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• Nyoman Butur Suantara  + (Landscape photography is very satisfying w … Landscape photography is very satisfying when you explore this genre. Especially if you are lucky enough to live in a place that has amazing destinations all within a short distance and rich in diversity as we have. This image was taken in Yeh Malet in Karangasem regency Bali. Pantai Yeh Malet is actually best known for its Wates Beach, for its sandy black sand that reflects light. Often through popularity, one aspect of a region gets exposure and we often don't see the many layers of beauty that are present every day. Like in this image. Not the sunny popular black sand beach, but in the evening, life of the village still goes on.vening, life of the village still goes on.)
• Dewi Dian Reich  + (Nungkalik International Art Festival Art F … Nungkalik International Art Festival</br>Art Festival debuting in 2023 by Institute of Art Denpasar, founded on themes discussed by Dr. Sujana Suklu. Featuring Artists Bambang Herras, Agung Gunawan, Martina Feirtag, Diwarupa, Made Kaek, Putu Bonuz Sudiana, Robert Martin, Galung Wiratmaja, Steve Bolton, Dewi Dian Reich, Ketut Sumerjana and Dr. Mas Ruscitadewi.</br>Nungkalik International Art Festival. An introduction to a contemporary art festival debuting this year in Bali that is in its early stages already showing signs of extraordinary possibilities. In nature Nungkalik is bold, experimental and conceptual. Centred on the idea offered by artist and lecturer Dr. Sujana Suklu that artists on a daily basis are subconsciously learning a universal intuitiveness whilst responding to the world throughout their lives.</br></br>That is to say, whether through their movements, musical or visual expressions as well as verbal interactions. Their bodies and memories compile experiences that keep developing and transforming with each day that passes. Their sensitivity to phenomena that occurs outside of themselves inevitably gets stronger and becomes a substantive sensitivity in their respective internal worlds. We may say this transforms into an instinctive sensitivity that does not require conscious deliberation when external elements circle close to their internal world.</br></br>The Premise of Nungkalik Art Festival</br></br>Artists are invited to participate in this experimental study, from different backgrounds, geographic locations as well as varying creative disciplines. Throughout the festival, community members with specialty areas in sociology, psychology, education and music were also invited to participate and observe. The global theme for the Nungkalik International Art Festival 2023 was introduced as ‘Exploring Archetypes’ with specific explorations on associated concepts during each workshop day.</br></br>Participating artists were involved in these workshops together with members of the Fine Arts and Performance Arts student body. Our day beginning with a discussion circle. Together exchanging thoughts and ideas about the proposed themes and the significance of the chosen mediums. Within these discussions, it is interesting how very naturally, abstract ideas and concepts were articulated by all artists.</br></br>full article.. https://sawidji.com/2023/07/27/nungkalik-festival-art-and-its-sacred-paradox/kalik-festival-art-and-its-sacred-paradox/)
• A.A. Made Putra Arsana  + (One of the modern Balinese literary works … One of the modern Balinese literary works that has developed in the community is the short story Luh Ayu Manik Mas Ngalahang Legu Poléng. The short story contains the value of good education to shape the character of the community. Likewise, the contents of the short story are very closely related to people's lives today. So that it is more interesting to know the values of the short stories, especially the character values of the characters. Based on the thoughts above, this study will discuss the problem, namely the value of character education contained in the short story of Luh Ayu Manik Mas Ngalahang Legu Poléng.f Luh Ayu Manik Mas Ngalahang Legu Poléng.)
• Dewi Dian Reich  + (One of the things at the centre of Balines … One of the things at the centre of Balinese culture, perhaps can be said to be the certainty of one’s relationship to Nature. If art is integral to our culture, how much more is Nature.</br></br>The White Wood of Bayan (Pohon Kayu Putih Bayan) is an ancient tree. One of the many ancient trees that is on Sacred ground and is in itself part of a Temple, Pura Babakan. Being hundreds of years old, it certainly did not appear suddenly out of nowhere. However, it has begun to attract far more attention in these recent months. Perhaps due to the growing awareness on social media, there are certainly more visitors there in the past year.</br></br>The Beauty of the White Wood of Bayan, these photographs centre on the presence of its Temple. That when we look upon this Tree, it is not separate from looking upon that which is Sacred.te from looking upon that which is Sacred.)
• Aldwin Yusgiantoro  +
• Dewi Dian Reich  + (Reflecting on the nature of Time and our r … Reflecting on the nature of Time and our relationship to the Earth and Spirit through a conceptual journey. Ref exhibition guide </br></br>https://sawidji.com/2022/12/13/kala-and-the-guardians-a-timely-reflection/</br></br>Kala is known to come with many definitions. Among these are time, death, performing arts, and specific deities in Hinduism, Javanese and Balinese mythologies. Yet, despite the many origin stories, there is a connecting thread that Kala is all of those manifestations. However, in this Collaboration, Kala is our canvas. Here Kala is defined specifically through her manifestation as TIME. </br></br>Kala is experienced through the conceptual portraits of the two Guardians representing our Earthly World and our Spiritual World. The portraits of the Guardians of Earth and Spirit were created through a combination of installations and the photography of Dewi Dian and ManButur Suantara. The paintings of Nyoman Handi respond to the questions and reflections raised by the Guardian portraits.lections raised by the Guardian portraits.)
• Dewi Dian Reich  + (Sawidji Comes Home is a celebration of our … Sawidji Comes Home is a celebration of our new home in the historic part of Plawa Denpasar, with a collection of works from our artist collective. A wonderful exposition of dynamic, multi-disciplinary creative voices. </br></br>We celebrate each individual passion, fixation, obsession, compulsion of each artist that is at the core of their creative drive. What compels them to create in this pure and selfless way. As artists we go through such a personal and intimate process, often filled with some form of struggle in the self, only to give birth to the physical form of an idea. This in itself is a wonder, a powerful seed that nourishes arts’ growth.</br></br>Exhibition Catalogue </br></br>https://sawidji.com/portfolio/sawidji-comes-home//sawidji.com/portfolio/sawidji-comes-home/)
• Dewi Dian Reich  + (Social and Culture represented to discuss … Social and Culture represented to discuss some of the issues that are affecting the longevity and authenticity of traditional practices in Bali today. Issues such as commercialisation of art and culture and its potential impacts on generations from today.</br></br>"It is not the lack of change that we should admire here. For there is definitely change. it would be foolish to deny that. It is the effort and the collective commitment that has survived even to this degree the ravaging changes that time and progress has brought everywhere else. I admire the fact that there is evidence that change may come, but there is still choice."ange may come, but there is still choice.")
