Property:Biography text
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" JUST CONNECTION OCCURRING IN BALI "
OM SWASTIASTU
I respect the Government of Bali and I love happy friends.
Let us give thanks to the presence of Almighty God who has given Asung Kertawara to all of us so that we can gather in this place. Before I deliver this speech, I first want to thank you for the time and opportunity given to me to deliver my speech of hope. to the Bali government entitled "JUST CONNECTION OCCURRING IN BALI".
Traffic jams arise because the volume of motorized vehicles is not proportional to the volume of the road. The number of motorized vehicles and cars increases every day. As a result, cars, public transportation and motorbikes pile up on the streets, traffic jams occur. Congestion can also slow down the performance of people who are stuck in traffic jams. Workers will be late arriving at work and students will arrive late at school. This especially happens to people who choose to use private transportation rather than public transportation.
Traffic jams occur because too many people use motorized vehicles or cars and also because many road users do not comply with traffic regulations.
On this occasion I would like to invite you to overcome traffic jams in Bali. If we cannot overcome them, at least we can reduce traffic jams in Bali. There are 2 main things we can do to reduce congestion. First, use public transportation, don't use private vehicles, using public transportation can reduce the volume of vehicles on the road. In the end, traffic jams will be reduced. Second, get used to walking if the distance is not too far. This method is simple but difficult to do. Even though walking is healthy, and by walking we are contributing to reducing traffic jams in Bali. I am sure that by taking these 2 actions traffic jams in Bali can be reduced.
However, the Bali Government is expected to improve the comfort and safety of public transportation. I am sure that if public transportation is safe and comfortable, there will be more passengers. Finally, the number of private transportation users will decrease by itself.
This is all I can say, hopefully it is useful for all of us. Sorry if there are wrong words and actions. For your attention I would like to thank.
OM, SHANTIH, SHANTIH, SHANTIH, OM
Om Swastyastu
Good morning, best wishes to all of us.
First, let us offer praise and thanks to Ida Sabg Hyang Widhi Wasa for giving so many blessings and opportunities for all of us, so that we can gather at this happy event.
On this occasion, I will deliver a fairly short oration about tourism responsiveness. Because basically tourism is travel undertaken for recreation and entertainment.
We all know that the island of Bali is an island of a thousand islands, which is famous in foreign countries for the beauty of its flora and fauna.
But behind all that there is a problem that the government must find a solution for in the future regarding tourists who come to tourist attractions in the area of holy places that are arbitrary. Like many tourists taking photos at the temple by climbing the temple pelinggih, not being responsive to Balinese culture, insulting Balinese culture such as committing adultery in a holy place, being reckless on the road, not wearing a helmet, changing motorbike plates and hiding his identity visa so he can work in Bali .
And it's no surprise that the presence of tourists disturbs local communities.
This is a serious problem that leaders must address in the future, enforcing the rules for tourism to Bali. Give more consideration to tourists who work in Bali, because as far as I know there are still many local people who are unemployed, perhaps the existence of these wise regulations can help local people get jobs and be more considerate of tourists who open jobs in Bali even though they are not citizens. +
"Harmoni Bali: Menuju Pemimpin Visioner dalam Mewujudkan Pembangunan Berkelanjutan, Kesejahteraan, dan Pelestarian Budaya" +
Future leaders in Bali must immediately address environmental and tourism issues as top priorities. These islands experience negative impacts from uncontrolled tourism growth, such as environmental damage, overcrowding, and economic imbalance. The increase in plastic waste and damage to coral reefs is a serious threat to environmental sustainability.
Additionally, the COVID-19 pandemic has devastated the tourism industry, which is the backbone of Bali's economy. Aspiring leaders must plan policies that will restore the economy, diversify revenue sources, and strengthen health infrastructure. Addressing employment and education issues is also important to strengthen local community involvement.
In facing these challenges, leaders must involve all parties, including local communities, businesses and central government. A long-term vision that focuses on sustainable development and preservation of Balinese culture is needed to create a glorious future for all parties.
Next, issues of labor conditions and income distribution must be taken into account. Leaders must devise strategies to improve the skills of their local workers, provide jobs, and ensure economic distribution of income.
To face these challenges, ambitious and dedicated leadership is needed. Future Indonesian leaders must have a strong commitment to sustainable development, social justice and cultural preservation. Only with a holistic and collaborative approach can Bali develop sustainably while maintaining the uniqueness and beauty of its nature and culture. +
Bali is famous for tourism with a very strong religious title. However, when the Covid-19 pandemic struck, it caused all aspects of the community's economic support, especially in the tourism sector, to experience suspended animation. Not only Indonesia, but also similar things are experienced by all countries in the world. As the next generation, we should not only dare to criticize but also dare to innovate in order to create a collaboration that can revive Bali's tourism as before.
A world that is completely digital, makes us have to strive to be in tune with cultural and technological tourism. Therefore, a solution that can be created is a website called 'Mai Melali' with the use of VR (Virtual Reality) which carries the theme of revitalizing Bali tourism with a digital theme. VR are conceptualized to be enjoyed especially for tourists who have missed Bali since the last time they visited the Island of the Gods. Besides that, this utilization will use several tourist destinations, such as Kuta Beach and religious tourism destinations such as Tirta Empul. By bringing Bali out, it’s hoped that a sense of longing for Bali will arise which will later make the feeling of wanting to visit Bali more volatile.
Being motivated by the tourism sector alone can be likened to a double-edged sword. Besides being profitable because Bali has great potential, it can also be detrimental because during the current pandemic, all aspects of life have weakened. With the presence of Mai Melali, it’s hoped that all connoisseurs of Bali tourism destinations can feel the atmosphere that was previously felt but was forced to leave for a while due to the Covid-19 pandemic. With the help of VR technology, it is easier for us to collaborate with today's globalization. Therefore, let's create Bali tourism with the theme of technology, in order to awaken and revitalize tourism and the Balinese economy. Because we believe, Bali will come back. +
"Beloved fellow citizens,
General elections are the time when we as citizens have the power to shape our future. Bali, our beloved homeland, faces a number of issues that require urgent attention from our future leaders.
As we prepare to choose new leaders, it's crucial to consider pressing issues that demand immediate solutions. Among the various problems at hand, some prominent issues that need immediate attention from Bali's future leaders are:
Firstly, the environment and sustainability. Bali, with its natural beauty, is under significant pressure due to rapid growth. Conservation of the environment and protection of natural resources are crucial to prevent further damage to the island. Future leaders must have a clear vision to preserve Bali's natural beauty while also managing sustainable growth.
Secondly, adequate infrastructure. Despite Bali's status as a popular tourist destination, there's a need for better infrastructure to support economic growth and everyday activities of the people. Effective leaders should prioritize the development of suitable infrastructure without compromising environmental preservation.
Thirdly, social welfare. There exist disparities in Bali that need to be addressed. Improving access to education, focusing on public health, and increasing job opportunities with fair wages should be the primary focus of future leaders. Even social welfare will form a strong foundation for Bali's progress.
Fourthly, transparency and accountability in governance. It's essential for leaders to build transparent and accountable governance. The community should have complete trust in their leaders and feel heard in the decision-making process.
Fellow citizens, this election isn't just about selecting leaders but about choosing leaders with a clear vision, strong commitment, and the ability to address pressing issues. Let's choose leaders who can lead Bali towards a better future, one that is fair and sustainable for us all.
Thank you."
Om Swastyastu.
In managing this waste, the Tim Basa Bali committee and all of us extend our respect to the Supreme God. This waste affects our earth and has become a collective burden for humanity.
The regulations written in 1975 regarding the preservation, writing, and development of the Balinese script have been in place, but they are not consistently followed. Waste disposal should not be a mere ritual but a continuous thread of our lives.
This waste is harmful, and we, the people, should be sacred citizens who do not directly contribute to the pollution of our surroundings. The waste, which has been increasing, is affecting Bali's environment. Nevertheless, we must continue to live in harmony with nature and uphold our responsibilities.
We need to transform our habits in waste disposal immediately. Moreover, we must offer our support to fellow Balinese and play our roles as responsible citizens. The fear looms large over our tourism, economic stability, and global reputation. Together, let us unite, be humble, and work collectively in managing this waste. Thank you. Om Peace, Peace, Peace, Om. +
In fact, being a leader in parliament was very difficult, because you had to protect the slaves and always stick to political promises during the campaign. Currently it is. season for political party candidates to wrestle and campaign. This is symbolized by pilgrims dangling banners along the sidewalks and catus pata, aiming for everyone to see themselves as ELECTORAL. He himself also considers all these things with his vision and mission if he is elected by the people's party. If you look at it, actually there are only people's representatives who carry out programs and fulfill their political promises and there are also those who forget their promises like nuts that forget their shells. As proof that I, who is in northern Bali, feel like I have been a victim of political promises, promises to build an airport so that the economy in Bali is stable, but up to now all of this is just discourse that wanders around during the campaign season. Well, that's what I feel myself, maybe the people's representatives have other considerations that maybe the airport hasn't realized until now, it's just that being a people's representative is very difficult to make decisions because there are so many. considerations and work to be done. We as the people only. asked the fathers and mothers who were giving birth not to break promises that were difficult to fulfill so that slaves or people would not be offended by the promises. It's just that, if there is a mistake, I'm sorry. It is true that being a leader as a people's representative is difficult, because as a people's representative you must always protect the people and must remember your political promises during the campaign period. Now is the season for nominating people's representatives and the campaign period. This is indicated by the large number of legislative candidates who put up billboards facing the sidewalk and catas death. +
"Om swastiastu"
To the presenter, thank you for the time given to me. The judges whom I respect, the audience whom I am proud of and the participants in the Balinese oration competition whom I love, there is the title of my work "Caring about Plastic Waste for a Clean Environment". I thank God Almighty or Ida Sanghyang Widhi Wasa for being able to gather in good health today.
Earth there are currently many problems with plastic waste which can cause great harm to the earth. Ladies and gentlemen, plastic waste is a big danger if we don't pay attention to the surrounding environment and can cause disaster in the future.
Then who will remember? Not just ourselves, all of us, both students, teenagers and parents, everyone living on earth, including Bali, which is famous for its natural beauty, should care about the existence of plastic waste. This is a behavior that includes teenagers as the main actors.
Remember, the job of teenagers is not only to decorate and take selfies in beautiful places, but no one pays attention to the rubbish in front of them, which causes disasters such as landslides, floods, pollution and others.
So that we are not exposed to danger, we should throw rubbish in the trash, we should not throw rubbish in the surrounding environment such as rivers, roads, sewers, etc. Come on, let's not throw rubbish carelessly so that the surrounding environment remains beautiful and sustainable! We should work together with the government and all communities to create a clean environment free from plastic waste.
"Om Santhi,Santhi,Santhi Om" +
Ladies and gentlemen, our honorable guest. Before we start this oration. Allow us to express our gratitude to Ida Sang Hayang Widhi Wasa, for it is through His grace that we gather on this auspicious day. With heartfelt devotion, we begin with panganjali:
Om swastyastu
our honorable guest, the oration we will deliver today is entitled "Foreign Citizens are disturbing the Balinese people". Recently, foreign tourists or "foreigners" in Bali have been in the public spotlight because they are acting up and making people anxious. Instead of being deterred, foreigners who were found committing various violations in Bali actually resisted when the police took action. Not just one violation but many violations committed by foreigners, such as: 1. Increased Traffic Violations:
Statistical data records a dramatic increase in traffic violations committed by a number of foreigners. A lack of concern for road rules and safety not only threatens local communities but also creates significant risks for foreigners themselves. This increase reflects troubling non-compliance, necessitating more effective enforcement actions and more intensive awareness campaigns.
2. Adverse Immigration Problems:
High levels of overstaying and violations of immigration regulations create a serious burden on the immigration system. The economic and social impacts of this behavior are very real, given the resources that must be allocated to deal with these cases. Increased controls and enhanced immigration enforcement actions are imperative to ensure compliance with existing provisions and maintain the integrity of the immigration system.
3. Establishing a Business Without a Permit:
The establishment of businesses without proper permits by some foreigners is detrimental to the local economy, creating disproportionate inequality in business competition. This problem not only concerns economic aspects but also raises questions of rights and justice in business. An in-depth evaluation of the economic and social impacts of these practices is needed to determine solutions that can address these problems without harming those who comply with the rules.
4. Non-compliance with Environmental Regulations:
The behavior of foreigners who do not comply with environmental regulations creates a serious threat to ecological sustainability in Bali. These cases include littering, damage to local plants, and violations of sustainability principles. A thorough evaluation of the long-term impacts of this environmental damage needs to be carried out to understand the implications for the ecosystem and the welfare of local communities.
3
I would like to thank the presenter for giving me the opportunity. Both the audience, especially the panureksa whom I respect, the wantaka basa bali wiki whom I respect, and the audience whom I love. Om Swastiastu. First of all, let's together express our happiness to Ida Sang Hyang Widhi Wasa, thanks to his grace we can gather together here for the Bali Oration Public Participation Wkithon event. On this occasion, allow me to deliver a speech that I have made.
Elections are only a means of exercising people's sovereignty to elect members of the DPR, DPD, President and Vice President as well as to elect members of the DPRD, which are carried out directly, publicly, freely, confidentially, honestly and fairly. As contained in UUD no. 7 of 2017 concerning general elections, all Balinese people cast their votes to support the candidate for regional leader of Bali.
A good Balinese leader candidate is a leader who is able to lead his people towards prosperity. Bali's future leaders must listen to the complaints of their people. Prospective Balinese leaders must be able to properly handle the problems that exist in the Bali area, including:
1) the declining growth of MSMEs, MSMEs play a very important role in Bali, especially in creating jobs, so they are seen as a lifeline in the process of encouraging the rate of economic growth.
2) controlling the prices of basic necessities, the increase in prices of basic commodities is due to expectations of increased demand, the main cause is the supply chain, food supplies such as agriculture are considered inefficient. If the trade system has not been properly regulated and controlled, prices and basic materials should remain stable.
3) development of public infrastructure, in the Bali area there are still public facilities that need attention and improvement. One of them is the highway, in some places there are still roads that are not good enough to pass on.
Sometimes many prospective leaders still forget about their duties as a result of which problems will increasingly influence other unfavorable factors that can cause disaster for the community.
Prospective Balinese leaders should be able to solve problems that arise in society so that the Balinese people live prosperously.
Okay, sorry if there are any mistakes or shortcomings, I apologize and close with. Parama shanti, "Om Shanti, Shanti, Shanti, Om"
A
A A Ngurah Paramartha was born in Denpasar, October 14, 1974. He completed his art education at ISI Denpasar. Since 1995 he has been actively displaying his works in various exhibitions, such as the “Kamasra” exhibition at Bali Cliff Resort Jimbaran (1996), Indonesian artist “Colour Wheel” at the Dublin Ireland Painting Gallery (2009), “Ulu-Teben”, the MilitantArt group.= at Bentara Budaya Denpasar (2015). His solo exhibitions include “Secret Desire” at Hide Out Fine Art Ubud (2003), “Exploration of Life” at Ten Fine Art, Sanur (2011). His works tend to be figurative by showing imaginary figures with multiple interpretations. +
Born in Klungkung 14 February 1957, he completed his Bachelor of Anthropology in 1982 at Udayana University, completed his Masters degree at Indonesia University in 1990, and doctoral degree at Gadjah Mada University in 2008. Becoming a lecturer at Faculty of Cultural Knowledge Udayana University since 1983 until now. He was on charge as the head of the anthropology department in 1997-2000, as the head of Hindu Indonesia University's S3 program of Religion and Culture in 2008-2011, as a secretary of the field of service in Institute for Research and Community Service Udayana University in 2011-2015, as the head of doctoral program (S3) Cultural Studies, Faculty of Cultural Knowledge, Udayana University from 2018 until 2022. He actively participates in seminars and writes accredited national and international journals, and has written several books. +
A A. Raka Sidan's real name is A.A. Gede Raka Partana. He is a songwriter and Balinese pop singer who was born June 27, 1979. He studied at UNHI Denpasar and produced a number of albums, including "Suud Memotoh" (2005), "At-Pada Ngalih Makan" (2007), "Pak Boss" (2009), "Song Brerong" (2012), "Kenceng" (2015). The songs contain a lot of moral messages and social criticism wrapped in humorous nuances. +
AG Pramono was born in Negara, Bali on March 23, 1973. He has been involved in theatre and literary arts since 1990. He founded Sanggar Susur Jembrana in 1991. His writings in the form of short stories, poems and cultural articles have been published in several media. A number of his poems can be found in the following anthologies: Poetry 19 (1995), Kidung Kawijayan (1996), Detak (1997), Indonesian Poetry Anthology (KSI) Jakarta in 1997, Serambi Hening (1998) and Stopping Short Stories in Rumahmu (2014). Since 1993, he has been active in Bali Experimental Theater and in 1998 participated in the Komunitas Kertas Budaya. He is currently working as a journalist in one of the local newspapers in Bali and lives in a small house named Serambi Hening in Loloan Timur, Jembrana, Bali. +
Abu Bakar, is a playwright and theater figure, born in Kediri, Tabanan, Bali, January 1, 1944. His father is Javanese and his mother is Balinese. Apart from theater, he also pursued literature and photography. There are many plays that he has performed and directed. He had visited several countries for artistic matters, among others, France and the United States.
In America, Abu performed his collaboration with Ikranegara artists in the form of the theatrical performance “Berani-Beraninya Waiting Godot” (1990). He also directed the performances “Kereta Kencana” and “Indonesia Luka” (both in 2012) and “Malam Jahanam” (2013). In the field of literature, apart from being published in several newspapers, his works have also been published in "My God Butterflies", "America Outside the Window" and "Fireflies". He also wrote a monologue script entitled “Wanita Batu” (2006) and television dramas “Comedy Hitam”, “Bali Crying (2004), and so on.
Abu is the founder of the “Polyclinic Theatre” and “Earth Theatre”. +
Achmad Obe Marzuki was born in Jakarta, July 30 1975. He has lived in Bali since 2002 and is active in the arts, including playing theater, writing poetry, reading poetry, photography and painting. He deepened his writing skills through a journalism course at Planet Senen, Central Jakarta in 1995. He joined the Jakarta Theater Forum and the South Jakarta Cultural Service's Fairy Tale Institute (1995-1996). Reads his poems in the free pulpit on the 1998 TIM reform stage. Joined the AGA Theater (Waterhouse Children) and founded the API Community (Indoor Market Children) in 2000. Founded Pelangi Art Bengkel Handicraft 2001. Together with Sanggar Poerbatjaraka he was involved in the performance Layon ( 2008) and Hong (2008) at the VI Nusantara Student Theater Gathering in Surabaya. Now he has joined the Jatijagat Life Poetry community in Denpasar, Bali. +
Adhy Ryadi was born in Singaraja, January 17 1960. He completed his Bachelor of Law studies at Undiknas Denpasar. Writing poetry since 1981 and published in the Bali Post, Mind of the People, Berita Buana, Suara Indonesia, and collected in the poetry book "Hram" (1988). He once worked as a journalist at the Bali Post. He died in 1995. +
Born in Denpasar in 2000.
2020: MSc in Data Analytics and Business Economics (MScDABE) Programme in Hong Kong Baptist University (HKBU). Free lance 3D artist based in Bali.
Aditya’s earlier works focused upon his cultural ideas of beauty. His recent works, however, consider culture and tourism and their possible future ramifications. +
Adrian Vickers is an Australian author, historian and professor of Southeast Asian Studies at the University of Sydney. He has studied and documented Gambuh dance traditions, Panji (prince) stories, and other Indonesian art and cultural subjects as well as historiography and colonialism. He has a BA and PhD from the University of Sydney, is the Professor of Southeast Asian Studies (Personal Chair) and Director of the Asian Studies Program. Vickers' most recent book, The Pearl Frontier, co-written with Julia Martínez, won the University of Southern Queensland History Book Award at the 2016 Queensland Literary Awards. +
Adrien-Jean Le Mayeur de Merpres was a Belgian painter who lived in Bali and donated his house in Sanur as a museum. He was born in Brussels, Belgium, February 9, 1880. The Impressionist painter arrived in Bali in 1932 and first rented a house in Banjar Kelandis, Denpasar. It was also at Kelandis that he became acquainted with Ni Nyoman Pollok, a Legong dancer who was 15 years old at the time, and later became a model for his paintings.
Le Mayeur's works using Ni Pollok as a model were exhibited in Singapore for the first time in 1933 and sold out. Then Le Mayeur bought a plot of land on the shores of Sanur Beach which he used as a studio and house. That is where every day Le Mayeur painted with Ni Pollok as the main model. In 1935, Le Mayeur married Ni Pollok.
In 1956, the Minister of National Education of the Republic of Indonesia, Bahder Djohan, visited Le Mayeur's house and was fascinated by these gentle works. Bahder then suggested to Le Mayeur that his house would later be used as a museum. Le Mayeur agreed and worked even harder to improve the quality and add to his collection of paintings.
On August 28, 1957, Le Mayeur signed a testament in which Le Mayeur bequeathed all his possessions including land, house, and everything in it to Ni Pollok as a gift. At the same time, Ni Pollok then transferred everything that was inherited from her husband to the Government of Indonesia to be used as a museum.
In 1958, Le Mayeur suffered from ear cancer. Accompanied by Ni Pollok, he was treated in Belgium. Two months later, on May 31, 1958, Le Mayeur died at the age of 78 and was buried in Brussels. Ni Pollok then returned to Bali to take care of his house until her death on July 18, 1985 at the age of 68 years.
Le Mayeur's works can be enjoyed at the Le Mayeur Museum, which is located on the shores of Sanur Beach, Denpasar. +
Agoes Andika was born in Banjar Baleagung, Buleleng, March 5, 1963. In 1981 he settled in Mataram, Lombok. He studied writing a lot with Putu Arya Tirtawirya and Umbu Landu Paranggi at the Bali Post. In 1985 he was invited to Taman Ismail Marzuki Jakarta with several Balinese poets and other Indonesian poets to read poetry. Literary works have been published in the Bali Post, Karya Bhakti, Nusa Tenggara, Simponi, Swadesi, Nova, Buana News, Suara Karya, Suara Nusa, Horizon, and several bulletins in Mataram, Pontianak. Now living in Singaraja. +
Agung Bawantara was born in Klungkung on January 30, 1968. He graduated from the Faculty of Animal Husbandry at the University of Mataram, NTB. He has been writing poetry since the 1980s in Bali Post, Karya Bakti, Nova, Berita Buana, Swadesi, Media Indonesia, etc. His collected poems can be found in Sahayun (1994), and in Klungkung: Tanah Tua, Tanah Cinta (2016). He initiated the Denpasar Film Festival. He has also written short stories, children's stories, fairy tales, and novels. +
1930s Sanur painter. Bateson and Mead notes refer to Gusti Gede Raka and Gusti Putu Raka co-painting a work.
May be the same person as Gusti Putu Raka (and/or Gusti Gede Raka); in Bateson's catalogue, described as the son of Gusti Sodang
Related Artists
Also known as: I Gusti Putu Raka
Mother: Anak Agung Made Glogor +
Agung Wiyat S. Ardhi was born in Puri Anyar Keramas Gianyar on February 3, 1946. He passed away on 24 Februay 2020. He graduated with a degree from ASTI and a Bachelor of Hindu Religion and worked as a teacher at PR Saraswati Gianyar. He also served as Head of the SPG Saraswati Gianyar, was Head of Saraswati Gianyar High School, was a Gianyar Regency Associate Member. As well he was a member of the Gianyar Regency Wija Kusuma Award Selection Team, the Gianyar Regency Extension Team, the Gianyar Regency Gita Main Supervisory Team, and the Gianyar Kabupatén Gianyar Development Team. In addition, he is also well-known as a Drama Gong player / dancer. He received Rancage Literary Awards in 2001 for a work entitled "Gang Girang Sisi Pakerisan" and in 2010 for his services to the field of Modern Balinese literature. In 2015, he received a Widya Pataka from the Governor of Bali for a Balinese play entitled "Bogolan" . +
Owner and Founder at Hotel & Villa Photo, Photographer at Bali Family Photography and Photographer at Visual Food Photographer +
Gus Teja is a flute (Suling) maestro from a small village near Ubud, Bali. He is the youngest of four children from his parents I Nyoman Kadjil and Ni Wayan Darpini. He began playing the flute while attending elementary school, yet spent a lot of time during this period practicing the gamelan (Balinese traditional instrument). As the years progressed, his interest in wind instruments increased. This sparked the obsession in learning all there was about wind instruments from around the world.
Since childhood Gus Teja is excited to be a flute player. Flute is an instrument with melodious voice that represents the voice of peace. He feels free when everytime playing flute as well as a form of meditation in his devotion to God.
Gus Teja continued to challenge himself by creating new instruments to go along with his passion of flutes. Ranging from whittled wood instruments to full fledged bamboo flutes. He is always experimenting with creating new works of music by incorporating musical instruments from modern instruments with traditional sounds. After years of patience and practice, Gus Teja finally formed a world music band named Gus Teja World Music.
Musical works that have been created not only represent an expression of his feeling from the deepest part of his heart, but also reflects peace, serenity, and a strong bond of brotherhood regardless of cultural background or a different race. Gus Teja said, “Music is universal … therefore through music let’s bring peace and love to the world. +
Agus Vrisaba is a writer born in Klaten, Central Java, May 15 1941. In the 1970s he lived in Bali and socialized closely with many Balinese artists. In the late 1980s he moved to Tawangmangu, Central Java. He died on February 17 1992. Agus was a very productive short story writer. His works are published by Kompas, Sinar Harapan. Later also in Suara Pembaharuan, Vista, Jawa Pos, Bali Post, Intisari, Surabaya Post, Suara Indonesia, Zaman, and also various other regional newspapers. Kompas Book Publishers (PBK) is trying to bring back his works and edit them in a book, a collection of his first single short stories, entitled "From Bui to Nun" in 2004. Agus himself, until the end of his life, had not had time to publish his works. There is only one short story, namely "Sodom and Gomorrah" which was included in the anthology "Two Sexes for Midin", published by Kompas Book Publishers in 2003. +
"Invite a Domestic Tourists, Bali Rises from the Covid-19 Pandemic"
None of the Balinese people (including business people, investors, and the government) thought that they would be in a difficult situation of the COVID-19 pandemic. Bali, which usually doesn't stop bringing in rupiah coffers to support its people's economy, is now deserted.
A few months after the COVID-19 pandemic began to subside, there was a lot of buzz in the social media about the hashtag #WorkFromBali. Bali, as the most popular tourist attraction in Indonesia, is slowly starting to rise from the slump of the COVID-19 pandemic.
Most Indonesian people consider Bali as an elite tourist destination, because the majority of visitors are foreign tourists. Not infrequently Indonesian people also think that the price of admission to tourism and the price of food at the place to eat is also high (by the standards of foreign tourists).
Seeing the situation of the COVID-19 pandemic which is still uncertain, it is better for the Bali government to start moving to carry out "Rebranding Bali" for domestic tourists. Because they are considered the safest and most sustainable, to keep the economy in Bali alive and spinning.
There are several ways that the Balinese government can do to invite local and domestic tourists to visit Bali:
1. Ensure that Bali is a safe place during the Covid-19 pandemic, by showing that all frontline Bali tourism has been vaccinated and maintaining proper health protocols;
2. Invite influencers to advertise Bali. The hashtag #WorkFromBali seems to be very good and powerful to be echoed again;
3. Recalculate the highest price specifically for local and domestic tourists, such as the price of tourist entrance tickets, lodging prices, food prices, and so on, by adjusting the socio-economic conditions of the Indonesian people.
4. Provide understanding and training for the frontline Bali tourism, to treat local and domestic tourists in the same way as treating foreign tourists.
Hopefully Bali's economy will get better.
Aldwin is a senior analyst for AkarAsia. He recently graduated with a master’s degree in International Development Studies at George Washington University’s Elliott School of International Affairs, specializing in private sector development. He received his B.A. in International Affairs from the University of Colorado at Boulder, focusing on Southeast Asian politics and economy. +
Alexander Cuthbert is Emeritus Professor of Planning and Urban Development at at the University of New South Wales in Sydney, Australia. He was educated in Scotland with degrees in Architecture, Planning and Urban Design, and a Doctorate from London School of Economics and Political Science. His main interest has been in urban design, with teaching and practice in Greece, Britain, the United States, Hong Kong and Australia. +
Good morning,everyone.
First of all, let's offer thanks to the presence of God Almighty. Here I would like to thank you for the opportunity that has been given to me, allow me to introduce myself. My name is Ni Kadek Feby Dhiyo Dharma Yanthi, I am from SMK Negeri 2 Seririt. Here I will deliver an oration about the conversion of agricultural land. This is one of the problems that must be overcome by potential Balinese leaders.
