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Thomas Wright + (Water plays an important role in Balinese … Water plays an important role in Balinese society. Not only is it commonly featured in Balinese Hindu rituals, but its use and management also enables prosperity through rice cultivation. While these aspects of water have been discussed in many academic and non-academic publications, qualitative understandings of relations to seawater remain somewhat unexplored in the literature. The aim of this paper is to present a preliminary review of existing literature on water and marine environments in Bali, and argue the need for further qualitative social scientific understanding of contemporary Balinese relations to seawater. A discussion of existing research on ocean-centred communities and continued tourism development in Bali’s coastal areas is intended to add to current research in Balinese studies. By presenting literature on Balinese concepts of environment, water and the ocean, this paper seeks to highlight the benefits of continued research on perceptions of environment to discussions of pollution, water scarcity and resource management. Although maritime attractions such as the temples at Tanah Lot and Uluwatu as well as several popular beach communities play a significant role in the tourism industry, this paper suggests the need to further investigate the importance of these attractions to tourists and Balinese as well as the social interpretations associated with them.cial interpretations associated with them.)
Raechelle Rubinstein + (Women of the Kakawin World is a historical … Women of the Kakawin World is a historical study of the experiences of women, in particular royal women and their associates, in the courts of pre-Islamic Java and early modern Bali. Creese draws upon her background in philology to examine the corpus of epic kakawin (poems written in Old Javanese in verse) that were composed in those courtly centers over a millennium, as they provide rich insights about the lives of women that are not available from other sources. With its interest in the representations of women, the book makes a valuable contribution to gender studies in Indonesia, the more so since it is focused heavily on the contemporary period. It is also an important study of the social institutions of courtship and marriage. Finally, although this is not the book's main intention, it contributes to knowledge of the kakawin genre by analyzing kakawin from a new perspective. analyzing kakawin from a new perspective.)
Raechelle Rubinstein + (Women of the Kakawin World is a historical … Women of the Kakawin World is a historical study of the experiences of women, in particular royal women and their associates, in the courts of pre-Islamic Java and early modern Bali. Creese draws upon her background in philology to examine the corpus of epic kakawin (poems written in Old Javanese in verse) that were composed in those courtly centers over a millennium, as they provide rich insights about the lives of women that are not available from other sources. With its interest in the representations of women, the book makes a valuable contribution to gender studies in Indonesia, the more so since it is focused heavily on the contemporary period. It is also an important study of the social institutions of courtship and marriage. Finally, although this is not the book's main intention, it contributes to knowledge of the kakawin genre by analyzing kakawin from a new perspective.Full review is available in: https://ecommons.cornell.edu/handle/1813/54386s://ecommons.cornell.edu/handle/1813/54386)
Nyoman Butur Suantara + ("Guardian II" is part of a series of black … "Guardian II" is part of a series of black and white photographs by ManButur Suantara exploring Water. When one hears ‘Water’, immediately our minds go to all the things that are sensory and visual. We think of the colour blue and we associate the feeling ‘wet’. Around us, Water is ocean, lake, rain, and dew. In feelings, we may associate coolness, wetness, thirst, and by association dryness. In ManButur’s Water series, its most interesting that those associations are the least pronounced.We are inadvertently guided to experience Water, in a different way. Here, Water is present, but as a quiet supporting role. A presence that does not scream out. Yet, its presence transports us to a place quite different. Here, Water have merged together the earth and the sky.ave merged together the earth and the sky.)
Putu Marmar Herayukti + ("Meanings are full of meaning. In the Scri … "Meanings are full of meaning. In the Script Seed Symbol, it arranges the core of the Mantra That Animates the World"Every means of the ceremony is always full of meaning. Like a light that illuminates life for a cultured human being who leads him to be in harmony with the universe.Life is inseparable from two different things but in pairs (Rwa Bhineda) which is symbolized by Arak - Berem who was born through two different journeys"Purification" and "Purification". And when it's called Mantra Script, not everyone has the authority to say it.That's why Mantra comes through a means called the way of managing mantras. Casts a Mantra even if it's notbe spoken.I am the "Dwi Script" who cannot be guessed just by looking at the spectrum of colors captured by the retina. When my fusion occurs, indeed no human can measure the depth and even the situation. measure the depth and even the situation.)
