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Richard Horstman + (Richard Horstman, (b 1964 in Melbourne, Au … Richard Horstman, (b 1964 in Melbourne, Australia) has more than 25 years of experience inIndonesia, first visiting Bali in 1986. He spent extended periods in Sumatra and began living inBali in 2004. He has worked in the Bali and Indonesian art worlds since 2008 as an writer,journalist, a co-creator with artists and an art tour presenter to national and international guestsfrom 2014. He has participated intercultural exchange events in Thailand, the Philippines andIndonesia, while regularly attending events in Singapore, Jakarta and Yogyakarta.Richard consults professionally and non-professionally to Indonesian and foreign artists,collectives, galleries and art spaces. Richard is passionate about reporting on developments inthe Bali art infrastructure and innovations in the Bali art world. He previously made andexhibited sculptures and installations and is currently painting in his spare time.During 2022 Richard experienced growth in his writing genres penning his second social culturalobservation piece on Bali, entitled Duality and the Exploitation of the Spirit published inNOW!Bali Magazine in the January/February 2023. He began writing book reviews published inthe Jakarta Post and NOW!Bali with his fourth review Masks of Bali: Between Heaven & Hellpublished in the Post in February.An article for the Australian quarterly hardcopy magazine ArtLink, a special edition onIndonesian art was published in April 2023 and a review of the Bali art scene, post-pandemicwith international tourism open for Singapore magazine Plural Art Mag. He is currently writingarticles for NOWBali Magazine. Unfortunately since July 2023 the Jakarta Post is no longerpublishing its Features section, meaning no more specialized reporting on Indonesian art andculture which is a massive blow for the country and the global audience.In November 2022 Richard began initial steps for his next book, WINDS OF CHANGE: Womenin Balinese Art, the first study into the pioneering women in Balinese art, due to be publishedlater in 2023. This is the follow-up to his first book published late 2019 Ubud Diary: Celebratingthe Ubud School of Painting - the Diversity of the Visual Language launched at the opening ofUbud Diary a new gallery in Lodtunduh, Ubud where he worked as a consultant from June 2019until March 2020 when the pandemic impacted on the Bali and global economy.In the past Richard has been a contributor to the Jakarta Globe newspaper, Ubud Now & Thenonline magazine, the Yak Magazine, Art Republik, NOW! Singapore, NOW!Jakarta,Art&Market, Singapore, the art columnist for UbudLife Magazine, Arti, Art Malaysia, Art OneNation, Indo Expat & Ubud Community News magazines. He have been a regular contributor tothe Jakarta Post for over ten years and am the art columnist for NOW!Bali Magazine.As an art activist Richard has a strong social platform and is passionate sharing ideas andbrainstorming with artists, gallerists, art spaces and collectives about professional structuring,communications, vision, branding, building community and the ongoing development of the Baliart infrastructure. Richard is currently working on a series of geometric paintings for hisupcoming Universal Eye Mandala Art website.Richard’s articles are published:www.lifeasartasia.artwww.lifeasartasia.weebly.comFacebook Page: Bali Art ReviewsInstagram: @lifeasartasiaPrevious art roles:Member of the Board of Directors of the Bali Art Society 2013-2014Art Presenter Artpreciation (2016-2018)AdvisorCata Odata Art House 2014 – 2018 Penestanan, Ubud BaliUbud Diary Jul 2019 – MARCH 2020, Ubud, BaliLodtunduh, Ubud, Balio Ubud Diary is a new art gallery in Ubud with the mission to raise the profile of thehistorical Ubud School of Painting. It is planning its grand opening late inNovember 2019 with a group exhibition of works by senior artists of the UbudSchool, including the launch of the book 'Ubud Diary: Celebrating the Ubud Schoolof Painting - the diversity of the visual language" written by me and translated intoBahasa Indonesian by Richard Nixon Tambalo. Ubud Diary's annual exhibitionprogram will include three solo exhibitions by senior artists, along with one annualevent in Jakarta. The renown Ubud School of Painting which was 'founded' in thelate 1920s - early 1930s in Ubud is destined to die out, through its program ofexhibitions, book and catalogues, and other annual events Ubud Diary's vision isto reignite the genre and encourage regeneration that can lead to its futuresustainability.e regeneration that can lead to its future sustainability.)
Richard Winkler + (Richard Winkler dream of a utopian world w … Richard Winkler dream of a utopian world where man and nature were tightly integrated. and then he woke up in it.Richard, how did your upbringing influence your artistic style?During my childhood, I spent a lot of time with my grandfather, whom I admired. He was enormously talented in drawing and painting, and we spent a lot of time together. He also took me out into Nature, where we walked for hours, and he taught me everything about flora and fauna. He was a great inspiration, and he showed me how to draw and how to appreciate and love the natural world around us. During the same time, I had to spend a lot of time in hospital in order to undergo many surgeries to correct the growth of my bones, as I was suffering from a rare bone disorder. This created an early awareness of the physical body and its limbs. It was fascinating to me when the doctor measured angles and the length of my bones, and how he could open up my body to correct those after drawing lines on my limbs. In summertime, I usually spent a lot of time playing in an old garden and plant nursery near my home, forgetting all the pain I had to go through the rest of the year. I loved all the greenhouses, which were full of exotic plants and trees such as banana and orange trees. It was hot and humid, and I could smell the plants and the soil. This world was magical and full of energy and fertility. This was life, and life wanted to flourish. I often dreamt and fantasized about exotic and tropical worlds where my soul was happy and free, a kind of paradise where you picked fruits from the trees, and life was free from troubles. My early childhood drawings often depicted tropical landscapes with exotic colourful birds and animals.What was your initial impression of Bali, and how did it inspire your art?When I first landed in Bali, I discovered the world I had been dreaming about, a kind of Garden of Eden full of life and colours. The tropical nature was alive and amazing, and the soil so incredibly fertile. People were friendly, and everyone seemed to be able to talk about art and aesthetics. And everyone seemed to be creative in one form or another. Bali was full of life, colours, details, sounds, and smells. It really appealed to all my senses and made me feel incredibly alive. Even the ground was not stable and moved sometimes.I loved the passionate rains and thunderstorms, which were so intense and powerful. Life itself was at maximum in Bali, and I couldn’t feel anything but very alive. I loved it. Over time, I found lots of inspiration in the traditional life at the rice paddies, in Nature, and in markets. I love the simple life of man and nature, tightly integrated. Perhaps it’s still a dream in my mind about a Utopian world free of pain and sorrow. But it’s a beautiful dream, longing for peace and harmony in one’s soul.Can you describe your creative process and how it has evolved over time?During my time in art school, I became more and more fascinated by the human body. I spent countless hours drawing from life models to study the forms and lines of the body. I was especially fascinated by simple lines and how they cut and overlapped each other. I eventually started to play with these forms, stretching them and deconstructing them to my liking, a little bit like an orthopedic doctor rearranging the bones and limbs. The body doesn’t need to look anatomically correct to actually function and feel right. The important thing is that it feels good and works correctly. That’s how I construct the bodies on the canvas.Do you see Bali as a colourful Utopian paradise?I might dream about this Utopian paradise free of pain and sorrow and full of life, love, beauty and harmony. But of course this fantasy world doesn’t exist in reality. Wherever we live, life will always be life including everything from tears to laughter, and that’s how we grow ourselves and our characters. And maybe that is the real beauty and goal of life itself.s the real beauty and goal of life itself.)
Robert Kiyosaki + (Robert Kiyosaki is truly a multi-talented … Robert Kiyosaki is truly a multi-talented personality. He is an entrepreneur, investor, motivational speaker, author and also a financial knowledge activist. He is very popular for his series of books called ‘Rich Dad Poor Dad’.His book series ‘Rich Dad Poor Dad’ is an international bestseller. It is basically a comparison between his two ‘dads’; one was his poor biological father and the other ‘fictitious’ rich dad. The poor father was in fact very educated but had no money but the rich father was a high school dropout but was in fact ‘Hawaii’s richest man’. Robert Kiyosaki has appeared on television several times including on Public Broadcasting Service (PBS), KOCE, California, WLIW of New York and New Jersey area and his fund raising drive.ew Jersey area and his fund raising drive.)
Rosvita Flaviana Osin + (Rosvita is a lecturer at the Indonesian Ho … Rosvita is a lecturer at the Indonesian Hospitality Management Community Academy, Triatma Mapindo Badung, Bali. Rosvita completed her bachelor's and master's studies from the Triatma Mulya School of Economics, Denpasar Bali with qualifications in hospitality and tourism management. Rosvita's writing include tourism village development strategies, as well as the role of women and millennials in tourism. role of women and millennials in tourism.)
Rudi Waisnawa + (Rudi Waisnawa was born in Singaraja, Bali, … Rudi Waisnawa was born in Singaraja, Bali, 1976. He graduated from English Literature, Faculty of Letters, Udayana University. He is a photographer who cares about social issues. His eye-catching photos and documentaries are about people with mental disorders who are confined in Bali. These works were exhibited in several places including at Bentara Budaya Bali (2014). In the same year the work was recorded as a photo book entitled “Pasung” and exhibited again at Rafles Hotel Galery Singapore 2015. In October 2017 Rudi was invited to exhibit at the Anti Stigma International Conference Copenhagen, Denmark and continued to exhibit at Die Erste Etage, Hamburg with an exhibition entitled "Approach". Rudi's works have also attracted the attention from people with leprosy in Balinese villages. Apart from being active in the Lingkara Photography Community, Rudi is also active at the Suryani Institute for Mental Health (SIMH), a foundation that assists people with severe mental disorders (ODGJ) in Bali.th severe mental disorders (ODGJ) in Bali.)
Luh Gede Saraswati Putri + (Saras Dewi, whose full name is Luh Gede Sa … 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.ultural Sciences, University of Indonesia.)
Scion Charlotte Spence + (Scion Charlotte Spence has a plan for all … Scion Charlotte Spence has a plan for all you luxury, globe-trotting party vagabonds. Behold the House of Karma.Charlotte, can you give us a brief background of who you are, and what brings you here today?Hey, of course! This feels like a first date. I’m a 26 year-old Brit, currently based between Sydney and Bali (the dream!); I moved over to Australia for university about six years ago and have been lapping up the sunshine ever since. I’m really excited to be chatting to you today and keen to share a fun new project I think you’ll like the sound of . . .What are your current passions?I take after the rest of my family, so travel is really important to me and has been a big part of my life for as long as I can remember. Nothing excites me more than exploring new cultures. I’m also a drama kid at heart so I love the theatre, live music, fine dining . . . or just a good old party to be honest.IG @Atomic.Blonde_ Who is she and when did you discover her?Haha! Atomic Blonde is my latex-wearing, tech house playing, DJ alter ego! I discovered her about four years ago, when I realised I could turn ‘playing my favourite music to my friends’ into a viable side hustle. Since then, I’ve been lucky enough to play a whole host of my favourite events in Australia, alongside my DJ partner ‘Dutch Kiss’. We’re all about self-expression, uplifting music and high camp fun.You are about to launch House of Karma. Briefly, tell us what it is?House of Karma is an U35 members’ collective for the world of luxury travel and experiences. Drawing on the beauty of Karma’s current resorts, we’ll soon bring this to the next generation of ‘luxury rebels’, with pop-up festivals, wellness retreats, out-of-the-box experiences and networking events, both at Karma destinations and in our members’ home cities.You are finally working for your father?I am, and it’s really quite lovely so far! Dad and I have a lot in common in that we both have that entrepreneurial streak, and see Karma more as an entertainment industry than a hospitality one, so it’s great to have that initial common ground with my ‘boss’. I’m also massively inspired by him and have been my whole life, so working alongside him is a privilege I don’t take lightly. Pitching to him is still rather scary though – he’s tough!Do you have any other siblings joining the ranks?Yes! My sister and brother are both a bit younger so still at Uni and school but I have every confidence that they’ll be joining me soon. My sister is heading to do her first Karma sales training in India in a couple of months and I’m sure my brother will follow suit – once he finishes tearing it up on the school cricket pitch of course!What are the strengths and touches that you, as a woman, will bring to what is typically seen as a male dominated service, a members club?Oh, good one. I firmly believe that everyone should have a seat at the table or a foot in the door, and so I’d like to think that what I’ll bring to the world of members clubs is a whole heap of inclusivity. Yes, of course, there is an element of ‘selection’ involved, but I actually like to refer to House of Karma as a ‘collective’ rather than a ‘club’. Essentially, if you’re ambitious, open-minded, and down for one hell of a party, then we’d love to have you at our place.What type of person would a HoK member be?A House of Karma member is someone just like me; a luxury rebel, pampered vagabond, or hedonist who craves the unexpected and the reprieve from routine. We’re chatty, ambitious, and always looking for the next big adventure . . . with a side of fabulous!Can you tell us more about the Bali launch?Absolutely. We’re planning a huge party down at Karma Beach to celebrate our big launch on 13th June. After a VIP long lunch we’ll be opening the beach up to the masses, with drag queens, international DJs, signature ‘House of Karma’ cocktails and a whole lot of dancing in the sand. Come by and get a sense of what we’re all about!And the international roll out?Following this, we’ll be hosting our first ‘Founding Member’ networking events in Sydney and Perth, taking that signature Karma experience to Australia, before expanding across the globe later in 2023.House of Karma is highly inclusive. Can you tell us about some of the LGBTQIA+ events you have in the planning?Inclusion is something I am hugely passionate about and will never stop fighting for, and so at the heart of the House of Karma will be HEAPS of events for my LGBTQIA+ icons and allies. Think ‘detox and retox’ retreats at Karma destinations post-Mardi Gras, LGBTQIA+ networking nights and hot parties co-hosted by queer clubs all over the world.More bang for your buck. Can you tell us what perks and privileges members can enjoy on joining?It’s honestly a bit of a ‘too good to be true’ thing! Our members will benefit from nights of free accommodation at our resort destinations, huge discounts across spa, F&B and rooms year round, a bespoke ‘pimp my villa’ package, and invites to exclusive events both at Karma resorts and in their own cities! And that’s not even to mention all the members-only experiences we’ll be curating – think boat parties on the Nile, party weeks in Mykonos and a glamping festival on Gili Meno…How does the House of Karma benefit from the global aspect of the original Karma brand?I think that is what makes us unique. Karma already has so many breathtaking destinations, so half my work is done in that respect! Now it’s just about leveraging those locations and turning them into the perfect playground for all my like-minded House of Karma souls.And vice versa, how does the group benefit?To quote my father, “any great company recognises the need to evolve as new generations emerge” and I think that is just what we are doing here; moving with the times and bringing a whole new tribe of ambitious, experience-seeking young vagabonds into the Karma fold.Lastly, you are looking to create global FOMO around HoK member’s wristbands. Any hints at how you intend to achieve this?This is something I’m excited to see evolve. Let’s just say I hope to see House of Karma memberships soon become a must-have fashion statement. Get ready to see an influx of ‘HoK’ bracelets hitting the wrists of those around you soon . . .Tel: +62 361 848 2202; +62 811 38203360 IG: @wearehouseofkarmawww.houseofkarma.com.auhouseofkarma@karmagroup.comuseofkarma.com.au houseofkarma@karmagroup.com)
Idanna Pucci + (Since leaving her ancestral home in Floren … 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 environmentHer 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.ith her husband between Florence and New York.)
Sri Jayantini (I Gusti Agung Sri Rwa Jayantini) + (Sri Jayantini, whose full name is I Gusti … Sri Jayantini, whose full name is I Gusti Agung Sri Rwa Jayantini. Born in Denpasar, January 15, 1977. He graduated from English Literature, Faculty of Letters, Udayana University. Her poetic journey started from junior high school by participating in the Sanggar Cipta Budaya in 1989. At that time, Jayantini had already published her poetry in the Bali Post. Now she is a lecturer in the English Literature Study Program at the Faculty of Foreign Languages (FBA) Mahasaraswati University (Unmas) Denpasar. Creative since junior high school, Jayantini combines the potential of writing in a career as an educator. In the midst of teaching obligations and often being a part-time translator, she is still quite active in the field of literature. “Flower Travel” is one of her poetry and prose books published in 2015, in addition to participating in anthologies with other poets. A number of academic works in the field of translation have also been published, including “The Art of Translating” (2016), “Practice Makes Perfect” (2015), “Scientific Translation; Techniques and Phenomena” (2018). Jayantini still provides time to enjoy the sensation of poetry as a break from producing academic works. as a break from producing academic works.)
Sugi Lanus + (Sugi Lanus was born in Singaraja, Bali. He … Sugi Lanus was born in Singaraja, Bali. He is the curator of the Lontar Museum, Karangasem, Bali. Since studying at the Department of Balinese Literature, Udayana University has been actively working part-time as a research assistant from Princeton University, UCLA, Murdoch University, Leiden University, Osaka University, etc. He has participated in dozens of international workshops and trainings, and attended post-graduate education in several disciplines: Cultural Studies, Tourism Studies, and Theology. He was selected as a participant in the ASEAN-Japan youth exchange (1997) through sponsorship from the Prime Minister of Japan.He has experience as a consultant for various international institutions, such as: GTZ, AusAID, UNICEF, WHO, British Council. In the field of journalism, he worked as a correspondent for Tempo Magazine (1998-2000), fixer for ABC TV, BBC, Arte TV, National Geographic, Smithsonian Magazine. He is also active as a consultant and provides workshops for DPRD and local governments throughout Indonesia (2005-2012) and an independent political consultant for several national politicians (2012 - present).In 2006 he founded the Hanacaraka Society to research Balinese and Lombok lontar. 'Puja Tri Sandhyā: Indian Mantras Recomposed and Standardized in Bali', is one of the results of his research on various lontar mantras published in the Journal of Hindu Studies, 2014, Vol. 7(2), Oxford Center for Hindu Studies, Oxford University Press. Actively invited to speak in various cultural meetings, including: Cultural Congress V (2003), Ubud Writers and Readers Festival (2004-2017), International Conference on Tagore, Hanoi, Vietnam (2011), Frankfurt Book Fair (2015), etc., and various Hindu clerical discussions. Previously served as Commissioner of a national company (2004-2006), and Corporate Relations Executive of an international company based in London (2014-2016).He has written hundreds of articles in various online and print media, such as tatakala.co, Bali Post, etc. Currently conducting research on reliefs related to lontar manuscripts at Borobudur, and the Herbalian Project, a project for mapping herbs in Balinese and Old Javanese lontar.herbs in Balinese and Old Javanese lontar.)
