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A list of all pages that have property "Biography text" with value "Anak Agung Gde Rai or usually called as Agung Rai, born in Peliatan, Ubud, on July 17th, 1955. He is a humanist (cultural practitioner) and an artist who has big role in preserving and promoting arts of Indonesia, particularly Bali. He is the founder of ARMA (Agung Rai Museum of Art). The poverty during his childhood motivated him to change their family life to make it better by continuously work hard. When he was young, he has ever become “merchant” of artistic goods for tourists in Bali. Agung Rai has a dream to become a teacher, but he has to burry it since cant afford the tuition. Then, he learned to paint. But, he realized his skill is yet sufficient as painter. Otherwise, he took a course of English and became a tour guid. From his interaction with the tourists, he got sense of business to try as seller of artistics goods made by his neighbors in his hometown. Since then, he is becoming a merchant in arround Sanur, Kuta until Padangbai. As a merchant, his sense of business and arts was developed. Then he mad friend with many arts collectors. He followed his friend to be a collector of maestro’s artwork. From a collector, he became a currator for artwork exhibition. Such as, in 1989, Agung Rai went to Japan and took a hundred of artworks from fifty painters that joined a group of Sanggar Seniman Agung Rai (Agung Rai Artists Group). This paintings then was shown in Japan for two months. Anxiety and worry for his country’s cultural preservation mainly in field of arts make him obssessed to establish a museum and arts galery. Then, with wonderful effort of him, in June 9th 1996, ARMA Museum officially opened by Prof. Dr. Ing. Wardiman Djojonegoro while at that time have position as Minister of Education and Culture. ARMA is one of museums with most complete collection in Indonesia. From classical artwork until contemporary, even artwork of local artist and other countries. Moreover, ARMA periodically held an exhibition of artworks. The popularity of ARMA is masively increasing since it often held various cultural event such as music performance, theatre, providing bookroom with various collection for visitors, held seminar of culture and art. Events in ARMA mostly in international scale and often were hold by various artworkers and culture from many countries. With various arrangement of these kind of event, ARMA achieved predicate as most popular museum and the best museum in Indonesia based on tourist as how it was compiled by world travelling site, TripAdvisor. For his effort to preserve arts, Agung Rai was awarded many awards. Such as, in 2002 he was awarded by Indonesia Government as “The pioneer in advancing the fine arts”. In 2012 he was chosen as Chief of Himusba (Himpunan Museum Bali) 2012-2017. In 2016 “TripAdvisor” awarded ARMA as the best museum in Indonesia. The choice was determined by the tourists who has visited the various museums in Indonesia. The Books of Agung Rai and ARMA can be read in “Gung Rai, Kisah Sebuah Museum // Gung Rai, A Story of Museum” (KPG, 2013), “Saraswati in Bali: A Temple, A Museum and A Mas” (BAB Publishing Indoneisa, 2015”, “Agung Rai, Sang Mumpuni // Agung Rai, The Maestro” (Lestari Kiranatama, 2017)". Since there have been only a few results, also nearby values are displayed.

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  • Made Susanta Dwitanaya  + (Made Susanta Dwitanaya, born in TampaksiriMade Susanta Dwitanaya, born in Tampaksiring, July 22, 1987. He studied fine arts at Undiksha, Singaraja. He started writing and curating art exhibitions since his college days in 2009. Then in 2013 he joined the Gurat Institute, an independent institution engaged in curatorial, research, and documentation of visual arts and visual culture in Bali. Until now, he has actively curated a number of art exhibitions, including the Megarupa (2019) art exhibition. Together with the Gurat Institute he was involved in writing several books on fine arts, such as Lempad for the World (2014). In 2017 he became one of the authors of a series of art heritage books about six Indonesian artists initiated by the Director General of Art at the Indonesian Ministry of Education and Culture.onesian Ministry of Education and Culture.)
  • Made Taro  + (Made Taro was born in Bali and has always Made Taro was born in Bali and has always loved traditional stories, games and children’s songs. He has been a story teller since 1973 and has performed in Indonesia, Darwin, Pretoria and at the Ubud Writers’ and Readers’ Festival.</br>Made Taro is very passionate about promoting traditional games and believes that engaging in such games teach children valuable lessons such as patience, respect for others and keeps them out of trouble. For the past 35 years he has run Kukuruyuk, a children’s group for 8 – 12 year olds, where he educates children through stories and traditional games such as the gasing (top spinning) and mecungklik (game played with bamboo). Made has worked with disadvantaged and underprivileged children throughout Indonesia. Made believes that play is important for children, and thus he incorporates games and play in his Storytelling performances. His storytelling sessions also include singing and traditional percussion accompaniment. He has written more than 30 books about traditional games, children’s songs and folktales. A recipient of many awards as an outstanding teacher, preserver of culture, storyteller and writer, he was recently bestowed the prestigious Anugerah Kebudayaan (Cultural Medallion) from the President of the Republic of Indonesia in 2009.</br></br>https://sisf.bookcouncil.sg/2012/pages/storyteller-made.html</br></br>In 2019, at the age of 80, he received a Lifetime Achievement Award from the Ubud Writers and Readers Festival.rom the Ubud Writers and Readers Festival.)
  • Made Wianta  + (Made Wianta is an international class artiMade Wianta is an international class artist who was born in Apuan, Tabanan, Bali, December 20, 1949. He is a graduate of ISI Yogyakarta. In 1976, he studied European art in Brussels, Belgium, while visiting art galleries and museums. His works have been exhibited in various countries, including America, France, the Netherlands, Italy, Singapore, and elsewhere. His works number in the thousands, in the form of sketches, drawings, graphics, paintings, sculptures, and even visual poetry. Some of these works are documented in several books, including “Made Wianta” (1990), “Made Wianta: Universal Balinese Artist” (1999), “Made Wianta: Art and Peace” (2000), “Wild Dogs in Bali: The Art of Made Wianta” (2005). Made Wianta died on November 13, 2020.5). Made Wianta died on November 13, 2020.)
  • Michael White (Made Wijaya)  + (Made Wijaya was born Michael White in SydnMade Wijaya was born Michael White in Sydney, Australia. He arrived in Bali in 1973, having jumped ship and swum ashore in a rainstorm. A student of architecture, he first of all intended the visit as a short break from his studies, but his fascination with Bali's rich culture and tradition led him to move in with a Brahman family in South Bali. After various jobs teaching tennis and English, working as a tourist guide and photo-journalist, he began contributing to guide books before being asked to design the gardens of the legendary Bali Oberoi.</br></br>More than 600 gardens later, Wijaya is a world renowned tropical garden designer whose company, P.T. Wijaya Tribwana International, has a 500–strong team of artisans and "garden commandos," as he calls them. He travels between his Bali base and Singapore, India, Spain, Morocco, Hawaii, Australia and Mexico to weave his magic.</br></br>A recognized authority on tropical gardens and South East Asian architecture, he has published five books, The Complete Stranger in Paradise; Balinese Architecture: Towards an Encyclopaedia; Tropical Garden Design (Archipelago Press and Wijaya Words, 1999); At Home in Bali (Abbeville Press, 2000); and Architecture of Bali – A Source Book of Traditional and Modern Forms (Archipelago Press and Wijaya Words, 2002). He also contributed to Tropical Asian Style and was the main author of a pocket guidebook to Bali.</br></br>His signature column "Stranger in Paradise–Diary of an expatriate in Bali” at (www.strangerinparadise.com) and Hello Bali monthly magazine and Jakarta Post for trightly) and "Poleng" magazine and as well are much loved across the land</br></br>Made Wijaya passed away on 28 August 2016.</br></br>Websites:</br>http://www.strangerinparadise.com</br>http://www.ptwijaya.com</br>http://www.novustamanbebek.com</br>http://www.wijayajournal.blogspot.com</br>http://www.baliluwih.blogspot.com</br>https://www.youtube.com/channel/UCwWwiI_UtuLDgPfSMhKXL8wutube.com/channel/UCwWwiI_UtuLDgPfSMhKXL8w)
  • Made Wiradana  + (Made Wiradana was born in Denpasar, OctobeMade Wiradana was born in Denpasar, October 27, 1968. He graduated from the Faculty of Fine Arts at the Indonesian Art Institute, Yogyakarta. Since 1989 he has held joint exhibitions at home and abroad. While his solo exhibitions include “Ancient Imagination” (Yogyakarta, 1999), “Ancient Forms” (The Chedi, Ubud, 2000), “The Final Declaration of Art 2001” (ARMA Museum, Ubud, 2001), “Canvas is Round. ” (Mon Décor Gallery, Jakarta, 2003), “Global Convention on Peace”(Asoka Hotel, Belgium, 2004), “Art of Wiradana” (Bidadari Gallery, Ubud, 2005), “Bali is My Life” (2006), “Animal Exodus” (Srissasanti Gallery, Jakarta, 2009), “Enjoy” (Ambiente Gallery, Jakarta, 2010), “Sensibility Line” (Griya Santrian Gallery, Sanur, 2018).ne” (Griya Santrian Gallery, Sanur, 2018).)
  • Nyoman Butur Suantara  + (ManButur Suantara is a Fine Art PhotographManButur Suantara is a Fine Art Photographer. An artist, teacher and mentor in the Industry for over a decade his contributions into the many genres of photography is vast. His love for Nature does not only inspire his art but also his environmental and wildlife documentation projects. Considerable in scope and dedication as his way of giving back to Mother Nature.</br></br>Born in Amlapura, a small town in the east part of Bali Island. ManButur Suantara is a freelance photographer with a strong passion for Landscape Photography. For years now he has explored Nature scapes through extensive travel.</br></br>Besides Landscape Photography, Nyoman has been for many years active in different areas of Commercial Photography as well. A veteran of several genres including architectural, food, events as well as macro photography.</br></br>Bali is Nyoman’s home base. With its rich natural beauty and culture. Providing Nyoman with ample themes in which his Landscape and Cultural Photography can truly be seen for its artistic depth.</br></br>ManButur Suantara is also associated with MY TRIP INDONESIA. Through this project he actively travels to many parts of Indonesia. Providing training and mentoring for clients who wish to learn Photography with a more customised and tailored personal program.</br></br>Environmental Wildlife Project mostly with the documentation of bird species which are found in Bali. Either they are endemic or migrating birds, Nyoman is contributing significant time to explore and capture images of them in their habitat as record for their species.their habitat as record for their species.)
  • I Wayan Langgeng  + (Mangku Bajra whose real name is I Wayan LaMangku Bajra whose real name is I Wayan Langgeng, was born in Sanur Kaja, July 1, 1963. He is in charge of leading and completing the Panca Yadnya ceremony. Prior to becoming a priest, he taught Balinese and Hinduism at an elementary school in Sanur. In his youth, he liked to act in theater and write poetry. His poems have been published in the Bali Post Sunday. In addition, he also likes to write lontar. Because of his passion for writing and reading lontar, he understands the science of traditional Balinese medicine (usada). Apart from being a priest, he is a traditional elder in Sanur Kaja., he is a traditional elder in Sanur Kaja.)
  • Mangku Muriati  + (Mangku Muriati was born in Klungkung, BaliMangku Muriati was born in Klungkung, Bali, 1967. She is a female Balinese artist who paints in the traditional classic Kamasan style. The Kamasan style is an aesthetic form of painting that uses wayang stories such as wayang kulit, mostly from the Mahabrata and Ramayana epics.</br></br>Mangku Muriati is the daughter of Mangku Mura (1920-1999), one of the prominent Kamasan painters. Since childhood, she followed her father to paint by coloring typical wayang paintings in Kamasan Village, Klungkung.</br></br>Then she studied at the Art and Design Study Program (PSSRD), Udayana University Denpasar, Bali and after graduating returned to painting the Kamasan style at his home. The number of female artists who pursue Kamasan style painting is not as many as men.</br></br>In 1990 at the age of 32, Muriati became a ritual leader or Pemangku at the temple, a sacred place where she lived, Banjar Siku, Kamasan.</br></br>Kamasan is the only village in Bali where this traditional art form has not been replaced by a new style. Although loyal to the classical Kamasan art tradition, in his work he also mentions social and political developments in Bali.</br></br>Murniati chose to live in her house in Banjar Siku, not Banjar Sangging, which is the place where Kamasan painters generally work. He is considered to have proven that he can move his banjar because his works are ordered and collected by many parties from within and outside the country.rties from within and outside the country.)
  • Fred Eiseman Jr.  + (Many decades Eiseman Jr. spend in his secoMany decades Eiseman Jr. spend in his second home Bali, but his stunning biography shows a curious explorer far beyond Bali.</br></br>Born in Mark Twains Missouri 1926, nature and indigenous culture soon became his passion. 11 years old he visited the Great Canyon the first time in 1937. At the age of 12 he joined Prairie Trek Expeditions in the South West in his summer school holidays.</br></br>In war time he completed his studies and became a highly acclaimed teacher in the 50s, teaching Earth science, chemistry, and physics, publishing on these topics and receiving a a nation-wide teacher award 1959. In school holidays he would continue to explore the Grand Canyon, becoming an experienced river guide and a good friend of Hopi and Navajo Indians.</br></br>In the 70s he came to Bali his first time, to stay here almost the rest of his life.</br></br>Fred Eiseman Jr. died April 6, 2013 in Arizona, his ashes have been returned to Bali.ona, his ashes have been returned to Bali.)
  • Margaret Coldiron  + (Margaret Coldiron is currently Deputy HeadMargaret Coldiron is currently Deputy Head of the BA in World Performance at East 15 Acting School, University of Essex and a member of Gamelan Lila Cita and Lila Bhawa dance troupe. She has studied and performed Balinese topéng since 1997 and has led workshops throughout the United Kingdom and Europe. Trained as an actress at the Drama Centre London, Margaret Coldiron toured the United States with the National Shakespeare Company and has taught and directed for professional theatre programmes in the United States and United Kingdom.s in the United States and United Kingdom.)
  • Margaret Mead  + (Margaret Mead (December 16, 1901 – NovembeMargaret Mead (December 16, 1901 – November 15, 1978) was an American cultural anthropologist who featured frequently as an author and speaker in the mass media during the 1960s and the 1970s.</br></br>She earned her bachelor's degree at Barnard College of Columbia University and her M.A. and Ph.D. degrees from Columbia. Mead served as President of the American Association for the Advancement of Science in 1975.</br></br>Mead was a communicator of anthropology in modern American and Western culture and was often controversial as an academic.Her reports detailing the attitudes towards sex in South Pacific and Southeast Asian traditional cultures influenced the 1960s sexual revolution.She was a proponent of broadening sexual conventions within the context of Western cultural traditions.</br></br>Together with her third husband (1936-1950), Gregory Bateson, she did research on Balinese culture.son, she did research on Balinese culture.)
  • Mark Hobart  + (Mark Hobart is Emeritus Professor of CritiMark Hobart is Emeritus Professor of Critical Media and Cultural Studies at SOAS, University of London. Mark's research interests include philosophical issues in Anthropology, Cultural and Media Studies. Currently he is running a project on cultural styles of argument and rhetoric entitled 'How Indonesians Argue', which aims to explore the practices that constitute what we usually call 'culture' or 'society'. Having carried out over eight years of intensive ethnography in Indonesia, his interest is driven by awareness of the unappreciated gulf between academic theorizing and concepts on the one hand and how people act, judge and interpret their own actions.</br></br>Bali-related publications include:</br></br>Hobart, Mark (2017) 'Bali is a battlefield Or the triumph of the imaginary over actuality'. Jurnal Kajian Bali (Journal of Bali Studies), (7) 1, pp 187-212.</br></br>Hobart, Mark (2011) 'The relevance of cultural and media studies to theatre and television in Bali'. Jurnal Kajian Bali (Journal of Bali Studies), (1) 2, pp 63-75.</br></br>Hobart, Mark (2011) 'Bali is a brand: a critical approach'. Jurnal Kajian Bali (Journal of Bali Studies), (1) 1, pp 1-26.</br></br>Hobart, Mark (2010) 'Rich kids can’t cry: reflections on the viewing subject in Bali'. About Performance, (10), pp 199-222.</br></br>Hobart, Mark (2007) 'Rethinking Balinese Dance'. Indonesia and the Malay World, (35) 101, pp 107-128.</br></br>Hobart, Mark (2000) 'The end of the world news: television and a problem of articulation in Bali'. International journal of cultural studies, (3) 1, pp 79-102.</br></br>Hobart, Mark (1997) 'The missing subject: Balinese time and the elimination of history'. Review of Indonesian and Malaysian Affairs, (31) 1, pp 123-172.and Malaysian Affairs, (31) 1, pp 123-172.)
  • Mary S. Zurbuchen  + (Mary S. Zurbuchen’s research interests incMary S. Zurbuchen’s research interests include Southeast Asian humanities, the study of historical memory, and social justice in international education. </br></br>She is the author of The Language of Balinese Shadow Theater (Princeton 1987), and her edited works include Beginning to Remember: The Past in the Indonesian Present (Washington/Singapore 2005), as well as Origins, Journeys and Returns: Social Justice in International Higher Education (Social Science Research Council 2009). Zurbuchen has long worked in philanthropy, serving as the Ford Foundation’s Representative based in Jakarta from 1992‐2000, overseeing grant programs and field offices in Southeast Asia. Her work with Ford Foundation included assignments as Program Officer for Culture in Indonesia (1984‐87) and India (1988‐91). Since 2004 she has served as Director for Asia and Russia with the Ford Foundation International Fellowships Program. </br></br>From 2000‐2003, Zurbuchen was appointed Visiting Professor at the International Institute, University of California, Los Angeles, and also served as Acting Director of UCLA’s Center for Southeast Asian Studies. She received the Ph.D. in Linguistics and M.A. in Southeast Asian Studies from the University of Michigan, Ann Arbor, and the B.A. (Honors in Literature) from the University of California, Santa Cruz. the University of California, Santa Cruz.)
  • Mas Ruscitadewi  + (Mas Ruscitadewi was born in Kesiman, DenpaMas Ruscitadewi was born in Kesiman, Denpasar. She holds a Bachelor of Arts in archeology and a Master's in Hindu philosophy. Since elementary school she has been actively writing poetry, short stories, and drama. Her literary work is collected in the book "Hana Bira," her short stories in the book "Penari Sanghyang" (Indonesian), "Luh Jalir" (Balinese), her dramatic scripts in the books "Rumah Bunga" and "Nyanyian Hitam" (monologue), as well as in a few collected volumes of poetry and short stories together. </br></br>She was one of the forces behind Bali Orta, the Balinese language section of Bali Post.</br></br>Mas Ruscitadewi studied archeology, philosophy and religion at the Denpasar State Hindu Dharma Institute.</br></br>As well as writing poetry, songs, and short stories, she teaches philosophy in the form of theatre to prisoners who’ve been sentenced to death at Kerobokan Prison.</br></br>She also teaches children with HIV/AIDS at Yayasan Kerti Praja, and is a curator for Gelar Seni Bali Mandara Nawanatya, a year-long arts event series. Nawanatya, a year-long arts event series.)
  • Ida Bagus Njana  + (Master Balinese woodcarver Ida Bagus NjanaMaster Balinese woodcarver Ida Bagus Njana (1912-1985).</br></br>Njana's  family descends from Dang Hyang Nirartha, the saint of Balinese Hinduism, who moved to Bali in the 1500s and spread his religious reforms by travelling around the island. In the village of Mas, the local headman gave him one of his daughters. Their son from his marriage, Ida Putu Mas, started the Brahmana Mas line.  Like their ancestors, the Mas Brahmins became priests or, like Njana, woodcarvers and architects.r, like Njana, woodcarvers and architects.)
  • KEMISKINAN ANCAMAN MASA DEPAN PULAU DEWATA  + (Matur suksema majeng ring pengater acara,Matur suksema majeng ring pengater acara,santukang galahe sane becik punika kapaicang ring pasikian titiang. </br>sedurung titiang unigayang atur pinih rihin lugrayang, ngiring sareng sareng ngastiti ring ida sang hyang widhi wasa. titiang antung nguncarang panganjali umat </br>OM Swastiastu </br></br>para angga panurakse sane wanggiang titiang timBASABALI Wiki sane kusumayang titiangg timBASABALI Wiki sane kusumayang titiang)
  • Melati dan Isabel Wijsen  + (Melati and Isabel Wijsen are young BalinesMelati and Isabel Wijsen are young Balinese women. Since 2013, they have been very concerned about fighting plastic waste. They established a Non-Governmental Organization (NGO) called “Bye Bye Plastic Bag” with a vision and mission to free Bali from plastic waste. </br></br>The effect is enormous for the global community. As of January 2016, thirteen countries have shown interest in joining and implementing Bye Bye Plastic Bags in their respective countries. Three months later the NGO spread its wings to the capital city of Jakarta. Also, Bye Bye Plastic Bags managed to involve around twelve thousand volunteers to collect 40 tons of garbage across beaches on the island of Bali in February 2017 in an event entitled One Island One Voice. The NGO also marks shops and stalls that are no longer using plastic bags on its social media.</br></br>Melati and Isabel are young girls who made Indonesia famous internationally. They won the “Bambi” Award in Germany thanks to the Bye Bye Plastic Bags program. They are two teenagers who are very inspirational to the international community, and are the youngest recipients of the Bambi award.</br></br>They are admirers of Nelson Mandela, Lady Diana, and Mahatma Gandhi. They then took the initiative to do useful things for the world at a young age. Through the NGO Bye Bye Plastic Bags, they realized their mission and were invited to London to speak at TED Talks and also to New York to be a speaker at the United Nations during the commemoration of World Oceans Day 2017.he commemoration of World Oceans Day 2017.)
  • Ni Putu Mira Novianti  + (Mira MM Astra is the pen name of Putu MiraMira MM Astra is the pen name of Putu Mira Novianti, born in Denpasar, 1978. She studied Philosophy at Charles University Prague and Anglo-American University in Prague, Czech Republic. Her poems have been published in the Bali Post, Kompas, Koran Tempo, and are collected in her poetry book: Pinara Pitu (2016). Apart from writing poetry, she has also been active in theater.etry, she has also been active in theater.)
  • I Nyoman Marsa  + (Modern and ontemporary painter who was born in 1952.)
  • I Dewa Made Ariawan, S.Ag., M.Pd.H & I Nengah Asrama Juta Ningrat, S.Ag., M.Fil.H  + (Mr. I Dewa Made Ariawan, S.Ag., M.Pd.H andMr. I Dewa Made Ariawan, S.Ag., M.Pd.H and Mr. I Nengah Asrama Million Nobles, S.Ag., M.Fil.H are the masters of the geguritan Catur Bhujangga Bali Mula. Mr. I Dewa Made Ariawan, S. Ag., M.Pd. H or Pak Dewa Mangku Dalang was born in Serai Hamlet, Penglumbaran Village, Kec. Shrink, Bangli Regency, on August 6, 1986 from the couple I Dewa Nyoman Reka & Jro Nyoman Munet. His daily life is an education staff in the Department of Education, Youth and Sports, Bangli Regency, but in between his busy life outside the father of Dewa Ariawan, he is still active in the field of art, namely Dalang. He also won 2nd place in the Utsawa Dharma Githa adult marriage competition in 2017 in Palembang and 1st place in the adult marriage competition in Bali in 2016.</br>Mr. I Nengah Asrama Juta Ningrat, S.Ag., M.Fil.H is an art actor who is still active in compiling books, many books have been produced. He has also won the achievement of becoming the 1st Winner of an outstanding Hindu Religion Teacher at the Provincial level in 2015. Mr. Million Nobles was born in a clerical environment on the north slope of Mount Batur, Songan A, Kec. Kintamani, Bangli Regency, on June 15, 1980 from the couple Jro Gincang & Jro Suwiti. Apart from compiling books, his daily life is as a teaching staff in the Ministry of Religion of Bangli Regency from 2014 until now.</br>Broadly speaking, this Bhujangga Bali Mula Catur geguritan contains the origin of the Bhujangga Bali Mula breed, precisely the Kayu Selem people in the Hyang Gwa Song tampur. It is hoped that the residents of Kayu Selem who are in Bali and outside Bali should continue to remember their ancestors as guides in carrying out their lives as damuh warih Ida Mpun Semeru.ng out their lives as damuh warih Ida Mpun Semeru.)
  • I Wayan Phala Suwara S.Pd.H.,M.Pd  + (Mr. I Wayan Phala Suwara S.Pd.H.,M.Pd he wMr. I Wayan Phala Suwara S.Pd.H.,M.Pd he was born in Denpasar, May 22, 1993. Located on Jalan Gemitir, Gang Suli B Biaung-Denpasar. His parents are I Wayan Sujana and Ni Nyoman Sariani. </br>He works as a teacher at SMA Negeri 3 Denpasar. His last education was S2 at IHDN.npasar. His last education was S2 at IHDN.)
  • I Wayan Suardika  + (Mr. I Wayan Suardika is a pengawi from theMr. I Wayan Suardika is a pengawi from the Nusa Penida region, he was born in Pelilit 08 June 1989, he has his address at Pelilit hamlet des Pejukutan Subdistrict Nusa Penida, Klungkung Regency, Mr. I Wayan Suardika studied elementary school at SDN 8 Suana, studying junior high school at SMPN 1 Nusa Penida, attended high school at SMAN 1 Nusa Penida, then took undergraduate and postgraduate education at the Ganesha education university by taking the Balinese language education study program. Since 2017 he has been writing Balinese literature purwahas been writing Balinese literature purwa)
  • I Wayan Turun  + (Mr. I Wayan Turun is a writer who comes frMr. I Wayan Turun is a writer who comes from Kesiman Village, East Denpasar District, Denpasar City, he was born in 1951, as a writer he often creates literary works in the form of geguritan, kidung, Puranas and others.</br></br>Geguritan Penataran is one of the 108 literary works of Mr. I Wayan Turun. This geguritan is a work on the treatment of lontar which used to use tissue paper. Before writing geguritan Penataran, he had written many other literary works such as Kidung Kidalang Pricek, Geguritan Busana, Geguritan Balian Batur.</br></br>He has been involved in literary arts since a young age, has become a very bright experience today, such as: being a staff at a Balinese museum, making temples and inscriptions, Gama Sesana researchers Aji Loka Trestih and Aji Loka Kertih and many others.</br></br>With extraordinary works, he often makes literary works for several temples in Kesiman.</br>From him, I learned that there are still many authors of Balinese literary works around us today, even though they are still located on the modern and bustling side of Denpasar City.modern and bustling side of Denpasar City.)
  • Ida bagus wiryanatha  + (Mr. Ida Bagus Wiryanatha, he was born on MMr. Ida Bagus Wiryanatha, he was born on May 19, 1961 in Pejeng village, Gianyar. Is a native of Br Puseh Pejeng Village, Gianyar. Currently, he is a lecturer at the Indonesian HINDU University at the Faculty of Health.</br> He has completed his last education S1 Dr. General at Udayana University and S2 Religion and Culture at the Hindu University of Indonesia.</br> Mr. Ida Bagus Wiryanatha is the son of the late. Ida Peranda Wayan Ngenjung and the late Ida Peranda Istri Bun.</br> Mr. Ida Bagus Wiryanatha has 1 very beautiful wife named Ida Ayu Wimba Ruspawati and from his marriage with his wife, he is blessed with 3 children.h his wife, he is blessed with 3 children.)
  • Catharina Widjaja  + (Ms. Catharina Widjaja is Executive Vice PrMs. Catharina Widjaja is Executive Vice President at Gajah Tunggal Group. From 2004 till recently, she held the position as Director for Corporate Communication and Investor Relations at PT Gajah Tunggal Tbk.</br></br>Prior to joining the Gajah Tunggal Group, Ms. Widjaja worked for various multinational companies including Deutsche Bank AG, Jakarta, as a Foreign Exchange Dealer for two years from 1986 to 1988, and HSBC Indonesia, for nine years, where she last held the position of Country Treasurer. </br> </br>She received a Master of Science in Control Engineering from the University of Bradford in 1986 and also an alumni of MIT Sloan School of Management for the Executive program.</br></br>Ms. Widjaja is also the Director of Alun Alun Indonesia, an Indonesian retail concept which promotes Indonesian products and artisans. </br> </br>In addition, Ms. Widjaja is active in several social activities including the United in Diversity Foundation, CCPHI, IBCA, IBCWE, YCAB and Yayasan Mitra Museum Jakarta. Ms. Widjaja was recognized as Global Trade Ambassador Indonesia by WIT-LA in 2019 and received TOP Leader on CSR Commitment by Business News Indonesia in 2018 and was nominated in the 2017 Telstra Business Women Awards.</br></br>Cath also serves on the Board of BASAbali.Cath also serves on the Board of BASAbali.)
  • Penanganan pemanasan global ring bali  + (My esteemed judges, my beloved Basabali wiMy esteemed judges, my beloved Basabali wiki team, and my beloved brothers and sisters. Before I continue I would like to congratulate the Om Swastiastu community. I feel very fortunate to be able to participate in this activity, thank God, I can give my opinion on this Wikithon </br></br>Contest on this beautiful day, allow me to express my opinion on the most important issue for our country. It's the problem of global warming. The Earth is getting hotter, as we feel in Bali, so we have to try to address global warming in Bali. Bali as a small island, but as a major tourist destination in the world should provide a powerful energy for the future. The development of global warming has become increasingly apparent. Increased pollution is one of the causes of global warming. Other causes are global warming and forest fires. In Hinduism, there is what is called the Tri Hita Karana, the three signs of happiness as man's relationship with God, man with man, and man with nature. The third point, the relationship between humans and the environment, is that the movement of planting trees is already taking place, but how do we develop a culture of caring for and maintaining these trees? </br></br>That's all I can suggest. Let's consider this as a priority and the foundation of the main work program of the candidate leader who will be elected in 2024. I close with Parama santih, Om santih santih om.e with Parama santih, Om santih santih om.)
  • Putu Weddha Savitri  + (My name is Putu Weddha Savitri and I was bMy name is Putu Weddha Savitri and I was born in Singaraja, 27th February 1981. I graduated from French Department, Padjadjaran University for my bachelor degree, and Lingustic Program, Udayana University for my Master degree. I am a lecturer in English Departement, Faculty of Arts, Udayana University since 2006, and I has interest in French language, linguistics, translation, and language teaching.stics, translation, and language teaching.)
  • Nancy Tingley  + (Nancy Tingley is an independent art historNancy Tingley is an independent art historian and consultant with a specialty in Asian art. She has worked extensively in the art world and as a museum curator. Nancy has written literary fiction in the closet for decades and has only just come out with the publication of the Jenna Murphy Mysteries. A Head in Cambodia (Swallow Press, 2017), which was nominated for a Lefty Award for best debut mystery, is the first in the series, and A Death in Bali (Swallow Press, March 2018) is the second.(Swallow Press, March 2018) is the second.)
  • I Wayan Udiana  + (Nanoq da Kansas, real name Wayan Udiana, wNanoq da Kansas, real name Wayan Udiana, was born in Moding, Candikusuma, Jembrana, December 2, 1965. He is the founder of Teater Kene, Bali Experimental Theatre, Komunitas Kertas Budaya. He has also been with the Coffee Drink Studio. His literary works have been published in the Bali Post, Kompas, Nusa Tenggara, Karya Bhakti, Swadesi, Nafiri, etc. His published books are: Ladang Angin (1993) and Centuries After Women Hiding in My Body (2006), A Country That Might Not Have Time to Hear, Martabak & Cabinet, Village Children Who Challenge the Ages.inet, Village Children Who Challenge the Ages.)
  • I Putu Adhyaksa Narendra Krishna  + (Narend was born on 14 April 2012. He has sNarend was born on 14 April 2012. He has shown an interest in the art of shadow puppet from the age of two. He started performing as a puppeteer when he was only six years old. He includes environmental issues in his stories.</br></br>He has his own YouTube channel: </br> https://www.youtube.com/channel/UC_ckePCK__4GypMOw4_QzWg</br></br>During his performances the gamelan gender is played by I Nyoman Yudi Artawiguna.der is played by I Nyoman Yudi Artawiguna.)
  • I Ketut Ngendon  + (Ngendon was among the first of the Batuan Ngendon was among the first of the Batuan painters to try the new art and was very influential on those who followed.</br>Due to the fact that Ngendon was acquainted with both Spies and Bonnet at an early stage, and because he was involved in organising toursist events, his art seems to reach a higher degree of Westernisation than his contemporaries from the Batuan region. Paradoxically it may well be true that it is due to Ngendon's influence and artistic leadership that the Batuan painters as a group preserved their own identity and did not become epigenists of any western artist (unlike some painters from the Ubud region). Illustrative is the example told by I Ketut Tombelos (Margaret Mead's field notes), where it is said that Ngendon had a violent disagreement with Bonnet regarding the paternalistic interventions of the latter towards the style and choice subject of Ngendon. Professor Hildred Geertz perceives a strong taboo against any sign of modernisation evident in the work of Batuan painters (op. cit. p. 17). Still she rightly suggests that it was Western modernity and Western forms of power that fascinated and inspired Ngendon (op. cit. p. 19). The artist was a member of the Pita Maha artists' association.</br>The present lot compares to a picture of the same subject of a pupil by Ngendon: I Made Djata, Collection Bateson & Mead, Princeton University, New Jersey (on loan), inv. no. B-134 (cf. literature: H. Geertz, Images of Power, p. 57, p. 56 illus). For further bibliographical notes see Geertz, pp.5-19; Hohn, pp. 43-51.al notes see Geertz, pp.5-19; Hohn, pp. 43-51.)
  • Ngurah Adil Widana  + (Ngurah Adil Widana, was born in Negara, BaNgurah Adil Widana, was born in Negara, Bali, September 14, 1963. Graduated from high school in Kota Negara, continued his education at the Health Academy and continued to the Faculty of Communication Studies in Denpasar. Then he worked at the Ministry of Health in Jembrana, at the Public Relations of the Jembrana Regency Government and finally worked at the Jembrana General Election Commission. learn to write literature self-taught. Several writings in the form of poetry and also cultural notes have been published in the Bali Post and other newspapers in Bali. The book of poetry with him is “Blengbong” (2021). Now he still works at the Jembrana General Election Commission office.mbrana General Election Commission office.)
  • Ni Kadek Anggreni  + (Ni Kadek Anggreni, S.Pd. is the author of Ni Kadek Anggreni, S.Pd. is the author of the book Trilingual Illustrated Dictionary (Bali-Indonesia-English) which she compiled based on her thesis research. Since childhood, she has been pursuing poetry and dreams of becoming a teacher who is loved by his students. Anggreni was born and raised in the highlands of Bangli and is eager to change the life of herself and his family for the better with proper education. She finished her undergraduate study at STKIP Suar Bangli (now ITP Markandeya Bali) in 2021. Bangli (now ITP Markandeya Bali) in 2021.)
  • Ni Kadek Novi Sumariani  + (Ni Kadek Novi Sumariani, born in KarangaseNi Kadek Novi Sumariani, born in Karangasem, 15 November 1996. She studied art at the Bali Design College. Since 2010 she has been active in many joint exhibitions, including “Parchment” at New Media (2015), Installation exhibition (ART I) at the Puri Painting Museum (2018), Balinese Women Artists exhibition (PBB) at Bali Cultural Park (2018), Merdeka in Expressions at the Bali Cultural Park (2019).ressions at the Bali Cultural Park (2019).)
  • Ni Kadék Widiasih  + (Ni Kadek Widiasih was born in Banjar MagatNi Kadek Widiasih was born in Banjar Magatelu, Tista Village, Abang Subdistrict, Karangasem on June 14, 1984. She has studied composing since 2007. Her works are in the form of poetry and prose and have been published in Bali Orti (Bali Post) and Mediaswari (Pos Bali) since November 2007. In 2015 Widiasih received the Widya Pataka award from the Governor of Bali for her collection of poems entitled “Sang Kinasih”. A collection of her published works are:</br>“Gurit Pangawit” (Poetry Collection, 2008).</br>"The Kinasih" (Poetry Collection, 2015).. "The Kinasih" (Poetry Collection, 2015).)
  • Ni Ketut Reneng  + (Ni Ketut Reneng is a maestro of Balinese dNi Ketut Reneng is a maestro of Balinese dance. She was born in Banjar Kedaton, Denpasar, 1909. Both of her parents died when Reneng was young. Then she devoted himself to Geria Punia. She learned to dance when she was a child to A.A. Ngurah Jambe, Salit Rengis and Nyarikan Sriada. Reneng had learned to dance leaning with Ida Bagus Bodha from Kaliungu Kelod and A.A. Rai Perit from Sukawati. She is one of the creators of Pendet Dance. Together with I Wayan Rindi, they decided to make a dance by taking the standard of the Pendet Wali Dance as the spirit of the dance. The Legong Keraton group, which was formed in 1919, became big thanks to Reneng's services. At that time she also mastered various types of palegongan dances such as the Condong Pelayon Dance, Legong Pelayon, Lasem, Kuntul, Jobog, Goak Macok and Legod Bawa. She was also a member of the Janger Dance group in Banjar Keton in 1928 and recalled her in Batavia (Jakarta) in 1929. Together with her colleague Ni Pollok, Reneng had worked as a model for a Le Mayeur who lived in Sanur. Reneng has also been a fare teacher on the shores of Lake Batur at the request of the writer and humanist Sutan Takdir Alisyahbana.ter and humanist Sutan Takdir Alisyahbana.)
  • Ni Komang Ariani  + (Ni Komang Ariani was born in Bali, May 19,Ni Komang Ariani was born in Bali, May 19, 1978. She is a very prolific writer of short stories and novels. Hershort stories have been published in Kompas, Jawa Pos, Media Indonesia, etc. His published books include: Lidah (2008), Senjakala (2010), Not the Empress (2012), Jas Putih (2014), Marigold (2019). In 2008 she became the first winner of the Femina Continuing Story Writing Competition through the novel “Nyanyi Sunyi Galang Tebing”. Her works have also been included in the short stories of Kompas' Choices. Now she lives in Jakarta.Kompas' Choices. Now she lives in Jakarta.)
  • Ni Komang Atmi Kristiadewi  + (Ni Komang Atmi Kristiadewi was born in DenNi Komang Atmi Kristiadewi was born in Denpasar on June 24th, 1990. She studied art at a fine arts high school (Sukawati State Vocational High School 1), graduating in 2008. She later continued her education at the Republic of Indonesia Teachers Association of Bali Institute of Teacher Training and Pedagogy choosing Fine Arts as a field of study. Then she continued and finished her education at the Denpasar Postgraduate Institute of Indonesian Art with a course of study in Art Composition in 2015.</br></br>Atmi became involved in the art world owing to inspiration from Japanese animation and taking it up as a hobby. Her uncle worked as an artist and greatly inspired Atmi to become an artist. </br></br>Atmi's images are in the naive style using bright colors. The strength of these naive images emerges through a lengthy process which is created due to her efforts to put herself in the position of children and the experience of interacting with the students she teaches.</br></br>In 2011, Atmi held her inaugural solo exhibition at Ten Art Gallery, Sanur, under the theme “Polusi Rasa”. In 2015 she held her second solo exhibition entitled “Apah” in Sudakara Art Space, Sanur. In addition, she also actively holds exhibitions with others, both at home and abroad. </br></br>Through her artwork, Atmi hopes to share her experiences about the world of children interwoven with wider subject matters, such as environmental, technological, cultural, social criticisms, and so on. Visually, Atmi chooses naivism to express her inner anxieties. In 2014, Atmi’s work successfully entered the ranks of works in Kompas’s 2014 Short Story Illustration Exhibition. 2014 Short Story Illustration Exhibition.)
  • Ni Luh Gde Vony Dewi Sri Partani  + (Ni Luh Gde Vony Dewi Sri Partani, born in Ni Luh Gde Vony Dewi Sri Partani, born in Denpasar, June 28, 1978. She studied painting on her own. Since 2012 she has been actively displaying her work in various joint exhibitions, such as the Kartini Day exhibition at Warung Yaya, Sanur (2012), Pararelissmo at Farabi Bali (2013), "Alignment" at Bidadari Art Gallery, Ubud (2013), Bali Art Fair at Maha Art Gallery (2013), I Love My Mom at Seniwati Artspace, Ubud (2016), She Paint Her Sky at Krisnalila Foundation (2018), Jabuik Tabao Padang at Bentara Budaya Bali (2018), Luwih Utamaning Luh at Bali Cultural Park (2018 ), Indonesia Satu at the Pullman Hotel, Jakarta (2019), Vidya Diva at the Bali Cultural Park (2019). She held her first solo exhibition in 2011 entitled “Women” at Serambi Arts Antida, Denpasar, and in 2012 held an exhibition of Make Up Artist Graffiti at Yaya Artspace. Apart from painting, she pursues the art of makeup and hair styling.ursues the art of makeup and hair styling.)
  • Ni Luh Putu Wulan Dewi Saraswati  + (Ni Luh Putu Wulan Dewi Saraswati, comes frNi Luh Putu Wulan Dewi Saraswati, comes from Busung Biu Village, Buleleng. Born on July 10, 1994, she studied S1 at Undiksha, Department of Indonesian Language and Literature Education, then studied linguistics at the Postgraduate Program at Udayana University. She is now a teacher of Indonesian for foreign speakers at the Cinta Bahasa Foundation and is currently part of the Mahima Community and Theater Circle. Her anthology of poetry entitled A Thousand Mornings of Love was published in 2017.nd Mornings of Love was published in 2017.)
  • Ni Luh Wida Apriliani, S.Pd  + (Ni Luh Wida Apriliani, S.Pd. with the pen Ni Luh Wida Apriliani, S.Pd. with the pen name Nulus Asih. He is one of the Balinese writers of geguritan who lives on Jl. Raya Semer, Gang Tunjung Mekar no.11, Peliatan Environment, Kerobokan Village, North Kuta District, Badung Regency. She was born in Gelunggang on April 5, 1993. She is the daughter of I Wayan Wiartana and Ni Ketut Sumartini. His current job is as a Balinese language instructor in Tanjung Benua Village.guage instructor in Tanjung Benua Village.)
  • Ni Made Ayu Marthini, M.Sc.  + (Ni Made Ayu Marthini is currently Deputy MNi Made Ayu Marthini is currently Deputy Minister for Marketing Ministry of Tourism and Creative Economy. Formerly Bu Made was Director of Bilateral Negotiations, Directorate General of International Trade Negotiations, Ministry of Trade Republic of Indonesia where she oversaw 19 on goings and up-comings Indonesia's bilateral trade negotiations with its trading partners.</br></br>Previously, Bu Made was the Director for Center of Policy Harmonization and Director for Center of Strategic Issues at the Ministry of Trade and concurrently the Minister's staff for one year (2015-2016). From 2011-2015 she was posted overseas as Indonesian Trade Attaché in Washington D.C., USA.</br></br>Made started her career in 1996 as a staff to Department of Foreign Affairs of the Republic of Indonesia where she held several positions as Head of Sections of UNCTAD, Directorate of Multilateral Economic Cooperation, Department of Foreign Affairs of the Republic of Indonesia. Later on, she was posted at Permanent Mission of the Republic of Indonesia to the United Nations in New York, United States of America, taken care of Development and Economic affairs. As she returned to Indonesia in 2004, she was positioned as Head of Foreign Trade Agreements Subdivision, Directorate of UN Economy & Environment Development, Department of Foreign Affairs of the Republic of Indonesia.</br></br>After 10 years career at the Ministry for Foreign Affairs she moved to Ministry of Trade of the Republic of Indonesia in 2006, where she hold several positions as Head of News & Publications, official at Legal Bureau and Head of News & Publication, Public Relations Center, at the same time she was seconded as the Assistant for Minister of Trade at Minister's office for six years, before she was getting posted in the USA. Made holds a Master’s degree in Politics of the World Economy from the London School of Economics and Political Science, London, and Bachelor’s degree in International Relations from Gadjah Mada University,</br>Yogyakarta, Indonesia. In 2015, she joined the Executive Education at Harvard Kennedy School in Boston to master trade policyarvard Kennedy School in Boston to master trade policy)
  • Ni Made Budi Utami  + (Ni Made Budi Utami was born on May 19, 197Ni Made Budi Utami was born on May 19, 1979 in Denpasar, Bali. She completed her undergraduate education at the Agro food Technology, Udayana University. She has some experience in editing and journalism. She became junior editor at SALAM Magazine, published by VECO Indonesia in 2005 – 2006, as an editor at SALAM Magazine, published by VECO Indonesia (2007—2009), editor at PETANI Magazine, published by Indonesian Organic Alliance (2010), editorial team of Core Function Analysis Facilitation Manual—MAP Timor Leste & GIZ (2011) and became freelance journalist (2011-2012). Since 2019 she has joined BASAbali Wiki as Administration and Financial Director. She has participated in Investigative Reporting Training, held by Yayasan Pantau and as a participation in The Climate Change Action Training, held by The Climate Project Indonesia and Yayasan Pembangunan Berkelanjutan in 2010.and Yayasan Pembangunan Berkelanjutan in 2010.)
  • Ni Made Frischa Aswarini  + (Ni Made Frischa Aswarini. Born on October Ni Made Frischa Aswarini. Born on October 17, 1991. She studied History at Udayana University, Bali and writes journalistic works, scientific works, essays, poetry and short stories. Her poems have been published in various media including translated into French for the journal Le Banian (2016) and the poetry anthology Couleur Femme (Jakarta-Paris Forum and AF Denpasar, 2010); translated to English in Happiness anthology,The Delight-Tree 2 (United Nations SRC Society of Writers, 2016). Two of her poetry books are entitled Portraits on the Table (2012) and Signs for Questions (GPU, 2017). Because of her poetic imprint, he became one of the speakers at the 2013 Ubud Writers & Readers Festival, as well as a cultural dialogue speaker at Publica, Kuala Lumpur. She was selected to participate in Canada World Youth (Kemenpora RI, 2014-2015) and helped compose a biography of the artist Made Wianta entitled God's Time (2008). Tanda for Tanya (2017) is a collection of poetry that is included in the top 10 categories of First or Second Work, Kusala Sastra Khatulistiwa 2017-2018. Now, she works as a historical research assistant and presenter at TVRI Bali. Active in the Sahaja Community, Denpasar. Instagram account: @frischa_aswarini.enpasar. Instagram account: @frischa_aswarini.)
  • Ni Made Purnama Sari  + (Ni Made Purnama Sari was born in KlungkungNi Made Purnama Sari was born in Klungkung, Bali, March 22, 1989. Graduated from the Department of Anthropology at Udayana University, then continued to Masters in Social Development Management, University of Indonesia. She wrote poetry, short stories and essays and was published in a number of newspapers, including Kompas, Koran Tempo, Media Indonesia, Jawa Pos, Bali Post. Her poetry was translated into English and French.</br></br>Since 2007, she has won various writing awards, including 2nd place in the short story competition at Balai Bahasa in Bali, 3rd place in Short Story Writing at the Jakarta Language Center, General Winner of the 2007 Sampoerna AGRO Poetry Writing and Reading Contest in Indonesia and 2nd Place in the National Poetry Writing Competition of the Semarang Arts Council. 2007. Her essay won first place in the Kompas Gramedia Essay Competition (2007). He has often won various poetry reading competitions, and read short stories since he was in junior high school.</br></br></br>His poetry has been included in the anthology of the 100 Best Indonesian Poems, the Pena Kencana Sastra Award (2007), the anthology book of the 5 Cities Poetry Gathering in Payakumbuh “Kampung Dalam Diri” (2008), and the Best Indonesian Poetry Anthology of the Pena Kencana Sastra Award (2008 and 2009), the Gathering Indonesian Literature (2010 and 2011), Ubud Writers and Readers Festival Anthology (2010), 'Couleur Femme' Anthology: A Collection of Indonesian-French Poetry published by the Alliance Francaise Denpasar and the Jakarta Paris Forum (2010) and so on. In addition, her work (biographical essay) has also been published under the title 'Time of God: Wianta' (2007). She also took part in the Folklore Writing program of the Jakarta Language Center in 2010.</br></br></br>Ni Made Purnama Sari has been invited to various events, both literary performances and discussions, in Bali as well as in several other areas in Indonesia, including Malang, Surabaya, Yogyakarta, Padang and Jakarta, including the Discussion and Launch of the Short Story Anthology Book 'Lobakan' which discusses the relationship between between literature and the history of the 1965 events in Bali (2009) at the Goethe Institute Jakarta. In addition, she was also invited to the Southeast Asian Assembly Writing Program (MASTERA): Essays organized by the Jakarta Language Center (2009), Mentor of the Tempo-Institute Essay Writing Program and Leadership Workshop (2010), Literature Gathering Mitra Praja Utama (MPU) in 2010, the international literary festival Ubud Writers and Readers Festival (2010), the IV Indonesian Sastrawan Gathering in Ternate (2011), the Writers Journey program with Australian writers (2012), and the 2014 Padang Literary Biennale. Her first poetry anthology, “Bali – Borneo” (2014), received an award from the 2014 Indonesian Poetry Day Foundation.the 2014 Indonesian Poetry Day Foundation.)
  • Ni Made Rai Sri Artini  + (Ni Made Rai Sri Artini. She was born in KeNi Made Rai Sri Artini. She was born in Kerobokan, Badung, Bali, November 17, 1978. She has been writing poetry and short stories since he was a teenager. Her works have been published in Bali Post, Denpost, Pos Bali, Tatakala.co, and so on. Some of her poems are also collected in joint books, such as “Ning” (2001), Mengmunyah Geram (2017).as “Ning” (2001), Mengmunyah Geram (2017).)
  • Ni Made Sri Andani  + (Ni Made Sri Andani, born in Bangli, OctobeNi Made Sri Andani, born in Bangli, October 10, 1965. She completed her studies at the Faculty of Veterinary Medicine, Udayana University. Currently, she serves as Marketing Director of a Fast Moving Consumer Goods company in Jakarta. Her hobbies are writing, gardening and drawing. </br></br>Her work in the world of writing began when she was a teenager by filling in school or college magazines with poetry or short stories. In addition, she saves a lot of her writings on her personal blog at https://nimadesriandani.wordpress.com. There are about a thousand of his writings on the blog. She is also diligent in sending her writings to Kompasiana and Balebengong. The types of writings published on blogs are very diverse, mostly about life, inspiration, motivation, gardening, traveling, art and culture. Her published book is "Balanced Life, A Journey For Happiness, 100 Inspirational Stories" (Expression Library, 2021).ional Stories" (Expression Library, 2021).)
  • Ni Made Sri Purnami  + (Ni Made Sri Purnami, S.Sos, known as KadekNi Made Sri Purnami, S.Sos, known as Kadek Purnami, was born in Ubud, Bali, 19 April 1981. She is one of the initiators of the Ubud Writers & Readers Festival (UWRF), an international festival founded in 2004 by Janet de Neefe. Her position in the festival was Community Development Manager, then General Manager in 2014 - 2020. </br></br>She was also involved in establishing the Mudra Swari Saraswati Foundation which oversees UWRF. In addition, she is also often involved in organizing visual art exhibitions, installations and videos (2005 -2006). She has worked in a production house in Bali and worked on a TV program entitled “Jejak Niaga”, which reviews the success profile stories that were broadcast on TVRI Bali (2003-2004). </br></br>She graduated from the Faculty of Social and Political Sciences, majoring in Communication majoring in Public Relations, Atmajaya University, Jogjakarta and Diploma in Management, majoring in marketing. She also likes to fill her time by painting, writing short stories and poetry which is occasionally published in local print media. In 2012, She published a collection of short stories entitled "Because of Love" which contains 12 short stories about life in Bali. contains 12 short stories about life in Bali.)
  • Ni Nengah Mega Risna Dewi  + (Ni Nengah Mega Risna Dewi was born in DenpNi Nengah Mega Risna Dewi was born in Denpasar, September 12, 1995. She graduated from art education at ISI Denpasar. Since 2013 she has been active in many joint exhibitions, including the exhibition "Human Space" at the Bali Cultural Park (2016), "Repositioning" at Discovery Mall Kuta (2018), "A Good Life For Orangutans" at the Jogja National Museum (2019), " X-TION” at Bentara Budaya Bali (2019), and “Freedom in Expression” at Bali Cultural Park (2019). Expression” at Bali Cultural Park (2019).)
  • Ni Nengah Widiasih  + (Ni Nengah Widiasih was born in Kubu, KaranNi Nengah Widiasih was born in Kubu, Karangasem, Bali, December 12, 1992. She finished her schooling at SMA Dwijendra, Nusa Dua. Since she was a teenager, she was known as a para-powerlifting athlete who made Indonesia proud. </br></br>She became paralyzed at the age of three and had to use a wheelchair. But she was not discouraged. She has studied weightlifting since elementary school. In junior high school, she won the National Weightlifting Championship by obtaining a Gold Medal in 2006. In addition, she won the ASEAN Paragame Bronze Medal in Thailand (2008), the ASEAN Paragames Silver Medal in Malaysia (2009), the ASEAN Paragames Gold Medal in Solo (2011), Silver Medal at the Asia Open in Malaysia (2013), Gold Medal at the ASEAN Paragames in Myanmar (2013), Silver Medal at the Asian Paragames in Incheon (2014), Bronze Medal at the Paralympic Games in Brazil (2016), Silver Medal at the Asian Paragames in Jakarta (2014), Tokyo Paralympic Silver Medal (2020).14), Tokyo Paralympic Silver Medal (2020).)
  • Ni Nyoman Polok  + (Ni Nyoman Pollok was a Balinese dancing leNi Nyoman Pollok was a Balinese dancing legend from Kelandis.</br></br>In the 1930s, Belgian artist, Adrien Jean Le Mayeur, saw Ni Pollok dance the Legong Keraton. He asked her to become a model for his paintings. Le Mayeur eventually married Ni Pollok and together they build a house in Sanur which later became a museum.ouse in Sanur which later became a museum.)
  • Ni Nyoman Sani  + (Ni Nyoman Sani was born in Sanur, Bali, AuNi Nyoman Sani was born in Sanur, Bali, August 10, 1975. She graduated from the fine arts department of ISI Denpasar. Apart from painting, she is also interested in photography, poetry, and fashion. Sani's paintings talk a lot about women in the context of the world of fashion shows. The colors of the paintings are soft and very feminine.</br></br>Since 1995, Sani has been actively displaying her work in joint exhibitions, both at home and abroad. Her solo exhibitions include Life Style at the Seniwati Gallery (Ubud, 1997), Pose at the Amankila Hotel (Candidasa, 1999), All About Women at Kiri Desa Gallery (Singapore, 2002), The Pleasure of Looking at Griya Santrian Gallery (Sanur, 2002). 2003), Between Two Worlds at O House Gallery (Jakarta, 2007), Women at Curiocity Nafa Me Fashion Gallery (Singapore, 2008), Residency in Haarlem (Netherlands, 2009), The Adventure of My Soul at Bentara Budaya Bali (2011) , Enigma in Fusion Style (Ubud, 2012). In 2000, a painting by Sani was included in the 100 Finalist of Philip Morris, Jakarta.he 100 Finalist of Philip Morris, Jakarta.)
  • Ni Nyoman Srayamurtikanti  + (Ni Nyoman Srayamurtikanti is a gamelan musNi Nyoman Srayamurtikanti is a gamelan musician and is also pursuing her career as a composer. Sraya was born on October 3, 1996 and is the daughter of an artist from Celuk Village, Sukawati, Gianyar. She has studied gamelan since she was in elementary school. She was educated at SMKN 3 Sukawati (KOKAR/SMKI Bali) majoring in Karawitan, Indonesian Art Institute Denpasar majoring in Karawitan, and is currently pursuing a Masters Study Program at the Indonesian Art Institute Surakarta. Sraya is the head of the Sanggar S'mara Murti which was founded by her father, which was then continued by Sraya. This studio is engaged in traditional arts, especially Balinese Gamelan and also its development. Sraya started to compose music in 2017 with the guidance of her father who is also a composer and singer. The musical works created by Sraya are based on tradition and innovation.</br></br>Sraya had the opportunity to represent Indonesia in the ASEAN Youth Camp event in Sagada, Philippines (2015), Student Exchange AIM Program at University Malaya (2016-2017), became a composer in the Komponis Kini - Tribute to Wayan Beratha event (2019), became a composer in the National Cultural Parade (2019) representing Bali, being the 5th best composer in the Creative Music Competition – Taksapala Festival, Badung Bali, collaborating with a choreographer from Mexico (2021), and most recently being one of the composers in the Southeast Asia Music Session Indonesia Edition (2021). The compositions that have been created are: Kangkat (2017), SoS (2017), Love is God (2017), Rain-Ly (2017), Krepetan (2018), Selaka (2018), A Ketel (2018), Lango Wangi (2019), Titik Nol (2019), Candra Buana (2019), Speech Delay (2020), Padma Semarandhana (2020), Gelung (2020), Resing Langit (2020), Garba (2020), Empowerment (2021), Nyikzag (2021), Mulat Sarira (2021), etc. Nyikzag (2021), Mulat Sarira (2021), etc.)
  • Ni Nyoman Tjandri  + (Ni Nyoman Tjandri is one of the few femaleNi Nyoman Tjandri is one of the few female puppet masters in Indonesia. Born to an artist father, Tjandri was familiar with and fond of all forms of the Balinese performing arts, especially the arja, a Balinese traditional drama that incorporates music and dance. The talented Tjandri gradually developed superb dance and vocal techniques through interaction with her father, I Made Kredek, and fellow artists. After her father's death, Tjandri decided to learn the Kawi language to continue his efforts to master Balinese literature. She went to the well-known dalang I Nyoman Ganjreng. Instead of giving Kawi lessons, Nyoman Ganjreng gave the girl four puppet figures. The puppet master told her she had to master the Kawi language through wayang stories, mostly derived from Ancient Indian and East Javanese epics and legends. In 1979 Tjandri decided to learn the art of the dalang seriously and intensively. All wayang performances present a story, which is told by a dalang. A dalang must master at least 100 stories and be able to enliven each of the characters portrayed with distinctive vocal sounds. Being a dalang, one must have plenty of physical stamina and a thorough knowledge of both the ancient Kawi language and high and low Balinese language, as well as its literature. Tjandri is frequently invited to perform both on local and overseas stages.perform both on local and overseas stages.)
  • Ni Putu Devy Gita Augustina  + (Ni Putu Devy Gita Augustina, with the pen Ni Putu Devy Gita Augustina, with the pen name Devy Gita, was born in Singaraja. She graduated from Ganesha Education University, Singaraja in English. She teaches at Bali Kiddy Elementary School and joined the Mahima Community, Teater Kalangan, Kacak-Kicak Puppet Theater. Her poems are published on Saatkala.co and summarized in the book Sang Guru (2019).d summarized in the book Sang Guru (2019).)
  • Ni Putu Putri Suastini  + (Ni Putu Putri Suastini was born in DenpasaNi Putu Putri Suastini was born in Denpasar, January 27, 1966. Since she was a teenager, she has been active in literature and theater. She has joined the Wind Theater, Tiger Tutul Studio, Badung Mini Theatre, August Theater, White Studio. She published poetry books are Bunga Merah (2017) and Rumah Merah (2018). Ni Putu Putri Suastini Koster is well known among local Balinese and Indonesian artists.ong local Balinese and Indonesian artists.)
  • Ni Putu Rastiti  + (Ni Putu Rastiti, currently works as a nursNi Putu Rastiti, currently works as a nurse at the Bali Mandara Hospital, Sanur. Her works have been published in local and national media and have been included in several anthologies. Her first collection of short stories was titled The Tree of Wishes. Several times she was invited to the National Writers' Meeting. She was last invited as a young writer at the Ubud Writers and Festival 2016. Her poetry has been translated into French and her short stories into English.French and her short stories into English.)
  • Ni Wayan Murni  + (Ni Wayan Murni was born in Penestanan, BalNi Wayan Murni was born in Penestanan, Bali. Murni is a well-known and much loved personality on the Bali scene and a pioneer of Balinese tourism.</br></br>Shops and Restaurant</br></br>During her extraordinary life Murni has lived in Sanur and Ubud and has</br>travelled widely. By the early 1970s she owned 4 shops on Sanur beach and</br>had opened Ubud’s first real restaurant, Murni’s Warung, overlooking the</br>Campuan River. Since then thousands of people have enjoyed her food and</br>hospitality. She is still very active in the restaurant.</br>There are YouTube videos on youtube.com/watch?v=zf3VVj7gx8g and</br>youtube.com/watch?v=KWTgnXtOlpA</br></br>Asian Antiques and Textiles</br></br>During her adult life Murni has been busy collecting and becoming an expert</br>on Asian antiques and textiles and many of them are to be found in Murni’s</br>Warung Shop beside the restaurant. She was the first person in Ubud to have</br>a proper gallery of antiques, textiles, costumes, old beads, tribal jewelry,</br>stone carvings, masks and other ethnic pieces. Many of her pieces are</br>museum quality and her fine arts credentials are impeccable. Murni is a</br>member of the Thai Textile Society.</br></br>Exhibitions</br></br>In 2007 and 2009 Murni exhibited part of her collection at the prestigious</br>shows, Arts of Pacific Asia and Tribal Arts & Textiles, in San Francisco and</br>gave a lecture on Balinese textiles to the Textile Arts Council at the de Young</br>Museum. Murni understands and participates in Balinese culture on a daily</br>basis and plays in a women’s gamelan group at important religious</br>ceremonies.</br></br>Articles and Books</br></br>Murni has written numerous articles on Balinese art and culture and the book</br>Secrets of Bali, Fresh Light on the Morning of the World by Jonathan</br>Copeland and Ni Wayan Murni published by Orchid Press in 2010 is in its</br>second print run. It is also available as an ebook on its own web site:</br>www.secretsofbali.com and www.murnis.com</br></br>Murni’s Very Personal Guide to Ubud by Ni Wayan Murni and photographs by</br>Jonathan Copeland was published in October 2011 and is available as an</br>ebook on www.murnis.com and all online retailers.</br></br>Ni Wayan Murni and Jonathan Copeland wrote From Tattoos to Textiles,</br>Murni’s Guide to Asian Textiles, All You Need to Know ... And More, which is</br>an ebook available on www.murnis.com and all online retailers.</br></br>Murni’s Bali Tours, Where to go, What to Do and How to Do It is an ebook of</br>7 special tours was written and designed for guests staying at Murni’s Houses</br>to bring with them on the tours It is an ebook available on www.murnis.com</br>and all online retailers.</br></br>Murni’s Houses</br></br>In the early 1980s Murni started to construct Murni’s Houses in Ubud, a</br>complex of seven extraordinary residences and open-air pavilions amid a</br>garden full of flowers, statues, fountains, trees and shrubs lying all by itself</br>next to open fields. It is a wonderful introduction for first timers to Bali and a</br>dependable refuge for her many guests who return each year. Just 5 minutes</br>walk from the main road and accessed through a traditional Balinese roofed</br>gate, it’s a place of tranquility. Residential photography tours and Spa</br>packages are available. There are YouTube videos on</br>youtube.com/watch?v=Cd1A2xgNlDc and</br>youtube.com/watch?v=3vCnSMavfRk</br></br>Tamarind Spa at Murni’s Houses</br></br>Murni’s latest venture is the creation of Tamarind Spa at Murni’s Houses,</br>which was listed as the top spa in Ubud on Trip Advisor within 3 months of its</br>opening. Tamarind Spa brings all these aspects of Balinese art, luxury, and</br>culture together in one healing experience. There is a YouTube video on</br>youtube.com/watch?v=h4IscHN4dqo</br></br>Houses</br></br>She also has houses in Penestanan for long-term rent.</br></br>Anniversary of Murni’s Warung</br></br>To celebrate the 40th anniversary of Murni’s Warung, Forty Delicious Years,</br>Murni’s Warung, Ubud, Bali, 1974–2014, From Toasted Sandwiches to</br>Balinese Smoked Duck was published in 2014.</br>It has its own web site: www.fortydeliciousyears.com and YouTube video</br>www.youtube.com/watch?v=YFq22MYP-_s. It is also available as an ebook</br>on www.murnis.com and all online retailers.</br></br>Blog</br></br>Murni and Jonathan Copeland have a joint blog</br></br>An eclectic blog concentrating on Bali but taking in the World</br></br>Social Media</br></br>Murni’s Warung, Murni’s Warung Shop, Murni’s Houses and Tamarind Spa</br>are on Trip Advisor, Facebook and Google+ and Murni is on Twitter and</br>Linkedin.</br></br>Books and Ebooks</br></br>• Secrets of Bali, Fresh Light on the Morning of the World</br>• Murni’s Bali Tours, Where to go, What to do and How to do it</br>• Forty Delicious Years, 1974-2014, Murni's Warung, Ubud, Bali</br>• Murni's Very Personal Guide to Ubud</br>• From Tattoos to Textiles, Murni's Guide to Asian Textiles, All You Need to</br>Know…And More Asian Textiles, All You Need to Know…And More)
  • Nick Burgoyne  + (Nick Burgoyne has been living in Bali, on Nick Burgoyne has been living in Bali, on and off, since 1990 with his Balinese wife and two children, to a small village where I am the only foreigner.</br></br>Writes Nick: "We love to walk the small lanes and paths through the rice paddies and I love to shoot what I see there, especially local farmers, whose faces so accurately and poignantly chronicle their lives. I shoot with a Canon 5D mk III and use Nik plugins for post-processing." and use Nik plugins for post-processing.")
  • Suara tan Kapireng  + (Nowadays young people often argue about thNowadays young people often argue about the problems faced today regarding the advancement of existing infrastructure and facilities by speaking according to their abilities but not listened to by the government and sometimes ignored</br>So we also have to improve our courage by learning and being serious about creating work and studying so that we can move forwardk and studying so that we can move forward)
  • Suara Remaja  + (Nowadays young people often argue about thNowadays young people often argue about the problems faced today regarding the advancement of existing infrastructure and facilities by speaking according to their abilities but not listened to by the government and sometimes ignored</br>So we also have to improve our courage by learning and being serious about creating work and studying so that we can move forwardk and studying so that we can move forward)
  • Nur Wahida Idris  + (Nur Wahida Idris was born in Ketugtug, EasNur Wahida Idris was born in Ketugtug, East Loloan, Negara, April 28, 1976. She completed her studies at the Department of Crafts/Textiles, Faculty of Fine Arts, ISI Yogyakarta. In addition to the Bali Post, her poetry has been published in Kompas, Koran Tempo, Suara Merdeka, Jawa Pos, Bernas, Sunday Morning, Prince Claus Fund Journal and Horison Literature Magazine, as well as in joint anthologies, including Kidung Kawijayan, Philanthropy, Pedas Lada Pasir Quarsa, Lingua Franca Conversation and Living Together. Her poetry received awards from the Indonesian Ministry of Education and Culture, the Lampung Arts Council and the Yogyakarta Language Center. Her single book of poetry, Springs of Roots of Trees (2008). She was invited to read his poetry at the Yogyakarta Arts Festival XVII/2005, the 2005 International Literary Biennale in Bandung and the Jakarta Arts Council, 2006. As the Director of Akar Indonesia, she also manages the Yogyakarta Rumahlebah Community.nages the Yogyakarta Rumahlebah Community.)
  • Nuryana Asmaudi SA  + (Nuryana Asmaudi SA was born in Jepara, CenNuryana Asmaudi SA was born in Jepara, Central Java, March 10, 1965. He writes poetry, short stories, essays, art reviews, Kalon scripts, etc. His writings have been published in a number of local and national media. His poems are summarized in a number of joint anthologies, including Travel (1990). Since 1996, he has been living in Bali, managing the TenSutBeh Literature House with Umbu Landu Paranggi, Raudal Tanjung Banua, Riki Dhamparan Putra, et al (1996 – 2008). Together with Umbu Landu Paranggi, he participated in fostering literary appreciation activities for students around Bali (1997 until the early 2000s). Apart from writing literature, he also worked as a journalist, having joined the Bali Post Media Group. Since 2011 until now, he has worked as an Editor at the Bali Tribune. Since 2008 he has lived and co-managed the Snerayuza Art Studio with the painter Made Budhiana. His single book of poetry is “The Moon Prayer for Pungguk (2016), “Taman Perkap Bulan” (2018). The third book of poetry is ready to be published.d book of poetry is ready to be published.)
  • Nyoman Diwarupa  + (Nyoman Diwarupa, born in Bali, April 7th. Nyoman Diwarupa, born in Bali, April 7th. He completed his art education at ISI Denpasar in 1998. Since 1992 he has been actively participating in joint painting exhibitions, such as the “Force of 92” exhibition at the Art Center (1992), “Sebelas Art Group” at Darga Gallery, Sanur (1996), “Kuta Art Cromatic” in Kuta (2013), and so on. His works tend to be abstract. He joined the founding community of Galang Kangin and Militanart.community of Galang Kangin and Militanart.)
  • Nyoman Gunarsa  + (Nyoman Gunarsa was born in Klungkung, ApriNyoman Gunarsa was born in Klungkung, April 15, 1944. He graduated from ASRI Yogyakarta. He is one of the founders and important figures of Sanggar Dewata Indonesia. In 1989, he founded the Nyoman Gunarsa Indonesian Museum of Contemporary Painting in Yogyakarta and in 1994 founded the Nyoman Gunarsa Balinese Classical Painting Museum in Klungkung. He has exhibited his works at home and abroad. Many of his works feature figures of Legong dancers with expressive strokes. He won the Dharma Kusuma award from the Provincial Government of Bali in 1994. In 2017, Gunarsa passed away.ali in 1994. In 2017, Gunarsa passed away.)
  • Nyoman Rasta Sindhu  + (Nyoman Rasta Sindhu is a writer and journaNyoman Rasta Sindhu is a writer and journalist who was born on August 31, 1943 in Denpasar and died on August 14, 1972. For his dedication to literature, he received the "Dharma Kusuma Madya" Award from the Governor of Bali, Ida Bagus Mantra.</br></br>He studied at the Faculty of Letters and Culture, Gajah Mada University, then moved to Udayana University majoring in Antiquities. He became a journalist and editorial staff of the Balinese edition of “Suluh Marhaen” art and culture (now Bali Post). In addition, he is also one of the editors of the Bali Courier magazine (1971).</br></br>His works are spread in various mass media, including Kompas, Sinar Harapan, Horison literary magazine, Indonesian pulpit, Basis, Sastra. One of his most famous short stories, “When Kentongan was Beaten at Bale Banjar”, was published in the German anthology of Indonesian prose, Perlen im Reisfeld, Indonesia (1971). The short story was published in Horison magazine No.1 Th.IV January 1969 and won the Horizon Literature Prize.</br></br>Most of his works contain opposition to the orthodoxy of Balinese views or beliefs. His social protests are not out of hatred, but rather because he loves Bali so much. However, until now there has been no publisher who has compiled his works as a whole, so that we have difficulty being able to enjoy his literary works.ty being able to enjoy his literary works.)
