an atmosphere that obscures our eyes.</br> Until now, some people in Bali, especially the old people in the past, still believe in and are attached to this myth. Maybe some who have followed the times don't really believe it.ollowed the times don't really believe it.)
• CHEF DAIJIRO HORIKOSHI  + (TAKUMI’S CHEF Daijiro Horikoshi is a maste … TAKUMI’S CHEF Daijiro Horikoshi is a master artisan who has devoted his life to perfecting Kaiseki cuisine.</br></br>Chef Daijiro San … with respect you don’t sound like any ‘normal’ kind of Chef to us … what’s your story and how did you end up in Bali? Did you train in a Japanese kitchen, and did it involve years of internship under a Master?</br></br>I am the son of the third generation of a tempura restaurant located in Osaka. The restaurant had a 62-year history before it closed. My grandmother started the restaurant, and my mom took over before I eventually took over from her. I ran the restaurant for over 16 years, and in 2012, I moved to Bali. When I was 13 years old, I had the opportunity to travel with my stepfather, who was a Native American leader from the United States named Dennis Banks. We travelled to 23 countries around the world, and this experience exposed me to different cultures, religions, and people. When I decided to move to Bali, it was because my wife had a dream of living on a tropical island. We wanted our children to have a global experience and learn English, so we chose Bali as it offered a mix of different cultures. It was the perfect balance for us, and we couldn’t find it anywhere else in the world.</br></br>Tell us first about KOHAKU, and your journey to making edible crystals…</br></br>Although I don’t have a pastry background, I grew up in a traditional Japanese environment due to my grandmother’s influence. She was a geisha and introduced me to various aspects of Japanese art, tradition, and confections. When I moved to Bali, I missed Japanese sweets, as they were not readily available, so I started making Japanese confections on my own. I never thought about turning it into a business until a friend suggested it. Together with another friend, we started the business, and my wife encouraged me to pursue it further. That’s how our Japanese confection brand, KOHAKU, came to be.</br></br>How does this relate to cuisine in Japan?</br></br>Kohakuto, which means ‘amber sugar’ in Japanese, has a connection to Japanese tea ceremonies. Japanese confectionery has always been closely associated with tea and tea ceremonies. The tea ceremony involves not only tea but also meals, and it holds a deep relationship with Japanese cuisine.</br></br>There are two types of kaiseki, one for parties and the other for tea ceremonies. Both have a connection with tea and confections. So, the idea of creating edible crystals relates to the long-standing tradition of Japanese traditions.</br></br>Why does Japanese cuisine appear so different and innovative to Westerners, compared to more traditional styles, like say classic French, or Italian? Should the Old School be more innovative?</br></br>I don’t see a big difference between Japanese cuisine and other traditional styles like French or Italian. Each cuisine reflects its own history, culture, and region. I don’t think one is more innovative than the other. It’s difficult to answer whether the old school should be more innovative because innovation is subjective. What may seem innovative today might become traditional in the future. As chefs, we are always learning and trying to create dishes that make people happy. We focus on making something good rather than just being innovative. Our job is an ongoing journey of learning and creating.</br></br>Where does innovation go too far, and when should we recognize and respect classic cooking practices?</br></br>From my perspective, innovation goes too far when it becomes disconnected from our everyday lives and focuses solely on being different for the sake of standing out. Some chefs get caught up in trying to show how they are different from others, losing sight of the true essence of cooking. It’s like we lose our direction and wander aimlessly. Whether it’s in cooking or any aspect of life, we need to take a moment to pause, reflect on where we stand, and look back at our past and the processes that brought us here. It’s essential to respect the ingredients we use and show appreciation to everyone involved, not just for the sake of being different.</br></br>Tell us about Takumi, your restaurant, and the inspiration behind it.</br></br>Takumi is a restaurant where we currently serve Kaiseki-style Japanese cuisine. We offer a choice of nine-course or six-course degustation menus, and we will soon be launching vegan courses as well. Our focus is on traditional and authentic Japanese cuisine. The inspiration behind Takumi is unique. We are not simply importing Japan to Bali; instead, we are creating Japan here. We utilize the amazing local ingredients available in Bali and Indonesia, embracing the wealth of flavours they offer. As a Japanese chef, I incorporate Japanese culinary techniques and strive to express the true essence of Japanese cuisine. Additionally, I am passionate about training young chefs in Bali, sharing my knowledge, skills, and the history and philosophy of Japanese cuisine, in order to elevate the level of Japanese culinary expertise in the region.</br></br>Why is great service such an important part of the culinary experience?</br></br>Great service is crucial because it enhances the overall dining experience. When customers pay a significant amount for their meals, they should be able to enjoy them fully. It’s important to create an atmosphere where people can feel happy and comfortable. The emotions and atmosphere in a restaurant can significantly impact the perception of the food. Service acts as an additional spice that complements the dishes coming out of the kitchen. It’s not just about the food; it’s about the complete experience – from the moment guests enter the restaurant until they leave. We aim to leave a lasting memory and ensure that our guests have a truly enjoyable time at our restaurant.</br></br>Who are your heroes in the world of cooking?</br></br>Although it may sound cliché, my heroes in the world of cooking are my grandmother and my mother. However, my true heroes are the young chefs working in the Takumi kitchen. Each of them brings their unique experiences, which I have never had. Their willingness to learn and their different perspectives make them admirable and worthy of respect. These young chefs are my heroes because they challenge themselves and strive to become respected in the culinary industry.</br></br>What knives do you use?</br></br>I primarily use a small petty knife. I don’t have a specific brand preference. I own several Japanese knives, but my favourite is the small petty knife, which I use for personal use at home. I don’t typically use large knives in my cooking.</br></br>What’s the most exciting new ingredient you are incorporating into your food?</br></br>Well, every week brings new and exciting ingredients to our kitchen, even if they are the same vegetables we’ve used before. Each batch has its own unique qualities, and that’s what makes it thrilling. We have conversations with the ingredients, exploring their potential and listening to what they have to say. When they arrive in the kitchen, we greet them and get to know them. ‘Hello, my name is blah blah blah, who are you?’ We might say to a red radish. It’s a delightful way to engage with the ingredients and understand their desires. Do they want to be a sauce, a garnish, or simply shine on their own? We listen to their aspirations and help them become what they want to be. It’s the chef’s job, and it’s the most enjoyable and exciting aspect of our work.</br></br>What motto inspires your life as a chef?</br></br>Well, I’ve touched on this in previous answers, but it’s a question worth pondering. As a chef, I find immense joy and satisfaction in working with ingredients and creating dishes. It’s the happiness and fun that come from this process. There are many people involved in the culinary world, from suppliers to farmers, fisherman, and even drivers. My motto is simple: I want to make people happy. I strive to bring joy to others through my creations and my work. It’s not just about the guests; it’s about everyone who is connected to food and to me. I want to contribute to a collective happiness and create a positive impact within this circle. As a chef, I am just one part of a larger ecosystem, and my goal is to make everyone in this circle happy.</br></br>IG & FB: @kohakubali</br></br>www.kohakubali.com</br></br>IG: @takumibali</br></br>FB: @Takumi Bali</br></br>www.takumibali.comkumibali FB: @Takumi Bali www.takumibali.com)
• Dadalan Sejarah Wangunan Monumen Perjuangan Rakyat Bali  + (THE BACKGROUND OF THE ESTABLISHMENT OF THE … THE BACKGROUND OF THE ESTABLISHMENT OF THE MONUMENT OF BALINESE STRUGGLE</br>Sporadic struggles for independence against the Dutch Colonial Government emerged in most parts of Indonesia. The violent oppressions by the Dutch resulted many rebellions in various dominions of kingdoms and sultanates under the Dutch colonialism. But unfortunately, the Dutch could easily suppress them by applying their divide et impera (divide and rule) tactic to break the strength of those kingdoms and sultanates by playing off against each other, between a king and the other, between the royal family and the king, the king and his people, and between people as well.</br>The long war experiences and also the more and more Indonesian youth got academic education had aroused the spirit of unity among various social strata and ethnic groups and the awareness to defend their country and to drive away the colonizers. It was initiated by a number of intellectual youths from various regions that on October 28th, 1928, for the firsttime, the Indonesian youth held a conference in which they declared the so called the Sumpah Pemuda or the Youth Pledge. They swore that they were of one mother country: Indonesia, one nationality: Indonesian, and of one language: Bahasa Indonesia or the Indonesian language. This declaration was simultaneously participated by many youth organizations from various islands and ethnics in Indonesia such as, Jong Java of Central and East Java, Jong Pasundan of West Java, Jong Minahasa of North Sulawesi, Jong Ambon of Maluku, Jong Celebes of Sulawesi, Jong Madura, Jong Sumatranen, Jong Batak of Batak ethnic group, etc which later on resulted an idea to form the Jong Indonesia to accomodate all ethnics in Indonesia.