Property:Biography text
From BASAbaliWiki
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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. +
Belinda holds a PhD and Honours degree in Health Promotion from Deakin University and a Bachelor of Science and Postgraduate Diploma in Education from Melbourne University, Australia. She has worked as a researcher, practitioner and health promotion consultant with a wide range of government, NGO, professional and community organisations. These include community health services, local governments, health advocacy groups, environmental protection activists, Royal Women's Hospital, VICFIT, Heart Foundation, Diabetes Australia, Cancer Council and the Victorian Government Department of Human Services. She is a member of the Australian Health Promotion Association and the Public Health Association of Australia. Belinda has also worked in a range of international settings on key global health issues. She collaborates with researchers in Indonesia (Bali, Java, West Timor), Sri Lanka, Turkey and Canada to research: health promotion and health communication; communication for social change; cultural politics of health; community recovery after crisis, disasters & conflict; community capacity building; disability, diversity and discrimination; maternal and child health; sexual and reproductive health; HIV/AIDS; drugs, prisons and rehabilitation; abolition of the death penalty; peace-building and violence prevention.
Her work is published widely in Australia and internationally. She is an active participant in media interviews, features, public speaking and community workshops covering aspects of her research. Belinda has authored 3 books. The most recent, in 2015, is co-authored with Jeff Lewis (Professor of Media and Cultural Studies, RMIT University) +
Brett Hough lectures in the Anthropology Program (School of Political & Social Inquiry) and the Indonesian Studies Program (School of Languages, Cultures and Linguistics) at Monash University. He has been involved in Indonesian Studies since 1980 and undertaking research in Bali since 1989. His doctoral study was on the institutionalisation and bureaucratisation of Balinese performing arts. He is currently working on a project investigating conflict and conflict resolution in contemporary Bali. +
Professor Dr. Brigitta Hauser-Schäublin was born in Switzerland, namely in Riehen near Basel. There she spent her childhood and youth. Her father was a tradesman running an international import-export company and furthermore took part in the local politics. Hauser-Schäublin had an early encounter with the topic of gender when being confronted with the female role in society and the difficulties for women to study. In order to take different directions she moved to Zurich when being a young woman, did several internships and took language classes. She also lived in London for half a year. After her return she started an apprenticeship at the local newspaper in Basel to become a journalist.
In this period Hauser-Schäublin also undertook her first journey to India, an experience which had a huge impact on her. When returning to Basel she not only worked as a journalist and finished her high school graduation but in 1969 also began her studies. After a brief phase taking courses on Religious studies Hauser-Schäublin focussed on studying Anthropology and Sociology. Alfred Bühler and Meinhard Schuster were among her teachers. In 1971 Hauser-Schäublin studied in Munich for a semester and after her return also took up an assistant position at the Ethnographic Museum in Basel, combining her growing anthropological knowledge with her skills as a journalist. A year later she joined a research project founded by Meinhard Schuster, regionally focussing on the Sepik region in New Guinea. Hauser-Schäublin took part in the expeditions and collected data on gender aspects, a work that 1975 culminated in her graduation thesis.
After graduation Hauser-Schäublin fully took up her work at the Ethnographic Museum in Basel, organizing a various number of exhibitions while trying out new conceptions as well as working in the public relations. She moreover did further research projects, e.g. on house-building in Papa New Guinea. In 1985 she completed her habilitation thesis. She gave academic lectures at the University in Basel and also worked on the Ethnographic Collection in Fribourg.
After being a visiting professor at the Department of Cultural and Social Anthropology in Cologne, Hauser-Schäublin in 1991/92 became a full professor at the Institute for Cultural and Social Anthropology in Göttingen, being the successor of Prof. Dr. em. Erhard Schlesier. There she not only gave various courses (e.g. on Gender and Religion) but also started to restructure the basic uni lectures. Furthermore the Institute joined the Department of Social Sciences. Her own scientific focus shifted from an early interest in Material Culture towards a closer look on theories and discourses. At the same time Hauser-Schäublin emphasized the importance of field research and did several of them herself, e.g. in Bali, Indonesia and Cambodia.