  • Nyoman Sujana  + (Nyoman Sujana alias Kenyem is a painter boNyoman Sujana alias Kenyem is a painter born in Sayan, Ubud, September 9, 1972. He completed his art education at ISI Denpasar. Since 1992 he has been active in many joint exhibitions. Meanwhile, since 1996 he has displayed his works in solo exhibitions at home and abroad. These include “A Place Behind The House”, Komaneka Gallery, Ubud (2016), “Highest”, Philo Art Space, Jakarta (2013); G13 Gallery, Kelana Jaya, Selangor, Malaysia (2013); “The Bicycle Diaries”, Komaneka Art Gallery, Ubud, Bali (2011), “The Bridges of Nature”, D'Peak Art Space, Singapore (2009). Kenyem's works display the concept of balance (harmony) in the context of human relations with humans, nature, and God. Kenyem works in a meticulously detailed manner, often with calligraphic fields. Iconic to his paintings are small androgynous figures that appear to be dancing. Trees and especially leaves are a recurrent visual motif, as are large hovering rocks. Everything is carefully shadowed to give</br>the impression of floating. Kenyem is one of the founders of the Militant Arts community of artists.of the Militant Arts community of artists.)
  • Nyoman Sukaya Sukawati  + (Nyoman Sukaya Sukawati was born on FebruarNyoman Sukaya Sukawati was born on February 9, 1960. He has been actively writing poetry since the 1980s in the literary section of the Bali Post Sunday newspaper under the care of the poet Umbu Landu Paranggi. Apart from writing poetry, he is also diligent in writing short stories, articles, painting, and other artistic activities.</br>He knows the world of writing by being active in the world of journalism. He started this activity as a teenager by diligently writing reports on the potential of the village. Then he studied more seriously and became a journalist for the Bali Post, Nusa Tenggara, Karya Bhakti newspapers, as well as a number of other media. He has been active as a television reporter for RCTI. He also does a lot of periodical publications in Denpasar, including tourism magazines and economic tabloids. In 1993 he became the editor of the book Bali, Socio-Cultural Problems and Modernization, written by Prof. I.B. spell. In 2007 his book entitled Seeking Heaven in the Bali Bombing was published thanks to the assistance of the Widya Pataka program of the Regional Library of Bali Province in collaboration with the Arti Foundation, Denpasar.ration with the Arti Foundation, Denpasar.)
  • Nyoman Suradnya  + (Nyoman Suradnya was a Balinese painter froNyoman Suradnya was a Balinese painter from Ubud. He specialized in three main media: batik, oil, and watercolor. Nyoman was an established artist in residence in Sydney, Melbourne, and Singapore. Nyoman's artwork has been featured all over the world in such countries as Switzerland, Australia, Italy, and Guam (USA). He was also a strong advocate for sustainable tourism that protected the culture and environment of Ubud. With his friend, Tjok Raka Kerthyasa, he founded Bina Watasa, which roughly translates as "guiding tourism." Their goal was to educate tourists about enriching and environmentally sustainable practices that allowed them to experience all of Ubud in a responsible way. Nyoman is remembered for his "larger-than-life" personality and as an important advocate for the preservation of the culture and environment of Ubud.on of the culture and environment of Ubud.)
  • Nyoman Tingkat  + (Nyoman Tingkat is a writer and high schoolNyoman Tingkat is a writer and high school teacher. He diligently writes book reviews, essays, and articles. His writings are widely published in local mass media, such as the Bali Post. He has also won awards as an outstanding teacher and various writing competitions. His published books are: Studying in the Footprint of Literature (Arti Foundation, 2007), Depending on the Teacher (Arti Foundation, 2009), etc. the Teacher (Arti Foundation, 2009), etc.)
  • Nyoman Tjokot  + (Nyoman Tjokot is a sculptor who was born iNyoman Tjokot is a sculptor who was born in Banjar Jati, Sebatu, Tegalalang, Gianyar, Bali, in 1886. He is an intelligent self-taught sculptor. In his work he uses a lot of unused logs or tree roots that drift in the river. He carves the found woods to his heart's content, following the grooves of the wood and his intuition. The result is sculptures/sculptures that were considered unusual in their time, eccentric, archaic, absurd. His sculptures tend to be rough but contain the honesty of his artistic soul. His unique style of sculpture/sculpture is often referred to as the "Tjototisme" school which is now being passed on by his descendants. In his day, Tjokot's works were not highly appreciated in Bali. However, his works have been widely appreciated abroad. In the 1960s, Tjokot's works were well known in the United States and he was already called a maestro in the field of sculpture. In 1969 the Indonesian government awarded Tjokot in the form of the Wijaya Kusuma Art Award. Tjokot died in October 1971.ma Art Award. Tjokot died in October 1971.)
  • I Nyoman Tusthi Eddy  + (Nyoman Tusthi Eddy was born in Pidpid, KarNyoman Tusthi Eddy was born in Pidpid, Karangasem, Bali, December 12, 1945. He studied at the Faculty of Teacher Training and Education, FKIP Singaraja, graduating from 1969. Apart from being a teacher, he writes poetry, short stories, essays, articles, literary criticism, both in Balinese and in English. Indonesia. His works have been published in the Bali Post, Kompas, Suara Karya, Horizon, Basis, Warta Hindu Dhrama, Sarad, and so on. He received a number of awards, including the Bali Sastra Sabha (1999), the Modern Balinese Literature Penatar Charter from the Karangasem Education Office (2002), the Rancage Literature Prize (2004 and 2009). In addition, he also translated Indonesian and English literature into Balinese. His published books: Memories for the sake of Memories (1981), Poems Around the World (1984), Far East Poems (1985), Murmurs About Literary Appreciation: A Number of Essays and Notes (1985), Comparison of Words and Terms in Malay- Indonesia (1987), Introduction to Modern Balinese Literature (1991), Dictionary of Indonesian Literary Terms (1991), The Face of God in the Eyes of a Poet (1994), Folklore from Bali (1997), Duh Ratnayu: Tembang Kawi Mendamba Cinta (2001), Tafsir The symbolic story of Bagus Diarsa (2002), Ning Brahman (2002), SungaiMu (2004), Somah (2008).man (2002), SungaiMu (2004), Somah (2008).)
  • Nyoman Wijaya  + (Nyoman Wijaya is a painter born in TabananNyoman Wijaya is a painter born in Tabanan, Bali, November 1971. He studied painting at the Sanggar Senin Kemis Studio in Sanur, Bali, from 1998 to 2003. In 2018 he won the Nomination of Akili Museum of Art Award (AMAA). His first solo exhibition was held in 2009 entitled "AS. SENT" at Kendra Gallery, Seminyak, Bali. Since 1998, he has also been frequently involved in joint exhibitions, including BEAUTY MYTH at Green Art Space (Jakarta, 2010), MOTION & REFLECTION at the National Gallery (Jakarta, 2010), FASCINATION at Andi's Gallery (Jakarta, 2009), etc. He focuses on Balinese cows and women. For him, cows are sacred animals that are full of tenderness and become friends of farmers.l of tenderness and become friends of farmers.)
  • Nyoman Wirata  + (Nyoman Wirata was born in Denpasar, 1953. Nyoman Wirata was born in Denpasar, 1953. He studied at the Indonesian Fine Arts School (SSRI) Denpasar until he graduated in 1972. He started writing poetry in 1975 and worked as an arts teacher since 1980, retired in 2013 and continues his artistic activities. In 2011 he won an Award from the Principal of SMPN 5 Denpasar as a Literature and as the School Magazine Supervisor for 14 years. </br></br>In the field of literature, he won 1st Place in Poetry Writing in Bali held by the Bali Provincial Government (1977), 10 Best Poetry in Bali held by the Bali Post (1978), 3rd Place in the National Level Reading Book Writing Competition among Teachers which organized by the Ministry of Education and Culture (1993), 2nd place in a novel writing competition held by the Bali Post (2003). His poems have been published in various mass media, such as Bali Post, Kalam, etc. Also included in the books Tutur Batur (2019), Chewing Furious (2018), Marriage Poetry (2017), Klungkung Tanah Tua Tanah Cinta (2016), Dendang Denpasar Nyiur Sanur (2012), Hram (1988). His only poetry book is Celebrating Trees in the Poetry Garden (2007). He received the Widya Pataka Award (2007) and Bali Jani Nugraha (2020) from the Bali Provincial Government. Apart from studying literature, he is also active in painting.literature, he is also active in painting.)
  • Punapi kawentenan Guru Wisesane ring Pemilu 2024? II  + (OM SWASTYASTU Suksma aturang titiang majeOM SWASTYASTU</br>Suksma aturang titiang majeng ring Dinas Pendidikan Kepemudaan dan Olahraga Provinsi Bali sane sampun ngawentenang pacentokan Bali Berorasi puniki,naler Wikiton.</br></br>Ring kawentenan sane becik puniki titiang jagi nyihnanyang angga,Wastan titiang Ni Kadek Mia Juniarti saking SMKN 1 Kuta Selatan ring kawentenan puniki jagi ngungayang indik kawentenang ring Masyarakat sane mamurda “ Punapi kawentenan Guru Wisesane ring Pemilu 2024?”</br></br>Guru wisesa silih sinunggil pahan saking Catur Guru sane wenten ring Sastra Agama Hindune.Jangkep nyane Catur Guru kasobyahang wenten Guru Swadhyaya pinaka Ida Sang Hyang Widi Wasa, Guru Wisesa pinaka pemerintah, Guru Pengajian pinaka guru sekolah, lan kaping untat Guru Rupaka pinaka rerama.Ring galah puniki titian jagi maosang indik guru Wisesa.Napike Guru Wisesa wantah ngatur karamane manten?Cawisane pastikan nenten,liananken punika pamerintah patut ngemuhan masyaraktne,ngayahin masyakatne mangda adil miwah mirengang pikobet sane nibenin masyarakatne. </br>Pikobet ring pamerintah nenten je asiki nanging akeh pisan silih sinunggil nyane kawentenan Pemilu.Pemilu akeh ngamedalang pikobet minakadi Politik Uang miwah Orti Hoax utawi Hate Speech ritatkala kampanye</br></br>Kawentenan punika prasida katambakin mangda kawentenan pemilune mamargai antar manut ring tata aturan sane kacumawisang antuk kesadaran lan tanggung jawab sami Masyarakat indik kawentenan Pemilu .Nika krana yening cingak sane sampun liwat Pendidikan politik lan sosialisasi politik nenten mamargi sinarengan,kawentenan punika wantah dados tugas penyelenggara kemanten.Partai politik lan pemerintah patut menyarengin pakaryane punika.Iraga makasami naler nguratiang hak-hak konstitusi Masyarakat sumangdane kajaga tur ter akomodir ring Pemilu.</br></br>Ngiring !! Sinamian suksesang Pemilu 2024 antuk nyagra saking daya-daya jele sane wenten saking Pemilu sane dumunan mangda pasida Pemilu warsa 2024 puniki mamargi antar.</br></br>Inggih wantah asapunika ngenenin indik daging manah titiang manados Masyarakat,titian mapinunas napi sane kasobyahang prasida kapinehin tur karesepang olih para pemangku kebijakan minakadi guru wisesane sane madue wewenang tur kebijakan sumangdane kawentenan Gumi Baline ngangsan becik tur trepti.</br></br>Sineb titiang antuk Parama Santih</br></br>Om Santih,Santih,Santih Om Parama Santih Om Santih,Santih,Santih Om)
  • Sentuhan Kritis: Menolak Penyatuan Budaya dan Politik demi kebebasan Identitas  + (OM Swastyastu, Let us reflect together on OM Swastyastu,</br>Let us reflect together on the impact of forced cultural and political unification, especially in the context of the ban on celebrating the Balinese holiday of Pengrupukan during elections. This coercion can create outrage by harming cultural practices that are integral to people's lives. So, to what extent should we give up cultural celebrations in favor of often questionable political interests? Governments, especially local governments, should be smarter in understanding and protecting cultural heritage as a community right. Only with wiser policies, considering cultural values, can we create true harmony and genuine peace.</br></br>The prohibition of historic culture is not simply a religious or cultural matter, but involves the right of communities to practice their traditions without intrusive interference. I strongly emphasize the urgency of incisive dialogue, unequivocal respect, and a policy full of sarcasm to respond to issues like the Pengrupukan ban. Only through this approach can harmony between culture and politics be truly realized. The government should not only listen, but also act swiftly for the survival of such a precious cultural heritage. </br></br>Whoever is elected, let them not only drown in the pleasure of being in power, but also introspect that cultural diversity is not a toy that can be trampled on. A wise leader is not just good at talking, but is able to defend the cultural wealth of the homeland, not destroy it for the sake of narcissistic personal ambition. So, let's choose leaders who not only know how to play politics, but also understand the art of maintaining harmony in diversity.</br></br>Thank you, OM Santhi, Santhi, Santhi OM. Thank you, OM Santhi, Santhi, Santhi OM.)
  • Pikobet Peplajahan ring Sisya Tuli  + (OM Swastyastu, OM Ano Bhadrah Kratavo VyānOM Swastyastu,</br>OM Ano Bhadrah Kratavo Vyāntu Vicva Taḥ’</br>“May auspicious thoughts come from all directions.”</br></br>Dear future leaders of Bali.</br>Education is the initial provision for achieving goals. Every citizen has the right to education in accordance with Article 31 Paragraph 1 of the 1945 Constitution. The citizens in question are everyone without exception, men, women, children, adults, the elderly, and people with disabilities. Obtaining the right to education is the responsibility of all parties. Parents are obliged to provide basic education to their children. The implementation of education is carried out by the government through the Education Office, both general, special and inclusive education. Now the question is, has the government provided proper access for people with disabilities? The answer is no, brothers and sisters.</br></br>I invite you to focus on deafness. There are so many obstacles for deaf people when continuing their education in higher education because access is not properly provided. Campuses accept deaf students, but do not provide appropriate access, so they cannot study properly. Another contributing factor is the use of SIBI (Indonesian Sign Language System) in primary and secondary education. SIBI is confusing for deaf learners and not deaf culture. SIBI is made by hearing people who use Indonesian vocabulary patterns so that deaf people cannot understand the context discussed. According to Ade Wirawan, a deaf activist in Bali, the forced use of SIBI results in Language Deprivation which has an impact on the cognitive development of deaf children and students.</br></br>The solution to the forced use of SIBI is to use Bisindo (Indonesian Sign Language) which is a natural language that emerges and develops in the deaf community. Bisindo is a representation of deaf culture so it is strongly fought for by deaf communities, organizations and activists. Regarding the use of Bisindo in educational units, the government has played a role in deaf education with the issuance of Government Regulation No. 13 of 2020 concerning proper accommodation for students with disabilities, especially for deaf or hard of hearing disabilities listed in Article 15. Furthermore there is a Circular Letter from the Directorate General of Community Education and Special Education on September 23, 2021, regarding the widespread use of Bisindo in special education units for the deaf or deaf community in the wider community. PP No. 13/2020 and the above circular are in accordance with Law No. 8/2016 on disability. However, the implementation has not gone according to its purpose. Many have not provided proper accommodation for students or teachers who master sign language in a complex manner.</br></br>Things that Bali’s future leaders should realize for equal access to education for deaf students are:</br>1. Adjust the curriculum according to the needs of the deaf.</br>2. Provide an introduction to deaf disabilities to teachers at the elementary school level to serve as a guideline in order to provide teaching in an appropriate manner. </br>3. Provide training to improve complex sign language skills and linguistic understanding of sign language for teachers.</br></br>Bali’s future leaders, let’s work together to address these barriers to education, and fix them immediately. Otherwise, the chain of problems will continue to take root and create more complex barriers. Elections are the perfect venue to fix this long-standing problem.</br> </br>Are you the right person to lead Bali? Are you able to approach the deaf community? Can you fulfill the demands of the deaf community?</br></br>OM Shantih Santhi Santhi OMaf community? OM Shantih Santhi Santhi OM)
  • Mantle Hood  + (Obituary LA Times: Professor, Pioneer in Obituary LA Times: </br>Professor, Pioneer in Studying World’s Music and Cultures</br>(1918-2005)</br>“Mantle Hood was the first scholar to take seriously the study of what was then called nonWestern music, in the 1950s,” said Christopher Waterman, dean of UCLA’s school of arts and architecture and an ethnomusicologist. Hood joined the UCLA faculty in 1956 and created what is now the department of ethnomusicology in 1960. He envisioned a complete approach to the study of his field. He wanted students to learn at least two music traditions, their own and that of a culture new to them. He also urged them to learn to play a native instrument, drums for a student of West African music, for example. Common practice now, it was considered novel when he introduced the idea, which he referred to as bi-musicality. By learning several music traditions, Hood proved that the two could exist in harmony, according to Jacqueline Cogdell DjeDje, chairwoman of UCLA’s ethnomusicology department. (...) "Hood saw it as a way to teach students respect and understanding for “people and cultures different from their own,” DjeDje said. Hood also expected his graduate students to see and hear the music they studied as it was performed in its native setting. “Hood taught that the music comes out of the culture,” said Robert Garfias, professor of anthropology at UC Irvine and one of Hood’s first graduate students at UCLA. “His idea was to study the music as part of the culture.” Hood had been traveling the world from the time he graduated from UCLA in 1951 after earning a bachelor’s and a master’s degree in music. He received his doctorate from the University of Amsterdam, where he wrote a dissertation on Javanese music. After joining the faculty at UCLA, he was granted a Ford fellowship that allowed him to live in Indonesia for two years and study its music. He later studied in India on a Fulbright fellowship. An expert in the music of Java and Bali, Hood played all the instruments in a gamelan, an Indonesian symphony that consists of percussions, winds, strings and other instruments. During gamelan performances with his students, he played the rebab, a type of lute that is the lead instrument in the ensemble. Dozens of his UCLA students went on to teach ethnomusicology. Several of them founded programs at universities, including UC Berkeley. “Hood had a very powerful impact on how ethnomusicology is taught,” said Garfias, who founded a program at the University of Washington, Seattle, before moving to UC Irvine. Hood was born in Springfield, Ill., and moved to Los Angeles with his mother in the 1930s after his father died. He played piano and later learned the saxophone but didn’t expect a career in music. After high school, he worked at various jobs including as a draftsman at McDonnell Douglas. He also played saxophone in jazz bands. He served in the Army during World War II and returned to Los Angeles in 1945. After a false start as an agriculture student at UCLA, he found his true calling. Before he left the university in 1975, he wrote several books about his field, including “The Ethnomusicologist” (1971), which outlined research issues and questions related to what was then considered a new subject of study. An ethnomusicologist, Hood wrote, “is inclined to be highly sensitive to other human beings, to respect their scales of values and their behavior, even if these are not compatible with his own.” Hood moved from Los Angeles to Hawaii in 1973 and began to write self-published novels. “As a young man, he had his heart set on being a writer,” Marlowe Hood said. “As a teenager, he loved pulp fiction.” He set his potboilers in countries he had visited over the years. “Just a Stone’s Throw” is set in Bali. “The Keepers” is set in Hawaii and Japan. In 1980, he relocated to Maryland where he established an ethnomusicology program at the University of Maryland, Baltimore County. He wrote several more books about ethnomusicology and continued teaching until 1996. (...) He has four sons.</br></br>Amazon: Author of fiction:</br>Mantle Hood is the published author of seminal works in the field of ethnomusicology, study of the musical cultures of the world. A pre-eminent international scholar, he is the principal author/co-author of more than 20 books, was member of the Board of editors for the prestigious New Grove Dictionary of Music and Musicians (6th ed.) and has contributed to music dictionaries in four languages. Along the way, he has served as Distinguished Professor of Music from West Coast (UCLA) to East Coast (Harvard, Yale, Wesleyan Universities, and the University of Maryland), University of Hawaii, and institutions in Europe, Africa an Asia. He is a fellow of the East-West Center of Arts and Sciences. He has studied the music of peoples the world over, including Asia and the Pacific Islands. As a resident of Hawaii and visitor to Japan he developed an idea based on a newspaper article, one that blossomed into his first suspense novel, The Keepers. One agent described Hood's suspense fiction as a combination of John Grisham and James Michener.nation of John Grisham and James Michener.)
  • Pemulihan Ekonomi Bali Usan Covid-19  + (Of course, we are already familiar with CoOf course, we are already familiar with Covid-19. Who would have thought that this small virus could make such a big change in the last 2 years. Because of this virus we were made to stay at home for 2 years, imagine starting from the activities we initially did outside the home such as going to school, working and traveling abroad that had to stop because of this virus, we were made to stay at home for 2 years. Which of course brings a lot of changes in our lives. An example is tourism in Bali. Bali is an island in Indonesia which is often visited by tourists from various countries because it has its own charm. With the stay-at-home policy, of course the economic sector in Bali will decline. During the pandemic, tourism sites and access to Bali were closed. Community activity at tourist attractions in Bali has decreased. This caused Bali's economy to decline. With the closure of various tourist attractions in Bali, many people have become unemployed, this is compounded by policies at home. This has made people confused about finding money. Hundreds of thousands of people lost their jobs and sources of income. In the end, the poverty level in Bali has increased.</br>And without realizing it, now we have entered 2023, where there has been a recovery of various sectors in society which have been stalled for the past 2 years. From here we have to restore Bali's economy. Regional governments need to pay attention to Bali's current economic conditions to revive Bali's economy which has been declining for the past 2 years.</br>The Covid-19 pandemic has hit Bali's economy hard. Bali's economy is very dependent on the tourism sector, so when there are mobility restrictions such as the stay at home policy, the tourism sector is paralyzed. Bali's economy also slumped. Therefore, the government needs to determine a concept for economic development that is not always based on the tourism sector. Bali's economic development must be directed to be more balanced, not only dependent on the tourism sector. Moreover, tourism areas are very vulnerable to changes in external factors. Both from security factors, natural and non-natural disasters that cannot be controlled. So every sector in Bali must also be considered, such as; agricultural, marine and fisheries sectors, manufacturing industry and industries based on Balinese branding culture, MSMEs and cooperatives, creative and digital economy, as well as the tourism sector. So by reviving all these sectors in Bali, it is hoped that Bali's economy can recover after Covid-19. So that Bali will always be prosperous.9. So that Bali will always be prosperous.)
  • Money Politic  + (Oh swastyastu Dear sir/madam jury And my rOh swastyastu</br>Dear sir/madam jury</br>And my respected audience</br></br>Before I start my oration, I want to first express my thanks to the Almighty God (Ida Sang Hyang Widhi Wasa) because it is with His grace that I can give an oration now.</br></br>Related to the Balinese leadership election which will be held in 2024 in Bali.</br></br>with this oration I would like to convey that I hope this election can be carried out fairly, without any coercion, one of which is without money politics, because this is very vulnerable to things happening where prospective leaders bribe their people with money to obtain money. leadership, and the same goes for individuals who carry out elections, because there are certain payments or results that will be obtained after holding elections, individuals often choose leaders not based on justice and honesty, but choose leaders with the aim of getting rewards.</br>Apart from that, Article 22E of the Constitution also states that elections are held publicly, freely, confidentially, honestly and fairly.</br></br>Not only is it stated in the constitution that governs us, but elections also concern people's lives in the future, it is also hoped that prospective leaders will be able to carry out elections fairly and without cheating by engaging in money politics.</br>Let us carry out elections fairly and honestly, because carrying out elections intelligently will create a prosperous society in the future.</br></br>That's all the speech I can deliver, I hope the speech I deliver can be useful. I'm sorry if I made a mistake, at the end I close with Parama Santhi, Om Santhi, Santhi, Santhi Om.rama Santhi, Om Santhi, Santhi, Santhi Om.)
  • Ida Ayu Oka Rusmini  + (Oka Rusmini's full name is Ida Ayu Oka RusOka Rusmini's full name is Ida Ayu Oka Rusmini, born in Jakarta, July 11, 1967. She writes poetry, short stories, essays, novels. She is also a journalist. In 2014, she was awarded the Kusala Khatulistiwa Award for the poetry book Saiban. Her </br>figures and works are phenomenal and often controversial because they raise a number of issues of ancient Balinese customs and traditions that are detrimental to women, especially in the griya, the home of the Brahmins.</br></br>Oka also straightforwardly broke taboos, exposed issues of sex and erotica in a clear way. All of this can be clearly seen in the novel Tarian Bumi (2000) which has been reprinted and published in German under the title Erdentanz (2007). The novel is also heavily inspired by the art of Joged Bumbung, a social dance full of erotic movements that is very popular in Bali.</br></br></br>He has been invited several times to literary events at home and abroad. In 1992 he was invited as a guest poet in the IV Yogya Arts Festival. Participated in the 21st Century Poetry Minbar at TIM, Jakarta, 1996. Represented Indonesia at the ASEAN-wide writers' meeting in October 1997 entitled ASEAN Creative Writing Workshop in Jakarta. In 2002 and 2003 he was invited to the International Poetry Festival in Surabaya and Denpasar He was an invited guest at the Winternachten Festival held in Haque and Amsterdam in 2003. He was also a guest writer at the University of Hamburg, Germany, 2003.</br></br></br>A number of his poems and short stories have appeared in various mass media and cultural journals, including Matra, Kalam, Horison, and Ulumul Quran. His short story "Putu Menolong God" won the best short story award for Femina magazine in 1994. His novel Sagra received the best novelet award for Femina in 1998, and the best short story award in 1990 - 2000 from the literary magazine Horison for his work Pemahat Abad. His novel Tarian Bumi won the 2003 Literary Writing Award from the Language Center, Jakarta.</br></br></br>His works are Monologue Tree (poem, 1997), Earth Dance (novel, 2000), Sagra (short story, 2001), Kenanga (novel, 2003), Patiwangi (poetry, 2003), Color Kita (poetry, 2007), Pandora (poetry, 2008), Shell (novel, 2010). His novel Tarian Bumi has been translated into English entitled Earth Dance, and German under the title Erdentanz.nce, and German under the title Erdentanz.)
  • Fenomena Kendaraan Listrik  + (Om Swastiastu Praise and gratitude to IdaOm Swastiastu</br></br>Praise and gratitude to Ida Sang Hyang Widhi Wasa who has bestowed the blessing of health to all of us. Today, with great pride, I would like to discuss a phenomenon that is increasingly prevalent in Indonesia, namely the use of electric vehicles. This phenomenon is not just a change in trend, but also reflects our concern for the environment, especially in addressing the problem of air pollution.</br></br>As the country with the worst air quality in Southeast Asia, the decision to use electric vehicles is a wise step to reduce emissions, carbon footprint, and face the challenges of climate change. However, while we support this positive initiative, we need to face the reality that its implementation is not yet optimal. Given that Indonesia still relies on coal and natural gas for power generation, and the mining of raw materials such as lithium, nickel, and cobalt also has environmental consequences if not properly regulated. In addition, the limited lifetime of batteries, around 10-20 years, poses a potential risk of battery waste accumulation in the absence of adequate waste management facilities.</br></br>Therefore, I encourage the government to improve electric vehicle charging infrastructure, address the potential risk of battery waste accumulation, and find alternative solutions to environmentally friendly batteries. We recognize that the development of this technology needs greater support to become an effective solution in reducing air pollution in Indonesia.</br></br>Therefore, let us together encourage the government to accelerate the development of charging infrastructure, provide solutions and proper handling for the worst risks of using electric motors, and offer further support for the adoption of electric vehicles. Thus, we can move towards a cleaner, healthier, and more sustainable Indonesia.</br></br>Thank you.</br>Om Shanti Shanti Shanti Omia. Thank you. Om Shanti Shanti Shanti Om)
  • Kesuksesan proses kepemimpinan  + (Om Swastiastu Titiang ngaturang rasa pangOm Swastiastu</br></br>Titiang ngaturang rasa pangayubagia majeng ring Ida Sang Hyang Widhi Wasa antuk asung kerta wara nugraha Ida titiang prasuda nyurat orasi puniki. Pulau Bali antuk destinasi wisata internasional yang memiliki reputasi positif. Akeh wisatawan sane terkesan nikmatin kaluungan alam dan budaya Bali, olih karna ento Bali mrasidayang bersaing dados destinasi wisata populer ngalahin negara sane lianan. Menteri Pariwisata lan Ekonomi Kreatif (Parekraf) Sandiaga Salahudin Uno ngorahang Pulau Bali dados penyumbang devisa negara terakeh antuk Indonesia, terakeh kedua setelah industri Minyak dan Gas.</br>"Bali ini masih menjadi top of mind untuk pariwisata Indonesia.</br></br>Nanging dibalik kemegahan pariwisata ring Bali, upami akeh pisan hotel-hotel, vila, restoran lan sane lianan. Ring galahe sane mangkin liu pesan pikobet sane mrasidayang kaon ring jagat Baline. Pinaka pikobet korupsi olih pejabat pemerintah, pikobet ring pendidikan, pikobet ring kesehatan upami penyakit menular sane akeh lan kualitas pelayanan kesehatan.</br></br>Inggih ida dane sareng sami nika wantah orasi titiang antuk pikobet kesenjangan ekonomi sane patut kautamang olih calon pemimpin Bali. Astungkara calon pemimpin Bali sane kapilih antuk Pemilu 2024 mrasidayang nanganin indik pikobet kesenjangan ekonomi ring Bali.</br></br>Ida dane sareng sami titiang ngaturang pangampura yening titiang wenten pelih rikala nyurat teks orasi puniki. Sareng titiang ngaturang parasuksma majeng ring pamiarsa sane sampun ngewacen teks orasi karya titiang niki. Inggih puput titiang teks orasi niki antuk ngaturang paramasanthi.</br>Om Santhi Santhi Santhi Om. paramasanthi. Om Santhi Santhi Santhi Om.)
  • PEMILU 2024, Mangda Memilih Pemimpin Bali Sane Tepat!  + (Om Swastiastu Om Awignamastu Namo Sidham ROm Swastiastu</br>Om Awignamastu Namo Sidham</br>Rahayu, Rahayu, Rahayu</br></br>For the honorable adjudicators, the principals and teachers of senior high schools and vocational high schools in Bali and all the audiences and senior high schools and vocational high schools’ students in Bali, good morning. </br></br>Let’s thank to the almighty God because of his grace we can gather here this morning. In this occasion, I am Wira as an orator will deliver an oration entitled "Election in 2024, Must Choose the Right Leader for Bali”. </br></br>Ladies and gentlemen...</br>Elections or General Elections can be referred to as voting or elections, where we have determined our right to vote by choosing the right leaders. From this election, we know that whether Bali has evolved or not! Therefore, I will discuss some urgent issues that must be addressed for Bali's future leaders.</br></br>Ladies and gentlemen...</br>Time by time... The months have passed...Year by year... Have you ever been to an urban area like Denpasar? If you have ever gone and seen a child begging for a bite of rice, do you feel their pain? Ladies and gentlemen, I want to invite you to choose leaders who are more precise, wise, and certainly honest!</br></br>Then another problem is the environment. Yes... Environment... Bali is known as the "Heaven of the World" which itself has a variety of beautiful natural attractions! If we can't take care of the environment, Bali will undoubtedly experience an economic downturn.</br></br>Before I end my talk today, I would like to ask all of you to clap your hands and raise them above your heads! Are you going to throw Bali to the wrong leader? Therefore, let’s choose leaders who are responsible, competent, honest, and of course fair. Najwa Shihab once said, "leaders are not born by diplomas, but by hard work and care that continues to be honed."</br></br>That's all I can say, hopefully of course Bali will be led by the right leader. Sincerely to the island of Bali, I end with parama santhi.</br></br>Om Santi, Santi, Santi Om</br>Rahayu, Rahayu, Rahayuti, Santi, Santi Om Rahayu, Rahayu, Rahayu)
  • Masalah Mendesak  + (Om Swastiastu Om Awighman Astu The fragranOm Swastiastu Om Awighman Astu The fragrant name of shidam, ladies and gentlemen, and dear brothers and sisters, we say Angayubagia to Sang Hyang Parama Wisesa, Therefore from asung kerta wara nugraha because we will convey information today about the 2024 Election. I invite the public Indonesia to work together to make our election a success, the Election of 24 February 2024. Because the election is not just about changing leadership, but the election is our effort to prevent the people from getting worse. Elections are an opportunity for us to evaluate this government. I will explain what the most pressing problems need to be addressed by potential Balinese leaders. The first problem that was considered very urgent to be resolved was controlling the prices of basic necessities, which was chosen by 36.9% of the total respondents. Controlling the prices of basic necessities is the most prominent problem according to residents. Then there are the issues of unemployment, poverty and eradicating corruption, wrote Political Indicators in its report. The respondents involved were all Indonesian citizens who had the right to vote in general elections, namely those who were 17 years of age or older, or were married when the survey was conducted. Sampling used the multistage random sampling method. So I can conclude that we should choose a leader who is firm, honest and responsible for the island of Bali. Thank you, hopefully we will all be given guidance and wisdom in choosing the right leader. Our tribute to Bali, the island we love Om Shanti, Shanti, Shanti Omsland we love Om Shanti, Shanti, Shanti Om)
  • Permasalah Mendesak  + (Om Swastiastu Om Awighman Astu The fragranOm Swastiastu Om Awighman Astu The fragrant name of shidam, ladies and gentlemen, and dear brothers and sisters, we say Angayubagia to Sang Hyang Parama Wisesa, Therefore from asung kerta wara nugraha because we will convey information today about the 2024 Election. I invite the public Indonesia to work together to make our election a success, the Election of 24 February 2024. Because the election is not just about changing leadership, but the election is our effort to prevent the people from getting worse. Elections are an opportunity for us to evaluate this government. I will explain what the most pressing problems need to be addressed by potential Balinese leaders. The first problem that was considered very urgent to be resolved was controlling the prices of basic necessities, which was chosen by 36.9% of the total respondents. Controlling the prices of basic necessities is the most prominent problem according to residents. Then there are the issues of unemployment, poverty and eradicating corruption, wrote Political Indicators in its report. The respondents involved were all Indonesian citizens who had the right to vote in general elections, namely those who were 17 years of age or older, or were married when the survey was conducted. Sampling used the multistage random sampling method. So I can conclude that we should choose a leader who is firm, honest and responsible for the island of Bali. Thank you, hopefully we will all be given guidance and wisdom in choosing the right leader. Our tribute to Bali, the island we love Om Shanti, Shanti, Shanti Omsland we love Om Shanti, Shanti, Shanti Om)
  • PENGARUH OLIGARKI TERHADAP CALON PEMIMPIN  + (Om Swastiastu Peace be upon us all, allow Om Swastiastu Peace be upon us all, allow me, Kadek Wisnu Artana, a student from SMA Negeri 1 Penebel to deliver an oration on the influence of oligarchy on future leaders in this country.</br>The DPD must listen, pay attention and follow up on the aspirations I expressed today</br>Brothers and sisters, it has been 115 years since Indonesia has risen from adversity, precisely when Budi Utomo was founded, 78 years since Indonesia has been independent and the Red and White Sangsaka has flown freely on Indonesia's motherland, reform has been underway, but what is going on with educational resources for the nation's generation, what is it? This generation is simply silenced as if it were dumb and deaf and does not flinch from voicing various aspirations. Here I invite everyone to voice their aspirations regarding government in this nation which is still shackled by the shadow of the Oligarchy, and today the Oligarchy has become very free to wreak havoc on power both in the upper elite and in the lower elite, the Oligarchy has a big influence on the nation's future leaders. , oligarchy has a very bad impact on leaders.</br>The problem caused by the existence of Oligarchy in our government system is that power is centralized, Oligarchy only controls leaders who have sovereignty in their own hands.</br>Second, there is widespread corruption in this nation by unscrupulous officials as evidenced by the many reports on social media and various other press media. Oligarchs really need tactical funds to fulfill their own interests.</br>The third is injustice by the government or authorities in the interests of the Oligarchy and society which are not fulfilled according to the Values of Truth that have been determined by law.</br>The fourth is political instability where the government is controlled by oligarchs, social inequality in power is only controlled by oligarchs and worsens social and economic inequality within the scope of society.</br>The six unrepresentative leaders controlled by Oligarchs tend not to represent the interests of all the people, but only a handful of groups called Oligarchs.</br>The seven things that are most rooted in all of these problems are that the gap for legislative candidates who are not touched by the Oligarchs, is very narrow and there is minimal space and budget to channel their vision and mission to the general public in all regions of this country.</br>All the problems that occur as a result of leaders being controlled by oligarchic interests are rooted in two problems that boil down to very serious legislation,</br>Firstly, there is no regulation on budget provisions, space, opportunities and forums for all legislative candidates at the regional level. This causes the public to only take the perspective of leaders who are seeking votes under the pretext of donations which, without them even knowing, are funds given by oligarchs to candidates. We need to understand that this is the forerunner to the birth of Oligarchy at the regional government level, this is because when regional legislative candidates enter the community they need very large "tactical funds" to seek votes in their respective electoral districts. What must also be understood is that This Tactical Fund is what causes the leader's debt of gratitude to the Oligarchs. So that they can be controlled even as if they were Puppets of the Oligarchs, and the shadow of the Oligarchy will continue to exist for the next generation. If we as the current generation are still deaf and mute about what is happening, it's time for us to change the regulatory system so that budget provisions, opportunities, facilities and forums for all legislative candidates are fair and closely monitored by the government, so that these Oligarchs will not have a gap to enter the ideology of the leaders in this country.</br>Secondly, at the central level there is still a Presidential Threshold which is the place for the Oligarchs in this nation to breed. Come, my fellow countrymen and brothers, let's abolish the laws and regulations that cause the Oligarchy in this nation to become increasingly uncontrollable. If the Oligarchy does not have rules that improve their welfare or support their interests, and suppresses the leaders of this nation, then the Oligarchy does not have the opportunity to make the leaders of this nation into their puppets. This is what we must fix together in order to make this nation more advanced. It's time for us to urge the elite of this country so that the legislation that causes the oligarchy in Indonesia can no longer develop or even perish, and if this aspiration is not heard by the elite and is only silenced, it's time for us to take to the streets to voice our aspirations to the government elite and the parliamentary elite. so that this legislation can stop and be replaced with regulations that are more prosperous for the people and not just for the welfare of the Oligarchs in this nation. "In our belief everywhere is Tyranny must fall!" said WIDJI TUKUL. So let's fight together to prevent the detrimental influence of the Oligarchy in the process of selecting leadership candidates and ensure that the elected leadership candidates truly represent the interests of the people and have high integrity. I, we, all of you have the same role in ensuring that the elected leaders are leaders who truly serve the people and not only prioritize the interests of the Oligarchs.</br>Bung Karno once said, "My struggle is easier because it expelled the invaders, but your struggle will be more difficult because it is against your own people."</br>Therefore, let us as future generations be sensitive to the social environment, so that this nation can progress in the international arena by changing the rules that mislead Indonesian politics so that this nation advances, come on...!!! Let's make Bung Karno's words come true, participate in voicing the aspirations of the young generation in this country so that we are sensitive to social problems in our environment, especially regarding the election of leaders. Good leaders produce a good environment and human resources whose quality is guaranteed and equitable and prosperous for all the nation's children. Greetings 0% (Threshold).tion's children. Greetings 0% (Threshold).)
  • Pemilihan Umum 2024. Pilihlah pemilu yang tidak korup  + (Om Swastiastu, Om Awighnam astu namo sidhaOm Swastiastu,</br>Om Awighnam astu namo sidham</br>I thank the event organizers for the opportunity given to me to convey the Celebration to all of you.</br></br>whom I respect the competition jury</br></br>I respect the guests who have attended this event, Mr/Mrs accompanying teachers who have accompanied the students who took part in this competition.</br></br>Ratu Idane is very sane, fragrant titiang sinamian. I am now a student in Badung. Today I want to talk about "General Election 2024".</br></br>O people of Indonesia, I invite you all to join together to make our elections a success, the Election of 24 February 2024. Because elections are not just about changing leadership, elections are also not just about power. Because elections are our effort to prevent people from getting worse. It is our goal to start a government.</br></br>Ladies and gentlemen, let us strengthen human resources for implementation at all levels. I am sure this has been done and indeed this time I saw from the applause the spirit of optimism. From the lowest level to the top, provide the knowledge, skills and other abilities needed, so that all equipment and officers are able to carry out their duties well. All levels of the KPU must realize the magnitude and importance of the task of starting our nation's democratic party. A valuable moment to show commitment and integrity, showing dedication and best abilities for the future of our nation and state.</br></br>Thus, I can conclude that let us choose an election that can advance the island of Bali. Let's not vote for elections that are ex-corrupt. Choose elections that can be committed to holding them well so that democracy remains alive and of higher quality, giving birth to a government that has strong legitimacy.</br></br>That's all I can say, sorry if there are wrong words, I thank you. Om Santhi, Santhi, Santhi Om.I thank you. Om Santhi, Santhi, Santhi Om.)
  • Pikobet Luu Ring Jl. Wana Giri Jimbaran  + (Om Swastiastu. I respect the jury, and allOm Swastiastu.</br>I respect the jury, and all my friends whom I love. Firstly, let us express our gratitude to God Almighty, because thanks to His grace, we can all follow this Basabali Wiki.</br>All Yowana, trash in this day and age can bring disaster to the Balinese ring, in my neighborhood there is trash piled up like mountains. That's what causes outbreaks of flooding, and mosquitoes breed, causing dengue fever. Evidence that this waste has an impact is that many Balinese people are affected by diseases due to this waste, such as dengue fever, skin infections and other diseases.</br></br>What caused the pile of rubbish was because the landfill in Suwung was hit by a fire outbreak due to Bali's hot climate and the community could not accommodate the rubbish at the Suwung landfill, this caused people to throw rubbish in their respective homes. In this outbreak, I hope that the leaders in Bali 2024 will pay more attention to waste in Bali, so that they can provide a clean and comfortable place for the Balinese people.</br></br>Come on, all Yowana, we have to protect and preserve the Balinese environment, don't throw rubbish in places that are not places to throw rubbish, we have to preserve the 3M steps (Closing water storage places), (Draining the bathtub once every 7 days), (Reusing things used).</br>That's all I can say, more or less I apologize, at the end I say sorry, I close with Parama Shanti, Om Shanti, Shanti, Shanti, Om.ama Shanti, Om Shanti, Shanti, Shanti, Om.)
  • Turis Asing Yang Nakal  + (Om Swastiastu. First of all, let's give thOm Swastiastu. First of all, let's give thanks to the presence of God Almighty because, by His grace, we can gather at the Bali public participation Wikithon event to give speeches. Distinguished guests, allow me, Kadek Khristina Cantika Putri, I am from the SMK N 2 Seririt school, and I am delivering a speech about "Naughty Foreign Tourists".</br></br>Tourism in Bali is growing, so many foreign tourists come to Bali to enjoy their holidays. Tourists who come from various countries. As is known, various news reports show the bad behavior of foreign tourists. For example, when there was a dance performance at a temple in the Ubud, Gianyar area, there was a female tourist from Germany who was not wearing clothes or was naked. There are also tourists who violate traffic in the Bali area, and there are many more mischiefs done by tourists while on holiday in Bali. The Ministry of Tourism and creative economy must issue regulations regarding procedures for traveling in Indonesia, and all relevant government agencies must collaborate more intensively with the Indonesian embassy in the country of origin of tourists regarding the provisions for traveling in Indonesia.</br></br>This naughty behavior is what the government must be wary of, and the government must increase tourist control so that similar incidents do not happen again and Bali tourism continues to run well and many tourists come. That's all I can say. If there are errors, please forgive them and thank you for your attention. Om shanti shanti shanti om.our attention. Om shanti shanti shanti om.)
  • Uratian I Krama Pemilih Ring Pemilu 2024  + (Om Swastiastu. The judges I respect as welOm Swastiastu. The judges I respect as well as the friends I love. First of all, let's together express our happiness to Ida Sang Hyang Widhi Wasa, thanks to his grace we can gather together here for the Bali Oration Public Participation Wikithon event. On this occasion, allow me to deliver a speech that I have made.</br></br>In the 2024 election, there are still many problems, one of which is the problem of lack of participation from people who have voting rights in the 2024 election.</br></br>Therefore, I ask all people who are able to vote or who have the right to vote in the 2024 election to use their voting rights so that the election runs well, honestly and fairly so that we get a good leader and what we all want.</br></br>That's all I can say, more or less I apologize.Om santhi, santhi, santhi, Om I apologize.Om santhi, santhi, santhi, Om)
  • SIRBATA (Sistem Parkir Bawah Tanah) : sebagai Solusi Penataan Lahan Parkir di Pulau Bali  + (Om Swastyastu Dear Sirs and Madams of theOm Swastyastu</br></br>Dear Sirs and Madams of the jury</br>Honorable candidate for DPD RI 2024</br>As well as all the finalist participants who I am proud of</br></br>We would like to express our gratitude to Ida Sang Hyang Widhi Wasa for Asung Kertha Wara Nugraha. We can gather in good health at the WIKITHON Public Participation event with the theme Bali Oration.</br></br>Dear audience,</br>On this occasion, allow me to deliver an oration entitled SIRBATA (Underground Parking System) as a Solution for Arranging Parking Lots on the Island of Bali.</br></br>Parking can be interpreted as the activity of placing a vehicle in a certain place for a certain period of time. Parking lots are facilities used to support the parking needs of vehicle users. Parking lots can be divided into two, on-street parking and off-street parking.</br></br>The majority of Indonesian people, especially on the island of Bali, use private vehicles as the main transportation. As time goes by, the use of private vehicles by Balinese people continues to increase. Based on data from the Bali Province Central Statistics Agency, total private vehicle users in 2022 will increase to 4,079,617 for motorbikes and 493,887 for passenger cars. This increase will certainly have an impact on the community's need for arranging parking spaces to accommodate the increasing number of private vehicles.</br></br>As we know, several areas in Bali often find inappropriate use of land as parking spaces, such as roads and sidewalks. This will of course give rise to various problems, namely worsening the road structure and narrowing the traffic area. This is a result of the lack of parking arrangement. Therefore, we propose a system that can be used to overcome parking lot management problems, namely SIRBATA.</br></br>SIRBATA (Underground Parking System) is a solution that can be used regarding the problem of arranging parking lots on the island of Bali. This system utilizes the potential of the underground area as a parking area. SIRBATA also optimizes the parking capacity of a space, because of course the use of underground parking will be more focused on one function without disturbing other functions such as the use of parking spaces on roads and sidewalks. The underground parking system has several advantages compared to using open parking lots, namely, parked vehicles can be protected from hot or rainy weather conditions and of course vehicle safety is better maintained.</br></br>This system may sound difficult to realize because of the costs and various permits required to ensure the safety of its users, but it is the government's duty to help overcome this problem. The government must be able to work on all factors that support the realization of this system. Imagine if this was not realized from now on. As time goes by and the use of private vehicles continues to increase, we will reach a condition where many things will have their function disrupted due to a lack of good parking arrangements. For example, roads will become increasingly congested because many people park on the road, sidewalks that should function as a place to walk are used as parking spaces. Therefore, SIRBATA (Underground Parking System) can be used as a solution for arranging parking lots in Bali.</br></br>Let's work together to create better arrangements for the realization of a safe, comfortable and conducive Bali. Through the cooperation of various parties, we can definitely realize an underground parking system.</br></br>Om Santhi Santhi Santhi Omarking system. Om Santhi Santhi Santhi Om)
  • Toya Pinaka Dasar Kauripan sane Sayan Cemer  + (Om Swastyastu Good morning ladies and genOm Swastyastu</br></br>Good morning ladies and gentlemen. First of all, let us give thanks to The God because of the grace, all of us can gather today to take part in the Wikithon Public Participation Balinese Oration in good health. Today I will explain water problems in Indonesia.</br>If we talk about water for the Indonesian people, it is no longer strange. The Indonesian nation is a maritime country whose territory is surrounded by water. If calculated using numbers, around 75% (seventy five percent) of Indonesia's territory is surrounded by water. Therefore, many people make a living from the waters. Water is the basis of life for all living creatures on earth. Because water has enormous uses for life, many problems arise involving water. Based on a report from the Indonesian Ministry of Environment, it is remembered that the water deficit in Bali has been visible since 1995 at a total of 1.5 billion cubic meters/year. This deficit continued to increase to 7.5 billion cubic meters/year in 2000. Then, in 2015 Bali had a water shortage of 27.6 billion cubic meters/year. Water demand in Bali in 2021 will reach 5951.92 liters per second and it is estimated that in 2025 it will increase to 7991.29 liters per second. Meanwhile, water availability from infrastructure will reach 6939.38 liters per second or a deficit in 2025.</br></br>The problem of the water crisis which is gradually increasing is caused by two factors, namely global warming and human activities. Global warming causes several problems that are the main characteristics of marine problems. Such as flash floods or tidal floods. There is also an increase in sea levels which causes erosion on beaches. Things like that are very important to pay attention to. Increasingly rising waters cause more and more land areas to be covered by sea water, while the human population on earth is increasing day by day. This creates a new problem, namely the transition of land and forests into residential areas. This land transition will cause the high temperature on earth and the narrowing of water catchment areas to increase.</br></br>The second cause is because of humans. Tourism in Bali is like a double-edged sword, on the one hand it really helps encourage the progress of Bali's economy, on the other hand the impact of this causes more and more land to be used for tourism, so that water catchment areas which should be able to be used as water reserves when the summer slowly narrows and eventually disappears. Apart from that, in this era of development, a lot of household waste and industrial waste are simply thrown into nature, causing pollution. Like the phenomenon of the Badung River water turning red in November four years ago, this proves that liquid waste that is disposed of without processing is very dangerous for the environment. If the waste is disposed of on a large scale, the results will immediately look like the Badung River phenomenon. However, what if the waste is disposed of on a small scale, such as household detergent waste? We need to realise that little by little this liquid waste will start to accumulate and in the end it will also trigger pollution in large rivers. You also give attention about rubbish, because many people throw rubbish in inappropriate places, causing environmental damage. Polluted river water will return to the sea. If this problem is not addressed immediately, it is possible that humans will become extinct due to various diseases that arise from dirty water.</br></br>Before the water problem gets worse and causes loss of life, it is hoped that the leaders of Bali in 2024 will immediately prevent this. One way that can be done is training and guidance in creating home wastewater treatment installations so that the water is safe when discharged into the environment. Apart from that, the importance of understanding waste sorting and processing is also needed by the people in Bali. Let's work together to protect our earth for a sustainable future. That's all I can say, sorry if there are any wrong words. </br></br>Om Santhi, Santhi, Santhi, Omong words. Om Santhi, Santhi, Santhi, Om)
  • "Be Kelih Kan? Nu Deen Demen Ngae Uyut"  + (Om Swastyastu Good morning, best wishes Om Swastyastu </br></br>Good morning, best wishes to all of us.</br></br>First, let us offer praise and thanks to Ida Sabg Hyang Widhi Wasa for giving so many blessings and opportunities for all of us, so that we can gather at this happy event.</br></br>On this occasion, I will deliver a fairly short oration about tourism responsiveness. Because basically tourism is travel undertaken for recreation and entertainment.</br></br>We all know that the island of Bali is an island of a thousand islands, which is famous in foreign countries for the beauty of its flora and fauna.</br>But behind all that there is a problem that the government must find a solution for in the future regarding tourists who come to tourist attractions in the area of holy places that are arbitrary. Like many tourists taking photos at the temple by climbing the temple pelinggih, not being responsive to Balinese culture, insulting Balinese culture such as committing adultery in a holy place, being reckless on the road, not wearing a helmet, changing motorbike plates and hiding his identity visa so he can work in Bali .</br></br></br>And it's no surprise that the presence of tourists disturbs local communities.</br></br>This is a serious problem that leaders must address in the future, enforcing the rules for tourism to Bali. Give more consideration to tourists who work in Bali, because as far as I know there are still many local people who are unemployed, perhaps the existence of these wise regulations can help local people get jobs and be more considerate of tourists who open jobs in Bali even though they are not citizens.in Bali even though they are not citizens.)
  • Ngirangin kemacetan ring bali  + (Om Swastyastu Thank you for the time givenOm Swastyastu Thank you for the time given to the three of us. Pinihryin me</br>show my name is I Gede Berlin Renaldi and my two friends are</br>This is Kadek Junior and I Made and my son Sujana from SMA Negeri 2 Abiansemal. Health</br>Now let's discuss the role of leaders in managing congestion.</br>is a traffic suspension caused by the number of passing vehicles.</br>more than the short road capacity of Bisnis.com, DENPASAR Promotion Agency</br>Bali Regional Tourism says there are two things that must be considered in order to be successful.</br>currently facing traffic jam problems in Bali. Tjokorda Oka Artha Ardhana Sukawati, Chair of BPPD Bali and Chair of PHRI Bali, said that to overcome current traffic jams, discipline is needed for</br>for road users and law enforcement. Like traffic jams in the PB road area</br>Sudirman Denpasar is not only a scientific discipline that uses roads, but also the future.</br>A thriving society requires law enforcement. "Two things are true</br>the most important concern," he told media at the Bali Tourism Board, the day of the flight</br>the thirtieth day of the month, two thousand and seventeen. He added, for time</br>In the long term, Bali develops as a service industry, not manufacturing</br>Transportation must be considered. If this is ignored, a cultural approach is used.</br>in our transportation, I am sure this will be wasteful. Although several modes of transportation are available, none is available.</br>"They use it because it doesn't suit the needs of society," he said. He explained that until now his party had not seen the implementation of these two things in society.</br>maximum because there is a feeling of unwillingness from the police, considering that the customer is doing it</br>Local people have adjacent houses and parking spaces in front of the houses. If this is more</br>Even better, the government could provide more parking, which could help.</br>solve the traffic jam problem that is behind. If there are words that I don't like, I apologize, I would like to thank Uncle Santhi Santhi Santhi Uncle.to thank Uncle Santhi Santhi Santhi Uncle.)
  • MIARA MONUMEN MONUMEN SANE MABUAT  + (Om Swastyastu, Dear Ladies and Gentlemen,Om Swastyastu,</br></br>Dear Ladies and Gentlemen,</br></br>Today, we are gathered to discuss something of invaluable historical, cultural and aesthetic value: the preservation of important monuments. These monuments are not just stone structures or historical buildings, but are a legacy from the past that we must guard with devotion.</br></br>Maintaining important monuments is our duty as protectors of cultural and historical heritage. They are silent witnesses to important events that shape our identity. Caring for them is not just about remembering the past, but also building a better future.</br></br>Monuments are windows into the past. They reflect the glory, courage, art and culture of different eras. However, without proper care, they are susceptible to time and natural elements which can damage their beauty and integrity.</br></br>Through careful maintenance, we ensure that the story the monument is intended to tell lives on and can be passed on to future generations. They not only belong to us, but also to those who will come after us.</br></br>It is important to remember that maintaining monuments is not just about preserving their physical structures but also the meaning, values, and stories behind every detail. Studying, understanding and caring for monuments is our duty to ensure this heritage does not fade from our memories.</br></br>In appreciating monuments, we also respect our own identity, values and cultural roots. By getting involved in the maintenance of monuments, we strengthen our ties with the past and bring the message about the importance of cultural heritage to the world.</br></br>Therefore, let us join hands in protecting this important monument. By doing so, we provide tangible evidence that we are responsible stewards of our cultural heritage, and we preserve an invaluable part of history for all future generations to enjoy.</br></br>Om Shanti Shanti Shanti Omions to enjoy. Om Shanti Shanti Shanti Om)
  • Hak Masyarakat Adat Baik Kemajuan dan Kelestarian Adat Terjaga  + (Om Swastyastu, My deepest respect to all tOm Swastyastu,</br>My deepest respect to all the judges.</br>My respects to the BASAbali Wiki team</br>My respects to all participants of the Public Participation Wikithon,</br>Allow me to speak a little on the issue of indigenous peoples’ rights. My name is I Komang Sapa. I am from the lava world of Karangasem, I live on the slopes of Bali’s most majestic Mount Agung, in Jungutan Village.</br></br>As Indonesian citizens, indigenous peoples should have equal rights in terms of land ownership, economic activities, as well as social rights. However, the Job Creation Law (Undang-Undang Cipta Kerja), especially the article on investment ownership as a step to opening new jobs, could backfire on the rights of indigenous peoples or people living in villages.</br></br>The Indigenous Peoples Alliance of the Archipelago (AMAN) believes that the Job Creation Law (Undang-Undang Cipta Kerja) can pave the way for investors who will run their businesses and process natural resources. However, it will be a problem that can make the people in the village lose. Because people in indigenous villages still make a living through customary land, forests, rice fields and others. Not only is it used as a place to make a living, there are also those who live, make pindik (a local dish), or use the land as a place to build a house. What’s more, since the process of creating the Job Creation Bill started, indigenous peoples have not been included in discussions, even though the people in the village are the most affected.</br></br>Well, people, because there are different interests here, between indigenous peoples and investors, the government faces a dilemma, when passing this Indigenous Peoples Bill. For example, in the case of the Natural Tourism Park (TWA) in Batur, Kintamani, Bangli, there are still parties from the indigenous community or in the village who feel disadvantaged by the arrival of investors.</br></br>Ladies and gentlemen, why do we have to speak out about this situation? It is because, as the next generation of the nation, we must participate in preserving the culture, cultural values that have long been the identity of the nation. Especially in the current times, it is very important that we participate and agree in preserving traditional values. This is not just about preserving our traditional heritage, but also about educating our character and morals as human beings who are easily exposed to foreign influences. Also, we must strengthen adat (indigenous laws), recognize the rights of these indigenous peoples, protect, respect and fulfill their human rights.</br></br>My hope is for prospective leaders to solve this problem quickly through policies that really make the Indigenous Village sustainable even though there are investors who come in to participate in developing the area so that it becomes stronger. Likewise, the government must come to the Indigenous Village, discuss with the community there before issuing permits, let alone policies.</br></br>Okay, that’s all I can say to all of you. If there are any mistakes in my speech, please forgive me. In closing, I end with parama santhi.</br></br>Om Santih, Santih, Santih, Om.ma santhi. Om Santih, Santih, Santih, Om.)
  • Sapunapi utsaha pamerintah antuk nepasin pikobet macet ring Bali?  + (Om Swastyastu, Assalamualaikum Wr. Wb., PeOm Swastyastu, Assalamualaikum Wr. Wb., Peace be upon us all, Shalom, Namo Buddhaya, Greetings of Virtue, Thank you to all readers who will read this speech of mine. I, Cellin Aulia Nur Shendi Ansyah, a second year student of SMA Negeri 2 Abiansemal, will give a speech about the steps the government must take to overcome the congestion problem in Bali.</br></br>The problem of congestion is a condition that often occurs in various places, especially in Bali. This can cause public discomfort. But it is also undeniable that this congestion can also have an impact on something else such as the economy and the environment.</br></br>Traffic jams that occur in several places cause wasted time of road users because in traffic jams it takes several minutes or even hours to be able to cross the road to their destination. Not only that, if a businessman experiences congestion problems on his way to his client, it is possible for conflicts between the businessman and clients who want to cooperate. Thus, the economic impact is also affected by the problem of traffic jams. Even if using public transportation will also cause problems in time efficiency because, public transportation will stop at many stops (Halte) so it is considered by some people that the use of public transportation will only slow down the journey to the destination.</br></br>The second environment, congestion if it occurs for a long period of time will cause pollution pollution in the air due to vehicle fumes used by motorists, both motorbikes and cars. This is because vehicle exhaust fumes emit gases that are harmful to the environment, namely in the form of CO gas or carbon monoxide which is one of several types of greenhouse gases. This gas can not only pollute the environment and respiratory organs of humans or living things but can deplete the ozone layer in the earth's atmosphere.</br></br>To overcome congestion we must actively participate in maintaining the impact of congestion by helping government programs. However, the prohibition on people to buy vehicles is not a solution for people to use public transportation, because in the past Bali had had Trans Sarbagita public transportation, then now Trans Metro Dewata and some services that are not in such a form. However, public transportation did not go well as expected. So, the government should let people buy as many vehicles as possible, but only one is used. Thus the government still gets vehicle taxes. So, it is actually not a problem for people to buy many vehicles but their use must be regulated. In addition, the government must also plan sustainable programs for smart urban planning and develop alternative routes and widening roads as an effort to overcome congestion problems so that traffic flow is more efficient. In addition, the government has the right to build other public transportation systems such as LRT (Light Rail Transit) as an effort to solve congestion problems.</br></br>This important way should also not be forgotten is to provide socialization to the community about the importance of minimizing the use of private transportation because using it can have a big impact on other drivers, the environment, and even globally. The public, allowed to have many vehicles, it's just that in their use they must follow the rules, which is enough for one to be used.</br></br>Then, what about foreign tourists who are traveling to Bali? The government is expected to plan sustainable and efficient programs so that the opportunity to get to know the island of Bali is greater if infrastructure development, completion of LRT construction and alternative routes are also the best solution so that foreign tourists can easily access routes to get to their tourist destinations.</br></br>In conclusion, the most appropriate way to overcome congestion problems requires encouragement from various engagements ranging from government initiatives, community participation, and responsibility and awareness from each individual. This is a big challenge for the entire community, especially in Bali, so efforts that can be made to produce sustainable solutions are long-term we must work hand in hand in a collaborative way. Let's show cooperation to build solutions to the problems faced by all of us in the form of traffic jams, and so that we all get comfort while enjoying a sustainable and harmonious lifestyle.</br></br>Well, to the readers I thank you for reading my speech. I apologize if there is a mistake that is not pleasing to the heart of the speech I gave about the steps that must be taken by the government to overcome the congestion problem in Bali. I cover with paramasantih</br>Om Santih, Santih, Santih Om, Assalamualaikum Wr. Wb., Peace be upon us all, Shalom, Namo Buddhaya, Greetings of Virtue.halom, Namo Buddhaya, Greetings of Virtue.)
  • PARISOLAH WISATAWAN  + (Om Swastyastu, Best wishes for continued sOm Swastyastu, Best wishes for continued success,</br>Respected judges.</br>Dear participants,</br>And beloved attendees.</br></br>Before I offer my greetings, let’s express our gratitude to Ida Sang Hyang Widhi Wasa, for His grace which allows us to gather at this great event, “Wikithon Public Participation Bali speaks”.</br></br>Ladies and gentlemen, you probably know that Bali is called Indonesia’s world-famous tourist destination. Bali has established Cultural Tourism as the most important attraction for tourists, which is why many foreign tourists and local tourists travel to Bali. However, we should remember, the land of Bali is a sacred land. There are rules, principles, and regulations in each region that should be implemented, maintained, and preserved so that the island of Bali can remain strong, sturdy, and sustainable. The rules are not only implemented by the Balinese people but all parties in the tourism sector and also the people who live in Bali as well as domestic and foreign tourists. Tourists should also abide by the rules. They should not violate them, let alone behave violently or arbitrarily. If there are tourists like this, it will definitely make things bad for the life of this Balinese earth.</br></br>In the current state of Bali’s tourism sector, which has just risen from the impact of Covid-19, there are many behaviors of tourists from abroad that are not in accordance with the rules in Bali. For example, the case of tourists who damaged the Goa Raja Temple, Besakih. Tourists from South Korea damaged facilities in the temple area, such as tedung (umbrella), sangku (holy water container), jug, donation box, and cloth mounted on the monument. This made the temple area polluted. Then the Goa Raja Temple management carried out a simple prayascita (cleaning) ceremony so that the temple area could return to purity. The behavior of tourists causes a big loss for the surrounding community and indigenous people. It has definitely polluted the Balinese customs and traditions. There are many other examples, such as tourists who do not wear appropriate clothes during Pendet Dance performances at Saraswati Temple and Gunung Batur Temple, tourists who take pictures naked at Taru Kayu Putih Suci in Tabanan Regency, tourists who sit on the Teratai Bang Temple monument, tourists who meditate naked in Denpasar. Apart from not wearing clothes at temples, there are also tourists displaying the same behavior in public places, for example in South Kuta.</br></br>Based on the above-mentioned problems, the Balinese government has actually made a circular letter of the Governor of Bali Number 04 of 2023 concerning the new order for foreign tourists who visit Bali. The stipulation of regulations on tourist behavior is in accordance with Balinese cultural norms but the implementation has not been maximized. There are still many tourists who behave not according to Balinese customs, destroying the principles that have been inherited on this Balinese earth. This makes me hope that the leaders who will be elected in 2024 will be firm with the rules that have been issued, truly loyal to protecting Bali from the bad influence of globalization and all people, especially protecting Balinese youth, so that they are not exposed to bad influences. In addition, Bali leaders should require tourists to be accompanied by a guide. The goal is that there is no more wrong and deviant tourist behavior. Tourists do bad behavior because no one is watching. In order to be implemented, the 2024 leader can provide guide services under the auspices of the government that can be used by tourists.</br></br>Come on, brothers and sisters, take care of this Balinese earth, take care of the tourists who come to Bali, so that Balinese customs and culture as an ancestral heritage are not polluted and abused. Well, that’s all I can say. If there are any mistakes in my speech, I ask for forgiveness. I close with paramasanthi. Om Santih, Santih, Santih, Om.ramasanthi. Om Santih, Santih, Santih, Om.)
  • Masa Depan Bali  + (Om Swastyastu, Let's all pray to Ida Sang Om Swastyastu, Let's all pray to Ida Sang Hyang Widhi Wasa, because we all can stand here to talk about "Pemilu : Apa masalah yang paling mendesak untuk ditangani para calon pemimpin Bali?", or in English "2024 Election: What are the most pressing issues for Bali's leadership candidates to address". </br></br>Dear the Listeners, the 2024 Election is approaching, and the Island of the Gods; Bali is tightening the calendar that must be paid attention to by those who will become leaders. Currently a number of bad tourists, foreigners and ofc residents in bali are breaking the rules, even though it is known as a beautiful tourist destination, Bali has rules and sanctions that can still be bad for the environment, Balinese and foreigners. Examples are corruption, land investment by outsiders, tourists who do not respect Balinese culture, there are no proper procedures for disposing of rubbish in Bali, and there are no sanctions for people who violate it.</br></br> I hope that those of you who will serve as leaders can develop and handle these problems well. Let's all provide a better opportunity for Bali's future.de a better opportunity for Bali's future.)
  • HARMONI "RATRIBRASKITA" NYUJUR KERAHAYUAN  + (Om Swastyastu, Namo Budaya, Om Awighnam AsOm Swastyastu, Namo Budaya, Om Awighnam Astu Namo Sidham.</br>Bali Island is an island that already has many natural resources. These natural resources attract tourists to come to Bali. The island of Bali is well known abroad. The island of Bali which is growing in tourism is what causes many investors to build buildings in Bali. Different from before, the island of Bali has many rice fields and plants, as well as clear water that makes the mind drift away. In the past, Balinese people easily got agricultural products such as chilies, vegetables and others.</br></br>After the rice fields in Bali were converted into buildings, little land was used as a place to grow these plants. This is because the prices of our basic necessities in Bali are increasing. If we remember, we should be in Bali who bring in a lot of guests, making Bali Island an island that has high regional income. However, we have all felt that now the prices of basic necessities in Bali are increasing. Natural resources in Bali are increasingly scarce, rice fields in Bali are increasingly depleted. Who can be blamed if it's like this? Not just natural resources, but technological developments that increasingly want to make us spoiled or dependent on technology. Different from before, Balinese people at home each have rice fields that can be used to grow plants that are useful for the Balinese people, such as chili plants, banana trees, tomato plants, vegetables and others. Now, are there any of you who plant these plants? Does anyone still have rice fields?</br></br>Now in Bali, many people have houses that have been influenced by foreign culture. This is because few have rice fields or plants that can be used for basic needs or coral reefs. If it is related to the increase in prices of basic commodities in Bali, it is appropriate that the Kitri coral can restore the fulfillment of our basic needs in our respective homes. If every yard or yard in Bali had coral reefs, basic prices on the market would definitely not increase because there would be no shortage of basic necessities. This Kitri coral can be included in traditional village regulations so that the community can all develop Kitri coral in their own homes and in traditional villages make sekeha which are taken by each family head in each coral to get information about the Kitri coral and Kitri coral in their respective homes. Each can be sold at the Pekraman village level. Immediately, it became a Ratribraskita movement which means Digital Based Kitri Coral, which has the aim of preserving Kitri Coral even when they become extinct and bringing greenery to the household.</br>Hopefully this RATRIBRASKITA program can provide good benefits.</br>I apologize if there are any shortcomings, I will close with Parama Santih.</br></br>Om Santih, Santih, Santih Omrama Santih. Om Santih, Santih, Santih Om)
  • Pikobet Kawigunan lahan ring Bali  + (Om Swastyastu, honorable judges of the WikOm Swastyastu, honorable judges of the Wikithon Public Participation Oration, and all Oration participants that I am proud of. I, Putu Bayu Yudha Oka Pratama from SMAN 2 Sukawati will deliver an oration entitled "Pikenoh lahan ring bali ngawit masa ke masa" which discusses an issue that has long been a problem in Bali. Bali is known as a global tourism destination, but behind that, there are serious challenges related to the erosion of green land.</br>Land change in Bali from time to time is certainly a very important issue and must be addressed immediately, seeing the state of the increasingly eroded land. According to an article in Neliti, land use change in Bali is very important to note because land use change has a major impact on the physical and social environment. In this case, satellite imagery and GIS data were used to determine land use change in Bali. The results showed that land use has changed drastically between 2003 and 2008. Settlements and irrigated rice fields are where the most extensive land use change occurred, at 2,553 hectares. While salt land use did not change at all. This change has led to the development of villas, hotels, shopping centers that are irregular and haphazard.</br>Irregular and indiscriminate land use change can cause negative impacts on the environment, Balinese people, and even Bali Tourism. Some of the negative impacts that can occur are environmental damage and loss of natural habitat for flora and fauna. In addition, irregular land use change can also cause flooding and landslides. And the most problematic, namely the impact on Bali Tourism. Where, foreign tourists have no interest in coming because it is too full of buildings and little green land left.</br>To overcome these problems, the future leaders of Bali 2024 must take appropriate and effective action. One solution that can be done is to conduct strict supervision of land use changes in Bali. There must be clear procedures and permits related to land use change. In addition, Bali 2024 leaders should also introduce programs that aim to promote sustainable and environmentally friendly land use. These programs could include the development of organic farming, the use of renewable energy, and waste reduction.</br>Ladies and gentlemen of the jury, that's all I have to say about land use issues in Bali. I hope that this oration can be useful so as to realize that the Government and the Community must work together to deal with this problem, Finally, I Bayu say Parama Santhi. Om Santhi, Santhi, Santhi, Om.ama Santhi. Om Santhi, Santhi, Santhi, Om.)