Dewi Dian Reich + ('Doa' is part of a series of images in 'Ka … 'Doa' is part of a series of images in 'Kala and the Guardians'. A Conceptual Art Collaboration.Reflecting on the nature of Time and our relationship to Earth and Spirit through a conceptual mixed media narrative. A collaborative exhibition with the works of Dewi Dian, ManButur Suantara, Nyoman Handi.Kala & the Guardians Limited Editions presents a selection of works from the second project presented by Sawidji in what has become our conceptual narrative way. Our story grew together from its initial theme to its installation-focused process in Sawidji Studio. From costume design to studio staging, the documentation of its process carries as much of its meaning for us as the final images that we present.ng for us as the final images that we present.)
Arya Lawa Manuaba, Ida Bagus + (A book about a short trip around Bali and admiring its architecture.)
Arya Lawa Manuaba, Ida Bagus +
Tjandra Hutama + (Awareness of the meaning of the essence of … Awareness of the meaning of the essence of Tri Pramana where human existence in the world actually has the same place and position. Even though in this birth there are limitations and differences between them, all will experience death and continue the next life until moksha is achieved. Each individual still has advantages and disadvantages that can complement each other for current life.an complement each other for current life.)
Putu Eka Guna Yasa + (Dasaksara Hanoman Baligraphy consists of t … Dasaksara Hanoman Baligraphy consists of two forms, namely Kayonan and Hanoman. Dasaksara is described in Kayonan. The Dasaksara are the ten wijaksara that connect the human self (microcosm) and the universe (macrocosm). Dasaksara consists of ten wijaksara, namely Sang, Bang, Tang, Ang, Ing, Nang, Mang, Śing, Wang, Yang. The ten wijaksara come from the eight wianjana characters (sa, ba, ta, na, ma, si, wa, and ya) and two sound characters (a and i). If these ten wijaksara are strung together they form a sentence: sabatai nama siwaya which is a prayer to glorify Dewa Siwa. However, only a few Dasaksara are visible in the kayonan because they are covered by Hanoman's body. Wijaksara seen is Ong, Ang, Ung, Mang, Sang, Bang, miwah Tang.Hanoman is a character in the epic Ramayana. Hanuman is the son of Dewi Anjani. Dewi Anjani is an angel who was cursed and born into the world as a female vanara. The curse ends when she gives birth to an incarnation of Siwa's son. Dewi Anjani is married to Kesari. Kesari and Dewi Anjani performed intense meditation to beget Dewa Siwa as their son. Because Kesari and Dewi Anjani were firm in their asceticism, Dewa Siwa granted their request and descended to earth as Hanoman.If interpreted, Dasaksara Hanoman Baligraphy is a form of glorification of Dewa Siwa which is manifested in the figure of Hanoman.ch is manifested in the figure of Hanoman.)
Kadek Sudiasa + (Explores what lies within the character of … Explores what lies within the character of ‘Topeng Keras’. One of the sacred Masks that appear in Topeng Babad. One of Bali’s oldest and most sacred Dance Mask Rituals. A chapter in our series The Living Masks of Bali.Topeng Keras is one of 5 characters that appear in the Topeng Babad Ceremonial Dance (refer to ‘Topeng Babad Today‘). Amongst these are Topeng Ratu (the Kings’ Mask) Topeng Tua (Old Mask) Topeng Sidakarya (Sidakarya Mask) Topeng Bondres (Common Peoples’ Mask). Kadek explains that according to the rules of mask making in Bali, the first mask is Topeng Keras. Topeng Keras is a ‘Patih’ (Minister of the King) The word Patih or Pepatih is a regent title that was traditionally used among Austronesian polities of insular Southeast Asia. In the first place, it denoted the chief minister of a kingdom or a traditional regency. The word originates from the Sanskrit word Patih meaning maintainer, master or guide.Patih meaning maintainer, master or guide.)
