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• Bali Matangi anggen Pariwisata Digital Berbasis NFT  + (The Covid-19 pandemic that has hit almost … The Covid-19 pandemic that has hit almost the entire world, including Bali, has had a significant impact, especially on the tourism sector, which is the mainline in the Balinese economy. This is supported by a decrease in the number of tourists to Bali in 2020 by 82.96%, which causes the tourism industry managers to be unable to develop the tourism business line that is being built.</br>However, this should not dampen the enthusiasm of various components of Balinese society in generating Bali tourism. One alternative that can be done is the adaptation of the tourism industry to the technology that is currently being discussed, the Non-Fungible Token (NFT). NFT exists as a representation of individual or group assets or ownership that has unique, non-exchangeable, and valuable properties. This technology adaptation is expected to be an answer to tourist concerns, security and convenience.</br>The workings of the tourism business model with the NFT platform are almost similar to the voucher system in the tourism industry. However, to ensure the security and convenience of users, this platform will be supported by blockchain technology. Blockchain is expected to be able to provide a sense of security thanks to the concept of decentralization which requires validation from various parties who become the blockchain server itself.</br>The government especially Bali Government Tourism Office can act as a validator for tourism industry managers (lodging, accommodation, culinary, etc.) who are committed to building a digital-based Bali tourism ecosystem. For tourists, this NFT can be purchased as a coupon that can be purchased and exchanged at a time frame determined by the tourism industry manager.</br>It is time we move together to restore the glory of Bali tourism by familiarizing ourselves with technology. Of course, it's not just about government policy, but me, you and all of us!ernment policy, but me, you and all of us!)
• Peralihan Potensi Lapangan Pariwisata untuk Mengembangkan UMKM  + (The Potential Transition of Tourism Resour … The Potential Transition of Tourism Resources to Develop UMKM</br></br>Greetings, Om Swastyastu, Assalamualaikum Warohmatullohi Wabarokatuh, Shalom, Namoh Buddhaya. Goodwill and peace to all. We express our gratitude and thanks to the One Almighty God for allowing us to participate in the "Provincial Bali Oratory Competition" with the theme "Bali Orates" and the topic "2024 Election: What is the most pressing issue to be addressed by Bali's future leaders?". In this regard, we present arguments focusing on "how the management of tourism, by harnessing the potential shift of employment towards UMKM, can coexist with the progress of tourism for Bali's future leaders."</br></br>Post-Covid-19, Bali is assessed as unable to rely solely on the tourism sector as the sole backbone of the regional economy. Serious resource exploration is needed so that Bali has a number of alternative sources of economic income. This consideration is essential for Bali to withstand crises and global challenges. It is an opportunity to organize and pay attention to the development of UMKM in Bali, potentially redirecting the economic base from the tourism sector.</br></br>The negative impact of the current tourism sector chaos in Bali stems from arbitrary behavior by tourists towards the Balinese people. Bali's residents are disturbed by reprehensible actions by tourists, whether permanent residents or just visitors. Examples include religious desecration, inappropriate behavior in sacred areas, disturbances in public areas, land grabbing from Balinese residents, and various other disturbances, all of which have a detrimental impact on the lives of the Balinese people.</br></br>The government of the Bali Regional People's Representative Council (DPRI), a politician from the Indonesian Democratic Party of Struggle (PDI-Perjuangan) faction, outlines several potential economic resources that can be seriously explored in Bali, including agriculture, marine, and creative economy sectors. Strengthening each sector, he notes, will contribute to economic equality in the Island of the Gods.</br></br>Recognizing that UMKM are a sector capable of sustaining Bali in times of crisis, support for regulations and education for the empowerment and protection of UMKM is crucial. It is emphasized that diversifying beyond the tourism sector is essential. Chairman of the Bali Hotel and Restaurant Association (PHRI), Tjok. Oka Sukawati, sees this as a significant moment for Bali's UMKM to learn from other UMKM, especially those outside Bali, fostering innovation and product quality development.</br></br>In response to Prof. Ramantha's statements, Ny Putri Koster, as the Head of the Regional Craft Council (Dekranasda), considers her actions as part of her responsibility to bridge UMKM with consumers. She builds synergy with relevant government agencies, such as the Bali Provincial Trade and Industry Office.</br></br>In conclusion, we hope that future government candidates prioritize programs in the UMKM sector over tourism, yet maintaining attention to Bali's tourism. This oration serves as a reference for future programs. In closing, we express our gratitude. Om Santih, Santih, Santih Om, Wassalamualaikum Warohmatullohi Wabarokatuh, Shalom, Namoh Buddhaya. Goodwill and peace to all.Namoh Buddhaya. Goodwill and peace to all.)
• Program KIP ring Kabupaten Bangli kari Salah Sasaran.  + (The Smart Indonesia Card (KIP) is also cal … The Smart Indonesia Card (KIP) is also called the Smart Indonesia Program (PIP). This is the Jokowi government's first program which is part of the Healthy Indonesia Card (KIS) and the Prosperous Family Card (KKS). The Smart Indonesia program aims to increase access for school-age children from poor families to school. KIP is a card intended for poor and vulnerable families who want to send their children (aged 7-18 years) to school for free. KIP recipients are given regular cash funds from the government which are stored in the KIP card function to attend school for free, both those who have registered and those who have not yet registered in schools or madrasas so that the dropout rate can drop drastically.</br></br>So, the target of KIP is for students who excel and are less fortunate. But in fact its implementation is not in line with expectations, many cases occur regarding KIP being mistargeted. One of them occurred in Bangli Regency. A real example is in my own village, namely Banua Village. Those who are entitled to get KIP (Smart Indonesia Card) are children or students whose families are on the line or in the Poor Family Card (KK) group so that at first glance the KIP program is right on target, but if you look more deeply In fact, the KIP or PIP program still finds errors in its implementation. There are many students in my village whose families are not in the poor family, but in fact these students are underprivileged students. And because of the implementation of the poor KK, students who are not included in the poor KK, who are in fact less well off, cannot make KIP. Even though these students are students who excel and really need the KIP. An example of a student who experiences KIP inaccuracies is myself. I'm not in the poor KK line so I can't get the KIP, even though in fact I really need the card myself. Not to mention that the KIP cannot be made because I am not a poor family member, but in reality my family and I are not someone who can afford it. So, that was the inaccuracy of KIP in Bangli Regency, so what about the wrong target? I have also experienced this wrong KIP target. At that time, I was in junior high school, one of my friends from Trunyan Village had a KIP and received a scholarship even though he himself was someone who was capable and quite rich, had a nice house and had no economic difficulties. This is what makes me feel that KIP in Bangli is still not on target and its implementation tends to be inappropriate and even unfair. Then what solution should the government take? In my opinion, what the government must do to overcome the problem of inaccuracy and wrong targeting of the KIP is, first to do research on the students who receive the KIP, whether they are really underprivileged students? We can see this from the condition of their homes, their parents' jobs, their parents' income every month and so on, well if someone fulfills the things that make them get KIP as I explained above and they are a smart and outstanding student then in my opinion they are worthy of getting KIP. In short, the Bangli Regency Government must be more careful in recruiting students who are worthy of receiving the KIP.dents who are worthy of receiving the KIP.)