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TAKUMI’S CHEF Daijiro Horikoshi is a master artisan who has devoted his life to perfecting Kaiseki cuisine.
Chef Daijiro San … with respect you don’t sound like any ‘normal’ kind of Chef to us … what’s your story and how did you end up in Bali? Did you train in a Japanese kitchen, and did it involve years of internship under a Master?
I am the son of the third generation of a tempura restaurant located in Osaka. The restaurant had a 62-year history before it closed. My grandmother started the restaurant, and my mom took over before I eventually took over from her. I ran the restaurant for over 16 years, and in 2012, I moved to Bali. When I was 13 years old, I had the opportunity to travel with my stepfather, who was a Native American leader from the United States named Dennis Banks. We travelled to 23 countries around the world, and this experience exposed me to different cultures, religions, and people. When I decided to move to Bali, it was because my wife had a dream of living on a tropical island. We wanted our children to have a global experience and learn English, so we chose Bali as it offered a mix of different cultures. It was the perfect balance for us, and we couldn’t find it anywhere else in the world.
Tell us first about KOHAKU, and your journey to making edible crystals…
Although I don’t have a pastry background, I grew up in a traditional Japanese environment due to my grandmother’s influence. She was a geisha and introduced me to various aspects of Japanese art, tradition, and confections. When I moved to Bali, I missed Japanese sweets, as they were not readily available, so I started making Japanese confections on my own. I never thought about turning it into a business until a friend suggested it. Together with another friend, we started the business, and my wife encouraged me to pursue it further. That’s how our Japanese confection brand, KOHAKU, came to be.
How does this relate to cuisine in Japan?
Kohakuto, which means ‘amber sugar’ in Japanese, has a connection to Japanese tea ceremonies. Japanese confectionery has always been closely associated with tea and tea ceremonies. The tea ceremony involves not only tea but also meals, and it holds a deep relationship with Japanese cuisine.
There are two types of kaiseki, one for parties and the other for tea ceremonies. Both have a connection with tea and confections. So, the idea of creating edible crystals relates to the long-standing tradition of Japanese traditions.
Why does Japanese cuisine appear so different and innovative to Westerners, compared to more traditional styles, like say classic French, or Italian? Should the Old School be more innovative?
I don’t see a big difference between Japanese cuisine and other traditional styles like French or Italian. Each cuisine reflects its own history, culture, and region. I don’t think one is more innovative than the other. It’s difficult to answer whether the old school should be more innovative because innovation is subjective. What may seem innovative today might become traditional in the future. As chefs, we are always learning and trying to create dishes that make people happy. We focus on making something good rather than just being innovative. Our job is an ongoing journey of learning and creating.
Where does innovation go too far, and when should we recognize and respect classic cooking practices?
From my perspective, innovation goes too far when it becomes disconnected from our everyday lives and focuses solely on being different for the sake of standing out. Some chefs get caught up in trying to show how they are different from others, losing sight of the true essence of cooking. It’s like we lose our direction and wander aimlessly. Whether it’s in cooking or any aspect of life, we need to take a moment to pause, reflect on where we stand, and look back at our past and the processes that brought us here. It’s essential to respect the ingredients we use and show appreciation to everyone involved, not just for the sake of being different.
Tell us about Takumi, your restaurant, and the inspiration behind it.
Takumi is a restaurant where we currently serve Kaiseki-style Japanese cuisine. We offer a choice of nine-course or six-course degustation menus, and we will soon be launching vegan courses as well. Our focus is on traditional and authentic Japanese cuisine. The inspiration behind Takumi is unique. We are not simply importing Japan to Bali; instead, we are creating Japan here. We utilize the amazing local ingredients available in Bali and Indonesia, embracing the wealth of flavours they offer. As a Japanese chef, I incorporate Japanese culinary techniques and strive to express the true essence of Japanese cuisine. Additionally, I am passionate about training young chefs in Bali, sharing my knowledge, skills, and the history and philosophy of Japanese cuisine, in order to elevate the level of Japanese culinary expertise in the region.
Why is great service such an important part of the culinary experience?