• Ni Putu Tirka Widanti  + (The diversity of the language of the envir … The diversity of the language of the environment of Green School Bali needs to be studied, especially the treasury of green ecolexicon as they reflect strategical effort to preserve local wisdom of Balinese culture. This study used a descriptive qualitative approach. Data was obtained from the Green School Bali educational environment by using observation and interviews method. The results shown that the grammatical category of the ‘green’ lexicon is in the form of nouns and verbs that are in the form of basic words and phrases and the ‘green’ syntactic construction at Green School Bali contains these natural lexicons, including noun phrases such as bambu hitam ‘black bamboo’, and verb phrases such as bermain Jegog ‘play Jegog’ while the social praxis dimension of the green ecolexicon namely the ideological dimension, the sociological dimension and the biological dimension. This research also uniquely contributes to preserving the concept of local wisdom in real action in the context of international education in Bali.ontext of international education in Bali.)
• Putu Sucita Yanthy  + (The number of Balinese women taking touris … The number of Balinese women taking tourism education at various levels appears to be increasing in line with the development of tourism education institutions and the tourism industry in Bali. This article analyzes the motivation of Balinese women in pursuing higher education in tourism, starting from the Bachelor level to the doctoral program. By applying a qualitative method, this article collects data through interviews with 30 Balinese women who have taken tourism education at various levels. The results show that Balinese women are motivated to take tourism education</br>for several reasons, including the motivation to get a job in the tourism sector, they have families who work in the tourism sector, and they live in Bali which has more job opportunities in the tourism sector. By taking tourism education, Balinese women who were informants in this study proved that they had found better jobs and career opportunities in the tourism industry. Their experiences have also become a source of inspiration for other Balinese women to take the same career path.linese women to take the same career path.)
• Desak Ayu Putu Suciati  + (The purpose of this study is to design a f … The purpose of this study is to design a form of optimizing the role of the pecalang in helping to organize common order and public order organized by the Covid-19 Pandemic Prevention Task Force Team. This study is descriptive-qualitative writing which uses and collects more information by exploring every social phenomenon that occurs. The division of authority for the administration of common order and public order held by the Bali Provincial Civil Service Police Unit in an effort to prevent the Covid-19 pandemic experienced many obstacles. It is necessary to optimize the role of the pecalang in helping to organize common order and public order organized by the Covid-19 Pandemic Prevention Task Force Team.id-19 Pandemic Prevention Task Force Team.)
• Ni Luh Sutjiati Beratha  + (This article analyses the phenomena of … This article analyses the phenomena of language related to the prescription of beauty from Balinese Traditional Manuscript (Lontar) entitled Lontar Indrani Sastra (Indrani Sastra Manuscript). The beauty of recipe in the Lontar Indrani Sastra is an ancestry cultural inheritance which has been already merged with the lives of the Balinese. Bali is famous because has conserved traditional manuscripts that become cultural heritage of the island. This article does not only apply the method of library research and field research but also descriptive qualitative method. The theory that is used to analyze the data is the theory of language functions. The function of beauty ecolexicon in the Lontar Indrani Sastracan be divided into three functions, namely (1) informative function, (2) interactive function, and (3) imaginative function. The informative function relates to various information about beauty prescription plants, body parts that can be treated and methods of treatment. Interactive functions are found through dialogue between Dewi Saci and Rukmini. Similarly, imaginative functions are discovered through the use of metaphors such as crocodile’s calla (panggal buaya) and the Arjuna ecolexicons.panggal buaya) and the Arjuna ecolexicons.)
• Mark Hobart  + (This article aims to bring the intellectua … This article aims to bring the intellectual rigour of Cultural Studies to Balinese ideas about culture which confuse culture with ideology. Cultural Studies is not the study of culture, but its critique which deconstructs culture as misrepresenting actuality as an Imaginary convenient to regimes of power. The New Order articulated ‘kebudayaan’ to create a submissive populace happy to embrace global tourism. Culture is no longer how how people do things but marketable commodities posturing as ‘ancient tradition’. Bali as paradise is a cliché. The island now fulfils Madame Suharto’s dream of Disneyland. The capitalist fantasy of endless cost-free growth bears no resemblance to the sophisticated Balinese cosmology of Kali-Yuga, which ends in cataclysmic dissolution; or to popular ideas of the world as ceaseless transforming. Although kebudayaan dismisses ordinary people as stupid masses, they often escape the ideological straitjacket of kebudayaan by just getting on with culture as everyday life. getting on with culture as everyday life.)
• Putu Eka Guna Yasa  + (Translating is one of the pinnacles … Translating is one of the pinnacles of IGB Sugriwa's skills which are now increasingly rare. Therefore, this article aimsto discuss two things,: (1) tracing the translated works produced by IGB Sugriwa; (2) the translation model developed by IGB Sugriwa in the Kakawin Rāmatantra. To achieve this goal, this article uses the methods of providing data, analyzing data, and presenting the results of the analysis. At the stage of providing data, observation and interview methods were used to find the translated works of IGB Sugriwa. Furthermore, IGB Sugriwa's translations were classified according to genre and Kakawin Rāmatantra was analyzed to find the translation model developed by IGB Sugriwa. Based on this analysis, this article finds that IGB Sugriwa has translated 13 literary works. Translated works are included in literature such as Kakawin Dharma Shunya (1954), Kakawin Sutasoma (1956), Bharata Yuddha (1958), Kakawin Ramayana (1960), Kakawin Arjuna Wiwaha (1961) and Kakawin Rāmatantra(t.t). Meanwhile, the translation works included in the speech are Sang Hyang Kamahayanikan (1957) and Sarasamuccaya (1967). Meanwhile, IGB Sugriwa was also quite productive in translating texts related to traditional Balinese historiography across clans such as the Babad Pasek (1957), Babad Blahbatuh (1958), Dwijendra Tattwa (1967), Babad Pasek Kayu Selem (tt), and the Pande Inscription. (tt). The translation model developed by IGB Sugriwa in the Kakawin Rāmatantrais formulated into four stages, namely (1) kosabasa (vocabulary); (2) kretabasa(grammar), (3) bhasita paribhasa (language style); and bhasita mandala (cultural context).); and bhasita mandala (cultural context).)
• I Made Suastra  + (Undang-Undang dasar 1945 Pasal 32 aya … Undang-Undang dasar 1945 Pasal 32 ayat 2 and Undang-Undang Nomor 32 Tahun 2004 provide a vast opportunity for the local community to manage their capacity in every aspect of their life. In the application of the otonomy, local community has an opportunity to preserve their social cultural values as their identity of their community. Balinese can basically be recognised by their language (phonic form) they use as well as their traditions (physical forms) they practice. These aspects are commonly used as a symbol of identity by the Balinese ethnic community nationally and internationally. This symbol needs to be maintained for the shake of the Balinese community preservation. The purpose of this study is to explain the position of Balinese Language in the global era as a symbol of identity for the community. The study focuses on the description of the Balinese identity related to the Balinese language. One function of language is as symbol of identity. Balinese has this role for its community and it is also a pride. This condition can be proven by the development of the use of the Balinese language in time. At the present time Balinese has their function as a mean for expressing their cultural aspects. However, in this global era, the Balinese language develops naturally in line with the need of the user. The internal as well as the external problems of the language use in Balinese community need to be identified in order to find out the solution for maintaining the language, in turn the language itself is still continually function as a symbol of Balinese community.unction as a symbol of Balinese community.)