• ULUWATU LACE  + (The Yak spoke with Ajit Khatai, ceo of Ulu … The Yak spoke with Ajit Khatai, ceo of Uluwatu handmade Balinese lace – the 50-year-old true Bali legacy fashion brand – about life in Bali, the journey so far and the future for the brand.</br></br>How has Bali been for you?</br></br>Been here since the beginning of the 2020 pandemic. I think one word for life here would be: healing.</br></br>What does Uluwatu Handmade Balinese Lace mean to you?</br></br>Magical and challenging on so many levels. A fashion business in Bali. A brand that’s core skill-set is lace. Only two colours (white and black) to the range planning. Tourists as primary customer. Language barrier. An immensely talented pool, which is aging.</br></br>How is it that sophistication and simplicity exists seamlessly in Uluwatu Lace? We know it’s not easy. How do you manage to achieve it?</br></br>It looks easy, because ours is a story of Bali. We carry the soul of everything that’s beautiful here. By layering simplicity over and over, we are able to create sophistication. Our pursuit is perfection. Our founder Ni Made Jati focussed on love for creating great designs. She was inspired by modern women who are independent and rebellious. Over the years, we have redefined this modern woman. I think these three elements, Bali, Simplicity and Perfection are our secrets.</br></br>How did the brand start…</br></br>In the 1970s it seemed a good business proposition. Bali had an abundance of lace skills. An influx of foreigners was allowing exploration of new silhouettes (before lace was predominately used on Kebayas). Our founder saw the possibilities. Those were times when Bali was getting started on its lasting reputation of being heaven; of secret idyllic beaches where seekers and hippies found the surf, sand and beads, and loads of sunshine to tan their skin. She adapted the lace to the new world, from airy over layers to breezy gowns for the evening fire. The Bohemian spirit has been alive ever since.</br></br>Uniquely, the Uluwatu Lace brand is cemented deeply in Bali’s history and colonial past. Can you briefly tell us more…</br></br>No-one starts out to make history. Our journey gave us two rights: time and place. Bali’s lace tradition of krawang or Lobang is a rich living craft. Earliest evidence showing its use is in the 10CE, during the end of the Majapahit reign. Almost 1,000 odd years of existence. There is an unsubstantiated belief that Kerawang is the classic crochet lace of Northern Europe. Said to be carried by missionaries who travelled with the Dutch East India Company (VOC). The timeline could be anywhere around 1600CE. But the real impact can be attributed to after 1796, when the VOC was abolished and the Dutch government gained control over Indonesia, which continued until 1941.</br></br>And then there was the modern journey…</br></br>Yes. Somewhere around mid ’70s, Kebaya was getting its space as a classic apparel which was introduced as modesty. Lace got incorporated into the Kebaya. We have been trying to perfect the art form ever since then. This evolved into the temple culture, to exactly the same clothing culture we witness in Bali today. We have managed to transform it into something desirable globally. Breaking the limitations of design was the tipping point. With just two colors, white and black, it was a sure recipe for disaster. The fact that we are still here is something bigger than a miracle. But here we are…</br></br>Why white and black?</br></br>Our journey was for excellence. I suppose we reached this point naturally. It is difficult to reason why in a 50-year journey. An intelligent guess is, white was preferred due to the tropical climate and black was easy to handle. In the early years, consistent yarns in colors was not an easy proposition. Whatever the reason, we are memorable because of the two colours.</br></br>How many people are involved in making your designs?</br></br>Our family is around 500 individuals. More than three quarters of this number are involved in the design creation and the rest are in support operations. Each person in our ecosystem is a lifelong partner to creation of these exclusive designs.</br></br>What makes this brand click?</br></br>Love and Bali. You immerse in this paradise. In return the paradise diktats that you respond with honesty. That’s what we give. We do not dilute our principles to suit business obligations. Our products are made in the old fashioned way. We have steered clear of shortcuts. Each and every piece is made in the same traditional method of bamboo hoops and slow needle whirring to make the lace. Love has its own karmic journey. Maybe it’s the love that’s responding back.</br></br>What are the attitudes in fashion changing over the decades? Where is fashion’s future for designs with your niche?</br></br>Look at the fashion around the world. Lace and crochet are consistent. Lace is here to stay. That speaks loads on the future of lace in fashion. It’s a classic embellishment in fashion. Women love it. It’s not going away anytime soon. We are a lace brand. We need one purchase to happen in a thousand in our market to stay in business. That’s a simple logic for excellence. We have to keep creating the most simple, sophisticated designs with the same passion. Great designs don’t need volume. We are content right now.</br></br>What does high thread count mean to you and why is it important to your company?</br></br>Yarn is the key. Our yarn goes through immense stress, which makes it absolutely essential to have a unique tensile strength, which is stable in the lace making process, avoiding brittleness. We have conjured up a specific blend of rayon yarns to achieve this over the years. It stays unbroken for the longest stretch of action. That brings the unique sheen to our lace.</br></br>How has the Covid Pandemic affected your brand?</br></br>It’s been a kind of blessing in disguise. We found time for course correction. Our focus diverted from sales to being janitors (cleaning up the brand). We found scope to refine our skills. Created a data-bank of designs. Refined the skills that had been acquired over 50 years. We updated software and improved processes. Basically we did a lot of clean-up. We had to ensure our designs remain heirloom pieces. Creating possibilities of engagement to lace designs. We conceptualized a Balinese Lace Museum and initiated the process of getting nominated as a heritage craft. It was a long list.</br></br>Which design will be your all-time superstar creation? Is there a story in its creation?</br></br>We love almost all our ’70s designs. The decade when chic, colour and pool parties were the epitome. The age of revolution … styles that clicked. Then we were busy making something revolutionary to be loved. We got our foothold in fashion in the ’70s.</br></br>How are you involved in the creative community in Bali?</br></br>As the flag bearer of Balinese Lace Fashion, we are the finest on the block. Both the founder and myself are pretty much very private people. Our direct visible engagement remains slower than we would like. However, we engage with artists, graphic artists, photographers, musicians and actors. We love to be the support to young creative talents.</br></br>What are the current design projects at Uluwatu Lace?</br></br>This year we are engaging in a lot of very interesting projects … I like to call in non-invasive cross-innovation, where we identify non-parallel creative techniques to come together in an organic symbiotic visual extravagance. Our designers are busy rejecting designs to arrive at acceptable designs. For example, imagine trying to combine lighter Endek fabric with Balinese lace. Both techniques cannot overpower each other. The balance of weight, colour and flow is an absolutely challenging experience.</br></br>Which particular Indonesian / international celebrities could wear your designs and embody what they mean?</br></br>For us, Happy Salma is the epitome of what Uluwatu Lace is supposed to mean. She is the purity of how our design should be expressed. In the case of Hollywood, I would love our designs on Alicia Vikander. Her athletic features and Grecian expression are timeless. And of course, Priyanka Jonas Chopra’s dusky exoticism. If they are reading this … we love you!</br></br>What’s next for Uluwatu Lace?</br></br>Short-Term: make our mark on the Paris, New York, London and Tokyo fashion scenes. Medium Term: Get listed in UNESCO heritage craft category. Long Term: hopefully keep creating inspiring designs. We have a goal to make the brand 100% sustainable with minimum carbon footprint. Engage with blockchain technology to track the impact of our brand. We also hope to have a community fingerprint, where we go beyond our business obligations and leave lasting imprints within the community that defines us.</br></br>IG: @uluwatu_handmade_balinese_lace</br></br>FB: @uluwatulacebali</br></br>www.uluwatu.co.ide FB: @uluwatulacebali www.uluwatu.co.id)
• Bali Akan Bangkit Lagi  + (The government of the island of Bali, whic … The government of the island of Bali, which is the Deputy Governor of Bali Prof. Dr. Tjokorda Oka Artha Ardhana Sukawati once said that indeed Bali agrees if the tourism sector is experiencing a decrease in the effects of the Covid-19 pandemic. But we as a people on this island can't say anything more. For the public should follow the directions of the government, such as vaccinating, using masks every day when meeting with others, paying attention and implementing a healthy lifestyle and other things. Actually from my personal side does not want to be so opinion more but we ourselves who should be aware of what is being faced at this time. The first thing is certainly from yourself who must carry out, secondly there is a family that is closest to ourselves and then start doing this healthy lifestyle to the surrounding community. If all parties have done so, believe me all will be healthy and free from this plague. But this pandemic teaches us to be more grateful to be aware of the circumstances that occur and what will happen. Let us together take care of ourselves first to be healthy, if we have done so believe me all will definitely come back over time.e all will definitely come back over time.)
• Anak Agung Gede Sobrat  + (The principal artist of the Ubud school, c … The principal artist of the Ubud school, continued working after World War II. Works in all major collections, including the Sana-Budaya Musuem, Jogjakarta.</br>Worked closely with Bonnet and Spies. Described by Bateson and Mead as having a lively and intelligent mind he is versatile and a distinguished colourist. (PM 72). Puri Lukisan has alternative birth date of 1917Lukisan has alternative birth date of 1917)
• I Wayan Westa  + (The writer and humanist who won the 2014 R … The writer and humanist who won the 2014 Rancage Literature Prize with a collection of essays entitled "Tutur Bali" (2013) named I Wayan Westa. A graduate of FKIP, Dwijendra University Denpasar, Department of Balinese Language and Literature Education, he was born in Klungkung, January 27, 1965. From 1889-1993 he became a teacher at SLUA Saraswati Klungkung and a lecturer at various private universities.</br></br>In 1999 he worked at the Ford Foundation, he was also the editor of Gumi Bali SARAD Magazine in 2000-2009, and in 2010-2012 he was the Chief Editor of SABDA Magazine. His essays were published in various mass media, such as: Karya Bakti Weekly, Nusa Daily, Bali Post, Kompas, Pos Bali and Radar Bali. As editor of various articles published by the Indonesian Obor Foundation, Wulan Sedhuwuring Geni (Anthology of Short Stories and Regional Poetry), A Thousand Fireflies in Manhatan (translations into 13 Regional Languages), and Sunari (Balinese Novels by Ketut Rida), and Rabindranath Tagore , Poetry Throughout the Ages, Publisher of the Darma Sastra Foundation, 2002. He was also a speaker at Sadyakala Sastra #39 Wayan Westa: Nationalism and Glorification of Regional Languages on March 14, 2014 and Sandyakala Sastra #43 Obituary I Wayan Sadha on March 12, 2015 at Bentara Budaya Bali. on March 12, 2015 at Bentara Budaya Bali.)
• Theo Meier  + (Theo Meier was born in 1908 in Basle, Swit … Theo Meier was born in 1908 in Basle, Switzerland. He was educated in the arts at the Basle School of the Arts. He had worked as a portrait painter for the University of Basle. He made his first trip to Berlin, where he met Liebermann and Hofer at the Berlin Academy, as well as Emil Nolde, one of the contemporary painters he admired most. He studied with Otto Dix who influenced him greatly.</br></br>Meier left Europe for the South Pacific at the age of 24. To finance his travels, he founded a club, where each member promised a monthly fee in exchange for which they could choose one of Meier's paintings upon his return. He sailed to Papeete via Guadeloupe, Martinique, and the Panama Canal, inspired by the beauty he encountered, but also disillusioned by the presence of Western influence.</br></br>After returning briefly to Basel, he went to Bali where his life was changed forever. In Bali, he found an innocence that he did not find in Tahiti. He befriended the German painter Walter Spies, and later moved into the German artist's bamboo house. He married his first Balinese wife in 1936. When the Japanese arrived in Bali in 1941, Meier was granted permission to stay in Bali, unlike his friend Walter Spies who met his death aboard a prisoner of war ship crossing the Indian Ocean. Unfortunately, many of his paintings were lost, some of which were given to Japanese sailors. After the war, Meier remarried, fathering a daughter.</br></br>After 15 years in Southeast Asia, Meier briefly returned to Switzerland, but then returned to Bali, followed by Thailand. In 1957, he married Laiad, his third wife. In 1961, Meier moved to Chiang Mai, Northern Thailand, where he lived with Laiad in a beautiful teak house on the banks of the Ping River. He was a prolific artist and continued to paint until his death in Thailand in 1982.paint until his death in Thailand in 1982.)
• Anak Agung Gede Oka  + (There seem to be a number of A.A. Okas, and there may be confusion between the 1930s Batuan artist (one work int he Bateson-Mead collection), an artist from Mas, and the Batuan artist born in 1955.)