</br>This spirit of Sumpah Pemuda has also awakened various youth organizations in Indonesia.One well-known organization, among others, is Sarekat Islam, which was originally as a mere religious movement, then developed into the first popular movement in Indonesia, then the Indische Partij party which also moved in politics. At that time on the island of Java nationalist figures emerged such as dr. Soetomo, HOS. Cokroaminoto, Suwardi Suryaningrat (Ki Hadjar Dewantoro), Douwes Dekker, Tjipto Mangunkusumo, Agus Salim, Soekarno, Muhammad Hatta, and so on. Their pioneering work eventually also inspired other regions to do the same, namely to unite the regions in expelling the Dutch occupation, one of which was a struggle carried out by the Balinese people.</br>Bali Island is one of the bases of the struggle against the Dutch, among which the famous is the Jagaraga War of 1848-1849 in Buleleng, the Kusamba War of 1849, the Banjar People’s Resstance in 1868, the Puputan Badung War of 1906 launched by the King of Badung, Puputan Klungkung in 1908 and also the Puputan Margarana War in the Marga Village of Tabanan conducted by Liutenant Colonel I Gusti Ngurah Rai along with Laskar Ciung Wanara who had waged in all-out war (Puputan) against the Dutch in 1946.</br>The struggle performed by I Gusti Ngurah Rai has left deep memories for the people of Bali, so as to commemorate his services, a monument, street name, airport name, and so on were erected. The awarding of his services is solely because he has set an example to the younger generation in the struggle for independence which is done unconditionally. The government’s attention to the services of the fighters in Bali was realized by the construction of a grand monument located in the Niti Mandala area, Denpasar known as the the Monument of Balinese Struggle.</br>What is presented in this monument is to recall all the struggles of the Balinese heroes before and after independence. It is also hoped that this monument will also has some benefit in an effort to increase the appreciation of the younger generation in living up to the patriotic values demonstrated by the heroes who sacrifice all his body and soul in defending the dignity of his people without ever expecting retribution.</br>The monument was designed by Mr. Ida Bagus Gede Yadnya, a young man who was at that time was a student in the Department of Architecture, Faculty of Engineering, Udayana University, Denpasar. He succeeded in winning and becoming a champion in the design competition of the the Monument of Balinese Struggle which was carried out in 1981 by setting aside his senior architects in Bali.</br>After the design and drawing improvements were made, in August 1988 through the budget of the Provincial Government of Bali a groundbreaking was carried out, as a sign of the start of the construction of the monument. After going through various obstacles and trials due to the depreciation of the Rupiah in 1997, finally this monument could be completed also in 2001. After that, the development was continued with the making of dioramas that depicted the life history of the Balinese from time to time. In addition to the dioramas, a park was also built to add the beauty and comfort of this monument, which as a whole could be completed in 2003. On June 14, 2003, in conjunction with the Opening of the 25th Bali Arts Festival in 2003, Indonesian President Megawati Soekarnoputri had the pleasure of inaugurating the Monument of Balinese Struggle. Since then the monument has been officially opened for public.</br>PURPOSE AND OBJECTIVES</br>The purpose of making dioramas that tells a story of the struggle of the Balinese people is to reconstruct important historical events that have occured in Bali, so that what is implied in them will be more easily appreciated by younger generation.</br>The aim is to perpetuate the spirit of the struggle of the Balinese people from time to time and pass down the spirit of patriotism in the form of self-sacrifice, love of the motherland, love of unity and love of peace, togetherness to the next generation of the nation, and the main thing is to maintain the integrity of the Unitary Republic of Indonesia (Homeland).</br>THE PHILOSOPHICAL BASIC OF THE MONUMENT OF BALINESE STRUGGLE</br>This monument is an embodiment of lingga and yoni. Lingga is male symbol (purusa), while yoni is female symbol (pradana). The meeting between the two elements is a symbol of fertility and well-being. In addition to the Lingga-Yoni philosophy, this monument is also based on the philosophy of the Mandara mountain screening (Mandara Giri) in ocean of milk (Ksirarnawa). This story comes from the Adi Parwa book, the first chapter (parwa) of the Mahabarata epic. It is said that the gods and giants (daitya) sought the water of eternal life (tirtha amertha) by turning around Mandara mountain in the ocean of milk. The implementation of the screening of mount Mandara is regulated as follows:</br>1. Turtles (akupa) as the base of mount Mandara</br>2. Besuki Dragon (Naga Besuki) as a strap and turning mount.</br>3. The gods hold the dragon’s tail and the daitya hold the head, while at the top of the mountain sits God Shiva.</br>After working with great difficulty turning the Mandara mountain then successively came out: crescent (Ardha Chandra), Goddess Sri and Laksmi, flying horse (kuda Ucaisrawah), tree of happiness (Kastuba Mani), and the last came out Goddess Dhanwantari who brought Tirta Amertha. The story of searching for Amertha water is then reflected in the shape of this monument, with the following explanation:</br>1. The earthen pitcher containing tirta amertha was symbolized by a kind of pot (swamba), which is located on the top of the monument.</br>2. Naga Besuki’s tail is realized near the pot.</br>3. The head of the dragon is manifested in the entrance gate (Kori Agung).</br>4. Turtle (Bedawang Nala/ akupa) as the foundation of the monument is located on the edge of the lake and its head on Kori Agung.</br>5. The pond that surrounds the monument as the symbol of Ocean of milk (Ksirarnawa).</br>6. Mandara mountain (Mandara Giri) as the overall shape of the monument building.</br>Philosophically, the initiators of this monument wish to give a message to the younger generation that the struggle to achieve success can only be done with hard work, perseverance, and mutual cooperation as told when the Gods and Daitya together seek eternal life.</br>Another symbol depicting the power of God Almighty (Ida Sang Hyang Widhi Wasa) contained in this building is a building plan in the shape of an octagon and an eight-leaf lotus. The eight-leaf lotus is called Asta Dala as a symbol of the omnipotence of God Almighty called Asta Aiswarya, namely:</br>1. Anima : the mildness nature like atom.</br>2. Lagima : the lightness nature like ether.</br>3. Mahima : the great nature that fills all places.</br>4. Prapti : the nature of reaching all desired places.</br>5. Prakamya : all wills are achieved by Him.</br>6. Isitawa : the nature of dominating everything and the most important One.</br>7. Wasitwa : the most powerful character.</br>8. Yatrakama Wasayitwa : His nature and His will cannot be challenged.</br>The symbol of patriotism and nationalism can be found in the 17 number of foot steps towards the main entrance, 8 main pillars of the building and the height of the monument is 45 meters. If these figures are strung together, the numbers 17, 8, and 45 are arranged which show the date, month, and year of the Proclamation of Indonesian Independence, August 17, 1945. Indonesian Independence, August 17, 1945.)
• Program KIP ring Kabupaten Bangli kari Salah Sasaran.  + (The Smart Indonesia Card (KIP) is also cal … The Smart Indonesia Card (KIP) is also called the Smart Indonesia Program (PIP). This is the Jokowi government's first program which is part of the Healthy Indonesia Card (KIS) and the Prosperous Family Card (KKS). The Smart Indonesia program aims to increase access for school-age children from poor families to school. KIP is a card intended for poor and vulnerable families who want to send their children (aged 7-18 years) to school for free. KIP recipients are given regular cash funds from the government which are stored in the KIP card function to attend school for free, both those who have registered and those who have not yet registered in schools or madrasas so that the dropout rate can drop drastically.</br></br>So, the target of KIP is for students who excel and are less fortunate. But in fact its implementation is not in line with expectations, many cases occur regarding KIP being mistargeted. One of them occurred in Bangli Regency. A real example is in my own village, namely Banua Village. Those who are entitled to get KIP (Smart Indonesia Card) are children or students whose families are on the line or in the Poor Family Card (KK) group so that at first glance the KIP program is right on target, but if you look more deeply In fact, the KIP or PIP program still finds errors in its implementation. There are many students in my village whose families are not in the poor family, but in fact these students are underprivileged students. And because of the implementation of the poor KK, students who are not included in the poor KK, who are in fact less well off, cannot make KIP. Even though these students are students who excel and really need the KIP. An example of a student who experiences KIP inaccuracies is myself. I'm not in the poor KK line so I can't get the KIP, even though in fact I really need the card myself. Not to mention that the KIP cannot be made because I am not a poor family member, but in reality my family and I are not someone who can afford it. So, that was the inaccuracy of KIP in Bangli Regency, so what about the wrong target? I have also experienced this wrong KIP target. At that time, I was in junior high school, one of my friends from Trunyan Village had a KIP and received a scholarship even though he himself was someone who was capable and quite rich, had a nice house and had no economic difficulties. This is what makes me feel that KIP in Bangli is still not on target and its implementation tends to be inappropriate and even unfair. Then what solution should the government take? In my opinion, what the government must do to overcome the problem of inaccuracy and wrong targeting of the KIP is, first to do research on the students who receive the KIP, whether they are really underprivileged students? We can see this from the condition of their homes, their parents' jobs, their parents' income every month and so on, well if someone fulfills the things that make them get KIP as I explained above and they are a smart and outstanding student then in my opinion they are worthy of getting KIP. In short, the Bangli Regency Government must be more careful in recruiting students who are worthy of receiving the KIP.dents who are worthy of receiving the KIP.)