As we know, the population of Bali is increasing and more and more foreign tourists are visiting, therefore a lot of agricultural land is being converted into housing, hotels, restaurants and other buildings that support the tourism industry. Therefore, there are no farmers in Bali who own large areas of land. Head of the Bali Agriculture and Food Security Service, I Wayan Sunada, explained that currently the largest farmer's land area in Bali is around 75 are/0.75 ha, it is very rare for farmers to have land above one hectare. "The weakness of farmers in Bali currently is that their land is limited, some are 25 hectares, the maximum is 75 hectares. "This is the result of land conversion that occurs every year." said Sunada to Bisnis, Wednesday (22/6/2022). Based on these problems, the Government or prospective Bali Provincial Government must really pay attention to the problem of Land Conversion by ensuring the welfare of farmers, for example:
1. During the planting season, attention must be paid to the distribution of subsidized and non-subsidized fertilizers to avoid fertilizer shortages.
2. During the harvest season, the Government must help farmers market their agricultural products.
If the government really paid attention to the welfare of farmers, land conversion could be prevented because people and the younger generation would want to become farmers. In this way, the national food security program can be achieved.
That is the speech that I can convey, if there are any sentences that are not acceptable, I apologize profusely. I would like to express my gratitude
Allistair Speirs has been in the publishing, advertising and PR business for the last 25 years. He started both NOW! Bali and NOW! Jakarta as each region's preferred community magazine. +
Alit S.Rini was born and live in Denpasar with the name Ida Ayu Putu Alit Susrini. She wrote poems in the Bali Post newspaper which afterwards become her workspace. Then she was promoted to the culture, religion, education, opinion desk and 1998 as performance editor, and then moved to the opinion desk until she retired in 2015. "Karena Aku Perempuan Bali" (Since I am a Balinese Woman) 2003 is her single poem compilation. Her poem was compiled in book "Cinta Disucikan Kehidupan Dirayakan", "Bali Living in Two World" (2002), "Dendang Denpasar Nyiur Sanur" (2016), "Klungkung: Tanah Tua Tanah Cinta" (2017) is a compilation of her poems published in 2017. She later collaborated with Nyoman Wirata with a book entitled "Pernikahan Puisi". +
"One of the first female writers of erotica, Anaïs Nin is perhaps most famous for her soul-penetrating diaries, her bohemian love affair with writer Henry Miller and an incestuous relationship with her father at the advice of her psychologist. She was also heavily involved in the psychoanalyst scene, and was interested in integrating and harmonising the self through the process of writing. Therefore it is no surprise that she idealised the idyllic island of Bali—a quiet refuge in which man lived in harmony with his universe....
In 1955, Anaïs first took LSD under the guidance of Aldous Huxley and wrote a beautifully evocative description of her visions and subconscious landscape which included images of Javanese temples, Balinese music, symbolic dance gestures before finally finishing with the conclusion, “Ah, I cannot capture the secret of life with WORDS.” She was beginning to reveal what her soul desired deep down—for Anaïs, utopia was a state of mind in which the artist had access to the world of dreams. Perhaps this is why she fell in love with the mysticism and art of Bali. In her final journal (volume 7 of her diaries) she finished with a reflection on her trip to this island, complete with magical descriptions of sacred cremations, opulent gardens, temple dances, Wayang shadow puppets, natural-material bungalows used as hotels, the haunting music, and the sophisticated and gentle ways of the Balinese people." +
Anak Agung Ayu Bulantrisna Djelantik was born in Deventer, the Netherlands on September 8, 1947. She is the eldest daughter of Dr. Anak Agung Made Jelantik (UN Doctor). She has loved dance since childhood and is now a Legong dance maestro. Besides being known as a dancer, she works as an ENT specialist and lecturer at the Faculty of Medicine, Padjadjaran University, Bandung.
Bulantrisna is the granddaughter of Anak Agung Anglurah Djelantik who was the last king of the Karangasem Kingdom, Bali. At the age of ten, Bulantrisna was invited by President Soekarno to the Presidential Palace in Tampaksiring, Gianyar, Bali to entertain Palace guests. Her main mentors are Anak Agung Mandera and Gusti Made Sengog, the first generation of Legong dancers. Besides Legong dance, Bulan also mastered other dances, such as Oleg. Dancing for the Moon is a release of emotion, creativity, joy, moving with soul, and as a means of prayer. Her love for dance is not only limited to movement, but she also founded a dance studio called "Ayu Bulan" in 1994. One of her dance creations is the Legong Asmarandana dance. Bulantrisna died on February 24, 2021 at Siloam Hospital, Semanggi, Jakarta due to pancreatic cancer she suffered. +
1930s Batuan artist who continued to work in the 1950s. Also a gambuh dancer. A portrait of him has been painted by Bonnet. Also known as "Dewa Cukit" and "Dewa Gede Cukit". +
Anak Agung Gde Mandera Erawan (Agung Bangli) is a traditional dance maestro from Puri Kaleran Peliatan, Ubud. He was born in artist family, son of Gung Kak Mandera, maestro of traditional music the founder of Kelompok Musik and Tari Gunung Sari and a dancer mother. Gung Kak Mandera was one of artist of Bali that travel arround in Europe and performed in Paris in 1930s.
Almost all of countries had already visited by Gung Aji to perform Balinese dance to the world. it can be said that his life was dedicated for traditional dance and music arts of Bali. Maintain and preserve it to keep this culture existed.
He inherited his late father role to lead group of Gunung Sari Peliatan, which hold a performance in every week in Balerung Peliatan. Legong Nandira is Tari Legong with male dancer is one of his creations. +
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). +
Arik Agustina is a lecturer in IPB INTERNASIONAL, she graduated from Udayana University and got the master degree in Chemical Studies. +
Ida Bagus Arya Lawa Manuaba is the author of the book “Alien Menurut Hindu” (2018) which became a phenomenal book throughout 2018-2019. His first novel, “Putih Biru” (2019), tells a story of an adventure of rural teenagers in Bali and was ranked in the top eight of the selected novels at the 2017 UNNES International Novel Writing Contest in Semarang. His second novel is entitled “Haricatra” with three sequels and is in the process of publishing. In addition to nonfiction books and novels, he also writes many short stories and articles. One of his best short stories is entitled “Barong Brutuk” (2019) which tells about the mysticism of Terunyan Village.
Gus Arya, his nickname, is known through his writings. People who know him always associate him with writing, imagination and even aliens. Born in Denpasar, December 24, 1988, he loved the world of writing since childhood. During the fourth grade of elementary school, he wrote a series of stories that he read daily to his friends. After school, he wrote a horror story in a notebook and then shared it with his friends at school.
During middle school, he won several article writing and short story competitions. When he was in high school, his name always appeared in the best six short stories of the annual short story competition at Balai Bahasa Provinsi Bali. Among all the short stories he has ever written, the short story “Orang-Orang Berbaju Hitam” (2011) is the most meaningful. With that short story, he helped his poor friend pay school fees for one year.
Now Gus Arya works as a lecturer at ITP Markandeya Bali in the field of prose. He also manages independent publishing and writer services, and is active in the preservation of Balinese language and literature at the BASAbali Wiki. His hobby is traveling in a quiet village and going to museums. +
HISTORY OF ARYA DALEM BENCULUK TEGEHKORI
Chapter one
Once upon a time in the past, there is a king, Arya Dalem Bansuluk Tegehkori is his name. He is the son of the king Dalem Shri Aji Kresna Kepakisan from Gelgel Klungkung kingdom. He rules the the land of Badeng kingdom. Badeng (or Badung) means dark. Because the land soil at this region is darker than other region. This is the story of his life journey.
King Ida Dalem Shri Aji Kresna Kepakisan is located at Puri Linggarsapura in Samprangan, Gianyar area. The castle was the former stronghold post of Mahapatih (the great prime minister) Gajahmada’s from Majapahit empire of Java to invade King Bedahulu of Bali kingdom. After Bali kingdom defeated, Ida Dalem Shri Aji Kresna Kepakisan was crowned King of Bali in 1352 AD by Queen Majapahit Tribhuana Tunggadewi. the new king Bali king then separate Bali into few small kingdoms lead by his war generals. He reigned until 1380 AD.
One day when full moon, king Ida Dalem Shriaji Kresna Kepakisan, took place in the royal hall, was meeting with the prime minister ministers and all his war general. Notable among them are Arya Kenceng son of Arya Damar who was made the ruler in Tabanan, Arya Sentong in Pacung, Arya Beleteng in Pinatih, Arya Kutawaringin in Kapal, Arya Binculu in Tangkas, Arya Pakisan in Abiansemal, Arya Belog in Kaba-kaba, and three knight named Tan Kober, Tan Kawur and Tan Mundur.
At that time, Arya Kenceng wore chrysanthemum green flowers at his hat. Ida Dalem's heart was shocked when he found out that Arya Kenceng was wearing the green chrysanthemum flower. Immediately his anger rose, due to the slander launched by Arya Pengalasan Jelantik. It is said that Arya Kenceng put magic on the king, so that the king would love and submit to him. Immediately Shri Raja punished Patih Arya Kenceng from war general into gardener with the obligation to clean the hall every day. The commotion at the Puri Dalem Samprangan Hall is thought to have occurred in 1360.
From that moment on, Arya Kenceng felt very deep sadness and often cried when he remembered his favorite son named Ngurah Tabanan. The son was given the name Ngurah Tabanan, because Arya Kenceng participated in conquering (naban) this Balinese country after fighting against Si Pasung Grigis, the governor of Raja Bedahulu.
After a long time, it was time for Arya Kenceng to receive God's grace. It was mentioned that the king Ida Dalem had a son who was only eleven months old to crawl. The boy was crawling very fast. The caretaker is named Ni Dasa Dasih. The prince is also getting closer to Arya Kenceng because he often carried out by him. Until one day, Arya Kenceng intention appeared to make efforts to get himself free from punishment. One time when Ida Dalem was sitting in front of his ministers, suddenly the son was released from behind the King. Crawling swiftly and then reaching for king's shoulder. Then approached by Arya Kenceng while lifting the son higher than Ida Dalem's back while apologizing from behind the King. As soon as the king turned his head, he saw the height behind him. The king was furious, then said: "You are very clever at making a ploy. Now, because my son has made a mistake grabbing my shoulder, as written in Niti Sloka (The Kingdom rule), when the king is dressed in his royal dress as the leader of the country, nobody is allowed to touch the king. The rule said whoever touch the king must be execute. But I can’t execute him because he is my son. So, Arya Kenceng, take my son, make him your adopted son, the ceremony with a bonfire on top of which is filled with a buffalo head. Brother him with your son I Ngurah Tabanan. Now I give the name to him Arya Dalem Bansuluk Tegehkuri. (Tegeh mean tall or high and Kori or Kuri mean behind, because he was taller from behind when he touch the king’s shoulder)”. Immediately, Arya Kenceng was unbelievably happy to have a son who was handsome and very smart. Then respectfully excuse himself to bring the prince to his castle at Tabanan, make him brother to Ngurah Tabanan. This tale is also written at Prasasti Babad Dalem Tabanan Tegehkori manuscript. Arya Kenceng then carried out the adopted ceremony according to the mandate of Ida Dalem.
The blood that flows in prince Arya Dalem Bansuluk Tegehkori from generation to generation remains the blood of Ida Dalem Shri Aji Kresna Kepakisan. Now more than six centuries have passed, all of his genetic descendants remember to always come to offer devotion before The king Ida Bhatara Kawitan Dalem Shri Aji Kresna Kepakisan at his family temple at Mother Temple Besakih.
Time pass by and the 2 kids now become young men. Between Arya Tegehkori and Ngurah Tabanan, a misunderstanding and conflict arise. Arya Tabanan has a wife, he is jealous that he thinks his wife have an affair with Arya Tegehkori. He always try to harm him in many ways
Feeling uneasy, Arya Tegehkori decide to leave the Tabanan kingdom then went to get rid of himself to Mount Batur to meditation. After some time meditating there, he got a gift from the god of Mount Batur in the form of a whiting box. If Arya Tegeh Kori wanted to put himself in it, the power of the whiting box would shrink. Whenever it comes out of the box, he can return his body to normal size. That is the magic of the whiting box, a gift from the goddess of Mount Batur, then the god said to Arya Tegehkori: “I gave you the magic box. Now you have to go to Tonjayu Village at the dark land (Badeng). There are some clans inhabit the area like Pasek Bendesa, Pasek Kubayan, Dangka, Ngukuhin, Tangkas and they don't have a king yet. These days they have big ceremony, use this magic box there. Of course you will be appointed king in the Badeng or Badung area. Be a ruler, be a king!“.As the command of Ida Batara Dewi Danu, the goddess of Batur lake and mountain, then Arya Tegehkori left for the Badeng or Badung area.
When he arrived in the Badung area, it was already evening, so he to the chief’s village house at Tonja. There he concentrated his spiritual power so that he could enter the container of magic whiting boxthat he had placed on the gate. His body shrunk and able to fit in the box perfectly. The next day, when the sun rise, the village chief saw that there was a box on the gate. Then while opening the lid. Seen a small child in the container of whiting box. The chief mind was amazed to see this strange and miraculous event. Immediately Ihe worshiped and said: "My noble Lord". Having just finished saying this, the little boy who was in the box immediately came out. Back in its original form as as a man. Looks good, handsome and dignified. The longer it was seen, the more amazed the chief's feelings. Then Arya Tegehkori then himself. He explained that he was the son of the Bali king Ida Dalem Kresna Kepakisan at the Swecapura Gelgel castle. He was the brother of Arya Tabanan in the country of Tambangan (Tabanan). He also explained clearly how the adventure that he experienced from beginning to end. The chief is amazed and ask him to rest at his house. After the chief carried out the piodalan ceremony, he immediately held discussions with his clan brothers, such as Pasek Gaduh, Kebayan, Dangka, Ngukuhin, Tangkas, about the need to make him a palace and prepare for his coronation to become king as ruler in the Badeng or Badung region, and report to the King of Bali kingdom Shriaji Kresna Kepakisan at the Swecapura Gelgel castle. The king at Gelgel was very agreeable because anyway Arya Tegehkori is his son. At the age of a toddler he was banished from the family. At a young age with the blessing of the goddess Ida Bhatari Ulun Danu Batur and thanks to the approval of the King of Bali who was also his father and for the support of the people, he ascended the throne to become the first King of Badung kingdom.
In order for him to truly become a noble king in the Land of Badung, the chief again held a deliberation to build a palace worthy of him. The palace was built in the upper reaches of the village or in the north. After the palace was completed, it was there that the king Arya Tegeh Kori resided. After some time as king, he built two holy temple. The temple to worship the God of Agung mountainwas built to the east of the palace. The place for worshiping the goddes Bhatara Dewi Danu Batur is made to the west of the palace called Pura Batursari.
After a while the king then married. Then his son (2nd dinasty) built another palace, also still in the Badung area, because more and more people live in the Badung area and the condition of the land is fertile. After the second palace was built, it was named Puri Satria (Satria palace), as a characteristic that he was a descendant of Knights. Meanwhile, the Tegehkori palace (1st dinasty) in Tonja was named Puri Dalem Benculuk. In the recently completed castle, a pair of very tall palace gates were also built, none of which were on par in all of Bali. The disadvantage is that if it is broken, it is rather difficult to repair it, presumably that is His wish to build a very high gate at Puri Satria, so that it is in accordance with the name of his father in Tegehkori. The Tegehkori dynasty is ruling the kingdom from 1378 - 1687.
Chapter Two
Meanwhile at Tambangan (Tabanan) kingdom, after king Arya Kenceng passed away, his son Arya Tabanan replace him as king. He have crown prince name Ngurah Rangong. The old king Arya Tabanan suffered a seriuos illness, then moved to live at the village of Kebon Tingguh. Ngurah Rangong intention was to wait for the throne to become the king of Tabanan kingdom. The old king Arya Tabanan was served by a woman named Luh Bendesa from Buahan village. During the service, the king touched Luh Bendesa and become pregnant. From this relationship, Luh Bendesa then gave birth to a son who was named I Gusti Pucangan. Later on the king is passed away. After Arya Tabanan died, Ngurah Rangong become next king. But he is afraid that Pucangan someday will also claim his territory. Ngurah Rangong made efforts so that Pucangan would soon meet his death. Outside the Tambangan palace, there is a very sacred banyan tree. King Ngurah Rangong then ordered his younger brother, Pucangan, to cut the tree branches. However, to the great surprise of the brother, it turned out that the younger brother was still safe. Since then I Gusti Pucangan has been named Gusti Bagus Alit Notor Wandira. The king never stop to try to kill his brother.
Unable to stand it, Pucangan then left Tambangan palace to Mount Batur. On the shores of Lake Batur appeared the goddes Ida Bhatari Tolangkir who said: "Hi Pucangan, what are you looking for here alone?".
Gusti Pucangan replied: "Oh dear goddess, this servant is too troubled. I have a half brother who was made king by my father. Besides, my brother I Gusti Rangong was hostile to. ” Ida Batari again said: "If you are devoted to me, uphold me through the lake water, take me to Mount Batur". Pucangan replied: "I will do, even if it make myself sinking”. By the magical power of goddess Ida Bhatari, Pucangan walked safely across the lake to Mount Batur will upheld the goddess.
Goddes Ida Bhatari said: "O Pucangan, you truly devote to me, now I give you a whip and a tulup (a traditional Bali weapon made by bamboo) You must go to Gelgel palace and kill the king’s enemies in the form of raven, because they often ruin the king’s food. It is this whip and dipper that you used to kill that evil raven. After it is successful, someday you Pucangan will become king in the Land of Badung ”.
This incident occurred when the Balinese Kingdom, which was centered in Klungkung, was led by King Dalem Anom Sagening (1580-1665) who was residing at Puri Swecapura palace at Gelgel. Meanwhile, the King of Badung at that time was I Gusti Tegehkori V. The blessing of goddess Ida Bhatari and the approval of the King of Bali were the main assets obtained by Pucangan in achieving success of gaining power.
Prince Pucangan continued his journey, accompanied by a follower named Tambiak from Mount Batur to the Swecapura Palace at Gelgel. It was mentioned that Ida Dalem was in the hall faced by his prime minister. I Gusti Pucangan then confronted him and declared that he was able to kill the crow, who often ruined the king's food. King Ida Dalem was surprised, then asked: "Where are you from son and what is your name?". Pucangan replied: “Master, this servant is named is Pucangan from Buahan Village, son of the late king Arya Tabanan. I just came from Mount Batur ”, then he explained his life from the beginning until now. Immediately he also remembered Ida Dalem about the past stories and he was very happy about the arrival of someone who would help to destroy the crow.
The next day, the prime minister had gathered to meet Ida Dalem. In the afternoon the crow came who was going to spoil King's meal. Prince Pucangan quickly shoot the tulup, hitting the raven’s wing until it broke. After being hit and falling, King ordered to hit it with a whip, so that the crow met his death immediately. Ravens are often used as symbols of darkness, anger and death.
After that, the king was very happy. "Now, because of your great devotion to me," he was then presented with a set of clothes. He continued saying: "what else do you ask for?". Prince Pucangan remember with the words of goddess Ida Bhatari Tolangkir when he met on Mount Batur who would grant the area in Badung. Then the prince Gusti Pucangan asked to be given a place in the Badung area. With pleasure the King granted, then said: “I granted your request Pucangan, after all there at the land of badung, your family Arya Tegehkori at the Satria Palace ruled. You better get there, go ". Pucangan then go to Badung kingdom to be precise at the house of the chief of Lumintang Village.
Furthermore, the chief of Lumintang informed the king about the arrival of the prince Pucangan. The king Gusti Tegehkori IV was very happy to accept the arrival of his family, prince Pucangan. The king then give him 250 people to build a palace to the southwest of Puri Satria palace. The new palace was named Puri Jambe palace. The king then appointed him as punggawa (guardian knight) of Badung kingdom.
After king Tegeh Kori IV passed away, his son Tegeh Kori V replace him as king and have beautiful 15 years daughter named Ayu Genjot and handsome 13 year boy named Ngurah Raden. Prince Pucangan request the king to allowed his son to marry her daughter. But at other hand, the old king of Mengwi kingdom also propose the princess to marry his crown prince. At that time, Mengwi kingdom become more powerful and have larger troops than peaceful Badung kingdom. So the king decide to accept the Mengwi king’s propose.
Prince Pucangan is furious to hear that. Night before the Mengwi’s prince arrive to marry the princess, Pucangan with his troops storming the Satria palace. Pucangan is the guardian knight of Badung kingdom. He knows the palace so well and most of the troops is loyal to him. The palace is chaos and burn down. Considering the safety of his family, the king then decide to escape from the palace. Only five of them on that dark night Arya Dalem Tegehkori V (I Gusti Made Tegeh) escaped with the empress and her two sons and an in-law named Munang. His departure did not carry anything, only a box of inscriptions which was the heirloom of Puri Satria palace that he carried. All his cousins and other family also escape and scatter into many directions around Bali. The Tegehkori dynasty at Badung kingdom is fallen.
Chapter 3
Year 1724, During the five days he retreated in the mountain & forest, his children almost died because they did not eat anything. The group of Gusti Made Tegeh family arrived at a Village and went straight to the house of a village chief named I Pengkoh. It is very respectful that chief Pengkoh and his family entertain the guest of honor. For twenty days Gusti Made Tegeh group stayed at the house of the chief. One time, it was the middle of the dry season, so in a short time the rice supply in the barn ran out. What remains is only rat droppings mixed with grain skin, chief Pengkoh's wife only found that out. Chief Pengkoh prepared a pot in the kitchen to cook rice. Until the water in the pot was boiling, his wife did not get a grain of rice. Chief Pengkoh's anger rise, he then poured the hot water and scold his wife. Gusti Made Tegeh witnessed this very unpleasant incident, which made him feel very embarrassed.
After a discussion with his brother-in-law, I Munang, the former King and his brother-in-law went to hunt some food to the mountains. Meanwhile his wife and two children were left at chief’s house. After Gusti Made Tegeh left for the mountain, chief Pengkoh's evil thought occurred. His two children were ask to permission to his mother to accompany him to find rice. His mother agreed, so they left. In the middle of their journey, the children of Gusti Made Tegeh were tricked into making their way to the Denbukit area (later called Buleleng). When he arrived in Kalianget Village, his two kids were sold by chief Pengkoh to Ngurah Kalianget for 150 pieces of belongings plus a number of cloths.
After 10 days Gusti Made Tegeh and his brother-in-law went to the mountains for hunting, finally they back to chief’s house. They asked her the whereabouts of his children to his wife. She explained that their children was taken to the mountain by the chief. It's been 10 days yet to come back. When Gusti Made Tegeh heard his wife's answer, he was shocked and realized the misery they were experiencing. While shedding tears, he then told his wife and I Munang that the two of them would look for their children to Karangasem area. He himself looked to Denbukit. From there they parted ways, his wife and his brother went to Karangasem and he went to Denbukit.
After crossing Denbukit land, he arrived at Ambengan Hamlet. From that hamlet the journey to Sangket Village. From there he disguised himself to investigate the whereabouts of his children who had no news.
On that time Gusti Made Singaraja, the descendants of Gusti Panji Sakti is the King Denbukit kingdom and resides at Puri Sukasada palace. That's where he headed. It happened that King Denbukit was watching the Gambuh dance training. Those 2 person than talk and feel like each other. After some happy talk, he was asked to participate in Gambuh dance performance. It is difficult to find a comparison with the greatness of Gusti Made Tegeh in the art of Gambuh. Day and night the performance of Gambuh is joyful, which is why the king's palace was named Puri Sukasada.
After some period of time in clever disguise, Gusti Made Tegeh was very dear and trusted to King Denbukit. He was rewarded with as many as two hundred followers, including forty of whom were teenagers. He then assign into the sedahan agung (treasurer of the king) and also his war advisor. Nobody equals the wisdom of King Denbukit, so that it is respected by anyone, has the authority as a descendant of the warrior king of the gods. No one dared to oppose his orders. It could be said that the prosperity of the kingdom which was centered at the Sukasada Palace. Under his command, Denbukit kingdom spreading their teritory by invading many village to knee under Denbukit authority. Gusti Made Tegeh did this in order to find his children. Half of Bali island then become the territory of Denbukit kingdom.
Now it is told that the chief of Kalianget village name Ngurah Sindhuwedang have Gusti Made Tegeh sons and daughter and made them into servant at his house. The village of Kalianget has a population of 1,450 people. Ngurah Kalianget, who had a haughty heart and was very jealous of Denbukit King decided to fight the Denbukit kingdom. But the king quickly heard of him, and ordered Gusti Made Tegeh to beat Ngurah Kalianget before he could gather his strength. Quickly, Gusti Made Tegeh brought 200 elite warrior on their way to Kalianget Village.
When Gusti Made Tegeh troops arrived and recon the Kalianget Village, they found out that Ngurah Kalianget 1.000 soldiers were also on preparation to attack Sukasada palace. Gusti Made Tegeh and his 200 elite warriors prepare to attack at night. The attack was carried out suddenly at night made the Ngurah Kalianget soldiers shocked and confuse, they feel like stormed by thousands of enemies accompanied by spirits. Ngurah Kalianget soldier lost and surrendered. Ngurah Kalianget was taken prisoner, the whole house and its young and old residents were seized and taken to Puri Sukasada that dawn. By order of the king, Ngurah Kalianget was sentenced to death. Then he bring all other prisoners to kingdom prison. They were mixed up, including Gusti Made Tegeh children who had been sold and hidden in Kalianget. Until the end of the attack on Kalianget, he did not know the whereabouts of his children.
Suddenly Gusti Made Tegeh hear 2 young teenager cried heartbreaking among the prisoners, calling out her father and mother: "O the holy king of Tegehkori, look at me, it's been such a long time now that we haven't met my father and mother, I hope God Ida Sang Hyang Widhi will bring them together as soon as possible". Because the boy's lamentation and mention his ancestor Tegehkori, attracted enough attention and immediately approached the two young teenager. He shock that they are his children, Ayu Genjot and Ngurah Raden. The father and children finally reunite again Meanwhile his wife and her brother who had been traveling for a long time looking for their sons and daughters in the Karangasem area, then heard the news that Gusti Made Tegeh had gathered with their children at his place at Puri Sukasada palace. They hurriedly came to Denbukit and headed for the Sukasada Palace and there they reunite together, He was very happy.
After awhile, he order his son Ngurah Raden & his brother in law to return to Badung kingdom to meet the new king Pucangan. Arriving in Badung, since the Satria palace had been occupied by I Gusti Pucangan who later ascended the throne to become the king of Badung, he faced Ngurah Raden to his castle, claiming to be ordered back by his father Gusti Made Tegeh because anyway they are still family and understand why Pucangan furious and raid him. He hold no grudge. Pucangan love and care Ngurah Raden since he’s a baby and always carry him everywhere when he was act as the guardian knight of Badung. Ngurah Raden also childhood friend and like brother to his sons. Gusti Made Tegeh know that Pucangan will never have the heart to kill Ngurah Raden. Because Pucangan felt himself reunited with his nephew, he gladly presented 200 people and 40 plots of rice fields to Ngurah Raden. At the king's orders, he built a palace on the west side of the river on a forest plot. After completion, the palace was given the name Jro Kuta palace. King Pucangan have 2 sons. The older ones were given a place to live in the east of the river and given an inheritance weapon. Later the palace was called Puri Denpasar palace (because it was located north of the market). Meanwhile, his younger brother was made a place to live in the west of the river and was given an heirloom weapon, therefore the palace was later called Puri Pamecutan. After a long period of time when king Gusti Pucangan ruled in the Badung Kingdom, he died, then he was replaced by his two sons who both competed to become king to replace their father to become king in Badung State.
For a long time Gusti Made Tegeh lived in the vicinity of the Sukasada Denbukit Palace. He was very active in helping the king prosper the country, so that the king loved him very much. Her daughter Ayu Genjot also became a dancer and was later married to a nobleman from the village of Petandakan.
Someday the king Gusti Agung Gede of Mengwi Kingdom wants to visit Denbukit kingdom. Considering that King Mengwi was very famous for his supernatural power, the Denbukit king intended to try to test if it was true as the news was. He order Gusti Made Tegeh to ambush the Mengwi king’s parade. He bring 40 elite warriors to ambush under the kepuh tree in the Banyuning cemetery.
Then came the moment he had been waiting for, Mengwi king’s parade arrive. The king was carried and accompanied by 200 of his people. When he was close, then king Mengwi who was being carried on a stretcher, was intercepted by Gusti Made Tegeh, and he was speared violently. However, he was not hurt in the slightest because his body was so invincible. King Mengwi said to his companions: "send me down, O soldier". Then He got down from the stretcher and immediately took a meditative stance. In an instant he changed his form into resemble Bhuta Sungsang, a giant with six eyes, six arms, six legs and six heads. It seems that no one will be able to match His supernatural powers in this world. There the troops brought by Gusti Made Tegeh felt fear and all of them ran helter-skelter. Meanwhile, Gusti Made Tegeh himself retreated and hid himself far enough to the west in the forest hills of Pedawa.