Dewi Dian Reich + (Kala and the Guardians Reflecting on the n … Kala and the GuardiansReflecting on the nature of Time and our relationship to the Earth and Spirit through a conceptual journey.A collaborative exhibition with the works of Dewi Dian, ManButur Suantara, Nyoman Handi.Kala and the Guardians conceptualise an abstract idea. The primary themes that we explore here are Kala, Earth and Spirit. In and of themselves, their nature. In addition to seeing these three entities separately, the threading of them together in this collaboration is to ask you to explore your relationship to each of these elements.Kala, Earth and SpiritKala 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. Of the three characters that we introduce, Kala is the faceless one. She is not represented as a portrait, or in a painting. Yet, she is present in them and in a significant way. That is also part of our display and exploration of Time. Part of the reflections in which Sawidji invites you to contemplate.How different art mediums reinforce the message..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.Collaboration, More Than Just a WordAll the mediums present in this collaboration bring very different qualities. Sawidji leads with photography. However, the photographic works are actually partners to installation pieces. Installation pieces that we created together as a team. The making of the costumes and studio installations together as a team is truly at the heart of each of our collaborations. A seed of an idea may be singular, but as it germinates and grows, all the contributing elements are what make it possible for it to flourish and blossom. Much the same for Sawidji Collaborations.The artists that come together agree on the message. We feel the same about the message. It resonates in each of us. With this trust and agreement, we move together throughout the day and create together, the best embodiment of our concept. There is in fact a lot of freedom. A lot of room for each person to spontaneously make changes and try new things. There is no shortcut to the process. Our work is a result of going through a growth and maturing process for each concept, and this is done together.Online Exhibition available for viewing https://sawidji.com/2022/12/13/kala-and-the-guardians-a-timely-reflection/ala-and-the-guardians-a-timely-reflection/)
Putu Eka Guna Yasa + (Mahakala is one of the manifestations of D … Mahakala is one of the manifestations of Dewa Siwa as the great destroyer. In Hindu mythology, Mahakala appears as a ferocious and frightening figure. In this baligraphy, Mahakala is shown in the form of Ong-kara as the center in which the dewata nawa sanga and sacred script are mentioned. The Dewata Nawa Sanga include Dewa Iswara, Dewa Brahma, Dewa Mahadewa, Dewa Wisnu, Dewa Siwa, Dewa Mahadewa, Dewa Rudra, Dewa Sangkara, and Dewa Sambu. The sacred script covering Ong-kara is the sacred symbol of Sang Hyang Widhi who embodies Dewa Siwa. Wijaksara Ang-kara as the sacred script of Dewa Wisnu. Apart from Ong-kara and Ang-kara there are also Vijaksara Bang as the sacred script of Dewa Brahma which is located in the south, Vijaksara Mang as the sacred script of Dewa Rudra which is located in the southwest, Vijaksara Tang as the sacred script of Dewa Mahadewa which is located in the west, and Wijaksara Śing the sacred script of Dewa Sangkara which is located in the northwest. What is very interesting in this baligraphy is the addition of a wall clock with Latin numerals in it.So the relationship between Mahakala calligraphy and wall clocks: Mahakala is the embodiment of Dewa Siwa as the supreme god, as the ruler of time and all the elements in the universe (sakala and niskala).ents in the universe (sakala and niskala).)
Nyoman Butur Suantara + (Mt Agung as seen from Mahagiri. Landscape … Mt Agung as seen from Mahagiri. 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. All places on earth have their natural beauty. Its Technical, Zero Exposure takes a look at the fundamentals of lighting in photography. With beautiful examples from ManButurs' Landscape Photography.les from ManButurs' Landscape Photography.)
