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Nyoman Butur Suantara + (A collection images in black and white by … A collection images in black and white by ManButur dedicated to the meaning and value of Trees. ManButur Suantara interviewed by Sawidji Gallery for the article 'I Hear You Tree'. Part of several discussions regarding the power and contribution of Trees into human lives. As started by artist Made Budiarta in 'Inauguration of Trees'. Made Budiarta in 'Inauguration of Trees'.)
Dewi Dian Reich + (A portrait of artist Sujana Suklu in a col … A portrait of artist Sujana Suklu in a collaboration with Dewi Dian Reich. Exploring the Three Rooms of Art. Art by Interaction in the studio.Sujana Suklu is known as a progressive thinker of contemporary art in Bali. With a pioneering vision that reflects a universal philosophy. Sujana Suklus’ contributions are vast in scope, encompassing multi-disciplinary fields within fine arts, academic and community platforms. Suklus’ academic research explores ways to bring art methodologies into communities cultivating and preserving local wisdom whilst expanding existing skill sets. The beauty of this research is that it has been applied and is actively growing in communities today. is actively growing in communities today.)
Dewi Dian Reich + (A series of photographs exploring a differ … A series of photographs exploring a different, subtler side of the White Wood of Banyan. The fearsomeness of time evident in the turns and creases of this beautiful Sacred Tree.Botanical Notes..The White Wood Tree of Banyan was thought to be a ‘Bunut’ Tree or ‘Banyan Tree. Like many similar Ancient Trees in Bali. However, statements from local residents confirm that the genus of the tree has not yet been expressly confirmed. By the Ministry of Forestry or any University research teams. Their reluctance to confirm the genus of the tree is due to some particularities.It is said the White Wood does not flower but bears fruit (we were a direct witness to the abundance of fruit on The White Wood). It has also been said that the White Wood will shed all its leaves every few months. Though Banyan Trees may shed leaves to retain moisture, it is unusual for a tree to shed leaves this regularly in a moist climate. So for all these reasons, the villagers have continued to call this tree Pohon Kayu Putih Bayan (the White Wood of Banyan).yu Putih Bayan (the White Wood of Banyan).)
Tjandra Hutama + (An Anthology World Without Sound, was resp … An Anthology World Without Sound, was responded by several artists & writers who share the same vision to awaken our sensitivity in understanding, exploring, and making sense of the reality of world without sound, and distribute the message to the public from different perspectives.Behind The Artwork :Butterflies need natural resources, such as plants and flowers, for food and places to lay their eggs. Butterflies do not like urban noise, such as vehicles, construction and other human activities can annoy butterflies and affect their behavior. Butterflies rely heavily on their visual perception and olfactory abilities, which are important in finding food and mates. Noise can interfere with the ability of butterflies to communicate and pay attention to their surroundings. In addition, constant noise can cause stress and anxiety in butterflies. Therefore, butterflies prefer a calm, peaceful environment and clean air.Reflection :"The instinct to seek peace and happiness is the reference for every human being's life. The butterfly philosophy teaches humans to be more flexible, open, courageous, patient, and respect differences. This is a useful lesson for human life in various aspects of life."on for human life in various aspects of life.")
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.)
Arya Lawa Manuaba, Ida Bagus + (Company biography of Perkumpulan Pendidikan Nasional, Denpasar, a famous institution that gave birth to Undiknas University, SMP Nasional Denpasar and more.)
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 + (Five artists from various fields of art ac … Five artists from various fields of art active in the Sawidji Artist Collective explore the question ‘what makes us human?’ This is a collaboration titled “Manus, a Conscious Journey” which opened on December 15, 2023, and will be open to the public until February 3, 2024. The exhibition is a Sawidji Collaboration working in partnership with Sudakara Art Space, Sanur, Bali, Indonesia.The artists involved in the Manus collaboration are Dibal Ranuh, Made Kaek, Nyoman Butur Suantara, Tjandra Hutama, and Dian Dewi. The five artists who have strong, militant and proven “colours” in their respective fields unite and dissolve in “Manus”.Multi-disciplinary art collaboration including painting, sculpture, photography, digital media and film installation art., digital media and film installation art.)
Aldwin Yusgiantoro + (Frequent blackouts in Jakarta have a multi … 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.ement and introduce smart grid technology.)