Returning to king of Mengwi, the assassination attempt he had just experienced did not dampen his steps towards the Sukasada Palace. On arrival at Puri Sukasada palace, laughing out loud, he received a warm welcome from King Denbukit whom asking for forgiveness. King Mengwi said: “Okay, son, there's no need to extend this issue because I already know that you only want to test my supernatural power. Now this old man only asks you son, to search the person that order to attack me. This old man was very surprised of the courage of this man and also his loyalty to was amazing. You have never met someone like that, I have a feeling that he is a descendant of a famous knights ".
Then the king of Denbukit ordered his troops to look for Gusti Made Tegeh. However, even though they traces or days, they still cannot be found Gusti Made Tegeh. He was hiding at the top of a millet tree. When the troops approaching, there are some doves perch at the millet branch. Gusti Made Tegeh pray and begging to doves the millet tree to let him stay there. Normally, dove bird will fly away if there are people around it. But suddenly these doves singing. The troops saw it and assume that nobody there and passing by. Gusti Made Tegeh then make an oath that none of his descendant will eat millet fruit or harm any dove.
Until 7 days he remained there. With a sluggish body, emaciated and very dirty, then he walked slowly leaving the millet field towards the west, taking refuge in the village of Patemon. The situation when he arrived at the village indicated that it was already evening. He headed for the rice trading house, wife of the puppeteer Patemon. He was very pity for her to see that his condition was very tired and emaciated, so she was invited him to their house and served with food. The pupetter's family sympathy for Gusti Made Tegeh for being chased by royal soldiers. The pupetter's family then making a well hole for him to take shelter in. Everyday afternoon he hid himself in a foxhole. When night fell, He was taken out of the shelter. He made friends with the villagers. It has been for 15 days since he stay there and very uncomfortable and don’t want the helper family involve in trouble. He excused himself from pupetter’s house and then left to Bubunan Village. In that village, he also made friends with the villagers. For about a month in Bunbunan Village, Arya Dalem's mind grew more restless. He is thinking about his family that might be executed because he failed the king’s order. Then he decide to go back to Sukasada palace to prepare his death sentence but will beg for his family life to spare. 10 of villagers accompany him.
Arriving at Puri Sukasada, the two kings were sitting rejoicing in the palace facing the royal servants. They was surprised to see people who had just arrived dressed all in white. The white cloth a sign that they will be willing to die if something unwanted happens. So Gusti Made Tegeh and his ten followers presented a bow while begging for mercy in front of the two kings if they were judged to have done something wrong.
The king of mengwi then ask Gusti Made Tegeh who he really is. Who is his true identity. He then said that he is the descendant of Arya Tegehkori, the founder of Badung kingdom. He tell them all his journey. King Mengwi then said: "O Arya, in my opinion, what you did to me was absolutely innocent. I thought, you only carrying out your loyalty towards the king of Denbukit, carrying out orders to attack. Now, my son the king of Denbukit, from now on never ever forget the loyalty and sincerity of the sacrifices that Gusti Made Tegeh has given to you forever ”.
After saying this, King Mengwi summoned a servant of his companion to take a keris and a spear at the place of his bed. After king Mengwi order that, Gusti Made Tegeh and all of his 10 followers immediately experienced extreme anxiety and fear. Of course they think that this is the time when the death sentence start.
The servant then handed over a keris and a spear, and was accepted by the King of Mengwi, saying: "O Arya, this is my gift in the form of a keris and a spear. This keris is called Carita Belebang, its usefulness is to maintain safety and the enemy doesn't dare see it. This spear is called Lelemon, it has great authority. This is proof so that from now on down from generation to generation, from life to death, never forget the descendants of King Denbukit, and also for my son the king of Denbukit, never forget Gusti Made Tegeh descendants forever. You must always help and support each other. Remember, whoever forgets this mandate of mine will find misery and heartbreak”
Thus again said the King of Mengwi: "And now, O Arya, which land that you will request ?”.
Hearing the words of King Mengwi which greatly pleased Gusti Made Tegeh, then he said: "If it is allowed, Bubunan Village is my request, because they are very loyal to me when I find trouble”.
Thus, Bubunan, Sulanyah, Tanguwisia Village was awarded to Gusti Made Tegeh. Then Gusti Made Tegeh and his family is allowed to return with his followers to Bubunan Village. For about 3 years he lived in Bubunan Village, because the land there was uneven. then they moved to Muntis Village ( later on change its name to Pengastulan village).
Epilogue
At Pengastulan, Gusti Made Tegeh became punggawa (guardian knight) and stay at a house name Jero Lingsir. Right to the west of his house he built an ancestral temple which was named Pura Badung as a honor to his ancestors whom was the King of Badung. He wrote all his extra ordinary journey into a manuscript called Prasasti Pura Badung. This prasasti is then passed through generations, along with his family tree. He and his descendant swear that they will always serve to Denbukit (Buleleng) kingdom forever.
Until later Dutch invade the kingdom and fall after the Great Battle of Jagaraga on 1849.
Aryadimas Ngurah Hendratno was born in Denpasar on September 13, 1975. He has been writing poetry since he was a teenager, was once a part of Teater Angin (SMAN 1 Denpasar), and had contact with Sanggar Minum Kopi. A number of his poems have been published in Bali Post and in the anthologies Ensiklopedi Pejalan Sunyi (2015) and Klungkung: Tanah Tua, Tanah Cinta (2016). He is the "village head" of the Jatijagat Kampung Puisi (Jatijagat Poetry Village), teaches literature and theater at the Tahkta Theater at SMK Saraswati 1 in Denpasar, and manages the Rumah Belajar Seni (Art Study House) in Denpasar. +
Augusta de Wit (25 November 1864 – 9 February 1939) was a Dutch writer, born in the Dutch East Indies and best known for writing about Java and Bali. +
Ayu Diah Cempaka was born in Gianyar, July 18 1993. She graduated in French Literature, Faculty of Cultural Sciences, Gajah Mada University, Yogyakarta. Apart from writing literature (poetry), he is a writer & film festival programmer. Became a programmer at the Yogyakarta Documentary Film Festival (FFD) (2015-2019) and Balinale – Bali International Film Festival (2022). He served on the Asian short film selection committee (2022) and community jury (2017) at the Jogja NETPAC Asian Film Festival (JAFF), jury team at the 2018 Indonesian Film Festival (FFI), as well as guest lecturer on 'Film Aesthetics', Film & Television Department, Art Institute Indonesia (ISI) Denpasar 2021. The film review was published in several media such as Cinema Poetica, Film Criticism Collective – Yamagata International Film Festival, Goethe Institut Indonesien, Ruang Journal, Bali Post, and Balebengong. In 2016 – now he is Cultural & Communication Officer at Alliance Francaise Bali. +
Co-Founder and Head Chef, Pengalaman Rasa
"As a Northern Balinese native, Ayu's cooking training began as a child in her family's kitchen - learning the arts of traditional cooking while honing her senses in refining the taste, texture, and appearance of numerous authentic dishes.
Combining family recipes passed down through generations with lovingly selected high quality local produces, Ayu is passionate about preserving Northern Balinese cuisine and introducing it to the world."
https://www.pengalamanrasa.com/ +
Ayu Putu Feny Abrina Putra, born in Penestanan Kelod, Ubud, October 5th, 1992. She graduated from Fine Art Education in ISI Denpasar. She has exhibited in "Ekspresi Indonesiaku" in Nasional Indonesia Museum (2014), "Brutal Art Work" in dolf Bonnet Tjampuhan Ubud Studi (2016), "Merdeka dalam Ekspresi" in Taman Budaya Bali (2019) +
Ayu Weda fully named I Gusti Ayu Made Wedayanti. She was born in Singaraja, September 1 1963. She is alumi of Airlangga University, Surabaya. In era of 1980s, she was well known as lady rocker singer. Her achievement in vocal and stage field, such as in 1981 she gained The third champion in Radio Star award and TV (BRTV) in National Level. Moreover, She got award as the best performance in group category with her two sisters in Trio Ayu Sisters, who are I Gusti Ayu Partiwi and I Gusti Ayu Laksmi. In that year, Ayu Weda as representative of Bali in Puteri Remaja Indonesia award which was held by Majalah Gadis. in 1982, she successfully released album "Rindu Teman Sehati" arranged by national muse Adriadie. Meanwhile in 1987, she released album "Memetik Bintang" arranged by Deddy Dores. Besides singing, she also liked to write. Her short stories compilation "Badriyah" was published by Gambang Publisher in 2016. That book most told story of woman's life in happy and sad situation. +
B
"OM SWASTYASTU"
"OM AWIGHNAM ASTU NAMO SIDHAM"
"OM ANO BADRAH KRATAWO YANTU WISWATAH"
I would like to express my thanks to the presenter, for the time given to me, the honorable ladies and gentlemen of the jury and prospective members of the Bali Province DPD, as well as my fellow participants, whom I am proud of. Before that, let us pray to the presence of Almighty God. Thanks to Him, we can gather here with happiness at the Bali Public Participation Wikithon with orations, which carries the theme, Election 2024: what are the most urgent problems to be addressed by Bali's prospective leaders ? Hopefully events like this can be held frequently to develop a threatening Bali.
Happy guests, as we know, Bali is known as the island of a thousand temples with its very beautiful environment, which is often visited by foreign tourists, because Bali is one of the focuses of tourism in Indonesia. This is what drives many foreign tourists to come to Bali. Even though Bali is a tourist destination, this is not the main topic of discussion, but there are problems that have a significant impact on Bali. As we know, this so-called era of destruction, if we talk about the problems in Bali, will cause Bali to collapse. Unfortunately, the problems in Bali have not received treatment that is useful for the island of Bali.
Happy guests, if you look at life now it is certainly different from previous life, especially with the problems, the most important problem is related to the environment and land of the island of Bali which has been built up and used as a tourist attraction, this is what will make the island of Bali In terms of land and environment, it will become increasingly narrow, if all the land and environment in Bali is made into a tourist attraction, where will we (humans), animals and others live and live our daily lives? Talking about the land environment that has been converted into a tourist spot, of course there are many daily activities carried out to produce plastic waste for society, this is what will become Bali's next problem. The existence of rubbish in Bali is very sad and gets very little attention, this is what creates big dangers, for example: floods, dengue fever and others. Moreover, as has recently been reported, the rubbish bins or Suwung landfills in Bali are very full and cause fires, giving rise to smoke pollution which causes disease. Are we all willing to live and do activities in dirty places? Of course, many of you are reluctant to live in a dirty place.
Happy attendees, if I conclude it is related to the problems in Bali, so that Balinese leaders can provide solutions related to problems: the transfer of land or the environment to become tourist attractions and the rampant waste which has not received special attention from the government. Based on these problems, if we don't work together from now on as the front guard, it is certain that the island of Bali will gradually collapse. The island of Bali, which has been nicknamed a thousand temples, will lose its sanctity. Based on these problems, my hope is that the elected leader of Bali 2024 will be able to find a solution so that the Balinese people can implement the noble values that exist in Bali, namely TRI HITA KARANA, because these problems are related. with the TRI HITA KARANA value, so that Bali can return to the way it was before.
Happy guests, that is the speech I can deliver, I hope you all are aware of the current condition of Bali.
Who doesn't know about the island of Bali? The island is already famous to foreign countries. Tourism in Bali is the source of the economy that supports most Balinese people. But as it is now, Bali tourism has dimmed since the Covid-19 virus is endemic in the world. It has been two years since the Covid-19 virus has attacked our beloved earth. Several policies have been implemented. However, Bali tourism has not been able to return to normal. We as citizens, especially as young Balinese, should provide and carry out creative efforts that can stimulate tourism in Bali.
In this era of globalization, everything is digital and sophisticated. We can use this advanced technological development as a tool to generate tourism in Bali. One of the creative businesses that can generate tourism in Bali is an application called BALI MELALI. This application uses technology in the form of VR or Virtual Reality. In the BALI MELALI application, it displays tourism destinations in Bali. If you use this VR technology, tourists or anyone who has downloaded the BALI MELALI application can see the tourism places that we want. Using this VR, tourism destinations in Bali can be seen for real, this can foster a sense of longing for Bali and cause tourists to want to come again to Bali.
In the BALI MELALI application, it not only displays well-known tourism destinations, but should also display places that are not widely known. In Bali, there are actually many tourist destinations that are not well known. If you only show places like Kuta Beach, Pandawa Beach, many tourists will already know. That's why in this application it is very good if it shows places that are not known by many people. Not only that, the BALI MELALI application does not only display virtual or images, but can be filled with sounds that are in that place. For example at Candikuning Waterfall, if we travel to waterfalls, there are definitely sounds like the sound of gurgling water, the sound of trees blowing by the wind, the sound of birds and so on.
The presence of images and sounds in the BALI MELALI ibi application can certainly cause longing from tourists and travel to Bali. Hopefully the business in the form of the BALI MELALI application can help Bali tourism return to normal. Hopefully Bali tourism will rise soon.
Om Swastyastu. Dear the juries and all readers. From the theme of this oration, the urgent topic we raised was the Bali government's steps in dealing with the surge in waste on the Island of the Gods, which can cause various problems in life. For this reason, the title of our oration is “Clean and Spotless Bali, Without Mountains of Rubbish” or "Bali Resik, Bali Tan Katiben Gunung Leluu".
Bali Island is nicknamed the world's tourism paradise. However, behind that sentence, this island is facing an urgent crisis due to piles of rubbish. It has become increasingly complicated and more transparent after fires recently occurred at several final disposal sites (TPA) in Bali. How would we feel if every day we had to live amidst piles of rubbish, followed by burning pollution like this? As a foreign tourism area, the urgency of this problem must be addressed immediately because it can cause other issues that could be detrimental to the Balinese people. Therefore, the presence of the government as a pioneer leading society is vital in responding to this urgency.
Prospective leaders should be responsible for developing steps to overcome this emergency. We need significant investment in waste management infrastructure with modern, environmentally friendly technology. We also need policy designs encouraging active community participation in waste sorting and recycling programs. We encourage prospective Balinese leaders to work with various parties, including the private sector and environmental organizations, to create collaborative solutions to this waste problem. By integrating ideas and resources from multiple sectors, we can achieve more significant progress in maintaining Bali's sustainability. This is a call for all of us to act together and ensure that Bali remains beautiful and sustainable for future generations.
Thank you, ladies and gentlemen, prospective leaders of Bali in the 2024 elections, for your attention and commitment to facing this urgent challenge. Together, let's create a clean, green, and sustainable Bali without mountains of rubbish. Om Santih, Santih, Santih, Om.
Ring Pemilu 2024 sané jagi rauh, pinaka krama Bali, iraga maduwé tanggung jawab sané ageng pisan antuk milih pamimpin sané pacang ngawetuang panglimbak miwah karahayuan ring panegara sané tresnain iraga puniki. Bali, pinaka tetujon pariwisata sané kasub ring sajebag jagaté, madué makudang-kudang pikobet sané patut katangkepin olih sang sané pacang dados pamimpin.
Silih sinunggil pikobet sané mabuat pisan sané patut urati pisan inggih punika indik palemahan miwah pariwisata sané lestari. Pinaka genah wisata utama, kawéntenan industri pariwisata sané nyansan nglimbak ngawinang dampak sané abot pisan ring palemahan minakadi akéhnyané limbah, rusaknyané terumbu karang, miwah ancaman majeng ring kelestarian alam.
Sajabaning punika, isu-isu pendidikan miwah kesejahteraan krama lokal taler dados parindikan sané mabuat. Prioritas patut kaicénin ring nincapang akses pendidikan sané pateh, pemberdayaan masyarakat lokal ring sektor pariwisata, taler upaya antuk nyiptayang peluang kerja sané adil miwah lestari.
Pikobet ring sektor kesehatan taler nenten dados kaicalang, utaminnyane ri sampune pandemi global puniki. Patut kemargiang sareng-sareng mangda prasida ngukuhang sistem kesehatan, nincapang akses masyarakat majeng ring pelayanan kesehatan, taler nyiagayang Bali mangda prasida ngarepin pikobet kesehatan ring benjang pungkur.
Punika mawinan, titiang nunas majeng ring krama Bali samian mangda milih pamimpin sané madué visi sané jelas rikala ngungkulin pikobet puniki. Pamimpin sané banget mautsaha ngalestariang palemahan, inklusi sosial, miwah kesejahteraan kramané. Ngiring sareng-sareng ngwangun Bali sané sayan becik, nénten wantah pinaka genah wisata sané becik, nanging taler pinaka genah sané madaging dasar sané kukuh sajeroning ngalestariang kasugihan budaya, palemahan sané lestari, miwah kesejahteraan kramané.
Suksma, dumogi Bali tetep nglimbak tur dados genah sane becik antuk generasi sane jagi rauh. Ngiring iraga sareng sami mautsaha mangda Bali dados Bali sane adil, lestari, lan gemuh landuh!
The government of the island of Bali, which is the Deputy Governor of Bali Prof. Dr. Tjokorda Oka Artha Ardhana Sukawati once said that indeed Bali agrees if the tourism sector is experiencing a decrease in the effects of the Covid-19 pandemic. But we as a people on this island can't say anything more. For the public should follow the directions of the government, such as vaccinating, using masks every day when meeting with others, paying attention and implementing a healthy lifestyle and other things. Actually from my personal side does not want to be so opinion more but we ourselves who should be aware of what is being faced at this time. The first thing is certainly from yourself who must carry out, secondly there is a family that is closest to ourselves and then start doing this healthy lifestyle to the surrounding community. If all parties have done so, believe me all will be healthy and free from this plague. But this pandemic teaches us to be more grateful to be aware of the circumstances that occur and what will happen. Let us together take care of ourselves first to be healthy, if we have done so believe me all will definitely come back over time. +
The Covid-19 pandemic that has hit almost the entire world, including Bali, has had a significant impact, especially on the tourism sector, which is the mainline in the Balinese economy. This is supported by a decrease in the number of tourists to Bali in 2020 by 82.96%, which causes the tourism industry managers to be unable to develop the tourism business line that is being built.
However, this should not dampen the enthusiasm of various components of Balinese society in generating Bali tourism. One alternative that can be done is the adaptation of the tourism industry to the technology that is currently being discussed, the Non-Fungible Token (NFT). NFT exists as a representation of individual or group assets or ownership that has unique, non-exchangeable, and valuable properties. This technology adaptation is expected to be an answer to tourist concerns, security and convenience.
The workings of the tourism business model with the NFT platform are almost similar to the voucher system in the tourism industry. However, to ensure the security and convenience of users, this platform will be supported by blockchain technology. Blockchain is expected to be able to provide a sense of security thanks to the concept of decentralization which requires validation from various parties who become the blockchain server itself.
The government especially Bali Government Tourism Office can act as a validator for tourism industry managers (lodging, accommodation, culinary, etc.) who are committed to building a digital-based Bali tourism ecosystem. For tourists, this NFT can be purchased as a coupon that can be purchased and exchanged at a time frame determined by the tourism industry manager.
It is time we move together to restore the glory of Bali tourism by familiarizing ourselves with technology. Of course, it's not just about government policy, but me, you and all of us! +
Nnn +
Since 2020, the world has been reported as a pandemic. Covid-19 is the name of the virus that causes a worldwide pandemic. This pain is not only a physical attack. Economy, education, tourism, and other aspects also die. Bali is famous for good tourism. If tourism dies, Bali is also called dead. It's not good, let alone until it continues. Therefore, in the new normal era, there are innovations that the government can carry out to rebuild tourism in Bali. The innovation is called the website Bali Virtual Explorer.
Bali Virtual Explorer is a solution that can wake up Bali in the new normal era. On this website, travelers can see Bali as if they were visiting but online. This is because the website is equipped with a 360-degree video feature. 360-degree video is very good as a tool in the new normal era because its implementation is by health protocols where human mobility is not what it used to be. This website is equipped with online shopping facilities for authentic Balinese products so that traditional products are famous such as endek and songket, woven, masks, silver jewelry, and others. Online shopping is not difficult, people can have authentic Balinese products even if they can't go to Bali. This is also good for UMKM. This website is also equipped with complete information about Bali such as tourist attractions, historical places, temple information, and other information about Bali so that many people know interesting information in Bali. The Bali Virtual Explorer website is only one website, but various features such as 360 videos, online shopping, and interesting information make this website a good tool. In the era of the internet of things, online promotions are very popular in the world. That's why Bali Virtual Explorer is a good website for tourism and cultural promotion so that Bali rises. +
Bali is a beautiful island. Affected by Covid-19, of course, it reduces the income of the population. Are there alternative steps forward? We provide alternative solutions, namely virtual tours and ngonthel halal and are presented in the form of questions and answers.
What is a virtual tour ?
Answer: Virtual tourism activities via the internet with media in the form of videos
The reason for choosing virtual tours ?
Answer: Not everyone can go to Bali for various reasons such as: unable to take leave, still working, wife is pregnant, being treated at the hospital, pandemic, visas and passports have expired or have not been issued.
Media used ?
Answer: Did you know Netflix, Viu? Site / website subscription to watch movies by streaming. Yes, we adopt a method like Netflix with internet and video media. People who will access will be charged a fee or "pay"
The mechanism of action ?
Answer: As explained above, subscribing is like watching a movie on Netflix. Of course the videos presented must be fun, informal and rigid, like vloggers and youtubers making video tours, mukbang, inviting having fun in an exciting and fun way
Is it Ngonthel Halal?
Answer: Sports activities while traveling around Bali by focusing on Muslims
Reasons for choosing ?
Answer: The relentless popularity of cycling during the pandemic. Complaints about halal food both in terms of the type of food, looking for Bali tourism that does not have an open genitalia element, are tired of the same kind of tourism, so traveling around Bali by bicycle can become a new tourist destination. Target : Local & Middle Eastern Muslims
Application in the field?
Answer: Participants are invited to tour by bicycle around Bali to several destinations with beautiful panoramas, serving halal food, prayer times can go to mosques. So this shows that Bali has good religious tolerance. +
Lifestyle journalist and sustainability activist Bandana Tewari believes storytelling and personal responsibility have a huge part to play in the reformation of the fashion industry.
When you were starting out in fashion, what were the issues facing the industry, and at what point do you think attitudes to fashion and especially fast fashion started to change to incorporate ideas of sustainability?
I worked at Vogue India for thirteen years. It was a time when the Indian market opened up to a deluge of international luxury brands. There was much optimism and excitement about the massive aspirational population of India, the cynosure of multinational companies eager to conduct business in the Indian subcontinent. At this point, conspicuous consumerism was applauded and encouraged – signalling a modern India that was willing to spend money, display affluence, and be the sartorial arbiter of a young nation. There was no awareness of conscious consumption, of sustainability and environmental impact of the incredible waste and excess that plagues the fashion industry today.
In all honesty, the risks of over-consumption and the perils of fast fashion, as we now know of them, came into our collective consciousness only recently. The Rana Plaza disaster of 2013 in Bangladesh was the most brutal symbol of a global fashion industry gone wrong. It exposed a terrible truth: a multi-trillion-dollar industry was systemically plagued by unimaginable inequalities, both economic and social. This Rana Plaza disaster – when five garment factories collapsed killing more than 1,100 people, mostly women – created a global uproar. The world woke up to a fashion industry that pays some of the lowest wages, conducts business in such unsafe work environments, it creates untold disregard for human life. And then the environmental issues ensued which saw rivers and farms in developing nations being clogged and degraded with industry waste creating irreparable harm to people and the planet.
It is through the exposé of the extraordinary pains of ordinary people who make our clothes that led to a monumental change in the way we perceive the business of fashion.
How seriously do fast fashion brands like, let’s say H&M, really take the concept of waste within the industry? Are these efforts to improve sustainability just an exercise in greenwashing?
We are drowning in clothes – many of the approximately100 billion garments sold each year go into landfills or are incinerated – both harmful to the environment. According to Fast Company, H&M produces three billion garments a year and till 2019 was sitting on $4.1 billion worth of unsold clothes, some of which, we are told, became fuel for a power plant in Sweden. While many initiatives are underway to address the problems of production and consumption, it seems too little at a time when we have swiftly moved from climate change to climate crisis. The fashion industry generates 10 percent of global carbon emission, 20 percent of all waste water, and pollutes the oceans with half a million tons of microplastics. So, if big changes do not propel a big impact – it is, simply, greenwashing.
Given the magnitude of the problem, whatever solutions provided by fast fashion companies, thus far, seem perfunctory. The velocity with which garments are being manufactured, bought and tossed away is horrendous, to say the least. One garbage truck of clothes is either burnt or dumped in landfills every second! So whatever Zara, H&M or other fast fashion brands are doing to rectify the system is too little. Governments and policies need to intervene to limit the greed and speed of overproduction. More investments in R&D for solutions in recycling, alternative fabrics, etc, are crucial. Consumers need to play an important role in disarming the consumerist agenda of globalisation that fuels the ‘marketing need’ for more and more, bigger and bigger. Every human being should know how they choose to spend their hard-earned money really does matter!
To what extent do you think consumers really care about what happens in the rivers and seas thousands of miles away that are affected by the processes used to create our fashionable clothes?
Consumers do care about rivers, seas and every aspect of nature, provided they are shown the truth – truth about human beings’ role in the degradation of nature that comes from corporate greed, mindless consumption and governmental apathy. There is not a single human being who doesn’t want their children to grow up in an environment that is nurturing and nourished. Who amongst us wants to live in the filth of pollution?
The problem is that consumers have been ‘sold’ only one part of the story – the part that says when clothes glitter and automobiles shine and you own them then you have made it. When in fact, the process of making – what irreplaceable natural resources are harnessed to make things, the number of hands that go into making even a simple t-shirt – is excluded from the narrative, the inequalities in the system and the harm perpetrated on our environment will remain invisible. When you are never shown the problem, why would you seek a solution?
Tell us about your latest project…
I am a writer. Sadly, I don’t have any big projects to boast of. However, my personal commitment as a storyteller is to always follow the four fundamental principles of authentic storytelling: Product, People, Process, Purpose. If any one of these ‘Ps’ are unfulfilled or unaddressed by a company or brand, I will not write about it. Every media person should pay heed to the power of the pen.
What advice would you give to young designers starting out now?
I would request every designer starting out today to read Small is Beautiful, a book written by the hallowed global economist E.F. Shumacher. In this book there is a chapter called ‘Buddhist Economy’ which throws light on the need for mindfulness in business. It is a guide to making one’s daily work – a noble act of humanity. It points to our present-day crisis in the way leaders are raised or made to pillage the earth, as if humans are the only sentient beings in this world. It points to correcting an era that seems so disconnected with our inner and outer divinity – that we have made human-force into labour-force.
What is the future of fashion?
The future of fashion is compassionate; how else will we survive? There is no business to be done on a dead planet. So, I feel confident that we will rise to address the challenges of waste, greed and environmental degradation. With a generation of young people born in this era of climate crisis, they will, without any doubt, only choose industry leaders who lead with a ‘monk mentality’, leaders who reinforce the crucible of compassion and conscious consumption. I believe that the future of fashion will have storytellers, producers and creators who will show the interconnectedness of everything around us – the magic of coexistence and biodiversity. They will tell us the story of our t-shirts – made from a seed of life that blossomed into cotton; the same cotton that clothes us also thrives when it grows alongside other diverse plants, on a land rich in soil nutrients. The future of fashion will have great teachers who will tell us that what we ingest into our bodies and what we put on our bodies must both honour the sacredness of nature.
IG & Twitter: @behavebandana
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 +
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. +
THE BACKGROUND OF THE ESTABLISHMENT OF THE MONUMENT OF BALINESE STRUGGLE
Sporadic struggles for independence against the Dutch Colonial Government emerged in most parts of Indonesia. The violent oppressions by the Dutch resulted many rebellions in various dominions of kingdoms and sultanates under the Dutch colonialism. But unfortunately, the Dutch could easily suppress them by applying their divide et impera (divide and rule) tactic to break the strength of those kingdoms and sultanates by playing off against each other, between a king and the other, between the royal family and the king, the king and his people, and between people as well.
The long war experiences and also the more and more Indonesian youth got academic education had aroused the spirit of unity among various social strata and ethnic groups and the awareness to defend their country and to drive away the colonizers. It was initiated by a number of intellectual youths from various regions that on October 28th, 1928, for the firsttime, the Indonesian youth held a conference in which they declared the so called the Sumpah Pemuda or the Youth Pledge. They swore that they were of one mother country: Indonesia, one nationality: Indonesian, and of one language: Bahasa Indonesia or the Indonesian language. This declaration was simultaneously participated by many youth organizations from various islands and ethnics in Indonesia such as, Jong Java of Central and East Java, Jong Pasundan of West Java, Jong Minahasa of North Sulawesi, Jong Ambon of Maluku, Jong Celebes of Sulawesi, Jong Madura, Jong Sumatranen, Jong Batak of Batak ethnic group, etc which later on resulted an idea to form the Jong Indonesia to accomodate all ethnics in Indonesia.