Luh Ketut Suryani + (Suryani was born in Singaraja, Bali in 194 … 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.th and the Committee Against Sexual Abuse.)
Suzy Hutomo + (Suzy Hutomo co-founded The Body Shop Indon … Suzy Hutomo co-founded The Body Shop Indonesia with her husband in 1992, where she is now Chairwoman.Parallel to her successful career in business, she is a committed environmental activist. Suzy is a presenter in Al Gore’s Climate Reality Project, and serves as a member on various boards of reputable NGOs such as Greenpeace South East Asia (2008-), Yayasan KEHATI (2012-present), Yayasan Lensa Masyarat Nusantara (LMN) (2014-), and Yayasan Kopernik (2016-).For Suzy, the well-being of the environment, threatened by climate change, lies at the interface of her identities as a businesswoman and activist.Suzy’s goal is to help and inspire others to develop a green and sustainable lifestyle whilst also proving that being mindful of the environment can be easy, fun and effortless.vironment can be easy, fun and effortless.)
Sylvine Pickel-Chevalier + (Sylvine Pickel-Chevalier is a lecturer and … Sylvine Pickel-Chevalier is a lecturer and research director in geography (HDR) at the UFR ESTHUA Tourism and Culture at the University of Angers, ESO CNRS 6590 lab. She is specialized in socio-economic, cultural and environmental aspects of tourism, questioning the notion of sustainable development, in France and Indonesia. Also specializing in sports tourism and more particularly the equine sector. President of the scientific committee of the French Equestrian Culture Mission. About forty international publications.n. About forty international publications.)
CHEF DAIJIRO HORIKOSHI + (TAKUMI’S CHEF Daijiro Horikoshi is a maste … TAKUMI’S CHEF Daijiro Horikoshi is a master artisan who has devoted his life to perfecting Kaiseki cuisine.Chef Daijiro San … with respect you don’t sound like any ‘normal’ kind of Chef to us … what’s your story and how did you end up in Bali? Did you train in a Japanese kitchen, and did it involve years of internship under a Master?I am the son of the third generation of a tempura restaurant located in Osaka. The restaurant had a 62-year history before it closed. My grandmother started the restaurant, and my mom took over before I eventually took over from her. I ran the restaurant for over 16 years, and in 2012, I moved to Bali. When I was 13 years old, I had the opportunity to travel with my stepfather, who was a Native American leader from the United States named Dennis Banks. We travelled to 23 countries around the world, and this experience exposed me to different cultures, religions, and people. When I decided to move to Bali, it was because my wife had a dream of living on a tropical island. We wanted our children to have a global experience and learn English, so we chose Bali as it offered a mix of different cultures. It was the perfect balance for us, and we couldn’t find it anywhere else in the world.Tell us first about KOHAKU, and your journey to making edible crystals…Although I don’t have a pastry background, I grew up in a traditional Japanese environment due to my grandmother’s influence. She was a geisha and introduced me to various aspects of Japanese art, tradition, and confections. When I moved to Bali, I missed Japanese sweets, as they were not readily available, so I started making Japanese confections on my own. I never thought about turning it into a business until a friend suggested it. Together with another friend, we started the business, and my wife encouraged me to pursue it further. That’s how our Japanese confection brand, KOHAKU, came to be.How does this relate to cuisine in Japan?Kohakuto, which means ‘amber sugar’ in Japanese, has a connection to Japanese tea ceremonies. Japanese confectionery has always been closely associated with tea and tea ceremonies. The tea ceremony involves not only tea but also meals, and it holds a deep relationship with Japanese cuisine.There are two types of kaiseki, one for parties and the other for tea ceremonies. Both have a connection with tea and confections. So, the idea of creating edible crystals relates to the long-standing tradition of Japanese traditions.Why does Japanese cuisine appear so different and innovative to Westerners, compared to more traditional styles, like say classic French, or Italian? Should the Old School be more innovative?I don’t see a big difference between Japanese cuisine and other traditional styles like French or Italian. Each cuisine reflects its own history, culture, and region. I don’t think one is more innovative than the other. It’s difficult to answer whether the old school should be more innovative because innovation is subjective. What may seem innovative today might become traditional in the future. As chefs, we are always learning and trying to create dishes that make people happy. We focus on making something good rather than just being innovative. Our job is an ongoing journey of learning and creating.Where does innovation go too far, and when should we recognize and respect classic cooking practices?From my perspective, innovation goes too far when it becomes disconnected from our everyday lives and focuses solely on being different for the sake of standing out. Some chefs get caught up in trying to show how they are different from others, losing sight of the true essence of cooking. It’s like we lose our direction and wander aimlessly. Whether it’s in cooking or any aspect of life, we need to take a moment to pause, reflect on where we stand, and look back at our past and the processes that brought us here. It’s essential to respect the ingredients we use and show appreciation to everyone involved, not just for the sake of being different.Tell us about Takumi, your restaurant, and the inspiration behind it.Takumi is a restaurant where we currently serve Kaiseki-style Japanese cuisine. We offer a choice of nine-course or six-course degustation menus, and we will soon be launching vegan courses as well. Our focus is on traditional and authentic Japanese cuisine. The inspiration behind Takumi is unique. We are not simply importing Japan to Bali; instead, we are creating Japan here. We utilize the amazing local ingredients available in Bali and Indonesia, embracing the wealth of flavours they offer. As a Japanese chef, I incorporate Japanese culinary techniques and strive to express the true essence of Japanese cuisine. Additionally, I am passionate about training young chefs in Bali, sharing my knowledge, skills, and the history and philosophy of Japanese cuisine, in order to elevate the level of Japanese culinary expertise in the region.Why is great service such an important part of the culinary experience?Great service is crucial because it enhances the overall dining experience. When customers pay a significant amount for their meals, they should be able to enjoy them fully. It’s important to create an atmosphere where people can feel happy and comfortable. The emotions and atmosphere in a restaurant can significantly impact the perception of the food. Service acts as an additional spice that complements the dishes coming out of the kitchen. It’s not just about the food; it’s about the complete experience – from the moment guests enter the restaurant until they leave. We aim to leave a lasting memory and ensure that our guests have a truly enjoyable time at our restaurant.Who are your heroes in the world of cooking?Although it may sound cliché, my heroes in the world of cooking are my grandmother and my mother. However, my true heroes are the young chefs working in the Takumi kitchen. Each of them brings their unique experiences, which I have never had. Their willingness to learn and their different perspectives make them admirable and worthy of respect. These young chefs are my heroes because they challenge themselves and strive to become respected in the culinary industry.What knives do you use?I primarily use a small petty knife. I don’t have a specific brand preference. I own several Japanese knives, but my favourite is the small petty knife, which I use for personal use at home. I don’t typically use large knives in my cooking.What’s the most exciting new ingredient you are incorporating into your food?Well, every week brings new and exciting ingredients to our kitchen, even if they are the same vegetables we’ve used before. Each batch has its own unique qualities, and that’s what makes it thrilling. We have conversations with the ingredients, exploring their potential and listening to what they have to say. When they arrive in the kitchen, we greet them and get to know them. ‘Hello, my name is blah blah blah, who are you?’ We might say to a red radish. It’s a delightful way to engage with the ingredients and understand their desires. Do they want to be a sauce, a garnish, or simply shine on their own? We listen to their aspirations and help them become what they want to be. It’s the chef’s job, and it’s the most enjoyable and exciting aspect of our work.What motto inspires your life as a chef?Well, I’ve touched on this in previous answers, but it’s a question worth pondering. As a chef, I find immense joy and satisfaction in working with ingredients and creating dishes. It’s the happiness and fun that come from this process. There are many people involved in the culinary world, from suppliers to farmers, fisherman, and even drivers. My motto is simple: I want to make people happy. I strive to bring joy to others through my creations and my work. It’s not just about the guests; it’s about everyone who is connected to food and to me. I want to contribute to a collective happiness and create a positive impact within this circle. As a chef, I am just one part of a larger ecosystem, and my goal is to make everyone in this circle happy.IG & FB: @kohakubaliwww.kohakubali.comIG: @takumibaliFB: @Takumi Baliwww.takumibali.comkumibali FB: @Takumi Bali www.takumibali.com)
Dadalan Sejarah Wangunan Monumen Perjuangan Rakyat Bali + (THE BACKGROUND OF THE ESTABLISHMENT OF THE … THE BACKGROUND OF THE ESTABLISHMENT OF THE MONUMENT OF BALINESE STRUGGLESporadic struggles for independence against the Dutch Colonial Government emerged in most parts of Indonesia. The violent oppressions by the Dutch resulted many rebellions in various dominions of kingdoms and sultanates under the Dutch colonialism. But unfortunately, the Dutch could easily suppress them by applying their divide et impera (divide and rule) tactic to break the strength of those kingdoms and sultanates by playing off against each other, between a king and the other, between the royal family and the king, the king and his people, and between people as well.The long war experiences and also the more and more Indonesian youth got academic education had aroused the spirit of unity among various social strata and ethnic groups and the awareness to defend their country and to drive away the colonizers. It was initiated by a number of intellectual youths from various regions that on October 28th, 1928, for the firsttime, the Indonesian youth held a conference in which they declared the so called the Sumpah Pemuda or the Youth Pledge. They swore that they were of one mother country: Indonesia, one nationality: Indonesian, and of one language: Bahasa Indonesia or the Indonesian language. This declaration was simultaneously participated by many youth organizations from various islands and ethnics in Indonesia such as, Jong Java of Central and East Java, Jong Pasundan of West Java, Jong Minahasa of North Sulawesi, Jong Ambon of Maluku, Jong Celebes of Sulawesi, Jong Madura, Jong Sumatranen, Jong Batak of Batak ethnic group, etc which later on resulted an idea to form the Jong Indonesia to accomodate all ethnics in Indonesia.This spirit of Sumpah Pemuda has also awakened various youth organizations in Indonesia.One well-known organization, among others, is Sarekat Islam, which was originally as a mere religious movement, then developed into the first popular movement in Indonesia, then the Indische Partij party which also moved in politics. At that time on the island of Java nationalist figures emerged such as dr. Soetomo, HOS. Cokroaminoto, Suwardi Suryaningrat (Ki Hadjar Dewantoro), Douwes Dekker, Tjipto Mangunkusumo, Agus Salim, Soekarno, Muhammad Hatta, and so on. Their pioneering work eventually also inspired other regions to do the same, namely to unite the regions in expelling the Dutch occupation, one of which was a struggle carried out by the Balinese people.Bali Island is one of the bases of the struggle against the Dutch, among which the famous is the Jagaraga War of 1848-1849 in Buleleng, the Kusamba War of 1849, the Banjar People’s Resstance in 1868, the Puputan Badung War of 1906 launched by the King of Badung, Puputan Klungkung in 1908 and also the Puputan Margarana War in the Marga Village of Tabanan conducted by Liutenant Colonel I Gusti Ngurah Rai along with Laskar Ciung Wanara who had waged in all-out war (Puputan) against the Dutch in 1946.The struggle performed by I Gusti Ngurah Rai has left deep memories for the people of Bali, so as to commemorate his services, a monument, street name, airport name, and so on were erected. The awarding of his services is solely because he has set an example to the younger generation in the struggle for independence which is done unconditionally. The government’s attention to the services of the fighters in Bali was realized by the construction of a grand monument located in the Niti Mandala area, Denpasar known as the the Monument of Balinese Struggle.What is presented in this monument is to recall all the struggles of the Balinese heroes before and after independence. It is also hoped that this monument will also has some benefit in an effort to increase the appreciation of the younger generation in living up to the patriotic values demonstrated by the heroes who sacrifice all his body and soul in defending the dignity of his people without ever expecting retribution.The monument was designed by Mr. Ida Bagus Gede Yadnya, a young man who was at that time was a student in the Department of Architecture, Faculty of Engineering, Udayana University, Denpasar. He succeeded in winning and becoming a champion in the design competition of the the Monument of Balinese Struggle which was carried out in 1981 by setting aside his senior architects in Bali.After the design and drawing improvements were made, in August 1988 through the budget of the Provincial Government of Bali a groundbreaking was carried out, as a sign of the start of the construction of the monument. After going through various obstacles and trials due to the depreciation of the Rupiah in 1997, finally this monument could be completed also in 2001. After that, the development was continued with the making of dioramas that depicted the life history of the Balinese from time to time. In addition to the dioramas, a park was also built to add the beauty and comfort of this monument, which as a whole could be completed in 2003. On June 14, 2003, in conjunction with the Opening of the 25th Bali Arts Festival in 2003, Indonesian President Megawati Soekarnoputri had the pleasure of inaugurating the Monument of Balinese Struggle. Since then the monument has been officially opened for public.PURPOSE AND OBJECTIVESThe purpose of making dioramas that tells a story of the struggle of the Balinese people is to reconstruct important historical events that have occured in Bali, so that what is implied in them will be more easily appreciated by younger generation.The aim is to perpetuate the spirit of the struggle of the Balinese people from time to time and pass down the spirit of patriotism in the form of self-sacrifice, love of the motherland, love of unity and love of peace, togetherness to the next generation of the nation, and the main thing is to maintain the integrity of the Unitary Republic of Indonesia (Homeland).THE PHILOSOPHICAL BASIC OF THE MONUMENT OF BALINESE STRUGGLEThis monument is an embodiment of lingga and yoni. Lingga is male symbol (purusa), while yoni is female symbol (pradana). The meeting between the two elements is a symbol of fertility and well-being. In addition to the Lingga-Yoni philosophy, this monument is also based on the philosophy of the Mandara mountain screening (Mandara Giri) in ocean of milk (Ksirarnawa). This story comes from the Adi Parwa book, the first chapter (parwa) of the Mahabarata epic. It is said that the gods and giants (daitya) sought the water of eternal life (tirtha amertha) by turning around Mandara mountain in the ocean of milk. The implementation of the screening of mount Mandara is regulated as follows:1. Turtles (akupa) as the base of mount Mandara2. Besuki Dragon (Naga Besuki) as a strap and turning mount.3. The gods hold the dragon’s tail and the daitya hold the head, while at the top of the mountain sits God Shiva.After working with great difficulty turning the Mandara mountain then successively came out: crescent (Ardha Chandra), Goddess Sri and Laksmi, flying horse (kuda Ucaisrawah), tree of happiness (Kastuba Mani), and the last came out Goddess Dhanwantari who brought Tirta Amertha. The story of searching for Amertha water is then reflected in the shape of this monument, with the following explanation:1. The earthen pitcher containing tirta amertha was symbolized by a kind of pot (swamba), which is located on the top of the monument.2. Naga Besuki’s tail is realized near the pot.3. The head of the dragon is manifested in the entrance gate (Kori Agung).4. Turtle (Bedawang Nala/ akupa) as the foundation of the monument is located on the edge of the lake and its head on Kori Agung.5. The pond that surrounds the monument as the symbol of Ocean of milk (Ksirarnawa).6. Mandara mountain (Mandara Giri) as the overall shape of the monument building.Philosophically, the initiators of this monument wish to give a message to the younger generation that the struggle to achieve success can only be done with hard work, perseverance, and mutual cooperation as told when the Gods and Daitya together seek eternal life.Another symbol depicting the power of God Almighty (Ida Sang Hyang Widhi Wasa) contained in this building is a building plan in the shape of an octagon and an eight-leaf lotus. The eight-leaf lotus is called Asta Dala as a symbol of the omnipotence of God Almighty called Asta Aiswarya, namely:1. Anima : the mildness nature like atom.2. Lagima : the lightness nature like ether.3. Mahima : the great nature that fills all places.4. Prapti : the nature of reaching all desired places.5. Prakamya : all wills are achieved by Him.6. Isitawa : the nature of dominating everything and the most important One.7. Wasitwa : the most powerful character.8. Yatrakama Wasayitwa : His nature and His will cannot be challenged.The symbol of patriotism and nationalism can be found in the 17 number of foot steps towards the main entrance, 8 main pillars of the building and the height of the monument is 45 meters. If these figures are strung together, the numbers 17, 8, and 45 are arranged which show the date, month, and year of the Proclamation of Indonesian Independence, August 17, 1945. Indonesian Independence, August 17, 1945.)
Tan Lioe Ie + (Tan Lioe Ie was born in Denpasar, Bali, Ju … Tan Lioe Ie was born in Denpasar, Bali, June 1, 1958. He kept the Chinese name even though during the New Order era there was some pressure to replace the ethnic Chinese name with an indigenous name. He is familiarly called Yoki.Yoki is one of the Indonesian poets who explores Chinese rituals and mythology in Indonesian poetry. Despite the strong ethnic nuances, his poems still have an allure for the wider community. His works have been published in various mass media such as; Bali Post, Horizon, Buana News, Kompas, Media Indonesia.Yoki graduated from the Faculty of Economics, Udayana University. His introduction to poetry began when he was involved in the Denpasar Coffee Drink Center (SMK). He is also known as a pioneer of poetry musicalization activities in Bali. One of his poetry musical albums is entitled “Kuda Putih” which contains many Umbu Landu Paranggi poems that he sings.His published anthology of poetry, “Kita Bersaudara” (1991), has been translated into English as “We Are All One” (1996) by Dr. Thomas Hunter Jr. In addition, the book of poetry “Night Cahaya Lampion” (2005) has also been translated into Dutch entitled “Nach Van De Lampionen” by Linde Voute. His latest poetry book is entitled “Ciam Si” (2015). Yoki is often invited to national and international literary activities.nal and international literary activities.)
