Property:Biography example text
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A
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. +
This paper intends to critically analyze the Bali’s family planning discourse that was launched by the Governor of Bali in June 2019, which gave rise to pros and cons in the community. State hegemony through the national KB program 'Two Enough Children' is seen to have weakened the demographic position of the ethnic Balinese on the one hand and the dominance of the migrant population on the other. The purpose of this study is to explain how ideological interests, political interests of identity, and cultural romanticism operate and contest in the discourse of Bali’s family planning in Bali. Using the critical discourse analysis method this study found that Bali's family planning discourse involves the contestation of local, national, and global ideologies. His conclusion was that in the contestation the practice of identity politics and the manipulated of cultural romanticism by subjects and actors took place in the dialectics of competition and positioning between Balinese and migrant populations. +
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.”
“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.”
“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.”
“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.“
“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.”
“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.”
Published exactly 50 years after Gregory Bateson's and Margaret Mead's "Balinese Character" (which still stands as a standard reference on Balinese culture), this study of the Balinese people - a collaboration between a Western psychiatrist with wide experience of Balinese culture and a Western-trained Balinese psychiatrist - finds their basic assumptions inherently flawed. The study concludes that their book presents an inaccurate and misleading characterization of the Balinese as they were 50 years ago. In addition to this critique, the authors present their alternative formulations of psychosocial aspects of Balinese culture, their aim being to establish a more correct and valid portrayal of the life of the Balinese. +
From the album Rhythm of Paradise
https://www.youtube.com/watch?v=L2I7hZqC7lY +
From the album Ulah Egar
https://www.youtube.com/watch?v=PjLnOM2KPSA +
test +
From the album Flute for Love
https://www.youtube.com/watch?v=HGpI5718rp4 +
From the album Sundara
https://www.youtube.com/watch?v=qfnJ43JSawQ +
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. +
Frequent blackouts in Jakarta have a multiplier effect on the country’s national and economic security, as well as Jakarta’s development toward becoming a smart city. Two policy options for the government explained in this article would be to reform PLN management and introduce smart grid technology. +
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. +
Bali tourism performance art is a form of an art which is purposely processed to be served to tourists. This art has theatrical and spectacular characteristics which accentuate visual attractiveness more than scared, magical, and symbolic values. Some kinds of art such as Legong Dance, Ramayana Ballet, Barong and Keris Dance, Monkey Dance, Face Mask Dance, and Shadow Puppet Dance have been being main menu of art spectacle in Bali. Bali tourism performance art has appeared in a new package since 1980. This concept was dominantly affected by postmodern aesthetic characteristics such as: Pastiche, Parody, Kitsch, Camp, and Skizofrenia. Its purpose was to make performance art became more exotic which was related to economic interest. Therefore, many Bali cultural art activities included its sacred value have been eroded by a fast and fantastic secularization process in both quality and quantity. +
The “Bridge” between these two panels is a piece of canvas I placed on a rooftop much too close to Mt. Agung when it was threatening an all out eruption. I left it there for a couple of weeks and it collected the volcanic ash and whatever else the volcano spewed. The result is a work not as much made in Bali, but actually Made BY Bali.
“The Bridge” part of the “Forces of Nature” project; an ongoing study and documentation of the effects of Nature. +
The legend of Cinderella is found in many forms all over the world. Here is my version: There are four girls; three are very ugly and egotistical. The Step Mother hates Cinderella, the fourth girl, and harasses her constantly. Cinderella finally leaves home and, when she reaches the mountains, Magic Birds befriend her and shower her with gifts of gold, diamonds and love. This legend ends with a Handsome Prince marrying Cinderella and they live happily ever after. +
Article from Bali Post newspaper May 1980
Bali Post English Edition, May 1980
Conversation with Arie Smit
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'.
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.
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).
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.
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.
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”.
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.
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.
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.
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.
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
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.”
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.
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’.
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?
He admits that they ran into a couple of crisis points, where ‘intellectual’ concepts began to interfere with their free expression.
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”.
He is obsessed with the ‘power of Balinese vision' - the ability to absorb details, the power of the imagination to recall.
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."
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.
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!
Rio Helmi
Plastic waste have been a problem for the sustainability of tourism, especially Bali. Efforts to reduce plastic waste have been carried out by the government, such as the issuance of Denpasar Mayor Regulation Number 36 of 2018 and then followed by Bali Governor Regulation Number 97 of 2018. This paper aims to find out the opinions and changes in behavior of Balinese people, especially in Denpasar City after the enactment of the Denpasar Mayor Regulation and the Bali Governor Regulation about plastic waste. Data collection carried out through questionnaires distributed to tourists, students (tourism department), traders, the general public, and Lecturer. The result is everyone is aware of the government regulation on limiting single-use plastic bags, but some residents only know about the existence of government regulations without knowing where the regulations came from. Most of the people agree with the policy, but there are also people who disagree because the use of plastic bags is more efficient, however. This policy has led people to cultivate bringing their shopping bags. +
A novel about the adventure of Made Sanjaya, a Balinese teenager who wants to save his friends and family from old grudges and black magic. Nominated for the top 8 best novels at the 2017 UNNES International Novel Writing Contest. +