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.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.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.)
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 https://sawidji.com/2022/12/13/kala-and-the-guardians-a-timely-reflection/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. 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.)
Tjandra Hutama + (Rejang is a sacred Balinese dance, a sacri … Rejang is a sacred Balinese dance, a sacrificial dance in which the girls symbolically offer themselves to the gods. It is held in the Hindu Temples of Klungkung Regency and Karangasem Regency in Bali, Indonesia. ‘Rejang’ means ‘offering’. This dance is performed to greet the gods that descend to the Earth.In this series ‘Rejang, a Beautiful Reminder of Impermanence’, the themes of beauty, impermanence and time are explored. Tjandra Hutama has won many awards in photography competitions. It is the saturation of pictorial beauty that he encountered throughout those years that prompted this need to reflect something deeper about our perception of beauty. To remind us of its impermanence and of its limitations.(Read full article at Sawidji Gallery reference cited)rticle at Sawidji Gallery reference cited))
Nyoman Butur Suantara + (Tari Topeng Wayang Wong at Pura Taman Pule … Tari Topeng Wayang Wong at Pura Taman Pule. In the moments before the ceremony.., quiet, sombre and unmasked.The next chapter of the Living Maks of Bali: Sacred Wayang Wong of Pura Taman Pule. The portraits taken by ManButur are part of a series in an article 'Dancing Memories of Wayang Wong' by Sawidji Gallery.mories of Wayang Wong' by Sawidji Gallery.)
Dewi Dian Reich + (The Living Masks of Bali is our series tha … The Living Masks of Bali is our series that explores and celebrates Balinese traditional masks. We return today with a close-up look at Topeng Tua, the Old Mask. A conversation with Dancer and Mask Maker Kadek Sudiasa of Mas Ubud. A series of portraits of Topeng Tua. Accompanied by a conversation with Kadek Sudiasa, who explores his relationship and memories with Topeng Tua. As a dancer and as a mask maker.peng Tua. As a dancer and as a mask maker.)
Arya Lawa Manuaba, Ida Bagus + (The SALCON virus outbreak hits Bali. Nagapuspa has not been found. Epsilon is furious. Haricatra disappears as if swollen by the Earth!)
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).)
Nyoman Butur Suantara + (Walakiri Tree is part of the series ‘Trees … Walakiri Tree is part of the series ‘Trees’ in Black and White by ManButur Suantara. Walakiri Tree is released as Limited Edition prints and signed by the artist. Trees in Black and White by ManButur Suantara. The beauty and poetic vision of ManButur in a series of captures across the Indonesian landscapes. What do you feel when you see a trees’ shadow? When you look upon their reflections and silhouettes. There is something intrinsically human about them.A Trees’ ReflectionPerhaps you can say, it may be that it is the other way around. There is something intrinsically tree like about human beings. Why we see our own reflection in the Earth’s oldest children. For of the oldest living things on this Earth, trees are amongst them. They carry the memories and earths’ blood in their veins.There is this basic truth that trees bring life to others. From the time they are a seed, to their stems and flowers, there is no waste. From the beginning to the end of their life, they are givers to the world.Nyoman ‘Butur’ Suantaraers to the world. Nyoman ‘Butur’ Suantara)
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.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.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.The Spirit of InclusivityOur 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.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. 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.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/)
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.)

Arya Lawa Manuaba, Ida Bagus + (A book that discusses the existence of living things outside of Earth from a Hindu perspective.)

Putu Sabda Jayendra + (A book about the procession of Barong Brutuk performance in Terunyan, Kintamani.)
Arie Smit + (Article from Bali Post newspaper May 1980 … Article from Bali Post newspaper May 1980Bali Post English Edition, May 1980Conversation with Arie SmitThe 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 itemsAn 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 Helmiachelor was out of the question! Rio Helmi)
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 relatedinformation 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 itsfounder, 60 percent will promote back 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 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.)
