Property:Biography text
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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.”
I want to introduce my 95 year old grandfather who is still actively working as a carving artist, he is named I Nyoman Ritug, he started working since he was 10 years old with his father, until now he is still actively working, I hope he has a long life.. thank God proud to be his grandson, even though my ability is far below his.. +
I Nyoman suprapta was born on November 11, 1962. He has made geguritab from 2000 to now, has published 219 titles of geguritan, because he gave his life for Balinese literature. He received the Rancage Literature Award in 2013 from the Rancage Cultural Foundation, Bandung from the service sector. Tuesday, April 9, 2019, which was already past. +
Nyoman Tusthi Eddy was born in Pidpid, Karangasem, Bali, December 12, 1945. He studied at the Faculty of Teacher Training and Education, FKIP Singaraja, graduating from 1969. Apart from being a teacher, he writes poetry, short stories, essays, articles, literary criticism, both in Balinese and in English. Indonesia. His works have been published in the Bali Post, Kompas, Suara Karya, Horizon, Basis, Warta Hindu Dhrama, Sarad, and so on. He received a number of awards, including the Bali Sastra Sabha (1999), the Modern Balinese Literature Penatar Charter from the Karangasem Education Office (2002), the Rancage Literature Prize (2004 and 2009). In addition, he also translated Indonesian and English literature into Balinese. His published books: Memories for the sake of Memories (1981), Poems Around the World (1984), Far East Poems (1985), Murmurs About Literary Appreciation: A Number of Essays and Notes (1985), Comparison of Words and Terms in Malay- Indonesia (1987), Introduction to Modern Balinese Literature (1991), Dictionary of Indonesian Literary Terms (1991), The Face of God in the Eyes of a Poet (1994), Folklore from Bali (1997), Duh Ratnayu: Tembang Kawi Mendamba Cinta (2001), Tafsir The symbolic story of Bagus Diarsa (2002), Ning Brahman (2002), SungaiMu (2004), Somah (2008). +
I Nyoman Wahyu Angga B. Santosa or better known as Wahyu Angga was born on May 21, 1997 in Denpasar. He is one of the alumni of the 2015 Bali Literature study program, he is also the author of the parwa literary work, kakawin Prapanca Suddhani. Currently, he is continuing his master's education at the Postgraduate program at Udayana University, Faculty of Cultural Sciences. +
I Nyoman Wardi is a faculty member in the Department of Cultural Studies, Udayana University, Bali - Indonesia. He is also a researcher with issues relating to the environment and cultural in the Center of Environmental Studies at Udayana University. +
I Nyoman Windha is one of the leading musicians and contemporary composers of Balinese gamelan music. He was born at Banjar Kutri, Singapadu, Gianyar, Bali. A graduate of the National Institute of Arts (ISI) in Denpasar, Bali, Windha has been a member of the faculty since 1985. He has composed dozens of compositions for Balinese gamelan in many genres but primarily in kebyar style. His compositions, such as Puspanjali (1989), have been incorporated into the standard repertoire of Balinese performing groups and many have won awards at Bali's annual gamelan competition.
Windha's music is known for his beautiful melodies, incorporation of forms and styles from Javanese gamelan, and other innovations such as use of 3/4 time. He has traveled and taught extensively around the world. +
Narend was born on 14 April 2012. He has shown an interest in the art of shadow puppet from the age of two. He started performing as a puppeteer when he was only six years old. He includes environmental issues in his stories.
He has his own YouTube channel:
https://www.youtube.com/channel/UC_ckePCK__4GypMOw4_QzWg
During his performances the gamelan gender is played by I Nyoman Yudi Artawiguna. +
I Putu Eka Prayoga, S.Pd.H., M.Pd is a teacher at SD Negeri 26 Pemecutan who has been teaching since 2018 until now. He comes from Pakraman Ubung Village, Denpasar City and he was born on March 23, 1994. He studied and completed S1 Pendidikan Agama Hindu at IHDN Denpasar then he completed his S2 Masters in Pendidikan Agama Hindu at IHDN Denpasar Postgraduate +
I Putu Gedé Raka Prama Putra or commonly known as Tudékamatra from his works was born in Gianyar, on Tuesday, 18 December 1990. Although still young, he is one of the authors who maintains modern Balinese literature. The author, who graduated from the Faculty of Economics, Mahéndradatta University, has studied writing since he was still in school at SMAN 1 Blahbatuh. His articles have been published in ksprési Magazine, Satua Magazine, Bali Orti (Bali Post), Bali Post, Pos Bali, Médiaswari (Pos Bali), and Dénpost.
His published books are:
Padang Tuh (Poetry, 2013),
Belog (Collection of Short Stories, 2014),
Raré Bali waves (Poetry, 2015).
Now he works as a journalist at Pos Bali and is the editor of the Gema Siswa at Pos Bali. +
I Putu Karang Adi Saputra was born in Abiansemal, June 9, 1985. Since 2003 he has been active in a number of joint exhibitions, including the joint exhibition “Bali Painting Maestro” at the Bali Post, Denpasar (2007); “Group of 72” at Paros Gallery, Sukawati (2007), exhibition “With Lecturers of ISI Denpasar” at Neka Art Museum Ubud (2008), exhibition at LV 8 Hotel with Sanggar Mangu Rupa Badung (2018), “Freedom in Expression” in Taman Balinese Culture (2019). +
I Putu Sudiana alias Bonuz is an artist born in Nusa Penida, Klungkung, Bali, December 30, 1972. Since childhood he has been interested in painting. While in his village, he was often asked to paint the walls of the fishing boats (jukung). After completing junior high school in his hometown, he continued his education at the Fine Arts Middle School (SMSR) in Batubulan, Bali. In 1995, he continued his art education at ISI Denpasar, until he graduated. Apart from painting, he also makes installation art, plays music, and writes poetry. Bonuz has exhibited many of his abstract-style paintings, including:
Solo exhibitions
2018 A Land to Remember. Santrian Gallery, Sanur Bali
2017 Tetabuhan-tatabumi, Bidadari Art Space. Mas, Ubud-Bali
1015 Because Life is Delicious at Kubu Art Space. Ubud.
2014 Magic Sound at Maya Gallery. Singapore.
2013 Be Happy, water color paintings at Sand Fine Art Gallery. Sanur-Bali.
2012 Harmony, at Rumah Seni Maestro Art Space. Sanur-Bali
2011 Inside of Bonuz at Tony Raka Gallery. Mas, Ubud-Bali
2011 Breath Reflection, at Hitam-White art Space. Sangeh-Bali.
2008 Pleading Life's Tenacity at Kemang Village. Jakarta.
2006 Journey of the Soul at Relish Café and Pool. Jakarta.
2003 Abstract Essence at Art Center Denpasar. Bali.
2003 Universal Spirit at Jenggala Ceramic Jimbaran. Bali.
2000 Crossing Borders at Red-White Forum. Denpasar Bali. +
I Putu Sukreta Suranta was born in Klungkung, 11 April 1938. He was a high-ranking army officer from Bali and a government official. He is one of the figures of the Parisada Hindu Dharma Indonesia organization and Paguyuban Ngesti Tunggal. After graduating from high school, he continued to the National Military Academy in Magelang. After graduating, he was appointed a second lieutenant in 1961.
Throughout his career in the military, he held various strategic positions such as Deputy Commander of the Garuda VII Contingent and Operations Assistant to the Chief of Staff of Kodam Jaya. He achieved the rank of brigadier general around 1986 and became Deputy Assistant for Operations to the Army Chief of Staff. He was promoted to major general about two years later and became Operations Assistant to the Army Chief of Staff on 17 March 1988. He was then appointed Commander of the ABRI Command and Staff College on 21 October 1989. He was replaced from his position on 16 April 1993 and retired from the military some months later.
After retiring from the military, he was appointed Inspector General of the Department of Defense Security on April 24, 1993.] His appointment as the department's inspector general was unusual, as this position is usually held by active three-star military officers. Because after retiring from the military, the government decided to raise his rank to honorary lieutenant general on September 1 1997. He was replaced by Farid Zainuddin in 1998.
He was then appointed by President BJ Habibie to become a member of the Supreme Advisory Council (DPA) on 13 June 1998 and became Deputy Chair of the People's Welfare Commission at DPA.
He was elected as Daily Chair of Parisada Hindu Dharma Indonesia (PHDI) at the 7th PHDI Mahasabha which took place in September 1996. Previously, since 1992, he had represented PHDI in the MPR. He is also an advisor to the Indonesian Hindu Youth Association and Prajaniti Hindu Indonesia. Apart from that, he was also a member of the spiritual organization Paguyuban Ngesti Tunggal (Pangestu).
He died in South Jakarta on Friday, September 16 2022 and was buried at the Kalibata Heroes' Cemetery (TMP), South Jakarta.
Putu Sutawijaya (1970)studied art at Indonesia Institute of Fine Art (ISI) Yogyakarta. He currently lives and works in Yogyakarta and Bali. As a painter, sculptor and performance artist, he is hailed as one of the most important young artists to watch out for. His canvases are highly charged with the energy, or qi, that is suggestive of Chinese calligraphy masters. While Chinese calligraphy influences his technique, his subject matter captures the essence of Balinese religious and tribal rituals. The visual impact of his canvases is explosive yet contemplative. They reflect the mutual desire for harmony in order and chaos, a oneness with the universe. Man as the centrifugal figure in paintings is distinctively Sutawijaya and continues to be prominent in his works.
Putu Sutawijaya draws his inspirations from the various Balinese religious rituals. He is especially fascinated with the way communion takes place, where spiritual enlightenment is attained through trance, intoxication and even violence.
Movement, energy and trance are the three most powerful stimuli in his canvases. The movements and stance of the kecak dance are symbolic of the Great Gods (sanghyang). The kecak dance is an intense spiritual dance by a large group of people.
A mental and spiritual climax is reached when the soul suddenly rises to a level of experience much more profound than daily consciousness. At that moment appears a peak of self confidence and extraordinary bliss like a trance, followed by enlightenment. Out of these are born paintings of such intense expression that they reach the farthest limits of universal concepts. +
I Putu Swaryandana Ichi Oka or familiarly called Ryan grew up in Banjar Pande, Sayan Village, Ubud. Ryan is a young composer who is currently pursuing a master's degree at the Indonesian Art Institute, Denpasar. This young composer is active in the arts at the Sanggar Seni Cudamani, Pengosekan, Ubud. Most of Ryan's works reflect traditional styles such as Swasti Prapta (for dance compositions) and Sundih, but there are some more contemporary works such as Su3lim (instrumental) and Kalatalaraga (body music). Ryan's works can be seen on YouTube Channel: Ryan Swaryandana. +
Putu Tangkas Adi Hiranmayena is an artist-scholar currently holding positions as faculty member at Metropolitan State University of Denver and the University of Colorado, Colorado Springs. His research interrogates discursive conceptions of “noise” in Bali and the United States as they intersect with Cosmology, Indigeneity, and Performance. He focuses on how people in places with long colonial histories reclaim Indigenous identity through popular idioms. As a music practitioner and composer, Hiranmayena continues to perform in improvisation/noise ensembles and creates contemporary works for Gamelan and Heavy Metal. He is co-founder of Balinese experimental project, ghOstMiSt and artistic director of Denver, Colorado’s non-profit organization, Gamelan Tunas Mekar. +
I Putu Tangkas Adi Hiranmayena is an Indonesian artist and scholar. Putu’s interests are rooted in gamelan, improvisation, and metal music, while dealing primarily with high adrenaline activity, embodiment, and cosmology theories. His musical works directly highlight exigency of performance in peak physical states, which provoke praxis of micro-temporality. Putu has performed with gamelan and improvisation ensembles around the United States and Indonesia; most recently with Gamelan Pandan Arum from Los Angeles, Gamelan Tunas Mekar in Denver, and Sanggar Manik Galih in Bali. He has also acted as gamelan ensemble director at the Museum School of San Diego as well as the University of San Diego. Putu holds a B.A. from the University of Colorado Colorado Springs in Visual and Performing Arts and an M.A. from the University of California San Diego in Integrative Studies. He has recently started a Ph.D. program at the University of Illinois Urbana-Champaign in ethnomusicology where he plans to continue his studies in new music and gamelan. +
I Wayan Aris Sarmanta, born in Gianyar, April 8, 1995. Since 2011, he has been actively exhibiting, including at the Puri Painting Museum, Arma Museum, Allcaps Gallery, Bentara Budaya Bali, Titian Artspace Ubud, Paradiso Ubud, Griya Santrian Gallery, Bale Banjar Sangkring Jogja. In 2017 he held a solo exhibition “Rebirth” at Titian Art Space, Ubud. He won the 2017 Titian Prize Nine Finalist and 2018 Titian Prize Winner. +
I Wayan Arnata (born in 1973, Sukawati, Gianyar) is an abstract artist who grew up surrounded by Balinese art and tradition. His works are unique and employ the traditional Balinese technique of Ngodi to create textures with threads. The Ngodi technique applied to modern abstracts yields a distinctive appearance and finish. Threads are used to signify various metaphorical themes and concepts in multiple cultures. In Balinese culture, it stands for an extended period or a medium that connects one period to the next. It is here that he found a foundation to explore tradition in his contemporary creative process while staying true to his identity and roots. Arnata has received several awards, such as the Bronze award in the UOB Painting of the Year (Established Artist Category) competition in 2017 and the Philip Morris Indonesia Art Award in 1996, 1997 and 1999. +
I Wayan Arya Bisma is a young musician and composer who grew up in Pujung Kelod, Sebatu, Gianyar. Currently, Bisma is still pursuing his undergraduate education at the Indonesian Art Institute, Denpasar. Bisma is active as a musician and composer at the Sanggar Seni Çudamani, Pengosekan, Ubud. +
I Wayan Balawan (born September 9, 1972 in Bali), better known by the single name Balawan, is an Indonesian guitarist and songwriter. He is best known as a Batuan Ethnic Fusion guitarist and his ability to play double neck guitar. Balawan has developed the 8 Fingers Touch Style technique, which also known as the Touch-Tapping Style. He is often regarded as one of the fastest guitarists in Indonesia. He is also called The Magic Finger guitarist among the world's music community.
Personal life
Balawan listened to Balinese gamelan, a traditional music style from Bali, since birth. At the age of eight he taught himself to play guitar. He joined his first band when he was 14 years old. Although he grew up in a traditional Balinese culture, Balawan played more rock songs than gamelan. Some of his favorite bands were The Scorpions, Deep Purple and The Beatles.
Eventually he became bored with rock music and decided to study jazz at the Australian Institute of Music in Sydney.During his studies towards a Diploma of Music, he was awarded a three-year scholarship. He studied in Sydney for about five years, during which time he also gained popularity for his exceptional talent of playing guitar and jazz music. After he obtained his Diploma of Music in 1997, he went back to Bali and formed a band called Batuan Ethnic Fusion, which combined the traditional Balinese gamelan music with jazz / fusion style.
Career
His first professional band, Batuan Ethnic Fusion, is still active. Besides being a band member, Balawan is also working on his solo career and has released three albums. His first solo album was "Balawan", which released in 1997 by the Acoustic Music Label, a German company. Later, he worked with an Indonesian company, and with his band, he released his first band album, "GloBALIsm", under Chico&Ira production in 1999. Recently Balawan launched his second solo album, "Magic Fingers", under the Sony-BMG Music Indonesia label. Magic Fingers really showcases Balawan's abilities in arranging and composing and his ability to blend modern music with traditional Balinese gamelan.
Indra Lesmana about Balawan: "It's always exciting to find new things in art and Batuan Ethnic Fusion is a perfect example of artist who explore into the great spectrum in art with passion, love, beauty and freedom..."
As Balawan is considered as the only Indonesian guitarist who able to develop and use the "Touch Tapping" style, he often plays in Germany and Norway. In 2000, Balawan collaborated with many international guitarists at "East Meet West Gitarren Festival Edekoben Germany 2000 Tour". He also has had a tour in 20 cities in Germany in 2001. In the same year, Balawan played at "Hell Blues Festival" in Norway in September. In 2011 Balawan appeared at the 16th Other Minds festival in San Francisco.
Technique
Balawan has developed and expanded a technique called "Touch Tapping" style. The technique enables the guitarist to play two or even three different music progressions at the same time using the same instrument continuously. Another notable player of this technique is Stanley Jordan, an American jazz/fusion guitarist. Balawan developed the same progression with Stanley Jordan, that he is able to produce a piano, bass and guitar at the same time using just one instrument.
Usually Balawan uses all four fingers of his right hand to create the melody progressions and his left hand to create the bass and rhythmic sounds. Another unique thing is that there is no pattern or repetition whatsoever between the left and right hand. Thus Balawan has a very exceptional skill of playing guitar.
Balawan also plays drums, both to fill the tracks on his albums and to develop the "Touch Tapping" style.
Equipment
Since Balawan needs to play rhythmic progression and melody at the same time, he uses a special guitar with two necks made by Tommy Kaihatu that also known as Rick Hanes Guitar. Balawan's Rick Hanes Guitar has a double neck with six strings on both upper neck and lower neck, which utilises MIDI pickups to translate the notes he plays into MIDI notes played via off-board synths and samplers.
Balawan uses Rick Hanes guitars exclusively, which are Balawan Double Neck Series, Balawan Mini Guitar Series and Essel-Balawan Custom Series. He also uses Rockstone Cases and VOX amplifier.
I Wayan Bendi – 1950-2020 (Indonesia)
I Wayan Bendi was a living legend, the leading practitioner of the Batuan style of painting which developed in Bali in the 1920’s-1930’s.
He was born in 1950, in Batuan, a village near Ubud. He still remained rooted to his birthplace, where he had his studio and art gallery.
The Batuan style of painting is very intricate and detailed, crammed with many “stories”. Paintings in this style are tightly crowded with teeming crowds and scenes that depict all the traditional aspects of Bali life, like rice harvests, temple rituals, dancing girls and fantastical theater masks.
A Batuan picture usually has a sober monochrome color palette, because of the initial application of black and grey paint on the canvas surface as base. But Bendi is also an artist with a mischievous streak. For a Batuan artist, he is considered very colorful with his ‘soberly bold’ colors like brick red and light olive. Then there’s his ‘thing’ about helicopters. Bendi usually has one somewhere in his crowded agrarian scenes, and part of the fun is to hunt for it. Another favorite, the t-shirt clad, inquisitive tourist with his intrusive, long nosed camera lens, snapping away amid the water buffaloes and rickety taxis. It’s a Bendi trademark that speaks volumes about his concern for Bali’s relationship with the almighty tourist dollar.
Bendi expanded his focus to capture traumatic events that has impacted Indonesia, from the Bali bombing to the tsunami. Always, Bendi’s witty, observant paintings are like a macrocosm of modern Bali life.
The artist has exhibited in Japan, Netherlands, Belgium and New York. +
I Wayan Diana, born in Batuan, 1977. He has exhibited at the Puri Painting Museum, Arma Museum, Neka Museum, Griya Santrian Gallery, etc. He won awards as Jakarta Art Award Finalist (2008 and 2010), UOB Painting Of The Year Finalist (2012, 2013, 2014). With the Batuan style painting technique, his paintings voice a lot of social criticism. +
I Wayan Dibia was born in Singapadu, Gianyar, Bali, April 12 1948. Since 1999, he has been a professor of choreography at ISI Denpasar. He is also famous for his work in the art of Kecak dance, such as Kecak Subali and Sugriwa (1976), Kecak Dewa Ruci (1982). He once collaborated with Keith Terry to create "The famous Body Tjak" (1990).
As a dance artist, he is very famous at the international level. In the field of dance, he created the Manuk Rawa Dance with I Wayan Beratha in 1981, the Puspa Wresti Dance, the Wirauda Dance, etc. He received the "Padma Shri Award" (2021) from the Government of India for his dedication in intertwining works of art between Balinese and Indian culture. In 1969, he first performed in India with the Hanuman dance.
Apart from creating dozens of dance works, he also wrote a number of books, including "Gambuh Drama and Almost Extinct Dances in Several Regions in Bali (1979), "Kecak, the Vocal Chant of Bali" (2000), "Balinese Dance , Drama, and Music: a Guide to the Performing Arts of Bali” (2012), “Communal Dance” (2015), “Kecak: From Ritual to Theatrical” (2017), “Arja Anyar” (2017), “Barong Dance Ket: From Awakening to Glory” (2018). In 2021 he published five poetry books entitled "Dance Poetry". He also wrote a book of poetry in Balinese, including the title "Kali Sengara". He also wrote a novel about dancers entitled "Bintang Panggung" (2023).
In 2022, he received the “Bali Jani Nugraha” award from the Governor of Bali. His Balinese poetry book "Kali Sengara" won the "Rancage" award from the Rancage Cultural Foundation (2023). +
I Wayan Gunayasa was born in Ulakan, Manggis, Karangasem August 3, 1967. He is an entrepreneur and photography is one of his hobbies. He is also involved in social activities, such as children with disabilities and orphans and also participates in fighting plastic waste. His photos have been published in several magazines such as 'Emvee Magazine', 'Bali Travel' and 'Tropical Life'. He also took part in an exhibition at Mall Bali Galeria, solo exhibitions and exhibitions with other photographers. Wayan prefers to photograph culture and nature because by doing so he can travel around and get to know the culture more closely; culture in Bali in particular and Indonesian nature. He worked with Norwegian students studying in Bali in 1993-2014. +
Wayan was born in Jauary 1986. He is a graduate of the Indonesian Institute of the Arts in Denpasar.
Donal wishes to revive and embody the “tradition” of painting in the history of the development of modern art through the method of painting on the spot. He returns to nature and tries to appreciate and permeate the phenomenon of form, where aspects of light play a vital role in the absorption of objects by the eye and are then transferred to the canvas plane.
The choice of objects painted by Donal on the spot is also an object in the surrounding environment that is familiar in his daily life as a Balinese. Thus, what appears visibly to Donal’s works is the painting of landscapes, trees, or parts of certain plants that are painted close-up, or a collection of natural objects.
Donal views painting as part of the culture of society. He wants to present things that might look simple, natural, and beautiful (in the eyes of ordinary people) in the hope that this will be the entrance for them to be able to respond to even deeper things, that is, the ideas in each of his paintings.
Based on Donal’s view of his creative process as serious and intense, painting on the spot with impasto techniques, we can read this as Donal’s effort to celebrate and give meaning to painting as a way of presenting beauty and peace of mind through the elements of art—especially colors, which all support light. Donal puts painting as mainstream in his creative process. His struggle and his trust in the power of painting is an inseparable part of a human being’s sense of beauty.
He joined in group exhibitions from 2005, and had solo exhibitions from 2014. +
I Wayan Juniarta's primary profession is as a journalist who finds solace in crafting essays following his tragically failed attempt at writing poetry. His first Bungklang-Bungkling records the hilarity and ludicrousness of Balinese men. When he’s not writing essays, Jun can be found pedaling towards the island’s most serene spots while composing bite-size koans, which you can seek out using the hashtag #cyclingwithbuddha. +
Mangku Bajra whose real name is I Wayan Langgeng, was born in Sanur Kaja, July 1, 1963. He is in charge of leading and completing the Panca Yadnya ceremony. Prior to becoming a priest, he taught Balinese and Hinduism at an elementary school in Sanur. In his youth, he liked to act in theater and write poetry. His poems have been published in the Bali Post Sunday. In addition, he also likes to write lontar. Because of his passion for writing and reading lontar, he understands the science of traditional Balinese medicine (usada). Apart from being a priest, he is a traditional elder in Sanur Kaja. +
I Wayan Mudita Adnyana, born in Tenganan Village, Karangasem, Bali, 16 September 1931. He is an expert in copying ancient lontar, singing kakawin, playing Gender and Selonding gamelan. He learned to copy lontar from I Gusti Bagus Sugriwa from Singaraja in 1943. From a young age he had copied many lontar, including the Bhagawad Gita, Mahabharata, Ramayana, Purusada Santa, Sutasoma, Arjuna Wiwaha, Bomantaka, Gatotkacasraya, and so on. In 1970 he helped build a village library called Widhi Sastra. In 1972, he pioneered copying lontar containing images of wayang in Tenganan. He also created a wayang sekaa (group) called Dharma Kusuma in 1980.
Copies of the lontar are widely collected by domestic and foreign collectors as well as state officials, including the President of Italy, Sandro Pertini (1983); New Zealand Prime Minister Hellene Clark (1988); President Megawati Soekarno Putri (2001). A copy of his lontar entitled Kakawin Sutasoma was once offered by a foreign collector for hundreds of millions of rupiah, but he did not let it go. Because he will pass on his favorite palm leaf to his children and grandchildren.
In 1984, he won second place in the Bali Provincial Lontar Copying Competition. In 1987, he received the Dharma Kusuma Madya Award from the Governor of Bali, the Cultural Award from the Government of the Republic of Indonesia (2019), the Bali Bhuwana Nata Kerthi International Level Award from ISI Denpasar (2023), the 2024 Bali Kerthi Nugraha Mahotama Award from the Bali Provincial Government.
