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Dodit Artawan + (From Exhibition LINES UPON RHYTHM December … From Exhibition LINES UPON RHYTHM December 2022 at Vin Gallery Vietnam:He took his focus in a unique way by highlighting the shapes and designs of mass products that are available in the market. Those commodities are commonly foundand displayed everywhere with bright colours which can also be found in his artwork characteristics producing wonderful compositions.“Lines” will be the main feature in this show, to present how he’s adopting and appropriating the lifestyle of contemporary society closely related to consumerism. Creating lines with rhythm and drawing with bright colours while at the same time, he’s playfully criticising and celebrating contemporary society often becomesirrational when lured by consumerism. And the rhythm composition of colours and lines will reenact fantasies that capitalism has done to their products.hat capitalism has done to their products.)
Tjandra Hutama + (In this series ‘Rejang, a Beautiful Remind … 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.Physical beauty that is subject to decay and deconstruction is merged with representations of the spiritual and sacred. Elements that are timeless and infinite. Within the layers of Rejang images, the beauty of the dancers is merged with the textures of broken-down buildings, decaying walls, brittle wood, leaves, rust, ash and dust. Despite this, what we see is still beautiful. These textures that are introduced into the work represent the five elements known as Panca Maha-Bhuta. The elements that are the basis of all cosmic creation as believed in Hinduism.l cosmic creation as believed in Hinduism.)
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).)
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 + (Part of a series of portraits of the Faces … Part of a series of portraits of the Faces of Wayang Wong of Pura Taman Pule Mas Ubud. In the time before the performance begins, the intimate moments of the dancers and performers in their preparation for the enactment of the Sacred Wayang Wong.Pura Taman Pule is a Temple in the village of Mas, Ubud in Bali. This mask dance is unique and is only performed here in this Temple. It is not performed outside of its grounds. A set of masks of the characters from the Ramayana and Mahabharata epics are kept in the Temple.No one can say for certain where these masks originated. There are no certain records of the mask carver or how they came to be in the safekeeping of the Temple. That information perhaps has been lost as a result of conflict or war in history.as a result of conflict or war in history.)
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))
Dewi Dian Reich + (Social and Culture represented to discuss … Social and Culture represented to discuss some of the issues that are affecting the longevity and authenticity of traditional practices in Bali today. Issues such as commercialisation of art and culture and its potential impacts on generations from today."It is not the lack of change that we should admire here. For there is definitely change. it would be foolish to deny that. It is the effort and the collective commitment that has survived even to this degree the ravaging changes that time and progress has brought everywhere else. I admire the fact that there is evidence that change may come, but there is still choice."ange may come, but there is still choice.")
Desak Ayu Putu Suciati + (The purpose of this study is to design a f … The purpose of this study is to design a form of optimizing the role of the pecalang in helping to organize common order and public order organized by the Covid-19 Pandemic Prevention Task Force Team. This study is descriptive-qualitative writing which uses and collects more information by exploring every social phenomenon that occurs. The division of authority for the administration of common order and public order held by the Bali Provincial Civil Service Police Unit in an effort to prevent the Covid-19 pandemic experienced many obstacles. It is necessary to optimize the role of the pecalang in helping to organize common order and public order organized by the Covid-19 Pandemic Prevention Task Force Team.id-19 Pandemic Prevention Task Force Team.)
I Made Suastra + (Undang-Undang dasar 1945 Pasal 32 aya … Undang-Undang dasar 1945 Pasal 32 ayat 2 and Undang-Undang Nomor 32 Tahun 2004 provide a vast opportunity for the local community to manage their capacity in every aspect of their life. In the application of the otonomy, local community has an opportunity to preserve their social cultural values as their identity of their community. Balinese can basically be recognised by their language (phonic form) they use as well as their traditions (physical forms) they practice. These aspects are commonly used as a symbol of identity by the Balinese ethnic community nationally and internationally. This symbol needs to be maintained for the shake of the Balinese community preservation. The purpose of this study is to explain the position of Balinese Language in the global era as a symbol of identity for the community. The study focuses on the description of the Balinese identity related to the Balinese language. One function of language is as symbol of identity. Balinese has this role for its community and it is also a pride. This condition can be proven by the development of the use of the Balinese language in time. At the present time Balinese has their function as a mean for expressing their cultural aspects. However, in this global era, the Balinese language develops naturally in line with the need of the user. The internal as well as the external problems of the language use in Balinese community need to be identified in order to find out the solution for maintaining the language, in turn the language itself is still continually function as a symbol of Balinese community.unction as a symbol of Balinese community.)