This spirit of Sumpah Pemuda has also awakened various youth organizations in Indonesia.One well-known organization, among others, is Sarekat Islam, which was originally as a mere religious movement, then developed into the first popular movement in Indonesia, then the Indische Partij party which also moved in politics. At that time on the island of Java nationalist figures emerged such as dr. Soetomo, HOS. Cokroaminoto, Suwardi Suryaningrat (Ki Hadjar Dewantoro), Douwes Dekker, Tjipto Mangunkusumo, Agus Salim, Soekarno, Muhammad Hatta, and so on. Their pioneering work eventually also inspired other regions to do the same, namely to unite the regions in expelling the Dutch occupation, one of which was a struggle carried out by the Balinese people.
Bali Island is one of the bases of the struggle against the Dutch, among which the famous is the Jagaraga War of 1848-1849 in Buleleng, the Kusamba War of 1849, the Banjar People’s Resstance in 1868, the Puputan Badung War of 1906 launched by the King of Badung, Puputan Klungkung in 1908 and also the Puputan Margarana War in the Marga Village of Tabanan conducted by Liutenant Colonel I Gusti Ngurah Rai along with Laskar Ciung Wanara who had waged in all-out war (Puputan) against the Dutch in 1946.
The struggle performed by I Gusti Ngurah Rai has left deep memories for the people of Bali, so as to commemorate his services, a monument, street name, airport name, and so on were erected. The awarding of his services is solely because he has set an example to the younger generation in the struggle for independence which is done unconditionally. The government’s attention to the services of the fighters in Bali was realized by the construction of a grand monument located in the Niti Mandala area, Denpasar known as the the Monument of Balinese Struggle.
What is presented in this monument is to recall all the struggles of the Balinese heroes before and after independence. It is also hoped that this monument will also has some benefit in an effort to increase the appreciation of the younger generation in living up to the patriotic values demonstrated by the heroes who sacrifice all his body and soul in defending the dignity of his people without ever expecting retribution.
The monument was designed by Mr. Ida Bagus Gede Yadnya, a young man who was at that time was a student in the Department of Architecture, Faculty of Engineering, Udayana University, Denpasar. He succeeded in winning and becoming a champion in the design competition of the the Monument of Balinese Struggle which was carried out in 1981 by setting aside his senior architects in Bali.
After the design and drawing improvements were made, in August 1988 through the budget of the Provincial Government of Bali a groundbreaking was carried out, as a sign of the start of the construction of the monument. After going through various obstacles and trials due to the depreciation of the Rupiah in 1997, finally this monument could be completed also in 2001. After that, the development was continued with the making of dioramas that depicted the life history of the Balinese from time to time. In addition to the dioramas, a park was also built to add the beauty and comfort of this monument, which as a whole could be completed in 2003. On June 14, 2003, in conjunction with the Opening of the 25th Bali Arts Festival in 2003, Indonesian President Megawati Soekarnoputri had the pleasure of inaugurating the Monument of Balinese Struggle. Since then the monument has been officially opened for public.
PURPOSE AND OBJECTIVES
The purpose of making dioramas that tells a story of the struggle of the Balinese people is to reconstruct important historical events that have occured in Bali, so that what is implied in them will be more easily appreciated by younger generation.
The aim is to perpetuate the spirit of the struggle of the Balinese people from time to time and pass down the spirit of patriotism in the form of self-sacrifice, love of the motherland, love of unity and love of peace, togetherness to the next generation of the nation, and the main thing is to maintain the integrity of the Unitary Republic of Indonesia (Homeland).
THE PHILOSOPHICAL BASIC OF THE MONUMENT OF BALINESE STRUGGLE
This monument is an embodiment of lingga and yoni. Lingga is male symbol (purusa), while yoni is female symbol (pradana). The meeting between the two elements is a symbol of fertility and well-being. In addition to the Lingga-Yoni philosophy, this monument is also based on the philosophy of the Mandara mountain screening (Mandara Giri) in ocean of milk (Ksirarnawa). This story comes from the Adi Parwa book, the first chapter (parwa) of the Mahabarata epic. It is said that the gods and giants (daitya) sought the water of eternal life (tirtha amertha) by turning around Mandara mountain in the ocean of milk. The implementation of the screening of mount Mandara is regulated as follows:
1. Turtles (akupa) as the base of mount Mandara
2. Besuki Dragon (Naga Besuki) as a strap and turning mount.
3. The gods hold the dragon’s tail and the daitya hold the head, while at the top of the mountain sits God Shiva.
After working with great difficulty turning the Mandara mountain then successively came out: crescent (Ardha Chandra), Goddess Sri and Laksmi, flying horse (kuda Ucaisrawah), tree of happiness (Kastuba Mani), and the last came out Goddess Dhanwantari who brought Tirta Amertha. The story of searching for Amertha water is then reflected in the shape of this monument, with the following explanation:
1. The earthen pitcher containing tirta amertha was symbolized by a kind of pot (swamba), which is located on the top of the monument.
2. Naga Besuki’s tail is realized near the pot.
3. The head of the dragon is manifested in the entrance gate (Kori Agung).
4. Turtle (Bedawang Nala/ akupa) as the foundation of the monument is located on the edge of the lake and its head on Kori Agung.
5. The pond that surrounds the monument as the symbol of Ocean of milk (Ksirarnawa).
6. Mandara mountain (Mandara Giri) as the overall shape of the monument building.
Philosophically, the initiators of this monument wish to give a message to the younger generation that the struggle to achieve success can only be done with hard work, perseverance, and mutual cooperation as told when the Gods and Daitya together seek eternal life.
Another symbol depicting the power of God Almighty (Ida Sang Hyang Widhi Wasa) contained in this building is a building plan in the shape of an octagon and an eight-leaf lotus. The eight-leaf lotus is called Asta Dala as a symbol of the omnipotence of God Almighty called Asta Aiswarya, namely:
1. Anima : the mildness nature like atom.
2. Lagima : the lightness nature like ether.
3. Mahima : the great nature that fills all places.
4. Prapti : the nature of reaching all desired places.
5. Prakamya : all wills are achieved by Him.
6. Isitawa : the nature of dominating everything and the most important One.
7. Wasitwa : the most powerful character.
8. Yatrakama Wasayitwa : His nature and His will cannot be challenged.
The symbol of patriotism and nationalism can be found in the 17 number of foot steps towards the main entrance, 8 main pillars of the building and the height of the monument is 45 meters. If these figures are strung together, the numbers 17, 8, and 45 are arranged which show the date, month, and year of the Proclamation of Indonesian Independence, August 17, 1945.
David Metcalf is a professional photographer, originally from New Zealand but has been living in Bali since 2011.
David has been working with communities in Bali, Kalimantan, Sumba to help preserve the culture and leads photography and cultural tours to various parts of Indonesia, Japan, Alaska, Vietnam, Myanmar, Sri Lanka and India.
He has been involved in organizing many events in Bali including the indigenous film festival held in Bali in 2018, 19,20, and is the founder of The Togetherness Project which is at the forefront of community-based tourism and assisted Balinese communities during Covid.
To find out more please visit www.davidmetcalfphotography.com, Facebook and Instagram David Metcalf photography and www.thetogethernessproject.net. +
Deniek G. Sukarya has been in professional photography for over 43 years . His works are widely published in books, calendars, newspapers, magazines, advertisements, brochures, posters and billboards. In stock photography, he offers a huge collection of travel, culture, landscape, nature and fine art photography.
Deniek started his career as a freelance photographer and writer for many prestigeous national publications before joining an international advertising agency in 1981 as a senior copywriter, and a year later as creative director.
As a concerned photographer, Deniek gives numerous photography workshops for the development of photography in Indonesia. He also writes for many publications: from travel, culture and nature to “how-to” articles on various aspects of photography. Since 1993, Deniek published several magazines: VISI, for STARKO (until 1995); RODA for Honda Motorcycle Indonesia (until 2007); FOTO MODERN, for Fuji Film Indonesia (until 2005). In 2005, he published NIKONIA magazine, 6 editions quarterly photography magazine for Nikon Indonesia.
Deniek is a founder member and chairman of the LEICA Photography Club of Indonesia, and the conceptor and curator/director of Galeri Foto CAHYA, the first fine art photo gallery in Indonesia. He held numerous photo exhibitions, including three exhibitions at Galeri Foto CAHYA in 1998 and 2000. In 2002, he organized Harmony - Potret Indonesia Damai and Images of Jakarta photo exhibitions for the Jakarta Tourism Office.
In 2004, he held two exhibitions in Osaka, Japan, INDONESIA -ENCHANTED MOMENTS, for the Consulate General of Indonesia in Osaka and Sakata Inx Corporation. He also organized the exhibition, A Tribute to Aceh, for Aceh Tsunami Relief Funds in 2005 working together with photo journalists from the leading national newspaper, Kompas. In 2005, Deniek also held an exhibition: Indonesia - Enchanted Moments, in the National Gallery of Zimbabwe, Harare for the Indonesian Embassy in cooperation with the Minister of Tourism and Environment of Zimbabwe. 76 of the best photographs captured during his travel in Zimbabwe were shown in a grand exhibition, Zimbabwe - Permata Afrika, in Plaza Senayan, Jakarta, in December 2005.
In 2006, Deniek organized the photo exhibition, Presiden Juga Manusia Biasa, about the everyday life of President Susilo Bambang Yudhoyono by Abror Rizki and Dudi Anung Anindito at Pondok Indah Mall. In 2008, he organized a photo exhibition entitled The Allure of the Undiscovered West Bali in the Sultan Hotel, Jakarta.
Desak Made Rita Kusuma Dewi is a rock climbing athlete from Bali. She was born in Buleleng, January 24, 2001. Now she is studying in the Department of Sports Education at Undiksha Singaraja. In rock climbing, Desak has collected many achievements for the speed and combined (speed, lead, boulder) categories, including 1st place in the Speed Wr category at the age group national championship in Riau (2018) and in the national championship in South Kalimantan.
She was also presented with a gold medal for Buleleng at the 2019 Bali Porprov for the speed wr category. Desak has been rock climbing since the 2nd grade under the guidance of her aunt who is also a long-distance athlete. Desak won the gold medal with a record speed of 7.01 seconds at the XX Papua National Sports Week (PON) in 2021. Previously, she participated in the Rock Climbing World Cup championship in Villars, Switzerland. In the future, she will become a projection athlete for the Red and White National Team for the 2024 Paris Olympics. +
I was born in 1972—or so one of my friends’ parents who was a teacher told me, as neither of my parents recall my exact date of birth—in a small village north of Ubud on the island of Bali, one of the many islands in the Indonesian archipelago.
When I was young I felt there was no other choice but to leave Bali to free myself from the burdens of poverty and tradition. I have traveled extensively abroad, married, brought up sons, and worked in Australia while continuously educating myself at college and university—my most recent acquisition a Masters degree in International Business from Newcastle University, New South Wales, Australia.
I returned to Bali in 2012 after almost twenty years of living abroad, hoping to achieve a better quality of life, rebuild my family and create employment for my fellow Balinese. Since returning to Bali I have experienced at first hand the challenges facing Balinese women in the parallel universe of modern tourism and traditional life, where families struggle to maintain a balance between traditional adat duties and the temptations of the island’s tourism playground, illicit drug and sex scene.
Tumultuous experiences, a life full of dramas, tragedies and rare happy times that never seem to last for long enough, have inspired me to write this book as a part of my own journey of self-discovery. I am currently working on a second book while continuing other projects in Bali. +
Dewa Ayu Carma Citrawati, born in Getakan, Klungkung, Bali, February 24 1990. Completed undergraduate studies at the Bali Literature Study Program FIB Udayana University in 2011. In 2017 completed master's studies at the Postgraduate Pure Linguistics program FIB Udayana University. He has published several books such as Smarareka (2014), Sumanasa Sekuntum Liberation (Adaptation of Kekawin Sumanasantaka, 2019), Aud Kelor (2019). He received the highest award in the field of Balinese Literature from the Rancage Cultural Foundation in 2017 for his short story collection entitled Kutang Sayang Gemel Madui (2016). Experienced in teaching, was a Balinese language teacher at SMPN 3 Denpasar (2011-2018), Balinese Language Instructor in Klungkung Regency (2016-2017). Until now, he is still actively involved in various development activities related to Balinese language, literature and script. From 2018 until now, he has been actively writing Balinese language articles on Wikipedia Bali under the auspices of the Wikimedia Denpasar community. For his dedication to the Wikimedia community, the development of Balinese language and script, the Wikimedia Foundation awarded him the Wikimedian of the year award, as The Newcomer of the year 2021. +
Dewa Ayu Eka Putri is an artist-anthropologist and is currently a dance instructor at the critically acclaimed arts organization, Sanggar Cudamani. She received her B.A. from Universitas Udayana in cultural anthropology and is a leading figure in women’s gamelan ensembles all around Bali. Born into a family of artists, Dewa Ayu is internationally known for her collaborations of traditional and contemporary works in theater, music, and dance while actively working as a freelance research assistant. The majority of her work advocates for the legal protection of women and children which is highlighted in various discursive artistic modalities. +
Dewa Gede Purwita is a lecturer in the field of Visual Communication Design at the Bali Design and Business Institute. Dewa is also a painter and writer known by the pen name Purwita Sukahet. He expressed his deep interest in the work of I Ketut Gede Singaraja in a solo exhibition dissecting the works of this painter from Buleleng who is famous for his pictorial realism style in 2019. +
Dewa Putu Bedil was born in Ubud, Bali, in 1921. Died in 1999. Bedil was one of the youngest members of the Pita Maha group he joined in 1936. With the encouragement and direction of Rudolf Bonnet, he developed a unique painting style with color - elegant color. He often depicts daily life, rituals, or dance in his paintings. The figures in his paintings are sleek and surreal. His works have been collected by the Bali Cultural Park (Denpasar, Bali), Tropen Museum (Amsterdam, Netherlands), Rijksmuseum voor Volkenkunde (Leiden, Holland), the National Museum (Jakarta), and many world-class collectors. He has exhibited his works at home and abroad, such as at the Jakarta National Museum and at the Indonesia-Japan Friendship Festival (Morioka, Tokyo, 1997). +
Dewa Putu Kantor, born in Sukawati, Gianyar, 1957. He is a traditional painter who adheres to the Batuan painting style. He learned to paint the Batuan technique from the painters Dewa Putu Mangku, Dewa Made Jaya, and Made Body. For more than nine years he has absorbed the famous Batuan style painting technique with the concept of a picture space that is full, complicated, dark in color and without a clear focus.
He then simplified the complex style into the pulling and twisting of lines that form a certain shape without any Chinese ink coating process. The drawings rely solely on the strength of the lines that affect the integrity of the work. The themes of his works have also changed, from wayang stories to the daily themes of rural communities. He became known as a neo-traditional painter because he portrayed the daily life of Balinese rural people in the contemporary era. He returns the power of Balinese painting to its core, namely, lines. At first glance, his drawings remind people of the works of I Gusti Nyoman Lempad.
The wholeness and strength of his work rests on the simplicity and sharpness of the lines. Using Chinese ink and a small bamboo brush, he draws the atmosphere of the market, the penggak stall, the tajen, the ceremony at the temple, the village youth playing the gamelan, the car with its cargo, the children with their games, folklore, the girl bathing in the river, and various activities. village life. The subject matter he works on is funny, naive, ridiculous, satire, full of irony and of course, refreshing.
His works have been exhibited singly or together in a number of galleries, including a solo exhibition at the Duta Fine Arts Gallery, Jakarta (1999), a joint exhibition “Mother Rupa Batuan” at Bentara Budaya Bali (2019). +
Dewa Putu Sahadewa was born in Denpasar on February 23 1969. Since his youth, he has been active in the areas of literature, journalism, and theatre. He was active in the Sanggar Minum Kopi and helped initiate the Jatijagat Kampung Puisi. The anthologies of this poems are 69 Puisi di Rumah Dedari (69 Poems at Dedari's House) (2015) and Penulis Mantra (The Mantra Writer) (2016). He currently lives in Kupang and works as an obstetrician. +
Artist and writer. Dewi Dian is founder of Sawidji Gallery & Co.
Dewi Dian Reich was born in Australia of mixed Indonesian and European parentage. Dewi has a deep love for Nature, art, history and the traditions in her Indonesian heritage. She has called Bali her home for nearly 20 years.
Dian is a graduate of the Australian National Art School in Fine Arts majoring in Photography and painting disciplines with emphasis on art history and theory. Undertook post graduate studies in Digital Media, Linguistics and Asian Studies.
Dian is focused on the ongoing development of Sawidji Gallery and studio. The economic changes brought about by the Covid Pandemic to Bali was a catalyst. There was already a need to reassess the conditions affecting the integrity of Fine Art in Bali. Which is never separate from the intricacies of the culture itself. Sawidji may explore these themes. However, it simply wishes to celebrate the talents, the community and the Nature that we are fortunate to be a part of. +
Dewi Pradewi (originally Ni Putu Dewi Ariantini) was born in Denpasar, Bali January 12th 1987. She is one of famous Bali Pop singer who started her career since 2000s. Her albums were "Bungan Tresna" (2001), “Muani Buaya” (2015), “Bermain Cantik” (2017, duet with Dek Arya). She is often invited to sing or become the master of ceremony (MC) in various grand events in Bali.
Her other activities are Assistant of PHRI Bali chairman and Yoga instructor. During her teenage years, she actively joined poem reading competition. She has contributed to musical poetry event. She was graduated from Cultural Studies, Post Graduate School of Udayana University with thesis entitled "Konstruksi Stigma pada Perempuan Bali Bertato di Kota Denpasar” (Stigma Construction on Tattooed Balinese Woman in Denpasar City). +
Dr. Dewi Susiloningtyas is a lecturer in the Department of Geography Faculty of Mathematics and Natural Science University of Indonesia. Her bachelor is in regional development planning from the University of Gajah Mada, where she also got her Masters from in environmental science study.
Dr. Susiloningtyas teaches various subjects namely Industrial Geography, Regional Asian Geography, Field Work research, and Sociology to name a few. In recent years, Dr. Susiloningtyas focuses on developing subjects that focus more on Student Center Learning. +
Beloved writer about Balinese culture and society who has published numerous essays in books and periodicals. +
Didon Kajeng (originally Dwi Ari Swandana) was born in Denpasar, March 5, 1976. Since childhood he has been active in various artistic activities, such as reading poetry, singing, playing drama/theatre. He often wins poetry reading competitions, singing, poetry musicals.
He is also good at flower arrangement and has published a flower arranging art book entitled “Bali Bloom, Inspirational Balinese Floral Art”. Around 2013 he lost his sight due to glaucoma. Later he had to undergo dialysis twice a week. But he never gave up on life. He can still act, for example, he appeared at Bentara Budaya Bali with the monologue “Orgil” in 2014, he read poetry at Graha Bhakti Budaya, Taman Ismail Marzuki, Jakarta, 2016. He fosters visually impaired children in Denpasar in art, theater , sing, write poetry. He is a teacher, friend, role model for blind children in Denpasar. Together with blind children he founded the Bali Lotus Art Community (Kostra). Didon died August 10, 2021. +
Born in Batubulan, Gianyar Bali, in 1978, based in Bali, contemporary Indonesian artist Dodit Artawan studied fine art at the Indonesian Art Institute Denpasar Bali. Dodit is an artist whose focus is on the breakaway from the dominance of traditional Balinese art on the contemporary art scene in order to seek new expressions for contemporary art in Bali. Dodit Artawan has been widely exhibited in numerous solo and group exhibitions in Indonesia, Singapore, Malaysia, Japan, Italy and the USA. Dodit won the prestigious Bronze Award at the IWS Malaysia 1st International Watercolour Biennale (KL) in 2018.
https://vingallery.com/Dodit-Artawan
https://www.nowbali.co.id/dodit-artawan-from-photorealism-to-pop-art/ +
Dr. Anak Agung Gde Alit Geria, M.Sc., was born in Br. Petak, Petak Kaja Village, Gianyar Bali, on April 21, 1963. He completed his undergraduate education (Balinese Language and Literature) at the Faculty of Letters at Udayana University (1987) and earned a Master of Cultural Studies at the Postgraduate Program at Udayana University (2004). In 2012, he earned a Doctorate in Linguistics with a Concentration of Literary Discourse at the Udayana University Postgraduate Program with the dissertation title "Shiva-Buddhist Discourse in Kakawin Nilacandra: Reception Analysis". He worked in the Manuscripts section of the National Library of Indonesia, Jakarta (1990-1996). In addition, he was an Extraordinary Lecturer at the Faculty of Letters, University of Indonesia Jakarta (1990-1996). In addition, the Bali Provincial Library was also the place where he served in 1997-2005. Since 2006, he has been a PNS Dpk Lecturer at the Faculty of Language and Arts Education, Indonesian and Regional Language Education Study Program, IKIP PGRI Bali, LLDIKTI Region VIII. He has researched a number of lontar manuscripts. Not only researching, he also cataloged, transliterated, and translated them. He has written several books. Among others, Geguritan Uwug Kengetan (2014), Musala Parwa (2015), Prastanika Parwa (2016), Bhomakawya (2017), Shiva-Buddhist Discourse in Kakawin Nilacandra (2018), Ala-ayuning Dina Mwah Sasih (2018), and Kakawin Nilacandra XX Century (2019). +
Drs. I Nyoman Aris is a writer from Banjar Kebayan, Tangeb Village, Abianbase Village, Mengwi District, Badung Regency. Drs. I Nyoman Aris was born on September 19, 1984. He is the son of the late. I Wayan Lanus and Alm. Ni Nyoman Namrug. His educational history is that he took the People's School (SR) in 1962, junior high school in 1965, KPG in 1978, PGSLP in 1980 and S1 majoring in Balinese Language and Literature in 1990. Drs. I Nyoman Aris is an educator at the Tangeb Carving Art Vocational School. In addition, he is also a farmer and often serves as a judge as well as a coach in the Utsawa Dharma Gita competition. He won many awards, one of which was the 1st place in Mekidung/Makakawin. His greatest work is Kidung Yadnya, other works such as the imba tembang (pupuh), the malajah makakawin guide, and the malajah makidung guide, complete with scales and notation, making it easier for us to learn makidung. +
Behind the beauty of a literary work, of course there is an author / writer who made it. A person who is able to produce literary works must have reasons and origins that make him successful in making literary works. It is possible, starting from a sense of awe, someone can produce an extraordinary literary work and attract many people.
One of the writers who succeeded in producing literary works that came from a sense of awe and interest in the world of literature, namely Drs. Wayan Wirata Strait. He was born in Badung, July 20, 1959. He is the son of Mr. I Ketut Ordin (late) and Mrs. Ni Nyoman Rajug (late). He has his address at Br. Umakepuh, Ds. Buduk, District. Mengwi, Kab. Badung. He currently serves as the Chairman of the Widya Sabha, Badung Regency. The awards he has ever won include: 1st prize winner of the Palawakya District Competition. Badung, 2nd Place in Palawakya Prov. Bali, Kerti Budaya Kab. Badung.
The literary works that he made include: Poems (Besakih, Kisi-Kisi Pasisi Seseh), Short Stories (Cetik Dadong Tanggu), Geguritan (Matatah, Melasti, Sri Tatwa). Of all his literary works, he is more interested in his Geguritan entitled Geguritan Melasti, because in his work he can give tattwa about melasti, pengrupukan/tawur agung, nyepi and ngembak geni. Then there is Geguritan Matatah which contains the meaning and philosophy of matatah/cutting teeth, and Geguritan Sri Tattwa which contains agriculture in the fields. He created literary works because of his own desire, who likes to study literature and wants to create literary works like his predecessors. +
Drs. Ida Bagus Ratu Sanca, M.Si is a Balinese writer from Karangasem. He was born on Friday Pon Julungwangi on April 4, 1952. He is the son of the late couple. Ida Pedanda Wayan Pidada and Ida Pedanda Istri Agung.
Here I will discuss his geguritan work which he composed himself entitled "Geguritan Gering Agung Pandemi Covid Sembilan Belas". The contents of this geguritan are about the current Covid-19 situation. Where did this covid come from and how to prevent it. This geguritan contains 4 types of pupuh, namely Pupuh Dandang Gula (2 baits), Pupuh Sinom (11 baits), Pupuh Ginada (11 baits) and Pupuh Durma (11 baits). +
'Music is making connection'
Duo Saraswati is a cello-piano duo consisting of brothers Jan and Kris van der Plas. Whilst they both grew up and had their education in The Netherlands, they make the connection between traditional Indonesian music and the classical
music from Europe through their Balinese background. They performed in the Concertgebouw during a live radio performance and in April 2023 they will go on tour to Indonesia and perform in Jakarta, Medan, Surabaya and Denpasar.
Equality through difference
In a world that tends to think more in contrasts, the duo embraces their differences because that is what defines them. The combination of two cultures is a way for them to bring people from various cultures together.
Indonesia and The Netherlands united
The repertoire of Duo Saraswati is varied and always tries to find connection between European and Indonesian music. Examples of this is gamelan music composed by Colin McPhee played on cello and piano, and bringing together songs of Mochtar Embut and the Sonata of Francis Poulenc.
Jan van der Plas (1997) was a guest player at the Amsterdam Sinfonietta and during his studies he performed multiple contemporary works. Young composers are eager to work together with Jan. He studied at the Conservatorium van Amsterdam with Gideon den Herder and Jelena Očić, with whom he graduated his master's in 2021. Jan plays a cello made in 1967, built by Jaap Bolink, made available by the National Instrument Fund.
Kris van der Plas (2002) is a young pianist with a strong motivation to make chamber music. In 2020 he was the first prizewinner of the regional final of the Princess Christina Concours in which he also became national finalist.
Kris is regularly asked to play by singers and instrumentalist because of his flexibility and broad knowledge of the repertoire.
Currently Kris is studying with Frank Peters at the Conservatorium van Amsterdam. +
E
Edward, or Eddy as he prefers to be called, is the Managing Editor of NOW! Bali and host of the NOW! Bali Podcast. He enjoys photography, rural travel and loves that his work introduces him to people from all walks of life. +
Elizabeth McLean Macy holds a PhD in Ethnomusicology from UCLA, an MA in Ethnomusicology from UC Riverside, and a BA in Music from Colorado College. Her dissertation research
addressed the function of music tourism in post-disaster economies; in particular, it focused on
the function of music tourism in the recovery and rebuilding of post-Katrina New Orleans and in
Bali, Indonesia after the 2002 and 2005 terrorist bombings. Dr. Macy's current and ongoing
research focuses on Balinese master musician I Made Lasmawan and his wife Ni Ketut Marni
and the music and dance traditions of the village of Bangah di Baturiti in Bali. Currently a
performing member and secretary of Denver's Gamelan Tunas Mekar (https://tunasmekar.org/), she began studying the music of Indonesia with Lasmawan in 1996.
She is a founding member of Sanggar Manik Galih (https://www.sanggarmanikgalih.org/), a
transnational music and dance studio based in Bali and Colorado, the founder and manager of
Gamelan Anak Manik Galih – the Denver Children’s Gamelan (https://www.sanggarmanikgalih.org/gamelan-anak-manik-galih-colorado), and teaches study
abroad courses in Bali on Balinese music, arts, and culture.
Dr. Macy has previously held positions at the University of Denver, Skidmore College, Colorado
College, UCLA, Chapman University and CalArts, and was the founder and director of Skidmore
College's Gamelan Banyu Wali (an extension of Sanggar Manik Galih). She has taught courses on
musics of the world, global pop, music of Southeast Asia, music and disaster, tourism, hip hop
and the blues, music, race, and class, and African American musical heritage.
In her current position as Assistant Professor of Ethnomusicology at Metropolitan State
University of Denver, Dr. Macy serves as Area Coordinator of Musicology and the department’s
Global Music Ensembles. In Summer 2020 she developed a Visiting Artist Series on Music, Race,
and Social Justice (https://msudenver.edu/music/events/mrsjvas/), which highlights the work
of BIPOC musicians, performers, and scholars. Dr. Macy teaches courses on music and culture,
global popular musics, and Black music in the United States.
Eric Buvelot is a senior reporter and writer residing in Bali since 1995. He started his career in France at the daily Libération where he stayed 10 years and learned the ropes of journalism. He has written hundreds of articles about Bali and Indonesia, in French or English, mostly for monthly Bali mag La Gazette de Bali, as chief editor for 13 years, but also for leading English speaking media outlets of Indonesia like The Jakarta Post, Indonesia Expat, Now Bali or the French language Le Banian. He launched the multilingual newspaper The Communities of Indonesia and the lifestyle magazine Saga. Besides Bali, 50 Years of Changes – A Conversation with Jean Couteau, he is also the author of the crime novel Bali Club Hotel, written in 1994-1995 and Murder in Uluwatu 2024. +
Om swastyastu, the jury that I respect and the Bahasabali wiki team that I am proud of. On this occasion, I will deliver an oration on "Tourist Ethics in Sacred Places in Bali".