Dewi Dian Reich + (Getting to know the Sacred Masks of Bali, … Getting to know the Sacred Masks of Bali, through the perspectives of the artists whose lives are intimately intertwined. The character of the 'Hard Mask' and a Mask Makers' and dancers experiences with it.. excerpt from article.. "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."atih meaning maintainer, master or guide.")
Arya Lawa Manuaba, Ida Bagus +
Dewi Dian Reich + (Natures' Blossoms Portraiture Series. With … Natures' Blossoms Portraiture Series. With our undeniable bond and complex relationship to that of our own visage and that of others, the exploration of portraiture continues. This time moving away from the individuality of self or our own personalities albeit psychologies. Instead we explore the identity of something greater than ourselves. An exercise of empathy through the only way we know best.. through our own human limitations and emotive perceptions. A portrait of Nature through hypothetical ages and experiences. Read full article in image reference link.Read full article in image reference link.)
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 + (The Dancer. When a Dance carries such a mo … The Dancer. When a Dance carries such a monumental heritage, its substance is often disconnected from a much larger audience. Those who study the culture and its arts and are dancers themselves have a deeper well of understanding of the art. Perhaps relating to the dancer is a good way to appreciate the dance. A human element that we can all understand. human element that we can all understand.)
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!)
Bagas Tri Prastyo + (The cone-shaped of Kayonan in shadow puppe … The cone-shaped of Kayonan in shadow puppets symbolize human life. The higher the knowledge and the older the age, The higher the knowledge and the older the age, humans must increasingly conical unite the Soul, Sense, Creation, Initiative, and Work in our lives (closer to the God).and Work in our lives (closer to the God).)
Margaret Coldiron + (The visual and choreographic parallels bet … The visual and choreographic parallels between Japanese and Balinese mask traditions are striking, and, though the exact interrelationship between masks of these two cultures cannot be proven with historically verifiable data, juxtaposition of the similar genres is useful for understanding mask dance. The masks discussed are the dog/lions Shishi ( Japan) and Barong (Bali), the witch-like Hannya ( Japan) and Rangda (Bali), and the sacred old men Okina ( Japan) and Sidha Karya (Bali). Possible links include cultural diffusion and patterns of human perception. However, the visual language in which these mask characters are expressed and the mythology that delineates them probably comes from Indian Tantric models.probably comes from Indian Tantric models.)
Dewi Dian Reich + (Topeng Dalem. The King, the Mask and the D … Topeng Dalem. The King, the Mask and the Dance.Topeng Dalem represents the King, Dalem Waturenggon, associated with the Golden Age of Balinese Kingdom of Gelgel during the 16th century. He is known within this narrative as loving, benevolent and wise. A compassionate King. That is why, according to Kadek Sudiasa, in order to carve and capture the essence of Topeng Dalem is difficult. To capture the calm and gentleness of this King, with what he describes as having a particular softness around the eyes. It is this very subtlety within his character that makes it difficult to capture. He lacks the obvious characteristics that are embodied in Topeng Keras or Topeng Tua.For Full article https://sawidji.com/2023/07/19/topeng-dalem-the-truth-of-a-king/23/07/19/topeng-dalem-the-truth-of-a-king/)
Kadek Sudiasa + (Topeng Tuli is part of Topeng Bondres. It … Topeng Tuli is part of Topeng Bondres. It was performed in the past as entertainment during ceremonies and community events. This mask was made by Kadek Sudiasa for 'World Without Sound, an Anthology' Exhibition at Sawidji Gallery."Those who can not hear, do not think lightly or less of them.. because they have something extra, something special that other people may not have. God's creation is full of balance and fairness. If they do not have enough in their power of hearing.. they have something else that is extra that we may not see." ~ Kadek Sudiasaxtra that we may not see." ~ Kadek Sudiasa)
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/)

Arya Lawa Manuaba, Ida Bagus + (Kadek Haricatra has a strange ability. He … Kadek Haricatra has a strange ability. He could see the Nagapuspa flower, the golden lotus flower growing on the rock. The flower can cure all human ailments. But Epsilon, the biggest drug company in the country, is really eager to take Nagapuspa. Kadek Haricatra wanted to be killed. He must run!aricatra wanted to be killed. He must run!)

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.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.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.”“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.” and securing alternative income streams.”)
