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Gianyar Regency is one of the districts in Bali Province which is famous for its natural beauty, rich culture and huge tourism potential. However, like other regions, Glanyar Regency also has various problems that need to be addressed immediately to improve the quality of life of the community and regional development as a whole. One of the problems often experienced by the people of Gianyar Regency is the problem of poverty. Even though the tourism potential is quite large, not everyone can feel the benefits. Many people live below the poverty line and have difficulty meeting basic daily needs. Gianyar Regency also faces other problems such as a lack of adequate infrastructure, especially in rural areas. Inadequate infrastructure causes people's access to education, health and transportation to be limited. This makes it difficult for rural communities to access. To overcome this problem, local governments need to carry out various programs that can improve community welfare, such as providing social assistance, skills training, and developing the economic potential of local communities. In addition, there are infrastructure problems despite existing efforts. infrastructure development in the area, but there are still many roads or people's houses that are in a damaged condition and disrupt people's mobility.
Solutions for Sustainable City Growth
The growth of a city or district like Gianyar requires careful planning and innovative solutions to overcome the challenges faced. In responding to Gianyar's development needs, several solutions can be considered to ensure sustainable growth and improve the quality of life of its residents.
1. Infrastructure Development
Well-planned infrastructure development is the key to supporting economic growth and improving the quality of life of residents. This includes expanding the road network, improving public transport, providing clean water, and effective waste management. Investments in this infrastructure will open up accessibility to rural areas, facilitate business growth, and improve the quality of life for residents.
2. Local Economic Empowerment
Encouraging local economic growth can reduce dependence on the tourism and industrial sectors. Initiatives such as skills training, business capital assistance for local entrepreneurs, and promotion of local products can increase employment and income of local residents. In this way, Gianyar can become more economically independent and sustainable in the long term.
3. Cultural and Environmental Preservation
As an area with rich cultural and natural heritage, cultural and environmental preservation must be a top priority in planning the development of Gianyar. Conservation programs, cultural education and sustainable tourism management will help maintain the authenticity of local culture while protecting the natural environment from degradation.
4. Improvement of Public Services
The provision of quality public services, such as education, health and social services, is essential to improving the quality of life of the population. Investments in building schools, hospitals, health centers and other public facilities will ensure that every resident has equal access to these services.
5. Sustainable Tourism Development
Tourism plays an important role in Gianyar's economy, but sustainable tourism development needs to be prioritized. Measures such as limiting the number of visitors, managing tourism waste, promoting sustainable tourism, and local community participation in the tourism industry can help maintain a balance between economic growth and environmental conservation.
By implementing these solutions holistically and sustainably, Gianyar can build a better future for its residents while maintaining cultural authenticity and environmental sustainability. Collaboration between the government, private sector and local communities will be the key to success in realizing the vision of inclusive and sustainable development for Gianyar.
Uuk Paramahita was born in Denpasar, April 17, 1978. He completed his art education at ISI Denpasar. Since 2001 he has been involved in many joint exhibitions at home and abroad, including exhibiting at “20 Finalists of Nokia Art Award in Jakarta, 2001; The faces at Junge Gesichter at Agon. e.V Passau, Germany, 2012; The Fourth Silk Road International Art, Shaanxi Provencial Museum of Fine Art, Xian China, 2017. Many of Uuk's works feature tiny figures combined with the surrounding issues. He processes many childhood memories into interesting works of art. +
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W. Mustika was born in Kuta, Bali, September 11, 1970. He pioneered the Rumah Semesta Community since the publication of his 4th book: When the Universe Talks (2013). To date, he has written and published 11 books on life and spirituality. He has also written the poem "Klungkung, Tanah Tua Tanah Cinta" (2016) which was included in the poetry anthology book with the same title. Rumah Semesta is a community that, apart from working in the field of humanity, also focuses on being a shared learning space to understand life, as a place for people to release the inner burdens of the joys and sorrows of life and also as a place to learn together to understand one's spirituality. +
Wijnand Otto Jan Nieuwenkamp (Amsterdam, July 27, 1874 – Fiesole, April 23, 1950), was a Dutch multi-faceted autodidact. As an artist he was active as a painter, draftsman, sculptor, etcher, lithographer, and designer of book covers and of ex-libris. In addition, he was also known as a writer, architect, explorer, ethnologist and collector of East Asian art.