Bali Island is the most popular tourist destination in Indonesia. Bali has very diverse tourist attractions, both natural tourism, cultural tourism and marine tourism. Bali and tourism cannot be separated. A tourist attraction that is no less interesting is the culture of the people. The life of the Balinese people is very closely related to the Hindu religion so that every religious ceremony is a very unique object. Temples are interesting places of worship for Hindus spread throughout Bali. Therefore, Bali also has the nickname Thousand Temple Island.
However, the beauty of tourist attractions in Bali is still often threatened, one of which is sacred places. The presence of foreign tourists visiting sacred places still has a negative influence on the island of Bali. The case that we often hear is that tourist etiquette is still lacking, both in terms of clothing and the morals of the tourists themselves. As happened at Pura Dalem Prajapati Banjar Dadakan, Kelaci Kelod Traditional Village, Abiantuwung Village, Kediri District, Tabanan Regency. The tourist climbed a sacred tree, it is suspected that the tourist did not know that this place was a sacred place.
This often happens, the causes are freedom of association and clothing in many tourist attractions, the need for commercial content and, ignorance of foreign tourists about sacred places in Bali. With this, we hope that Bali's leaders in 2024 will tighten the existing regulations in this place with efforts that can be taken, namely,
1. Form a community for tighter security at this place.
2. The management should provide information about the meaning of signs and holy places.
3. Give sanctions to visitors who prohibit these rules, both moral sanctions and social sanctions.
4. Tourists are expected to be accompanied by a tour guide who has a permit/license (understanding the natural conditions, customs, traditions and local wisdom of the Balinese people} when visiting tourist attractions.
That's all we can say, hopefully it will be useful, and this oration can be realized by Balinese leaders in 2024 so that sacred places in Bali are always maintained and preserved. Sorry if there are any wrong words, we thank you. Om Shanti, Shanti, Shanti Om.
Om swastyastu, the jury that I respect and the Bahasabali wiki team that I am proud of. On this occasion, I will deliver an oration on "Tourist Ethics in Sacred Places in Bali".
Bali Island is the most popular tourist destination in Indonesia. Bali has very diverse tourist attractions, both natural tourism, cultural tourism and marine tourism. Bali and tourism cannot be separated. A tourist attraction that is no less interesting is the culture of the people. The life of the Balinese people is very closely related to the Hindu religion so that every religious ceremony is a very unique object. Temples are interesting places of worship for Hindus spread throughout Bali. Therefore, Bali also has the nickname Thousand Temple Island.
However, the beauty of tourist attractions in Bali is still often threatened, one of which is sacred places. The presence of foreign tourists visiting sacred places still has a negative influence on the island of Bali. The case that we often hear is that tourist etiquette is still lacking, both in terms of clothing and the morals of the tourists themselves. As happened at Pura Dalem Prajapati Banjar Dadakan, Kelaci Kelod Traditional Village, Abiantuwung Village, Kediri District, Tabanan Regency. The tourist climbed a sacred tree, it is suspected that the tourist did not know that this place was a sacred place.
This often happens, the causes are freedom of association and clothing in many tourist attractions, the need for commercial content and, ignorance of foreign tourists about sacred places in Bali. With this, we hope that Bali's leaders in 2024 will tighten the existing regulations in this place with efforts that can be taken, namely,
1. Form a community for tighter security at this place.
2. The management should provide information about the meaning of signs and holy places.
3. Give sanctions to visitors who prohibit these rules, both moral sanctions and social sanctions.
4. Tourists are expected to be accompanied by a tour guide who has a permit/license (understanding the natural conditions, customs, traditions and local wisdom of the Balinese people} when visiting tourist attractions.
That's all we can say, hopefully it will be useful, and this oration can be realized by Balinese leaders in 2024 so that sacred places in Bali are always maintained and preserved. Sorry if there are any wrong words, we thank you. Om Shanti, Shanti, Shanti Om.
F
Om Swastiastu
Praise and gratitude to Ida Sang Hyang Widhi Wasa who has bestowed the blessing of health to all of us. Today, with great pride, I would like to discuss a phenomenon that is increasingly prevalent in Indonesia, namely the use of electric vehicles. This phenomenon is not just a change in trend, but also reflects our concern for the environment, especially in addressing the problem of air pollution.
As the country with the worst air quality in Southeast Asia, the decision to use electric vehicles is a wise step to reduce emissions, carbon footprint, and face the challenges of climate change. However, while we support this positive initiative, we need to face the reality that its implementation is not yet optimal. Given that Indonesia still relies on coal and natural gas for power generation, and the mining of raw materials such as lithium, nickel, and cobalt also has environmental consequences if not properly regulated. In addition, the limited lifetime of batteries, around 10-20 years, poses a potential risk of battery waste accumulation in the absence of adequate waste management facilities.
Therefore, I encourage the government to improve electric vehicle charging infrastructure, address the potential risk of battery waste accumulation, and find alternative solutions to environmentally friendly batteries. We recognize that the development of this technology needs greater support to become an effective solution in reducing air pollution in Indonesia.
Therefore, let us together encourage the government to accelerate the development of charging infrastructure, provide solutions and proper handling for the worst risks of using electric motors, and offer further support for the adoption of electric vehicles. Thus, we can move towards a cleaner, healthier, and more sustainable Indonesia.
Thank you.
Om Shanti Shanti Shanti Om +
.Rhamadani completed her undergraduate studies in the Travel Industry study program, Faculty of Tourism, Udayana University. Currently, Rhamadani works as a marketer at a tourism services company in line with her previous experience. +
Frans Nadjira was born in Makassar, South Sulawesi, September 3, 1942. Since 1974 he has lived in Bali. He is known as a writer. In 1979 he joined the International Writing Program creative writing program at the University of Iowa, Iowa, USA. He studied fine art at the Indonesian Painting Academy (ASLI), Makassar. When he paints, he chooses and uses the automatic painting method (psychography) which he has been working on until now. Rhythm, motion, composition, and color become the spirit in his works.
In the field of literature, in particular, he galvanizes prospective poets in Bali who are learning to write poetry. His writings have been published in various local and national media as as well as abroad, including the Bali Post, CAK, Kalam, Horison, Kompas, Koran Tempo, Media Indonesia. His work also appears in the anthology Blue Sky Blue Sea, ASEAN Poetry, Spirit That Moves Us (USA), On Foreign Shores, When Kata When Colors, Ginseng Tea, A Bonsai's Morning.
His literary works include Window (Kumpulan Poetry, 1980), Conversation Under the Fallen Leaves (Kumpulan Short Story, 1981), Mata Air Mata Air (Kumpulan Poetry, 1998), Curriculum Vitae (Kumpulan Poetry, 2007 ), The Fireflies Tree (Short Story Collection, 2010), Notes on Wet Paper (Poetry Collection, 2015), Lara's Family (Novel, 2016), Traces of Dreams (Novel, 2016), Hug Me (Poetry Collection, 2017) . +
Many decades Eiseman Jr. spend in his second home Bali, but his stunning biography shows a curious explorer far beyond Bali.
Born in Mark Twains Missouri 1926, nature and indigenous culture soon became his passion. 11 years old he visited the Great Canyon the first time in 1937. At the age of 12 he joined Prairie Trek Expeditions in the South West in his summer school holidays.
In war time he completed his studies and became a highly acclaimed teacher in the 50s, teaching Earth science, chemistry, and physics, publishing on these topics and receiving a a nation-wide teacher award 1959. In school holidays he would continue to explore the Grand Canyon, becoming an experienced river guide and a good friend of Hopi and Navajo Indians.
In the 70s he came to Bali his first time, to stay here almost the rest of his life.
Fred Eiseman Jr. died April 6, 2013 in Arizona, his ashes have been returned to Bali. +
Frits Henskes was born on 10 July 1947 to an Indonesian mother and Dutch father in Batavia – the name before 1950 of the current-day capital of Indonesia Jakarta. He later attended and graduated from the Hogere Handels School in Amsterdam.
Henskes was known among his many friends and admirers in Bali for his role as manager of many years of the Ayung Resort in Payangan, North Ubud. He served as a hotel and resort consultant for Spectrum Bali (PT Cipta Harapan) and as a Vice-President for Development for PT Wisma Kartika.
Dedicated to hospitality and culinary excellence, a fact reflected in the outstanding cuisine he pioneered at The Ayung Resort, Frits also served for a period at the “Balii” for the Bali Chapter of the La Chaine des Rotisseurs.
Please see whole obit in Bali Discovery, Dec 29, 2021: https://balidiscovery.com/rip-frits-henskes-1947-2021/?fbclid=IwAR0GN5eNyvewSjdyxfymwxuptE8JzhpmVXahnSY-ueW-lFR2cirWPtHfpic +
G
Gede Ngurah Surya Hadinata is the chairman of the Indonesian Philatelist Association for the Regional Board of Bali as well as a member of the Indonesian Philatelist Association Center. He has been active for more than twenty years in the world of stamps. Apart from being one of the foremost philatelists in Bali, he also founded a vocational high school in his hometown of Nusa Lembongan. He is also active as a Scout coach which he has been practicing since he was a child.
Pak Surya, or Kak Surya, as he is familiarly known in the world of scouting, regularly organizes philatelic exhibitions on a local, regional, national and international scale. +
Garrett Kam received his bachelor and master degrees from the University of Hawaii. He has been living in Bali since 1987 and became a ritual assistant in 1990 at Pura Samuan Tiga (Temple of the Tripartite Meeting), one of Bali’s most important temples, the first and only foreigner allowed to do so. In addition to blessing worshipers and bearing sacred objects, Garrett also helps in the preparation of offerings. As a Fulbright grantee, he researched Balinese temporary art, especially objects burned for cremations. Garrett has given many lecture demonstrations and dance performances throughout Southeast and East Asia and the USA, and is the author of “Ramayana in the Arts of Asia” as well as many books and essays on Balinese and Indonesian art for exhibitions that he curated. +
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 +
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
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). +
"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. +
Dynastic politics is political power exercised by a group of people who are related by family ties (MK 10 July 2015). This is also a threat for us as a democratic nation to maintain the ideals of reform in 1998, with the issue of dynastic politics carried out by the 7th president of the Republic of Indonesia, namely Mr. Ir. Joko Widodo, who made his son a candidate for vice president and also chairman of a political party in Indonesia, is the basis for the issue that emerged in the form of the political dynasty he built. not to mention the marriage between Jokowi's younger brother and the MK's curtness that has created public perception regarding Jokowi's dynastic politics.
The policy made by the Constitutional Court regarding the age limit for presidential and vice presidential candidates has become an issue that strengthens the issue of dynastic politics. Jokowi's appointment of Prabowo as defense minister was also beneficial for him (trempo magazine). This issue continues to be a hot topic during this political year. Defending the constitution to overcome the threat of dynastic politics is very important, especially under the supervision of the KPU, so for the sustainability of democracy it is very important that we implement democracy with true democracy. +
Gus Dark is a cartoonist born in Karangasem, Bali, July 21, 1982. He studied graphic arts at the School of Modern Design, Yogyakarta. The cartoon character was named “Mang Ogel” by an editor and published in a periodical newspaper. In 2013, Gus Dark was awarded the Superstar Supporter Award by the ROLE Foundation. In 2014 he joined the Jokowi Volunteer movement by sending his art to "Kolak Kotak". He exhibited his cartoons in the exhibition of the Caring for Waste Cartoon Exhibition Volume II in Singaraja; “Show Off” in the Surabaya Cartoon exhibition with the Indonesian Cartoon Community. +
Gusti Agung Bagus Ari Maruta, a third-generation Ubud painter. Born in 1991 near the Ubud market, Bagus was raised in a family of artists. His uncle was an undagi, a traditional sculptor and architect responsible for creating ceremonial artefacts and objects. His extended family boasts well-known painters. They have excelled in the highly technical landscape style accredited to the famous, pioneering German expatriate Walter Spies (1895-1942). In addition, Bagus’ grandfather, Gusti Agung Purga, has the distinction of one of his pictures within the collection of the Tropenmuseum in the Netherlands.
In 2009, Bagus moved to Java to study at the Indonesian Art Institute (ISI), Yogyakarta. From 2009 to 2014, he pursued the Bachelor of Fine Arts and the post-graduate program from 2014 to 2016. Bagus was awarded ‘Best Painting of 2009’ from the Fine Arts faculty at ISI. The university city was bustling with students from across the archipelago, an intersection of Indonesian youth culture. As a fledgling painter thirsty for knowledge and experience, it was exciting to be in Yogyakarta. However, Bagus’ challenge was to break from his cultural programming of collective artistic identity and discover a creative voice distinguishing him within his family and community.
Bagus was first exhibited in 2007 in Museum Puri Lukisan, Ubud and since has participated in numerous group shows in Yogyakarta, Surabaya, Jakarta and South Korea. In 2019 he was selected to show in the UOB Painting of the Year exhibition at Museum Nasional, Jakarta.
by Richard Horstman. +
H
Om Swastyastu, Namo Budaya, Om Awighnam Astu Namo Sidham.
Bali Island is an island that already has many natural resources. These natural resources attract tourists to come to Bali. The island of Bali is well known abroad. The island of Bali which is growing in tourism is what causes many investors to build buildings in Bali. Different from before, the island of Bali has many rice fields and plants, as well as clear water that makes the mind drift away. In the past, Balinese people easily got agricultural products such as chilies, vegetables and others.
After the rice fields in Bali were converted into buildings, little land was used as a place to grow these plants. This is because the prices of our basic necessities in Bali are increasing. If we remember, we should be in Bali who bring in a lot of guests, making Bali Island an island that has high regional income. However, we have all felt that now the prices of basic necessities in Bali are increasing. Natural resources in Bali are increasingly scarce, rice fields in Bali are increasingly depleted. Who can be blamed if it's like this? Not just natural resources, but technological developments that increasingly want to make us spoiled or dependent on technology. Different from before, Balinese people at home each have rice fields that can be used to grow plants that are useful for the Balinese people, such as chili plants, banana trees, tomato plants, vegetables and others. Now, are there any of you who plant these plants? Does anyone still have rice fields?
Now in Bali, many people have houses that have been influenced by foreign culture. This is because few have rice fields or plants that can be used for basic needs or coral reefs. If it is related to the increase in prices of basic commodities in Bali, it is appropriate that the Kitri coral can restore the fulfillment of our basic needs in our respective homes. If every yard or yard in Bali had coral reefs, basic prices on the market would definitely not increase because there would be no shortage of basic necessities. This Kitri coral can be included in traditional village regulations so that the community can all develop Kitri coral in their own homes and in traditional villages make sekeha which are taken by each family head in each coral to get information about the Kitri coral and Kitri coral in their respective homes. Each can be sold at the Pekraman village level. Immediately, it became a Ratribraskita movement which means Digital Based Kitri Coral, which has the aim of preserving Kitri Coral even when they become extinct and bringing greenery to the household.
Hopefully this RATRIBRASKITA program can provide good benefits.
I apologize if there are any shortcomings, I will close with Parama Santih.
Om Santih, Santih, Santih Om
Om Swastyastu,
My deepest respect to all the judges.
My respects to the BASAbali Wiki team
My respects to all participants of the Public Participation Wikithon,
Allow me to speak a little on the issue of indigenous peoples’ rights. My name is I Komang Sapa. I am from the lava world of Karangasem, I live on the slopes of Bali’s most majestic Mount Agung, in Jungutan Village.
As Indonesian citizens, indigenous peoples should have equal rights in terms of land ownership, economic activities, as well as social rights. However, the Job Creation Law (Undang-Undang Cipta Kerja), especially the article on investment ownership as a step to opening new jobs, could backfire on the rights of indigenous peoples or people living in villages.
The Indigenous Peoples Alliance of the Archipelago (AMAN) believes that the Job Creation Law (Undang-Undang Cipta Kerja) can pave the way for investors who will run their businesses and process natural resources. However, it will be a problem that can make the people in the village lose. Because people in indigenous villages still make a living through customary land, forests, rice fields and others. Not only is it used as a place to make a living, there are also those who live, make pindik (a local dish), or use the land as a place to build a house. What’s more, since the process of creating the Job Creation Bill started, indigenous peoples have not been included in discussions, even though the people in the village are the most affected.
Well, people, because there are different interests here, between indigenous peoples and investors, the government faces a dilemma, when passing this Indigenous Peoples Bill. For example, in the case of the Natural Tourism Park (TWA) in Batur, Kintamani, Bangli, there are still parties from the indigenous community or in the village who feel disadvantaged by the arrival of investors.
Ladies and gentlemen, why do we have to speak out about this situation? It is because, as the next generation of the nation, we must participate in preserving the culture, cultural values that have long been the identity of the nation. Especially in the current times, it is very important that we participate and agree in preserving traditional values. This is not just about preserving our traditional heritage, but also about educating our character and morals as human beings who are easily exposed to foreign influences. Also, we must strengthen adat (indigenous laws), recognize the rights of these indigenous peoples, protect, respect and fulfill their human rights.
My hope is for prospective leaders to solve this problem quickly through policies that really make the Indigenous Village sustainable even though there are investors who come in to participate in developing the area so that it becomes stronger. Likewise, the government must come to the Indigenous Village, discuss with the community there before issuing permits, let alone policies.
Okay, that’s all I can say to all of you. If there are any mistakes in my speech, please forgive me. In closing, I end with parama santhi.
Om Santih, Santih, Santih, Om.
Hanalei Swan is a 15-year-old fashion designer, artist, speaker, and author. She leads by example – her goal is to inspire the next generation of conscious leaders.
HANALEI, it’s been a minute since we last spoke, can you tell us what you’ve been up to in the last couple of years?
I’ve taken a step back these last few years to really focus on what drives me creatively. Since we last spoke I feel like I’ve been through a huge reset, and this has allowed me to explore different passions including writing, which in turn has opened me up to new opportunities. I recently had the pleasure of being an author in the New York Times best-selling book Women Gone Wild!. I have also continued designing clothes, making artwork, writing, speaking and finding new ways to tell my story.
You were barely a teenager in Bali when we first caught up. How have your views changed since then?
I don’t think my views have changed necessarily; I just think they have been reinforced. I’m still focussed on creating sustainable fashion and educating other kids about making conscious decisions when buying clothing. I stand strong on sustainable fashion versus fast fashion, and it remains my mission to educate young consumers and set an example for other brands to start taking action on our problems in the fashion industry.
What projects are you involved in now, and what drives those projects?
These last few years have been very exciting. I’ve already mentioned the Women Gone Wild! book series, with its mission to inspire women around the world to take action on what they love. I’ve also been involved with the Shima Swan Surfboard Project, in partnership with We Are Mother Earth. This project is a symbolic gift for ocean health and takes a stand against the plans made by the company TEPCO to dump over 100 million tons of radioactive wastewater into the Pacific Ocean as early as next year, which will affect our environment, as well as food supply chain to a dramatic extent. I’m also happy to announce I’ve been working on a new collection for my eco-friendly fashion company, HS Styles, which takes huge inspiration from my love for the ocean and surfing. I look forward to sharing more on this in the future.
What are the biggest threats facing us in the world today, and how do you think they affect you?
Globally, the fashion industry is the second most polluting industry in the world after oil and gas. It’s responsible for 1.2 billion tonnes of greenhouse gas emissions annually. This blows my mind. It takes over 750 gallons of water to produce a single cotton T-shirt, not to mention that 20% of global wastewater comes from textile dyeing, because the bulk of the production is in countries with little or no regulation, so the wastewater often finds its way to rivers and seas where it can wreak havoc.
I never thought that deeply about fashion’s effect on our planet before I learned about this. So, when I started my fashion brand at 11 years old, I knew I didn’t want to contribute to any further destruction. I knew I had to do it differently, which brought me to slow fashion. I only use suitable materials like bamboo, which takes roughly one percent of the water otherwise needed to make a t-shirt. I also committed to giving back, so this is where HS Styles began.
In today’s social media landscape, are we all guilty of putting self-promotion before these causes?
Yes, everyone is, but that’s okay. We don’t always have to focus on the negative things on our planet, but I do believe these topics should be talked about so we can inspire other people to use their voices to uplift causes they care about. It’s important that everyone recognises that they have a voice – the more we talk about sustainability, for instance, the more we can educate and effect change. If that means promoting yourself and your business as well, then so be it. The point is the whole platform gets larger, and this always translates into greater awareness for others to follow.
How can we do our part?
There are three simple ways you can help. Through your time, your money, and or sharing your voice. Using your time could mean volunteering at an organisation that is already working towards making change, finding ways you can support others. Using your money could mean donating to certain charities/organisations, being more conscious with your spending by limiting your purchases and consumption, changing your buying habits by shopping at more sustainable brands, or even buying second-hand/vintage clothing to give them a chance not to not end up in landfill. You can also use your voice – talking about problems you care about is one of the most powerful tools you have, whether through open conversations or social media. If we each make a small change, we can create a bigger impact. The more we educate, the more we can inspire people to start thinking and buying consciously.
Do you think it is possible to affect future outcomes, and how would you do that? Yes, I believe we are able to affect future outcomes, but I don’t believe I can change the world on my own. We are the change we wish to see in the world, and I believe by standing together to fight against fast fashion and other habits that contribute to the destruction of our planet we can make a difference. I hope by inspiring others I can create a butterfly or ripple effect that will lead to sustainable change, and I hope my company HS Styles can set an example to inspire other brands.
How do you see yourself in 20 years’ time?
I haven’t thought that far into my future to be honest, so I genuinely don’t know where I want to end up, but I certainly know I don’t want to put myself in a box. I want to stay open to new possibilities and opportunities that may come my way. Over time I know my interests and thoughts will change and I am open to that.
Where are we heading as a race in your generation?
Our future is not bright, especially when you look at the rapid speed of climate change and the continuation of fast fashion practices by huge corporations. It’s obvious we are slowly destroying our only planet, and I am scared for our future generations.
Do you still have hope?
Yes, but only if we start taking action right now. We need to find solutions for the problems we already have instead of continuing to create others. I believe it is the responsibility of big companies to take into account how they are affecting the earth. It needs to be our mission to make our voices heard and to stand for what we care about.
IG: @HanaleiSwan
FB: Hanalei Swan-HS Styles
www.hanaleiswan.com
www.wgwbook.com
This year, the prices of basic necessities are rising, and there are no signs of them returning to normal or decreasing from their usual prices. Is it due to many crop failures in the current season causing the prices to skyrocket? Or is it because fertilizer prices are rising?
If indeed there are crop failures and rising fertilizer prices, I would like the local government to take immediate action to address the increasing prices of basic necessities. This could include subsidizing fertilizers and encouraging farmers and the community to utilize small plots for farming using hydroponic methods.
The implementation of a hydroponic farming program by the local government would assist the entire community in Karangasem and beyond, possibly throughout Indonesia, in addressing the ongoing rise in basic necessities prices.
Hydroponic farming does not require significant costs or extensive land; it only requires consistency in creating the necessary tools. The tools needed don't have to be new; recycled items like unused but still functional pipes and buckets or old paint cans can be utilized.
Therefore, I hope the implementation of a program like this can address the rising prices of basic necessities. This program could also contribute to reducing poverty rates in Karangasem and its surrounding areas. +
Associate Professor Helen Creese's research interests include Balinese textual and literary traditions, Balinese history and historiography and gender. Her research spans historical and contemporary periods. It draws extensively on indigenous textual traditions written in Indonesian, Balinese, Old Javanese as well as colonial sources in Dutch and French. Her publications include translations of both classical and modern texts.
She is the author of Bali in the Early Nineteenth Century: The Ethnographic Accounts of Pierre Dubois (2016); Women of the Kakawin World: Marriage and Sexuality in the Indic Courts of Java and Bali (2004); Guide and Index to the Hooykaas-Ketut Sangka Balinese Manuscript Collection in the Australian National University Library (2004); and Parthayana: The Journeying of Partha. An Eighteenth-Century Balinese Kakawin (1998). She has co-edited 'The Stigmatisation of Widows and Divorcees (janda) in Indonesian Society,' Special Issue of Indonesia and the Malay World (with Lyn Parker, 2016); From Langka Eastwards: The Ramayana in the Literature and Visual Arts of Indonesia (with Andrea Acri and Arlo Griffiths, 2011); 'Gender, Text, Performance and Agency in Asian Cultural Contexts,' Special Issue of Intersections: Gender and Sexuality in Asia and the Pacific (with Rosie Roberts, 2008); Seabad Puputan Bali: Perspektif Belanda dan Bali (with Henk Schulte Nordholt and Darma Putra 2006); and 'Old Javanese Texts and Culture,' Special Issue of Bijdragen tot de Taal , Land- en Volkenkunde (with Willem Van der Molen, 2001).
Her current research projects include an investigation into textual traditions, identity and cultural production in contemporary Bali, a literary history of Bali, and a number of projects on precolonial Balinese history.
She was elected as a Fellow of the Academy of Humanities of Australia in 2007. She serves on an number of editorial advisory boards including the Southeast Asian Publications Series of the Asian Studies Association of Australia, Asian Studies Review, Intersections: Gender and Sexuality in Asia and the Pacific and Indonesia and the Malay World.
Helmi Y. Haska, born in Bandung, grew up in the cultural landscape of a Minangkabau family. From an early age he wrote poetry in the Daily Spirit, Padang (1982). When he migrated to Bali in 1989, he wrote frequently in the Sunday Bali Post. His poems have been collected in poetry anthologies, including Bali The After Morning (1997), Dendang Sanur Nyiur Sanur (2015), Cumi-Cumi (2017). In addition, wrote a book review Bob Marley, Rasta, Reggae, Revolution (2007). Now living in Talbingo, Snowy Mountains, NSW, Australia. Active in the Talbingo Bush Poets Club community. +
"Hildred was born in Queens, New York on February 12, 1927 and reared there and in Teaneck, New Jersey. A graduate of Antioch College, she received her Ph.D. from Radcliffe College in 1956. Her first book, The Javanese Family (Free Press of Glencoe, Inc.), was published in 1961. After her initial fieldwork in Java, she taught at The University of Chicago from 1960 to 1970 before coming to Princeton University in 1970. At Princeton, Hildred taught courses on the history of anthropological theory, the anthropological study of life stories, the anthropology of art, and the ethnographer’s craft.
In 1972, Hildred became the first chairperson of the Department of Anthropology at Princeton University, and thus the first woman chair of a department at Princeton, a position in which she served for many years. She was named Professor Emeritus in 1998.
Hildred did extensive fieldwork in Morocco, and in Java and Bali, Indonesia and returned to Indonesia repeatedly during her career to conduct the research which helped fuel her extensive list of publications. She completed more than two years of fieldwork research in the village of Batuan on the island of Bali. Working in the same village that was studied in the 1930s by Margaret Mead and Gregory Bateson, she focused on the interconnections between different Balinese art forms and how and why such forms have changed through time. She investigated the effects of economic development and tourism on Balinese artistic endeavor.
The first book from the research in Batuan, Images of Power: Balinese Paintings Made for Gregory Bateson and Margaret Mead, was published in January 1995 (University of Hawaii Press). In 2004,The Life of a Balinese Temple: Artistry, Imagination, and History in a Peasant Village was also published by the University of Hawaii Press. Among her other works, Professor Geertz is co-author with her former husband Clifford Geertz of Kinship in Bali (University of Chicago Press, 1975), and co-author with Clifford Geertz and Lawrence Rosen of Meaning and Order in Moroccan Society (Cambridge University Press, 1979). Most recently, in 2017, at the age of 90, her book, Storytelling in Bali, was published by the Dutch publishing house Brill."
Please see comments from our What's Up feature:
https://dictionary.basabali.org/Question_How_can_the_government_best_promote_literacy_in_Bali%3F +
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I
Born to a family of artists in Pengosekan village in Bali, Dewa Ketut Alit was immersed in Balinese gamelan from early childhood. His father Dewa Nyoman Sura and his oldest brother Dewa Putu Berata were the most influential teachers in his life. He began performing at age 11, and by age 13 was playing ugal (the leading instrument) in his village’s adult group, Tunas Mekar Pengosekan. 1988-1995 he played in the internationally acclaimed Gamelan Semara Ratih of Ubud village, touring internationally.
In 1997, a year before graduating from Academy of Indonesian Performing Arts in Denpasar (STSI Denpasar), Dewa Alit and his brothers founded Çudamani which immediately acknowledged as one of the best gamelan groups and went on their own international tours.
Seeking a wider path for expressing his approach to new music in gamalen, Dewa Alit founded his own gamelan group in 2007, Gamelan Salukat, performing on a new set of instruments of Alit’s own tuning and design.
As a composer, Dewa Alit is generally acknowledged as the leading figure of his generation in Bali. His “Geregel” (2000) was influential both in Bali and abroad, and was the subject of a 50 page analysis in the “Perspectives on New Music”. One of his compositions written for a Boston-base gamelan group Galak Tika, “Semara Wisaya” was performed at New York Carnegie in 2004 and another composition “Pelog Slendro” appeared at Bang on a Can Marathon in June 2006.
