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Anak Agung Gde Rai or usually called as Agung Rai, born in Peliatan, Ubud, on July 17th, 1955. He is a humanist (cultural practitioner) and an artist who has big role in preserving and promoting arts of Indonesia, particularly Bali. He is the founder of ARMA (Agung Rai Museum of Art). The poverty during his childhood motivated him to change their family life to make it better by continuously work hard. When he was young, he has ever become “merchant” of artistic goods for tourists in Bali.
Agung Rai has a dream to become a teacher, but he has to burry it since cant afford the tuition. Then, he learned to paint. But, he realized his skill is yet sufficient as painter. Otherwise, he took a course of English and became a tour guid. From his interaction with the tourists, he got sense of business to try as seller of artistics goods made by his neighbors in his hometown. Since then, he is becoming a merchant in arround Sanur, Kuta until Padangbai. As a merchant, his sense of business and arts was developed. Then he mad friend with many arts collectors. He followed his friend to be a collector of maestro’s artwork. From a collector, he became a currator for artwork exhibition. Such as, in 1989, Agung Rai went to Japan and took a hundred of artworks from fifty painters that joined a group of Sanggar Seniman Agung Rai (Agung Rai Artists Group). This paintings then was shown in Japan for two months.
Anxiety and worry for his country’s cultural preservation mainly in field of arts make him obssessed to establish a museum and arts galery. Then, with wonderful effort of him, in June 9th 1996, ARMA Museum officially opened by Prof. Dr. Ing. Wardiman Djojonegoro while at that time have position as Minister of Education and Culture. ARMA is one of museums with most complete collection in Indonesia. From classical artwork until contemporary, even artwork of local artist and other countries. Moreover, ARMA periodically held an exhibition of artworks.
The popularity of ARMA is masively increasing since it often held various cultural event such as music performance, theatre, providing bookroom with various collection for visitors, held seminar of culture and art. Events in ARMA mostly in international scale and often were hold by various artworkers and culture from many countries. With various arrangement of these kind of event, ARMA achieved predicate as most popular museum and the best museum in Indonesia based on tourist as how it was compiled by world travelling site, TripAdvisor.
For his effort to preserve arts, Agung Rai was awarded many awards. Such as, in 2002 he was awarded by Indonesia Government as “The pioneer in advancing the fine arts”. In 2012 he was chosen as Chief of Himusba (Himpunan Museum Bali) 2012-2017. In 2016 “TripAdvisor” awarded ARMA as the best museum in Indonesia. The choice was determined by the tourists who has visited the various museums in Indonesia.
The Books of Agung Rai and ARMA can be read in “Gung Rai, Kisah Sebuah Museum // Gung Rai, A Story of Museum” (KPG, 2013), “Saraswati in Bali: A Temple, A Museum and A Mas” (BAB Publishing Indoneisa, 2015”, “Agung Rai, Sang Mumpuni // Agung Rai, The Maestro” (Lestari Kiranatama, 2017).
Only one picture in Bateson and Mead collection, purchased Jan. 17, 1937 — crude
Member of the ruling family of Batuan. Bateson-Mead information: Age: about 12-13 Son of the highest status and most powerful man in Batuan of the time, Anak Agung Gede Ngurah, who was juru tulis to the Punggawa of the region, which was centered in Pliatan in the late 1930s, was just finishing up 5th year of elementary school in Sukawati, and was about to go on to become an apprentice civil servant (magang) in the Pliatan office that very same year. Survey information: MARGINAL EARLY TEEN UNSKILLED THIRD WAVE LITERATE SPEAKS MALAY +
Anak Agung Gede Ngurah Puspayoga was born in Denpasar, 7 July 1965. He completed his Bachelor's degree at Ngurah Rai University, Denpasar, in 1991. He is Minister of Cooperatives and Indonesian Small and Medium Enterprises in President Joko Widodo's Working Cabinet. He served from 2014 to 2019. Before becoming a minister, he served as Mayor of Denpasar for two periods, namely 1999-2004 and 2005-2010. In the second period, halfway through, he was elected Deputy Governor of Bali for the 2008-2013 period. +
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. +
From the family of Turas. Produced a number of the illustrations in Sprookjes van Bali. +
Related Artists
Anak Agung Gede Sobrat
Teacher: I Wayan Pendet
Relative: I Dewa Ketut Rungun
Relative: I Dewa Putu Bedil
Relative: Anak Agung Gede Raka Puja +
The principal artist of the Ubud school, continued working after World War II. Works in all major collections, including the Sana-Budaya Musuem, Jogjakarta.
