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GDE ARTAWAN was born in Klungkung on February 20 1959. He is currently a lecturer in the Department of Indonesian Language and Literature at Undiksha (Universitas Pendidikan Ganesha). He has a Ph D in Linguistics from Universitas Udayana. He contributes essays, poems and short stories to several mass media outlets. He is often invited to be a speaker in literary activities and scientific gatherings and has acted as a jury member in literary reading and writing activities. He has twice been awarded the Wija Kusuma Art Award by the Buleleng government, in 1999 and 2007. In Singaraja he is the coordinator of the Buleleng Art Pier (Dermaga Seni Buleleng) which often holds literary appreciation activities and which has, on several occasions, held a Bali-wide poetry writing competition for the Singa Ambara Raja Award as part of the birthday of the city of Singaraja. A collection of his short stories ‘Petarung Jambul’ received the Widya Pataka Art Award from the Provincial Government of Bali in 2008. His collected literary works can be found in ‘Kaki Langit’ (1984). Other works include 'Buleleng dalam Sajak' (1996), ‘Kesaksian Burung Suksma’ (1996), ‘Spektrum’ (1997), ‘Tentang Putra Fajar’ (2001), ‘Puisi Penyair Bali’ (2006), and ‘Dendang Denpasar, Nyiur Sanur’ (2012). His only anthology of poems is “Tubuhku Luka Pesisir, Tubuhmu Luka Pegunungan” (2014). +
Gde Aryantha Soethama, was born in Bali, July 15th 1955. His name was known through his literacy works such as short story, novel and essay which has been published on various public medias, such as Kompas, Bali Post, Sinar Harapan, etc. In 2006, book of his short stories entitled “Mandi Api” won the award of Kusula Sastra Khatulistiwa in Prose Category.
Gde Aryantha Soethama started his debut as writer since young. He finished his study in Faculty of Husbandary, Udayana University. He has been positioned as weekly editor in chief of Karya Bhakti (1981-1987) and editor of Nusa Tenggara Newspaper (1989-1990).
In 1979 until 1981, every two weeks, he wrote scenarios of animal husbandry counseling and portray it for TVRI Station Denpasar. Now, he is actively writing cultural essays and short stories while organizing his publishing and printing.
His other books, are: Wawancara Jurnalistik (journalism work), Koran Kampus (journalism work), Menjadi Wartawan Desa (journalism work), Tak Jadi Mati (short stories compilation, 1984), Langit Dibelah Dua (drama script, 1984), Daerah Baru (short stories compilation , 1985), Koran Kampus (1986), Suzan/ Wanita Amerika Dibunuh di Ubud (novel), Pilihanku Guru/Senja di Candi Dasa (novel), Bali is Bali (essays compilation, 2003), Basa Basi Bali (essays compilation, 2002), Bali Tikam Bali (essays compilation, 2004), Bolak Balik Bali (essays compilation), Mandi Api (short stories compilation, 2006, translated to English by Vern Cock with title Ordeal by Fire), Dari Bule Jadi Bali (Essays compilation, 2010), Jangan Mati di Bali (essays compilation, 2011), Menitip Mayat di Bali (essays compilation, 2016). +
Gde Dharna was born in Sukasada, October 27, 1931. He is a retired civil servant from the Buleleng Trade office. Since 1953 he has written poetry and stage plays, radio dramas, and television dramas in both Indonesian and Balinese languages. Apart from that, he also wrote short stories, songs in Indonesian and Balinese languages, songs Janger, Genjek, Dolanan, Geguritan and Choir songs. +
Hartanto alias Gde Hariwangsa was born in Surakarta, 1958. He has lived in Bali since the 1980s. He has been writing poetry since middle school. His works have been published in Bali Post, Nusa Tenggara, Suara Karya, Suara Renewal, Tempo, Hai, Ceria, Basis, Femina, Indonesian Women, and the CAK Cultural Journal. His book of poetry is entitled Ladrang (1995). His poetry is also compiled in the book Dendang Denpasar, Nyiur Sanur (2012), The Beloved Mother (2021). He has also written art books, including Arie Smit Hunting the Light of Bali (2000), Siluhet Perempuan (2000), Tree of Life (2018). Previously he worked as a journalist for Matra magazine and later chose to become a farmer in the northern Bali area. +