Made Gede Wiguna Valasara + (Valasara’s work, ‘Part of the Universe’ fi … Valasara’s work, ‘Part of the Universe’ finalised late in 2020, is much larger at 120 by 260 cm. His technical process is demanding. Initially, he sketches onto the canvas the structure. By pinching, filling, and making a volume in the canvas, the individual forms take shape, hand-stitched in cotton. Random threads then complete and inform the chaotic abstract elements, adding a unique potency to his works. The complex works require up to two months of painstaking focus to complete.‘Part of the Universe’ is a flowing picture that draws the viewers eye naturally from left to right across the canvas. The top half of the composition is punctuated by three jagged forms, prominent structural features of a cremation ceremony, that pierce into vast empty space. This work is vastly different than ‘Universe’ 2021. It is defined by its large, negative space of empty canvas emphasising dynamic flowing form and movement within the composition, a technical attribute he has adopted from western art.attribute he has adopted from western art.)
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/)

W.O.J. Nieuwenkamp + (Nieuwenkamp joined the army troops at the time of the puputan in 1906. He recorded in sketches and writing.)
W.O.J. Nieuwenkamp + (Nieuwenkamp joined the army troops at the time of the puputan in 1906. He recorded in sketches and writing.)

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)
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)
I Wayan Bendi + (Bendi is considered by other Batuan artist … Bendi is considered by other Batuan artists to be something of an outsider, due to his unconventional use of caricatures and sketches, which can be drawn quicker than the elaborate detail which is present in other works by Batuan artists. His works primarily depict the modern history of Indonesia and the behaviour of tourists. (Hohn 1997: 161) The eldest of the sons of Wayan Tawang to start painting. -- The Virtual Museum of Balinese Painting-- The Virtual Museum of Balinese Painting)
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.)
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.)
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.)
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.)
W.O.J. Nieuwenkamp +
W.O.J. Nieuwenkamp +
W.O.J. Nieuwenkamp + (On the side of the main shrine is a depict … On the side of the main shrine is a depiction of a westerner riding a bicycle. The relief is a depiction of Dutch artist W.O.J. Nieuwenkamp who explored Bali with his bicycle in 1904. The man on a bicycle relief is not in its original condition as it was badly damaged in the 1917 earthquake and was altered during the restoration process. The restoration adds more floral decoration in the original bas-relief.ral decoration in the original bas-relief.)
Putu Dyatmikawati + (Pada Gelahang marriage is relatively a new … Pada Gelahang marriage is relatively a new form of marriage in traditional community (desa pakraman) in Bali. Commonly the recognized form of marriage is biasa (common) marriage (the wife left her house and joined her husband’s family) and nyentana marriage (the husband left his house and joined his wife’s family). This is the consequence of kapurusa kinship system (patrilineal) in traditional community in Bali. The form of Pada Gelahang marriage was chosen for those who could not hold biasa marriage and nyentana marriage, as each bride and groom was born as the only child in their family. Based on the results of the research, there were found that the numbers of couples who had held pada gelahang marriage were increasing year to year. Based on Balinese customary law, the couples of pada gelahang marriage conduct their responsibilities in two places (double), namely the responsibilities to the family and to her husband’s traditional village, as well the responsibilities to the family and to his wife’s traditional village.ily and to his wife’s traditional village.)
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.)
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.)
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.)