• Dewi Dian Reich  + (World Without Sound is an Anthology of art … World Without Sound is an Anthology of art and thought.With contributions from Putu Suasta, Warih Wisatsana, Made Kaek, Putu Bonuz, Ellen Lane, Made Artawa, Wayan Suastama, Agung Putra, Made Delo Budiarta, Nyoman Handi, Tjandra Hutama, Made Somadita, David Hopkins, Kadek Sudiasa, ManButur Suantara, Sun Rong Fang, Wayan Juniari, Dewi Dian Reich.</br></br>Sawidji has collated together a series of artworks and poetry for this special presentation. It is an anthology. This theme of ‘World Without Sound’ was inspired by the wonderful experiences we had in working together with the Sushrusa Deaf School Community. Not simply about raising awareness about those with differences in our community and sign language. Perhaps even more remarkable, is experiencing the reality of the nature of inclusivity. As a powerful value that nurtures a growing collective empathy.</br></br>Most art exhibitions have one primary objective and that is to feature and highlight artworks and artists. This is by no means very different. However, perhaps the spirit of which this was put together is a little different. Somewhat experimental that it could not be foreseen what will be the result. We invited those in our community, whether it be social, digital or local to participate in a contemplation. To contemplate the concept of ‘Dunia Tanpa Suara’. This translates to ‘World Without Sound’ (though may also be translated to ‘World without voice’). To contribute to this reflection using a creative piece.</br></br>The Spirit of Inclusivity</br></br>Our invitation was done in the spirit of inclusivity. It was not only artists but also other members of the community who felt reflections on this theme were worthwhile. With the time and space, we have available we can only say a heartfelt thank you to everyone. Those whose works and contributions made it possible for us to present this anthology. One for all of our community to enjoy. It is so so very rich with insight and learning. One that is deep with life lessons from all directions of life experiences.</br></br>With such personal freedom and intimacy, everyone came to their private message about their imagine ‘World Without Sound’. For each realisation in every individual, it is a lesson of wisdom, empathy or simply of beauty that we can partake in. </br>ur heartfelt gratitude to everyone who opened themselves and generously shared their time, creations and thoughts with us. We are honoured by the generosity of the talented artists and writers who have come together in this anthology of art and thought, living the very spirit of inclusivity.</br></br>Online Exhibition available for viewing at Sawidji.com https://sawidji.com/2023/04/16/world-without-sound-an-anthology/23/04/16/world-without-sound-an-anthology/)
• Putu Eka Guna Yasa  + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
• Putu Eka Guna Yasa  + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
• Putu Eka Guna Yasa  + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
• Putu Eka Guna Yasa  + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
• Putu Eka Guna Yasa  + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
• Putu Eka Guna Yasa  + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
• Putu Eka Guna Yasa  + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
• I Wayan Subudi Yadnyana  + (‘The Book of Infinite Knowledge’ 2020, exh … ‘The Book of Infinite Knowledge’ 2020, exhibited in ‘Raga Rhythm’ by Wildskids late in 2020 at Titik Dua in Mas, pays homage to Saraswati the Balinese Goddess of Knowledge, Music, Art and Learning. “The process of creating such layered works involves a dedicated focus. Working with cardboard cutting individual pieces attached to board he constructs 3-dimensional works of up to 10 layers. A single work of one-meter square may require up to one week.” Swoofone’s compositions give the impression of dimensional reliefs. One of the Balinese Classical paintings’ less-identified influences is the narrative reliefs of the 9th- century Central Javanese Buddhists temple, the Borobudur. Javanese Buddhists temple, the Borobudur.)
• Nyoman Butur Suantara  + (“Magic is seeing wonder in nature's every … “Magic is seeing wonder in nature's every little thing, seeing how wonderful the fireflies are and how magical are the dragonflies.” </br>― Ama H.Vanniarachchy</br>Photography by ManButur Suantara that explores Macro photography, specifically only using natural light in natural environments with no staging.</br></br>The dictionary definition of Macro Photography is simply taking a picture extremely close up, bigger than life-size. </br></br>Macro photography is all about showcasing a subject larger than it is in real life — an extreme close-up of something small. A full-frame insect in a five-by-seven-inch photo and a four-inch product shot of a cornflake go well above life-size: both are examples of macro photography. - both are examples of macro photography. -)

• Aldwin Yusgiantoro  + (Private sector development in Southeast As … Private sector development in Southeast Asia is fundamental to boosting growth and development in many countries in the ASEAN region. The influx of startups, as well as small and medium enterprises (SMEs) in the regions, have attracted the attention of numerous global investors and venture capitalists. It will help both developing and less developed countries advance and ultimately reduce poverty, increase employment, and have various positive multiplier effects in the countries. However, there are still many SMEs that are unable to thrive and grow due to their inability to access financing from banks. This commentary focuses on the underlying reasons why some SMEs lack access to finance, specifically in Vietnam. This research Identified three underlying reasons why there is a lack of access to finance and credits in Vietnam; nepotism in the banking industry, the role of gender, and unfriendly business climate for SMEs. and unfriendly business climate for SMEs.)

• Gede Suanda  + ('Spiritual Healing’ 2022 is Sayur’s most … 'Spiritual Healing’ 2022 is Sayur’s most recent painting and a light-hearted response to Bali as an international spiritual tourist mecca. Beautiful soft colours and visual rhythms highlight the composition, an interesting fusion of creative influences inherited from his culture and others inspired by other painters. First, the soothing blue sky makes way for graceful curving lines of brown and orange clouds. Next, our eyes are drawn to the conical shape of the volcanic peak and immediately follow the gentle rhythm of the smoke wafting from the crater. Sayur’s description of the smoke is a modification of the cloud motif taken from the Classical Balinese style.</br>Harmonic colouration catches the eye. Two white herons on both sides of the smoke create a dynamic sense of movement, emphasising the bird’s motion of flight—our eye dances in tune, one-two-three, observing the icons. As we continue down the composition, the green foliage of the forest captures our attention. The visual rhythm changes again as our eye circumnavigates the leaves. The vertical lines of the tree allow the eye to sweep up and down the elongated trunks. To the right, the artist entertains us with other information, tall palms, curvaceous rice terraces, and round coconuts. He depicts a kite trapped in a tree as a simple, humorous distraction.</br></br>The focal point of the composition is the three figures. A Balinese woman carries an offering upon her head. A pale-skinned female tourist with her palms raised and water pouring onto her head participates in a Balinese cleansing ritual called melukat. A monkey upon a brown rock watches on with a grin of delight as he pushes a toy boat into the spring. The swirling curves on the stone are the artist’s modification of a classical icon. The visual rhythms change as the eye flows around the arcs of the figures, each with differing dimensions, colouration and feeling. Finally, we follow the shape of the skimpy blue G-string as it disappears into the tourists behind.as it disappears into the tourists behind.)