He is said to be the first European artist to visit Bali (note: not verified), being greatly influenced by and himself influencing the island's art and culture, and making it better known in wider world. He was also deeply involved with various other parts of the then Dutch East Indies. +
W.O.J. Nieuwenkamp (27 July 1874 – 23 April 1950) was an artist from the Netherlands who once lived in Bali. He studied art at the Amsterdamse Kunstnijverheidsschool. Between 1917 – 1919 he toured Sumatra, Java, Bali, Lombok. He did many works of art, including paintings, etchings, lithographs, book cover designs. Apart from that, he is also known as an architect, ethnologist, explorer, writer, art/antique collector. He was the first European artist to visit Bali. He arrived in Bali in 1906. He came to visit Bali again from 1917 to 1919 and finally in 1936/1937. He painted a lot about the natural, social and cultural beauty of Bali. +
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I would like to express my gratitude to the presence of God Almighty for his generous support in being able to deliver an oration entitled "TOURISM UNDER THE BALI RING"
The island of Bali or the island of a thousand temples is famous for its unique tourism and culture. The island of Bali has many tourist attractions that attract local guests as well as tourists from foreign countries who come to Bali for a holiday and enjoy the natural beauty of Bali. The tourist attraction in Bali that is most often crowded with tourists is Ubud. In Ubud there are many tourist attractions such as the Ubud monkey forest, Bali bird walks, the Ubud art market, the Blanco Renaissance Museum and others.
Sometimes when we cross the road in Ubud, we often get stuck in traffic jams due to the crowds of tourists walking around. There are so many tourists on holiday in Bali that we are overwhelmed by the behavior of tourists who carry out actions that exceed the limits set by the local community.
However, tourism activities help revive the community's economy. Also, the culture and tourist attractions in Bali are becoming more famous on the world stage, and can attract tourists to vacation in Bali.
That's all my oration that I explained, forgive me if there are any statements that are offensive or not pleasing to your heart. I say thank you, at the end I close with parama santih.
Om santih, santih, santih om +
Democracy is a 'surrogate election' by incompetent parties in which many agreements are perverted.
Democracy has now been greatly eroded by the current of globalization, even democracy itself has become a pioneer which has resulted in our country being influenced by foreign or western countries. In fact, it can be said that currently Indonesian democracy reflects more on external democracy so that the meaning of democracy itself has been erased or even faded. In fact, if Indonesia wants, we can make this democracy a forum for making the country developed. The cultivation of democracy itself should also have started from an early age so that the understanding contained therein can become a motivation for a good state life. And the nation's next generation will be able to implement a good and correct democratic system.
Indeed, it can be said that Indonesia is a democratic country, but in fact that democracy has been eroded and even polluted by foreign countries that have entered our country. Especially at this time, after I read and quoted from detik.com there it was explained that former Indonesian President Megawati Soekarnoputri confirmed that the validity of democracy in Indonesia was being tested. Because there are still citizens who cannot accept diversity in Indonesia. Many people differentiate between religion, race, or who they are. Leaders should be able to erase all of that, not just make promises.
With these differences, it is clear that Indonesia is not a democratic country because Indonesia has been oppressed by the current of globalization which is becoming more and more rampant among society. Even if we look at the government system, Indonesia has adopted a western country system. reflecting on rural areas that have never been reached by the government and are thought to be forgotten by the government. So here it will give rise to discrimination that the village is not the State of Indonesia because it is never considered. And young people who will succeed the nation will never be instilled with a spirit of democracy because their parents are reluctant to see a president who has treated the villages unfairly.
This will be a great opportunity for other countries to develop business and make rural residents think better of foreign countries.
In my opinion, there are several things that make democracy possible so that it can be implemented well, democracy provides the opportunity to enable citizens to participate directly or through their agents, in the formulation, development and making of laws. And the most important thing is, Indonesian citizens must be able to implement cooperation not only with the government but also with the people. Because good democracy is created by the government for the people and back to the people.
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.
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.
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.
Spies died on January 19, 1942 when his ship Van Imhoff was bombed by Japanese forces during World War II. +
Wayan Dastra, born in Ubud, 7 June 1980. He is a painter who graduated from ISI Denpasar. Since the 2000s, he has been diligent in participating in joint exhibitions, including the joint exhibition of the Cambodian Studio at the Jakarta Cultural Center (2018), “Spirit Barong” at the Jakarta Cultural Center (2010), “Absolute” at the Archade of Kuta Galeria Bali (2006). Many of his works take the theme of everyday life of ordinary people who are possessed something magical-mystical. +
Wayan Djiwa was born in Banjar Binoh Kaja, Denpasar, 1906. He is a Palegongan gamelan maestro. Based on the mastery of the Gender percussion, he studied the gamelan Legong Keraton in 1915 which was pioneered in Banjar Binoh. Apart from being an expert in the art of karawitan, he is also known as undagi, a skilled traditional Balinese architect. +
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). +
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.