The list of his compositions for non-gamelan ensembles includes music for MIT's Gamelan Electrika, Talujon Percussion (USA) and Ensemble Modern (Frankfurt, Germany).
As a collaborator, Dewa Alit has worked with musicians and dancers from around the world. These include a contemporary theater production Theatre Annees Folles (director: Alicia Arata Kitamura, Tokyo), a butoh dancer Ko Murobushi, contemporary dancers Min Tanaka and Kaiji Moriyama, and Noh master Reijiro Tsumura. +
Mr. I Dewa Made Ariawan, S.Ag., M.Pd.H and Mr. I Nengah Asrama Million Nobles, S.Ag., M.Fil.H are the masters of the geguritan Catur Bhujangga Bali Mula. Mr. I Dewa Made Ariawan, S. Ag., M.Pd. H or Pak Dewa Mangku Dalang was born in Serai Hamlet, Penglumbaran Village, Kec. Shrink, Bangli Regency, on August 6, 1986 from the couple I Dewa Nyoman Reka & Jro Nyoman Munet. His daily life is an education staff in the Department of Education, Youth and Sports, Bangli Regency, but in between his busy life outside the father of Dewa Ariawan, he is still active in the field of art, namely Dalang. He also won 2nd place in the Utsawa Dharma Githa adult marriage competition in 2017 in Palembang and 1st place in the adult marriage competition in Bali in 2016.
Mr. I Nengah Asrama Juta Ningrat, S.Ag., M.Fil.H is an art actor who is still active in compiling books, many books have been produced. He has also won the achievement of becoming the 1st Winner of an outstanding Hindu Religion Teacher at the Provincial level in 2015. Mr. Million Nobles was born in a clerical environment on the north slope of Mount Batur, Songan A, Kec. Kintamani, Bangli Regency, on June 15, 1980 from the couple Jro Gincang & Jro Suwiti. Apart from compiling books, his daily life is as a teaching staff in the Ministry of Religion of Bangli Regency from 2014 until now.
Broadly speaking, this Bhujangga Bali Mula Catur geguritan contains the origin of the Bhujangga Bali Mula breed, precisely the Kayu Selem people in the Hyang Gwa Song tampur. It is hoped that the residents of Kayu Selem who are in Bali and outside Bali should continue to remember their ancestors as guides in carrying out their lives as damuh warih Ida Mpun Semeru. +
One of the Balinese writers who came from Bangli, namely in Guliang Kangin - Taman Bali, was I Dewa Ngakan Gede Keramas. Has given birth to a gaguritan literary work entitled TIRTHA HARUM in 2000. In gaguritan Tirtha Harum uses several pupuh including, Pupuh Sinom, Pupuh Durma, Pupuh Ginada, Pupuh Kumambang. And in it tells or tells how the naming of Tirtha Harum and the initial milestones of the Taman Bali kingdom. +
Born and raised in the village of Pengosekan, son of a great drummer, Berata was immersed in Balinese performing arts from birth. His creative talents, teaching capabilities and leadership qualities make him a noted figure in the Balinese music world. He is renowned for his compositional skills in both traditional and innovative styles and a rare ability to communicate a diverse knowledge of Balinese arts to both Balinese and international artists. He is the founder and director of Çudamani, and has lead Çudamani, on tours to venues including a nine-city tour with Arts Midwest 2012-13, Jazz at Lincoln Center (NY), the World Festival of Sacred Music-(LA), the Cultural Olympiad (Greece), EXPO (Japan) and the Tong Tong Festival (Holland) among others. As a result of Berata’s vision and commitment, Çudamani, has become an important artistic center in Bali, endeavoring to study and preserve rare classic forms of Balinese arts and also provide a space that nurtures the creative energies of young artists in Bali. Frequently he serves a the Music Director for the USA Bay Area based Gamelan Sekar Jaya. He is a graduate of STSI, Denpasar (Bali’s National Academy of the Arts). +
Dewa Putu Mokoh was the first of six children. He was born in Pengosekan, Ubud in 1936. His father, Dewa Rai Batuan, was an undagi (traditional Balinese architect) and famous gamelan musician. His mother, Gusti Niang Rai, was an expert in making lamak (decoration for offerings). Mokoh only had three years of education at the People's School (SR), equivalent to elementary school.
Mokoh began to study drawing when he was about 15. However, his desire to become a painter had troubled his heart since childhood. Unfortunately, his father strongly opposed his desire to become a painter and rather wanted him to work in the fields, husbanding ducks and cows. For his father, painting was just a waste of time and didn’t generate any income.
However the teenage Mokoh had plenty of initiative. Though he was busy working in the rice fields, he often managed to find time to play at the home of his uncles, I Gusti Ketut Kobot and I Gusti Made Baret. He loved watching and admiring them while they were painting and he also learned a lot of traditional art techniques from them: such as sketching, colour blocking, shading, highlighting, and gradation.*
Mokoh later met Rudolf Bonnet (1895-1978), a Dutch painter who had lived in Ubud since 1929. Bonnet was one of the initiators and founders of Pita Maha (1936) and the Ubud Painters’ Group (1951). Mokoh was keen to show Bonnet the drawings and paintings that he had learned to create from his uncles.
Bonnet taught Mokoh the principles of modern painting. These included techniques for color recognition, mixing colors, composition, discovering one’s own creativity, as well the principle of freedom in painting. Bonnet always suggested that Mokoh search for his own creativity rather than follow in the footsteps of Kobot and Beret who focused on traditional themes.
As a result of this contact with Bonnet, Mokoh experienced enlightenment. His confidence grew. He began to realize that good paintings did not have to have Ramayana and Mahabarata themes with complicated compositions filling the image area. Mokoh felt that the purpose of such paintings was to disguise the lack of ability of the painter to work on images.
For Mokoh, good paintings can also be based on objects around the painter, or created based on fantasy and imagination, with simple coloring techniques and image processing. A painter must dare to paint with different styles and objects, must dare to explore new possibilities.
Over time, the themes of Mokoh’s paintings became quite diverse. He painted about everyday life, flora and fauna, folklore, the world of children, fantasy, erotica, or simple things that attracted his attention.
In the context of art in Bali, Mokoh is an anomaly. By studying with Kobot and Baret, he was born into the realm of traditional painting. However, the advice of Bonnet and his friendship with Mondo opened his horizons to further develop himself in the thinking of modern art.
Personal character is very strong in Mokoh's paintings which are often considered eccentric. He was not interested in painting the decorative things that usually appeared in traditional painting. However, with gentle strokes, he swooped straight onto on the subject matter that he portrayed through humorous, innocent, and often surprising narratives.
Mokoh has broken through the Pengosekan or traditional style of painting that tends to be static and patterned. Using this ability with traditional painting techniques, he processed ideas and themes that were modern or even contemporary on his canvases. However, frequently there are no traces of traditional painting techniques to be found in his paintings. Mokoh is an innovator, a reformer, as well as a breaker of Pengosekan's style of painting.
In addition to domestic exhibitions, Mokoh's paintings have appeared in many joint exhibitions abroad, including America, Australia, Denmark, Finland, the Netherlands, Germany, Italy, Venice. In 1995, Mokoh’s paintings were exhibited at a solo exhibition at Fukoaka Art Museum, Japan.
* The original Balinese terms are: nyeket, ngabur, ngasir, nyigar, ngontur.
I. G. W. Murjana Yasa, is an Associate Professor in the Doctoral Study Program in Economics, Faculty of Economics and Business, Udayana University, Denpasar-Bali. His reasearch is on the creative economy and agriculture, as well as small and medium industries in Bali. +
I Gde Agus Darma Putra, born in Central Strait, Bangli, Bali, August 2, 1991. He completed his undergraduate and postgraduate education at the Denpasar State Hindu Dharma Institute. Has worked as a teacher and lecturer. He is actively involved in the IBM Dharma Palguna Foundation which is engaged in the maintenance, translation, and research of Old Javanese, Balinese, and Lombok literature. He is also active in Bangli Sastra Komala which is engaged in modern Balinese literature. His writings are in the form of poetry, essays, articles published in several mass media, such as atkala.co, Bali Post, etc. A poem of his is also summarized in the anthology “Tutur Batur” (2019). +
Head of the expert team of BASAbali Wiki, Head of the Balinese Governor's Language Board, and Vice Dean at Udayana University +
Name : I Gede Anom Ranuara, S.Pd., S.Sn., M.Sc., M.Ag.
Birthday : September 7, 1968
Occupation: Artist
Status : Married +
I Gede Ari Astina alias Jerinx is a musician and activist related to social and environmental issues. He was born in Kuta, February 10, 1977. He is the drummer for the music group "Superman is Dead" (SID) which was founded in 1995. This rock band has released seven albums, including "Angels and the Outsiders" (2010) which made SID invited to the “Warped Tour Festival” to hold concerts in several cities in the United States. SID is the only Indonesian band and the second band in Asia to have performed at the festival. Popular songs from SID include “Sunset in the Land of Anarchy” (2013), “Be a Legend” (2013). Not only active in the world of music, Jerinx also only pays attention to environmental and social issues. In 2015, he visited President Jokowi to explain about the reclamation policy in Tanjung Benoa, Bali. In addition, Jerinx is also a successful entrepreneur and brand ambassador of several streetwear brands. +
I Gede Aries Pidrawan is a teacher and writer born in Pidpid, Karangasem, April 2, 1987. He is a teacher at SMA PGRI 1 Amlapura. He wrote literature in Balinese and Indonesian. His published books are "The Guru" (a collection of joint works published in 2020), "Nyujuh Langit Duur Bukit" (joint work, Expression Library, 2019), "Women Worshiping Stone" (short anthology, Mahima, 2019), " Caterpillars in Mother's Womb” (short anthology, Mahima, 2019), “Gerubug” (children's story, Bali Language Center, 2018), “Bidadari Telaga Emas” (children's story, Balinese Language Center, 2017). He also often wins literary writing competitions. +
I Gede Robi Supriyanto is a musician and singer born in Palu, Central Sulawesi, April 7, 1979. He is one of the founders of the band Navicula. Robi is also known as a social and environmental activist. He is one of the supporters of the movement to reject the reclamation of Benoa Bay. He also fills his time by pursuing organic farming. Robi represented Indonesia in the Asia 21 Young Leaders organized by the Asia Society in 2016 to discuss his activities in the field of organic agriculture. Albums of songs that have been born with the band Navicula, among others, Self Portrait (1999), Alchemist (2005), Beautiful Rebel (2007), Love Bomb (2013), Face to face (2015). +
I Gedé Gita Purnama Arsa Putra was born in Denpasar on October 29th, 1985. In 2008 he finished his bachelors degree in Balinese Language and Literature at Udayana University, continuing on to postgraduate studies in linguistics specializing in literary discourse also at Udayana University. He is now a lecturer at Hindu Dharma State Institute of Denpasar. He has enjoyed writing poetry, short stories, and essays since junior high school. His works are published in Bali Orti (Bali Post), Bali Post, and Mediaswari (Pos Bali). Gita Purnama is the author of the poetry collections "Dendang Denpasar Nyiur Sanur," "Denpasar lan Donpasar," and "Angripta Rum." His now published book is collection of short stories entitled "Smara Reka" written together with his wife in 2014. Additionally, he is a member of the team of writers of the biography "I Wayan Beratha: Seniman Kelas Dunia." In 2016 he received the Rancage Literary Award for his service in preserving and developing modern Balinese literature.
Below is a link to one of his short stories called "Ngalih Sampi Galang Bulan" taken from the book "Smara Reka." +
I Gedé Putra Ariawan was born in Désa Banjar Anyar Kediri, Tabanan, on June 16th, 1988. He completed his bachelor's degree at Ganesha University of Education in Singaraja majoring in Education of Indonesian Language and Literature in 2010 and in 2014 completed his master's degree in the Ganesha University of Education Postgraduate Program. He now works as an Indonesian language teacher at Kediri State High School 1.
His works, which take the form of short stories, opinion pieces, articles, and poetry, have been published in Bali Orti (Bali Post), Media Swari (Pos Bali), Majalah Éksprési, and Majalah Satua. He has released a book in the form of a compilation of short stories entitled "Ngurug Pasih" in 2014 and received the 2015 Rancage Literary Award. On January 30th, 2016, he became speaker at the event Sandyakala #49 organized by Bentara Budaya Bali. +
Lecturer at the Faculty of Law, Udayana University, who started to become a lecturer since 2010. Graduated from undergraduate studies and became the best graduate in 1999 at the Faculty of Law, Udayana University. Study Masters level at the Notary Masters Program, Universitas Brawijaya in 2007. Furthermore, for the doctoral study completed at the Law Faculty of Law Education at Udayana University in 2019 and returned to be the best graduate. Throughout her career as a lecturer, she actively made studies on legal and community problems, especially studies relating to customary law, indigenous peoples and their natural resources, progressive legal studies related to gender studies in law, legal anthropology, legal sociology as well as law and culture. The thinking that is studied more often is done with a progressive legal perspective. The results of these thoughts are published in international journals, national journals and in the form of textbooks in fulfilling teaching assignments. Participation in scientific meetings is also often done including in the call for papers and also as a resource, moderator and participant in an academic scientific forum. +
A photography graduate from the Indonesian Art Institute (ISI), Denpasar.
Balinese photographer I Gusti Agung Wijaya Utama S. Sn has a unique vision to raise awareness of the past through distinct, eye-catching fine art and reconstruction portrait photographs. Gung Ama, as he is known, does not use digital technology, but a process from the past; the Afghan Box Camera. As the name suggests, the camera is linked with Afghanistan, being first used in villages by travelling photographers before there were any photography studios.
“Digital technology and the modern mindset desiring immediate outcomes and satisfaction are impacting upon the art of photography and contributing to the erosion of traditional Balinese values,” said Gung Ama, born in Batubulan Gianyar in 1988, whose interest is photography began in 2006. “Nowadays, smartphones equipped with sophisticated cameras are affordable and an essential modern icon and tool. Moreover, social media and selfies dramatically impact lifestyles and alter our concept of identity. By recreating the nostalgia and curiosity of old Bali through manual, handmade photos, my objective is to reignite cultural memory while inspiring awareness and discussion among all the generations.”
“My photography reflects the growing sentiment within the Balinese seeking a return to the wisdom of the past,” Gung Ama said. “In the face of modernity and the homogenisation of cultures, I believe it is important to celebrate and embrace cultural icons to help reinforce our identity. In addition, it’s essential to be reminded of our forefather’s messages, culture lost and the wisdom of the past.”
Article by Richard Horstman +
I Gusti Ayu Agung Mas Triadnyani was born in Jakarta, December 2, 1967. She is a poet who is also a lecturer at the Faculty of Cultural Sciences, Udayana University. She holds a master's and doctoral degrees in Literature at the University of Indonesia (UI). In addition to writing poetry, she also conducts studies on modern literature, such as Balinese Women in Mata Oka Rusmini: A Study of Her Creative Works (Research on Women's Studies, 2008) and the Collaboration of Traditional Community Culture with Modern Culture in WSRendra's Drama Tuyul Anakku (Research Indonesian Literature Study Program, 2012). She is often invited as a jury for various literary events, such as the Bali Province Language Ambassador Jury, as well as various writing competitions. Her published books include “Book Seeking Temples” (2011), “Book I See Bali” (2015). +
I Gusti Ayu Diah Yuniti is a doctor and lecturer in Molecular Biology at the Faculty of Agriculture, Mahasaraswati University, Bali. Her doctoral study was obtained from the Doctoral Program in Agricultural Sciences, Faculty of Agriculture, Udayana University, Bali Indonesia in 2018. Diah Yuniti has also published a number of scientific papers including the Impact of Covid-19 on Community Life in the Province of Bali, Indonesia. Apart from being a teaching lecturer, Diah Yuniti is also active in the social organization of the Bali Province Traditional Village Council. +
Ayu Laksmi full name I Gusti Ayu Laksmiyani, born in Singaraja, Bali, November 25, 1967. She is a singer, songwriter, dancer, film and theater actress. Was known as a lady rocker in the early 90's. In 2011, twenty years since his first album was released, she re-emerged with her latest album, Svara Semesta. Currently, Ayu Laksmi is active again in various local, national and international music events/festivals.
Ayu grew up in a family that loves art, especially music. Since getting to know the world of the stage at the age of 4 years, Ayu began to actively participate in various art festivals, both on a local, national, and even international scale.
Ayu Laksmi's name became known since she won BRTV at the Bali Province level in 1983 for the Trio version with her two sisters Ayu Weda and Ayu Partiwi in the Trio, "Ayu Sisters", which later in the same year won an award as Third Place and at the same time as the Best Appearance Trio. BRTV for the National Level.
Ayu Laksmi is also known as one of the lady rockers in the national music scene in the era of 1984-1993 where Ayu is also one of the singers from Bali who managed to penetrate the national music industry. Indonesian music at that time.
In 1989 Ayu contributed to the compilation album Indonesia's Top 10 with the single Not Always Gemilang created by Didi AGP, the sound track of the film Note Si Boy 2 with the song Hello Sobat created by Harry Sabar. In 1991 published her first album entitled The Lost Palace with arranger Raidy Noor. However, after the album was circulated his name immediately disappeared from the Indonesian music industry. Ayu returned to Bali in 1992 to continue her studies at the Faculty of Law, Udayana University, and graduated as a Law Degree in 1993 +
I Gusti Ayu Putu Mahindu Déwi Purbarini, SS, was born in Tabanan, October 28, 1977. She studied Indonesian Literature at the Faculty of Letters at Udayana University Denpasar until she graduated and received a bachelor's degree in Indonesian literature, 8 May 2004. Her poems were published in the Tabloids Wiyata Mandala, Bali Post, Buratwangi Magazine, Canang Sari. She has been on the cover of the Bali Gumi magazine “Sarad” (édition no.19, July 2001) and published in the book "Bali Tikam Bali" by Gdé Aryanatha Soéthama on page 86 entitled 'Cuntaka' Luwes Only (p.87). Now a lecturer in Indonesian Literature at IKIP PGRI Denpasar and FKIP Mahasaraswati Denpasar. She also takes care of being the manager of the youth literary magazine “Akasa”, the Indonesian Youth Literature Studio (SSRI) Bali in Tabanan.
“Apang ja Bisa Maschool”, her short story won the first prize in the Bali Unity Writing Competition throughout Bali (1994). “Lombok Yang Bali”, a short story about sightseeing, competitions at the Bali Post, won 2nd place (1995). “Dara in a Boat Bottle”, the first runner-up in the poetry writing competition in Bali in the 'Sea Orientation Week' Dénpasar (1999). His poem “The Moon in a Transparent Room” was included in the “Anthology of Vibrating Poetry II”, Kota Batu, Malang (1996). In addition, a collection of her poems with the title “The Moon in a Transparent Room” was published by the Center for Language Center Dénpasar (2006). Followed by a collection of modern Balinese poetry entitled "Taji", which was in demand by the modern Balinese literary magazine "Buratwangi"
She has written Indonesian literature in the form of poetry and short stories since Era magazine at SMP Negeri 2 Tabanan (1989-1991). Chief Editor of Widya magazine, SMA Negeri 2 Tabanan (1994-1995). Served as editorial staff for Kanaka magazine, Faculty of Letters and the UKM Academic tabloid, Udayana University Dénpasar (1996-1997). Participated in journalistic training in the ring Dénpasar, Yogyakarta and Malang (1995, 1996, 1997). Besides that, he was with Sanggar Purbacaraka. The most fun part was whens he was in kindergarten and elementary school (1982-1988) often dancing on TVRI Denpasar in the program "Aneka Ria Safari for the Children of the Archipelago.
I Gusti Ayu Raka Rasmi is a Balinese dancer born in Peliatan, Ubud, Gianyar, March 10, 1939. Raka Rasmi was the first to dance the Oleg Tamulilingan dance which was created by I Ketut Maria, a choreographer from Tabanan, Bali, at the request of John Coast. Raka Rasmi introduced this romantic dance to foreign countries through her first art tour to Paris, Europe and the United States in 1953. Raka Rasmi has been dancing since the age of twelve by joining Sekaha Gong Peliatan, Ubud. John Coast named Raka Rasmi as a star dancer, thanks to her stunning performance when dancing. Raka Rasmi has danced in various parts of the world, such as China (1959), Pakistan (1964), Japan (1964), Australia (1971), Europe (1971), USA (1982), and Singapore (1996). Raka Rasmi dedicated her life to the art of dance, especially the famous Oleg Tamulilingan dance. She has many disciples from within and outside the country. Raka Rasmi passed away on March 17, 2018. +
Universitas Dhyana Pura
Asst. Professor of Tourism at Dhyana Pura University, Bali
Br. Tegaljaya, Dalung, Kuta Utara
Badung, Bali
Denpasar, Bali 80351
Indonesia
http://www.undhirabali.ac.id +
Creative director and activist Dibal Ranuh is a multi-disciplinary visual artist whose work consistently and powerfully champions the voice of Nusantara. In its purest form his art reflects a creative idealism that heralds the transformative power of the arts.
Gusti Dibal Ranuh from Singaraja Bali, graduated from Trisakti Jakarta graphic design. Founder of the Matahati Kitapoleng Foundation in the field of creative space for contemporary art creation who is concerned with developing talents with disabilities in the arts, especially those who are deaf and disabled. As Artistic Director and Film Director, Dibal creates performance artworks and films that refer to the cultural roots of the archipelago’s traditions. In 2018, Dibal launched the book The Journey of Dang Hyang Nirartha at the Borobudur Writers & Cultural Festival.
In 2020, Dibal Ranuh was awarded Best Cinematography in Indonesia’s D(E) Motion Festival film competition. And through the film Lukat, Dibal won first place at the EURASIA Project International in Italy. In 2021, the film Wong Gamang; The Journey of Dewi Melanting, directed by Dibal, won many awards, including Best Fiction Film Director, Best Artistic Film, and Best Editing. In 2022, BWCF, the Ministry of Education and Culture and UNESCO entrusted the Mahendraparvata dance film’s directorship in collaboration with Cambodia and Indonesia’s cultures.
A Conversation with Dibal Ranuh
Dibal Ranuh’s poetic creative direction in films and stage performances began from a love of travel and photography. Studying visual design, it is the love of travel and exploration together with his camera that paved the path of visual framing and a natural inclination towards visual storytelling. The artist’s love of our rich tribal heritage fuels the artistic textures that enrich his visual style.
Passion for the Heritage of Nusantara
“I like to travel to the forests. I liked to go to tribes like the Badui, Dayak, and Toraja and lived for months within these communities. You can say it is there I discovered a new life. I found something very unique among the tribes. From there, I returned to university. As a designer, I got a lot of ideas from my time in tribal communities. My interest in our tribal diversity began from then. Indonesia is so dynamic, many tribes can inspire us in our process of creativity.”
For full Biography go to https://sawidji.com/about-sawidji/artists-sawidji-gallery/dibal-ranuh/
I Gusti Gedé Djelantik Santha is one of the senior writers who has championed modern Balinese literature. He was born in Désa Selat Karangasem on August 12th, 1941. He had already come to enjoy writing while attending elementary school (Sekolah Rakyat, 1949). Djelantik Santha writes many kinds of poetry, short stories, and novels, and has released a few books in the form of novels and collections of short stories.
In 1979 his story entitled "Gamia Gamana" placed second in story composition during the Bali Arts Festival. In 2001 he received the "CAKEPAN" award from Majalah Sarad for his dedication in the field of modern Balinese literature. In 2002 he received the Rancage Literary Award for the novel "Sembalun Rinjani". In 2003 he also got second place as a contender in a novel writing competition held by Bali Post for the novel entitled "Di Bawah Letusan Gunung Agung".
His published books are:
Tresnané Lebur Ajur Setondén Kembang (Novel, 1981),
Sembalun Rinjani (Novel, 2000),
Gitaning Nusa Alit (Novel, 2002),
Di Bawah Letusan Gunung Agung (Indonesian-languuge novel, 2003),
Suryak Suwung Mangmung (Novel, 2005),
Benang-Benang Samben (Novel, 2014),
Vonis Belahan Jiwa (Indonesian-language novel, 2015),
Kacunduk ring Besakih (collection of short stories, 2015).
The following link connects to one of his essays, a short story entitled "Majogjag". +
I Gusti Ketut Jelantik was born in Tukadmungga, Buleleng, 1800. He came from Karangasem, Bali. He became governor of the Buleleng Kingdom. He led the Buleleng army against Dutch colonialism in the First Bali War, the Jagaraga War, and the Third Bali War, which occurred in 1846 – 1849. The war started because the Dutch East Indies colonial government wanted to abolish the Tawan Karang Rights that were in effect in Bali, namely the rights of the kings. who is in charge of Bali to retrieve ships that have run aground in its waters and all their contents.
I Gusti Ketut Jelantik died in the Third Bali War. He died in the Bale Pundak Hills, Kintamani, Bali, in 1849. For his services against the Dutch colonialists, he was declared an Indonesian National Hero on September 14 1993. +
I Gusti Komang Sugiartha, He was born in Subamia Tabanan Village, Bali on April 24, 1949. His educational history is, in 1962 he graduated from SD Subamia, in 1965 he graduated from SMP Negeri 1 in Mataram, in 1969 he graduated from Agricultural School ( SPMA) Mataram State. In 1970 he worked at the Bali Provincial Agriculture Service, the Industrial Plants section which officially separated itself to become the Bali Provincial Plantation Service in 1973.
Since elementary school he has studied art from his father Gst.Kd. Dibya and once felt the touch of the hands of I Ketut Maryo, a legendary artist in Tabanan. He often won the Sekar Alit song at the elementary level. Until now, he is still actively participating in pesantren activities at the Bali Government, at the Basutalina Bali Getar Art Studio, North Kuta District, being the coach of Santi in Subamia Village, and Santi Ambara Santha Budhi, Tabanan Regency.
He has completed several Geguritan with the title Lubdhaka, Bima Dados Caru, Angling Darma, Kedis Cacetrung, Pan Balang Greed, Pandawa Swarga, Ulam Agung (Matsya Awatara), Waraha Awatara, Dharma Udyoga, Dwarawati Pralaya, Senapati Abimanyu, Dyah Sri Tanjung, Babad Pande, Manteri Jajar Pikat and Aji Pelayon. +
Lecturer at the College of Computer Management and Informatics STIKOM Bali +
I Gusti Ngurah Made Agung (5 April 1876 – 22 September 1906) was the King of Badung VII and a fighter who helped the Dutch East Indies government who was appointed a National Hero of Indonesia by President Joko Widodo on November 5, 2015. His literature, such as Geguritan Dharma Sasana, Geguritan Niti Raja Sasana, Geguritan Nengah Jimbaran, Kidung Loda, Kakawin Atlas, and Geguritan Hredaya Sastra +
I Gusti Ngurah Parsua, born in Bondalem, Buleleng, Singaraja, December 22, 1946. He writes poetry, short stories, novels, essays, etc. His works have been published in the Bali Post, Karya Bakthi, Nusa Tenggara, Bali Cuier, Merdeka, Berita Buana, Beritha Yudha, Suara Karya, Sinar Harapan, Simponi, Swadesi, Experiments, Heroine, Suara Pembangunan, Mutu, Arena, Bukit Barisan Minggu Morning, Priority, Voice of Renewal, El Horas. General and Cultural Magazine: Expression, Basis, Horizon, Topic, Tifa Sastra, Cultural Council and Literary Council, Malaysia. A collection of his poems: “Matahari” (1970), “After the Wind Blows” (1973), “Poems of Dukana” (1982), “Ten Poets Indonesia Malaysia” (1983), Duka Air Mata Bangsa” (1998), “Bahana In Margarana”, (2005), etc. In the field of prose, among others: "The Nature of Man and Life" (Esai Arts and Culture, 1999), "As Hard as Steel" (Collection of short stories, 1984), "Sembilu in the Park" (Novel, 1986), "Rumah Penghabisan" (collection of short stories, 1995), “Women in the Silent Harbor” (Collection of short stories 2001), “Senja Di Taman Kota” (Collection of short stories, 2004), etc.
His poem entitled “Khabar” was translated by Kemala (a Malaysian poet and literature researcher) and then published in Asia Week magazine (1983). His poem entitled “To Bali” was translated into English by Vern Cork and published with other Balinese poets under the title “The Morning After” (2000). +
I Gusti Ngurah Putu Buda is an artist born in Sangeh, Badung, Bali. He completed his art education at ISI Denpasar. Since 2002 he has been active in many joint exhibitions, at home and abroad, including TANDA HATI at Tony Raka Gallery Mas Ubud (2012), Ten Years After at Sinsin Fine Art Anex Villa Hongkong (2013), Ulu Teben art Bentara Budaya Bali ( 2015). His solo exhibitions include Time is like to Bomb at kiridesa the Gallery Singapore (2006), Black and White world Copsa Gallery London (2006), Mystical Spirit II at Kiridesa The Gallery & Oorja zone, Dubai (2007), Seizing A Space at 6 Point Cafe-Shop-Office, Sanur Bali (2013). In 2004, he Reached Top Finalist in 2004 Sovereign Annual Contemporary Asian Art Prize Hongkong. Currently, he is active in the Militans Arts Community. +
I Gusti Ngurah Putu Wijaya or better known as Putu Wijaya, is an Indonesian literary icon from Bali, who has produced approximately 30 novels, 40 drama scripts, about a thousand poems, hundreds of essays, freelance articles, and drama criticism. Putu Wijaya also writes screenplays for films and soap operas.