I Nyoman Wardi + (The study was conducted in 2008 in Gianyar … The study was conducted in 2008 in Gianyar, Badung and Denpasar. The goal was to inventory and describing the residential waste management system conducted by the Balinese, and to identify the various problems faced in community-based waste management. To achieve these objectives was done by gathering data through observation, interview and literature study. The collected data were analyzed by descriptive qualitative. The results showed that some of the constraints faced by village institution in waste management, namely: 1) low level of public awareness, 2) the difficulty of getting land for a depot for waste management; 3) the condition of garbage in front of the house (TPS) are not disaggregated (organic and inorganic waste mixed), 4) waste transportation time is not correct 5) lack thrasher; 6) marketing of compost that is not smooth and very limited; 8) waste processing workers’ health problems, and 9) the limited presence of operational funding for waste management. Socio-cultural-based waste management can be done to actualize and enhance the role of traditional institutions (traditional village/banjar) as its support the vision and mission of Tri Hita Karana; change the paradigm of the Balinese culture (cultural engineering) in waste management; actualization of cultural values and the sanctity of the environment (resource of vital nature) and area / sanctuary, reviving the tradition of mutual help to clean of the environment, promoting efforts to 3 R (reduce, reuse and recycle) waste of rural community residents; enhance the active role of housewives (PKK) in waste management, implementation of household and environmental management rules (waste) effectively through the mechanism of reward and punishment in the form of customary rules (awig-awig).n the form of customary rules (awig-awig).)
Putu Weddha Savitri + (This paper, as part of the study of Landsc … This paper, as part of the study of Landscape Linguistics, aims to reveal how the multilingualism is represented in the public space in this area. In addition, to find out how the structure of writing and language patterns used in public spaces in the area. To collect the data, the method used in this research is the documentation method, then the data was analyzed quantitatively and qualitatively. The results showed that there were 13 languages used in public spaces, especially on markers of existing tourism facilities. English is the most dominant language used, Latin writing is also used in almost all markers, and also the language pattern that uses 2 - 3 different languages has shown this area to be considered as an international region. be considered as an international region.)
Dewa Gede Purwita + (Traditional Balinese painting elements con … Traditional Balinese painting elements contain narrative, illustrative, figurative, functional, these formed the structure of Balinese art which is closely related to the existence of the text as the background of its creation. This study aims to read the influence caused by narrative as things that affect the “wimba” and the “cara wimba” in traditional Balinese painting which is focused on Sutasoma's painting in the Kamasan painting style in Bale Kambang Kerta Gosa, Klungkung and the painting of Prabu Salya by I Ketut Gede Singaraja. This research method uses a qualitative art research with analytical descriptive, the theory used as an analysis is the system namely Ruang-Waktu-Datar from the theory of Bahasa Rupa. The results of the analysis show that the narrative forms a system of procedures for depicting traditional Balinese paintings which can be seen from the way the perspective is applied from various sides, the pattern of depiction of figures that replace facial expressions with gestures, as well as the presence of a symbolic time dimension. Through reading with the Ruang-Waktu-Datar, it is found that traditional Balinese paintings are influenced by narratives that are very strongly reflected in their language of appearance.reflected in their language of appearance.)
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 Made Wahyu Senayadi + (Winner of the Bronze Award, UOB Painting o … Winner of the Bronze Award, UOB Painting of the Year 2021‘Spirit of Friends #13’ 2021 – Made Wahyu Senayadi. Acrylic on Canvas,100cm x 170cm,2020 Image courtesy of Wahyu Senayadi.At a glance, ‘Spirit of Friends’ identifies as a milieu of light and dark-coloured, tight rhythmic lines defining an abstract composition. Closer inspection reveals the tiny lines as Barong figures repetitively scrolled throughout the picture and a background layer depicting a more extensive abstraction of the Barong’s head. The unusual work stands alone amongst the other finalists’ offerings. Senayadi distinguishes himself by creating a fresh visual language and at the same time opening a door into a world that most of us take for granted. ‘Spirit of Friends’ describes the veil between worlds.riends’ describes the veil between worlds.)
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.)
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 novel about the adventure of Made Sanjaya, a Balinese teenager who wants to save his friends and family from old grudges and black magic. Nominated for the top 8 best novels at the 2017 UNNES International Novel Writing Contest.)
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).)