Nepasin Narkoba di Buléléng + (Taruna Goak is the name for Buleleng Youth … Taruna Goak is the name for Buleleng Youth/War Troops under the leadership of Raja Ki Barak Panji Sakti. Goak cadets were known to be very strong, never give up, had superior character and were specially formed so they were able to attack and defeat Blambangan (East Java) at that time. The toughness of the Goak Cadets is still known today, as a symbol of the greatness of the Buleleng Youth.However, what is the current situation of Buleleng Youth? Are still as tough as Taruna Goak?The character of Buleleng Youth today is inversely proportional to the Character of Buleleng Youth in the past. Currently, quite a few Buleleng youth are caught in promiscuity and cases of drug abuse and illegal drugs.At the end of December 2023, BNN stated that Buleleng Regency was included in the Red Zone for drug abuse cases and the most widespread was crystal methamphetamine. The Head of the Buleleng BNNK also stated that over the last 5 years as many as 397 people have been rehabilitated, who of course also come from various groups such as students, university students and others. Of course, this is a serious problem and must be resolved and handled together.Several things that influence drug abuse include; firstly, the growth of curiosity and a sense of wanting to try, secondly, the influence and association of the surrounding environment which is not good, thirdly it is caused by depression or excessive stress, as well as many other reasons.Regarding this problem, of course there are several solutions that can be offered apart from the government's efforts in making related regulations, namely; First, young people must get rid of their desire to try and try to think about the negative impacts of drug use. Second, try to find positive activities to avoid promiscuity and drug abuse. Third, support from family and those closest to you will also be very influential. And the important thing for young people to pay attention to is maintaining mental health to avoid depression or severe stress which can trigger drug and illegal drug abuse.If this effort is carried out, young people will definitely be able to avoid drug abuse and grow into active, productive and superior young people, just like Taruna Goak in the past.people, just like Taruna Goak in the past.)
Tombak Perjuangan Rakyat Indonesia + (Teenagers are the Nations only hope for development)
Peralihan Potensi Lapangan Pariwisata untuk Mengembangkan UMKM + (The Potential Transition of Tourism Resour … The Potential Transition of Tourism Resources to Develop UMKMGreetings, Om Swastyastu, Assalamualaikum Warohmatullohi Wabarokatuh, Shalom, Namoh Buddhaya. Goodwill and peace to all. We express our gratitude and thanks to the One Almighty God for allowing us to participate in the "Provincial Bali Oratory Competition" with the theme "Bali Orates" and the topic "2024 Election: What is the most pressing issue to be addressed by Bali's future leaders?". In this regard, we present arguments focusing on "how the management of tourism, by harnessing the potential shift of employment towards UMKM, can coexist with the progress of tourism for Bali's future leaders."Post-Covid-19, Bali is assessed as unable to rely solely on the tourism sector as the sole backbone of the regional economy. Serious resource exploration is needed so that Bali has a number of alternative sources of economic income. This consideration is essential for Bali to withstand crises and global challenges. It is an opportunity to organize and pay attention to the development of UMKM in Bali, potentially redirecting the economic base from the tourism sector.The negative impact of the current tourism sector chaos in Bali stems from arbitrary behavior by tourists towards the Balinese people. Bali's residents are disturbed by reprehensible actions by tourists, whether permanent residents or just visitors. Examples include religious desecration, inappropriate behavior in sacred areas, disturbances in public areas, land grabbing from Balinese residents, and various other disturbances, all of which have a detrimental impact on the lives of the Balinese people.The government of the Bali Regional People's Representative Council (DPRI), a politician from the Indonesian Democratic Party of Struggle (PDI-Perjuangan) faction, outlines several potential economic resources that can be seriously explored in Bali, including agriculture, marine, and creative economy sectors. Strengthening each sector, he notes, will contribute to economic equality in the Island of the Gods.Recognizing that UMKM are a sector capable of sustaining Bali in times of crisis, support for regulations and education for the empowerment and protection of UMKM is crucial. It is emphasized that diversifying beyond the tourism sector is essential. Chairman of the Bali Hotel and Restaurant Association (PHRI), Tjok. Oka Sukawati, sees this as a significant moment for Bali's UMKM to learn from other UMKM, especially those outside Bali, fostering innovation and product quality development.In response to Prof. Ramantha's statements, Ny Putri Koster, as the Head of the Regional Craft Council (Dekranasda), considers her actions as part of her responsibility to bridge UMKM with consumers. She builds synergy with relevant government agencies, such as the Bali Provincial Trade and Industry Office.In conclusion, we hope that future government candidates prioritize programs in the UMKM sector over tourism, yet maintaining attention to Bali's tourism. This oration serves as a reference for future programs. In closing, we express our gratitude. Om Santih, Santih, Santih Om, Wassalamualaikum Warohmatullohi Wabarokatuh, Shalom, Namoh Buddhaya. Goodwill and peace to all.Namoh Buddhaya. Goodwill and peace to all.)
Program KIP ring Kabupaten Bangli kari Salah Sasaran. + (The Smart Indonesia Card (KIP) is also cal … The Smart Indonesia Card (KIP) is also called the Smart Indonesia Program (PIP). This is the Jokowi government's first program which is part of the Healthy Indonesia Card (KIS) and the Prosperous Family Card (KKS). The Smart Indonesia program aims to increase access for school-age children from poor families to school. KIP is a card intended for poor and vulnerable families who want to send their children (aged 7-18 years) to school for free. KIP recipients are given regular cash funds from the government which are stored in the KIP card function to attend school for free, both those who have registered and those who have not yet registered in schools or madrasas so that the dropout rate can drop drastically.So, the target of KIP is for students who excel and are less fortunate. But in fact its implementation is not in line with expectations, many cases occur regarding KIP being mistargeted. One of them occurred in Bangli Regency. A real example is in my own village, namely Banua Village. Those who are entitled to get KIP (Smart Indonesia Card) are children or students whose families are on the line or in the Poor Family Card (KK) group so that at first glance the KIP program is right on target, but if you look more deeply In fact, the KIP or PIP program still finds errors in its implementation. There are many students in my village whose families are not in the poor family, but in fact these students are underprivileged students. And because of the implementation of the poor KK, students who are not included in the poor KK, who are in fact less well off, cannot make KIP. Even though these students are students who excel and really need the KIP. An example of a student who experiences KIP inaccuracies is myself. I'm not in the poor KK line so I can't get the KIP, even though in fact I really need the card myself. Not to mention that the KIP cannot be made because I am not a poor family member, but in reality my family and I are not someone who can afford it. So, that was the inaccuracy of KIP in Bangli Regency, so what about the wrong target? I have also experienced this wrong KIP target. At that time, I was in junior high school, one of my friends from Trunyan Village had a KIP and received a scholarship even though he himself was someone who was capable and quite rich, had a nice house and had no economic difficulties. This is what makes me feel that KIP in Bangli is still not on target and its implementation tends to be inappropriate and even unfair. Then what solution should the government take? In my opinion, what the government must do to overcome the problem of inaccuracy and wrong targeting of the KIP is, first to do research on the students who receive the KIP, whether they are really underprivileged students? We can see this from the condition of their homes, their parents' jobs, their parents' income every month and so on, well if someone fulfills the things that make them get KIP as I explained above and they are a smart and outstanding student then in my opinion they are worthy of getting KIP. In short, the Bangli Regency Government must be more careful in recruiting students who are worthy of receiving the KIP.dents who are worthy of receiving the KIP.)
ULUWATU LACE + (The Yak spoke with Ajit Khatai, ceo of Ulu … The Yak spoke with Ajit Khatai, ceo of Uluwatu handmade Balinese lace – the 50-year-old true Bali legacy fashion brand – about life in Bali, the journey so far and the future for the brand.How has Bali been for you?Been here since the beginning of the 2020 pandemic. I think one word for life here would be: healing.What does Uluwatu Handmade Balinese Lace mean to you?Magical and challenging on so many levels. A fashion business in Bali. A brand that’s core skill-set is lace. Only two colours (white and black) to the range planning. Tourists as primary customer. Language barrier. An immensely talented pool, which is aging.How is it that sophistication and simplicity exists seamlessly in Uluwatu Lace? We know it’s not easy. How do you manage to achieve it?It looks easy, because ours is a story of Bali. We carry the soul of everything that’s beautiful here. By layering simplicity over and over, we are able to create sophistication. Our pursuit is perfection. Our founder Ni Made Jati focussed on love for creating great designs. She was inspired by modern women who are independent and rebellious. Over the years, we have redefined this modern woman. I think these three elements, Bali, Simplicity and Perfection are our secrets.How did the brand start…In the 1970s it seemed a good business proposition. Bali had an abundance of lace skills. An influx of foreigners was allowing exploration of new silhouettes (before lace was predominately used on Kebayas). Our founder saw the possibilities. Those were times when Bali was getting started on its lasting reputation of being heaven; of secret idyllic beaches where seekers and hippies found the surf, sand and beads, and loads of sunshine to tan their skin. She adapted the lace to the new world, from airy over layers to breezy gowns for the evening fire. The Bohemian spirit has been alive ever since.Uniquely, the Uluwatu Lace brand is cemented deeply in Bali’s history and colonial past. Can you briefly tell us more…No-one starts out to make history. Our journey gave us two rights: time and place. Bali’s lace tradition of krawang or Lobang is a rich living craft. Earliest evidence showing its use is in the 10CE, during the end of the Majapahit reign. Almost 1,000 odd years of existence. There is an unsubstantiated belief that Kerawang is the classic crochet lace of Northern Europe. Said to be carried by missionaries who travelled with the Dutch East India Company (VOC). The timeline could be anywhere around 1600CE. But the real impact can be attributed to after 1796, when the VOC was abolished and the Dutch government gained control over Indonesia, which continued until 1941.And then there was the modern journey…Yes. Somewhere around mid ’70s, Kebaya was getting its space as a classic apparel which was introduced as modesty. Lace got incorporated into the Kebaya. We have been trying to perfect the art form ever since then. This evolved into the temple culture, to exactly the same clothing culture we witness in Bali today. We have managed to transform it into something desirable globally. Breaking the limitations of design was the tipping point. With just two colors, white and black, it was a sure recipe for disaster. The fact that we are still here is something bigger than a miracle. But here we are…Why white and black?Our journey was for excellence. I suppose we reached this point naturally. It is difficult to reason why in a 50-year journey. An intelligent guess is, white was preferred due to the tropical climate and black was easy to handle. In the early years, consistent yarns in colors was not an easy proposition. Whatever the reason, we are memorable because of the two colours.How many people are involved in making your designs?Our family is around 500 individuals. More than three quarters of this number are involved in the design creation and the rest are in support operations. Each person in our ecosystem is a lifelong partner to creation of these exclusive designs.What makes this brand click?Love and Bali. You immerse in this paradise. In return the paradise diktats that you respond with honesty. That’s what we give. We do not dilute our principles to suit business obligations. Our products are made in the old fashioned way. We have steered clear of shortcuts. Each and every piece is made in the same traditional method of bamboo hoops and slow needle whirring to make the lace. Love has its own karmic journey. Maybe it’s the love that’s responding back.What are the attitudes in fashion changing over the decades? Where is fashion’s future for designs with your niche?Look at the fashion around the world. Lace and crochet are consistent. Lace is here to stay. That speaks loads on the future of lace in fashion. It’s a classic embellishment in fashion. Women love it. It’s not going away anytime soon. We are a lace brand. We need one purchase to happen in a thousand in our market to stay in business. That’s a simple logic for excellence. We have to keep creating the most simple, sophisticated designs with the same passion. Great designs don’t need volume. We are content right now.What does high thread count mean to you and why is it important to your company?Yarn is the key. Our yarn goes through immense stress, which makes it absolutely essential to have a unique tensile strength, which is stable in the lace making process, avoiding brittleness. We have conjured up a specific blend of rayon yarns to achieve this over the years. It stays unbroken for the longest stretch of action. That brings the unique sheen to our lace.How has the Covid Pandemic affected your brand?It’s been a kind of blessing in disguise. We found time for course correction. Our focus diverted from sales to being janitors (cleaning up the brand). We found scope to refine our skills. Created a data-bank of designs. Refined the skills that had been acquired over 50 years. We updated software and improved processes. Basically we did a lot of clean-up. We had to ensure our designs remain heirloom pieces. Creating possibilities of engagement to lace designs. We conceptualized a Balinese Lace Museum and initiated the process of getting nominated as a heritage craft. It was a long list.Which design will be your all-time superstar creation? Is there a story in its creation?We love almost all our ’70s designs. The decade when chic, colour and pool parties were the epitome. The age of revolution … styles that clicked. Then we were busy making something revolutionary to be loved. We got our foothold in fashion in the ’70s.How are you involved in the creative community in Bali?As the flag bearer of Balinese Lace Fashion, we are the finest on the block. Both the founder and myself are pretty much very private people. Our direct visible engagement remains slower than we would like. However, we engage with artists, graphic artists, photographers, musicians and actors. We love to be the support to young creative talents.What are the current design projects at Uluwatu Lace?This year we are engaging in a lot of very interesting projects … I like to call in non-invasive cross-innovation, where we identify non-parallel creative techniques to come together in an organic symbiotic visual extravagance. Our designers are busy rejecting designs to arrive at acceptable designs. For example, imagine trying to combine lighter Endek fabric with Balinese lace. Both techniques cannot overpower each other. The balance of weight, colour and flow is an absolutely challenging experience.Which particular Indonesian / international celebrities could wear your designs and embody what they mean?For us, Happy Salma is the epitome of what Uluwatu Lace is supposed to mean. She is the purity of how our design should be expressed. In the case of Hollywood, I would love our designs on Alicia Vikander. Her athletic features and Grecian expression are timeless. And of course, Priyanka Jonas Chopra’s dusky exoticism. If they are reading this … we love you!What’s next for Uluwatu Lace?Short-Term: make our mark on the Paris, New York, London and Tokyo fashion scenes. Medium Term: Get listed in UNESCO heritage craft category. Long Term: hopefully keep creating inspiring designs. We have a goal to make the brand 100% sustainable with minimum carbon footprint. Engage with blockchain technology to track the impact of our brand. We also hope to have a community fingerprint, where we go beyond our business obligations and leave lasting imprints within the community that defines us.IG: @uluwatu_handmade_balinese_laceFB: @uluwatulacebaliwww.uluwatu.co.ide FB: @uluwatulacebali www.uluwatu.co.id)
Lingkungan dan ekonomi bali + (The most pressing issues in Bali currently … 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.g the overall well-being of the community.)
Anak Agung Gede Sobrat + (The principal artist of the Ubud school, c … The principal artist of the Ubud school, continued working after World War II. Works in all major collections, including the Sana-Budaya Musuem, Jogjakarta.Worked closely with Bonnet and Spies. Described by Bateson and Mead as having a lively and intelligent mind he is versatile and a distinguished colourist. (PM 72). Puri Lukisan has alternative birth date of 1917Lukisan has alternative birth date of 1917)
Macet dijalan sempit + (The problem is that on narrow roads, many … 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.arge cars, it can be called the main road.)
I Ketut Rida + (The senior poet I Ketut Rida was born in B … The senior poet I Ketut Rida was born in Banjar Kanginan, Sulang Village, Dawan District, Klungkung, September 11, 1939. He finished school at SGA Stella Duce/ Kanisius Yogyakarta in 1958, then continued his B1 Indonesian Language at Dénpasar, but did not finish.From 1960 to 1987 he was appointed a teacher at an elementary school. For about 20 years, I Ketut Rida has served as the Principal of an Elementary School. In addition, he was appointed as a supervisor for kindergarten, elementary and SDLB. In the village, it was also believed to be the traditional bendésa of Sulang VillageKetut Rida said that he has been pursuing writing or composing since he was a child. Every day Ketut Rida gets stories from his grandmother. That's why Ketut Rida is feeling happy. After completing his B1 Language Department, his attention to writing activities grew, focusing on studying the Kawi language, especially in Adiparwa.He has produced several new literary works of Balinese and Indonesian literature and has received several award certificates, such as:In 1977–1978, Ketut Rida became the second winner of the Indonesian Language Writing Competition for Elementary School Teachers at the Bali Province. In 1979, he became the first winner of a prose writing competition at the Bali Arts Festival (PKB). In 1980, he won first place in the Balinese Novel Writing Competition in the framework of Language Month. In 1982, he became the second winner of Composing Geguritan at PKB. In 1991, he won first place in the Balinese Short Story Competition in the Bali Post daily. In 1995, he won the first prize in the Balinese Short Story Competition at PKB.From 1970 to 1980, many of Ketut Rida's essays were published in the Bali Post. His collection of poems entitled “Nyiksik Bulu” was published by the Dénpasar Language Center in 2004. His Balinese novel entitled “Sunari” was published by the Obor Foundation, Jakarta in 1999. This novel “Sunari” earned I Ketut Rida the Rancagé Literature Prize from the Rancagé Cultural Foundation in Bandung in 2000. In 2014 Ketut Rida received Widya Pataka from the Governor of Bali with his book entitled “Lawar Goak”. Bali with his book entitled “Lawar Goak”.)
I Wayan Westa + (The writer and humanist who won the 2014 R … 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. on March 12, 2015 at Bentara Budaya Bali.)
Theo Meier + (Theo Meier was born in 1908 in Basle, Swit … Theo Meier was born in 1908 in Basle, Switzerland. He was educated in the arts at the Basle School of the Arts. He had worked as a portrait painter for the University of Basle. He made his first trip to Berlin, where he met Liebermann and Hofer at the Berlin Academy, as well as Emil Nolde, one of the contemporary painters he admired most. He studied with Otto Dix who influenced him greatly.Meier left Europe for the South Pacific at the age of 24. To finance his travels, he founded a club, where each member promised a monthly fee in exchange for which they could choose one of Meier's paintings upon his return. He sailed to Papeete via Guadeloupe, Martinique, and the Panama Canal, inspired by the beauty he encountered, but also disillusioned by the presence of Western influence.After returning briefly to Basel, he went to Bali where his life was changed forever. In Bali, he found an innocence that he did not find in Tahiti. He befriended the German painter Walter Spies, and later moved into the German artist's bamboo house. He married his first Balinese wife in 1936. When the Japanese arrived in Bali in 1941, Meier was granted permission to stay in Bali, unlike his friend Walter Spies who met his death aboard a prisoner of war ship crossing the Indian Ocean. Unfortunately, many of his paintings were lost, some of which were given to Japanese sailors. After the war, Meier remarried, fathering a daughter.After 15 years in Southeast Asia, Meier briefly returned to Switzerland, but then returned to Bali, followed by Thailand. In 1957, he married Laiad, his third wife. In 1961, Meier moved to Chiang Mai, Northern Thailand, where he lived with Laiad in a beautiful teak house on the banks of the Ping River. He was a prolific artist and continued to paint until his death in Thailand in 1982.paint until his death in Thailand in 1982.)