Putu himself is actually the youngest of five siblings. He lives in a large housing complex, which houses about 200 people, whose family members are all near and far, and have a habit of reading. The humanist with his white pet hat was expected to become a doctor by his father, I Gusti Ngurah Raka, a retired courtier who was strict in educating children. However, Putu is more familiar with the world of literature, language, and earth science. Putu's first short story entitled "Etsa" was published in the Indonesian daily Suluh, Bali.
The first drama Putu played was when he was in high school. Putu directed and played the drama himself with the group he founded in Yogyakarta. After 7 years in Yogyakarta, he then moved to Jakarta and joined Teater Kecil. Next with the Mandiri Theater which was founded in 1971, with the concept of "Starting from What's Existing".
Putu's style of writing novels is not much different from his style of writing drama. As in his drama works, in his novels he tends to use an objective style in the center of the story and a style that is full of fragments of events that are dense, intense in choice, and expressive language. Putu is more concerned with reflection than history.
A fan of dangdut, rock, classical music by Bach or Vivaldi, and jazz, he writes and directs films, soap operas, and theatre. Putu has performed dozens of plays at home and abroad and has won dozens of awards for his literary works. +
BALI'S MOST WELL-KNOWN ARTIST, I Gusti Nyoman Lempad (1862-1978), was born in the village of Bedahulu in Gianyar, south-central Bali. He was a master artisan, carver, and architect. His ink drawings on paper, many with touches of color, are internationally famous. Their clarity, expression, composition, and form are unmatched to this very day.
Lempad's narrative works focus on figures, movements, and details. The blank backgrounds, a feature seen in traditional drawings for amulets, death shrouds, and some styles of manuscript illustrations, evoke the appearance of wayang kulit (leather puppets) figures against a plain white screen.
Lempad illustrated famous and lesser known episodes from Indian epic mythology and Balinese folklore. He often added erotic and humorous elements. Many of his drawings were done as a series of narrative episodes, the traditional manner of doing prasi (illustrations for stories) on dried lontar (palmyra palm) leaves or paper.
The artist lived most of his very long and productive life in Ubud, where his family, due to political problems during the late 1800s, had moved to when he still was a young child. Lempad designed a part of the royal residence and a temple in Ubud. He knew most of the famous foreigners who lived in or visited Bali from the 1920s until his death in 1978.
Many of Lempad's works were collected by the artist Walter Spies (German, 1895-1942). When Nazi Germany invaded Holland in 1940, Spies and other German nationals living in the Dutch East Indies (Indonesia) were arrested by the colonial authorities. Spies brought along with him to Batavia (Jakarta) a series of ten drawings by Lempad of the Brayut folk tale, which he left for safekeeping with his friend M. Bruyns.
Spies was killed during World War II when the ship Van Imhoff transferring him to a detention camp in ceylon (Sri Lanka) was hit and sunk by a Japanese bomb. Before Bruyns died in 1980 he gave the works which Spies had left with him to Dr. Jacob Vredenbreght. In 1984, Vredenbreght presented these ten drawings to the Neka Museum. Along with seven other pieces, the Neka Art Museum now has one of the largest single collections of works by Lempad.
Awards:
Piagam Anugerah Seni (Indonesia, 1970)
Wijaya Kusuma (Indonesia , 1975)
Dharma Kusuma (Bali, 1982)
I Gusti Putu Bawa Samar Gantang was born in Tabanan, Tegal Belodan on September 27th, 1949. His father was named I Gusti Gedé Pegug and his mother Gusti Ayu Nyoman Rerep. His father was a dancer and in the Dutch colonial era he became a soldier in the Gajah Merah (Red Elephant) division of the Netherlands Indies Civil Administration (NICA). Samar Gantang attended elementary school (Sekolah Rakyat) in 1955 in Pengabetan, Dauh Pala, Tabanan, and graduated in 1963. He continued on to Tabanan Junior High School 1, and beginning at that time he delighted in reading literary books. He began to write modern Balinese and Indonesian literature in 1968 while still in Tabanan High School (now Tabanan State High School 1). In 1973 he became an honorary teacher at Harapan Junior High School, and he also became a teacher at Junior High School TP 45 (no longer in existence), State Junior High School 3, Pemuda Junior High School, Dharma Bhakti Junior High School, Tabanan State Junior High School 2. In 1974, he became a permanent teacher at Tabanan State Junior High School 2 and taught painting.
His works are published in the newspapers Bali Post, Nusa Tenggara, DenPost, Warta Minggu, Santan Simponi, Swadesi, Suara Karya, Sinar Harapan, Media Indonesia, Karya Bhakti, Suara Nusa, Fajar, Zaman, Top, Aktuil, Sarwa Bharata Eka, Varianada, Canangsari, Buratwangi, Merdeka Minggu, Baliaga, Taksu, and Majalah Éksprési.
For 10 years he has contributed to broadcasts reading poetry on RRI Studio Denpasar, Menara Studio Broadcasting, Cassanova, and Kini Jani Tabanan. He always travels from Tabanan to Denpasar by riding a roadster bicycle. Furthermore, he has also received invitations from LIA Surabaya or PPIA, Bali Museum, IKIP Saraswati, Balai Budaya Denpasar, STSI Surakarta, STSI Denpasar, ISI Yogyakarta, Taman Izmail Marzuki, the Jakarta National Gallery, and Yayasan Hari Puisi. He was invited to read his poetry in Malaysia and Singapore in 1986. In Tabanan he founded Sanggar Pelangi (Rainbow Studio) in 1976 and now has changed the name to Sanggar Sastra Remaja Indonesia (SSRI, Indonesian Teenage Literature Studio) of Bali, which disseminates modern Balinese and Indonesian literature to students at elementary, junior high, and vocational/high schools and young adolescents who enjoy literature.
He received first place in Bali-wide poetry writing in 1979, the national championship of poetry writing in Yogyakarta in 1982, top eight in literary performance at Taman Ismail Marzuki in 1989, and first place in tourism poetry writing which was held by Yayasan Komindo Jakarta in 1991. In the field of Balinese literature he received the Satya Lencana Karya Satya award, first place in Bali-wide poetry writing, essays, and poetry recitation in 2000 and 2001. He earned the "CAKEPAN" award in 2001 from Majalah Sarad and released a book of collected poems entitled "Aab Jagat". He was also honored with the 2003 Rancage Literary Award.
Books which have been released containing his work include Hujan Tengah Malam (1974), Kisah Sebuah Kota Pelangi (1976), Kabut Abadi (1979) bersama Diah Hadaning, Antologi Puisi Pendapa Taman Siswa Sebuah Episode (1982), Antologi Puisi Asean (1983), Antologi Puisi LIA (1979), Kalender Puisi (1981), Antologi Festival Puisi XI PPIA (1990), Spektrum (1988), Taksu (1991), Antologi Potret Pariwisata dalam Puisi (1991), Antologi Puisi Kebangkitan Nusantara I (1994), Antologi Puisi Kebangkitan Nusantara II (1995), Antologi Puisi Kidung Kawijayan (1995), Antologi Puisi Kebangkitan Nusantara III (1996), Antologi Puisi Pos Nusantara Lokantara (1999), Aab Jagat (2001), Perani Kanti (2002), Onyah (2002), Somya (2002), Sagung Wah (2002), Macan Radén (2002), Berkah Gusti (2002), Sang Bayu Telah Mengiringi Kepergiannya (2002), Puisi Modré Samar Gantang (2002), Antologi Puisi HP3N Nuansa Tatwarna Batin (2002), Bali Sané Bali (Pupulan Durmanggala, 2004), Awengi ring Hotél Séntral (2004), Pakrabatan Puisi Tegal DIHA Tebawutu (2004), Kesaksian Tiga Kutub (puisi lan cerpén, 2004), Léak Raré (2004), Léak di Bukit Pecatu (2005), Léak Satak Dukuh (2006), Ketika Tuhan Menyapaku (2006), Dipuncakmu Aku Bertemu (2008), and Jangkrik Maénci (2009).
He is famous for modern poetry and keeping audiences on the edge of their seats. His work mostly uses mystical themes like "léak" (a person/spirit who practices black magic), and this can be seen in his Balinese-language books such as in the book Léak Kota Pala, Puisi Modré Samar Gantang, Léak Bukit Pecatu, Jangkrik Maénci, and others.
I Gusti Putu Gede Wedhasmara was born in Denpasar, September 10, 1932. He is a songwriter from Bali. His songs were popular in the 1960s and 1970s and are still widely enjoyed by his fans. The magazine "Rolling Stone Indonesia" in its February 2014 issue included Wedhasmara in the "100 Best Indonesian Songwriters".
Wedhasmara since childhood loved the world of singing. After completing his junior high school education in Denpasar Bali, Wedhasmara continued his education at Santo Thomas High School in Yogyakarta City. In 1956-1963, Wedhasmara worked at the Jakarta Agriculture Bureau.
Wedhaswara was recorded to have joined various musical groups such as the Denpasar Joint Orchestra, Denpasar Keroncong Orchestra, the Mulyana Sutedja Quartet Yogyakarta, the Keroncong Orchestra led by Sukmini Yogyakarta, the Malay Orchestra Ria Bluntas, Zaenal Combo, and Empat Nada.
Wedhasmara's well-known songs “Senja di Batas Kota” and “You are always in my heart” were popularized by singer Ernie Djohan. "Carolus” was popularized by singer Lilis Surjani. These songs are timeless songs that will always be remembered, and to this day they are still often played on the radio in their original versions.
In 2011, Wedhasamara received an Art Award from the Minister of Culture and Tourism of the Republic of Indonesia. Previously, Wedhasamara also received awards from the Mayor of Denpasar (2003), Governor of Bali (2003). and the Minister of Health of the Republic of Indonesia (1982). Wedhasmara died in Denpasar on April 17, 2017. +
Lecturer at STIKOM Bali College of Informatics and Computer Management +
Dalang (shadow master) I Gusti Putu Sudarta PhD, was born into a family of artists in Bedulu village and has been performing music, dance, and shadow theater since he was six years old. He is a permanent faculty member in the theater department at Indonesian Institute of the Arts (Bali) and holds a masters and PhD in theater from the National Institute of Arts in Solo, Java. He regularly performs various forms of traditional Balinese music, mask dance and wayang kulit (shadow theater) in ceremonial contexts and has taken part in several international tours and inter-cultural experimental music and theater projects. +
Biography
Name : I Gusti Putu Windya. late.
He died in 2010.
Wife : Gusti Ayu Nyoman Date He has 6 children, one of his children has died and I got this information from his 4th child named Gusti Ayu Agustini. His address is at the market banjar, Yehembang village, Mendoyo sub-district, Jembrana district.
Performance : He has won many awards, the highest of which is the Kusuma Madya award (1990), with his most famous work being Geguritan Cangak. In addition, he also composed several geguritan including Geguritan KB which brought him to become the 2nd winner of the provincial level geguritan competition. In addition, he also has many other works, but many of his works claim that they do not have copyright.
Work : Apart from composing geguritan, he is also active in painting and carving, and he has also established a painting and carving studio, and he is self-taught in literature. He was also previously offered a work contract in Germany to teach painting but was refused. And he was a member of the assessment team for the awarding of the Dharma Kusuma art award at the level I province of Bali in the 1994/1995 fiscal year.
Special note : I got this information from a resource person, namely Gusti Ayu Agustini who is his 4th child who is also the heir of the late. Gusti putu windya. He said that alm. Mr. Gusti Putu Windya has a biographical book, but it is not in place at this time because it was brought to Germany and has not been returned as well as several documents related to his work which were also borrowed and have not been returned until now. In addition, in 2015 the geguritan cangak was adapted by Malaysia by making the cartoon character 'stork and crab' in animation in ancient times without the permission of the late heir. Gusti putu windya. +
Biography
Name : I Gusti Putu Windya. late.
He died in 2010.
Wife : Gusti Ayu Nyoman Date He has 6 children, one of his children has died and I got this information from his 4th child named Gusti Ayu Agustini. His address is at the market banjar, Yehembang village, Mendoyo sub-district, Jembrana district.
Performance : He has won many awards, the highest of which is the Kusuma Madya award (1990), with his most famous work being Geguritan Cangak. In addition, he also composed several geguritan including Geguritan KB which brought him to become the 2nd winner of the provincial level geguritan competition. In addition, he also has many other works, but many of his works claim that they do not have copyright.
Work : Apart from composing geguritan, he is also active in painting and carving, and he has also established a painting and carving studio, and he is self-taught in literature. He was also previously offered a work contract in Germany to teach painting but was refused. And he was a member of the assessment team for the awarding of the Dharma Kusuma art award at the level I province of Bali in the 1994/1995 fiscal year.
Special note : I got this information from a resource person, namely Gusti Ayu Agustini who is his 4th child who is also the heir of the late. Gusti putu windya. He said that alm. Mr. Gusti Putu Windya has a biographical book, but it is not in place at this time because it was brought to Germany and has not been returned as well as several documents related to his work which were also borrowed and have not been returned until now. In addition, in 2015 the geguritan cangak was adapted by Malaysia by making the cartoon character 'stork and crab' in animation in ancient times without the permission of the late heir. Gusti putu windya. +
I Ketut Mario is thought to have been born in Belaluan village, Denpasar, and later grew up in Banjar Lebah, Tabanan. An aristocrat named Anak Agung Ngurah Made Kaleran, who loved the arts and gave much support to artists in his region, has been identified as his adopted father.
Mario first became a dancer for the Pangkung Gong club in Tabanan. In 1958 he went with the group to Paris, Holland, England, America and Canada, and in 1962 they toured America.
Mario was not only a dancer, he was a choreographer as well. His monumental creation Kebyar Duduk, or if danced with trompong, Kebyar Trompong, stirred a revolution in Balinese dance. These creations contrasted greatly with other dancers of the time, being performed for the most part in a stooped sitting position. The birth of Kebyar Duduk in 1925 drew an enourmous influence from gamelan gong kebyar when Mario became accidentally entranced by the music he heard played by the musicians of Bantiran village. Another Mario's choreography is Oleg Tamulilingan, which he did in 1952. It also gave a contribution for the development of the Balinese dance. +
I Kadek Surya Kencana was born in Dalung, Bali, January 24, 1986. He graduated from Ganesha University of Education, Bali. Won 2nd place in the National Student Poetry Writing Contest (Ministry of National Education, 2005) and 1st Place in Bali Poetry Writing Contest (2007). His poems have been published in the Bali Post and various other media, and are summarized in the book Herbarium (2007), The Buleleng Dancers (2008), Chewing Furious (2017). Now he works as a journalist in Denpasar. +
Angga Wijaya is the pen name of I Ketut Angga Wijaya. Born in Negara, Bali, February 14, 1984. Learned to write poetry since high school when he joined the Cultural Paper Community under the care of the poet Nanoq da Kansas. His poems have been published in Warta Bali, Jembrana Post, Independent News, Riau Pos, Bali Post, Jogja Review, Serambi Indonesia, Denpost, Tribun Bali, tatakala.co, balebengong.id, qureta.com, gallerybukujakarta.com, simalaba. net and Dian Sastro's Poetry Anthology for President! End of Trilogy (INSIST Press, 2005) and Chewing Geram (One Hundred Poems Against Corruption) published by the Manikaya Kauci Foundation, the Corruption Eradication Commission (KPK) and Jatijagat Kampung Poetry (2017). His poetry collection entitled “Notes Pulang” was launched in January 2018. Angga works as a journalist in Denpasar. +
I Ketut Aryawan Kenceng was born in Banjar Bendul, Klungkung, December 22, 1959. He completed elementary to high school in Klungkung and studied at the English Faculty of Udayana University for five semesters. He then worked in the tourism sector in Denpasar and wrote literature in Balinese and Indonesian. His Indonesian poems were published in the Bali Post, Simfoni, Swadesi. His Balinese poetry was published in Bali Orti Bali Post and Pos Bali. His collection of Balinese poetry has been published under the titles Beruk (2014), Bikul (2014), Bubu (2015), Rwa Bhineda (2015). +
Born into a family of master artisans in the village of Padang Tegal, Ubud in 1950 Budiana is highly skilled as a sculptor and architect, and specializes in making scared temple images, ceremonial masks and sarcophagus for ritual cremations. A former art teacher, he studied art at SSRI, the Indonesian School of Art in Denpasar and briefly with renowned Dutch painter and architect Rudolf Bonnet (1895-1978).
Budiana began painting in the early 70’s and exhibiting from 1974 and has shown his work in many foreign countries while he has won a string of local and international awards. He has been active as a curator at Ubud’s Museum Puri Lukisan from 1986 – 1990 while serving in 1990 as a curator at ARMA museum, and has contributed numerous articles and essays to various publications. Budiana has regularly exhibited at Bentara Budaya Bali while also exhibiting at Bentara Budaya Jakarta and Yogyakarta. +
Ngendon was among the first of the Batuan painters to try the new art and was very influential on those who followed.
Due to the fact that Ngendon was acquainted with both Spies and Bonnet at an early stage, and because he was involved in organising toursist events, his art seems to reach a higher degree of Westernisation than his contemporaries from the Batuan region. Paradoxically it may well be true that it is due to Ngendon's influence and artistic leadership that the Batuan painters as a group preserved their own identity and did not become epigenists of any western artist (unlike some painters from the Ubud region). Illustrative is the example told by I Ketut Tombelos (Margaret Mead's field notes), where it is said that Ngendon had a violent disagreement with Bonnet regarding the paternalistic interventions of the latter towards the style and choice subject of Ngendon. Professor Hildred Geertz perceives a strong taboo against any sign of modernisation evident in the work of Batuan painters (op. cit. p. 17). Still she rightly suggests that it was Western modernity and Western forms of power that fascinated and inspired Ngendon (op. cit. p. 19). The artist was a member of the Pita Maha artists' association.
The present lot compares to a picture of the same subject of a pupil by Ngendon: I Made Djata, Collection Bateson & Mead, Princeton University, New Jersey (on loan), inv. no. B-134 (cf. literature: H. Geertz, Images of Power, p. 57, p. 56 illus). For further bibliographical notes see Geertz, pp.5-19; Hohn, pp. 43-51. +
The senior poet I Ketut Rida was born in Banjar Kanginan, Sulang Village, Dawan District, Klungkung, September 11, 1939. He finished school at SGA Stella Duce/ Kanisius Yogyakarta in 1958, then continued his B1 Indonesian Language at Dénpasar, but did not finish.
From 1960 to 1987 he was appointed a teacher at an elementary school. For about 20 years, I Ketut Rida has served as the Principal of an Elementary School. In addition, he was appointed as a supervisor for kindergarten, elementary and SDLB. In the village, it was also believed to be the traditional bendésa of Sulang Village
Ketut Rida said that he has been pursuing writing or composing since he was a child. Every day Ketut Rida gets stories from his grandmother. That's why Ketut Rida is feeling happy. After completing his B1 Language Department, his attention to writing activities grew, focusing on studying the Kawi language, especially in Adiparwa.
He has produced several new literary works of Balinese and Indonesian literature and has received several award certificates, such as:
In 1977–1978, Ketut Rida became the second winner of the Indonesian Language Writing Competition for Elementary School Teachers at the Bali Province. In 1979, he became the first winner of a prose writing competition at the Bali Arts Festival (PKB). In 1980, he won first place in the Balinese Novel Writing Competition in the framework of Language Month. In 1982, he became the second winner of Composing Geguritan at PKB. In 1991, he won first place in the Balinese Short Story Competition in the Bali Post daily. In 1995, he won the first prize in the Balinese Short Story Competition at PKB.
From 1970 to 1980, many of Ketut Rida's essays were published in the Bali Post. His collection of poems entitled “Nyiksik Bulu” was published by the Dénpasar Language Center in 2004. His Balinese novel entitled “Sunari” was published by the Obor Foundation, Jakarta in 1999. This novel “Sunari” earned I Ketut Rida the Rancagé Literature Prize from the Rancagé Cultural Foundation in Bandung in 2000. In 2014 Ketut Rida received Widya Pataka from the Governor of Bali with his book entitled “Lawar Goak”.
I Ketut Sadia is from Batuan, Sukawati, Gianyar, Bali. He studied painting with I Wayan Taweng (father) and I Wayan Bendi (brother). He actively exhibits at home and abroad, including at the Arma Museum, Puri Painting Museum, Neka Museum, Jakarta National Museum, Singapore Art Museum, Tempera Art Museum, Finland, Fukuoka Art Museum, and the Indonesian Embassy in Washington DC. Has won the 2008 Jakarta Art Award, Jakarta Art Award Finalist (2010, 2012), UOB Painting Of The Year Finalist (2012, 2013, 2014). +
I Ketut Soki (1946-2022) was a successful artist from Bali. As a boy, he was one of the first two children to receive art lessons from the famous artist Arie Smit, and so one of the founders of the "Young Artists" movement.
In 1960, Arie Smit went for a walk through the rice fields in Penestanan, Bali, and found a young boy drawing pictures in the sand. Smit invited the boy to his studio and gave him crayons and paper. The name of the young boy was I Nyoman Cakra. As a true Balinese, Nyoman didn't want to be alone, so he asked, "Can my nephew come too?" His nephew was I Ketut Soki and these two youths became Smit's first pupils. +
I Ketut Atmosphere alias Kabul, was born in Apuan, Tabanan, December 30, 1978. He completed his art education at ISI Denpasar. Kabul's works have a lot to say about the life of bees/wasps. For Kabul, the bee is a metaphor to describe human life. Since 2003, Kabul has been diligently involved in many joint exhibitions, both at home and abroad. His solo exhibitions include "Bee Atmosphere" at Sudana Gallery, Ubud, Bali (2009) and "Suhu Bee" at Maha Art Gallery, Renon, Bali (2010). Apart from painting, Kabul is also diligent in holding performance art and murals. +
I Ketut Sudarsana was born in Ulakan Village, Manggis, Karangasem, Bali on September 4, 1982. He is the youngest of three children born to I Ketut Derani (late) and Ni Ketut Merta. Married to Adi Purnama Sari and has four children; Saraswati Cetta Sudarsana, Kamaya Narendra Sudarsana, Ganaya Rajendra Sudarsana and Gayatri Metta Sudarsana.
He obtained a Bachelor (S1) Education in Hindu Religion at STAHN Denpasar (2004), and Masters (S2) in Hindu Religious Education at IHDN Denpasar (2009). In 2014 he completed his Doctoral (S3) education in Extension Education at the Graduate School of the Indonesian University of Education in Bandung.
On January 1, 2005 he became a permanent lecturer at the Hindu State University I Gusti Bagus Sugriwa Denpasar. +
Ketut Sugantika alias Lekung was born in Singapadu, Gianyar, Bali, 1975. He focused on painting at ISI Denpasar. Many of his works are abstract by taking inspiration from nature. His solo exhibitions are Life Lines, Tadu Contemporary Art, Bangkok, Thailand, 2016; Intimate Bali, Conrad Hotel Nusa Dua, Bali, 2014, Findings Object, Black and White Art Space, Sangeh, Bali, 2010; Sign, Art Center Denpasar, Bali, 2003. In addition, since 1998, he has been diligently involved in joint exhibitions, including the Artfordable Hongkong Art Fair, With Gundang Gambar & 37Tong Gallery, Hong Kong, 2018; Imago Mundi, Bentara Budaya Bali, Yogyakarta, Jakarta, 2016. He is also active in performance arts activities. Now he is active in the Militant Arts Community. +
I Ketut Sumarta wrote poetry as a teenager under the pen name Dommy Lavawan and was widely published in the Bali Post. He then diligently performed theater and wrote essays in the mass media, to pursue the world of journalism. He joined the EDITOR Weekly News Magazine in Jakarta—which was finally banned by the New Order regime in 1994. After returning to Bali in 1995, he was asked to serve as the Managing Editor of the daily NUSA until he was entrusted as Director. Since early 2000, together with his friends in Bali, he has published as well as leading the monthly Balinese culture magazine, SARAD. His writings on Balinese culture, among others, have been published in Kompas, Gatra Magazine, BASIS Culture Magazine. His published books include: The Figure of the Artist and the Denpasar Arts Association (1999), Batur: The Heart of Bali's Water Civilization (2015), etc. +
I Ketut Suwidiarta was born in Bongkasa, Badung, Bali on 24 November 1976 and had just finished his study on Fine Arts Faculty of Indonesian Art Institute in Jogja. After finishing High School in Denpasar, Suwidiarta studied Japanese for a year. In 1998, he moved to Jogjakarta and there his artistic exploration begun. He was living in Gunarsa’s house in Jogjakarta while sketching and drawing Simbok Nah, the servant at the house. That’s when he was painted the bloated and dwarfed bodies.
In the recent years, Suwidiarta’s works are far more contemplative and universal in concept as he started the series in which Buddha’s figure appeared. His works are full with mockery and irony on people’s life, with a shifting to spiritual issues. I Ketut Suwidiarta currently lives and works in Jogjakarta. +
I Ketut Suwidja was born in Singaraja, November 20, 1939. He is a writer from Bali who writes in Balinese and Indonesian. He also wrote on palm leaves. Many of his poems have been published in the Bali Post, Karya Bakti, Nusa, etc. Also collected in a number of joint anthologies, such as “Hram” (1988). His solo poetry anthology in Balinese is “Panah Surya” (2000) published by Sanggar Buratwangi and Balai Bahasa Bali. He has won various awards, including the Listibiya Award (1982), the Bali Provincial Government Award (1998), the Bali Literature Award from the Rancage Foundation (2001). He worked at the Gedong Kertya lontar museum in Singaraja and died in 2009. +
The first official tourist guide - with license number 001 - in Bali. +
Batuaninteractive.com :
"Tombelos was raised by a poor stonecutter and didn't go to school, though he could read and write Balinese. About fifteen years old in 1938, Tombelos had been drawing since about 1934 or1935. He studied art with Ngendon, who was a close relative, and was a member of Pita Maha. There are twenty-three pictures by Tombelos in the collection." +
Komang Alit Juliartha alias Alit Joule was born in Bekasi, July 15, 1991. He is an alumni of the Balinese Language Education study program at IHDN Denpasar. His Balinese literary works are published in Bali Orti Bali Post, Pos Bali. His works have been recorded under the title Swecan Widhi Wasa (2015) and he won the Literature Rancage prize in 2016. In 2016 he also published a Balinese novel entitled Satyaning Ati. +
I Made "Romi" Sukadana was born in Denpasar on January 22, 1973. He graduated in Fine Arts from ISI Denpasar. Since 1993, he has been active in many joint exhibitions, such as "Horizon" at the Maya Gallery, Sanur (2019), "On Fire" at Kaktus Art Space, Sanur (2018), "Magic of Bali" at Ira Kitzki Art Gallery, Frankfurt Germany ( 2014), and "Hidden Code" at Mayya Gallery, Frankfurt, Germany (2013). His single exhibitions include "Sides of Woman" at Paros Gallery, Sukawati, Bali (2001), "Dialogue with the Reality" in the Kamandalu Resort, Ubud (2007), "A Name" at Ten Fine Art, Sanur (2009), "Hidden Connection" at Ayucious Socialite House, Denpasar (2012), and "Hidden Connection III" at Tryst's Resto Kemang, Jakarta (2013). Romi's works demonstrate a variety of theme and styles but always contain their own distinct flavor. He is very capable of painting realism but can also paint impressive abstracts. +
I Made Arik Wira Putra, born on April 23 1991, he is the son of Ni Nyoman Wangi
and I Nyoman Sulara. After studying for a bachelor's degree at Udayana University and a master's degree at the Hindu University of Indonesia, he has had many achievements since childhood, one of which was "the 1st National Champion of Palawakya in 2011". He is an author and he wants himself to be called a "Literature Enthusiast" not as a writer. He already has several works of Purwa Bali Literature, one of which is Kakawin Usadhi Negari. +
Born in 1976 in Ubud, Bali, he first learned painting under his father, I Ketut Sudana, a well-known painter in his own right. He received his Bachelors degree from ISI Yogyakarta in 1996 and he has lived in Yogyakarta since. A versatile artist, his distinctive style appears in his paintings, sculptures and other three-dimensional objects, and installation art, even performance art and murals. He has exhibited extensively in Indonesia and abroad.
He has received many commissions (for murals and performance art works) and has been invited to various workshops, fellowships, and residency programs, most recently at Muong’s Cultural Museum, Vietnam (2012). He is a two-time finalist of the Philip Morris Art Awards (2011, 2012) and finalist at the Indofood Art Awards (2002). +
Co-Founder of The Yoga Barn, Director of Community Relations & Co-Founder of The BaliSpirit Festival
Pak Dek, has been a fundamental component of The Yoga Barn’s vision to connect with the Community. Dek is an accomplished architect and is the vision behind the aesthetic Balinese style of The Yoga Barn, which is all created with reclaimed wood and hand-crafted elements.