• Tjokorda Raka Sukawati  + (Tjokorda Raka Sukawati (3 May 1931 – 11 No … Tjokorda Raka Sukawati (3 May 1931 – 11 November 2014) was an engineer from Ubud, Bali who discovered Sosrobahu construction technology. This construction makes it easier to build flyovers without disrupting traffic flow during construction.</br></br>He earned an engineering degree in Civil Engineering at the Bandung Institute of Technology (ITB) in 1962. He co-founded the Faculty of Engineering at Udayana University, Bali. He obtained his doctorate in Civil Engineering from the Faculty of Engineering, Gajah Mada University, Yogyakarta, 1996.</br></br>He pursued a career at PT Hutama Karya which operates in the construction and infrastructure services sector, which is a State-Owned Enterprise (BUMN) under the Department of Public Works. Sosrobahu's technology was discovered when he was working on the flyover project between Cawang and Tanjung Priok, Jakarta, in 1988. The technology he invented is used in many countries.</br></br>In 2021, his biography written by Nyoman Wijaya entitled "Stepping Without Tires" was published by Pustaka Larasan.t Tires" was published by Pustaka Larasan.)
• Tyra Kleen  + (Tyra Kleen (29 June 1874 - 17 September 19 … Tyra Kleen (29 June 1874 - 17 September 1951) was a Swedish artist, author and women's rights activist. Her paintings, illustrations, lithographs and publications were important to the Swedish fin de siècle art movement. But above all she was an independent ethnographical researcher.</br>In 1919, after WWI, she traveled to Java and Bali on a Swedish cargo ship. In Solo (Surakarta), Kleen worked with Beata van Helsdingen-Schoevers to write an anthropological study on the ritual court dances of Solo. Both also participated in the dance lessons. Kleen felt that dancing not only involved making the right movements on the sound of music, but that it also involved the transition into an altered state of mind to become in harmony not only with oneself, but with the Universe.</br></br>Unfortunately, this project ended in July 1920 in turmoil due to clashing personalities, and van Helsdingen-Schoevers died 17 August 1920 of an unknown disease. The project was finished in 1925 with help from "Volkslectuur" (the commission of folk literature), Mabel Fowler and miss Gobée, wife of the Head of the Office for Internal Affairs, titled "The Serimpi and Bedojo Dances at the Court of Surakarta", with 16 pages of text. In July 1925 there appeared a new edition with 30 pages of text. The coloured plates were reproductions made by the Topographic Service of Kleen's drawings. For everyone involved, but especially Kleen, the result was very disappointing, because she wanted to participate in this project in order to result in a standard reference work that could be presented worldwide.</br></br>When she arrived in Bali in 1920, she started a new project on the mudras, or ritual hand poses, of the Balinese Hindu priests with the assistance of the Rajah of Karangasem, Gusti Bagus Djilantik, whom she had met in Solo the year before, and of Piet de Kat Angelino. This was a turning point in her career because de Kat Angelino was able to explain to her the mudras and also encouraged the priests to cooperate. He was district-officer (controleur) of Gianjar and Klungklung for over a decade and had been collecting material on Balinese priests for years in his home in Gianjar. At his home, she could draw priests and their mudras. Their work together is presented in the book Mudras, with text and illustrations by Kleen, who acknowledged that much of the technical information about the poses and ceremonies came from de Kat Angelino and later on from R.Ng. Poerbatjaraka. Kleen spent the whole of 1921 in Java, working on the material collected in Bali the year before. She exhibited her pictures of the priests at the Art Society in Batavia. Collaboration with de Kat Angelino continued and she met him in Amsterdam on her way home. With his help an exhibition was arranged at the Colonial Institute in Amsterdam. The exhibition was favorably reviewed by de Kat Angelino in the magazine Nederlandsch Indië, Oud en Nieuw. What was the reaction at that time in the Netherlands on her work in Bali? Anne Hallema, a Dutch journalist and art-criticus wrote a critical and extensive article on the Mudra's which appeared Elseviers Geïllustreerd Maandschrift, Jaargang 34, 1924 pp. 145–147. He disqualified her work as an artist but praised her for her scientific contribution. He ends his article with stating that we have to be grateful that this stranger from the land of Selma Lagerlöf toke the initiativ to study the mudra's of the Balinese priests in performing his Hinduistic rituals. Specially the Indologists and Orientalists should be happy with the appearance of this publication.</br></br>Another crucial exhibition was Två vittberesta damer (Two Travelling Ladies) at Liljevalch's Public Art Gallery in Stockholm 1922, where she showed art and artifacts from Java and Bali together with Swedish photographer and author Ida Trotzig contributing works from Japan. This exhibition was the starting point for the "Bali-fever" in Sweden. Kleen's depictions of mudras were shown at the Victoria and Albert Museum in 1923.</br></br>Besides Mudras, Kleen published two other books about Bali: Ni-Si-Pleng, a story about black children written for white children (1924), and, seven years later, Tempeldanser och musikinstrument pa Bali, printed in 300 numbered copies, translated in 1936 as The Temple Dances in Bali.</br></br>Kleen's study on the mudras, the exhibition in Amsterdam at the Colonial Institute and the publication of her books made her internationally known. For her scientific ethnographic work on Bali, Kleen was awarded the Johan August Wahlberg silver medal in April 1938, given to individuals who have "promoted anthropological and geographical science through outstanding efforts".</br></br>Walter Spies was the central figure in the circle of artists residing on the island in Ubud, Klungklung and Karangasem. He was considered to be the greatest expert on Balinese dance and drama. Together with the British dance critic Beryl de Zoete, he wrote the standard 1938 work Dance and Drama in Bali. Spies was jealous of the international success of Kleen[citation needed] and wrote a very critical nine-page review of the Temple Dances in Bali in the journal Djawa (1939). He complained, "the text and the depictions are filled with so many mistakes, errors and incorrect statements that one must shake one's head." Spies claims that as an ethnographic document the book has no value. As a result, there were nearly no references to the work of Kleen in any ethnographic periodicals or publications after this critical review. It is only in 1962 that C. Hooykaas in his article "Saiva-Siddhanta in Java and Bali" supported the importance of the study on mudras by de Kat Angelino and Kleen.</br></br>Kleen contributed work to various European magazines, including Sluyters' Monthly, Nederlandsch Indië Oud en Nieuw, Ord och Bild and Inter-Ocean, between 1920 and 1925 and influenced in this way the perception and expectations of foreign visitors to Bali. Furthermore, she influenced with her colourful, vivid and dynamic art-deco drawing style the development of painting by local artists in Bali, not in a one-way influence but more a kind of mutual influence.Mostly these local paintings were made for the touristic market and depicted daily life instead of exclusively being concerned with gods, demons and the Ramayana and Mahabharata epics. In this way, she took part in the marketing of "the last paradise". This also meant that she became associated with this type of magazine drawing instead of her more important ethnographic publications. more important ethnographic publications.)
• Umbu Wulang Landu Paranggi  + (Umbu Wulang Landu Paranggi, born in Kanang … Umbu Wulang Landu Paranggi, born in Kananggar, Waingapu, East Sumba, East Nusa Tenggara, August 10, 1943. His poems have been published in many mass media, including the Indonesian Pulpit, Basis, Pusara Magazine, Arena, Yogya Pioneer, Bali Post, Journal CAK, Kolong Magazine. Some of his poems are also summarized in joint anthologies, including Manifes (1968), Milestone III (1987), The Ginseng (1993), Saron (2018), Tutur Batur (2019). </br></br>Umbu used to take care of the literature room at the Pelopor Yogya weekly, which was headquartered on Jalan Malioboro. On March 5, 1969, together with several other figures, Umbu founded the literary community Persada Studi Klub (PSK). At that time Umbu was dubbed the President of Malioboro. The pioneers of Yogya and PSK gave birth to hundreds or even thousands of poets scattered throughout Indonesia.</br></br>Since 1978 Umbu lived in Bali and in July 1979 was asked to become the literary editor of the Bali Post daily. As he did in Pioneer Yogya, Umbu faithfully, diligently, and painstakingly, nurtured the seeds of writers to grow into well-known figures in Indonesian literature.</br></br>For his dedication to the world of literature, Umbu was awarded a number of awards. These include the 2018 Cultural Award from the Faculty of Cultural Sciences, University of Indonesia, the 2018 Dharma Kusuma Award from the Bali Provincial Government, the Literature Service Award from the Language and Book Development Agency in 2019, and the Jakarta Academy Award (2019). Umbu died on April 6, 2021y Award (2019). Umbu died on April 6, 2021)
• Bart Verheijen  + (Verheijen is a post-doc in History in the … Verheijen is a post-doc in History in the University of Amsterdam. He holds a PhD in Napoleonic history from Radboud Universiteit Nijmegen. His works focusing on the age of revolutions, political theory in the 19th century, colonial citizenship and Indonesian history and culture. He lived and worked in South East Asia including Myanmar and Indonesia for three years and affiliated with Hasanuddin University in Makassar, Sulawesi.sanuddin University in Makassar, Sulawesi.)
• Walter Spies  + (Walter Spies is a German artist born in Mo … Walter Spies is a German artist born in Moscow, September 15, 1895. Apart from being a painter, he was also a music and dance artist. In 1923 he came to Java and settled in Yogyakarta. He worked as a court pianist and was asked to help with the palace's artistic activities. He was the first to introduce numerical notation for gamelan in the Yogyakarta palace. This notation was later developed in other palaces and is used today.</br></br>After his contract was completed in Yogyakarta, Spies moved to Ubud, Bali, in 1927. He was close friends with the King of Ubud, Tjokorda Gede Agoeng Soekawati. Spies also got to know many local artists and was very impressed with Balinese art. He collaborated with Wayan Limbak, polishing the sacred Cak dance into Kecak.</br></br>With the support of the King of Ubud, together with the Dutch painter, Rudolf Bonnet, Spies founded Pita Maha, a community of Balinese artists in 1936. Spies also introduced many modern artist techniques to Balinese artists. There are still quite a lot of followers of Walter Spies' painting style in the Ubud area.</br></br>Spies died on January 19, 1942 when his ship Van Imhoff was bombed by Japanese forces during World War II.ed by Japanese forces during World War II.)