Tjokorda Rai Sudharta + (Tjokorda Rai Sudharta was born in Ubud, Gi … Tjokorda Rai Sudharta was born in Ubud, Gianyar, Bali. He earned a Bachelor of Arts at Banaras Hindu University (1957) and a Master of Arts at Panjab University (1961). He earned a doctorate in literature at the University of Indonesia. He wrote many books about the advancement of Hinduism and Balinese culture. These books include Upadesa (1967), Sarasamuscaya (1976), Slokantara (1982), Asta Brata in Development (1998), Sri Rama's Advice to the Present (1990), Hindu Man (1993), Meeting God Within (1993), 2005), Bhagawadgita in Bhishma Parwa (2010), Between Plato's Greek Philosophy and Upanisad Indian Philosophy Bhagawadgita (2010).sad Indian Philosophy Bhagawadgita (2010).)
Tjokorda Raka Sukawati + (Tjokorda Raka Sukawati (3 May 1931 – 11 No … Tjokorda Raka Sukawati (3 May 1931 – 11 November 2014) was an engineer from Ubud, Bali who discovered Sosrobahu construction technology. This construction makes it easier to build flyovers without disrupting traffic flow during construction.He earned an engineering degree in Civil Engineering at the Bandung Institute of Technology (ITB) in 1962. He co-founded the Faculty of Engineering at Udayana University, Bali. He obtained his doctorate in Civil Engineering from the Faculty of Engineering, Gajah Mada University, Yogyakarta, 1996.He pursued a career at PT Hutama Karya which operates in the construction and infrastructure services sector, which is a State-Owned Enterprise (BUMN) under the Department of Public Works. Sosrobahu's technology was discovered when he was working on the flyover project between Cawang and Tanjung Priok, Jakarta, in 1988. The technology he invented is used in many countries.In 2021, his biography written by Nyoman Wijaya entitled "Stepping Without Tires" was published by Pustaka Larasan.t Tires" was published by Pustaka Larasan.)
Menerapkan Konsep Pariwisata Berbasis Masyarakat + (Tourism has a significant impact in terms … 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.essive exploitation, especially to nature.)
CWAN + (Tourism is one of the important factors in … Tourism is one of the important factors in the nation's economy, especially for the Balinese people. The occurrence of the Covid-19 pandemic has had a huge impact on the community, especially in the tourism sector in Bali. The emergence of Covid 19 resulted in a drastic drop in tourism income in Bali, starting from small traders, large businesses such as hotels, resorts, villas, drivers, luxury restaurants.In an effort to revive Bali's tourism at this time after being affected by Covid 19, there are several ways that need to be input between implementing CWAN (Cheap, Work Together, Available, Negotiation).Cheap in the sense of lowering or lowering the price of the main conditions for traveling in Bali such as swab tests or PCR, and quarantine will be very influential for the interest of visitors to visit Bali because they do not spend more money than they should and do not reduce the money prepared for the holiday.Work Together requires relations between one country and another, regional relations with other regions as well as groups and individuals need to work together, commitment and the right policies. Cooperating with the foreign minister, the tourism minister, and the health minister to vaccinate their citizens before giving travel permits so that those who visit and those who visit are safe from the COVID-19 virus.Available can be interpreted as providing facilities such as referrals regarding COVID-19 that is happening in Bali so that tourists know the latest Covid-19 situation in Bali. Able to provide information, health care and appropriate follow-up so as to provide a sense of security and comfort.Negotiation, giving tourists additional services at prices that have been negotiated, for example, there are tourists who hold birthdays, weddings, etc. in Bali, so the place, decoration, consumption, can negotiate the price that will be given to the customer. tourists with complete health protocols at affordable prices and always improving the quality of service balanced with national and international events.With the above stages, we hope to be able to make changes to make Bali tourism worldwide again, improve the economy so that it contributes greatly to the country's foreign exchange income. to the country's foreign exchange income.)
Tyra Kleen + (Tyra Kleen (29 June 1874 - 17 September 19 … Tyra Kleen (29 June 1874 - 17 September 1951) was a Swedish artist, author and women's rights activist. Her paintings, illustrations, lithographs and publications were important to the Swedish fin de siècle art movement. But above all she was an independent ethnographical researcher.In 1919, after WWI, she traveled to Java and Bali on a Swedish cargo ship. In Solo (Surakarta), Kleen worked with Beata van Helsdingen-Schoevers to write an anthropological study on the ritual court dances of Solo. Both also participated in the dance lessons. Kleen felt that dancing not only involved making the right movements on the sound of music, but that it also involved the transition into an altered state of mind to become in harmony not only with oneself, but with the Universe.Unfortunately, this project ended in July 1920 in turmoil due to clashing personalities, and van Helsdingen-Schoevers died 17 August 1920 of an unknown disease. The project was finished in 1925 with help from "Volkslectuur" (the commission of folk literature), Mabel Fowler and miss Gobée, wife of the Head of the Office for Internal Affairs, titled "The Serimpi and Bedojo Dances at the Court of Surakarta", with 16 pages of text. In July 1925 there appeared a new edition with 30 pages of text. The coloured plates were reproductions made by the Topographic Service of Kleen's drawings. For everyone involved, but especially Kleen, the result was very disappointing, because she wanted to participate in this project in order to result in a standard reference work that could be presented worldwide.When she arrived in Bali in 1920, she started a new project on the mudras, or ritual hand poses, of the Balinese Hindu priests with the assistance of the Rajah of Karangasem, Gusti Bagus Djilantik, whom she had met in Solo the year before, and of Piet de Kat Angelino. This was a turning point in her career because de Kat Angelino was able to explain to her the mudras and also encouraged the priests to cooperate. He was district-officer (controleur) of Gianjar and Klungklung for over a decade and had been collecting material on Balinese priests for years in his home in Gianjar. At his home, she could draw priests and their mudras. Their work together is presented in the book Mudras, with text and illustrations by Kleen, who acknowledged that much of the technical information about the poses and ceremonies came from de Kat Angelino and later on from R.Ng. Poerbatjaraka. Kleen spent the whole of 1921 in Java, working on the material collected in Bali the year before. She exhibited her pictures of the priests at the Art Society in Batavia. Collaboration with de Kat Angelino continued and she met him in Amsterdam on her way home. With his help an exhibition was arranged at the Colonial Institute in Amsterdam. The exhibition was favorably reviewed by de Kat Angelino in the magazine Nederlandsch Indië, Oud en Nieuw. What was the reaction at that time in the Netherlands on her work in Bali? Anne Hallema, a Dutch journalist and art-criticus wrote a critical and extensive article on the Mudra's which appeared Elseviers Geïllustreerd Maandschrift, Jaargang 34, 1924 pp. 145–147. He disqualified her work as an artist but praised her for her scientific contribution. He ends his article with stating that we have to be grateful that this stranger from the land of Selma Lagerlöf toke the initiativ to study the mudra's of the Balinese priests in performing his Hinduistic rituals. Specially the Indologists and Orientalists should be happy with the appearance of this publication.Another crucial exhibition was Två vittberesta damer (Two Travelling Ladies) at Liljevalch's Public Art Gallery in Stockholm 1922, where she showed art and artifacts from Java and Bali together with Swedish photographer and author Ida Trotzig contributing works from Japan. This exhibition was the starting point for the "Bali-fever" in Sweden. Kleen's depictions of mudras were shown at the Victoria and Albert Museum in 1923.Besides Mudras, Kleen published two other books about Bali: Ni-Si-Pleng, a story about black children written for white children (1924), and, seven years later, Tempeldanser och musikinstrument pa Bali, printed in 300 numbered copies, translated in 1936 as The Temple Dances in Bali.Kleen's study on the mudras, the exhibition in Amsterdam at the Colonial Institute and the publication of her books made her internationally known. For her scientific ethnographic work on Bali, Kleen was awarded the Johan August Wahlberg silver medal in April 1938, given to individuals who have "promoted anthropological and geographical science through outstanding efforts".Walter Spies was the central figure in the circle of artists residing on the island in Ubud, Klungklung and Karangasem. He was considered to be the greatest expert on Balinese dance and drama. Together with the British dance critic Beryl de Zoete, he wrote the standard 1938 work Dance and Drama in Bali. Spies was jealous of the international success of Kleen[citation needed] and wrote a very critical nine-page review of the Temple Dances in Bali in the journal Djawa (1939). He complained, "the text and the depictions are filled with so many mistakes, errors and incorrect statements that one must shake one's head." Spies claims that as an ethnographic document the book has no value. As a result, there were nearly no references to the work of Kleen in any ethnographic periodicals or publications after this critical review. It is only in 1962 that C. Hooykaas in his article "Saiva-Siddhanta in Java and Bali" supported the importance of the study on mudras by de Kat Angelino and Kleen.Kleen contributed work to various European magazines, including Sluyters' Monthly, Nederlandsch Indië Oud en Nieuw, Ord och Bild and Inter-Ocean, between 1920 and 1925 and influenced in this way the perception and expectations of foreign visitors to Bali. Furthermore, she influenced with her colourful, vivid and dynamic art-deco drawing style the development of painting by local artists in Bali, not in a one-way influence but more a kind of mutual influence.Mostly these local paintings were made for the touristic market and depicted daily life instead of exclusively being concerned with gods, demons and the Ramayana and Mahabharata epics. In this way, she took part in the marketing of "the last paradise". This also meant that she became associated with this type of magazine drawing instead of her more important ethnographic publications. more important ethnographic publications.)
Umbu Wulang Landu Paranggi + (Umbu Wulang Landu Paranggi, born in Kanang … Umbu Wulang Landu Paranggi, born in Kananggar, Waingapu, East Sumba, East Nusa Tenggara, August 10, 1943. His poems have been published in many mass media, including the Indonesian Pulpit, Basis, Pusara Magazine, Arena, Yogya Pioneer, Bali Post, Journal CAK, Kolong Magazine. Some of his poems are also summarized in joint anthologies, including Manifes (1968), Milestone III (1987), The Ginseng (1993), Saron (2018), Tutur Batur (2019). Umbu used to take care of the literature room at the Pelopor Yogya weekly, which was headquartered on Jalan Malioboro. On March 5, 1969, together with several other figures, Umbu founded the literary community Persada Studi Klub (PSK). At that time Umbu was dubbed the President of Malioboro. The pioneers of Yogya and PSK gave birth to hundreds or even thousands of poets scattered throughout Indonesia.Since 1978 Umbu lived in Bali and in July 1979 was asked to become the literary editor of the Bali Post daily. As he did in Pioneer Yogya, Umbu faithfully, diligently, and painstakingly, nurtured the seeds of writers to grow into well-known figures in Indonesian literature.For his dedication to the world of literature, Umbu was awarded a number of awards. These include the 2018 Cultural Award from the Faculty of Cultural Sciences, University of Indonesia, the 2018 Dharma Kusuma Award from the Bali Provincial Government, the Literature Service Award from the Language and Book Development Agency in 2019, and the Jakarta Academy Award (2019). Umbu died on April 6, 2021y Award (2019). Umbu died on April 6, 2021)
I Gusti Bagus Rai Utama + (Universitas Dhyana Pura Asst. Professor of Tourism at Dhyana Pura University, Bali Br. Tegaljaya, Dalung, Kuta Utara Badung, Bali Denpasar, Bali 80351 Indonesia http://www.undhirabali.ac.id)
Bart Verheijen + (Verheijen is a post-doc in History in the … Verheijen is a post-doc in History in the University of Amsterdam. He holds a PhD in Napoleonic history from Radboud Universiteit Nijmegen. His works focusing on the age of revolutions, political theory in the 19th century, colonial citizenship and Indonesian history and culture. He lived and worked in South East Asia including Myanmar and Indonesia for three years and affiliated with Hasanuddin University in Makassar, Sulawesi.sanuddin University in Makassar, Sulawesi.)
Wayan Jengki Sunarta + (WAYAN JENGKI SUNARTA was born in Denpasar, … WAYAN JENGKI SUNARTA was born in Denpasar, Bali, June 22nd, 1975. He is a graduate of Udayana University, Cultural Anthropology, Faculty of Letters, and studied painting at ISI Denpasar. Jenkgi has been writing poetry since the early 1990s, and later also wrote lyrical prose, short stories, features, essays/art and culture articles, critics/art reviews, and novels.His writings are published in various local and national mass media, among them Kompas, Koran Tempo, Media Indonesia, Republika, Suara Pembaruan, The Jakarta Post, Jawa Post, Pikiran Rakyat, Bali Post, Jurnal Kebudayaan Kalam, Jurnal Cerpen Indonesia, Majalah Sastra Horison, Majalah Gong, Majalah Visual Arts, Majalah Arti, and Majalah Sarasvati.Arts, Majalah Arti, and Majalah Sarasvati.)
Ketut Swardana + (Was born in 1969 in Singaraja. He graduat … 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.o his art is satisfaction to his feelings.)
Wayan Gde Yudane + (Wayan Gde Yudane was born in Kaliungu, Den … Wayan Gde Yudane was born in Kaliungu, Denpasar, 1964. He graduated from Karawitan Arts at ISI Denpasar. He has worked on many musical works for concerts, theater/performance arts, literature, and films. He won the Melbourne Age Criticism award for Creative Excellent at the Adelaide Festival, Australia (2000). He performed at the Wangarata Jazz Festival, Australia (2001), toured Europe with the Temps Fort Theatre, the France and Cara Bali Group, as well as the Munich and La Batie Festivals. His works include the music for the films Sacred and Secret (2010), Laughing Water and Terra-Incognita, and Arak (2004), and so on. Crossroads of Denpasar is one of his works that was ordered by radio New Zealand and later purchased by radio Australia and BBC London. Another work, Paradise Regained, which was inspired by the 2002 Bali bombings, was played by pianist Ananda Sukarlan in various international performances. His collaborated with Paul Grabowsky, The Theft of Sita, performed at the Next Wave Festival, New York City, 2011.e Next Wave Festival, New York City, 2011.)
Wayan Gunasta + (Wayan Gunasta alias Gungun, was born in Ny … Wayan Gunasta alias Gungun, was born in Nyuh Kuning, Ubud. He has written poetry since he was a teenager and has been featured in many articles in the Bali Post. In addition to poetry, he pursued the art of cartoons, vignettes, sketches, painting. He has studied "character design and animation" in Japan. Since 1979 he has been diligent in exhibiting his works at home and abroad, such as Balai Budaya Jakarta (1979), Frementale Art Gallery (Australia, 1994), Oriental City (London, England, 2004), V Gallery (Yogya, 2007), etc. His published cartoon and comic books include Mahabhrata Comic Series (1992), Bali in Cartoon (1997), Gunasta Sketsa Rhythm (1999), Bali Pulau Cartoon (2004), Propoor Tourism (2006), Balinese Coloring Book Series (2008). He initiated and published a collection of poems by eighty-one Balinese poets whose works were published in the Bali Post, entitled Edition Hitam Putih (Wayan Pendet Foundation, 2006).tam Putih (Wayan Pendet Foundation, 2006).)
Wayan Turun + (Wayan Turun was born in Banjar Kedaton, Ke … Wayan Turun was born in Banjar Kedaton, Kesiman, Denpasar, 17 July 1950. He completed his formal education at SR I Kesiman, in 1966. He graduated from SMEPN in 1969 in Denpasar, and he completed SSRI in 1971 in the same city. Since childhood he has loved the arts. Artistic blood flows from his mother, a janger dancer. He is known as a skilled undagi (traditional Balinese building architect), and is also skilled at making bade (corpse towers). He studied Asta Kosala Kosali (basic rules of traditional Balinese architecture) from Pekak Kenjing, Anak Agung Mel, and Ida Pedanda Oka. Apart from that, he studied philosophy about art and religion from Ida Pedanda Kekeran, Ida Pedanda Made Sidemen, Ida Pedanda Bajing, Ida Rsi Agung Penatih and Ida Dalem Pemanyun. Because of his expertise in Balinese and Old Javanese literature, he was often trusted to write inscriptions and copy lontar. He also wrote literary works, such as kidung and kakawin. For his services in the field of arts and culture, he was awarded the Cultural Upakara Charter from the Mayor of Denpasar in 1995.harter from the Mayor of Denpasar in 1995.)
I Wayan Januariawan + (Wayan was born in Jauary 1986. He is a gra … 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. 2005, and had solo exhibitions from 2014.)
Utsaha Nanggulangin Luu ring TPA Suwung +
BALI MELALI: Nangiang Pariwisata Ring Bali + (Who doesn't know about the island of Bali? … Who doesn't know about the island of Bali? The island is already famous to foreign countries. Tourism in Bali is the source of the economy that supports most Balinese people. But as it is now, Bali tourism has dimmed since the Covid-19 virus is endemic in the world. It has been two years since the Covid-19 virus has attacked our beloved earth. Several policies have been implemented. However, Bali tourism has not been able to return to normal. We as citizens, especially as young Balinese, should provide and carry out creative efforts that can stimulate tourism in Bali.In this era of globalization, everything is digital and sophisticated. We can use this advanced technological development as a tool to generate tourism in Bali. One of the creative businesses that can generate tourism in Bali is an application called BALI MELALI. This application uses technology in the form of VR or Virtual Reality. In the BALI MELALI application, it displays tourism destinations in Bali. If you use this VR technology, tourists or anyone who has downloaded the BALI MELALI application can see the tourism places that we want. Using this VR, tourism destinations in Bali can be seen for real, this can foster a sense of longing for Bali and cause tourists to want to come again to Bali.In the BALI MELALI application, it not only displays well-known tourism destinations, but should also display places that are not widely known. In Bali, there are actually many tourist destinations that are not well known. If you only show places like Kuta Beach, Pandawa Beach, many tourists will already know. That's why in this application it is very good if it shows places that are not known by many people. Not only that, the BALI MELALI application does not only display virtual or images, but can be filled with sounds that are in that place. For example at Candikuning Waterfall, if we travel to waterfalls, there are definitely sounds like the sound of gurgling water, the sound of trees blowing by the wind, the sound of birds and so on.The presence of images and sounds in the BALI MELALI ibi application can certainly cause longing from tourists and travel to Bali. Hopefully the business in the form of the BALI MELALI application can help Bali tourism return to normal. Hopefully Bali tourism will rise soon.al. Hopefully Bali tourism will rise soon.)