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.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.The full review of the book is available in: https://www.insideindonesia.org/review-bali-s-silent-crisis?highlight=WyJiYWxpIiwiYmFsaSdzIiwiJ2JhbGkiLCJiYWxpJyIsImJhbGknLiIsIidiYWxpJ3MiLCJiYWxpJywiLCJiYWxpcycuIl0%3DIidiYWxpJ3MiLCJiYWxpJywiLCJiYWxpcycuIl0%3D)
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.)
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.)
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. 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. 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. 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.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. 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.)
Ni Luh Wida Apriliani, S.Pd + (Geguritan Tamba Sastra was created at the … Geguritan Tamba Sastra was created at the Literary Creation event, Sastra Saraswati Sewana Pamarisuddha Gering Agung at Puri Kauhan, Ubud. Geguritan Tamba Sastra by Ni Luh Wida Apriliani S.Pd. this is included in the 5 best works in the geguritan category at the Literary Creation event. Geguritan Tamba Sastra is bound by 8 Pupuhs, which include pupuh sinom, pupuh sembaradana, pupuh maskumambang, pupuh pucung, pupuh pangkur, pupuh ginanti, pupuh ginada and also pupuh durma.This geguritan is very interesting because it tells about the beginning of the Corona virus that hit the world, especially in Indonesia where Mother Earth experienced a very deep sorrow that was hit by Covid-19. Various ways have been done to prevent this virus but because for so long this virus has caused the condition of society to be increasingly destroyed due to not working, according to the economy, many people have committed crimes because of the many criminal acts that have occurred in Indonesia. And in the end, the President of Indonesia, Mr. Jokowi, remembered one very important thing in life, where these guidelines are the main key to literature, namely Pancasila, which is the 5 foundations of the Republic of Indonesia. The Corona virus is actually a medicine, not a disease because it makes us aware of the 5 important things contained in the 5 basic principles of our country, namely Pancasila.The values contained in Geguritan Tamba Sastra are religious values, social values and also human values.lues, social values and also human values.)
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.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)
I Gusti Putu Windya + (I got this information from a resource per … I got this information from a resource person, namely Gusti Ayu Agustini who is his 4th child who is also the heir of the late. Gusti putu windya. He said that alm. Mr. Gusti Putu Windya has a biographical book, but it is not in place at this time because it was brought to Germany and has not been returned as well as several documents related to his work which were also borrowed and have not been returned until now. In addition, in 2015 the geguritan cangak was adapted by Malaysia by making the cartoon character 'stork and crab' in animation in ancient times without the permission of the late heir. Gusti putu windya.ssion of the late heir. Gusti putu windya.)
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 fourmain 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 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 fourmain 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 Herry Hermawan Priantara + (Mamunjung is a form of respect and solidar … Mamunjung is a form of respect and solidarity with the deceased. It realizes by the family visiting their late relative in cemetery, then spend their time having meals together with the dead. The tradition has been practicing since the Hindu-Buddhist period. It is well developed both in Java and Bali. The community practices this activity on certain days, such as Galungan, Kuningan and Pagerwesi day while in Java, they carry out Memunjung during holidays such as Idul Fitri. Balinese Hindu offers Tampelan punjung and Banten punjung to the spirit of ancestors, families or relatives at home or cemetery. In certain days, the visitor brings the deceased’s favorite food to the cemetery then they enjoy the meal together with the dead. Recently, the custom to visit the grave is rarely done by Balinese, especially to those who live in regional areas that do not have strict rules about burial. Some argue that the increasing Balinese’s standard of living as well as technological advancements, contribute to change people mindset about the funeral in the present. Hence, there are only a few areas that are still practicing burial for the dead. are still practicing burial for the dead.)
Arik Agustina + (Plastic waste have been a problem for the … 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.to cultivate bringing their shopping bags.)
Adrian Vickers + (Published exactly 50 years after Gregory B … 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.lid portrayal of the life of the Balinese.)