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)
Pande Putu Widya Okta Pratama, S.Kom + (BTW Edutech is a digital education company that has a big mission to help students pass the selection to enter official colleges, universities state, CPNS, and TNI or POLRI.)
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.)
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?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.They are sold out or wasted, becoming rotten.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.)
Putu Sabda Jayendra + (In Bunutin, a village on the edge of Batur caldera, Kintamani, lives Mongah, the fern men. There, Mongah have guarded the people from calamity for hundreds of years, —the greatest calamity born of human pride.)
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 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 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.)
I G W Murjana Yasa + (Main development problem in developing cou … Main development problem in developing country is the contradiction between unemployment and poverty. It is caused by the strong relation between both problems. Poverty in so many cases mostly started by the lack access of productive human source to the job field. The complexity of the problem drive the worldwide commitment in reducing poverty all over the world by the draft of development goals, called Millennium Development Goals (MDGs). To promote the development, the effort to reduce poverty that mainly started by the unemployment must involve the society in participative platform. The participation pattern possibly reducing poverty to be more grounded, strengthen commitment between society in responsibility to reduce unwelfare . The local genius, for instance Lembaga Perkreditan Desa (LPD) that is own by the village association has the strategic role in reducing poverty trough the improvement of its social function beside the main function which is to improve the members welfare. The social function means the commitment and togetherness between member to institution and between members.member to institution and between members.)
Ni Nyoman Tjandri + (Ni Nyoman Tjandri, one of very few female … Ni Nyoman Tjandri, one of very few female Arja and Dalang (puppet masters) in Indonesia. Tjandri has had to refashion her participation in a 'male' art in order to make it acceptable for her as a woman artist and performer. There's a general discourse about women and the arts in Bali that accounts for the ability of women to participate in this kind of art forms.The talented Tjandri gradually developed superb dance and vocal techniques through interaction with her father, I Made Kredek, who is also a performing artist. Through Makara Dwaja Studio, Tjandri providing traditional arts training such as Arja Dance to the younger generation. She dedicating her life to conserve traditional Balinese culture from onslaught of foreign cultural flows that invading Bali.foreign cultural flows that invading Bali.)
I G W Murjana Yasa + (The COVID - 19 pandemic has a huge impact … The COVID - 19 pandemic has a huge impact on the lives of Balinese citizens. The aim of this study is to find the right steps and frameworks that reduce the spread and death caused by COVID - 19 as quickly as possible with minimum impact on the socioeconomic sustainability of the island. Preventive measures are needed, especially for the FieldFacilitator Staff as the front guard, so that the BSPS program channelled adequately.The key to smooth distribution, in addition to the precise mechanism, must also followthe government's recommendations and implement health protocols. The results show that the population and employment structure of Bali hashigh potential for the spread of the COVID-19 pandemic. This is due to the high level ofpopulation mobility, both population mobility between regions within the country andpopulation mobility between countries. The second cause is the Balinese populationstructure consists of many elderly people, thus causing a high potential case fatalityrate from a pandemic. Based on the results of the study, it is recommend minimize thepossibility of the spread of covid-19 through the first and second rapid tests involvingas many residents that potential to be covid-19 deployment carrier, both through localtransmission and imported cases.ugh local transmission and imported cases.)
Putu Ayu Sani Utami + (The elderly is vulnerable to hypertension … The elderly is vulnerable to hypertension due to the accumulation of unhealthy lifestyles for a long time and can be exacerbated by the stress due to the inability to adapt to the decline in physical conditions, changes in roles and social relations, economic ability, degenerative diseases and treatment in the long term. Risk factors for hypertension can caused by stress. Stress management can be done with a combination of creative arts therapy that is singing, drawing, and storytelling which has a relaxing effect. This study aims to determine the effect of creative arts therapy on stress levels and blood pressure of the elderly with hypertension in Kesiman Kertalangu Village, East Denpasar City, Bali, Indonesia. This research was a quasi-experiment with pre - test and post - test design. Samples used were 63 elderly with hypertension who experience mild and moderate stress using simple random sampling technique divided into three groups of treatment with the amount 21 elderly of each groups. Stress level of hypertension were evaluated using The Stress Assessment Questionnaire and blood pressure measurement using manometer. The main results of this study indicated that creative art therapy can reduce stress of the elderly significantly with p value 0.000<0.05. An average of blood pressure in creative art therapy has decrease d. Wilcoxon test results showed the p value of blood pressure (sistole;diastole) for singing (0.002;0.014), storytelling (0.009;0.008) and drawing (0.016;0.011) <0.05 which means that there is an effect of those therapy on elderly blood pressure. The results of the Ancova analysis showed no difference in blood pressure results after each intervention was given to the elderly (p value 0.244>0.05 for systole dan p value 0.738>0.05 for diastole). That means that each intervention has a similar effect on reducing blood pressure. Creative arts therapy provides a relaxing effect while performing art activities so that feeling calms down and stimulates the healing process. Further research with a larger population needs to be done to increase public awareness of the benefits of creative art therapy to reduce stress and blood pressure in the elderly with hypertension.s and blood pressure in the elderly with hypertension.)