Pemberantasan Korupsi Demi Kelancaran Program Nangun Sat Kerthi Loka Bali + (Who doesn't know that Bali is one of the r … Who doesn't know that Bali is one of the regions with the largest tourism revenue in Indonesia. Even in 2023 Bali began planning a development called Nangun Sat Kerthi Loka Bali which means as 6 main developments for the welfare and happiness of human life. Nangun sat kerthi loka bali itself has goals related to advancing Bali tourism, where there are 6 main sources, namely, atma kerthi, segara kerthi, danu kerthi, wana kerthi, jana kerthi, jagat kerthi which means for the welfare of human life in each part.But development in Bali will not be able to run well if there are still many unscrupulous people who utilize development funds for personal gain or can be referred to as corruption. Examples such as the case of corruption of Paibon Wargi Temple development funds in Klungkung Regency and the case of corruption of SPI funds at the Udayana Campus. This is one of the factors inhibiting development in Bali. Even those who are supposed to investigate corruption cases turn a blind eye and are mute to all these incidents.Therefore, it is hoped that the Bali Provincial Government can take these problems seriously. So that the Nangun Sat Kerthi Loka Bali program runs well without any cases of corruption in the development.ny cases of corruption in the development.)
Anak Agung Meregeg + (With his cousins, including Soberat, A.A. Meregeg was one of the defining artists of the Ubud style. Dermawan (2006: 148) has his year of birth as 1908 and states that he was born in Padangtegal, rather than Batuan.)
Thomas Wright + (Wright is a Ph.D candidate in Anthropology … Wright is a Ph.D candidate in Anthropology from The University of Queensland, Australia. He held a bachelor of journalism majoring in Anthropology and International Relations from the same university. His research interests include Bali, Indonesia, ethnography, political ecology, water, tourism, pollution and knowledge., water, tourism, pollution and knowledge.)
SalamTempelPemilu2024. + (dear my fellow countrymen Elections are t … dear my fellow countrymenElections are the pillars of democracy, the foundation of justice and popular representation. But, unfortunately, there is a dark shadow that threatens the integrity of this process: the practice of bribery. Bribing elections is an act that undermines the soul of our democracy, shakes people's trust, and brings us to the brink of injustice.Brethren, we must realize that bribery is not an act of pride, but a reproach of the democratic values we uphold. When we celebrate voting rights as a privilege, bribing is a betrayal of the right itself. This is not the way to build a just and just future.Elections should be the stage where ideas and visions for progress compete fairly. Bribing will only create inequality and enrich the few, while depriving democracy of the rights of many others.Let us together reject this practice of bribery. We must unite in a spirit of honesty, integrity, and responsibility. Remember that the strength of a nation lies in its citizens' unity and trust in the democratic system.Brothers, let us make the election a reflection of the noble values of this nation. Choose leaders based on their capacity, integrity, and dedication to serving the people. In this way, we can ensure that every vote is respected and every citizen feels the positive impact of the election results.Together, we build a just future that free from the shadow of bribery. Let's aim to make each election a significant step toward achieving justice and prosperity for all of us. Regards.ice and prosperity for all of us. Regards.)
Salam Tempel Pemilu 2024 + (dear my fellow countrymen Elections are t … dear my fellow countrymenElections are the pillars of democracy, the foundation of justice and popular representation. But, unfortunately, there is a dark shadow that threatens the integrity of this process: the practice of bribery. Bribing elections is an act that undermines the soul of our democracy, shakes people's trust, and brings us to the brink of injustice.Brethren, we must realize that bribery is not an act of pride, but a reproach of the democratic values we uphold. When we celebrate voting rights as a privilege, bribing is a betrayal of the right itself. This is not the way to build a just and just future.Elections should be the stage where ideas and visions for progress compete fairly. Bribing will only create inequality and enrich the few, while depriving democracy of the rights of many others.Let us together reject this practice of bribery. We must unite in a spirit of honesty, integrity, and responsibility. Remember that the strength of a nation lies in its citizens' unity and trust in the democratic system.Brothers, let us make the election a reflection of the noble values of this nation. Choose leaders based on their capacity, integrity, and dedication to serving the people. In this way, we can ensure that every vote is respected and every citizen feels the positive impact of the election results.Together, we build a just future that free from the shadow of bribery. Let's aim to make each election a significant step toward achieving justice and prosperity for all of us. Regardstice and prosperity for all of us. Regards)
Wayan Sila + (“The very first night I slept over at my n … “The very first night I slept over at my new studio an owl flew into the garden. It wasn’t a coincidence that I noticed it perched in a tree,” says Balinese artist Wayan Sila. “This was aspecial experience and powerful omen. A gift from the Gods to me.”The owl is much revered by indigenous cultures and in folklore around the world as aguardian spirit, as well as a wise creature capable of extraordinary sight. Balinesemythology reveals that if an owl visits a family compound while a female member ispregnant this is indeed a positive sign. Burung Hantu literally translates from bahasaIndonesia into the English language as ghost bird; or the owl, the mysterious bird of thenight.“I have a unique connection with owls. It is a potent image that resonates with my heart. Iwas intuitively led to draw the owl and then I began to include it in my works. It has nowmanifested into a personal symbolic image, equivalent to the Barong. The owl alsoencourages me to reflect on the joy that I derive from my family life,” says Wayan.Born in Ubud, 1970, Wayan Silawasinspired by his grandfather, well known local artistWayan Barwa. From an early age he regularly visited Barwa’sstudio and gallery,surrounded by the paintings of his Balinese heritage, this was the perfect scenario for achild to learn to draw and paint.Wayan soon became adept in the “Ubud Style” of modern traditional Balinese painting. Inthe evolution of Balinese painting during the last century, from its origins of the ClassicalKamasan style that concerned teachings from the Hindu Epics, each village then began tocreate their own distinctive style.The Ubud style moved away from the religious and began to be characterized bynarratives that involve daily village life and depictions of rural and environmentallandscapes. The artists from Ubud were quick to adopt western influences in the 1930’s,depth of field, shades of color, localized narratives and the development of the humanfigure. The Kamasan style was originally a collective work and never signed by anindividual. The new personalized and expressive form of Balinese painting has its rootsfirmly entrenched here in Ubud.Wayan’s canvases are beautifully composed and resound with an overwhelming sense ofbalance and harmony. His highly detailed works are first sketched in pencil then outlinedin black Chinese ink, finally they are rendered in acrylic paint with a fine kaus bamboo, asmall piece of bamboo crafted with a tiny point to apply the medium. A large canvas, 100 x80 cms, may take up to six months to complete. “In 1997 I was inspired to include owls in my compositions after seeing a wonderful sketch by a Japanese child.”Wayan’s relationship with the burung hantu then activated an endearing association withthe people of Japan, to whom the owl is symbolic of happiness. He first visited Japan in2002 and his premiere solo exhibition there was in 1998. Every year since then Wayan has enjoyed the privilege of exhibiting work in galleries, department stores, even in theIndonesian Consulate in Tokyo. He has held over 15 solo exhibitions in Japan, andnumerous other exhibitions in Bali, Jakarta, Spain and also at the prestigious Agung RaiMuseum of Art in Ubud.“It’s an honor for me to be invited on intercultural exchange programs teaching youngJapanese students traditional Balinese painting techniques. I do this each year when I visitJapan.” Wayan has since developed a healthy market for his works there and continues toell to the Japanese tourists who often visit his Ubud studio/gallery.Wayan Sila, acrylic on Canvas, 2012,45x 60cm.Wayan SilaGarden + Bale studio of Wayan Sila.Wayan Sila. 2012, chinese ink +acrylic on canvas, 60x80cm.Wayan’s cooperative works with Japanese poet Yoko Jatiasih have been the focus of two books. They initiallycollaborated in 1998 to create music and poetry for his paintings. In 2004 their first book “Kata Kata” Echoes From TheWoods, and then in 2010 “Pelan Pelan” were published.Browsing through these books, the creative synergy between the two is easy to recognize. Yoko’s short poems, no morethan 6 lines, resonate with an uncomplicated intelligence. Upon the opposing page to the text are Wayan’scomplimentary images created especially to accompany each poem.As you contemplate the words essence, as well as study Wayan’s images, the mysterious bird of the nights’full roundeyes are firmly transfixed upon you. The fusion of words along with the images perplex the imagination, and then defyyou to believe their medium is the owl’s silent and alluring gaze.In 2011 Wayan relocated to his new studio gallery in Jalan Bisma in Ubud. Journey 400 meters along Jalan Bisma until theroadside urban development gives way to the effervescence of the padis. Down on the right hand side nestled in thesawah you will find his small abode. Look for the sign on the road then follow the narrow path that divides the greenswaying fields to his studio/gallery encircled by the bamboo fence.Wayan has created a personal space that reflects the elements that enrich and sustain him. Situated in the middle of theyard he has built a bamboo bale which functions as his studio, yet also as a place of quiet retreat. The surroundinggarden is abundant with organic vegetables, fruit trees, medicinal herbs, ornamental shrubs and flowers. Indeed, Wayanhas created his special own oasis.As you enter his two Bali dogs are quick to offer enthusiastic toothy greetings. The verdant vegetation is soothing andinviting. I discover two rabbits, four exotic birds and frogs and snakes frequent visitors, so Wayan tells me. Stonecarvings covered with brilliant green moss hide among the foliage, shrines and small Hindu temples are adorned withofferings and the sweet sent of burning incense seduces the senses. An outhouse serves as a simple kitchen and two rooms contain Wayan’s gallery painting collection and books for sale.When we observe Wayan’s paintings we enter into a beautiful and extraordinarily tranquil world. His owls’ peer outfrom within forests and lush scenes, their big eyes possess a magnetic pull and communicate a language that isdeciphered in our hearts. Wayan Sila is a painter of immense sensitivity and his works are vehicles of healing qualities and love.re vehicles of healing qualities and love.)
I Nyoman Popo Priyatna Danes + (“What the modern architecture is still try … “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 DanesFrom 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.”e to the goddess of prosperity, Dewi Sri.”)

Alexander R. Cuthbert + (Alexander Cuthbert is Emeritus Professor o … Alexander Cuthbert is Emeritus Professor of Planning and Urban Development at at the University of New South Wales in Sydney, Australia. He was educated in Scotland with degrees in Architecture, Planning and Urban Design, and a Doctorate from London School of Economics and Political Science. His main interest has been in urban design, with teaching and practice in Greece, Britain, the United States, Hong Kong and Australia.he United States, Hong Kong and Australia.)

" KEMACETAN YANG TERJADI DI BALI " + (" JUST CONNECTION OCCURRING IN BALI " OM … " JUST CONNECTION OCCURRING IN BALI "OM SWASTIASTU I respect the Government of Bali and I love happy friends. Let us give thanks to the presence of Almighty God who has given Asung Kertawara to all of us so that we can gather in this place. Before I deliver this speech, I first want to thank you for the time and opportunity given to me to deliver my speech of hope. to the Bali government entitled "JUST CONNECTION OCCURRING IN BALI". Traffic jams arise because the volume of motorized vehicles is not proportional to the volume of the road. The number of motorized vehicles and cars increases every day. As a result, cars, public transportation and motorbikes pile up on the streets, traffic jams occur. Congestion can also slow down the performance of people who are stuck in traffic jams. Workers will be late arriving at work and students will arrive late at school. This especially happens to people who choose to use private transportation rather than public transportation. Traffic jams occur because too many people use motorized vehicles or cars and also because many road users do not comply with traffic regulations. On this occasion I would like to invite you to overcome traffic jams in Bali. If we cannot overcome them, at least we can reduce traffic jams in Bali. There are 2 main things we can do to reduce congestion. First, use public transportation, don't use private vehicles, using public transportation can reduce the volume of vehicles on the road. In the end, traffic jams will be reduced. Second, get used to walking if the distance is not too far. This method is simple but difficult to do. Even though walking is healthy, and by walking we are contributing to reducing traffic jams in Bali. I am sure that by taking these 2 actions traffic jams in Bali can be reduced. However, the Bali Government is expected to improve the comfort and safety of public transportation. I am sure that if public transportation is safe and comfortable, there will be more passengers. Finally, the number of private transportation users will decrease by itself. This is all I can say, hopefully it is useful for all of us. Sorry if there are wrong words and actions. For your attention I would like to thank. OM, SHANTIH, SHANTIH, SHANTIH, OMk. OM, SHANTIH, SHANTIH, SHANTIH, OM)
"Nyinggihang Masa Depan Bali sane Berkelanjutan: Pikobet lan Tugas Calon Pamimpin" + ("Beloved fellow citizens, General electio … "Beloved fellow citizens,General elections are the time when we as citizens have the power to shape our future. Bali, our beloved homeland, faces a number of issues that require urgent attention from our future leaders.As we prepare to choose new leaders, it's crucial to consider pressing issues that demand immediate solutions. Among the various problems at hand, some prominent issues that need immediate attention from Bali's future leaders are:Firstly, the environment and sustainability. Bali, with its natural beauty, is under significant pressure due to rapid growth. Conservation of the environment and protection of natural resources are crucial to prevent further damage to the island. Future leaders must have a clear vision to preserve Bali's natural beauty while also managing sustainable growth.Secondly, adequate infrastructure. Despite Bali's status as a popular tourist destination, there's a need for better infrastructure to support economic growth and everyday activities of the people. Effective leaders should prioritize the development of suitable infrastructure without compromising environmental preservation.Thirdly, social welfare. There exist disparities in Bali that need to be addressed. Improving access to education, focusing on public health, and increasing job opportunities with fair wages should be the primary focus of future leaders. Even social welfare will form a strong foundation for Bali's progress.Fourthly, transparency and accountability in governance. It's essential for leaders to build transparent and accountable governance. The community should have complete trust in their leaders and feel heard in the decision-making process.Fellow citizens, this election isn't just about selecting leaders but about choosing leaders with a clear vision, strong commitment, and the ability to address pressing issues. Let's choose leaders who can lead Bali towards a better future, one that is fair and sustainable for us all.Thank you."r and sustainable for us all. Thank you.")
Hildred Geertz + ("Hildred was born in Queens, New York on F … "Hildred was born in Queens, New York on February 12, 1927 and reared there and in Teaneck, New Jersey. A graduate of Antioch College, she received her Ph.D. from Radcliffe College in 1956. Her first book, The Javanese Family (Free Press of Glencoe, Inc.), was published in 1961. After her initial fieldwork in Java, she taught at The University of Chicago from 1960 to 1970 before coming to Princeton University in 1970. At Princeton, Hildred taught courses on the history of anthropological theory, the anthropological study of life stories, the anthropology of art, and the ethnographer’s craft.In 1972, Hildred became the first chairperson of the Department of Anthropology at Princeton University, and thus the first woman chair of a department at Princeton, a position in which she served for many years. She was named Professor Emeritus in 1998.Hildred did extensive fieldwork in Morocco, and in Java and Bali, Indonesia and returned to Indonesia repeatedly during her career to conduct the research which helped fuel her extensive list of publications. She completed more than two years of fieldwork research in the village of Batuan on the island of Bali. Working in the same village that was studied in the 1930s by Margaret Mead and Gregory Bateson, she focused on the interconnections between different Balinese art forms and how and why such forms have changed through time. She investigated the effects of economic development and tourism on Balinese artistic endeavor.The first book from the research in Batuan, Images of Power: Balinese Paintings Made for Gregory Bateson and Margaret Mead, was published in January 1995 (University of Hawaii Press). In 2004,The Life of a Balinese Temple: Artistry, Imagination, and History in a Peasant Village was also published by the University of Hawaii Press. Among her other works, Professor Geertz is co-author with her former husband Clifford Geertz of Kinship in Bali (University of Chicago Press, 1975), and co-author with Clifford Geertz and Lawrence Rosen of Meaning and Order in Moroccan Society (Cambridge University Press, 1979). Most recently, in 2017, at the age of 90, her book, Storytelling in Bali, was published by the Dutch publishing house Brill."shed by the Dutch publishing house Brill.")
John Darling + ("John Darling moved to Bali in 1969 and de … "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-filmmakerSee 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/w.webhost66.com/my-favourite-redhead-john-darling/)
Marko Randelovic + ("Marko Randelovic is an award winning film … "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." they strive to overcome such challenges.")