Gede Benny Setia WIrawan is a researcher in Center for Public Health Innovation, a research unit in Udayana University, Bali, Indonesia. His current works mostly involve social determinants of health and health behavior, especially on HIV related risk behaviors. Since the COVID-19 pandemic he has work on projects related to mental health, HIV, and COVID-19 preventive behaviors. +
Gede Geruh, born in Pedungan, Denpasar, Bali, July 17, 1915. He is the maestro of the Gambuh dance. He has been pursuing dance since the age of six. Even though he was illiterate, he can master all kinds of songs in Old Javanese (Kawi) that accompany the Gambuh performance. Gambuh is estimated to have entered from Java to Bali since the reign of King Udayana in Bali, around the 10th century AD. In the mid-1960s, the Indonesian Dance Academy (ASTI, now ISI) Denpasar, made Geruh an important resource for researching and reconstructing the rare Gambuh dance. Geruh was once appointed as an Extraordinary Lecturer at ASTI Denpasar. From this Geruh, ASTI was then able to combine Gambuh with Gong Semar Pagulingan as an accompaniment so that the term Gambuh Anyar was born. Originally, the Gambuh dance was often accompanied by rabab and flute instruments. +
Gede Gunada is a painter who was born in Ababi Village, Karangasem, Bali, April 11, 1979. He studied art at SMSR Negeri Denpasar, then continued his studies at STKIP Amlapura, Karangasem. Since 1995 he has been involved in many joint exhibitions, including: Exhibition of Gebyar Art High Schools (SMK) throughout Indonesia (1995), Exhibition of Lempuyang Community Groups at Hilton Hotel, Surabaya (1999), "Sensitive" Exhibition of Lempuyang Community at Danes Art Veranda , Denpasar (2006). He won the 2002 Best Painting Award in the “Art is Peaceful” Painting Competition in Sanur, Bali; The Best Calligraphy Painting 2009 in the Calligraphy Painting Competition throughout Indonesia at the UNHI Denpasar campus. Many of his works are about humans and nature in an expressive style. +
An Architect by profession, Gede designed and built Rumah Intaran - home of Pengalaman Rasa. His brings extensive knowledge of local produces and a keen eye for potential business opportunities to Pengalaman Rasa. He is passionate about diving into the richness of Northern Balinese culture and natural produces to find the best ingredients, products, and experiences.
https://www.pengalamanrasa.com/
"Working out of Rumah Intaran (the House of the Neem Tree), architect Gede Kresna has transformed the northern Bali village of Bengkala into a learning mecca for students and farmers – and it all centres around the kitchen...
“I often wonder why rich people can afford to pay for a private doctor or a private architect but never think of paying a private farmer to produce their own healthy food?” he (Gede Kresna) asks. “Food can be called healthy if it has a balanced cycle that comes from local farmers who grow from local seeds; only then can we actually solve our food problems, including many economic problems facing the country.”...
Full article at https://www.gaiadiscovery.com/latest-people/gede-and-ayu-kitchen-missionaries +
Gede Prama (Guruji Gede Prama) is a spiritual book writer, speaker, motivator and meditation guide from Bali. He was born in Tajun Village, Buleleng, March 2 1963. In 1993, he earned a Master of Arts degree in Human Behavioral Science from Lancaster University, England and attended a top management course at INSEAD Fontainebleau, France. He was a lecturer at the MBA School of Management at Prasetiya Mulya University (1990-1993), worked at PT Air Mancur Solo as a member of the Board of Commissioners, as HR director and finally as CEO (president director) with thousands of employees (1997-2002). In 2002 he withdrew from the business world and began a spiritual journey. In 2008 he went to India and studied with the Dalai Lama.