Great service is crucial because it enhances the overall dining experience. When customers pay a significant amount for their meals, they should be able to enjoy them fully. It’s important to create an atmosphere where people can feel happy and comfortable. The emotions and atmosphere in a restaurant can significantly impact the perception of the food. Service acts as an additional spice that complements the dishes coming out of the kitchen. It’s not just about the food; it’s about the complete experience – from the moment guests enter the restaurant until they leave. We aim to leave a lasting memory and ensure that our guests have a truly enjoyable time at our restaurant.
Who are your heroes in the world of cooking?
Although it may sound cliché, my heroes in the world of cooking are my grandmother and my mother. However, my true heroes are the young chefs working in the Takumi kitchen. Each of them brings their unique experiences, which I have never had. Their willingness to learn and their different perspectives make them admirable and worthy of respect. These young chefs are my heroes because they challenge themselves and strive to become respected in the culinary industry.
What knives do you use?
I primarily use a small petty knife. I don’t have a specific brand preference. I own several Japanese knives, but my favourite is the small petty knife, which I use for personal use at home. I don’t typically use large knives in my cooking.
What’s the most exciting new ingredient you are incorporating into your food?
Well, every week brings new and exciting ingredients to our kitchen, even if they are the same vegetables we’ve used before. Each batch has its own unique qualities, and that’s what makes it thrilling. We have conversations with the ingredients, exploring their potential and listening to what they have to say. When they arrive in the kitchen, we greet them and get to know them. ‘Hello, my name is blah blah blah, who are you?’ We might say to a red radish. It’s a delightful way to engage with the ingredients and understand their desires. Do they want to be a sauce, a garnish, or simply shine on their own? We listen to their aspirations and help them become what they want to be. It’s the chef’s job, and it’s the most enjoyable and exciting aspect of our work.
What motto inspires your life as a chef?
Well, I’ve touched on this in previous answers, but it’s a question worth pondering. As a chef, I find immense joy and satisfaction in working with ingredients and creating dishes. It’s the happiness and fun that come from this process. There are many people involved in the culinary world, from suppliers to farmers, fisherman, and even drivers. My motto is simple: I want to make people happy. I strive to bring joy to others through my creations and my work. It’s not just about the guests; it’s about everyone who is connected to food and to me. I want to contribute to a collective happiness and create a positive impact within this circle. As a chef, I am just one part of a larger ecosystem, and my goal is to make everyone in this circle happy.
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Tourism is one of the important factors in the nation's economy, especially for the Balinese people. The occurrence of the Covid-19 pandemic has had a huge impact on the community, especially in the tourism sector in Bali. The emergence of Covid 19 resulted in a drastic drop in tourism income in Bali, starting from small traders, large businesses such as hotels, resorts, villas, drivers, luxury restaurants.
In an effort to revive Bali's tourism at this time after being affected by Covid 19, there are several ways that need to be input between implementing CWAN (Cheap, Work Together, Available, Negotiation).
Cheap in the sense of lowering or lowering the price of the main conditions for traveling in Bali such as swab tests or PCR, and quarantine will be very influential for the interest of visitors to visit Bali because they do not spend more money than they should and do not reduce the money prepared for the holiday.
Work Together requires relations between one country and another, regional relations with other regions as well as groups and individuals need to work together, commitment and the right policies. Cooperating with the foreign minister, the tourism minister, and the health minister to vaccinate their citizens before giving travel permits so that those who visit and those who visit are safe from the COVID-19 virus.
Available can be interpreted as providing facilities such as referrals regarding COVID-19 that is happening in Bali so that tourists know the latest Covid-19 situation in Bali. Able to provide information, health care and appropriate follow-up so as to provide a sense of security and comfort.
Negotiation, giving tourists additional services at prices that have been negotiated, for example, there are tourists who hold birthdays, weddings, etc. in Bali, so the place, decoration, consumption, can negotiate the price that will be given to the customer. tourists with complete health protocols at affordable prices and always improving the quality of service balanced with national and international events.
With the above stages, we hope to be able to make changes to make Bali tourism worldwide again, improve the economy so that it contributes greatly to the country's foreign exchange income.