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. +
Wayan Gunasta alias Gungun, was born in Nyuh Kuning, Ubud. He has written poetry since he was a teenager and has been featured in many articles in the Bali Post. In addition to poetry, he pursued the art of cartoons, vignettes, sketches, painting. He has studied "character design and animation" in Japan. Since 1979 he has been diligent in exhibiting his works at home and abroad, such as Balai Budaya Jakarta (1979), Frementale Art Gallery (Australia, 1994), Oriental City (London, England, 2004), V Gallery (Yogya, 2007), etc. His published cartoon and comic books include Mahabhrata Comic Series (1992), Bali in Cartoon (1997), Gunasta Sketsa Rhythm (1999), Bali Pulau Cartoon (2004), Propoor Tourism (2006), Balinese Coloring Book Series (2008). He initiated and published a collection of poems by eighty-one Balinese poets whose works were published in the Bali Post, entitled Edition Hitam Putih (Wayan Pendet Foundation, 2006). +
WAYAN JENGKI SUNARTA was born in Denpasar, Bali, June 22nd, 1975. He is a graduate of Udayana University, Cultural Anthropology, Faculty of Letters, and studied painting at ISI Denpasar. Jenkgi has been writing poetry since the early 1990s, and later also wrote lyrical prose, short stories, features, essays/art and culture articles, critics/art reviews, and novels.
His writings are published in various local and national mass media, among them Kompas, Koran Tempo, Media Indonesia, Republika, Suara Pembaruan, The Jakarta Post, Jawa Post, Pikiran Rakyat, Bali Post, Jurnal Kebudayaan Kalam, Jurnal Cerpen Indonesia, Majalah Sastra Horison, Majalah Gong, Majalah Visual Arts, Majalah Arti, and Majalah Sarasvati. +
“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
special experience and powerful omen. A gift from the Gods to me.”
The owl is much revered by indigenous cultures and in folklore around the world as a
guardian spirit, as well as a wise creature capable of extraordinary sight. Balinese
mythology reveals that if an owl visits a family compound while a female member is
pregnant this is indeed a positive sign. Burung Hantu literally translates from bahasa
Indonesia into the English language as ghost bird; or the owl, the mysterious bird of the
night.
“I have a unique connection with owls. It is a potent image that resonates with my heart. I
was intuitively led to draw the owl and then I began to include it in my works. It has now
manifested into a personal symbolic image, equivalent to the Barong. The owl also
encourages me to reflect on the joy that I derive from my family life,” says Wayan.
Born in Ubud, 1970, Wayan Silawasinspired by his grandfather, well known local artist
Wayan Barwa. From an early age he regularly visited Barwa’sstudio and gallery,
surrounded by the paintings of his Balinese heritage, this was the perfect scenario for a
child to learn to draw and paint.
Wayan soon became adept in the “Ubud Style” of modern traditional Balinese painting. In
the evolution of Balinese painting during the last century, from its origins of the Classical
Kamasan style that concerned teachings from the Hindu Epics, each village then began to
create their own distinctive style.
The Ubud style moved away from the religious and began to be characterized by
narratives that involve daily village life and depictions of rural and environmental
landscapes. The artists from Ubud were quick to adopt western influences in the 1930’s,
depth of field, shades of color, localized narratives and the development of the human
figure. The Kamasan style was originally a collective work and never signed by an
individual. The new personalized and expressive form of Balinese painting has its roots
firmly entrenched here in Ubud.
Wayan’s canvases are beautifully composed and resound with an overwhelming sense of
balance and harmony. His highly detailed works are first sketched in pencil then outlined
in black Chinese ink, finally they are rendered in acrylic paint with a fine kaus bamboo, a
small piece of bamboo crafted with a tiny point to apply the medium. A large canvas, 100 x
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.”
Wayan’s relationship with the burung hantu then activated an endearing association with
the people of Japan, to whom the owl is symbolic of happiness. He first visited Japan in
2002 and his premiere solo exhibition there was in 1998. Every year since then Wayan has
enjoyed the privilege of exhibiting work in galleries, department stores, even in the
Indonesian Consulate in Tokyo. He has held over 15 solo exhibitions in Japan, and
numerous other exhibitions in Bali, Jakarta, Spain and also at the prestigious Agung Rai
Museum of Art in Ubud.