Even at his very old age, he was still actively copying palm prints. Everyday he can be found at his residence in Tenganan Village. +
I Wayan Pande Sumardika is a Balinese writer. He was born in Ngis Village, December 31, 1993. He comes from Banjar Dinas Kajanan, Ngis Village, Manggis District, Karangasem Regency. He is also an alumnus of the Bali Literature Study Program, Faculty of Cultural Sciences, Udayana University class of 2012. +
Mr. I Wayan Phala Suwara S.Pd.H.,M.Pd he was born in Denpasar, May 22, 1993. Located on Jalan Gemitir, Gang Suli B Biaung-Denpasar. His parents are I Wayan Sujana and Ni Nyoman Sariani.
He works as a teacher at SMA Negeri 3 Denpasar. His last education was S2 at IHDN. +
Author and cartoonist I Wayan Sadha was born in Jimbaran, on July 29, 1948. He attended guard school until grade 2 of Sekolah Rakyat. I Wayan Sadha has a lot of experiences having worked as a fisherman, laborer, tradesman, gardener, traveling photographer, until he became a journalist and most recently, a cartoonist and author. He created the dog cartoon character "Somprét" which is unique with satirical elements regarding Balinese social and cultural problems.
He often participates in cartoon exhibitions with artists in Denpasar, has been invited to exhibit with Prakarti at the ARMA Muséum, Ubud, Bali Biénnalé and others. Won 3rd place in Photo “Bali Tourism 1981” and the 2010 Rancagé Literature prize with his book entitled “Léak Pamoroan”. His cartoons and short stories have been published in The Archipélago magazine, English Corner, Bali cho, Nusra Daily, Sarad Magazine, Poléng Magazine, and Taksu Magazine. He was a resource person at the event Sandyakala Sastra #5 in 2010 with Ida Bagus Wayan Widiasa Kenintén at Bentara Budaya Bali. He died on January 28, 2015.
His published books are:
Bali in the Eyes of the Somprét (Cartoon, 1994),
The dog of Bali Somprét Celotéh Dog Bali (Cartoon, 2008),
Léak Pemoroan (short story collection, 2009),
Paruman Betara (short story collection, 2014). +
I Wayan Seregg was born in Timpag Village, Kerambitan, Tabanan, December 31 1940. He is a student of Old Javanese Literature. Apart from that, he is also skilled in mesanti (composition of sacred songs). Because of this, he is often asked to guide kakawin and Balinese literary arts.
Seregg is often trusted as a Balinese language instructor, as well as being a judge in Balinese literature competitions. He is also a marriage counselor for high school students and students. He also appeared as a resource person, one of which was in the context of the Family Gathering and Study Orientation by the Faculty of Letters, Udayana University.
Seregeg is the supervisor of Ancient Javanese Literature at the Denpasar Bangun Sastra Foundation, and is active in the organization as Chair of the Gerokgak District Widya Sabha, Deputy Chair of the Buleleng Regency Widya Sabha, founder and supervisor of the Sekaa Santi Widya Sabha, and supervisor of kekawin. Seregg has dedicated his life to Balinese script, language and literature. He received the Wija Kusuma Award from the Buleleng Regency Government, the Dharma Kusuma from the Bali Provincial Government, the 2024 Bali Kerthi Nugraha Mahottama Award from the Bali Provincial Government, and awards from other agencies. Now, he lives in Gerokgak, Buleleng, Bali. +
Mr. I Wayan Suardika is a pengawi from the Nusa Penida region, he was born in Pelilit 08 June 1989, he has his address at Pelilit hamlet des Pejukutan Subdistrict Nusa Penida, Klungkung Regency, Mr. I Wayan Suardika studied elementary school at SDN 8 Suana, studying junior high school at SMPN 1 Nusa Penida, attended high school at SMAN 1 Nusa Penida, then took undergraduate and postgraduate education at the Ganesha education university by taking the Balinese language education study program. Since 2017 he has been writing Balinese literature purwa +
I Wayan Suartha was born in Klungkung in 1957. Retired as a teacher for ASN (State Civil Apparatus) at SMA Wisata-PGRI Dawan, Klungkung. After retiring in 2017, he was assigned as the head of literacy at the same school. Suartha wrote poetry since junior high school, but it was only published in 1977 in a number of mass media, such as Bali Post, Karya Bakti, Student News, Nusa Tenggara, Hai Magazine, and Merdeka. In addition to writing poetry, Suartha is also active in writing short stories, drama scripts, as well as small notes on literary and theater appreciation. Dozens of fragments have been played on TVRI Denpasar Station.
His poems have been published in a number of anthologies with other poets, including Pintu Ilalang, Spektrum, The Ginseng, Shades of Inner Coloring, the Balinese anthology Pupute Tan Sida Puput, and Klungkung Tanah Tua Tanah Cinta. His literary historical work entitled Lebur Ring Klungkung in the form of an illustrated story was written with Ida Bagus Gde Parwita, guided by the history of the Puputan Klungkung incident. In 2005, together with I.B.G Parwita, he was invited to read his poems at the Ubud Wirters and Readers Festival. A collection of scripts for his drama chain Putus was published in 2012 which won him the Widya Pataka award from the Bali Provincial Government.
Suartha now lives in Banjar Pekandelan Kelod, Semarapura, Klungkung. +
I Wayan Subudi Yadnyana, a.k.a Swoofone, was born in Denpasar in 1994.
He expresses himself through paintings, video mapping, multi-disciplined collaborations and more. Identified by his limited palette and design sensibility, he is an emerging artist with a definite and eye-catching style. Swoofone has confirmed his presence within the sphere of Balinese contemporary art.
“Initially, my designs grew from observing the landscape and traditional architecture. I was then attracted to the old European, Japanese and Indian architectural styles. I studied Balinese Hindu mythology and teachings that I wanted to translate,” said Swoofone, who also dedicates himself to helping organise local exhibitions. “The basis of my colour expression is Tri Datu: consisting of red, white and black representing the Balinese cycle of reincarnation. I like the limited colours. I want to explore the potential, and then maybe add other colours later.” +
Sadu’s childhood home was in Sayan, a village west of Ubud. Currently he lives in his own house not far from it with his wife, who is Japanese, and their 2 children. Wayan Sadu paints in silence. His paintings also has a silence presence in them that could only be captured by the artists himself. +
Sudarna Putra was born in Ubud, Bali on 15 April 1976. He studied art from 1994 – 2004 in ISI Yogyakarta and has lived there since until earthquake in Yogyakarta in May 2006 then he returned home to Ubud. Interpreting the paintings, sculptures and installations of Sudarna Putra is like being reminded of the richness of contemporary aesthetics that refues a single code in the framework of opening opportunities for combining various systems into an eclectic code.
He has been doing many solo and group exhibition since 2005, and some of is notable achievements are: 10 Winners of Philip Morris Indonesia Art Award VI (1999) and Best Artwork of Lustrum IV ISI Yogyakarta (2004). His duo exhibition with I Made Arya Palguna “NOSTALGIA” was held at Komaneka Fine Art Gallery in 2007. +
Wayan Suja was born in Batubulan, 8 December 1975. He was graduated from the Indonesian Art Institute in Denpasar in year 2001. He started to have exhibition in year 1994. He was awarded Finalist of 7th Phillip Morris Art Award in year 2000 and awarded Best Sketch and Best Work in the previous years. His artwork was one of the best 30 in The 2005 Sovereign Art Prize, Hongkong. +
Sukra had originally composed the music [for Tumulilingan Mengisap Sari, The Bumblebee Sips Honey, a danced by famed kebyar choreographer I Mario) for a gamelan in Marga, Tabanan, but as it had not been performed, he taught it to the Peliatan group for three weeks. After Sukra returned home, the Peliatan group “polished and rearranged” the music more to their taste, also renaming it. In many ways this was the showpiece of the tour, featured in John Coast’s book, Dancing Out of Bali, and an audio visual recording survives on a kinescope.
Sukra is also credited with composing the music for Igel Trompong and Igel Jongkok (later called Kebyar Duduk) in 1915. https://sckool.org/lindstrom-in-bali-1928-part-2-gamelan-gong-kebyar.html?page=2 +
Mr. I Wayan Turun is a writer who comes from Kesiman Village, East Denpasar District, Denpasar City, he was born in 1951, as a writer he often creates literary works in the form of geguritan, kidung, Puranas and others.
Geguritan Penataran is one of the 108 literary works of Mr. I Wayan Turun. This geguritan is a work on the treatment of lontar which used to use tissue paper. Before writing geguritan Penataran, he had written many other literary works such as Kidung Kidalang Pricek, Geguritan Busana, Geguritan Balian Batur.
He has been involved in literary arts since a young age, has become a very bright experience today, such as: being a staff at a Balinese museum, making temples and inscriptions, Gama Sesana researchers Aji Loka Trestih and Aji Loka Kertih and many others.
With extraordinary works, he often makes literary works for several temples in Kesiman.
From him, I learned that there are still many authors of Balinese literary works around us today, even though they are still located on the modern and bustling side of Denpasar City. +
Nanoq da Kansas, real name Wayan Udiana, was born in Moding, Candikusuma, Jembrana, December 2, 1965. He is the founder of Teater Kene, Bali Experimental Theatre, Komunitas Kertas Budaya. He has also been with the Coffee Drink Studio. His literary works have been published in the Bali Post, Kompas, Nusa Tenggara, Karya Bhakti, Swadesi, Nafiri, etc. His published books are: Ladang Angin (1993) and Centuries After Women Hiding in My Body (2006), A Country That Might Not Have Time to Hear, Martabak & Cabinet, Village Children Who Challenge the Ages. +
The writer and humanist who won the 2014 Rancage Literature Prize with a collection of essays entitled "Tutur Bali" (2013) named I Wayan Westa. A graduate of FKIP, Dwijendra University Denpasar, Department of Balinese Language and Literature Education, he was born in Klungkung, January 27, 1965. From 1889-1993 he became a teacher at SLUA Saraswati Klungkung and a lecturer at various private universities.
In 1999 he worked at the Ford Foundation, he was also the editor of Gumi Bali SARAD Magazine in 2000-2009, and in 2010-2012 he was the Chief Editor of SABDA Magazine. His essays were published in various mass media, such as: Karya Bakti Weekly, Nusa Daily, Bali Post, Kompas, Pos Bali and Radar Bali. As editor of various articles published by the Indonesian Obor Foundation, Wulan Sedhuwuring Geni (Anthology of Short Stories and Regional Poetry), A Thousand Fireflies in Manhatan (translations into 13 Regional Languages), and Sunari (Balinese Novels by Ketut Rida), and Rabindranath Tagore , Poetry Throughout the Ages, Publisher of the Darma Sastra Foundation, 2002. He was also a speaker at Sadyakala Sastra #39 Wayan Westa: Nationalism and Glorification of Regional Languages on March 14, 2014 and Sandyakala Sastra #43 Obituary I Wayan Sadha on March 12, 2015 at Bentara Budaya Bali. +
I Wayan Wirawan was born on 27 November 1975. He is one of Bali’s leading contemporary artists, primarily a painter who initially trained in the Batuan style of painting. Aside from painting, Wirawan also works in carving, sculpture and installation. +
IBM Dharma Palguna was born in Tabanan, January 10, 1962. He completed his undergraduate education at Udayana University, then continued his master's and doctoral programs at the Faculteit der Leterren, Rijksuniversiteit, Leiden. Since he was a teenager, he has been actively writing poetry, essays, opinions, and has been widely published in the Bali Post. His published books include Lawat-lawat Suwung (poetry; 1995), Shiwarartri in the Padma Purana (1997), Ida Pedanda Ngurah, the Great Author of 19th Century Bali (1998), Dharma Sunya: Worshiping and Researching Shiva ( 1999), How Mpu Monaguna Worships Shiva (2000), Giant Human God (2007), Shintany Rabbhana (novel; 2009), Watulumbang Mosses (2011), Sekar Ura (2012), Shakti Women (2014), Watulumbang Watumadeg ( 2014), Tattwa Man (2018), etc. His works depict creative explorations and deep reflections on life and the socio-cultural dynamics that cross the ages, and reflect his high appreciation and persistence in spirituality. He died in 2017. +
I Dewa Nyoman Raka Kusuma or who is often known as IDK Raka Kusuma in his writings, was born in Getakan Klungkung, November 21, 1957. IDK Raka Kusuma has had a passion for writing literature since he started as a teacher in elementary school. He is one of the senior authors of modern Balinese literature. He wrote various kinds of poetry in Balinese, short stories, essays in Balinese, and novelets in Balinese. In addition, he also writes poetry, short stories and essays in Indonesian. His Balinese writings have been published in Bali Orti (Bali Post), Mediaswari (Pos Bali), Bali Aga, Kawi Journal, and Canang Sari. His essays in Indonesian have been published in the Bali Post, Nusa Tenggara, Karya Bakti, Bali News, Nafiri, Warta Hindu Dharma, Sunday Morning, Sovereignty of the People, Indonesian Pulpit, Suara Nusa, People's Thoughts, Suara Karya, Sinar Harapan, Buana News, Republika, Singgalang, Analysis, Cak, Kolong and Romana. In an effort to compose Indonesian poetry, he learned from Umbu Landu Paranggi, and he learned to compose stories from Putu Arya Tirtawirya.
His essays that have been printed into books are as follows:
Kidung I Lontar Rograg (Balinese Lyrical Prose, 1991, 2001),
I Balar (2006),
Drawing the Moon (Short Stories, 2006),
Sang Lelana (Lyric Prose, 2010),
Rasti (Novelet, 2010),
Bégal (Short Stories, 2012),
Ngantih Moon (Poetry, 2013),
Batan Moning (Poetry, 2014).
In 2002 he received the Literary Rancage award for his services in the development of Balinese literature through the media of Buratwangi magazine and in 2011 with his essay entitled “Sang Lelana”. He also received the Widya Petaka award from the Governor of Bali in 2012 with his essay entitled “Bégal”. Synergizing with authors from Karangasem, he built a studio called Sanggar Buratwangi, and became one of the managers of the studio. Currently, he lives at BTN Kecicang Amlapura and works as a teacher at SD Saraswati Amlapura. +
Ida Anak Agung Gde Agung was born in Gianyar, Bali, 24 July 1921. He is an Indonesian historian and political figure. In Bali he also served as King of Gianyar replacing his father Anak Agung Ngurah Agung. He holds a doctorate in history from Utrecht University, Netherlands.
In 1947, he became Prime Minister of the State of Eastern Indonesia (NIT). He served as Minister of Home Affairs and Minister of Foreign Affairs during President Soekarno's administration. Apart from that, he also served as Indonesian Ambassador to Belgium (1951), Portugal, France (1953) and Austria.
He died in Gianyar on 22 April 1999. On 6 November 2007 based on Presidential Decree Number 068/TK/Year 2007, he was awarded the title of National Hero by President Susilo Bambang Yudhoyono.
He wrote a number of books. Among them are Twenty Years Indonesia Foreign Policy 1945-1965 (1973), Memories of the Past: The Dutch East Indies Colonial Era and the Japanese Occupation Era in Bali (1993), The Linggarjati Agreement: Prologue & Epilogue (1995). +
Ida Arimurti Sanjiwani studied nursing for undergraduate at Udayana University. She completed her undergraduate studies in 2020 and continued the nursing profession for one year. since 2012 Ida started working in the field of education. Ida was accepted as a teaching assistant and took a training period of 3 months. after that she was appointed as a part-time lecturer for a while then became a contract lecturer since 2013. Ida had the opportunity to take a master's degree in nursing at the University of Indonesia for 2 years in the maternity department. but Ida did not continue the specialist program due to several considerations. Currently, Ida is one of the lecturers in the maternity nursing department and is currently a permanent lecturer at the University of Udayana since 2018. +
Fine art teacher and also a watercolor painter. Graduated from Fine Arts Education at Ganesha University of Education, giving her sufficient provision to teach manual drawing and watercolor painting, of course, from the basic level. Has been in the world of watercolor painting since 2016, and has quite a bit of experience in drawing courses.
Emerging Balinese artist Ida Ayu Komang Sartika Dewi’s creative practice strips away the invisible layers of her being in a quest for self-knowledge and understanding. In doing so, she explores her creative potential while engaging in powerful therapy. Disempowered by an array of painful illnesses since an early age, art has become Dayu’s perfect sanctuary.
Dayu was born in 1998 in Buleleng. +
Oka Rusmini's full name is Ida Ayu Oka Rusmini, born in Jakarta, July 11, 1967. She writes poetry, short stories, essays, novels. She is also a journalist. In 2014, she was awarded the Kusala Khatulistiwa Award for the poetry book Saiban. Her
figures and works are phenomenal and often controversial because they raise a number of issues of ancient Balinese customs and traditions that are detrimental to women, especially in the griya, the home of the Brahmins.
Oka also straightforwardly broke taboos, exposed issues of sex and erotica in a clear way. All of this can be clearly seen in the novel Tarian Bumi (2000) which has been reprinted and published in German under the title Erdentanz (2007). The novel is also heavily inspired by the art of Joged Bumbung, a social dance full of erotic movements that is very popular in Bali.
He has been invited several times to literary events at home and abroad. In 1992 he was invited as a guest poet in the IV Yogya Arts Festival. Participated in the 21st Century Poetry Minbar at TIM, Jakarta, 1996. Represented Indonesia at the ASEAN-wide writers' meeting in October 1997 entitled ASEAN Creative Writing Workshop in Jakarta. In 2002 and 2003 he was invited to the International Poetry Festival in Surabaya and Denpasar He was an invited guest at the Winternachten Festival held in Haque and Amsterdam in 2003. He was also a guest writer at the University of Hamburg, Germany, 2003.
A number of his poems and short stories have appeared in various mass media and cultural journals, including Matra, Kalam, Horison, and Ulumul Quran. His short story "Putu Menolong God" won the best short story award for Femina magazine in 1994. His novel Sagra received the best novelet award for Femina in 1998, and the best short story award in 1990 - 2000 from the literary magazine Horison for his work Pemahat Abad. His novel Tarian Bumi won the 2003 Literary Writing Award from the Language Center, Jakarta.
His works are Monologue Tree (poem, 1997), Earth Dance (novel, 2000), Sagra (short story, 2001), Kenanga (novel, 2003), Patiwangi (poetry, 2003), Color Kita (poetry, 2007), Pandora (poetry, 2008), Shell (novel, 2010). His novel Tarian Bumi has been translated into English entitled Earth Dance, and German under the title Erdentanz.
Ida Ayu Wayan Arya Satyani, fondly called Dayu Ani, was born in Denpasar, September 17, 1977. She is a dancer, choreographer and lecturer at the Indonesian Institute of the Arts Denpasar. She has given birth to various dance works. Dayu Ani was even trusted to work on the dance choreography for the film Sekala Niskala (Seen and Unseen) directed by Kamila Andini, including the dance theater The Seen and Unseen, which involved several artists from across countries (Japan-Australia-Indonesia) in co-production with Performing Lines, Four colours, and Earth Bajra Community.
Dayu Ani has been in the world of dance since she was 14 years old at Sanggar Maha Bajra Sandhi, and until now she continues to work hard to nurture young people in the studio which is now known as the Bumi Bajra Sandhi Foundation. Dance took him to various countries and collaborated with international artists across various fields. She was involved in Body Tjak The Celebration with Prof. Dr. I Wayan Dibia and Keith Terry (San Francisco, 1999), choreographed for The Missing Sun with Nelson Chia (Singapore, 2000-2001), participated in the Cultural Olympiad with Maha Bajra Sandhi (Athena, 2004). She is also the choreographer in the Recovery Bali program which was performed in six European countries (2006). +
Ida Ayu Wayan Sugiantari was born in Karangasem, Bali, April 29, 1983. She has been trying to write poetry since 1998 when she was in junior high school. In 1999-2001, when she was in high school, her works were often published in the Bali Post Minggu. In 2003, she finished her DII education at the Singaraja State IKIP PGSD study program, then was appointed a public teacher at SDN 1 Culik in the same year and 3 years later he was transferred to SDN 1 Manggis. After 11 years of teaching at SDN 1 Manggis, in April 2017 until now she was given an additional assignment as a principal at the Education Unit of SDN 1 Selumbung. She completed her undergraduate education at Dwijendra University in 2008, and completed his Postgraduate study (S2) in Basic Education, at Ganesha Education University (Undiksha) in August 2019. +
Ida Bagus Aditya Putra Pidada was born in Denpasar, June 23, 1996. The eldest of two children. Has been blind since the 1st grade of high school. Completed his undergraduate studies, majoring in Communication Science and Religious Information at the Hindu Dharma Negeri Institute (IHDN) Denpasar in 2019.
He wrote poetry and short stories. His works are included in the books Klungkung: Tanah Tua Tanah Cinta (Museum Gunarsa, 2016), Twenty Best Travel Stories (UKMP State University of Malang, 2016), Chewing Furious (JKP, 2017), Saron (JKP, 2018), Originally was Bali (Kanaka Media, 2020).
In addition, he often wins in writing competitions. Among other things, 1st place in the short story writing competition at the National level "Lautan Sastra" held by SMAN 1 Denpasar (2019), 2nd place in the "Collection of 15 Best Short Stories" held by DENUSC (2017), and 2nd place in the Autobiography Writing Competition for ABK level throughout Indonesia. Bali, which was held by Kanaditya (2020).
He was also one of the poets invited to the Indonesian Literature International Seminar (2019). Some of his poems have also been translated into Korean and included in the international poetry collection by the Bali Science Foundation (2021). While writing, he now manages a massage clinic called Bali Mahasadu Reflexology and Health Massage. In addition, he also works as an announcer at Denpasar City Public Radio 92, 6 FM. +
Ida Bagus Anom Suryawan is an internationally recognized woodcarver, mask and puppet maker, dancer and puppeteer. His success brought him to the United States to work at the San Francisco Asian Art Museum and the Sante Fe Folk Art Festival. He has held mask making, mask painting, and mask dancing workshops throughout the United States and he holds permanent mask exhibitions at the San Francisco Exploratorium.
He was born into a family of wood carvers in Mas Village, Ubud, Bali. For more than thirty years he has been in the art of mask carving. His works are collected by mask collectors from various countries. He also imparted the art of mask carving to students from all over the world. Not only that, he is also an expert in the art of wood carving and puppet making. +
Ida Bagus Arya Lawa Manuaba is a Balinese writer from Abiansemal sub-district, Badung district. He was born on December 24, 1988. He works as a permanent lecturer at the Markandeya Institute of Technology and Education, Bali. Besides that, he is also active as a writer, entrepreneur, Balinese language activist and also a content creator.
He has many works in the field of short stories, novels and books, including the short story Barong Brutuk (2019), the book Putih Biru (2019), Alien According to Hinduism (2018), Climbing the Golden Stairs: Half a Century of National Education Association (2019), Mongah: Learning to Live From a Fern Man (2020) Luh Ayu Manik Mas: Planting Local Fruits (2021), Girls Born From the Moon (2021) and many of his other works.
Here I select and discuss one of his works that just won and was included in the five best kakawin works in the kakawin writing competition category in Old Javanese or Kawi language and Balinese script in the Saraswati Sana Literature competition organized by the Puri Kauhan Ubud Foundation. in August 2021 and his work won the 4th place. Kakawin was entitled Kakawin Korona Parisuddha. +
Ida Bagus Darmasuta, a Balinese writer, photographer, painter, and also the Head of the Balinese Language Center (2000-2005). He was born in Denpasar, April 10, 1962. He graduated from the Faculty of Letters at Udayana University. Since a student he has been active in literary activities, including writing poetry, short stories, drama scripts, essays, and so on. In 2007 he received the Rancage Literary Award for his services in fostering and facilitating the publication of modern Balinese literature. Besides being active in the world of literature, he is also known as a photographer and painter. In 2014 he launched a poetry and photography book entitled “Jejak Canvas: Poetry-Photography” at Bentara Budaya Bali. In 2016 he participated in exhibiting his photography art at Bentara Budaya Bali in the program "Mahendradatta: Archaeological Traces and Historical Figures". He passed away on August 9, 2019. +
Ida Bagus Dharmadiaksa was born in Denpasar, August 21, 1956. He has written poetry since he was a teenager (1979) and has been widely published in the Bali Post. He was the second winner of the Bali Post Poetry Competition (1979), the winner of the poetry creation competition at Udayana University (1979). Now he is the Chairman of the Widya Dharma Shanti Foundation in Denpasar which oversees ITB Stikom Bali Group (SMKTI Bali Global) and Supervisor of the Univ Civil Servant Cooperative. Udayana and Lecturer of the Faculty of Economics & Business Unud. +
Ida Bagus Gde Parwita was born in Tihingan Village, Klungkung, November 19, 1960. He started to enjoy poetry actively since teaching at SMP-PGRI Klungkung in 1980. Until he graduated with a Bachelor of History Education and a Masters Degree in Education Research and Evaluation at Undiksha, he wrote Poetry and Cultural Records. Currently, he is the Principal of the Dawan Tourism-PGRI High School, Klungkung.