• Aditya Parama Setiaboedi  + (About this work Aditya explains In NOW Bal … About this work Aditya explains In NOW Bali magazine: “I have no manual skills of drawing and painting, my creativity developed within the design field. I became interested in graphic design at school as the technology I learned easily, and I perceived this as a career opportunity,” Aditya told me. “When the pandemic began, I was unsure what to do. I began following a collective of artists from Jakarta, IZZY, on the Internet who streamed information about 3-dimensional digital art. This offered me new insights, triggering my imagination to the possibility of fresh creative expressions. I became dedicated to understanding 3D animation from free open-source platforms.”</br>“Digital art rarely enters the normal art world and is mostly focused upon design and advertising. NFTs exist in an exciting and rapidly evolving decentralised and democratic art world, which eliminates the middleman. Anybody can become an artist or collector,” Aditya explained. “I have learned by watching online and joining Indonesian and international communities. I, therefore, do not need to enter the conventional Bali and Indonesian art worlds.”</br>“I have minted (the process of uploading digital works onto blockchain platforms for sale) over fifteen NFTs and sold more than 10 works. I have sold one exclusive NFT on the ETH platform for 0.1ETH the equivalent of USD $300 and am making series of ten works. More than five of my series have sold out at the price of 3 Tezos, a cryptocurrency valued at about $5 for 1 Tezos. In addition, I have sold two NFTs on the secondary market and received royalties. The royalty mechanism is the advantage of NFTs over conventional art which exists in a domain rife with dishonest practices and at the highest tier is flushed with fake work.”</br>“Many see NFTs as simply a cash grab. The technology is in its infancy, is unregulated, yet allows opportunities to create new artistic expressions and earn money.“</br> “When you talk to a human in 2035, you’ll be talking to someone that’s a combination of biological and non-biological intelligence,” says American futurist and Google’s Director of Engineering Ray Kurzweil. “I have set the date 2045 for the ‘Singularity’ which is when we will multiply our effective intelligence a billion fold by merging with the intelligence we have created.”</br>“I seek to create unique NFTs with references to Bali to provide an alternative for the crypto art market,” he stated. “I believe what is important is artists and creatives learning about new technologies and the growing array of opportunities available to them. Such as new expressive genres, reaching new audiences and securing alternative income streams.” and securing alternative income streams.”)
• Putu Ayu Sani Utami  + (Aim: Stress in the elderly are feeling dep … Aim: Stress in the elderly are feeling depressed, anxious, and tense caused by stressors such as physical, mental, and social changes that affects their emotional status and cause diseases. Stress management in elderly can be done by reminiscence therapy that use memory of the past to maintain elderly’s mental health. This study aims to determine the effect of reminiscence therapy to stress on elderly Method: The design of this research was quasi-experimental using nonequivalent control group design. The samples consisted of 34 elderly were selected by purposive sampling, divided into 17 elderly in treatment group and 17 elderly in control group, and data collection was done using the Stress Assessment Questionnaire (SAQ). Result: Test analysis result of Independent Sample T-Test with a significance level of 95% was concluded there are significant effect of reminiscence therapy to stress in the elderly. Conclusion: Activities by recalled memories of the past can help elderly people to interact and express their feeling to family and friends so that the elderly are able to adapt to stress.t the elderly are able to adapt to stress.)
• Arie Smit  + (Article from Bali Post newspaper May 1980 … Article from Bali Post newspaper May 1980</br></br>Bali Post English Edition, May 1980</br>Conversation with Arie Smit</br>The name is synonymous for many with the 'Young Artist' movement of Penestanan, Ubud- a name that inevitably crops up when one studies the modern evolution of Balinese art. Some people feel that the introduction of the 'Young Artist' movement has only led to a crass form of art whose only merit is commercial, others feel that it is too 'un Balinese'.</br>Arie Smit himself doesn't elaborate much on his role in initiating this new school of art, he considers his role as that of a mere 'suggester'. He implies that he never taught the 'Young Artist's any fundamental concepts or techniques, insisting that he works not on "putting in but bringing out". He claims that he is more interested in the mental states and environment that influence art, the people and the culture that characterise it.</br>His romance with the imagery of Bali is on-going: "Bali is a bulwark of images" and though he admits that this source of inspiration is eventually limited, he cannot shake his passion for it. Perhaps this is a direct result of his philosophy of art, a philosophy that has been tested and refined over the many years that he has spent in Indonesia (he became an Indonesian citizen in 1951).</br>His fascination with Balinese imagery is linked with his interest in 'Child Art'. Fittingly his contribution to Bali has been to provide a vehicle for Naive Art in the ‘Young Artist’ movement.</br>To explain the beginnings and motives for this he takes us back to the Fifties when he was in Bandung. At the time he was working for the Publishing house "Masa Baru” as a lithographer. One of his colleagues was the Dutch born Rina Marsman, a remarkable woman who had once tutored Queen Wilhelmina’s children in exile during WWII.</br>Her extensive knowledge in the field of education led involvement in the area in Indonesia, a country she had learned to love. Rina Marsman had the foresight to include a formidable library of books on the subject amongst the possessions she brought to Indonesia. Arie Smit took full advantage of this opportunity to plunge into books on education and “child art”.</br>Prompted by her, he began working part time teaching members of the Yayasan Beribu organization (made up of influential society women of the time) in education techniques. The Yayasan Beribu was chaired by Mrs. Mary Effendy Saleh, whose husband was in charge of Indonesia's railroads at the time. Rina Marsman was bringing the latest education techniques to this group who in turn were to teach children.</br>In the spare time that he had Arie Smit managed to paint. Out of this set of circumstances grew the first real momentum towards the 'Young Artists'. At one point he was teaching lithography to Bandung's ITB (Technical Institute) students - and through this decided to mount an exhibition there. Via his contact with Mrs. Saleh he managed to distribute art materials to the children of railway workers. "These children drew what they saw around them, and the realities that they lived with. Children can only draw what they have experienced, their own mental environment - and it's spontaneous, non-intellectual...". It fascinated him to see the readiness with which children drew their world, the power of their observation - "there were locomotives, carriages, derailments (it was during the Darul Islam terrorist times), and we noticed that although fundamentally the same there were slight differences between the girls and the boys: the girls would sometimes put in a nurse!" The exhibition was a success. </br>Again when staying near Puncak on the Jakarta-Bandung route he would notice how the village children had 'spontaneously' acquired a catalogue-like knowledge of motor vehicle makes and specifications. He set about experimenting, providing these children with art materials. Once more there was a spontaneous outpouring of the details of their environment, the same overwhelming power of observation. He undertook these experiments wherever he went in Indonesia.