• Ketut Swardana  + (Was born in 1969 in Singaraja. He graduat … Was born in 1969 in Singaraja. He graduated in 1990 from "Fine Arts School" in Denpasar, bali. He's an active painter who keeps searching for professional painters as his teacher and companion. In the past he has worked through a joint system with "Pierre Poretti", an artist from Lugano, Switzerland.</br></br>Most of Ketut Swardana's works are an expression of creativeness on canvas. The quality of his work improves with each passing day. For Swardana, the most important factor to his art is satisfaction to his feelings.o his art is satisfaction to his feelings.)
• Wayan Eka Mahardika Suamba  + (Wayan Eka Mahardika Suamba was born in Bat … Wayan Eka Mahardika Suamba was born in Batuan, August 17, 1985. He started studying painting when he was 10 years old, his grandfather I Wayan Taweng and his uncles I Wayan Bendi, I Ketut Sadia, I Wayan Diana. He has exhibited together such as “Mother Rupa Batuan” at Bentara Budaya Bali (2019), Endih Batur at Taman Budaya Bali (2018), “Experience Rudolf Bonet's Home” in Ubud (2016), “Golden Generation” at Arma Museum, Ubud ( 2018), "The Dynamic Heritage" at the Santrian Gallery, Sanur (2018). He has won nine TITIAN PRIZE Finalists (2018).as won nine TITIAN PRIZE Finalists (2018).)
• Wayan Gde Yudane  + (Wayan Gde Yudane was born in Kaliungu, Den … Wayan Gde Yudane was born in Kaliungu, Denpasar, 1964. He graduated from Karawitan Arts at ISI Denpasar. He has worked on many musical works for concerts, theater/performance arts, literature, and films. He won the Melbourne Age Criticism award for Creative Excellent at the Adelaide Festival, Australia (2000). He performed at the Wangarata Jazz Festival, Australia (2001), toured Europe with the Temps Fort Theatre, the France and Cara Bali Group, as well as the Munich and La Batie Festivals. </br></br>His works include the music for the films Sacred and Secret (2010), Laughing Water and Terra-Incognita, and Arak (2004), and so on. Crossroads of Denpasar is one of his works that was ordered by radio New Zealand and later purchased by radio Australia and BBC London. Another work, Paradise Regained, which was inspired by the 2002 Bali bombings, was played by pianist Ananda Sukarlan in various international performances. His collaborated with Paul Grabowsky, The Theft of Sita, performed at the Next Wave Festival, New York City, 2011.e Next Wave Festival, New York City, 2011.)
• Wayan Suastama  + (Wayan Suastama is a painter born in Lalang … Wayan Suastama is a painter born in Lalanglinggah, Tabanan, Bali, 1972. He studied fine arts at ISI Denpasar. Since 1995 he has been diligent in displaying his works in joint and solo exhibitions, both at home and abroad, such as the Bali Megarupa (2019) exhibition. In 2000, his work entered the final of the Philip Morris Art Award. In general, his works often feature female figures with soft and charming colors. He is active in the art community Militanarts.</br></br>Read Full article in Sawidji Artist Biography</br></br>Wayan Suastama and the Art of Introspection</br></br>In pursuit of art, I wished to have a better understanding, so I went to SMSR Batubulan Denpasar. I didn’t have the ambition to be a painter or this or that, I just wanted to understand art better. In fact, in SMSR I chose to study graphics and communications. This was a study of typography and graphics.</br></br></br>https://sawidji.com/about-sawidji/artists-sawidji-gallery/wayan-suastama/ji/artists-sawidji-gallery/wayan-suastama/)
• Wayan Sumahardika  + (Wayan Sumahardika was born in Denpasar, Ma … Wayan Sumahardika was born in Denpasar, May 11, 1992. He obtained a Masters degree at Undiksha Language Education Study Program, Singaraja. He became a director, scriptwriter and founder of Teater Kalangan. His manuscript won first place in the Indonesian Monologue Script Contest at the UIN Jakarta Festival, first place in the Traditional Drama Script Writing Competition for the Bali Provincial Culture Service 2018, and 1st Place in the Modern Drama Script Writing Competition for the Bali Provincial Culture Office 2017. Some of his performances were staged at the event. Indonesia V Theater pulpit, Bali Emerging Writers Festival, Bali Arts Festival, Bali Mandara Nawanatya, 100 Putu Wijaya Monologue Festival, Canasta Theater Parade, North Bali Young Theater Parade, Jembrana Hamlet Festival and Bali Language Month Festival in Bali Province. Writings in the form of poetry, short stories, essays, and theater reviews have been published in a number of media such as Indopos, Media Indonesia, Bali Post, Bali Tribune, Tribune Bali, Tatakala.co, Bale Bengong and have been compiled in several anthologies.have been compiled in several anthologies.)
• Wayan Turun  + (Wayan Turun was born in Banjar Kedaton, Ke … Wayan Turun was born in Banjar Kedaton, Kesiman, Denpasar, 17 July 1950. He completed his formal education at SR I Kesiman, in 1966. He graduated from SMEPN in 1969 in Denpasar, and he completed SSRI in 1971 in the same city. Since childhood he has loved the arts. Artistic blood flows from his mother, a janger dancer. He is known as a skilled undagi (traditional Balinese building architect), and is also skilled at making bade (corpse towers). He studied Asta Kosala Kosali (basic rules of traditional Balinese architecture) from Pekak Kenjing, Anak Agung Mel, and Ida Pedanda Oka. Apart from that, he studied philosophy about art and religion from Ida Pedanda Kekeran, Ida Pedanda Made Sidemen, Ida Pedanda Bajing, Ida Rsi Agung Penatih and Ida Dalem Pemanyun. Because of his expertise in Balinese and Old Javanese literature, he was often trusted to write inscriptions and copy lontar. He also wrote literary works, such as kidung and kakawin. For his services in the field of arts and culture, he was awarded the Cultural Upakara Charter from the Mayor of Denpasar in 1995.harter from the Mayor of Denpasar in 1995.)
• Peran Krama Bali Kaanggen Ngwangun Pariwisata Bali Mangkin lan Selanturnyane  + (We all know how the condition of Bali tour … We all know how the condition of Bali tourism is after the Covid-19 pandemic. Tourists are not allowed to go to Bali so that Covid-19 virus does not spike again. This causes Bali tourism to decline. Balinese people who work in the tourism sector do not get jobs. The Bali government has issued a policy that is used to suppress the spread of the Corona Virus. One of the policies is the implementation of restrictions on community activities or what is known as PPKM (Pemberlakuan Pembatasan Kegiatan Masyarakat). This causes the spread of Covid-19 to decrease. </br></br>Because the government already has efforts to reduce the spread of the Corona Virus, we as the next generation can help the government to improve Bali tourism. There are many procedures that can be used to improve Balinese tourism. The first way is to promote Balinese tourist destinations using social media. This requires the participation of the Balinese people. Those who like to upload photos while on vacation to tourist destinations in Bali can also help develop and improve Bali tourism. Indonesia has a website that is used to promote Indonesian tourism. </br></br>Second, the public can help provide tourist destinations in accordance with health protocols related to government policies, as well as maintaining the cleanliness of tourism places. This causes a sense of security. </br></br>Third, Bali has many cultural works that are popular abroad, for example, such as carvings, paintings, sculptures, and so on. Maybe Balinese artists can provide counseling to the younger generation on how to make art. This can foster a sense of love for domestic products and can encourage Balinese cultural works with the younger generation.</br></br>Well, that's a little bit about the procedure to restore Bali tourism during the pandemic. We should always remember our identity as Balinese people, namely to develop Balinese culture.eople, namely to develop Balinese culture.)
• Widi Widiana (I Ketut Widiana)  + (Widi Widiana whose real name is I Ketut Wi … Widi Widiana whose real name is I Ketut Widiana is a Balinese pop singer born in 1974. Most of his songs are about love. He was born into a family of artists. His father is a song teacher and dancer, his mother (Ni Made Kibik) is also a dancer. Widi and his brothers formed a band called the Diana Band. Since 1991, the band has performed from banjar to banjar, hotel to hotel, event to event.</br></br></br>As a single singer, Widi started his career in 1994 with the album "Tungan Tiang", which is a compilation album with other Balinese pop singers. His first solo album appeared in 1996, "Sesapi Putih", followed by a compilation album, "Tresna Kaping Siki", in 1996. the same year. The second solo album was born in 1997 with the label "Sampek Ing Tay". Then the next album titled "Special Fried Rice" (2015), "Formalin Sik Luh" (2017). In 2005 he won the best male singer version of the "Bali Music Award I". He has since given birth to more than ten solo albums. given birth to more than ten solo albums.)
• Anak Agung Meregeg  + (With his cousins, including Soberat, A.A. Meregeg was one of the defining artists of the Ubud style. Dermawan (2006: 148) has his year of birth as 1908 and states that he was born in Padangtegal, rather than Batuan.)