Ida Bagus Gede Paramita + (Research on Geguritan Cokli uses a sociolo … Research on Geguritan Cokli uses a sociological analysis. The approach used is a calibative approach. Data collection uses the method of reading, translating and listening to Cokli’s Geguritan Text. The method of analysis, carried out in a descriptive-qualitative way by using the working stages of the theory of sociology of literature and combined with the theory of structure. The results of the analysis are presented in a systematic and structured manner. The results of this study provide an answer that the existence of a literary work can be a reflection of the state of society at that time, although there are some things that are sometimes no longer relevant to use.t are sometimes no longer relevant to use.)
Rosvita Flaviana Osin + (The area of Nyambu and Baru Marga Village, … The area of Nyambu and Baru Marga Village, Tabanan Regency is very potential to be developed. This village has interesting natural characteristics, unique social and cultural life. In its development, it is necessary to pay attention to the existence of the millennial generation where currently tourism travel is dominated by millennials and grows in a digital environment. This research is a descriptive qualitative research and quantitative descriptive. Qualitative research is used to determine the role of the millennial generation in developing tourist villages. Quantitative research is conducted to determine the characteristics and motivation of millennial tourists by using frequency analysis. This study used 100 respondents who represented the characteristics and motivations of millennial tourists in Bali as well as semi-structured interviews with 6 people who needed to be known. The results of this study indicate that the age group between 20-25, totaling 75 people, is a potential market in promoting and introducing more about Nyambu and Baru Marga tourism villages. The highest number of millennial tourists visiting tourist villages is from the type of work as students as much as 46%. It is known that the majority of tourists visiting tourist villages are male with a percentage of 54%. Motivation is a determining factor for millennial tourists to take a tour of the survey results of 100 respondents, 76% stated that visiting the tourist village of Nyambu and Desa Baru Marga Tabanan because of natural attractions.ga Tabanan because of natural attractions.)
Bart Verheijen + (The island of Bali has been inextricably b … The island of Bali has been inextricably bound up with the tourism industry. This article examines the dynamic Balinese cultural identity and its ever-changing relationship with tourism in the age of globalism through the analysis of a case study: the construction of the Garuda Wisnu Kencana Cultural Park (between 1993–2018), containing an enormous statue of the Hindu God Wisnu mounting the magical bird Garuda. The park and statue can be seen as a new cultural landmark for the Indonesian nation and for the Balinese tourism industry. However, the case study of the park also shows how Bali has changed its role within the Indonesian archipelago since the fall of the Suharto regime in 1998 while dealing with new challenges of global tourism. Representations of a Balinese cultural identity have evolved from national, top-down level constructions of ‘cultural tourism’ into a global tourist destination through hosting international events at the park. hosting international events at the park.)
I Nyoman Darma Putra + (The island of Bali has been inextricably b … The island of Bali has been inextricably bound up with the tourism industry. This article examines the dynamic Balinese cultural identity and its ever-changing relationship with tourism in the age of globalism through the analysis of a case study: the construction of the Garuda Wisnu Kencana Cultural Park (between 1993–2018), containing an enormous statue of the Hindu God Wisnu mounting the magical bird Garuda. The park and statue can be seen as a new cultural landmark for the Indonesian nation and for the Balinese tourism industry. However, the case study of the park also shows how Bali has changed its role within the Indonesian archipelago since the fall of the Suharto regime in 1998 while dealing with new challenges of global tourism. Representations of a Balinese cultural identity have evolved from national, top-down level constructions of ‘cultural tourism’ into a global tourist destination through hosting international events at the park. hosting international events at the park.)