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 1917 +
Joni Agung, whose real name is Anak Agung Junni Antara is a reggae musician born in Denpasar, 1973. His love for music has grown since he was a teenager. At first he played music from cafe to cafe around Sanur and Kuta with the band “Sunshine”. In 2002 he met the band "Double T", and in 2003 spawned their debut album entitled "Pocol". The songs entitled "Nyoman Klepon" and "Janjin Beline" are two very popular songs by Joni Agung and Double T. Up to now, Joni Agung and Double T have released seven albums, including "Jero Gede", "Love and Love" , “Semara Ratih”, “Ogoh-ogoh”. Most of the song's lyrics are in Balinese with a tingly humorous tone. Apart from musicians, Joni Agung who has dreadlocks hair is also known as a yoga trainer. +
Anak Agung Made Cakra was born in Denpasar, November 11, 1928. He is a musician and Balinese pop songwriter who was very popular in his time. He taught himself music at the age of seven. In 1943, when he was still a SR (People's School), he participated in a Japanese song competition in Singaraja, and managed to get the attention of a Japanese musician who was present at that time. The Japanese musician then mentored and employed him.
In 1950 he collected music in Denpasar and formed an orchestra group and in 1953 the group performed around Denpasar. He also joined the kroncong orchestra group Puspa Teruna led by Ida Made Rai. Then he joined the Melati Kusuma keroncong orchestra led by Merta Suteja, the Merta Kota keroncong orchestra and the Cendrawasih keroncong orchestra. He is also involved in routine musical activities at RRI Denpasar Station. He then formed and led the New Dawn keroncong orchestra group.
In addition to performing music, Gung Cakra also writes songs and musical compositions. One of his most famous songs is entitled "Kusir Dokar". In 1963, the song was often played by the band Putra Dewata founded by Gung Cakra and his colleagues. The band's musical instruments were made by Gung Cakra himself with easily available materials. In 1976, Gung Cakra began to enter the recording studio through Bali Record. Apart from "Coach Dokar", his popular songs are "Bungan Sandat" and "Ada Kene Ada Keto". +
1919-2007
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.
Dr Djelantik playing the violin as a young boy. (photo: Bulantrisna Djelantik)
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”. +
One of a number of female artists in Sanur identified by Bateson and Mead via the Neuhauses.
From a family of painters in Sanur during the 1930s. Worked with Agung Raka, her son by Gusti Sodang (and thus is probably also the mother of Gusti Putu).
Also spelt Gelogor
Related Artists
Husband: I Gusti Putu Raka Sodang
Son: Agung Raka +
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. +
Anak Agung Pandji Tisna (11 February 1908 – 2 June 1978), also known as Anak Agung Nyoman Pandji Tisna, I Gusti Nyoman Pandji Tisna, or just Pandji Tisna, was the 11th descendant of the Pandji Sakti dynasty of Buleleng, Singaraja, which is in the northern part of Bali, Indonesia. He succeeded his father, Anak Agung Putu Djelantik, in 1944.
On the last page of Pandji Tisna's book, I Made Widiadi, written in 1955, he wrote his life story in chronological order. He was a writer and a novelist. He refused to be the king of Buleleng, but being the eldest son, the Japanese occupancy troops forced him to be "syucho" after the death of his father in 1944.
During his reign, he became the leader of the Council of Kings of all of Bali from 1946 to 1947 (Paruman Agung) and the Regent of Buleleng. In 1947, because his uniquely Christian faith did not fit in with the predominant Hindu religion, Pandji Tisna surrendered the throne to his younger brother, Anak Agung Ngurah Ketut Djelantik or I Gusti Ketut Djelantik, also known as Meester Djelantik, until 1949.