Gusti Agung Bagus Ari Maruta + (The imposing 170 x 140 cm painting depicts … The imposing 170 x 140 cm painting depicts the legend of Balinese and Chinese acculturation from the 12th-century, immortalised by the cultural icon Barong Landung. Barong Landung is the embodiment of the king of Bali, Raja Jaya Pangus who married a beautiful Chinese lady Kang Cing Wei. The tale has manifested into large ceremonial male and female figurines called ‘Jero Gede’ and ‘Jero Luh’.A broad, grinning expression immediately draws us to ‘Jero Gede’. To his right, his wife’s face appears to be embellished with a grey beard. A gold and black aura hovers over the couple framed by Chinese and Balinese dragons united as one. Bali’s volcanic skyline, bulbous cloud motifs in pastel tones, water motifs, both reinterpretations of the classical icons, and lotus flowers and leaves describe the background. The couple adorn a fabulously ornamented tunic, painstakingly depicted in a multitude of beautiful colours and motifs.Review and photo by Richard Horstmanifs. Review and photo by Richard Horstman)
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.)
I Wayan Muka + (The purpose of this study is to obtain dat … The purpose of this study is to obtain data from each OPD of the Province of Bali relating to the implementation of E-Government (SPBE), determine the conditions of implementing E-Government (SPBE) in the Province of Bali and determine strategic steps to increase the level of maturity index of the SPBE of the Province of Bali. The evaluation evaluation method is done through measuring the level of maturity based on the e-Government Maturity Model (eMM). This study revealed that the main weaknesses in the implementation ofSPBE in Bali Province, especially in some OPDs that provide public services, were thelack of integration of applications or systems and the still weak human resources andIT infrastructure in each OPD. The steps that need to be taken are to formulate the SPBE Development Master Plan which has completeness on the side of the SPBE vision and mission load, SPBE architecture, SPBE road map as well as the integration of application systems and the use of general applications as a whole.he use of general applications as a whole.)
I Wayan Phala Suwara S.Pd.H.,M.Pd + (The song widya usadha contains a pupuh dem … The song widya usadha contains a pupuh demung, containing a long crew member and a long crew member, a long crew member and a long pengawit. This song is inspired by the state of our environment during the corona virus pandemic. Kidung widya usadha tells of human anxiety in the midst of a pandemic who begs the creator for constant guidance so that the temptations of this pandemic do not make people lose their minds, can still be optimistic and always work. Where knowledge must be strengthened because knowledge will develop over time, one of which is during a pandemic.r time, one of which is during a pandemic.)
Helen Creese + (This article discusses the strategies depl … This article discusses the strategies deployed by widows and divorcees (janda) in negotiating cultural constraints and social stigmatisation in contemporary Bali. In Balinese patriarchal society, women are disadvantaged in terms of their access to employment and commonly earn less than men. When a marriage ends, Balinese widows and divorcees not only lose their partners but also an important source of family income. Janda may need to take on additional burdens in supporting themselves and their families and are therefore economically vulnerable. In addition, janda are often considered to be sexually available, may be the target of men’s sexual advances and thus become a frequent source of gossip. The dual state-village administrative system further complicates divorce and remarriage within Balinese patriarchal society. In order to understand how Balinese janda cope with these social and cultural constraints, this article focuses on the contrasting life histories of three janda. Deploying Pierre Bourdieu’s concepts of economic, cultural, social and symbolic capital, the analysis demonstrates that access to multiple forms of capital plays an important role in enabling Balinese janda to make their lives bearable and manageable. With adequate access to economic resources, janda can not only demonstrate their independence and ability to support their children, but also are able to meet their social and religious obligations. In this way they can maintain their respectability and social acceptance within their local communities. These findings contribute to a wider and more complex picture of the life of Balinese janda.lex picture of the life of Balinese janda.)