  • Pariwisata Bali Metangi Antuk Sport Tourism  + (Om Swastyastu, the Covid-19 pandemic has hOm Swastyastu, the Covid-19 pandemic has had a huge impact on Indonesia. Not only in the health sector, but also in the economic sector. The island of Bali is no exception, all of which are very dependent on tourism so that the Balinese economy has slumped during the pandemic. The Government has implemented the policy of Enforcement of Community Activity Restrictions or PPKM (Pemberlakuan Pembatasan Kegiatan Masyarakat) to limit the spread of the Covid-19 virus. However, this strategy has caused negative impacts such as the suspension of tourism. Likewise, tourism workers have been fired. </br></br>The government and related parties must seek procedures to stimulate Bali tourism. Examples include the strict application of health protocols to the community, as well as the application of CHSE (Cleanliness, Health, Safety, and Environment Sustainability) to tourist destinations or other means of supporting tourist destinations. The number of Balinese people who have received the first dose of Covid-19 vaccine is around 99% and the second dose is around 90%. With this preparation, Bali tourism is ready to rise again. </br></br>What is needed is public information that Bali is ready to receive domestic and international tourists. Sports Tourism is one of the strategies that should be implemented. Even though it's a new idea, sports tourism has great potential to generate tourism in Bali. Sports events are of great interest both nationally and internationally. This can be seen from the major sporting events held in Bali such as the 2021 BWF World Tour, BRI Liga 1, U-20 World Cup, and so on. The Government can provide support to improve infrastructure and facilities relating to sports so that Bali's potential can be realized and Bali's tourism and Bali's economy can be revived. Om Shanti, Shanti, Shanti, Om.be revived. Om Shanti, Shanti, Shanti, Om.)
  • "Pangelumbungan Sampah Menyuarakan Kepedulian, Menyemai Perubahan"  + (Om Swastyastu. In managing this waste, thOm Swastyastu.</br></br>In managing this waste, the Tim Basa Bali committee and all of us extend our respect to the Supreme God. This waste affects our earth and has become a collective burden for humanity.</br></br>The regulations written in 1975 regarding the preservation, writing, and development of the Balinese script have been in place, but they are not consistently followed. Waste disposal should not be a mere ritual but a continuous thread of our lives.</br></br>This waste is harmful, and we, the people, should be sacred citizens who do not directly contribute to the pollution of our surroundings. The waste, which has been increasing, is affecting Bali's environment. Nevertheless, we must continue to live in harmony with nature and uphold our responsibilities.</br></br>We need to transform our habits in waste disposal immediately. Moreover, we must offer our support to fellow Balinese and play our roles as responsible citizens. The fear looms large over our tourism, economic stability, and global reputation. Together, let us unite, be humble, and work collectively in managing this waste. Thank you. Om Peace, Peace, Peace, Om.te. Thank you. Om Peace, Peace, Peace, Om.)
  • NGIRANGIN SAMPAH PLASTIK ANTUK PULAU BALI SANE BECIK  + (Om Swastyastu. Sincerely all my beloved gOm Swastyastu.</br></br>Sincerely all my beloved guests,</br></br>Currently, the island of Bali is faced with serious challenges that threaten the environmental sustainability and beauty of the island of Bali as a tourism destination. Namely, the problem of piles of plastic waste.</br></br>Every day, we witness an uncontrolled growth in the volume of plastic waste, polluting oceans, damaging ecosystems and threatening health. Plastic waste is not just waste, but also a symbol of our irresponsible behavior towards the environment. It is important for all of us to be aware of the negative impacts and take concrete action. There needs to be a joint effort to reduce the use of single-use plastics, support recycling, and encourage environmentally friendly technological innovation.</br></br>Through collective awareness and action, we can create a cleaner, healthier and more sustainable environment for future generations. Thank You.</br></br>Om Shanti Shanti Shanti Omns. Thank You. Om Shanti Shanti Shanti Om)
  • Pikobet Leluu Sane Magenah Ring Tukad-tukad Ring Bali  + (Om Swastyastu. Distinguished guests, firstOm Swastyastu.</br>Distinguished guests, first of all, let us say our thanks giving to Ida Sang Hyang Widhi Wasa, because it is thanks to his grace that we can gather here. On this happy occasion, I would like to deliver a speech about the problem of rubbish in rivers. This problem is one of the problems that exist in Bali, and must be handled by the future leaders of Bali.</br>We all know that rivers are natural resources that are very important for human life. Rivers provide water for drinking, irrigation and other daily needs. However, unfortunately, our rivers are currently facing a serious problem, namely rubbish pollution.</br>One of the main reasons why there is a lot of rubbish in rivers is the lack of public awareness about the importance of disposing of rubbish in the right place. Many people still throw rubbish carelessly, including into rivers.</br>Garbage thrown into rivers can cause various environmental and health problems. This rubbish can clog river flows, causing flooding. Garbage can also pollute river water, endangering human and animal health. Apart from that, rubbish in rivers can damage river ecosystems and reduce natural beauty.</br>To overcome the problem of waste in rivers, cooperation from all parties is needed, including the government, society and the business world.</br>The government must provide adequate facilities and infrastructure for waste management, such as rubbish bins, waste transport fleets and final waste disposal sites.</br>People must have awareness not to throw rubbish carelessly, especially into rivers.</br>The business world must also play a role in reducing the use of materials that are difficult to decompose, as well as supporting sustainable waste management programs.</br>I hope that the future leader of Bali who is elected will have a commitment to solving the problem of rubbish in rivers.</br>The prospective leader must have a clear vision and mission in waste management, as well as a work program that is measurable and can be implemented.</br>I am sure, if we all work together, we can solve the problem of rubbish in rivers and make Bali a clean, beautiful and healthy island.</br>Distinguished guests, that's all I can say. If there is an error I apologize. I close with Parama Santih.</br>Om Santih, Santih, Santih, Om.ama Santih. Om Santih, Santih, Santih, Om.)
  • Ngamolihang Kasejahteraan Sosial ring Bali  + (Om Swastyastu. Before I present this oratiOm Swastyastu. Before I present this oration, let us all give thanks to Ida Sang Hyang Parama Kawi, because thanks to His grace I, Ni Kadek Diah Ayu Paramitha from SMA Negeri 1 Kerambitan, can present the oration text entitled “Ngamolihang Kasejahteraan Sosial ring Bali”.</br></br>A leader is a person who influences others in order to carry out a common goal. Therefore, leaders have the obligation to complete and implement all the aspirations of the community and have a responsibility for community welfare and social welfare. Talking about social welfare, it can be seen from various aspects such as economy, education, health, and socio-culture. Today, I will discuss social welfare in Bali from the economic point of view. One of the economic problems in Bali is the economic gap, which is very important to find a solution to. The economic gap is closely related to the unbalanced infrastructure development in each region. This can lead to urbanization - people living in villages are displaced to cities - which then makes economic growth in Bali unbalanced. Poverty and unemployment rates are also important to note, because if you look at the distribution of subsidies for the lower middle class, it has not been well targeted, so the poverty rate has not shown a significant reduction in the number of people living in poverty.</br></br>We know that Bali is very strong because of tourism which until now has benefited as much as 60% of Bali’s economic structure. In my opinion, providing tourism sites like this, especially in villages can be one of the solutions to relieve the economic gap in Bali, such as the Tenganan Tourism Village program, Jatiluwih, Terunyan, and others. </br></br>However, we cannot guess what will happen in the future, such as the Covid-19 outbreak in 2020 which causes an economy decline, especially in Bali because it still relies on tourism. However, if you look again, Bali actually has other potentials such as MSMEs. These MSMEs should be considered so that they remain strong. Bali’s leaders have a role to help MSMEs in Bali so that they can improve Bali’s economic development, such as providing facilities and assistance in the form education, socialization, subsidies and rules that can encourage the existence of MSMEs and provide legal protection for MSME actors. Not only these MSMEs can help the Balinese economy. Social welfare is not just the responsibility of leaders, but the responsibility of the entire community. However, the role of leaders here is very important to lead the community to get social welfare, the leader should use resources as well as possible, and also build good buildings in order to provide people’s welfare.</br></br>This is the text of the oration that I can convey. If any of my words are not pleasing to you, I apologize profusely, finally I close with paramasantih, Om Santih Santih Santih Om. paramasantih, Om Santih Santih Santih Om.)
  • Upaya Mangda SDM ring Bali nenten Fokus ring Sektor Pariwisata kemanten  + (Om Swastyastu. Dear readers, and participaOm Swastyastu. Dear readers, and participants of the competition that we are proud of.</br> </br>Praise and gratitude are due to God Almighty because by His grace we were given the opportunity to be participants in the Wikithon Basa Bali competition with the theme "Election 2024: What are the most urgent issues to be handled by Bali's prospective leaders?" </br></br>Tourism has long been the most popular sector for Balinese people. Natural resources and customs are two of the factors that make tourists, both from within and outside the country, interested in visiting the island of the Gods, Bali. However, reflecting from 3 years ago where most of the people's economy in Bali was hampered due to a prolonged pandemic. It can be seen from one of the tourist attractions in Bali, namely "Taman Nusa", where this tourist spot focuses on preserving customs and culture in Indonesia, such as traditional houses, dances and traditional weapons, ended up 'closing' or in other words 'going bankrupt'. </br></br>Now that the economy in Bali has started to grow and improve, we can take a lesson to not depend on one sector, especially the dynamic Tourism sector. Our question now is, how can we make the human resources in Bali not only focus on the tourism sector? This problem starts with the stereotype that working in the tourism sector can raise the family's status. Although in reality this is true, given the dynamic nature of the tourism sector, it is unlikely that the sector will always promise a good economy. Whereas, on the other hand, agriculture, health, trade, construction and so on have ample job opportunities but with less promising income, so in the opinion of young people now. We ask for solutions from the government regarding this sector that 'actually' has ample job opportunities with less promising income.</br></br>Finally, let's all work together to protect and do our best for Bali's economy in the future. That's all we can say, if there are shortcomings we apologize and for your attention we say Parama Santih. Om Santhi, Santhi, Santhi Om.rama Santih. Om Santhi, Santhi, Santhi Om.)
  • BALI RESIK, TAN KATIBEN GUNUNG LELUU  + (Om Swastyastu. Dear the juries and all reaOm Swastyastu. Dear the juries and all readers. From the theme of this oration, the urgent topic we raised was the Bali government's steps in dealing with the surge in waste on the Island of the Gods, which can cause various problems in life. For this reason, the title of our oration is “Clean and Spotless Bali, Without Mountains of Rubbish” or "Bali Resik, Bali Tan Katiben Gunung Leluu". </br></br>Bali Island is nicknamed the world's tourism paradise. However, behind that sentence, this island is facing an urgent crisis due to piles of rubbish. It has become increasingly complicated and more transparent after fires recently occurred at several final disposal sites (TPA) in Bali. How would we feel if every day we had to live amidst piles of rubbish, followed by burning pollution like this? As a foreign tourism area, the urgency of this problem must be addressed immediately because it can cause other issues that could be detrimental to the Balinese people. Therefore, the presence of the government as a pioneer leading society is vital in responding to this urgency. </br></br>Prospective leaders should be responsible for developing steps to overcome this emergency. We need significant investment in waste management infrastructure with modern, environmentally friendly technology. We also need policy designs encouraging active community participation in waste sorting and recycling programs. We encourage prospective Balinese leaders to work with various parties, including the private sector and environmental organizations, to create collaborative solutions to this waste problem. By integrating ideas and resources from multiple sectors, we can achieve more significant progress in maintaining Bali's sustainability. This is a call for all of us to act together and ensure that Bali remains beautiful and sustainable for future generations. </br></br>Thank you, ladies and gentlemen, prospective leaders of Bali in the 2024 elections, for your attention and commitment to facing this urgent challenge. Together, let's create a clean, green, and sustainable Bali without mountains of rubbish. Om Santih, Santih, Santih, Om.of rubbish. Om Santih, Santih, Santih, Om.)
  • Menuju Bali Clean And Green  + (Om Swastyatu I thank the committee,the aOm Swastyatu</br> I thank the committee,the audience that I am prouded and the team from my beloved BASAbali Wiki.On this happy day I will present the tittle “ Towards a clean and green Bali’’instead of giving to mucht advise . As for all the smart attendees,I am here to help convey the government teacher’s messege from what has been spread by the government in the Balinese community.A very good progam aimed at keeping Bali clean and beautiful.</br> Some people of the programs tht have beesn implemented include Denpasar Go 2011( two thousand eleven),car free day,planting a million trees and others progam again.this is government progam tht can be a seed to prevent air pollution from landslide, and maintain the beauty and fresh of all Balinese people who alredy have mindnest of preserving Bali,this aims to ensure that Bali is always clean.</br> Well, dear listeners, let’s ask ourself. Have we carried out business efforts aimed at preserving the Balinese word if not us who else? If not now,when again? So that all of you can unite yourself, roll up your sleeve, maintain cleanline and beauty Bali as well.</br> That’s all I can say more or less I am sorry I closed it with parama santhi</br>OM SANTHI SANTHI SANTHI OMh parama santhi OM SANTHI SANTHI SANTHI OM)
  • ogoh-ogoh bali 2024 sane katinggalin  + (Om Swastysatu, Om Awighnam Astu Nama SidhaOm Swastysatu, Om Awighnam Astu Nama Sidham, the Queen who smells so good to all of us. Today I would like to convey that Ogoh-ogoh 2024 announced by the Bali Provincial Government will be held in the series of Nyepi Day 2024. However, Balinese people are still allowed to roam around. Head of the Bali Cultural Service, I Gede Arya Sugiartha, explained that holding the provincial level ogoh-ogoh competition was to maintain security until the 2024 elections. According to him, bad race was the cause of all relations. He showed that horseplay could be played again after years of politics. However, people were still allowed to play ball the following night. Group meetings can only be held within their respective traditional village areas. Then he ordered them not to talk about it on the street. I apologize if there is something wrong with what I said, so I will call it Prama Shanti. Uncle Shanti, Santhi, Shanti Uncle.hanti. Uncle Shanti, Santhi, Shanti Uncle.)
  • Stop Money politic  + (Om swastyastu Dear sir/madam jury And my rOm swastyastu</br>Dear sir/madam jury</br>And my respected audience</br></br>Before I start my oration, I want to first express my thanks to the Almighty God (Ida Sang Hyang Widhi Wasa) because it is with His grace that I can give an oration now.</br></br>Related to the Balinese leadership election which will be held in 2024 in Bali.</br>with this oration I would like to convey that I hope this election can be carried out fairly, without any coercion, one of which is without money politics, because this is very vulnerable to things happening where prospective leaders bribe their people with money to obtain money. leadership, and the same goes for individuals who carry out elections, because there are certain payments or results that will be obtained after holding elections, individuals often choose leaders not based on justice and honesty, but choose leaders with the aim of getting rewards.</br>Apart from that, Article 22E of the Constitution also states that elections are held publicly, freely, confidentially, honestly and fairly.</br>It doesn't stop there, the reality is that choosing the right leader is the path to prosperity for the nation, there are many problems in Bali which also cause us to really have to choose the right leader, such as the increasing problem of poverty, such as due to inadequate minimum wages, so there are lots of beggars on the streets, then there is also the problem of utilizing natural resources, ecosystems are often destroyed due to not being able to utilize natural resources properly, resulting in a decrease in income, there is also the problem of the large amount of waste that is not managed in Bali which is due to the large number of people who don't care about it. the surrounding environment, to the point of eliminating the unique beauty of Bali.</br>So can our future leaders overcome this problem? I hope that these problems can be overcome by our future leaders.</br></br>So it can be concluded that,</br>Not only is it stated in the constitution that governs us, but elections also concern people's lives in the future, it is also hoped that prospective leaders will be able to carry out elections fairly and without cheating by engaging in money politics.</br>Let us carry out elections fairly and honestly, because carrying out elections intelligently will create a prosperous society in the future.</br></br>That's all the speech I can deliver, I hope the speech I deliver can be useful. I'm sorry if I made a mistake, at the end I close with Parama Santhi, Om Santhi, Santhi, Santhi Om.rama Santhi, Om Santhi, Santhi, Santhi Om.)
  • Krisis Petani Muda Di Bali  + (Om swastyastu, I respect you, Mr/Madam, thOm swastyastu,</br>I respect you, Mr/Madam, the jury and the 2024 DPD RI candidates, and I am proud of all the participants of the Bali Public Participation Wikhiton Speech.</br>First of all, let us express our praise and gratitude to Ida Sang Hyang Widhi Wasa because of His blessing and grace this morning we were able to gather and carry out a series of activities for the Bali Public Participation Wikhiton oration competition, here, allow me to deliver a speech or oration entitled The Young Farmer Crisis in Bali</br>Distinguished guests, the food that we consume and enjoy every day is the result of processing ingredients from agricultural products. Agricultural products in Bali are very diverse, starting from staple foods, fruit and others. However, currently there is a crisis of young farmers in Bali, there are several factors causing it, such as:</br>1). limited access to capital, technology and skilled human resources, thus hampering the ability of young farmers to increase agricultural productivity and increase their income.</br>2). The high level of urbanization and increasing education in rural areas has made many young people prefer to work in the non-agricultural sector, such as industry or services.</br>3). the lack of attractiveness of the farming profession in the eyes of the younger generation, which is considered less prestigious and has the potential to generate low income compared to jobs in other sectors.</br>I hope that from this problem the Balinese leadership candidates who will be elected in 2024 can provide solutions and provide real action and evidence for this problem.</br></br>So let's raise the status of farmers, so that there is no premature extinction, that's all I can say, if there is an error in delivering my oration, I apologize for this. I close by delivering Parama Santhi</br>Om Santhi, Santhi, Santhi om.arama Santhi Om Santhi, Santhi, Santhi om.)
  • Etika Wisatawan Di Tempat Sakral Di Bali  + (Om swastyastu, the jury that I respect andOm swastyastu, the jury that I respect and the Bahasabali wiki team that I am proud of. On this occasion, I will deliver an oration on "Tourist Ethics in Sacred Places in Bali".</br>Bali Island is the most popular tourist destination in Indonesia. Bali has very diverse tourist attractions, both natural tourism, cultural tourism and marine tourism. Bali and tourism cannot be separated. A tourist attraction that is no less interesting is the culture of the people. The life of the Balinese people is very closely related to the Hindu religion so that every religious ceremony is a very unique object. Temples are interesting places of worship for Hindus spread throughout Bali. Therefore, Bali also has the nickname Thousand Temple Island.</br>However, the beauty of tourist attractions in Bali is still often threatened, one of which is sacred places. The presence of foreign tourists visiting sacred places still has a negative influence on the island of Bali. The case that we often hear is that tourist etiquette is still lacking, both in terms of clothing and the morals of the tourists themselves. As happened at Pura Dalem Prajapati Banjar Dadakan, Kelaci Kelod Traditional Village, Abiantuwung Village, Kediri District, Tabanan Regency. The tourist climbed a sacred tree, it is suspected that the tourist did not know that this place was a sacred place.</br>This often happens, the causes are freedom of association and clothing in many tourist attractions, the need for commercial content and, ignorance of foreign tourists about sacred places in Bali. With this, we hope that Bali's leaders in 2024 will tighten the existing regulations in this place with efforts that can be taken, namely,</br>1. Form a community for tighter security at this place.</br>2. The management should provide information about the meaning of signs and holy places.</br>3. Give sanctions to visitors who prohibit these rules, both moral sanctions and social sanctions.</br>4. Tourists are expected to be accompanied by a tour guide who has a permit/license (understanding the natural conditions, customs, traditions and local wisdom of the Balinese people} when visiting tourist attractions.</br>That's all we can say, hopefully it will be useful, and this oration can be realized by Balinese leaders in 2024 so that sacred places in Bali are always maintained and preserved. Sorry if there are any wrong words, we thank you. Om Shanti, Shanti, Shanti Om.e thank you. Om Shanti, Shanti, Shanti Om.)
  • Etika Wisatawan ring genah suci ring Bali  + (Om swastyastu, the jury that I respect andOm swastyastu, the jury that I respect and the Bahasabali wiki team that I am proud of. On this occasion, I will deliver an oration on "Tourist Ethics in Sacred Places in Bali".</br>Bali Island is the most popular tourist destination in Indonesia. Bali has very diverse tourist attractions, both natural tourism, cultural tourism and marine tourism. Bali and tourism cannot be separated. A tourist attraction that is no less interesting is the culture of the people. The life of the Balinese people is very closely related to the Hindu religion so that every religious ceremony is a very unique object. Temples are interesting places of worship for Hindus spread throughout Bali. Therefore, Bali also has the nickname Thousand Temple Island.</br>However, the beauty of tourist attractions in Bali is still often threatened, one of which is sacred places. The presence of foreign tourists visiting sacred places still has a negative influence on the island of Bali. The case that we often hear is that tourist etiquette is still lacking, both in terms of clothing and the morals of the tourists themselves. As happened at Pura Dalem Prajapati Banjar Dadakan, Kelaci Kelod Traditional Village, Abiantuwung Village, Kediri District, Tabanan Regency. The tourist climbed a sacred tree, it is suspected that the tourist did not know that this place was a sacred place.</br>This often happens, the causes are freedom of association and clothing in many tourist attractions, the need for commercial content and, ignorance of foreign tourists about sacred places in Bali. With this, we hope that Bali's leaders in 2024 will tighten the existing regulations in this place with efforts that can be taken, namely,</br>1. Form a community for tighter security at this place.</br>2. The management should provide information about the meaning of signs and holy places.</br>3. Give sanctions to visitors who prohibit these rules, both moral sanctions and social sanctions.</br>4. Tourists are expected to be accompanied by a tour guide who has a permit/license (understanding the natural conditions, customs, traditions and local wisdom of the Balinese people} when visiting tourist attractions.</br>That's all we can say, hopefully it will be useful, and this oration can be realized by Balinese leaders in 2024 so that sacred places in Bali are always maintained and preserved. Sorry if there are any wrong words, we thank you. Om Shanti, Shanti, Shanti Om.e thank you. Om Shanti, Shanti, Shanti Om.)
  • WISATA MELANCARAN RING BALI  + (On Swastyastu I would like to express my On Swastyastu</br></br>I would like to express my gratitude to the presence of God Almighty for his generous support in being able to deliver an oration entitled "TOURISM UNDER THE BALI RING" </br></br>The island of Bali or the island of a thousand temples is famous for its unique tourism and culture. The island of Bali has many tourist attractions that attract local guests as well as tourists from foreign countries who come to Bali for a holiday and enjoy the natural beauty of Bali. The tourist attraction in Bali that is most often crowded with tourists is Ubud. In Ubud there are many tourist attractions such as the Ubud monkey forest, Bali bird walks, the Ubud art market, the Blanco Renaissance Museum and others. </br></br>Sometimes when we cross the road in Ubud, we often get stuck in traffic jams due to the crowds of tourists walking around. There are so many tourists on holiday in Bali that we are overwhelmed by the behavior of tourists who carry out actions that exceed the limits set by the local community. </br></br>However, tourism activities help revive the community's economy. Also, the culture and tourist attractions in Bali are becoming more famous on the world stage, and can attract tourists to vacation in Bali. </br></br>That's all my oration that I explained, forgive me if there are any statements that are offensive or not pleasing to your heart. I say thank you, at the end I close with parama santih. </br></br>Om santih, santih, santih omama santih. Om santih, santih, santih om)
  • Ngicenin kebebasan majeng ring yowana mangda makarya sapakayunan ipun, miwah memfasilitasi sajeroning pencapaian minat bakat kramanyane  + (On this occasion, allow me to share some tOn this occasion, allow me to share some thoughts on the importance of giving teenagers the freedom to express themselves and work on their interests and talents. And how we as a society can facilitate this.</br></br>The young generation is the future of this nation. They are the ones who will continue the baton of leadership in this beloved country. Therefore, we should give them the widest possible freedom to explore and develop their potential. </br></br>Often, we get stuck in the mindset that children should follow in their parents' footsteps. In fact, every child has their own passions and talents. Our job is to support and facilitate their self-discovery, not impose our will.</br></br>By giving young people the freedom to work in areas of interest, we help them find purpose and meaning in life. This is important so that they do not get lost and fall into negativity. </br></br>In addition, young people who are supported to pursue their dreams will grow up to be confident and optimistic. They know that the community supports their efforts to achieve their goals. This will spur enthusiasm and a high work ethic.</br></br></br></br></br>Therefore, let us embrace young people with empathy. Give them the confidence to pursue their dreams, even if they are different from our expectations. As parents and society, we must support our young people. </br></br>Thus, they will grow into an excellent generation and bring progress to this nation. That's all for my short speech, thank you for your attention.hort speech, thank you for your attention.)
  • Anak Agung Made Gelogor  + (One of a number of female artists in SanurOne of a number of female artists in Sanur identified by Bateson and Mead via the Neuhauses.</br>From a family of painters in Sanur during the 1930s. Worked with Agung Raka, her son by Gusti Sodang (and thus is probably also the mother of Gusti Putu).</br></br>Also spelt Gelogor</br></br>Related Artists</br>Husband: I Gusti Putu Raka Sodang</br>Son: Agung Raka: I Gusti Putu Raka Sodang Son: Agung Raka)
  • I Dewa Ngakan Gede Keramas  + (One of the Balinese writers who came from One of the Balinese writers who came from Bangli, namely in Guliang Kangin - Taman Bali, was I Dewa Ngakan Gede Keramas. Has given birth to a gaguritan literary work entitled TIRTHA HARUM in 2000. In gaguritan Tirtha Harum uses several pupuh including, Pupuh Sinom, Pupuh Durma, Pupuh Ginada, Pupuh Kumambang. And in it tells or tells how the naming of Tirtha Harum and the initial milestones of the Taman Bali kingdom.tial milestones of the Taman Bali kingdom.)
  • NGELISIN GALAH KARANTINA  + (Ong Swastyastu Ong Swastyastu since the COVID-19 pandemic hit the whole world. It's been two years of this pandemic situation. some regulations have been implemented. but not getting the desired result, for the purpose to be achieved. I am not a tourism actor, let alone one who knows about the state of tourism, but I feel what the impact of this covid-19 pandemic is. I wrote this article from the input of my friends and relatives who work in the tourism sector. When viewed from the development of tourism in the past, generally 100% of guests traveled to Bali, now only 30% of foreign guests come to Bali, another 70% are mostly local guests, even though the airport has opened domestic flights and international flights. But still few foreign guests come to Bali for sightseeing, even though most of the guests are local. Now, as now, there has been an increase from before, unlike in the past, hotels, villas, resorts, restaurants, tourist attractions were mostly closed. We all know that Bali is the biggest foreign exchange earner in Indonesia. If Bali tourism is paralyzed, let alone to death, what can you do, what causes it? Most of the people work in the tourism sector. Health-based tourism must be applied to be used as a solution/urgent situation in the current state of tourism and in the future. Many foreign guests don't want to go to Bali because the quarantine period is too long and the rapid production of antigen tests and PCR swabs is too expensive. The hope of the people is that the government is right to reduce the quarantine period which used to be 14 days, to only 7 days, what is the reason?, So that the quarantine period for guests is not too long, just like a leech habit (too long) staying or traveling to Bali, so as not to too long quarantine before traveling quickly lost the desire of guests to travel. For example, a guest who came to Bali only two weeks ago had a 14-day quarantine period, cutting the guest's vacation time by 14 days after the quarantine period was used up, the guest lost his time to Bali or the quarantine period was used up only. Also accompanied by promotion and maintaining Balinese culture so that traditional tourism attractions such as the ogoh-ogoh parade can be used as an inducement for foreign guests to visit Bali. Ong, Santhi, Santhi, Santhi, Ongsit Bali. Ong, Santhi, Santhi, Santhi, Ong)
  • Anak Agung Gede Alit  + (Only one picture in Bateson and Mead colleOnly one picture in Bateson and Mead collection, purchased Jan. 17, 1937 — crude</br>Member of the ruling family of Batuan. Bateson-Mead information: Age: about 12-13 Son of the highest status and most powerful man in Batuan of the time, Anak Agung Gede Ngurah, who was juru tulis to the Punggawa of the region, which was centered in Pliatan in the late 1930s, was just finishing up 5th year of elementary school in Sukawati, and was about to go on to become an apprentice civil servant (magang) in the Pliatan office that very same year. Survey information: MARGINAL EARLY TEEN UNSKILLED THIRD WAVE LITERATE SPEAKS MALAYUNSKILLED THIRD WAVE LITERATE SPEAKS MALAY)
  • Reinventing Bali Tourism - A Vision of Creativity, Education and Entrepreneurship  + (Original article printed in BALI!Now The Original article printed in BALI!Now</br></br>The rebranding and reconfiguration of the Bali tourism industry from Desa Wisata to Desa Kreatif (tourism village to creative village) is essential. Tourism products shift from vacation leisure activities to learning and innovation experiences up-skilling people as entrepreneurs within the 21st-century global creative economy. </br></br>Demographics have changed from the leisure-focused baby boomers to the X, Y, Z, and millennial generations who tend to be orientated towards creative and entrepreneurial adventures. The market evolves from internationals to a mixed domestic and international audience. The emphasis changes from ‘trading’ to instilling innovative and entrepreneurial knowledge...</br></br>The rebranding of tourism transforms Bali into a global centre of innovation and learning. Desa Kreatif preserves the ‘gotong-royong’ village model of shared collective responsibilities. The environment is a decentralised, fully distributed, unified infrastructure providing equal opportunity and enhanced diversification. A sustainable ecosystem eliminates competition, empowered by the abundance philosophy and the entrepreneurial spirit. A renewed sense of shared values and belonging motivates stakeholders to collaborate to serve the whole’s best interests.</br></br>See whole piece at https://bit.ly/3pD43p9, originally published in NOW!Bali, April 1, 2021 by Richard Horstman.W!Bali, April 1, 2021 by Richard Horstman.)
  • Mario Blanco  + (Our Young Master Mario Blanco, the second Our Young Master Mario Blanco, the second child of the famous artist Antonio Blanco, was born in Ubud - Bali on the 4th of July 1962. He was surrounded by art from early childhood. Without doubt, his father Antonio Blanco was regarded throughout his life as the most famous artist of the island of Bali. When Mario was very young, the elder Blanco invited him into his studio in Campuan to share in his great enthusiasm for art. Mario painted his first oil at the tender age of five and later chose to study art at the University of Udayana in Denpasar where he successfully graduated.</br></br>Inevitably, Mario's art drew its inspiration from two different origins. His Spanish father introduced him to the techniques of European art and his native artistic feelings come from his Mother Ni Ronji, a famous Balinese dancer. Mario has developed this intensively through his paintings which expose a definite preference for a romantic impressionistic style.</br></br>Being the son of the "Fabulous Blanco", Mario faces a strong challenge but, as he inevitably sheds his father's influence, his own talent is expressed through an elaborated landscape where his own visions of Balinese culture gradually emerge.ions of Balinese culture gradually emerge.)
  • Agus Putu Pranayoga  + (Owner and Founder at Hotel & Villa Photo, Photographer at Bali Family Photography and Photographer at Visual Food Photographer)
  • P.L.Dronkers  + (P.L. Dronkers, born 19 August 1917, compleP.L. Dronkers, born 19 August 1917, completed his education in Leiden in September 1941 and became Dutch colonial government administrator (Indisch bestuursambtenaar) and in July 1945 he was one of the first members of the contingent of Dutch colonial administrators to be sent out from The Netherlands to the Netherlands-Indies, at that time still occupied [by the Japanese]. Via Australia and a temporary assignment in Batavia with the Netherlands Government Information Service (Regerings Voorlichtingsdienst, RVD), in the first months of 1946, he was granted a post with the landing forces, which were to bring Bali back under regular [Dutch colonial] administration. Initially, Internal Affairs Administration was militarised with the name Allied Military Administration, Civil Affairs Branch (AMACAB), something which was undone in the course of 1946. In 1947, civil administrators were added to the local self-government as civil advisors (bestuursadviseurs). Mid 1948, these administration advisors were put together at the office of the Balinese 'Rajadom Council' (vorstenraad) Dewan Radja-Radja in Den Pasar. The reason for this was, also at local level, to melt into changed political relations within the Negara Indonesia Timur, to which daerah Bali belonged. The transfer of sovereignty in December 1949 formally ended the interference of Dutch [colonial] Civil Administration with local administration.</br></br>Dronkers held the following positions in Bali: 
junior controller (aspirant-controleur) in Boeleleng and Djembrana, March-May 1946; junior-controller in Djembrana, May-December 1946; controller/administration advisor in Tabanan, January 1947 - June 1948; head of the Political Affairs Department with the Dewan Radja-Radja in Den Pasar, June 1948 - March 1949; head of the Economic Affairs Department with the Dewan Radja-Radja in Den Pasar, June 1949 - April 1950. April 1950, Dronkers together with his family repatriated to the Netherlands.</br></br>In the course of his administrative duties he made some 7,000 photographs of Balinese cultural life.000 photographs of Balinese cultural life.)
  • PEMILU 2024 "ANTI GOLONGAN PUTIH"  + (PEMILU 2024 "ANTI GOLONGAN PUTIH" Dear myPEMILU 2024 "ANTI GOLONGAN PUTIH"</br></br>Dear my fellow countrymen</br></br>The general election to be held in 2024, Indonesia will be faced with many Political changes which will come in early 2024 with many general elections covering legislative elections that will proceed with new presidential elections that have many major changes to Indonesian people, especially in the 2024 election will be marked by millennials and the generation Z that will contribute most to the general election which will be held in 2024.</br></br>As a generation of millennials and generations of gen Z who will also color the general elections carried out in 2024, be voters who have a sense of responsibility for our choices and do not choose a candidate as long as well as memiliih without any forcedness or sogo from the candidates for election 2024. But in the present, many millennials and generations of GEN Z don't understand things about politics and laws that make many millennials a neutral or commonly called GOGPUT (White Class) because the many issues of prospective elections that have miscompatible with the course, make many youth of the millennial generation or gen Z doubt with the mission conveyed by the millennial generation, many white generation in the future.</br></br>With the doubts and neutral groups, this makes many Indonesian youth that will participate in coloring the general election which will be carried out in 2024 make the many choices carelessly without the basis of choice according to their hearts or according to the criteria needed by the Indonesian nation in the next 5 years. This will be a lot of bribery or sogon-sogons from candidates to citizens, especially millennials and generations of GEN Z who do not understand anything about politics, this will make many negative influences the course of the 2024 election.</br></br>Thus, with the 2024 election, which will be colored by millennials and the generation of Z will also color the general election in the year with their choice. Because every choice of your voice to advance the Indonesian nation which is better in the future. By choosing without being a white group, because the White Group is not cool.</br></br>Thank you, hopefully with the oration I said. Hopefully, with this generation of millennials or generation GEN Z can choose a candidate with a vision and mission in accordance with the required State of Indonesia. So that no more will become a white or neutral group in the 2024 election later. neutral group in the 2024 election later.)
  • Pande Alit Wijaya Suta  + (Pande Alit Wijaya Suta, born in Denpasar, Pande Alit Wijaya Suta, born in Denpasar, August 29, 1984. He completed his art education at ISI Yogyakarta. Since 2008 he has been active in many joint exhibitions, including “Merdeka in Expression” at the Bali Cultural Park (2019), “Nitibumi” at Bentara Budaya Bali (2016), Beijing International Art Biennale, China (2015), “Colek Pamor” at the Museum Arma, Ubud (2014). He is a member of the Militant Arts Community. His works tend to explore the decorative arts of tribalism into a unique visual treat. Every detail of his work is built from archaic symbols arranged in such a way as to become a unified whole.n such a way as to become a unified whole.)
  • Pande Paramartha  + (Pande Paramartha, born in Karangasem, NovePande Paramartha, born in Karangasem, November 23, 1975. He studied fine arts at ISI Denpasar. Since 1994, he has diligently included his books in various joint exhibitions. Among them are the exhibition "Evolution" at Bharata Gallery Ubud (2003), "Hitman" at Danes Art Veranda, Denpasar (2011), "Bali Art Fair" at Tonyraka Gallery (2013). His solo exhibition was “The Creature in Action” at TEN Fine Art, Sanur Bali (2010). In 2000 he won the "Best Oil Painting" award from ISI Denpasar. In his work he often finds inspiration from childhood memories, a world full of play and imagination.ies, a world full of play and imagination.)
  • Pande Ketut Taman  + (Pande was born into an artistic, religiousPande was born into an artistic, religious family. A gifted artist since childhood, he studied painting at the Indonesia Institute of the Arts (Institut Seni Indonesia) in Yogyakarta. He later moved with his wife and family to the small town of Muntilan in Central Java, where he lives and works within sight of both the ancient Buddhist temple of Borododur and of Mount Merapi, an active volcano. Both of these majestic and powerful sites—one man-made and celebrating the spirit, the other natural and conveying the beauty and awesome power of Nature—have strongly influenced Pande’s art. A deeply spiritual connection to the earth is a tangible element of Pande’s sculptures and paintings, and the naturalism of his style reflects his interest in the forms and materials of nature in their most fundamental state. His carved wood sculptures, many of them monumental in size, are often fashioned from the trunks or roots of trees, and depict innumerable, expressively carved human figures that seem to be emerging from the tree itself, like figures in some ancient mythological tale.</br></br>For Pande, art is a daily-life practice, like taichi or meditation, that allows him to both be nourished by and to celebrate the earth and the spirit, moving from the center outwards just like a mandala–from the microcosm of the body, to his family, his town, the forests and mountains that surround him, the society to which he belongs, and the cosmos which encompasses all of us.nd the cosmos which encompasses all of us.)
  • Remaja Influencer Pariwisata di Bali  + (Pandemic Covid-19 which start from 2020 and also 2021 cause many effect,especially tourism in Bali have not visited as usually. Tourism in Bali who have not visited as usually must)
  • NARYA ABHIMATA  + (Photographer Narya Abhimata – who shot ourPhotographer Narya Abhimata – who shot our cover and fashion spreads this issue – is doing exactly what he wants to do, thank you very much. Interview Nigel Simmonds.</br></br>Narya, we’re all interested in how you grew up and how you became a visual artist. What’s the story?</br></br>I was pretty much given the freedom of expressing my artistic side from a very young age. My parents fully supported that by getting me drawing books, crayons and paints so that I would stop using their bedroom walls as my canvas. I’ve always been that weird, artistic kid … I’ve never really been into sports or super-masculine things. I played with both my Ninja Turtle figurines and my sister’s American Girls dolls. I loved custom building things with my Lego … I’ve built theme parks with fully working cable cars that take my little Lego people up and down a steep hill. I love playing video games that need me to manage cities and zoos. I guess I like things that need problem-solving skills, which contributes fully to what I am doing now. As a visual artist I have to problem-solve and to constantly think of creative ways to achieve things.</br></br>When you were growing up, is this the life that you envisaged for yourself?</br></br>Truthfully I cannot imagine myself doing anything other than what I’m doing now. Me as an accountant? Never in a million years.</br></br>How did you find being an Indonesian in Sydney, when you studied there? Or London?</br></br>I find going or living overseas very eye-opening and inspiring. For me, Indonesia is more restrictive when it comes to creative expression and freedom, especially in Jakarta. When I lived in Sydney and London, my creative mojo was constantly brewing. Ideas can be found anywhere, museums, galleries are abundant. People are strange, beautiful and unapologetic. The energy is powerful and is constantly around and it makes you want to create things every single day.</br></br>Did you spend much time as an assistant, or intern? Did you learn your trade from someone awesome, and are you still in touch with them?</br></br>I have never assisted, I just went out there with courage and a bit of delusion, ha ha ha! But I have interned once as a graphic designer at an agency back in Jakarta in 2008, after that I’ve been taking on the world solo. However, I believe that I am always a student, so I don’t think I will stop learning . . . it’s easier to do this nowadays since everything is basically online; seminars, tutorials . . . you name it and the internet has it. I also learn from my friends, fellow photographers and artists that I met here as well as overseas . . . and yes I am still in touch with some of them.</br></br>You seem so well educated internationally, how has that journey been for you?</br></br>It has been very special and I feel super grateful to have been able to do that. My view of the world as well as how I creatively approach my work were shaped during those years overseas. I learned, struggled and achieved a lot, and I wouldn’t be who I am today without those experiences.</br></br>What’s most important to you today about visual imagery, and how you deal with it?</br></br>Character, point of view and the ability to tell a story are very important to create any kind of visual. These are the three things I’m constantly improving with my own work.</br></br>What equipment do you use?</br></br>Canon 5DmkIVfor stills and Sony A7SIII / FX3 / FX60 / Arri Alexa for videos (also depends on client’s budget!)</br></br>Who is the best client you ever worked for (apart from The Yak he he)?</br></br>Edward Hutabarat.</br></br>What does fashion mean to you?</br></br>Fashion is a lifestyle choice. Most people think that fashion is just clothes, but almost all your lifestyle choices count as fashion: the way you dress, the food you eat, the devices you use daily . . . all the desirable things you choose to own and use to present yourself to the world as an individual . . . those things count as fashion!</br></br>How do you stay consistently fresh with your ideas and concepts in photography and videography?</br></br>I try to get outside my comfort zone. I work in fashion most of the time so I try to find inspiration and references outside of that world. Also, never stop learning new ways to give your work variety. Experiment with things you never tried before!</br></br>What’s the most frequent phrase you hear from clients that pisses you off?</br></br>‘Could you make (whatever I’m making for them) pop more?’</br></br>How can clients be better at being clients?</br></br>Knowing what they want is always a good start.</br></br>Are you threatened at all about the potential of Artificial Intelligence?</br></br>Not at all. No amount of technological advances can replace an artist’s soul.</br></br>What makes you happy?</br></br>Good food. Good company. DOGS!</br></br>If you were to die tomorrow, what would be the last thought in your head?</br></br>‘What’s for dinner?’</br></br>Where can we meet you, or see your work?</br></br>I am now residing in Bali, mostly staying at home with my two French bulldogs ordering take outs from cheap eateries around Kerobokan. You can see my work on my website www.naryaabhimata.com and my Instagram @naryaabhimatahimata.com and my Instagram @naryaabhimata)
  • What do you think about the new facilities at Besakih Temple?  + (Please see comments from our What's Up feature: https://dictionary.basabali.org/Question_What_do_you_think_about_the_new_facilities_at_Besakih_Temple%3F)
  • Many foreign tourists have violated Nyepi regulations in Bali. What should we do?  + (Please see comments from our What's Up feature: https://dictionary.basabali.org/Question_Many_foreign_tourists_have_violated_Nyepi_regulations_in_Bali._What_should_we_do%3F)
  • How to avoid sexual abuses in Bali's educational communities?  + (Please see comments from our What's Up feature: https://dictionary.basabali.org/Question_How_to_avoid_sexual_abuses_in_Bali%27s_educational_communities%3F)
  • How can the government best promote literacy in Bali?  + (Please see comments from our What's Up feature: https://dictionary.basabali.org/Question_How_can_the_government_best_promote_literacy_in_Bali%3F)
  • How should we respond to Russian Villages in Bali?  + (Please see comments from our What's Up feature: https://dictionary.basabali.org/Question_Russian_Village_in_Bali,_how_should_we_get_cope_with_it%3F)
  • Polenk Rediasa  + (Polenk Rediasa. Born in Tambakan, BulelengPolenk Rediasa. Born in Tambakan, Buleleng, March 18, 1979. His full name is I Nyoman Rediasa, an artist and lecturer at Undiksha, Singaraja. He studied art at SMSR Denpasar, ISI Denpasar, and postgraduate in Cultural Studies, Udayana University, Denpasar. He has had joint and solo exhibition since 2004 at home and abroad. His solo exhibitions include "Body Exploration" (National Gallery, Jakarta, 2008), "Installation Exhibition and Performance Art" (2007), "Body Study" (Popo Danes Gallery, 2005), "Signs" (Retro Resto and Gallery, Sanur, 2004) He was awarded in the Beijing Biennale in 2008. His works are widely used by Kompas as short story illustrations.ed by Kompas as short story illustrations.)
  • Ni Wayan Eka Pranita Dewi  + (Pranita Dewi, full name Ni Wayan Eka, was Pranita Dewi, full name Ni Wayan Eka, was born in Denpasar, June 19, 1987. She writes poetry, prose kris and short stories. A number of his poems have been published by Kompas, Koran Tempo, Media Indonesia, Suara Merdeka, Suara Pembaruan, Bali Post, Horison Literature Magazine, Block-Not Poetry Journal. In August 2003, the 1st winner of the Poetry Declamation Contest and the 1st Winner of the Bali Student Poetry Writing Competition were held at the Wind Theater of SMU 1 Denpasar. several books of poetry collection together with “Jendela” (2003), God of the Sky so Empty (2004), and Herbarium (2007). A collection of poems with “Made Patih (2003), “Titian” (2008).</br>She received a scholarship “A Weekend Creative Workshop: Sound Poetry from Different Faiths” (2003) at the Utan Kayu International Literature Festival in Kuta, Bali. Nominee for Krakatau Award for National Poetry Writing Competition (2004) – Lampung Arts Council.</br>Her poetry has been included in the anthology of the 100 Best Poems of the Pena Kencana Sastra 2008. Her single poetry book is “The Prostitute of the Gods” (2006).ok is “The Prostitute of the Gods” (2006).)
  • Prof. Dr. I Wayan Adnyana, S.Sn., M.Sn.  + (Prof. Dr. I Wayan Adnyana, S.Sn., M.Sn. BoProf. Dr. I Wayan Adnyana, S.Sn., M.Sn. Born in Bangli, April 4, 1976. He is a painter, fine art writer, lecturer in fine arts at ISI Denpasar, and Head of the Bali Provincial Culture Service. He received his art education at ISI Denpasar and ISI Yogyakarta. In 2003 he co-founded the Bali Art Society and held the grand exhibition at Bali Art Now. Many art writings appear to be published in Kompas, Media Indonesia, and various art journals/magazines. His published art books are Nalar Rupa Perpa (2007), Yeh Pulu's Multinarrative Relief (2017), Pita Maha: The 1930s Balinese Painting Movement (2018). Apart from being a writer, he is also known as a curator of fine arts. Meanwhile, as a painter, his works have been exhibited jointly or singly, at home and abroad. He was awarded the Finalist UOB Painting of The Year Competition (2014, 2012, 2011), Widya Pataka 2007 from the Governor of Bali.dya Pataka 2007 from the Governor of Bali.)
  • Ni Luh Sutjiati Beratha  + (Prof. Dr. Ni Luh Sutjiati Beratha, M.A. isProf. Dr. Ni Luh Sutjiati Beratha, M.A. is a professor in Semantics at the English Department Faculty of Arts Udayana University. She was completed her master program at the Department of Linguistics, Monash University Melbourne Australia in 1989, and received her Ph.D degree from the Australian National University (ANU) Canberra Australia in 1992. </br></br>She has occupied positions as: Secretary of Udayana University Language Centre in 1996 – 1997; the in 1998 – 2000 as the Secretary of School of Graduate Studies Udayana University; from 2000 – 2006 she was the Deputy Director of Financial Affair of School of Graduate Studies Udayana University, and from 2006 – January 2010 was a Deputy Director of Academic Affair of School of Graduate Studies Udayana University. She was the Dean of the Faculty of Arts Udayana University from 2015 until 2019, and has published books, dictionaries, and other publications. </br></br>Her interest is conducting research on ‘New Englishes’ used by tourism workers in Bali. She was selected as the best lecturer at Udayana University in 1994, and as the best presenter in research in 2011 by Directorate general of National Research Centre and Social Services of Indonesian Republic.nd Social Services of Indonesian Republic.)
  • Prof. Dr. Ni Nyoman Padmadewi, M.A  + (Prof. Dr. Ni Nyoman Padmadewi, M.A., is a Prof. Dr. Ni Nyoman Padmadewi, M.A., is a professor in English education at Ganesha Education University, Singaraja, Bali Indonesia. Padmadewi completed his master's studies at Macquarei University, N.S.W Australia and received his doctorate from Udayana University. Padmadewi's research covers various topics related to pedagogy, development of competency standards, and assessment of English language learning at various levels of education. Apart from being active in teaching and researching, Padmadewi is also actively involved and organizes various social activities in the context of community development in rural areas.t of community development in rural areas.)
  • Prof. Ir. I Nyoman Gelebet  + (Prof. Ir. I Nyoman Gelebet is a senior arcProf. Ir. I Nyoman Gelebet is a senior architect who cares about traditional Balinese architecture. He is a professor of architecture at Udayana University, Bali. He deeply understands “Asta Kosala Kosali” which is the basis for traditional Balinese architecture. Apart from that, he also understands that “Asta Kosalaning Dewa” relates to the construction of a holy place. He is often involved in building Hindu shrines and renovating temple buildings as well as in designing the master plan for the Nusa Dua tourist area. Apart from being a resource person, he is also diligent in writing articles in the Bali Post newspaper and scientific journals related to architecture and development in Bali. Nyoman Gelebet died on November 2, 2020.. Nyoman Gelebet died on November 2, 2020.)
  • Brigitta Hauser-Schäublin  + (Professor Dr. Brigitta Hauser-Schäublin waProfessor Dr. Brigitta Hauser-Schäublin was born in Switzerland, namely in Riehen near Basel. There she spent her childhood and youth. Her father was a tradesman running an international import-export company and furthermore took part in the local politics. Hauser-Schäublin had an early encounter with the topic of gender when being confronted with the female role in society and the difficulties for women to study. In order to take different directions she moved to Zurich when being a young woman, did several internships and took language classes. She also lived in London for half a year. After her return she started an apprenticeship at the local newspaper in Basel to become a journalist. </br></br>In this period Hauser-Schäublin also undertook her first journey to India, an experience which had a huge impact on her. When returning to Basel she not only worked as a journalist and finished her high school graduation but in 1969 also began her studies. After a brief phase taking courses on Religious studies Hauser-Schäublin focussed on studying Anthropology and Sociology. Alfred Bühler and Meinhard Schuster were among her teachers. In 1971 Hauser-Schäublin studied in Munich for a semester and after her return also took up an assistant position at the Ethnographic Museum in Basel, combining her growing anthropological knowledge with her skills as a journalist. A year later she joined a research project founded by Meinhard Schuster, regionally focussing on the Sepik region in New Guinea. Hauser-Schäublin took part in the expeditions and collected data on gender aspects, a work that 1975 culminated in her graduation thesis.</br></br>After graduation Hauser-Schäublin fully took up her work at the Ethnographic Museum in Basel, organizing a various number of exhibitions while trying out new conceptions as well as working in the public relations. She moreover did further research projects, e.g. on house-building in Papa New Guinea. In 1985 she completed her habilitation thesis. She gave academic lectures at the University in Basel and also worked on the Ethnographic Collection in Fribourg.</br></br>After being a visiting professor at the Department of Cultural and Social Anthropology in Cologne, Hauser-Schäublin in 1991/92 became a full professor at the Institute for Cultural and Social Anthropology in Göttingen, being the successor of Prof. Dr. em. Erhard Schlesier. There she not only gave various courses (e.g. on Gender and Religion) but also started to restructure the basic uni lectures. Furthermore the Institute joined the Department of Social Sciences. Her own scientific focus shifted from an early interest in Material Culture towards a closer look on theories and discourses. At the same time Hauser-Schäublin emphasized the importance of field research and did several of them herself, e.g. in Bali, Indonesia and Cambodia.elf, e.g. in Bali, Indonesia and Cambodia.)
  • Wayan Windia  + (Professor Wayan Windia is Head of the SubaProfessor Wayan Windia is Head of the Subak Research Centre at Universitas Udayana in Bali, Indonesia. He obtained his PhD in 2002 at Universitas Gadjah Mada, Yogyakarta, Indonesia, which his dissertation concerning subak system in Bali. He involved on preparations, in order to get UNESCO acknowledgement, for subak system in Bali, on 2012. His articles has been published widely in journals and books, such as : Subak Irrigation System Transformation Based on Tri Hita Karana Concept; Subak : The World Cultural Heritage; Subak : Study from Social Perspective; and Subak as Agrotourism. </br> </br>Over the last five years, he has been actively working on developing subak into agro-tourism sites, and introducing economical activities at subak organization. The goal of those activities is how to help increasing the revenue of farmers as subak members. Now he actively supervise the site of subak that has been recognized by UNESCO as world cultural heritage. And also introducing the values of subak to the students in Bali, and for other guests and foreigners who coming to Bali, especially to Udayana University. </br> </br>He is working also as an expert group coordinator at Gianyar Regency on Heritage City, as a member of expert group at Denpasar City on Subak Sustainability, and also as an expert team member at Bali Province, since this year (2018). He has been involved in some national NGO in order to sustain of Bali culture.l NGO in order to sustain of Bali culture.)
  • Perbaikan jalan  + (Promblem The road in Mengwi's Sembung village is damaged and accidents continue to occur. I am making a suggestion that if I become the leader of Bali, please repair the road in my village.)
  • Promote domestic tourism and address infrastructure gaps  + (Promote domestic tourism and address infraPromote domestic tourism and address infrastructure gaps</br>In 2019, about 16 million foreign visitors came to Indonesia. The sector contributed $20 billion in foreign exchange revenue and employed about 13 million people or around 10 percent of the total workforce. The COVID-19 pandemic hit the industry hard. In the first half of 2020, arrivals to Indonesia were off by almost 60 percent, the industry is expected to lose $10 billion in foreign exchange revenues for the full year, and more than 90 percent of the workers in the sector have been furloughed indefinitely without pay.</br></br>Even when the world begins recovering from the pandemic, it remains unclear how quickly travelers will be willing to jump onto planes and visit the beaches of Bali, the forests of Borneo, and other popular destinations. In addition, countries dependent on tourism will all be competing for smaller groups of travelers for a while. Recovery in the tourist sector is likely to lag behind that of others.</br></br>Looking forward, we expect travelers will, at least initially, avoid in-person contact in booking, traveling, and even staying at their destinations. They will prefer shorter trips to outdoor destinations and flexible cancellation policies. In addition, those staying at hotels and other large accommodations will put a premium on visible evidence of greater cleanliness and hygiene than in the past.</br></br>To help the tourist sector rebound as quickly as possible, Indonesia should focus on two crucial areas. The first is promoting domestic tourism. Evidence from many markets has shown that domestic travel has recovered more quickly than international travel, especially among young tourists who see themselves as less vulnerable. In China, for instance, domestic air travel reached 90 percent of 2019 levels by August 2020, while international travel was still lagging well behind.</br></br>Unlike international tourists, who concentrate in Bali and East Nusa Tenggara, the majority of domestic tourists in Indonesia visit Java. To push rates of domestic tourism, the government and operators should promote lesser-known domestic attractions, like the Lake Toba region in North Sumatra, the Mandalika area in East Nusa Tenggara, and Likupang Beach in North Sulawesi. Discounts and other incentives could also help ignite domestic travel.</br></br>The country can also use the unintended lull in visitors to beef up its tourist infrastructure. The disruption provides an opportunity, for example, to improve airports, accommodations, and other facilities. The jump in digital activity brought by the pandemic can also be used to accelerate the adoption of new technologies by operators in the sector, from online booking systems to advanced analytics that can offer real-time information on tourist activities and behaviors.ation on tourist activities and behaviors.)
  • Putu Desy Apriliani  + (Putu Desy Apriliani is one of the young anPutu Desy Apriliani is one of the young and promising faculty members in the Faculty of Economics and Business Udayana University, Bali - Indonesia. She has been a part of the "Orange Academia," a call for the faculty's students, alumni, and faculty members, since 2006. Her research interests encompass rural economic development, various democratic and community-based associations, and their intersection with gender and race. She primarily teaches undergraduate classes while also becomes a facilitator for various trainings within and beyond the university.</br></br>Putu Desy Apriliani was a Fulbright Scholarship awardee from 2014-2019 to pursue a doctoral study in the U.S. She holds a Ph.D in Planning, Government, and Globalization from the School of Public and International Affairs, Virginia Polytechnic Institute and State University, Virginia. While pursuing her doctoral degree, Putu was also actively involved in the Indonesian Students Association in the United States (PERMIAS) and led the organization to conduct several fund raising events and cultural exhibitions. She contributed her talents in various efforts in order to introduce Balinese culture together with other Indonesian/Balinese community organizations in the U.S.</br></br>In her spare time, Putu loves spending time with her husband and her 2-year-old daughter, cooking, and gardening.year-old daughter, cooking, and gardening.)
  • Putu Dyatmikawati  + (Putu Dyatmikawati is one of the few leadinPutu Dyatmikawati is one of the few leading researchers in the field of law who focuses her research on the issue of customary law and its influence on the lives of women in society. The topics that are often studied are the marriage system in the gelahang and the dynamics of the gender roles of Balinese women. Dyatmikawati is also active as a lecturer at Dwijendra University and has served as Chancellor of Dwijendra University.ved as Chancellor of Dwijendra University.)
  • Putu Edy Asmara  + (Putu Edy Asmara is a painter who was born Putu Edy Asmara is a painter who was born in Tampaksiring, Gianyar, April 5, 1982. He completed his art education at ISI Denpasar. Since 2007 he has been involved in many joint exhibitions, including “The 7th Beijing International Art Biennale China”, National Art Museum China (2017), “Water Civilization”, Bentara Budaya Bali (2016), “Langkawi Art Biennale: IMIGRATION”, Malaysia (2014). In 2008 he held a solo exhibition entitled "Don't Cry For Me Indonesia", Installation and Performing Art, Danes Art Veranda, Denpasar. The awards he has ever won are “The Winner of Storiette Illustration Kompas”, “The Winner of Radar Bali Art Award 2008”, Best Art Work of The Bachelor exam, at ISI Denpasar. Edy's works tend to be surrealistic with social and ecological themes.alistic with social and ecological themes.)
  • Putu Eka Guna Yasa  + (Putu Eka Guna Yasa was born on January 6, Putu Eka Guna Yasa was born on January 6, 1990 in Banjar Selat Tengah, Susut, Bangli. Completed his undergraduate education at the Balinese Literature Study Program, the Faculty of Cultural Sciences, Udayana University in 2012 and a master's degree in the Linguistics Masters Program with Pure Linguistic Concentration, Faculty of Cultural Sciences, Udayana University in 2017. He also attended the International Intensive Course in Old Javanese organized by the National Library in 2018 and 2019. Since 2013 he has worked as a staff at the Center for Lontar Studies at Udayana University. Actively writes articles in various media such as Bali Post, Post Bali, and Tribun Bali both in Balinese and Indonesian. A number of his articles were published in Prabhajnyana Book: The Study of Lontar Literature such as (1) The Meeting of Natural Beauty and the Beauty of Language in Kidung Dampati Lelangon; (2) Water Image in Ancient Javanese and Balinese Literary Library Temples; (3) Kidung Bhuwana Wisana: Aesthetic Heritage by Ida Padanda Ngurah; and (4) Sarira Devotees and Explorers. Gedong Kirtya published books about the world of Balinese literacy, including the Brata Term Dictionary in the Bali Lontar Library and the Synonym Dictionary in the Dasa Nama Lontar. Putu Eka Guna Yasa received an award as a Literacy Activist Youth from the Bali Language Center in 2018. Since that year, he has been appointed as a lecturer at the Balinese Literature Study Program, Faculty of Cultural Sciences, Unud. Since 2020 as executive director at the BASAbali Wiki foundation. director at the BASAbali Wiki foundation.)
  • Putu Fajar Arcana  + (Putu Fajar Arcana, born in Negara, west BaPutu Fajar Arcana, born in Negara, west Bali, July 10, 1965. Now working as editor of Kompas Minggu, part of Kompas Daily in Jakarta, he initiated the Kompas Short Story Workshop which was later transformed into the Kompas Short Story Class. He is now a few of the journalists who have specific coverage of art and lifestyle. It is not uncommon for Putu to become a resource person and jury in various art events and competitions in the country.</br></br>Apart from pursuing journalism, he is also directly involved in the dynamics of the art world monologue theater scriptwriting and directing the artistic team of theater performances. The monologue text is included in the book Political Monologue (2014). He then directed the monologue show “Dear People's Representatives” with actress Sha Ine Febriyanti (2015) and then “Perempuan Dangdut” with actress Happy Salma (2016). Previously, he made the Garuda Wisnu Kencana repertoire which was staged at the ground breaking of the monument in 2013. This performance involved 500 kecak dancers as well as jazz singer Trie Utami, guitarist Dewa Budjana, and harp artist Maya Hasan.</br></br>His novel Gandamayu (2012) was staged by Teater Garasi Yogyakarta involving two young directors, Yudi Ahmad Tajuddin and Gunawan Maryanto. The performance took place at the Jakarta Arts Building, which involved big actors such as Landung Simatupang, Whani Darmawan, Ayu Laksmi, and Sha Ine Febriyanti. Her adventure in the world of stage was emphasized by the performance of “#3 Women, Not Flowers Not Men” which involved actresses Happy Salma, Inayah Wahid, and Olga Lydia. Putu has also been on the artistic team for the Indonesia Kita performance series, between the Roman Made in Bali (2016) and Laskar Bayaran (2017) series.</br></br>The man who likes to sketch has also published several books. These books include the short stories anthology Bunga Jepun (2002), Samsara (2005), and Drupadi (2015). His collection of essays on Bali is included in the book Red Letter for Bali (2007) and his poems are included in Gilimanuk Man (2012). Previously he also published a book of poetry Bilik Cahaya (1997) in Denpasar, Bali.</br></br>Together with his wife Joan Arcana, in 2011 Putu founded the Arcana Foundation, a non-profit organization that facilitates conservation and advocacy in the field of culture, organizes performances, writes books, and conducts goodwill to various cultural centers in the country. The Arcana Foundation also collaborates with various donor agencies to mobilize the world of culture.agencies to mobilize the world of culture.)
  • Putu Herry Hermawan Priantara  + (Putu Herry Hermawan Priantara is a studentPutu Herry Hermawan Priantara is a student of the Accounting Department, Faculty of Economics, Mahasaraswati University Denpasar. Herry actively writes and researches on various topics related to Bali and Hinduism including his work on Balinese Arak entitled "Hidden Potential of Balinese Arak to be the World's Seventh Spirit, from Religious Purpose to Negative Investment List."ious Purpose to Negative Investment List.")
  • Putu Nomy Yasintha  + (Putu Nomy Yasintha was born in Denpasar, 3Putu Nomy Yasintha was born in Denpasar, 30 April 1987. She received her bachelor's degree in Public Administration at the University of Indonesia. She took her Master in Public Administration at the University of Northumbria, Newcastle, UK. In 2015, She join the teaching team at Udayana University, Bali. She teaches several courses related to Public Policy, Tourism Development, Comparative Public Administration, and Accountability in the Public Sector. She manages youtube channel for the compilation of Public Administration's student at Udayana University. The channel is here AP Student Project Udayana. She actively involve in guiding student who is doing the research competition, debate competition, and also actively helps student activities.nd also actively helps student activities.)
  • Putu Satria Kusuma  + (Putu Satria Kusuma, born in Singaraja, MarPutu Satria Kusuma, born in Singaraja, March 28, 1963. His last education was Bachelor of Law. Since he was a teenager he has been involved in the arts, especially theatre, film, and literature. He joined the Coffee Drink Studio. </br></br>His achievements include 1st Place in the Contest for Modern Drama Manuscripts, UNUD 1986, the best national drama scriptwriter, 1995 Menpen RI, the best national drama scriptwriter in 1997, Menpen RI, Hope I in the national drama script competition at the Jakarta Arts Council 1998, Harapan I The Indonesian Ministry of Tourism's Film Scenario Competition in 2005, an award from the Governor of Bali Widya Pataka 2015, the Bali Jani Nugraha award from the Bali Provincial Government. </br></br>His works include: Kidung Classical Tanah Bali (a radio play broadcast on RRI Singaraja 20 episodes), Cupak Tanah, Watu Gunung, Sukreni Gadis Bali (adaptation of the novel with the same title by AA Panji Tisna), Revolution in Nusa Damai (adaptation of a novel with the same title) Similar titles by Ktut Tantri), soap operas Adi and Ayu (10 episodes aired on Bali tv), soap opera Memedi (10 episodes aired on Bali TV), soap opera comedy series Wayan Katel (10 episodes aired on Bali tv), soap opera for children Ketut Koran (TVRI Bali) , Slave from Bali Untung Surapati, Short folk drama series about Bung Karno (10 titles), He wrote a number of short stories published in the Bali Post, and short stories anthologies Lobakan, Tower, and the Indonesian Literary Community, etc.nd the Indonesian Literary Community, etc.)
  • Putu Sedana  + (Putu Sedana was born in Pengastulan, DecemPutu Sedana was born in Pengastulan, December 17, 1932. He completed his education at the Wirabhakti School of Social and Political Sciences, Denpasar. Has been a teaching staff at Panji Sakti University Singaraja. He wrote various kinds of poetry, prose, drama, and radio plays in Balinese or Indonesian. In addition, he also composed Balinese songs and Indonesian songs. His works have been published in newspapers and also broadcast on TVRI's central program, RRI (Yogyakarta, Semarang, Surabaya, Denpasar and Singaraja). His work that has been published and distributed is "Bali Suar Tanah Dumilah" in the form of a collection of Balinese poetry.</br></br>From his work, he received various awards and prizes, such as:</br>1. In 1945, he won second place at the second level in Buleleng, when a drawing contest for the children of the People's School (now elementary school) entitled "War".</br>2. In 1964, he won the third place in the Buleleng level II area, when the Singa Ambara Raja Statue Design competition was held.</br>3. In 1969, he won first place in the Bali level I area, a modern Balinese poetry writing competition organized by the Singaraja Branch I National Language Institute with the title "Mati Nguda".</br>4. In 1980, he won first place in the first level of Bali, a modern Balinese prose writing competition organized by the Singaraja Branch I National Language Institute, with the title "Mirah".</br>5. In 1980, he won first place in the first level of Bali, a competition to write a poem on the natural beauty of Batur Uang was organized by the Governor of Bali, with the title "Peace is Founded".</br>6. In 1984, he won first place at the first level of Bali, a songwriting competition for the Bali Sandya Gita Festival during the 1984 Bali Arts Festival which was held by the governor of Bali, with the title "Teja Guling".</br>7. In 1985 won first place in creating Balinese folk songs at the Bali Arts Festival with the title "Gumin Titiangé Bali".</br>8. In 1985 he received an award from the Governor of the First Level Region of Bali for creating a song with the title "Pulaki".</br>9. In 1990 won first place in a songwriting competition at the Bali Arts Festival with the title "Hyang Laksmi"</br>10. In 1997, he received the Wija Kusuma Art Award from the Department of Theater Arts from the Buleleng Regional Government.rts from the Buleleng Regional Government.)
  • Putu Suasta  + (Putu Suasta was born in Denpasar, 1960. HePutu Suasta was born in Denpasar, 1960. He completed his elementary to high school education in his hometown. Then he continued his studies at Gajah Mada University (UGM), majoring in International Relations (HI), graduating in 1985. He then attended post-graduate studies at Cornell University. He also taught at Asian Studies/Dept. Modern Language and Linguistics, Cornell University, 1988.</br></br>In Bali, Putu is known as a critical activist. He formed a number of discussion forums such as the “Red-White” forum and Non-Governmental Organizations as a means to build people's critical awareness of their rights as citizens. Through these civil institutions, he organized masses to criticize the government for not taking sides with the people and not being transparent in running the government. Through his writings, he is diligent in conveying various ideas and constructive criticism for the government and society.</br></br></br>Putu Suasta's long struggle in the civil movement eventually led to the realization that the most effective way to promote change was politics. He increasingly reminded the relationship between government and politics. So to be able to convey and fight for the aspirations of the community, it must be more effective, political channels are entered. He later joined the Democratic Party.</br></br></br>Putu Suasta's works have been published in a number of books, both on political, socio-cultural, and artistic themes. These books include: “Idiology, Development and Democracy” (1986), “Made Wianta: His Art and Balinese Culture” (1990), “Bali Living in Two Wold” (Schweben Basel, 2001), “Kembara Budaya ” (Bali Mangsi Foundation, 2001), “Enforcing Democracy, Escorting Change” (Lestari Kiranatama, 2013), “Gung Rai, Sang Mumpuni” (2017), “Sanur: Caring for Traditions in the Midst of Modernization” (2018).ons in the Midst of Modernization” (2018).)
  • Putu Sucita Yanthy  + (Putu Sucita Yanthy is a lecturer at the FaPutu Sucita Yanthy is a lecturer at the Faculty of Tourism. She completed her Doctorate Program in 2016 at Udayana University. Her dissertation is titled Kontribusi Perempuan Dalam Mengangkat Kuliner Lokal Untuk Mendukung Pariwisata Bali (Women’s Contribution in Promoting Local Food to Support Tourism in Bali). She actively conducts research and joins activities at Udayana University. Her research interests include women in tourism, gastronomy and culinary fields. She had an opportunity to take part in Mobility for Teaching Staff program at the University of Glasgow, Scotland in 2018. Since 2019-present she doing research postdoctoral program entitled Tourism Education and Women in Bali at University of Angers, France.n in Bali at University of Angers, France.)
  • Putu Sudjana  + (Putu Sudjana started writing poetry in thePutu Sudjana started writing poetry in the 1970s and only published it in the Bali Post in the 1980s. In addition, he also writes short stories, essays, drama scripts / plays. Often wins in poetry and drama script writing competitions. He performed many of his drama scripts at the Banjar Hall and TVRI Denpasar. He used to work at the Bali Regional Office for Transmigration. His solo book of poetry is entitled "Sajak-sajak Kecil dari Langit" (1985). His poetry is also summarized in the book "Lukisan Magis Tanah Bali (2000)the book "Lukisan Magis Tanah Bali (2000))
  • I Putu Sutawijaya  + (Putu Sutawijaya (1970)studied art at IndonPutu Sutawijaya (1970)studied art at Indonesia Institute of Fine Art (ISI) Yogyakarta. He currently lives and works in Yogyakarta and Bali. As a painter, sculptor and performance artist, he is hailed as one of the most important young artists to watch out for. His canvases are highly charged with the energy, or qi, that is suggestive of Chinese calligraphy masters. While Chinese calligraphy influences his technique, his subject matter captures the essence of Balinese religious and tribal rituals. The visual impact of his canvases is explosive yet contemplative. They reflect the mutual desire for harmony in order and chaos, a oneness with the universe. Man as the centrifugal figure in paintings is distinctively Sutawijaya and continues to be prominent in his works.</br></br></br>Putu Sutawijaya draws his inspirations from the various Balinese religious rituals. He is especially fascinated with the way communion takes place, where spiritual enlightenment is attained through trance, intoxication and even violence.</br></br>Movement, energy and trance are the three most powerful stimuli in his canvases. The movements and stance of the kecak dance are symbolic of the Great Gods (sanghyang). The kecak dance is an intense spiritual dance by a large group of people.</br></br>A mental and spiritual climax is reached when the soul suddenly rises to a level of experience much more profound than daily consciousness. At that moment appears a peak of self confidence and extraordinary bliss like a trance, followed by enlightenment. Out of these are born paintings of such intense expression that they reach the farthest limits of universal concepts.the farthest limits of universal concepts.)