He died 2 June 1978 and was buried in the graveyard on the eastern side of his land near the chapel he built years before.
There is a museum in Lovina dedicated to AA Pandji Tisna and his family: https://www.facebook.com/pg/The-Little-Museum-Anak-Agung-Panji-Tisna-KM-0-Lovina-Bali-1402058299856241/about/ +
Andy McGraw received his Ph.D. in ethnomusicology from Wesleyan University in 2005. Dr. McGraw has published several articles and a monograph (on Oxford) concerning traditional and experimental music in Southeast Asia and has written articles on jazz, music in American jails and Cuban music. He is an active performer and directs a Balinese gamelan orchestra for the Richmond community. +
Anthok Sudarwanto was born in Denpasar, April 18. He completed his art education at ISI Denpasar. Since 1996 he has been holding joint exhibitions, among them are the Indonesian Arts Festival Exhibition in Jogjakarta (1999), the Black and White Group at the Bali Museum (2000), The Name of Identity at Tanah Tho Gallery, Ubud (2011), "Retrospective" with the Galang Kangin Group at Bentara Bundaya Bali (2018). In 2010 he held a solo exhibition “Transformation” at the Hitam-White Artspace, Sangeh, Bali. He is also involved in the Militanarts Group. His works tend to be realistic with social and life themes. +
From https://www.gentilefineart.com/introduction
Gentile’s prolific artistic practice enables him to create with a wide range of possibilities. His activity can be divided between an inner practice – evident in canvases and small-scaled sculptures – and a more public scope. This versatility allows his character to come out and enables his sense of freedom as an artist to emerge.
The circumstance that the tropical island of Bali has become his most permanent residence for about 25 years resides in the double possibility it presents: this is one of the world’s most crossed-cultured places, extremely traditionalist in its singular Hindu rituals and constant colorful ceremonies, and simultaneously one of the world’s most cosmopolitan atmospheres, home to various western communities. This intellectual balance, conjoined with a major presence of craftsmanship, working in international standard quality, allowed him to stay and produce vast amount of, and large artworks.
The Artist, Gentile perceives his working method as connected to those of musicians: after learning the basic notes – drawing, geometry and the knowledge provided by Art History – one can compose a ‘symphony’ – paintings, sculptures and, more recently, the possibilities enabled by Computer Aided Design (CAD), which he has been exploring since the late 1990s. A believer in classical and canonized education, Gentile keeps a graphic diary in the form of sketchbooks that became the foundation of his image bank. More recently, Gentile has augmented the paper diaries with an iPad. In addition to this gadget, he keeps a photographic and written record of people and situations he interacts with.
The ‘organic’ ingredient of his artwork thus resides outside the working methodology, rather is borne from the manner he utilizes his personal archive, vast due to several anthropological and ethnographical explorations. This system is what Gentile offers to the viewer: on the one hand, he expresses a personal synthesis of art and life and on the other hand, he delivers a constant citation of legacy – that he applies with extreme ease – and provides new directions for its usage.
Therefore, Gentile’s artistic practice is many times explained as an assemblage of elements embedded with references and material citations of local specificities pertaining to the locations he arrives to.
Antonio Blanco was born on September 15, 1911, in Manila, the capital of the Philippines. Both of his parents were Spanish, a fact that Blanco believed linked him geographically and spiritually to Miro and Salvador Dali. His father settled in Manila during the Spanish - American War, where he attained prominence as a physician. Blanco was educated at the American Central School in Manila. During his high school years he loved the arts, literature and language classes but struggled in scientific subjects. It is no wonder that he spoke six languages - Spanish, French, English, Tagalog, Indonesian and a bit of Balinese. After completing high school in Manila, Blanco studied at the National Academy of Art in New York under Sidney Dickinson. During those early formative years, Blanco concentrated on the human form, fascinated by the female body more than any other subject matter. To further his studies and ignite his traveling spirit, he traveled extensively throughout the world before he finally landed in Bali in 1952. The King of Ubud gave Blanco a piece of land to set up his home and studio in Campuan, Ubud, at the confluence of two sacred rivers. Blanco and his Balinese wife, the celebrated dancer Ni Ronji, lived in their mountain retreat, barely leaving it for the world outside. Following a brief trip to the United States, where Blanco acquired many new collectors, the couple never left their fantasy home again.