BALI DAKI NAPI BALI MEWALI? + ("OM SWASTYASTU" "OM AWIGHNAM ASTU NAMO SID … "OM SWASTYASTU""OM AWIGHNAM ASTU NAMO SIDHAM""OM ANO BADRAH KRATAWO YANTU WISWATAH"I would like to express my thanks to the presenter, for the time given to me, the honorable ladies and gentlemen of the jury and prospective members of the Bali Province DPD, as well as my fellow participants, whom I am proud of. Before that, let us pray to the presence of Almighty God. Thanks to Him, we can gather here with happiness at the Bali Public Participation Wikithon with orations, which carries the theme, Election 2024: what are the most urgent problems to be addressed by Bali's prospective leaders ? Hopefully events like this can be held frequently to develop a threatening Bali.Happy guests, as we know, Bali is known as the island of a thousand temples with its very beautiful environment, which is often visited by foreign tourists, because Bali is one of the focuses of tourism in Indonesia. This is what drives many foreign tourists to come to Bali. Even though Bali is a tourist destination, this is not the main topic of discussion, but there are problems that have a significant impact on Bali. As we know, this so-called era of destruction, if we talk about the problems in Bali, will cause Bali to collapse. Unfortunately, the problems in Bali have not received treatment that is useful for the island of Bali.Happy guests, if you look at life now it is certainly different from previous life, especially with the problems, the most important problem is related to the environment and land of the island of Bali which has been built up and used as a tourist attraction, this is what will make the island of Bali In terms of land and environment, it will become increasingly narrow, if all the land and environment in Bali is made into a tourist attraction, where will we (humans), animals and others live and live our daily lives? Talking about the land environment that has been converted into a tourist spot, of course there are many daily activities carried out to produce plastic waste for society, this is what will become Bali's next problem. The existence of rubbish in Bali is very sad and gets very little attention, this is what creates big dangers, for example: floods, dengue fever and others. Moreover, as has recently been reported, the rubbish bins or Suwung landfills in Bali are very full and cause fires, giving rise to smoke pollution which causes disease. Are we all willing to live and do activities in dirty places? Of course, many of you are reluctant to live in a dirty place. Happy attendees, if I conclude it is related to the problems in Bali, so that Balinese leaders can provide solutions related to problems: the transfer of land or the environment to become tourist attractions and the rampant waste which has not received special attention from the government. Based on these problems, if we don't work together from now on as the front guard, it is certain that the island of Bali will gradually collapse. The island of Bali, which has been nicknamed a thousand temples, will lose its sanctity. Based on these problems, my hope is that the elected leader of Bali 2024 will be able to find a solution so that the Balinese people can implement the noble values that exist in Bali, namely TRI HITA KARANA, because these problems are related. with the TRI HITA KARANA value, so that Bali can return to the way it was before.Happy guests, that is the speech I can deliver, I hope you all are aware of the current condition of Bali.re aware of the current condition of Bali.)
Infrastruktur Jalan + ("Om Swastyastu, Thank you for the time giv … "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".paramashanti "Om Shanti Shanti Shanti Om".)
"Urati ring Luu Plastik Mangda Palemahan Asri" + ("Om swastiastu" To the presenter, thank y … "Om swastiastu"To the presenter, thank you for the time given to me. The judges whom I respect, the audience whom I am proud of and the participants in the Balinese oration competition whom I love, there is the title of my work "Caring about Plastic Waste for a Clean Environment". I thank God Almighty or Ida Sanghyang Widhi Wasa for being able to gather in good health today.Earth there are currently many problems with plastic waste which can cause great harm to the earth. Ladies and gentlemen, plastic waste is a big danger if we don't pay attention to the surrounding environment and can cause disaster in the future.Then who will remember? Not just ourselves, all of us, both students, teenagers and parents, everyone living on earth, including Bali, which is famous for its natural beauty, should care about the existence of plastic waste. This is a behavior that includes teenagers as the main actors.Remember, the job of teenagers is not only to decorate and take selfies in beautiful places, but no one pays attention to the rubbish in front of them, which causes disasters such as landslides, floods, pollution and others.So that we are not exposed to danger, we should throw rubbish in the trash, we should not throw rubbish in the surrounding environment such as rivers, roads, sewers, etc. Come on, let's not throw rubbish carelessly so that the surrounding environment remains beautiful and sustainable! We should work together with the government and all communities to create a clean environment free from plastic waste."Om Santhi,Santhi,Santhi Om"astic waste. "Om Santhi,Santhi,Santhi Om")
Caesilia Nina Yanuariani + ("Reina Caesilia" was the pen name given to … "Reina Caesilia" was the pen name given to Caesilia Nina Yanuariani by Umbu Landu Paranggi. This reclusive poet was born in Surakarta on January 29, 1965. She grew up in Singaraja, Bali and attended school at SMAN 1 in Singaraja and then studied in the Faculty of Literature at Udayana University. She worked as a journalist with both Bali Post and Nusa. She wrote poetry since she was a teenager and has been published in the Bali Post, and her poetry has been included in a number of anthologies, such as, Pedas Lada Pasir Kuarsa (2009), Dendang Denpasar Nyiur Sanur (2012), Negeri Poci 6: Laut Negeri (2015), Klungkung: Tanah Tua, Tanah Cinta (2016), and Saron (2018). Her poem entitled "Women Who Become Sailors" was nominated for an award in the national poetry writing competition held by the Leon Agusta Institute in 2014. She went into a coma after falling off her motorcycle and died on April 2, 2019 due to a severe cerebral haemorrhage.2019 due to a severe cerebral haemorrhage.)
Generazi Z Menuju Bangkit + ("Rising from the Ballad of Silence" Curre … "Rising from the Ballad of Silence"Currently, we are not just gathered as individuals but as part of a generation, a generation that plays a significant role in shaping our future, Generation Z.Rise, oh Generation Z, from the ballad of silence that often silences our voices. In the dynamics of social and political complexity, we are called not to be passive spectators but active participants. This is a call to assert our identity, express opinions, and advocate for social justice values.For too long, we have been trapped in silence, feeling restrained by norms that may not always align with our aspirations. It's time to understand that our right to speak and express opinions is unquestionable. Rise above the fear, fear of conflict, or rejection. Now is the time to transform silence into constructive rebellion.Let's stop the apathetic attitude and allow social and political issues to grow without genuine responses. Remember, the policies and decisions made by the generations before us will shape the world we inherit. Don't let those above us determine our path without scrutiny from below.I invite us all to embrace differences, to listen without prejudice, and to speak with integrity. We are voices capable of shaking the foundations of inequality and injustice. In openness and courage, let's together create the change we envision.Be pioneers of change, Generation Z. Rise from the ballad of silence, speak up, and show the world that we are change agents capable of bringing social and political justice. Thank you.g social and political justice. Thank you.)
Robert Lemelson + ("Robert Lemelson is a cultural anthropolog … "Robert Lemelson is a cultural anthropologist, ethnographie filmmaker and philanthropist. Lemelson received his M.A. from the University of Chicago and Ph.D. from the Department of Anthropology at the University of California Los Angeles. Lemelson’s area of specialty is transcultural psychiatry; Southeast Asian Studies, particularly Indonesia; and psychological and medical anthropology. Lemelson currently is a research anthropologist in the Semel Institute of Neuroscience UCLA, an adjunct professor of Anthropology at UCLA, and a visiting professor at USC. His scholarly work has appeared in numerous journals and books. Lemelson founded Elemental Productions in 2007, a documentary film company. He has directed and produced over a dozen ethnographic films related to culture, psychology and personal experience. He is also the founder and president of the Foundation for Psychocultural Research, which supports research and training in the social and neurosciences."training in the social and neurosciences.")
I Made Nanda Adi Saputera + ("Small but full", is the appropriate expre … "Small but full", is the appropriate expression to introduce a student of SMP Negeri 1 Selemadeg who comes from the foot of the mountain. I Made Adi Saputera, who is familiarly called Nanda, was born in Mendek, October 8, 2004. This class VIII B student likes to organize. He is included in the OSIS board for the 2017-2018 term and has just been inaugurated as the OSIS board for the 2018-2019 term. As a student council administrator, he has never reneged in carrying out his obligations. Apart from that, Nanda also participates in extracurricular Nyastra Bali. He also has hobbies of football and drawing. The second child of Ida Ayu Komang Yunika with I Wayan Merdana from Banjar Mendek, Wanagiri Kauh Village, Selemadeg Tabanan District, is very fond of studying literature, especially writing Balinese script. According to Nanda, writing Balinese script is an art based on feelings. He taught himself this hobby. His teacher noticed his aptitude and provided guidance to participate in competitions. When he was in elementary school, he won first place in the Balinese script writing competition at the Selemadeg district level in 2017 and first place in the Balinese script writing competition at the Tabanan level in the framework of Porsenijar 2017.When he was in junior high school, he started by learning to write Balinese script in lontar. Thanks to his perseverance in learning, he won 1st place in writing Balinese script at the Tabanan regency level papyrus at Porsenijar in 2018, the 1st place writing the Tabanan regency invitation lontar at the Balipost Goes to School event in 2018 and at the Tabanan district ambassador at the Balinese script writing competition at Bali Arts Festival (PKB) in 2018. Like other smart students, after graduating from SMP Nanda intends to continue his education at SMA Negeri 1 Tabanan. He also wants to continue his education at top universities such as the University of Indonesia (UI) or the Bandung Institute of Technology (ITB). This 14-year-old student who has dreams of becoming a painter said that his achievements are inseparable from the motivation of his parents and teachers. He emphasized that every child has the right to learn, regardless of who, from where, and wherever they go to school. In essence, EDUCATION IS A RIGHT, BUSINESS IS A RESPONSIBILITY. IS A RIGHT, BUSINESS IS A RESPONSIBILITY.)
Will Goldfarb + ("Will Goldfarb’s culinary journey is a lon … "Will Goldfarb’s culinary journey is a long story that deserves its own book. It stretches from his time at culinary school—Le Cordon Bleu—more than 20 years ago to stints in the kitchens of Gerard Mulot in Paris, Tetsuya Wakuda in Sydney and the legendary El Bulli in Catalonia, Spain. The master pastry chef launched the original Room4Dessert 15 years ago, at 17 Cleveland Place in New York City. He was nominated as Outstanding Pastry Chef at the prestigious James Beard Foundation Awards. After closing the original New York establishment, Chef Goldfarb arrived in the beautiful island of Bali. He worked with the teams at Ku De Ta and Potato Head, before opening Room4Dessert in Ubud in 2014." Winner of The World's Best Pastry Chef 2021.nner of The World's Best Pastry Chef 2021.)
Fitri Amalia Rhamadani + (.Rhamadani completed her undergraduate studies in the Travel Industry study program, Faculty of Tourism, Udayana University. Currently, Rhamadani works as a marketer at a tourism services company in line with her previous experience.)
Arie Smit + (15 April 1916 – 23 March 2016. Dutch-born … 15 April 1916 – 23 March 2016. Dutch-born Indonesian painter who lived on Bali.Smit was the third of eight children of a trader in cheese and confectionery in Zaandam. His family moved in 1924 to Rotterdam, where Smit eventually studied graphic design at the Academy of Arts. In his youth he was most inspired by the work of three artists named Paul (Signac, Gauguin and Cézanne). In 1938 he joined the Royal Netherlands East Indies Army. After three months he was sent to the Dutch East Indies , where he worked as a lithographer for the Dutch army's Topographical Service in Batavia, engraving relief maps of the archipelago. Etching Balinese mountains onto maps ignited his desire to one day go to Bali.In early 1942 Smit was transferred to the infantry in East Java, but was soon captured by the invading Japanese forces. He spent three and a half years in forced labor camps building roads, bridges, and railways on the Burma Railway in Thailand, and Burma. After the Japanese capitulation in August 1945, Smit convalesced in Bangkok until January 1946. After being stationed in Denpasar, Bali as a staff writer for the infantry, he returned to the Topographical Service in Batavia in September. Until its discontinuation in 1950, he remained employed at this service, eventually becoming head of the drawing department, but in his spare time he criss-crossed Java as a painter and in October 1948 had his first exhibition in Batavia/Jakarta.[5] After Indonesian Independence on December 27, 1949, all Dutch nationals had to choose between Dutch or Indonesian citizenship within two years. Smit briefly considered emigrating to South Africa, but decided to stay; he became an Indonesian citizen late in 1951. In the following years he taught graphics and lithography at the Institut Teknologi Bandung in West Java.BaliOn invitation by the Dutch artist Rudolf Bonnet he visited Bali in 1956, together with Dutch artist Auke Sonnega. He soon met art dealer James (Jimmy) Clarence Pandy, who ran a gallery and souvenir shop. Pandy invited Smit to stay in a house on stilts at the beach of Sanur. Smit and Pandy remained friends and formed a partnership. Pandy was well-connected; Sukarno would sometimes bring his state guests to his gallery. With his love for bright colors, Smit was captured by the Balinese landscapes in its 'riotous light', and soon decided to stay to depict its villages, rice terraces, palm trees and temples.In 1960, while touring the village of Penestanan in the Ubud District where he then lived, he came upon some boys drawing in the sand. Impressed by their talent, Smit invited them to his studio, where they became the first of a growing number of students. With minimal instruction but lots of encouragement and material support, his pupils created a naive style of genre painting that became known as the 'Young Artists' style, which at its peak had 300-400 followers. Though he is considered the father of the movement, its style is quite different than any of Smit's own styles over the years.From the time of his arrival in Bali, Smit moved some 40 times, "to see what is beyond the next hill". He stayed longest in his favorite areas of Karangasem and Buleleng. He finally settled in 1992 in the village of Sanggingan near Ubud under the patronage of Pande Wayan Suteja Neka, founder of the Neka Art Museum. In recognition for his role in the development of painting on the island, Smit received the Dharma Kusama (Flower of Devotion, a Balinese cultural award) in 1992 from the government of Bali. The Arie Smit Pavilion was opened at the Neka Art Museum in 1994 to display his works and those of contemporary Balinese artists. The Museum Bali in Denpasar and the Penang Museum in Malaysia also have collections of his work. Smit further had exhibits in Jakarta, Singapore, Honolulu and Tokyo. Smit lived near Ubud for the rest of his life, but died on 23 March 2016 in a hospital Denpasar at three weeks before turning 100.enpasar at three weeks before turning 100.)
Roelof Goris + (1898 – 1965 Curriculum vitae 1898 born in … 1898 – 1965Curriculum vitae1898 born in Krommenie (North-Holland) on June 91917 final examinations gymnasium (A and B)1917-1918 military service1918-1926 studied Indonesian languages (linguistic officer), Leiden University; Arabic (Snouck Hurgronje), Sanskrit, Javanese and Old Javanese (Vogel and Hazeu), Hindu-Javanese history (Krom), and general linguistics (C. C. Uhlenbeck); amongst his older fellow students were W. F. Stutterheim and P. V. van Stein Callenfels1926 PhD under the supervision of N.J. Krom, Leiden University1926 officer for the study of Indonesian languages at the Archaeological Service, charged with the checking of transliterations of Old Javanese inscriptions1928-1939 adjunct archaeologist of the Archaeological Service in Bali1939-1941 librarian to Mangkunegoro VII, Surakarta (Central Java)1941-1945 service in the Royal Netherlands-Indies Army; civilian internee1946 on leave in the Netherlands1947-1958 linguistic officer of the Netherlands-Indies and later Indonesian Government, head of the Singaradja division of the Institute for Linguistic and Cultural Research of the University of Indonesia1958 retirement1959 librarian of the Faculty of Letters of Udayana University, Denpasar (South Bali)1962 research-professor, teaching Balinese epigraphy and early history1965 died in Denpasar on October 4Special activities and positionsScientific adviser of the Kirtya (Foundation) Liefrinck-van der Tuuk (set up in 1928), 1932-Co-worker at the Bali MuseumTeacher at a secondary school and a training-college for teachers (S.M.A. and S.G.A.)Teacher of German, 1951S.M.A. and S.G.A.) Teacher of German, 1951)
Ida Bagus Ketut Diding + (1911/1914 - 1990. Batuaninteractive.com: " … 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 theirciriticism. 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 wasthe 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."pictures by Diding are in the collection.")
Anak Agung Made Djelantik + (1919-2007 A prince from Karangasam who stu … 1919-2007A prince from Karangasam who studied in Holland during the Second World War and returned to Indonesia as a medical doctor. Later upon his return to Indonesia he was sent to different parts of Eastern Indonesia that were frequently quite isolated to help the people there. In the course of these postings both he and his wife contracted malaria but he also became a specialist in the treatment of malaria. This proved to be extremely useful when Dr Djelantik worked for the World Health Organization which sent him to Iraq, Somalia and Afghanistan. Later he became the head of Bali’s main teacher’s training college in Sanglah and helped to found the Medical Faculty which he later also headed at the University of Udayanan in Denpasar.Dr Djelantik playing the violin as a young boy. (photo: Bulantrisna Djelantik)Dr Djelantik was a Renaissance man who was also active in the field of Balinese culture, both studying and promoting it. He was head of the Walter Spies Society with its Walter Spies Festival which focused on music and dance. Together with Fredrik de Boer, Hildred Geertz, and Heidi Hinzler he established the Society for Balinese Studies or Lembaga Penkajian Kebudayaan Bali in 1985. It held annual conferences in Bali and also abroad and according to Adrian Vickers Dr Djelantik was the natural leader of the organization. Via the organization he promoted both Balinese culture as well as the study of it. Dr Djelantik wrote papers on Balinese culture and a book on Balinese paintings which covers Balinese art history as well as Balinese aesthetics. Later he taught Aesthetics at the Akademi Seni Rupa Bali or the Balinese Academy of Arts. He also wrote an autobiography called “The Birthmark, Memoirs of a Balinese Prince”. Birthmark, Memoirs of a Balinese Prince”.)
Josiah Alexander Sila + (A funny thing happened to Joey Alexander o … 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/. at https://joeyalexandermusic.net/about/.)