  • I Putu Tangkas Adi Hiranmayena  + (Putu Tangkas Adi Hiranmayena is an artist-Putu Tangkas Adi Hiranmayena is an artist-scholar currently holding positions as faculty member at Metropolitan State University of Denver and the University of Colorado, Colorado Springs. His research interrogates discursive conceptions of “noise” in Bali and the United States as they intersect with Cosmology, Indigeneity, and Performance. He focuses on how people in places with long colonial histories reclaim Indigenous identity through popular idioms. As a music practitioner and composer, Hiranmayena continues to perform in improvisation/noise ensembles and creates contemporary works for Gamelan and Heavy Metal. He is co-founder of Balinese experimental project, ghOstMiSt and artistic director of Denver, Colorado’s non-profit organization, Gamelan Tunas Mekar.-profit organization, Gamelan Tunas Mekar.)
  • Putu Vivi Lestari  + (Putu Vivi Lestari was born in Tabanan, NovPutu Vivi Lestari was born in Tabanan, November 14, 1981. She achieved a Master of Management and works as a lecturer at the Faculty of Economics and Business, Udayana University. Vivi is married to the painter Ketut Endrawan. They have two children: Made Kinandita Radharani and Nyoman Akira Bodhi Pawitra. </br></br>On April 8, 2017 Vivi died of blood cancer (leukemia).</br></br>Vivi's poems have been published in the Bali Post, Bali Echo, Kompas, Suara Merdeka, Kalam Culture Journal, PUISI Journal, Coast Lines Magazine, People's Thoughts, Horison Literature Magazine, Media Indonesia, and CAK Cultural Journal.</br></br>Her poems can also be found in a number of joint anthologies, including Angin (Teater Angin, Denpasar, 1997), Notes of Concern (Jukut Ares, Tabanan, 1999), Ginanti Pelangi (Jineng Smasta, Tabanan, 1999), Art and Peace (Buratwangi , Denpasar, 2000), Anno's Essay & Waves of Poetry 2001 (Kompas, 2001), Green Kelon & Poetry 2002 (Kompas, 2002), Ning: Anthology of Poetry 16 Indonesian Poets (Sanggar Purbacaraka, Denpasar, 2002), The Blue Angel of Hobart City (Logung Pustaka, 2004), Spirit: A Collection of Poetry Poets from Bali-West Java (bukupop, Jakarta, 2005), Because My Name is a Woman (FKY, 2005), Selendang Pelangi (Indonesia Tera, 2006), Herbarium: Anthology of Poetry in 4 Cities (Library Pujangga, Lamongan, 2007), Rainbow (Indonesia Tera, 2008), Couleur Femme (Jakarta-Paris Forum & AF Denpasar, 2010).</br></br>Vivi has won a number of literary awards, including the "Best Five" small note competition held by the Jukut Ares Tabanan Community (1999), "Ten Best" poetry writing competition for high school students at the national level held by Jineng Smasta-Tabanan (1999), 2nd place in the competition poetry creation in the marine orientation week held by the Faculty of Letters Unud (1999), Art & Peace 1999 "Best Nine Poems", 2nd place in a poetry creation competition with the theme "Bali after the Kuta tragedy" (2003).</br></br>Vivi had been invited to a number of national literary events, including the 2003 Utan Kayu International Literature Festival in Denpasar, 2004 Indonesian Literature Cakrawala at TIM Jakarta, Ubud Writers and Readers Festival 2004, Yogyakarta XVII Arts Festival 2005, Printemps de Poetes 2006 in Denpasar, The VIII Main Praja Mitra Literature Gathering in Banten (2013).</br></br>Her book of poetry entitled “Failed Ovulation” was published posthumously by Expression Library, 2017.n” was published posthumously by Expression Library, 2017.)
  • Raechelle Rubinstein  + (Raechelle Rubinstein is a writer of several books and journal articles about Bali including the latest in 2022 entitled Beyond the Realm of Senses: The Balinese Ritual of Kekawin Composition.)
  • Panglalah teknologi ring kawéntenan lapangan kerja  + (Rapid technological developments have brouRapid technological developments have brought many advances in various areas of life, including the world of work. In the current era, we cannot be separated from the influence of technology in the world of work. The government can play an important role in overcoming this problem and creating policies that can control technological developments so that they do not replace and threaten people's jobs.</br></br> The most important problem currently is technological progress which poses a major threat to employment opportunities, especially in Bali. If not controlled, many jobs will be replaced by technology. Of course, this can threaten the lives of the Balinese people. Advances in AI (Artificial Intelligence) technology are one of the biggest challenges for future leaders of Bali Province. Although the presence of AI provides benefits, especially in providing efficiency in the world of tourism in Bali, this technology can also have negative impacts if not used wisely.</br></br> To overcome challenges in the tourism sector, the government must increase investment in skills training and technology education. This will help prepare the workforce to face technological developments with greater effectiveness. One of the solutions and strategies that I propose is to strengthen the government's role and responsibility in regulating and supervising the use and impact of AI technology in Bali. The government can provide assistance and facilities, such as capital assistance, subsidies, incentives, training, certification, and others, which can help the community to improve their quality and performance in the tourism sector. The government can also evaluate policies that support the transition of workers from traditional to modern sectors through skills conversion programs and financial support. Therefore, this effort can help optimize the use of technology while reducing losses for the Bali tourism sector in terms of the availability of skilled and quality human resources so that they can continue to compete along with technological developments.ete along with technological developments.)
  • Anak Agung Gede Raka Turas  + (Related Artists Anak Agung Gede Sobrat Teacher: I Wayan Pendet Relative: I Dewa Ketut Rungun Relative: I Dewa Putu Bedil Relative: Anak Agung Gede Raka Puja)
  • Jero Mangku Dalem Suci  + (Renowned Chef and restaurant owner Jero MaRenowned Chef and restaurant owner Jero Mangku Dalem Suci (Gede Yudiawan or Gede Buldog) is from Desa Les and his incredible cooking skills have been recognized by the most acclaimed Indonesian Chef, William Wongso, and he has joined the maestro in introducing Balinese cuisines across several countries in the world.</br></br>In 2015, he took on the role of pemangku or priest, and has since carried both titles of Chef and Jero Mangku (priest). Having already traveled the world, Chef Jero Yudi believed it was time to return to his village and give back to the place that has helped plant his roots deep into the culinary world. So he opened up, in his ancestral home, Dapoer Bali Moela, a smaller eatery and arak center where he has developed food & beverage products using locally sourced ingredients.</br></br>Chef Jero Yudi also owns Warung Sunset by Chef Yudi in Kuta, Bali. He also helped developing other restaurants in Nusa Dua, Semarang (Central Java), Jogjakarta and in Les Warung Tasik and Warung Sukun.arta and in Les Warung Tasik and Warung Sukun.)
  • Richard Horstman  + (Richard Horstman, (b 1964 in Melbourne, AuRichard Horstman, (b 1964 in Melbourne, Australia) has more than 25 years of experience in</br>Indonesia, first visiting Bali in 1986. He spent extended periods in Sumatra and began living in</br>Bali in 2004. He has worked in the Bali and Indonesian art worlds since 2008 as an writer,</br>journalist, a co-creator with artists and an art tour presenter to national and international guests</br>from 2014. He has participated intercultural exchange events in Thailand, the Philippines and</br>Indonesia, while regularly attending events in Singapore, Jakarta and Yogyakarta.</br></br>Richard consults professionally and non-professionally to Indonesian and foreign artists,</br>collectives, galleries and art spaces. Richard is passionate about reporting on developments in</br>the Bali art infrastructure and innovations in the Bali art world. He previously made and</br>exhibited sculptures and installations and is currently painting in his spare time.</br></br>During 2022 Richard experienced growth in his writing genres penning his second social cultural</br>observation piece on Bali, entitled Duality and the Exploitation of the Spirit published in</br>NOW!Bali Magazine in the January/February 2023. He began writing book reviews published in</br>the Jakarta Post and NOW!Bali with his fourth review Masks of Bali: Between Heaven & Hell</br>published in the Post in February.</br></br>An article for the Australian quarterly hardcopy magazine ArtLink, a special edition on</br>Indonesian art was published in April 2023 and a review of the Bali art scene, post-pandemic</br>with international tourism open for Singapore magazine Plural Art Mag. He is currently writing</br>articles for NOWBali Magazine. Unfortunately since July 2023 the Jakarta Post is no longer</br>publishing its Features section, meaning no more specialized reporting on Indonesian art and</br>culture which is a massive blow for the country and the global audience.</br></br>In November 2022 Richard began initial steps for his next book, WINDS OF CHANGE: Women</br>in Balinese Art, the first study into the pioneering women in Balinese art, due to be published</br>later in 2023. This is the follow-up to his first book published late 2019 Ubud Diary: Celebrating</br>the Ubud School of Painting - the Diversity of the Visual Language launched at the opening of</br>Ubud Diary a new gallery in Lodtunduh, Ubud where he worked as a consultant from June 2019</br>until March 2020 when the pandemic impacted on the Bali and global economy.</br></br>In the past Richard has been a contributor to the Jakarta Globe newspaper, Ubud Now & Then</br>online magazine, the Yak Magazine, Art Republik, NOW! Singapore, NOW!Jakarta,</br>Art&Market, Singapore, the art columnist for UbudLife Magazine, Arti, Art Malaysia, Art One</br>Nation, Indo Expat & Ubud Community News magazines. He have been a regular contributor to</br>the Jakarta Post for over ten years and am the art columnist for NOW!Bali Magazine.</br>As an art activist Richard has a strong social platform and is passionate sharing ideas and</br>brainstorming with artists, gallerists, art spaces and collectives about professional structuring,</br>communications, vision, branding, building community and the ongoing development of the Bali</br>art infrastructure. Richard is currently working on a series of geometric paintings for his</br>upcoming Universal Eye Mandala Art website.</br></br>Richard’s articles are published:</br></br>www.lifeasartasia.art</br>www.lifeasartasia.weebly.com</br>Facebook Page: Bali Art Reviews</br>Instagram: @lifeasartasia</br></br>Previous art roles:</br>Member of the Board of Directors of the Bali Art Society 2013-2014</br>Art Presenter Artpreciation (2016-2018)</br>Advisor</br>Cata Odata Art House 2014 – 2018 Penestanan, Ubud Bali</br>Ubud Diary Jul 2019 – MARCH 2020, Ubud, BaliLodtunduh, Ubud, Bali</br></br>o Ubud Diary is a new art gallery in Ubud with the mission to raise the profile of the</br>historical Ubud School of Painting. It is planning its grand opening late in</br>November 2019 with a group exhibition of works by senior artists of the Ubud</br>School, including the launch of the book 'Ubud Diary: Celebrating the Ubud School</br>of Painting - the diversity of the visual language" written by me and translated into</br>Bahasa Indonesian by Richard Nixon Tambalo. Ubud Diary's annual exhibition</br>program will include three solo exhibitions by senior artists, along with one annual</br>event in Jakarta. The renown Ubud School of Painting which was 'founded' in the</br>late 1920s - early 1930s in Ubud is destined to die out, through its program of</br>exhibitions, book and catalogues, and other annual events Ubud Diary's vision is</br>to reignite the genre and encourage regeneration that can lead to its future</br>sustainability.e regeneration that can lead to its future sustainability.)
  • Richard Winkler  + (Richard Winkler dream of a utopian world wRichard Winkler dream of a utopian world where man and nature were tightly integrated. and then he woke up in it.</br></br>Richard, how did your upbringing influence your artistic style?</br></br>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.</br></br>What was your initial impression of Bali, and how did it inspire your art?</br></br>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.</br>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.</br></br>Can you describe your creative process and how it has evolved over time?</br></br>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.</br></br>Do you see Bali as a colourful Utopian paradise?</br></br>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.)
  • Bali 2024: nuju masa depan sané lestari miwah gemuh  + (Ring Pemilu 2024 sané jagi rauh, pinaka krRing Pemilu 2024 sané jagi rauh, pinaka krama Bali, iraga maduwé tanggung jawab sané ageng pisan antuk milih pamimpin sané pacang ngawetuang panglimbak miwah karahayuan ring panegara sané tresnain iraga puniki. Bali, pinaka tetujon pariwisata sané kasub ring sajebag jagaté, madué makudang-kudang pikobet sané patut katangkepin olih sang sané pacang dados pamimpin.</br></br>Silih sinunggil pikobet sané mabuat pisan sané patut urati pisan inggih punika indik palemahan miwah pariwisata sané lestari. Pinaka genah wisata utama, kawéntenan industri pariwisata sané nyansan nglimbak ngawinang dampak sané abot pisan ring palemahan minakadi akéhnyané limbah, rusaknyané terumbu karang, miwah ancaman majeng ring kelestarian alam.</br></br>Sajabaning punika, isu-isu pendidikan miwah kesejahteraan krama lokal taler dados parindikan sané mabuat. Prioritas patut kaicénin ring nincapang akses pendidikan sané pateh, pemberdayaan masyarakat lokal ring sektor pariwisata, taler upaya antuk nyiptayang peluang kerja sané adil miwah lestari.</br></br>Pikobet ring sektor kesehatan taler nenten dados kaicalang, utaminnyane ri sampune pandemi global puniki. Patut kemargiang sareng-sareng mangda prasida ngukuhang sistem kesehatan, nincapang akses masyarakat majeng ring pelayanan kesehatan, taler nyiagayang Bali mangda prasida ngarepin pikobet kesehatan ring benjang pungkur.</br></br>Punika mawinan, titiang nunas majeng ring krama Bali samian mangda milih pamimpin sané madué visi sané jelas rikala ngungkulin pikobet puniki. Pamimpin sané banget mautsaha ngalestariang palemahan, inklusi sosial, miwah kesejahteraan kramané. Ngiring sareng-sareng ngwangun Bali sané sayan becik, nénten wantah pinaka genah wisata sané becik, nanging taler pinaka genah sané madaging dasar sané kukuh sajeroning ngalestariang kasugihan budaya, palemahan sané lestari, miwah kesejahteraan kramané.</br></br>Suksma, dumogi Bali tetep nglimbak tur dados genah sane becik antuk generasi sane jagi rauh. Ngiring iraga sareng sami mautsaha mangda Bali dados Bali sane adil, lestari, lan gemuh landuh!Bali sane adil, lestari, lan gemuh landuh!)
  • 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’.</br></br>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 HoRosvita 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.)
  • Rucina Ballinger  + (Rucina is one of Bali’s cultural icons. SRucina is one of Bali’s cultural icons. She has lived in Bali since 1974 when she did intensive study of dance and its relationship to religion. Her book, co authored with I Wayan Dibia, BALINESE DANCE, DRAMA AND MUSIC: AN INTRODUCTION TO BALINESE PERFORMING ARTS is used in classrooms around the world and by travellers coming to Bali who want to know more about the performing arts in context. She pioneered World Learning’s (ex Experiment in International Living) Bali Academic Semester Abroad program in 1985 and then switched to the other end of the spectrum and ran Elderhostel cultural programs for ten years with her late husband, Anak Agung Gede Putra Rangki.</br></br>She and Agung were the klian adat or traditional heads of their hamlet in Abianbase, Kapal for 2013; as far as we know she is the only foreigner to have held this position.</br></br>After the initial Bali bombings in 2002, the non profit sector became her world and she was the director of YKIP for over a decade, assisting survivors of the bomb with scholarships and livelihood programs. She then worked for the Annika Linden Foundation, helping to create the Annika Linden Centre in Denpasar, Bali, dedicated to one of the bomb victims in the spirit of helping those who are economically disadvantaged. Currently, she runs the CSR program of the Amicorp Group via the Amicorp Community Foundation in the village of Les, North Bali, where a Vocational Training Center is set to be built.</br></br>In 2003, she and three other foreign women of a certain age and size (all married to local men) formed Grup Gedebong Goyang, a comedy group that does song paradies and skits about current affairs in Bali. Their Balinese version of SAKITNYA TOH DISINI has over a million hits!</br></br>Currently she divides her time between Les village and Ubud, where she resides with her entire family (sons Gung Anom and Gung Prabu; daughter in laws Jero Bahari/Edenie and Gung Tia and grandson Gung Arun and granddaughter Gung Prabha) and three dogs.granddaughter Gung Prabha) and three dogs.)
  • 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. </br></br>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.)
  • I Wayan Suda  + (Sadu’s childhood home was in Sayan, a villSadu’s childhood home was in Sayan, a village west of Ubud. Currently he lives in his own house not far from it with his wife, who is Japanese, and their 2 children.  Wayan Sadu paints in silence. His paintings also has a silence presence in them that could only be captured by the artists himself.d only be captured by the artists himself.)
  • Luh Gede Saraswati Putri  + (Saras Dewi, whose full name is Luh Gede SaSaras 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.</br></br>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.</br></br>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.</br></br>Charlotte, can you give us a brief background of who you are, and what brings you here today?</br></br>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 . . .</br></br>What are your current passions?</br></br>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.</br></br>IG @Atomic.Blonde_ Who is she and when did you discover her?</br></br>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.</br></br>You are about to launch House of Karma. Briefly, tell us what it is?</br></br>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.</br></br>You are finally working for your father?</br></br>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!</br></br>Do you have any other siblings joining the ranks?</br></br>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!</br></br>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?</br></br>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.</br></br>What type of person would a HoK member be?</br></br>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!</br></br>Can you tell us more about the Bali launch?</br></br>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!</br></br>And the international roll out?</br></br>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.</br></br>House of Karma is highly inclusive. Can you tell us about some of the LGBTQIA+ events you have in the planning?</br></br>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.</br></br>More bang for your buck. Can you tell us what perks and privileges members can enjoy on joining?</br></br>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…</br></br>How does the House of Karma benefit from the global aspect of the original Karma brand?</br></br>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.</br></br>And vice versa, how does the group benefit?</br></br>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.</br></br>Lastly, you are looking to create global FOMO around HoK member’s wristbands. Any hints at how you intend to achieve this?</br></br>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 . . .</br></br>Tel: +62 361 848 2202; +62 811 38203360 </br></br>IG: @wearehouseofkarma</br></br>www.houseofkarma.com.au</br></br>houseofkarma@karmagroup.comuseofkarma.com.au houseofkarma@karmagroup.com)
  • Shelly Lapre  + (Shelly tells stories about her parents andShelly tells stories about her parents and ancestors in original travel trunks from the Dutch East Indies. For example, the old travel suitcase, which was used by her mother on her boat trip with her family from the Indies to the Netherlands in 1950, has been transformed with antique batik fabrics and nostalgic old family photos into a work of art. The travel suitcase is no longer tucked away in the attic, but is now displayed as a sort of sound box of memories of her family's life in the Dutch East Indies.er family's life in the Dutch East Indies.)
  • Bali Virtual Explorer: Media Melancaran lan Metumbasan Produk Bali ring Era New Normal.  + (Since 2020, the world has been reported asSince 2020, the world has been reported as a pandemic. Covid-19 is the name of the virus that causes a worldwide pandemic. This pain is not only a physical attack. Economy, education, tourism, and other aspects also die. Bali is famous for good tourism. If tourism dies, Bali is also called dead. It's not good, let alone until it continues. Therefore, in the new normal era, there are innovations that the government can carry out to rebuild tourism in Bali. The innovation is called the website Bali Virtual Explorer.</br>Bali Virtual Explorer is a solution that can wake up Bali in the new normal era. On this website, travelers can see Bali as if they were visiting but online. This is because the website is equipped with a 360-degree video feature. 360-degree video is very good as a tool in the new normal era because its implementation is by health protocols where human mobility is not what it used to be. This website is equipped with online shopping facilities for authentic Balinese products so that traditional products are famous such as endek and songket, woven, masks, silver jewelry, and others. Online shopping is not difficult, people can have authentic Balinese products even if they can't go to Bali. This is also good for UMKM. This website is also equipped with complete information about Bali such as tourist attractions, historical places, temple information, and other information about Bali so that many people know interesting information in Bali. The Bali Virtual Explorer website is only one website, but various features such as 360 videos, online shopping, and interesting information make this website a good tool. In the era of the internet of things, online promotions are very popular in the world. That's why Bali Virtual Explorer is a good website for tourism and cultural promotion so that Bali rises.and cultural promotion so that Bali rises.)
  • Idanna Pucci  + (Since leaving her ancestral home in FlorenSince 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.</br>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.</br></br>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.</br></br>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.</br></br>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).</br></br>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.</br></br>In film, Idanna produced the Italian segment of the TV series Amazing Games (ABC/Kane Productions) for which she received the Ultimo Novecento award from the City of Pisa. She also co-produced Leonardo’s Legacy, a Discovery Channel special. She then produced and directed Eugenia of Patagonia, a documentary-feature on the pioneering life in Chile of her maternal aunt who served for thirty years as mayor of a vast municipality at the end of world, battling for the people and the environment</br></br>Her following work, Brazza in Congo: A Life and Legacy (Umbrage Editions, NY) is an illustrated biography of another ancestor, the explorer Pierre Savorgnan de Brazza, after whom the capital of the Republic of Congo, Brazzaville, is named, and who is still remembered for his pioneering struggle on behalf of the rights of the people. On the same theme, she curated exhibitions at The National Arts Club in New York and La Casa Italiana of NYU.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.)
  • Ida Bagus Sindu Putra  + (Sindu Putra, whose full name is Ida Bagus Sindu Putra, whose full name is Ida Bagus Sindu Putra, was born in Sanur, Bali, July 31, 1968. Now he lives in Lombok, NTB. He wrote poetry as a teenager and has been active in the Coffee Drink Studio. His poems were published by the Bali Post, Kompas, Koran Tempo, Kalam, etc. He won the Kusala Sastra Khatulistiwa award for his poetry book Tales of the Fire Dog. Other poetry books that have been published are the Night of the Night Birds Camp (2000), The Weed House (with IAO Suwati Sideman, 2003), Segara Anak, Origami Birds, Tales of the Fire Dog, In Lombok I Get Poetry (2018).e Fire Dog, In Lombok I Get Poetry (2018).)
  • Soemantri Widagdo  + (Soemantri has been an avid researcher in BSoemantri has been an avid researcher in Balinese visual art tradition since 1994. He gained his knowledge of the Balinese aesthetic through a six-year apprenticeship with the celebrated Balinese Master Ida Bagus Made (1915-1999). He is the co-author of several Balinese art books. He was the international liaison and chief foreign curator at the Museum Puri Lukisan, Ubud (1995-2015).</br></br>Soemantri is the founder of the TiTian Bali Foundation (2016); a non-profit organization whose mission is to discover, nurture and develop Balinese artists. Presently, Soemantri serves as the founding chairman on the advisory board of TiTian. chairman on the advisory board of TiTian.)
  • 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.)
  • Stephanie Brookes  + (Stephanie Brookes is a Bali resident. She Stephanie Brookes is a Bali resident. She has lived in Indonesia since 2001. In 2014 Stephanie together with her husband, David Metcalf published a cultural travel book, "Indonesia's Hidden Heritage - Cultural Journey's of Discovery", which covers 12 stories, 12 islands and 12 different ethnic tribes. A specialist Bali based Indonesian travel writer for over ten years, Stephanie searches out some of the more remote destinations in Indonesia. Her work has been published in NowJakarta, Garuda Colours, KLM Holland Herald and Forbes Travel. Her latest project involves supporting a cultural connection community initiative in Ubud, Bali called Ubud Village Plate, where travellers join a Balinese host family for dinner, in a Balinese home and cook together with the family. A great supporter of education and literacy projects in Bali and Kalimantan. Please check out www.ubudvillageplate.com</br></br>www.travelwriter.ws</br>www.facebook.com/stephtravelwriter</br>www.Instagram.com/stephtravelwriterwriter www.Instagram.com/stephtravelwriter)
  • Memargi Sareng-sareng, Prajaya Gunungan Leluu Nuju Bali Resik Riwekas  + (Stepping Together, Conquering the MountainStepping Together, Conquering the Mountains of Waste towards a Sustainable Clean Bali</br></br>Om Swastyastu</br></br>Thank you for the opportunity that has been given to me so that I can contribute to voicing aspirations at the Wikithon Oration.</br>Dear the jury and the BASAbali Wiki team, as well as all the happy readers</br></br>As we know, soon we will be faced with the 2024 elections. Elections are an important moment in our democracy. This is not only about choosing leaders, but also us giving them the mandate to overcome various problems facing society. Answering the topic raised in this oration is "What is the most urgent problem to be addressed by Bali's prospective leaders?".</br></br>First of all, we cannot ignore environmental problems, especially since Bali is known as Paradise Island because of its natural beauty. There is one thing that in my opinion really needs serious attention from potential Balinese leaders, namely the waste problem which will soon be over. Bali faces big challenges in waste management because the system is inefficient so it is unable to handle large volumes of waste. This situation was further exacerbated by fires that occurred at the Sarbagita Suwung Regional Landfill in Denpasar City, the Mandung Landfill in Tabanan Regency, and the Temesi Landfill in Gianyar Regency during the dry season, causing environmental damage and negative impacts on daily air quality. This problem is not only a local issue, but also an urgent reminder for us to take action because it impacts many aspects of people's lives. Therefore, the government's presence plays an important role in handling this case.</br></br>I am sure that so far the government has always tried its best, but Bali's leaders must then improve and re-examine the preparation of a strategy for handling potential waste that can be investigated from the roots to the end. It is important to note that the success of a waste management program is very dependent on existing infrastructure and technology. If waste management plants, landfills, or recycling facilities are inadequate, then the program may not produce the expected results. The success of the waste management program is also closely related to the level of community participation. If there is not enough awareness or support from the public in waste scanning, recycling, or waste reduction, the program may experience difficulties. Apart from that, policies that are inappropriate or unable to overcome the waste problem can become an obstacle. Sometimes, unsupportive policies or weak implementation can hinder program effectiveness. </br></br>Prospective Balinese leaders must have a clear vision about how to protect and preserve Bali's environment for future generations. Prospective leaders, Bali must have a concrete action plan that involves economic, social and environmental aspects. A thorough evaluation of the waste management program needs to be carried out to identify core problems and adjust the strategies implemented. Close collaboration with various parties is the key to creating holistic solutions. Senuma's active involvement, parties, including the government, private sector and the community, will ensure environmental sustainability in Bali for future generations. No less important, awareness of the importance of recycling and reducing waste needs to be instilled more deeply,</br></br>Thank you to Mrs/Mr. Candidate Leader, Bali for your attention and cooperation to make Bali clean from mountains of rubbish. Let us all work together to be agents of change for a clean Bali.</br></br>Om Shanti, Shanti, Shanti, Omclean Bali. Om Shanti, Shanti, Shanti, Om)
  • Sthiraprana Duarsa  + (Sthiraprana Duarsa was born in Denpasar. HSthiraprana Duarsa was born in Denpasar. He is one of the founders of Sanggar Drinking Coffee, Bali. His solo poetry collections: Part of the World (1994), Homecoming Village (2007), and A collection of short stories Rumah Memories (2014). Apart from writing poetry, he is active in theater. Now he works as a doctor, and is busy preparing his new poetry book.and is busy preparing his new poetry book.)
  • I Wayan Sudarna Putra Nano  + (Sudarna Putra was born in Ubud, Bali on 15Sudarna Putra was born in Ubud, Bali on 15 April 1976. He studied art from 1994 – 2004 in ISI Yogyakarta and has lived there since until earthquake in Yogyakarta in May 2006 then he returned home to Ubud. Interpreting the paintings, sculptures and installations of Sudarna Putra is like being reminded of the richness of contemporary aesthetics that refues a single code in the framework of opening opportunities for combining various systems into an eclectic code.</br></br>He has been doing many solo and group exhibition since 2005, and some of is notable achievements are: 10 Winners of Philip Morris Indonesia Art Award VI (1999) and Best Artwork of Lustrum IV ISI Yogyakarta (2004). His duo exhibition with I Made Arya Palguna “NOSTALGIA” was held at Komaneka Fine Art Gallery in 2007.held at Komaneka Fine Art Gallery in 2007.)
  • Sugi Lanus  + (Sugi Lanus was born in Singaraja, Bali. HeSugi 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.</br></br>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).</br></br>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).</br></br>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.)
  • Wayan Sujana Suklu  + (Sujana Suklu is known as a progressive thiSujana Suklu is known as a progressive thinker of contemporary art in Bali. With a pioneering vision that reflects a universal philosophy. Sujana Suklus’ contributions are vast in scope, encompassing multi-disciplinary fields within fine arts, academic and community platforms. Suklus’ academic research explores ways to bring art methodologies into communities cultivating and preserving local wisdom whilst expanding existing skill sets. The beauty of this research is that it has been applied and is actively growing in communities today.</br></br>He was born in Lepang, Klungkung, Bali, February 6, 1967. His works have been shown in a number of joint exhibitions at home and abroad, including: Beijing International Art Biennale. Bangladesh XI Biennale. His solo exhibitions include: "Panji, Between Body and Shadow" at the IMF International Art Event, Nusa Dua Bali (2018), "Intermingle Art Project, Light Pattern at Bentara Budaya Bali (2017), "Wings and Time" at Komaneka Fine Art Gallery (2016). The awards he has won are "The Winner of the Indofood Art Awards Competition on Abstract Category" (2003), "The Best 10 Indonesia Competition of the Philip Morris Art Awards (2003). Suklu has also been one of the curators of the exhibition “Bali Megarupa” (2019). of the exhibition “Bali Megarupa” (2019).)
  • I Wayan Sukra  + (Sukra had originally composed the music [fSukra had originally composed the music [for Tumulilingan Mengisap Sari, The Bumblebee Sips Honey, a danced by famed kebyar choreographer I Mario) for a gamelan in Marga, Tabanan, but as it had not been performed, he taught it to the Peliatan group for three weeks. After Sukra returned home, the Peliatan group “polished and rearranged” the music more to their taste, also renaming it. In many ways this was the showpiece of the tour, featured in John Coast’s book, Dancing Out of Bali, and an audio visual recording survives on a kinescope. </br></br>Sukra is also credited with composing the music for Igel Trompong and Igel Jongkok (later called Kebyar Duduk) in 1915. https://sckool.org/lindstrom-in-bali-1928-part-2-gamelan-gong-kebyar.html?page=2928-part-2-gamelan-gong-kebyar.html?page=2)
  • Luh Ketut Suryani  + (Suryani was born in Singaraja, Bali in 194Suryani 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.</br></br>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.</br></br>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.</br></br>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.</br></br>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 IndonSuzy Hutomo co-founded The Body Shop Indonesia with her husband in 1992, where she is now Chairwoman.</br></br>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-).</br></br>For Suzy, the well-being of the environment, threatened by climate change, lies at the interface of her identities as a businesswoman and activist.</br></br>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 andSylvine 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 masteTAKUMI’S CHEF Daijiro Horikoshi is a master artisan who has devoted his life to perfecting Kaiseki cuisine.</br></br>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?</br></br>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.</br></br>Tell us first about KOHAKU, and your journey to making edible crystals…</br></br>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.</br></br>How does this relate to cuisine in Japan?</br></br>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.</br></br>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.</br></br>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?</br></br>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.</br></br>Where does innovation go too far, and when should we recognize and respect classic cooking practices?</br></br>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.</br></br>Tell us about Takumi, your restaurant, and the inspiration behind it.</br></br>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.</br></br>Why is great service such an important part of the culinary experience?</br></br>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.</br></br>Who are your heroes in the world of cooking?</br></br>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.</br></br>What knives do you use?</br></br>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.</br></br>What’s the most exciting new ingredient you are incorporating into your food?</br></br>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.</br></br>What motto inspires your life as a chef?</br></br>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.</br></br>IG & FB: @kohakubali</br></br>www.kohakubali.com</br></br>IG: @takumibali</br></br>FB: @Takumi Bali</br></br>www.takumibali.comkumibali FB: @Takumi Bali www.takumibali.com)
  • Dadalan Sejarah Wangunan Monumen Perjuangan Rakyat Bali  + (THE BACKGROUND OF THE ESTABLISHMENT OF THETHE BACKGROUND OF THE ESTABLISHMENT OF THE MONUMENT OF BALINESE STRUGGLE</br>Sporadic struggles for independence against the Dutch Colonial Government emerged in most parts of Indonesia. The violent oppressions by the Dutch resulted many rebellions in various dominions of kingdoms and sultanates under the Dutch colonialism. But unfortunately, the Dutch could easily suppress them by applying their divide et impera (divide and rule) tactic to break the strength of those kingdoms and sultanates by playing off against each other, between a king and the other, between the royal family and the king, the king and his people, and between people as well.</br>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.</br>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.</br>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.</br>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.</br>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.</br>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.</br>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.</br>PURPOSE AND OBJECTIVES</br>The purpose of making dioramas that tells a story of the struggle of the Balinese people is to reconstruct important historical events that have occured in Bali, so that what is implied in them will be more easily appreciated by younger generation.</br>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).</br>THE PHILOSOPHICAL BASIC OF THE MONUMENT OF BALINESE STRUGGLE</br>This monument is an embodiment of lingga and yoni. Lingga is male symbol (purusa), while yoni is female symbol (pradana). The meeting between the two elements is a symbol of fertility and well-being. In addition to the Lingga-Yoni philosophy, this monument is also based on the philosophy of the Mandara mountain screening (Mandara Giri) in ocean of milk (Ksirarnawa). This story comes from the Adi Parwa book, the first chapter (parwa) of the Mahabarata epic. It is said that the gods and giants (daitya) sought the water of eternal life (tirtha amertha) by turning around Mandara mountain in the ocean of milk. The implementation of the screening of mount Mandara is regulated as follows:</br>1. Turtles (akupa) as the base of mount Mandara</br>2. Besuki Dragon (Naga Besuki) as a strap and turning mount.</br>3. The gods hold the dragon’s tail and the daitya hold the head, while at the top of the mountain sits God Shiva.</br>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:</br>1. The earthen pitcher containing tirta amertha was symbolized by a kind of pot (swamba), which is located on the top of the monument.</br>2. Naga Besuki’s tail is realized near the pot.</br>3. The head of the dragon is manifested in the entrance gate (Kori Agung).</br>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.</br>5. The pond that surrounds the monument as the symbol of Ocean of milk (Ksirarnawa).</br>6. Mandara mountain (Mandara Giri) as the overall shape of the monument building.</br>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.</br>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:</br>1. Anima : the mildness nature like atom.</br>2. Lagima : the lightness nature like ether.</br>3. Mahima : the great nature that fills all places.</br>4. Prapti : the nature of reaching all desired places.</br>5. Prakamya : all wills are achieved by Him.</br>6. Isitawa : the nature of dominating everything and the most important One.</br>7. Wasitwa : the most powerful character.</br>8. Yatrakama Wasayitwa : His nature and His will cannot be challenged.</br>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.)
  • SAYAN AKIDIK LAHAN CARIK RING BALI, SANE NGAWINANG SISTEM SUBAK RERED, PARIWISATA MAJU  + (THE NARROWING AREAS OF RICE LAND IN BALI CTHE NARROWING AREAS OF RICE LAND IN BALI CAUSE THE SUBAK SYSTEM TO BE THREATENED, TOURISM IS ADVANCED.</br>Om Swastyastu</br>I respect the jury. And also, the audience I am proud of.</br>I express my gratitude to Ida Sang Hyang Widhi Wasa, because with His blessing and grace, we can gather in the same place on this good day. Ladies and gentlemen who have gathered here at the Bali Public Participation Speech Wikithon event. Today, let me present an oration entitled "The Narrowing of Rice Field Areas in Bali, Causing the Subak System to Be Threatened, Tourism to Advance"</br>OK, ladies and gentlemen.</br>Subak is a Balinese irrigation system which functions to regulate the distribution of irrigation flows that irrigate each plot of rice field area according to the customs of Balinese society. The Subak system has been recognized by UNESCO as a world cultural heritage. This is what causes Bali to become fertile because of the subak system, which means that the rice fields in Bali do not lack water. Making rice fields in Bali into natural tourist attractions that are in great demand in Bali, for example in Jatiluwih, Tegalalang Rice Terrace.</br>Currently, Bali is famous for its very beautiful tourist attractions, because of this, Bali is nicknamed "Paradise Island". However, the impact of tourism in Bali which is increasingly developing has caused many rice fields to be converted into Bali tourism infrastructure and converted into housing complexes, especially now that Bali is being hit by a long drought which is causing farmers to fail to harvest, such as in Penebel, Tabanan, Farmers failed to harvest up to 107 hectares. And the status of Subak land changed to empty land. Then this land can be used as tourism infrastructure and a housing complex in Bali. Of course, this must be taken into account, because now people are becoming less aware of Balinese traditions, customs and culture due to the great influence of today's increasingly advanced technology.</br>I have said a lot, and I have made many mistakes. Hopefully the tradition of the subak system in Bali will remain sustainable and the Balinese people will still remember this ancestral heritage. I hereby apologize profusely, if any of my words do not match what the audience thinks. I close with Parama Santhi.</br>Om Santhi Santhi Santhi Om.Parama Santhi. Om Santhi Santhi Santhi Om.)
  • Tan Lioe Ie  + (Tan Lioe Ie was born in Denpasar, Bali, JuTan 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.</br></br>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.</br></br>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.</br></br>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.)
  • Jane Belo Tannenbaum  + (Tannenbaum, Jane Belo (1904–1968) American anthropological photographer. Name variations: Jane Belo. Born Jane Belo, Nov 3, 1904, in TX; died 1968. Traveler, artist, photographer and fieldworker, was noted as pioneer in anthropological photography.)
  • Bali Matangi anggen Pariwisata Digital Berbasis NFT  + (The Covid-19 pandemic that has hit almost The Covid-19 pandemic that has hit almost the entire world, including Bali, has had a significant impact, especially on the tourism sector, which is the mainline in the Balinese economy. This is supported by a decrease in the number of tourists to Bali in 2020 by 82.96%, which causes the tourism industry managers to be unable to develop the tourism business line that is being built.</br>However, this should not dampen the enthusiasm of various components of Balinese society in generating Bali tourism. One alternative that can be done is the adaptation of the tourism industry to the technology that is currently being discussed, the Non-Fungible Token (NFT). NFT exists as a representation of individual or group assets or ownership that has unique, non-exchangeable, and valuable properties. This technology adaptation is expected to be an answer to tourist concerns, security and convenience.</br>The workings of the tourism business model with the NFT platform are almost similar to the voucher system in the tourism industry. However, to ensure the security and convenience of users, this platform will be supported by blockchain technology. Blockchain is expected to be able to provide a sense of security thanks to the concept of decentralization which requires validation from various parties who become the blockchain server itself.</br>The government especially Bali Government Tourism Office can act as a validator for tourism industry managers (lodging, accommodation, culinary, etc.) who are committed to building a digital-based Bali tourism ecosystem. For tourists, this NFT can be purchased as a coupon that can be purchased and exchanged at a time frame determined by the tourism industry manager.</br>It is time we move together to restore the glory of Bali tourism by familiarizing ourselves with technology. Of course, it's not just about government policy, but me, you and all of us!ernment policy, but me, you and all of us!)
  • Peralihan Potensi Lapangan Pariwisata untuk Mengembangkan UMKM  + (The Potential Transition of Tourism ResourThe Potential Transition of Tourism Resources to Develop UMKM</br></br>Greetings, 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."</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.)
  • ULUWATU LACE  + (The Yak spoke with Ajit Khatai, ceo of UluThe 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.</br></br>How has Bali been for you?</br></br>Been here since the beginning of the 2020 pandemic. I think one word for life here would be: healing.</br></br>What does Uluwatu Handmade Balinese Lace mean to you?</br></br>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.</br></br>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?</br></br>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.</br></br>How did the brand start…</br></br>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.</br></br>Uniquely, the Uluwatu Lace brand is cemented deeply in Bali’s history and colonial past. Can you briefly tell us more…</br></br>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.</br></br>And then there was the modern journey…</br></br>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…</br></br>Why white and black?</br></br>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.</br></br>How many people are involved in making your designs?</br></br>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.</br></br>What makes this brand click?</br></br>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.</br></br>What are the attitudes in fashion changing over the decades? Where is fashion’s future for designs with your niche?</br></br>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.</br></br>What does high thread count mean to you and why is it important to your company?</br></br>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.</br></br>How has the Covid Pandemic affected your brand?</br></br>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.</br></br>Which design will be your all-time superstar creation? Is there a story in its creation?</br></br>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.</br></br>How are you involved in the creative community in Bali?</br></br>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.</br></br>What are the current design projects at Uluwatu Lace?</br></br>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.</br></br>Which particular Indonesian / international celebrities could wear your designs and embody what they mean?</br></br>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!</br></br>What’s next for Uluwatu Lace?</br></br>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.</br></br>IG: @uluwatu_handmade_balinese_lace</br></br>FB: @uluwatulacebali</br></br>www.uluwatu.co.ide FB: @uluwatulacebali www.uluwatu.co.id)
  • Polusi Plastik Dan Pemanasan Global  + (The environmental problems we face today iThe environmental problems we face today include everything from deforestation to plastic pollution and global warming. Solutions to overcome this problem require comprehensive joint action. It is important to reduce carbon emissions by switching to renewable energy sources, promoting recycling and the use of environmentally friendly products, and protecting natural habitats through conservation and reforestation efforts. Additionally, broader education about environmental protection and policies that support environmentally friendly practices are also needed. Through collaboration between governments, companies and individuals, we can create the positive changes needed to maintain environmental sustainability for future generations.tal sustainability for future generations.)
  • I Ketut Tjekeg  + (The first official tourist guide - with license number 001 - in Bali.)
  • Bali Akan Bangkit Lagi  + (The government of the island of Bali, whicThe government of the island of Bali, which is the Deputy Governor of Bali Prof. Dr. Tjokorda Oka Artha Ardhana Sukawati once said that indeed Bali agrees if the tourism sector is experiencing a decrease in the effects of the Covid-19 pandemic. But we as a people on this island can't say anything more. For the public should follow the directions of the government, such as vaccinating, using masks every day when meeting with others, paying attention and implementing a healthy lifestyle and other things. Actually from my personal side does not want to be so opinion more but we ourselves who should be aware of what is being faced at this time. The first thing is certainly from yourself who must carry out, secondly there is a family that is closest to ourselves and then start doing this healthy lifestyle to the surrounding community. If all parties have done so, believe me all will be healthy and free from this plague. But this pandemic teaches us to be more grateful to be aware of the circumstances that occur and what will happen. Let us together take care of ourselves first to be healthy, if we have done so believe me all will definitely come back over time.e all will definitely come back over time.)
  • Lingkungan dan ekonomi bali  + (The most pressing issues in Bali currentlyThe 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, cThe principal artist of the Ubud school, continued working after World War II. Works in all major collections, including the Sana-Budaya Musuem, Jogjakarta.</br>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.)
  • Tepasin luu plastik ring bali  + (The problem that must be resolved by the fThe problem that must be resolved by the future leader of Bali is the rubbish in Bali. As we can see in the surrounding environment, there is still a lot of rubbish scattered on the roads, in rivers and also in ditches. If the rubbish in the gutter is not cleaned it will make the gutter full of rubbish and during the rainy season it will cause flooding because there is no waterway.</br></br>Prospective Balinese leaders must be firm with people who throw rubbish carelessly. The most important waste that must be resolved is plastic waste. Plastic waste in landfills has overflowed. If this plastic waste is embedded in the ground, it will prevent plants from getting good water. Moreover, if the plastic is burned it will cause pollution. Bali's prospective leaders must solve this waste problem. Maybe elected leaders can create an association or training to recycle plastic waste. What started as plastic waste became crafts such as flowers from used plastic, pencil cases, flower pots, and others. These crafts can be sold and people who don't have jobs can make money.</br></br>This solution might help reduce waste in Bali, and at the same time help the government with the waste problem. Prospective Balinese leaders must pay attention to the surrounding environment so that it remains clean and beautiful.nt so that it remains clean and beautiful.)
  • Macet Ring Canggu  + (The road is not only traversed by tourism, but by commuters. This means residents who work in the Tabanan area, Nusa Dua, Tanah Lot, or Denpasar or vice versa)
  • I Ketut Rida  + (The senior poet I Ketut Rida was born in BThe 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.</br></br>From 1960 to 1987 he was appointed a teacher at an elementary school. For about 20 years, I Ketut Rida has served as the Principal of an Elementary School. In addition, he was appointed as a supervisor for kindergarten, elementary and SDLB. In the village, it was also believed to be the traditional bendésa of Sulang Village</br></br>Ketut Rida said that he has been pursuing writing or composing since he was a child. Every day Ketut Rida gets stories from his grandmother. That's why Ketut Rida is feeling happy. After completing his B1 Language Department, his attention to writing activities grew, focusing on studying the Kawi language, especially in Adiparwa.</br></br>He has produced several new literary works of Balinese and Indonesian literature and has received several award certificates, such as:</br></br>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.</br></br>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”.)
  • Satya Cipta  + (The struggles of Balinese women take on a The struggles of Balinese women take on a new life in the art work of Lombok-born Balinese artist, Satya Cipta.</br></br>“My approach to every artwork revolves around a question to myself and mostly other women,” she said. “What is a woman in Bali? Are we ‘complementary’ beings? Are we social creatures made to accompany men live their lives?”</br></br>Her work draws on social reality with a strong substance of feminism. She does this whilst preserving artistic teachings from Balinese traditional techniques, which she believes should be a national asset, in hopes to imbue an authentic Balinese spirit in full, sans western influence.</br></br>Read more about Satya's work and women of Bali here: https://online.fliphtml5.com/uwtp/svwc/#p=26tps://online.fliphtml5.com/uwtp/svwc/#p=26)
  • I Wayan Westa  + (The writer and humanist who won the 2014 RThe 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.</br></br>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, SwitTheo 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.</br></br>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.</br></br>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.</br></br>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.)
  • Pengelolaan sampah  + (There is a lot of waste that is difficult There is a lot of waste that is difficult to manage or recycle in Bali</br>As a result, many TPAs and TPSs are full/overloaded</br>Therefore, there is a need for a solution that can handle the waste problem in Bali. I hope that the prospective leaders of Bali can handle this case well so that there is comfort and peace in social life and I also hope that Bali can be free from waste cases that are difficult to manage.</br>Thank you, I apologize if there are any bad word.ou, I apologize if there are any bad word.)
  • Anak Agung Gede Oka  + (There seem to be a number of A.A. Okas, and there may be confusion between the 1930s Batuan artist (one work int he Bateson-Mead collection), an artist from Mas, and the Batuan artist born in 1955.)
  • Harga sembako naik, tidak ada tanda-tanda akan turun lagi!  + (This year, the prices of basic necessitiesThis year, the prices of basic necessities are rising, and there are no signs of them returning to normal or decreasing from their usual prices. Is it due to many crop failures in the current season causing the prices to skyrocket? Or is it because fertilizer prices are rising?</br></br>If indeed there are crop failures and rising fertilizer prices, I would like the local government to take immediate action to address the increasing prices of basic necessities. This could include subsidizing fertilizers and encouraging farmers and the community to utilize small plots for farming using hydroponic methods.</br></br>The implementation of a hydroponic farming program by the local government would assist the entire community in Karangasem and beyond, possibly throughout Indonesia, in addressing the ongoing rise in basic necessities prices.</br></br>Hydroponic farming does not require significant costs or extensive land; it only requires consistency in creating the necessary tools. The tools needed don't have to be new; recycled items like unused but still functional pipes and buckets or old paint cans can be utilized.</br></br>Therefore, I hope the implementation of a program like this can address the rising prices of basic necessities. This program could also contribute to reducing poverty rates in Karangasem and its surrounding areas.s in Karangasem and its surrounding areas.)
  • 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.</br>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 inTourism 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.</br>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).</br>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.</br>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.</br>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.</br>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.</br>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.)
  • Jaga Bali: tindak tegas bule tidak beretika  + (Tourists are foreigners who travel, who coTourists are foreigners who travel, who come to enter another country that is not the country where the person lives with the aim of finding popular and famous places including beaches, mountains, hills, restaurants, cafes and various other attractions.</br></br>But unfortunately tourists who come to Bali are now increasingly making Balinese people uneasy because of tourists who use the road recklessly, enter the sacred area with dirty conditions (menstruation), occupy the holy place, naked in the middle of the art performance, there are even tourists who take indecent photos in the sacred area.</br></br>Strict action is needed for foreigners who come to Bali, it is hoped that the government will appoint subordinates to be more strict in guarding the sacred areas visited by foreign tourists, give assignments to the police to maintain traffic security if they see irresponsible foreigners must be followed up directly and provide sanctions / punishments.</br></br>Not only officials who can take firm action, in the future it is also authorized for Balinese citizens who see the behavior of irresponsible tourists.ee the behavior of irresponsible tourists.)
  • Tyra Kleen  + (Tyra Kleen (29 June 1874 - 17 September 19Tyra 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.</br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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".</br></br>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.</br></br>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 KanangUmbu 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). </br></br>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.</br></br>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.</br></br>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)
  • Uuk Paramahita  + (Uuk Paramahita was born in Denpasar, AprilUuk Paramahita was born in Denpasar, April 17, 1978. He completed his art education at ISI Denpasar. Since 2001 he has been involved in many joint exhibitions at home and abroad, including exhibiting at “20 Finalists of Nokia Art Award in Jakarta, 2001; The faces at Junge Gesichter at Agon. e.V Passau, Germany, 2012; The Fourth Silk Road International Art, Shaanxi Provencial Museum of Fine Art, Xian China, 2017. Many of Uuk's works feature tiny figures combined with the surrounding issues. He processes many childhood memories into interesting works of art.od memories into interesting works of art.)
  • 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.)
  • W. Mustika  + (W. Mustika was born in Kuta, Bali, SeptembW. Mustika was born in Kuta, Bali, September 11, 1970. He pioneered the Rumah Semesta Community since the publication of his 4th book: When the Universe Talks (2013). To date, he has written and published 11 books on life and spirituality. He has also written the poem "Klungkung, Tanah Tua Tanah Cinta" (2016) which was included in the poetry anthology book with the same title. Rumah Semesta is a community that, apart from working in the field of humanity, also focuses on being a shared learning space to understand life, as a place for people to release the inner burdens of the joys and sorrows of life and also as a place to learn together to understand one's spirituality.together to understand one's spirituality.)
  • 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.</br></br>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.)
  • Walter Spies  + (Walter Spies is a German artist born in MoWalter Spies is a German artist born in Moscow, September 15, 1895. Apart from being a painter, he was also a music and dance artist. In 1923 he came to Java and settled in Yogyakarta. He worked as a court pianist and was asked to help with the palace's artistic activities. He was the first to introduce numerical notation for gamelan in the Yogyakarta palace. This notation was later developed in other palaces and is used today.</br></br>After his contract was completed in Yogyakarta, Spies moved to Ubud, Bali, in 1927. He was close friends with the King of Ubud, Tjokorda Gede Agoeng Soekawati. Spies also got to know many local artists and was very impressed with Balinese art. He collaborated with Wayan Limbak, polishing the sacred Cak dance into Kecak.</br></br>With the support of the King of Ubud, together with the Dutch painter, Rudolf Bonnet, Spies founded Pita Maha, a community of Balinese artists in 1936. Spies also introduced many modern artist techniques to Balinese artists. There are still quite a lot of followers of Walter Spies' painting style in the Ubud area.</br></br>Spies died on January 19, 1942 when his ship Van Imhoff was bombed by Japanese forces during World War II.ed by Japanese forces during World War II.)
  • Ketut Swardana  + (Was born in 1969 in Singaraja. He graduatWas 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.</br></br>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 Dastra  + (Wayan Dastra, born in Ubud, 7 June 1980. HWayan Dastra, born in Ubud, 7 June 1980. He is a painter who graduated from ISI Denpasar. Since the 2000s, he has been diligent in participating in joint exhibitions, including the joint exhibition of the Cambodian Studio at the Jakarta Cultural Center (2018), “Spirit Barong” at the Jakarta Cultural Center (2010), “Absolute” at the Archade of Kuta Galeria Bali (2006). Many of his works take the theme of everyday life of ordinary people who are possessed something magical-mystical. are possessed something magical-mystical.)
  • Wayan Djiwa  + (Wayan Djiwa was born in Banjar Binoh Kaja,Wayan Djiwa was born in Banjar Binoh Kaja, Denpasar, 1906. He is a Palegongan gamelan maestro. Based on the mastery of the Gender percussion, he studied the gamelan Legong Keraton in 1915 which was pioneered in Banjar Binoh. Apart from being an expert in the art of karawitan, he is also known as undagi, a skilled traditional Balinese architect. a skilled traditional Balinese architect.)
  • Wayan Eka Mahardika Suamba  + (Wayan Eka Mahardika Suamba was born in BatWayan Eka Mahardika Suamba was born in Batuan, August 17, 1985. He started studying painting when he was 10 years old, his grandfather I Wayan Taweng and his uncles I Wayan Bendi, I Ketut Sadia, I Wayan Diana. He has exhibited together such as “Mother Rupa Batuan” at Bentara Budaya Bali (2019), Endih Batur at Taman Budaya Bali (2018), “Experience Rudolf Bonet's Home” in Ubud (2016), “Golden Generation” at Arma Museum, Ubud ( 2018), "The Dynamic Heritage" at the Santrian Gallery, Sanur (2018). He has won nine TITIAN PRIZE Finalists (2018).as won nine TITIAN PRIZE Finalists (2018).)
  • Wayan Gde Yudane  + (Wayan Gde Yudane was born in Kaliungu, DenWayan 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. </br></br>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 NyWayan 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 Suastama  + (Wayan Suastama is a painter born in LalangWayan Suastama is a painter born in Lalanglinggah, Tabanan, Bali, 1972. He studied fine arts at ISI Denpasar. Since 1995 he has been diligent in displaying his works in joint and solo exhibitions, both at home and abroad, such as the Bali Megarupa (2019) exhibition. In 2000, his work entered the final of the Philip Morris Art Award. In general, his works often feature female figures with soft and charming colors. He is active in the art community Militanarts.</br></br>Read Full article in Sawidji Artist Biography</br></br>Wayan Suastama and the Art of Introspection</br></br>In pursuit of art, I wished to have a better understanding, so I went to SMSR Batubulan Denpasar. I didn’t have the ambition to be a painter or this or that, I just wanted to understand art better. In fact, in SMSR I chose to study graphics and communications. This was a study of typography and graphics.</br></br></br>https://sawidji.com/about-sawidji/artists-sawidji-gallery/wayan-suastama/ji/artists-sawidji-gallery/wayan-suastama/)
  • I Wayan Suja  + (Wayan Suja was born in Batubulan, 8 DecembWayan Suja was born in Batubulan, 8 December 1975. He was graduated from the Indonesian Art Institute in Denpasar in year 2001. He started to have exhibition in year 1994. He was awarded Finalist of 7th Phillip Morris Art Award in year 2000 and awarded Best Sketch and Best Work in the previous years. His artwork was one of the best 30 in The 2005 Sovereign Art Prize, Hongkong.in The 2005 Sovereign Art Prize, Hongkong.)
  • Wayan Sumahardika  + (Wayan Sumahardika was born in Denpasar, MaWayan Sumahardika was born in Denpasar, May 11, 1992. He obtained a Masters degree at Undiksha Language Education Study Program, Singaraja. He became a director, scriptwriter and founder of Teater Kalangan. His manuscript won first place in the Indonesian Monologue Script Contest at the UIN Jakarta Festival, first place in the Traditional Drama Script Writing Competition for the Bali Provincial Culture Service 2018, and 1st Place in the Modern Drama Script Writing Competition for the Bali Provincial Culture Office 2017. Some of his performances were staged at the event. Indonesia V Theater pulpit, Bali Emerging Writers Festival, Bali Arts Festival, Bali Mandara Nawanatya, 100 Putu Wijaya Monologue Festival, Canasta Theater Parade, North Bali Young Theater Parade, Jembrana Hamlet Festival and Bali Language Month Festival in Bali Province. Writings in the form of poetry, short stories, essays, and theater reviews have been published in a number of media such as Indopos, Media Indonesia, Bali Post, Bali Tribune, Tribune Bali, Tatakala.co, Bale Bengong and have been compiled in several anthologies.have been compiled in several anthologies.)
  • I Wayan Januariawan  + (Wayan was born in Jauary 1986. He is a graWayan was born in Jauary 1986. He is a graduate of the Indonesian Institute of the Arts in Denpasar. </br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>He joined in group exhibitions from 2005, and had solo exhibitions from 2014. 2005, and had solo exhibitions from 2014.)
  • Peran Krama Bali Kaanggen Ngwangun Pariwisata Bali Mangkin lan Selanturnyane  + (We all know how the condition of Bali tourWe all know how the condition of Bali tourism is after the Covid-19 pandemic. Tourists are not allowed to go to Bali so that Covid-19 virus does not spike again. This causes Bali tourism to decline. Balinese people who work in the tourism sector do not get jobs. The Bali government has issued a policy that is used to suppress the spread of the Corona Virus. One of the policies is the implementation of restrictions on community activities or what is known as PPKM (Pemberlakuan Pembatasan Kegiatan Masyarakat). This causes the spread of Covid-19 to decrease. </br></br>Because the government already has efforts to reduce the spread of the Corona Virus, we as the next generation can help the government to improve Bali tourism. There are many procedures that can be used to improve Balinese tourism. The first way is to promote Balinese tourist destinations using social media. This requires the participation of the Balinese people. Those who like to upload photos while on vacation to tourist destinations in Bali can also help develop and improve Bali tourism. Indonesia has a website that is used to promote Indonesian tourism. </br></br>Second, the public can help provide tourist destinations in accordance with health protocols related to government policies, as well as maintaining the cleanliness of tourism places. This causes a sense of security. </br></br>Third, Bali has many cultural works that are popular abroad, for example, such as carvings, paintings, sculptures, and so on. Maybe Balinese artists can provide counseling to the younger generation on how to make art. This can foster a sense of love for domestic products and can encourage Balinese cultural works with the younger generation.</br></br>Well, that's a little bit about the procedure to restore Bali tourism during the pandemic. We should always remember our identity as Balinese people, namely to develop Balinese culture.eople, namely to develop Balinese culture.)
  • 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.</br></br>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.</br></br>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.</br>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 rWho 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.</br>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.</br>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.)
  • Widi Widiana (I Ketut Widiana)  + (Widi Widiana whose real name is I Ketut WiWidi Widiana whose real name is I Ketut Widiana is a Balinese pop singer born in 1974. Most of his songs are about love. He was born into a family of artists. His father is a song teacher and dancer, his mother (Ni Made Kibik) is also a dancer. Widi and his brothers formed a band called the Diana Band. Since 1991, the band has performed from banjar to banjar, hotel to hotel, event to event.</br></br></br>As a single singer, Widi started his career in 1994 with the album "Tungan Tiang", which is a compilation album with other Balinese pop singers. His first solo album appeared in 1996, "Sesapi Putih", followed by a compilation album, "Tresna Kaping Siki", in 1996. the same year. The second solo album was born in 1997 with the label "Sampek Ing Tay". Then the next album titled "Special Fried Rice" (2015), "Formalin Sik Luh" (2017). In 2005 he won the best male singer version of the "Bali Music Award I". He has since given birth to more than ten solo albums. given birth to more than ten solo albums.)
  • W.O.J. Nieuwenkamp  + (Wijnand Otto Jan Nieuwenkamp (Amsterdam, JWijnand Otto Jan Nieuwenkamp (Amsterdam, July 27, 1874 – Fiesole, April 23, 1950), was a Dutch multi-faceted autodidact. As an artist he was active as a painter, draftsman, sculptor, etcher, lithographer, and designer of book covers and of ex-libris. In addition, he was also known as a writer, architect, explorer, ethnologist and collector of East Asian art.</br></br>He is said to be the first European artist to visit Bali (note: not verified), being greatly influenced by and himself influencing the island's art and culture, and making it better known in wider world. He was also deeply involved with various other parts of the then Dutch East Indies.other parts of the then Dutch East Indies.)
  • 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 AnthropologyWright 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.)
  • Yong Sagita  + (Yong Sagita, born in Buleleng, November 30Yong Sagita, born in Buleleng, November 30, 1961. He is a Balinese pop singer who triumphed in the 1980s – 1990s. He started his career as a singer in 1985 through Aneka Records. At that time, through the group 2S (Sagita and Sayup), he launched his first album titled "Madu signed Tuba". Then in 1986 launched the album "Ngipi Lucut". In 1987, Yong Sagita moved to Maharani Records and released the album "Karmina". His popularity rose when he released the album "Drooling" in 1988 with his hit song titled "Jaje Kakne". The album sold well in the market. In 1989 he released the album "Karmina III" with his hit song "Ciri-Character", which was also a bestseller in the market.which was also a bestseller in the market.)
  • SalamTempelPemilu2024.  + (dear my fellow countrymen Elections are tdear my fellow countrymen</br></br>Elections 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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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 tdear my fellow countrymen</br></br>Elections 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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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)
  • Kapiambeng ring sejeroning pariwisata  + (like what happened on Kuta beach there arelike what happened on Kuta beach there are some sellers who force tourists to sit or buy food or goods from them.</br>what makes some tourists restless is the way they offer it seems to be pushy and chases so that some tourists want to use their services or buy food/drinks or goods from them.</br>and some tourists have spoken up on twitter/instagram and some other social media about this. please fix this problem because it makes some tourists afraid to travel here and assume that in all tourist attractions there will be sellers like them.</br>and it is necessary to promote new tourism tourism which has the opportunity to generate a lot of profit, in every tourist place it must be clean and hygienic like a clean bathroom. clean and hygienic like a clean bathroom.)
  • Partisipasi Untuk Meningkatkan Pariwisata Bali.  + (the steps that must be taken now and in ththe steps that must be taken now and in the future regarding what needs to be done to revive tourism in Bali during the pandemic. That is the mandatory vaccination, which is one of the efforts to support the recovery of tourism in Bali, build spirit and commitment with all Bali tourism stakeholders in reviving the tourism sector during the COVID-19 pandemic by seriously implementing disciplined health protocols to restore world trust. not only that, it is hoped that for the government to restore tourism in Bali, it will take several stages, as I know and I have read first by increasing the domestic market. The second is opening the essential business travel, in order to open international flights because it is felt that Bali is ready to accept international arrivals.is ready to accept international arrivals.)
  • 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 a</br>special experience and powerful omen. A gift from the Gods to me.”</br></br>The owl is much revered by indigenous cultures and in folklore around the world as a</br>guardian spirit, as well as a wise creature capable of extraordinary sight. Balinese</br>mythology reveals that if an owl visits a family compound while a female member is</br>pregnant this is indeed a positive sign. Burung Hantu literally translates from bahasa</br>Indonesia into the English language as ghost bird; or the owl, the mysterious bird of the</br>night.</br>“I have a unique connection with owls. It is a potent image that resonates with my heart. I</br>was intuitively led to draw the owl and then I began to include it in my works. It has now</br>manifested into a personal symbolic image, equivalent to the Barong. The owl also</br>encourages me to reflect on the joy that I derive from my family life,” says Wayan.</br>Born in Ubud, 1970, Wayan Silawasinspired by his grandfather, well known local artist</br>Wayan Barwa. From an early age he regularly visited Barwa’sstudio and gallery,</br>surrounded by the paintings of his Balinese heritage, this was the perfect scenario for a</br>child to learn to draw and paint.</br>Wayan soon became adept in the “Ubud Style” of modern traditional Balinese painting. In</br>the evolution of Balinese painting during the last century, from its origins of the Classical</br>Kamasan style that concerned teachings from the Hindu Epics, each village then began to</br>create their own distinctive style.</br>The Ubud style moved away from the religious and began to be characterized by</br>narratives that involve daily village life and depictions of rural and environmental</br>landscapes. The artists from Ubud were quick to adopt western influences in the 1930’s,</br>depth of field, shades of color, localized narratives and the development of the human</br>figure. The Kamasan style was originally a collective work and never signed by an</br>individual. The new personalized and expressive form of Balinese painting has its roots</br>firmly entrenched here in Ubud.</br></br>Wayan’s canvases are beautifully composed and resound with an overwhelming sense of</br>balance and harmony. His highly detailed works are first sketched in pencil then outlined</br>in black Chinese ink, finally they are rendered in acrylic paint with a fine kaus bamboo, a</br>small piece of bamboo crafted with a tiny point to apply the medium. A large canvas, 100 x</br>80 cms, may take up to six months to complete. “In 1997 I was inspired to include owls in my compositions after seeing a wonderful sketch by a Japanese child.”</br></br>Wayan’s relationship with the burung hantu then activated an endearing association with</br>the people of Japan, to whom the owl is symbolic of happiness. He first visited Japan in</br>2002 and his premiere solo exhibition there was in 1998. Every year since then Wayan has </br>enjoyed the privilege of exhibiting work in galleries, department stores, even in the</br>Indonesian Consulate in Tokyo. He has held over 15 solo exhibitions in Japan, and</br>numerous other exhibitions in Bali, Jakarta, Spain and also at the prestigious Agung Rai</br>Museum of Art in Ubud.</br></br>“It’s an honor for me to be invited on intercultural exchange programs teaching young</br>Japanese students traditional Balinese painting techniques. I do this each year when I visit</br>Japan.” Wayan has since developed a healthy market for his works there and continues to</br>ell to the Japanese tourists who often visit his Ubud studio/gallery.</br></br>Wayan Sila, acrylic on Canvas, 2012,</br>45x 60cm.</br>Wayan Sila</br>Garden + Bale studio of Wayan Sila.</br>Wayan Sila. 2012, chinese ink +</br>acrylic on canvas, 60x80cm.</br>Wayan’s cooperative works with Japanese poet Yoko Jatiasih have been the focus of two books. They initially</br>collaborated in 1998 to create music and poetry for his paintings. In 2004 their first book “Kata Kata” Echoes From The</br>Woods, and then in 2010 “Pelan Pelan” were published.</br>Browsing through these books, the creative synergy between the two is easy to recognize. Yoko’s short poems, no more</br>than 6 lines, resonate with an uncomplicated intelligence. Upon the opposing page to the text are Wayan’s</br>complimentary images created especially to accompany each poem.</br>As you contemplate the words essence, as well as study Wayan’s images, the mysterious bird of the nights’full round</br>eyes are firmly transfixed upon you. The fusion of words along with the images perplex the imagination, and then defy</br>you to believe their medium is the owl’s silent and alluring gaze.</br>In 2011 Wayan relocated to his new studio gallery in Jalan Bisma in Ubud. Journey 400 meters along Jalan Bisma until the</br>roadside urban development gives way to the effervescence of the padis. Down on the right hand side nestled in the</br>sawah you will find his small abode. Look for the sign on the road then follow the narrow path that divides the green</br>swaying fields to his studio/gallery encircled by the bamboo fence.</br>Wayan has created a personal space that reflects the elements that enrich and sustain him. Situated in the middle of the</br>yard he has built a bamboo bale which functions as his studio, yet also as a place of quiet retreat. The surrounding</br>garden is abundant with organic vegetables, fruit trees, medicinal herbs, ornamental shrubs and flowers. Indeed, Wayan</br>has created his special own oasis.</br>As you enter his two Bali dogs are quick to offer enthusiastic toothy greetings. The verdant vegetation is soothing and</br>inviting. I discover two rabbits, four exotic birds and frogs and snakes frequent visitors, so Wayan tells me. Stone</br>carvings covered with brilliant green moss hide among the foliage, shrines and small Hindu temples are adorned with</br>offerings and the sweet sent of burning incense seduces the senses. An outhouse serves as a simple kitchen and two </br>rooms contain Wayan’s gallery painting collection and books for sale.</br>When we observe Wayan’s paintings we enter into a beautiful and extraordinarily tranquil world. His owls’ peer out</br>from within forests and lush scenes, their big eyes possess a magnetic pull and communicate a language that is</br>deciphered 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 Danes</br></br>From private homes and restaurants to starred hotels and luxury resorts, the renowned Balinese architect Nyoman Popo Danes is known for his exemplary designs that showcase a distinct flair of being in harmony with the local culture and nature. This green-conscientious architect always integrates eco-friendly aspects of Bali’s traditional architecture into his designs.</br></br>“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.”</br></br>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.”</br></br>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.</br></br>“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.”</br></br>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.”)
 (Anak Agung Gde Rai or usually called as Ag i, The Maestro” (Lestari Kiranatama, 2017))
  • " KEMACETAN YANG TERJADI DI BALI "  + (" JUST CONNECTION OCCURRING IN BALI " OM " JUST CONNECTION OCCURRING IN BALI "</br></br>OM SWASTIASTU</br></br> I respect the Government of Bali and I love happy friends.</br> 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".</br> 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.</br> Traffic jams occur because too many people use motorized vehicles or cars and also because many road users do not comply with traffic regulations.</br> 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.</br> 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.</br> 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.</br> </br> OM, SHANTIH, SHANTIH, SHANTIH, OMk. OM, SHANTIH, SHANTIH, SHANTIH, OM)
  • Jean Couteau  + ("...apart from Bali on which his many book"...apart from Bali on which his many books focus — like Time Rites and Festivals in Bali Today I, Bali Today II, Bali Inspires and Lempad ( 2014 ) — he has written numerous books on Indonesian artists, such as Affandi, Arifien Neif, Srihadi Sudarsono, Walter Spies, Made Wiante and many more.</br></br>He is indeed a learned man. But his demeanor displays a humility that can be too much, even for his close Indonesian friends. They say he is more Javanese than the Javanese. He would never stand up, for instance, to demand his due, leaving himself victim to people’s manipulative tendencies.</br></br>Yet he is held in high respect. ..."</br></br>full piece at https://www.thejakartapost.com/life/2018/03/05/jean-couteau-self-critique-as-a-way-of-criticizing.htmlself-critique-as-a-way-of-criticizing.html)
  • "Nyinggihang Masa Depan Bali sane Berkelanjutan: Pikobet lan Tugas Calon Pamimpin"  + ("Beloved fellow citizens, General electio"Beloved fellow citizens,</br></br>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.</br></br>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:</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.")