• Cokorda Ngurah  + (Worked with Lempad. Of Puri Saren Kauh. Related Artists I Gusti Nyoman Lempad Father: Cokorda Oka)
• Wayan Sila  + (“The very first night I slept over at my n … “The very first night I slept over at my new studio an owl flew into the garden. It wasn’t a coincidence that I noticed it perched in a tree,” says Balinese artist Wayan Sila. “This was a</br>special experience and powerful omen. A gift from the Gods to me.”</br></br>The owl is much revered by indigenous cultures and in folklore around the world as a</br>guardian spirit, as well as a wise creature capable of extraordinary sight. Balinese</br>mythology reveals that if an owl visits a family compound while a female member is</br>pregnant this is indeed a positive sign. Burung Hantu literally translates from bahasa</br>Indonesia into the English language as ghost bird; or the owl, the mysterious bird of the</br>night.</br>“I have a unique connection with owls. It is a potent image that resonates with my heart. I</br>was intuitively led to draw the owl and then I began to include it in my works. It has now</br>manifested into a personal symbolic image, equivalent to the Barong. The owl also</br>encourages me to reflect on the joy that I derive from my family life,” says Wayan.</br>Born in Ubud, 1970, Wayan Silawasinspired by his grandfather, well known local artist</br>Wayan Barwa. From an early age he regularly visited Barwa’sstudio and gallery,</br>surrounded by the paintings of his Balinese heritage, this was the perfect scenario for a</br>child to learn to draw and paint.</br>Wayan soon became adept in the “Ubud Style” of modern traditional Balinese painting. In</br>the evolution of Balinese painting during the last century, from its origins of the Classical</br>Kamasan style that concerned teachings from the Hindu Epics, each village then began to</br>create their own distinctive style.</br>The Ubud style moved away from the religious and began to be characterized by</br>narratives that involve daily village life and depictions of rural and environmental</br>landscapes. The artists from Ubud were quick to adopt western influences in the 1930’s,</br>depth of field, shades of color, localized narratives and the development of the human</br>figure. The Kamasan style was originally a collective work and never signed by an</br>individual. The new personalized and expressive form of Balinese painting has its roots</br>firmly entrenched here in Ubud.</br></br>Wayan’s canvases are beautifully composed and resound with an overwhelming sense of</br>balance and harmony. His highly detailed works are first sketched in pencil then outlined</br>in black Chinese ink, finally they are rendered in acrylic paint with a fine kaus bamboo, a</br>small piece of bamboo crafted with a tiny point to apply the medium. A large canvas, 100 x</br>80 cms, may take up to six months to complete. “In 1997 I was inspired to include owls in my compositions after seeing a wonderful sketch by a Japanese child.”</br></br>Wayan’s relationship with the burung hantu then activated an endearing association with</br>the people of Japan, to whom the owl is symbolic of happiness. He first visited Japan in</br>2002 and his premiere solo exhibition there was in 1998. Every year since then Wayan has </br>enjoyed the privilege of exhibiting work in galleries, department stores, even in the</br>Indonesian Consulate in Tokyo. He has held over 15 solo exhibitions in Japan, and</br>numerous other exhibitions in Bali, Jakarta, Spain and also at the prestigious Agung Rai</br>Museum of Art in Ubud.</br></br>“It’s an honor for me to be invited on intercultural exchange programs teaching young</br>Japanese students traditional Balinese painting techniques. I do this each year when I visit</br>Japan.” Wayan has since developed a healthy market for his works there and continues to</br>ell to the Japanese tourists who often visit his Ubud studio/gallery.</br></br>Wayan Sila, acrylic on Canvas, 2012,</br>45x 60cm.</br>Wayan Sila</br>Garden + Bale studio of Wayan Sila.</br>Wayan Sila. 2012, chinese ink +</br>acrylic on canvas, 60x80cm.</br>Wayan’s cooperative works with Japanese poet Yoko Jatiasih have been the focus of two books. They initially</br>collaborated in 1998 to create music and poetry for his paintings. In 2004 their first book “Kata Kata” Echoes From The</br>Woods, and then in 2010 “Pelan Pelan” were published.</br>Browsing through these books, the creative synergy between the two is easy to recognize. Yoko’s short poems, no more</br>than 6 lines, resonate with an uncomplicated intelligence. Upon the opposing page to the text are Wayan’s</br>complimentary images created especially to accompany each poem.</br>As you contemplate the words essence, as well as study Wayan’s images, the mysterious bird of the nights’full round</br>eyes are firmly transfixed upon you. The fusion of words along with the images perplex the imagination, and then defy</br>you to believe their medium is the owl’s silent and alluring gaze.</br>In 2011 Wayan relocated to his new studio gallery in Jalan Bisma in Ubud. Journey 400 meters along Jalan Bisma until the</br>roadside urban development gives way to the effervescence of the padis. Down on the right hand side nestled in the</br>sawah you will find his small abode. Look for the sign on the road then follow the narrow path that divides the green</br>swaying fields to his studio/gallery encircled by the bamboo fence.</br>Wayan has created a personal space that reflects the elements that enrich and sustain him. Situated in the middle of the</br>yard he has built a bamboo bale which functions as his studio, yet also as a place of quiet retreat. The surrounding</br>garden is abundant with organic vegetables, fruit trees, medicinal herbs, ornamental shrubs and flowers. Indeed, Wayan</br>has created his special own oasis.</br>As you enter his two Bali dogs are quick to offer enthusiastic toothy greetings. The verdant vegetation is soothing and</br>inviting. I discover two rabbits, four exotic birds and frogs and snakes frequent visitors, so Wayan tells me. Stone</br>carvings covered with brilliant green moss hide among the foliage, shrines and small Hindu temples are adorned with</br>offerings and the sweet sent of burning incense seduces the senses. An outhouse serves as a simple kitchen and two </br>rooms contain Wayan’s gallery painting collection and books for sale.</br>When we observe Wayan’s paintings we enter into a beautiful and extraordinarily tranquil world. His owls’ peer out</br>from within forests and lush scenes, their big eyes possess a magnetic pull and communicate a language that is</br>deciphered in our hearts. Wayan Sila is a painter of immense sensitivity and his works are vehicles of healing qualities and love.re vehicles of healing qualities and love.)

• " KEMACETAN YANG TERJADI DI BALI "  + (" JUST CONNECTION OCCURRING IN BALI " OM … " JUST CONNECTION OCCURRING IN BALI "</br></br>OM SWASTIASTU</br></br> I respect the Government of Bali and I love happy friends.</br> Let us give thanks to the presence of Almighty God who has given Asung Kertawara to all of us so that we can gather in this place. Before I deliver this speech, I first want to thank you for the time and opportunity given to me to deliver my speech of hope. to the Bali government entitled "JUST CONNECTION OCCURRING IN BALI".</br> Traffic jams arise because the volume of motorized vehicles is not proportional to the volume of the road. The number of motorized vehicles and cars increases every day. As a result, cars, public transportation and motorbikes pile up on the streets, traffic jams occur. Congestion can also slow down the performance of people who are stuck in traffic jams. Workers will be late arriving at work and students will arrive late at school. This especially happens to people who choose to use private transportation rather than public transportation.</br> Traffic jams occur because too many people use motorized vehicles or cars and also because many road users do not comply with traffic regulations.</br> On this occasion I would like to invite you to overcome traffic jams in Bali. If we cannot overcome them, at least we can reduce traffic jams in Bali. There are 2 main things we can do to reduce congestion. First, use public transportation, don't use private vehicles, using public transportation can reduce the volume of vehicles on the road. In the end, traffic jams will be reduced. Second, get used to walking if the distance is not too far. This method is simple but difficult to do. Even though walking is healthy, and by walking we are contributing to reducing traffic jams in Bali. I am sure that by taking these 2 actions traffic jams in Bali can be reduced.</br> However, the Bali Government is expected to improve the comfort and safety of public transportation. I am sure that if public transportation is safe and comfortable, there will be more passengers. Finally, the number of private transportation users will decrease by itself.</br> This is all I can say, hopefully it is useful for all of us. Sorry if there are wrong words and actions. For your attention I would like to thank.</br> </br> OM, SHANTIH, SHANTIH, SHANTIH, OMk. OM, SHANTIH, SHANTIH, SHANTIH, OM)
• Jean Couteau  + ("...apart from Bali on which his many book … "...apart from Bali on which his many books focus — like Time Rites and Festivals in Bali Today I, Bali Today II, Bali Inspires and Lempad ( 2014 ) — he has written numerous books on Indonesian artists, such as Affandi, Arifien Neif, Srihadi Sudarsono, Walter Spies, Made Wiante and many more.</br></br>He is indeed a learned man. But his demeanor displays a humility that can be too much, even for his close Indonesian friends. They say he is more Javanese than the Javanese. He would never stand up, for instance, to demand his due, leaving himself victim to people’s manipulative tendencies.</br></br>Yet he is held in high respect. ..."</br></br>full piece at https://www.thejakartapost.com/life/2018/03/05/jean-couteau-self-critique-as-a-way-of-criticizing.htmlself-critique-as-a-way-of-criticizing.html)
• "Nyinggihang Masa Depan Bali sane Berkelanjutan: Pikobet lan Tugas Calon Pamimpin"  + ("Beloved fellow citizens, General electio … "Beloved fellow citizens,</br></br>General elections are the time when we as citizens have the power to shape our future. Bali, our beloved homeland, faces a number of issues that require urgent attention from our future leaders.</br></br>As we prepare to choose new leaders, it's crucial to consider pressing issues that demand immediate solutions. Among the various problems at hand, some prominent issues that need immediate attention from Bali's future leaders are:</br></br>Firstly, the environment and sustainability. Bali, with its natural beauty, is under significant pressure due to rapid growth. Conservation of the environment and protection of natural resources are crucial to prevent further damage to the island. Future leaders must have a clear vision to preserve Bali's natural beauty while also managing sustainable growth.</br></br>Secondly, adequate infrastructure. Despite Bali's status as a popular tourist destination, there's a need for better infrastructure to support economic growth and everyday activities of the people. Effective leaders should prioritize the development of suitable infrastructure without compromising environmental preservation.</br></br>Thirdly, social welfare. There exist disparities in Bali that need to be addressed. Improving access to education, focusing on public health, and increasing job opportunities with fair wages should be the primary focus of future leaders. Even social welfare will form a strong foundation for Bali's progress.</br></br>Fourthly, transparency and accountability in governance. It's essential for leaders to build transparent and accountable governance. The community should have complete trust in their leaders and feel heard in the decision-making process.</br></br>Fellow citizens, this election isn't just about selecting leaders but about choosing leaders with a clear vision, strong commitment, and the ability to address pressing issues. Let's choose leaders who can lead Bali towards a better future, one that is fair and sustainable for us all.</br></br>Thank you."r and sustainable for us all. Thank you.")