• ULUWATU LACE  + (The Yak spoke with Ajit Khatai, ceo of Ulu … The Yak spoke with Ajit Khatai, ceo of Uluwatu handmade Balinese lace – the 50-year-old true Bali legacy fashion brand – about life in Bali, the journey so far and the future for the brand.</br></br>How has Bali been for you?</br></br>Been here since the beginning of the 2020 pandemic. I think one word for life here would be: healing.</br></br>What does Uluwatu Handmade Balinese Lace mean to you?</br></br>Magical and challenging on so many levels. A fashion business in Bali. A brand that’s core skill-set is lace. Only two colours (white and black) to the range planning. Tourists as primary customer. Language barrier. An immensely talented pool, which is aging.</br></br>How is it that sophistication and simplicity exists seamlessly in Uluwatu Lace? We know it’s not easy. How do you manage to achieve it?</br></br>It looks easy, because ours is a story of Bali. We carry the soul of everything that’s beautiful here. By layering simplicity over and over, we are able to create sophistication. Our pursuit is perfection. Our founder Ni Made Jati focussed on love for creating great designs. She was inspired by modern women who are independent and rebellious. Over the years, we have redefined this modern woman. I think these three elements, Bali, Simplicity and Perfection are our secrets.</br></br>How did the brand start…</br></br>In the 1970s it seemed a good business proposition. Bali had an abundance of lace skills. An influx of foreigners was allowing exploration of new silhouettes (before lace was predominately used on Kebayas). Our founder saw the possibilities. Those were times when Bali was getting started on its lasting reputation of being heaven; of secret idyllic beaches where seekers and hippies found the surf, sand and beads, and loads of sunshine to tan their skin. She adapted the lace to the new world, from airy over layers to breezy gowns for the evening fire. The Bohemian spirit has been alive ever since.</br></br>Uniquely, the Uluwatu Lace brand is cemented deeply in Bali’s history and colonial past. Can you briefly tell us more…</br></br>No-one starts out to make history. Our journey gave us two rights: time and place. Bali’s lace tradition of krawang or Lobang is a rich living craft. Earliest evidence showing its use is in the 10CE, during the end of the Majapahit reign. Almost 1,000 odd years of existence. There is an unsubstantiated belief that Kerawang is the classic crochet lace of Northern Europe. Said to be carried by missionaries who travelled with the Dutch East India Company (VOC). The timeline could be anywhere around 1600CE. But the real impact can be attributed to after 1796, when the VOC was abolished and the Dutch government gained control over Indonesia, which continued until 1941.</br></br>And then there was the modern journey…</br></br>Yes. Somewhere around mid ’70s, Kebaya was getting its space as a classic apparel which was introduced as modesty. Lace got incorporated into the Kebaya. We have been trying to perfect the art form ever since then. This evolved into the temple culture, to exactly the same clothing culture we witness in Bali today. We have managed to transform it into something desirable globally. Breaking the limitations of design was the tipping point. With just two colors, white and black, it was a sure recipe for disaster. The fact that we are still here is something bigger than a miracle. But here we are…</br></br>Why white and black?</br></br>Our journey was for excellence. I suppose we reached this point naturally. It is difficult to reason why in a 50-year journey. An intelligent guess is, white was preferred due to the tropical climate and black was easy to handle. In the early years, consistent yarns in colors was not an easy proposition. Whatever the reason, we are memorable because of the two colours.</br></br>How many people are involved in making your designs?</br></br>Our family is around 500 individuals. More than three quarters of this number are involved in the design creation and the rest are in support operations. Each person in our ecosystem is a lifelong partner to creation of these exclusive designs.</br></br>What makes this brand click?</br></br>Love and Bali. You immerse in this paradise. In return the paradise diktats that you respond with honesty. That’s what we give. We do not dilute our principles to suit business obligations. Our products are made in the old fashioned way. We have steered clear of shortcuts. Each and every piece is made in the same traditional method of bamboo hoops and slow needle whirring to make the lace. Love has its own karmic journey. Maybe it’s the love that’s responding back.</br></br>What are the attitudes in fashion changing over the decades? Where is fashion’s future for designs with your niche?</br></br>Look at the fashion around the world. Lace and crochet are consistent. Lace is here to stay. That speaks loads on the future of lace in fashion. It’s a classic embellishment in fashion. Women love it. It’s not going away anytime soon. We are a lace brand. We need one purchase to happen in a thousand in our market to stay in business. That’s a simple logic for excellence. We have to keep creating the most simple, sophisticated designs with the same passion. Great designs don’t need volume. We are content right now.</br></br>What does high thread count mean to you and why is it important to your company?</br></br>Yarn is the key. Our yarn goes through immense stress, which makes it absolutely essential to have a unique tensile strength, which is stable in the lace making process, avoiding brittleness. We have conjured up a specific blend of rayon yarns to achieve this over the years. It stays unbroken for the longest stretch of action. That brings the unique sheen to our lace.</br></br>How has the Covid Pandemic affected your brand?</br></br>It’s been a kind of blessing in disguise. We found time for course correction. Our focus diverted from sales to being janitors (cleaning up the brand). We found scope to refine our skills. Created a data-bank of designs. Refined the skills that had been acquired over 50 years. We updated software and improved processes. Basically we did a lot of clean-up. We had to ensure our designs remain heirloom pieces. Creating possibilities of engagement to lace designs. We conceptualized a Balinese Lace Museum and initiated the process of getting nominated as a heritage craft. It was a long list.</br></br>Which design will be your all-time superstar creation? Is there a story in its creation?</br></br>We love almost all our ’70s designs. The decade when chic, colour and pool parties were the epitome. The age of revolution … styles that clicked. Then we were busy making something revolutionary to be loved. We got our foothold in fashion in the ’70s.</br></br>How are you involved in the creative community in Bali?</br></br>As the flag bearer of Balinese Lace Fashion, we are the finest on the block. Both the founder and myself are pretty much very private people. Our direct visible engagement remains slower than we would like. However, we engage with artists, graphic artists, photographers, musicians and actors. We love to be the support to young creative talents.</br></br>What are the current design projects at Uluwatu Lace?</br></br>This year we are engaging in a lot of very interesting projects … I like to call in non-invasive cross-innovation, where we identify non-parallel creative techniques to come together in an organic symbiotic visual extravagance. Our designers are busy rejecting designs to arrive at acceptable designs. For example, imagine trying to combine lighter Endek fabric with Balinese lace. Both techniques cannot overpower each other. The balance of weight, colour and flow is an absolutely challenging experience.</br></br>Which particular Indonesian / international celebrities could wear your designs and embody what they mean?</br></br>For us, Happy Salma is the epitome of what Uluwatu Lace is supposed to mean. She is the purity of how our design should be expressed. In the case of Hollywood, I would love our designs on Alicia Vikander. Her athletic features and Grecian expression are timeless. And of course, Priyanka Jonas Chopra’s dusky exoticism. If they are reading this … we love you!</br></br>What’s next for Uluwatu Lace?</br></br>Short-Term: make our mark on the Paris, New York, London and Tokyo fashion scenes. Medium Term: Get listed in UNESCO heritage craft category. Long Term: hopefully keep creating inspiring designs. We have a goal to make the brand 100% sustainable with minimum carbon footprint. Engage with blockchain technology to track the impact of our brand. We also hope to have a community fingerprint, where we go beyond our business obligations and leave lasting imprints within the community that defines us.</br></br>IG: @uluwatu_handmade_balinese_lace</br></br>FB: @uluwatulacebali</br></br>www.uluwatu.co.ide FB: @uluwatulacebali www.uluwatu.co.id)
• Program to Expand Access to Work for Disabilities  + (The main contribution that needs to be mad … The main contribution that needs to be made to people with disabilities is actually the ability and facilities for them to be able to survive economically. Recently, one of the broadcasts that went viral on TikTok social media was the contribution of Onni House Surabaya and Alfamart which provided access to work for employees with disabilities. In the future, this needs to be a program designed by the government. The government as a policy maker can make regulations to further increase the absorption capacity of disabled workers, develop programs and budget funds for disability training, or implement the placement of disabled workers through third party collaboration or through government-owned business entities at various levels.owned business entities at various levels.)