I Nyoman Darma Putra + (This article discusses the strategies depl … This article discusses the strategies deployed by widows and divorcees (janda) in negotiating cultural constraints and social stigmatisation in contemporary Bali. In Balinese patriarchal society, women are disadvantaged in terms of their access to employment and commonly earn less than men. When a marriage ends, Balinese widows and divorcees not only lose their partners but also an important source of family income. Janda may need to take on additional burdens in supporting themselves and their families and are therefore economically vulnerable. In addition, janda are often considered to be sexually available, may be the target of men’s sexual advances and thus become a frequent source of gossip. The dual state-village administrative system further complicates divorce and remarriage within Balinese patriarchal society. In order to understand how Balinese janda cope with these social and cultural constraints, this article focuses on the contrasting life histories of three janda. Deploying Pierre Bourdieu’s concepts of economic, cultural, social and symbolic capital, the analysis demonstrates that access to multiple forms of capital plays an important role in enabling Balinese janda to make their lives bearable and manageable. With adequate access to economic resources, janda can not only demonstrate their independence and ability to support their children, but also are able to meet their social and religious obligations. In this way they can maintain their respectability and social acceptance within their local communities. These findings contribute to a wider and more complex picture of the life of Balinese janda.lex picture of the life of Balinese janda.)
I Gusti Ngurah Widyatmaja + (This research is motivated by the lack of … This research is motivated by the lack of company attention in Badung Regency which absorbing workers with disabilities and the diversity of work placements also the different types of disabilities among employees at Nusa Dua Beach Hotel and Spa which have different job characteristics. The rules given by the Indonesia government through Law No. 8 of 2016 concerning Persons with Disabilities are carried out by the Nusa Dua Beach Hotel and Spa in the form of employing people with disabilities. The purpose of this studywas to determine the characteristics of employees with disabilities at the Nusa Dua Beach Hotel and Spa, to determine the work motivation of employees with disabilities, to determine the inhibiting a nd supporting factors of disability employees while working. The method used in this research is descriptive qualitative by collecting and combining data information from the identification of raw data. The results of the analysis will be interpreted by collecting data from the data collected and then developed with the theory obtained. Datacollection is done by observation, a study of literature, distributing questionnaires, documentation and in - depth interviews. The results of the data analysis state that intrinsic motivation and extrinsic motivation play a role in employee performance, especially in achievement, sociodemographic characteristics and job characteristics play a role in the suitability of work with employee characteristics and employee work productivity. One of the supporting factors for employees with disabilities in working is the achievement of employees. One of the inhibiting factors at work is job rotation.nhibiting factors at work is job rotation.)
I Wayan Juniarta + (Uled (Hairy Caterpillars) “Recently thous … Uled (Hairy Caterpillars)“Recently thousands of hairy caterpillars have “attacked” villages. What does it mean?” comes a question.It means that the they “never go to a barber or beauty salon”. If they do, their “hairy” styles would be different; curly, bald, short hair, and re-bonding as well,” replies I Putu Tawah Matah (Just Talk Without Thinking).Everyone laughs. They realize that that kind of comment always comes when a question is asked to crazy people like I Putu.“It’s a sign for us. Perhaps we should carry out bigger rituals, or we might have done something wrong that make the gods angry,” comments I Made Tirtayatra Miratdana (Pilgrimage Funded By ‘Dirty’ Money).Everyone seems to know everything about the gods’ minds: when there is a volcanic eruption, or a tsunami, or a caterpillar plague, they say the gods are angry. They think that the gods have no other job other than creating disasters.“The way you think is similar to the Legislative Assembly members who say the caterpillar epidemic is a “warning” from God. If God likes creating disasters, the first target should have been them as they never listen to the people. They keep wanting to build a new huge hotel-like office for themselves when most of Indonesian are still living in poverty,” says I Wayan Bungut Lengut (Sweet Talk).“If the gods created natural disasters — volcanic eruptions, earthquakes, rabies or caterpillar epidemics — every time they got angry, what would they do when they were happy? Distribute gold, money, rice or Supermi noodles?”