• Hildred Geertz  + ("Hildred was born in Queens, New York on F … "Hildred was born in Queens, New York on February 12, 1927 and reared there and in Teaneck, New Jersey. A graduate of Antioch College, she received her Ph.D. from Radcliffe College in 1956. Her first book, The Javanese Family (Free Press of Glencoe, Inc.), was published in 1961. After her initial fieldwork in Java, she taught at The University of Chicago from 1960 to 1970 before coming to Princeton University in 1970. At Princeton, Hildred taught courses on the history of anthropological theory, the anthropological study of life stories, the anthropology of art, and the ethnographer’s craft.</br></br>In 1972, Hildred became the first chairperson of the Department of Anthropology at Princeton University, and thus the first woman chair of a department at Princeton, a position in which she served for many years. She was named Professor Emeritus in 1998.</br></br>Hildred did extensive fieldwork in Morocco, and in Java and Bali, Indonesia and returned to Indonesia repeatedly during her career to conduct the research which helped fuel her extensive list of publications. She completed more than two years of fieldwork research in the village of Batuan on the island of Bali. Working in the same village that was studied in the 1930s by Margaret Mead and Gregory Bateson, she focused on the interconnections between different Balinese art forms and how and why such forms have changed through time. She investigated the effects of economic development and tourism on Balinese artistic endeavor.</br></br>The first book from the research in Batuan, Images of Power: Balinese Paintings Made for Gregory Bateson and Margaret Mead, was published in January 1995 (University of Hawaii Press). In 2004,The Life of a Balinese Temple: Artistry, Imagination, and History in a Peasant Village was also published by the University of Hawaii Press. Among her other works, Professor Geertz is co-author with her former husband Clifford Geertz of Kinship in Bali (University of Chicago Press, 1975), and co-author with Clifford Geertz and Lawrence Rosen of Meaning and Order in Moroccan Society (Cambridge University Press, 1979). Most recently, in 2017, at the age of 90, her book, Storytelling in Bali, was published by the Dutch publishing house Brill."shed by the Dutch publishing house Brill.")
• John Darling  + ("John Darling moved to Bali in 1969 and de … "John Darling moved to Bali in 1969 and developed a rapport with its people and an affinity for their way of life. Of particular interest was their religious traditions and the changes to the Balinese society and economy that occurred as a result of the influx of tourists.</br></br>Australian documentary filmmaker John Darling standing next to camera on tripod in a jungle area in Bali John Darling during filming of Lempad of Bali (1978). Courtesy Sara Darling. Photographer unknown. NFSA title: 1586432 </br></br>His first documentary, Lempad of Bali (1978) which he co-directed with Lorne Blair, explores the life and work of 116-year-old artist I Gusti Nyoman Lempad and his subsequent funeral, detailing the complex, Balinese funerary customs. This production won the Documentary Award at the Asian Film Festival in 1980.</br></br>Darling’s subsequent films formed his Bali Triptych (1987) series. Each hour-long episode – Between the Mountain and the Sea, The Path of the Soul and Demons and Deities – presents in vivid detail the history, culture and way of life of the Balinese people.</br></br>Darling worked with other filmmakers, including John Moyle for Bali Hash (1989), which juxtaposed the raucous nature of the Hash House Harriers gathering of international tourists and the peaceful Balinese ceremonies occurring at the same time."</br></br>Full article at https://www.nfsa.gov.au/latest/john-darling-bali-documentary-filmmaker</br></br>See also:</br>My Friend, John Darling by Rio Helmi. Ubud Now & Then, June 26, 2013. http://ubudnowandthen.com/my-friend-john-darling/</br></br>My Favorite Redhead: John Darling by Made Wijaya. Ubud Now & Then, July 3, 2013. http://ubudnow.webhost66.com/my-favourite-redhead-john-darling/w.webhost66.com/my-favourite-redhead-john-darling/)
• Anais Nin  + ("One of the first female writers of erotic … "One of the first female writers of erotica, Anaïs Nin is perhaps most famous for her soul-penetrating diaries, her bohemian love affair with writer Henry Miller and an incestuous relationship with her father at the advice of her psychologist. She was also heavily involved in the psychoanalyst scene, and was interested in integrating and harmonising the self through the process of writing. Therefore it is no surprise that she idealised the idyllic island of Bali—a quiet refuge in which man lived in harmony with his universe....</br></br>In 1955, Anaïs first took LSD under the guidance of Aldous Huxley and wrote a beautifully evocative description of her visions and subconscious landscape which included images of Javanese temples, Balinese music, symbolic dance gestures before finally finishing with the conclusion, “Ah, I cannot capture the secret of life with WORDS.” She was beginning to reveal what her soul desired deep down—for Anaïs, utopia was a state of mind in which the artist had access to the world of dreams. Perhaps this is why she fell in love with the mysticism and art of Bali. In her final journal (volume 7 of her diaries) she finished with a reflection on her trip to this island, complete with magical descriptions of sacred cremations, opulent gardens, temple dances, Wayang shadow puppets, natural-material bungalows used as hotels, the haunting music, and the sophisticated and gentle ways of the Balinese people."d and gentle ways of the Balinese people.")
• Caesilia Nina Yanuariani  + ("Reina Caesilia" was the pen name given to … "Reina Caesilia" was the pen name given to Caesilia Nina Yanuariani by Umbu Landu Paranggi. This reclusive poet was born in Surakarta on January 29, 1965. She grew up in Singaraja, Bali and attended school at SMAN 1 in Singaraja and then studied in the Faculty of Literature at Udayana University. She worked as a journalist with both Bali Post and Nusa. She wrote poetry since she was a teenager and has been published in the Bali Post, and her poetry has been included in a number of anthologies, such as, Pedas Lada Pasir Kuarsa (2009), Dendang Denpasar Nyiur Sanur (2012), Negeri Poci 6: Laut Negeri (2015), Klungkung: Tanah Tua, Tanah Cinta (2016), and Saron (2018). Her poem entitled "Women Who Become Sailors" was nominated for an award in the national poetry writing competition held by the Leon Agusta Institute in 2014. She went into a coma after falling off her motorcycle and died on April 2, 2019 due to a severe cerebral haemorrhage.2019 due to a severe cerebral haemorrhage.)
• Will Goldfarb  + ("Will Goldfarb’s culinary journey is a lon … "Will Goldfarb’s culinary journey is a long story that deserves its own book. It stretches from his time at culinary school—Le Cordon Bleu—more than 20 years ago to stints in the kitchens of Gerard Mulot in Paris, Tetsuya Wakuda in Sydney and the legendary El Bulli in Catalonia, Spain. The master pastry chef launched the original Room4Dessert 15 years ago, at 17 Cleveland Place in New York City. He was nominated as Outstanding Pastry Chef at the prestigious James Beard Foundation Awards. After closing the original New York establishment, Chef Goldfarb arrived in the beautiful island of Bali. He worked with the teams at Ku De Ta and Potato Head, before opening Room4Dessert in Ubud in 2014." </br></br>Winner of The World's Best Pastry Chef 2021.nner of The World's Best Pastry Chef 2021.)
• Arie Smit  + (15 April 1916 – 23 March 2016. Dutch-born … 15 April 1916 – 23 March 2016. Dutch-born Indonesian painter who lived on Bali.</br></br>Smit was the third of eight children of a trader in cheese and confectionery in Zaandam. His family moved in 1924 to Rotterdam, where Smit eventually studied graphic design at the Academy of Arts. In his youth he was most inspired by the work of three artists named Paul (Signac, Gauguin and Cézanne). In 1938 he joined the Royal Netherlands East Indies Army. After three months he was sent to the Dutch East Indies , where he worked as a lithographer for the Dutch army's Topographical Service in Batavia, engraving relief maps of the archipelago. Etching Balinese mountains onto maps ignited his desire to one day go to Bali.</br></br>In early 1942 Smit was transferred to the infantry in East Java, but was soon captured by the invading Japanese forces. He spent three and a half years in forced labor camps building roads, bridges, and railways on the Burma Railway in Thailand, and Burma. After the Japanese capitulation in August 1945, Smit convalesced in Bangkok until January 1946. After being stationed in Denpasar, Bali as a staff writer for the infantry, he returned to the Topographical Service in Batavia in September. Until its discontinuation in 1950, he remained employed at this service, eventually becoming head of the drawing department, but in his spare time he criss-crossed Java as a painter and in October 1948 had his first exhibition in Batavia/Jakarta.[5] After Indonesian Independence on December 27, 1949, all Dutch nationals had to choose between Dutch or Indonesian citizenship within two years. Smit briefly considered emigrating to South Africa, but decided to stay; he became an Indonesian citizen late in 1951. In the following years he taught graphics and lithography at the Institut Teknologi Bandung in West Java.</br></br>Bali</br>On invitation by the Dutch artist Rudolf Bonnet he visited Bali in 1956, together with Dutch artist Auke Sonnega. He soon met art dealer James (Jimmy) Clarence Pandy, who ran a gallery and souvenir shop. Pandy invited Smit to stay in a house on stilts at the beach of Sanur. Smit and Pandy remained friends and formed a partnership. Pandy was well-connected; Sukarno would sometimes bring his state guests to his gallery. With his love for bright colors, Smit was captured by the Balinese landscapes in its 'riotous light', and soon decided to stay to depict its villages, rice terraces, palm trees and temples.</br></br>In 1960, while touring the village of Penestanan in the Ubud District where he then lived, he came upon some boys drawing in the sand. Impressed by their talent, Smit invited them to his studio, where they became the first of a growing number of students. With minimal instruction but lots of encouragement and material support, his pupils created a naive style of genre painting that became known as the 'Young Artists' style, which at its peak had 300-400 followers. Though he is considered the father of the movement, its style is quite different than any of Smit's own styles over the years.</br></br>From the time of his arrival in Bali, Smit moved some 40 times, "to see what is beyond the next hill". He stayed longest in his favorite areas of Karangasem and Buleleng. He finally settled in 1992 in the village of Sanggingan near Ubud under the patronage of Pande Wayan Suteja Neka, founder of the Neka Art Museum. In recognition for his role in the development of painting on the island, Smit received the Dharma Kusama (Flower of Devotion, a Balinese cultural award) in 1992 from the government of Bali. The Arie Smit Pavilion was opened at the Neka Art Museum in 1994 to display his works and those of contemporary Balinese artists. The Museum Bali in Denpasar and the Penang Museum in Malaysia also have collections of his work. Smit further had exhibits in Jakarta, Singapore, Honolulu and Tokyo. Smit lived near Ubud for the rest of his life, but died on 23 March 2016 in a hospital Denpasar at three weeks before turning 100.enpasar at three weeks before turning 100.)