• Makarya Topong Sareng Kranjang Saking Leluu Plastik  + (The video of SMP Dwijendra Denpasar was ma … The video of SMP Dwijendra Denpasar was made on 20th September 2021.There were three students,who made it,they were Kadek Arya Advaitha Dewi,Desak Made Anggia Puteri Linggayu,I Dewa Made Ogan Sastrawardhaya.This video will give little impact to the environment by recyling the once used house waste,tobe hat and bucket from plastic material.</br></br>"Let's manage the garbage from home"ial. "Let's manage the garbage from home")
• IS OUR EARTH CALLED A PEACEFUL PLACE?  + (The war between Russia and Ukraine has eru … The war between Russia and Ukraine has erupted, thousands of victims have been lost, buildings are on fire, air strikes keep coming. Is it true that the third world war is coming soon? To understand why the war between Russia and Ukraine happened, of course we have to look back. It is said that Russia and Ukraine come from the same cultural roots, you can say they are compatriots, moreover, these two countries have joined the super large country called the Soviet Union. Around 1940 after the second world war, the Soviet Union was like a giant country, then western countries formed a giant military gang that rivaled the name NATO (Nort Atlantic Treaty Organization) an organization of military alliances for security. ice or snow, a "war" carried out through political and economic propaganda, until finally in 1991 the Soviet Union broke up. This causes countries close to Russia to join Nato, what about Ukraine itself? Most of the people there want to side with the west, but when their leader sided with Russia, there was an event called Euromai and a series of demonstrations and riots at the time of refusing cooperation with the European Union, finally in 2014 Russia annexed part of Ukraine in order to maintain influence in the country. there. It is precisely their new leader who is close to NATO, this is the source of the problem. In November 2021 Russia moved 100,000 troops to the Russian-Ukrainian border. High-ranking officials think that Russia will attack in a matter of days, and we all know that prediction will come true, on February 21, 2022, the first attack came, they carried out martial law, all of their citizens were advised to take refuge in houses or war houses, but conditions continued to squeeze. , the leader also directed the citizens to participate in defending their country, the battle was fierce, all the eyes of the world were on them. Other countries began to show which side. But Indonesia did not first say our president in one of his accounts “Stop war. The war torments mankind, and endangers the world.” But we will not escape the impact of this war, the price of the dollar, the price of fuel, noodles and cereals may rise.</br> If asked about what you would do if refugees came to your house, the simple answer would be to accept it. What's the reason? we as social beings certainly have compassion in conscience, judging from the war that took place in Russia and Ukraine, it is very sad, of course it does a lot of harm, not only harm between these two countries, which war is certainly detrimental to other countries as well. If we look at the cause of this war, of course, territorial disputes, between Russia and Ukraine there are no signs that they will end this war. This is very concerning for the people of these two countries, many people have lost their homes, jobs, families, and property. Children who used to be used to learning, adults who did work according to their profession. Since the war everything has changed. As a social being, of course, I am very concerned and sorry to see this incident, of course I will really accept those who want to evacuate to my place. Provide facilities to those who want to come. We live in a government country, we don't do this alone, of course we will involve the government and the state if there are refugees from outside the country who want to flee to our country. Maybe we can do something if there are refugees who come to our country by facilitating transportation and access to those who want to evacuate, because they all need protection, they need proper housing, food, drink, clothing, and education that is safe for them. We need to create a better world for all of us. Pray for peace in our world. Messages of peace kept coming. However, the conflict is not over yet. Hopefully the war will subside soon. Not just in Ukraine, but all over the world.t just in Ukraine, but all over the world.)
• Theo Meier  + (Theo Meier was born in 1908 in Basle, Swit … Theo Meier was born in 1908 in Basle, Switzerland. He was educated in the arts at the Basle School of the Arts. He had worked as a portrait painter for the University of Basle. He made his first trip to Berlin, where he met Liebermann and Hofer at the Berlin Academy, as well as Emil Nolde, one of the contemporary painters he admired most. He studied with Otto Dix who influenced him greatly.</br></br>Meier left Europe for the South Pacific at the age of 24. To finance his travels, he founded a club, where each member promised a monthly fee in exchange for which they could choose one of Meier's paintings upon his return. He sailed to Papeete via Guadeloupe, Martinique, and the Panama Canal, inspired by the beauty he encountered, but also disillusioned by the presence of Western influence.</br></br>After returning briefly to Basel, he went to Bali where his life was changed forever. In Bali, he found an innocence that he did not find in Tahiti. He befriended the German painter Walter Spies, and later moved into the German artist's bamboo house. He married his first Balinese wife in 1936. When the Japanese arrived in Bali in 1941, Meier was granted permission to stay in Bali, unlike his friend Walter Spies who met his death aboard a prisoner of war ship crossing the Indian Ocean. Unfortunately, many of his paintings were lost, some of which were given to Japanese sailors. After the war, Meier remarried, fathering a daughter.</br></br>After 15 years in Southeast Asia, Meier briefly returned to Switzerland, but then returned to Bali, followed by Thailand. In 1957, he married Laiad, his third wife. In 1961, Meier moved to Chiang Mai, Northern Thailand, where he lived with Laiad in a beautiful teak house on the banks of the Ping River. He was a prolific artist and continued to paint until his death in Thailand in 1982.paint until his death in Thailand in 1982.)
• I Sugih Teken I Tiwas  + (There is a story “I Sugih Teken I Tiwas”. … There is a story “I Sugih Teken I Tiwas”. I Sugih was very rich, but stingy. Also jealousy, nosy with the poor. Many people didn't like I Sugih.</br></br>I Tiwas, as the name, was very poor, well behaved, never nosy with others. Every day I Tiwas went to the forest looking for firewood for sale to the market.</br></br>One day, I Tiwas went to I Sugih's house to ask for fire. I Sugih said, "Eh Tiwas, find me louse! If you finish this, I'll give you rice." I Tiwas looked for I Sugih’s louse, and this was finished in the afternoon. I Tiwas was given compensation for one funnel of rice. I Tiwas immediately went home, and cooked the rice.</br></br>At house, I Sugih was looking for louse on his own head, I Sugih got a louse. I Sugih immediately headed to I Tiwas’s house, then said like this, "Eh Tiwas, I got a louse. Now give me back my rice. "I Tiwas replied," Well, I had cooked the rice". I Sugih replied, "Yes, bring me that cooked rice as the substitute!"ng me that cooked rice as the substitute!")
• Bali is really hot  + (Today bali is really really hot, Just sleeping in the room is really hot, especially outside the house. Lots of sweat coming out, looks like someone taking a bath)
• Tutur Gong Wesi  + (Tutur Gong Wesi is a philosophical palm-le … Tutur Gong Wesi is a philosophical palm-leaf manuscript (lontar) which contains teachings about the worship of Bhatara Dalem. This lontar is shivaistic in nature and glorifies Bhatara Dalem which is the manifestation of Lord Shiva. This lontar is not too long, but briefly describes the forms of Bhatara Dalem in other places such as crossroads, T-junction, graves, houses, barns, rice fields, rivers, kitchens and so on. In short, this Lontar states that Bhatara Dalem is a cosmic person who can manifest various types of manifestations according to time and place.</br></br>This palm leaf was used as a guideline for making palinggih taksu (a name of a special shrine) in each house. Specifically, this lontar also contains a short description of Banaspatiraja, a form of Bhatara Dalem who is worshiped to get taksu (spiritual charisma).</br></br>Dilihat dari bahasa yang digunakan, lontar ini termasuk ke dalam kategori lontar yang lebih muda sebab menggunakan bahasa Bali tengahan yang dicampur dengan bahasa Kawi.tengahan yang dicampur dengan bahasa Kawi.)
• 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.)