  • Made Janur Yasa  + ("In the year and a half the pandemic has p"In the year and a half the pandemic has persisted, Bali’s almost decimated tourist economy has had had far-reaching financial and social effects on the resident population. It is, however, during times of difficulty when good souls shine bright. The silver lining of the pandemic has been witnessing the wholehearted efforts of individuals and organisations who have stepped up to support and help the, often newly, vulnerable communities, even when faced with their own difficulties.</br></br>From food donations to education programs, the list of goodwill initiatives on the island has been heartwarming to say the least; in reality many would have suffered gravely without such community efforts.</br></br>One creative initiative changed the dynamic. Made Janur Yasa is a restaurateur, a partner in the unique vegan restaurant Moksa in Ubud. In May 2020, as Bali was in the depths of the pandemic lull, Janur began a program called Plastic for Rice, a barter system that encouraged locals to trade in collected plastic for rice. In an interview with NOW! Bali when the program started, he says that he remembered how villagers used to barter in the early days, rice for sea salt, farm to sea. He said that this gave people spirit, making sure that people don’t get used to receiving without working.</br></br>Through this plastic for rice system, Janur provided a double solution: cleaning littered plastic in the environment; as well as providing much-needed sustenance to those in need, especially in rural areas.</br></br>The program started in Banjar Jangkahan and Banjar Penulisan, Batuaji Village, Tabanan, the regency where Janur comes from. It was set up as prototype, a system to be replicated in other villages… and it was.</br></br>Three months later, Plastic for Rice became Plastic Exchange. In that time, as reported in August 2020, the movement had spread to 44 banjars and 1,345 households.</br></br>But beyond that it had evolved beyond a simple ‘system’, and became a movement. It was adopted by other charitable organisations as a solution to provide food fairly in rural communities; it became a vehicle for environmental education, to teach the effects of plastic but also the value of waste. It has allowed people to feel empowered, useful, independent. It has seen new leaders being born.</br></br>Today, Plastic Exchange is found in over 200 villages across Bali, has collected 50.000+ kg of plastic and distributed 55.000+ kg of rice."astic and distributed 55.000+ kg of rice.")
  • Louis Nagelkerke  + ("Indonesia, and Bali in particular, has lo"Indonesia, and Bali in particular, has lots of beauty to offer. Louis Nagelkerke is not only fascinated by the beauty of the people, but also by all the wonderful things religion has brought the country, such as temples and buddha statues. During his many journeys through Indonesia, Louis noticed that it is a very rich country in many ways. Louis believes that this has a lot to do with the fact that the Indonesian people are proud of their country. When Louis travels through Bali to take pictures for his paintings, the local people enjoy that. Meanwhile, it is not special for them. They live with all that beauty, their rich culture, and traditions every day. They are used to it. When Louis paints Balinese people, he tries to show them how beautiful and rich their culture is, how beautiful they are themselves. For Louis personal[ly], it is important that he, while photographing and painting the people, can make a part of their personality his own. It is a search for beauty, mysticism, culture, folklore, very much related to daily life; the folklore our modern western society lost over the years.</br></br>Born February 3, 1949, in Eindhoven</br>Education in ceramics, window dressing, drawings, and paintings</br>Well known since the '80s through many exact portraits</br></br>His paintings are unique through the expression of mysticism and sphere. His inspirations Louis Nagelkerke finds almost through his vivid relation to the eastern culture and people. Musicians and dancers, especially from the wonderful island Bali. Besides that, his paintings are also influenced through the theatre.</br>Louis is an outstanding artist and always open-minded to new ideas.rtist and always open-minded to new ideas.)
  • Ajak Wisatawan Domestik, Bali Kembali Bangkit dari Pandemi Covid-19  + ("Invite a Domestic Tourists, Bali Rises fr"Invite a Domestic Tourists, Bali Rises from the Covid-19 Pandemic"</br></br>None of the Balinese people (including business people, investors, and the government) thought that they would be in a difficult situation of the COVID-19 pandemic. Bali, which usually doesn't stop bringing in rupiah coffers to support its people's economy, is now deserted.</br></br>A few months after the COVID-19 pandemic began to subside, there was a lot of buzz in the social media about the hashtag #WorkFromBali. Bali, as the most popular tourist attraction in Indonesia, is slowly starting to rise from the slump of the COVID-19 pandemic.</br></br>Most Indonesian people consider Bali as an elite tourist destination, because the majority of visitors are foreign tourists. Not infrequently Indonesian people also think that the price of admission to tourism and the price of food at the place to eat is also high (by the standards of foreign tourists).</br></br>Seeing the situation of the COVID-19 pandemic which is still uncertain, it is better for the Bali government to start moving to carry out "Rebranding Bali" for domestic tourists. Because they are considered the safest and most sustainable, to keep the economy in Bali alive and spinning.</br></br>There are several ways that the Balinese government can do to invite local and domestic tourists to visit Bali:</br>1. Ensure that Bali is a safe place during the Covid-19 pandemic, by showing that all frontline Bali tourism has been vaccinated and maintaining proper health protocols;</br>2. Invite influencers to advertise Bali. The hashtag #WorkFromBali seems to be very good and powerful to be echoed again;</br>3. Recalculate the highest price specifically for local and domestic tourists, such as the price of tourist entrance tickets, lodging prices, food prices, and so on, by adjusting the socio-economic conditions of the Indonesian people.</br>4. Provide understanding and training for the frontline Bali tourism, to treat local and domestic tourists in the same way as treating foreign tourists.</br></br>Hopefully Bali's economy will get better. Hopefully Bali's economy will get better.)
  • 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.</br></br>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 </br></br>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.</br></br>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.</br></br>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."</br></br>Full article at https://www.nfsa.gov.au/latest/john-darling-bali-documentary-filmmaker</br></br>See also:</br>My Friend, John Darling by Rio Helmi. Ubud Now & Then, June 26, 2013. http://ubudnowandthen.com/my-friend-john-darling/</br></br>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.</br></br>Marko travels and works nomadically, often collaborating with charities and organisations to tell interesting cultural stories through the eyes of local people.</br></br>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"</br>"OM AWIGHNAM ASTU NAMO SIDHAM"</br>"OM ANO BADRAH KRATAWO YANTU WISWATAH"</br>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.</br></br>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.</br></br>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. </br></br>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.</br></br>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"</br></br>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.</br></br>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"</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>"Om Santhi,Santhi,Santhi Om"astic waste. "Om Santhi,Santhi,Santhi Om")
  • Anais Nin  + ("One of the first female writers of erotic"One of the first female writers of erotica, Anaïs Nin is perhaps most famous for her soul-penetrating diaries, her bohemian love affair with writer Henry Miller and an incestuous relationship with her father at the advice of her psychologist. She was also heavily involved in the psychoanalyst scene, and was interested in integrating and harmonising the self through the process of writing. Therefore it is no surprise that she idealised the idyllic island of Bali—a quiet refuge in which man lived in harmony with his universe....</br></br>In 1955, Anaïs first took LSD under the guidance of Aldous Huxley and wrote a beautifully evocative description of her visions and subconscious landscape which included images of Javanese temples, Balinese music, symbolic dance gestures before finally finishing with the conclusion, “Ah, I cannot capture the secret of life with WORDS.” She was beginning to reveal what her soul desired deep down—for Anaïs, utopia was a state of mind in which the artist had access to the world of dreams. Perhaps this is why she fell in love with the mysticism and art of Bali. In her final journal (volume 7 of her diaries) she finished with a reflection on her trip to this island, complete with magical descriptions of sacred cremations, opulent gardens, temple dances, Wayang shadow puppets, natural-material bungalows used as hotels, the haunting music, and the sophisticated and gentle ways of the Balinese people."d and gentle ways of the Balinese people.")
  • 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"</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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. </br></br>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. </br></br>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.</br></br>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. </br></br>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." </br></br>Winner of The World's Best Pastry Chef 2021.nner of The World's Best Pastry Chef 2021.)
  • Duo Saraswati  + ('Music is making connection' Duo Saraswati'Music is making connection'</br>Duo Saraswati is a cello-piano duo consisting of brothers Jan and Kris van der Plas. Whilst they both grew up and had their education in The Netherlands, they make the connection between traditional Indonesian music and the classical</br>music from Europe through their Balinese background. They performed in the Concertgebouw during a live radio performance and in April 2023 they will go on tour to Indonesia and perform in Jakarta, Medan, Surabaya and Denpasar.</br>Equality through difference</br>In a world that tends to think more in contrasts, the duo embraces their differences because that is what defines them. The combination of two cultures is a way for them to bring people from various cultures together.</br>Indonesia and The Netherlands united</br>The repertoire of Duo Saraswati is varied and always tries to find connection between European and Indonesian music. Examples of this is gamelan music composed by Colin McPhee played on cello and piano, and bringing together songs of Mochtar Embut and the Sonata of Francis Poulenc.</br>Jan van der Plas (1997) was a guest player at the Amsterdam Sinfonietta and during his studies he performed multiple contemporary works. Young composers are eager to work together with Jan. He studied at the Conservatorium van Amsterdam with Gideon den Herder and Jelena Očić, with whom he graduated his master's in 2021. Jan plays a cello made in 1967, built by Jaap Bolink, made available by the National Instrument Fund.</br></br>Kris van der Plas (2002) is a young pianist with a strong motivation to make chamber music. In 2020 he was the first prizewinner of the regional final of the Princess Christina Concours in which he also became national finalist.</br>Kris is regularly asked to play by singers and instrumentalist because of his flexibility and broad knowledge of the repertoire.</br>Currently Kris is studying with Frank Peters at the Conservatorium van Amsterdam.eters at the Conservatorium van Amsterdam.)
  • Arie Smit  + (15 April 1916 – 23 March 2016. Dutch-born15 April 1916 – 23 March 2016. Dutch-born Indonesian painter who lived on Bali.</br></br>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.</br></br>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.</br></br>Bali</br>On invitation by the Dutch artist Rudolf Bonnet he visited Bali in 1956, together with Dutch artist Auke Sonnega. He soon met art dealer James (Jimmy) Clarence Pandy, who ran a gallery and souvenir shop. Pandy invited Smit to stay in a house on stilts at the beach of Sanur. Smit and Pandy remained friends and formed a partnership. Pandy was well-connected; Sukarno would sometimes bring his state guests to his gallery. With his love for bright colors, Smit was captured by the Balinese landscapes in its 'riotous light', and soon decided to stay to depict its villages, rice terraces, palm trees and temples.</br></br>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.</br></br>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 in1898 – 1965</br></br>Curriculum vitae</br>1898 born in Krommenie (North-Holland) on June 9</br>1917 final examinations gymnasium (A and B)</br>1917-1918 military service</br>1918-1926 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 Callenfels</br>1926 PhD under the supervision of N.J. Krom, Leiden University</br>1926 officer for the study of Indonesian languages at the Archaeological Service, charged with the checking of transliterations of Old Javanese inscriptions</br>1928-1939 adjunct archaeologist of the Archaeological Service in Bali</br>1939-1941 librarian to Mangkunegoro VII, Surakarta (Central Java)</br>1941-1945 service in the Royal Netherlands-Indies Army; civilian internee</br>1946 on leave in the Netherlands</br>1947-1958 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 Indonesia</br>1958 retirement</br>1959 librarian of the Faculty of Letters of Udayana University, Denpasar (South Bali)</br>1962 research-professor, teaching Balinese epigraphy and early history</br>1965 died in Denpasar on October 4</br>Special activities and positions</br>Scientific adviser of the Kirtya (Foundation) Liefrinck-van der Tuuk (set up in 1928), 1932-</br>Co-worker at the Bali Museum</br>Teacher at a secondary school and a training-college for teachers (S.M.A. and S.G.A.)</br>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.</br>Batuaninteractive.com:</br>"About twenty-two years old at the time of making the pictures in the collection, Diding probably had been painting since 1935. His teacher was Ngendon, and he in turn taught Bala. He met Spies and Bonnet, watched them work, and brought them work for their</br>ciriticism. He was a member of the group they founded, Pita Maha. One of the Western artists suggested that he make a picture like Djatasoera's of the ende ritual in Karangasem.</br>Diding had not been to school but could speak a little Malay. He played in a gamelan orchestra and danced in the gambuh, and was</br>the only artist interviewed who said that he had been possessed and gone into trance. His father was dead, and he had no land to work.He and his wife supported themselves by painting, raising chickens, and dyeing cloth.</br>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 stu1919-2007</br>A prince from Karangasam who studied in Holland during the Second World War and returned to Indonesia as a medical doctor. Later upon his return to Indonesia he was sent to different parts of Eastern Indonesia that were frequently quite isolated to help the people there. In the course of these postings both he and his wife contracted malaria but he also became a specialist in the treatment of malaria. This proved to be extremely useful when Dr Djelantik worked for the World Health Organization which sent him to Iraq, Somalia and Afghanistan. Later he became the head of Bali’s main teacher’s training college in Sanglah and helped to found the Medical Faculty which he later also headed at the University of Udayanan in Denpasar.</br></br></br>Dr Djelantik playing the violin as a young boy. (photo: Bulantrisna Djelantik)</br>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”.)
  • Anak Agung Cukit  + (1930s Batuan artist who continued to work in the 1950s. Also a gambuh dancer. A portrait of him has been painted by Bonnet. Also known as "Dewa Cukit" and "Dewa Gede Cukit".)
  • Agung Raka  + (1930s Sanur painter. Bateson and Mead note1930s Sanur painter. Bateson and Mead notes refer to Gusti Gede Raka and Gusti Putu Raka co-painting a work.</br>May be the same person as Gusti Putu Raka (and/or Gusti Gede Raka); in Bateson's catalogue, described as the son of Gusti Sodang</br></br>Related Artists</br>Also known as: I Gusti Putu Raka</br>Mother: Anak Agung Made Glogori Putu Raka Mother: Anak Agung Made Glogor)
  • A A Ngurah Paramartha  + (A A Ngurah Paramartha was born in DenpasarA A Ngurah Paramartha was born in Denpasar, October 14, 1974. He completed his art education at ISI Denpasar. Since 1995 he has been actively displaying his works in various exhibitions, such as the “Kamasra” exhibition at Bali Cliff Resort Jimbaran (1996), Indonesian artist “Colour Wheel” at the Dublin Ireland Painting Gallery (2009), “Ulu-Teben”, the MilitantArt group.= at Bentara Budaya Denpasar (2015). His solo exhibitions include “Secret Desire” at Hide Out Fine Art Ubud (2003), “Exploration of Life” at Ten Fine Art, Sanur (2011). His works tend to be figurative by showing imaginary figures with multiple interpretations.ary figures with multiple interpretations.)
  • A.A. Raka Sidan  + (A A. Raka Sidan's real name is A.A. Gede RA A. Raka Sidan's real name is A.A. Gede Raka Partana. He is a songwriter and Balinese pop singer who was born June 27, 1979. He studied at UNHI Denpasar and produced a number of albums, including "Suud Memotoh" (2005), "At-Pada Ngalih Makan" (2007), "Pak Boss" (2009), "Song Brerong" (2012), "Kenceng" (2015). The songs contain a lot of moral messages and social criticism wrapped in humorous nuances.ial criticism wrapped in humorous nuances.)
  • Ida Bagus Putra Adnyana  + (A Balinese from a Brahmana priestly familyA Balinese from a Brahmana priestly family, I. B. Adnyana is considered a first-rate classicist. Born in 1958 in Denpasar, he grew up attending Balinese rituals and brings an insider’s knowledge to his subjects. As is evident in his images, he has been given special unimpeded access and privileged positions and angles. It’s highly unlikely that a Western photographer would ever be allowed to enter sacred inner courtyards and get this close to a venerable high priest.</br>His subjects appear at ease and revealing of their inner emotions. It is as if his subjects are family members relaxed in the presence of another Balinese. He always seems to be in the right place at the right time to photograph with the greatest possible empathy and intimacy. Amidst all the confusion, he knows what is going on and is able to anticipate what is going to happen next. While other photographers are fiddling with their camera settings, he is ready to record the climax, the significant gesture or the moment when the trance state takes hold.e moment when the trance state takes hold.)
  • Josiah Alexander Sila  + (A funny thing happened to Joey Alexander oA 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.</br></br>"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.</br></br>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...."</br></br>Please see more at https://joeyalexandermusic.net/about/. at https://joeyalexandermusic.net/about/.)
  • Tiuk Mangan Yowana Guna  + (A golden Indonesia is a time that we reallA golden Indonesia is a time that we really long for, a time when after 1000 years of independence, Indonesia is a time that gives hope for the welfare of the people. There are many things that can help realize this golden Indonesian era, one of the two most influential things is the QUALITY OF YOUTH and GOVERNMENT INTELLIGENCE.</br></br>The quality of teenagers in Indonesia itself is very low, we can see from the evidence in the field that there are still many teenagers who cannot get the essence of a sentence. This is influenced by the education system which does not provide space for children to express all the ideas they have, the education system in Indonesia still places great emphasis on recitation and monotonous methods, even though there is a solution from the government regarding independent learning methods which are considered to be the solution to this problem, I felt it needed to be developed. Therefore, the government must think one step further to develop the education system in Indonesia, because this is a function of the intelligence of the leaders that we hope for in order to create sharp knives for teenagers.</br></br>Don't forget the stunting problem experienced by children in Indonesia, this causes many children to grow and develop with very, very minimal brain capacity. Is there a solution from the government?</br>Of course, we have to consider this together, because it is only through children and teenagers that the Indonesian nation can achieve its desire to become a golden Indonesia, which is likely to be just a fantasy.</br></br>Hopefully, through this media, the government can consider things that are really urgent for it to do, and can lead the Indonesian nation towards a golden Indonesia with the Sharp Knives of Youth. Indonesia with the Sharp Knives of Youth.)
  • I Made Wahyu Senayadi  + (A graduate in Fine Arts from the IndonesiaA graduate in Fine Arts from the Indonesian Art Institute (ISI) Denpasar, Senayadi has exhibited two and three-dimensional works in exhibitions, including two solo shows, throughout Bali and Java since 2005. He represents a new wave of Balinese artists dedicated to innovating within the contemporary format experimenting with conventional and non-conventional media. “I am very grateful for having my work recognised in the UOB Painting of the Year Awards,” said Senayadi, born in 1985 in Marga, Tabanan, Central Bali. “Through this award, I trust it will help provide a bridge to the goals that I want to achieve in my career.”</br></br>Despite his visual challenges during the past five years, Senayadi has excelled in his artistic pursuits. In 2018 he was recognised as one of Nine Finalists in the TiTian Prize, a biannual art award presented by Yayasan TiTian Bali (Bali Art Foundation) recognising Balinese talent innovation within the visual arts. In 2019 Senayadi distinguished himself with eye-catching and ingenious works made from natural coconut fibres, ‘Menanti Keberuntung/Longing #1’ and ‘Buta Bongol/Deaf Monster’ during ‘Mahardika’, a group exhibition at TiTian Art Space in Ubud.up exhibition at TiTian Art Space in Ubud.)
  • Titus Rosier  + (A hospitality expert with more than seventA hospitality expert with more than seventeen years of experience in the industry, Titus Rosier joined the vibrant award-winning W Bali – Seminyak resort in June 2021, leading its talented team as General Manager. Beginning his professional career in the Middle East, Titus has gained extensive experience working across various countries and properties for Marriott International. Departing from his last venture in the Middle East, Titus was ready for a new challenge and decided to move to Indonesia based on the love he has for this amazing country, choosing the magical island of Bali as his new home. A Dutch native, Titus has a passion for sustainability which he implements through developing significant initiatives and exceptional programs including the launch of zero-waste cocktails. This beverage program uses leftover fruit skin to create invigorating concoctions. Besides battling food waste, the team at W Bali is also actively focusing on reducing plastic usage to remove all single-use plastic from the property in 2023. </br>Additionally, W Bali has partnered with several Bali-based NGOs, such as S.O.S Kitchen, to donate fresh and edible leftovers from the buffet breakfast to be distributed to people in need including children's orphanages and impoverished areas in Bali. W Bali has also partnered with Sungai Watch and together with the Marriott Business Council Indonesia, they are working on a waste solution in Bali. The ambitious goal is to remove 100,000 kilos of waste per year from the Bali's rivers. of waste per year from the Bali's rivers.)
  • I Gusti Agung Wijaya Utama  + (A photography graduate from the IndonesianA photography graduate from the Indonesian Art Institute (ISI), Denpasar.</br></br>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.</br></br>“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.”</br></br>“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.”</br></br>Article by Richard Horstmanof the past.” Article by Richard Horstman)
  • Symon  + (A stylistic heir to Walter Spies, Le MayeuA 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.</br></br>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.</br></br>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.</br></br>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.</br>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.</br>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.</br></br>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.</br></br>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.)
  • AG Pramono  + (AG Pramono was born in Negara, Bali on MarAG Pramono was born in Negara, Bali on March 23, 1973. He has been involved in theatre and literary arts since 1990. He founded Sanggar Susur Jembrana in 1991. His writings in the form of short stories, poems and cultural articles have been published in several media. A number of his poems can be found in the following anthologies: Poetry 19 (1995), Kidung Kawijayan (1996), Detak (1997), Indonesian Poetry Anthology (KSI) Jakarta in 1997, Serambi Hening (1998) and Stopping Short Stories in Rumahmu (2014). Since 1993, he has been active in Bali Experimental Theater and in 1998 participated in the Komunitas Kertas Budaya. He is currently working as a journalist in one of the local newspapers in Bali and lives in a small house named Serambi Hening in Loloan Timur, Jembrana, Bali.bi Hening in Loloan Timur, Jembrana, Bali.)
  • I Made Mahendra Mangku  + (Abstract became the visual language that MAbstract became the visual language that Made Mahendra Mangku chose to express. Various abstract explorations are presented, such as the play of lines, colors, and splashes.</br></br> As an artist who grew up in Sanggar Dewata Indonesia (SDI), his work tends to be different from those of the Eleven Group; a group of eleven members from SDI's 90s generation. He doesn't fill his canvases with brushstrokes of paint, nor does the boisterous Balinese icons and symbols appear absent in Mangku's work.</br></br> In his paintings, Mangku tends to use one color as a base and then fill it with several colors and lines. Sometimes he also crashes contrasting colors with certain compositions that are still calming.</br></br> It presents a silence that feels sentimental, like spaces of contemplation in the midst of worldly life. No matter how dark the colors he uses, Mangku's works are still sweet, calming and meditative, and he is often referred to as the “Poetic Painter”.</br></br> Although now known for his abstract works, Mangku had time to explore in a realist and figurative style while still in college. Even in his first year at ISI, he has won two awards at once for best sketch and best watercolor painting.</br></br> Meanwhile, while attending SMSR Denpasar, he was more focused on watercolor with the splash technique which earned him the nickname Mangku (a priest in Balinese tradition who sprinkles holy water when giving blessings, ed.). His choice to pursue abstract began in 1993, because abstracts provide more space for improvisation and exploration.</br></br> Since graduating from ISI Yogyakarta, Mangku has returned to Sukawati and is actively working in his personal studio, De'carik Art Studio. He recently exhibited 15 paintings and watercolors at the Singapore International Artist Fair (SIAF) 2018 on 10-13 May in Suntec City, Singapore. It is planned that Mangku will hold a solo exhibition in August 2018 at Art:1 Gallery, Jakarta and Komaneka Art Gallery, Ubud.</br></br>Born in Sukawati, 30 December 1972</br></br>Education</br>1988-1992 SMSR Denpasar</br>1992-1997 ISI Yogyakarta</br></br>Awards:</br></br>1998 Award from the Minister of Arts and Culture of the Republic of Indonesia;</br>1997 Best Painting Dies Natalis ISI Yogyakarta; 1996 Finalist Philip Morris Indonesia Art Award </br>1992 Best Watercolor Painting ISI Yogyakarta; 1992 Best Sketch ISI Yogyakarta</br></br> Milestones:</br></br>1992 In his first year of college, Mangku received two awards for the best watercolor painting and the best sketch at ISI Yogyakarta</br>1998 Graduated from college, Mangku returned and settled in Bali. This year he also held a duet exhibition with Toris Mahendra at Sika Gallery.</br>2000 His first solo exhibition Between Two Side, Arisma Gallery, Ubud.</br>2018 Singapore International Artist Fair (SIAF), Suntec City, Singapore.rtist Fair (SIAF), Suntec City, Singapore.)
  • Abu Bakar  + (Abu Bakar, is a playwright and theater figAbu 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. </br></br>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. </br></br>Abu is the founder of the “Polyclinic Theatre” and “Earth Theatre”. “Polyclinic Theatre” and “Earth Theatre”.)
  • MARGA SENGKALA  + (Accidents are the most inevitable thing, wAccidents are the most inevitable thing, who wants injuries to themselves? Who wants to go home in name only? No one wants to hurt themselves because of circumstances.</br></br>Look at the beautiful carvings on the asphalt. It's as if her beauty has turned into a very dangerous threat, we often hear about accidents caused by potholes, damaged roads or so on. Many victims have fallen and even lost their lives. The carvings on the road are left until a fatality occurs before it is justified, how long are you going to wait for the victim to fall?</br></br>This should be very important if you look at it, not only are the roads damaged, there is no street lighting, who should you report to? Do you have to wait for fatalities to prove that this situation is very dangerous to life? The Sengkala clan has become a shadowy threat to life. We often encounter damaged roads, potholes that cause accidents for us.</br></br>Let's be sensitive to our surroundings, how long are we going to wait for many fatalities to be justified? This shouldn't just be looked down upon, we need street lighting. We need smooth roads, not just smooth government salaries but roads that have not been repaired.ies but roads that have not been repaired.)
  • Namtamin Kalanguan Jagat Bali ring Ambaralaya  + (According to Mr. Sandiaga Salahudin Uno asAccording 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.</br></br>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.</br></br>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.</br></br>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, JuAchmad 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.)
  • Adhy Ryadi  + (Adhy Ryadi was born in Singaraja, January Adhy Ryadi was born in Singaraja, January 17 1960. He completed his Bachelor of Law studies at Undiknas Denpasar. Writing poetry since 1981 and published in the Bali Post, Mind of the People, Berita Buana, Suara Indonesia, and collected in the poetry book "Hram" (1988). He once worked as a journalist at the Bali Post. He died in 1995.rnalist at the Bali Post. He died in 1995.)
  • Adrian Vickers  + (Adrian Vickers is an Australian author, hiAdrian 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 BelAdrien-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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.)
  • Agoes Andika  + (Agoes Andika was born in Banjar Baleagung,Agoes Andika was born in Banjar Baleagung, Buleleng, March 5, 1963. In 1981 he settled in Mataram, Lombok. He studied writing a lot with Putu Arya Tirtawirya and Umbu Landu Paranggi at the Bali Post. In 1985 he was invited to Taman Ismail Marzuki Jakarta with several Balinese poets and other Indonesian poets to read poetry. Literary works have been published in the Bali Post, Karya Bhakti, Nusa Tenggara, Simponi, Swadesi, Nova, Buana News, Suara Karya, Suara Nusa, Horizon, and several bulletins in Mataram, Pontianak. Now living in Singaraja.taram, Pontianak. Now living in Singaraja.)
  • Agung Bawantara  + (Agung Bawantara was born in Klungkung on JAgung 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 AnyaAgung 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" .)
  • Agus Vrisaba  + (Agus Vrisaba is a writer born in Klaten, CAgus Vrisaba is a writer born in Klaten, Central Java, May 15 1941. In the 1970s he lived in Bali and socialized closely with many Balinese artists. In the late 1980s he moved to Tawangmangu, Central Java. He died on February 17 1992. Agus was a very productive short story writer. His works are published by Kompas, Sinar Harapan. Later also in Suara Pembaharuan, Vista, Jawa Pos, Bali Post, Intisari, Surabaya Post, Suara Indonesia, Zaman, and also various other regional newspapers. Kompas Book Publishers (PBK) is trying to bring back his works and edit them in a book, a collection of his first single short stories, entitled "From Bui to Nun" in 2004. Agus himself, until the end of his life, had not had time to publish his works. There is only one short story, namely "Sodom and Gomorrah" which was included in the anthology "Two Sexes for Midin", published by Kompas Book Publishers in 2003.blished by Kompas Book Publishers in 2003.)
  • Aldwin Yusgiantoro  + (Aldwin is a senior analyst for AkarAsia. HAldwin 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.)
  • Alit S. Rini  + (Alit S.Rini was born and live in Denpasar Alit S.Rini was born and live in Denpasar with the name Ida Ayu Putu Alit Susrini. She wrote poems in the Bali Post newspaper which afterwards become her workspace. Then she was promoted to the culture, religion, education, opinion desk and 1998 as performance editor, and then moved to the opinion desk until she retired in 2015. "Karena Aku Perempuan Bali" (Since I am a Balinese Woman) 2003 is her single poem compilation. Her poem was compiled in book "Cinta Disucikan Kehidupan Dirayakan", "Bali Living in Two World" (2002), "Dendang Denpasar Nyiur Sanur" (2016), "Klungkung: Tanah Tua Tanah Cinta" (2017) is a compilation of her poems published in 2017. She later collaborated with Nyoman Wirata with a book entitled "Pernikahan Puisi".a with a book entitled "Pernikahan Puisi".)
  • Alistair G Speirs  + (Allistair Speirs has been in the publishing, advertising and PR business for the last 25 years. He started both NOW! Bali and NOW! Jakarta as each region's preferred community magazine.)
  • Gede Kresna  + (An Architect by profession, Gede designed An Architect by profession, Gede designed and built Rumah Intaran - home of Pengalaman Rasa. His brings extensive knowledge of local produces and a keen eye for potential business opportunities to Pengalaman Rasa. He is passionate about diving into the richness of Northern Balinese culture and natural produces to find the best ingredients, products, and experiences.</br></br>https://www.pengalamanrasa.com/</br></br>"Working out of Rumah Intaran (the House of the Neem Tree), architect Gede Kresna has transformed the northern Bali village of Bengkala into a learning mecca for students and farmers – and it all centres around the kitchen...</br></br>“I often wonder why rich people can afford to pay for a private doctor or a private architect but never think of paying a private farmer to produce their own healthy food?” he (Gede Kresna) asks. “Food can be called healthy if it has a balanced cycle that comes from local farmers who grow from local seeds; only then can we actually solve our food problems, including many economic problems facing the country.”...</br></br>Full article at https://www.gaiadiscovery.com/latest-people/gede-and-ayu-kitchen-missionariest-people/gede-and-ayu-kitchen-missionaries)
  • Anak Agung Ayu Bulantrisna Djelantik  + (Anak Agung Ayu Bulantrisna Djelantik was bAnak 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. </br></br>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 Gde Mandera Erawan  + (Anak Agung Gde Mandera Erawan (Agung BanglAnak Agung Gde Mandera Erawan (Agung Bangli) is a traditional dance maestro from Puri Kaleran Peliatan, Ubud. He was born in artist family, son of Gung Kak Mandera, maestro of traditional music the founder of Kelompok Musik and Tari Gunung Sari and a dancer mother. Gung Kak Mandera was one of artist of Bali that travel arround in Europe and performed in Paris in 1930s. </br></br>Almost all of countries had already visited by Gung Aji to perform Balinese dance to the world. it can be said that his life was dedicated for traditional dance and music arts of Bali. Maintain and preserve it to keep this culture existed. </br></br>He inherited his late father role to lead group of Gunung Sari Peliatan, which hold a performance in every week in Balerung Peliatan. Legong Nandira is Tari Legong with male dancer is one of his creations. with male dancer is one of his creations.)
  • Anak Agung Gde Rai  + (Anak Agung Gde Rai or usually called as AgAnak Agung Gde Rai or usually called as Agung Rai, born in Peliatan, Ubud, on July 17th, 1955. He is a humanist (cultural practitioner) and an artist who has big role in preserving and promoting arts of Indonesia, particularly Bali. He is the founder of ARMA (Agung Rai Museum of Art). The poverty during his childhood motivated him to change their family life to make it better by continuously work hard. When he was young, he has ever become “merchant” of artistic goods for tourists in Bali. </br></br>Agung Rai has a dream to become a teacher, but he has to burry it since cant afford the tuition. Then, he learned to paint. But, he realized his skill is yet sufficient as painter. Otherwise, he took a course of English and became a tour guid. From his interaction with the tourists, he got sense of business to try as seller of artistics goods made by his neighbors in his hometown. Since then, he is becoming a merchant in arround Sanur, Kuta until Padangbai. As a merchant, his sense of business and arts was developed. Then he mad friend with many arts collectors. He followed his friend to be a collector of maestro’s artwork. From a collector, he became a currator for artwork exhibition. Such as, in 1989, Agung Rai went to Japan and took a hundred of artworks from fifty painters that joined a group of Sanggar Seniman Agung Rai (Agung Rai Artists Group). This paintings then was shown in Japan for two months. </br></br>Anxiety and worry for his country’s cultural preservation mainly in field of arts make him obssessed to establish a museum and arts galery. Then, with wonderful effort of him, in June 9th 1996, ARMA Museum officially opened by Prof. Dr. Ing. Wardiman Djojonegoro while at that time have position as Minister of Education and Culture. ARMA is one of museums with most complete collection in Indonesia. From classical artwork until contemporary, even artwork of local artist and other countries. Moreover, ARMA periodically held an exhibition of artworks. </br></br>The popularity of ARMA is masively increasing since it often held various cultural event such as music performance, theatre, providing bookroom with various collection for visitors, held seminar of culture and art. Events in ARMA mostly in international scale and often were hold by various artworkers and culture from many countries. With various arrangement of these kind of event, ARMA achieved predicate as most popular museum and the best museum in Indonesia based on tourist as how it was compiled by world travelling site, TripAdvisor. </br>For his effort to preserve arts, Agung Rai was awarded many awards. Such as, in 2002 he was awarded by Indonesia Government as “The pioneer in advancing the fine arts”. In 2012 he was chosen as Chief of Himusba (Himpunan Museum Bali) 2012-2017. In 2016 “TripAdvisor” awarded ARMA as the best museum in Indonesia. The choice was determined by the tourists who has visited the various museums in Indonesia. </br></br>The Books of Agung Rai and ARMA can be read in “Gung Rai, Kisah Sebuah Museum // Gung Rai, A Story of Museum” (KPG, 2013), “Saraswati in Bali: A Temple, A Museum and A Mas” (BAB Publishing Indoneisa, 2015”, “Agung Rai, Sang Mumpuni // Agung Rai, The Maestro” (Lestari Kiranatama, 2017)., The Maestro” (Lestari Kiranatama, 2017).)
  • 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 DenpasarAnak 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.</br></br>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.</br></br>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".)
  • Anak Agung Pandji Tisna  + (Anak Agung Pandji Tisna (11 February 1908 Anak Agung Pandji Tisna (11 February 1908 – 2 June 1978), also known as Anak Agung Nyoman Pandji Tisna, I Gusti Nyoman Pandji Tisna, or just Pandji Tisna, was the 11th descendant of the Pandji Sakti dynasty of Buleleng, Singaraja, which is in the northern part of Bali, Indonesia. He succeeded his father, Anak Agung Putu Djelantik, in 1944.</br></br>On the last page of Pandji Tisna's book, I Made Widiadi, written in 1955, he wrote his life story in chronological order. He was a writer and a novelist. He refused to be the king of Buleleng, but being the eldest son, the Japanese occupancy troops forced him to be "syucho" after the death of his father in 1944.</br></br>During his reign, he became the leader of the Council of Kings of all of Bali from 1946 to 1947 (Paruman Agung) and the Regent of Buleleng. In 1947, because his uniquely Christian faith did not fit in with the predominant Hindu religion, Pandji Tisna surrendered the throne to his younger brother, Anak Agung Ngurah Ketut Djelantik or I Gusti Ketut Djelantik, also known as Meester Djelantik, until 1949.</br></br>He died 2 June 1978 and was buried in the graveyard on the eastern side of his land near the chapel he built years before.</br></br>There is a museum in Lovina dedicated to AA Pandji Tisna and his family: https://www.facebook.com/pg/The-Little-Museum-Anak-Agung-Panji-Tisna-KM-0-Lovina-Bali-1402058299856241/about/a-KM-0-Lovina-Bali-1402058299856241/about/)
  • Andrew Clay McGraw  + (Andy McGraw received his Ph.D. in ethnomusAndy 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 AnAngga 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.)
  • Anthok Sudarwanto  + (Anthok Sudarwanto was born in Denpasar, ApAnthok Sudarwanto was born in Denpasar, April 18. He completed his art education at ISI Denpasar. Since 1996 he has been holding joint exhibitions, among them are the Indonesian Arts Festival Exhibition in Jogjakarta (1999), the Black and White Group at the Bali Museum (2000), The Name of Identity at Tanah Tho Gallery, Ubud (2011), "Retrospective" with the Galang Kangin Group at Bentara Bundaya Bali (2018). In 2010 he held a solo exhibition “Transformation” at the Hitam-White Artspace, Sangeh, Bali. He is also involved in the Militanarts Group. His works tend to be realistic with social and life themes. be realistic with social and life themes.)
  • Antonio Maria Blanco  + (Antonio Blanco was born on September 15, 1Antonio 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.</br></br>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.</br> </br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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).)
  • Ni Putu Apriani  + (April Artison is the pen name of Ni Putu AApril Artison is the pen name of Ni Putu Apriani. Born in Tuban, Badung, Bali, April 12, 1991. A graduate of Communications and Religious Information from IHDN Denpasar. Since she was a teenager, she has been active in literature and theater. In 2016, she was invited to read poetry at the 5 Asean Countries Poets Gathering in Singapore. Her poetry was published in the book Klungkung: Tanah Tua, Tanah Cinta (2016). Klungkung: Tanah Tua, Tanah Cinta (2016).)
  • 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).)
  • Dewi Dian Reich  + (Artist and writer. Dewi Dian is founder ofArtist and writer. Dewi Dian is founder of Sawidji Gallery & Co.</br>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.</br>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.</br>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.)
  • Teknologi antuk kelestarian seni miwah budaya  + (Arts and culture studies are the result ofArts and culture studies are the result of work and creativity based on the norms and behavior of the Balinese people who are involved in preserving Bali's cultural heritage through artistic and cultural wisdom. It is hoped that arts and culture can be developed again by using technology to develop and develop works of art. Apart from that, introducing art and culture to the younger generation as a means of providing an understanding of philosophy and the values of the existence of cultural objects. The aim of this activity is to encourage the younger generation to learn about arts and culture in their region as a means of increasing cultural sustainability and as a means of preserving local culture, developing knowledge-oriented activities and as a form of preserving arts and culture. This is important so that the Balinese people, especially young people, can gain better motivation and understanding, and can participate in the process of internalizing these cultural values into their own lives.hese cultural values into their own lives.)
  • Aryadimas Ngurah Hendratno  + (Aryadimas Ngurah Hendratno was born in DenAryadimas Ngurah Hendratno was born in Denpasar on September 13, 1975. He has been writing poetry since he was a teenager, was once a part of Teater Angin (SMAN 1 Denpasar), and had contact with Sanggar Minum Kopi. A number of his poems have been published in Bali Post and in the anthologies Ensiklopedi Pejalan Sunyi (2015) and Klungkung: Tanah Tua, Tanah Cinta (2016). He is the "village head" of the Jatijagat Kampung Puisi (Jatijagat Poetry Village), teaches literature and theater at the Tahkta Theater at SMK Saraswati 1 in Denpasar, and manages the Rumah Belajar Seni (Art Study House) in Denpasar.lajar Seni (Art Study House) in Denpasar.)
  • Strategi Membangkitkan Perekonomian Di Bali  + (As for the aspirations that I want to pourAs for the aspirations that I want to pour out to revive the economy in Bali, the points are as follows:</br></br>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. </br></br>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. </br></br>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. </br></br>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 MinistAs 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 researcAssociate 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.</br></br>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).</br></br>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.</br></br>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.)
  • Augusta de Wit  + (Augusta de Wit (25 November 1864 – 9 February 1939) was a Dutch writer, born in the Dutch East Indies and best known for writing about Java and Bali.)
  • John Stowell  + (Australian scholar known for his comprehensive biography of German artist Walter Spies whose influence on Balinese art is reknowned.)
  • I Wayan Sadha  + (Author and cartoonist I Wayan Sadha was boAuthor 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.</br></br>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.</br></br>His published books are:</br>Bali in the Eyes of the Somprét (Cartoon, 1994),</br>The dog of Bali Somprét Celotéh Dog Bali (Cartoon, 2008),</br>Léak Pemoroan (short story collection, 2009),</br>Paruman Betara (short story collection, 2014).man Betara (short story collection, 2014).)
  • Ayu Diah Cempaka  + (Ayu Diah Cempaka was born in Gianyar, JulyAyu 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 LaksmiyanAyu 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.</br></br>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.</br></br>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.</br></br>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.</br></br>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 Putu Feny Abrina Putri  + (Ayu Putu Feny Abrina Putra, born in PenestAyu Putu Feny Abrina Putra, born in Penestanan Kelod, Ubud, October 5th, 1992. She graduated from Fine Art Education in ISI Denpasar. She has exhibited in "Ekspresi Indonesiaku" in Nasional Indonesia Museum (2014), "Brutal Art Work" in dolf Bonnet Tjampuhan Ubud Studi (2016), "Merdeka dalam Ekspresi" in Taman Budaya Bali (2019)alam Ekspresi" in Taman Budaya Bali (2019))
  • Ayu Weda  + (Ayu Weda fully named I Gusti Ayu Made WedaAyu 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 NyoBALI'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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>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.</br></br>Awards:</br></br>Piagam Anugerah Seni (Indonesia, 1970)</br>Wijaya Kusuma (Indonesia , 1975)</br>Dharma Kusuma (Bali, 1982)donesia , 1975) Dharma Kusuma (Bali, 1982))
  • Tim BASAbali Wiki  + (BASAbali Wiki strengthens languages, cultuBASAbali Wiki strengthens languages, culture and the ecosystems they thrive in by engaging communities to take action. BASAbali is a collaboration of linguists, anthropologists, students, and laypeople, from within and outside of Bali, who are collaborating to keep Balinese strong and sustainable.g to keep Balinese strong and sustainable.)
  • Bali Virtual Tour & Ngonthel Halal  + (Bali is a beautiful island. Affected by CoBali is a beautiful island. Affected by Covid-19, of course, it reduces the income of the population. Are there alternative steps forward? We provide alternative solutions, namely virtual tours and ngonthel halal and are presented in the form of questions and answers.</br></br>What is a virtual tour ?</br>Answer: Virtual tourism activities via the internet with media in the form of videos</br></br>The reason for choosing virtual tours ?</br>Answer: Not everyone can go to Bali for various reasons such as: unable to take leave, still working, wife is pregnant, being treated at the hospital, pandemic, visas and passports have expired or have not been issued.</br></br>Media used ?</br>Answer: Did you know Netflix, Viu? Site / website subscription to watch movies by streaming. Yes, we adopt a method like Netflix with internet and video media. People who will access will be charged a fee or "pay"</br></br>The mechanism of action ?</br>Answer: As explained above, subscribing is like watching a movie on Netflix. Of course the videos presented must be fun, informal and rigid, like vloggers and youtubers making video tours, mukbang, inviting having fun in an exciting and fun way</br></br>Is it Ngonthel Halal?</br>Answer: Sports activities while traveling around Bali by focusing on Muslims</br></br>Reasons for choosing ?</br>Answer: The relentless popularity of cycling during the pandemic. Complaints about halal food both in terms of the type of food, looking for Bali tourism that does not have an open genitalia element, are tired of the same kind of tourism, so traveling around Bali by bicycle can become a new tourist destination. Target : Local & Middle Eastern Muslims</br></br>Application in the field?</br>Answer: Participants are invited to tour by bicycle around Bali to several destinations with beautiful panoramas, serving halal food, prayer times can go to mosques. So this shows that Bali has good religious tolerance. shows that Bali has good religious tolerance.)
  • Ngiring Jaga Budaya Baline Saking Turis Sane Ten Bermoral  + (Bali is a cultural tourism island that is Bali is a cultural tourism island that is well known abroad. This causes many foreign tourists and tourists to come to Bali to walk around. The arrival of tourists to Bali is actually welcomed by the Balinese people because they can help the Balinese people whose field of work is in the tourism sector and introduce world progress to the community. However, it turns out that tourist behavior in Bali is not as beautiful as we think. Instead of walking around enjoying the beauty of the island of Bali, they are destroying the beauty of the island of Bali, behaving as they please and trampling on our cultural heritage. The behavior of naughty tourists is indeed infuriating and this also happens in various popular destinations in the world. Not long ago it went viral that a pair of foreign tourists became angry and clashed with Pecalang in Bali. This was because a pair of foreign tourists felt unacceptable because they were prohibited from crossing a road, because there was a Melasti ceremony procession to welcome Nyepi Day in Bali.</br></br>We as Balinese citizens should not allow this to continue to happen to our ancestral heritage on the island of Bali. If this continues, it can of course cause discomfort to the people of Bali. To overcome this incident, the government has actually made various efforts starting from socialization, efforts to give tickets to foreign tourists who violate it and even many influencers who have made the tourists' actions viral on social media with captions that vilify them. By making this viral, actually we are just as bad as them, why should we vilify people on social media who haven't even changed anything and the tourists are still doing the same thing. A lot of shouting is useless, but try to make the tourist stop breaking Balinese rules</br></br>As a government in a new era, it would be better, apart from setting an example of good travel behavior, one of the efforts that continues to be made is to socialize what can and cannot be done (do's and don'ts) by all tourists or foreign tourists who vacation in Indonesia, especially in Bali. and Lombok. Apart from that, the Ministry of Tourism and Creative Economy/Tourism and Creative Economy Agency (Kemenparekraf/Baparekraf) also continues to move quickly together with the provincial government (Pemprov) to handle cases of foreign tourists acting up. So, in the future it won't just be about increasing the number of foreign tourists visiting Indonesia. But it can also improve the quality of tourists, can also improve the quality of tourists,)
  • Pesta Kesenian Daerah Wisata (PKDW)  + (Bali is an island of the gods which is welBali is an island of the gods which is well known in foreign countries for its natural beauty. During a pandemic like this, many foreign and domestic tourists are reluctant to travel for fear of being exposed to the corona virus, especially since there is a new variant of the virus, namely Omicron. This pandemic has made everything difficult with the economy in a drastic decline. The main reason for the drastic decline in the economy is the decrease in the number of tourists coming to Bali. Therefore, it is necessary to plan to increase tourist visits to Bali and revive the economy</br></br>Carry out the performance of the Regional Arts Festival (PKDW). The main purpose of implementing PKDW is to revive the economy. The implementation of this party is well carried out in tourist areas with large and strategic areas with favorable weather conditions. The advantage that can be obtained if PKDW is implemented is to preserve, develop and promote Balinese arts. Almost the same as PKB but PKDW is carried out at tourist sites and the implementation time is every 6 months. The reason it is held every 6 months is because it coincides with the semester holidays. Another advantage is that tourists get vacation satisfaction at the same time, because apart from seeing the natural scenery, tourists also see Balinese art and Balinese souvenirs. Its just that the implementation of PKDW must find the right and strategic place as well as sudden changes in the weather.</br></br>Here the governmets role is really needed. However, in carrying out the governments plan so that it runs smoothly and according to expectations, the community has a very important and much needed role here. Therefore, lets cultivate a sense of concern among others and the level of self-awareness to raise the countrys economy for the sake of mutual survival.s economy for the sake of mutual survival.)
  • PRAKARSA PEMIMPIN BALI 2024: NGUBAH LELUU DADOS PAICA  + (Bali is an island that is famous for its bBali is an island that is famous for its beautiful natural charm, customs, culture and traditions. Thus, Bali has become one of the islands that has become a tourist destination because it is rich in tourism areas, both religious tourism and recreational tourism. It is not surprising that many visitors come to enjoy the beautiful charm of the island of Bali.</br>Being a tourism destination island, of course it is a challenge for Bali to maintain environmental sustainability so that the level of tourism in Bali is maintained. As we know, Bali's biggest income comes from the tourism sector. However, in carrying out something there are certainly problems that can hinder the development process of the tourism area.</br>The waste problem is a serious problem, because it can reduce the image of Bali tourism, both for domestic and foreign visitors. The presence of waste in the tourism environment can be very worrying if it is not immediately addressed and managed well.</br>In the concept of conscious tourism, which we know as Sapta Pesona, it requires the role of the community as host of the destination in an effort to create a conducive environment and atmosphere. One of the important parts of Sapta Pesona is clean. When we can maintain the cleanliness of tourist destinations, the other six aspects can be achieved. Cleanliness will create safety, comfort and bring happy memories to visitors.</br>For this reason, the waste problem must be handled immediately by leaders in 2024. Bali 2024 leaders must have effective strategies to overcome the waste problem in Bali which is increasingly disturbing the community. Bali 2024 leaders are obliged to make breakthroughs in turning waste into blessings. Because it is impossible to avoid the existence of waste from people's lives, what Bali 2024 leaders need to do is a strategy or way to turn waste into blessings.ategy or way to turn waste into blessings.)
  • PRAKARSA PEMIMPIN BALI 2024: NGUBAH LELUU DADOS PAICA  + (Bali is an island that is famous for its bBali is an island that is famous for its beautiful natural charm, customs, culture and traditions. Thus, Bali has become one of the islands that has become a tourist destination because it is rich in tourism areas, both religious tourism and recreational tourism. It is not surprising that many visitors come to enjoy the beautiful charm of the island of Bali.</br>Being a tourism destination island, of course it is a challenge for Bali to maintain environmental sustainability so that the level of tourism in Bali is maintained. As we know, Bali's biggest income comes from the tourism sector. However, in carrying out something there are certainly problems that can hinder the development process of the tourism area.</br>The waste problem is a serious problem, because it can reduce the image of Bali tourism, both for domestic and foreign visitors. The presence of waste in the tourism environment can be very worrying if it is not immediately addressed and managed well.</br>In the concept of conscious tourism, which we know as Sapta Pesona, it requires the role of the community as host of the destination in an effort to create a conducive environment and atmosphere. One of the important parts of Sapta Pesona is clean. When we can maintain the cleanliness of tourist destinations, the other six aspects can be achieved. Cleanliness will create safety, comfort and bring happy memories to visitors.</br>For this reason, the waste problem must be handled immediately by leaders in 2024. Bali 2024 leaders must have effective strategies to overcome the waste problem in Bali which is increasingly disturbing the community. Bali 2024 leaders are obliged to make breakthroughs in turning waste into blessings. Because it is impossible to avoid the existence of waste from people's lives, what Bali 2024 leaders need to do is a strategy or way to turn waste into blessings.ategy or way to turn waste into blessings.)
  • Pemimpin Bali 2024: Patut Tangar Teken Krama Tamiu  + (Bali is famous as an island with friendly Bali is famous as an island with friendly and innocent people. Therefore, many migrant residents come to Bali looking for work and making a fortune in Bali. If there are no clear regulations regarding the migrant population, over time Bali will become a densely populated island and the crime rate will increase due to the difficulty of finding work.</br></br>Problems like this must be handled by the Balinese Leader who is elected in 2024. Whoever becomes the Balinese Leader in that year must be firm with the migrant population so that there are clear and firm rules. These rules are binding and can be used as guidance by migrant residents so that they do not do anything wrong when they come to Bali.</br></br>Bali 2024 leaders must have a commitment to limit the population of immigrants to Bali considering that Bali is a small island. With the large number of migrant residents without clear restrictions, it cannot be denied that in the future the ratio of the immigrant population to the native population could be that there are more immigrant residents. This is what Bali 2024 leaders need to anticipate and be aware of so that Bali 2024 leaders have a firm policy regarding this matter. have a firm policy regarding this matter.)
  • "MAI MELALI: Solusi Pariwisata Bali Metangi Berbasis Digital Rikala Pandemi"  + (Bali is famous for tourism with a very strBali is famous for tourism with a very strong religious title. However, when the Covid-19 pandemic struck, it caused all aspects of the community's economic support, especially in the tourism sector, to experience suspended animation. Not only Indonesia, but also similar things are experienced by all countries in the world. As the next generation, we should not only dare to criticize but also dare to innovate in order to create a collaboration that can revive Bali's tourism as before.</br></br>A world that is completely digital, makes us have to strive to be in tune with cultural and technological tourism. Therefore, a solution that can be created is a website called 'Mai Melali' with the use of VR (Virtual Reality) which carries the theme of revitalizing Bali tourism with a digital theme. VR are conceptualized to be enjoyed especially for tourists who have missed Bali since the last time they visited the Island of the Gods. Besides that, this utilization will use several tourist destinations, such as Kuta Beach and religious tourism destinations such as Tirta Empul. By bringing Bali out, it’s hoped that a sense of longing for Bali will arise which will later make the feeling of wanting to visit Bali more volatile.</br></br>Being motivated by the tourism sector alone can be likened to a double-edged sword. Besides being profitable because Bali has great potential, it can also be detrimental because during the current pandemic, all aspects of life have weakened. With the presence of Mai Melali, it’s hoped that all connoisseurs of Bali tourism destinations can feel the atmosphere that was previously felt but was forced to leave for a while due to the Covid-19 pandemic. With the help of VR technology, it is easier for us to collaborate with today's globalization. Therefore, let's create Bali tourism with the theme of technology, in order to awaken and revitalize tourism and the Balinese economy. Because we believe, Bali will come back.. Because we believe, Bali will come back.)
  • Pencemaran lingkungan di pesisir pantai bali  + (Bali, as a famous tourist destination throBali, as a famous tourist destination throughout the world, has very attractive natural charm. One of the attractions is the beautiful and clean beaches. However, recently, beaches in Bali have experienced very disturbing environmental pollution problems. This case raises the question, who is actually responsible for this problem?</br></br> Environmental pollution on the coast of Bali has been occurring for several years. Some of the causes are waste from the tourism industry, household waste, and fishing activities that are not well managed. Many local residents and environmental activists have tried hard to overcome this problem, but until now it still continues to occur.but until now it still continues to occur.)
  • Kirangnyane Efektivitas Program Bus Trans Metro Dewata antuk Ngentasin Pikobet Macet ring Bali  + (Based on an article from the Denpasar CityBased on an article from the Denpasar City Government website, the Trans Metro Dewata Bus is a mass transportation which is one of the Bali Provincial Government's efforts to improve public services in the land transportation sector in urban areas, especially Denpasar City and covers several areas outside Denpasar City. The aim of the Bali Provincial Government in creating this program is none other than to reduce traffic jams and individual vehicle pollution. Trans Metro Dewata buses have now spread to various areas in Bali Province. However, its implementation over time is not in accordance with what the government hoped or planned. Most Trans Metro Dewata buses are currently empty without carrying passengers. Most people are reluctant to use public transportation because the stopping points are limited and far away, so it requires more effort to reach them. This also causes the majority of residents to prefer to use online motorcycle taxi applications rather than public transportation. The lack of public awareness of the existence of public transportation also causes a lack of passengers. Payment methods that can only be cashless can be a problem, especially for people who don't have or haven't made electronic money. According to interviews with 15 sources that the author conducted regarding the effectiveness of the Trans Metro Dewata Bus program, 9 out of 15 sources were of the opinion that the implementation of the Trans Metro Dewata Bus program was still not effective, which according to the experience of the sources was caused by several bus drivers who were a little impatient when driving their buses. so that when a motorbike passes in front of the Trans Metro Dewata Bus, the bus driver will honk at the motorbike rider. Then there were also sources who said that the terminal was far away, and there were also those who regretted the fact that the existing Trans Metro Dewata buses were currently empty and did not carry passengers due to a lack of public awareness regarding the use of this public transportation. On the other hand, 6 out of 15 interviewees believed that this program was effective because it could reduce traffic jams, pollution and save petrol costs. However, in reality there are still more sources who say that this program is not effective than those who say that this program is effective. Therefore, the government must pay more attention to this matter, because if it is not handled further it will have an impact on the Trans Metro Dewata Bus program which has been implemented by the government. Several sources also expressed their hope that this problem would be resolved and better in the future, that the government should be able to increase the effectiveness of this program with better solutions so that people would be interested and have the desire to use the Trans Metro Dewata Bus. desire to use the Trans Metro Dewata Bus.)
  • I Ketut Tombelos  + (Batuaninteractive.com : "Tombelos was raisBatuaninteractive.com :</br>"Tombelos was raised by a poor stonecutter and didn't go to school, though he could read and write Balinese. About fifteen years old in 1938, Tombelos had been drawing since about 1934 or1935. He studied art with Ngendon, who was a close relative, and was a member of Pita Maha. There are twenty-three pictures by Tombelos in the collection."e pictures by Tombelos in the collection.")
  • I Made Jata  + (Batuaninteractive.com: "About fifteen yearBatuaninteractive.com:</br>"About fifteen years old at the time of making the pictures in the collection, Djata had been painting about two or three years. He said that he was self-taught be he had watched Ngendon at work. He visited the homes of the Western painters Bonnet and Spies, and showed them his work for criticism. He was a member of their group, Pita Maha. Djata was the son of a very poor carpenter. He had</br>not been to school but could speak a little</br>Malay. Djata was an apprentice to a shadow puppet maker in Batuan, Dewa Putu Kebes, and the details of the headdresses and clothing in his drawings are taken from puppets. He was also close to Ngendon, who demonstrated how to draw rounded human bodies, especially nudes. In 1948, Connect appointed Djata teacher of art in a short-lived artisan's school established by the colonial government in Batuan. In the 1980s Djata was still painting, in much the same</br>style as these pictures. His son also become a fine painter in the late 1970s. Djata produced twenty-seven pictures in this collection."twenty-seven pictures in this collection.")
  • Ida Bagus Made Djatasoera  + (Batuaninteractive.com: "Djatasoera's fatheBatuaninteractive.com:</br>"Djatasoera's father died when he was twelve, leaving him no land. He did not go to school and worked as a migrant laborer on coffee plantations, as well as dancing the gambuh and playing in the tourist orchestra. He studiedpainting with Ngendon, Togog, and Djata for a number of years. Djatasoera was Mead and Bateson's favorite artist. Bateson published one of his pictures in an</br>article on "Style, Grace, and Information on Primitive Art," under the name of Djatisoera. Mead and Bateson filmed him at work and</br>collected nearly all the pictures he made during their research period. Nineteen of his pictures are in the collection.</br>After World War II, Djatasoera went into nationalist guerrilla combat against the Dutch government with Ngendon. He was captured, beaten severely, and died in prison in 1948."ten severely, and died in prison in 1948.")
  • Ida Bagus Nyoman Tjeta  + (Batuaninteractive.com: "Tjeta was the younBatuaninteractive.com:</br>"Tjeta was the younger brother of Ida Bagus Teroewi, the headman of Batuan and Mead and Bateson's host. Their father was a renowned dancer who also painted cloth for dancers' costumes and funeral shrouds. Tjeta assisted him and also himself danced in the gambuh.Tjeta was about twenty-two years old when he began to study painting with Togog, and was among the first Batuan painters who learned to use colored paint and pastel. He produced twenty-nine pictures in the collection."d twenty-nine pictures in the collection.")
  • Drs. I Wayan Selat Wirata  + (Behind the beauty of a literary work, of cBehind the beauty of a literary work, of course there is an author / writer who made it. A person who is able to produce literary works must have reasons and origins that make him successful in making literary works. It is possible, starting from a sense of awe, someone can produce an extraordinary literary work and attract many people.</br></br>One of the writers who succeeded in producing literary works that came from a sense of awe and interest in the world of literature, namely Drs. Wayan Wirata Strait. He was born in Badung, July 20, 1959. He is the son of Mr. I Ketut Ordin (late) and Mrs. Ni Nyoman Rajug (late). He has his address at Br. Umakepuh, Ds. Buduk, District. Mengwi, Kab. Badung. He currently serves as the Chairman of the Widya Sabha, Badung Regency. The awards he has ever won include: 1st prize winner of the Palawakya District Competition. Badung, 2nd Place in Palawakya Prov. Bali, Kerti Budaya Kab. Badung.</br></br>The literary works that he made include: Poems (Besakih, Kisi-Kisi Pasisi Seseh), Short Stories (Cetik Dadong Tanggu), Geguritan (Matatah, Melasti, Sri Tatwa). Of all his literary works, he is more interested in his Geguritan entitled Geguritan Melasti, because in his work he can give tattwa about melasti, pengrupukan/tawur agung, nyepi and ngembak geni. Then there is Geguritan Matatah which contains the meaning and philosophy of matatah/cutting teeth, and Geguritan Sri Tattwa which contains agriculture in the fields. He created literary works because of his own desire, who likes to study literature and wants to create literary works like his predecessors.eate literary works like his predecessors.)
  • Belinda Lewis  + (Belinda holds a PhD and Honours degree in Belinda holds a PhD and Honours degree in Health Promotion from Deakin University and a Bachelor of Science and Postgraduate Diploma in Education from Melbourne University, Australia. She has worked as a researcher, practitioner and health promotion consultant with a wide range of government, NGO, professional and community organisations. These include community health services, local governments, health advocacy groups, environmental protection activists, Royal Women's Hospital, VICFIT, Heart Foundation, Diabetes Australia, Cancer Council and the Victorian Government Department of Human Services. She is a member of the Australian Health Promotion Association and the Public Health Association of Australia. Belinda has also worked in a range of international settings on key global health issues. She collaborates with researchers in Indonesia (Bali, Java, West Timor), Sri Lanka, Turkey and Canada to research: health promotion and health communication; communication for social change; cultural politics of health; community recovery after crisis, disasters & conflict; community capacity building; disability, diversity and discrimination; maternal and child health; sexual and reproductive health; HIV/AIDS; drugs, prisons and rehabilitation; abolition of the death penalty; peace-building and violence prevention.</br></br>Her work is published widely in Australia and internationally. She is an active participant in media interviews, features, public speaking and community workshops covering aspects of her research. Belinda has authored 3 books. The most recent, in 2015, is co-authored with Jeff Lewis (Professor of Media and Cultural Studies, RMIT University)f Media and Cultural Studies, RMIT University))
  • Diana Darling  + (Beloved writer about Balinese culture and society who has published numerous essays in books and periodicals.)
  • I Gusti Putu Windya  + (Biography Name : I Gusti Putu Windya. latBiography </br>Name : I Gusti Putu Windya. late. </br>He died in 2010. </br>Wife : Gusti Ayu Nyoman Date He has 6 children, one of his children has died and I got this information from his 4th child named Gusti Ayu Agustini. His address is at the market banjar, Yehembang village, Mendoyo sub-district, Jembrana district. </br></br>Performance : He has won many awards, the highest of which is the Kusuma Madya award (1990), with his most famous work being Geguritan Cangak. In addition, he also composed several geguritan including Geguritan KB which brought him to become the 2nd winner of the provincial level geguritan competition. In addition, he also has many other works, but many of his works claim that they do not have copyright. </br></br>Work : Apart from composing geguritan, he is also active in painting and carving, and he has also established a painting and carving studio, and he is self-taught in literature. He was also previously offered a work contract in Germany to teach painting but was refused. And he was a member of the assessment team for the awarding of the Dharma Kusuma art award at the level I province of Bali in the 1994/1995 fiscal year. </br></br>Special note : I got this information from a resource person, namely Gusti Ayu Agustini who is his 4th child who is also the heir of the late. Gusti putu windya. He said that alm. Mr. Gusti Putu Windya has a biographical book, but it is not in place at this time because it was brought to Germany and has not been returned as well as several documents related to his work which were also borrowed and have not been returned until now. In addition, in 2015 the geguritan cangak was adapted by Malaysia by making the cartoon character 'stork and crab' in animation in ancient times without the permission of the late heir. Gusti putu windya.ssion of the late heir. Gusti putu windya.)
  • I Gusti Putu Windya  + (Biography Name : I Gusti Putu Windya. latBiography </br>Name : I Gusti Putu Windya. late. </br>He died in 2010. </br>Wife : Gusti Ayu Nyoman Date He has 6 children, one of his children has died and I got this information from his 4th child named Gusti Ayu Agustini. His address is at the market banjar, Yehembang village, Mendoyo sub-district, Jembrana district. </br></br>Performance : He has won many awards, the highest of which is the Kusuma Madya award (1990), with his most famous work being Geguritan Cangak. In addition, he also composed several geguritan including Geguritan KB which brought him to become the 2nd winner of the provincial level geguritan competition. In addition, he also has many other works, but many of his works claim that they do not have copyright. </br></br>Work : Apart from composing geguritan, he is also active in painting and carving, and he has also established a painting and carving studio, and he is self-taught in literature. He was also previously offered a work contract in Germany to teach painting but was refused. And he was a member of the assessment team for the awarding of the Dharma Kusuma art award at the level I province of Bali in the 1994/1995 fiscal year. </br></br>Special note : I got this information from a resource person, namely Gusti Ayu Agustini who is his 4th child who is also the heir of the late. Gusti putu windya. He said that alm. Mr. Gusti Putu Windya has a biographical book, but it is not in place at this time because it was brought to Germany and has not been returned as well as several documents related to his work which were also borrowed and have not been returned until now. In addition, in 2015 the geguritan cangak was adapted by Malaysia by making the cartoon character 'stork and crab' in animation in ancient times without the permission of the late heir. Gusti putu windya.ssion of the late heir. Gusti putu windya.)
  • I Dewa Putu Berata  + (Born and raised in the village of PengosekBorn and raised in the village of Pengosekan, son of a great drummer, Berata was immersed in Balinese performing arts from birth. His creative talents, teaching capabilities and leadership qualities make him a noted figure in the Balinese music world. He is renowned for his compositional skills in both traditional and innovative styles and a rare ability to communicate a diverse knowledge of Balinese arts to both Balinese and international artists. He is the founder and director of Çudamani, and has lead Çudamani, on tours to venues including a nine-city tour with Arts Midwest 2012-13, Jazz at Lincoln Center (NY), the World Festival of Sacred Music-(LA), the Cultural Olympiad (Greece), EXPO (Japan) and the Tong Tong Festival (Holland) among others. As a result of Berata’s vision and commitment, Çudamani, has become an important artistic center in Bali, endeavoring to study and preserve rare classic forms of Balinese arts and also provide a space that nurtures the creative energies of young artists in Bali. Frequently he serves a the Music Director for the USA Bay Area based Gamelan Sekar Jaya. He is a graduate of STSI, Denpasar (Bali’s National Academy of the Arts).sar (Bali’s National Academy of the Arts).)
  • Rio Helmi  + (Born in 1954 to an Indonesian diplomat fatBorn in 1954 to an Indonesian diplomat father and a Turkish mother, Indonesian photographer and writer Rio Helmi has been capturing images of Asia and writing since 1978. His work can be seen in magazines, documentaries and more than 20 large format photographic books. Solo exhibitions of Rio’s still photography have been held in Bali, Jakarta, Madrid, Miyazaki, Palo Alto, San Francisco, and Sydney, and his works are held in private collections around the world including in London, Rome, Boston, Washington and Tokyo. Rio has been based in Bali for more than three decades, and speaks five languages fluently. He writes in Indonesian and English, and blogs about a wide range of topics including for the Huffington Post and the website ubudnowandthen.com dedicated to his hometown Ubud. He has also moderated panel sessions and conducted public interviews at the Ubud Writers and Readers Festival which is now an annual event of international repute. In 2010 Rio launched his book called “Book Memories of the Sacred” a retrospective portfolio of Bali over the last 30 years. His latest book is “Travels on Two Wheels, a Broader Perspective of Bali” a series of eclectic panoramas taken during nearly 30,000 kilometers of motorcycle trips around the island.ers of motorcycle trips around the island.)
  • I Made Arya Palguna  + (Born in 1976 in Ubud, Bali, he first learnBorn in 1976 in Ubud, Bali, he first learned painting under his father, I Ketut Sudana, a well-known painter in his own right. He received his Bachelors degree from ISI Yogyakarta in 1996 and he has lived in Yogyakarta since. A versatile artist, his distinctive style appears in his paintings, sculptures and other three-dimensional objects, and installation art, even performance art and murals. He has exhibited extensively in Indonesia and abroad.</br></br>He has received many commissions (for murals and performance art works) and has been invited to various workshops, fellowships, and residency programs, most recently at Muong’s Cultural Museum, Vietnam (2012). He is a two-time finalist of the Philip Morris Art Awards (2011, 2012) and finalist at the Indofood Art Awards (2002).inalist at the Indofood Art Awards (2002).)
  • I Nyoman Erawan  + (Born in 27 May 1958 in Banjar Dlodtangluk,Born in 27 May 1958 in Banjar Dlodtangluk, Sukawati, Gianyar, Bali. He was raised in the neighborhood of artists, painters, sculptors, dancers and musicians. He was conciously choose to follow the path of art during his teenager years and enrolled in the High School of Arts in Denpasar. Soon after, he travelled to Yogyakarta in Central Java and pursuing bachelor degree in Fine Arts at the Indonesian Art Institute. The two schools shaped his perception in arts and expand his realm in understanding the relations between the visual of traditional art in Bali and the technique and approach of Western art. The dialog betweenn the two world is evident in Erawan’s works up until now.</br></br>He begun working and living as an artist since 1983. For about 25 years he has been working in different fields of art as he is as much as talented in visual and performance art. His works are mainly inspired by the philosophy of life in Balinese-Hindu perspective called Trimurti, in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Visnu the maintainer or preserver, and Siva the destroyer or transformer. The form or destruction and incarnation, life and death, chaos and order, traditional and modern. He creates paintings and installation, video art and body art performance in many exhibitions in Indonesia and abroad. many exhibitions in Indonesia and abroad.)