He has published more than a hundred books, dozens of audio books, thousands of articles published in well-known media in Indonesia such as Kompas, Media Indonesia. He is often invited as a motivator, both in the corporate, educational and religious worlds. For several years he provided meditation guidance to the public at Brahma Vihara Arama, Buleleng, teaching love and spreading the message of peace. From his residence, known as Ashram Avalokiteshvara, he provides meditation guidance services without ever charging a fee. Other services that have been in place for years include a 24-hour free telephone service center. These include P3A (Service and Care Center for Children with Special Needs), P3B (Suicide Prevention and Service Center), P3C (Divorce Prevention and Service Center).
His published books include Leadership Practices Based on Water (1997), Innovation or Death (2000), Leading with the Heart (2001), Love Makes Us Wings (2003), Rich Forever (2003), Full Streets Beauty (2004), Believe in Love Believe in Miracles (2004), Traces of Meaning (2004), House of Life Full of Luck (2005), Liberating Happiness (2006), Enlightenment on the Journey (2006), With Heart to the Highest Place (2007 ), Symphony Within (2009), Enlightenment on the Journey (2010), Compassion (2013), Songs of Peace (2015).
Contemporary art is an empowering communication platform allowing artists to give a visible presence to the invisible. The artist’s role is often to highlight important socio-political and environmental issues to create awareness and hopefully change.
Gede ‘Sayur’ Suanda is a multi-talented contemporary Balinese artist who expresses statements about the rapid changes engulfing Bali in both 3-dimensional works as well as paintings. In 2015 Sayur’s landmark installation ‘Last Defence’ was presented in ‘Violent Bali’, a group exhibition by sixty of Bali’s finest contemporary artists at the Tony Raka Gallery in Ubud. The towering 3-metre-high impression of the ‘rook’ chess piece made from bamboo, dried rice stalks and husks was his comment concerning the rapid transformation of rice fields in Bali for modern development. According to the artist, the rice fields are vital to the Balinese way of life, which is constantly under threat and the last defence of the culture, which is increasingly vulnerable to change.
More recently, Sayur has channelled his creativity into contemporary paintings. As a child, he learned the technical aspects of Balinese painting passed down through the generations. Drawing is the basic fundamental of Balinese painting and the initial process of rendering the composition details. The application of paint with small hand-crafted bamboo brushes follows various technical, traditional guidelines. The physical action is similar to drawing or colouring in.
The ancient classical Balinese religious paintings that decorate the temples throughout the island function as a collective expression of ideas from the community to the Balinese Gods and ancestors. During the last century, technical aspects of these sacred paintings merged with western painting techniques and individual ideas. As a result, various village styles or “schools” of painting evolved from the 1920s onwards, catering to new tourist markets.
A distinct aspect of traditional Balinese painting is that all visual information is contained within black outlines. When observing these paintings, flowing lines and rhythms entertain our eyes as we traverse the composition from left to right and from the top down. Natural universal rhythms are inseparable from daily life and determine the timing of the many Balinese religious ceremonies and cultural practices. Visual rhythms, therefore, are a unique and essential essence of Balinese painting.
From 1999 – 2006, Sayur studied fine art at the Indonesian Institute of the Arts of Yogyakarta. Living and learning outside the cultural restraints of his village opened him to new ideas, creative influences and time to explore different artistic possibilities. Such an experience is instrumental for the Balinese to help them break free from the rules and collective mindset that define Balinese painting. In doing so, they may create compositions to express personal ideas constructed with modern western painting techniques. Sayur’s time living within a foreign culture allowed him to perceive his upbringing and the ever-changing dynamics of modern Bali through a new lens.
Richard Horstman
@lifeasartasia
Gedong Bagoes Oka was born in Karangasem, Bali, October 2 1921. He is a figure, intellectual, scholar in Hindu reform and the anti-violence movement in Indonesia. He was born with the name Ni Wayan Gedong to I Komang Layang and Ni Komang Pupuh. Gedong studied in Yogyakarta. In that city he was forged many values of democracy and diversity. Then he continued his studies at a Christian high school in Bogor. In 1941, Gedong returned to Bali and taught at a high school in Singaraja. In 1964, Gedong received a bachelor's degree from Udayana University, Bali. He then taught English at the Faculty of Letters, Udayana University from 1965 – 1992.