Living in serene surroundings with his four children, Tjempaka, Mario, Orchid and Maha Devi, Bali became Blanco's center. He was fascinated by the island and completely captivated by its charm.
Blanco lived and worked in his magical hilltop home until his death in 1999, feverishly creating his fantasy portraits of beautiful women. Surrounded by lush gardens, rice fields and with a Banyan tree standing over his family's temple, Antonio Blanco proceeded to create a new reality for himself. His artistic outpourings of this isolated world became much sought after by eager art lovers, collectors and promoters. Within a few years, Blanco became the most famous foreign artist to make Bali his home. He was recognized in both Indonesia and abroad, receiving numerous Blanco Awards and commanding huge prizes at international auctions.
By the end of his life, Blanco had begun building his museum at his studio in Campuan. Dramatically, he died just before its inauguration. His funeral was marked by a very important Blanco Cremationin Ubud. It was Blanco's dream to turn his studio-mansion into a museum. His son, Mario, fulfilled this dream by following his path to become a painter. The Blanco Renaissance Museum is now open to the public, exposing both the maestro's and Mario's art works.
How are you doing, audience?
Have you had a vacation anywhere, gone to work, or returned to your hometown for the holidays? How was the trip, was it smooth as snow or did it make your head spin? Some say that the roads in Bali are good and safe to use, but many say that many roads in Bali are still damaged and unsafe to ride.
Denpasar, the capital of Bali, is often found to have damaged roads that are difficult to pass through. So, what about the roads located in villages in several districts in Bali. Many rural areas have collapsed roads, potholes, and even broken roads. Road maintenance and repairs have indeed been carried out but it must be more evenly distributed so that not only a few main roads are repaired. Many roads in remote areas have been damaged and impassable for years but have yet to receive reinforcements.
Articles and social media often report on traffic jams, accidents, and delayed delivery of goods, but it is rarely known that one of the main causes is road damage. Damaged roads tend to make it impossible for people to pass through. This causes some jobs, delivery of goods and trade activities around the road to be disrupted which will certainly disrupt the economy of the community.
With the 2024 election, it is certainly the hope of the people that there will be a revitalization of the new government in the improvement and development of the community which can be started from the main problem, namely roads. The government must be able to allocate existing funds as well as possible for the construction of roads that are evenly distributed throughout Bali. Even though it has a lot of fund, if they are not allocated properly the results will be useless and there will be no complete balance. Roads are important in every activity we do, especially Bali as a tourist destination visited by many foreign tourists. Therefore, let’s make the initial improvements by starting to repair the roads. +
15 April 1916 – 23 March 2016. Dutch-born Indonesian painter who lived on Bali.
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.
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.
Bali
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.
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.
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.
Arif Bagus Prasetyo was born on September 30, 1971, has lived in Denpasar since 1997. He is known as a poet, literary critic, fine arts curator, and book translator. Alumnus of the International Writing Program, University of Iowa, Iowa City, USA. Received a number of awards in the field of writing, including: the Jakarta Arts Council Literary Criticism Prize, the Jakarta Arts Council Fine Arts Criticism Prize, and the Bali Provincial Government Widya Pataka Award. His books: Witness Words: 18 Literary Essays (soon to be published), Memento: Poems (2015), Memento: Poetry Books (2009), Epiphenomenon: Study of Selected Literature (2005), Stephan Spicher: Eternal Line on Paper (2005), Beyond the Forms : A Face of Modern Indonesian Painting (2001), Mangu Putra: Nature, Culture, Tension (2000), and Mahasukka: Book of Poetry (2000). +