• Literature Solah Soleh Nyujukang Kadaton  + (Unreasonable Behavior of Establishing A Ki … Unreasonable Behavior of Establishing A Kingdom</br></br>If we read the story of Mahabaratha, it was very clear in telling us that the effort of Pandawas to defend their country from bad behavior of Korawas who makes the community so miserable. They fought against them even they need to sacrifice their life in battle-field. Kuruksetra, fight till die, war against their guru (teacher/preceptor), relatives and their own family to uphold dharma (truth) in the world. Moreover, in other literatures such as Negarakertagama script, that story also told us about the effort of King Hayam Wuruk in unifying Bumi Nusantara (Indonesia) with the dharma base and kind purpose. Furthermore, if we re-read the historical books of Indonesia, the warriors prepared themselves with weapon of knowledge and sharp bamboo to prevent Indonesia from invaders attack. But, nowadays the act of human being is unreasonable since when Indonesia has established, there are demand of people to build a new kingdom and claim themselves as a smart and authoritative person. </br>About a week ago, there was a news that stagger enough in TV about a person that thought they held the authority and established a new kingdom. The kingdom named Keraton Agung Sejagat located in Pogung Jurutengah Villange, Bayan, Purworejo Regency, Central Java. It was led by Toto Santoso and Fanni Aminadia. There were report from local residents to Police about the presence of this new kingdom, Toto Santoso claimed his self as the king and Fanni Aminadia as the queen, they finally arrested by the police. To the police, he admitted that there was a wangsit from his ancestors to build a kingdom. </br>The police which handle this case also collect proofs that Toto Santoso has deceived society. And also, what make people wonder is that this kingdom, Keraton Agung Sejagat have 450.000 followers, they were from Purworejo, Klaten until Sumatra. Nowadays, Toto Santoso and Fanni Aminadia has been jailed with Section 378 Penal Code about Deception and Law 14 No 1 in 1946 about Criminal Law. </br>Regarding this unnatural behavior of establishing Keraton Agung Sejagat is not a new thing and only happen in Purworejo. In Bandung, West Java, there is also an organization claimed itself as powerful organization in that region namely Sunda Empire-Empire Earth. The members of this organization wear a military uniform but unlike the one that recognized by Indonesia. Moreover, in 2018 there were also other organizations named themselves of Ubur-ubur (Jellyfish) Kingdom in Serang, Banten Province which practiced heresy by using religious foundation. There was also other heresy organization who based on other religion i.e. Gafatar (Gerakan Fajar Nusantara) Organization in 2016, and it have 50.000 followers. All of those organization has been disbanded by police and their leaders or founders has been jailed. </br>If we concern, this illogical behavior of people that tried to build or establish a heresy kingdom or organization regarding the information always be able to attract people to join and follow them. What did make it happen? Why the people can be easily fooled and effected by Hoax just like recent days? Isn’t nowadays people has been competing their intellectuality (intellectual development) which indicated by the technology development? Maybe people nowadays more believe on wangsit even though they don’t know the truth. These fake kings only relied on wangsit as reason for establishing a kingdom to make society believe them and it was hard to be proved. </br>Moreover, the people behavior who only follow something by communal base (just following), in order to get a position and authority which was actually unclear and when they got it even the position or authority yet they surely hve skill to take the lead. Certainly these people only live to fulfill their contents of world (useless human being) that make other miserable and pollute the earth. </br>Actually, people indeed should be afraid if they are blamed by the God, especially assumed that they are disrespectful to the ancestors. And also while talking about the Death God who will pick us up, immediately afterwards seeking for protectable place and hideout then they forget about dharma (truth). But, in recent days, people should always use their logics and respect the Goddess of Knowledge as giving the bless of knowledge such as logic and mind to differ good and bad things. (@YesiCandrikaBASAbaliWiki)d bad things. (@YesiCandrikaBASAbaliWiki))
• ZERO PACKAGING Eco-Friendly Food Packaging at School  + (We are 6 students from Bali, Indonesia and … We are 6 students from Bali, Indonesia and Philadelphia, USA. We have the same problem at our school, plastic waste. We have found that the biggest contributor to this problem is plastic food packaging. For this reason, we decided to create a platform "ZERO PACKAGING" to share awerness about school waste issues, especially food packaging.</br></br>The first step that we have done is making a petition targeted to school and local goverment, to refuse sending and accepting plastic food packaging in school. The next step is to create a zero plastic school, by convincing the school cafeteria to switch to plant based food packaging.</br></br>The future goal of this project is to create a cleaner and greener school by banning plastic as much as possible and switching to a plant base alternative instead. You can also support us by following our instagram @0packaging and signing the petition.</br>https://docs.google.com/forms/d/e/1FAIpQLSf3kUWXckqUO2peb2Ew-Kc6oOEGOdES0niBBreNBoqxCqX16g/viewform?usp=sharingdES0niBBreNBoqxCqX16g/viewform?usp=sharing)
• ZERO PACKAGING Eco-Friendly Food Packaging at School  + (We are 6 students from Bali, Indonesia and … We are 6 students from Bali, Indonesia and Philadelphia, USA. We have the same problem at our school, plastic waste. We have found that the biggest contributor to this problem is plastic food packaging. For this reason, we decided to create a platform "ZERO PACKAGING" to share awerness about school waste issues, especially food packaging.</br></br>The first step that we have done is making a petition targeted to school and local goverment, to refuse sending and accepting plastic food packaging in school. The next step is to create a zero plastic school, by convincing the school cafeteria to switch to plant based food packaging.</br></br>The future goal of this project is to create a cleaner and greener school by banning plastic as much as possible and switching to a plant base alternative instead. You can also support us by following our instagram @0packaging and signing the petition. https://docs.google.com/forms/d/e/1FAIpQLSf3kUWXckqUO2peb2Ew-Kc6oOEGOdES0niBBreNBoqxCqX16g/viewform?usp=sharingdES0niBBreNBoqxCqX16g/viewform?usp=sharing)
• ZERO PACKAGING - Eco Friendly Food Packaging  + (We are 6 students from Bali, Indonesia and … We are 6 students from Bali, Indonesia and Philadelphia, USA. We have the same problem at our school, plastic waste. We have found that the biggest contributor to this problem is plastic food packaging. For this reason, we decided to create a platform "ZERO PACKAGING" to share awerness about school waste issues, especially food packaging.</br></br>The first step that we have done is making a petition targeted to school and local goverment, to refuse sending and accepting plastic food packaging in school. The next step is to create a zero plastic school, by convincing the school cafeteria to switch to plant based food packaging.</br></br>The future goal of this project is to create a cleaner and greener school by banning plastic as much as possible and switching to a plant base alternative instead. You can also support us by following our instagram @0packaging and signing the petition. </br>https://docs.google.com/forms/d/e/1FAIpQLSf3kUWXckqUO2peb2Ew-Kc6oOEGOdES0niBBreNBoqxCqX16g/viewform?usp=sharingdES0niBBreNBoqxCqX16g/viewform?usp=sharing)
• ZERO PACKAGING - Eco Friendly Food Packaging  + (We are 6 students from Bali, Indonesia and … We are 6 students from Bali, Indonesia and Philadelphia, USA. We have the same problem at our school, plastic waste. We have found that the biggest contributor to this problem is plastic food packaging. For this reason, we decided to create a platform "ZERO PACKAGING" to share awerness about school waste issues, especially food packaging.</br></br>The first step that we have done is making a petition targeted to school and local goverment, to refuse sending and accepting plastic food packaging in school. The next step is to create a zero plastic school, by convincing the school cafeteria to switch to plant based food packaging.</br></br>The future goal of this project is to create a cleaner and greener school by banning plastic as much as possible and switching to a plant base alternative instead. You can also support us by following our instagram @0packaging and signing the petition. https://docs.google.com/forms/d/e/1FAIpQLSf3kUWXckqUO2peb2Ew-Kc6oOEGOdES0niBBreNBoqxCqX16g/viewform?usp=sharingdES0niBBreNBoqxCqX16g/viewform?usp=sharing)
• Naga Gombang  + (Why do Balinese shout "Alive, Alive" when … Why do Balinese shout "Alive, Alive" when there is an earthquake?</br></br>Once upon a time, when there still kingdoms in Bali, there was a widow with two children, a boy and a girl. At that time Lake Bratan did not yet exist. Long story short, the mother had a secret affair with a dragon snake that dwelled in a rice barn near her house. The children started to get suspicious; why does mother every time she comes home from the forest go up into the barn? At one point, when mother went into the forest again, the children climbed into the barn. Inside the barn they saw a pile of eggs larger than chicken eggs. In the middle of the pile of eggs there was a strange egg. They took the egg home and cooked it. Then the boy ate it. Instantly the boy turned into a snake. Because they were worried about causing commotion in the village, the boy and girl decided to go into the forest looking for their mother. The sister carried her brother. They met their mother deeply in love with a dragon. They were angry, because they thought that because of the dragon the brother had become like that. He challenged the dragon snake to fight. In the end, the brother who had been transformed into a snake defeated the dragon. But unfortunately their mother also died in the fight. The siblings went up to Bukit Lesung. Arriving there, the brother thought he must enter the bowels of the earth, because he had become a dragon, named Naga Gombang. So as not to upset his sister, he told her to get water with a basket. While his sister was getting water, the brother entered the mountain crater. When his sister returned from getting water, the brother had already disappeared into the bowels of the earth. The brother said, “Don't you cry, I was destined to live below”. Arriving below, the brother took the position of a sleeping snake, curled up in a circle.</br>It is said that if he is anxious to know how is sister is doing above, he would move, which results in the earth moving. That is why when there is an earthquake, Balinese people will shout "alive, alive" while sounding a bamboo bell, to let the brother that his sister is still alive above, and he can stop moving about.alive above, and he can stop moving about.)