His poetry works were published in Bali Post, Nusa Tenggara, Karya Bhakti, Berita Buana, DenPost, and a number of On-line Media such as Jendela Sastra, Poetry Locker, etc. Anthologies of Indonesian-language poetry that have been published with other poets: Pintu Ilalang, Spektrum, Ginseng Tea, Indonesian Poetry 87, Indonesian Poetry Anthology (API) 1997, Inner Coloring Shades with the Association of Indonesian Writers and Poets (HP3N), and Klungkung Tanah Tua Land of Love. Lebur Klungkung is a historical literary work made in the form of a Picture Story, which was worked on with the historical core of Puputan Klungkung with I Wayan Suartha. His single book collection of poems is “Luka Purnama” (2020) +
Ida Bagus Gede Ngurah Rai, born in Kesiman, Denpasar, 1926. He was a Hindu clergyman/priest/preacher at Geria Bajing, Kesiman. She is known as Ida Peranda Geria Bajing. In his youth he was known as a puppeteer who was popular in Bali. Apart from performing in various parts of Bali, he has participated in Wayang Festivals in Jakarta, Solo and Yogyakarta. His love for wayang emerged when he was a child because he liked hearing wayang stories from his father, Ida Bagus Putu Mergeg. He was once a teacher of puppetry at SMKI and a lecturer at the Hindu Dharma Institute (IHD) Denpasar. He is also interested in theater arts and has performed in theater with playwright IB Anom Ranuasa. In her youth she was also a star in the film "Jayaprana and Layonsari" which later made her known as Ida Peranda Jayaprana. He died in 1998. +
Lecturer in the Architecture Study Program of the Faculty of Engineering, Udayana University, born on May 2, 1961 in Denpasar, Bali. Elementary to high school education was completed in Jakarta (1968-1981). Bachelor of Engineering (S1) was completed in the Department of Architecture, Faculty of Engineering, Udayana University in 1988 and was appointed as a lecturer in the same department since 1991.
In 1995, he received a BPPS scholarship to continue his Master's degree and obtained a Masters in Architecture-Settlement in the Postgraduate Program, FTSP-ITS Surabaya in 1997. He completed his Cultural Studies S3 at the Udayana University Postgraduate Program and obtained his Doctorate degree in 2012. He once served as Assistant Dean III of the Faculty of Engineering, Udayana University, 2003-2007 period.
Aside from actively teaching in the Architecture Undergraduate Program, the Master of Architecture Program and the Doctoral Engineering Study Program at the Faculty of Engineering at Udayana University, he currently also serves as the Head of the Balinese Traditional Architecture Laboratory at the Architecture Study Program at the Faculty of Engineering, Udayana University. +
Ida Bagus Ketut Adnyana or with the pen name Ratu Aji Baskara. He is a writer who comes from the village of Dharma Tengah Riang Gede, Penebel district of Tabanan, he is now 82 years old.
The literary works that have been written by him.
Of these works the most different among the others is Geguritan karmasadhi
In Gaguritan Karmisadi by Ida Bagus Adnyana (Ratu Aji Baskara) this gaguritan is bound by 4 pupuh namely, Pupuh sinom, Pupuh ginada, Pupuh mijil, and Pupuh Sinom.
In Gaguritan Karmisadi tells about a child who is intelligent, smart, and serious in doing something even though the child is uneducated and comes from an underprivileged family who comes from a cheerful big village and tells about the conditions at that time in the cheerful big village which was indeed minimal welfare of the people.
It also contains virtue values which become the moral message of this gaguritan.
From the word "Karmisadi" it means that human behavior has 6 noble traits. From this geguritan story, it is the story of a noble character that doesn't need to be from an educated person but a sincere and sincere heart to make it happen. +
Ida Bagus Ketut Dharma Santika Putra or familiarly known as DS Putra, was born in Negara, Jembrana, Bali, 27 July 1964. Since he was a teenager, he has been active in writing poetry, short stories and essays in the Bali Post and several local newspapers. Apart from being a journalist, he is also active as a cultural thinker and mobilizes the arts and culture community in the State, Jembrana. One of them is the West Bali Rembug Appreciation (Rajer Babat) literary and theater movement in the 1990s. He is also active at the Praba Gita Art Pondok. In 2000 he gave birth to the Jembrana Post tabloid and in 2002 he gave birth to the Ge-M tabloid. His published books include Assembling Mekepung Traditions, Trees of Love 2, Keyhole (2021). For his dedication in the field of literature and art criticism, he was awarded the Bali Jani Nugraha by the Governor of Bali in 2021. Previously, he also received the Dharma Kusuma award in 2018 from the Governor of Bali. He died on January 21, 2022 due to illness. +
1911/1914 - 1990.
Batuaninteractive.com:
"About twenty-two years old at the time of making the pictures in the collection, Diding probably had been painting since 1935. His teacher was Ngendon, and he in turn taught Bala. He met Spies and Bonnet, watched them work, and brought them work for their
ciriticism. He was a member of the group they founded, Pita Maha. One of the Western artists suggested that he make a picture like Djatasoera's of the ende ritual in Karangasem.
Diding had not been to school but could speak a little Malay. He played in a gamelan orchestra and danced in the gambuh, and was
the only artist interviewed who said that he had been possessed and gone into trance. His father was dead, and he had no land to work.He and his wife supported themselves by painting, raising chickens, and dyeing cloth.
They had no children. Sixteen pictures by Diding are in the collection." +
Ida Bagus Ketut Panda is an Indonesian Postwar & Contemporary painter who was born in 1941. He is the son of Ida Bagus Made Togog from whom he learned painting. +
Batuaninteractive.com:
"Djatasoera's father died when he was twelve, leaving him no land. He did not go to school and worked as a migrant laborer on coffee plantations, as well as dancing the gambuh and playing in the tourist orchestra. He studiedpainting with Ngendon, Togog, and Djata for a number of years. Djatasoera was Mead and Bateson's favorite artist. Bateson published one of his pictures in an
article on "Style, Grace, and Information on Primitive Art," under the name of Djatisoera. Mead and Bateson filmed him at work and
collected nearly all the pictures he made during their research period. Nineteen of his pictures are in the collection.
After World War II, Djatasoera went into nationalist guerrilla combat against the Dutch government with Ngendon. He was captured, beaten severely, and died in prison in 1948." +
Ida Bagus Made was born in Tebasaya, Ubud, Bali in 1915. Ida Bagus Made came from a Brahman family of accomplished artists in Tampaksiring, Bali. His Father, Ida Bagus kembeng (1897–1952), was a well-known painter who won the prestigious Silver Medal in 1937 at the International Colonial Art Exposition in Paris. Ida Bagus Made first learned painting and carving from his father. He later studied painting under the guidance of Rudolf Bonnet. Bonnet once wrote that Ida Bagus Made was one of the most talented artist in Bali. He was in his teens when the modernization of Balinese art began in the late 1920s, and only 21 years old when he joined the prestigious Pitamaha Artist Guild, founded in 1936 to preserve Balinese art from the threat of tourism and commercialism. His father, Ida Bagus Kembeng had two wives: Jero Deblog and Ida Ayu Rai. Ida Bagus Made was a child from his second wife. From his marriage with Jero Deblog, Ida Bagus Kembeng had two sons: Ida Bagus Putu Wiri and Ida Bagus Made Belawa. With Ida Ayu Rai, Kembeng had a daughter, Ida Ayu Oka, and two sons: Ida Bagus Made Poleng and Ida Bagus Nyoman Raka. Ida Bagus Made was married to Gusti Niang and had one daughter, Ida Ayu Sadri. Since Ida Bagus Made did not have a son, he adopted Ida Bagus Pudja, a son of his half brother, Ida Bagus Belawa. He was known by the Balinese as a ritual specialist for carving sacred masks imbued with magical powers for the surrounding temples of Ubud. As a traditional painter of the Pitamaha generation, he became known worldwide for his artistic mastery. Ida Bagus Made was a prolific painter who had a profound distrust of art dealers and collectors.He scrutinized his admirers and only a handful of collectors passed his test. The late Indonesian President Sukarno was one of such collectors that Ida Bagus Made revered. His works are well sought after and are in the collection of many museums in the world. He died after an illness in 1999. In 2000, following the artist’s last wish, the widow of Ida Bagus Made loaned over 100 paintings from the artist’s private collection to the Puri Lukisan Museum for safekeeping.
Ida Bagus Made Togog (1913–1989) was a traditional painter in the Batuan style, Gianyar, Bali. Since childhood, Togog was very familiar with literature in the form of lontar, mythological stories, and folklore. These things become a source of inspiration in painting. When two anthropologists, Gregory Bateson and Margaret Mead conducted research on Balinese characters in Batuan Village from 1936 to 1938, Togog was asked to describe his dream expression. At that time, Togog produced dozens of paintings on paper with thematic themes of dreamland and niskala (unseen) with magical nuances. Togog's works can be found at the Puri Painting Museum, ARMA Museum, Bali Museum, Neka Museum, Tropenmuseum, Ethnography Museum in Leiden.
Batuaninteractive.com:
"Togog was a leader in the group of Batuan artists, in painting, in teaching painting to others, and in selling pictures. He was also one of the oldest, about twenty-five in 1937, was married and hadone child. His father had died when he was twelve
years old, and his mother supported him by selling foodstuffs. His grandparents had been priests. His wife was a weaver and a ritual specialist. Along with Ngendon, Togog was among the first to learn to paint, about two and a half years before Mead and Bateson arrived. He had painted designs on dancer's costumes and knew how to write classical Balinese on palm-leaf manuscripts.
He was also a ritual specialist. Togog often visited Spies and Bonnet, watched them work, and tried to copy Bonnet's work and a picture from a magazine. He showed them his own work for criticism, and was a member of their artist's collective, Pita Maha. Togog spent time as a migrant farm laborer, plating coconut trees and working in a coffee plantation in the mountains.
Togog assisted Bateson in checking the attributions of the paintings. He made eighty-three pictures in the collection." +
Master Balinese woodcarver Ida Bagus Njana (1912-1985).
Njana's family descends from Dang Hyang Nirartha, the saint of Balinese Hinduism, who moved to Bali in the 1500s and spread his religious reforms by travelling around the island. In the village of Mas, the local headman gave him one of his daughters. Their son from his marriage, Ida Putu Mas, started the Brahmana Mas line. Like their ancestors, the Mas Brahmins became priests or, like Njana, woodcarvers and architects. +
Batuaninteractive.com:
"Tjeta was the younger brother of Ida Bagus Teroewi, the headman of Batuan and Mead and Bateson's host. Their father was a renowned dancer who also painted cloth for dancers' costumes and funeral shrouds. Tjeta assisted him and also himself danced in the gambuh.Tjeta was about twenty-two years old when he began to study painting with Togog, and was among the first Batuan painters who learned to use colored paint and pastel. He produced twenty-nine pictures in the collection." +
Ida Bagus Oka (16 April 1936 – 8 March 2010). He was Minister of State for Population/Head of BKKBN (1998 – 1999) in the Development Reform Cabinet during the administration of President B.J. Habibie. Previously, he served as the 7th Governor of Bali for a term of office from 1988 – 1998. He became Governor of Bali replacing Ida Bagus Mantra. He also served as Chancellor of Udayana University, Bali. In 2001, he was tried in connection with a corruption case and sentenced to one year. +
Ida Bagus Pawanasuta, born in Gianyar, November 21, 1966. He writes in Balinese and Indonesian. He is a writer, he is also a teacher at a high school in Klungkung. He also has many published works, including “Pangasih Pamero” in 2005 published by Balai Bahasa Bali, Gaguritan Aji Palayon Transformasi Kakawin Aji Palayon in 2006 published independently, and Essay Collection “Learning on Giri” in 2009 published independently. There are still many of his works, but he is also the founder of the Tutur Studio (1999) and the Lentera Literary Community (2008). +
A Balinese from a Brahmana priestly family, I. B. Adnyana is considered a first-rate classicist. Born in 1958 in Denpasar, he grew up attending Balinese rituals and brings an insider’s knowledge to his subjects. As is evident in his images, he has been given special unimpeded access and privileged positions and angles. It’s highly unlikely that a Western photographer would ever be allowed to enter sacred inner courtyards and get this close to a venerable high priest.
His subjects appear at ease and revealing of their inner emotions. It is as if his subjects are family members relaxed in the presence of another Balinese. He always seems to be in the right place at the right time to photograph with the greatest possible empathy and intimacy. Amidst all the confusion, he knows what is going on and is able to anticipate what is going to happen next. While other photographers are fiddling with their camera settings, he is ready to record the climax, the significant gesture or the moment when the trance state takes hold. +
Sindu Putra, whose full name is Ida Bagus Sindu Putra, was born in Sanur, Bali, July 31, 1968. Now he lives in Lombok, NTB. He wrote poetry as a teenager and has been active in the Coffee Drink Studio. His poems were published by the Bali Post, Kompas, Koran Tempo, Kalam, etc. He won the Kusala Sastra Khatulistiwa award for his poetry book Tales of the Fire Dog. Other poetry books that have been published are the Night of the Night Birds Camp (2000), The Weed House (with IAO Suwati Sideman, 2003), Segara Anak, Origami Birds, Tales of the Fire Dog, In Lombok I Get Poetry (2018). +
Ida Bagus Tilem was a sculptor who was born in Mas, Ubud, Gianyar, Bali, on December 13, 1936 and died November 20, 1993. Since childhood he learned to sculpt from his father, Ida Bagus Nyana. His works feature visuals that captivate art lovers. After his first trip abroad when he was chosen to represent Indonesia at the New York World Fair in 1964, he diligently held exhibitions abroad, such as Thailand, Hong Kong, Australia, Germany, Austria, and Mexico. +
Ida Bagus Tugur was born in Griya Cucukan, Klungkung, Bali, 29 May 1926. He was a maestro of traditional Balinese architects (undagi) who created many monumental buildings in Bali. His works include the Ardha Candra open stage at the Bali Cultural Park, the Bajra Sandhi Monument in Renon, the Kanda Pat Sari or Catus Pata statue in Semarapura City (Klungkung), the Bali DPRD Building, Balinese architectural buildings at Taman Mini Indonesia Indah (Jakarta), and sacred buildings for several temples in Bali. He died on December 21 2020 in Denpasar at the age of 94 years. +
Ida Bagus Wayan Widiasa Keniten was born in Geria Gelumpang, Karangasem. January 20, 1967. The books he has written in the form of literary works and literary studies include (1) Buduh Nglawang (acquired Rancage); (2) Bangke Matah; (3) Butcher's Inheritance; (4) White Horse; (5) Kania's Novelt; (6) Drill; (7) Sabdaning Lonely; (8) Mekel Paris; (9) Soul Tree; (10) Women of the Night; (11) The Fable of Flip-flops, (12) Genjek Socio-Contextual Perception, (13) Basur's Existence, (14) Jro Lalung Ngutah (Received Widya Pataka Award), (15) Manukan Birds Session.
The First Winner of the 2013 National Achievement Teacher and Recipient of the 2013 Education Satyalancana Honorary Award from the President, Dr. H. Susilo Bambang Yudhoyono, Wednesday, November 27, 2013 at Istora Senayan Jakarta. In 2014 he participated in the Benchmarking Program to Germany, then to Paris (France), Belgium, and Amsterdam (Netherlands). Thursday, August 14, 2014 received the Widya Kusuma award from the Governor of Bali. In 2015 he got Widya Pataka for his book Jro Lalung Ngutah. +
Karangasem, January 20, 1967, is the date a role model was born into this world; a role model that teaches us the importance of literature in everyday life. Ida Bagus Wayan Widiasa Keniten is a widely known for his expertise in writing literary works word for word. It is evident from his sparkling name that he has won several very brilliant achievements, including the 2013 Satyalancana Education Honorary Award and many others.
It is undeniable that his love for Balinese culture is one of the reasons he is passionate about composing a literary work. He has written and marketed dozens of books, one of which is Wang Bang Sunaran's Gaguritan. This gaguritan tells
about the struggle of life and life. The struggle took place between a spiritual teacher (Sang Dyah) and his students named Jagul Anom, Pucung, Ginanti,
Ginada, Kumambang, Sinom, and also Wang Bang Sunaran. The dialogue glue was done by Wang Bang Sunaran. This figure acts as a link between the spiritual teacher and his students. Wang Bang Sunaran's self-image as a student is flawed; he rarely studies, rarely helps others, is difficult to manage, and feels all-knowing. Because of that, he wanted to find the way of truth. The path was found in Sang Dyah, who he thought was an enlightening figure in the darkness of his soul. +
He is Ida Ketut Djelantik, a writer from Buleleng who is located in Geria Tegeha Banjar, Tegeha Village, Banjar District. He was born in 1905 in Tegeha Village and is a descendant of the couple Ida Ketut Manggis and Ida Ayu Putu Tangi.
As a child he was raised in the Gria environment where his daily life tends to be busy with social activities, he has a desire to study religion and philosophy as well as moral encouragement for the village environment where he grew up.
His education level was only up to SR or Sekolah Rakyat (People's School) and it was not finished, with his desire to explore tattwa, ethics and philosophy he studied it self-taught until he got recognition from local residents and the Dutch Government at that time.
Because of his high achievements and abilities, in 1938 he was appointed to work in the Religious Staff at the Religious Office of the Lesser Sunda Province at that time in Singaraja.
He was also assigned by the Governor-General of the Netherlands to Bogor to translate Sanskrit books and manuscripts into Indonesian and Kawi of his literary abilities.
In 1950 he worked at the Kodam Raksa Buana which is now known as Kodam 11 Udayana as the Hindu Rohdam, he also participated in compiling the emblem of the Pataka Kodam Udayana.
Then, he passed away in 1961 to be exact on the 18th of November +
Ida Pedanda Gede Made Gunung (1952 – 18 May 2016) was a Hindu Pedanda (cleric/priest) from Blahbatuh, Gianyar, Bali. He was a legend who had a progressive view far into the future. This Pedanda, who was born in Gria Gede Kemenuh Purnawati, seems to have changed the image of Pedanda (Hindu Priest) from simply leading ceremonies, to becoming a Dharma Discourse preacher.
He is very skilled in translating complex Hindu religious philosophy to the general public using simple, clear and straightforward language accompanied by a great sense of humor. It is not surprising that he often appears in various media, both electronic and print media, to provide Dharma Wacana (sacred discourse) to Hindus. Not only in Bali, he also gave dharma discourses outside Bali, from Java to Kalimantan. Apart from actively appearing in various print and electronic media, he is also active in writing in cyberspace via his website.
Born with the name Ida Bagus Gede Suamem, he completed his elementary school education at Blahbatuh Elementary School in 1965. Then he continued his junior secondary education at SMPN in Gianyar until graduating in 1968. Then he continued his education at Taman Guru Atas in Sukawati. He worked as a Family Planning Field Officer (PLKB) Gianyar from 1972 to 1974. Then he changed profession to become an elementary school teacher in Banjar Mawang, Lodtunduh, Ubud, from 1975 to 1983, then moved to teach at SD 3 Pering from 1983 to 1985. He was appointed as the Hindu Religious Field Extension Coordinator for Blahbatuh District from 1985 to 1987 and then returned to teaching as a teacher at SD 7 Saba from 1987 to 1994. In 1992 he was ranked as an exemplary teacher for Blahbatuh District.
In between his busy teaching activities as a teacher, he continued his education at the Hindu Dharma Institute (now changed to Indonesian Hindu University) until he obtained a Bachelor's degree in 1986. Apart from being a school teacher, he is also a black belt in karate and once joined the DPD Gojukai (Black Belt Council) 1988 – 1991.
He was medicalized or became a pedanda in 1994. From 2002 until near the end of his life, he was an extraordinary lecturer at the Faculty of Usada, Indonesian Hindu University. He is also known to be very critical in addressing the problems of carrying out Hindu ritual ceremonies in Bali, especially Human Yadnya and Pitra Yadnya, which have often been held with great pomp and cost a lot of money.
Ida Pedanda Gede Oka was born in Banjar Kualon, Denpasar, 1909. Apart from devoting his life as a priest, he was known as an undagi (traditional Balinese architect). This talent was inherited from his father, Ida Bagus Anom, a famous undagi and sculptor of his time. Since the age of eight he has learned to make sculptures from his father. As an undagi, he really understands the books Asta Kosala-Kosali, Asta Bumi, Wismakarma and the like. He is not only an expert in making traditional Balinese buildings and Hindu sacred buildings, but is also an expert in making vessels, jempana and bulls for the Ngaben ritual. +
Ida Poetu Taman was a sculptor (1873-1953) born in Mas Village, Ubud, Bali. He is very skilled in wood carving. He is also an expert in carving rock for the construction of Hindu religious shrines in Bali. Apart from being a sculptor, he is known in the dance drama "Calon Arang" as Patih Pandung who fights against the evil of Nateng Dirah. He once joined the Pitamaha art community. +
Ida Wayan Eka Werdi Putra or who is often called Gus Eka is the initiator of SAGARAGIRI Outdoor. SAGARAGIRI comes from the word Sagara/Segara which means sea and Giri which means mountain. Sagara-Giri is a concept of Balinese local wisdom that describes the sacredness of the dimension of space. Sagara (mountain)-Giri (sea), Pasir-Wukir, and upstream-teben (downstream) are other terms that are also symbols of unity and mutual influence.
Some traditional Balinese literature mentions that the Kawi Wiku or poet priests wrote their literary works in beautiful places. The priest, poet or author walks along the mountains and coasts to express his visual beauty in the form of literary works as a form of glorification of the Creator.
This is what became the inspiration for the establishment of SAGARAGIRI Outdoor. Glorifying nature is one of the ways that Balinese predecessors used to enjoy life, even as a spiritual practice. In this increasingly frenetic era, we want to adapt the concept and practice to invite SaGi's friends back to nature, protect it, and enjoy it from a different perspective. +
Mr. Ida Bagus Wiryanatha, he was born on May 19, 1961 in Pejeng village, Gianyar. Is a native of Br Puseh Pejeng Village, Gianyar. Currently, he is a lecturer at the Indonesian HINDU University at the Faculty of Health.
He has completed his last education S1 Dr. General at Udayana University and S2 Religion and Culture at the Hindu University of Indonesia.
Mr. Ida Bagus Wiryanatha is the son of the late. Ida Peranda Wayan Ngenjung and the late Ida Peranda Istri Bun.
Mr. Ida Bagus Wiryanatha has 1 very beautiful wife named Ida Ayu Wimba Ruspawati and from his marriage with his wife, he is blessed with 3 children. +
Since leaving her ancestral home in Florence, Italy, Idanna pursued her interest in diverse cultures through far-flung travels. First she worked in New York for her uncle, Emilio Pucci, when his designs ushered vibrant colors into fashion.
She later settled in Indonesia and began her studies of Balinese culture with particular emphasis on myth and the oral tradition. She became especially intrigued by the traditional court of justice in the ancient royal capital of Bali. Its ceiling paintings narrate a sacred epic hauntingly similar to Dante’s Divine Comedy. The quest gave birth to her first book, The Epic of Life: A Balinese Journey of the Soul (Van der Mark Editions, NY), a classic on Balinese culture.
Various writing assignments for the Hong-Kong based Asia Magazine enabled her to travel throughout the Indonesian Archipelago, South East Asia, Japan and across the Soviet Union on the last steam engine of the Trans-Siberian railway.
She returned to New York to pursue her degree in Comparative Literature at Columbia University. During this time, she obtained a grant from the Margaret Mead Institute of Intercultural Studies for a project entitled The Prince and the Pauper: Two Balinese Portraits.
Her focus then turned to the life of her American great-grandmother, Cora Slocomb, who shocked New York’s Gilded Age by launching the first nation-wide campaign against the death penalty in 1895 to save a young Italian immigrant from execution–the first woman sentenced to the electric chair. Her research gave birth to The Trials of Maria Barbella (Vintage, NY, 1996).
After she obtained the International Diploma in Humanitarian Assistance in Geneva, she served in the UN Mission to East Timor as an electoral officer during the referendum for independence in 1999. Later, she collaborated with the Burma Project (Open Society Foundations) on a special mission to Myanmar.
In film, Idanna produced the Italian segment of the TV series Amazing Games (ABC/Kane Productions) for which she received the Ultimo Novecento award from the City of Pisa. She also co-produced Leonardo’s Legacy, a Discovery Channel special. She then produced and directed Eugenia of Patagonia, a documentary-feature on the pioneering life in Chile of her maternal aunt who served for thirty years as mayor of a vast municipality at the end of world, battling for the people and the environment
Her following work, Brazza in Congo: A Life and Legacy (Umbrage Editions, NY) is an illustrated biography of another ancestor, the explorer Pierre Savorgnan de Brazza, after whom the capital of the Republic of Congo, Brazzaville, is named, and who is still remembered for his pioneering struggle on behalf of the rights of the people. On the same theme, she curated exhibitions at The National Arts Club in New York and La Casa Italiana of NYU.
Idanna conceived and narrated the documentary Black Africa White Marble, which recounts her battle against the ruler of Congo-Brazzaville. It won the Grand Prix at the Festival of Annecy 2012 (France), the Audience Award at the Cambridge Film Festival 2013 (UK), and Best Documentary at the Berlin Independent Film Festival 2014.
She was also responsible for the donation to the National Museum of Cameroon in Yaoundé and permanent installation of a sixty-foot masterpiece of contemporary art by the Poto Poto School of Painting in Brazzaville, Republic of Congo. In 2015, she produced The Transformative Power of Art, an exhibition at the United Nations in New York.