Gedong is married to I Gusti Bagoes Oka. She received a lot of support and spiritual assistance from her husband, who was both an admirer and follower of Gandhi's teachings. Gedong very consistently applies Mahatma Gandhi's teachings in his life. He then founded the Gandhi Ashram in Denpasar and Candidasa, Karangasem, Bali. Gedong was good friends with Gus Dur and Father Mangunwijaya who both fought for peace and humanitarian values. Gedong died on November 14 2002. His face was immortalized on an Indonesian postage stamp. +
Geg Ary Suharsani, born in Mengwitani, Badung, Bali, October 13, 1980, graduated from the Faculty of Economics, Udayana University. She has been actively writing since he was a teenager, in the form of short stories, essays, novels. When she was a student, she was active in the press at Udayana University. She has also been a journalist at Pantau Magazine. Her writings have been published in Pantau Magazine, Bali Post, Denpost, Nusa Bali, etc. Her published books are a collection of short stories "Cubang" (2019) and the novel "Kunang-Kunang Hitam" (2020). Now she works as an employee of Bank Negara Indonesia (BNI). +
BIG THINGS COME FROM LITTLE THINGS
Indonesia is a very diverse country in terms of ethnicity, in terms of religion, in terms of race and in terms of inter-group diversity, which makes Indonesia a very rich country in terms of natural resources. There is a lot of variety, which is a good thing, but the problems are also a lot of people who lack early education, nowadays there are a lot of parents who don't go to school up to high school and some don't even go to school, so a lot of parents can't bring up their children properly, so parents bring up their children in their own way, for example they shout at the children and even hit them, a lot of students copy and follow the behaviour of their parents and do the same in school, which causes the education in Indonesia to go down.
This is why education is important for everyone in Indonesia, almost every student relationship throughout Indonesia both between students and teachers or teachers can also be between friends, this student relationship is going to shape the identity of the student both in shaping the student customs but not every student follow the rules well, it might be that the student identity is harmed because of the atmosphere or society at school that is not well many students throughout Indonesia, according to data published by WorldTop20. Org published the ranking of education in Indonesia is very alarming Indonesia is ranked 67th out of 209 countries around the world, with many problems encountered, we need to explore why students become less intelligent and many fight teachers and why the government should pay attention to this.
With the many problems in Indonesia, we as students of the school are aware that if we are left like this, then we as the younger generation need to implement the national programme, namely Golden Indonesia 2045, it doesn't have to be with big things, we just need to start with small things. A lot of programmes can be implemented starting from very small things that are common in homes, schools and communities, which is rubbish, rubbish is a waste or an item that has no functional value anymore, or you can say unusable items, a lot of students who have no brains choose to throw rubbish, starting from under the desk, The number of students who do this makes our environment unhealthy, dirty, especially with the large number of students in the school environment making the garbage swell at the same time, even though they have been warned not to litter.
In the face of so many issues, we as citizens of SMA Negeri 3 Kuta Selatan have taken action to create a waste free team by sorting waste by category, hoping to make all students aware to dispose waste in the right place and according to the respective category, but due to the lack of good education and the mindset of the students when they were brought up in the family, this project is not going well, many students simply throw waste and don't sort it properly, such as putting organic waste in non-organic waste, With this, we as a team appealed and acted directly in waste processing, with the behaviour we did, we succeeded in empathizing students to separate waste according to its category in order to create cleanliness in the environment around us, residents of SMA Negeri 3 Kuta Selatan in cooperation with Plastic Exchange Kuta Selatan to help us in waste processing properly, we as school residents were not able to process waste, especially organic waste into compost.