  • Dodit Artawan  + (Born in Batubulan, Gianyar Bali, in 1978, Born in Batubulan, Gianyar Bali, in 1978, based in Bali, contemporary Indonesian artist Dodit Artawan studied fine art at the Indonesian Art Institute Denpasar Bali. Dodit is an artist whose focus is on the breakaway from the dominance of traditional Balinese art on the contemporary art scene in order to seek new expressions for contemporary art in Bali. Dodit Artawan has been widely exhibited in numerous solo and group exhibitions in Indonesia, Singapore, Malaysia, Japan, Italy and the USA. Dodit won the prestigious Bronze Award at the IWS Malaysia 1st International Watercolour Biennale (KL) in 2018.</br></br></br>https://vingallery.com/Dodit-Artawan</br>https://www.nowbali.co.id/dodit-artawan-from-photorealism-to-pop-art/odit-artawan-from-photorealism-to-pop-art/)
  • Aditya Parama Setiaboedi  + (Born in Denpasar in 2000. 2020: MSc in DatBorn in Denpasar in 2000.</br>2020: MSc in Data Analytics and Business Economics (MScDABE) Programme in Hong Kong Baptist University (HKBU). Free lance 3D artist based in Bali.</br></br>Aditya’s earlier works focused upon his cultural ideas of beauty. His recent works, however, consider culture and tourism and their possible future ramifications.m and their possible future ramifications.)
  • Putu Marmar Herayukti  + (Born in Denpasar, 13 September 1982. TattoBorn in Denpasar, 13 September 1982.</br>Tattoo and visual artist who owns the studio Hellmonk Tattoo. He is a prominent Ogoh-Ogoh artist and gained a following for use of eco-friendly materials. (https://www.famousbirthdays.com/people/marmar-herayukti.html)</br></br>About the statue in the profile picture:</br>‘Waruna’ Marmar’s recycled paper, rattan and bamboo installation is suspended from the ceiling on the second level of Wishingwell. It features the mythical guardian of the ocean surfing a wave. Part human part beast, the fantastic creature has a powerful upper torso and elongated octopus tentacles for legs. “I set out to make an artwork which included sustainable materials along with rubbish from the ocean,” Marmar said.with rubbish from the ocean,” Marmar said.)
  • Ni Wayan Idayati  + (Born in Denpasar, April 14, 1990, Ni WayanBorn in Denpasar, April 14, 1990, Ni Wayan Idayati writes poetry, essays and journalistic news. Her poetry has been published in the People's Mind, Bali Post, Lombok Post, Bali Sruti Journal, Le Banian Journal (Published in France). Her essays were published in Tempo, the Bali Tribune, Esensi & Nuansa Magazine (published by the Language Agency) and the Bali Tribune. Together with the Denpasar Sahaja Community, they are active in arts, culture, and literary discussions, as well as fostering creative communities and now they are part of the program at Bentara Budaya Bali (the cultural space of Kompas Gramedia).</br></br>In 2018, her poems passed the curation number for poetry anthologies and poet gatherings, including: Poet Gathering “From the Land of Poci 8: Negeri Bahari” in Tegal, Central Java; the anthology “Smile of the Valley of Ijen” and the National Literature Camp in Banyuwangi; Southeast Asian Poets Meeting 2018 in Padang Panjang; National Poets Meeting in Pematangsiantar; a poetry anthology with “Women Seeing the World” by the Sangkar Buku Community in Mojokerto and a poetry anthology with “Perempuan Bahari” (soon to be published).</br></br>She was invited to the VI Nusantara Poets Meeting (PPN) in Jambi (2012) and the 2015 Bali Emerging Writers Festival (BEWF), an annual literary festival that is part of the Ubud Writers and Readers Festival (UWRF) program. Entered in 175 Poets Selected Poetry Anthology From Negei Poci 6: Land of the Sea (2015), 39 Poets Chosen Poetry Writing Contest “Under the Black Umbrella” Indonesian Art Project Mourning (2015), 50 Poetry Chosen Poetry Competition for Andalas Coffee Community National (2013), the Top 5 of the Best Poetry Contest in the Archipelago (SCKS), and the Top 6 of the Best Poetry RBSCKS (2012) which were held at the Udayana Faculty of Letters (2012).</br></br>Her poems are also collected in the Book of Joint Poetry Anthology “Dendang Denpasar, Nyiur Sanur” (2012), Poetry Anthology of the VI Nusantara Poets Meeting “Sauk Seloko” (2012), Joint Poetry Anthology of Andalas Coffee Community Poetry Competition (2013), Poetry Anthology From the Land of Poci 6: The Land of the Sea (2015), The Anthology Book “From Fear to Be Strong” The Indonesian Art of Mourning Community Berkabung (2015), The Anthology of Poetry Books “Klungkung” (2016), The 2016 Indonesian Poetry Day Anthology Book 'Matahari Cinta Samudera Kata' , Anthology of Spiritual and Social Poems "Cavalry Night", published by Abdurrahman Wahid Center UI (2017).blished by Abdurrahman Wahid Center UI (2017).)
  • Tjandra Hutama  + (Born in Gianyar in 1981, his interest in Born in Gianyar in 1981, his interest in visual arts and design led to the study of Visual Communication design at the Institute of Technology Surabaya in 2000. As an out-of-state student from Bali, he worked part-time to support his studies. Jobs involving photography and graphic design began in these early stages. He graduated in 2005 and set out to start his own business in Graphic Design and Digital printing in 2006. His business channel exposed him to many content creators, photographers, writers and artists. Providing a wide network within Balis’ artist community. </br></br>Although Tjandra focused these days on establishing his business, regular involvement in creative projects inspired him to develop his potential through photography. Through involvement with Bali Photographers Association. During this period of self-development and creative soul-searching Tjandra participated in many photography competitions and exhibitions with many notable awards and titles from 2010.</br></br>The calibre of his work and leadership skills consequently earned him the trust of the community to serve as Head of the Bali Photographers’ Association for two terms, from 2016 until 2022. He is still an active member of the Federation Indonesia Photo Art Association.ederation Indonesia Photo Art Association.)
  • A.A. Ngurah Anom Kumbara  + (Born in Klungkung 14 February 1957, he comBorn in Klungkung 14 February 1957, he completed his Bachelor of Anthropology in 1982 at Udayana University, completed his Masters degree at Indonesia University in 1990, and doctoral degree at Gadjah Mada University in 2008. Becoming a lecturer at Faculty of Cultural Knowledge Udayana University since 1983 until now. He was on charge as the head of the anthropology department in 1997-2000, as the head of Hindu Indonesia University's S3 program of Religion and Culture in 2008-2011, as a secretary of the field of service in Institute for Research and Community Service Udayana University in 2011-2015, as the head of doctoral program (S3) Cultural Studies, Faculty of Cultural Knowledge, Udayana University from 2018 until 2022. He actively participates in seminars and writes accredited national and international journals, and has written several books.l journals, and has written several books.)
  • I Ketut Budiana  + (Born into a family of master artisans in tBorn into a family of master artisans in the village of Padang Tegal, Ubud in 1950 Budiana is highly skilled as a sculptor and architect, and specializes in making scared temple images, ceremonial masks and sarcophagus for ritual cremations. A former art teacher, he studied art at SSRI, the Indonesian School of Art in Denpasar and briefly with renowned Dutch painter and architect Rudolf Bonnet (1895-1978).</br></br>Budiana began painting in the early 70’s and exhibiting from 1974 and has shown his work in many foreign countries while he has won a string of local and international awards. He has been active as a curator at Ubud’s Museum Puri Lukisan from 1986 – 1990 while serving in 1990 as a curator at ARMA museum, and has contributed numerous articles and essays to various publications. Budiana has regularly exhibited at Bentara Budaya Bali while also exhibiting at Bentara Budaya Jakarta and Yogyakarta. at Bentara Budaya Jakarta and Yogyakarta.)
  • I Dewa Ketut Alit  + (Born to a family of artists in Pengosekan Born to a family of artists in Pengosekan village in Bali, Dewa Ketut Alit was immersed in Balinese gamelan from early childhood. His father Dewa Nyoman Sura and his oldest brother Dewa Putu Berata were the most influential teachers in his life. He began performing at age 11, and by age 13 was playing ugal (the leading instrument) in his village’s adult group, Tunas Mekar Pengosekan. 1988-1995 he played in the internationally acclaimed Gamelan Semara Ratih of Ubud village, touring internationally.</br></br>In 1997, a year before graduating from Academy of Indonesian Performing Arts in Denpasar (STSI Denpasar), Dewa Alit and his brothers founded Çudamani which immediately acknowledged as one of the best gamelan groups and went on their own international tours. </br></br>Seeking a wider path for expressing his approach to new music in gamalen, Dewa Alit founded his own gamelan group in 2007, Gamelan Salukat, performing on a new set of instruments of Alit’s own tuning and design.</br></br>As a composer, Dewa Alit is generally acknowledged as the leading figure of his generation in Bali. His “Geregel” (2000) was influential both in Bali and abroad, and was the subject of a 50 page analysis in the “Perspectives on New Music”. One of his compositions written for a Boston-base gamelan group Galak Tika, “Semara Wisaya” was performed at New York Carnegie in 2004 and another composition “Pelog Slendro” appeared at Bang on a Can Marathon in June 2006.</br></br>The list of his compositions for non-gamelan ensembles includes music for MIT's Gamelan Electrika, Talujon Percussion (USA) and Ensemble Modern (Frankfurt, Germany). </br></br>As a collaborator, Dewa Alit has worked with musicians and dancers from around the world. These include a contemporary theater production Theatre Annees Folles (director: Alicia Arata Kitamura, Tokyo), a butoh dancer Ko Murobushi, contemporary dancers Min Tanaka and Kaiji Moriyama, and Noh master Reijiro Tsumura. Moriyama, and Noh master Reijiro Tsumura.)
  • Made Gede Wiguna Valasara  + (Born: 1983 Hometown: Gianyar, Bali BasedBorn: 1983</br></br>Hometown: Gianyar, Bali</br></br>Based In: Gianyar, Bali</br></br>Made Gede Wiguna Valasara is an artist who deeply engages in painting and sculpture, his most known works are the ones with stuffed canvas technique. His subject matter varied from his reinterpretation on Bali Traditional Painting to appropriation on Renaissance and Modern Paintings. </br></br>He completed his studies at FSR ISI Yogyakarta (2007). He has participated in no less than 29 group exhibitions and three solo shows. His solo exhibitions include Animal Behaved, MonDecor Art Space, Jakarta, and Selasar Sunaryo Art Space, Bandung (2010); as well as Marshalling Lines and Colors, Galeri Canna, Jakarta (2009). </br></br>His works won a number of awards, including finalist at the UOB Painting of the Year (2012); finalist at the 2010 Indonesian Art Award; Best Painting at ISI Yogyakarta’s 23rd Dies Natalis (2007). In 2011, he was artist-in-residence at Selasar Sunaryo Artspace, Bandung.ence at Selasar Sunaryo Artspace, Bandung.)
  • Brett Hough  + (Brett Hough lectures in the Anthropology PBrett Hough lectures in the Anthropology Program (School of Political & Social Inquiry) and the Indonesian Studies Program (School of Languages, Cultures and Linguistics) at Monash University. He has been involved in Indonesian Studies since 1980 and undertaking research in Bali since 1989. His doctoral study was on the institutionalisation and bureaucratisation of Balinese performing arts. He is currently working on a project investigating conflict and conflict resolution in contemporary Bali. and conflict resolution in contemporary Bali.)
  • Ngwangun Bali antuk P2  + (Building Bali with P2 BuildinBuilding Bali with P2</br> Building and maintaining Local Wisdom and Building a Bridge of Hope for a Bright Future for the Island of the Gods</br></br>Om Swastiastu</br></br> Dear guests, I invite you to pray for a moment to the one God, with joy. I invite the brothers before starting this oration. Let us express our gratitude for the blessings given to us at this "Bali Oration" event, I will present the text of the oration entitled "Building Bali for P2"</br></br> Dear guests, as we know, Bali is a paradise island for tourists which is called "the last paradise" because of its natural beauty, and we as Balinese citizens must protect this Bali, as do our leaders who will bring Bali into a new era, If not us who else?!! as the leader of Bali he must see and pay attention to the tourists who come to Bali, because there are many cases of insults and bad behavior from tourists which can damage Balinese taksu.</br></br> Dear ladies and gentlemen, as they all know, Bali is very stressed by taksu, but now it may be even more lost, why?!!, because the tourists do not appreciate and probably do not know how our area is. Many of his actions have damaged the feet of our enemies. According to data from the Bali Ministry of Law and Human Rights as of April 10 2023, they have deported 82 foreign nationals (WNA) for committing violations. Foreigners from Russia are top with 21 members. Nigeria is in second place with 7 people, followed by the US and the UK with 6 each.</br></br> Distinguished guests, whoever will be the next leader of Bali, I hope to take a firm stance against tourists who behave not in accordance with the moral norms that exist in Bali, it is important for leaders to find a balanced solution between good economic growth and preserving heritage Balinese culture and nature. In my opinion, the next leader of Bali must discuss P2, namely the first is conservation, meaning that conservation means that we as Balinese citizens must not be deceived, because every tourist may make a mistake which will reduce our taksu. The second P is Management, management means providing information about several places in Bali that are still sacred and strictly prohibiting tourists from doing inappropriate actions.</br></br> I want to remind them, once again, that whoever leads Bali must be firm in collaborating and organizing to resolve and investigate all existing problems and we as Balinese must also participate in protecting the world of Bali, if not us, who else. I close with pramasanthi om santhi santhi santhi om</br></br>Salam demokrasi!!santhi santhi santhi om Salam demokrasi!!)
  • Tantangan utawi Pikobet Sane harus Kehadepin sareng Calon pemimpin Bali  + (CHALLENGES THAT PROSPECTIVE LEADERS OF BALCHALLENGES THAT PROSPECTIVE LEADERS OF BALI MUST BE ABLE TO FACE</br></br>Om swastyastu</br>First of all, I would like to thank you very much for the opportunity,</br>The 2024 elections are just around the corner.</br>Bali is the Island of the Gods, Bali is world famous for its tourist and cultural destinations.</br></br>The complex problems that Bali's prospective leaders must face require serious attention. Examples include the actions of tourists in Bali, waste management in Bali, the welfare of the Balinese people, and corruption.</br></br>Prospective leaders must be able to formulate policies, and be able to take action to overcome problems or obstacles well, as well as collaborate with various parties. And prospective leaders of Bali must firmly take policies or actions so that Bali remains prosperous, stable and sustainable. Bali Island beautiful that continues to shine with its natural and cultural wonders,ine with its natural and cultural wonders,)
  • Luh Yesi Candrika, S.S.,M.Hum.  + (Candra Kanti is a fairly young female writCandra Kanti is a fairly young female writer whose work has become the best kidung literary work. Candra Kanti comes from Karangasem but lives in Denpasar, she was born on October 20, 1990.</br></br>She is now a mother, even though she is a mother she is still active in writing and working as a lecturer at a university in Bali and as a Balinese language instructor in Tabanan.</br></br>In a very busy state, he was able to finish his work and become one of the best kidung literary works. She said that it was all thanks to the support of her husband who is also someone who loves literature. The song he composed was entitled "Amelad Prana"ng he composed was entitled "Amelad Prana")
  • Catur Yudha Hariani  + (Catur Yudha Hariani was born on September Catur Yudha Hariani was born on September 14 in Trawas, Mojokerto, East Java. After graduating from High School (SMA) in 1990, she became an environmental activist and joined the Seloliman Center for Environmental Education (PPLH) in Trawas. In 1997, PPLH Bali established a branch in Sanur where Catur worked on a casual basis. Then in 2002, she was appointed Director. Catur handles a number of environment-related programs. Among these are waste management, education and community facilitation for dealing with the self-management of waste, and waste management workshops for students. Catur is very much devoted to her life as an environmental activist. She is also known as one of the activists in the movement rejecting the reclamation of Benoa Bay.nt rejecting the reclamation of Benoa Bay.)
  • Chandra Yowani  + (Chandra Yowani, born in Denpasar, FebruaryChandra Yowani, born in Denpasar, February 10, 1971. She has been writing poetry since 1981. She has joined the Sanggar Cipta Budaya under the guidance of Gm Sukawidana. Her poems have been published in the Bali Post, Nusa Tenggara, and Gadis Magazine, as well as in the books Rindu Anak Mendlang Kasih, Yarns of Bianglala, Di Tangkai Mawar Mana, and Peladang Kata. Now she is a permanent lecturer at Udayana University. permanent lecturer at Udayana University.)
  • Ms Klara Dallas  + (Change qarantene and travel rules make it Change qarantene and travel rules make it easier to comply remember people are coming on vacation reinstate flights to Bali prevent The Scams against expats clean up the beaches outlaw single plastic containers and straws give part of the airport visa on arrival tax to the feed the locals improve hospital care and cleanupe locals improve hospital care and cleanup)
  • Ni Putu Citra Sasmita  + (Citra Sasmita, whose full name is Ni Putu Citra Sasmita, whose full name is Ni Putu Citra Sasmita, was born in Tabanan, Bali, March 30, 1990. Her name has become known in Indonesian fine arts through her paintings, installation art and performance art which have been exhibited at home and abroad. Citra is one of the recipients of the Gold Award Winner in the 2017 UOB Painting of The Year painting competition for the professional artist category. Citra's works often represent women's issues, especially regarding cultural identity, the position of women in patriarchal culture and social and cultural realities.</br></br>Citra grew up in a family of traditional performing artists who often performed from village to village in Hindu ritual ceremonies in Bali. That's when she became interested in the world of art. Citra studied at the Faculty of Letters, Udayana University (2008) and the Faculty of Mathematics and Natural Sciences, Ganesha Education University (2009), because her desire to continue her painting studies was not approved by her late father, who was then a Chemistry teacher.</br></br>However, her dream as an artist grew again when she joined a campus theater group and became a short story illustrator in the Bali Post daily. It was when she became a short story illustrator that she began to explore the world of art on a self-taught and actively participates in exhibitions in Bali and outside Bali. The two fields of science (literature and science) that she has studied have guided her work in formulating ideas and social issues.</br></br>In 2016, her work which was exhibited at the exhibition "Bali Art Intervention #1" was highlighted because it presented a female figure kissing a pig's head, presenting images of Balinese women's cultural life under psychological and social pressure, as the title of the exhibition presented critical works. about the dark side of the island of Bali. Then in 2016 in the exhibition “Merayakan Murni”, an exhibition dedicated to the painter Murniasih (1966-2006), Citra presented an installation of 100 pieces of ceramics combined with the hanging scales “Mea Vulva, Maxima Vulva” which represents the inequality of social class and people's habits. Some of her works have also been exhibited in Melbourne in an exhibition entitled Crossing Beyond Baliseering.tion entitled Crossing Beyond Baliseering.)
  • Ayu Gayatri Kresna  + (Co-Founder and Head Chef, Pengalaman Rasa Co-Founder and Head Chef, Pengalaman Rasa</br></br>"As a Northern Balinese native, Ayu's cooking training began as a child in her family's kitchen - learning the arts of traditional cooking while honing her senses in refining the taste, texture, and appearance of numerous authentic dishes.</br></br>Combining family recipes passed down through generations with lovingly selected high quality local produces, Ayu is passionate about preserving Northern Balinese cuisine and introducing it to the world."</br></br>https://www.pengalamanrasa.com/e world." https://www.pengalamanrasa.com/)
  • I Made Gunarta  + (Co-Founder of The Yoga Barn, Director of CCo-Founder of The Yoga Barn, Director of Community Relations & Co-Founder of The BaliSpirit Festival</br></br>Pak Dek, has been a fundamental component of The Yoga Barn’s vision to connect with the Community. Dek is an accomplished architect and is the vision behind the aesthetic Balinese style of The Yoga Barn, which is all created with reclaimed wood and hand-crafted elements.</br></br>Dek comes from a long lineage of socially minded Balinese; his great-grandfather, the Head of The Sacred Monkey Forest restoration project in the early ‘70’s, and his mother, a school principal for over 30 years, are just two of his role models.</br></br>In 2010 Dek took revitalization of the Monkey Forest into his own hands and launched a reforestation project planting hundreds of trees and creating a safer and leafier home for the indigenous and sacred macaque monkeys. Along with his wife, Meg, Dek is also the co-founder of Yayasan Kryasta Guna, a not-for-profit environmental, arts and cultural organization with a mission to inspire local youths in Ubud to invest in their environment and community while learning about their Balinese traditions.</br></br>In 2016 Dek started an organic farming initiative 45mins north of Ubud and spends much of his time working on the land.d spends much of his time working on the land.)
  • Cokorda Sawitri  + (Cok Sawitri was born in Sidemen, KarangaseCok Sawitri was born in Sidemen, Karangasem Bali, September 1st, 1968. Now, She lives in Denpasar, Bali. In the middle of 2006, she collaborated with Dean Moss from New York in Theatre Dance Event. Besides being a theater activist, she also wrote many articles, poems, short stories and novel. She has been active in social cultural activities, and is the founder of Perempuan Mitra Kasih Bali Firm and Tulus Ngayah Group. </br></br>Her works include Meditasi Rahim (1991), Pembelaan Dirah, Ni Garu (1996), Permainan Gelap Terang (1997), Sekuel Pembelaan Dirah (1997), Hanya Angin Hanya Waktu (1998), Puitika Melamar Tuhan (2001), Anjing Perempuanku, Aku Bukan Perempuan Lagi (2004), Badan Bahagia. Novelnya adalah Janda dari Jirah, Tantri, dan Sutasoma.</br></br>Longer biography available at http://lifeasartasia.weebly.com/uploads/2/3/6/8/23681555/cok_sawitri.pdfm/uploads/2/3/6/8/23681555/cok_sawitri.pdf)
  • Gede Suanda  + (Contemporary art is an empowering communicContemporary art is an empowering communication platform allowing artists to give a visible presence to the invisible. The artist’s role is often to highlight important socio-political and environmental issues to create awareness and hopefully change. </br></br>Gede ‘Sayur’ Suanda is a multi-talented contemporary Balinese artist who expresses statements about the rapid changes engulfing Bali in both 3-dimensional works as well as paintings. In 2015 Sayur’s landmark installation ‘Last Defence’ was presented in ‘Violent Bali’, a group exhibition by sixty of Bali’s finest contemporary artists at the Tony Raka Gallery in Ubud. The towering 3-metre-high impression of the ‘rook’ chess piece made from bamboo, dried rice stalks and husks was his comment concerning the rapid transformation of rice fields in Bali for modern development. According to the artist, the rice fields are vital to the Balinese way of life, which is constantly under threat and the last defence of the culture, which is increasingly vulnerable to change.</br>More recently, Sayur has channelled his creativity into contemporary paintings. As a child, he learned the technical aspects of Balinese painting passed down through the generations. Drawing is the basic fundamental of Balinese painting and the initial process of rendering the composition details. The application of paint with small hand-crafted bamboo brushes follows various technical, traditional guidelines. The physical action is similar to drawing or colouring in.</br></br>The ancient classical Balinese religious paintings that decorate the temples throughout the island function as a collective expression of ideas from the community to the Balinese Gods and ancestors. During the last century, technical aspects of these sacred paintings merged with western painting techniques and individual ideas. As a result, various village styles or “schools” of painting evolved from the 1920s onwards, catering to new tourist markets.</br></br>A distinct aspect of traditional Balinese painting is that all visual information is contained within black outlines. When observing these paintings, flowing lines and rhythms entertain our eyes as we traverse the composition from left to right and from the top down. Natural universal rhythms are inseparable from daily life and determine the timing of the many Balinese religious ceremonies and cultural practices. Visual rhythms, therefore, are a unique and essential essence of Balinese painting.</br></br>From 1999 – 2006, Sayur studied fine art at the Indonesian Institute of the Arts of Yogyakarta. Living and learning outside the cultural restraints of his village opened him to new ideas, creative influences and time to explore different artistic possibilities. Such an experience is instrumental for the Balinese to help them break free from the rules and collective mindset that define Balinese painting. In doing so, they may create compositions to express personal ideas constructed with modern western painting techniques. Sayur’s time living within a foreign culture allowed him to perceive his upbringing and the ever-changing dynamics of modern Bali through a new lens. </br></br>Richard Horstman</br>@lifeasartasiaw lens. Richard Horstman @lifeasartasia)
  • Menciptakan lingkungan yang berkelanjutan.  + (Creating a sustainable environment. WastCreating a sustainable environment. </br></br>Waste is a very common problem in the global community, and Bali is one of them. Waste is the residual material generated from a domestic or industrial production process that has negative consequences and impacts on the environment. </br></br>Bali is an island known for its many beautiful tourist attractions, making it a frontline destination for world tourism as well as a gateway to Indonesia from various countries, so it is visited by many foreign and local tourists, but until now there are still problems in maintaining environmental cleanliness, namely a lot of garbage everywhere and cannot be resolved completely. As previously known, there was a fire in one of the landfills in Bali which resulted in air pollution that disturbed the health of the surrounding community and the smoke could be seen from the air, besides that the news of the fire was also spread on various social media platforms. In addition, cleanliness on the beaches, rivers and on the streets is also still not maintained cleanliness and openness in disposing of garbage, so that from the incident certainly tarnished the image of Bali tourism because considering tourism is synonymous with cleanliness, beauty, friendliness of the surrounding environment.</br></br>Therefore, the government in Bali needs to emphasize prioritizing environmental cleanliness programs with waste processing technology, such as collecting plastic waste and then giving it to the environmental agency to create a waste bank, as well as the firmness of regulations in creating changes in attitudes and behavior of the community and village officials through Bumdes must be maximally mobilized, waste is used to be useful and economically valuable. Moreover, plastic waste is the main impact in environmental pollution because it cannot be destroyed by itself, therefore the need for affirmation of plastic waste recycling with the 3R steps, namely reducing, reusing, and recycling. So that it is expected to create a clean and healthy environment, a healthy environment is a clean environment starting from fresh air with minimal air pollution, clean water, and soil. Living with a clean and healthy environment will certainly have a positive impact on our lives, which indirectly a healthy environment will nourish our body and soul. For that, let's together maintain the cleanliness of the surrounding environment for a healthy and clean environment, if not us who else.and clean environment, if not us who else.)
  • I Gusti Dibal Ranuh  + (Creative director and activist Dibal RanuhCreative director and activist Dibal Ranuh is a multi-disciplinary visual artist whose work consistently and powerfully champions the voice of Nusantara. In its purest form his art reflects a creative idealism that heralds the transformative power of the arts.</br></br>Gusti Dibal Ranuh from Singaraja Bali, graduated from Trisakti Jakarta graphic design. Founder of the Matahati Kitapoleng Foundation in the field of creative space for contemporary art creation who is concerned with developing talents with disabilities in the arts, especially those who are deaf and disabled. As Artistic Director and Film Director, Dibal creates performance artworks and films that refer to the cultural roots of the archipelago’s traditions. In 2018, Dibal launched the book The Journey of Dang Hyang Nirartha at the Borobudur Writers & Cultural Festival.</br></br>In 2020, Dibal Ranuh was awarded Best Cinematography in Indonesia’s D(E) Motion Festival film competition. And through the film Lukat, Dibal won first place at the EURASIA Project International in Italy. In 2021, the film Wong Gamang; The Journey of Dewi Melanting, directed by Dibal, won many awards, including Best Fiction Film Director, Best Artistic Film, and Best Editing. In 2022, BWCF, the Ministry of Education and Culture and UNESCO entrusted the Mahendraparvata dance film’s directorship in collaboration with Cambodia and Indonesia’s cultures.</br></br>A Conversation with Dibal Ranuh</br></br>Dibal Ranuh’s poetic creative direction in films and stage performances began from a love of travel and photography. Studying visual design, it is the love of travel and exploration together with his camera that paved the path of visual framing and a natural inclination towards visual storytelling. The artist’s love of our rich tribal heritage fuels the artistic textures that enrich his visual style.</br></br>Passion for the Heritage of Nusantara</br></br>“I like to travel to the forests. I liked to go to tribes like the Badui, Dayak, and Toraja and lived for months within these communities. You can say it is there I discovered a new life. I found something very unique among the tribes. From there, I returned to university. As a designer, I got a lot of ideas from my time in tribal communities. My interest in our tribal diversity began from then. Indonesia is so dynamic, many tribes can inspire us in our process of creativity.”</br></br>For full Biography go to https://sawidji.com/about-sawidji/artists-sawidji-gallery/dibal-ranuh/t-sawidji/artists-sawidji-gallery/dibal-ranuh/)
  • Mengubah Target Pasar Wisatawan  + (Currently, Bali has a heavy responsibilityCurrently, Bali has a heavy responsibility in restoring tourism due to the COVID-19 pandemic. As one of the regions with the largest source of PAD from tourism, Bali is experiencing a slump with a crucial decline in annual income. Therefore, stakeholders both from the private sector and the government and even the community must find solutions to these problems.</br></br>If you analyze the target market, Bali itself tends to target foreign tourists. This can be seen in terms of the supply provided by Bali, price differences and special treatment for foreign tourists. This can also be felt in terms of the quality of accommodation and attractions available that adjust to standards or market segmentation of international tourists. This affects the high cost or spending of money needed by tourists to enjoy tourism in Bali. Meanwhile, the market power of foreign tourists is currently still very low given the circumstances that make it difficult for foreign tourists to visit Indonesia, such as restrictions on the entry of foreign flights, quarantine policies in Jakarta and the development of COVID-19 cases which are still not safe.</br>Therefore, tourism can now rely on domestic tourists to target the Bali tourism market. This then requires policies that adapt to the segmentation of domestic tourists. This must also get support from the private sector and the wider community, which tend to ignore the domestic market because spending money tends to be lower. This can result in a low level of satisfaction and engagement of tourists with the destination so that it can influence their decision to revisit Bali.</br>To prevent this, the government needs to provide more specific policies to increase the interest of domestic tourists visiting Bali. It also aims to increase tourism competitiveness in Bali with 5 super priority destinations that are currently the focus of the central government, such as Lake Toba, Mandalika, Borobudur, Labuan Bajo and Lingkupang. Optimizing the domestic market for tourism recovery in Bali will be able to be a good economic stimulus during the COVID-19 pandemic, which still doesn't know when it will end.which still doesn't know when it will end.)
  • DG Kumarsana  + (DG Kumarsana was born in Denpasar. He has DG Kumarsana was born in Denpasar. He has been writing poems since adolescent and it was published in various media and compiled in a book. besides poem, he also write short stories, novel and essay, even in Indonesian or Balinese. He has been active in Sanggar Minum Kopi. His books that has been published are Komedi Birokrat (2010), Senggeger (2010), Kabinet Ngejengit (2012), Mata Dadu (2014). Now living in the village of Telagawaru, Labuapi, West Lombok.llage of Telagawaru, Labuapi, West Lombok.)
  • I Gusti Putu Sudharta  + (Dalang (shadow master) I Gusti Putu SudartDalang (shadow master) I Gusti Putu Sudarta PhD, was born into a family of artists in Bedulu village and has been performing music, dance, and shadow theater since he was six years old. He is a permanent faculty member in the theater department at Indonesian Institute of the Arts (Bali) and holds a masters and PhD in theater from the National Institute of Arts in Solo, Java. He regularly performs various forms of traditional Balinese music, mask dance and wayang kulit (shadow theater) in ceremonial contexts and has taken part in several international tours and inter-cultural experimental music and theater projects.l experimental music and theater projects.)
  • Jalan Rusak di Kabupaten Buleleng Penghubung Desa Bukti dan Desa Tanjung Perlu Perhatian Pemerintah Bali  + (Damaged Roads in Buleleng Regency ConnectiDamaged Roads in Buleleng Regency Connecting Evidence Village and Tanjung Village Need Attention from the Bali Government.</br></br>Om Swastyastu,</br>We respect Mr. Teacher and brothers and sisters who we love very much.</br>First of all, we would like to express our gratitude to Ida Sang Hyang Widhi Wasa, because it is thanks to Him that we can express opinions regarding issues that must be paid attention to by the Bali government.</br></br> Where you can see that there are lots of damaged roads in Bali, such as Jalan Merak, Buleleng Regency, which is precisely the link between Evidence Village and Tanjung Village.</br>From the information we got, this road has been damaged for quite a long time, even for years, according to residents there. Local residents said that this street had already been patched using cement with the residents' limited funds, but it was damaged again, and local residents even said that this street had gone viral before, until it was planted with banana trees.</br>The roads are so damaged that residents feel like they are riding horses. Due to the damaged roads, residents often fall and fall, especially when it rains, the roads are slippery.</br>Evidence Village Head, Gede Wardana, said the road had been damaged for a long time. The village cannot repair the road because it is not within their authority.</br>The solution to this problem is that the government promises that the roads will be repaired by 2024.</br></br>That's all we can say. More or less sorry. We close with paramasanthi.</br>Om Santhi, Santhi, Santhi Om.aramasanthi. Om Santhi, Santhi, Santhi Om.)
  • David Metcalf  + (David Metcalf is a professional photographDavid Metcalf is a professional photographer, originally from New Zealand but has been living in Bali since 2011.</br>David has been working with communities in Bali, Kalimantan, Sumba to help preserve the culture and leads photography and cultural tours to various parts of Indonesia, Japan, Alaska, Vietnam, Myanmar, Sri Lanka and India.</br>He has been involved in organizing many events in Bali including the indigenous film festival held in Bali in 2018, 19,20, and is the founder of The Togetherness Project which is at the forefront of community-based tourism and assisted Balinese communities during Covid.</br></br>To find out more please visit www.davidmetcalfphotography.com, Facebook and Instagram David Metcalf photography and www.thetogethernessproject.net.graphy and www.thetogethernessproject.net.)
  • WUJUD DEMOKRASI DALAM PEMILU  + (Democracy is a 'surrogate election' by incDemocracy is a 'surrogate election' by incompetent parties in which many agreements are perverted.</br></br>Democracy has now been greatly eroded by the current of globalization, even democracy itself has become a pioneer which has resulted in our country being influenced by foreign or western countries. In fact, it can be said that currently Indonesian democracy reflects more on external democracy so that the meaning of democracy itself has been erased or even faded. In fact, if Indonesia wants, we can make this democracy a forum for making the country developed. The cultivation of democracy itself should also have started from an early age so that the understanding contained therein can become a motivation for a good state life. And the nation's next generation will be able to implement a good and correct democratic system.</br></br>Indeed, it can be said that Indonesia is a democratic country, but in fact that democracy has been eroded and even polluted by foreign countries that have entered our country. Especially at this time, after I read and quoted from detik.com there it was explained that former Indonesian President Megawati Soekarnoputri confirmed that the validity of democracy in Indonesia was being tested. Because there are still citizens who cannot accept diversity in Indonesia. Many people differentiate between religion, race, or who they are. Leaders should be able to erase all of that, not just make promises.</br></br>With these differences, it is clear that Indonesia is not a democratic country because Indonesia has been oppressed by the current of globalization which is becoming more and more rampant among society. Even if we look at the government system, Indonesia has adopted a western country system. reflecting on rural areas that have never been reached by the government and are thought to be forgotten by the government. So here it will give rise to discrimination that the village is not the State of Indonesia because it is never considered. And young people who will succeed the nation will never be instilled with a spirit of democracy because their parents are reluctant to see a president who has treated the villages unfairly.</br></br>This will be a great opportunity for other countries to develop business and make rural residents think better of foreign countries.</br></br>In my opinion, there are several things that make democracy possible so that it can be implemented well, democracy provides the opportunity to enable citizens to participate directly or through their agents, in the formulation, development and making of laws. And the most important thing is, Indonesian citizens must be able to implement cooperation not only with the government but also with the people. Because good democracy is created by the government for the people and back to the people.ent for the people and back to the people.)
  • Deniek G. Sukarya  + (Deniek G. Sukarya has been in professionalDeniek G. Sukarya has been in professional photography for over 43 years . His works are widely published in books, calendars, newspapers, magazines, advertisements, brochures, posters and billboards. In stock photography, he offers a huge collection of travel, culture, landscape, nature and fine art photography. </br></br>Deniek started his career as a freelance photographer and writer for many prestigeous national publications before joining an international advertising agency in 1981 as a senior copywriter, and a year later as creative director.</br></br>As a concerned photographer, Deniek gives numerous photography workshops for the development of photography in Indonesia. He also writes for many publications: from travel, culture and nature to “how-to” articles on various aspects of photography. Since 1993, Deniek published several magazines: VISI, for STARKO (until 1995); RODA for Honda Motorcycle Indonesia (until 2007); FOTO MODERN, for Fuji Film Indonesia (until 2005). In 2005, he published NIKONIA magazine, 6 editions quarterly photography magazine for Nikon Indonesia. </br></br>Deniek is a founder member and chairman of the LEICA Photography Club of Indonesia, and the conceptor and curator/director of Galeri Foto CAHYA, the first fine art photo gallery in Indonesia. He held numerous photo exhibitions, including three exhibitions at Galeri Foto CAHYA in 1998 and 2000. In 2002, he organized Harmony - Potret Indonesia Damai and Images of Jakarta photo exhibitions for the Jakarta Tourism Office. </br></br>In 2004, he held two exhibitions in Osaka, Japan, INDONESIA -ENCHANTED MOMENTS, for the Consulate General of Indonesia in Osaka and Sakata Inx Corporation. He also organized the exhibition, A Tribute to Aceh, for Aceh Tsunami Relief Funds in 2005 working together with photo journalists from the leading national newspaper, Kompas. In 2005, Deniek also held an exhibition: Indonesia - Enchanted Moments, in the National Gallery of Zimbabwe, Harare for the Indonesian Embassy in cooperation with the Minister of Tourism and Environment of Zimbabwe. 76 of the best photographs captured during his travel in Zimbabwe were shown in a grand exhibition, Zimbabwe - Permata Afrika, in Plaza Senayan, Jakarta, in December 2005. </br></br>In 2006, Deniek organized the photo exhibition, Presiden Juga Manusia Biasa, about the everyday life of President Susilo Bambang Yudhoyono by Abror Rizki and Dudi Anung Anindito at Pondok Indah Mall. In 2008, he organized a photo exhibition entitled The Allure of the Undiscovered West Bali in the Sultan Hotel, Jakarta.ed West Bali in the Sultan Hotel, Jakarta.)
  • DENPASAR SAYAN KOSEKAN  + (Denpasar is the capital of the province ofDenpasar is the capital of the province of Bali, its strategic regional position has made this city develop very quickly so that the past face of the city of Denpasar as a royal city has changed into a modern and multiethnic city. The development of the Denpasar City concerns growth in the economic, educational, technological, social and cultural aspects which have been mixed with foreign culture. The city of Denpasar also has the characteristics of a big city where there is widespread development of shopping centers, modern markets, entertainment centers, hotels, and many more. This certainly has a positive impact on Denpasar's economy, but on the other hand, this affects the population of Denpasar city which will also affect several other aspects.</br> The population according to the latest BPS data for 2023 is 726,800 people. The population of Denpasar will be numerous if we add the number of residents from outside Bali and foreigners who live to earn a living. A large population will affect the carrying capacity from various aspects, especially the availability of space, which is very limited and is not increasing</br></br>Spatial planning problems in Denpasar include residential housing which is increasingly eroding green open land which should be at 30%. The large population makes land increasingly scarce, land prices will increase, the development of the city of Denpasar can no longer be oriented horizontally but vertically to save the remaining land. This can make the city of Denpasar even more difficult to breathe. A large number of populations also brings other problems such as the accumulation of waste in landfills, one of which is the Biaung landfill. Until now, in my opinion, there is no best solution by the government for waste management in landfills. Various ideas and solutions have been offered, such as TPS3R, buying machines, and even planning to build another waste’s management point at the landfill, but this does not help at all, the government should stop the problem at the source, not with solutions that will create new problems.</br></br> The problem that Denpasar also has recently experienced is traffic jams. Congestion occurs due to the increasing population and each resident has a private transportation and does not use public transportation. The government should be able to optimize public transportation programs such as Teman Bus or Trans Sarbagita Bus which can be used especially for student or workers, and try to increasing bus routes and build more bus stop facilities. The government should also provide sosialitation regarding the benefits and purposes of using public transportation to people so that people know why it is better to use public transportation rather than private transportation.</br></br> It can be concluded that population density can have bad effects in various areas of life such as spatial problem in Denpasar, waste and pollution problems, and heavy traffic jams everywhere. With this, it is hoped that the government can think of a way out of the various problems described earlier, lest this problem has already become big or even gone viral on social media before being handled by the government. I also hope that the government will always be open to the opinions and views of the community so that solutions can be found together.y so that solutions can be found together.)
  • Desak Made Rita Kusuma Dewi  + (Desak Made Rita Kusuma Dewi is a rock climDesak Made Rita Kusuma Dewi is a rock climbing athlete from Bali. She was born in Buleleng, January 24, 2001. Now she is studying in the Department of Sports Education at Undiksha Singaraja. In rock climbing, Desak has collected many achievements for the speed and combined (speed, lead, boulder) categories, including 1st place in the Speed Wr category at the age group national championship in Riau (2018) and in the national championship in South Kalimantan. </br></br>She was also presented with a gold medal for Buleleng at the 2019 Bali Porprov for the speed wr category. Desak has been rock climbing since the 2nd grade under the guidance of her aunt who is also a long-distance athlete. Desak won the gold medal with a record speed of 7.01 seconds at the XX Papua National Sports Week (PON) in 2021. Previously, she participated in the Rock Climbing World Cup championship in Villars, Switzerland. In the future, she will become a projection athlete for the Red and White National Team for the 2024 Paris Olympics.National Team for the 2024 Paris Olympics.)
  • Dewa Ayu Carma Citrawati  + (Dewa Ayu Carma Citrawati, born in Getakan,Dewa Ayu Carma Citrawati, born in Getakan, Klungkung, Bali, February 24 1990. Completed undergraduate studies at the Bali Literature Study Program FIB Udayana University in 2011. In 2017 completed master's studies at the Postgraduate Pure Linguistics program FIB Udayana University. He has published several books such as Smarareka (2014), Sumanasa Sekuntum Liberation (Adaptation of Kekawin Sumanasantaka, 2019), Aud Kelor (2019). He received the highest award in the field of Balinese Literature from the Rancage Cultural Foundation in 2017 for his short story collection entitled Kutang Sayang Gemel Madui (2016). Experienced in teaching, was a Balinese language teacher at SMPN 3 Denpasar (2011-2018), Balinese Language Instructor in Klungkung Regency (2016-2017). Until now, he is still actively involved in various development activities related to Balinese language, literature and script. From 2018 until now, he has been actively writing Balinese language articles on Wikipedia Bali under the auspices of the Wikimedia Denpasar community. For his dedication to the Wikimedia community, the development of Balinese language and script, the Wikimedia Foundation awarded him the Wikimedian of the year award, as The Newcomer of the year 2021.r award, as The Newcomer of the year 2021.)
  • Dewa Ayu Eka Putri  + (Dewa Ayu Eka Putri is an artist-anthropoloDewa Ayu Eka Putri is an artist-anthropologist and is currently a dance instructor at the critically acclaimed arts organization, Sanggar Cudamani. She received her B.A. from Universitas Udayana in cultural anthropology and is a leading figure in women’s gamelan ensembles all around Bali. Born into a family of artists, Dewa Ayu is internationally known for her collaborations of traditional and contemporary works in theater, music, and dance while actively working as a freelance research assistant. The majority of her work advocates for the legal protection of women and children which is highlighted in various discursive artistic modalities.in various discursive artistic modalities.)
  • Dewa Gede Purwita  + (Dewa Gede Purwita is a lecturer in the fieDewa Gede Purwita is a lecturer in the field of Visual Communication Design at the Bali Design and Business Institute. Dewa is also a painter and writer known by the pen name Purwita Sukahet. He expressed his deep interest in the work of I Ketut Gede Singaraja in a solo exhibition dissecting the works of this painter from Buleleng who is famous for his pictorial realism style in 2019.s for his pictorial realism style in 2019.)
  • Dewa Putu Bedil  + (Dewa Putu Bedil was born in Ubud, Bali, inDewa Putu Bedil was born in Ubud, Bali, in 1921. Died in 1999. Bedil was one of the youngest members of the Pita Maha group he joined in 1936. With the encouragement and direction of Rudolf Bonnet, he developed a unique painting style with color - elegant color. He often depicts daily life, rituals, or dance in his paintings. The figures in his paintings are sleek and surreal. His works have been collected by the Bali Cultural Park (Denpasar, Bali), Tropen Museum (Amsterdam, Netherlands), Rijksmuseum voor Volkenkunde (Leiden, Holland), the National Museum (Jakarta), and many world-class collectors. He has exhibited his works at home and abroad, such as at the Jakarta National Museum and at the Indonesia-Japan Friendship Festival (Morioka, Tokyo, 1997).riendship Festival (Morioka, Tokyo, 1997).)
  • Dewa Putu Kantor  + (Dewa Putu Kantor, born in Sukawati, GianyaDewa Putu Kantor, born in Sukawati, Gianyar, 1957. He is a traditional painter who adheres to the Batuan painting style. He learned to paint the Batuan technique from the painters Dewa Putu Mangku, Dewa Made Jaya, and Made Body. For more than nine years he has absorbed the famous Batuan style painting technique with the concept of a picture space that is full, complicated, dark in color and without a clear focus.</br></br>He then simplified the complex style into the pulling and twisting of lines that form a certain shape without any Chinese ink coating process. The drawings rely solely on the strength of the lines that affect the integrity of the work. The themes of his works have also changed, from wayang stories to the daily themes of rural communities. He became known as a neo-traditional painter because he portrayed the daily life of Balinese rural people in the contemporary era. He returns the power of Balinese painting to its core, namely, lines. At first glance, his drawings remind people of the works of I Gusti Nyoman Lempad.</br></br>The wholeness and strength of his work rests on the simplicity and sharpness of the lines. Using Chinese ink and a small bamboo brush, he draws the atmosphere of the market, the penggak stall, the tajen, the ceremony at the temple, the village youth playing the gamelan, the car with its cargo, the children with their games, folklore, the girl bathing in the river, and various activities. village life. The subject matter he works on is funny, naive, ridiculous, satire, full of irony and of course, refreshing.</br></br>His works have been exhibited singly or together in a number of galleries, including a solo exhibition at the Duta Fine Arts Gallery, Jakarta (1999), a joint exhibition “Mother Rupa Batuan” at Bentara Budaya Bali (2019).upa Batuan” at Bentara Budaya Bali (2019).)
  • I Dewa Putu Mokoh  + (Dewa Putu Mokoh was the first of six childDewa Putu Mokoh was the first of six children. He was born in Pengosekan, Ubud in 1936. His father, Dewa Rai Batuan, was an undagi (traditional Balinese architect) and famous gamelan musician. His mother, Gusti Niang Rai, was an expert in making lamak (decoration for offerings). Mokoh only had three years of education at the People's School (SR), equivalent to elementary school. </br></br>Mokoh began to study drawing when he was about 15. However, his desire to become a painter had troubled his heart since childhood. Unfortunately, his father strongly opposed his desire to become a painter and rather wanted him to work in the fields, husbanding ducks and cows. For his father, painting was just a waste of time and didn’t generate any income. </br></br>However the teenage Mokoh had plenty of initiative. Though he was busy working in the rice fields, he often managed to find time to play at the home of his uncles, I Gusti Ketut Kobot and I Gusti Made Baret. He loved watching and admiring them while they were painting and he also learned a lot of traditional art techniques from them: such as sketching, colour blocking, shading, highlighting, and gradation.*</br></br>Mokoh later met Rudolf Bonnet (1895-1978), a Dutch painter who had lived in Ubud since 1929. Bonnet was one of the initiators and founders of Pita Maha (1936) and the Ubud Painters’ Group (1951). Mokoh was keen to show Bonnet the drawings and paintings that he had learned to create from his uncles.</br></br></br>Bonnet taught Mokoh the principles of modern painting. These included techniques for color recognition, mixing colors, composition, discovering one’s own creativity, as well the principle of freedom in painting. Bonnet always suggested that Mokoh search for his own creativity rather than follow in the footsteps of Kobot and Beret who focused on traditional themes. </br></br>As a result of this contact with Bonnet, Mokoh experienced enlightenment. His confidence grew. He began to realize that good paintings did not have to have Ramayana and Mahabarata themes with complicated compositions filling the image area. Mokoh felt that the purpose of such paintings was to disguise the lack of ability of the painter to work on images. </br></br>For Mokoh, good paintings can also be based on objects around the painter, or created based on fantasy and imagination, with simple coloring techniques and image processing. A painter must dare to paint with different styles and objects, must dare to explore new possibilities. </br></br>Over time, the themes of Mokoh’s paintings became quite diverse. He painted about everyday life, flora and fauna, folklore, the world of children, fantasy, erotica, or simple things that attracted his attention.</br></br>In the context of art in Bali, Mokoh is an anomaly. By studying with Kobot and Baret, he was born into the realm of traditional painting. However, the advice of Bonnet and his friendship with Mondo opened his horizons to further develop himself in the thinking of modern art. </br></br>Personal character is very strong in Mokoh's paintings which are often considered eccentric. He was not interested in painting the decorative things that usually appeared in traditional painting. However, with gentle strokes, he swooped straight onto on the subject matter that he portrayed through humorous, innocent, and often surprising narratives. </br></br>Mokoh has broken through the Pengosekan or traditional style of painting that tends to be static and patterned. Using this ability with traditional painting techniques, he processed ideas and themes that were modern or even contemporary on his canvases. However, frequently there are no traces of traditional painting techniques to be found in his paintings. Mokoh is an innovator, a reformer, as well as a breaker of Pengosekan's style of painting. </br></br>In addition to domestic exhibitions, Mokoh's paintings have appeared in many joint exhibitions abroad, including America, Australia, Denmark, Finland, the Netherlands, Germany, Italy, Venice. In 1995, Mokoh’s paintings were exhibited at a solo exhibition at Fukoaka Art Museum, Japan.</br></br>* The original Balinese terms are: nyeket, ngabur, ngasir, nyigar, ngontur.: nyeket, ngabur, ngasir, nyigar, ngontur.)
  • Dewa Putu Sahadewa  + (Dewa Putu Sahadewa was born in Denpasar onDewa Putu Sahadewa was born in Denpasar on February 23 1969. Since his youth, he has been active in the areas of literature, journalism, and theatre. He was active in the Sanggar Minum Kopi and helped initiate the Jatijagat Kampung Puisi. The anthologies of this poems are 69 Puisi di Rumah Dedari (69 Poems at Dedari's House) (2015) and Penulis Mantra (The Mantra Writer) (2016). He currently lives in Kupang and works as an obstetrician.es in Kupang and works as an obstetrician.)
  • Dewi Pradewi  + (Dewi Pradewi (originally Ni Putu Dewi AriaDewi Pradewi (originally Ni Putu Dewi Ariantini) was born in Denpasar, Bali January 12th 1987. She is one of famous Bali Pop singer who started her career since 2000s. Her albums were "Bungan Tresna" (2001), “Muani Buaya” (2015), “Bermain Cantik” (2017, duet with Dek Arya). She is often invited to sing or become the master of ceremony (MC) in various grand events in Bali. </br></br>Her other activities are Assistant of PHRI Bali chairman and Yoga instructor. During her teenage years, she actively joined poem reading competition. She has contributed to musical poetry event. She was graduated from Cultural Studies, Post Graduate School of Udayana University with thesis entitled "Konstruksi Stigma pada Perempuan Bali Bertato di Kota Denpasar” (Stigma Construction on Tattooed Balinese Woman in Denpasar City).Tattooed Balinese Woman in Denpasar City).)
  • Didon Kajeng  + (Didon Kajeng (originally Dwi Ari Swandana)Didon Kajeng (originally Dwi Ari Swandana) was born in Denpasar, March 5, 1976. Since childhood he has been active in various artistic activities, such as reading poetry, singing, playing drama/theatre. He often wins poetry reading competitions, singing, poetry musicals. </br></br>He is also good at flower arrangement and has published a flower arranging art book entitled “Bali Bloom, Inspirational Balinese Floral Art”. Around 2013 he lost his sight due to glaucoma. Later he had to undergo dialysis twice a week. But he never gave up on life. He can still act, for example, he appeared at Bentara Budaya Bali with the monologue “Orgil” in 2014, he read poetry at Graha Bhakti Budaya, Taman Ismail Marzuki, Jakarta, 2016. He fosters visually impaired children in Denpasar in art, theater , sing, write poetry. He is a teacher, friend, role model for blind children in Denpasar. Together with blind children he founded the Bali Lotus Art Community (Kostra). Didon died August 10, 2021.nity (Kostra). Didon died August 10, 2021.)
  • Dr. Anak Agung Gde Alit Geria, M.Si.  + (Dr. Anak Agung Gde Alit Geria, M.Sc., was Dr. Anak Agung Gde Alit Geria, M.Sc., was born in Br. Petak, Petak Kaja Village, Gianyar Bali, on April 21, 1963. He completed his undergraduate education (Balinese Language and Literature) at the Faculty of Letters at Udayana University (1987) and earned a Master of Cultural Studies at the Postgraduate Program at Udayana University (2004). In 2012, he earned a Doctorate in Linguistics with a Concentration of Literary Discourse at the Udayana University Postgraduate Program with the dissertation title "Shiva-Buddhist Discourse in Kakawin Nilacandra: Reception Analysis". He worked in the Manuscripts section of the National Library of Indonesia, Jakarta (1990-1996). In addition, he was an Extraordinary Lecturer at the Faculty of Letters, University of Indonesia Jakarta (1990-1996). In addition, the Bali Provincial Library was also the place where he served in 1997-2005. Since 2006, he has been a PNS Dpk Lecturer at the Faculty of Language and Arts Education, Indonesian and Regional Language Education Study Program, IKIP PGRI Bali, LLDIKTI Region VIII. He has researched a number of lontar manuscripts. Not only researching, he also cataloged, transliterated, and translated them. He has written several books. Among others, Geguritan Uwug Kengetan (2014), Musala Parwa (2015), Prastanika Parwa (2016), Bhomakawya (2017), Shiva-Buddhist Discourse in Kakawin Nilacandra (2018), Ala-ayuning Dina Mwah Sasih (2018), and Kakawin Nilacandra XX Century (2019). and Kakawin Nilacandra XX Century (2019).)
  • Dewi Susiloningtyas  + (Dr. Dewi Susiloningtyas is a lecturer in tDr. Dewi Susiloningtyas is a lecturer in the Department of Geography Faculty of Mathematics and Natural Science University of Indonesia. Her bachelor is in regional development planning from the University of Gajah Mada, where she also got her Masters from in environmental science study. </br></br>Dr. Susiloningtyas teaches various subjects namely Industrial Geography, Regional Asian Geography, Field Work research, and Sociology to name a few. In recent years, Dr. Susiloningtyas focuses on developing subjects that focus more on Student Center Learning.hat focus more on Student Center Learning.)
  • I Nyoman Cerita  + (Dr. I Nyoman Cerita SST, MFA is an artist Dr. I Nyoman Cerita SST, MFA is an artist and academic of performing arts, especially dance in Bali, from Banjar Sengguan, Singapadu Village, Sukawati District, Gianyar Regency, Bali. He has been able to build an effort to develop the arts, especially dance in Bali. Various works that until now have provided important notes on the development of the art of dance, I Nyoman Cerita is able to create dance works in the Nyeraki way. The term Nyeraki means all-rounder. The ability of nyeraki referred to here is the ability of Nyoman Cerita to create musical compositions (dance accompaniment music), create dance moves, and be able to create costume concepts. The ability of nyeraki is very rarely possessed by dance artists in general.</br></br>I Nyoman Cerita is also an innovative artist, he brings up many new ideas such as processing dance properties that can be used in various functions. In one his dance work Satya Brasta, dancers carry a pajeng (umbrella) and a fan property, the pajeng can function as a spear, chariot wheel, and cloud symbol, while the fan property can be used as a mace and golden chariot. His Balinese dance works are the inspiration for teaching materials in the studio and as a presentation of performing arts. and as a presentation of performing arts.)
  • Made Gde Subha Karma Resen  + (Dr. Made Gde Subha Karma Resen, SH.,M.Kn iDr. Made Gde Subha Karma Resen, SH.,M.Kn is a faculty member in the Department of Law, Udayana University, Bali Indonesia. His expertise includes Agrarian Law, Health Law, and Environmental Law. Besides teaching, Dr. Resen also actively publishes academic papers, including one that is featured in the Scholar's shelf entitled The Legal Status of Established Business in the Pakraman Village (From the perspective of customary law in Bali Province), co-written with Putu Dyatmikawati, the former Rector of Dwijendra University, Bali Indonesia.r of Dwijendra University, Bali Indonesia.)
  • Ni Putu Tirka Widanti  + (Dr. Ni Putu Tirka Widanti is a faculty memDr. Ni Putu Tirka Widanti is a faculty member in Ngurah Rai University, Bali, Indonesia. Her expertise are public administration and public policy. She earned her doctoral degree in 2009 from Universitas 17 Agustus 1945 Surabaya with a dissertation entitled Model Kebijakan Pemberdayaan Perempuan Bali. Dr. Widanti is also the president of Yayasan Kul Kul, Green School Bali. She was also the former president of Universitas Ngurah Rai, Denpasar, Bali.of Universitas Ngurah Rai, Denpasar, Bali.)
  • Putu Ayu Sani Utami  + (Dr. Ns. Putu Ayu Sani Utami, S.Kep., M.KepDr. Ns. Putu Ayu Sani Utami, S.Kep., M.Kep., Sp.Kep.Kom is a lecturer in the Nursing and Ners Profession Undergraduate Study Program, Faculty of Medicine, Universitas Udayana. Her area of expertise is gerontic nursing which focuses on elderly health care, community empowerment, family self-care, Long-term care, rehabilitation, social work and capacity building. Aside from being a lecturer, she is also involved as a clinical instructor, conducting researchs, scientific publications, community services, student creativity programs and developing health education media related to the elderly healthcare. Her area of research is related to the promotion of elderly health, Long-term care and community empowerment. Long-term care and community empowerment.)
  • Putu Sabda Jayendra  + (Dr. Putu Sabda Jayendra, S.Pd.H., M.Pd.H. Dr. Putu Sabda Jayendra, S.Pd.H., M.Pd.H. was born in Singaraja, Buleleng, Bali on August 14, 1987. He is the first son of three children of the husband and wife couple, Drs. I Made Nuada, M.Pd. and Ni Ketut Suryaning. He completed Kindergarten education at Mutiara Singaraja Kindergarten in 1993, elementary school at SD Negeri 2 Banyuasri, Singaraja up to grade 4, (due to following his parents’ job mutation) and continued his study at SD Negeri 2 Pekutatan, Jembrana until graduating in 1999. After, he went to junior high school at SMP Negeri 1 Pekutatan, Jembrana and graduated in 2002. He went to high school at SMA Negeri 1 Pekutatan until the second year (following his parents' job mutation) and continued his study at State High School 1 Mendoyo, Jembrana until graduated in 2005. He took undergraduate until doctoral levels at the Denpasar State Hindu Dharma Institute (IHDN Denpasar) majoring Hindu Religion Study and Education. </br></br>Dr. Putu Sabda Jayendra is an active author of several scientific publications and books. Most of his works explore educational practices in religious traditions and local wisdom (ethnopedagogy), some of which are “Barong Brutuk, Guardians of the Soul from the Land of Ancient Bali” (published in 2019) and “Mongah, Learning the Value of Life from Fern Men” (published in 2020). Currently, he is actively registered as a permanent lecturer at the International Institute of Tourism and Business in Denpasar Bali, and has also been teaching as a guest lecturer at several other universities, such as IHDN Denpasar, IKIP PGRI Bali, Mahasaraswati University Denpasar, STIE BIITM Denpasar, Bali State Polytechnic, Bali International Polytechnic, STAHN Mpu Kuturan Singaraja, and The London School of Public Relations (LSPR) Jakarta.</br></br>In the activities of professional organizations and the socio-cultural sector, he is also actively involved. He becomes a member of the Indonesian Lecturer Association (2017-2022), an assessor of Tri Hita Karana Awards (2020) and the Indonesian Public Relations Association (PERHUMAS) with the position of Deputy Chairman I of BPC Denpasar.tion of Deputy Chairman I of BPC Denpasar.)
  • Drs. I Nyoman Aris  + (Drs. I Nyoman Aris is a writer from BanjarDrs. I Nyoman Aris is a writer from Banjar Kebayan, Tangeb Village, Abianbase Village, Mengwi District, Badung Regency. Drs. I Nyoman Aris was born on September 19, 1984. He is the son of the late. I Wayan Lanus and Alm. Ni Nyoman Namrug. His educational history is that he took the People's School (SR) in 1962, junior high school in 1965, KPG in 1978, PGSLP in 1980 and S1 majoring in Balinese Language and Literature in 1990. Drs. I Nyoman Aris is an educator at the Tangeb Carving Art Vocational School. In addition, he is also a farmer and often serves as a judge as well as a coach in the Utsawa Dharma Gita competition. He won many awards, one of which was the 1st place in Mekidung/Makakawin. His greatest work is Kidung Yadnya, other works such as the imba tembang (pupuh), the malajah makakawin guide, and the malajah makidung guide, complete with scales and notation, making it easier for us to learn makidung.making it easier for us to learn makidung.)
  • Drs. Ida Bagus Ratu Sanca, M.si  + (Drs. Ida Bagus Ratu Sanca, M.Si is a BalinDrs. Ida Bagus Ratu Sanca, M.Si is a Balinese writer from Karangasem. He was born on Friday Pon Julungwangi on April 4, 1952. He is the son of the late couple. Ida Pedanda Wayan Pidada and Ida Pedanda Istri Agung.</br></br>Here I will discuss his geguritan work which he composed himself entitled "Geguritan Gering Agung Pandemi Covid Sembilan Belas". The contents of this geguritan are about the current Covid-19 situation. Where did this covid come from and how to prevent it. This geguritan contains 4 types of pupuh, namely Pupuh Dandang Gula (2 baits), Pupuh Sinom (11 baits), Pupuh Ginada (11 baits) and Pupuh Durma (11 baits).ada (11 baits) and Pupuh Durma (11 baits).)
  • Lahirkan tur Wangun Inovasi Rancangan Kesenian Bali Kaanggen Meningkatkan Kreativitas Truna Bali Pikenoh Menumbuhkan Ekonomi Masyarakat tur Sektor Industry Pariwisata Kreatif Ditengah Pandemi Covid 19  + (During the Covid-19 Pandemic, the governmeDuring the Covid-19 Pandemic, the government needs to revive Bali tourism now and in the future by giving birth and building innovations in Balinese arts programs to increase the creativity of Balinese youth in order to grow the community's economy and the creative tourism industry sector in the midst of the COVID-19 pandemic. We know that Bali has a lot of arts and culture. those of us who did not rise and die only because of the virus that we often know as corona, a lot of tourism has died in Bali because of the lockdown and also Balinese arts are starting to disappear such as the tradition of the ogoh-ogoh parade, melasti and many more, where tourists are interested in the culture, because of the lockdown, tourism has decreased and there are rarely tourists visiting, apart from Balinese culinary tourism, it is also starting to decline due to current economic problems. The thing that needs to be done is to build self-innovation of Balinese youth in order to increase youth creativity in order to build tourism and the economy. To recover, because we know that tourism is advanced because of the arts. That is the main thing so that Bali can progress again, if Balinese art dies, tourism will not progress and it is also necessary to build new tourist attractions so that the rate decreases. Return and improve relations of places that need to be visited and it is also necessary to carry out an renewal program for places that are not in use. not feasible and make the place a new tourist spot and we introduce it outside Bali. We also know that there are many young people who are indifferent to Balinese culture since the death of Balinese culture due to Corona, we need to build their identity through activities or competitions in order to re-promote youth creativity and be able to compete with foreign cultures and be able to re-promote our culture to promote tourism and economy through our culture, because we believe that many young people are creative but need to be honed again to improve these abilities. We need to carry out massive activities by holding mass art and cultural performances so that residents have the opportunity to witness the return and of course can increase the economy but still with progress. Another thing is to make our culture in a good and attractive package, especially for tourists. Such as preserving Baleganjur, Kecak and Joged as well as the traditions of each village that have long been dead. And hold back the PKB (Bali Arts Festival), because from there tourism can advance and can also introduce the culture that Bali has out.o introduce the culture that Bali has out.)
  • Gumi Jani  + (Dynastic politics is political power exercDynastic politics is political power exercised by a group of people who are related by family ties (MK 10 July 2015). This is also a threat for us as a democratic nation to maintain the ideals of reform in 1998, with the issue of dynastic politics carried out by the 7th president of the Republic of Indonesia, namely Mr. Ir. Joko Widodo, who made his son a candidate for vice president and also chairman of a political party in Indonesia, is the basis for the issue that emerged in the form of the political dynasty he built. not to mention the marriage between Jokowi's younger brother and the MK's curtness that has created public perception regarding Jokowi's dynastic politics.</br>The policy made by the Constitutional Court regarding the age limit for presidential and vice presidential candidates has become an issue that strengthens the issue of dynastic politics. Jokowi's appointment of Prabowo as defense minister was also beneficial for him (trempo magazine). This issue continues to be a hot topic during this political year. Defending the constitution to overcome the threat of dynastic politics is very important, especially under the supervision of the KPU, so for the sustainability of democracy it is very important that we implement democracy with true democracy.e implement democracy with true democracy.)
  • PERNIKAHAN DINI MENGANCAM BAL  + (EARLY MARRIAGE THREATENS BALI Ladies and gEARLY MARRIAGE THREATENS BALI</br>Ladies and gentlemen, brothers and my friends, if I saw all of your faces</br>It seems like we're still the same age, maybe around a dozen years old and still smell like kencur. Same with me, too</br>still 20 years old Seeing our peers who got married at that age who were pregnant out of wedlock,</br>is it appropriate for us? Friends, we actually have a future. That future</br>is actually in our hands. Through our step by step now this is the future</br>can reach us. And the future is ours. We have a future that must be planned, though</br>God has a plan. Every human being must try and pray. So, effort, behavior and what</br>What we do now will affect our future. Including if we marry early.</br>Of course there are positive and negative sides if we do this. The negative side comes from violations</br>the laws we follow. Meanwhile, the positive thing is that we can justify our partner and be far from him</br>threat of sin. But have you ever thought about economic problems, health stunting, children dropping out?</br>schools are increasing day by day. Various problems arise as a result of not doing so</br>ability to support the family. Once on this island of the gods, there is a saying</br>"sing beling sing naganten" this refers to a society that prioritizes pregnancies outside of marriage</br>which we often encounter in young children.</br>Bali, which has a diverse culture that has a variety of arts, is worth wearing clothes</br>openly, I know that in this free era, many young people are having relationships</br>sexual relations outside of marriage, many people dress openly and are only concerned with lust.</br>Is it in accordance with the teachings of Hinduism, think about it! Where will the future of Bali go where art will go</br>Even Balinese taksu will fade in the future just because we are only concerned with lust and</br>choose quickly quickly to get married, think about it!ly quickly to get married, think about it!)
  • Edward Speirs  + (Edward, or Eddy as he prefers to be called, is the Managing Editor of NOW! Bali and host of the NOW! Bali Podcast. He enjoys photography, rural travel and loves that his work introduces him to people from all walks of life.)
  • Elizabeth McLean Macy  + (Elizabeth McLean Macy holds a PhD in EthnoElizabeth McLean Macy holds a PhD in Ethnomusicology from UCLA, an MA in Ethnomusicology from UC Riverside, and a BA in Music from Colorado College. Her dissertation research</br>addressed the function of music tourism in post-disaster economies; in particular, it focused on</br>the function of music tourism in the recovery and rebuilding of post-Katrina New Orleans and in</br>Bali, Indonesia after the 2002 and 2005 terrorist bombings. Dr. Macy's current and ongoing</br>research focuses on Balinese master musician I Made Lasmawan and his wife Ni Ketut Marni</br>and the music and dance traditions of the village of Bangah di Baturiti in Bali. Currently a</br>performing member and secretary of Denver's Gamelan Tunas Mekar (https://tunasmekar.org/), she began studying the music of Indonesia with Lasmawan in 1996.</br></br>She is a founding member of Sanggar Manik Galih (https://www.sanggarmanikgalih.org/), a</br>transnational music and dance studio based in Bali and Colorado, the founder and manager of</br>Gamelan Anak Manik Galih – the Denver Children’s Gamelan (https://www.sanggarmanikgalih.org/gamelan-anak-manik-galih-colorado), and teaches study</br>abroad courses in Bali on Balinese music, arts, and culture.</br></br>Dr. Macy has previously held positions at the University of Denver, Skidmore College, Colorado</br>College, UCLA, Chapman University and CalArts, and was the founder and director of Skidmore</br>College's Gamelan Banyu Wali (an extension of Sanggar Manik Galih). She has taught courses on</br>musics of the world, global pop, music of Southeast Asia, music and disaster, tourism, hip hop</br>and the blues, music, race, and class, and African American musical heritage.</br></br>In her current position as Assistant Professor of Ethnomusicology at Metropolitan State</br>University of Denver, Dr. Macy serves as Area Coordinator of Musicology and the department’s</br>Global Music Ensembles. In Summer 2020 she developed a Visiting Artist Series on Music, Race,</br>and Social Justice (https://msudenver.edu/music/events/mrsjvas/), which highlights the work</br>of BIPOC musicians, performers, and scholars. Dr. Macy teaches courses on music and culture,</br>global popular musics, and Black music in the United States.ics, and Black music in the United States.)