"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. +
One of Australia’s most respected foreign correspondents. +
From Cat's website:
"I first visited Bali at the age of 18 in 1969. The memories never left me in subsequent decades but I never thought I’d return in 2000 to spend the rest of my life here.
Living in Ubud is much more multi-dimensional than visiting as a traveller. After ten years in sterile Singapore, I was unprepared for rodents in the roof and reptiles on the bedroom walls. I had to learn to navigate the ever-changing rules of Indonesia’s Byzantine immigration bureaucracy. The new language held many entertaining pitfalls. The Balinese people, especially the family that would become my own, were a window to the rich, deep, baffling culture that surrounds me.
Shortly after moving here I offered to write a regular column for the only English language newspaper at the time, the Bali Advertiser. This opened many doors; it gave me an excuse to contact all the most interesting people on the island and ask impertinent questions about what they were doing in Bali. From over 18 years of bimonthly articles I’ve published two books." +
Ms. Catharina Widjaja is Executive Vice President at Gajah Tunggal Group. From 2004 till recently, she held the position as Director for Corporate Communication and Investor Relations at PT Gajah Tunggal Tbk.
Prior to joining the Gajah Tunggal Group, Ms. Widjaja worked for various multinational companies including Deutsche Bank AG, Jakarta, as a Foreign Exchange Dealer for two years from 1986 to 1988, and HSBC Indonesia, for nine years, where she last held the position of Country Treasurer.
She received a Master of Science in Control Engineering from the University of Bradford in 1986 and also an alumni of MIT Sloan School of Management for the Executive program.
Ms. Widjaja is also the Director of Alun Alun Indonesia, an Indonesian retail concept which promotes Indonesian products and artisans.
In addition, Ms. Widjaja is active in several social activities including the United in Diversity Foundation, CCPHI, IBCA, IBCWE, YCAB and Yayasan Mitra Museum Jakarta. Ms. Widjaja was recognized as Global Trade Ambassador Indonesia by WIT-LA in 2019 and received TOP Leader on CSR Commitment by Business News Indonesia in 2018 and was nominated in the 2017 Telstra Business Women Awards.
Cath also serves on the Board of BASAbali. +
Catur Yudha Hariani was born on September 14 in Trawas, Mojokerto, East Java. After graduating from High School (SMA) in 1990, she became an environmental activist and joined the Seloliman Center for Environmental Education (PPLH) in Trawas. In 1997, PPLH Bali established a branch in Sanur where Catur worked on a casual basis. Then in 2002, she was appointed Director. Catur handles a number of environment-related programs. Among these are waste management, education and community facilitation for dealing with the self-management of waste, and waste management workshops for students. Catur is very much devoted to her life as an environmental activist. She is also known as one of the activists in the movement rejecting the reclamation of Benoa Bay. +
Chandra Yowani, born in Denpasar, February 10, 1971. She has been writing poetry since 1981. She has joined the Sanggar Cipta Budaya under the guidance of Gm Sukawidana. Her poems have been published in the Bali Post, Nusa Tenggara, and Gadis Magazine, as well as in the books Rindu Anak Mendlang Kasih, Yarns of Bianglala, Di Tangkai Mawar Mana, and Peladang Kata. Now she is a permanent lecturer at Udayana University. +
Worked with Lempad.
Of Puri Saren Kauh.
Related Artists
I Gusti Nyoman Lempad
Father: Cokorda Oka +
Cok Sawitri was born in Sidemen, Karangasem Bali, September 1st, 1968. Now, She lives in Denpasar, Bali. In the middle of 2006, she collaborated with Dean Moss from New York in Theatre Dance Event. Besides being a theater activist, she also wrote many articles, poems, short stories and novel. She has been active in social cultural activities, and is the founder of Perempuan Mitra Kasih Bali Firm and Tulus Ngayah Group.
Her works include Meditasi Rahim (1991), Pembelaan Dirah, Ni Garu (1996), Permainan Gelap Terang (1997), Sekuel Pembelaan Dirah (1997), Hanya Angin Hanya Waktu (1998), Puitika Melamar Tuhan (2001), Anjing Perempuanku, Aku Bukan Perempuan Lagi (2004), Badan Bahagia. Novelnya adalah Janda dari Jirah, Tantri, dan Sutasoma.