With her husband, Terence Ward, she then produced Talk Radio Tehran, a documentary by Mahtab Mansour that follows high-spirited Iranian women as they fulfill their aspirations in spite of the gender-apartheid system that dominates daily life in Teheran.
In a collection of true stories between East and West, The World Odyssey of a Balinese Prince (Tuttle, 2020), she narrates the extraordinary life of a cultural visionary and medical doctor whose daring adventures transcend borders.
The Lady of Sing Sing: an American Countess, an Italian Immigrant, and their Epic Battle for Justice in New York’s Gilded Age (Simon & Schuster, Tiller Press, 2020) is a new expanded edition of her earlier work, The Trials of Maria Barbella.
Idanna serves as an ambassador of Religions for Peace, the world’s largest interfaith organization. She speaks fluent Italian, English and French, and reasonable Bahasa Indonesia. She resides with her husband between Florence and New York.
In your opinion, what impacts will the massive construction of large malls have on the local Balinese community? +
Please see comments from our What's Up feature:
https://dictionary.basabali.org/Question_In_your_opinion,_what_impact_will_the_massive_construction_of_large_malls_have_on_the_local_Balinese_community%3F +
"Om Swastyastu, Thank you for the time given to me. My name is Ni Luh Ari Purnama Yanti from SMA Negeri 1 Tabanan. To the judges who I really respect and the audience who I really love. I feel very happy to be able to deliver the oration entitled "Road infrastructure"
Ladies and gentlemen, as we know, road infrastructure greatly influences the economy today. If there is no road infrastructure or the roads are in disrepair, what else is there to earn a living nowadays? How do I take merchandise abroad? In this millennial era and era of globalization, road infrastructure is very necessary in today's life. Many people today earn a living on the streets, some become Ojols, some become traders and others; Candidates for leadership in 2024 should be able to see the condition of their people in villages and cities, so that they do not create social inequality. So that the roads in villages and cities are the same, so that the materials are good and can last a long time and people can earn a living on smooth roads. And for the 2024 Leader Candidates to be honest about the road and development assistance, so that it doesn't happen that the funds are disbursed but the roads and construction are not completed, let alone non-existent? Don't prospective leaders feel sorry when they see their people earning a living through damaged roads? On a rocking bridge to pass east to west over rivers and seas? there are also those who cannot leave the village because the roads are damaged but in the city the roads are good. However, there are also damaged roads in the city, which makes it difficult for large trucks to pass and causes traffic jams. The 2024 Leader Candidates should now be fair and honest with all their people. 2024 Leader Candidates so that they can pay more attention to their people, so that during the campaign they don't just make sweet promises to their people so that they are not called Sweet Promises of Leader Candidates.
OK, that's all my speech, I hope what I say can be heard by the 2024 Leader Candidates. Thank you for your attention, everyone present. "Meli bungkung aba to the temple Sambilang ngayah, Kirang Langkung nunas ampura titiang sisya wawu melajah". I end with the paramashanti "Om Shanti Shanti Shanti Om".
MISSING THE FIRST BALI
The prolonged Covid-19 pandemic has forced the Government to limit visits from local or foreign tourists, this has caused Bali to be still empty of visits, this situation is due to various reasons, ranging from the increasing number of positive cases of Covid-19 in Indonesia to permits that have been issued. considered burdensome for visitors.
Talking about Bali tourism means that we focus on the cultural and natural sectors which are the main selling points. Looking at the current problems and situation, it is hoped that the government will take advantage of the condition of Bali which is still empty of tourists by focusing on preserving nature and strengthening its cultural values. How, namely by taking big steps in limiting the construction of instructors that are unnecessary and have no impact in attracting foreign tourists. We all know Bali is even better known in the international world than our own country, we are known for the unique culture and beautiful nature it has to offer.
I was looking for some information around, both from tour guides or from tourists who have settled in Bali, I gave some questions about what foreign tourists usually like and make them comfortable in Bali, their answers are almost the same in essence, namely culture and nature offered, not in terms of technology or the splendor of the modern buildings that are here. some interesting things that I found in the answers given by the speakers who I asked questions, namely they missed the old Bali atmosphere, they missed the traditional Balinese culture and nature when they came to Bali for the first time.
My biggest hope as a millennial generation who has never experienced what “Bali of the past” is, who only knows from parents' stories, pictures from Google and videos from Youtube, hopefully the Government can prioritize and create programs that are able to shape the longed for Traditional Bali, because what tourists are looking for is not Bali with advanced technology or magnificent infrastructure, but a beautiful Bali with a friendly environment.
J
Tourists are foreigners who travel, who come to enter another country that is not the country where the person lives with the aim of finding popular and famous places including beaches, mountains, hills, restaurants, cafes and various other attractions.
But unfortunately tourists who come to Bali are now increasingly making Balinese people uneasy because of tourists who use the road recklessly, enter the sacred area with dirty conditions (menstruation), occupy the holy place, naked in the middle of the art performance, there are even tourists who take indecent photos in the sacred area.
Strict action is needed for foreigners who come to Bali, it is hoped that the government will appoint subordinates to be more strict in guarding the sacred areas visited by foreign tourists, give assignments to the police to maintain traffic security if they see irresponsible foreigners must be followed up directly and provide sanctions / punishments.
Not only officials who can take firm action, in the future it is also authorized for Balinese citizens who see the behavior of irresponsible tourists. +
Jalan Rusak di Kabupaten Buleleng Penghubung Desa Bukti dan Desa Tanjung Perlu Perhatian Pemerintah Bali +
Damaged Roads in Buleleng Regency Connecting Evidence Village and Tanjung Village Need Attention from the Bali Government.
Om Swastyastu,
We respect Mr. Teacher and brothers and sisters who we love very much.
First of all, we would like to express our gratitude to Ida Sang Hyang Widhi Wasa, because it is thanks to Him that we can express opinions regarding issues that must be paid attention to by the Bali government.
Where you can see that there are lots of damaged roads in Bali, such as Jalan Merak, Buleleng Regency, which is precisely the link between Evidence Village and Tanjung Village.
From the information we got, this road has been damaged for quite a long time, even for years, according to residents there. Local residents said that this street had already been patched using cement with the residents' limited funds, but it was damaged again, and local residents even said that this street had gone viral before, until it was planted with banana trees.
The roads are so damaged that residents feel like they are riding horses. Due to the damaged roads, residents often fall and fall, especially when it rains, the roads are slippery.
Evidence Village Head, Gede Wardana, said the road had been damaged for a long time. The village cannot repair the road because it is not within their authority.
The solution to this problem is that the government promises that the roads will be repaired by 2024.
That's all we can say. More or less sorry. We close with paramasanthi.
Om Santhi, Santhi, Santhi Om. +
Jalan di abiansemal usak
Wastan titiang I Gusti Ngurah Putra Merta Yoga titiang saking krobokan tiyang megenah masuk ring smk pgri 2 badung
Di abiansemal nika polih kabel pln jalanan sane ten becik cingakin wantah ten beraturan utawi di mekacakan
Solisi :menata kabel pln agar lebih rapi ,tidak acak acakan ,dan tidak membahayakan masyarakat
Di Abiansemal jalane usak,sane ngeranang jalane usak punika ulian banjir lan trek sane makte beban baat lewat
Solusi:pemerintah pantesne menin jalan nike seenggal mungkin,sekonden wentel kecelakaan. +
In Pandak Gede village, Kediri sub-district, Tabanan regency, many roads are damaged. Usually many people fall because the roads have holes. Now I propose to whoever will be the leader of Bali, please fix the roads in my village. Thank You +
On the damaged highway in Mambal, the Mambal highway is located on the road that passes through the Mambal market which is very damaged, many people say the road is suitable for trekking because it is damaged +
April 13, 1934 - October 21, 2013.
James Danandjaja obtained a bachelor's degree in Anthropology in 1963 from the Faculty of Letters, University of Indonesia. He also obtained a doctorate in Psychological Anthropology from the University of Indonesia in 1977. For the writing of his scientific work he conducted research for approximately a year in the Trunyan area of Bali, and produced the book Culture of the Trunyan Village Farmers in Bali, which was published in 1980. James Danandjaja who whose real name is James Tan, with the nickname Jimmy, was appointed Professor of the University of Indonesia in 1983.
He was the first Indonesian folklorist, starting to pursue the science since he studied at the University of California, Berkeley, in 1969. His mentor at that time was Alan Dundes, a prominent folklorist from the United States. With a paper entitled An Annotated Bibliography of Javanese Folklore, which was later made into a book, he obtained a master's degree in folklore from the university in 1971.
Upon his return to Indonesia, in 1972, he taught the science at the Department of Anthropology, FISIP, University of Indonesia. According to him, folklore which is part of culture in the form of folk language, traditional expressions, puzzles, legends, fairy tales, jokes, folk songs, fine arts, etc., is closely related to the culture of a society. For this reason, he assigned his students to collect various folklores in the country. These writing materials were later made into a book with the title Indonesian Folklore (1984). In addition, he also wrote several other books related to folklore, such as Guidance on How to Collect Folklore for Archiving (1972), and Some Problems with Folklore (1980). +
Jamie James lived as an expatriate author in Indonesia since 1999, after leaving a nearly 25-year career as a freelance critic and travel writer in New York City.
Much in demand by leading publications in the USA, Jamie James’ criticism and travel essays have appeared in some of the most august publications including The American Scholar, Atlantic Monthly, New Yorker, Wall Street Journal, New York Times, National Geographic Traveler, Condé Nast Traveler and Men’s Journal. His literary criticism has been notably featured in Parnassus and Lapham’s Quarterly.
While still in the USA, James wrote two books on archaeology, Pop Art and The Music of the Spheres: Music, Science, and the Natural Order of the Universe (Grove Press, 1993) that was lauded by Robert Saxton in the Times Literary Supplement as “an important and well-researched book—essential reading.”
With Jamie James' migration to Asia in 1999, he began publishing novels reflecting his new Asian home. In 2002, he published a ground-breaking novel Andrew & Joey: A Tale of Bali (Kensington, 2002) written almost entirely in a series of exchanged e-mails. The Java Man (Metafor, 2004) saw James author a hilarious novel in a style reminiscent of Evelyn Waugh relating how an Indonesian poet takes up residence in a contemporary English country village causing confusion and havoc along the way. Four years later, James published a biography about the ill-fated Asian exploits of famed American herpetologist Joe Slowinski - The Snake Charmer (Hyperion, 2008).
Mixing literary criticism, biography, and fiction James wrote Rimbaud in Java: The Lost Voyage (EDM, 2011) retelling how an iconoclastic and incomparably gifted French poet abandoned Paris to explore the Indonesian archipelago. In a review of the book written for Harper’s, Zadie Smith said James' book presented “the spectacle of reading someone write beautifully about something he finds, well, beautiful.”
Most recently, Jamie James love of historical and biographical investigation was presented in full display in The Glamour of Strangeness (Farrar, Straus and Giroux, 2016) delving into untold stories of a collection of expatriate artists who, like himself, migrated to newfound homes in foreign lands with oftentimes highly unique and remarkable results.
Jamie James was born in 1951 in Texas where he completed High School before pursuing a tertiary degree at the prestigious Williams College in Williamstown, Massachusetts, graduating in 1973. After college, some of his earliest assignment were with Andy Warhol’s avant-garde Interview Magazine, Rolling Stone, and Time Magazine. James passed away in Bali on 8 February 2020.
Tannenbaum, Jane Belo (1904–1968)
American anthropological photographer. Name variations: Jane Belo. Born Jane Belo, Nov 3, 1904, in TX; died 1968.
Traveler, artist, photographer and fieldworker, was noted as pioneer in anthropological photography. +
Janet DeNeefe is a literary expert who enjoys Java and Balinese culture. She has recently given the Lifetime Achievement Award to writers such as Nh. Dini. Additionally, she is the founder and director of the Ubud Writers & Readers Festival. A brilliant writer, she enjoys compiling recipes and stories into cookbooks. +
"...apart from Bali on which his many books focus — like Time Rites and Festivals in Bali Today I, Bali Today II, Bali Inspires and Lempad ( 2014 ) — he has written numerous books on Indonesian artists, such as Affandi, Arifien Neif, Srihadi Sudarsono, Walter Spies, Made Wiante and many more.
He is indeed a learned man. But his demeanor displays a humility that can be too much, even for his close Indonesian friends. They say he is more Javanese than the Javanese. He would never stand up, for instance, to demand his due, leaving himself victim to people’s manipulative tendencies.
Yet he is held in high respect. ..."
full piece at https://www.thejakartapost.com/life/2018/03/05/jean-couteau-self-critique-as-a-way-of-criticizing.html +
Jeff Lewis is Professorial Fellow in the Global Cities Institute and School of Media and Communication. He is Co-director of the Human Security and Disasters Research Program in the Global Cities Research Institute. Jeff Lewis focuses on cultural interface, conflict and conditions of crisis. With a particular expertise on Indonesia and the Asian region, Professor Lewis examines issues around social development and change. He is author of 'Cultural Studies' (2002, 2008), 'Language Wars' (2005), 'Crisis in the Global Mediasphere' (2011), 'Global Media Apocalypse' (2013, and 'Culture, Media and Human Violence' (2015). Withe Dr Belinda Lewis, he is also author of of 'Bali's Silent Crisis' (2009) and 'Health Communication: A Media and Cultural Studies Approach' (2015). His current ARC Discovery Grant is titled 'After the Apocalypse'. It is a study of the ways in which culture and cultural consciousness shape contemporary conditions of conflict and violence. +
Renowned Chef and restaurant owner Jero Mangku Dalem Suci (Gede Yudiawan or Gede Buldog) is from Desa Les and his incredible cooking skills have been recognized by the most acclaimed Indonesian Chef, William Wongso, and he has joined the maestro in introducing Balinese cuisines across several countries in the world.
In 2015, he took on the role of pemangku or priest, and has since carried both titles of Chef and Jero Mangku (priest). Having already traveled the world, Chef Jero Yudi believed it was time to return to his village and give back to the place that has helped plant his roots deep into the culinary world. So he opened up, in his ancestral home, Dapoer Bali Moela, a smaller eatery and arak center where he has developed food & beverage products using locally sourced ingredients.
Chef Jero Yudi also owns Warung Sunset by Chef Yudi in Kuta, Bali. He also helped developing other restaurants in Nusa Dua, Semarang (Central Java), Jogjakarta and in Les Warung Tasik and Warung Sukun. +
Jero Mangku Liyer was born in Banjar Pengosekan Kaja, Ubud, Bali, 1922. He died in 2016. Liyer is a stakeholder, astrologer, and balian usada. In addition, he also pursues painting, especially rerajahan for the benefit of Hindu-Balinese rituals. Liyer's name is getting more and more famous thanks to him being featured in the film "Eat, Pray, Love" (2010) which is based on the novel of the same name by Elisabeth Gilbert. The film stars Julia Robert. Thanks to the film, many foreign tourists visited Mangku Liyer's house for the purpose of spiritual consultation. +
Joged bumbung is a cultural dance that originates from Bali. Joged bumbung has been around for a long time.
But in today's modern era, many people use this dance incorrectly, and it is more like pornography.
This makes Balinese culture, which was initially labeled as good, but is now labeled as a culture that is originary. The government that manages culture in the Bali area must be firm in providing sanctions and action against citizens who use Balinese culture incorrectly. +
Johan Rudolf Bonnet is a painter and art thinker who was born in Amsterdam, the Netherlands, March 30, 1895. He was interested in the beauty and uniqueness of Balinese culture. Bonnet arrived in Bali in January 1929, briefly settled in Tampaksiring and Peliatan, then settled in Campuhan, Ubud.
In Ubud he became acquainted with the German painter and choreographer, Walter Spies, and the King of Ubud, Tjokorda Gede Agoeng Soekawati. Together with his two friends, Bonnet then founded a very famous painter's association, namely Pita Maha in 1936. This association brought together many painters and sculptors from Ubud and outside Ubud. Bonnet and Spies introduced many modern media and techniques in painting to the members of the association, even promoting and selling their works.
In 1943, Bonnet was captured by the Japanese army and exiled to Sulawesi (Bolong and Makassar) until 1947. In 1951, Bonnet returned to Ubud, and founded the Ubud Painting Group. However, this community did not run successfully. In 1957, Bonnet returned to the Netherlands. While in the Netherlands, Bonnet spent his time compiling the inventory and catalog of the Puri Painting Museum, which was founded in 1956. In 1972, Bonnet returned to Bali and continued to compose the catalog for the Puri Painting Museum, Ubud.
Bonnet died on April 18, 1978 in Laren, Netherlands. Because Bonnet loved Bali so much, in 1979 his body was brought to Ubud and cremated with the body of his best friend, Tjokorda Gede Agoeng Soekawati, who died in the same year. +
"John Darling moved to Bali in 1969 and developed a rapport with its people and an affinity for their way of life. Of particular interest was their religious traditions and the changes to the Balinese society and economy that occurred as a result of the influx of tourists.
Australian documentary filmmaker John Darling standing next to camera on tripod in a jungle area in Bali John Darling during filming of Lempad of Bali (1978). Courtesy Sara Darling. Photographer unknown. NFSA title: 1586432
His first documentary, Lempad of Bali (1978) which he co-directed with Lorne Blair, explores the life and work of 116-year-old artist I Gusti Nyoman Lempad and his subsequent funeral, detailing the complex, Balinese funerary customs. This production won the Documentary Award at the Asian Film Festival in 1980.
Darling’s subsequent films formed his Bali Triptych (1987) series. Each hour-long episode – Between the Mountain and the Sea, The Path of the Soul and Demons and Deities – presents in vivid detail the history, culture and way of life of the Balinese people.
Darling worked with other filmmakers, including John Moyle for Bali Hash (1989), which juxtaposed the raucous nature of the Hash House Harriers gathering of international tourists and the peaceful Balinese ceremonies occurring at the same time."
Full article at https://www.nfsa.gov.au/latest/john-darling-bali-documentary-filmmaker
See also:
My Friend, John Darling by Rio Helmi. Ubud Now & Then, June 26, 2013. http://ubudnowandthen.com/my-friend-john-darling/
My Favorite Redhead: John Darling by Made Wijaya. Ubud Now & Then, July 3, 2013. http://ubudnow.webhost66.com/my-favourite-redhead-john-darling/ +
Australian scholar known for his comprehensive biography of German artist Walter Spies whose influence on Balinese art is reknowned. +
A funny thing happened to Joey Alexander over the past five years, a whirlwind period during which he became the most brilliantly precocious talent in jazz history—that is, a renowned festival and concert-hall headliner; the youngest musician ever nominated for a Grammy Award in a jazz category; and a media favorite who’s earned a profile on 60 Minutes, a front-page profile in the New York Times and other premier coverage.
"As heard on WARNA, his new major-label Verve Records debut, he’s simply become one of the most expressive and thrilling pianist-composers currently at work in jazz. Alexander’s precocity can still stun concertgoers, but his music, including original work and personalized interpretations of great songs, has now taken its rightful place in the spotlight.
Translating as “color” from Alexander’s native language of Bahasa, WARNA follows four Motéma Music albums that garnered the pianist three Grammy nominations and such honors as historic critics’ and readers’ poll victories in DownBeat and JazzTimes. But whereas those recordings were documents of an extraordinary young musician in development, WARNA is primarily a collection of reflective, moving new music by an experienced, confident bandleader...."
Please see more at https://joeyalexandermusic.net/about/. +
K
K. Landras Syaelendra was born in Banjar Pengembungan, Pejeng Kangin, 1959. He studied writing since he was a teenager. He was active at the Bali Coffee Drink Center. His works were published in Merdeka Minggu, Tabloid Nova, Bali Post, Nusa Tenggara, Bali Echo, Horison Sastra Magazine, Bernas, Sunday Morning, Nafiri, Karya Bakti, Tribun Bali. In 1987, he entered the top ten short story competitions in Bali – West Nusa Tenggara organized by the Bali Post in collaboration with PERADAH. In 1990, he won the second place in the short story writing competition in Indonesia for the anniversary of the Bali Post. In 1994 he won the Taraju Award. Some of his poems are collected in the book Taksu, Ginseng Tea, Poetry Kembang Rampai Bali, Bali Morning After Morning, Morning Bonsai, Dendang Denpasar Nyiur Sanur, Sahayun, etc. Now he works as a civil servant in Denpasar. +
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Matur suksema majeng ring pengater acara,santukang galahe sane becik punika kapaicang ring pasikian titiang.
sedurung titiang unigayang atur pinih rihin lugrayang, ngiring sareng sareng ngastiti ring ida sang hyang widhi wasa. titiang antung nguncarang panganjali umat
OM Swastiastu
para angga panurakse sane wanggiang titiang timBASABALI Wiki sane kusumayang titiang +
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Kadek Dedy Sumantra Yasa, was born in Apuan, Tabanan, Bali, 7 December 1980. He studied painting at ISI Yogyakarta. He was involved in many joint exhibitions, including the year Glory Fyng Colors Sanggar Dewata Indonesia at the Bali Classical Painting Museum Nyoman Gunarsa (2016). Irony In Paradise, Indonesian Gods Studio at the Agung Rai Museum of Art (2013). In 2016, he held a solo exhibition entitled "Rhythm Impulse" at the Ordinary Gallery, Yogyakarta.
Apart from painting, he is also involved in performance art, for example, in 2009 he held the performance art “Undisclosed Teritory #3”, Illusion of Burden, at Padepokan Lemah Putih, Solo. In 2008 he performed Dragon Snake Slaughter (a collaboration with Astrid Reza) at the Jogja National Museum. In 2002 he received the Certificate of Recognition Indonesia Art Award, in 2000 he received the Certificate From ALIF and the Best Watercolor Painting from FSR ISI Yogyakarta. In 2020 he held a solo exhibition and performance art at Jatijagat Kampung Poetry, Denpasar. Now, apart from still painting, he also arranges songs that he sings himself. +
Kadek Desi Nurani Sari, was born in Sanih, Buleleng, December 31, 1995. She graduated from the Department of Indonesian Language and Literature Education, Undiksha, Singaraja. She started writing poetry and prose since high school. Her works have been published in many joint anthologies, such as “Gift to the Sky” (2012), “Ginanti Tanah Bali” (2013), “Lingga” (2015), “Gita Candra Nyanyian Bulan” (2018”, “Wiwaha” (2019) Her first published collection of short stories is "Manisan Gula Merah Half Bite" (2020). Apart from writing, she is active in theater activities, such as the Ilalang Theater, Banyuning Art Village Theater, Thousand Window Campus Theater, Cemara Angin Community, Mahima Community Now she works as a teacher of Indonesian Language and Literature. +
Kadek Eko, born in Gianyar, Bali, November 11, 1989. He completed his art education at ISI Denpasar. Since 2008 he has been actively displaying his works in joint exhibitions, including the 2009 “NuansaAlam” exhibition at the Kriya Art Center Building, “Bali On the Move” (at Maha Art Gallery, Denpasar, 2013), “Tat Twam Asi” (at Ubud Writers and Readers Festival, 2016), “ATUH” (Griya Santrian Gallery, Sanur, Bali 2017). His paintings combine traditional and modern styles with the themes of nature and everyday life. He is a member of the art community Militanarts. +
Kadek Sonia Piscayanti was born in Singaraja, March 4, 1984. She is a Lecturer in the Department of English, Ganesha University of Education where she teaches poetry, prose, and drama.
She has been invited as a speaker at the Ubud Writers and Readers Festival (2012-2013), Creative Writing Program, Griffith University, Gold Coast, Australia (2011-2012), and at the OzAsia Festival, Adelaide Australia (2013). She wrote and directed the script for “Layonsari” in the Netherlands and France at the Culture Grant event from the Indonesian Directorate of Higher Education (2014). She has also published several books including, “Because I Want to Run I Want to Run” (Akar Indonesia, Yogyakarta, 2007), Literature is Fun” (Pustaka Expression, 2012), “The Story of A Tree” (Mahima Institute) Indonesia, 2014), Dramatic Arts, Art of Life (Graha Ilmu, 2014), Women Without a Name” (Mahima Institute Indonesia, 2015).
Sonia was the mentor for the 6th Luh Ayu Manik Mas adventure book. +
Kadek Sudiasa is a traditional dancer especially of the Bali Mask Dance, Gamelan musician, wood carver and mask maker. He also has a unique skill in playing and making the Balinese Rebab. Originally from Mas, Ubud, his experience in traditional dance theatre and mask making is a source of wonderful knowledge for Sawidjis’ artist community.