</br>When he first arrived in Ball in 1956 he followed the same pattern. It proved to be a surprise: "It just all came pouring out. As there were no cars, ships, etc. then, they naturally drew what was in their environment. But the quality of their imagination was fantastic, the scope of the Balinese children was tremendous: dances, witches, cremations...” He noticed an emphasis on religion and ceremony, a factor he attributed to the wealth of the culture. But for him the most surprising aspect of these drawings was not the subject matter: “They did not depict objects from their immediate environment, or what was static in their surroundings, they almost always drew or painted what was about to happen. They were always anticipating events to come, such as the cremation next week or the dance the following night..” In all his experiments this 'anticipation' was unique to Bali: the tendency of children's imagination to project into the future.</br>It was precisely this type of exotic material that was to prove of interest to foreigners in Indonesia. In 1960 Arie Smit chose Penestanan as the site for his major ‘experiment’, the ‘Young Artist’ movement. It was a poor village virtually owned by neighbouring landowners who used their labor. Arie Smit began by bartering their first paintings for art materials from foreigners working in Jakarta. “During Sukarno's time art supplies were almost impossible to obtain - this source of supplies was vital to the movement". It grew and grew, and other intermediaries began to play a more active role in the marketing (Jimmy Pandy was one who in Arie's memory was most helpful). On the other hand others had to be convinced and won over - yet when these dealers finally started marketing Young Artists they were surprised to see it become one of the fastest selling items</br>An exhibition in Jakarta several weeks after Gunung Agung erupted was a roaring success, partly because Bali was the focus of public sympathy at the time. For Arie Smit it was a relief to get away from the marketing once things were rolling along by themselves - he never relished the role of salesman. "But it was mainly the diligence and industriousness of these painters that kept me going, I felt that I couldn't let them down.”</br>Despite the fact that the movement has now proliferated tremendously ("Nowadays even an expert would have a hard time wading through all these paintings”) he feels that the best of the Young Artist remain the same 40 that he started off - though they are hardly young anymore.</br>Getting back to 'child art’ Arie states again that all naive painting is a spontaneous, symbolic rendering of the ‘environment’ of the painter. He points out that the Balinese have a tremendous power or vision, and feels that they have no need to work from models or to do life sketches. Arie feels that human beings were never the all-important center of the Balinese Cosmos, and says that the renaissance emphasis on man as the center of the Universe is completely foreign to the Balinese. Thus, at least for Arie Smit, the Young Artist is closer to real Balinese art than the art of those influenced by Bonnet: According to him the 'real Balinese' art is embodied in the paintings that came out of Batuan during the Thirties - the depiction of the various different worlds, the symbolic style. Young Artists, by painting from their own imagination in an essentially symbolic style are closer to this Balinese concept of art than any other ‘modern movement’.</br>One of the important traits of ‘child art’ is the exemption of the intellectualization process - Arie worked mainly with young people under the age of 17, the age around which he says "comes an intellectual crisis. The intellect interferes with the direct expression of the imagination, sometimes to the point where hesitation blocks the expression completely." How did the children of the 60's, the young Artists of Penestanan, cope with growing up?</br>He admits that they ran into a couple of crisis points, where ‘intellectual’ concepts began to interfere with their free expression.</br>Despite his principle of non-interference he finally was compelled to step in: "I watched if for some time, letting it go. But at a certain point I had to re-suggest, to re-affirm their confidence in their own power of vision”.</br>He is obsessed with the ‘power of Balinese vision' - the ability to absorb details, the power of the imagination to recall.</br>When one questions the apparent stagnation of Balinese art, especially that of the Young Artists he admits that there is a need for new directions, not only now but continually. "But total freedom of expression is not an Asian trait. Asians, including Balinese, are more concerned with achieving perfection through repetition."</br>He thinks that this maybe the reason that so many Western Art. movements run dry so quickly, because of the tremendous pressure to create something new all the time, every time! To the oriental there is no such stigma attached to repetition. </br>His work with the Balinese has been one of careful balance between new inspiration and tradition, it was never easy. And not always welcome: once when residing in Ubud at Puri Kaleran, he tried to initiate some girls into painting. "It was back in the Fifties. Some of the girls were quite talented - but unfortunately the banjar community objected." Not only was painting not a woman's role, but for these young maidens to be working in the house of a bachelor was out of the question!</br>Rio Helmiachelor was out of the question! Rio Helmi)
• Alexander R. Cuthbert  + (Bali is a global tourist destination havin … Bali is a global tourist destination having had the added descriptor paradise for most of the last century. But it is now transparent to most visitors that serious problems prevail across the entire local economy and built environment. The incoherence of development is largely to blame. Given the failure to generate a new Balinese architecture that matches the integrity of the old, Balinese urbanists are now caught in a Gordian knot where a unified traditional architecture remains, yet a new architecture is not forthcoming. How to untie the knot is the question. Architecture suffered major discontinuity when traditional building was largely abandoned in the face of progressive urbanization. The problem remains unresolved. The following paper represents a preliminary attempt to expose key issues. It suggests methods of moving forward. But a new momentum demands a new philosophy in the realm of urban theory, the foundation of all professional activity. No significant progress can take place without it. My attention is therefore directed to answering the question how can the transition be made from traditional Balinese architecture emerging from the dynamics of feudalism, to its conscious translation and accommodation within post-modernity, informational capitalism, and globalization? While the problem needs tackled at several levels – education, policy, strategy and enforcement, I suggest in conclusion that these should be framed within generic principles derived from vernacular transformations, a culture of critical Balinese regionalism, and an adaptation of the New Urbanist lexicon to a tropical environment.rbanist lexicon to a tropical environment.)
• NDM Santi Diwyarthi  + (Bali, including museums, is involved in th … Bali, including museums, is involved in the millennial 4.0 tourism industry. Museum management can no longer be inclusive without borderless and out of the box analysis and application. Museums are one of the means of communication in today's millennial society which must be studied for their benefits in the tourism industry. The research method is quantitative and qualitative, using research instruments in the form of questionnaires, interviews, documentation studies, with the population of museum visitors in Bali. The results showed that most of the guests who visited the museum were people who had studied information related to the museum beforehand, namely 52 percent, 52 percent would write their travel stories to visit the museum, 80 percent would promote the existence of the museum through the internet, 92 percent knew the history of the museum to be visited. and founders, 60 percent will re-promote to others. 40 percent will return to visit the same museum.cent will return to visit the same museum.)