“As to date we have never seen things like that, it means that we still have to work hard to survive, or you have to buy your own supermi if you want. The conclusion is the gods have nothing to do with natural disasters,” concludes I Wayan.Everyone nods. They don’t like people who say the gods are often angry or create natural disasters.“Our gods (bhetara) are easy, they do not like swearing at their followers: when a river delta in Kuta was claimed and filled in by an investor, or when a temple’s property is rented out for villas, or when temples are changed to tourist attractions, or when ceremonies and rituals become business-oriented ……….. our gods never complain”It seems our gods know well that humans are smart and know what they are doing.“We are born to think: that’s why we have to use our brains, and not always blame our gods every time we have a problem or a disaster. Otherwise, it’s no use the gods giving us brain.”“So hairy caterpillar epidemic has nothing to do with the gods.”“I would think that this epidemic has been caused by extinction of birds and ants (less and less predators that prey on hairy caterpillars). Or the hairy caterpillar might not be aware of “family planning”; and as it has been raining recently, they breed very fast,” says I Wayan.Were the caterpillars be human, they would know KB (Family Planning program), and how expensive education and health insurance is, there were bills to pay, hence they would think twice before breeding; knowing how expensive life is.“Well, no matter how bad the hairy caterpillar epidemic is, don’t they know that caterpillars will turn into beautiful butterflies or produce expensive silk.“No matter how destructive the caterpillars are, they are much better than bad people. Bad people never turn into good ones or produce good things. Instead, they just turn into a bunch of hypocrites who they pretend to know everything about the gods or act in the name of the gods.t the gods or act in the name of the gods.)
I Gusti Agung Wijaya Utama + (‘Bunga Palsu’ (Fake Flower) is a compellin … ‘Bunga Palsu’ (Fake Flower) is a compelling example of how Gung Ama is pushing his technical prowess towards the new creative territory. The picture describes a young man in a traditional headdress holding a plastic flower arrangement, partially obscuring his face. Artificial light sparkles upon the flower and highlights his left shoulder, while a dark shadow defines the right. Juxtaposing dark and light with the old and new, Gung Ama creates a fascinating aesthetic collision with strong visual tension. The subject’s eyes are hidden, concealing his identity while his mouth is expressionless, adding to the intrigue. Highly suggestive, the image has a remarkable power to trigger multiple interpretations within our imagination.Review by Richard Horstmanr imagination. Review by Richard Horstman)
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.)
Nyoman Butur Suantara + ("My memories of the Legong dance.. growing … "My memories of the Legong dance.. growing up I see a lot of paintings of a dancer in costume. I tried to create a photograph of the dance that is like a painting.. but still has the spirit and movement of the dance.." ~Nyoman ‘Butur’ SuantaraExcerpt from article "Legong Rhapsody, a Dance Through Time" by Dewi Dian Reich.We have a series of works by ManButur Suantara that singularly looks at one particular dance. The Legong Dance of Bali, 'Tari Legong Bali'. Balinese culture is full of beauty in so many respects. Wherever you turn you will find something rich and sumptuous in colour and also mystery. Its rituals and ceremony are profoundly deep. It draws the attention of the world. This is not the first time the dances of Bali is the object of art. Images depicting our culture is saturating mainstream media due to its power of influence towards a profitable industry. Tourism. On the positive side this means the beauty of Balinese culture is recognised by many. I mention this because I wish to draw attention to something that might be overlooked. There is something really special to reflect on here that would be remiss not to point out. Purely for our artistic discussion. As a series in photography there are interesting aspects that we can learn from.Read full article in image reference link.Read full article in image reference link.)
Dewi Dian Reich + ('Dance is an ancient art that is intrinsic … 'Dance is an ancient art that is intrinsic to Balis’ creative spirit. One of the many forms of worship its people offer to the Creator. This is something we have in common with many cultures across the world. Forms of traditional dance are a natural and perhaps inevitable manifestation of human creativity. Modelled and tempered to embody our thoughts and philosophies.'Looking at the rich heritage in traditional Balinese dance whilst discussing the impacts caused by a primarily commercial audience. Writing an article is one part, but it would not be possible without the full-hearted contributions of those who give fully to a collaboration for this type of project. Sri Apriani shares her experiences and performs the Tari Condong in Sawidji Studio whilst being a muse for a series of portraits by Dewi Dian Reich Exploring faces behind the dance.an Reich Exploring faces behind the dance.)