  • Luh Gede Gita Sangita Yasa  + (Emerging female Balinese contemporary painEmerging female Balinese contemporary painter Luh Gede Gita Sangita Yasa has seemingly materialised from anonymity and appeared on the Bali art scene. After five years living in West Java, studying fine art at the Institute of Technology Bandung, she returned in 2020 to live in Batubulan, Bali. However, media exposure in international magazines and exhibitions in Java and Singapore preceded her. In 2021, her presence had become more “localised” by exhibiting in Bali. Refreshing and powerful suggestive Luh’De’s pictures captivate and reveal a fascinating lens upon life.</br></br>Vibrant, yet unusual mindscapes depict alternative realities: Luh’De expresses a Gen-Z experience of dwelling in both the digital and natural worlds. As the first generation having grown up with immediate Internet and mobile digital technology access, members of Gen-Z are dubbed “digital natives”. Luh’De’s sensitivity pieces together seemingly unrelated, contrasting imagery into balanced compositions introducing the audience to fresh narrative realms she refers to as “fragments of memories”.</br></br>For most people, the concept of existing simultaneously in parallel universes may be too abstract to process. Not for Luh’De. Curiosity infused with ingenuity is harnessed into images of the past, present and future which are unique within the Indonesian contemporary art world. Light years beyond the conventional Balinese painter, Luh’De never references traditional icons, narratives and techniques. Instead, she boldly investigates her potential and intuitive trajectory.</br></br>Merging Pop Art, abstract and semi-realism styles often with a minimalist sense of space, blank areas on the canvas create interludes that allow us to pause and think. The outcomes are contemplative and uber-chic. Luh’De is the first Balinese woman artist to establish an identity upon such a compelling aesthetic formula.</br></br>“My creative process begins by sourcing images from the Internet, screenshots from the online simulation game The Sims and other images I have collected. I then photoshop combinations into compositions I call ‘happy incidents’,” said Luh’De, who was born in Bali in July 1997 and worked briefly as a graphic designer. </br></br>“At university I found myself working best in oil paints. I like that it takes around 8 hours for the paint to dry giving me time to manipulate my compositions into shape. This process helps me understand more about what I’m going through. I’ll connect everything, asking myself why this is here? This is where my instincts draw connections and make assumptions. The results are impossible to preconceive and often without meaning or explanation.” </br></br>One of the greatest challenges for Balinese artist’s is to grow and to introduce change. Some settle on a formula which sells and then remain in a comfort zone, yet creatively stagnant. Others lack courage to break free and experiment and over time new horizons become increasingly difficult to achieve. Luh’De is a driven artist, whose work has technically and thematically evolved. </br></br>From 2016-2018 she worked developing ideas and arranging different components to uncover a functional formula. During 2019-2020 she explored ‘PARADISO: On Fragments of Times’, a series inspired by beach scenes and people at leisure. “I grew tired of painting figures and beach themes. There was nothing more to dig and it was time to move on,” she told me. </br></br>In 2020 Luh’De was diagnosed with depression and bipolar disorder and temporarily stopped painting. “When I began painting again, my old subject matter – the Paradiso Series– no longer represented me. I developed a liking towards sweets to help stabilise my moods, and I spent more time playing Sims as a form of escapism. I created a new ‘ideal’ personal painting reality I called my Sweet and Sour Series,” said Luh’De who was nominated in 2021 as a Finalist UOB Indonesian Painting of the Year – Established Artist Category.</br></br>Richard Horstman</br>NOW Balirtist Category. Richard Horstman NOW Bali)
  • Eric Buvelot  + (Eric Buvelot is a senior reporter and writEric Buvelot is a senior reporter and writer residing in Bali since 1995. He started his career in France at the daily Libération where he stayed 10 years and learned the ropes of journalism. He has written hundreds of articles about Bali and Indonesia, in French or English, mostly for monthly Bali mag La Gazette de Bali, as chief editor for 13 years, but also for leading English speaking media outlets of Indonesia like The Jakarta Post, Indonesia Expat, Now Bali or the French language Le Banian. He launched the multilingual newspaper The Communities of Indonesia and the lifestyle magazine Saga. Besides Bali, 50 Years of Changes – A Conversation with Jean Couteau, he is also the author of the crime novel Bali Club Hotel, written in 1994-1995.vel Bali Club Hotel, written in 1994-1995.)
  • Urs Ramseyer  + (Ethnologist. Writer of several books on Bali. http://archiv.onlinereports.ch/1999/RamseyerUrs.htm)
  • Ida Ayu Komang Sartika Dewi  + (Fine art teacher and also a watercolor paiFine art teacher and also a watercolor painter. Graduated from Fine Arts Education at Ganesha University of Education, giving her sufficient provision to teach manual drawing and watercolor painting, of course, from the basic level. Has been in the world of watercolor painting since 2016, and has quite a bit of experience in drawing courses.</br></br>Emerging Balinese artist Ida Ayu Komang Sartika Dewi’s creative practice strips away the invisible layers of her being in a quest for self-knowledge and understanding. In doing so, she explores her creative potential while engaging in powerful therapy. Disempowered by an array of painful illnesses since an early age, art has become Dayu’s perfect sanctuary.</br></br>Dayu was born in 1998 in Buleleng.tuary. Dayu was born in 1998 in Buleleng.)
  • terjadi banjir  + (Floods often occur when it rains, the gutters are often clogged with plastic waste or leaves and there is no response from local residents to clean them up)
  • Pesona Budaya Bali  + (For a long time, the island, which has beeFor a long time, the island, which has been nicknamed the Island of the Gods, has been known for its cultural diversity. Yes, Bali is an island that has a unique culture. There is so much unique culture that can be studied and studied here from its traditional and religious rituals, its unique cuisine, as well as its performing arts and crafts. All incredibly charming.</br></br>So far, most domestic tourists and some foreign tourists may only know Bali as an island with beautiful panoramas. In fact, from a cultural point of view, Bali is charming.</br></br>Therefore, I propose that Bali in this pandemic can create an attractive cultural package, it can be in the form of a hybrid that is in accordance with the current pandemic conditions. What is on offer? For example, a package of picking local plants and Balinese-style cooking, for example Betutu Chicken and various Lawars. Also can for example learn the basics of Balinese dance in three hours. Others are a week of watching Balinese wayang, Balinese gamelan orchestra performances, a week of Balinese fairy tales, seeing a village making Balinese handicrafts, and inviting tourists to take part in preparations for big ceremonies in Bali (for example how children learn to dance, mothers prepare food). ceremonies and so on). Or there can also be stories and tours about getting to know the Balinese kingdom and knowing what white leak and black leak are, and about learning Balinese script.</br></br>Yes, there are many interesting things about culture in Bali. This is one way to attract tourists, culturalists, and also those who are interested in culture from anywhere to get to know more about Bali.m anywhere to get to know more about Bali.)
  • Frans Nadjira  + (Frans Nadjira was born in Makassar, South Frans Nadjira was born in Makassar, South Sulawesi, September 3, 1942. Since 1974 he has lived in Bali. He is known as a writer. In 1979 he joined the International Writing Program creative writing program at the University of Iowa, Iowa, USA. He studied fine art at the Indonesian Painting Academy (ASLI), Makassar. When he paints, he chooses and uses the automatic painting method (psychography) which he has been working on until now. Rhythm, motion, composition, and color become the spirit in his works.</br></br>In the field of literature, in particular, he galvanizes prospective poets in Bali who are learning to write poetry. His writings have been published in various local and national media as as well as abroad, including the Bali Post, CAK, Kalam, Horison, Kompas, Koran Tempo, Media Indonesia. His work also appears in the anthology Blue Sky Blue Sea, ASEAN Poetry, Spirit That Moves Us (USA), On Foreign Shores, When Kata When Colors, Ginseng Tea, A Bonsai's Morning.</br></br>His literary works include Window (Kumpulan Poetry, 1980), Conversation Under the Fallen Leaves (Kumpulan Short Story, 1981), Mata Air Mata Air (Kumpulan Poetry, 1998), Curriculum Vitae (Kumpulan Poetry, 2007 ), The Fireflies Tree (Short Story Collection, 2010), Notes on Wet Paper (Poetry Collection, 2015), Lara's Family (Novel, 2016), Traces of Dreams (Novel, 2016), Hug Me (Poetry Collection, 2017) . 2016), Hug Me (Poetry Collection, 2017) .)
  • Frits Henskes  + (Frits Henskes was born on 10 July 1947 to Frits Henskes was born on 10 July 1947 to an Indonesian mother and Dutch father in Batavia – the name before 1950 of the current-day capital of Indonesia Jakarta. He later attended and graduated from the Hogere Handels School in Amsterdam.</br></br>Henskes was known among his many friends and admirers in Bali for his role as manager of many years of the Ayung Resort in Payangan, North Ubud. He served as a hotel and resort consultant for Spectrum Bali (PT Cipta Harapan) and as a Vice-President for Development for PT Wisma Kartika.</br></br>Dedicated to hospitality and culinary excellence, a fact reflected in the outstanding cuisine he pioneered at The Ayung Resort, Frits also served for a period at the “Balii” for the Bali Chapter of the La Chaine des Rotisseurs. </br></br>Please see whole obit in Bali Discovery, Dec 29, 2021: https://balidiscovery.com/rip-frits-henskes-1947-2021/?fbclid=IwAR0GN5eNyvewSjdyxfymwxuptE8JzhpmVXahnSY-ueW-lFR2cirWPtHfpicfymwxuptE8JzhpmVXahnSY-ueW-lFR2cirWPtHfpic)
  • Cat Wheeler  + (From Cat's website: "I first visited BaliFrom Cat's website:</br></br>"I first visited Bali at the age of 18 in 1969. The memories never left me in subsequent decades but I never thought I’d return in 2000 to spend the rest of my life here.</br></br>Living in Ubud is much more multi-dimensional than visiting as a traveller. After ten years in sterile Singapore, I was unprepared for rodents in the roof and reptiles on the bedroom walls. I had to learn to navigate the ever-changing rules of Indonesia’s Byzantine immigration bureaucracy. The new language held many entertaining pitfalls. The Balinese people, especially the family that would become my own, were a window to the rich, deep, baffling culture that surrounds me.</br></br>Shortly after moving here I offered to write a regular column for the only English language newspaper at the time, the Bali Advertiser. This opened many doors; it gave me an excuse to contact all the most interesting people on the island and ask impertinent questions about what they were doing in Bali. From over 18 years of bimonthly articles I’ve published two books."onthly articles I’ve published two books.")
  • Putu Sayoga  + (From The Phala, https://www.thephala.com/tFrom The Phala, https://www.thephala.com/the-artist-photographer-putu-sayoga/</br></br>Only a handful of photographers in Indonesia are into documentary photography. Compared to hard news photography, documentary requires more length of time when it comes to the creative process. Therefore, it demands work consistency and usually more production cost.</br></br>With all those challenges, Putu Sayoga, a Bali based photographer, is still in love with this unique style of photography. As a self-taught, he started his career from scratch in 2009, when he was a college student in Gadjah Mada University, Jogjakarta. During that initial period, documentary photography was already appealing for him. This form allows him to be acquainted with his photo subjects and has a longer interaction with them, so later he could present works that are narratively and visually more powerful.</br></br>Documentary opens up a wider horizon for Sayoga to expand his ideas and aspirations. It gives more space for him to tell the thorough stories of his photo subjects. Most of his photographs give a voice to the unheard inspirational figures and stories that are not yet sufficiently covered by the media. His works not only thought-provoking but poetically captured the genuineness and complexity of human beings.</br></br>One of his intriguing projects is “Library with the Horse,” (2015). It is a touching story about Ridwan Sururi, a horse caretaker who dedicates his time to create a small mobile library called “Kuda Pustaka” that is attached to his horse. Every week Sururi and his horse go around his village in Purbalingga, Central Java, giving free access for kids to read books. This documentary has been published in international media such as The New York Times and Aljazeera. Surprisingly, following the publication, many people around the world contacted Sayoga and donated books for Sururi’s library. It is definitely an example of how powerful storytelling can be!</br></br>Currently Sayoga has two ongoing projects. The first one started in 2013, encompasses the change caused by modernization at his own village that is located in a rural area in Bali. The other one entitled, “Living under the Volcanoes,” begins in 2017. This long-term project tells stories about the life of societies who over generations settle near the volcanoes in Indonesia; how they are living with the danger and their culture.</br></br>There are more than 150 volcanoes in this country. For his ambitious project, Sayoga has explored 6 of them including Mount Agung, Mount Ijen, Bromo, Dieng Plateau, Sinabung, and Gamalama. He went from Sumatera, Bali, Java, to Moluccas to search for and experience authentic stories. This project has been published in various media like ZEIT Magazine, Post Magazine, and GEO.ike ZEIT Magazine, Post Magazine, and GEO.)
  • Anthony Paul Gentile  + (From https://www.gentilefineart.com/introdFrom https://www.gentilefineart.com/introduction</br></br>Gentile’s prolific artistic practice enables him to create with a wide range of possibilities. His activity can be divided between an inner practice – evident in canvases and small-scaled sculptures – and a more public scope. This versatility allows his character to come out and enables his sense of freedom as an artist to emerge.</br></br>The circumstance that the tropical island of Bali has become his most permanent residence for about 25 years resides in the double possibility it presents: this is one of the world’s most crossed-cultured places, extremely traditionalist in its singular Hindu rituals and constant colorful ceremonies, and simultaneously one of the world’s most cosmopolitan atmospheres, home to various western communities. This intellectual balance, conjoined with a major presence of craftsmanship, working in international standard quality, allowed him to stay and produce vast amount of, and large artworks.</br></br>The Artist, Gentile perceives his working method as connected to those of musicians: after learning the basic notes – drawing, geometry and the knowledge provided by Art History – one can compose a ‘symphony’ – paintings, sculptures and, more recently, the possibilities enabled by Computer Aided Design (CAD), which he has been exploring since the late 1990s. A believer in classical and canonized education, Gentile keeps a graphic diary in the form of sketchbooks that became the foundation of his image bank. More recently, Gentile has augmented the paper diaries with an iPad. In addition to this gadget, he keeps a photographic and written record of people and situations he interacts with.</br></br>The ‘organic’ ingredient of his artwork thus resides outside the working methodology, rather is borne from the manner he utilizes his personal archive, vast due to several anthropological and ethnographical explorations. This system is what Gentile offers to the viewer: on the one hand, he expresses a personal synthesis of art and life and on the other hand, he delivers a constant citation of legacy – that he applies with extreme ease – and provides new directions for its usage.</br></br>Therefore, Gentile’s artistic practice is many times explained as an assemblage of elements embedded with references and material citations of local specificities pertaining to the locations he arrives to.pertaining to the locations he arrives to.)
  • Meghan Pappenheim  + (From the YogaBarn website: Co-Founder of From the YogaBarn website:</br></br>Co-Founder of The Yoga Barn, Director of The BaliSpirit Group & Executive Producer of The BaliSpirit Festival</br></br>Originally from New York City, Meg took her first Hatha yoga class at the New York Open Center on Spring Street at the age of 13…. She recalls sitting in warm wooden room surrounded by women and men in one-piece leotards, many with grey hair. It was in that room, that Meg began her yoga and health centric journey, becoming an avid information seeker of various spiritual traditions. A few years later between high school and college, Meg spent a summer as an Ashramer at the Himalayan Institute of Yoga Science and Philosophy, where she continued her study of Yoga, adding Ayurveda and healthy Veganism to the mix. Meg LOVED living at the Ashram and loved her fellow students but walked away with a strong distaste for the GURU syndrome that afflicted the Institute. Her learning affects the way she approaches the Yoga Barn as a similar type of institution today.</br></br>Once in college Meg found herself on a year-long travelling and studying journey through Italy, Greece and finally, Bali. On that trip Meg focused on the Language, Arts & Culture of Bali, completing her BA in Art History, Anthropology and Asian studies with a focus on Indigenous Folk Art of Bali. That same fateful year, Meg met the man who later became her husband, Made ‘Dekgun’ Gunarta. Together, Meg and Dek have inspired a vibrant group of companies that support various outreach & development programs in Bali .</br></br>Meg believes wholly that SMEs and Corporations should include community development as part of their missions and she abides by that as much as possible. Meg believes that generosity makes the world go round and that people who practice the art of giving will always be rewarded.ho practice the art of giving will always be rewarded.)
  • Anak Agung Gede Raka Puja  + (From the family of Turas. Produced a number of the illustrations in Sprookjes van Bali.)
  • "Harmoni Bali: Menuju Pemimpin Visioner dalam Mewujudkan Pembangunan Berkelanjutan, Kesejahteraan, dan Pelestarian Budaya"  + (Future leaders in Bali must immediately adFuture leaders in Bali must immediately address environmental and tourism issues as top priorities. These islands experience negative impacts from uncontrolled tourism growth, such as environmental damage, overcrowding, and economic imbalance. The increase in plastic waste and damage to coral reefs is a serious threat to environmental sustainability.</br></br>Additionally, the COVID-19 pandemic has devastated the tourism industry, which is the backbone of Bali's economy. Aspiring leaders must plan policies that will restore the economy, diversify revenue sources, and strengthen health infrastructure. Addressing employment and education issues is also important to strengthen local community involvement.</br></br>In facing these challenges, leaders must involve all parties, including local communities, businesses and central government. A long-term vision that focuses on sustainable development and preservation of Balinese culture is needed to create a glorious future for all parties.</br></br>Next, issues of labor conditions and income distribution must be taken into account. Leaders must devise strategies to improve the skills of their local workers, provide jobs, and ensure economic distribution of income.</br></br>To face these challenges, ambitious and dedicated leadership is needed. Future Indonesian leaders must have a strong commitment to sustainable development, social justice and cultural preservation. Only with a holistic and collaborative approach can Bali develop sustainably while maintaining the uniqueness and beauty of its nature and culture.ness and beauty of its nature and culture.)
  • Gde Artawan  + (GDE ARTAWAN was born in Klungkung on FebruGDE ARTAWAN was born in Klungkung on February 20 1959. He is currently a lecturer in the Department of Indonesian Language and Literature at Undiksha (Universitas Pendidikan Ganesha). He has a Ph D in Linguistics from Universitas Udayana. He contributes essays, poems and short stories to several mass media outlets. He is often invited to be a speaker in literary activities and scientific gatherings and has acted as a jury member in literary reading and writing activities. He has twice been awarded the Wija Kusuma Art Award by the Buleleng government, in 1999 and 2007. In Singaraja he is the coordinator of the Buleleng Art Pier (Dermaga Seni Buleleng) which often holds literary appreciation activities and which has, on several occasions, held a Bali-wide poetry writing competition for the Singa Ambara Raja Award as part of the birthday of the city of Singaraja. A collection of his short stories ‘Petarung Jambul’ received the Widya Pataka Art Award from the Provincial Government of Bali in 2008. His collected literary works can be found in ‘Kaki Langit’ (1984). Other works include 'Buleleng dalam Sajak' (1996), ‘Kesaksian Burung Suksma’ (1996), ‘Spektrum’ (1997), ‘Tentang Putra Fajar’ (2001), ‘Puisi Penyair Bali’ (2006), and ‘Dendang Denpasar, Nyiur Sanur’ (2012). His only anthology of poems is “Tubuhku Luka Pesisir, Tubuhmu Luka Pegunungan” (2014). Pesisir, Tubuhmu Luka Pegunungan” (2014).)
  • Tukang akut sampah  + (Garbage - in the village there are lots of people who throw rubbish carelessly, I propose that the future leader of Bali provide a rubbish collector Proposed tityang tyang closed Om shanti shanti shanti uncle)
  • Pikobet luu lan kresikan pelemahan Bali  + (Garbage and cleanliness problems in Bali hGarbage and cleanliness problems in Bali have often become the main complaints of tourists on our Island of the Gods. The same thing that impressed me when I was in Bali was the amount of rubbish in famous tourist spots in Bali, such as the area around Dreamland Beach, the streets around the Bedugul tourist area, and in the temple tourist areas in Bali.</br></br> It is very interesting that apart from the plastic waste that is still strewn about in Bali, there is also a lot of rubbish left over from prayers, which when I was in Bali, the Balinese rama people were in activities to welcome Galungan and Kuningan. For Balinese krama people, this may be a common thing, because after the ceremony there is usually a cleaning carried out by staff from the local government.</br></br> However, it is important to remember that many tourists, both foreign and domestic, are still not used to seeing our habit of 'dirtying' tourist attractions after performing prayers and traditional ceremonies. Unlike in Indonesia, abroad there are no special officers who clean streets and public places. It would be nice if we kept the environment clean without having to depend on street cleaners.</br></br> Overcoming the problem of waste and environmental cleanliness can be done by getting us into the habit of cleaning the surrounding home environment. Don't be embarrassed to invite our friends together to clean tourist areas in Bali. The cleaner Bali is, the more our confidence will increase in promoting Bali as the best tourist destination in the world, which of course can improve the economy of the Balinese people.</br></br> Apart from that, the Balinese people must be able to reduce the amount of rubbish that is scattered around starting from individuals, whether in the form of plastic waste, the environment, or waste from prayers.</br></br> Reducing the amount of waste scattered around does not mean limiting our work that produces waste. Real steps we can take are to always throw away rubbish in the right place, not pollute the temple area by getting used to throwing away the canang and incense left over from our prayers in the rubbish bin, and getting used to picking up rubbish that is in front of us. If necessary, don't hesitate to create a charity activity with your middle school, high school and college friends to work together to clean up tourist attractions in Bali.</br></br> There is a very good example that we can emulate from the island of Okinawa - Japan, which in fact is a tourist spot whose conditions are similar to Bali. A small example is getting us into the habit of shopping using shopping bags that can be used repeatedly, in this way we will reduce the amount of plastic waste in Bali.</br></br> Think about it carefully, if we don't have Balinese culture, who else wants to maintain cleanliness and care about the waste problem in Bali? and care about the waste problem in Bali?)
  • Garrett Kam  + (Garrett Kam received his bachelor and mastGarrett Kam received his bachelor and master degrees from the University of Hawaii. He has been living in Bali since 1987 and became a ritual assistant in 1990 at Pura Samuan Tiga (Temple of the Tripartite Meeting), one of Bali’s most important temples, the first and only foreigner allowed to do so. In addition to blessing worshipers and bearing sacred objects, Garrett also helps in the preparation of offerings. As a Fulbright grantee, he researched Balinese temporary art, especially objects burned for cremations. Garrett has given many lecture demonstrations and dance performances throughout Southeast and East Asia and the USA, and is the author of “Ramayana in the Arts of Asia” as well as many books and essays on Balinese and Indonesian art for exhibitions that he curated.esian art for exhibitions that he curated.)
  • Gde Aryantha Soethama  + (Gde Aryantha Soethama, was born in Bali, JGde Aryantha Soethama, was born in Bali, July 15th 1955. His name was known through his literacy works such as short story, novel and essay which has been published on various public medias, such as Kompas, Bali Post, Sinar Harapan, etc. In 2006, book of his short stories entitled “Mandi Api” won the award of Kusula Sastra Khatulistiwa in Prose Category. </br>Gde Aryantha Soethama started his debut as writer since young. He finished his study in Faculty of Husbandary, Udayana University. He has been positioned as weekly editor in chief of Karya Bhakti (1981-1987) and editor of Nusa Tenggara Newspaper (1989-1990). </br>In 1979 until 1981, every two weeks, he wrote scenarios of animal husbandry counseling and portray it for TVRI Station Denpasar. Now, he is actively writing cultural essays and short stories while organizing his publishing and printing. </br>His other books, are: Wawancara Jurnalistik (journalism work), Koran Kampus (journalism work), Menjadi Wartawan Desa (journalism work), Tak Jadi Mati (short stories compilation, 1984), Langit Dibelah Dua (drama script, 1984), Daerah Baru (short stories compilation , 1985), Koran Kampus (1986), Suzan/ Wanita Amerika Dibunuh di Ubud (novel), Pilihanku Guru/Senja di Candi Dasa (novel), Bali is Bali (essays compilation, 2003), Basa Basi Bali (essays compilation, 2002), Bali Tikam Bali (essays compilation, 2004), Bolak Balik Bali (essays compilation), Mandi Api (short stories compilation, 2006, translated to English by Vern Cock with title Ordeal by Fire), Dari Bule Jadi Bali (Essays compilation, 2010), Jangan Mati di Bali (essays compilation, 2011), Menitip Mayat di Bali (essays compilation, 2016). Mayat di Bali (essays compilation, 2016).)
  • Gde Dharna  + (Gde Dharna was born in Sukasada, October 2Gde Dharna was born in Sukasada, October 27, 1931. He is a retired civil servant from the Buleleng Trade office. Since 1953 he has written poetry and stage plays, radio dramas, and television dramas in both Indonesian and Balinese languages. Apart from that, he also wrote short stories, songs in Indonesian and Balinese languages, songs Janger, Genjek, Dolanan, Geguritan and Choir songs.enjek, Dolanan, Geguritan and Choir songs.)
  • Gede Benny Setia Wirawan  + (Gede Benny Setia WIrawan is a researcher iGede Benny Setia WIrawan is a researcher in Center for Public Health Innovation, a research unit in Udayana University, Bali, Indonesia. His current works mostly involve social determinants of health and health behavior, especially on HIV related risk behaviors. Since the COVID-19 pandemic he has work on projects related to mental health, HIV, and COVID-19 preventive behaviors.h, HIV, and COVID-19 preventive behaviors.)
  • Gede Geruh  + (Gede Geruh, born in Pedungan, Denpasar, BaGede Geruh, born in Pedungan, Denpasar, Bali, July 17, 1915. He is the maestro of the Gambuh dance. He has been pursuing dance since the age of six. Even though he was illiterate, he can master all kinds of songs in Old Javanese (Kawi) that accompany the Gambuh performance. Gambuh is estimated to have entered from Java to Bali since the reign of King Udayana in Bali, around the 10th century AD. In the mid-1960s, the Indonesian Dance Academy (ASTI, now ISI) Denpasar, made Geruh an important resource for researching and reconstructing the rare Gambuh dance. Geruh was once appointed as an Extraordinary Lecturer at ASTI Denpasar. From this Geruh, ASTI was then able to combine Gambuh with Gong Semar Pagulingan as an accompaniment so that the term Gambuh Anyar was born. Originally, the Gambuh dance was often accompanied by rabab and flute instruments.ccompanied by rabab and flute instruments.)
  • Gede Gunada  + (Gede Gunada is a painter who was born in AGede Gunada is a painter who was born in Ababi Village, Karangasem, Bali, April 11, 1979. He studied art at SMSR Negeri Denpasar, then continued his studies at STKIP Amlapura, Karangasem. Since 1995 he has been involved in many joint exhibitions, including: Exhibition of Gebyar Art High Schools (SMK) throughout Indonesia (1995), Exhibition of Lempuyang Community Groups at Hilton Hotel, Surabaya (1999), "Sensitive" Exhibition of Lempuyang Community at Danes Art Veranda , Denpasar (2006). He won the 2002 Best Painting Award in the “Art is Peaceful” Painting Competition in Sanur, Bali; The Best Calligraphy Painting 2009 in the Calligraphy Painting Competition throughout Indonesia at the UNHI Denpasar campus. Many of his works are about humans and nature in an expressive style. humans and nature in an expressive style.)
  • GN Surya Hadinata  + (Gede Ngurah Surya Hadinata is the chairmanGede Ngurah Surya Hadinata is the chairman of the Indonesian Philatelist Association for the Regional Board of Bali as well as a member of the Indonesian Philatelist Association Center. He has been active for more than twenty years in the world of stamps. Apart from being one of the foremost philatelists in Bali, he also founded a vocational high school in his hometown of Nusa Lembongan. He is also active as a Scout coach which he has been practicing since he was a child.</br></br>Pak Surya, or Kak Surya, as he is familiarly known in the world of scouting, regularly organizes philatelic exhibitions on a local, regional, national and international scale.egional, national and international scale.)
  • Geg Ary Suharsani  + (Geg Ary Suharsani, born in Mengwitani, BadGeg Ary Suharsani, born in Mengwitani, Badung, Bali, October 13, 1980, graduated from the Faculty of Economics, Udayana University. She has been actively writing since he was a teenager, in the form of short stories, essays, novels. When she was a student, she was active in the press at Udayana University. She has also been a journalist at Pantau Magazine. Her writings have been published in Pantau Magazine, Bali Post, Denpost, Nusa Bali, etc. Her published books are a collection of short stories "Cubang" (2019) and the novel "Kunang-Kunang Hitam" (2020). Now she works as an employee of Bank Negara Indonesia (BNI).n employee of Bank Negara Indonesia (BNI).)
  • Georges Breguet  + (Georges Breguet is the author of numerous works about art in Indonesia.)
  • Gill Marais  + (Gill Marais is a photojournalist and authoGill Marais is a photojournalist and author of the book "Bali Sacred & Secret".</br>She began her career with SIPA Press in Paris, and has reported in the field of culture, medicine and travel. Her book, The Amchi, on travels with a Tibetan doctor has been published in France, England and India. Born in South Africa, after her marriage to a French Diplomat, France has been her home for over forty years.</br>Her work has taken her through North America, North Africa, Kenya, the Middle East, Europe, Russia, India, Pakistan, China and South East Asia. She resides in Bali for six months of the year, and has two grown children. </br>She is an old Bali hand who has counted among her mentors, sponsors, friends and neighbors some of the great contemporary names in Balinese scholarship and spiritual and cultural leadership.larship and spiritual and cultural leadership.)
  • PEMANASAN GLOBAL RING BALI  + (Global warming is currently increasing becGlobal warming is currently increasing because the rain does not fall and as a result it has an impact on the sustainability of society, for example people are vulnerable to falling ill because the heat is always increasing every day. This can be followed up by the government so that it can issue solutions or opinions regarding this matter so that it does not cause problems. something new that you don't want.</br>What the government can possibly do so that this problem can be resolved is that the government can help by creating green open spaces, namely planting a thousand trees so that they can absorb more carbon dioxide and convert it into oxygen so that people can at least breathe fresh air and also reduce the impact of global warming by Thus, the problem of global warming can reduce the effects or impacts of global warming.</br>If this problem of global warming can be resolved with assistance from the government in the form of trees to be planted around people's residential areas and it can help people not be affected by the problem of global warming, the government will be able to convince people not to be too worried or panic about this global warming problem.r panic about this global warming problem.)
  • Gm. Sukawidana  + (Gm. Sukawidana was born in Bali, July 16. Gm. Sukawidana was born in Bali, July 16. Writing poetry since 1979. He is one of the founders of the Coffee Drinking Studio and the Cultural Cipta Sanggar (SMPN 1 Denpasar). His poems have been published in Bali Post, Nafiri, Swadesi, Simphoni, Berita Buana, Republika, etc. His poetry is also summarized in the book Painting Magic Land of Bali (2000). His solo poetry books: The Midday Ceremony (1993), The Twilight Ceremony of the Land of the Ancestors (2000). Now he is preparing his new poetry book.. Now he is preparing his new poetry book.)
  • STUNTING PINAKA KAPIAMENG MASA DEPAN BALI  + (Good afternoon to all of you whom I respecGood afternoon to all of you whom I respect, as well as the youth, and the people of Bali whom I love.</br>Before I continue, let us give praise and thanks to Ida Sang Hyang Widhi Wasa, I would like to say “Om Swastyastu”. May we always be safe thanks to His grace.</br></br>On this blessed day, as participation in the Wikithon Bali Berorasi event, let me deliver an oration entitled “Stunting Pinaka Kapiameng Bali’s Future”.</br></br>Respected people of Bali, </br>The young generation is the next generation of the nation that will continue, fill, and add to the development, as well as build Bali towards the “New Bali Era”. However, there is a very important obstacle, namely stunting. Stunting is the impaired growth and development of children due to malnutrition at the age of 1000 days. </br></br>Stunting is characterized by a child being shorter than a child with normal development. Not only that, during their cerebral and physical development, children are very quickly exposed to disease. Young children who experience stunting are also hindered in socializing, emotions, and thinking. According to UNICEF, young children who experience stunting usually have less intelligence than children who are not affected by stunting.</br></br>This problem of stunting, should be quickly recognised by the policy owner or the government, especially the Bali provincial leader who will be elected in 2024. If this is not considered by the government, the hope to reach a “New Era Bali” will only be a dream, unattainable because it cannot build a young generation that has critical thinking and intelligence, who will become the leaders of Bali in the future.</br></br>My respected audience,</br>Whoever will be the leader of Bali in 2024 should really pay attention to the disease that causes stunting. What can help solve this problem is building drinking water infrastructure, conducting Supplementary Feeding Programs (PTM) for children and pregnant women to complement their body nutrition, checking the growth and development of toddlers, providing vaccinations for children to prevent viruses that interfere with child development.</br></br>Ladies and gentlemen, </br>The young generation can be a weapon to reach the “New Bali Era”. Let us beware of the dangers caused by stunting that can hinder or hamper the development of this island of the gods. Together with the young generation, towards the New Bali Era.</br></br>That’s all I can say today. If there are any mistakes in my speech, I ask for forgiveness. Klungkung Semarapura, kirang langkung nunas pangampura (Balinese saying which means begging for forgiveness if something goes wrong). Allow me to end this speech with paramasantih. </br></br>Om Santih Santih Santih Omparamasantih. Om Santih Santih Santih Om)
  • Alih Fungsi Lahan Pertanian  + (Good morning,everyone. First of all, let'sGood morning,everyone.</br>First of all, let's offer thanks to the presence of God Almighty. Here I would like to thank you for the opportunity that has been given to me, allow me to introduce myself. My name is Ni Kadek Feby Dhiyo Dharma Yanthi, I am from SMK Negeri 2 Seririt. Here I will deliver an oration about the conversion of agricultural land. This is one of the problems that must be overcome by potential Balinese leaders.</br></br> As we know, the population of Bali is increasing and more and more foreign tourists are visiting, therefore a lot of agricultural land is being converted into housing, hotels, restaurants and other buildings that support the tourism industry. Therefore, there are no farmers in Bali who own large areas of land. Head of the Bali Agriculture and Food Security Service, I Wayan Sunada, explained that currently the largest farmer's land area in Bali is around 75 are/0.75 ha, it is very rare for farmers to have land above one hectare. "The weakness of farmers in Bali currently is that their land is limited, some are 25 hectares, the maximum is 75 hectares. "This is the result of land conversion that occurs every year." said Sunada to Bisnis, Wednesday (22/6/2022). Based on these problems, the Government or prospective Bali Provincial Government must really pay attention to the problem of Land Conversion by ensuring the welfare of farmers, for example:</br> 1. During the planting season, attention must be paid to the distribution of subsidized and non-subsidized fertilizers to avoid fertilizer shortages.</br> 2. During the harvest season, the Government must help farmers market their agricultural products.</br> If the government really paid attention to the welfare of farmers, land conversion could be prevented because people and the younger generation would want to become farmers. In this way, the national food security program can be achieved.</br></br> That is the speech that I can convey, if there are any sentences that are not acceptable, I apologize profusely. I would like to express my gratitudeely. I would like to express my gratitude)
  • Gregory Bateson  + (Gregory Bateson (9 May 1904 – 4 July 1980)Gregory Bateson (9 May 1904 – 4 July 1980) was an English anthropologist, social scientist, linguist, visual anthropologist, semiotician, and cyberneticist whose work intersected that of many other fields.</br></br>Bateson travelled to Bali with his second wife (1936-1950) Margaret Mead to study the people of the village Bajoeng Gede. In the short history of ethnographic fieldwork, film was used both on a large scale and as the primary research tool. Bateson took 25,000 photographs of their Balinese subjects.</br></br>He discovered that the people of Bajoeng Gede raised their children very unlike children raised in Western societies. Instead of attention being paid to a child who was displaying a climax of emotion (love or anger), Balinese mothers would ignore them. Bateson notes, "The child responds to [a mother's] advances with either affection or temper, but the response falls into a vacuum. In Western cultures, such sequences lead to small climaxes of love or anger, but not so in Bali. At the moment when a child throws its arms around the mother's neck or bursts into tears, the mother's attention wanders". This model of stimulation and refusal was also seen in other areas of the culture. Bateson later described the style of Balinese relations as stasis instead of schismogenesis. Their interactions were "muted" and did not follow the schismogenetic process because they did not often escalate competition, dominance, or submission.ate competition, dominance, or submission.)
  • Gus Dark  + (Gus Dark is a cartoonist born in KarangaseGus Dark is a cartoonist born in Karangasem, Bali, July 21, 1982. He studied graphic arts at the School of Modern Design, Yogyakarta. The cartoon character was named “Mang Ogel” by an editor and published in a periodical newspaper. In 2013, Gus Dark was awarded the Superstar Supporter Award by the ROLE Foundation. In 2014 he joined the Jokowi Volunteer movement by sending his art to "Kolak Kotak". He exhibited his cartoons in the exhibition of the Caring for Waste Cartoon Exhibition Volume II in Singaraja; “Show Off” in the Surabaya Cartoon exhibition with the Indonesian Cartoon Community.ion with the Indonesian Cartoon Community.)
  • Agus Teja Sentosa  + (Gus Teja is a flute (Suling) maestro from Gus Teja is a flute (Suling) maestro from a small village near Ubud, Bali. He is the youngest of four children from his parents I Nyoman Kadjil and Ni Wayan Darpini. He began playing the flute while attending elementary school, yet spent a lot of time during this period practicing the gamelan (Balinese traditional instrument). As the years progressed, his interest in wind instruments increased. This sparked the obsession in learning all there was about wind instruments from around the world.</br></br>Since childhood Gus Teja is excited to be a flute player. Flute is an instrument with melodious voice that represents the voice of peace. He feels free when everytime playing flute as well as a form of meditation in his devotion to God.</br></br>Gus Teja continued to challenge himself by creating new instruments to go along with his passion of flutes. Ranging from whittled wood instruments to full fledged bamboo flutes. He is always experimenting with creating new works of music by incorporating musical instruments from modern instruments with traditional sounds. After years of patience and practice, Gus Teja finally formed a world music band named Gus Teja World Music.</br></br>Musical works that have been created not only represent an expression of his feeling from the deepest part of his heart, but also reflects peace, serenity, and a strong bond of brotherhood regardless of cultural background or a different race. Gus Teja said, “Music is universal … therefore through music let’s bring peace and love to the world.c let’s bring peace and love to the world.)
  • Gusti Agung Bagus Ari Maruta  + (Gusti Agung Bagus Ari Maruta, a third-geneGusti Agung Bagus Ari Maruta, a third-generation Ubud painter. Born in 1991 near the Ubud market, Bagus was raised in a family of artists. His uncle was an undagi, a traditional sculptor and architect responsible for creating ceremonial artefacts and objects. His extended family boasts well-known painters. They have excelled in the highly technical landscape style accredited to the famous, pioneering German expatriate Walter Spies (1895-1942). In addition, Bagus’ grandfather, Gusti Agung Purga, has the distinction of one of his pictures within the collection of the Tropenmuseum in the Netherlands.</br></br>In 2009, Bagus moved to Java to study at the Indonesian Art Institute (ISI), Yogyakarta. From 2009 to 2014, he pursued the Bachelor of Fine Arts and the post-graduate program from 2014 to 2016. Bagus was awarded ‘Best Painting of 2009’ from the Fine Arts faculty at ISI. The university city was bustling with students from across the archipelago, an intersection of Indonesian youth culture. As a fledgling painter thirsty for knowledge and experience, it was exciting to be in Yogyakarta. However, Bagus’ challenge was to break from his cultural programming of collective artistic identity and discover a creative voice distinguishing him within his family and community.</br>Bagus was first exhibited in 2007 in Museum Puri Lukisan, Ubud and since has participated in numerous group shows in Yogyakarta, Surabaya, Jakarta and South Korea. In 2019 he was selected to show in the UOB Painting of the Year exhibition at Museum Nasional, Jakarta. </br></br>by Richard Horstman. Nasional, Jakarta. by Richard Horstman.)
  • PELECEHAN ADAT BUDAYA BALI OLIH KRAMA LUAR BALI  + (HARASSMENT OF BALI CULTURAL TRADITIONS BY HARASSMENT OF BALI CULTURAL TRADITIONS BY PEOPLE OUTSIDE THE ISLAND</br></br>Viral videos of Balinese traditions on social media that are performed on the island Java, without proper standards, has raised the ire of Balinese netizens. Balinese traditions such as the Cendrawasih Dance, even sacred ones such as the Sidakarya Mask as an accompaniment to the work, seem to lose their Taksu when they are performed by irresponsible individuals. Why does this happen? What should the provincial government & Balinese people do to overcome this?</br></br>The fame of the customs, traditions and culture of the Balinese Hindu community is well known abroad. The authenticity of Balinese culture has encouraged people from outside Bali to come and learn Balinese culture directly. It's not surprising that now there are more and more art studios outside Bali that teach dance and gamelan arts typical of the Island of the Gods. The existence of social media such as Instagram, YouTube and TikTok also introduces the treasures of Balinese traditions</br></br>They seem to want to preserve Balinese traditions out of admiration, but this ends up being an insult to Balinese traditions themselves. The lack of knowledge between sacred and non-sacred dances has resulted in many dances that accompany ceremonies being danced haphazardly as an austere spectacle.</br></br>The Balinese Hindu community and the Balinese Traditional Village Council must work together to take strict action against these things so that they do not happen again. The Bali Provincial Government and the Bali Provincial Culture Service must immediately form an inter-regional cultural communication forum to provide education for artists outside Bali who want to present Balinese cultural arts, so that non-conformity in standards which leads to harassment can be avoided.ards which leads to harassment can be avoided.)
  • Arya Tegeh Kori  + (HISTORY OF ARYA DALEM BENCULUK TEGEHKORI HISTORY OF ARYA DALEM BENCULUK TEGEHKORI</br></br>Chapter one</br></br>Once upon a time in the past, there is a king, Arya Dalem Bansuluk Tegehkori is his name. He is the son of the king Dalem Shri Aji Kresna Kepakisan from Gelgel Klungkung kingdom. He rules the the land of Badeng kingdom. Badeng (or Badung) means dark. Because the land soil at this region is darker than other region. This is the story of his life journey.</br></br>King Ida Dalem Shri Aji Kresna Kepakisan is located at Puri Linggarsapura in Samprangan, Gianyar area. The castle was the former stronghold post of Mahapatih (the great prime minister) Gajahmada’s from Majapahit empire of Java to invade King Bedahulu of Bali kingdom. After Bali kingdom defeated, Ida Dalem Shri Aji Kresna Kepakisan was crowned King of Bali in 1352 AD by Queen Majapahit Tribhuana Tunggadewi. the new king Bali king then separate Bali into few small kingdoms lead by his war generals. He reigned until 1380 AD.</br></br>One day when full moon, king Ida Dalem Shriaji Kresna Kepakisan, took place in the royal hall, was meeting with the prime minister ministers and all his war general. Notable among them are Arya Kenceng son of Arya Damar who was made the ruler in Tabanan, Arya Sentong in Pacung, Arya Beleteng in Pinatih, Arya Kutawaringin in Kapal, Arya Binculu in Tangkas, Arya Pakisan in Abiansemal, Arya Belog in Kaba-kaba, and three knight named Tan Kober, Tan Kawur and Tan Mundur.</br></br>At that time, Arya Kenceng wore chrysanthemum green flowers at his hat. Ida Dalem's heart was shocked when he found out that Arya Kenceng was wearing the green chrysanthemum flower. Immediately his anger rose, due to the slander launched by Arya Pengalasan Jelantik. It is said that Arya Kenceng put magic on the king, so that the king would love and submit to him. Immediately Shri Raja punished Patih Arya Kenceng from war general into gardener with the obligation to clean the hall every day. The commotion at the Puri Dalem Samprangan Hall is thought to have occurred in 1360.</br></br>From that moment on, Arya Kenceng felt very deep sadness and often cried when he remembered his favorite son named Ngurah Tabanan. The son was given the name Ngurah Tabanan, because Arya Kenceng participated in conquering (naban) this Balinese country after fighting against Si Pasung Grigis, the governor of Raja Bedahulu.</br></br>After a long time, it was time for Arya Kenceng to receive God's grace. It was mentioned that the king Ida Dalem had a son who was only eleven months old to crawl. The boy was crawling very fast. The caretaker is named Ni Dasa Dasih. The prince is also getting closer to Arya Kenceng because he often carried out by him. Until one day, Arya Kenceng intention appeared to make efforts to get himself free from punishment. One time when Ida Dalem was sitting in front of his ministers, suddenly the son was released from behind the King. Crawling swiftly and then reaching for king's shoulder. Then approached by Arya Kenceng while lifting the son higher than Ida Dalem's back while apologizing from behind the King. As soon as the king turned his head, he saw the height behind him. The king was furious, then said: "You are very clever at making a ploy. Now, because my son has made a mistake grabbing my shoulder, as written in Niti Sloka (The Kingdom rule), when the king is dressed in his royal dress as the leader of the country, nobody is allowed to touch the king. The rule said whoever touch the king must be execute. But I can’t execute him because he is my son. So, Arya Kenceng, take my son, make him your adopted son, the ceremony with a bonfire on top of which is filled with a buffalo head. Brother him with your son I Ngurah Tabanan. Now I give the name to him Arya Dalem Bansuluk Tegehkuri. (Tegeh mean tall or high and Kori or Kuri mean behind, because he was taller from behind when he touch the king’s shoulder)”. Immediately, Arya Kenceng was unbelievably happy to have a son who was handsome and very smart. Then respectfully excuse himself to bring the prince to his castle at Tabanan, make him brother to Ngurah Tabanan. This tale is also written at Prasasti Babad Dalem Tabanan Tegehkori manuscript. Arya Kenceng then carried out the adopted ceremony according to the mandate of Ida Dalem. </br></br>The blood that flows in prince Arya Dalem Bansuluk Tegehkori from generation to generation remains the blood of Ida Dalem Shri Aji Kresna Kepakisan. Now more than six centuries have passed, all of his genetic descendants remember to always come to offer devotion before The king Ida Bhatara Kawitan Dalem Shri Aji Kresna Kepakisan at his family temple at Mother Temple Besakih.</br></br>Time pass by and the 2 kids now become young men. Between Arya Tegehkori and Ngurah Tabanan, a misunderstanding and conflict arise. Arya Tabanan has a wife, he is jealous that he thinks his wife have an affair with Arya Tegehkori. He always try to harm him in many ways</br></br>Feeling uneasy, Arya Tegehkori decide to leave the Tabanan kingdom then went to get rid of himself to Mount Batur to meditation. After some time meditating there, he got a gift from the god of Mount Batur in the form of a whiting box. If Arya Tegeh Kori wanted to put himself in it, the power of the whiting box would shrink. Whenever it comes out of the box, he can return his body to normal size. That is the magic of the whiting box, a gift from the goddess of Mount Batur, then the god said to Arya Tegehkori: “I gave you the magic box. Now you have to go to Tonjayu Village at the dark land (Badeng). There are some clans inhabit the area like Pasek Bendesa, Pasek Kubayan, Dangka, Ngukuhin, Tangkas and they don't have a king yet. These days they have big ceremony, use this magic box there. Of course you will be appointed king in the Badeng or Badung area. Be a ruler, be a king!“.As the command of Ida Batara Dewi Danu, the goddess of Batur lake and mountain, then Arya Tegehkori left for the Badeng or Badung area. </br></br>When he arrived in the Badung area, it was already evening, so he to the chief’s village house at Tonja. There he concentrated his spiritual power so that he could enter the container of magic whiting boxthat he had placed on the gate. His body shrunk and able to fit in the box perfectly. The next day, when the sun rise, the village chief saw that there was a box on the gate. Then while opening the lid. Seen a small child in the container of whiting box. The chief mind was amazed to see this strange and miraculous event. Immediately Ihe worshiped and said: "My noble Lord". Having just finished saying this, the little boy who was in the box immediately came out. Back in its original form as as a man. Looks good, handsome and dignified. The longer it was seen, the more amazed the chief's feelings. Then Arya Tegehkori then himself. He explained that he was the son of the Bali king Ida Dalem Kresna Kepakisan at the Swecapura Gelgel castle. He was the brother of Arya Tabanan in the country of Tambangan (Tabanan). He also explained clearly how the adventure that he experienced from beginning to end. The chief is amazed and ask him to rest at his house. After the chief carried out the piodalan ceremony, he immediately held discussions with his clan brothers, such as Pasek Gaduh, Kebayan, Dangka, Ngukuhin, Tangkas, about the need to make him a palace and prepare for his coronation to become king as ruler in the Badeng or Badung region, and report to the King of Bali kingdom Shriaji Kresna Kepakisan at the Swecapura Gelgel castle. The king at Gelgel was very agreeable because anyway Arya Tegehkori is his son. At the age of a toddler he was banished from the family. At a young age with the blessing of the goddess Ida Bhatari Ulun Danu Batur and thanks to the approval of the King of Bali who was also his father and for the support of the people, he ascended the throne to become the first King of Badung kingdom.</br></br>In order for him to truly become a noble king in the Land of Badung, the chief again held a deliberation to build a palace worthy of him. The palace was built in the upper reaches of the village or in the north. After the palace was completed, it was there that the king Arya Tegeh Kori resided. After some time as king, he built two holy temple. The temple to worship the God of Agung mountainwas built to the east of the palace. The place for worshiping the goddes Bhatara Dewi Danu Batur is made to the west of the palace called Pura Batursari.</br></br>After a while the king then married. Then his son (2nd dinasty) built another palace, also still in the Badung area, because more and more people live in the Badung area and the condition of the land is fertile. After the second palace was built, it was named Puri Satria (Satria palace), as a characteristic that he was a descendant of Knights. Meanwhile, the Tegehkori palace (1st dinasty) in Tonja was named Puri Dalem Benculuk. In the recently completed castle, a pair of very tall palace gates were also built, none of which were on par in all of Bali. The disadvantage is that if it is broken, it is rather difficult to repair it, presumably that is His wish to build a very high gate at Puri Satria, so that it is in accordance with the name of his father in Tegehkori. The Tegehkori dynasty is ruling the kingdom from 1378 - 1687.</br></br>Chapter Two</br></br></br>Meanwhile at Tambangan (Tabanan) kingdom, after king Arya Kenceng passed away, his son Arya Tabanan replace him as king. He have crown prince name Ngurah Rangong. The old king Arya Tabanan suffered a seriuos illness, then moved to live at the village of Kebon Tingguh. Ngurah Rangong intention was to wait for the throne to become the king of Tabanan kingdom. The old king Arya Tabanan was served by a woman named Luh Bendesa from Buahan village. During the service, the king touched Luh Bendesa and become pregnant. From this relationship, Luh Bendesa then gave birth to a son who was named I Gusti Pucangan. Later on the king is passed away. After Arya Tabanan died, Ngurah Rangong become next king. But he is afraid that Pucangan someday will also claim his territory. Ngurah Rangong made efforts so that Pucangan would soon meet his death. Outside the Tambangan palace, there is a very sacred banyan tree. King Ngurah Rangong then ordered his younger brother, Pucangan, to cut the tree branches. However, to the great surprise of the brother, it turned out that the younger brother was still safe. Since then I Gusti Pucangan has been named Gusti Bagus Alit Notor Wandira. The king never stop to try to kill his brother. </br></br>Unable to stand it, Pucangan then left Tambangan palace to Mount Batur. On the shores of Lake Batur appeared the goddes Ida Bhatari Tolangkir who said: "Hi Pucangan, what are you looking for here alone?".</br>Gusti Pucangan replied: "Oh dear goddess, this servant is too troubled. I have a half brother who was made king by my father. Besides, my brother I Gusti Rangong was hostile to. ” Ida Batari again said: "If you are devoted to me, uphold me through the lake water, take me to Mount Batur". Pucangan replied: "I will do, even if it make myself sinking”. By the magical power of goddess Ida Bhatari, Pucangan walked safely across the lake to Mount Batur will upheld the goddess.</br>Goddes Ida Bhatari said: "O Pucangan, you truly devote to me, now I give you a whip and a tulup (a traditional Bali weapon made by bamboo) You must go to Gelgel palace and kill the king’s enemies in the form of raven, because they often ruin the king’s food. It is this whip and dipper that you used to kill that evil raven. After it is successful, someday you Pucangan will become king in the Land of Badung ”.</br></br>This incident occurred when the Balinese Kingdom, which was centered in Klungkung, was led by King Dalem Anom Sagening (1580-1665) who was residing at Puri Swecapura palace at Gelgel. Meanwhile, the King of Badung at that time was I Gusti Tegehkori V. The blessing of goddess Ida Bhatari and the approval of the King of Bali were the main assets obtained by Pucangan in achieving success of gaining power.</br></br>Prince Pucangan continued his journey, accompanied by a follower named Tambiak from Mount Batur to the Swecapura Palace at Gelgel. It was mentioned that Ida Dalem was in the hall faced by his prime minister. I Gusti Pucangan then confronted him and declared that he was able to kill the crow, who often ruined the king's food. King Ida Dalem was surprised, then asked: "Where are you from son and what is your name?". Pucangan replied: “Master, this servant is named is Pucangan from Buahan Village, son of the late king Arya Tabanan. I just came from Mount Batur ”, then he explained his life from the beginning until now. Immediately he also remembered Ida Dalem about the past stories and he was very happy about the arrival of someone who would help to destroy the crow.</br>The next day, the prime minister had gathered to meet Ida Dalem. In the afternoon the crow came who was going to spoil King's meal. Prince Pucangan quickly shoot the tulup, hitting the raven’s wing until it broke. After being hit and falling, King ordered to hit it with a whip, so that the crow met his death immediately. Ravens are often used as symbols of darkness, anger and death.</br></br>After that, the king was very happy. "Now, because of your great devotion to me," he was then presented with a set of clothes. He continued saying: "what else do you ask for?". Prince Pucangan remember with the words of goddess Ida Bhatari Tolangkir when he met on Mount Batur who would grant the area in Badung. Then the prince Gusti Pucangan asked to be given a place in the Badung area. With pleasure the King granted, then said: “I granted your request Pucangan, after all there at the land of badung, your family Arya Tegehkori at the Satria Palace ruled. You better get there, go ". Pucangan then go to Badung kingdom to be precise at the house of the chief of Lumintang Village.</br></br>Furthermore, the chief of Lumintang informed the king about the arrival of the prince Pucangan. The king Gusti Tegehkori IV was very happy to accept the arrival of his family, prince Pucangan. The king then give him 250 people to build a palace to the southwest of Puri Satria palace. The new palace was named Puri Jambe palace. The king then appointed him as punggawa (guardian knight) of Badung kingdom. </br></br>After king Tegeh Kori IV passed away, his son Tegeh Kori V replace him as king and have beautiful 15 years daughter named Ayu Genjot and handsome 13 year boy named Ngurah Raden. Prince Pucangan request the king to allowed his son to marry her daughter. But at other hand, the old king of Mengwi kingdom also propose the princess to marry his crown prince. At that time, Mengwi kingdom become more powerful and have larger troops than peaceful Badung kingdom. So the king decide to accept the Mengwi king’s propose. </br></br>Prince Pucangan is furious to hear that. Night before the Mengwi’s prince arrive to marry the princess, Pucangan with his troops storming the Satria palace. Pucangan is the guardian knight of Badung kingdom. He knows the palace so well and most of the troops is loyal to him. The palace is chaos and burn down. Considering the safety of his family, the king then decide to escape from the palace. Only five of them on that dark night Arya Dalem Tegehkori V (I Gusti Made Tegeh) escaped with the empress and her two sons and an in-law named Munang. His departure did not carry anything, only a box of inscriptions which was the heirloom of Puri Satria palace that he carried. All his cousins and other family also escape and scatter into many directions around Bali. The Tegehkori dynasty at Badung kingdom is fallen.</br></br>Chapter 3</br></br>Year 1724, During the five days he retreated in the mountain & forest, his children almost died because they did not eat anything. The group of Gusti Made Tegeh family arrived at a Village and went straight to the house of a village chief named I Pengkoh. It is very respectful that chief Pengkoh and his family entertain the guest of honor. For twenty days Gusti Made Tegeh group stayed at the house of the chief. One time, it was the middle of the dry season, so in a short time the rice supply in the barn ran out. What remains is only rat droppings mixed with grain skin, chief Pengkoh's wife only found that out. Chief Pengkoh prepared a pot in the kitchen to cook rice. Until the water in the pot was boiling, his wife did not get a grain of rice. Chief Pengkoh's anger rise, he then poured the hot water and scold his wife. Gusti Made Tegeh witnessed this very unpleasant incident, which made him feel very embarrassed.</br></br>After a discussion with his brother-in-law, I Munang, the former King and his brother-in-law went to hunt some food to the mountains. Meanwhile his wife and two children were left at chief’s house. After Gusti Made Tegeh left for the mountain, chief Pengkoh's evil thought occurred. His two children were ask to permission to his mother to accompany him to find rice. His mother agreed, so they left. In the middle of their journey, the children of Gusti Made Tegeh were tricked into making their way to the Denbukit area (later called Buleleng). When he arrived in Kalianget Village, his two kids were sold by chief Pengkoh to Ngurah Kalianget for 150 pieces of belongings plus a number of cloths.</br></br>After 10 days Gusti Made Tegeh and his brother-in-law went to the mountains for hunting, finally they back to chief’s house. They asked her the whereabouts of his children to his wife. She explained that their children was taken to the mountain by the chief. It's been 10 days yet to come back. When Gusti Made Tegeh heard his wife's answer, he was shocked and realized the misery they were experiencing. While shedding tears, he then told his wife and I Munang that the two of them would look for their children to Karangasem area. He himself looked to Denbukit. From there they parted ways, his wife and his brother went to Karangasem and he went to Denbukit.</br></br>After crossing Denbukit land, he arrived at Ambengan Hamlet. From that hamlet the journey to Sangket Village. From there he disguised himself to investigate the whereabouts of his children who had no news.</br></br>On that time Gusti Made Singaraja, the descendants of Gusti Panji Sakti is the King Denbukit kingdom and resides at Puri Sukasada palace. That's where he headed. It happened that King Denbukit was watching the Gambuh dance training. Those 2 person than talk and feel like each other. After some happy talk, he was asked to participate in Gambuh dance performance. It is difficult to find a comparison with the greatness of Gusti Made Tegeh in the art of Gambuh. Day and night the performance of Gambuh is joyful, which is why the king's palace was named Puri Sukasada.</br></br>After some period of time in clever disguise, Gusti Made Tegeh was very dear and trusted to King Denbukit. He was rewarded with as many as two hundred followers, including forty of whom were teenagers. He then assign into the sedahan agung (treasurer of the king) and also his war advisor. Nobody equals the wisdom of King Denbukit, so that it is respected by anyone, has the authority as a descendant of the warrior king of the gods. No one dared to oppose his orders. It could be said that the prosperity of the kingdom which was centered at the Sukasada Palace. Under his command, Denbukit kingdom spreading their teritory by invading many village to knee under Denbukit authority. Gusti Made Tegeh did this in order to find his children. Half of Bali island then become the territory of Denbukit kingdom. </br></br>Now it is told that the chief of Kalianget village name Ngurah Sindhuwedang have Gusti Made Tegeh sons and daughter and made them into servant at his house. The village of Kalianget has a population of 1,450 people. Ngurah Kalianget, who had a haughty heart and was very jealous of Denbukit King decided to fight the Denbukit kingdom. But the king quickly heard of him, and ordered Gusti Made Tegeh to beat Ngurah Kalianget before he could gather his strength. Quickly, Gusti Made Tegeh brought 200 elite warrior on their way to Kalianget Village.</br></br>When Gusti Made Tegeh troops arrived and recon the Kalianget Village, they found out that Ngurah Kalianget 1.000 soldiers were also on preparation to attack Sukasada palace. Gusti Made Tegeh and his 200 elite warriors prepare to attack at night. The attack was carried out suddenly at night made the Ngurah Kalianget soldiers shocked and confuse, they feel like stormed by thousands of enemies accompanied by spirits. Ngurah Kalianget soldier lost and surrendered. Ngurah Kalianget was taken prisoner, the whole house and its young and old residents were seized and taken to Puri Sukasada that dawn. By order of the king, Ngurah Kalianget was sentenced to death. Then he bring all other prisoners to kingdom prison. They were mixed up, including Gusti Made Tegeh children who had been sold and hidden in Kalianget. Until the end of the attack on Kalianget, he did not know the whereabouts of his children. </br></br>Suddenly Gusti Made Tegeh hear 2 young teenager cried heartbreaking among the prisoners, calling out her father and mother: "O the holy king of Tegehkori, look at me, it's been such a long time now that we haven't met my father and mother, I hope God Ida Sang Hyang Widhi will bring them together as soon as possible". Because the boy's lamentation and mention his ancestor Tegehkori, attracted enough attention and immediately approached the two young teenager. He shock that they are his children, Ayu Genjot and Ngurah Raden. The father and children finally reunite again Meanwhile his wife and her brother who had been traveling for a long time looking for their sons and daughters in the Karangasem area, then heard the news that Gusti Made Tegeh had gathered with their children at his place at Puri Sukasada palace. They hurriedly came to Denbukit and headed for the Sukasada Palace and there they reunite together, He was very happy. </br></br>After awhile, he order his son Ngurah Raden & his brother in law to return to Badung kingdom to meet the new king Pucangan. Arriving in Badung, since the Satria palace had been occupied by I Gusti Pucangan who later ascended the throne to become the king of Badung, he faced Ngurah Raden to his castle, claiming to be ordered back by his father Gusti Made Tegeh because anyway they are still family and understand why Pucangan furious and raid him. He hold no grudge. Pucangan love and care Ngurah Raden since he’s a baby and always carry him everywhere when he was act as the guardian knight of Badung. Ngurah Raden also childhood friend and like brother to his sons. Gusti Made Tegeh know that Pucangan will never have the heart to kill Ngurah Raden. Because Pucangan felt himself reunited with his nephew, he gladly presented 200 people and 40 plots of rice fields to Ngurah Raden. At the king's orders, he built a palace on the west side of the river on a forest plot. After completion, the palace was given the name Jro Kuta palace. King Pucangan have 2 sons. The older ones were given a place to live in the east of the river and given an inheritance weapon. Later the palace was called Puri Denpasar palace (because it was located north of the market). Meanwhile, his younger brother was made a place to live in the west of the river and was given an heirloom weapon, therefore the palace was later called Puri Pamecutan. After a long period of time when king Gusti Pucangan ruled in the Badung Kingdom, he died, then he was replaced by his two sons who both competed to become king to replace their father to become king in Badung State.</br></br>For a long time Gusti Made Tegeh lived in the vicinity of the Sukasada Denbukit Palace. He was very active in helping the king prosper the country, so that the king loved him very much. Her daughter Ayu Genjot also became a dancer and was later married to a nobleman from the village of Petandakan.</br></br>Someday the king Gusti Agung Gede of Mengwi Kingdom wants to visit Denbukit kingdom. Considering that King Mengwi was very famous for his supernatural power, the Denbukit king intended to try to test if it was true as the news was. He order Gusti Made Tegeh to ambush the Mengwi king’s parade. He bring 40 elite warriors to ambush under the kepuh tree in the Banyuning cemetery.</br></br>Then came the moment he had been waiting for, Mengwi king’s parade arrive. The king was carried and accompanied by 200 of his people. When he was close, then king Mengwi who was being carried on a stretcher, was intercepted by Gusti Made Tegeh, and he was speared violently. However, he was not hurt in the slightest because his body was so invincible. King Mengwi said to his companions: "send me down, O soldier". Then He got down from the stretcher and immediately took a meditative stance. In an instant he changed his form into resemble Bhuta Sungsang, a giant with six eyes, six arms, six legs and six heads. It seems that no one will be able to match His supernatural powers in this world. There the troops brought by Gusti Made Tegeh felt fear and all of them ran helter-skelter. Meanwhile, Gusti Made Tegeh himself retreated and hid himself far enough to the west in the forest hills of Pedawa.</br></br>Returning to king of Mengwi, the assassination attempt he had just experienced did not dampen his steps towards the Sukasada Palace. On arrival at Puri Sukasada palace, laughing out loud, he received a warm welcome from King Denbukit whom asking for forgiveness. King Mengwi said: “Okay, son, there's no need to extend this issue because I already know that you only want to test my supernatural power. Now this old man only asks you son, to search the person that order to attack me. This old man was very surprised of the courage of this man and also his loyalty to was amazing. You have never met someone like that, I have a feeling that he is a descendant of a famous knights ".</br></br>Then the king of Denbukit ordered his troops to look for Gusti Made Tegeh. However, even though they traces or days, they still cannot be found Gusti Made Tegeh. He was hiding at the top of a millet tree. When the troops approaching, there are some doves perch at the millet branch. Gusti Made Tegeh pray and begging to doves the millet tree to let him stay there. Normally, dove bird will fly away if there are people around it. But suddenly these doves singing. The troops saw it and assume that nobody there and passing by. Gusti Made Tegeh then make an oath that none of his descendant will eat millet fruit or harm any dove. </br></br> </br>Until 7 days he remained there. With a sluggish body, emaciated and very dirty, then he walked slowly leaving the millet field towards the west, taking refuge in the village of Patemon. The situation when he arrived at the village indicated that it was already evening. He headed for the rice trading house, wife of the puppeteer Patemon. He was very pity for her to see that his condition was very tired and emaciated, so she was invited him to their house and served with food. The pupetter's family sympathy for Gusti Made Tegeh for being chased by royal soldiers. The pupetter's family then making a well hole for him to take shelter in. Everyday afternoon he hid himself in a foxhole. When night fell, He was taken out of the shelter. He made friends with the villagers. It has been for 15 days since he stay there and very uncomfortable and don’t want the helper family involve in trouble. He excused himself from pupetter’s house and then left to Bubunan Village. In that village, he also made friends with the villagers. For about a month in Bunbunan Village, Arya Dalem's mind grew more restless. He is thinking about his family that might be executed because he failed the king’s order. Then he decide to go back to Sukasada palace to prepare his death sentence but will beg for his family life to spare. 10 of villagers accompany him.</br></br>Arriving at Puri Sukasada, the two kings were sitting rejoicing in the palace facing the royal servants. They was surprised to see people who had just arrived dressed all in white. The white cloth a sign that they will be willing to die if something unwanted happens. So Gusti Made Tegeh and his ten followers presented a bow while begging for mercy in front of the two kings if they were judged to have done something wrong. </br></br>The king of mengwi then ask Gusti Made Tegeh who he really is. Who is his true identity. He then said that he is the descendant of Arya Tegehkori, the founder of Badung kingdom. He tell them all his journey. King Mengwi then said: "O Arya, in my opinion, what you did to me was absolutely innocent. I thought, you only carrying out your loyalty towards the king of Denbukit, carrying out orders to attack. Now, my son the king of Denbukit, from now on never ever forget the loyalty and sincerity of the sacrifices that Gusti Made Tegeh has given to you forever ”.</br></br>After saying this, King Mengwi summoned a servant of his companion to take a keris and a spear at the place of his bed. After king Mengwi order that, Gusti Made Tegeh and all of his 10 followers immediately experienced extreme anxiety and fear. Of course they think that this is the time when the death sentence start. </br></br>The servant then handed over a keris and a spear, and was accepted by the King of Mengwi, saying: "O Arya, this is my gift in the form of a keris and a spear. This keris is called Carita Belebang, its usefulness is to maintain safety and the enemy doesn't dare see it. This spear is called Lelemon, it has great authority. This is proof so that from now on down from generation to generation, from life to death, never forget the descendants of King Denbukit, and also for my son the king of Denbukit, never forget Gusti Made Tegeh descendants forever. You must always help and support each other. Remember, whoever forgets this mandate of mine will find misery and heartbreak”</br></br>Thus again said the King of Mengwi: "And now, O Arya, which land that you will request ?”.</br>Hearing the words of King Mengwi which greatly pleased Gusti Made Tegeh, then he said: "If it is allowed, Bubunan Village is my request, because they are very loyal to me when I find trouble”.</br></br>Thus, Bubunan, Sulanyah, Tanguwisia Village was awarded to Gusti Made Tegeh. Then Gusti Made Tegeh and his family is allowed to return with his followers to Bubunan Village. For about 3 years he lived in Bubunan Village, because the land there was uneven. then they moved to Muntis Village ( later on change its name to Pengastulan village).</br></br>Epilogue</br></br>At Pengastulan, Gusti Made Tegeh became punggawa (guardian knight) and stay at a house name Jero Lingsir. Right to the west of his house he built an ancestral temple which was named Pura Badung as a honor to his ancestors whom was the King of Badung. He wrote all his extra ordinary journey into a manuscript called Prasasti Pura Badung. This prasasti is then passed through generations, along with his family tree. He and his descendant swear that they will always serve to Denbukit (Buleleng) kingdom forever.</br></br>Until later Dutch invade the kingdom and fall after the Great Battle of Jagaraga on 1849.d fall after the Great Battle of Jagaraga on 1849.)