• Bharatayuddha  + ([EN] Kakawin Bharatayuddha tells about 18- … [EN] Kakawin Bharatayuddha tells about 18-day war on the battlefield of Kuruksetra. This Kakawin was composed by Mpu Panuluh during the Jayabhaya period of Panjalu (1135-1157 A.D.). In the manggala (opening) section of kakawin, there is a verse of honor for King Jayabhaya.</br></br>The description in Kakawin Bharatayuddha is almost similar to the description of war in the Mahabharata written directly by Krishna Dvaipayana Vedavyasa 5,000 years ago. Presumably, this Kakawin is a kind of direct adaptation of the original Sanskrit text. The story in Kakawin Bharatayuddha begins with the arrival of Sri Krishna as an ambassador of peace for Pandavas. Sri Krishna did not want to eat at the Kaurava’s house, but He ate at Widura’s house.</br></br>Then war broke out between the Pandavas and the Kauravas. In the Mahabharata, the description of war begins in the Bhisma Parwa section. This Kakawin Bharatayuddha is a shortened version of Bhisma Parwa, Drona Parwa, Karna Parwa, Salya Parwa to Swargarohana Parwa. It is said that the war in Kuruksetra took place in December. At the beginning of the war it was told that Arjuna felt sorry for having to fight with his own relatives. But Sri Krishna convinced him to fight because it was a battle between right and evil. This philosophical and religious dialog is known as Bhagavad-gita. Unfortunately, Kakawin Bharatayuddha does not contain this most important teaching and is more focused on warfare. This is understandable because Kakawin Bharatayuddha is a pujasastra (praise literary work) for King Jayabhaya. In fact, the essence of the teachings in Bharatayuddha is actually Bhagawad-gita.</br></br>At the end of this story there is the story of revenge by Asvatthama (in the Sauptika Parwa section), but this kakawin does not tell about the destruction of the city of Dwaraka. Another interesting plot is the story of the revival of Pariksit who died in the womb. This story is also written in Hariwangsa and Bhagawata Purana.ritten in Hariwangsa and Bhagawata Purana.)
• Going to Kuta Beach  + (on thursday the 4th of may, my boyfriend a … on thursday the 4th of may, my boyfriend and i went to kuta beach. we arrived there at 5.30 pm and the atmosphere there was very good. the sun that was covered by a little cloud became The scenery is beautiful, the wind blows gently as if to make us more comfortable to linger there. After taking pictures, we immediately returned to the house. What a wonderful experience one time We will do it againul experience one time We will do it again)
• Balinese coffee, not inferior to foreign coffee  + (title: Balinese coffee, not inferior to fo … title: Balinese coffee, not inferior to foreign coffee</br></br> Last time, I went to my sister's house and just then there was a guest. It turned out that the guest was staying there and in the morning he was already seen drinking coffee, and during the day my grandmother and sister and I were picking coffee besides that the guests also went around too.</br></br>And the guests asked about Balinese coffee with my sister and grandmother, it turned out that the guests really liked Balinese coffee and even more surprisingly, the guests turned out to be able to speak Balinese quite a bit.</br></br>I was really surprised because the typical Balinese coffee was starting to be liked by foreign guests as wellting to be liked by foreign guests as well)
• 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.”)

• Benyah Latig  + (Everything is turning upside down in a little boy’s house. What could be the reason for this?)

• Hildred Geertz  + ("Hildred was born in Queens, New York on F … "Hildred was born in Queens, New York on February 12, 1927 and reared there and in Teaneck, New Jersey. A graduate of Antioch College, she received her Ph.D. from Radcliffe College in 1956. Her first book, The Javanese Family (Free Press of Glencoe, Inc.), was published in 1961. After her initial fieldwork in Java, she taught at The University of Chicago from 1960 to 1970 before coming to Princeton University in 1970. At Princeton, Hildred taught courses on the history of anthropological theory, the anthropological study of life stories, the anthropology of art, and the ethnographer’s craft.</br></br>In 1972, Hildred became the first chairperson of the Department of Anthropology at Princeton University, and thus the first woman chair of a department at Princeton, a position in which she served for many years. She was named Professor Emeritus in 1998.</br></br>Hildred did extensive fieldwork in Morocco, and in Java and Bali, Indonesia and returned to Indonesia repeatedly during her career to conduct the research which helped fuel her extensive list of publications. She completed more than two years of fieldwork research in the village of Batuan on the island of Bali. Working in the same village that was studied in the 1930s by Margaret Mead and Gregory Bateson, she focused on the interconnections between different Balinese art forms and how and why such forms have changed through time. She investigated the effects of economic development and tourism on Balinese artistic endeavor.</br></br>The first book from the research in Batuan, Images of Power: Balinese Paintings Made for Gregory Bateson and Margaret Mead, was published in January 1995 (University of Hawaii Press). In 2004,The Life of a Balinese Temple: Artistry, Imagination, and History in a Peasant Village was also published by the University of Hawaii Press. Among her other works, Professor Geertz is co-author with her former husband Clifford Geertz of Kinship in Bali (University of Chicago Press, 1975), and co-author with Clifford Geertz and Lawrence Rosen of Meaning and Order in Moroccan Society (Cambridge University Press, 1979). Most recently, in 2017, at the age of 90, her book, Storytelling in Bali, was published by the Dutch publishing house Brill."shed by the Dutch publishing house Brill.")
• John Darling  + ("John Darling moved to Bali in 1969 and de … "John Darling moved to Bali in 1969 and developed a rapport with its people and an affinity for their way of life. Of particular interest was their religious traditions and the changes to the Balinese society and economy that occurred as a result of the influx of tourists.</br></br>Australian documentary filmmaker John Darling standing next to camera on tripod in a jungle area in Bali John Darling during filming of Lempad of Bali (1978). Courtesy Sara Darling. Photographer unknown. NFSA title: 1586432 </br></br>His first documentary, Lempad of Bali (1978) which he co-directed with Lorne Blair, explores the life and work of 116-year-old artist I Gusti Nyoman Lempad and his subsequent funeral, detailing the complex, Balinese funerary customs. This production won the Documentary Award at the Asian Film Festival in 1980.</br></br>Darling’s subsequent films formed his Bali Triptych (1987) series. Each hour-long episode – Between the Mountain and the Sea, The Path of the Soul and Demons and Deities – presents in vivid detail the history, culture and way of life of the Balinese people.</br></br>Darling worked with other filmmakers, including John Moyle for Bali Hash (1989), which juxtaposed the raucous nature of the Hash House Harriers gathering of international tourists and the peaceful Balinese ceremonies occurring at the same time."</br></br>Full article at https://www.nfsa.gov.au/latest/john-darling-bali-documentary-filmmaker</br></br>See also:</br>My Friend, John Darling by Rio Helmi. Ubud Now & Then, June 26, 2013. http://ubudnowandthen.com/my-friend-john-darling/</br></br>My Favorite Redhead: John Darling by Made Wijaya. Ubud Now & Then, July 3, 2013. http://ubudnow.webhost66.com/my-favourite-redhead-john-darling/w.webhost66.com/my-favourite-redhead-john-darling/)
• Mutual help with familiy  + ("please help between families" The inter … "please help between families"</br></br> The interactions between people have changed from in-person interactions, now many are turning to social media interactions. This has happened to the millennial generation who were born after generation X or the generation born from 1980 to 2000. So, the millennial generation are people aged 17 to 37 years. Millennials are so attached to technology that direct social contact with others is rare. Millennials are increasingly socializing with other people on the internet. (I hope, we all have to take care of the family because of the family, the karmic margin that is reflected in the cultural value system and customs of foreigners to live in harmony).customs of foreigners to live in harmony).)
• Arie Smit  + (15 April 1916 – 23 March 2016. Dutch-born … 15 April 1916 – 23 March 2016. Dutch-born Indonesian painter who lived on Bali.</br></br>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.</br></br>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.</br></br>Bali</br>On 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.</br></br>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.</br></br>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.)
• Detya Matsya Baerawa  + (A dirty environment will generate negative … A dirty environment will generate negative energy and disrupt life.</br></br>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.</br> </br>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.)
• 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.</br></br>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.)
• 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.</br></br>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.</br></br>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.</br></br>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.</br>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.</br>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.</br></br>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.</br></br>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.)