I Kadek Sudiasa is member of Sanggar Tirta Sari & Genta Buana Sari, a community of traditional musicians and dancers. It is here that he felt most at home. Presently, Kadek is still active in Peliatan as a musician and dancer. Under the management of Anak Agung Gede Oka Dalem. +
Kadek Surya Kencana, born in Dalung, Badung, Bali, January 24, 1986. In 2005, he won second place in a national poetry writing competition held by the Ministry of National Education. He was once a teacher and principal at a school in Singaraja. Now he is pursuing the world of journalism. He has participated in the cultural mission “Bali Kanaya International Art Week” in Chiba, Japan, 2014. And since 2015 he has joined Radar Bali (Java Pos group) as a journalist. Some of his poems have been published in the Bali Post and are summarized in the poetry book Saron (2018). +
Kaja M. McGowan’s areas of interest involve South and Southeast Asia with emphasis on Indonesia, particularly Java and Bali (both historically Indic in orientation) studied in relation to the subcontinent. Rather than see India and Indonesia, for example, as modes of influence between two points, her scholarly interests encourage studying the reciprocal relationships between neighboring countries in Southeast Asia. Her research explores the flow of ideas and artifacts along this highway -- architecture, bronzes, textiles, ceramics, performance traditions, and visualizations of texts like Panji Malat, the Ramayana, and the Mahabharata -- artifacts that move and those that are locally produced. This accounts for the shaping of ideas and the development of styles across vast geographical and historical distances. Her work is governed by the complex ways in which History of Art and Visual Studies intersect with Anthropology, Material Culture, Colonial and Post-colonial Theory, Performance, Gender and Religious Studies.
Having first begun her study of Balinese performing arts as an undergraduate at Wesleyan University, one ongoing project has involved documenting the work of painters in Bali who experiment with depicting musical sound and the rhythmic motion of the dance in their work. She is the author of Ida Bagus Made: Art of Devotion (Ratna Wartha Foundation, 2008) a volume honoring the fiftieth anniversary of the Puri Lukisan Museum in Ubud, Bali, Indonesia, distributed by University of Hawaii Press. Due to its popular reception, she has been invited to write a second volume on the life and art of the world-renowned painter, sculptor and architect (undagi), I Gusti Nyoman Lempad. +
like what happened on Kuta beach there are some sellers who force tourists to sit or buy food or goods from them.
what makes some tourists restless is the way they offer it seems to be pushy and chases so that some tourists want to use their services or buy food/drinks or goods from them.
and some tourists have spoken up on twitter/instagram and some other social media about this. please fix this problem because it makes some tourists afraid to travel here and assume that in all tourist attractions there will be sellers like them.
and it is necessary to promote new tourism tourism which has the opportunity to generate a lot of profit, in every tourist place it must be clean and hygienic like a clean bathroom. +
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Katharane Mershon (1892 - 1986), was the daughter of musician, Charles Farwell Edson, originally of Chicago, and a prominent political activist, Katherine Philips Edson. Her mother was an important figure in California's Progressive Party in the early twentieth century, influential on behalf of woman suffrage and industrial and social reforms for women.
Katharane did not follow her mother's political and social path, but instead became a dancer. She and her first husband, Harry Gray, toured the United State as a professional ballroom dancing team. She later joined Serge Oukrainsky and Andreas Pavley in Chicago for ballet training, and after divorcing Gray, she married Jack Mershon. Her life was long and full.
Among many experiences, she lived in Bali, absorbing the dance rituals there, traveled in Europe and Angkor Wat, danced in Vienna and Paris, taught ballet at the University of California, and administered the Denishawn School. Mershon developed theories on dance and psychology, expressing her idea that there was much to be done in a field she called "corrective psychology". +
Hi all, I appreciate the concern with reopening and the cautioned approach. However there must be more clarity for countries permitted. Look to places such as the UAE (Dubai in particular) or Seychelles and see how well they opened up. I am an immigrant living in the Middle East and I booked my wedding for July 2022 with the hope you would all be open in time. Don’t limit the countries, make sure people are tested before they arrive and make sure they have insurance for covid, make sure they are triple vaccinated before flying also. Airlines go through thorough checks so the country itself doesn’t have to. I have approximately 10 different nationalities attending my wedding from 15 different countries - keep your rules simple, open to all with minor exclusions when needed. And remove the visa cost - it is not good to charge so much when tourists know it’s going straight to the government. Consider tourism first and the money will come after - do in hotel PCR testing on day 2 if required and charge a little extra there if need be. Keep. It. Simple. If you need an introduction to the tourism CEO for dubai I would be more than happy to help. +
Om Swastiastu
Titiang ngaturang rasa pangayubagia majeng ring Ida Sang Hyang Widhi Wasa antuk asung kerta wara nugraha Ida titiang prasuda nyurat orasi puniki. Pulau Bali antuk destinasi wisata internasional yang memiliki reputasi positif. Akeh wisatawan sane terkesan nikmatin kaluungan alam dan budaya Bali, olih karna ento Bali mrasidayang bersaing dados destinasi wisata populer ngalahin negara sane lianan. Menteri Pariwisata lan Ekonomi Kreatif (Parekraf) Sandiaga Salahudin Uno ngorahang Pulau Bali dados penyumbang devisa negara terakeh antuk Indonesia, terakeh kedua setelah industri Minyak dan Gas.
"Bali ini masih menjadi top of mind untuk pariwisata Indonesia.
Nanging dibalik kemegahan pariwisata ring Bali, upami akeh pisan hotel-hotel, vila, restoran lan sane lianan. Ring galahe sane mangkin liu pesan pikobet sane mrasidayang kaon ring jagat Baline. Pinaka pikobet korupsi olih pejabat pemerintah, pikobet ring pendidikan, pikobet ring kesehatan upami penyakit menular sane akeh lan kualitas pelayanan kesehatan.
Inggih ida dane sareng sami nika wantah orasi titiang antuk pikobet kesenjangan ekonomi sane patut kautamang olih calon pemimpin Bali. Astungkara calon pemimpin Bali sane kapilih antuk Pemilu 2024 mrasidayang nanganin indik pikobet kesenjangan ekonomi ring Bali.
Ida dane sareng sami titiang ngaturang pangampura yening titiang wenten pelih rikala nyurat teks orasi puniki. Sareng titiang ngaturang parasuksma majeng ring pamiarsa sane sampun ngewacen teks orasi karya titiang niki. Inggih puput titiang teks orasi niki antuk ngaturang paramasanthi.
Om Santhi Santhi Santhi Om. +
Ketut Agus Murdika is a painter born in Gianyar, December 26, 1989. He completed his art education at ISI Denpasar. Since 2008, he has been active in many joint exhibitions, such as the Retrospective exhibition of the Galang Kangin Community at Bentara Budaya Bali (2018), the Red Thread exhibition at Bentara Budaya Yogyakarta (2016), the Ulu Teben exhibition at Bentara Budaya Bali (2015). He won the Best Sketch Ubud Festival 2006 award.
His paintings are abstract. He wrote his concept in painting as follows: An understanding without form, a reflection without words, an understanding of the feelings and feelings of exploring the restlessness of the heart. Creating something intangible into a real work. +
Ketut Bimbo is a musician and singer of Balinese pop songs born in Banyuatis, Buleleng, 1954. He has been working productively since the 1970s. His songs contain a lot of social criticism wrapped in satirical humor. He started his career as a broadcaster at Radio Massachuset, Singaraja, Buleleng. All of his songs are based on true stories, involving gambling with cock fights, drinking alcohol, etc. His debut album was entitled "Buduh" (1980). A number of his famous songs include: Buduh, Peteng-peteng Mekaca Selem, Announcer, Mebalih Wayang, Ngabut Keladi. +
Ketut Endrawan was born in Klungkung, March 12, 1974. Completed his fine arts studies at PSSRD Udayana University (now ISI Denpasar) in 1999. Apart from being an artist, he is also a teacher of fine arts. Actively exhibiting together since student. He was a finalist at the Indofood Art Awards 2003 and the Jakarta Art Awards 2008. Endrawan's works tend to be figurative, mixing inner anxiety and social turmoil. +
Ika has over15-year experience in coordinating development cooperation projects for several international institutions and aid agencies. She successfully managed over 30 human rights, environmental, democracy and development projects across Indonesia, and the Southeast Asia region, totaling 12.5 million dollars.
Ika is the chairperson of Banjar Bali USA, the Balinese community in Washington, DC, and surrounding areas. Before she moved to the US in 2011, Ika worked as a development specialist on democracy and human rights projects with institutions. +
Ketut Kaprus Jaya, contemporary artist in Bali. Born in Budakeling Karangasem Regency Bali, on the 15th July 1970. A veteran of the highs and lows of Balinese Art Industry, he has remained constant to his art with no prevarications. Through three decades of professional art practice, Ketut Kaprus Jaya has maintained and guarded the purity of his creative process. True to self, to the moment, to Nature.
As a contemporary artist in Bali today, Kaprus Jaya has two distinct styles that he exercises equally diligently. As a result of the strong commerciality of the art scene locally. The use of watercolour for ‘en plen air’ pieces as he travels and explores different destinations and allows him to teach painting to students. +
Ketut Madra has devoted his life to the study, preservation, and practice of Bali’s rich cultural arts. Primarily as a painter, but also as a dancer, musician, and community leader, Madra is steeped in the stories and legends at the center of the island’s culture and community. His unique ability to convey action and emotion in a rich and imaginative composition brings the traditional to life for modern audiences, Western and Balinese alike.
Originally from Pengosekan, a small community near Ubud, Madra moved to nearby Peliatan as a young man in the late 1950s to work as a painter for the art dealer Wayan Gedah. At that time he also began studying with Tjokorda Oka Gambir, and learned the techniques and conventions of traditional wayang painting, including the specific colors, iconography, and costume for scores of characters.
Madra started painting exclusively wayang narratives in the early 1960s, and soon developed a reputation as a skillful and original artist. He works with deliberation, and sells work directly from his studio to people who find him, usually through word-of-mouth. Occasionally, trusted local dealers with galleries catering to serious collectors also buy his work.
In 1974, Madra’s work was shown in international exhibitions in the UK and the USA for the first time. In the same year he completed the first bungalow of what would become the Ketut Madra Homestay on his property in Peliatan. Over the next 15 years, he gradually expanded the accommodations for students, travelers, musicians, and artists interested in “a quiet place to learn about Bali.” The homestay has been a central feature in the life of Madra and his family, and has introduced three generations of visitors to his work and to traditional Balinese arts and culture.
At the age of 41, having focused up to that point on work and the homestay, Madra needed something more. Nyoman Kakul, a preeminent dancer of Batuan village who admired Madra’s understanding of the stories told in Balinese dance drama, urged him to learn to perform. More than 30 years later than most Balinese dancers take their first lessons, Madra learned the role of topeng keras, the rough prime minister in the king’s court. He continues to dance more than 30 years later, playing a variety of roles for which he is highly regarded.
Madra also learned as an adult to play the rebab, the two-stringed bowed lute in the gamelan ensemble. He dances and plays regularly with the Tirta Sari gamelan group in Peliatan. Dance, Madra says, is a near perfect complement to his life as a painter. Performing in stories he had only watched and painted brings new insight to character and deeper understanding of the spiritual and devotional nature of both kinds of work.
Ketut Muliartha was born in Denpasar, January 8, 1956. He has expertise in auditing and strategic management. Graduated in 1984 from undergraduate education at Malang Brawijaya University and continued the Professional Accountant (Ak) program at the same University in 1984. He was appointed as a permanent lecturer in 1985 at Udayana University to the present. He obtained his Master of Management degree in 2000 at Udayana University, completing his 2014 doctoral degree at Brawijaya University, Malang. He often conducts national conferences in his area of expertise. +
Ketut Putrayasa is an artist born in Kerobokan, Badung, Bali, May 15, 1981. In 2019, for the “Berawa Beach Arts Festival”, he shocked Berawa Beach with his installation of a giant octopus made of bamboo. In the event entitled "Deep Blue Spirit", dozens of artists from across the arts responded to the giant octopus with performances of music, dance, poetry, and video art. Still in 2019, Putrayasa was invited by the Architecture and Interior Design Company to work on the Project Commission Artwork in Paris, France. In 2020, he performed the installation art "Pandora Paradise" at the Puputan Badung square, Denpasar.
Ketut Putrayasa studied fine arts at the Indonesian Art Institute (ISI) Denpasar until the Postgraduate Program in Art Creation. He won the Best Final Project (TA) from ISI Denpasar in 2014. He often participates in joint exhibitions, including the “BIASA” group sculpture exhibition at the Pendet Museum, Ubud (2004), “Sign of Art” in Belgium (2008), “ Kuta Art Chromatic” in Kuta (2003), “Articulation” in Kuta (2014), “Chronotope” at Rich Stone Bali (2015), “Skala” sculpture triennale at the Jakarta National Gallery (2017), “Art Unlimited” at the Gas building Negara Bandung (2018), “Bali Megarupa” in Bentara Budaya Bali (2019), and so on. Apart from being active in his work, Putrayasa has also joined “MilitanArt”, an art community that drives the life of fine art in Bali. +
Ketut Rodja was a genius and famous sculptor from Mas Village, Ubud, Bali (1902 - 1965). He was born into a family of artists. He was close friends with President Soekarno who collected many of his sculptures. Apart from that, the Tropen Museum in the Netherlands also collects his work. The Krishna statue created by Rodja was once used as a master art by President Soekarno and shown to Indian Prime Minister Jahwal Nehru and Indira Gandhi at a state meeting.
Rodja is also known as an art deco pioneer in Bali. Apart from that, he was the founder of the first art gallery in Bali in the 1950s which still exists in Mas Village. He is also an artist who actively contributed to the founding of the Ratna Warta Puri Painting Ubud Foundation and was a member of Pita Maha in 1936. Rodja is close friends with Rudolf Bonnet, one of the founders of Pita Maha. Rodja once served as Chairman of the Pita Maha Mas Village branch which coordinated 12 banjars. He was also active in political movements and was highly respected. His iconic work which is still kept at the Siadja Gallery is an ebony wood sculpture entitled "Ananta Bhoga" (1920). Rodja died (murdered) in the 1965 political tragedy. +
His name is Ketut Sidia, from Jero Lingsir family lineage of Tegeh Kuri clan. Born 1901 at Pengastulan village Buleleng Bali. He’s a well known Silat martial art teacher at Seririt district Buleleng. Some old villagers tales that he’s an excellent fighter. Able to jump to 3 meters wall, kill a mouse by throwing a sate skewers from 2 meters distance, able to kill people with just bare hand.
During Dutch colonialism, he become dutch driver to spy them with his son, Putu Mangku. They both were fluent speaking Dutch and Japanese language This is his photo with the dutch car as driver. His son's duty is passing crucial information to Balinese guerillas. Sometimes he also join the guerrillas to ambush the military convoy. But mostly he did some sabotage and silent assassination as spy. After Indonesia independence, he and his son become member of LVRI (Legiun Veteran Republik Indonesia).
Later on both of them then work as teachers at Sekolah Rakyat at Seririt district Buleleng and his son also work as photographer and journalist for Bali Post newspaper. During his old days, he become priest of Pura Pabean Pengastulan village. He passed away 1990 with military honors as member of LVRI. +
Was born in 1969 in Singaraja. He graduated in 1990 from "Fine Arts School" in Denpasar, bali. He's an active painter who keeps searching for professional painters as his teacher and companion. In the past he has worked through a joint system with "Pierre Poretti", an artist from Lugano, Switzerland.
Most of Ketut Swardana's works are an expression of creativeness on canvas. The quality of his work improves with each passing day. For Swardana, the most important factor to his art is satisfaction to his feelings. +
Ketut Syahruwardi Abbas was born in Pegayaman Village, Buleleng, Bali, May 4, 1959. He has written literary works since the 1980s, published in the Bali Post, Nusa Tenggara, Kompas, Republika, and summarized in a number of books together, such as Klungkung: Tanah Tua, Tanah Love (2016). His single book of poetry is titled Between Us (2018). He had long accompanied the young poets in Jatijagat Poetry Village. +
Ketut Teja Astawa, born in Sanur, Bali, 1971. He completed his art education at ISI Denpasar. He has held many joint exhibitions, both at home and abroad, such as Bali: Return Economy, Fremantle Art Centre, Perth, Australia (2014). His solo exhibitions include: TW(IN)SIDE at Kendra Gallery, Kuta (2013), A Glimpse Back Into The Past: Early Paintings of Ketut Teja Astawa at Art Temporary Space, Plaza Senayan, Jakarta, Indonesia (2012), Fragments of Subconscious Memory at Tonyraka Art Gallery, Ubud (2011), Batman Forever at Sunjin Gallery, Singapore (2009), Works Of Ketut Teja Astawa, Roemah Roepa Gallery, Jakarta (2008). Many of his works depict the lives of animals, puppet characters, which he uses in a naive and colorful way. He combines Kamasan wayang painting techniques with modern techniques. In 2001 his work was included in the Finalist Philip Morris Art Award Indonesia. +
Ketut Widiyazid Soethama was born in Denpasar, December 4, 1960. Since elementary school he has been fond of painting, including the Balinese Kamasan puppet, has been published many times in the children's section of the Kompas daily. Then since he was a teenager he has been writing poetry and has been published in the Bali Post. During his studies at the Faculty of Agriculture, Udayana University, he founded the music group Gress Country, released an album of Balinese pop songs (1987), with his siblings and relatives, while being active in theater performances. While working at the Bali Agricultural Information Center he made several comics on agricultural extension, then spent his days as an agricultural consultant for the European Union and the United Nations Development Program (UNDP) in Papua and East Nusa Tenggara. He died in Denpasar on January 15, 2016. +
Ketut Yuliarsa was born in 1960 in Denpasar, Bali.
Ketut is a writer, actor and musician and has worked in Indonesia, Australia and New Zealand. He has appeared in television drama, film and toured Australia with a major Australian theatre company. He writes lyrical prose, short stories, poetry, essays and articles and has been published in various newspapers and magazines in Indonesia. He has published two collections of poetry (bilingual), Night Voice/Suara Malam and Falling in Silence/Jatuh Bisu. He has appeared as writer, presenter and moderator at the Ubud Writer’s Festival from 2005 till 2018. Ketut has also worked as the Indonesian Emerging Writers curator for this festival during this time.
In 1986 he and his wife Anita, established the first bookshop in Bali, Ganesha Bookshop (www.ganeshabooksbali.com) and it is now into its 32nd year of trading. Ganesha Bookshop has a large range of New, Used, Rare and out-of-print books on Indonesian studies in the English language. In 2004, realising the need to foster literacy, learning and reading for pleasure in the Balinese community, he helped establish the Books for Bali Project which donates books to schools and libraries throughout Bali. +
Kevin’s passion is photography, he has been a serious photographer for the last 10 years since his retirement. His best loved places to photograph are Bali and the Indonesian Islands. He is self taught and his preferred camera gear is Lumix. His favourite subjects are the Balinese people, Bali Ceremonies and anything else that captures his eye. He has won many international awards and had a successful photo exhibition in Bali. He spends his time spread between Bali and Australia. The Balinese rely on tourists to make their living and during the Covid Pandemic there have been no tourists to the Island. The impact of Covid on the people has caused untold hardship including hunger and loss of income. Profits from the sales of his book will go to Balinese charities, mainly “Plastic for Rice” and the “Bali Tribe” which provide meals for the needy. +
Based on an article from the Denpasar City Government website, the Trans Metro Dewata Bus is a mass transportation which is one of the Bali Provincial Government's efforts to improve public services in the land transportation sector in urban areas, especially Denpasar City and covers several areas outside Denpasar City. The aim of the Bali Provincial Government in creating this program is none other than to reduce traffic jams and individual vehicle pollution. Trans Metro Dewata buses have now spread to various areas in Bali Province. However, its implementation over time is not in accordance with what the government hoped or planned. Most Trans Metro Dewata buses are currently empty without carrying passengers. Most people are reluctant to use public transportation because the stopping points are limited and far away, so it requires more effort to reach them. This also causes the majority of residents to prefer to use online motorcycle taxi applications rather than public transportation. The lack of public awareness of the existence of public transportation also causes a lack of passengers. Payment methods that can only be cashless can be a problem, especially for people who don't have or haven't made electronic money. According to interviews with 15 sources that the author conducted regarding the effectiveness of the Trans Metro Dewata Bus program, 9 out of 15 sources were of the opinion that the implementation of the Trans Metro Dewata Bus program was still not effective, which according to the experience of the sources was caused by several bus drivers who were a little impatient when driving their buses. so that when a motorbike passes in front of the Trans Metro Dewata Bus, the bus driver will honk at the motorbike rider. Then there were also sources who said that the terminal was far away, and there were also those who regretted the fact that the existing Trans Metro Dewata buses were currently empty and did not carry passengers due to a lack of public awareness regarding the use of this public transportation. On the other hand, 6 out of 15 interviewees believed that this program was effective because it could reduce traffic jams, pollution and save petrol costs. However, in reality there are still more sources who say that this program is not effective than those who say that this program is effective. Therefore, the government must pay more attention to this matter, because if it is not handled further it will have an impact on the Trans Metro Dewata Bus program which has been implemented by the government. Several sources also expressed their hope that this problem would be resolved and better in the future, that the government should be able to increase the effectiveness of this program with better solutions so that people would be interested and have the desire to use the Trans Metro Dewata Bus.
Komang Ayu Cahya Dewi is a Balinese athlete in the field of badminton. She was born in Denpasar, October 21, 2002. During the 2021 PON in Papua, she qualified for the final round. In the women's singles category. She joined PB Djarum in 2016. Her other achievements are Runner Up Liga PB Djarum II 2020 (Women's Singles U-17 & U-19 & Adults), Semifinalist Italian Junior International Challenge 2020 (Women's Singles U19), Semifinalist Djarum Sirnas Premier West Java Open 2019 (women's adult singles). +
Komang Ira Puspitaningsih was born in Denpasar, May 31, 1986. The poems and poems have been published in several mass media, such as: Bali Post, Kompas, Koran Tempo, Journal of Poetry, People's Thoughts, Padang Express. Several times or become a winner in a poetry writing competition. Her poetry has also been compiled in several joint anthologies, al. Pena Kencana's 100 best Indonesian poems in 2008 and the 2009 Pena Kencana version of the 60 best poems. "You're Not the Most Solemn Holy Virgin" is her first single poetry anthology. +
Komang Pramana, Skom, was born on April 26, 1978 in Denpasar. He can be reached about his beautiful photography at pramana.gede@yahoo.co.id. +
Denpasar is a city that is sought after among domestic and foreign tourists because of its rich culture, traditions and unique tourist destinations. However, because Denpasar is visited by many tourists and also has a dense population, traffic conditions in this city are often jammed and obstructed. Air pollution due to motorized vehicles, strong sunlight during the day and rows of stationary vehicles are common sights in Denpasar. Of course, this will make many people feel cramped and disturbed and affect comfort in their activities. This is caused by the large number of people who have private vehicles. Even though there are stops for public transportation in the city, people prefer to drive themselves. Therefore, at certain hours, traffic conditions in Denpasar are very congested because there are so many people traveling at the same time. Private vehicles also produce more smoke than public transportation, thereby affecting the surrounding environmental conditions. Management of public transportation can indeed be a solution to this problem. Developed countries such as America, England, Germany and others have implemented public transportation systems first and can reduce problems due to traffic jams because they are normalized and often used by the residents of these countries. Public transportation already exists in Denpasar, but is rarely used because demand from the public is too low. This is something that the city government must pay attention to so that it can be managed better to increase public interest. Currently, public transportation in Denpasar is public buses which have their own stops or transport places. However, these stops are located in less strategic places. There are still many places that are densely populated and where there is a lot of activity, such as school areas or shopping places and others where there are no bus stops. The current bus stops are not centered in a particular place and tend to be quite far from the places where most people go so that people who want to go to those places have to walk again. Even though it's only a short walk, Indonesians usually prefer to ride motorbikes rather than buses, even though the distance is not far. The government can use the "push and pull strategy" to increase people's interest in using public transportation. This "push and pull strategy" is carried out at the same time to get maximum results. "Push strategy" is a more aggressive and proactive way where the government can encourage people by limiting the number of private vehicles and also special traffic lanes for public transportation so that roads are faster. The "pull strategy" is more passive and is carried out by improving the quality of public transportation itself, such as creating bus stops in places where many people go or special buses to take students to school. If this "push and pull strategy" can be implemented well, over time people will begin to realize the advantages of using public transportation and will use it more often. By optimizing public transportation, I believe we can end the traffic jam crisis in our beloved municipality and reduce air pollution from vehicle exhaust. Let's all use public transportation!
Om swastyastu,
I respect you, Mr/Madam, the jury and the 2024 DPD RI candidates, and I am proud of all the participants of the Bali Public Participation Wikhiton Speech.
First of all, let us express our praise and gratitude to Ida Sang Hyang Widhi Wasa because of His blessing and grace this morning we were able to gather and carry out a series of activities for the Bali Public Participation Wikhiton oration competition, here, allow me to deliver a speech or oration entitled The Young Farmer Crisis in Bali
Distinguished guests, the food that we consume and enjoy every day is the result of processing ingredients from agricultural products. Agricultural products in Bali are very diverse, starting from staple foods, fruit and others. However, currently there is a crisis of young farmers in Bali, there are several factors causing it, such as:
1). limited access to capital, technology and skilled human resources, thus hampering the ability of young farmers to increase agricultural productivity and increase their income.
2). The high level of urbanization and increasing education in rural areas has made many young people prefer to work in the non-agricultural sector, such as industry or services.
3). the lack of attractiveness of the farming profession in the eyes of the younger generation, which is considered less prestigious and has the potential to generate low income compared to jobs in other sectors.