• Ida Bagus Ketut Diding  + (1911/1914 - 1990. Batuaninteractive.com: " … 1911/1914 - 1990.</br>Batuaninteractive.com:</br>"About twenty-two years old at the time of making the pictures in the collection, Diding probably had been painting since 1935. His teacher was Ngendon, and he in turn taught Bala. He met Spies and Bonnet, watched them work, and brought them work for their</br>ciriticism. He was a member of the group they founded, Pita Maha. One of the Western artists suggested that he make a picture like Djatasoera's of the ende ritual in Karangasem.</br>Diding had not been to school but could speak a little Malay. He played in a gamelan orchestra and danced in the gambuh, and was</br>the only artist interviewed who said that he had been possessed and gone into trance. His father was dead, and he had no land to work.He and his wife supported themselves by painting, raising chickens, and dyeing cloth.</br>They had no children. Sixteen pictures by Diding are in the collection."pictures by Diding are in the collection.")
• Anak Agung Made Djelantik  + (1919-2007 A prince from Karangasam who stu … 1919-2007</br>A prince from Karangasam who studied in Holland during the Second World War and returned to Indonesia as a medical doctor. Later upon his return to Indonesia he was sent to different parts of Eastern Indonesia that were frequently quite isolated to help the people there. In the course of these postings both he and his wife contracted malaria but he also became a specialist in the treatment of malaria. This proved to be extremely useful when Dr Djelantik worked for the World Health Organization which sent him to Iraq, Somalia and Afghanistan. Later he became the head of Bali’s main teacher’s training college in Sanglah and helped to found the Medical Faculty which he later also headed at the University of Udayanan in Denpasar.</br></br></br>Dr Djelantik playing the violin as a young boy. (photo: Bulantrisna Djelantik)</br>Dr Djelantik was a Renaissance man who was also active in the field of Balinese culture, both studying and promoting it. He was head of the Walter Spies Society with its Walter Spies Festival which focused on music and dance. Together with Fredrik de Boer, Hildred Geertz, and Heidi Hinzler he established the Society for Balinese Studies or Lembaga Penkajian Kebudayaan Bali in 1985. It held annual conferences in Bali and also abroad and according to Adrian Vickers Dr Djelantik was the natural leader of the organization. Via the organization he promoted both Balinese culture as well as the study of it. Dr Djelantik wrote papers on Balinese culture and a book on Balinese paintings which covers Balinese art history as well as Balinese aesthetics. Later he taught Aesthetics at the Akademi Seni Rupa Bali or the Balinese Academy of Arts. He also wrote an autobiography called “The Birthmark, Memoirs of a Balinese Prince”. Birthmark, Memoirs of a Balinese Prince”.)
• Anak Agung Cukit  + (1930s Batuan artist who continued to work in the 1950s. Also a gambuh dancer. A portrait of him has been painted by Bonnet. Also known as "Dewa Cukit" and "Dewa Gede Cukit".)
• Agung Raka  + (1930s Sanur painter. Bateson and Mead note … 1930s Sanur painter. Bateson and Mead notes refer to Gusti Gede Raka and Gusti Putu Raka co-painting a work.</br>May be the same person as Gusti Putu Raka (and/or Gusti Gede Raka); in Bateson's catalogue, described as the son of Gusti Sodang</br></br>Related Artists</br>Also known as: I Gusti Putu Raka</br>Mother: Anak Agung Made Glogori Putu Raka Mother: Anak Agung Made Glogor)
• A A Ngurah Paramartha  + (A A Ngurah Paramartha was born in Denpasar … A A Ngurah Paramartha was born in Denpasar, October 14, 1974. He completed his art education at ISI Denpasar. Since 1995 he has been actively displaying his works in various exhibitions, such as the “Kamasra” exhibition at Bali Cliff Resort Jimbaran (1996), Indonesian artist “Colour Wheel” at the Dublin Ireland Painting Gallery (2009), “Ulu-Teben”, the MilitantArt group.= at Bentara Budaya Denpasar (2015). His solo exhibitions include “Secret Desire” at Hide Out Fine Art Ubud (2003), “Exploration of Life” at Ten Fine Art, Sanur (2011). His works tend to be figurative by showing imaginary figures with multiple interpretations.ary figures with multiple interpretations.)
• A.A. Raka Sidan  + (A A. Raka Sidan's real name is A.A. Gede R … A A. Raka Sidan's real name is A.A. Gede Raka Partana. He is a songwriter and Balinese pop singer who was born June 27, 1979. He studied at UNHI Denpasar and produced a number of albums, including "Suud Memotoh" (2005), "At-Pada Ngalih Makan" (2007), "Pak Boss" (2009), "Song Brerong" (2012), "Kenceng" (2015). The songs contain a lot of moral messages and social criticism wrapped in humorous nuances.ial criticism wrapped in humorous nuances.)
• Ida Bagus Putra Adnyana  + (A Balinese from a Brahmana priestly family … A Balinese from a Brahmana priestly family, I. B. Adnyana is considered a first-rate classicist. Born in 1958 in Denpasar, he grew up attending Balinese rituals and brings an insider’s knowledge to his subjects. As is evident in his images, he has been given special unimpeded access and privileged positions and angles. It’s highly unlikely that a Western photographer would ever be allowed to enter sacred inner courtyards and get this close to a venerable high priest.</br>His subjects appear at ease and revealing of their inner emotions. It is as if his subjects are family members relaxed in the presence of another Balinese. He always seems to be in the right place at the right time to photograph with the greatest possible empathy and intimacy. Amidst all the confusion, he knows what is going on and is able to anticipate what is going to happen next. While other photographers are fiddling with their camera settings, he is ready to record the climax, the significant gesture or the moment when the trance state takes hold.e moment when the trance state takes hold.)
• I Made Wahyu Senayadi  + (A graduate in Fine Arts from the Indonesia … A graduate in Fine Arts from the Indonesian Art Institute (ISI) Denpasar, Senayadi has exhibited two and three-dimensional works in exhibitions, including two solo shows, throughout Bali and Java since 2005. He represents a new wave of Balinese artists dedicated to innovating within the contemporary format experimenting with conventional and non-conventional media. “I am very grateful for having my work recognised in the UOB Painting of the Year Awards,” said Senayadi, born in 1985 in Marga, Tabanan, Central Bali. “Through this award, I trust it will help provide a bridge to the goals that I want to achieve in my career.”</br></br>Despite his visual challenges during the past five years, Senayadi has excelled in his artistic pursuits. In 2018 he was recognised as one of Nine Finalists in the TiTian Prize, a biannual art award presented by Yayasan TiTian Bali (Bali Art Foundation) recognising Balinese talent innovation within the visual arts. In 2019 Senayadi distinguished himself with eye-catching and ingenious works made from natural coconut fibres, ‘Menanti Keberuntung/Longing #1’ and ‘Buta Bongol/Deaf Monster’ during ‘Mahardika’, a group exhibition at TiTian Art Space in Ubud.up exhibition at TiTian Art Space in Ubud.)