I Gusti Agung Wijaya Utama + (A photography graduate from the Indonesian … A photography graduate from the Indonesian Art Institute (ISI), Denpasar.Balinese photographer I Gusti Agung Wijaya Utama S. Sn has a unique vision to raise awareness of the past through distinct, eye-catching fine art and reconstruction portrait photographs. Gung Ama, as he is known, does not use digital technology, but a process from the past; the Afghan Box Camera. As the name suggests, the camera is linked with Afghanistan, being first used in villages by travelling photographers before there were any photography studios.“Digital technology and the modern mindset desiring immediate outcomes and satisfaction are impacting upon the art of photography and contributing to the erosion of traditional Balinese values,” said Gung Ama, born in Batubulan Gianyar in 1988, whose interest is photography began in 2006. “Nowadays, smartphones equipped with sophisticated cameras are affordable and an essential modern icon and tool. Moreover, social media and selfies dramatically impact lifestyles and alter our concept of identity. By recreating the nostalgia and curiosity of old Bali through manual, handmade photos, my objective is to reignite cultural memory while inspiring awareness and discussion among all the generations.”“My photography reflects the growing sentiment within the Balinese seeking a return to the wisdom of the past,” Gung Ama said. “In the face of modernity and the homogenisation of cultures, I believe it is important to celebrate and embrace cultural icons to help reinforce our identity. In addition, it’s essential to be reminded of our forefather’s messages, culture lost and the wisdom of the past.”Article by Richard Horstmanof the past.” Article by Richard Horstman)
Symon + (A stylistic heir to Walter Spies, Le Mayeu … A stylistic heir to Walter Spies, Le Mayeur and his mentor, the Indonesian-Dutch painter Arie Smit, Symon was among the last in the lineage of foreign artists who have helped raise Bali’s international profile as an exotic destination for art and design. Renowned for his vivid pop style with new iconic motifs, he was born on April 13, 1947, as Ronald Thomas Bierl in Detroit, Michigan, the United States, and made Bali his home in 1978. He was installed in the Puri Kaler of Ubud Palace by the Ubud royal family, who had for decades been patrons of foreign artists. Symon later took over Arie Smit’s cottage in nearby Campuhan, where his studio grew into local landmark. In 2014, he moved full-time to his other destination studio at Alas Sari in North Bali, Art Zoo, which he had founded in 1998.Symon, who passed away on April 15, 2020 of natural causes from sepsis, was incredibly prolific and successful, creating many thousands of artworks in several countries.His work was widely collected by tastemakers like former minister Joop Ave, especially during the 1990s and 2000s trend for Asian neotraditional style. Many collectors built submersive Symon environments, as at Qunci Villas in Lombok, West Nusa Tenggara. A book series on Southeast Asian interiors had to swap some paintings in many of its featured homes because too many of their architects and owners had put Symons on their walls.Symon’s art is cherished for its vivid color, strong outlines and exuberant energy. His figurative paintings and sculpture project a friendly, fantastical appeal, combining the rawness of real-life models and scenes within compositions from mythology and lesser-known Bali history. His sense of line, hue and witty slogans draw from his origins as a cartoonist in the 1960s American counter-culture.Raised in a house at the corner of Detroit’s Normal Road and Common Street, he was far from normal or common and yearned to escape convention. He was an exciting personality to be around, popping with fresh ideas. An outrageous showman, he would tell wild anecdotes and burst into rhyming raps. As a precocious teen under the pseudonym John Ka, he wrote to Beat Generation poets like Allen Ginsburg, William Burroughs and William Carlos Williams, who sent him new poems to illustrate. He soon became an artist in underground zines like Fifth Estate and got to know New York legends like Frank Zappa and Andy Warhol.Until making Bali his permanent home, he kept trying new locations. As a youth, he twice ran away to Rome, where he studied under the sculptor Emilio Greco and got the attention of film director Federico Fellini, who dubbed him “the magician of the air”. On the overland route from Amsterdam to India, a road accident in Turkey broke his hip. While recovering he renamed himself Simon White. He finally made it to India and then went north to Nepal.Over eight years in Kathmandu, Simon helped preserve the traditional art of Tibetan woodblock printing. With three partners he opened Himalayan antique shops in London, Amsterdam and New York. Like many “Easties”, he became expert in Asian traditional knowledge, which later infused his artworks. In the mid-1970s, Simon spent periods in the New York art scene, Colombia and Wales, England. In each new location, his studios echoed Warhol’s Factory in being a networking hub and a venue for arty “happenings”. He formed several creative teams, from the Psychic League in Rome and Fantabulous Group in Nepal to the Levitation League in Legian, Bali. In his Ubud garden, he staged theatrical productions at the amphitheater designed by the futuristic architect R. Buckminster Fuller. In each location, he trained up teams of local artisans. In Nepal he hired Tibetan refugees to carve new and replacement woodblocks to the old ones he printed from. He brought screen printing to Bali in the 1980s and then to Cambodia in Minefield Studios at Siem Reap in the early 1990s. His most famous breakthrough was JakPak, a range of convertible clothing co-created with Annie Anderson and Kiyoshi Okuda, in which pop-hued jackets and hats could turn into bags through hidden pockets. JakPak became Bali’s first clothing export and an international phenomenon collected by the likes of Mick Jagger.Symon kept ahead of the curve, since his aim in life was constant reinvention under a motto “towards a functional reality”. Many of his creations were practical as well as fun, from JakPak to his Toyniture — quirky furnishings like his Lady Chairs and giant dining table. He conjured outlandish architecture, like his key-hole windowed pagoda at Art Zoo, which he filled with sculptures and oddities. The maximalist effect of all these “studio atmospherics” beguiled visitors and in turn became props for his paintings. The Art Zoo remains visually stunning. Symon’s heir and Art Zoo’s Balinese manager aim to reopen it as a destination where locals and tourists can continue to appreciate Symon’s distinctive art of Bali.ppreciate Symon’s distinctive art of Bali.)
Abu Bakar + (Abu Bakar, is a playwright and theater fig … Abu Bakar, is a playwright and theater figure, born in Kediri, Tabanan, Bali, January 1, 1944. His father is Javanese and his mother is Balinese. Apart from theater, he also pursued literature and photography. There are many plays that he has performed and directed. He had visited several countries for artistic matters, among others, France and the United States. In America, Abu performed his collaboration with Ikranegara artists in the form of the theatrical performance “Berani-Beraninya Waiting Godot” (1990). He also directed the performances “Kereta Kencana” and “Indonesia Luka” (both in 2012) and “Malam Jahanam” (2013). In the field of literature, apart from being published in several newspapers, his works have also been published in "My God Butterflies", "America Outside the Window" and "Fireflies". He also wrote a monologue script entitled “Wanita Batu” (2006) and television dramas “Comedy Hitam”, “Bali Crying (2004), and so on. Abu is the founder of the “Polyclinic Theatre” and “Earth Theatre”. “Polyclinic Theatre” and “Earth Theatre”.)
Namtamin Kalanguan Jagat Bali ring Ambaralaya + (According to Mr. Sandiaga Salahudin Uno as … 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.nd Bali tourism can rise and stand strong.)
Achmad Obe Marzuki + (Achmad Obe Marzuki was born in Jakarta, Ju … Achmad Obe Marzuki was born in Jakarta, July 30 1975. He has lived in Bali since 2002 and is active in the arts, including playing theater, writing poetry, reading poetry, photography and painting. He deepened his writing skills through a journalism course at Planet Senen, Central Jakarta in 1995. He joined the Jakarta Theater Forum and the South Jakarta Cultural Service's Fairy Tale Institute (1995-1996). Reads his poems in the free pulpit on the 1998 TIM reform stage. Joined the AGA Theater (Waterhouse Children) and founded the API Community (Indoor Market Children) in 2000. Founded Pelangi Art Bengkel Handicraft 2001. Together with Sanggar Poerbatjaraka he was involved in the performance Layon ( 2008) and Hong (2008) at the VI Nusantara Student Theater Gathering in Surabaya. Now he has joined the Jatijagat Life Poetry community in Denpasar, Bali.t Life Poetry community in Denpasar, Bali.)
Adrian Vickers + (Adrian Vickers is an Australian author, hi … Adrian Vickers is an Australian author, historian and professor of Southeast Asian Studies at the University of Sydney. He has studied and documented Gambuh dance traditions, Panji (prince) stories, and other Indonesian art and cultural subjects as well as historiography and colonialism. He has a BA and PhD from the University of Sydney, is the Professor of Southeast Asian Studies (Personal Chair) and Director of the Asian Studies Program. Vickers' most recent book, The Pearl Frontier, co-written with Julia Martínez, won the University of Southern Queensland History Book Award at the 2016 Queensland Literary Awards.rd at the 2016 Queensland Literary Awards.)
Adrien-Jean Le Mayeur de Merpres + (Adrien-Jean Le Mayeur de Merpres was a Bel … Adrien-Jean Le Mayeur de Merpres was a Belgian painter who lived in Bali and donated his house in Sanur as a museum. He was born in Brussels, Belgium, February 9, 1880. The Impressionist painter arrived in Bali in 1932 and first rented a house in Banjar Kelandis, Denpasar. It was also at Kelandis that he became acquainted with Ni Nyoman Pollok, a Legong dancer who was 15 years old at the time, and later became a model for his paintings.Le Mayeur's works using Ni Pollok as a model were exhibited in Singapore for the first time in 1933 and sold out. Then Le Mayeur bought a plot of land on the shores of Sanur Beach which he used as a studio and house. That is where every day Le Mayeur painted with Ni Pollok as the main model. In 1935, Le Mayeur married Ni Pollok.In 1956, the Minister of National Education of the Republic of Indonesia, Bahder Djohan, visited Le Mayeur's house and was fascinated by these gentle works. Bahder then suggested to Le Mayeur that his house would later be used as a museum. Le Mayeur agreed and worked even harder to improve the quality and add to his collection of paintings.On August 28, 1957, Le Mayeur signed a testament in which Le Mayeur bequeathed all his possessions including land, house, and everything in it to Ni Pollok as a gift. At the same time, Ni Pollok then transferred everything that was inherited from her husband to the Government of Indonesia to be used as a museum.In 1958, Le Mayeur suffered from ear cancer. Accompanied by Ni Pollok, he was treated in Belgium. Two months later, on May 31, 1958, Le Mayeur died at the age of 78 and was buried in Brussels. Ni Pollok then returned to Bali to take care of his house until her death on July 18, 1985 at the age of 68 years.Le Mayeur's works can be enjoyed at the Le Mayeur Museum, which is located on the shores of Sanur Beach, Denpasar.ed on the shores of Sanur Beach, Denpasar.)
Agung Bawantara + (Agung Bawantara was born in Klungkung on J … Agung Bawantara was born in Klungkung on January 30, 1968. He graduated from the Faculty of Animal Husbandry at the University of Mataram, NTB. He has been writing poetry since the 1980s in Bali Post, Karya Bakti, Nova, Berita Buana, Swadesi, Media Indonesia, etc. His collected poems can be found in Sahayun (1994), and in Klungkung: Tanah Tua, Tanah Cinta (2016). He initiated the Denpasar Film Festival. He has also written short stories, children's stories, fairy tales, and novels.ildren's stories, fairy tales, and novels.)
Agung Wiyat S. Ardhi + (Agung Wiyat S. Ardhi was born in Puri Anya … Agung Wiyat S. Ardhi was born in Puri Anyar Keramas Gianyar on February 3, 1946. He passed away on 24 Februay 2020. He graduated with a degree from ASTI and a Bachelor of Hindu Religion and worked as a teacher at PR Saraswati Gianyar. He also served as Head of the SPG Saraswati Gianyar, was Head of Saraswati Gianyar High School, was a Gianyar Regency Associate Member. As well he was a member of the Gianyar Regency Wija Kusuma Award Selection Team, the Gianyar Regency Extension Team, the Gianyar Regency Gita Main Supervisory Team, and the Gianyar Kabupatén Gianyar Development Team. In addition, he is also well-known as a Drama Gong player / dancer. He received Rancage Literary Awards in 2001 for a work entitled "Gang Girang Sisi Pakerisan" and in 2010 for his services to the field of Modern Balinese literature. In 2015, he received a Widya Pataka from the Governor of Bali for a Balinese play entitled "Bogolan" .i for a Balinese play entitled "Bogolan" .)
Aldwin Yusgiantoro + (Aldwin is a senior analyst for AkarAsia. H … Aldwin is a senior analyst for AkarAsia. He recently graduated with a master’s degree in International Development Studies at George Washington University’s Elliott School of International Affairs, specializing in private sector development. He received his B.A. in International Affairs from the University of Colorado at Boulder, focusing on Southeast Asian politics and economy.g on Southeast Asian politics and economy.)
Alexander R. Cuthbert +
Anak Agung Ayu Bulantrisna Djelantik + (Anak Agung Ayu Bulantrisna Djelantik was b … Anak Agung Ayu Bulantrisna Djelantik was born in Deventer, the Netherlands on September 8, 1947. She is the eldest daughter of Dr. Anak Agung Made Jelantik (UN Doctor). She has loved dance since childhood and is now a Legong dance maestro. Besides being known as a dancer, she works as an ENT specialist and lecturer at the Faculty of Medicine, Padjadjaran University, Bandung. Bulantrisna is the granddaughter of Anak Agung Anglurah Djelantik who was the last king of the Karangasem Kingdom, Bali. At the age of ten, Bulantrisna was invited by President Soekarno to the Presidential Palace in Tampaksiring, Gianyar, Bali to entertain Palace guests. Her main mentors are Anak Agung Mandera and Gusti Made Sengog, the first generation of Legong dancers. Besides Legong dance, Bulan also mastered other dances, such as Oleg. Dancing for the Moon is a release of emotion, creativity, joy, moving with soul, and as a means of prayer. Her love for dance is not only limited to movement, but she also founded a dance studio called "Ayu Bulan" in 1994. One of her dance creations is the Legong Asmarandana dance. Bulantrisna died on February 24, 2021 at Siloam Hospital, Semanggi, Jakarta due to pancreatic cancer she suffered.rta due to pancreatic cancer she suffered.)
Anak Agung Bagus Sutedja + (Anak Agung Bagus Sutedja, the governor of … Anak Agung Bagus Sutedja, the governor of Bali who headed the island twice, was born in 1923 and vanished on July 27, 1966. His first term as head of Bali's executive body, from 1950 to 1958, was determined by the Regional Government Council, while the legislative body, Paruman Agung, which was composed of delegates from Bali's eight kingdoms, was superseded by the Temporary Regional People's Representative Council (DPRDS). He was re-elected as Bali's governor in December 1959, having served as the island's temporary regional head from 1958 to 1959 before being ousted by I Gusti Bagus Oka. His second term of office ended in 1965, a few months after the G30S/PKI. His second term of office ended several months after the G30S/PKI occurred in 1965. He was then replaced by I Gusti Putu Martha. He "disappeared" on July 29 1966 in Jakarta, thought to be a victim of political kidnapping that occurred at that time.cal kidnapping that occurred at that time.)
Anak Agung Gede Ngurah Puspayoga + (Anak Agung Gede Ngurah Puspayoga was born … Anak Agung Gede Ngurah Puspayoga was born in Denpasar, 7 July 1965. He completed his Bachelor's degree at Ngurah Rai University, Denpasar, in 1991. He is Minister of Cooperatives and Indonesian Small and Medium Enterprises in President Joko Widodo's Working Cabinet. He served from 2014 to 2019. Before becoming a minister, he served as Mayor of Denpasar for two periods, namely 1999-2004 and 2005-2010. In the second period, halfway through, he was elected Deputy Governor of Bali for the 2008-2013 period.Governor of Bali for the 2008-2013 period.)
Anak Agung Made Cakra + (Anak Agung Made Cakra was born in Denpasar … Anak Agung Made Cakra was born in Denpasar, November 11, 1928. He is a musician and Balinese pop songwriter who was very popular in his time. He taught himself music at the age of seven. In 1943, when he was still a SR (People's School), he participated in a Japanese song competition in Singaraja, and managed to get the attention of a Japanese musician who was present at that time. The Japanese musician then mentored and employed him.In 1950 he collected music in Denpasar and formed an orchestra group and in 1953 the group performed around Denpasar. He also joined the kroncong orchestra group Puspa Teruna led by Ida Made Rai. Then he joined the Melati Kusuma keroncong orchestra led by Merta Suteja, the Merta Kota keroncong orchestra and the Cendrawasih keroncong orchestra. He is also involved in routine musical activities at RRI Denpasar Station. He then formed and led the New Dawn keroncong orchestra group.In addition to performing music, Gung Cakra also writes songs and musical compositions. One of his most famous songs is entitled "Kusir Dokar". In 1963, the song was often played by the band Putra Dewata founded by Gung Cakra and his colleagues. The band's musical instruments were made by Gung Cakra himself with easily available materials. In 1976, Gung Cakra began to enter the recording studio through Bali Record. Apart from "Coach Dokar", his popular songs are "Bungan Sandat" and "Ada Kene Ada Keto".e "Bungan Sandat" and "Ada Kene Ada Keto".)
Andrew Clay McGraw + (Andy McGraw received his Ph.D. in ethnomus … Andy McGraw received his Ph.D. in ethnomusicology from Wesleyan University in 2005. Dr. McGraw has published several articles and a monograph (on Oxford) concerning traditional and experimental music in Southeast Asia and has written articles on jazz, music in American jails and Cuban music. He is an active performer and directs a Balinese gamelan orchestra for the Richmond community.elan orchestra for the Richmond community.)
I Ketut Angga Wijaya + (Angga Wijaya is the pen name of I Ketut An … Angga Wijaya is the pen name of I Ketut Angga Wijaya. Born in Negara, Bali, February 14, 1984. Learned to write poetry since high school when he joined the Cultural Paper Community under the care of the poet Nanoq da Kansas. His poems have been published in Warta Bali, Jembrana Post, Independent News, Riau Pos, Bali Post, Jogja Review, Serambi Indonesia, Denpost, Tribun Bali, tatakala.co, balebengong.id, qureta.com, gallerybukujakarta.com, simalaba. net and Dian Sastro's Poetry Anthology for President! End of Trilogy (INSIST Press, 2005) and Chewing Geram (One Hundred Poems Against Corruption) published by the Manikaya Kauci Foundation, the Corruption Eradication Commission (KPK) and Jatijagat Kampung Poetry (2017). His poetry collection entitled “Notes Pulang” was launched in January 2018. Angga works as a journalist in Denpasar.. Angga works as a journalist in Denpasar.)