I hope that from this problem the Balinese leadership candidates who will be elected in 2024 can provide solutions and provide real action and evidence for this problem.
So let's raise the status of farmers, so that there is no premature extinction, that's all I can say, if there is an error in delivering my oration, I apologize for this. I close by delivering Parama Santhi
Om Santhi, Santhi, Santhi om. +
L
Lahirkan tur Wangun Inovasi Rancangan Kesenian Bali Kaanggen Meningkatkan Kreativitas Truna Bali Pikenoh Menumbuhkan Ekonomi Masyarakat tur Sektor Industry Pariwisata Kreatif Ditengah Pandemi Covid 19 +
During the Covid-19 Pandemic, the government needs to revive Bali tourism now and in the future by giving birth and building innovations in Balinese arts programs to increase the creativity of Balinese youth in order to grow the community's economy and the creative tourism industry sector in the midst of the COVID-19 pandemic. We know that Bali has a lot of arts and culture. those of us who did not rise and die only because of the virus that we often know as corona, a lot of tourism has died in Bali because of the lockdown and also Balinese arts are starting to disappear such as the tradition of the ogoh-ogoh parade, melasti and many more, where tourists are interested in the culture, because of the lockdown, tourism has decreased and there are rarely tourists visiting, apart from Balinese culinary tourism, it is also starting to decline due to current economic problems. The thing that needs to be done is to build self-innovation of Balinese youth in order to increase youth creativity in order to build tourism and the economy. To recover, because we know that tourism is advanced because of the arts. That is the main thing so that Bali can progress again, if Balinese art dies, tourism will not progress and it is also necessary to build new tourist attractions so that the rate decreases. Return and improve relations of places that need to be visited and it is also necessary to carry out an renewal program for places that are not in use. not feasible and make the place a new tourist spot and we introduce it outside Bali. We also know that there are many young people who are indifferent to Balinese culture since the death of Balinese culture due to Corona, we need to build their identity through activities or competitions in order to re-promote youth creativity and be able to compete with foreign cultures and be able to re-promote our culture to promote tourism and economy through our culture, because we believe that many young people are creative but need to be honed again to improve these abilities. We need to carry out massive activities by holding mass art and cultural performances so that residents have the opportunity to witness the return and of course can increase the economy but still with progress. Another thing is to make our culture in a good and attractive package, especially for tourists. Such as preserving Baleganjur, Kecak and Joged as well as the traditions of each village that have long been dead. And hold back the PKB (Bali Arts Festival), because from there tourism can advance and can also introduce the culture that Bali has out.
Leslie Anne Franklin was born in Newport Beach, California, and first visited Bali in 1982. During the 33 years she lived in Bali, she has witnessed social, environmental developments over time. Leslie's love for Bali includes the fervent spirituality of the Balinese and their endearing hospitality, which has remained steadfast and unchanged.
Leslie founded the Facebook group Lost Bali, which, at the time of this submission, has over 28,000 active members. The group shares memories and photographs that have captured a time before 1990 before mass tourism affected the island. The collective stories and images have served as inspiration for the book. Leslie currently resides in her wood cabin in the mountain town of Big Bear, California. She is the mother of four children and four grandchildren. This is her first anthology. +
Lilik Mulyadi was born in Bogor, August 23, 1961. He has written poetry since 1978 and has been widely published in the Bali Post and several media outside Bali. Often wins local and national poetry writing competitions. His poetry is also summarized in the Magical Paintings of Bali Land, Dendang Denpasar Nyiur Sanur, Klungkung: Old Land, Land of Love, etc. His single book of poetry: Jatijagat Pedukuhan Magical Poetry (2017). He worked as a judge and wrote many books on law. +
The most pressing issues in Bali currently include environmental management, sustainable tourism, and economic inequality. Prospective leaders need to focus on solutions that promote balanced and sustainable development while enhancing the overall well-being of the community. +
Listya Wahyuni, born in Denpasar, March 1, 1984. Graduated from art education at ISI Denpasar. Since 2004 she has been active in various joint exhibitions, including “The New World” at Bentara Budaya Bali (2016), “The Fertile Period” at Karja Art Space, Ubud (2018), “Eruption” at Galeri Raos, Batu, Malang (2019). Her work has been a finalist for UOB Painting Of The Year (2013). She is a member of the Militant Arts Community. +
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Nullam non nisi est sit amet facilisis magna. Tellus in metus vulputate eu scelerisque felis. Euismod nisi porta lorem mollis aliquam ut. Dignissim cras tincidunt lobortis feugiat vivamus at augue eget arcu. Condimentum mattis pellentesque id nibh. Aenean vel elit scelerisque mauris pellentesque pulvinar pellentesque habitant morbi. Consectetur lorem donec massa sapien faucibus et molestie. Rhoncus est pellentesque elit ullamcorper dignissim. Tortor dignissim convallis aenean et tortor. Convallis posuere morbi leo urna molestie at elementum. Mattis ullamcorper velit sed ullamcorper morbi. Pellentesque habitant morbi tristique senectus. Ultrices tincidunt arcu non sodales. +
"Indonesia, and Bali in particular, has lots of beauty to offer. Louis Nagelkerke is not only fascinated by the beauty of the people, but also by all the wonderful things religion has brought the country, such as temples and buddha statues. During his many journeys through Indonesia, Louis noticed that it is a very rich country in many ways. Louis believes that this has a lot to do with the fact that the Indonesian people are proud of their country. When Louis travels through Bali to take pictures for his paintings, the local people enjoy that. Meanwhile, it is not special for them. They live with all that beauty, their rich culture, and traditions every day. They are used to it. When Louis paints Balinese people, he tries to show them how beautiful and rich their culture is, how beautiful they are themselves. For Louis personal[ly], it is important that he, while photographing and painting the people, can make a part of their personality his own. It is a search for beauty, mysticism, culture, folklore, very much related to daily life; the folklore our modern western society lost over the years.
Born February 3, 1949, in Eindhoven
Education in ceramics, window dressing, drawings, and paintings
Well known since the '80s through many exact portraits
His paintings are unique through the expression of mysticism and sphere. His inspirations Louis Nagelkerke finds almost through his vivid relation to the eastern culture and people. Musicians and dancers, especially from the wonderful island Bali. Besides that, his paintings are also influenced through the theatre.
Louis is an outstanding artist and always open-minded to new ideas. +
Louise Garret Koke (1897-1993; New York City, New York, U.S.A), born Louise Gignox, studied at Columbia University in New York City, U.S.A., and designed theatre stage sets. She first came to Bali in 1936 while on a world tour to the Far East. With her husband Robert Koke, she set up the first hotel on Kuta Beach (which she describes in her book "Our Hotel in Bali") and stayed until early 1942 before the Japanese invansion of World War II. She made many humorous ink drawings and romantic paintings of the Balinese people. Exhibitions Alliance Francaise (Shanghai, China, 1947), Neka Art Museum (Ubud, Bali, 1993). +
Emerging female Balinese contemporary painter Luh Gede Gita Sangita Yasa has seemingly materialised from anonymity and appeared on the Bali art scene. After five years living in West Java, studying fine art at the Institute of Technology Bandung, she returned in 2020 to live in Batubulan, Bali. However, media exposure in international magazines and exhibitions in Java and Singapore preceded her. In 2021, her presence had become more “localised” by exhibiting in Bali. Refreshing and powerful suggestive Luh’De’s pictures captivate and reveal a fascinating lens upon life.
Vibrant, yet unusual mindscapes depict alternative realities: Luh’De expresses a Gen-Z experience of dwelling in both the digital and natural worlds. As the first generation having grown up with immediate Internet and mobile digital technology access, members of Gen-Z are dubbed “digital natives”. Luh’De’s sensitivity pieces together seemingly unrelated, contrasting imagery into balanced compositions introducing the audience to fresh narrative realms she refers to as “fragments of memories”.
For most people, the concept of existing simultaneously in parallel universes may be too abstract to process. Not for Luh’De. Curiosity infused with ingenuity is harnessed into images of the past, present and future which are unique within the Indonesian contemporary art world. Light years beyond the conventional Balinese painter, Luh’De never references traditional icons, narratives and techniques. Instead, she boldly investigates her potential and intuitive trajectory.
Merging Pop Art, abstract and semi-realism styles often with a minimalist sense of space, blank areas on the canvas create interludes that allow us to pause and think. The outcomes are contemplative and uber-chic. Luh’De is the first Balinese woman artist to establish an identity upon such a compelling aesthetic formula.
“My creative process begins by sourcing images from the Internet, screenshots from the online simulation game The Sims and other images I have collected. I then photoshop combinations into compositions I call ‘happy incidents’,” said Luh’De, who was born in Bali in July 1997 and worked briefly as a graphic designer.
“At university I found myself working best in oil paints. I like that it takes around 8 hours for the paint to dry giving me time to manipulate my compositions into shape. This process helps me understand more about what I’m going through. I’ll connect everything, asking myself why this is here? This is where my instincts draw connections and make assumptions. The results are impossible to preconceive and often without meaning or explanation.”
One of the greatest challenges for Balinese artist’s is to grow and to introduce change. Some settle on a formula which sells and then remain in a comfort zone, yet creatively stagnant. Others lack courage to break free and experiment and over time new horizons become increasingly difficult to achieve. Luh’De is a driven artist, whose work has technically and thematically evolved.
From 2016-2018 she worked developing ideas and arranging different components to uncover a functional formula. During 2019-2020 she explored ‘PARADISO: On Fragments of Times’, a series inspired by beach scenes and people at leisure. “I grew tired of painting figures and beach themes. There was nothing more to dig and it was time to move on,” she told me.
In 2020 Luh’De was diagnosed with depression and bipolar disorder and temporarily stopped painting. “When I began painting again, my old subject matter – the Paradiso Series– no longer represented me. I developed a liking towards sweets to help stabilise my moods, and I spent more time playing Sims as a form of escapism. I created a new ‘ideal’ personal painting reality I called my Sweet and Sour Series,” said Luh’De who was nominated in 2021 as a Finalist UOB Indonesian Painting of the Year – Established Artist Category.
Richard Horstman
NOW Bali
Saras Dewi, whose full name is Luh Gede Saraswati Putri, was born in Denpasar, Bali, September 16, 1983. Since she was a teenager, Saras has loved singing and writing poetry. In 2002, she released an album titled "Chrysan" with the single "Lembayung Bali". This album was nominated for the Anugerah Musik Indonesia (AMI) Award in the categories of Best Ballad and Best Single. In 2014, Saras and other Balinese artists sang together for the Bali Reject Reclamation movement.
Saras has also published a number of books. His first book of poetry, entitled “Jiwa Putih” was published in 2004. The second is a non-fiction book on Human Rights published in 2006 by UI Press in collaboration with the European Union, while the third book entitled “Love Not Chocolate” was published in 2010, the fourth book was published in 2015 entitled “Ekophenomenology”, and the fifth book is an anthology of poetry entitled “Kekasih Teluk” (2017). His writings in the form of essays/articles with social, cultural, ecological, political themes were published in various mass media, including Media Indonesia, Jawa Pos, Bali Post.
Saras is an environmental activist who is very concerned about the Movement to Reject the Reclamation of Benoa Bay. She is also involved in the feminist movement and the defense of women's rights. Saras successfully completed her doctoral program at the University of Indonesia at the age of 29 in July 2013. Apart from continuing to write and being an activist, Saras teaches philosophy and is the Head of the Philosophy Study Program at the Faculty of Cultural Sciences, University of Indonesia. +
Suryani was born in Singaraja, Bali in 1944 and raised in modest surroundings with six children. Her father was a nurse and an integral part of Indonesia’s struggle against the Dutch. Suryani’s mother was a successful business woman who supported the family’s finances.
Motivated by a strong will to treat her young sick mother, Suryani learned meditation when she was only 14. While many of her family members initially doubted her abilities, they were surprisingly convinced to see her mother cured. Suryani then began treating sick people in her community through meditation.
After graduating from high school, Suryani studied medicine at Udayana University in Bali, where she specialized in psychiatry. In 1982, she received her degree as a psychiatrist—a profession she chose out of an innate curiosity to understand her upbringing and its effects on her current personality. In 1988 Suryani attained her Ph.D. from Airlangga University, Surabaya.
While working as the head psychiatrist at Udayana University in Bali, Suryani introduced a more efficient standard operational procedure to manage mentally ill patients. The procedure decreased the treatment from one month to six days in the residency hospital. While the procedure was initially accepted and did result in numerous adjustments, the hospital chief of staff eventually rejected it and discontinued its use.
Through her academic and clinical practices, Suryani has been resilient in her attempts to bridge indigenous spirituality with Western psychiatry and psychology. While many have criticized her findings, Suryani’s approach is widely considered a breakthrough in the field of psychiatry. To further develop the field, Suryani retired from her position as the Head Psychiatrist at Udayana University and is now dedicating all her time to leading the Suryani Institute of Mental Health and the Committee Against Sexual Abuse. +
Candra Kanti is a fairly young female writer whose work has become the best kidung literary work. Candra Kanti comes from Karangasem but lives in Denpasar, she was born on October 20, 1990.
She is now a mother, even though she is a mother she is still active in writing and working as a lecturer at a university in Bali and as a Balinese language instructor in Tabanan.
In a very busy state, he was able to finish his work and become one of the best kidung literary works. She said that it was all thanks to the support of her husband who is also someone who loves literature. The song he composed was entitled "Amelad Prana" +
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Indonesian independence +
Accidents are the most inevitable thing, who wants injuries to themselves? Who wants to go home in name only? No one wants to hurt themselves because of circumstances.
Look at the beautiful carvings on the asphalt. It's as if her beauty has turned into a very dangerous threat, we often hear about accidents caused by potholes, damaged roads or so on. Many victims have fallen and even lost their lives. The carvings on the road are left until a fatality occurs before it is justified, how long are you going to wait for the victim to fall?
This should be very important if you look at it, not only are the roads damaged, there is no street lighting, who should you report to? Do you have to wait for fatalities to prove that this situation is very dangerous to life? The Sengkala clan has become a shadowy threat to life. We often encounter damaged roads, potholes that cause accidents for us.
Let's be sensitive to our surroundings, how long are we going to wait for many fatalities to be justified? This shouldn't just be looked down upon, we need street lighting. We need smooth roads, not just smooth government salaries but roads that have not been repaired. +
Om Swastyastu,
Dear Ladies and Gentlemen,
Today, we are gathered to discuss something of invaluable historical, cultural and aesthetic value: the preservation of important monuments. These monuments are not just stone structures or historical buildings, but are a legacy from the past that we must guard with devotion.
Maintaining important monuments is our duty as protectors of cultural and historical heritage. They are silent witnesses to important events that shape our identity. Caring for them is not just about remembering the past, but also building a better future.
Monuments are windows into the past. They reflect the glory, courage, art and culture of different eras. However, without proper care, they are susceptible to time and natural elements which can damage their beauty and integrity.
Through careful maintenance, we ensure that the story the monument is intended to tell lives on and can be passed on to future generations. They not only belong to us, but also to those who will come after us.
It is important to remember that maintaining monuments is not just about preserving their physical structures but also the meaning, values, and stories behind every detail. Studying, understanding and caring for monuments is our duty to ensure this heritage does not fade from our memories.
In appreciating monuments, we also respect our own identity, values and cultural roots. By getting involved in the maintenance of monuments, we strengthen our ties with the past and bring the message about the importance of cultural heritage to the world.
Therefore, let us join hands in protecting this important monument. By doing so, we provide tangible evidence that we are responsible stewards of our cultural heritage, and we preserve an invaluable part of history for all future generations to enjoy.
Om Shanti Shanti Shanti Om +
The road is not only traversed by tourism, but by commuters. This means residents who work in the Tabanan area, Nusa Dua, Tanah Lot, or Denpasar or vice versa +
The problem is that on narrow roads, many large cars such as gas station cars - Trucks - Boso pass through narrow roads, until the road is damaged. My suggestion is that large cars or gas station cars - Trucks - Boso pass along the road used by large cars, it can be called the main road. +
Made Kaek in His Own Words,.. a biography..A contemporary artist residing in Banjar Palak Sukawati Bali. A graduate of law and a self-taught artist. Made Kaek is a creative pillar with pivotal contributions to the landscape of contemporary Indonesian art.
Excerpt "Background and Education
In high school, I liked drawing and doing things like making wall art. I studied in a regular high school. When it was time to continue my studies I was advised to go to Yogyakarta to do law. So I did. In Yogya I found that law is a little conflicted in my life. Perhaps with my character and perception. But I also thought it could be something good in my life and continued with the study of law.
You can say I went to Yogya to study law but in Yogya I became an artist. I met Nyoman Gunarsa.. he lived near the campus and we often met at his house. There are many places where Balinese students from ISI would gather. I would say that I found my true self there. It was a long process, going through two extremes. On the one side, there is the law and on the other is art."
Read the full article on Made Kaek
https://sawidji.com/about-sawidji/artists-sawidji-gallery/made-kaek/ +
Made Adnyana Ole was born in Tabanan, now lives in Singaraja, Bali, while managing Mahima Institute Indonesia which is engaged in arts and culture education. His poetry and short stories have been published in various media such as Bali Post, Jawa Pos, Horison, and Kompas. His single book collection of poems “Fairy Tales from the North” (2014). Her single collection of short stories, “Padi Dumadi” (2007) and “Sacred Girl Painting Sacred Signs in Sacred Places” (2018). A number of his short stories are included in the Compass Choice Short story book. +
Made Agus Janardana, S.Pd., Gr., M.Kom., also known as Made Oplas, is the creator of the creative artwork of Wajah Plastik (The Plastic Face) who is also the author of the book “Wajah Plastik: A Pigment of Imagination” (2023). Agus Janar as he is known, was born in Singaraja, Buleleng, Bali, on January 23, 1990. He grew up in Bungkulan Village, Sawan District, and is considered an energetic young man. People know him as a creative figure, always having a million creative ideas, especially since he is basically a designer. Since his Wajah Plastik “Plastic Face” was introduced to public, Agus Janar has become increasingly famous. He is even often invited to give workshops on Plastic Faces. Plastic face seems to have become a legacy in his life. For him, sharing or doing good is his next life mission. +
Made Aripta Wibawa, born in Singaraja, March 3, 1965. Since high school, he has been interested in literary activities by writing poetry and prose. While studying at the Faculty of Law, Mataram University, NTB, he became increasingly involved in the world of literature. He co-founded the Mataram Literature Studio and the Association of Indonesian Writers, Poets and Authors (HP3N) with an initiator and founder, Putu Arya Tirtawirya. While in Mataram he was often a judge for poetry and short stories reading competitions on Radio Suta Remaja, Sinta Rama and Rinjani with his brother, Agoes Andika As. Aripta's poems have been published in the Bali Post, Nusa Tenggara, Bali Post, Karya Bakti, Simponi, Swadesi and Merdeka newspapers. He is also active in writing for the HP3N bulletin. Now he is a lecturer at Bali Dwipa University. +
Made Astawa, also known as "Dollar", is a painter born in Gianyar, August 22, 1972. He studied art at SMSR Denpasar. Since 2001, he has been involved in many joint exhibitions, such as the exhibition at Tony Hogart Australia (2012), the MilitanArt exhibition "Land Remember" at Santrian Galeri Sanur, Bali (2017), the joint exhibition "nir (virtual) visuals" at Lv8 Resort Hotel Berawa, Badung , Bali (2018). His works tend to be abstract in nature by exploring the icons of the back. Apart from being a painter, he also manages the Griya Santrian Gallery and the Cactus Art Gallery in Sanur. +
Made Astika was born in Karangasem-Bali, May 13, 1983. His undergraduate studies at the Singaraja State IKIP took the Department of Language, Indonesian and Regional Literature Education. During college, he served as Chair of HMJ Jurdik BSID 2005/2006 and Deputy Chair of the Student Senate of the Faculty of Language and Arts for the 2004/2005 period. He was also trusted to be the Coordinator of IMABSII (Indonesian Language and Literature Student Association) for the Bali Region in 2005/2006. He studied Literature, Gadjah Mada University in 2011.
His short writings were published in the daily Bali Post and Bali Orti. A number of his published books are Oral Literature: Theory and Its Application (Teaching Books), Text Genre (Teaching Books), Before Hari Anniversary Wins (Lyric Prose Anthology), Historia Senja (Poetry Anthology) and several works in joint poetry anthologies. Now, he teaches at Ganesha University of Education, and is also the Coordinator of the Indonesian Language and Literature Education Study Program. +
Made Budhiana was born in Denpasar, Bali, 27 March 1959. He studied painting at ISI Yogyakarta. He has exhibited his works in various countries, such as Germany, Switzerland, Singapore, Malaysia, Australia, and the Netherlands. Had solo exhibitions at The Northern Territory Museum of Arts and Sciences, Darwin, Australia (1989), Cemeti Modern Art Gallery, Yogyakarta (1989), Bali Hilton, Nusa Dua (1991), Ganesha Gallery, Jimbaran (1998), and Sika Gallery , Ubud (2001). He has won various awards, including the “Best Painting Bali Art Award” (1997), “Pratisara Affandi Adhi Karya” from ISI Yogyakarta (1985 and 1986), and so on. Budhiana's works tend to be abstract by playing with lines and colors that are full of feelings. Apart from painting, he also had an interest in literature, theater, and music. +
Made Duatmika, born in Jembrana, May 19, 1970. He is a painter who graduated from ISI Denpasar. His work has won the Philip Morris Art Award (1998). Since he was a student, he has been diligent in participating in joint exhibitions. Among them are the “Force of 93” exhibition at the Bali Cultural Park (1996), the Philip Morris Indonesia Awards Exhibition in Jakarta (1998), the Joint Exhibition at the Hendra Gallery in Prana, Jakarta (2010), etc. He is a member of the art community Militanarts. His works tend to present a social atmosphere that is dominated by bright colors. +
Made Edy Arudi is a poet and a civil servant teacher at SMP Negeri 2 Sukasada - Bali, born October 22, 1978. His poems are often published in the National Bali Post newspaper, his other works can also be read in several poetry anthologies together, such as: Klungkung: Tanah Tua Tanah Cinta (2016), Anthology of Poems of 100 Poets of the Archipelago “When the Birds Have Gone” (2016), Finding Childhood in the Body of Advice (2016), Madah Merdu Kamadhatu (2017), Ijen Valley Smile (2018), and Chewing Furious Against Corruption (2018), etc. +
Made Galung Wiratmaja is a painter born in Sukawati, Gianyar, Bali, May 31, 1972. He completed his art education at PSSRD Udayana University. Since 1993 he has diligently displayed his work in many joint exhibitions, such as the “Retrospective” exhibition at Bentara Budaya Bali (2018). His solo exhibitions are “Silent Nature” at Ganesha Gallery, Jimbaran (2007) and “Landscapes” at Griya Santrian Gallery, Sanur (2006). He has won awards from the Indonesian Fine Arts Foundation (2000), the German Der Weltkulturen Museum (2006) and the Mandiri Art Award (2015). Galung's works tend to combine abstract and figurative patterns with captivating color plays. +
Dr. Made Gde Subha Karma Resen, SH.,M.Kn is a faculty member in the Department of Law, Udayana University, Bali Indonesia. His expertise includes Agrarian Law, Health Law, and Environmental Law. Besides teaching, Dr. Resen also actively publishes academic papers, including one that is featured in the Scholar's shelf entitled The Legal Status of Established Business in the Pakraman Village (From the perspective of customary law in Bali Province), co-written with Putu Dyatmikawati, the former Rector of Dwijendra University, Bali Indonesia. +
Born: 1983
Hometown: Gianyar, Bali
Based In: Gianyar, Bali
Made Gede Wiguna Valasara is an artist who deeply engages in painting and sculpture, his most known works are the ones with stuffed canvas technique. His subject matter varied from his reinterpretation on Bali Traditional Painting to appropriation on Renaissance and Modern Paintings.
He completed his studies at FSR ISI Yogyakarta (2007). He has participated in no less than 29 group exhibitions and three solo shows. His solo exhibitions include Animal Behaved, MonDecor Art Space, Jakarta, and Selasar Sunaryo Art Space, Bandung (2010); as well as Marshalling Lines and Colors, Galeri Canna, Jakarta (2009).
His works won a number of awards, including finalist at the UOB Painting of the Year (2012); finalist at the 2010 Indonesian Art Award; Best Painting at ISI Yogyakarta’s 23rd Dies Natalis (2007). In 2011, he was artist-in-residence at Selasar Sunaryo Artspace, Bandung. +
Made Gunawan is a painter born in Apuan, Tabanan, Bali, July 14, 1973. He is a fine arts graduate from ISI Denpasar. His latest works with decorative patterns talk a lot about ecology which is associated with the concept of Tri Hita Karana, the harmonious relationship between humans and God, with fellow humans, with nature (animals and plants).