Longer biography available at http://lifeasartasia.weebly.com/uploads/2/3/6/8/23681555/cok_sawitri.pdf +
On February 15, 1900, Collin McPhee was born in Montreal, Quebec, Canada. He passed away on January 7, 1964, in Los Angeles, California, USA. He was a writer, pianist, and composer who composed music for traditional Balinese dances. He was a resident of Bali. In addition, he writes a lot of music inspired by Balinese traditional music.
For the remainder of his life, Collin McPhee studied Balinese music. He made a significant contribution to the advancement of Balinese music as well. He brought Balinese music to the attention of various American music universities. The orchestral percussion piece he composed for Carlos Chavez's 1936 summer tour to Mexico is his most well-known composition. Balinese gongs and cymbals are among the musical instruments used in McPhee's percussion piece.
Balinese Ceremonial Music (1934), Concerto for piano and wind octet (1928), Concerto for wind orchestra (1960), Kambing Slem (1960) for flute and piano, Lagoe Sesoeloelingan Ardja (1960) for flute and piano, Lagu Délem (1960), Tabuh-tabuhan (1936) for two pianos and orchestra, Tabuh-Tabuhan, toccata for orchestra (1936), Transitions for orchestra (1954), etc. are some of Collin McPhee's compositions. +
D
Denpasar is the capital of the province of Bali, its strategic regional position has made this city develop very quickly so that the past face of the city of Denpasar as a royal city has changed into a modern and multiethnic city. The development of the Denpasar City concerns growth in the economic, educational, technological, social and cultural aspects which have been mixed with foreign culture. The city of Denpasar also has the characteristics of a big city where there is widespread development of shopping centers, modern markets, entertainment centers, hotels, and many more. This certainly has a positive impact on Denpasar's economy, but on the other hand, this affects the population of Denpasar city which will also affect several other aspects.
The population according to the latest BPS data for 2023 is 726,800 people. The population of Denpasar will be numerous if we add the number of residents from outside Bali and foreigners who live to earn a living. A large population will affect the carrying capacity from various aspects, especially the availability of space, which is very limited and is not increasing
Spatial planning problems in Denpasar include residential housing which is increasingly eroding green open land which should be at 30%. The large population makes land increasingly scarce, land prices will increase, the development of the city of Denpasar can no longer be oriented horizontally but vertically to save the remaining land. This can make the city of Denpasar even more difficult to breathe. A large number of populations also brings other problems such as the accumulation of waste in landfills, one of which is the Biaung landfill. Until now, in my opinion, there is no best solution by the government for waste management in landfills. Various ideas and solutions have been offered, such as TPS3R, buying machines, and even planning to build another waste’s management point at the landfill, but this does not help at all, the government should stop the problem at the source, not with solutions that will create new problems.
The problem that Denpasar also has recently experienced is traffic jams. Congestion occurs due to the increasing population and each resident has a private transportation and does not use public transportation. The government should be able to optimize public transportation programs such as Teman Bus or Trans Sarbagita Bus which can be used especially for student or workers, and try to increasing bus routes and build more bus stop facilities. The government should also provide sosialitation regarding the benefits and purposes of using public transportation to people so that people know why it is better to use public transportation rather than private transportation.
It can be concluded that population density can have bad effects in various areas of life such as spatial problem in Denpasar, waste and pollution problems, and heavy traffic jams everywhere. With this, it is hoped that the government can think of a way out of the various problems described earlier, lest this problem has already become big or even gone viral on social media before being handled by the government. I also hope that the government will always be open to the opinions and views of the community so that solutions can be found together.
DG Kumarsana was born in Denpasar. He has been writing poems since adolescent and it was published in various media and compiled in a book. besides poem, he also write short stories, novel and essay, even in Indonesian or Balinese. He has been active in Sanggar Minum Kopi. His books that has been published are Komedi Birokrat (2010), Senggeger (2010), Kabinet Ngejengit (2012), Mata Dadu (2014). Now living in the village of Telagawaru, Labuapi, West Lombok. +