Antonio Maria Blanco + (Antonio Blanco was born on September 15, 1 … Antonio Blanco was born on September 15, 1911, in Manila, the capital of the Philippines. Both of his parents were Spanish, a fact that Blanco believed linked him geographically and spiritually to Miro and Salvador Dali. His father settled in Manila during the Spanish - American War, where he attained prominence as a physician. Blanco was educated at the American Central School in Manila. During his high school years he loved the arts, literature and language classes but struggled in scientific subjects. It is no wonder that he spoke six languages - Spanish, French, English, Tagalog, Indonesian and a bit of Balinese. After completing high school in Manila, Blanco studied at the National Academy of Art in New York under Sidney Dickinson. During those early formative years, Blanco concentrated on the human form, fascinated by the female body more than any other subject matter. To further his studies and ignite his traveling spirit, he traveled extensively throughout the world before he finally landed in Bali in 1952. The King of Ubud gave Blanco a piece of land to set up his home and studio in Campuan, Ubud, at the confluence of two sacred rivers. Blanco and his Balinese wife, the celebrated dancer Ni Ronji, lived in their mountain retreat, barely leaving it for the world outside. Following a brief trip to the United States, where Blanco acquired many new collectors, the couple never left their fantasy home again.Living in serene surroundings with his four children, Tjempaka, Mario, Orchid and Maha Devi, Bali became Blanco's center. He was fascinated by the island and completely captivated by its charm. Blanco lived and worked in his magical hilltop home until his death in 1999, feverishly creating his fantasy portraits of beautiful women. Surrounded by lush gardens, rice fields and with a Banyan tree standing over his family's temple, Antonio Blanco proceeded to create a new reality for himself. His artistic outpourings of this isolated world became much sought after by eager art lovers, collectors and promoters. Within a few years, Blanco became the most famous foreign artist to make Bali his home. He was recognized in both Indonesia and abroad, receiving numerous Blanco Awards and commanding huge prizes at international auctions.By the end of his life, Blanco had begun building his museum at his studio in Campuan. Dramatically, he died just before its inauguration. His funeral was marked by a very important Blanco Cremationin Ubud. It was Blanco's dream to turn his studio-mansion into a museum. His son, Mario, fulfilled this dream by following his path to become a painter. The Blanco Renaissance Museum is now open to the public, exposing both the maestro's and Mario's art works. both the maestro's and Mario's art works.)
James Danandjaja + (April 13, 1934 - October 21, 2013. James … 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).), and Some Problems with Folklore (1980).)
Arif Bagus Prasetyo + (Arif Bagus Prasetyo was born on September … Arif Bagus Prasetyo was born on September 30, 1971, has lived in Denpasar since 1997. He is known as a poet, literary critic, fine arts curator, and book translator. Alumnus of the International Writing Program, University of Iowa, Iowa City, USA. Received a number of awards in the field of writing, including: the Jakarta Arts Council Literary Criticism Prize, the Jakarta Arts Council Fine Arts Criticism Prize, and the Bali Provincial Government Widya Pataka Award. His books: Witness Words: 18 Literary Essays (soon to be published), Memento: Poems (2015), Memento: Poetry Books (2009), Epiphenomenon: Study of Selected Literature (2005), Stephan Spicher: Eternal Line on Paper (2005), Beyond the Forms : A Face of Modern Indonesian Painting (2001), Mangu Putra: Nature, Culture, Tension (2000), and Mahasukka: Book of Poetry (2000).00), and Mahasukka: Book of Poetry (2000).)
Arik Agustina + (Arik Agustina is a lecturer in IPB INTERNASIONAL, she graduated from Udayana University and got the master degree in Chemical Studies.)
Dewi Dian Reich + (Artist and writer. Dewi Dian is founder of … Artist and writer. Dewi Dian is founder of Sawidji Gallery & Co.Dewi Dian Reich was born in Australia of mixed Indonesian and European parentage. Dewi has a deep love for Nature, art, history and the traditions in her Indonesian heritage. She has called Bali her home for nearly 20 years.Dian is a graduate of the Australian National Art School in Fine Arts majoring in Photography and painting disciplines with emphasis on art history and theory. Undertook post graduate studies in Digital Media, Linguistics and Asian Studies.Dian is focused on the ongoing development of Sawidji Gallery and studio. The economic changes brought about by the Covid Pandemic to Bali was a catalyst. There was already a need to reassess the conditions affecting the integrity of Fine Art in Bali. Which is never separate from the intricacies of the culture itself. Sawidji may explore these themes. However, it simply wishes to celebrate the talents, the community and the Nature that we are fortunate to be a part of. Nature that we are fortunate to be a part of.)
Strategi Membangkitkan Perekonomian Di Bali + (As for the aspirations that I want to pour … As for the aspirations that I want to pour out to revive the economy in Bali, the points are as follows:There is control of the epidemic itself. The main thing that must be done is to reduce cases of transmission of the Covid-19 virus in Bali through the acceleration of the Covid-19 vaccination program. We can make this the main fortress in the face of the COVID-19 outbreak in Bali. Then the next step is to tighten the procedures (3M) on the island of the gods by involving all elements of society and foreign tourists who will vacation in Bali to participate together in complying with the program. This is done to restore the world's trust in the island of Bali through the discipline of health care, and the addition of health facilities so that they are adequate and suitable for use, such as the construction of self-quarantine rooms, providing Thermal Detectors or rapid tests and ensuring the safety and comfort of tourism, because good Health Tourism actually can increase the interest of tourists to vacation in Bali. Not only in terms of progress: the island of Bali must also optimize all existing fields to participate in supporting the economy, so that this strategy does not only come from the tourism sector but through optimizing all existing sectors, such as the Agriculture Plantation Sector, the Village-Based Digital Empowerment Sector. Customs, Endek and Songket SME Centers, Creative Economy SMEs and others. Through the cooperation of all economic actors, we can slowly revive the economy in Bali. The next step is through the development of the Essential Business Travel Corridor (TCA), the collaboration carried out with several countries for the purposes of Essential Business, Diplomatic and Service which has been initiated by the government. Of all the points above, one point that is no less important is to build a positive image to foreign countries towards tourism in Bali, so that tourists are more interested in vacationing in Bali. This can be done by improving the hospitality sector (through HR training), improve facilities, make tourist attractions more attractive, cheaper rates and others to improve the tourism sector in Bali to make it more attractive to tourists. As we know, the island of Bali is a tourist island that has a variety of interesting tourist attractions, along with culinary and and cultural traditions adding positive points to the tourism sector in Bali.tive points to the tourism sector in Bali.)
Sembrama Wacana Manggala Dinas Pariwisata Provinsi Bali + (As the Head of the Balinese Tourism Minist … As the Head of the Balinese Tourism Ministry, I congratulate and thank you for the fourth Public Participation Wikithon competition organized by BASAbali Wiki. This competition is very useful during the COVID-19 pandemic. Why is this? First, based on the competitions held, the government can get input or suggestions from the Balinese community about what efforts can be made to restore Bali.Please, millennials, help the government. Give us some useful ideas so that we can revive tourism in Bali as it was or even better in the future. Second, teenagers or millennials, do not hesitate to speak out about environmental and cultural issues in Bali. The Balinese government needs your ideas, to resuscitate tourism in Bali. If the young or millennial generation can synergize their ideas with the government through this wikithon competition, then the development of Bali in the Nangun sat kerthi loka Bali” vision will be realized (ie respect for Balinese customs, traditions, art and culture, wisdom and language).ns, art and culture, wisdom and language).)
Helen Creese + (Associate Professor Helen Creese's researc … Associate Professor Helen Creese's research interests include Balinese textual and literary traditions, Balinese history and historiography and gender. Her research spans historical and contemporary periods. It draws extensively on indigenous textual traditions written in Indonesian, Balinese, Old Javanese as well as colonial sources in Dutch and French. Her publications include translations of both classical and modern texts.She is the author of Bali in the Early Nineteenth Century: The Ethnographic Accounts of Pierre Dubois (2016); Women of the Kakawin World: Marriage and Sexuality in the Indic Courts of Java and Bali (2004); Guide and Index to the Hooykaas-Ketut Sangka Balinese Manuscript Collection in the Australian National University Library (2004); and Parthayana: The Journeying of Partha. An Eighteenth-Century Balinese Kakawin (1998). She has co-edited 'The Stigmatisation of Widows and Divorcees (janda) in Indonesian Society,' Special Issue of Indonesia and the Malay World (with Lyn Parker, 2016); From Langka Eastwards: The Ramayana in the Literature and Visual Arts of Indonesia (with Andrea Acri and Arlo Griffiths, 2011); 'Gender, Text, Performance and Agency in Asian Cultural Contexts,' Special Issue of Intersections: Gender and Sexuality in Asia and the Pacific (with Rosie Roberts, 2008); Seabad Puputan Bali: Perspektif Belanda dan Bali (with Henk Schulte Nordholt and Darma Putra 2006); and 'Old Javanese Texts and Culture,' Special Issue of Bijdragen tot de Taal , Land- en Volkenkunde (with Willem Van der Molen, 2001).Her current research projects include an investigation into textual traditions, identity and cultural production in contemporary Bali, a literary history of Bali, and a number of projects on precolonial Balinese history.She was elected as a Fellow of the Academy of Humanities of Australia in 2007. She serves on an number of editorial advisory boards including the Southeast Asian Publications Series of the Asian Studies Association of Australia, Asian Studies Review, Intersections: Gender and Sexuality in Asia and the Pacific and Indonesia and the Malay World.Pacific and Indonesia and the Malay World.)
I Wayan Sadha + (Author and cartoonist I Wayan Sadha was bo … 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).man Betara (short story collection, 2014).)
Ayu Diah Cempaka + (Ayu Diah Cempaka was born in Gianyar, July … Ayu Diah Cempaka was born in Gianyar, July 18 1993. She graduated in French Literature, Faculty of Cultural Sciences, Gajah Mada University, Yogyakarta. Apart from writing literature (poetry), he is a writer & film festival programmer. Became a programmer at the Yogyakarta Documentary Film Festival (FFD) (2015-2019) and Balinale – Bali International Film Festival (2022). He served on the Asian short film selection committee (2022) and community jury (2017) at the Jogja NETPAC Asian Film Festival (JAFF), jury team at the 2018 Indonesian Film Festival (FFI), as well as guest lecturer on 'Film Aesthetics', Film & Television Department, Art Institute Indonesia (ISI) Denpasar 2021. The film review was published in several media such as Cinema Poetica, Film Criticism Collective – Yamagata International Film Festival, Goethe Institut Indonesien, Ruang Journal, Bali Post, and Balebengong. In 2016 – now he is Cultural & Communication Officer at Alliance Francaise Bali.amp; Communication Officer at Alliance Francaise Bali.)
I Gusti Ayu Laksmiyani + (Ayu Laksmi full name I Gusti Ayu Laksmiyan … Ayu Laksmi full name I Gusti Ayu Laksmiyani, born in Singaraja, Bali, November 25, 1967. She is a singer, songwriter, dancer, film and theater actress. Was known as a lady rocker in the early 90's. In 2011, twenty years since his first album was released, she re-emerged with her latest album, Svara Semesta. Currently, Ayu Laksmi is active again in various local, national and international music events/festivals.Ayu grew up in a family that loves art, especially music. Since getting to know the world of the stage at the age of 4 years, Ayu began to actively participate in various art festivals, both on a local, national, and even international scale.Ayu Laksmi's name became known since she won BRTV at the Bali Province level in 1983 for the Trio version with her two sisters Ayu Weda and Ayu Partiwi in the Trio, "Ayu Sisters", which later in the same year won an award as Third Place and at the same time as the Best Appearance Trio. BRTV for the National Level.Ayu Laksmi is also known as one of the lady rockers in the national music scene in the era of 1984-1993 where Ayu is also one of the singers from Bali who managed to penetrate the national music industry. Indonesian music at that time.In 1989 Ayu contributed to the compilation album Indonesia's Top 10 with the single Not Always Gemilang created by Didi AGP, the sound track of the film Note Si Boy 2 with the song Hello Sobat created by Harry Sabar. In 1991 published her first album entitled The Lost Palace with arranger Raidy Noor. However, after the album was circulated his name immediately disappeared from the Indonesian music industry. Ayu returned to Bali in 1992 to continue her studies at the Faculty of Law, Udayana University, and graduated as a Law Degree in 1993ity, and graduated as a Law Degree in 1993)
Ayu Weda + (Ayu Weda fully named I Gusti Ayu Made Weda … Ayu Weda fully named I Gusti Ayu Made Wedayanti. She was born in Singaraja, September 1 1963. She is alumi of Airlangga University, Surabaya. In era of 1980s, she was well known as lady rocker singer. Her achievement in vocal and stage field, such as in 1981 she gained The third champion in Radio Star award and TV (BRTV) in National Level. Moreover, She got award as the best performance in group category with her two sisters in Trio Ayu Sisters, who are I Gusti Ayu Partiwi and I Gusti Ayu Laksmi. In that year, Ayu Weda as representative of Bali in Puteri Remaja Indonesia award which was held by Majalah Gadis. in 1982, she successfully released album "Rindu Teman Sehati" arranged by national muse Adriadie. Meanwhile in 1987, she released album "Memetik Bintang" arranged by Deddy Dores. Besides singing, she also liked to write. Her short stories compilation "Badriyah" was published by Gambang Publisher in 2016. That book most told story of woman's life in happy and sad situation.f woman's life in happy and sad situation.)
I Gusti Nyoman Lempad + (BALI'S MOST WELL-KNOWN ARTIST, I Gusti Nyo … BALI'S MOST WELL-KNOWN ARTIST, I Gusti Nyoman Lempad (1862-1978), was born in the village of Bedahulu in Gianyar, south-central Bali. He was a master artisan, carver, and architect. His ink drawings on paper, many with touches of color, are internationally famous. Their clarity, expression, composition, and form are unmatched to this very day.Lempad's narrative works focus on figures, movements, and details. The blank backgrounds, a feature seen in traditional drawings for amulets, death shrouds, and some styles of manuscript illustrations, evoke the appearance of wayang kulit (leather puppets) figures against a plain white screen.Lempad illustrated famous and lesser known episodes from Indian epic mythology and Balinese folklore. He often added erotic and humorous elements. Many of his drawings were done as a series of narrative episodes, the traditional manner of doing prasi (illustrations for stories) on dried lontar (palmyra palm) leaves or paper.The artist lived most of his very long and productive life in Ubud, where his family, due to political problems during the late 1800s, had moved to when he still was a young child. Lempad designed a part of the royal residence and a temple in Ubud. He knew most of the famous foreigners who lived in or visited Bali from the 1920s until his death in 1978.Many of Lempad's works were collected by the artist Walter Spies (German, 1895-1942). When Nazi Germany invaded Holland in 1940, Spies and other German nationals living in the Dutch East Indies (Indonesia) were arrested by the colonial authorities. Spies brought along with him to Batavia (Jakarta) a series of ten drawings by Lempad of the Brayut folk tale, which he left for safekeeping with his friend M. Bruyns.Spies was killed during World War II when the ship Van Imhoff transferring him to a detention camp in ceylon (Sri Lanka) was hit and sunk by a Japanese bomb. Before Bruyns died in 1980 he gave the works which Spies had left with him to Dr. Jacob Vredenbreght. In 1984, Vredenbreght presented these ten drawings to the Neka Museum. Along with seven other pieces, the Neka Art Museum now has one of the largest single collections of works by Lempad.Awards:Piagam Anugerah Seni (Indonesia, 1970)Wijaya Kusuma (Indonesia , 1975)Dharma Kusuma (Bali, 1982)donesia , 1975) Dharma Kusuma (Bali, 1982))
Genah sané ageng mawit saking genah sané alit. + (BIG THINGS COME FROM LITTLE THINGS Indone … BIG THINGS COME FROM LITTLE THINGSIndonesia is a very diverse country in terms of ethnicity, in terms of religion, in terms of race and in terms of inter-group diversity, which makes Indonesia a very rich country in terms of natural resources. There is a lot of variety, which is a good thing, but the problems are also a lot of people who lack early education, nowadays there are a lot of parents who don't go to school up to high school and some don't even go to school, so a lot of parents can't bring up their children properly, so parents bring up their children in their own way, for example they shout at the children and even hit them, a lot of students copy and follow the behaviour of their parents and do the same in school, which causes the education in Indonesia to go down.This is why education is important for everyone in Indonesia, almost every student relationship throughout Indonesia both between students and teachers or teachers can also be between friends, this student relationship is going to shape the identity of the student both in shaping the student customs but not every student follow the rules well, it might be that the student identity is harmed because of the atmosphere or society at school that is not well many students throughout Indonesia, according to data published by WorldTop20. Org published the ranking of education in Indonesia is very alarming Indonesia is ranked 67th out of 209 countries around the world, with many problems encountered, we need to explore why students become less intelligent and many fight teachers and why the government should pay attention to this. With the many problems in Indonesia, we as students of the school are aware that if we are left like this, then we as the younger generation need to implement the national programme, namely Golden Indonesia 2045, it doesn't have to be with big things, we just need to start with small things. A lot of programmes can be implemented starting from very small things that are common in homes, schools and communities, which is rubbish, rubbish is a waste or an item that has no functional value anymore, or you can say unusable items, a lot of students who have no brains choose to throw rubbish, starting from under the desk, The number of students who do this makes our environment unhealthy, dirty, especially with the large number of students in the school environment making the garbage swell at the same time, even though they have been warned not to litter. In the face of so many issues, we as citizens of SMA Negeri 3 Kuta Selatan have taken action to create a waste free team by sorting waste by category, hoping to make all students aware to dispose waste in the right place and according to the respective category, but due to the lack of good education and the mindset of the students when they were brought up in the family, this project is not going well, many students simply throw waste and don't sort it properly, such as putting organic waste in non-organic waste, With this, we as a team appealed and acted directly in waste processing, with the behaviour we did, we succeeded in empathizing students to separate waste according to its category in order to create cleanliness in the environment around us, residents of SMA Negeri 3 Kuta Selatan in cooperation with Plastic Exchange Kuta Selatan to help us in waste processing properly, we as school residents were not able to process waste, especially organic waste into compost. With the many problems that exist in Indonesia, we have been able to solve the problem of garbage, although it is not perfect, there is still a lot of garbage scattered around, but we are with the awareness to dispose of garbage by first sorting it before it reaches the landfill and processed properly, we also want to create a disciplined school both in terms of education and ethics, especially in the disposal of garbage, with this behaviour we want to realise the Golden Indonesia 2045, because if you don't start with small things then big things can't happen.small things then big things can't happen.)