Since 1995, Gunawan has been actively involved in joint exhibitions, both at home and abroad. Meanwhile, since 1999, he has held solo exhibitions. These include the “Nungkalik” Sketch and Painting Exhibition at the boarding house, the exhibition at the Hadiprana Gallery Jakarta (2002), “Women” at Jenggala Ceramics Jimbaran Bali, “Melody & Beauty From the Paradise Island at the Hadiprana Gallery Jakarta (2004), an exhibition at Montiq Galery Jakarta (2007), exhibition “Third Solo Exhibition” at Galeri Hadiprana Jakarta (2008), exhibition at Art Village Gallery Malaysia (2009), Tree Of Life at Hadiprana Gallery Jakarta (2014), “Garis Bali” at AMBIENTE Jakarta (2015) ), Tree of Life at Hadiprana Gallery Jakarta (2018).
Gunawan also made several performing art works. Among other things, the "Golden Chair" which was staged at the Bali Cultural Park (1997). In 2000, Wayang Visual Arts, the Culture of Violence, Returned to Emptiness in the parking lot of Udayana University. Puppets of Fine Arts Ngaben Culture of Violence Return to Emptiness at Ciputra Mall Semarang Indonesia. In 2001, the Silhouette of Collaborative Women performed at STSI Denpasar.
Gunawan's awards in fine arts are Best Sketch from STSI Dps (1997), Top Ten Best Artwork from STSI Dps (2001), As the initiator of 1000 boxes of Painting (Women & Flowers) from the Indonesian Record Museum (2003). +
"In the year and a half the pandemic has persisted, Bali’s almost decimated tourist economy has had had far-reaching financial and social effects on the resident population. It is, however, during times of difficulty when good souls shine bright. The silver lining of the pandemic has been witnessing the wholehearted efforts of individuals and organisations who have stepped up to support and help the, often newly, vulnerable communities, even when faced with their own difficulties.
From food donations to education programs, the list of goodwill initiatives on the island has been heartwarming to say the least; in reality many would have suffered gravely without such community efforts.
One creative initiative changed the dynamic. Made Janur Yasa is a restaurateur, a partner in the unique vegan restaurant Moksa in Ubud. In May 2020, as Bali was in the depths of the pandemic lull, Janur began a program called Plastic for Rice, a barter system that encouraged locals to trade in collected plastic for rice. In an interview with NOW! Bali when the program started, he says that he remembered how villagers used to barter in the early days, rice for sea salt, farm to sea. He said that this gave people spirit, making sure that people don’t get used to receiving without working.
Through this plastic for rice system, Janur provided a double solution: cleaning littered plastic in the environment; as well as providing much-needed sustenance to those in need, especially in rural areas.
The program started in Banjar Jangkahan and Banjar Penulisan, Batuaji Village, Tabanan, the regency where Janur comes from. It was set up as prototype, a system to be replicated in other villages… and it was.
Three months later, Plastic for Rice became Plastic Exchange. In that time, as reported in August 2020, the movement had spread to 44 banjars and 1,345 households.
But beyond that it had evolved beyond a simple ‘system’, and became a movement. It was adopted by other charitable organisations as a solution to provide food fairly in rural communities; it became a vehicle for environmental education, to teach the effects of plastic but also the value of waste. It has allowed people to feel empowered, useful, independent. It has seen new leaders being born.
Today, Plastic Exchange is found in over 200 villages across Bali, has collected 50.000+ kg of plastic and distributed 55.000+ kg of rice."
Made Karyana, born in Batuan, Sukawati, Gianyar, January 28, 1981. He completed his art education at ISI Denpasar. Since 2005 he has been diligently involved in joint exhibitions, such as Tanda Dalam Jejak, Dewangga Gallery Ubud (2006), Joint Exhibition with the “PIJAR” group at Santrian Gallery Sanur (2011), Joint Exhibition with Baturulangun at the ARMA Museum Ubud (2012), Joint Exhibition with Baturulangun in Ubud Painting Museum (2015), Joint exhibition “Amasing Think” at LV 8 Canggu (2016). His paintings are made using traditional Batuan style techniques, but with contemporary themes. +
Made Kenak Dwi Adnyana, born in Kintamani, May 10, 1985. He completed his art education at ISI Yogyakarta. He has participated in various joint exhibitions. Among other things, the exhibition "One step Back" at the Sono Budoyo Museum, Jogjakarta (2018), "Abstract is...?" at Bentara Budaya Bali (2017), Legend of the Archipelago at KOI Galeri Kemang, Jakarta (2016), “From Time to Taste” at ORASIS Galeri Surabaya (2015), ARTE Indonesia Art Festival 2014, at JCC Jakarta. He received the Jakarta International Art Award Nominee (2010) and Best Sketch Class of 2004 from ISI Yogyakarta. His works tend to display abstractions of nature with distinctive coloring. +
Made Mantle Hood is professor of ethnomusicology, Chair of the Graduate Institute of Ethnomusicology and Director of the Asia-Pacific Music Research Centre at the Tainan National University of the Arts, Taiwan. He serves as Chair (2021-2025) of the ICTM PASEA study group. His previous posts were at Universiti Putra Malaysia (2012–2018), Melbourne University, Australia (2011–2012) and Monash University, Australia (2005–2011). His current research interests include ontologies of sounded movement, endangered forms of vocalisation, tuning systems as well as music and social justice. He is currently the lead researcher in the Taiwan Ministry of Science and Technology-funded project, Towards the Sustainability of Vocal Heritage in the Philippines, Malaysia and Indonesia (2019–2021). He is the author of Triguna: A Hindu-Balinese philosophy for gamelan gong gede music (2010) and co-editor of Music: Ethics and the community (2015). +
Made Muliana alias Bayak is a contemporary Indonesian artist from Bali. He was born in Gianyar, June 27, 1980. He studied fine arts at the Indonesian Art Institute (ISI) Denpasar from 1999 to 2005. Apart from painting on canvas, he also creates murals, performs performing arts, plays music, and is active in environmental conservation movements. As a form of concern for the environment, he processes a lot of plastic waste into works of art.
Bayak has held many art exhibitions, both at home and abroad. His solo exhibitions include Art For Artists Sake (Sika Gallery Ubud, 2008), Artists Don't Lies (Griya Santrian Gallery Sanur, 2012), Plasticology Reissue (Arys Warung Ubud, 2013).
The fine arts awards he has won include: Top 20 Finalist of Nokia Art Award 2000, Top 20 Finalist of Nokia Art Award 2001, Finalist of Bazaar Art Award 2010, Top 20 Sovereign Art Price 2013 at Espace Louis Vuitton Singapore. +
I Made Bachelor was born in Denpasar, November 23, 1963. He graduated from Indonesian Literature, Faculty of Letters, Udayana University. He started writing poetry as a teenager and was widely published in the Bali Post on the motivation of Ida Bagus Dharma Palguna. His poetry has also been published in Horison Magazine, Kompas, as well as in the book Journey of the Night, Hijau Kelon, Sang Guru. He joined Sanggar Putih and was a journalist for Magazine Sarad (2000 – 2002). He has also won first place in the Poetry Writing Competition for Unud Academic Magazine (1985), first winner in the Bali Poetry Reading Contest (Faksas Unud), and 1st place in the Bali Teacher Poetry Reading Contest. Now he devotes himself as an elementary school teacher. +
Made Sugianto was born in Tabanan, Bali, April 19, 1979. He writes literature in Balinese and Indonesian languages. In 2009 he founded the publisher Pustaka Expression which publishes many literary books in Balinese and Indonesian languages. In addition, he also created Expression magazine, Kukuh TV, and became a journalist.
His published works include Bikul (2010), Preman (2010), Sundel Tanah (2010), Bunga Valentine (2011), Sentana (2011), Meong Garong (2012), Sing Match (2013), Sentana Cucu Marep (2014), Ratna Tribanowati (2014), Ki Baru Gajah (2015). In 2012 he won the Rancage Literary Prize for his services in the development of modern Balinese literature and 2013 for his Balinese novel, Sentana.
Now he serves in his village in Kukuh, Marga, Tabanan. +
Made Sukada, born in Denpasar, April 23, 1938. Apart from being a writer and writer, he is a lecturer in Indonesian Language and Literature at the Faculty of Letters (now FCS) Udayana University, Bali. He is a graduate of the Faculty of Letters, Gadjah Mada University, Yogyakarta (1982). He has been writing literature since junior high school, published in various local and national print media, such as Bali Post, Kompas, etc. His published books are Several Aspects of Literature (1987), The Development of Several Indonesian Literary Critics: Systematic Problems of Analysis of Fiction Structures (1987 and 1991), An Illusion (poetry; 1971), The Lost Morning Sun (essay; 1971), The Development of National Literature in Bali (1972), A Little About Drama (1973), and so on. He was the chairman of the Indonesian-Bali Artists Institute (Lesiba). In addition, he also worked as cultural editor of the Suluh Marhaen Daily (now Bali post). +
Made Susanta Dwitanaya, born in Tampaksiring, July 22, 1987. He studied fine arts at Undiksha, Singaraja. He started writing and curating art exhibitions since his college days in 2009. Then in 2013 he joined the Gurat Institute, an independent institution engaged in curatorial, research, and documentation of visual arts and visual culture in Bali. Until now, he has actively curated a number of art exhibitions, including the Megarupa (2019) art exhibition. Together with the Gurat Institute he was involved in writing several books on fine arts, such as Lempad for the World (2014). In 2017 he became one of the authors of a series of art heritage books about six Indonesian artists initiated by the Director General of Art at the Indonesian Ministry of Education and Culture. +
Made Taro was born in Bali and has always loved traditional stories, games and children’s songs. He has been a story teller since 1973 and has performed in Indonesia, Darwin, Pretoria and at the Ubud Writers’ and Readers’ Festival.
Made Taro is very passionate about promoting traditional games and believes that engaging in such games teach children valuable lessons such as patience, respect for others and keeps them out of trouble. For the past 35 years he has run Kukuruyuk, a children’s group for 8 – 12 year olds, where he educates children through stories and traditional games such as the gasing (top spinning) and mecungklik (game played with bamboo). Made has worked with disadvantaged and underprivileged children throughout Indonesia. Made believes that play is important for children, and thus he incorporates games and play in his Storytelling performances. His storytelling sessions also include singing and traditional percussion accompaniment. He has written more than 30 books about traditional games, children’s songs and folktales. A recipient of many awards as an outstanding teacher, preserver of culture, storyteller and writer, he was recently bestowed the prestigious Anugerah Kebudayaan (Cultural Medallion) from the President of the Republic of Indonesia in 2009.
https://sisf.bookcouncil.sg/2012/pages/storyteller-made.html
In 2019, at the age of 80, he received a Lifetime Achievement Award from the Ubud Writers and Readers Festival. +
Made Wianta is an international class artist who was born in Apuan, Tabanan, Bali, December 20, 1949. He is a graduate of ISI Yogyakarta. In 1976, he studied European art in Brussels, Belgium, while visiting art galleries and museums. His works have been exhibited in various countries, including America, France, the Netherlands, Italy, Singapore, and elsewhere. His works number in the thousands, in the form of sketches, drawings, graphics, paintings, sculptures, and even visual poetry. Some of these works are documented in several books, including “Made Wianta” (1990), “Made Wianta: Universal Balinese Artist” (1999), “Made Wianta: Art and Peace” (2000), “Wild Dogs in Bali: The Art of Made Wianta” (2005). Made Wianta died on November 13, 2020. +
Made Wiradana was born in Denpasar, October 27, 1968. He graduated from the Faculty of Fine Arts at the Indonesian Art Institute, Yogyakarta. Since 1989 he has held joint exhibitions at home and abroad. While his solo exhibitions include “Ancient Imagination” (Yogyakarta, 1999), “Ancient Forms” (The Chedi, Ubud, 2000), “The Final Declaration of Art 2001” (ARMA Museum, Ubud, 2001), “Canvas is Round. ” (Mon Décor Gallery, Jakarta, 2003), “Global Convention on Peace”(Asoka Hotel, Belgium, 2004), “Art of Wiradana” (Bidadari Gallery, Ubud, 2005), “Bali is My Life” (2006), “Animal Exodus” (Srissasanti Gallery, Jakarta, 2009), “Enjoy” (Ambiente Gallery, Jakarta, 2010), “Sensibility Line” (Griya Santrian Gallery, Sanur, 2018). +
Mangku Muriati was born in Klungkung, Bali, 1967. She is a female Balinese artist who paints in the traditional classic Kamasan style. The Kamasan style is an aesthetic form of painting that uses wayang stories such as wayang kulit, mostly from the Mahabrata and Ramayana epics.
Mangku Muriati is the daughter of Mangku Mura (1920-1999), one of the prominent Kamasan painters. Since childhood, she followed her father to paint by coloring typical wayang paintings in Kamasan Village, Klungkung.
Then she studied at the Art and Design Study Program (PSSRD), Udayana University Denpasar, Bali and after graduating returned to painting the Kamasan style at his home. The number of female artists who pursue Kamasan style painting is not as many as men.
In 1990 at the age of 32, Muriati became a ritual leader or Pemangku at the temple, a sacred place where she lived, Banjar Siku, Kamasan.
Kamasan is the only village in Bali where this traditional art form has not been replaced by a new style. Although loyal to the classical Kamasan art tradition, in his work he also mentions social and political developments in Bali.
Murniati chose to live in her house in Banjar Siku, not Banjar Sangging, which is the place where Kamasan painters generally work. He is considered to have proven that he can move his banjar because his works are ordered and collected by many parties from within and outside the country. +
Manila Ayupijaya is a government staff member in the field of human resources who is currently serving at the Manpower and Energy Mineral Resources Service of Bali Province. +
Obituary LA Times:
Professor, Pioneer in Studying World’s Music and Cultures
(1918-2005)
“Mantle Hood was the first scholar to take seriously the study of what was then called nonWestern music, in the 1950s,” said Christopher Waterman, dean of UCLA’s school of arts and architecture and an ethnomusicologist. Hood joined the UCLA faculty in 1956 and created what is now the department of ethnomusicology in 1960. He envisioned a complete approach to the study of his field. He wanted students to learn at least two music traditions, their own and that of a culture new to them. He also urged them to learn to play a native instrument, drums for a student of West African music, for example. Common practice now, it was considered novel when he introduced the idea, which he referred to as bi-musicality. By learning several music traditions, Hood proved that the two could exist in harmony, according to Jacqueline Cogdell DjeDje, chairwoman of UCLA’s ethnomusicology department. (...) "Hood saw it as a way to teach students respect and understanding for “people and cultures different from their own,” DjeDje said. Hood also expected his graduate students to see and hear the music they studied as it was performed in its native setting. “Hood taught that the music comes out of the culture,” said Robert Garfias, professor of anthropology at UC Irvine and one of Hood’s first graduate students at UCLA. “His idea was to study the music as part of the culture.” Hood had been traveling the world from the time he graduated from UCLA in 1951 after earning a bachelor’s and a master’s degree in music. He received his doctorate from the University of Amsterdam, where he wrote a dissertation on Javanese music. After joining the faculty at UCLA, he was granted a Ford fellowship that allowed him to live in Indonesia for two years and study its music. He later studied in India on a Fulbright fellowship. An expert in the music of Java and Bali, Hood played all the instruments in a gamelan, an Indonesian symphony that consists of percussions, winds, strings and other instruments. During gamelan performances with his students, he played the rebab, a type of lute that is the lead instrument in the ensemble. Dozens of his UCLA students went on to teach ethnomusicology. Several of them founded programs at universities, including UC Berkeley. “Hood had a very powerful impact on how ethnomusicology is taught,” said Garfias, who founded a program at the University of Washington, Seattle, before moving to UC Irvine. Hood was born in Springfield, Ill., and moved to Los Angeles with his mother in the 1930s after his father died. He played piano and later learned the saxophone but didn’t expect a career in music. After high school, he worked at various jobs including as a draftsman at McDonnell Douglas. He also played saxophone in jazz bands. He served in the Army during World War II and returned to Los Angeles in 1945. After a false start as an agriculture student at UCLA, he found his true calling. Before he left the university in 1975, he wrote several books about his field, including “The Ethnomusicologist” (1971), which outlined research issues and questions related to what was then considered a new subject of study. An ethnomusicologist, Hood wrote, “is inclined to be highly sensitive to other human beings, to respect their scales of values and their behavior, even if these are not compatible with his own.” Hood moved from Los Angeles to Hawaii in 1973 and began to write self-published novels. “As a young man, he had his heart set on being a writer,” Marlowe Hood said. “As a teenager, he loved pulp fiction.” He set his potboilers in countries he had visited over the years. “Just a Stone’s Throw” is set in Bali. “The Keepers” is set in Hawaii and Japan. In 1980, he relocated to Maryland where he established an ethnomusicology program at the University of Maryland, Baltimore County. He wrote several more books about ethnomusicology and continued teaching until 1996. (...) He has four sons.
Amazon: Author of fiction:
Mantle Hood is the published author of seminal works in the field of ethnomusicology, study of the musical cultures of the world. A pre-eminent international scholar, he is the principal author/co-author of more than 20 books, was member of the Board of editors for the prestigious New Grove Dictionary of Music and Musicians (6th ed.) and has contributed to music dictionaries in four languages. Along the way, he has served as Distinguished Professor of Music from West Coast (UCLA) to East Coast (Harvard, Yale, Wesleyan Universities, and the University of Maryland), University of Hawaii, and institutions in Europe, Africa an Asia. He is a fellow of the East-West Center of Arts and Sciences. He has studied the music of peoples the world over, including Asia and the Pacific Islands. As a resident of Hawaii and visitor to Japan he developed an idea based on a newspaper article, one that blossomed into his first suspense novel, The Keepers. One agent described Hood's suspense fiction as a combination of John Grisham and James Michener.
Please see comments from our What's Up feature:
https://dictionary.basabali.org/Question_Many_foreign_tourists_have_violated_Nyepi_regulations_in_Bali._What_should_we_do%3F +
Optional +
Margaret Coldiron is currently Deputy Head of the BA in World Performance at East 15 Acting School, University of Essex and a member of Gamelan Lila Cita and Lila Bhawa dance troupe. She has studied and performed Balinese topéng since 1997 and has led workshops throughout the United Kingdom and Europe. Trained as an actress at the Drama Centre London, Margaret Coldiron toured the United States with the National Shakespeare Company and has taught and directed for professional theatre programmes in the United States and United Kingdom. +
Margaret Mead (December 16, 1901 – November 15, 1978) was an American cultural anthropologist who featured frequently as an author and speaker in the mass media during the 1960s and the 1970s.
She earned her bachelor's degree at Barnard College of Columbia University and her M.A. and Ph.D. degrees from Columbia. Mead served as President of the American Association for the Advancement of Science in 1975.
Mead was a communicator of anthropology in modern American and Western culture and was often controversial as an academic.Her reports detailing the attitudes towards sex in South Pacific and Southeast Asian traditional cultures influenced the 1960s sexual revolution.She was a proponent of broadening sexual conventions within the context of Western cultural traditions.
Together with her third husband (1936-1950), Gregory Bateson, she did research on Balinese culture. +
Our Young Master Mario Blanco, the second child of the famous artist Antonio Blanco, was born in Ubud - Bali on the 4th of July 1962. He was surrounded by art from early childhood. Without doubt, his father Antonio Blanco was regarded throughout his life as the most famous artist of the island of Bali. When Mario was very young, the elder Blanco invited him into his studio in Campuan to share in his great enthusiasm for art. Mario painted his first oil at the tender age of five and later chose to study art at the University of Udayana in Denpasar where he successfully graduated.
Inevitably, Mario's art drew its inspiration from two different origins. His Spanish father introduced him to the techniques of European art and his native artistic feelings come from his Mother Ni Ronji, a famous Balinese dancer. Mario has developed this intensively through his paintings which expose a definite preference for a romantic impressionistic style.
Being the son of the "Fabulous Blanco", Mario faces a strong challenge but, as he inevitably sheds his father's influence, his own talent is expressed through an elaborated landscape where his own visions of Balinese culture gradually emerge. +
Mark Hobart is Emeritus Professor of Critical Media and Cultural Studies at SOAS, University of London. Mark's research interests include philosophical issues in Anthropology, Cultural and Media Studies. Currently he is running a project on cultural styles of argument and rhetoric entitled 'How Indonesians Argue', which aims to explore the practices that constitute what we usually call 'culture' or 'society'. Having carried out over eight years of intensive ethnography in Indonesia, his interest is driven by awareness of the unappreciated gulf between academic theorizing and concepts on the one hand and how people act, judge and interpret their own actions.
Bali-related publications include:
Hobart, Mark (2017) 'Bali is a battlefield Or the triumph of the imaginary over actuality'. Jurnal Kajian Bali (Journal of Bali Studies), (7) 1, pp 187-212.
Hobart, Mark (2011) 'The relevance of cultural and media studies to theatre and television in Bali'. Jurnal Kajian Bali (Journal of Bali Studies), (1) 2, pp 63-75.
Hobart, Mark (2011) 'Bali is a brand: a critical approach'. Jurnal Kajian Bali (Journal of Bali Studies), (1) 1, pp 1-26.
Hobart, Mark (2010) 'Rich kids can’t cry: reflections on the viewing subject in Bali'. About Performance, (10), pp 199-222.
Hobart, Mark (2007) 'Rethinking Balinese Dance'. Indonesia and the Malay World, (35) 101, pp 107-128.
Hobart, Mark (2000) 'The end of the world news: television and a problem of articulation in Bali'. International journal of cultural studies, (3) 1, pp 79-102.
Hobart, Mark (1997) 'The missing subject: Balinese time and the elimination of history'. Review of Indonesian and Malaysian Affairs, (31) 1, pp 123-172. +
"Marko Randelovic is an award winning filmmaker and photographer from West Yorkshire, United Kingdom and is of mixed British and Serbian heritage.
Marko travels and works nomadically, often collaborating with charities and organisations to tell interesting cultural stories through the eyes of local people.
He tries to provide an insight into the inspiring lives of people from across the world, the problems they face and how they strive to overcome such challenges." +
Mary S. Zurbuchen’s research interests include Southeast Asian humanities, the study of historical memory, and social justice in international education.
She is the author of The Language of Balinese Shadow Theater (Princeton 1987), and her edited works include Beginning to Remember: The Past in the Indonesian Present (Washington/Singapore 2005), as well as Origins, Journeys and Returns: Social Justice in International Higher Education (Social Science Research Council 2009). Zurbuchen has long worked in philanthropy, serving as the Ford Foundation’s Representative based in Jakarta from 1992‐2000, overseeing grant programs and field offices in Southeast Asia. Her work with Ford Foundation included assignments as Program Officer for Culture in Indonesia (1984‐87) and India (1988‐91). Since 2004 she has served as Director for Asia and Russia with the Ford Foundation International Fellowships Program.
From 2000‐2003, Zurbuchen was appointed Visiting Professor at the International Institute, University of California, Los Angeles, and also served as Acting Director of UCLA’s Center for Southeast Asian Studies. She received the Ph.D. in Linguistics and M.A. in Southeast Asian Studies from the University of Michigan, Ann Arbor, and the B.A. (Honors in Literature) from the University of California, Santa Cruz. +
Mas Ruscitadewi was born in Kesiman, Denpasar. She holds a Bachelor of Arts in archeology and a Master's in Hindu philosophy. Since elementary school she has been actively writing poetry, short stories, and drama. Her literary work is collected in the book "Hana Bira," her short stories in the book "Penari Sanghyang" (Indonesian), "Luh Jalir" (Balinese), her dramatic scripts in the books "Rumah Bunga" and "Nyanyian Hitam" (monologue), as well as in a few collected volumes of poetry and short stories together.
She was one of the forces behind Bali Orta, the Balinese language section of Bali Post.
Mas Ruscitadewi studied archeology, philosophy and religion at the Denpasar State Hindu Dharma Institute.
As well as writing poetry, songs, and short stories, she teaches philosophy in the form of theatre to prisoners who’ve been sentenced to death at Kerobokan Prison.
She also teaches children with HIV/AIDS at Yayasan Kerti Praja, and is a curator for Gelar Seni Bali Mandara Nawanatya, a year-long arts event series. +
Om Swastyastu, Let's all pray to Ida Sang Hyang Widhi Wasa, because we all can stand here to talk about "Pemilu : Apa masalah yang paling mendesak untuk ditangani para calon pemimpin Bali?", or in English "2024 Election: What are the most pressing issues for Bali's leadership candidates to address".
Dear the Listeners, the 2024 Election is approaching, and the Island of the Gods; Bali is tightening the calendar that must be paid attention to by those who will become leaders. Currently a number of bad tourists, foreigners and ofc residents in bali are breaking the rules, even though it is known as a beautiful tourist destination, Bali has rules and sanctions that can still be bad for the environment, Balinese and foreigners. Examples are corruption, land investment by outsiders, tourists who do not respect Balinese culture, there are no proper procedures for disposing of rubbish in Bali, and there are no sanctions for people who violate it.