• AG Pramono  + (AG Pramono was born in Negara, Bali on Mar … AG Pramono was born in Negara, Bali on March 23, 1973. He has been involved in theatre and literary arts since 1990. He founded Sanggar Susur Jembrana in 1991. His writings in the form of short stories, poems and cultural articles have been published in several media. A number of his poems can be found in the following anthologies: Poetry 19 (1995), Kidung Kawijayan (1996), Detak (1997), Indonesian Poetry Anthology (KSI) Jakarta in 1997, Serambi Hening (1998) and Stopping Short Stories in Rumahmu (2014). Since 1993, he has been active in Bali Experimental Theater and in 1998 participated in the Komunitas Kertas Budaya. He is currently working as a journalist in one of the local newspapers in Bali and lives in a small house named Serambi Hening in Loloan Timur, Jembrana, Bali.bi Hening in Loloan Timur, Jembrana, Bali.)
• Ngolah luu Ring Jagat Natha  + (Action Plan is a description of the ways t … Action Plan is a description of the ways that must be taken to achieve the goal. This Action Plan can be useful as a guide on what steps to take, how, and when to implement them to achieve certain goals.</br></br>Our action plan is entitled "Ngolah Luu Ring Jagat Natha".</br>Our team's action plan is that we will first explain the facts about waste in Bali, in Indonesia, and in the world. Like news shows that spread about a lot of garbage until the pile of garbage resembles a hill. For this reason, my team and I will collect the waste and then sort it into 2 parts, namely organic waste and non-organic waste. Organic waste such as vegetable scraps to fruit skins are used as Eco Enzymes that can help fertilize plants. Non-organic luu, such as plastic, are used for posters or collages.</br></br>The purpose of this movement is so that people know or are aware of the importance of processing waste properly and correctly, so that Jagat Natha is free from waste.</br>The benefits of this plan are:</br></br>1. Reducing waste in Bali, in Indonesia and the world.</br></br>2. With proper and proper waste management, it can be a business opportunity for all of us.</br>For example Eco Enzymes and collages or posters. With a simple way and easy to find ingredients, we become influencers to turn piles of garbage into business opportunities.es of garbage into business opportunities.)
• 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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.)
• Gede Kresna  + (An Architect by profession, Gede designed … An Architect by profession, Gede designed and built Rumah Intaran - home of Pengalaman Rasa. His brings extensive knowledge of local produces and a keen eye for potential business opportunities to Pengalaman Rasa. He is passionate about diving into the richness of Northern Balinese culture and natural produces to find the best ingredients, products, and experiences.</br></br>https://www.pengalamanrasa.com/</br></br>"Working out of Rumah Intaran (the House of the Neem Tree), architect Gede Kresna has transformed the northern Bali village of Bengkala into a learning mecca for students and farmers – and it all centres around the kitchen...</br></br>“I often wonder why rich people can afford to pay for a private doctor or a private architect but never think of paying a private farmer to produce their own healthy food?” he (Gede Kresna) asks. “Food can be called healthy if it has a balanced cycle that comes from local farmers who grow from local seeds; only then can we actually solve our food problems, including many economic problems facing the country.”...</br></br>Full article at https://www.gaiadiscovery.com/latest-people/gede-and-ayu-kitchen-missionariest-people/gede-and-ayu-kitchen-missionaries)
• James Danandjaja  + (April 13, 1934 - October 21, 2013. James … April 13, 1934 - October 21, 2013.</br></br>James Danandjaja obtained a bachelor's degree in Anthropology in 1963 from the Faculty of Letters, University of Indonesia. He also obtained a doctorate in Psychological Anthropology from the University of Indonesia in 1977. For the writing of his scientific work he conducted research for approximately a year in the Trunyan area of Bali, and produced the book Culture of the Trunyan Village Farmers in Bali, which was published in 1980. James Danandjaja who whose real name is James Tan, with the nickname Jimmy, was appointed Professor of the University of Indonesia in 1983.</br></br>He was the first Indonesian folklorist, starting to pursue the science since he studied at the University of California, Berkeley, in 1969. His mentor at that time was Alan Dundes, a prominent folklorist from the United States. With a paper entitled An Annotated Bibliography of Javanese Folklore, which was later made into a book, he obtained a master's degree in folklore from the university in 1971.</br></br>Upon his return to Indonesia, in 1972, he taught the science at the Department of Anthropology, FISIP, University of Indonesia. According to him, folklore which is part of culture in the form of folk language, traditional expressions, puzzles, legends, fairy tales, jokes, folk songs, fine arts, etc., is closely related to the culture of a society. For this reason, he assigned his students to collect various folklores in the country. These writing materials were later made into a book with the title Indonesian Folklore (1984). In addition, he also wrote several other books related to folklore, such as Guidance on How to Collect Folklore for Archiving (1972), and Some Problems with Folklore (1980).), and Some Problems with Folklore (1980).)
• Aryadimas Ngurah Hendratno  + (Aryadimas Ngurah Hendratno was born in Den … Aryadimas Ngurah Hendratno was born in Denpasar on September 13, 1975. He has been writing poetry since he was a teenager, was once a part of Teater Angin (SMAN 1 Denpasar), and had contact with Sanggar Minum Kopi. A number of his poems have been published in Bali Post and in the anthologies Ensiklopedi Pejalan Sunyi (2015) and Klungkung: Tanah Tua, Tanah Cinta (2016). He is the "village head" of the Jatijagat Kampung Puisi (Jatijagat Poetry Village), teaches literature and theater at the Tahkta Theater at SMK Saraswati 1 in Denpasar, and manages the Rumah Belajar Seni (Art Study House) in Denpasar.lajar Seni (Art Study House) in Denpasar.)
• Learn Balinese with BASAbali Wiki  + (As far as I know this website provided Bal … As far as I know this website provided Balinese language online dictionary. My opinion about BASAbali Wiki is that this website could be very useful for those who want to learn Balinese or young generation in Bali that has mostly used Bahasa Indonesia since childhood, so that they even don’t know how to understand Balinese, mostly the main reason is that they think if we use Balinese language in conversation with friends it sounds plebeian and I think that’s very disappointing because as Balinese we should know our language, especially since Balinese have their own alpahabet called “Aksara Bali” which mean Balinese is a big language, it could be better if we understand types or level of Balinese language such as Alus Sor, Singgih, mider and the structure of Balinese language. And as a Balinese who want to learn more I also feel this website would be very useful because we can easily acces the word that we still confuse in Balinese language. And I also hope that people this website because I believe that there are many people need to know about and use it. </br>That’s all my opinion </br>Thank you use it. That’s all my opinion Thank you)
• Tolerance  + (At that time my family and I returned to m … At that time my family and I returned to my village to Buleleng. Buleleng is my village. My house in Buleleng is close to the beach. On the edge of the beach there are villas and there are Asimh people who live there. Torist has been in Bali for 5 years. The torist is friendly and fluent in Balinese. So at that time my cousin got married and he was invited by my uncle because he was familiar with my family and he also often traveled to my house. Surprised, I saw the torist, he was very diligent in helping me, even though he had no relationship with my family. There, I was stunned to see and I talked to my brother. "Torit is very tolerant, he is very diligent in helping with work even though he is not our family." In short, I have hope or hope that we will be tolerant of each other with people we know or people we don't know because tolerance is important in our life in society.rance is important in our life in society.)
• Bali Virtual Tour & Ngonthel Halal  + (Bali is a beautiful island. Affected by Co … Bali is a beautiful island. Affected by Covid-19, of course, it reduces the income of the population. Are there alternative steps forward? We provide alternative solutions, namely virtual tours and ngonthel halal and are presented in the form of questions and answers.</br></br>What is a virtual tour ?</br>Answer: Virtual tourism activities via the internet with media in the form of videos</br></br>The reason for choosing virtual tours ?</br>Answer: Not everyone can go to Bali for various reasons such as: unable to take leave, still working, wife is pregnant, being treated at the hospital, pandemic, visas and passports have expired or have not been issued.</br></br>Media used ?</br>Answer: Did you know Netflix, Viu? Site / website subscription to watch movies by streaming. Yes, we adopt a method like Netflix with internet and video media. People who will access will be charged a fee or "pay"</br></br>The mechanism of action ?</br>Answer: As explained above, subscribing is like watching a movie on Netflix. Of course the videos presented must be fun, informal and rigid, like vloggers and youtubers making video tours, mukbang, inviting having fun in an exciting and fun way</br></br>Is it Ngonthel Halal?</br>Answer: Sports activities while traveling around Bali by focusing on Muslims</br></br>Reasons for choosing ?</br>Answer: The relentless popularity of cycling during the pandemic. Complaints about halal food both in terms of the type of food, looking for Bali tourism that does not have an open genitalia element, are tired of the same kind of tourism, so traveling around Bali by bicycle can become a new tourist destination. Target : Local & Middle Eastern Muslims</br></br>Application in the field?</br>Answer: Participants are invited to tour by bicycle around Bali to several destinations with beautiful panoramas, serving halal food, prayer times can go to mosques. So this shows that Bali has good religious tolerance. shows that Bali has good religious tolerance.)