• NDM Santi Diwyarthi  + (Bali, including museums, is involved in th … Bali, including museums, is involved in the millennial era tourism industry. Museum management can no longer be inclusive without borderless and out of the box analysis and application. The museum is one of the means of communication in the middle of millennial society today that must be examined its benefits in the tourism industry. The research method is qualitative, using research instruments in the form of questionnaires, interviews, documentation studies, with a population of museum visitors in Bali. The results showed that most of the visitors who visited the museum were people who had studied museum related</br>information first, namely 52 percent, 52 percent would write the story of their trip to visit the museum, 80 percent would promote the existence of the museum through the internet, 92 percent knew the museum's history that would visited and its</br>founder, 60 percent will promote back to others. 40 percent will return to visit the same museum.cent will return to visit the same museum.)
• Ni Luh Sutjiati Beratha  + (Balinese people who live at Ubud Village i … Balinese people who live at Ubud Village in Gianyar Regency are bilingual because </br>they have mastered more than one language. In the environment of Balinese language, there also live other languages, e.g. the national language, i.e. Indonesian language, foreign languages such as English, Japanese, Mandarin, Korea, etc. Balinese people nowadays have difficulties in using Balinese language so they use mixed languages, namely Balinese language with Indonesian language, with English language, with Mandarin or Korean Language, etc. This phenomenon might indicate that Balinese language appears to be marginalized. This paper aims at investigating what languages are used in Balinese language environment, since by tradition, ecological locality is very important to be explained because it has strong relation to the sustainability of the use of Balinese language, and natural environment with its diversity. Sociocultural approach, i.e. using the concept of language diversity related to the use of language is applied in this paper. In addition, qualitative method is </br>applied by using observation technique and in-depth interview in collecting the data and information. Theories related to the use of language is used to analyze the data.</br>The result of the study shows that the marginalization of Balinese language appears to exist because there are various ethnic groups of immigrants who live in this village. The village of Ubud is already occupied by expatriates who deliberately come to Bali and settle at Ubud. The reasons why they choose Ubud Village, </br>among others is business they own in tourism sector, the occurrence of intermarriages between Balinese people at Ubud and foreigners (such as Italian, Australian, French, Spaniard, etc), Balinese arts and cultures,etc. This condition affects the choice and use of languages.n affects the choice and use of languages.)
• Brett Hough  + (Bali’s history is made up of many contradi … Bali’s history is made up of many contradictions. Some of these are intrinsic to Balinese culture and society; others are due to the experience of colonisation by the Dutch and the result of incorporation into the nation-state of Indonesia. Others still stem from forces of modernisation, globalisation, tourism and consumerism. The authors of Bali’s Silent Crisis: Desire, Tragedy and Transition highlight these contradictions to reveal underlying problems that continue to shape, influence and in certain ways, haunt daily life in Bali. They contend that these forces and associated changes have resulted in deep psychological and cultural trauma that remains largely unacknowledged – hence a ‘silent crisis’ – and runs counter to the discourse of Bali as a paradise.</br>The authors have lived and worked in Indonesia over many years, with much of that time in Bali. With academic backgrounds in cultural studies and health promotion they bring an interesting perspective to their subject and display an obvious concern for the long-term psychological health of Balinese caught up in the profound processes of change, violence, and desire that are encapsulated in the subtitle of their book. From the outset we get a very strong sense of their motivation in researching and writing the book and their commitment to Balinese friends and colleagues. It is clear they have a great deal of affection for their subjects and come to their conclusions based on a long-term engagement with Bali.</br>The full review of the book is available in: https://www.insideindonesia.org/review-bali-s-silent-crisis?highlight=WyJiYWxpIiwiYmFsaSdzIiwiJ2JhbGkiLCJiYWxpJyIsImJhbGknLiIsIidiYWxpJ3MiLCJiYWxpJywiLCJiYWxpcycuIl0%3DIidiYWxpJ3MiLCJiYWxpJywiLCJiYWxpcycuIl0%3D)
• Putu Dyatmikawati  + (Based on the absence of rules that provide … Based on the absence of rules that provide certainty to issues of customs in Bali. Such as dispute resolution and Customary Law or Adat Law in Bali, the pattern of the relationship between people and activities within the community, thus requiring legalcertainty. Business activities are activities that require certaintyand good adaptation wherever the place of business is established. This article aims to analyze the legal position of established businesses in communities that are still closely related to rules of Customary Law. Analyzing the legal relationship Desa Pekraman (Pakraman Village) with outsiders/Krama Tamiu and Tamiu (Investor, Businessman), and the rights and obligations of entrants who opened the business. By using juridical studies, this paper will describe legal position, as well as the consequences obtained to businessman in carrying out its business activities in Desa Pekraman. its business activities in Desa Pekraman.)
• Made Gde Subha Karma Resen  + (Based on the absence of rules that provide … Based on the absence of rules that provide certainty to issues of customs in Bali. Such as dispute resolution and Customary Law or Adat Law in Bali, the pattern of the relationship between people and activities within the community, thus requiring legalcertainty. Business activities are activities that require certaintyand good adaptation wherever the place of business is established. This article aims to analyze the legal position of established businesses in communities that are still closely related to rules of Customary Law. Analyzing the legal relationship Desa Pekraman (Pakraman Village) with outsiders/Krama Tamiu and Tamiu (Investor, Businessman), and the rights and obligations of entrants who opened the business. By using juridical studies, this paper will describe legal position, as well as the consequences obtained to businessman in carrying out its business activities in Desa Pekraman. its business activities in Desa Pekraman.)
• Wayan Windia  + (Basically, agritourism is to place the pri … Basically, agritourism is to place the primary sector (agricultural sector) in the tertiary sector (tourism sector) to increase farmer's income. Farmers in the agricultural sector have to get some benefits from agritourism activities. Besides that, agritourism can secure agricultural sustainability and avoid the agricultural sector from the marginalization process. There are some reasons why tourists like to see natural activities and agritourism activities. In Bali, there are some agritourism regions with several different management models. This article discusses the general model of agritourism development in Bali and is hopefully useful for agritourism development in other areas in Indonesia.m development in other areas in Indonesia.)
• Made Sarjana  + (Basically, agritourism is to place the pri … Basically, agritourism is to place the primary sector (agricultural sector) in the tertiary sector (tourism sector) to increase farmer's income. Farmers in the agricultural sector have to get some benefits from agritourism activities. Besides that, agritourism can secure agricultural sustainability and avoid the agricultural sector from the marginalization process. There are some reasons why tourists like to see natural activities and agritourism activities. In Bali, there are some agritourism regions with several different management models. This article discusses the general model of agritourism development in Bali and is hopefully useful for agritourism development in other areas in Indonesia.m development in other areas in Indonesia.)