I hope that those of you who will serve as leaders can develop and handle these problems well. Let's all provide a better opportunity for Bali's future. +
Om Swastiastu Om Awighman Astu The fragrant name of shidam, ladies and gentlemen, and dear brothers and sisters, we say Angayubagia to Sang Hyang Parama Wisesa, Therefore from asung kerta wara nugraha because we will convey information today about the 2024 Election. I invite the public Indonesia to work together to make our election a success, the Election of 24 February 2024. Because the election is not just about changing leadership, but the election is our effort to prevent the people from getting worse. Elections are an opportunity for us to evaluate this government. I will explain what the most pressing problems need to be addressed by potential Balinese leaders. The first problem that was considered very urgent to be resolved was controlling the prices of basic necessities, which was chosen by 36.9% of the total respondents. Controlling the prices of basic necessities is the most prominent problem according to residents. Then there are the issues of unemployment, poverty and eradicating corruption, wrote Political Indicators in its report. The respondents involved were all Indonesian citizens who had the right to vote in general elections, namely those who were 17 years of age or older, or were married when the survey was conducted. Sampling used the multistage random sampling method. So I can conclude that we should choose a leader who is firm, honest and responsible for the island of Bali. Thank you, hopefully we will all be given guidance and wisdom in choosing the right leader. Our tribute to Bali, the island we love Om Shanti, Shanti, Shanti Om +
From the YogaBarn website:
Co-Founder of The Yoga Barn, Director of The BaliSpirit Group & Executive Producer of The BaliSpirit Festival
Originally from New York City, Meg took her first Hatha yoga class at the New York Open Center on Spring Street at the age of 13…. She recalls sitting in warm wooden room surrounded by women and men in one-piece leotards, many with grey hair. It was in that room, that Meg began her yoga and health centric journey, becoming an avid information seeker of various spiritual traditions. A few years later between high school and college, Meg spent a summer as an Ashramer at the Himalayan Institute of Yoga Science and Philosophy, where she continued her study of Yoga, adding Ayurveda and healthy Veganism to the mix. Meg LOVED living at the Ashram and loved her fellow students but walked away with a strong distaste for the GURU syndrome that afflicted the Institute. Her learning affects the way she approaches the Yoga Barn as a similar type of institution today.
Once in college Meg found herself on a year-long travelling and studying journey through Italy, Greece and finally, Bali. On that trip Meg focused on the Language, Arts & Culture of Bali, completing her BA in Art History, Anthropology and Asian studies with a focus on Indigenous Folk Art of Bali. That same fateful year, Meg met the man who later became her husband, Made ‘Dekgun’ Gunarta. Together, Meg and Dek have inspired a vibrant group of companies that support various outreach & development programs in Bali .
Meg believes wholly that SMEs and Corporations should include community development as part of their missions and she abides by that as much as possible. Meg believes that generosity makes the world go round and that people who practice the art of giving will always be rewarded. +
Melati and Isabel Wijsen are young Balinese women. Since 2013, they have been very concerned about fighting plastic waste. They established a Non-Governmental Organization (NGO) called “Bye Bye Plastic Bag” with a vision and mission to free Bali from plastic waste.
The effect is enormous for the global community. As of January 2016, thirteen countries have shown interest in joining and implementing Bye Bye Plastic Bags in their respective countries. Three months later the NGO spread its wings to the capital city of Jakarta. Also, Bye Bye Plastic Bags managed to involve around twelve thousand volunteers to collect 40 tons of garbage across beaches on the island of Bali in February 2017 in an event entitled One Island One Voice. The NGO also marks shops and stalls that are no longer using plastic bags on its social media.
Melati and Isabel are young girls who made Indonesia famous internationally. They won the “Bambi” Award in Germany thanks to the Bye Bye Plastic Bags program. They are two teenagers who are very inspirational to the international community, and are the youngest recipients of the Bambi award.
They are admirers of Nelson Mandela, Lady Diana, and Mahatma Gandhi. They then took the initiative to do useful things for the world at a young age. Through the NGO Bye Bye Plastic Bags, they realized their mission and were invited to London to speak at TED Talks and also to New York to be a speaker at the United Nations during the commemoration of World Oceans Day 2017. +
Stepping Together, Conquering the Mountains of Waste towards a Sustainable Clean Bali
Om Swastyastu
Thank you for the opportunity that has been given to me so that I can contribute to voicing aspirations at the Wikithon Oration.
Dear the jury and the BASAbali Wiki team, as well as all the happy readers
As we know, soon we will be faced with the 2024 elections. Elections are an important moment in our democracy. This is not only about choosing leaders, but also us giving them the mandate to overcome various problems facing society. Answering the topic raised in this oration is "What is the most urgent problem to be addressed by Bali's prospective leaders?".
First of all, we cannot ignore environmental problems, especially since Bali is known as Paradise Island because of its natural beauty. There is one thing that in my opinion really needs serious attention from potential Balinese leaders, namely the waste problem which will soon be over. Bali faces big challenges in waste management because the system is inefficient so it is unable to handle large volumes of waste. This situation was further exacerbated by fires that occurred at the Sarbagita Suwung Regional Landfill in Denpasar City, the Mandung Landfill in Tabanan Regency, and the Temesi Landfill in Gianyar Regency during the dry season, causing environmental damage and negative impacts on daily air quality. This problem is not only a local issue, but also an urgent reminder for us to take action because it impacts many aspects of people's lives. Therefore, the government's presence plays an important role in handling this case.
I am sure that so far the government has always tried its best, but Bali's leaders must then improve and re-examine the preparation of a strategy for handling potential waste that can be investigated from the roots to the end. It is important to note that the success of a waste management program is very dependent on existing infrastructure and technology. If waste management plants, landfills, or recycling facilities are inadequate, then the program may not produce the expected results. The success of the waste management program is also closely related to the level of community participation. If there is not enough awareness or support from the public in waste scanning, recycling, or waste reduction, the program may experience difficulties. Apart from that, policies that are inappropriate or unable to overcome the waste problem can become an obstacle. Sometimes, unsupportive policies or weak implementation can hinder program effectiveness.
Prospective Balinese leaders must have a clear vision about how to protect and preserve Bali's environment for future generations. Prospective leaders, Bali must have a concrete action plan that involves economic, social and environmental aspects. A thorough evaluation of the waste management program needs to be carried out to identify core problems and adjust the strategies implemented. Close collaboration with various parties is the key to creating holistic solutions. Senuma's active involvement, parties, including the government, private sector and the community, will ensure environmental sustainability in Bali for future generations. No less important, awareness of the importance of recycling and reducing waste needs to be instilled more deeply,
Thank you to Mrs/Mr. Candidate Leader, Bali for your attention and cooperation to make Bali clean from mountains of rubbish. Let us all work together to be agents of change for a clean Bali.
Om Shanti, Shanti, Shanti, Om
Creating a sustainable environment.
Waste is a very common problem in the global community, and Bali is one of them. Waste is the residual material generated from a domestic or industrial production process that has negative consequences and impacts on the environment.
Bali is an island known for its many beautiful tourist attractions, making it a frontline destination for world tourism as well as a gateway to Indonesia from various countries, so it is visited by many foreign and local tourists, but until now there are still problems in maintaining environmental cleanliness, namely a lot of garbage everywhere and cannot be resolved completely. As previously known, there was a fire in one of the landfills in Bali which resulted in air pollution that disturbed the health of the surrounding community and the smoke could be seen from the air, besides that the news of the fire was also spread on various social media platforms. In addition, cleanliness on the beaches, rivers and on the streets is also still not maintained cleanliness and openness in disposing of garbage, so that from the incident certainly tarnished the image of Bali tourism because considering tourism is synonymous with cleanliness, beauty, friendliness of the surrounding environment.
Therefore, the government in Bali needs to emphasize prioritizing environmental cleanliness programs with waste processing technology, such as collecting plastic waste and then giving it to the environmental agency to create a waste bank, as well as the firmness of regulations in creating changes in attitudes and behavior of the community and village officials through Bumdes must be maximally mobilized, waste is used to be useful and economically valuable. Moreover, plastic waste is the main impact in environmental pollution because it cannot be destroyed by itself, therefore the need for affirmation of plastic waste recycling with the 3R steps, namely reducing, reusing, and recycling. So that it is expected to create a clean and healthy environment, a healthy environment is a clean environment starting from fresh air with minimal air pollution, clean water, and soil. Living with a clean and healthy environment will certainly have a positive impact on our lives, which indirectly a healthy environment will nourish our body and soul. For that, let's together maintain the cleanliness of the surrounding environment for a healthy and clean environment, if not us who else.
Tourism has a significant impact in terms of employment and local income. However, dependence and wrong management can make tourism one of the causes of over-exploitation of nature and make Bali's condition even worse during the COVID-19 emergency. People are increasingly choosing to work in the hospitality sector rather than the domestic sector, namely agriculture and plantations, so that during a pandemic the agricultural sector also becomes difficult due to the lack of land, good systems and human resources. Though this sector can be a solution to improve the economy of Bali.
One solution that can be done without choosing one of these two sectors is to apply the concept of community-based tourism or CBT. This concept can be developed by forming a tourist village so that it can become a forum or economic stimulus for rural communities. The concept of a tourist village that is widely developed in the Java area itself focuses on rural life and natural conditions that are a tourist attraction. Community activities in farming and farming can be an alternative attraction for tourists from outside the region, especially because Bali itself has a unique agricultural system. By implementing this system, the level of sustainability or sustainability of tourism and nature will be better. Of course, when there are disasters or natural phenomena that affect mass tourism like what Bali currently has, the concept of tourism planning is a good solution. If tourist visits decline, there is still a reliable agricultural sector. In addition, this concept can then become the new face of tourism in Bali with the growing trend of the hospitality business, beach panorama and hedonistic, while cultural attractions are starting to be abandoned. This CBT concept requires a good master plan so that its development is right on target. In addition, this concept can also be a solution to achieve the SDGs or Sustainable Development Goals and avoid excessive exploitation, especially to nature.
Currently, Bali has a heavy responsibility in restoring tourism due to the COVID-19 pandemic. As one of the regions with the largest source of PAD from tourism, Bali is experiencing a slump with a crucial decline in annual income. Therefore, stakeholders both from the private sector and the government and even the community must find solutions to these problems.
If you analyze the target market, Bali itself tends to target foreign tourists. This can be seen in terms of the supply provided by Bali, price differences and special treatment for foreign tourists. This can also be felt in terms of the quality of accommodation and attractions available that adjust to standards or market segmentation of international tourists. This affects the high cost or spending of money needed by tourists to enjoy tourism in Bali. Meanwhile, the market power of foreign tourists is currently still very low given the circumstances that make it difficult for foreign tourists to visit Indonesia, such as restrictions on the entry of foreign flights, quarantine policies in Jakarta and the development of COVID-19 cases which are still not safe.
Therefore, tourism can now rely on domestic tourists to target the Bali tourism market. This then requires policies that adapt to the segmentation of domestic tourists. This must also get support from the private sector and the wider community, which tend to ignore the domestic market because spending money tends to be lower. This can result in a low level of satisfaction and engagement of tourists with the destination so that it can influence their decision to revisit Bali.
To prevent this, the government needs to provide more specific policies to increase the interest of domestic tourists visiting Bali. It also aims to increase tourism competitiveness in Bali with 5 super priority destinations that are currently the focus of the central government, such as Lake Toba, Mandalika, Borobudur, Labuan Bajo and Lingkupang. Optimizing the domestic market for tourism recovery in Bali will be able to be a good economic stimulus during the COVID-19 pandemic, which still doesn't know when it will end.
Om Swastyatu
I thank the committee,the audience that I am prouded and the team from my beloved BASAbali Wiki.On this happy day I will present the tittle “ Towards a clean and green Bali’’instead of giving to mucht advise . As for all the smart attendees,I am here to help convey the government teacher’s messege from what has been spread by the government in the Balinese community.A very good progam aimed at keeping Bali clean and beautiful.
Some people of the programs tht have beesn implemented include Denpasar Go 2011( two thousand eleven),car free day,planting a million trees and others progam again.this is government progam tht can be a seed to prevent air pollution from landslide, and maintain the beauty and fresh of all Balinese people who alredy have mindnest of preserving Bali,this aims to ensure that Bali is always clean.
Well, dear listeners, let’s ask ourself. Have we carried out business efforts aimed at preserving the Balinese word if not us who else? If not now,when again? So that all of you can unite yourself, roll up your sleeve, maintain cleanline and beauty Bali as well.
That’s all I can say more or less I am sorry I closed it with parama santhi
OM SANTHI SANTHI SANTHI OM +
Made Wijaya was born Michael White in Sydney, Australia. He arrived in Bali in 1973, having jumped ship and swum ashore in a rainstorm. A student of architecture, he first of all intended the visit as a short break from his studies, but his fascination with Bali's rich culture and tradition led him to move in with a Brahman family in South Bali. After various jobs teaching tennis and English, working as a tourist guide and photo-journalist, he began contributing to guide books before being asked to design the gardens of the legendary Bali Oberoi.
More than 600 gardens later, Wijaya is a world renowned tropical garden designer whose company, P.T. Wijaya Tribwana International, has a 500–strong team of artisans and "garden commandos," as he calls them. He travels between his Bali base and Singapore, India, Spain, Morocco, Hawaii, Australia and Mexico to weave his magic.
A recognized authority on tropical gardens and South East Asian architecture, he has published five books, The Complete Stranger in Paradise; Balinese Architecture: Towards an Encyclopaedia; Tropical Garden Design (Archipelago Press and Wijaya Words, 1999); At Home in Bali (Abbeville Press, 2000); and Architecture of Bali – A Source Book of Traditional and Modern Forms (Archipelago Press and Wijaya Words, 2002). He also contributed to Tropical Asian Style and was the main author of a pocket guidebook to Bali.
His signature column "Stranger in Paradise–Diary of an expatriate in Bali” at (www.strangerinparadise.com) and Hello Bali monthly magazine and Jakarta Post for trightly) and "Poleng" magazine and as well are much loved across the land
Made Wijaya passed away on 28 August 2016.
Websites:
http://www.strangerinparadise.com
http://www.ptwijaya.com
http://www.novustamanbebek.com
http://www.wijayajournal.blogspot.com
http://www.baliluwih.blogspot.com
https://www.youtube.com/channel/UCwWwiI_UtuLDgPfSMhKXL8w +
Oh swastyastu
Dear sir/madam jury
And my respected audience
Before I start my oration, I want to first express my thanks to the Almighty God (Ida Sang Hyang Widhi Wasa) because it is with His grace that I can give an oration now.
Related to the Balinese leadership election which will be held in 2024 in Bali.
with this oration I would like to convey that I hope this election can be carried out fairly, without any coercion, one of which is without money politics, because this is very vulnerable to things happening where prospective leaders bribe their people with money to obtain money. leadership, and the same goes for individuals who carry out elections, because there are certain payments or results that will be obtained after holding elections, individuals often choose leaders not based on justice and honesty, but choose leaders with the aim of getting rewards.
Apart from that, Article 22E of the Constitution also states that elections are held publicly, freely, confidentially, honestly and fairly.
Not only is it stated in the constitution that governs us, but elections also concern people's lives in the future, it is also hoped that prospective leaders will be able to carry out elections fairly and without cheating by engaging in money politics.
Let us carry out elections fairly and honestly, because carrying out elections intelligently will create a prosperous society in the future.
That's all the speech I can deliver, I hope the speech I deliver can be useful. I'm sorry if I made a mistake, at the end I close with Parama Santhi, Om Santhi, Santhi, Santhi Om. +
Change qarantene and travel rules make it easier to comply remember people are coming on vacation reinstate flights to Bali prevent The Scams against expats clean up the beaches outlaw single plastic containers and straws give part of the airport visa on arrival tax to the feed the locals improve hospital care and cleanup +
MUDA WIJAYA is a poet and theater actor who was born in 1974 in Kecicang, Karangasem, Bali. He completed education in Denpasar equivalent to high school in 1993.
He was active in the Got Denpasar Theater and was involved in a number of performances in several places in Bali. Together with the Satu Kosong Elapan group, they played the script Death of A Salesman (2004) at Taman Ismail Marzuki in the Indonesian Realist Theater Stage. One of his poems was included in the Ten Best Poetry Writing Contest in Bali (2002) which was held at Udayana University Orok Theater.
Winner of a poetry and short story writing competition at Balai Bahasa in Bali (2004). A number of his poems have been published in local and national mass media, including: Media Indonesia, Bali Post. Warta Bali, Cultural Traces Magazine (Banyuwangi), GM – Independent. His poetry has also been included in the poetry anthology with God of the Sky So Empty (Denpasar Language Center – 2004), short story nomination in the Tower anthology book (Denpasar Language Center – 2004), the anthology with Maha Duka Aceh published by PDS. HB. Jassin (2005), anthology of poetry from the Spirit of the Poets of Bali – West Java (Bukupop 2005), Jogja 5.9 Rithcer Scale (Bentang – 2006), Herbarium Poetry Anthology 4 Cities (Pustaka Pujangga – 2007).
He has performed as a single performance art in the Gigir Manuk Multicultural Camp (2002) in KubuAddan, Buleleng, Bali. And was involved in a collaboration with William Miranda from Canada in the Eidepus Dance Drama which was played at the 2006 Bali Arts Festival.
His book of poetry is entitled "Kalimah". Now he is active in Jatijagat Poetry Village, Bali. +
N
Photographer Narya Abhimata – who shot our cover and fashion spreads this issue – is doing exactly what he wants to do, thank you very much. Interview Nigel Simmonds.
Narya, we’re all interested in how you grew up and how you became a visual artist. What’s the story?
I was pretty much given the freedom of expressing my artistic side from a very young age. My parents fully supported that by getting me drawing books, crayons and paints so that I would stop using their bedroom walls as my canvas. I’ve always been that weird, artistic kid … I’ve never really been into sports or super-masculine things. I played with both my Ninja Turtle figurines and my sister’s American Girls dolls. I loved custom building things with my Lego … I’ve built theme parks with fully working cable cars that take my little Lego people up and down a steep hill. I love playing video games that need me to manage cities and zoos. I guess I like things that need problem-solving skills, which contributes fully to what I am doing now. As a visual artist I have to problem-solve and to constantly think of creative ways to achieve things.
When you were growing up, is this the life that you envisaged for yourself?
Truthfully I cannot imagine myself doing anything other than what I’m doing now. Me as an accountant? Never in a million years.
How did you find being an Indonesian in Sydney, when you studied there? Or London?
I find going or living overseas very eye-opening and inspiring. For me, Indonesia is more restrictive when it comes to creative expression and freedom, especially in Jakarta. When I lived in Sydney and London, my creative mojo was constantly brewing. Ideas can be found anywhere, museums, galleries are abundant. People are strange, beautiful and unapologetic. The energy is powerful and is constantly around and it makes you want to create things every single day.
Did you spend much time as an assistant, or intern? Did you learn your trade from someone awesome, and are you still in touch with them?
I have never assisted, I just went out there with courage and a bit of delusion, ha ha ha! But I have interned once as a graphic designer at an agency back in Jakarta in 2008, after that I’ve been taking on the world solo. However, I believe that I am always a student, so I don’t think I will stop learning . . . it’s easier to do this nowadays since everything is basically online; seminars, tutorials . . . you name it and the internet has it. I also learn from my friends, fellow photographers and artists that I met here as well as overseas . . . and yes I am still in touch with some of them.
You seem so well educated internationally, how has that journey been for you?
It has been very special and I feel super grateful to have been able to do that. My view of the world as well as how I creatively approach my work were shaped during those years overseas. I learned, struggled and achieved a lot, and I wouldn’t be who I am today without those experiences.
What’s most important to you today about visual imagery, and how you deal with it?
Character, point of view and the ability to tell a story are very important to create any kind of visual. These are the three things I’m constantly improving with my own work.
What equipment do you use?
Canon 5DmkIVfor stills and Sony A7SIII / FX3 / FX60 / Arri Alexa for videos (also depends on client’s budget!)
Who is the best client you ever worked for (apart from The Yak he he)?
Edward Hutabarat.
What does fashion mean to you?
Fashion is a lifestyle choice. Most people think that fashion is just clothes, but almost all your lifestyle choices count as fashion: the way you dress, the food you eat, the devices you use daily . . . all the desirable things you choose to own and use to present yourself to the world as an individual . . . those things count as fashion!
How do you stay consistently fresh with your ideas and concepts in photography and videography?
I try to get outside my comfort zone. I work in fashion most of the time so I try to find inspiration and references outside of that world. Also, never stop learning new ways to give your work variety. Experiment with things you never tried before!
What’s the most frequent phrase you hear from clients that pisses you off?
‘Could you make (whatever I’m making for them) pop more?’
How can clients be better at being clients?
Knowing what they want is always a good start.
Are you threatened at all about the potential of Artificial Intelligence?
Not at all. No amount of technological advances can replace an artist’s soul.
What makes you happy?
Good food. Good company. DOGS!
If you were to die tomorrow, what would be the last thought in your head?
‘What’s for dinner?’
Where can we meet you, or see your work?
I am now residing in Bali, mostly staying at home with my two French bulldogs ordering take outs from cheap eateries around Kerobokan. You can see my work on my website www.naryaabhimata.com and my Instagram @naryaabhimata
Ong Swastyastu since the COVID-19 pandemic hit the whole world. It's been two years of this pandemic situation. some regulations have been implemented. but not getting the desired result, for the purpose to be achieved. I am not a tourism actor, let alone one who knows about the state of tourism, but I feel what the impact of this covid-19 pandemic is. I wrote this article from the input of my friends and relatives who work in the tourism sector. When viewed from the development of tourism in the past, generally 100% of guests traveled to Bali, now only 30% of foreign guests come to Bali, another 70% are mostly local guests, even though the airport has opened domestic flights and international flights. But still few foreign guests come to Bali for sightseeing, even though most of the guests are local. Now, as now, there has been an increase from before, unlike in the past, hotels, villas, resorts, restaurants, tourist attractions were mostly closed. We all know that Bali is the biggest foreign exchange earner in Indonesia. If Bali tourism is paralyzed, let alone to death, what can you do, what causes it? Most of the people work in the tourism sector. Health-based tourism must be applied to be used as a solution/urgent situation in the current state of tourism and in the future. Many foreign guests don't want to go to Bali because the quarantine period is too long and the rapid production of antigen tests and PCR swabs is too expensive. The hope of the people is that the government is right to reduce the quarantine period which used to be 14 days, to only 7 days, what is the reason?, So that the quarantine period for guests is not too long, just like a leech habit (too long) staying or traveling to Bali, so as not to too long quarantine before traveling quickly lost the desire of guests to travel. For example, a guest who came to Bali only two weeks ago had a 14-day quarantine period, cutting the guest's vacation time by 14 days after the quarantine period was used up, the guest lost his time to Bali or the quarantine period was used up only. Also accompanied by promotion and maintaining Balinese culture so that traditional tourism attractions such as the ogoh-ogoh parade can be used as an inducement for foreign guests to visit Bali. Ong, Santhi, Santhi, Santhi, Ong
Om Swastyastu.
Sincerely all my beloved guests,
Currently, the island of Bali is faced with serious challenges that threaten the environmental sustainability and beauty of the island of Bali as a tourism destination. Namely, the problem of piles of plastic waste.
Every day, we witness an uncontrolled growth in the volume of plastic waste, polluting oceans, damaging ecosystems and threatening health. Plastic waste is not just waste, but also a symbol of our irresponsible behavior towards the environment. It is important for all of us to be aware of the negative impacts and take concrete action. There needs to be a joint effort to reduce the use of single-use plastics, support recycling, and encourage environmentally friendly technological innovation.
Through collective awareness and action, we can create a cleaner, healthier and more sustainable environment for future generations. Thank You.
Om Shanti Shanti Shanti Om +
OPTIONAL +
According to Mr. Sandiaga Salahudin Uno as Minister of Tourism and Creative Economy of the Republic of Indonesia, Bali is the province that contributes the most foreign exchange from the tourism sector in Indonesia. However, since Covid-19 has wreaked havoc on the world, tourists no longer travel to Bali. Likewise, Bali's tourism life is dead. This has a bad influence on the economic, social, and psychological aspects of the Balinese people. Balinese people who work in tourism currently do not have a livelihood, this causes problems in the economic field. Because everything that is needed must be purchased using money, it makes people sad, problems arise in the psyche. Under these circumstances, there are now many beggars and buskers at crossroads who wear Balinese traditional clothes, problems arise in the social sector. Because the death of Bali tourism has a bad effect, it is necessary to find a way out so that tourism can bounce back.
Since the arrival of the Covid-19 pandemic, digital technology or in the network is growing. This digital technology can generate Bali tourism. How to? In my opinion, currently, the government can sell the existence of art, culture, and natural beauty to the world market through the website. The website can also be filled with virtual exhibitions using 360-degree technology, such as digital exhibitions that have often been carried out by people abroad. With one website, you can fill in several videos and virtual exhibitions from art museums throughout Bali. Through this website, tourists do not need to come to Bali, but only with digital experience, they can enjoy the natural beauty of Bali.
Now what can also be developed is the performing arts or performing arts which can be recorded and shared online or digitally. Balinese people who have not got jobs can be embraced to learn together performing arts such as Kecak and other colossal dances. It needs to be noted, those who want to watch every video on the website must buy a ticket in advance.
From some of the opinions I conveyed above, the development of digital technology can be a bridge to awaken Bali tourism while preserving Balinese art and culture. In addition, currently, each tourist spot must prepare health protocol equipment so that anyone who wants to travel to these tourist attractions still pays attention to health protocols to prevent the spread of the Covid-19 pandemic. Hopefully, the pandemic can disappear soon, the world will return to normal, and Bali tourism can rise and stand strong.