• I Gusti Agung Wijaya Utama  + (A photography graduate from the Indonesian … A photography graduate from the Indonesian Art Institute (ISI), Denpasar.</br></br>Balinese photographer I Gusti Agung Wijaya Utama S. Sn has a unique vision to raise awareness of the past through distinct, eye-catching fine art and reconstruction portrait photographs. Gung Ama, as he is known, does not use digital technology, but a process from the past; the Afghan Box Camera. As the name suggests, the camera is linked with Afghanistan, being first used in villages by travelling photographers before there were any photography studios.</br></br>“Digital technology and the modern mindset desiring immediate outcomes and satisfaction are impacting upon the art of photography and contributing to the erosion of traditional Balinese values,” said Gung Ama, born in Batubulan Gianyar in 1988, whose interest is photography began in 2006. “Nowadays, smartphones equipped with sophisticated cameras are affordable and an essential modern icon and tool. Moreover, social media and selfies dramatically impact lifestyles and alter our concept of identity. By recreating the nostalgia and curiosity of old Bali through manual, handmade photos, my objective is to reignite cultural memory while inspiring awareness and discussion among all the generations.”</br></br>“My photography reflects the growing sentiment within the Balinese seeking a return to the wisdom of the past,” Gung Ama said. “In the face of modernity and the homogenisation of cultures, I believe it is important to celebrate and embrace cultural icons to help reinforce our identity. In addition, it’s essential to be reminded of our forefather’s messages, culture lost and the wisdom of the past.”</br></br>Article by Richard Horstmanof the past.” Article by Richard Horstman)
• Symon  + (A stylistic heir to Walter Spies, Le Mayeu … A stylistic heir to Walter Spies, Le Mayeur and his mentor, the Indonesian-Dutch painter Arie Smit, Symon was among the last in the lineage of foreign artists who have helped raise Bali’s international profile as an exotic destination for art and design. Renowned for his vivid pop style with new iconic motifs, he was born on April 13, 1947, as Ronald Thomas Bierl in Detroit, Michigan, the United States, and made Bali his home in 1978. He was installed in the Puri Kaler of Ubud Palace by the Ubud royal family, who had for decades been patrons of foreign artists. Symon later took over Arie Smit’s cottage in nearby Campuhan, where his studio grew into local landmark. In 2014, he moved full-time to his other destination studio at Alas Sari in North Bali, Art Zoo, which he had founded in 1998.</br></br>Symon, who passed away on April 15, 2020 of natural causes from sepsis, was incredibly prolific and successful, creating many thousands of artworks in several countries.</br></br>His work was widely collected by tastemakers like former minister Joop Ave, especially during the 1990s and 2000s trend for Asian neotraditional style. Many collectors built submersive Symon environments, as at Qunci Villas in Lombok, West Nusa Tenggara. A book series on Southeast Asian interiors had to swap some paintings in many of its featured homes because too many of their architects and owners had put Symons on their walls.</br></br>Symon’s art is cherished for its vivid color, strong outlines and exuberant energy. His figurative paintings and sculpture project a friendly, fantastical appeal, combining the rawness of real-life models and scenes within compositions from mythology and lesser-known Bali history. His sense of line, hue and witty slogans draw from his origins as a cartoonist in the 1960s American counter-culture.</br>Raised in a house at the corner of Detroit’s Normal Road and Common Street, he was far from normal or common and yearned to escape convention. He was an exciting personality to be around, popping with fresh ideas. An outrageous showman, he would tell wild anecdotes and burst into rhyming raps. As a precocious teen under the pseudonym John Ka, he wrote to Beat Generation poets like Allen Ginsburg, William Burroughs and William Carlos Williams, who sent him new poems to illustrate. He soon became an artist in underground zines like Fifth Estate and got to know New York legends like Frank Zappa and Andy Warhol.</br>Until making Bali his permanent home, he kept trying new locations. As a youth, he twice ran away to Rome, where he studied under the sculptor Emilio Greco and got the attention of film director Federico Fellini, who dubbed him “the magician of the air”. On the overland route from Amsterdam to India, a road accident in Turkey broke his hip. While recovering he renamed himself Simon White. He finally made it to India and then went north to Nepal.</br></br>Over eight years in Kathmandu, Simon helped preserve the traditional art of Tibetan woodblock printing. With three partners he opened Himalayan antique shops in London, Amsterdam and New York. Like many “Easties”, he became expert in Asian traditional knowledge, which later infused his artworks. In the mid-1970s, Simon spent periods in the New York art scene, Colombia and Wales, England. In each new location, his studios echoed Warhol’s Factory in being a networking hub and a venue for arty “happenings”. He formed several creative teams, from the Psychic League in Rome and Fantabulous Group in Nepal to the Levitation League in Legian, Bali. In his Ubud garden, he staged theatrical productions at the amphitheater designed by the futuristic architect R. Buckminster Fuller. In each location, he trained up teams of local artisans. In Nepal he hired Tibetan refugees to carve new and replacement woodblocks to the old ones he printed from. He brought screen printing to Bali in the 1980s and then to Cambodia in Minefield Studios at Siem Reap in the early 1990s. His most famous breakthrough was JakPak, a range of convertible clothing co-created with Annie Anderson and Kiyoshi Okuda, in which pop-hued jackets and hats could turn into bags through hidden pockets. JakPak became Bali’s first clothing export and an international phenomenon collected by the likes of Mick Jagger.</br></br>Symon kept ahead of the curve, since his aim in life was constant reinvention under a motto “towards a functional reality”. Many of his creations were practical as well as fun, from JakPak to his Toyniture — quirky furnishings like his Lady Chairs and giant dining table. He conjured outlandish architecture, like his key-hole windowed pagoda at Art Zoo, which he filled with sculptures and oddities. The maximalist effect of all these “studio atmospherics” beguiled visitors and in turn became props for his paintings. The Art Zoo remains visually stunning. Symon’s heir and Art Zoo’s Balinese manager aim to reopen it as a destination where locals and tourists can continue to appreciate Symon’s distinctive art of Bali.ppreciate Symon’s distinctive art of Bali.)
• AG Pramono  + (AG Pramono was born in Negara, Bali on Mar … AG Pramono was born in Negara, Bali on March 23, 1973. He has been involved in theatre and literary arts since 1990. He founded Sanggar Susur Jembrana in 1991. His writings in the form of short stories, poems and cultural articles have been published in several media. A number of his poems can be found in the following anthologies: Poetry 19 (1995), Kidung Kawijayan (1996), Detak (1997), Indonesian Poetry Anthology (KSI) Jakarta in 1997, Serambi Hening (1998) and Stopping Short Stories in Rumahmu (2014). Since 1993, he has been active in Bali Experimental Theater and in 1998 participated in the Komunitas Kertas Budaya. He is currently working as a journalist in one of the local newspapers in Bali and lives in a small house named Serambi Hening in Loloan Timur, Jembrana, Bali.bi Hening in Loloan Timur, Jembrana, Bali.)
• Abu Bakar  + (Abu Bakar, is a playwright and theater fig … Abu Bakar, is a playwright and theater figure, born in Kediri, Tabanan, Bali, January 1, 1944. His father is Javanese and his mother is Balinese. Apart from theater, he also pursued literature and photography. There are many plays that he has performed and directed. He had visited several countries for artistic matters, among others, France and the United States. </br></br>In America, Abu performed his collaboration with Ikranegara artists in the form of the theatrical performance “Berani-Beraninya Waiting Godot” (1990). He also directed the performances “Kereta Kencana” and “Indonesia Luka” (both in 2012) and “Malam Jahanam” (2013). In the field of literature, apart from being published in several newspapers, his works have also been published in "My God Butterflies", "America Outside the Window" and "Fireflies". He also wrote a monologue script entitled “Wanita Batu” (2006) and television dramas “Comedy Hitam”, “Bali Crying (2004), and so on. </br></br>Abu is the founder of the “Polyclinic Theatre” and “Earth Theatre”. “Polyclinic Theatre” and “Earth Theatre”.)
• Adhy Ryadi  + (Adhy Ryadi was born in Singaraja, January … Adhy Ryadi was born in Singaraja, January 17 1960. He completed his Bachelor of Law studies at Undiknas Denpasar. Writing poetry since 1981 and published in the Bali Post, Mind of the People, Berita Buana, Suara Indonesia, and collected in the poetry book "Hram" (1988). He once worked as a journalist at the Bali Post. He died in 1995.rnalist at the Bali Post. He died in 1995.)
• Adrien-Jean Le Mayeur de Merpres  + (Adrien-Jean Le Mayeur de Merpres was a Bel … Adrien-Jean Le Mayeur de Merpres was a Belgian painter who lived in Bali and donated his house in Sanur as a museum. He was born in Brussels, Belgium, February 9, 1880. The Impressionist painter arrived in Bali in 1932 and first rented a house in Banjar Kelandis, Denpasar. It was also at Kelandis that he became acquainted with Ni Nyoman Pollok, a Legong dancer who was 15 years old at the time, and later became a model for his paintings.</br></br>Le Mayeur's works using Ni Pollok as a model were exhibited in Singapore for the first time in 1933 and sold out. Then Le Mayeur bought a plot of land on the shores of Sanur Beach which he used as a studio and house. That is where every day Le Mayeur painted with Ni Pollok as the main model. In 1935, Le Mayeur married Ni Pollok.</br></br>In 1956, the Minister of National Education of the Republic of Indonesia, Bahder Djohan, visited Le Mayeur's house and was fascinated by these gentle works. Bahder then suggested to Le Mayeur that his house would later be used as a museum. Le Mayeur agreed and worked even harder to improve the quality and add to his collection of paintings.</br></br>On August 28, 1957, Le Mayeur signed a testament in which Le Mayeur bequeathed all his possessions including land, house, and everything in it to Ni Pollok as a gift. At the same time, Ni Pollok then transferred everything that was inherited from her husband to the Government of Indonesia to be used as a museum.</br></br>In 1958, Le Mayeur suffered from ear cancer. Accompanied by Ni Pollok, he was treated in Belgium. Two months later, on May 31, 1958, Le Mayeur died at the age of 78 and was buried in Brussels. Ni Pollok then returned to Bali to take care of his house until her death on July 18, 1985 at the age of 68 years.</br></br>Le Mayeur's works can be enjoyed at the Le Mayeur Museum, which is located on the shores of Sanur Beach, Denpasar.ed on the shores of Sanur Beach, Denpasar.)
• Agoes Andika  + (Agoes Andika was born in Banjar Baleagung, … Agoes Andika was born in Banjar Baleagung, Buleleng, March 5, 1963. In 1981 he settled in Mataram, Lombok. He studied writing a lot with Putu Arya Tirtawirya and Umbu Landu Paranggi at the Bali Post. In 1985 he was invited to Taman Ismail Marzuki Jakarta with several Balinese poets and other Indonesian poets to read poetry. Literary works have been published in the Bali Post, Karya Bhakti, Nusa Tenggara, Simponi, Swadesi, Nova, Buana News, Suara Karya, Suara Nusa, Horizon, and several bulletins in Mataram, Pontianak. Now living in Singaraja.taram, Pontianak. Now living in Singaraja.)
• Agung Bawantara  + (Agung Bawantara was born in Klungkung on J … Agung Bawantara was born in Klungkung on January 30, 1968. He graduated from the Faculty of Animal Husbandry at the University of Mataram, NTB. He has been writing poetry since the 1980s in Bali Post, Karya Bakti, Nova, Berita Buana, Swadesi, Media Indonesia, etc. His collected poems can be found in Sahayun (1994), and in Klungkung: Tanah Tua, Tanah Cinta (2016). He initiated the Denpasar Film Festival. He has also written short stories, children's stories, fairy tales, and novels.ildren's stories, fairy tales, and novels.)