• Robert Lemelson  + (Batuan Interactive, is a multi-modal websi … Batuan Interactive, is a multi-modal website intended to widen access to and provide an engagement with the Mead/Bateson collection of paintings and their legacy while amplifying the voices of Balinese painters and visually connecting the artwork to ongoing ethnographic explorations of Bali.ongoing ethnographic explorations of Bali.)
• Dewa Ayu Posmaningsih  + (Community participation is a contributing … Community participation is a contributing factor to the success of waste management. Behavioral changes must be instilled from an early age. The Booklet is a suitable medium used for changes in the behavior of elementary school students. The waste sorting material can be more easily explained by using text messages and pictures. Quasi-experimental research with one group pretest and posttest design. The sampling method is Multistage Random sampling large sample taken for research is 90 people at 65 elementary school in South Denpasar. The instrument of this research is a questionnaire, with data retrieval technique done through interview analysis compare mean paired sample t-test. There is the difference of knowledge, attitude, and action before and after counseling method of self- evaluation by media booklet with a value of (p <0.001). Health promotion efforts by optimizing the role of School Health Services. For further research can be done research on the role of teachers and parents in health promotion activities.s and parents in health promotion activities.)
• Fitri Amalia Rhamadani  + (Deviations in the behavior of foreign tour … Deviations in the behavior of foreign tourists often occur in Badung Regency. Forms of deviant behavior include aggressive behavior, behavior against authority, disrespectful behavior and stupid behavior. The need for a preventive social control effort in anticipating the occurrence of deviations in the behavior of foreign tourists in the future. Determination of informants using purposive sampling and snowball sampling. Data collection is done by observation, interviews, literature study, and documentation. Data analysis techniques using qualitative analysis with the creditability test and the dependability test. The discussion resulted in a model of the construction display framework of preventive social control in Badung Regency, which was formed based on facts or the phenomenon of behavior deviations that often occur. In the introduction of the forms of deviant behavior of foreign tourists there are 4 forms and have a total of 17 behaviors and the total forms of such deviations require social control with a preventive approach. In the preventive approach there are 10 ways that can control foreign tourists to deviate. The role of tourism stakeholders (local communities, government and tourism entrepreneurs) is needed to distribute Do's and Don't's in Bali brochures. The brochure will later contain supporting pictures or illustrations to attract the reader's interest, understand the meaning in each sentence. Preventive social control material by dividing 3 material is presented, namely: Do's in Bali, Do's in Bali, and Why in Bali. After the mechanism for distributing brochures is carried out by stakeholders and there is still a deviation of tourist behavior, the next stage of violators will be subject to sanctions.of violators will be subject to sanctions.)
• Ida Ketut Djelantik  + (Geguritan Sucita-Subudi is one of his work … Geguritan Sucita-Subudi is one of his works that is known to many people, why is that? Because this geguritan contains Balinese cultural concepts such as Dharma, Tri Hita Karana, Kala Patra Village, Rwa Bhineda, and Karmaphala. </br></br>Dharma is one of the important concepts in Hinduism. Dharma is often equated with truth, virtue or duty and law. Dharma is likened to a smooth and very cool path that can protect and help people who follow that path from disaster. One who practices the Dharma is called "Dharmika". People who practice dharma only want one thing that is eternal and eternal happiness not the false happiness caused by worldly things. </br></br>Tri Hita Karana is the concept of harmonious relationship that can bring happiness. The harmony of the relationship includes three things, namely the harmony of human relations with God, the harmony of human relations with fellow humans and the harmony of human relations with the surrounding natural environment. In the Geguritan Sucita-Subudi, the concept of harmony between humans and God is called an unreal or spiritual relationship, while the concept of harmony between humans and humans and the relationship between humans and the natural environment. </br></br>Rwa Bhineda is a dualistic concept that reflects two opposite categories in life, such as good and bad or positive and negative. In the Geguritan Sucita-Subudhi, this concept is explained implicitly or indirectly in the expression in something called "Byakta" or something that exists always contains two things that unite. This concept implies that in this world nothing is perfect except God. Everything has advantages and disadvantages at the same time.</br></br>Karmaphala is one of the five belief systems in Hinduism called Panca Sradha. Karmaphala comes from the words karma 'action' and phala 'fruit' which is defined as the result of one's actions. The essence of the notion of karmaphala is that a cause will produce an effect. </br></br>Geguritan Sucita-Subudi consists of 1841 stanzas. Of the many stanzas that are formed by 11 kinds of pupuh. The eleven kinds of pupuh are Sinom, Pangkur, Durma, Ginanda, Ginanti, Kumambang, Warga-sari, Pucung, Semarandhana, and Sadpada Ngisep Sekar. Among these pupuh the most frequently used is the Sinom pupuh, which is 15 times. The use of these pupuhs in the Geguritan Sucita-Subudi is selected and adjusted between the duties or character of each pupuh.een the duties or character of each pupuh.)
• Richard Fox  + (Grounded in ethnographic and archival rese … Grounded in ethnographic and archival research on the Indonesian island of Bali, More Than Words challenges conventional understandings of textuality and writing as they pertain to the religious traditions of Southeast Asia. Through a nuanced study of Balinese script as employed in rites of healing, sorcery, and self-defense, Richard Fox explores the aims and desires embodied in the production and use of palm-leaf manuscripts, amulets, and other inscribed objects.</br></br>Balinese often attribute both life and independent volition to manuscripts and copperplate inscriptions, presenting them with elaborate offerings. Commonly addressed with personal honorifics, these script-bearing objects may become partners with humans and other sentient beings in relations of exchange and mutual obligation. The question is how such practices of "the living letter" may be related to more recently emergent conceptions of writing—linked to academic philology, reform Hinduism, and local politics—which take Balinese letters to be a symbol of cultural heritage, and a neutral medium for the transmission of textual meaning. More than Words shows how Balinese practices of apotropaic writing—on palm-leaves, amulets, and bodies—challenge these notions, and yet coexist alongside them. Reflecting on this coexistence, Fox develops a theoretical approach to writing centered on the premise that such contradictory sensibilities hold wider significance than previously recognized for the history and practice of religion in Southeast Asia and beyond. of religion in Southeast Asia and beyond.)