With the many problems that exist in Indonesia, we have been able to solve the problem of garbage, although it is not perfect, there is still a lot of garbage scattered around, but we are with the awareness to dispose of garbage by first sorting it before it reaches the landfill and processed properly, we also want to create a disciplined school both in terms of education and ethics, especially in the disposal of garbage, with this behaviour we want to realise the Golden Indonesia 2045, because if you don't start with small things then big things can't happen.
"Rising from the Ballad of Silence"
Currently, we are not just gathered as individuals but as part of a generation, a generation that plays a significant role in shaping our future, Generation Z.
Rise, oh Generation Z, from the ballad of silence that often silences our voices. In the dynamics of social and political complexity, we are called not to be passive spectators but active participants. This is a call to assert our identity, express opinions, and advocate for social justice values.
For too long, we have been trapped in silence, feeling restrained by norms that may not always align with our aspirations. It's time to understand that our right to speak and express opinions is unquestionable. Rise above the fear, fear of conflict, or rejection. Now is the time to transform silence into constructive rebellion.
Let's stop the apathetic attitude and allow social and political issues to grow without genuine responses. Remember, the policies and decisions made by the generations before us will shape the world we inherit. Don't let those above us determine our path without scrutiny from below.
I invite us all to embrace differences, to listen without prejudice, and to speak with integrity. We are voices capable of shaking the foundations of inequality and injustice. In openness and courage, let's together create the change we envision.
Be pioneers of change, Generation Z. Rise from the ballad of silence, speak up, and show the world that we are change agents capable of bringing social and political justice. Thank you. +
Georges Breguet is the author of numerous works about art in Indonesia. +
Gill Marais is a photojournalist and author of the book "Bali Sacred & Secret".
She began her career with SIPA Press in Paris, and has reported in the field of culture, medicine and travel. Her book, The Amchi, on travels with a Tibetan doctor has been published in France, England and India. Born in South Africa, after her marriage to a French Diplomat, France has been her home for over forty years.
Her work has taken her through North America, North Africa, Kenya, the Middle East, Europe, Russia, India, Pakistan, China and South East Asia. She resides in Bali for six months of the year, and has two grown children.
She is an old Bali hand who has counted among her mentors, sponsors, friends and neighbors some of the great contemporary names in Balinese scholarship and spiritual and cultural leadership. +
Gm. Sukawidana was born in Bali, July 16. Writing poetry since 1979. He is one of the founders of the Coffee Drinking Studio and the Cultural Cipta Sanggar (SMPN 1 Denpasar). His poems have been published in Bali Post, Nafiri, Swadesi, Simphoni, Berita Buana, Republika, etc. His poetry is also summarized in the book Painting Magic Land of Bali (2000). His solo poetry books: The Midday Ceremony (1993), The Twilight Ceremony of the Land of the Ancestors (2000). Now he is preparing his new poetry book. +
Professor of Psychiatry, School of Medicine, University of California, Davis. +
Gregory Bateson (9 May 1904 – 4 July 1980) was an English anthropologist, social scientist, linguist, visual anthropologist, semiotician, and cyberneticist whose work intersected that of many other fields.
Bateson travelled to Bali with his second wife (1936-1950) Margaret Mead to study the people of the village Bajoeng Gede. In the short history of ethnographic fieldwork, film was used both on a large scale and as the primary research tool. Bateson took 25,000 photographs of their Balinese subjects.
He discovered that the people of Bajoeng Gede raised their children very unlike children raised in Western societies. Instead of attention being paid to a child who was displaying a climax of emotion (love or anger), Balinese mothers would ignore them. Bateson notes, "The child responds to [a mother's] advances with either affection or temper, but the response falls into a vacuum. In Western cultures, such sequences lead to small climaxes of love or anger, but not so in Bali. At the moment when a child throws its arms around the mother's neck or bursts into tears, the mother's attention wanders". This model of stimulation and refusal was also seen in other areas of the culture. Bateson later described the style of Balinese relations as stasis instead of schismogenesis. Their interactions were "muted" and did not follow the schismogenetic process because they did not often escalate competition, dominance, or submission. +