Dek comes from a long lineage of socially minded Balinese; his great-grandfather, the Head of The Sacred Monkey Forest restoration project in the early ‘70’s, and his mother, a school principal for over 30 years, are just two of his role models.
In 2010 Dek took revitalization of the Monkey Forest into his own hands and launched a reforestation project planting hundreds of trees and creating a safer and leafier home for the indigenous and sacred macaque monkeys. Along with his wife, Meg, Dek is also the co-founder of Yayasan Kryasta Guna, a not-for-profit environmental, arts and cultural organization with a mission to inspire local youths in Ubud to invest in their environment and community while learning about their Balinese traditions.
In 2016 Dek started an organic farming initiative 45mins north of Ubud and spends much of his time working on the land. +
Batuaninteractive.com:
"About fifteen years old at the time of making the pictures in the collection, Djata had been painting about two or three years. He said that he was self-taught be he had watched Ngendon at work. He visited the homes of the Western painters Bonnet and Spies, and showed them his work for criticism. He was a member of their group, Pita Maha. Djata was the son of a very poor carpenter. He had
not been to school but could speak a little
Malay. Djata was an apprentice to a shadow puppet maker in Batuan, Dewa Putu Kebes, and the details of the headdresses and clothing in his drawings are taken from puppets. He was also close to Ngendon, who demonstrated how to draw rounded human bodies, especially nudes. In 1948, Connect appointed Djata teacher of art in a short-lived artisan's school established by the colonial government in Batuan. In the 1980s Djata was still painting, in much the same
style as these pictures. His son also become a fine painter in the late 1970s. Djata produced twenty-seven pictures in this collection." +
I Made Lasmawan was born in the village of Bangah, Baturiti region, Tabanan, island of Bali, Indonesia. in 1958. He has strong talent in the arts since childhood , and pursued his education at KOKAR (Conservatory for Traditional Performing Arts) in Denpasar, Bali, and graduated in 1977. He continued his studies in 1978 at STSI (Indonesian College of the Arts), in Surakarta (Solo), Central Java. There, he studied traditional Javanese music, receiving his Traditional Indonesian Music degree in 1983.
Lasmawan is the MASTER of all, National and International. Lasmawan has traveled throughout the world, including Belgium, France, England, Singapore, Japan and Mexico to perform with different cultural groups. He is a prolific composer who taught Balinese music at STSI from 1983 until 1990. Then, he was offered to San Diego State University to teach Javanese and Balinese music and culture. He moved and has been living in Colorado since 1993 as Artist-in-Residence with Gamelan Tunas Mekar, Pak Lasmawan also teaches Balinese gamelan at Colorado College, in Colorado Springs, UCCS in Colorado Springs, Naropa University in Boulder, Colorado, the University of Wyoming, in Laramie and the University of Colorado, in Boulder. He is one of the founder of Kyai BROJO MARTO Javanese Gamelan orchestra and teaches Javanese gamelan. It is very rare that a person can be the expert of both Javanese and Balinese gamelan. He is learning Thailand traditional music as well. Visiting Bali every year during Summer School break, Lasmawan developes a summer booth camp at his home village to run program for gamelan, dance and arts workshops. +
Abstract became the visual language that Made Mahendra Mangku chose to express. Various abstract explorations are presented, such as the play of lines, colors, and splashes.
As an artist who grew up in Sanggar Dewata Indonesia (SDI), his work tends to be different from those of the Eleven Group; a group of eleven members from SDI's 90s generation. He doesn't fill his canvases with brushstrokes of paint, nor does the boisterous Balinese icons and symbols appear absent in Mangku's work.
In his paintings, Mangku tends to use one color as a base and then fill it with several colors and lines. Sometimes he also crashes contrasting colors with certain compositions that are still calming.
It presents a silence that feels sentimental, like spaces of contemplation in the midst of worldly life. No matter how dark the colors he uses, Mangku's works are still sweet, calming and meditative, and he is often referred to as the “Poetic Painter”.
Although now known for his abstract works, Mangku had time to explore in a realist and figurative style while still in college. Even in his first year at ISI, he has won two awards at once for best sketch and best watercolor painting.
Meanwhile, while attending SMSR Denpasar, he was more focused on watercolor with the splash technique which earned him the nickname Mangku (a priest in Balinese tradition who sprinkles holy water when giving blessings, ed.). His choice to pursue abstract began in 1993, because abstracts provide more space for improvisation and exploration.
Since graduating from ISI Yogyakarta, Mangku has returned to Sukawati and is actively working in his personal studio, De'carik Art Studio. He recently exhibited 15 paintings and watercolors at the Singapore International Artist Fair (SIAF) 2018 on 10-13 May in Suntec City, Singapore. It is planned that Mangku will hold a solo exhibition in August 2018 at Art:1 Gallery, Jakarta and Komaneka Art Gallery, Ubud.
Born in Sukawati, 30 December 1972
Education
1988-1992 SMSR Denpasar
1992-1997 ISI Yogyakarta
Awards:
1998 Award from the Minister of Arts and Culture of the Republic of Indonesia;
1997 Best Painting Dies Natalis ISI Yogyakarta; 1996 Finalist Philip Morris Indonesia Art Award
1992 Best Watercolor Painting ISI Yogyakarta; 1992 Best Sketch ISI Yogyakarta
Milestones:
1992 In his first year of college, Mangku received two awards for the best watercolor painting and the best sketch at ISI Yogyakarta
1998 Graduated from college, Mangku returned and settled in Bali. This year he also held a duet exhibition with Toris Mahendra at Sika Gallery.
2000 His first solo exhibition Between Two Side, Arisma Gallery, Ubud.
2018 Singapore International Artist Fair (SIAF), Suntec City, Singapore.
"Small but full", is the appropriate expression to introduce a student of SMP Negeri 1 Selemadeg who comes from the foot of the mountain. I Made Adi Saputera, who is familiarly called Nanda, was born in Mendek, October 8, 2004.
This class VIII B student likes to organize. He is included in the OSIS board for the 2017-2018 term and has just been inaugurated as the OSIS board for the 2018-2019 term. As a student council administrator, he has never reneged in carrying out his obligations. Apart from that, Nanda also participates in extracurricular Nyastra Bali. He also has hobbies of football and drawing. The second child of Ida Ayu Komang Yunika with I Wayan Merdana from Banjar Mendek, Wanagiri Kauh Village, Selemadeg Tabanan District, is very fond of studying literature, especially writing Balinese script.
According to Nanda, writing Balinese script is an art based on feelings. He taught himself this hobby. His teacher noticed his aptitude and provided guidance to participate in competitions. When he was in elementary school, he won first place in the Balinese script writing competition at the Selemadeg district level in 2017 and first place in the Balinese script writing competition at the Tabanan level in the framework of Porsenijar 2017.
When he was in junior high school, he started by learning to write Balinese script in lontar. Thanks to his perseverance in learning, he won 1st place in writing Balinese script at the Tabanan regency level papyrus at Porsenijar in 2018, the 1st place writing the Tabanan regency invitation lontar at the Balipost Goes to School event in 2018 and at the Tabanan district ambassador at the Balinese script writing competition at Bali Arts Festival (PKB) in 2018.
Like other smart students, after graduating from SMP Nanda intends to continue his education at SMA Negeri 1 Tabanan. He also wants to continue his education at top universities such as the University of Indonesia (UI) or the Bandung Institute of Technology (ITB). This 14-year-old student who has dreams of becoming a painter said that his achievements are inseparable from the motivation of his parents and teachers. He emphasized that every child has the right to learn, regardless of who, from where, and wherever they go to school. In essence, EDUCATION IS A RIGHT, BUSINESS IS A RESPONSIBILITY.
Made Santika is a student from the Faculty of Cultural Sciences, Udayana University with a Balinese Literature Study Program. He was born on January 4, 2000. He is also the son of a great writer, namely Mr. I Made Degung and Mrs. Ni Ketut Sutarmi. +
I Made Suantha was born in Sanur, June 24, 1967. He has been writing poetry since I was a teenager in the 1980s. His poetry was published in Bali Post, Mutiara, Pelita, Buana News, etc. His poetry books include Wind Blower (1989), Togog Yeh, Pastoral Butterfly (2008). He received the Widya Pataka award from the Governor of Bali (2008). +
I Made Suarsa is a Balinese writer who comes from the arts world, namely Banjar Gelulung, Sukawati Village and District, Gianyar Regency. He was born on Saturday Wage Dukut, May 15, 1954. He is the second child of the late Balinese literary writer, the late. I Made Sanggra.
Mr. I Made Suarsa in the creative process of creating literary works has given birth to many Balinese Anyar literary works, as well as Balinese Purwa literary works such as Geguritan Tarunantaka, Geguritan Udayanotama Tattwa, Geguritan Kanakaning Kanaka, and Geguritan Korona Karana lan Kirana, a poem entitled "Ngiring Sayang" Manyangin”, a modern Balinese unit with the title “Buy, Tiang Ten Ngalih Fiance, Ten Ngalih Kurenan” and many of his extraordinary works.
Here I will discuss about one of his Geguritans, namely Geguritan Korona Karana and Kirana, which in simple terms contains about the emergence of the covid-19 virus to how we live side by side with this virus. When viewed from the equivalent of the words Geguritan Korona Karana and Kirana, it has the meaning of Corona which means covid-19, Karana which means that causes or causes, Kirana which means sunlight. So it can be concluded that Corona Karana and Kirana have the meaning of causing disease (grubug), one of which can cure is by (Kirana) sunlight. +
I Made Suartana, commonly known as Made Suar-Timuhun in his works, was born in Banjar Tengah, Timuhun, Klungkung, June 17, 1987. He started writing modern Balinese literature while still in college and actively started writing in 2013. His poetry began to be published in Bali Orti (Bali Post) in April 2013 and in 2014 his poems were published in Mediaswari (Pos Bali). He was a speaker at the Ubud Writers and Readers Festival 2016. His collection of Balinese poetry entitled “Mlajah” was published by Pustaka Expression in 2014. In 2015 his collection of short stories was published by the same publisher. It is entitled “Book Jaen Living in Bali” and contains eighteen (18) short stories. +
I Made Sujaya is a permanent lecturer at the Indonesian and Regional Language Education Study Program (PBID), Faculty of Language and Arts Education (FPBS), IKIP PGRI Bali. Since August 2016 he has been working toward his Doctoral Degree in Linguistics, Concentration on Literary Discourse, Faculty of Cultural Sciences, Unud.
Two of his books have been published, namely A Piece of Conscience Kuta: Notes on the Attitudes of Kuta Residents in the Tragedy of 12 October 2002 (2004) and Forbidden Marriages: Abstinence of Polygamy in Ancient Balinese Villages (2007). The second book led him to receive the "Widya Pataka" award from the Governor of Bali. In 2013, together with a number of Unud lecturers, they published a book on the Language Dynamics of Television, Internet, and Newspaper Media.
Apart from teaching, Sujaya is also a journalist and freelance editor at the daily DenPost which has been published in Denpasar since 1999. He is trusted to take care of literary and cultural pages. He was a correspondent for the student tabloid Wiyata Mandala (1996-1999). He has also been a contributor to The Jakarta Post and helped maintain the Balinese language page, “Bali Orti” on the Bali Post Sunday. Now he also maintains a special blog about Bali, balisaja.com. +
I Made Sumadiyasa who goes by the name Made was born in Bali 8 February 1971, in Langlanglinggah, Tabanan. Made is a dynamic Balinese artist whose expressive paintings encompass a universal spirit. His visual language goes beyond form and illusion, creating intense levels of emotion. He focuses on movement and color to bring out the spiritual essence of his subject. From the greatness of the natural world to the influence of culture and technology on the environment and humanity, Made continues to discover unlimited sources of inspiration for his artistry.
A graduate of the Indonesia Institute of Art (ISI Yogyakarta, Indonesia) in 1997, Made was the first Indonesian artist invited to participate in the prestigious ART ASIA International Fine Arts Exhibition held in the Hong Kong Convention and Exhibition Centre, Hong Kong, 1995. In 1996, Made was the first Indonesian artist to have his painting (The Way to Eternity) featured on the full-cover of the prestigious Asian Art News magazine (Mar-Apr 1996). +
I Made Suparsana, S.Kom, a man who graduated from the STIKOM Bali Institute of Technology & Business. Graduated in 2021 and started developing a digital company called PT Foxbyte Global Inovasi located in Denpasar, Bali. Its business focuses on providing software solutions for the banking, retail, transportation, and startup industries. I Made Suparsana, S.Kom serves as a Project Manager in his company.
This company was born when the pandemic hit Indonesia. Many businesses are starting to go out of business and turn to digital services. From this momentum, Made Suparsana and his team saw that a change in trend was taking place where users had started to switch to digital services. The company has a vision of "To Be a Global Digital Solution Provider in the 4.0 Revolution Era". +
I Made Supena was born in Singapadu, Gianyar, January 12, 1970. He studied fine arts at the Art and Design Program (PSRD) of Udayana University (1991-1997). He is the son of the legendary sculptor I Ketut Mudja. Supena's works are abstract by taking inspiration from nature. In addition to painting, he also makes sculpture, installation art, and works on performance art. Supena is also active in the visual arts groups “Galang Kangin” and “MilitanArts”.
Since 1991 Supena has been diligently involved in joint art exhibitions, both at home and abroad. While his solo exhibition was in 1998 at The Chedi Payangan Gallery, Bali. Then the exhibition Reality of Abstract Painting (Art Center Bali, 1999), Landscape und Abstraction (with Susena, Frankfrut, Germany, 2000), New painting (Suli Art Gallery, Denpasar, 2002), About Hature (Gallery Mon Décor, Jakarta, 2002 ), The Likeness of Nature (Ganesha Gallery, Bali, 2004), Studi Alam Supena (Danes Art Veranda Denpasar, 2005), Made Supena Landscape (Gracia Gallery, Surabaya, 2007), Emotion (Santrian Gallery Sanur, 2008), Genealogy (Jogja Gallery , Yogyakarta, 2010), Solitude of Child (Kubu Kopi Denpasar, 2015), Ritus Mountain (Maya Gallery, Sanur, 2017), Interpreting Feelings (Griya Santrian, Sanur, 2018).
Supena has won a number of awards including the Award for Sculpture Museum Bali, Denpasar (1991), Award of the Governor of Bali (1994), Award of the Embassy of Peru in Jakarta (1995), Award of Phillip Morris Arts Foundation (1997), Finalist of the Winsor-Newton Competition, Jakarta (2000), Certificate of Ownership, Wellculturen Frankfurt Museum, Germany (2010), Certificate Art Work Golden Land, BIAB Bejing, China (2015), Top 9 Titian Art Foundation ( 2017).
On April 16, 2019 Supena died at Sanglah Hospital. He had severe bleeding in the brain due to an attack of hypertension. Bali lost one of its best artists. +
Made Surita was born July 27, 1951 in the village of Payangan. His father, a Hindu official, specialized in painting wayang (puppet) figures. In 1965, after finishing primary school, he started to draw zealously, picturing nature and people with cult functions.
In 1968 he enrolled at the Sekolah Seni Rupa Indonesia (School of Fine Arts Indonesia, or SMSR) in Denpasar. After two years there, he was able to finance his study through the paintings he was selling. During this period, the artist Nyoman Darsana, also from Payangan, helped him master batik techniques.
The years between 1971 and 1988 represented a period of doubt for him, a quest for his own soul. From time to time he sought comfort in other occupations and professions, concentrating more on batik, or working as a journalist for various newspapers. In 1988, he eventually discovered his own personal painting style based on Balinese culture.
A style of his own? He discovered it by combining the different existing wayang styles – the 'Kamasan Klungkung' style and the 'Young Artist' style as it had been developed and taught by the Dutch painter Arie Smit.
Elements of both styles were subordinated to his own subject matter – the culture of Bali or daily life as it is determined by religion. In his most recent paintings, he links up even more stylistic elements than before. The compositions refer to the 'Young Artist' painting style, the figures and trees to 'Wayang Kulit' (shadow puppet), the colors to 'Wayang Kamasan' and the technical finish to the traditional Ubud style.
Since 1970, Surita's work has been widely exhibited throughout Indonesia as well as in galleries in Singapore (1993, 1994, 1996, 1998, 1999), Australia's Darwin Museum (1996) and the Darwin Parliament House (1997). +
A graduate in Fine Arts from the Indonesian Art Institute (ISI) Denpasar, Senayadi has exhibited two and three-dimensional works in exhibitions, including two solo shows, throughout Bali and Java since 2005. He represents a new wave of Balinese artists dedicated to innovating within the contemporary format experimenting with conventional and non-conventional media. “I am very grateful for having my work recognised in the UOB Painting of the Year Awards,” said Senayadi, born in 1985 in Marga, Tabanan, Central Bali. “Through this award, I trust it will help provide a bridge to the goals that I want to achieve in my career.”
Despite his visual challenges during the past five years, Senayadi has excelled in his artistic pursuits. In 2018 he was recognised as one of Nine Finalists in the TiTian Prize, a biannual art award presented by Yayasan TiTian Bali (Bali Art Foundation) recognising Balinese talent innovation within the visual arts. In 2019 Senayadi distinguished himself with eye-catching and ingenious works made from natural coconut fibres, ‘Menanti Keberuntung/Longing #1’ and ‘Buta Bongol/Deaf Monster’ during ‘Mahardika’, a group exhibition at TiTian Art Space in Ubud. +
I Nengah Jati was born in Banjar Sama Undisan, Jehem Village, Bali, October 5, 1990. His poetry book is titled “Silunglung” (Expression Library, 2018). His works are also published in Suara Saking Bali. +
He is I Nengah Jati, he is usually called Jati. He was born in the same undisan, bangli on October 5, 1990. He comes from bangli but now resides in Ubud. Regarding his educational history, he graduated from SMK TP 45 Bangli and then continued his undergraduate studies in Balinese at the State Hindu University I Gusti Bagus Sugriwa and for the achievements he had achieved, he was the champion of writing Balinese poetry. After completing his education he is currently working as a Balinese language instructor. +
I Nengah Sujena was born in Bangli, Bali, in 1976. He graduated from the Indonesian Institute of the Arts (ISI) Yogyakarta in 2005. Sujena has had solo exhibitions and participated in group exhibitions in Bali, Yogyakarta, Jakarta, Singapore, Tokyo etc. In 2007 he had a solo show entitled Songs of Solitude at the Komaneka Gallery.
Nature is the main source of creative inspiration for Sujena. His paintings articulate the revelation of nature. They reflect an ecological awareness that recognizes the fundamental relation between nature and the human. His works subtly criticize the anthropocentric view that considers the human as the center of truth with all the privileges to exploit nature. Sujena conveys a critical, yet poetic, message that living in harmony with nature is a soothing, peaceful life. +
I Ngurah Suryawan, born in Denpasar Bali on February 25, 1979. He obtained his formal education at the Department of Anthropology, Faculty of Letters, Udayana University, Bali (2006) with the title "Speaking Behind Silence: Anthropological Studies of the Violence of the 1965-1966 Mass Massacres in Jembrana Regency, Bali."
He completed his Masters in the Masters Program in Cultural Studies at the Postgraduate Program at Udayana University (2009) with a thesis entitled "Bara on the Edge of Power: Genealogy of Subaltern Violence and Upheaval in Buleleng Regency, Bali". Doctoral education was completed at the Humanities (Anthropology) Program, Faculty of Cultural Sciences, Gadjah Mada University, Yogyakarta (2015) and wrote a dissertation entitled "Elite's Strategy to Steal State Power in West Papua". The postdoctoral research program started from 2016-2017 on the cultural ecology of the Marori and Kanum people in Merauke, Papua under the ELDP (Endangered Languages Documentation Program) and Australian National University (ANU) scheme. He was a visiting researcher at KITLV (Koninklijk Instituut voor taal-, Land-en Volkenkunde), Universiteit Leiden 2017 – 2018 to write his research on the formation of the middle class elite in the interior of Papua. His books on Papua include: A Broken Soul (2014), Looking for the Morning: Ethnographic Fragments (2015), Papua Versus Papua: Disunity and Cultural Change (2017), Dismissed Voices: Against Silent Culture ( 2017), Dim Living Space: The Ecological Concussion of the Marori and Kanum People in Merauke, Papua (2018), Kitong Pu Dreams: Anthropology and Transformation of the Papuan People (2018), Searching for a Changing Bali (2018). +
Dr. I Nyoman Cerita SST, MFA is an artist and academic of performing arts, especially dance in Bali, from Banjar Sengguan, Singapadu Village, Sukawati District, Gianyar Regency, Bali. He has been able to build an effort to develop the arts, especially dance in Bali. Various works that until now have provided important notes on the development of the art of dance, I Nyoman Cerita is able to create dance works in the Nyeraki way. The term Nyeraki means all-rounder. The ability of nyeraki referred to here is the ability of Nyoman Cerita to create musical compositions (dance accompaniment music), create dance moves, and be able to create costume concepts. The ability of nyeraki is very rarely possessed by dance artists in general.
I Nyoman Cerita is also an innovative artist, he brings up many new ideas such as processing dance properties that can be used in various functions. In one his dance work Satya Brasta, dancers carry a pajeng (umbrella) and a fan property, the pajeng can function as a spear, chariot wheel, and cloud symbol, while the fan property can be used as a mace and golden chariot. His Balinese dance works are the inspiration for teaching materials in the studio and as a presentation of performing arts. +
I Nyoman Darma Putra is a professor in Indonesian literature at the Faculty of Arts, Udayana University, Bali, Indonesia. He obtained his Ph.D. from the School of Languages and Comparative Cultural Studies, University of Queensland, in 2003, where he took a postdoctoral program from 2007-2009.
Apart from teaching literature and culture at Faculty of Arts, Darma Putra also teaches tourism subjects at Masters Program of Tourism and Doctoral Program of Tourism Udayana University. Darma had been the head of Masters Program of Tourism for four years, 2014- January 2018. His research interest includes Indonesian literature, Balinese literature, Balinese culture, tourism.
With Michael Hitchcock, he published Tourism, Development and Terrorism in Bali (Aldershot: Ashgate, 2007), while his sole authored book is A literary Mirror; Balinese Reflections on Modernity and Identity in the Twentieth Century (Leiden: KITLV Press, 2011).
He publishes a number of article in international peer review journals including Asian Ethnicity, Indonesia and the Malay World, Current Issues in Tourism, The Journal of Hindu Studies, and Tourism Geographies.
Since 2011, he has been the editor in chief of Jurnal Kajian Bali (Ranked 2, on Indonesian accredited journal Sinta). +
I Nyoman Darma Putra teaches Indonesian literature in the Faculty of Letters and Culture, Udayana University (Bali) and is an adjunct professor in the School of Language and Cultures, the University of Queensland. He is the author of A literary mirror: Balinese reflections on modernity and identity in the twentieth century (KITLV/Brill, 2011). +
I Nyoman Ekaputra S.Sos M.AP was born on June 1, 1965 in Denpasar. Residing in Br. Pengukuh, Peguyangan Kangin, North Denpasar, Bali, Indonesia. He works as a civil servant as well as a holder at a temple in Peguyangan and helps if anyone needs help with writing Balinese script and fostering children in the village pasraman. His last education was at Ngurah Rai University, Bali, majoring in Master of Public Administration. +
Born in 27 May 1958 in Banjar Dlodtangluk, Sukawati, Gianyar, Bali. He was raised in the neighborhood of artists, painters, sculptors, dancers and musicians. He was conciously choose to follow the path of art during his teenager years and enrolled in the High School of Arts in Denpasar. Soon after, he travelled to Yogyakarta in Central Java and pursuing bachelor degree in Fine Arts at the Indonesian Art Institute. The two schools shaped his perception in arts and expand his realm in understanding the relations between the visual of traditional art in Bali and the technique and approach of Western art. The dialog betweenn the two world is evident in Erawan’s works up until now.
He begun working and living as an artist since 1983. For about 25 years he has been working in different fields of art as he is as much as talented in visual and performance art. His works are mainly inspired by the philosophy of life in Balinese-Hindu perspective called Trimurti, in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Visnu the maintainer or preserver, and Siva the destroyer or transformer. The form or destruction and incarnation, life and death, chaos and order, traditional and modern. He creates paintings and installation, video art and body art performance in many exhibitions in Indonesia and abroad. +
I Nyoman Kaler was born in 1892 in Pamogan Village, South Denpasar District. His father, I Gde Bakta, was a versatile artist in his day. His mother, Ni Ketut Taro, owns the art of his grandfather, I Gde Salin. Kaler himself studied with his grandfather and father, who later passed on to him the nandhir dance, butterfly row, Sisia Calonarang, wayang wong, and parwa.
Kaler never received formal education, because as he recalled, until 1900 in Denpasar there were no schools opened. However, his ability to both read and write Balinese script and Latin script cannot be doubted. This skill is obtained from non-formal education on the sidelines of his busy life deepening the arts of dance and percussion. In mastering pagambuhan dance and percussion, he was educated by I Gusti Gede Opium, I Made Sariada, and I Made Nyankan (all from Denpasar) and I Made Sudana from Tegal Taniu.
In 1918, at the age of 26, I Nyoman Kaler deepened the Legong Kraton dance with his teacher, Ida Bagus Boda from Kaliungu Klod, Denpasar. In 1924, he studied dance and percussion with Anak Agung Rai Pahang from Sukawati, Gianyar. Kaler was very impressed with this one teacher. His teacher's extraordinary way of teaching allowed Nyoman Kaler to understand the intricacies and movements of dance in depth. Kaler also became a favorite student because of his amazing talent.
Kaler can play almost all Balinese gamelan instruments and understands very well all pegongan music, gender, angklung, semar pagulingan, and so on. Nyoman Kaler started teaching in1918. +
I Nyoman Loka Suara is a painter born in Bali, February 13, 1970. He studied fine arts at ISI Denpasar. Since 1993, he has been active in various joint exhibitions, including the Palette group exhibition at Come Out festival Australia (1998), Beijing International Art Biennale, China (2015), Asian Art Biennale II, Hong Kong (2017). He is also a member of the Militant Arts Community of Fine Arts. Loka's works often feature gloomy-looking figures with distorted techniques. The neck of the figure is made long like a giraffe so that it gives a unique impression on the painting. +
Modern and ontemporary painter who was born in 1952. +
“What the modern architecture is still trying to achieve today has been implemented in the traditional Balinese architecture for centuries now, where the concepts of energy conservation and environmental preservation are amongst the fundamental elements in every design.” – Popo Danes
From private homes and restaurants to starred hotels and luxury resorts, the renowned Balinese architect Nyoman Popo Danes is known for his exemplary designs that showcase a distinct flair of being in harmony with the local culture and nature. This green-conscientious architect always integrates eco-friendly aspects of Bali’s traditional architecture into his designs.
“While some architects are very focused on making their buildings look stunning from the outside, my main concern has always been the functionality of each aspect of the building. I always make sure that my designs are in harmony with their natural surroundings; that each room has a function; that a strong connection between the architecture, landscape, and interior is established. I don’t care if my architecture is not photogenic, as long as it serves its function well.”
As an international destination, Bali attracts people from all corners of the world with its uniqueness. Therefore, Popo believes that every building on the island needs to be able to help these people feel that they are in Bali. “When you travel, you want to be immersed in the local atmosphere. In Bali, a building should exude the feeling of locality so when you enter it, you know you’re not in Jakarta, Hong Kong, or anywhere else.”
The works of the two-time ASEAN Energy Award winner (in the category of Best Practice in Tropical Architecture) are known as some of the most striking in design, functionality, and environmental consciousness. Air conditioners take up the biggest energy consumption in a building, and Popo’s eco-friendly creations have the ability to ‘communicate’ with nature to lessen energy consumption through the overuse of air conditioners.
“I create buildings that have open pavilions (just like in typical Balinese buildings) to allow breeze to blow in, and I don’t put too many glass windows. Then again, air circulation or heat is not the only reason why air conditioners are overused. People also tend to turn their air conditioners on to escape from the noise pollution outside their buildings. When all windows and doors are shut, it’s quiet inside. This is where nature steps in. Towering trees can be a great noise filter, and they also serve as a fresh, cool air provider.”
From Indonesia to India and China to the Philippines, most of Popo’s architecture projects involve challenging landscapes. “It’s never easy. A lot of projects i’ve been doing so far (especially for luxury resorts) involve slanted soil, hilly surfaces and everything else not flat. Of course I can always take the easy job; for example in Bali, I get so many offers to design a building on a flat surface. The thing is, in order for me to build it, I have to get rid of a rice field. I will never build anything on a rice field. Rice field is a symbol of prosperity for the Balinese, and is home to the goddess of prosperity, Dewi Sri.”