• Putu Dyatmikawati  + (Hindu society in Bali still retaining a pa … Hindu society in Bali still retaining a patrilineal culture in social life. There are differences in inheritance rights between men and women in patrilineal culture system. Women did not have any right to inherit from their parents. While the issue of equality, fairness, the right to inherit their parents and etc., urged the patrilineal culture is more flexible and gives the right to women to inherit property from their parents. The development of knowledge, the law and the influence of new paradigms that are present in society, pressing the old system order to be able to accept the development of society. The Assembly of Pakraman Village(Majelis Desa Pakraman) Bali No. III of 2010 has taken the initiative to give women the right to inherit, limited tojoint property of her parents. This paper aims to analyze the development of customary law in Bali on, setting the women's right to inherit,because the constitution guarantees every citizen equal treatment before the law and society. By using the juridical research, will be examined how national laws and customary laws in Bali positioned the women, the right to inherit from their parentsn, the right to inherit from their parents)
• Ida Ayu Komang Sartika Dewi  + (I must admit it. Being human in the mater … I must admit it. Being human in the material world, like it or not, we must make ourselves as attractive as possible. Either by improving yourself or….even self-exploitation?</br></br>Like sweets, even without tasting it, we know for sure it tastes sweet. Right? But with an attractive appearance, it will be faster to take the viewer’s heart, which ultimately determines their future (the sweets). But unfortunately, they only have two fates.</br></br>They are sold out or wasted, becoming rotten.</br></br>This is my first work inspired by life; instead of talking about my illness, using the object of my body and face as a representation. The reason? I am also human and have experienced this for myself. Young women need to make themselves attractive; otherwise, you will be left out.tractive; otherwise, you will be left out.)
• Mary S. Zurbuchen  + (In Bali: 50 Years of Changes: A Conversati … In Bali: 50 Years of Changes: A Conversation with Jean Couteau, Eric Buvelot and Jean Couteau have produced an intricate, sweeping, and controversial picture of Balinese consciousness, social patterns, and religious life, as well as Bali’s place within the national framework of Indonesia. It is doubtless the most ambitious attempt to present a holistic view of the island since Fred Eiseman, Jr.’s Bali: Sekala and Niskala (1990), or Adrian Vickers’ Bali: A Paradise Created (1989). Yet this is not a historical narrative, or the culmination of years of comprehensive research on a particular topic. Instead we find a series of transcribed conversations between two expatriates: Buvelot, a journalist based on the island since 1995, and Couteau, a renowned writer, social observer and commentator intimately involved with Bali since the 1970s.mately involved with Bali since the 1970s.)
• I Gusti Ngurah Ady Kusuma  + (In Bali’s regency called Tabanan, nowadays … In Bali’s regency called Tabanan, nowadays there are emerging home industries producing the Kerupuk Ladrang. Kerupuk Ladrang is crispy chips made of wheat flour with some eggs and spices. For our project, we have chosen two home industries as our partner industries. The first one is the “Biang Bagus” home industry which is owned and managed by Mrs. Gusti Ayu Putu Sukarini and the second one is the “Bu Gusti” home industry which is owned and managed by Ni Gusti Ayu Komang Niri. This project, namely Program Kemitraan Masyarakat, aims in improving the production process by solving the problems that are faced by the two partners. The given solutions are by providing the better production tools and equipment, facilitating the two partners with modern marketing skills (eg. for marketing in the social medias) with some training programs, as well as providing them an Android based software application to be used as a tool in purchase-order process. In short, there are four</br>main things done for the partners: providing them with new and better tools and equipment, services, training and guidance. The results shown the two partners have improved their production process which is now become more efficient and faster. Both of the partners are now having broader views, especially in using the modern technologies, which in this case the social medias and the Android based application software. The project is hoped to be continued so that the revenue of the two partners is increased. revenue of the two partners is increased.)
• I Gusti Putu Hardi Yudana  + (In Bali’s regency called Tabanan, nowadays … In Bali’s regency called Tabanan, nowadays there are emerging home industries producing the Kerupuk Ladrang. Kerupuk Ladrang is crispy chips made of wheat flour with some eggs and spices. For our project, we have chosen two home industries as our partner industries. The first one is the “Biang Bagus” home industry which is owned and managed by Mrs. Gusti Ayu Putu Sukarini and the second one is the “Bu Gusti” home industry which is owned and managed by Ni Gusti Ayu Komang Niri. This project, namely Program Kemitraan Masyarakat, aims in improving the production process by solving the problems that are faced by the two partners. The given solutions are by providing the better production tools and equipment, facilitating the two partners with modern marketing skills (eg. for marketing in the social medias) with some training programs, as well as providing them an Android based software application to be used as a tool in purchase-order process. In short, there are four</br>main things done for the partners: providing them with new and better tools and equipment, services, training and guidance. The results shown the two partners have improved their production process which is now become more efficient and faster. Both of the partners are now having broader views, especially in using the modern technologies, which in this case the social medias and the Android based application software. The project is hoped to be continued so that the revenue of the two partners is increased. revenue of the two partners is increased.)
• Putu Nomy Yasintha  + (Indonesia known as a democratic country, b … Indonesia known as a democratic country, but there are still many cases of intolerance, one of which is a large - scale intolerance towards minorities such as LGBTQ people. Indonesia still considered as one of the homophobic countries due to religious norms and rules that limit the movement of LGBTQ people. Indonesian society still lives in a social life that upholds the value of heteronormativity in which heterosexuals are normal people and others considered as abnormal. LGBTQ discrimination also occurs to many adolescents, they do not have free space </br>in society and are even unable to be who they really are even between family and closest friends. Education regarding gender and sexuality is necessary in Indonesian higher education institutions to be able to provide broader education to the community, especially adolescents, which in the end expected to increase public tolerance towards LGBTQ people. This study uses descriptive qualitative method by also distributing questionnaires anonymously at random to several informants. In addition, supporting data from various literatures used to support this research. The results showed that many LGBTQ adolescents felt marginalized by their family </br>and friends. They have not been able to show their sexual orientation without being afraid to get judgement from the public.g afraid to get judgement from the public.)
• Ida Bagus Gede Wirawibawa  + (Land Consolidation (LC), is the gover … Land Consolidation (LC), is the government's solution in land acquisition for development. In addition, LC aims to improve the quality of the environment by rearranging plots of land to be more organized and equipped with environmental infrastructure, as well as land tenure in accordance with land use plans. The location of the land consolidation area in Seminyak Village which is close to the center of government, economy and tourism has implications for land use in the area. The phenomenon of land use that occurs in this region tends to ignore the spatial planning that has been determined by the government. If this condition is left unchecked, there will be more violations of land use that are not in accordance with the spatial allocation, leading to spatial conflicts and clutter in regional spatial planning. This study aims to identify changes in land use in the area of land consolidation in the Seminyak Village and the dominant factors underlying the changes in land use. Qualitative methods are used to identify changes in land use, and these dominant factors. Primary data obtained from observations, direct documentation, and the results of interviews with informants determined by purposive sampling. The results showed that there was a mismatch of land use with the plan for spatial planning in the area designated for settlement and green open space. The dominant factors underlying the changes in land use are law enforcement, then environmental factors, economicfactors, and socio-cultural factors. The results of this study can be input for the government in formulating policies relating to planning and controlling the use of space in order to create safe, comfortable and sustainable use of space. comfortable and sustainable use of space.)