• Pesta Kesenian Daerah Wisata (PKDW)  + (Bali is an island of the gods which is wel … Bali is an island of the gods which is well known in foreign countries for its natural beauty. During a pandemic like this, many foreign and domestic tourists are reluctant to travel for fear of being exposed to the corona virus, especially since there is a new variant of the virus, namely Omicron. This pandemic has made everything difficult with the economy in a drastic decline. The main reason for the drastic decline in the economy is the decrease in the number of tourists coming to Bali. Therefore, it is necessary to plan to increase tourist visits to Bali and revive the economy</br></br>Carry out the performance of the Regional Arts Festival (PKDW). The main purpose of implementing PKDW is to revive the economy. The implementation of this party is well carried out in tourist areas with large and strategic areas with favorable weather conditions. The advantage that can be obtained if PKDW is implemented is to preserve, develop and promote Balinese arts. Almost the same as PKB but PKDW is carried out at tourist sites and the implementation time is every 6 months. The reason it is held every 6 months is because it coincides with the semester holidays. Another advantage is that tourists get vacation satisfaction at the same time, because apart from seeing the natural scenery, tourists also see Balinese art and Balinese souvenirs. Its just that the implementation of PKDW must find the right and strategic place as well as sudden changes in the weather.</br></br>Here the governmets role is really needed. However, in carrying out the governments plan so that it runs smoothly and according to expectations, the community has a very important and much needed role here. Therefore, lets cultivate a sense of concern among others and the level of self-awareness to raise the countrys economy for the sake of mutual survival.s economy for the sake of mutual survival.)
• PRAKARSA PEMIMPIN BALI 2024: NGUBAH LELUU DADOS PAICA  + (Bali is an island that is famous for its b … Bali is an island that is famous for its beautiful natural charm, customs, culture and traditions. Thus, Bali has become one of the islands that has become a tourist destination because it is rich in tourism areas, both religious tourism and recreational tourism. It is not surprising that many visitors come to enjoy the beautiful charm of the island of Bali.</br>Being a tourism destination island, of course it is a challenge for Bali to maintain environmental sustainability so that the level of tourism in Bali is maintained. As we know, Bali's biggest income comes from the tourism sector. However, in carrying out something there are certainly problems that can hinder the development process of the tourism area.</br>The waste problem is a serious problem, because it can reduce the image of Bali tourism, both for domestic and foreign visitors. The presence of waste in the tourism environment can be very worrying if it is not immediately addressed and managed well.</br>In the concept of conscious tourism, which we know as Sapta Pesona, it requires the role of the community as host of the destination in an effort to create a conducive environment and atmosphere. One of the important parts of Sapta Pesona is clean. When we can maintain the cleanliness of tourist destinations, the other six aspects can be achieved. Cleanliness will create safety, comfort and bring happy memories to visitors.</br>For this reason, the waste problem must be handled immediately by leaders in 2024. Bali 2024 leaders must have effective strategies to overcome the waste problem in Bali which is increasingly disturbing the community. Bali 2024 leaders are obliged to make breakthroughs in turning waste into blessings. Because it is impossible to avoid the existence of waste from people's lives, what Bali 2024 leaders need to do is a strategy or way to turn waste into blessings.ategy or way to turn waste into blessings.)
• PRAKARSA PEMIMPIN BALI 2024: NGUBAH LELUU DADOS PAICA  + (Bali is an island that is famous for its b … Bali is an island that is famous for its beautiful natural charm, customs, culture and traditions. Thus, Bali has become one of the islands that has become a tourist destination because it is rich in tourism areas, both religious tourism and recreational tourism. It is not surprising that many visitors come to enjoy the beautiful charm of the island of Bali.</br>Being a tourism destination island, of course it is a challenge for Bali to maintain environmental sustainability so that the level of tourism in Bali is maintained. As we know, Bali's biggest income comes from the tourism sector. However, in carrying out something there are certainly problems that can hinder the development process of the tourism area.</br>The waste problem is a serious problem, because it can reduce the image of Bali tourism, both for domestic and foreign visitors. The presence of waste in the tourism environment can be very worrying if it is not immediately addressed and managed well.</br>In the concept of conscious tourism, which we know as Sapta Pesona, it requires the role of the community as host of the destination in an effort to create a conducive environment and atmosphere. One of the important parts of Sapta Pesona is clean. When we can maintain the cleanliness of tourist destinations, the other six aspects can be achieved. Cleanliness will create safety, comfort and bring happy memories to visitors.</br>For this reason, the waste problem must be handled immediately by leaders in 2024. Bali 2024 leaders must have effective strategies to overcome the waste problem in Bali which is increasingly disturbing the community. Bali 2024 leaders are obliged to make breakthroughs in turning waste into blessings. Because it is impossible to avoid the existence of waste from people's lives, what Bali 2024 leaders need to do is a strategy or way to turn waste into blessings.ategy or way to turn waste into blessings.)
• Many Balinese work on cruise ships  + (Bali is famous for its tourism. There are … Bali is famous for its tourism. There are already many high schools specifically for tourism. One of the jobs that people are most interested in is working on cruise ships. There are many reasons for someone to work there. the first reason people want to work there is because of the high salary, it cannot be denied that the salary given while working there is very high. This can be a strong reason why many people want to work on cruise ships. The second is that we can travel around the world, if we work there we can travel to various places and get paid. The third is being able to meet strangers and we can socialize there. Well, there are not only good sides that are there, there are also bad sides that make people reluctant to work there, one of which is being far from home and family, many people are reluctant to work on ships. Cruise for this reason, surely everyone doesn't want to be separated from those closest to them. If you want to work wherever you are, as long as you are diligent and diligent, there will definitely be results.iligent, there will definitely be results.)
• Bali with beautiful nature  + (Bali is known as the Island of the Gods. B … Bali is known as the Island of the Gods. Because Bali is one of the main tourism destinations in Indonesia. Bali is also blessed with beautiful and varied nature, from beaches, rivers, seas, lakes, mountains and forests. Tourist objects in Bali has also become one of the centers of attention for visiting foreign tourists, for this reason, Bali has long been a paradise for foreign tourists.</br>No less important, Bali is synonymous with the existence of temples, so that Bali is nicknamed the "Island of a thousand temples".</br></br>I hope that on this island of Bali we can create quality tourism in the future and preserve our own culture so that culture remains as it is. culture so that culture remains as it is.)
• Bali and the hope  + (Bali is one of Indonesia's most beautiful … Bali is one of Indonesia's most beautiful and natural islands. The popularity of Hindu culture in Bali made it known as Pulau Dewata. As Balinese people we should keep the traditional culture in Bali and preserve it as best we can. It is because of the unique culture of Bali that causes foreign tourists to vacation to Bali. So tourism in Bali is also increasing. However, problems often occur such as traffic jams and garbage problems. For this reason I hope that the government and traffic monitors will pay more attention to traffic conditions so that traffic jams can be overcome. As well as for tourists and people who visit tourist attractions to keep the environment clean by throwing garbage in place. I hope that Bali will still have the natural beauty and be preserved so that Bali will remain one of the favorite destinations for foreign tourists to take a vacationns for foreign tourists to take a vacation)
• Ngelestariang lingkungan nganggen botol plastik  + (Bali is one of the tourist destinations th … Bali is one of the tourist destinations that famous with natural beauty in the world. We as the next generation have a responsibility to participate in preserving the nature.</br>Usually the first thing that we think about to protect nature is plant trees or throw garbage in its place. In fact, by re-using or re-cycling our waste, we also preserve nature.</br>Turning used plastic bottles into plant pots is one way that we can do. Beside helps to protect the environment, it’s also makes us not spends money to buy pots.</br>Friends, always remember to preserve our environment. Thank you.er to preserve our environment. Thank you.)
• Bali Tourism Not Politics  + (Bali is the Island of the Gods which is fa … Bali is the Island of the Gods which is famous for its natural beauty, cultural beauty, beautiful customs and special food and Bali has a very high spirit of tolerance. Bali is also often called the island of a thousand temples which is the reason tourists want to go to Bali. Bali's beautiful beaches and culture with thick customs are the main attraction for tourists to visit Bali. But unfortunately, our Bali is not perfect in terms of its natural beauty. Bali is still losing, losing in terms of its political natural beauty. Which is where very large banners and billboards cover the beauty of Bali. Tourists as visitors will not like to see billboards and banners along the road, for tourists they think it is very dirty. Because along the way we can see the beautiful scenery of Bali, but now Bali is covered by those from politics, namely billboards and political banners. So remember that our Bali is an Island of the Gods, an Island of a thousand temples, an Island of tourism, not an Island of politics. Remember Bali doesn't sell politics, Bali sells art. Forward Bali, victorious Bali. sells art. Forward Bali, victorious Bali.)