“It’s an honor for me to be invited on intercultural exchange programs teaching young
Japanese students traditional Balinese painting techniques. I do this each year when I visit
Japan.” Wayan has since developed a healthy market for his works there and continues to
ell to the Japanese tourists who often visit his Ubud studio/gallery.
Wayan Sila, acrylic on Canvas, 2012,
45x 60cm.
Wayan Sila
Garden + Bale studio of Wayan Sila.
Wayan Sila. 2012, chinese ink +
acrylic on canvas, 60x80cm.
Wayan’s cooperative works with Japanese poet Yoko Jatiasih have been the focus of two books. They initially
collaborated in 1998 to create music and poetry for his paintings. In 2004 their first book “Kata Kata” Echoes From The
Woods, and then in 2010 “Pelan Pelan” were published.
Browsing through these books, the creative synergy between the two is easy to recognize. Yoko’s short poems, no more
than 6 lines, resonate with an uncomplicated intelligence. Upon the opposing page to the text are Wayan’s
complimentary images created especially to accompany each poem.
As you contemplate the words essence, as well as study Wayan’s images, the mysterious bird of the nights’full round
eyes are firmly transfixed upon you. The fusion of words along with the images perplex the imagination, and then defy
you to believe their medium is the owl’s silent and alluring gaze.
In 2011 Wayan relocated to his new studio gallery in Jalan Bisma in Ubud. Journey 400 meters along Jalan Bisma until the
roadside urban development gives way to the effervescence of the padis. Down on the right hand side nestled in the
sawah you will find his small abode. Look for the sign on the road then follow the narrow path that divides the green
swaying fields to his studio/gallery encircled by the bamboo fence.
Wayan has created a personal space that reflects the elements that enrich and sustain him. Situated in the middle of the
yard he has built a bamboo bale which functions as his studio, yet also as a place of quiet retreat. The surrounding
garden is abundant with organic vegetables, fruit trees, medicinal herbs, ornamental shrubs and flowers. Indeed, Wayan
has created his special own oasis.
As you enter his two Bali dogs are quick to offer enthusiastic toothy greetings. The verdant vegetation is soothing and
inviting. I discover two rabbits, four exotic birds and frogs and snakes frequent visitors, so Wayan tells me. Stone
carvings covered with brilliant green moss hide among the foliage, shrines and small Hindu temples are adorned with
offerings and the sweet sent of burning incense seduces the senses. An outhouse serves as a simple kitchen and two
rooms contain Wayan’s gallery painting collection and books for sale.
When we observe Wayan’s paintings we enter into a beautiful and extraordinarily tranquil world. His owls’ peer out
from within forests and lush scenes, their big eyes possess a magnetic pull and communicate a language that is
deciphered in our hearts. Wayan Sila is a painter of immense sensitivity and his works are vehicles of healing qualities and love.
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.
Read Full article in Sawidji Artist Biography
Wayan Suastama and the Art of Introspection
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.
https://sawidji.com/about-sawidji/artists-sawidji-gallery/wayan-suastama/ +
Sujana Suklu is known as a progressive thinker of contemporary art in Bali. With a pioneering vision that reflects a universal philosophy. Sujana Suklus’ contributions are vast in scope, encompassing multi-disciplinary fields within fine arts, academic and community platforms. Suklus’ academic research explores ways to bring art methodologies into communities cultivating and preserving local wisdom whilst expanding existing skill sets. The beauty of this research is that it has been applied and is actively growing in communities today.
He was born in Lepang, Klungkung, Bali, February 6, 1967. His works have been shown in a number of joint exhibitions at home and abroad, including: Beijing International Art Biennale. Bangladesh XI Biennale. His solo exhibitions include: "Panji, Between Body and Shadow" at the IMF International Art Event, Nusa Dua Bali (2018), "Intermingle Art Project, Light Pattern at Bentara Budaya Bali (2017), "Wings and Time" at Komaneka Fine Art Gallery (2016). The awards he has won are "The Winner of the Indofood Art Awards Competition on Abstract Category" (2003), "The Best 10 Indonesia Competition of the Philip Morris Art Awards (2003). Suklu has also been one of the curators of the exhibition “Bali Megarupa” (2019). +
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. +