Luh Mira Puspita + (The nutritional problem in young children … The nutritional problem in young children particularly nutrition deficiency and over nutrition are still exist. Nutritional intake is one of the most outstanding factors in determining children’s nutritional status. Providing adequate nutrition for children is influenced by their mothers’ knowledge. Hence, by giving health education to mothers was expected to increase mothers’ knowledge in providing adequate nutrition for their children. Regarding this, the information was delivered to mothers by using booklet as the health education media. The aim of present study was to analyze the influence of health education towards the mothers’ knowledge in providing nutrition for their children. This study was a pre experimental study with one group pretest-posttest design. The population of the present study were mothers who have children aged under five years old and living in working area of East Denpasar I primary health care center. In order to decide the location (banjar) of the study, the simple random sampling was used. Meanwhile, the total sampling was used to recruit the mothers in the selected location. The Wilcoxon Test was performed since the data not normally distributed (α = 0.05, CI = 95%). Finding showed that there was a significant difference in mothers’ knowledge before and after given health education about providing nutrition for their children. Health providers particularly the primary health care centers should provide health education to mothers about adequate nutrition continuously. about adequate nutrition continuously.)
Luh Mira Puspita + (The nutritional problem in young children … The nutritional problem in young children particularly nutrition deficiency and over nutrition are still exist. Nutritional intake is one of the most outstanding factors in determining children’s nutritional status. Providing adequate nutrition for children is influenced by their mothers’ knowledge. Hence, by giving health education to mothers was expected to increase mothers’ knowledge in providing adequate nutrition for their children. Regarding this, the information was delivered to mothers by using booklet as the health education media. The aim of present study was to analyze the influence of health education towards the mothers’ knowledge in providing nutrition for their children. This study was a pre experimental study with one group pretest-posttest design. The population of the present study were mothers who have children aged under five years old and living in working area of East Denpasar I primary health care center. In order to decide the location (banjar) of the study, the simple random sampling was used. Meanwhile, the total sampling was used to recruit the mothers in the selected location. The Wilcoxon Test was performed since the data not normally distributed (α = 0.05, CI = 95%). Finding showed that there was a significant difference in mothers’ knowledge before and after given health education about providing nutrition for their children. Health providers particularly the primary health care centers should provide health education to mothers about adequate nutrition continuously. about adequate nutrition continuously.)
NDM Santi Diwyarthi + (The pandemic situation and the strict heal … The pandemic situation and the strict health protocols implemented have resulted in a decrease in tourist visits and a decrease in hotel occupancy rates. The government and hotel management conduct a variety of potential businesses for the accommodation services business. One of the things that area trend for tourists is to choose attractive, safe and comfortable accommodation, return to nature, and avoid large crowds during the Covid-19 pandemic. The alternative presented by accommodation service entrepreneurs is glamping. The method of applying quality of service in glamping management is to provide CHSE (cleanliness, health and safety, and sustainability environment), in each glamping management department, such as the front office department, housekeeping department, food and beverages department. Participants in this activity are all glamping management employees in Kembang MertaTourism Village. Kembang MertaTourism Village has succeeded in showing the readiness of glamping management in accepting tourists with the CHSE procedure.ccepting tourists with the CHSE procedure.)
Ramanda Dimas Surya Dinata + (The problems faced in the last seven years … The problems faced in the last seven years is how some public places in Bali, one of that is Balangan beach area of Badung Bali has happened commodification practice space since the existence of photo pre wedding phenomenon. How the natural space in the area is commercialized and raises complex problems in it. The purpose of this article is to know more deeply what causes the practice of commodification in the Balangan beach area and the impact of any commodity practices. Sources of data obtained through qualitative methods include observation and interviews, and analyze it by using critical theory such as commodity theory covers the production, distribution, and consumption, and then linked with the concept of human ecology. Based on the results of the analysis, the practice of commodification in the phenomenon of photo pre wedding in Bali, especially in the area of Balangan occurs because influenced by several factors, among others, the community considers pre wedding photos as something exclusive, and worth the additional cost, employment backgrounds of local people who are still in category lower middle and region that mostly controlled by foreign investors caused the economic gap between outsiders and insiders in commodification area of Balangan beach. The problems are not only marginalized communities, especially communities around the region also poorly managed systems include the management of informal and controlled by foreign investors.ormal and controlled by foreign investors.)