  • Parikrama Bulan Bahasa Bali 2022  + (Halo warga Bali! Apa kabar? Bagaikan air Halo warga Bali! Apa kabar?</br></br>Bagaikan air yang mengalir, tidak terasa waktu berjalan dengan cepat, tahun baru 2022 sudah dimulai. Semoga anda senantiasa dianugrahi keselamatan di mana pun berada.</br></br>Kira-kira sudah dua tahun pandemi Covid-19 melanda dunia. Ada banyak sekali permasalahan dan dinamika kehidupan yang kita hadapi belakangan ini. Tidak hentinya juga beragam usaha yang dilakukan untuk menangani kesulitan ini. Akan tetapi …</br></br>Di saat pandemi mendatangkan ‘kegelapan’, sastra yang dapat meneranginya, bahasa yang menjadi minyaknya, mengalir bagaikan air yang selalu memberi guna bagi siapa pun yang memerlukan. Sehubungan dengan analogi tersebut, Pemerintah Provinsi Bali, diwakili oleh Dinas Kebudayaan Provinsi Bali, kembali mengadakan acara Bulan Bahasa Bali 2022, yang dilaksanakan mulai tanggal 1-28 Februari 2022.</br></br>Bulan Bahasa Bali keempat tahun 2022 ini bertema Danu Kerthi: Gitaning Toya Ening - Toya Pinaka Wit Guna Widya. Artinya, Bulan Bahasa Bali sebagai simbol perjalanan pengetahuan yang mengalir tiada henti menyediakan kebenaran, kesejahteraan, dan keutamaan dunia. Acara ini akan diadakan secara hibrid. Istilah hibrid mengacu pada acara yang dilaksanakan luring dan daring. Ada berbagai macam acara seperti seminar, loka karya, festival, pergelaran, pameran aksara, dan beberapa lomba yang berhadiah jutaan rupiah!</br></br>Warga Bali, mari bersiap-siap menyambut acara Bulan Bahasa Bali 2022! Info lengkap mengenai jadwal acara dan lomba Bulan Bahasa Bali 2022 bisa diakses melalui media sosial Instagram (IG), Facebook (FB), dan tautan lynk.id/bulanbahasabali. </br></br>Terima kasih.</br></br>IG : @bulanbahasabali2022</br>FB : Bulan Bahasa Bali 2022</br></br>#DanuKerthi</br>#GitaningToyaEning</br>#BulanBahasaBali2022hi #GitaningToyaEning #BulanBahasaBali2022)
  • Hanalei Swan  + (Hanalei Swan is a 15-year-old fashion desiHanalei Swan is a 15-year-old fashion designer, artist, speaker, and author. She leads by example – her goal is to inspire the next generation of conscious leaders.</br></br>HANALEI, it’s been a minute since we last spoke, can you tell us what you’ve been up to in the last couple of years?</br></br>I’ve taken a step back these last few years to really focus on what drives me creatively. Since we last spoke I feel like I’ve been through a huge reset, and this has allowed me to explore different passions including writing, which in turn has opened me up to new opportunities. I recently had the pleasure of being an author in the New York Times best-selling book Women Gone Wild!. I have also continued designing clothes, making artwork, writing, speaking and finding new ways to tell my story.</br></br>You were barely a teenager in Bali when we first caught up. How have your views changed since then?</br></br>I don’t think my views have changed necessarily; I just think they have been reinforced. I’m still focussed on creating sustainable fashion and educating other kids about making conscious decisions when buying clothing. I stand strong on sustainable fashion versus fast fashion, and it remains my mission to educate young consumers and set an example for other brands to start taking action on our problems in the fashion industry.</br></br>What projects are you involved in now, and what drives those projects?</br></br>These last few years have been very exciting. I’ve already mentioned the Women Gone Wild! book series, with its mission to inspire women around the world to take action on what they love. I’ve also been involved with the Shima Swan Surfboard Project, in partnership with We Are Mother Earth. This project is a symbolic gift for ocean health and takes a stand against the plans made by the company TEPCO to dump over 100 million tons of radioactive wastewater into the Pacific Ocean as early as next year, which will affect our environment, as well as food supply chain to a dramatic extent. I’m also happy to announce I’ve been working on a new collection for my eco-friendly fashion company, HS Styles, which takes huge inspiration from my love for the ocean and surfing. I look forward to sharing more on this in the future.</br></br>What are the biggest threats facing us in the world today, and how do you think they affect you?</br></br>Globally, the fashion industry is the second most polluting industry in the world after oil and gas. It’s responsible for 1.2 billion tonnes of greenhouse gas emissions annually. This blows my mind. It takes over 750 gallons of water to produce a single cotton T-shirt, not to mention that 20% of global wastewater comes from textile dyeing, because the bulk of the production is in countries with little or no regulation, so the wastewater often finds its way to rivers and seas where it can wreak havoc.</br></br>I never thought that deeply about fashion’s effect on our planet before I learned about this. So, when I started my fashion brand at 11 years old, I knew I didn’t want to contribute to any further destruction. I knew I had to do it differently, which brought me to slow fashion. I only use suitable materials like bamboo, which takes roughly one percent of the water otherwise needed to make a t-shirt. I also committed to giving back, so this is where HS Styles began.</br></br>In today’s social media landscape, are we all guilty of putting self-promotion before these causes?</br></br>Yes, everyone is, but that’s okay. We don’t always have to focus on the negative things on our planet, but I do believe these topics should be talked about so we can inspire other people to use their voices to uplift causes they care about. It’s important that everyone recognises that they have a voice – the more we talk about sustainability, for instance, the more we can educate and effect change. If that means promoting yourself and your business as well, then so be it. The point is the whole platform gets larger, and this always translates into greater awareness for others to follow.</br></br>How can we do our part?</br></br>There are three simple ways you can help. Through your time, your money, and or sharing your voice. Using your time could mean volunteering at an organisation that is already working towards making change, finding ways you can support others. Using your money could mean donating to certain charities/organisations, being more conscious with your spending by limiting your purchases and consumption, changing your buying habits by shopping at more sustainable brands, or even buying second-hand/vintage clothing to give them a chance not to not end up in landfill. You can also use your voice – talking about problems you care about is one of the most powerful tools you have, whether through open conversations or social media. If we each make a small change, we can create a bigger impact. The more we educate, the more we can inspire people to start thinking and buying consciously.</br></br>Do you think it is possible to affect future outcomes, and how would you do that? Yes, I believe we are able to affect future outcomes, but I don’t believe I can change the world on my own. We are the change we wish to see in the world, and I believe by standing together to fight against fast fashion and other habits that contribute to the destruction of our planet we can make a difference. I hope by inspiring others I can create a butterfly or ripple effect that will lead to sustainable change, and I hope my company HS Styles can set an example to inspire other brands.</br></br>How do you see yourself in 20 years’ time?</br></br>I haven’t thought that far into my future to be honest, so I genuinely don’t know where I want to end up, but I certainly know I don’t want to put myself in a box. I want to stay open to new possibilities and opportunities that may come my way. Over time I know my interests and thoughts will change and I am open to that.</br></br>Where are we heading as a race in your generation?</br></br>Our future is not bright, especially when you look at the rapid speed of climate change and the continuation of fast fashion practices by huge corporations. It’s obvious we are slowly destroying our only planet, and I am scared for our future generations.</br></br>Do you still have hope?</br></br>Yes, but only if we start taking action right now. We need to find solutions for the problems we already have instead of continuing to create others. I believe it is the responsibility of big companies to take into account how they are affecting the earth. It needs to be our mission to make our voices heard and to stand for what we care about.</br></br>IG: @HanaleiSwan</br>FB: Hanalei Swan-HS Styles</br>www.hanaleiswan.com</br>www.wgwbook.comStyles www.hanaleiswan.com www.wgwbook.com)
  • Gde Hariwangsa  + (Hartanto alias Gde Hariwangsa was born in Hartanto alias Gde Hariwangsa was born in Surakarta, 1958. He has lived in Bali since the 1980s. He has been writing poetry since middle school. His works have been published in Bali Post, Nusa Tenggara, Suara Karya, Suara Renewal, Tempo, Hai, Ceria, Basis, Femina, Indonesian Women, and the CAK Cultural Journal. His book of poetry is entitled Ladrang (1995). His poetry is also compiled in the book Dendang Denpasar, Nyiur Sanur (2012), The Beloved Mother (2021). He has also written art books, including Arie Smit Hunting the Light of Bali (2000), Siluhet Perempuan (2000), Tree of Life (2018). Previously he worked as a journalist for Matra magazine and later chose to become a farmer in the northern Bali area.become a farmer in the northern Bali area.)
  • RIVER WARRIOR  + (He came, he saw, he created. renowned artiHe came, he saw, he created. renowned artist Futura and Potato Head put on quite the show with river warrior.</br></br>New York City artist Futura2000, in collaboration with Potato Head, has created two sculptures titled ‘Pointman – River Warrior’, which were unveiled in Singapore and Bali. Created using waste collected across the island of Bali, Pointman speaks to Potato Head’s ideation that sustainability can be beautiful. Initially lauded as a pioneering graffiti artist, Futura2000 is known for his ground-breaking use of abstraction in the 1980s and has always been progressive in his philosophy, methodology, and practice of art. Adjacent to his body of abstract paintings, he has developed a universe and lexicon around an otherworldly character: the Pointman. Over the years, Pointman has taken many forms across drawing, painting, and sculpture.</br></br>The collaboration with Potato Head sees Pointman emerge with a new mission in the materials of its design. River and ocean pollution has long been a central concern of Futura2000. Located on the Hudson River in New York City, the view from his studio of the Statue of Liberty is obscured by vessels transporting trash and free-floating river garbage. In reaction to this, the use of waste for the fabrication of the sculptures is a social commentary on the pollution crisis faced by both rivers and tributaries in New York City and Southeast Asia.</br></br>On 9 December, the courtyard of the OMA-designed Potato Head Studios in Bali unveiled the second River Warrior sculpture. For this Pointman, everything from motor oil bottles to discarded water gallon lids sourced by the community organisation, Yayasan Kakikita, were used. The event brought together traditional Balinese ideals with Futura2000’s urban aesthetic and featured a performance by Australian dance company Chunky Move, talks, craft beers, and Balinese food stalls.</br></br>ABOUT THE ARTIST</br>Futura2000 (b. Leonard Hilton McGurr, 1955, New York) is an abstract painter whose practice first developed in New York during the 1970s. One of the earliest graffiti artists to introduce abstraction into his work, Futura was also among the first graffiti artists to be shown in contemporary art galleries in the early 1980s. Early exhibitions of his work include presentations at Patti Astor’s Fun Gallery and Tony Shafrazi Gallery, as well as within the historic Times Square show of 1980, alongside Keith Haring, Jean-Michel Basquiat, Rammellzee, and Kenny Scharf. MoMA PS1 brought the artists together again in its landmark 1981 exhibition, New York / New Wave. Futura collaborated with the punk band The Clash during this time as well, designing their album art and painting on large-scale canvases behind the band as they performed in concert. In recent years, he created collaborative works with Takashi Murakami and exhibited them at Kaikai KiKi Gallery in Tokyo. He worked with Virgil Abloh on collections for Off-White and Louis Vuitton and staged visuals for the designer at Coachella. Futura’s work has been shown at The New Museum, New York; MOCA, Los Angeles; the Groninger Museum, the Netherlands; Yvon Lambert, Galerie De Noirmont, and the Galerie du jour agnès b., Paris. In 2020, the Noguchi Museum presented Futura Akari, an installation of Akari light sculptures customized by Futura; he created a large site-specific installation at the Palais de Tokyo in Paris, and he was included in the exhibition Writing the Future: Basquiat and the Hip Hop Generation at the Museum of Fine Arts, Boston.</br></br>@futuradosmil</br>www.seminyak.potatohead.co @futuradosmil www.seminyak.potatohead.co)
  • I Nengah Jati  + (He is I Nengah Jati, he is usually called He is I Nengah Jati, he is usually called Jati. He was born in the same undisan, bangli on October 5, 1990. He comes from bangli but now resides in Ubud. Regarding his educational history, he graduated from SMK TP 45 Bangli and then continued his undergraduate studies in Balinese at the State Hindu University I Gusti Bagus Sugriwa and for the achievements he had achieved, he was the champion of writing Balinese poetry. After completing his education he is currently working as a Balinese language instructor.working as a Balinese language instructor.)
  • Ida Ketut Djelantik  + (He is Ida Ketut Djelantik, a writer from BHe is Ida Ketut Djelantik, a writer from Buleleng who is located in Geria Tegeha Banjar, Tegeha Village, Banjar District. He was born in 1905 in Tegeha Village and is a descendant of the couple Ida Ketut Manggis and Ida Ayu Putu Tangi.</br>As a child he was raised in the Gria environment where his daily life tends to be busy with social activities, he has a desire to study religion and philosophy as well as moral encouragement for the village environment where he grew up.</br></br>His education level was only up to SR or Sekolah Rakyat (People's School) and it was not finished, with his desire to explore tattwa, ethics and philosophy he studied it self-taught until he got recognition from local residents and the Dutch Government at that time.</br></br>Because of his high achievements and abilities, in 1938 he was appointed to work in the Religious Staff at the Religious Office of the Lesser Sunda Province at that time in Singaraja.</br></br>He was also assigned by the Governor-General of the Netherlands to Bogor to translate Sanskrit books and manuscripts into Indonesian and Kawi of his literary abilities.</br></br>In 1950 he worked at the Kodam Raksa Buana which is now known as Kodam 11 Udayana as the Hindu Rohdam, he also participated in compiling the emblem of the Pataka Kodam Udayana.</br></br>Then, he passed away in 1961 to be exact on the 18th of Novembern 1961 to be exact on the 18th of November)
  • Helmi Y. Haska  + (Helmi Y. Haska, born in Bandung, grew up iHelmi Y. Haska, born in Bandung, grew up in the cultural landscape of a Minangkabau family. From an early age he wrote poetry in the Daily Spirit, Padang (1982). When he migrated to Bali in 1989, he wrote frequently in the Sunday Bali Post. His poems have been collected in poetry anthologies, including Bali The After Morning (1997), Dendang Sanur Nyiur Sanur (2015), Cumi-Cumi (2017). In addition, wrote a book review Bob Marley, Rasta, Reggae, Revolution (2007). Now living in Talbingo, Snowy Mountains, NSW, Australia. Active in the Talbingo Bush Poets Club community.in the Talbingo Bush Poets Club community.)
  • Keep it simple, look to others that created success with the reamerging tourism markets!  + (Hi all, I appreciate the concern with reopHi all, I appreciate the concern with reopening and the cautioned approach. However there must be more clarity for countries permitted. Look to places such as the UAE (Dubai in particular) or Seychelles and see how well they opened up. I am an immigrant living in the Middle East and I booked my wedding for July 2022 with the hope you would all be open in time. Don’t limit the countries, make sure people are tested before they arrive and make sure they have insurance for covid, make sure they are triple vaccinated before flying also. Airlines go through thorough checks so the country itself doesn’t have to. I have approximately 10 different nationalities attending my wedding from 15 different countries - keep your rules simple, open to all with minor exclusions when needed. And remove the visa cost - it is not good to charge so much when tourists know it’s going straight to the government. Consider tourism first and the money will come after - do in hotel PCR testing on day 2 if required and charge a little extra there if need be. Keep. It. Simple. If you need an introduction to the tourism CEO for dubai I would be more than happy to help. dubai I would be more than happy to help.)
  • Pande Putu Widya Okta Pratama, S.Kom  + (His full name is Pande Putu Widya Okta PraHis full name is Pande Putu Widya Okta Pratama, S.Kom. This young Balinese from Dadap Putih Village, Busungbiu District, Buleleng Regency is usually known as Pande. He is an alumnus of ITB STIKOM Bali batch 2015. Currently, Pande is active as a co-founder and CTO (Chief Technology Officer) at BTW Edutech, a digital education company that has a big mission to help students pass the selection to enter official colleges, universities state, CPNS and TNI or POLRI.</br></br>The digital startup which was founded in 2018 in Denpasar has the Smart BTW application which has been accessed by 180,000 users in Indonesia. In addition, this startup already has 15 branch offices in 12 major cities throughout Indonesia in just 2 years.</br></br>While in college, this former student with the best thesis degree started his career in digital entrepreneurship. Pande gained a lot of valuable experience when he was active in student organizations and took several side jobs as a web developer. After graduating, Pande started his career in IT as a back-end programmer and team of IT experts in the construction of the LAPERON system (online licensing service) in Badung Regency. Then, Pande focused on development and operations as a DevOps engineer and took on enterprise systems development projects in several government agencies. Finally, Pande and his friends managed to build a startup BTW Edutech which continues to grow until now.</br></br>Pande also informed the achievements of BTW Edutech to the BASAbali Wiki team. "Namely, the Top 10 HATCH programs for the 1000 Digital Startup Movement. We also provide 402 scholarships for 3T and non-3T regional PTK registrants as well as 1500 scholarships for CPNS 2021 registrants," he explained. In addition, his proud startup has held various training and learning assistance through the platform. "We have thousands of alumni in PTN, PTK, CPNS, TNI, and POLRI throughout Indonesia," he concluded.</br></br>As a digital entrepreneur who has many achievements, Pande was invited to be a guest speaker on the “NGOPI” talk show on Kompas TV. He is currently developing a pilot Edition XI: “STARTUP PROFILE” for his company.ion XI: “STARTUP PROFILE” for his company.)
  • Ketut Sidia  + (His name is Ketut Sidia, from Jero LingsirHis name is Ketut Sidia, from Jero Lingsir family lineage of Tegeh Kuri clan. Born 1901 at Pengastulan village Buleleng Bali. He’s a well known Silat martial art teacher at Seririt district Buleleng. Some old villagers tales that he’s an excellent fighter. Able to jump to 3 meters wall, kill a mouse by throwing a sate skewers from 2 meters distance, able to kill people with just bare hand. </br></br>During Dutch colonialism, he become dutch driver to spy them with his son, Putu Mangku. They both were fluent speaking Dutch and Japanese language This is his photo with the dutch car as driver. His son's duty is passing crucial information to Balinese guerillas. Sometimes he also join the guerrillas to ambush the military convoy. But mostly he did some sabotage and silent assassination as spy. After Indonesia independence, he and his son become member of LVRI (Legiun Veteran Republik Indonesia). </br></br>Later on both of them then work as teachers at Sekolah Rakyat at Seririt district Buleleng and his son also work as photographer and journalist for Bali Post newspaper. During his old days, he become priest of Pura Pabean Pengastulan village. He passed away 1990 with military honors as member of LVRI.90 with military honors as member of LVRI.)
  • Pande Putu Abdi Jaya Prawira  + (His name is Pande Putu Abdi Jaya Prawira, His name is Pande Putu Abdi Jaya Prawira, born in Denpasar, January 20, 1998. He is the eldest son of the couple Ketut Suparjaya and Ni Wayan Sukarni, currently he lives in the Pande Permai penitentiary housing block D 20, Tulikup Kelod, Gianyar. At a glance his educational history is that he has received Kindergarten education at the Grand Bali Beach Sanur Kindergarten Around 2003-2004, then continued to the Elementary School level, namely SD Negeri 2 Sanur in 2004-2010, then at the Junior High School level. he was educated at the Bangli 3 Junior High School in 2010-2013, continued at the Senior High School level, namely at the Bangli 1 State High School in 2013-2016, and finally his education was at the lecture level he chose the Old Javanese study program , Faculty of Humanities, Udayana University, which later graduated in 2016-2020.</br></br> His current job is to be a journalist in the Balinese media.</br></br> Of course he has a myriad of achievements including:</br></br> 2nd Winner of National Scientific Articles at IPDB Bogor in 2019</br> </br> 1st Winner of the Hindu Religion Quiz Competition at ITB Bandung in 2019</br> </br> The Best Kidung Works in Saraswati Sewana's Literature in 2021</br></br> Some of his works include:</br></br> The works that have been published in the Saraswati Sewana Literature are:</br></br>Kidung Panglarad Lara</br>Kakawin Pranawisa Somya</br>Geguritan Pramudita Kaya Caru</br></br> Unpublished there are a few geguritan:</br></br>Geguritan Kandara Bang</br>Geguritan Satriya Tiga.</br></br> His first career as a Young Pengawi started from the Saraswati Sewana Literature competition. After the event ended with enthusiastic support from those closest to him, and positive input from the judges at that time, including one of his own lecturers, namely Mr. Putu Eka Guna Yasa, S.S., M.Hum, who encouraged him to create other literary works. excited. Until finally one of his valuable literary works was born, because it was the first time he created a literary work with 234 stanzas in it and this work could be completed within 5 days.his work could be completed within 5 days.)
  • Penertiban WNA  + (Honorable, Bali's future leaders, Mr. / MrHonorable, Bali's future leaders, Mr. / Mrs. jury and the audience that I am proud of.</br></br>Om Swastiastu,</br></br> Before I begin my speech, let us offer our puja and praise to God Almighty, because thanks to His grace and grace we can carry out this activity well.</br> </br> As we all know, one of the problems on the island of Bali is the number of foreigners who work illegally and are not recorded on the island of Bali. According to the BBC Indonesia website, a number of posts mention foreign tourists in Bali working illegally by offering photography services, motorcycle training, surfing, haircuts, and selling vegetables. This has made a number of Balinese residents worried that their income space is getting narrower. So how can prospective leaders overcome this? The leaders can conduct routine data collection of every business and MSME in their area of power, if necessary, a comprehensive and routine population data collection is carried out so that illegal elements are immediately caught and followed up. From the sources I read, the central government plans to implement a rule that requires foreigners entering tourism islands such as Bali to pay a non-tax rate of 10$. That way, foreigners who enter Bali can be recorded without exception.</br></br> That's all my speech, sorry for my mistakes, and last I'd say Om Shanti Shanti Shanti Om.d last I'd say Om Shanti Shanti Shanti Om.)
  • Apang jalan sing putus, silih malu satus  + (How are you doing, audience? Have you had How are you doing, audience?</br>Have you had a vacation anywhere, gone to work, or returned to your hometown for the holidays? How was the trip, was it smooth as snow or did it make your head spin? Some say that the roads in Bali are good and safe to use, but many say that many roads in Bali are still damaged and unsafe to ride. </br></br>Denpasar, the capital of Bali, is often found to have damaged roads that are difficult to pass through. So, what about the roads located in villages in several districts in Bali. Many rural areas have collapsed roads, potholes, and even broken roads. Road maintenance and repairs have indeed been carried out but it must be more evenly distributed so that not only a few main roads are repaired. Many roads in remote areas have been damaged and impassable for years but have yet to receive reinforcements. </br></br>Articles and social media often report on traffic jams, accidents, and delayed delivery of goods, but it is rarely known that one of the main causes is road damage. Damaged roads tend to make it impossible for people to pass through. This causes some jobs, delivery of goods and trade activities around the road to be disrupted which will certainly disrupt the economy of the community.</br></br>With the 2024 election, it is certainly the hope of the people that there will be a revitalization of the new government in the improvement and development of the community which can be started from the main problem, namely roads. The government must be able to allocate existing funds as well as possible for the construction of roads that are evenly distributed throughout Bali. Even though it has a lot of fund, if they are not allocated properly the results will be useless and there will be no complete balance. Roads are important in every activity we do, especially Bali as a tourist destination visited by many foreign tourists. Therefore, let’s make the initial improvements by starting to repair the roads.rovements by starting to repair the roads.)
  • IDK Raka Kusuma  + (I Dewa Nyoman Raka Kusuma or who is often I Dewa Nyoman Raka Kusuma or who is often known as IDK Raka Kusuma in his writings, was born in Getakan Klungkung, November 21, 1957. IDK Raka Kusuma has had a passion for writing literature since he started as a teacher in elementary school. He is one of the senior authors of modern Balinese literature. He wrote various kinds of poetry in Balinese, short stories, essays in Balinese, and novelets in Balinese. In addition, he also writes poetry, short stories and essays in Indonesian. His Balinese writings have been published in Bali Orti (Bali Post), Mediaswari (Pos Bali), Bali Aga, Kawi Journal, and Canang Sari. His essays in Indonesian have been published in the Bali Post, Nusa Tenggara, Karya Bakti, Bali News, Nafiri, Warta Hindu Dharma, Sunday Morning, Sovereignty of the People, Indonesian Pulpit, Suara Nusa, People's Thoughts, Suara Karya, Sinar Harapan, Buana News, Republika, Singgalang, Analysis, Cak, Kolong and Romana. In an effort to compose Indonesian poetry, he learned from Umbu Landu Paranggi, and he learned to compose stories from Putu Arya Tirtawirya.</br>His essays that have been printed into books are as follows:</br>Kidung I Lontar Rograg (Balinese Lyrical Prose, 1991, 2001),</br>I Balar (2006),</br>Drawing the Moon (Short Stories, 2006),</br>Sang Lelana (Lyric Prose, 2010),</br>Rasti (Novelet, 2010),</br>Bégal (Short Stories, 2012),</br>Ngantih Moon (Poetry, 2013),</br>Batan Moning (Poetry, 2014).</br>In 2002 he received the Literary Rancage award for his services in the development of Balinese literature through the media of Buratwangi magazine and in 2011 with his essay entitled “Sang Lelana”. He also received the Widya Petaka award from the Governor of Bali in 2012 with his essay entitled “Bégal”. Synergizing with authors from Karangasem, he built a studio called Sanggar Buratwangi, and became one of the managers of the studio. Currently, he lives at BTN Kecicang Amlapura and works as a teacher at SD Saraswati Amlapura.rks as a teacher at SD Saraswati Amlapura.)
  • I Gde Agus Darma Putra  + (I Gde Agus Darma Putra, born in Central StI Gde Agus Darma Putra, born in Central Strait, Bangli, Bali, August 2, 1991. He completed his undergraduate and postgraduate education at the Denpasar State Hindu Dharma Institute. Has worked as a teacher and lecturer. He is actively involved in the IBM Dharma Palguna Foundation which is engaged in the maintenance, translation, and research of Old Javanese, Balinese, and Lombok literature. He is also active in Bangli Sastra Komala which is engaged in modern Balinese literature. His writings are in the form of poetry, essays, articles published in several mass media, such as atkala.co, Bali Post, etc. A poem of his is also summarized in the anthology “Tutur Batur” (2019).zed in the anthology “Tutur Batur” (2019).)
  • I Gede Ari Astina  + (I Gede Ari Astina alias Jerinx is a musiciI Gede Ari Astina alias Jerinx is a musician and activist related to social and environmental issues. He was born in Kuta, February 10, 1977. He is the drummer for the music group "Superman is Dead" (SID) which was founded in 1995. This rock band has released seven albums, including "Angels and the Outsiders" (2010) which made SID invited to the “Warped Tour Festival” to hold concerts in several cities in the United States. SID is the only Indonesian band and the second band in Asia to have performed at the festival. Popular songs from SID include “Sunset in the Land of Anarchy” (2013), “Be a Legend” (2013). Not only active in the world of music, Jerinx also only pays attention to environmental and social issues. In 2015, he visited President Jokowi to explain about the reclamation policy in Tanjung Benoa, Bali. In addition, Jerinx is also a successful entrepreneur and brand ambassador of several streetwear brands.d ambassador of several streetwear brands.)
  • I Gede Aries Pidrawan  + (I Gede Aries Pidrawan is a teacher and wriI Gede Aries Pidrawan is a teacher and writer born in Pidpid, Karangasem, April 2, 1987. He is a teacher at SMA PGRI 1 Amlapura. He wrote literature in Balinese and Indonesian. His published books are "The Guru" (a collection of joint works published in 2020), "Nyujuh Langit Duur Bukit" (joint work, Expression Library, 2019), "Women Worshiping Stone" (short anthology, Mahima, 2019), " Caterpillars in Mother's Womb” (short anthology, Mahima, 2019), “Gerubug” (children's story, Bali Language Center, 2018), “Bidadari Telaga Emas” (children's story, Balinese Language Center, 2017). He also often wins literary writing competitions. often wins literary writing competitions.)
  • I Gede Robi Supriyanto  + (I Gede Robi Supriyanto is a musician and sI Gede Robi Supriyanto is a musician and singer born in Palu, Central Sulawesi, April 7, 1979. He is one of the founders of the band Navicula. Robi is also known as a social and environmental activist. He is one of the supporters of the movement to reject the reclamation of Benoa Bay. He also fills his time by pursuing organic farming. Robi represented Indonesia in the Asia 21 Young Leaders organized by the Asia Society in 2016 to discuss his activities in the field of organic agriculture. Albums of songs that have been born with the band Navicula, among others, Self Portrait (1999), Alchemist (2005), Beautiful Rebel (2007), Love Bomb (2013), Face to face (2015).7), Love Bomb (2013), Face to face (2015).)
  • I Gedé Gita Purnama Arsa Putra  + (I Gedé Gita Purnama Arsa Putra was born inI Gedé Gita Purnama Arsa Putra was born in Denpasar on October 29th, 1985. In 2008 he finished his bachelors degree in Balinese Language and Literature at Udayana University, continuing on to postgraduate studies in linguistics specializing in literary discourse also at Udayana University. He is now a lecturer at Hindu Dharma State Institute of Denpasar. He has enjoyed writing poetry, short stories, and essays since junior high school. His works are published in Bali Orti (Bali Post), Bali Post, and Mediaswari (Pos Bali). Gita Purnama is the author of the poetry collections "Dendang Denpasar Nyiur Sanur," "Denpasar lan Donpasar," and "Angripta Rum." His now published book is collection of short stories entitled "Smara Reka" written together with his wife in 2014. Additionally, he is a member of the team of writers of the biography "I Wayan Beratha: Seniman Kelas Dunia." In 2016 he received the Rancage Literary Award for his service in preserving and developing modern Balinese literature.</br></br>Below is a link to one of his short stories called "Ngalih Sampi Galang Bulan" taken from the book "Smara Reka."g Bulan" taken from the book "Smara Reka.")
  • I Gedé Putra Ariawan  + (I Gedé Putra Ariawan was born in Désa BanjI Gedé Putra Ariawan was born in Désa Banjar Anyar Kediri, Tabanan, on June 16th, 1988. He completed his bachelor's degree at Ganesha University of Education in Singaraja majoring in Education of Indonesian Language and Literature in 2010 and in 2014 completed his master's degree in the Ganesha University of Education Postgraduate Program. He now works as an Indonesian language teacher at Kediri State High School 1.</br></br>His works, which take the form of short stories, opinion pieces, articles, and poetry, have been published in Bali Orti (Bali Post), Media Swari (Pos Bali), Majalah Éksprési, and Majalah Satua. He has released a book in the form of a compilation of short stories entitled "Ngurug Pasih" in 2014 and received the 2015 Rancage Literary Award. On January 30th, 2016, he became speaker at the event Sandyakala #49 organized by Bentara Budaya Bali.kala #49 organized by Bentara Budaya Bali.)
  • I Gusti Ayu Agung Mas Triadnyani  + (I Gusti Ayu Agung Mas Triadnyani was born I Gusti Ayu Agung Mas Triadnyani was born in Jakarta, December 2, 1967. She is a poet who is also a lecturer at the Faculty of Cultural Sciences, Udayana University. She holds a master's and doctoral degrees in Literature at the University of Indonesia (UI). In addition to writing poetry, she also conducts studies on modern literature, such as Balinese Women in Mata Oka Rusmini: A Study of Her Creative Works (Research on Women's Studies, 2008) and the Collaboration of Traditional Community Culture with Modern Culture in WSRendra's Drama Tuyul Anakku (Research Indonesian Literature Study Program, 2012). She is often invited as a jury for various literary events, such as the Bali Province Language Ambassador Jury, as well as various writing competitions. Her published books include “Book Seeking Temples” (2011), “Book I See Bali” (2015).Temples” (2011), “Book I See Bali” (2015).)
  • I Gusti Ayu Diah Yuniti  + (I Gusti Ayu Diah Yuniti is a doctor and leI Gusti Ayu Diah Yuniti is a doctor and lecturer in Molecular Biology at the Faculty of Agriculture, Mahasaraswati University, Bali. Her doctoral study was obtained from the Doctoral Program in Agricultural Sciences, Faculty of Agriculture, Udayana University, Bali Indonesia in 2018. Diah Yuniti has also published a number of scientific papers including the Impact of Covid-19 on Community Life in the Province of Bali, Indonesia. Apart from being a teaching lecturer, Diah Yuniti is also active in the social organization of the Bali Province Traditional Village Council.Bali Province Traditional Village Council.)
  • I Gusti Ayu Putu Mahindu Dewi Purbarini  + (I Gusti Ayu Putu Mahindu Déwi Purbarini, SI Gusti Ayu Putu Mahindu Déwi Purbarini, SS, was born in Tabanan, October 28, 1977. She studied Indonesian Literature at the Faculty of Letters at Udayana University Denpasar until she graduated and received a bachelor's degree in Indonesian literature, 8 May 2004. Her poems were published in the Tabloids Wiyata Mandala, Bali Post, Buratwangi Magazine, Canang Sari. She has been on the cover of the Bali Gumi magazine “Sarad” (édition no.19, July 2001) and published in the book "Bali Tikam Bali" by Gdé Aryanatha Soéthama on page 86 entitled 'Cuntaka' Luwes Only (p.87). Now a lecturer in Indonesian Literature at IKIP PGRI Denpasar and FKIP Mahasaraswati Denpasar. She also takes care of being the manager of the youth literary magazine “Akasa”, the Indonesian Youth Literature Studio (SSRI) Bali in Tabanan.</br></br>“Apang ja Bisa Maschool”, her short story won the first prize in the Bali Unity Writing Competition throughout Bali (1994). “Lombok Yang Bali”, a short story about sightseeing, competitions at the Bali Post, won 2nd place (1995). “Dara in a Boat Bottle”, the first runner-up in the poetry writing competition in Bali in the 'Sea Orientation Week' Dénpasar (1999). His poem “The Moon in a Transparent Room” was included in the “Anthology of Vibrating Poetry II”, Kota Batu, Malang (1996). In addition, a collection of her poems with the title “The Moon in a Transparent Room” was published by the Center for Language Center Dénpasar (2006). Followed by a collection of modern Balinese poetry entitled "Taji", which was in demand by the modern Balinese literary magazine "Buratwangi"</br></br>She has written Indonesian literature in the form of poetry and short stories since Era magazine at SMP Negeri 2 Tabanan (1989-1991). Chief Editor of Widya magazine, SMA Negeri 2 Tabanan (1994-1995). Served as editorial staff for Kanaka magazine, Faculty of Letters and the UKM Academic tabloid, Udayana University Dénpasar (1996-1997). Participated in journalistic training in the ring Dénpasar, Yogyakarta and Malang (1995, 1996, 1997). Besides that, he was with Sanggar Purbacaraka. The most fun part was whens he was in kindergarten and elementary school (1982-1988) often dancing on TVRI Denpasar in the program "Aneka Ria Safari for the Children of the Archipelago.afari for the Children of the Archipelago.)
  • I Gusti Ayu Raka Rasmi  + (I Gusti Ayu Raka Rasmi is a Balinese danceI Gusti Ayu Raka Rasmi is a Balinese dancer born in Peliatan, Ubud, Gianyar, March 10, 1939. Raka Rasmi was the first to dance the Oleg Tamulilingan dance which was created by I Ketut Maria, a choreographer from Tabanan, Bali, at the request of John Coast. Raka Rasmi introduced this romantic dance to foreign countries through her first art tour to Paris, Europe and the United States in 1953. Raka Rasmi has been dancing since the age of twelve by joining Sekaha Gong Peliatan, Ubud. John Coast named Raka Rasmi as a star dancer, thanks to her stunning performance when dancing. Raka Rasmi has danced in various parts of the world, such as China (1959), Pakistan (1964), Japan (1964), Australia (1971), Europe (1971), USA (1982), and Singapore (1996). Raka Rasmi dedicated her life to the art of dance, especially the famous Oleg Tamulilingan dance. She has many disciples from within and outside the country. Raka Rasmi passed away on March 17, 2018. Raka Rasmi passed away on March 17, 2018.)
  • I Gusti Gedé Djelantik Santha  + (I Gusti Gedé Djelantik Santha is one of thI Gusti Gedé Djelantik Santha is one of the senior writers who has championed modern Balinese literature. He was born in Désa Selat Karangasem on August 12th, 1941. He had already come to enjoy writing while attending elementary school (Sekolah Rakyat, 1949). Djelantik Santha writes many kinds of poetry, short stories, and novels, and has released a few books in the form of novels and collections of short stories.</br></br>In 1979 his story entitled "Gamia Gamana" placed second in story composition during the Bali Arts Festival. In 2001 he received the "CAKEPAN" award from Majalah Sarad for his dedication in the field of modern Balinese literature. In 2002 he received the Rancage Literary Award for the novel "Sembalun Rinjani". In 2003 he also got second place as a contender in a novel writing competition held by Bali Post for the novel entitled "Di Bawah Letusan Gunung Agung".</br></br>His published books are:</br>Tresnané Lebur Ajur Setondén Kembang (Novel, 1981), </br>Sembalun Rinjani (Novel, 2000), </br>Gitaning Nusa Alit (Novel, 2002),</br>Di Bawah Letusan Gunung Agung (Indonesian-languuge novel, 2003), </br>Suryak Suwung Mangmung (Novel, 2005), </br>Benang-Benang Samben (Novel, 2014), </br>Vonis Belahan Jiwa (Indonesian-language novel, 2015), </br>Kacunduk ring Besakih (collection of short stories, 2015).</br></br>The following link connects to one of his essays, a short story entitled "Majogjag".essays, a short story entitled "Majogjag".)
  • I Gusti Ketut Jelantik  + (I Gusti Ketut Jelantik was born in TukadmuI Gusti Ketut Jelantik was born in Tukadmungga, Buleleng, 1800. He came from Karangasem, Bali. He became governor of the Buleleng Kingdom. He led the Buleleng army against Dutch colonialism in the First Bali War, the Jagaraga War, and the Third Bali War, which occurred in 1846 – 1849. The war started because the Dutch East Indies colonial government wanted to abolish the Tawan Karang Rights that were in effect in Bali, namely the rights of the kings. who is in charge of Bali to retrieve ships that have run aground in its waters and all their contents.</br></br></br>I Gusti Ketut Jelantik died in the Third Bali War. He died in the Bale Pundak Hills, Kintamani, Bali, in 1849. For his services against the Dutch colonialists, he was declared an Indonesian National Hero on September 14 1993.nesian National Hero on September 14 1993.)
  • I Gusti Komang Sugiartha  + (I Gusti Komang Sugiartha, He was born in SI Gusti Komang Sugiartha, He was born in Subamia Tabanan Village, Bali on April 24, 1949. His educational history is, in 1962 he graduated from SD Subamia, in 1965 he graduated from SMP Negeri 1 in Mataram, in 1969 he graduated from Agricultural School ( SPMA) Mataram State. In 1970 he worked at the Bali Provincial Agriculture Service, the Industrial Plants section which officially separated itself to become the Bali Provincial Plantation Service in 1973.</br></br>Since elementary school he has studied art from his father Gst.Kd. Dibya and once felt the touch of the hands of I Ketut Maryo, a legendary artist in Tabanan. He often won the Sekar Alit song at the elementary level. Until now, he is still actively participating in pesantren activities at the Bali Government, at the Basutalina Bali Getar Art Studio, North Kuta District, being the coach of Santi in Subamia Village, and Santi Ambara Santha Budhi, Tabanan Regency.</br></br>He has completed several Geguritan with the title Lubdhaka, Bima Dados Caru, Angling Darma, Kedis Cacetrung, Pan Balang Greed, Pandawa Swarga, Ulam Agung (Matsya Awatara), Waraha Awatara, Dharma Udyoga, Dwarawati Pralaya, Senapati Abimanyu, Dyah Sri Tanjung, Babad Pande, Manteri Jajar Pikat and Aji Pelayon.ande, Manteri Jajar Pikat and Aji Pelayon.)
  • I Gusti Ngurah Made Agung  + (I Gusti Ngurah Made Agung (5 April 1876 – I Gusti Ngurah Made Agung (5 April 1876 – 22 September 1906) was the King of Badung VII and a fighter who helped the Dutch East Indies government who was appointed a National Hero of Indonesia by President Joko Widodo on November 5, 2015. His literature, such as Geguritan Dharma Sasana, Geguritan Niti Raja Sasana, Geguritan Nengah Jimbaran, Kidung Loda, Kakawin Atlas, and Geguritan Hredaya Sastraakawin Atlas, and Geguritan Hredaya Sastra)
  • I Gusti Ngurah Parsua  + (I Gusti Ngurah Parsua, born in Bondalem, BI Gusti Ngurah Parsua, born in Bondalem, Buleleng, Singaraja, December 22, 1946. He writes poetry, short stories, novels, essays, etc. His works have been published in the Bali Post, Karya Bakthi, Nusa Tenggara, Bali Cuier, Merdeka, Berita Buana, Beritha Yudha, Suara Karya, Sinar Harapan, Simponi, Swadesi, Experiments, Heroine, Suara Pembangunan, Mutu, Arena, Bukit Barisan Minggu Morning, Priority, Voice of Renewal, El Horas. General and Cultural Magazine: Expression, Basis, Horizon, Topic, Tifa Sastra, Cultural Council and Literary Council, Malaysia. A collection of his poems: “Matahari” (1970), “After the Wind Blows” (1973), “Poems of Dukana” (1982), “Ten Poets Indonesia Malaysia” (1983), Duka Air Mata Bangsa” (1998), “Bahana In Margarana”, (2005), etc. In the field of prose, among others: "The Nature of Man and Life" (Esai Arts and Culture, 1999), "As Hard as Steel" (Collection of short stories, 1984), "Sembilu in the Park" (Novel, 1986), "Rumah Penghabisan" (collection of short stories, 1995), “Women in the Silent Harbor” (Collection of short stories 2001), “Senja Di Taman Kota” (Collection of short stories, 2004), etc. </br></br>His poem entitled “Khabar” was translated by Kemala (a Malaysian poet and literature researcher) and then published in Asia Week magazine (1983). His poem entitled “To Bali” was translated into English by Vern Cork and published with other Balinese poets under the title “The Morning After” (2000).nder the title “The Morning After” (2000).)
  • I Gusti Ngurah Putu Buda  + (I Gusti Ngurah Putu Buda is an artist bornI Gusti Ngurah Putu Buda is an artist born in Sangeh, Badung, Bali. He completed his art education at ISI Denpasar. Since 2002 he has been active in many joint exhibitions, at home and abroad, including TANDA HATI at Tony Raka Gallery Mas Ubud (2012), Ten Years After at Sinsin Fine Art Anex Villa Hongkong (2013), Ulu Teben art Bentara Budaya Bali ( 2015). His solo exhibitions include Time is like to Bomb at kiridesa the Gallery Singapore (2006), Black and White world Copsa Gallery London (2006), Mystical Spirit II at Kiridesa The Gallery & Oorja zone, Dubai (2007), Seizing A Space at 6 Point Cafe-Shop-Office, Sanur Bali (2013). In 2004, he Reached Top Finalist in 2004 Sovereign Annual Contemporary Asian Art Prize Hongkong. Currently, he is active in the Militans Arts Community., he is active in the Militans Arts Community.)
  • I Gusti Ngurah Putu Wijaya  + (I Gusti Ngurah Putu Wijaya or better knownI Gusti Ngurah Putu Wijaya or better known as Putu Wijaya, is an Indonesian literary icon from Bali, who has produced approximately 30 novels, 40 drama scripts, about a thousand poems, hundreds of essays, freelance articles, and drama criticism. Putu Wijaya also writes screenplays for films and soap operas.</br></br>Putu himself is actually the youngest of five siblings. He lives in a large housing complex, which houses about 200 people, whose family members are all near and far, and have a habit of reading. The humanist with his white pet hat was expected to become a doctor by his father, I Gusti Ngurah Raka, a retired courtier who was strict in educating children. However, Putu is more familiar with the world of literature, language, and earth science. Putu's first short story entitled "Etsa" was published in the Indonesian daily Suluh, Bali.</br></br>The first drama Putu played was when he was in high school. Putu directed and played the drama himself with the group he founded in Yogyakarta. After 7 years in Yogyakarta, he then moved to Jakarta and joined Teater Kecil. Next with the Mandiri Theater which was founded in 1971, with the concept of "Starting from What's Existing".</br></br>Putu's style of writing novels is not much different from his style of writing drama. As in his drama works, in his novels he tends to use an objective style in the center of the story and a style that is full of fragments of events that are dense, intense in choice, and expressive language. Putu is more concerned with reflection than history.</br></br>A fan of dangdut, rock, classical music by Bach or Vivaldi, and jazz, he writes and directs films, soap operas, and theatre. Putu has performed dozens of plays at home and abroad and has won dozens of awards for his literary works.n dozens of awards for his literary works.)
  • I Gusti Putu Bawa Samar Gantang  + (I Gusti Putu Bawa Samar Gantang was born iI Gusti Putu Bawa Samar Gantang was born in Tabanan, Tegal Belodan on September 27th, 1949. His father was named I Gusti Gedé Pegug and his mother Gusti Ayu Nyoman Rerep. His father was a dancer and in the Dutch colonial era he became a soldier in the Gajah Merah (Red Elephant) division of the Netherlands Indies Civil Administration (NICA). Samar Gantang attended elementary school (Sekolah Rakyat) in 1955 in Pengabetan, Dauh Pala, Tabanan, and graduated in 1963. He continued on to Tabanan Junior High School 1, and beginning at that time he delighted in reading literary books. He began to write modern Balinese and Indonesian literature in 1968 while still in Tabanan High School (now Tabanan State High School 1). In 1973 he became an honorary teacher at Harapan Junior High School, and he also became a teacher at Junior High School TP 45 (no longer in existence), State Junior High School 3, Pemuda Junior High School, Dharma Bhakti Junior High School, Tabanan State Junior High School 2. In 1974, he became a permanent teacher at Tabanan State Junior High School 2 and taught painting.</br></br>His works are published in the newspapers Bali Post, Nusa Tenggara, DenPost, Warta Minggu, Santan Simponi, Swadesi, Suara Karya, Sinar Harapan, Media Indonesia, Karya Bhakti, Suara Nusa, Fajar, Zaman, Top, Aktuil, Sarwa Bharata Eka, Varianada, Canangsari, Buratwangi, Merdeka Minggu, Baliaga, Taksu, and Majalah Éksprési.</br></br>For 10 years he has contributed to broadcasts reading poetry on RRI Studio Denpasar, Menara Studio Broadcasting, Cassanova, and Kini Jani Tabanan. He always travels from Tabanan to Denpasar by riding a roadster bicycle. Furthermore, he has also received invitations from LIA Surabaya or PPIA, Bali Museum, IKIP Saraswati, Balai Budaya Denpasar, STSI Surakarta, STSI Denpasar, ISI Yogyakarta, Taman Izmail Marzuki, the Jakarta National Gallery, and Yayasan Hari Puisi. He was invited to read his poetry in Malaysia and Singapore in 1986. In Tabanan he founded Sanggar Pelangi (Rainbow Studio) in 1976 and now has changed the name to Sanggar Sastra Remaja Indonesia (SSRI, Indonesian Teenage Literature Studio) of Bali, which disseminates modern Balinese and Indonesian literature to students at elementary, junior high, and vocational/high schools and young adolescents who enjoy literature.</br></br>He received first place in Bali-wide poetry writing in 1979, the national championship of poetry writing in Yogyakarta in 1982, top eight in literary performance at Taman Ismail Marzuki in 1989, and first place in tourism poetry writing which was held by Yayasan Komindo Jakarta in 1991. In the field of Balinese literature he received the Satya Lencana Karya Satya award, first place in Bali-wide poetry writing, essays, and poetry recitation in 2000 and 2001. He earned the "CAKEPAN" award in 2001 from Majalah Sarad and released a book of collected poems entitled "Aab Jagat". He was also honored with the 2003 Rancage Literary Award.</br></br>Books which have been released containing his work include Hujan Tengah Malam (1974), Kisah Sebuah Kota Pelangi (1976), Kabut Abadi (1979) bersama Diah Hadaning, Antologi Puisi Pendapa Taman Siswa Sebuah Episode (1982), Antologi Puisi Asean (1983), Antologi Puisi LIA (1979), Kalender Puisi (1981), Antologi Festival Puisi XI PPIA (1990), Spektrum (1988), Taksu (1991), Antologi Potret Pariwisata dalam Puisi (1991), Antologi Puisi Kebangkitan Nusantara I (1994), Antologi Puisi Kebangkitan Nusantara II (1995), Antologi Puisi Kidung Kawijayan (1995), Antologi Puisi Kebangkitan Nusantara III (1996), Antologi Puisi Pos Nusantara Lokantara (1999), Aab Jagat (2001), Perani Kanti (2002), Onyah (2002), Somya (2002), Sagung Wah (2002), Macan Radén (2002), Berkah Gusti (2002), Sang Bayu Telah Mengiringi Kepergiannya (2002), Puisi Modré Samar Gantang (2002), Antologi Puisi HP3N Nuansa Tatwarna Batin (2002), Bali Sané Bali (Pupulan Durmanggala, 2004), Awengi ring Hotél Séntral (2004), Pakrabatan Puisi Tegal DIHA Tebawutu (2004), Kesaksian Tiga Kutub (puisi lan cerpén, 2004), Léak Raré (2004), Léak di Bukit Pecatu (2005), Léak Satak Dukuh (2006), Ketika Tuhan Menyapaku (2006), Dipuncakmu Aku Bertemu (2008), and Jangkrik Maénci (2009).</br></br>He is famous for modern poetry and keeping audiences on the edge of their seats. His work mostly uses mystical themes like "léak" (a person/spirit who practices black magic), and this can be seen in his Balinese-language books such as in the book Léak Kota Pala, Puisi Modré Samar Gantang, Léak Bukit Pecatu, Jangkrik Maénci, and others.Bukit Pecatu, Jangkrik Maénci, and others.)
  • I Gusti Putu Gede Wedhasmara  + (I Gusti Putu Gede Wedhasmara was born in DI Gusti Putu Gede Wedhasmara was born in Denpasar, September 10, 1932. He is a songwriter from Bali. His songs were popular in the 1960s and 1970s and are still widely enjoyed by his fans. The magazine "Rolling Stone Indonesia" in its February 2014 issue included Wedhasmara in the "100 Best Indonesian Songwriters".</br></br>Wedhasmara since childhood loved the world of singing. After completing his junior high school education in Denpasar Bali, Wedhasmara continued his education at Santo Thomas High School in Yogyakarta City. In 1956-1963, Wedhasmara worked at the Jakarta Agriculture Bureau.</br></br>Wedhaswara was recorded to have joined various musical groups such as the Denpasar Joint Orchestra, Denpasar Keroncong Orchestra, the Mulyana Sutedja Quartet Yogyakarta, the Keroncong Orchestra led by Sukmini Yogyakarta, the Malay Orchestra Ria Bluntas, Zaenal Combo, and Empat Nada.</br></br>Wedhasmara's well-known songs “Senja di Batas Kota” and “You are always in my heart” were popularized by singer Ernie Djohan. "Carolus” was popularized by singer Lilis Surjani. These songs are timeless songs that will always be remembered, and to this day they are still often played on the radio in their original versions.</br></br>In 2011, Wedhasamara received an Art Award from the Minister of Culture and Tourism of the Republic of Indonesia. Previously, Wedhasamara also received awards from the Mayor of Denpasar (2003), Governor of Bali (2003). and the Minister of Health of the Republic of Indonesia (1982). Wedhasmara died in Denpasar on April 17, 2017.asmara died in Denpasar on April 17, 2017.)
  • I Kadek Surya Kencana  + (I Kadek Surya Kencana was born in Dalung, I Kadek Surya Kencana was born in Dalung, Bali, January 24, 1986. He graduated from Ganesha University of Education, Bali. Won 2nd place in the National Student Poetry Writing Contest (Ministry of National Education, 2005) and 1st Place in Bali Poetry Writing Contest (2007). His poems have been published in the Bali Post and various other media, and are summarized in the book Herbarium (2007), The Buleleng Dancers (2008), Chewing Furious (2017). Now he works as a journalist in Denpasar. Now he works as a journalist in Denpasar.)
  • I Ketut Aryawan Kenceng  + (I Ketut Aryawan Kenceng was born in BanjarI Ketut Aryawan Kenceng was born in Banjar Bendul, Klungkung, December 22, 1959. He completed elementary to high school in Klungkung and studied at the English Faculty of Udayana University for five semesters. He then worked in the tourism sector in Denpasar and wrote literature in Balinese and Indonesian. His Indonesian poems were published in the Bali Post, Simfoni, Swadesi. His Balinese poetry was published in Bali Orti Bali Post and Pos Bali. His collection of Balinese poetry has been published under the titles Beruk (2014), Bikul (2014), Bubu (2015), Rwa Bhineda (2015).l (2014), Bubu (2015), Rwa Bhineda (2015).)
  • I Ketut Suasana  + (I Ketut Atmosphere alias Kabul, was born iI Ketut Atmosphere alias Kabul, was born in Apuan, Tabanan, December 30, 1978. He completed his art education at ISI Denpasar. Kabul's works have a lot to say about the life of bees/wasps. For Kabul, the bee is a metaphor to describe human life. Since 2003, Kabul has been diligently involved in many joint exhibitions, both at home and abroad. His solo exhibitions include "Bee Atmosphere" at Sudana Gallery, Ubud, Bali (2009) and "Suhu Bee" at Maha Art Gallery, Renon, Bali (2010). Apart from painting, Kabul is also diligent in holding performance art and murals.ent in holding performance art and murals.)
  • I KETUT MARIO  + (I Ketut Mario is thought to have been bornI Ketut Mario is thought to have been born in Belaluan village, Denpasar, and later grew up in Banjar Lebah, Tabanan. An aristocrat named Anak Agung Ngurah Made Kaleran, who loved the arts and gave much support to artists in his region, has been identified as his adopted father.</br></br>Mario first became a dancer for the Pangkung Gong club in Tabanan. In 1958 he went with the group to Paris, Holland, England, America and Canada, and in 1962 they toured America.</br></br>Mario was not only a dancer, he was a choreographer as well. His monumental creation Kebyar Duduk, or if danced with trompong, Kebyar Trompong, stirred a revolution in Balinese dance. These creations contrasted greatly with other dancers of the time, being performed for the most part in a stooped sitting position. The birth of Kebyar Duduk in 1925 drew an enourmous influence from gamelan gong kebyar when Mario became accidentally entranced by the music he heard played by the musicians of Bantiran village. Another Mario's choreography is Oleg Tamulilingan, which he did in 1952. It also gave a contribution for the development of the Balinese dance.for the development of the Balinese dance.)
  • I Ketut Sadia  + (I Ketut Sadia is from Batuan, Sukawati, GiI Ketut Sadia is from Batuan, Sukawati, Gianyar, Bali. He studied painting with I Wayan Taweng (father) and I Wayan Bendi (brother). He actively exhibits at home and abroad, including at the Arma Museum, Puri Painting Museum, Neka Museum, Jakarta National Museum, Singapore Art Museum, Tempera Art Museum, Finland, Fukuoka Art Museum, and the Indonesian Embassy in Washington DC. Has won the 2008 Jakarta Art Award, Jakarta Art Award Finalist (2010, 2012), UOB Painting Of The Year Finalist (2012, 2013, 2014).g Of The Year Finalist (2012, 2013, 2014).)
  • I Ketut Soki  + (I Ketut Soki (1946-2022) was a successful I Ketut Soki (1946-2022) was a successful artist from Bali. As a boy, he was one of the first two children to receive art lessons from the famous artist Arie Smit, and so one of the founders of the "Young Artists" movement.</br></br>In 1960, Arie Smit went for a walk through the rice fields in Penestanan, Bali, and found a young boy drawing pictures in the sand. Smit invited the boy to his studio and gave him crayons and paper. The name of the young boy was I Nyoman Cakra. As a true Balinese, Nyoman didn't want to be alone, so he asked, "Can my nephew come too?" His nephew was I Ketut Soki and these two youths became Smit's first pupils.ese two youths became Smit's first pupils.)
  • I Ketut Sudarsana  + (I Ketut Sudarsana was born in Ulakan VillaI Ketut Sudarsana was born in Ulakan Village, Manggis, Karangasem, Bali on September 4, 1982. He is the youngest of three children born to I Ketut Derani (late) and Ni Ketut Merta. Married to Adi Purnama Sari and has four children; Saraswati Cetta Sudarsana, Kamaya Narendra Sudarsana, Ganaya Rajendra Sudarsana and Gayatri Metta Sudarsana. </br></br>He obtained a Bachelor (S1) Education in Hindu Religion at STAHN Denpasar (2004), and Masters (S2) in Hindu Religious Education at IHDN Denpasar (2009). In 2014 he completed his Doctoral (S3) education in Extension Education at the Graduate School of the Indonesian University of Education in Bandung. </br></br>On January 1, 2005 he became a permanent lecturer at the Hindu State University I Gusti Bagus Sugriwa Denpasar.University I Gusti Bagus Sugriwa Denpasar.)
  • I Ketut Sumarta  + (I Ketut Sumarta wrote poetry as a teenagerI Ketut Sumarta wrote poetry as a teenager under the pen name Dommy Lavawan and was widely published in the Bali Post. He then diligently performed theater and wrote essays in the mass media, to pursue the world of journalism. He joined the EDITOR Weekly News Magazine in Jakarta—which was finally banned by the New Order regime in 1994. After returning to Bali in 1995, he was asked to serve as the Managing Editor of the daily NUSA until he was entrusted as Director. Since early 2000, together with his friends in Bali, he has published as well as leading the monthly Balinese culture magazine, SARAD. His writings on Balinese culture, among others, have been published in Kompas, Gatra Magazine, BASIS Culture Magazine. His published books include: The Figure of the Artist and the Denpasar Arts Association (1999), Batur: The Heart of Bali's Water Civilization (2015), etc. of Bali's Water Civilization (2015), etc.)
  • I Ketut Suwidiarta  + (I Ketut Suwidiarta was born in Bongkasa, BI Ketut Suwidiarta was born in Bongkasa, Badung, Bali on 24 November 1976 and had just finished his study on Fine Arts Faculty of Indonesian Art Institute in Jogja. After finishing High School in Denpasar, Suwidiarta studied Japanese for a year. In 1998, he moved to Jogjakarta and there his artistic exploration begun. He was living in Gunarsa’s house in Jogjakarta while sketching and drawing Simbok Nah, the servant at the house. That’s when he was painted the bloated and dwarfed bodies.</br></br>In the recent years, Suwidiarta’s works are far more contemplative and universal in concept as he started the series in which Buddha’s figure appeared. His works are full with mockery and irony on people’s life, with a shifting to spiritual issues. I Ketut Suwidiarta currently lives and works in Jogjakarta.a currently lives and works in Jogjakarta.)
  • I Ketut Suwidja  + (I Ketut Suwidja was born in Singaraja, NovI Ketut Suwidja was born in Singaraja, November 20, 1939. He is a writer from Bali who writes in Balinese and Indonesian. He also wrote on palm leaves. Many of his poems have been published in the Bali Post, Karya Bakti, Nusa, etc. Also collected in a number of joint anthologies, such as “Hram” (1988). His solo poetry anthology in Balinese is “Panah Surya” (2000) published by Sanggar Buratwangi and Balai Bahasa Bali. He has won various awards, including the Listibiya Award (1982), the Bali Provincial Government Award (1998), the Bali Literature Award from the Rancage Foundation (2001). He worked at the Gedong Kertya lontar museum in Singaraja and died in 2009.ntar museum in Singaraja and died in 2009.)
  • I Made "Romi" Sukadana  + (I Made "Romi" Sukadana was born in DenpasaI Made "Romi" Sukadana was born in Denpasar on January 22, 1973. He graduated in Fine Arts from ISI Denpasar. Since 1993, he has been active in many joint exhibitions, such as "Horizon" at the Maya Gallery, Sanur (2019), "On Fire" at Kaktus Art Space, Sanur (2018), "Magic of Bali" at Ira Kitzki Art Gallery, Frankfurt Germany ( 2014), and "Hidden Code" at Mayya Gallery, Frankfurt, Germany (2013). His single exhibitions include "Sides of Woman" at Paros Gallery, Sukawati, Bali (2001), "Dialogue with the Reality" in the Kamandalu Resort, Ubud (2007), "A Name" at Ten Fine Art, Sanur (2009), "Hidden Connection" at Ayucious Socialite House, Denpasar (2012), and "Hidden Connection III" at Tryst's Resto Kemang, Jakarta (2013). Romi's works demonstrate a variety of theme and styles but always contain their own distinct flavor. He is very capable of painting realism but can also paint impressive abstracts.m but can also paint impressive abstracts.)
  • I Made Arik Wira Putra  + (I Made Arik Wira Putra, born on April 23 1I Made Arik Wira Putra, born on April 23 1991, he is the son of Ni Nyoman Wangi</br> and I Nyoman Sulara. After studying for a bachelor's degree at Udayana University and a master's degree at the Hindu University of Indonesia, he has had many achievements since childhood, one of which was "the 1st National Champion of Palawakya in 2011". He is an author and he wants himself to be called a "Literature Enthusiast" not as a writer. He already has several works of Purwa Bali Literature, one of which is Kakawin Usadhi Negari.re, one of which is Kakawin Usadhi Negari.)
  • Made Sarjana  + (I Made Bachelor was born in Denpasar, NoveI Made Bachelor was born in Denpasar, November 23, 1963. He graduated from Indonesian Literature, Faculty of Letters, Udayana University. He started writing poetry as a teenager and was widely published in the Bali Post on the motivation of Ida Bagus Dharma Palguna. His poetry has also been published in Horison Magazine, Kompas, as well as in the book Journey of the Night, Hijau Kelon, Sang Guru. He joined Sanggar Putih and was a journalist for Magazine Sarad (2000 – 2002). He has also won first place in the Poetry Writing Competition for Unud Academic Magazine (1985), first winner in the Bali Poetry Reading Contest (Faksas Unud), and 1st place in the Bali Teacher Poetry Reading Contest. Now he devotes himself as an elementary school teacher.s himself as an elementary school teacher.)
  • I Made Lasmawan  + (I Made Lasmawan was born in the village ofI Made Lasmawan was born in the village of Bangah, Baturiti region, Tabanan, island of Bali, Indonesia. in 1958. He has strong talent in the arts since childhood , and pursued his education at KOKAR (Conservatory for Traditional Performing Arts) in Denpasar, Bali, and graduated in 1977. He continued his studies in 1978 at STSI (Indonesian College of the Arts), in Surakarta (Solo), Central Java. There, he studied traditional Javanese music, receiving his Traditional Indonesian Music degree in 1983.</br></br>Lasmawan is the MASTER of all, National and International. Lasmawan has traveled throughout the world, including Belgium, France, England, Singapore, Japan and Mexico to perform with different cultural groups. He is a prolific composer who taught Balinese music at STSI from 1983 until 1990. Then, he was offered to San Diego State University to teach Javanese and Balinese music and culture. He moved and has been living in Colorado since 1993 as Artist-in-Residence with Gamelan Tunas Mekar, Pak Lasmawan also teaches Balinese gamelan at Colorado College, in Colorado Springs, UCCS in Colorado Springs, Naropa University in Boulder, Colorado, the University of Wyoming, in Laramie and the University of Colorado, in Boulder. He is one of the founder of Kyai BROJO MARTO Javanese Gamelan orchestra and teaches Javanese gamelan. It is very rare that a person can be the expert of both Javanese and Balinese gamelan. He is learning Thailand traditional music as well. Visiting Bali every year during Summer School break, Lasmawan developes a summer booth camp at his home village to run program for gamelan, dance and arts workshops.ram for gamelan, dance and arts workshops.)
  • I Made Suantha  + (I Made Suantha was born in Sanur, June 24,I Made Suantha was born in Sanur, June 24, 1967. He has been writing poetry since I was a teenager in the 1980s. His poetry was published in Bali Post, Mutiara, Pelita, Buana News, etc. His poetry books include Wind Blower (1989), Togog Yeh, Pastoral Butterfly (2008). He received the Widya Pataka award from the Governor of Bali (2008).ka award from the Governor of Bali (2008).)
  • I Made Suarsa  + (I Made Suarsa is a Balinese writer who comI Made Suarsa is a Balinese writer who comes from the arts world, namely Banjar Gelulung, Sukawati Village and District, Gianyar Regency. He was born on Saturday Wage Dukut, May 15, 1954. He is the second child of the late Balinese literary writer, the late. I Made Sanggra.</br> Mr. I Made Suarsa in the creative process of creating literary works has given birth to many Balinese Anyar literary works, as well as Balinese Purwa literary works such as Geguritan Tarunantaka, Geguritan Udayanotama Tattwa, Geguritan Kanakaning Kanaka, and Geguritan Korona Karana lan Kirana, a poem entitled "Ngiring Sayang" Manyangin”, a modern Balinese unit with the title “Buy, Tiang Ten Ngalih Fiance, Ten Ngalih Kurenan” and many of his extraordinary works.</br> Here I will discuss about one of his Geguritans, namely Geguritan Korona Karana and Kirana, which in simple terms contains about the emergence of the covid-19 virus to how we live side by side with this virus. When viewed from the equivalent of the words Geguritan Korona Karana and Kirana, it has the meaning of Corona which means covid-19, Karana which means that causes or causes, Kirana which means sunlight. So it can be concluded that Corona Karana and Kirana have the meaning of causing disease (grubug), one of which can cure is by (Kirana) sunlight.of which can cure is by (Kirana) sunlight.)
  • I Made Suartana  + (I Made Suartana, commonly known as Made SuI Made Suartana, commonly known as Made Suar-Timuhun in his works, was born in Banjar Tengah, Timuhun, Klungkung, June 17, 1987. He started writing modern Balinese literature while still in college and actively started writing in 2013. His poetry began to be published in Bali Orti (Bali Post) in April 2013 and in 2014 his poems were published in Mediaswari (Pos Bali). He was a speaker at the Ubud Writers and Readers Festival 2016. His collection of Balinese poetry entitled “Mlajah” was published by Pustaka Expression in 2014. In 2015 his collection of short stories was published by the same publisher. It is entitled “Book Jaen Living in Bali” and contains eighteen (18) short stories. and contains eighteen (18) short stories.)
  • I Made Sujaya  + (I Made Sujaya is a permanent lecturer at tI Made Sujaya is a permanent lecturer at the Indonesian and Regional Language Education Study Program (PBID), Faculty of Language and Arts Education (FPBS), IKIP PGRI Bali. Since August 2016 he has been working toward his Doctoral Degree in Linguistics, Concentration on Literary Discourse, Faculty of Cultural Sciences, Unud.</br></br>Two of his books have been published, namely A Piece of Conscience Kuta: Notes on the Attitudes of Kuta Residents in the Tragedy of 12 October 2002 (2004) and Forbidden Marriages: Abstinence of Polygamy in Ancient Balinese Villages (2007). The second book led him to receive the "Widya Pataka" award from the Governor of Bali. In 2013, together with a number of Unud lecturers, they published a book on the Language Dynamics of Television, Internet, and Newspaper Media.</br></br>Apart from teaching, Sujaya is also a journalist and freelance editor at the daily DenPost which has been published in Denpasar since 1999. He is trusted to take care of literary and cultural pages. He was a correspondent for the student tabloid Wiyata Mandala (1996-1999). He has also been a contributor to The Jakarta Post and helped maintain the Balinese language page, “Bali Orti” on the Bali Post Sunday. Now he also maintains a special blog about Bali, balisaja.com.s a special blog about Bali, balisaja.com.)
  • I Made Sumadiyasa  + (I Made Sumadiyasa who goes by the name MadI Made Sumadiyasa who goes by the name Made was born in Bali 8 February 1971, in Langlanglinggah, Tabanan. Made is a dynamic Balinese artist whose expressive paintings encompass a universal spirit. His visual language goes beyond form and illusion, creating intense levels of emotion. He focuses on movement and color to bring out the spiritual essence of his subject. From the greatness of the natural world to the influence of culture and technology on the environment and humanity, Made continues to discover unlimited sources of inspiration for his artistry.</br></br>A graduate of the Indonesia Institute of Art (ISI Yogyakarta, Indonesia) in 1997, Made was the first Indonesian artist invited to participate in the prestigious ART ASIA International Fine Arts Exhibition held in the Hong Kong Convention and Exhibition Centre, Hong Kong, 1995. In 1996, Made was the first Indonesian artist to have his painting (The Way to Eternity) featured on the full-cover of the prestigious Asian Art News magazine (Mar-Apr 1996).us Asian Art News magazine (Mar-Apr 1996).)
  • I Made Suparsana, S.Kom  + (I Made Suparsana, S.Kom, a man who graduatI Made Suparsana, S.Kom, a man who graduated from the STIKOM Bali Institute of Technology & Business. Graduated in 2021 and started developing a digital company called PT Foxbyte Global Inovasi located in Denpasar, Bali. Its business focuses on providing software solutions for the banking, retail, transportation, and startup industries. I Made Suparsana, S.Kom serves as a Project Manager in his company.</br>This company was born when the pandemic hit Indonesia. Many businesses are starting to go out of business and turn to digital services. From this momentum, Made Suparsana and his team saw that a change in trend was taking place where users had started to switch to digital services. The company has a vision of "To Be a Global Digital Solution Provider in the 4.0 Revolution Era". Solution Provider in the 4.0 Revolution Era".)
  • I Made Supena  + (I Made Supena was born in Singapadu, GianyI Made Supena was born in Singapadu, Gianyar, January 12, 1970. He studied fine arts at the Art and Design Program (PSRD) of Udayana University (1991-1997). He is the son of the legendary sculptor I Ketut Mudja. Supena's works are abstract by taking inspiration from nature. In addition to painting, he also makes sculpture, installation art, and works on performance art. Supena is also active in the visual arts groups “Galang Kangin” and “MilitanArts”.</br></br></br>Since 1991 Supena has been diligently involved in joint art exhibitions, both at home and abroad. While his solo exhibition was in 1998 at The Chedi Payangan Gallery, Bali. Then the exhibition Reality of Abstract Painting (Art Center Bali, 1999), Landscape und Abstraction (with Susena, Frankfrut, Germany, 2000), New painting (Suli Art Gallery, Denpasar, 2002), About Hature (Gallery Mon Décor, Jakarta, 2002 ), The Likeness of Nature (Ganesha Gallery, Bali, 2004), Studi Alam Supena (Danes Art Veranda Denpasar, 2005), Made Supena Landscape (Gracia Gallery, Surabaya, 2007), Emotion (Santrian Gallery Sanur, 2008), Genealogy (Jogja Gallery , Yogyakarta, 2010), Solitude of Child (Kubu Kopi Denpasar, 2015), Ritus Mountain (Maya Gallery, Sanur, 2017), Interpreting Feelings (Griya Santrian, Sanur, 2018).</br></br></br>Supena has won a number of awards including the Award for Sculpture Museum Bali, Denpasar (1991), Award of the Governor of Bali (1994), Award of the Embassy of Peru in Jakarta (1995), Award of Phillip Morris Arts Foundation (1997), Finalist of the Winsor-Newton Competition, Jakarta (2000), Certificate of Ownership, Wellculturen Frankfurt Museum, Germany (2010), Certificate Art Work Golden Land, BIAB Bejing, China (2015), Top 9 Titian Art Foundation ( 2017).</br></br> </br>On April 16, 2019 Supena died at Sanglah Hospital. He had severe bleeding in the brain due to an attack of hypertension. Bali lost one of its best artists.ension. Bali lost one of its best artists.)
  • I Nengah Jati  + (I Nengah Jati was born in Banjar Sama Undisan, Jehem Village, Bali, October 5, 1990. His poetry book is titled “Silunglung” (Expression Library, 2018). His works are also published in Suara Saking Bali.)
  • I Nengah Sujena  + (I Nengah Sujena was born in Bangli, Bali, I Nengah Sujena was born in Bangli, Bali, in 1976. He graduated from the Indonesian Institute of the Arts (ISI) Yogyakarta in 2005. Sujena has had solo exhibitions and participated in group exhibitions in Bali, Yogyakarta, Jakarta, Singapore, Tokyo etc. In 2007 he had a solo show entitled Songs of Solitude at the Komaneka Gallery.</br></br>Nature is the main source of creative inspiration for Sujena. His paintings articulate the revelation of nature. They reflect an ecological awareness that recognizes the fundamental relation between nature and the human. His works subtly criticize the anthropocentric view that considers the human as the center of truth with all the privileges to exploit nature. Sujena conveys a critical, yet poetic, message that living in harmony with nature is a soothing, peaceful life. with nature is a soothing, peaceful life.)
  • I Ngurah Suryawan  + (I Ngurah Suryawan, born in Denpasar Bali oI Ngurah Suryawan, born in Denpasar Bali on February 25, 1979. He obtained his formal education at the Department of Anthropology, Faculty of Letters, Udayana University, Bali (2006) with the title "Speaking Behind Silence: Anthropological Studies of the Violence of the 1965-1966 Mass Massacres in Jembrana Regency, Bali." </br></br>He completed his Masters in the Masters Program in Cultural Studies at the Postgraduate Program at Udayana University (2009) with a thesis entitled "Bara on the Edge of Power: Genealogy of Subaltern Violence and Upheaval in Buleleng Regency, Bali". Doctoral education was completed at the Humanities (Anthropology) Program, Faculty of Cultural Sciences, Gadjah Mada University, Yogyakarta (2015) and wrote a dissertation entitled "Elite's Strategy to Steal State Power in West Papua". The postdoctoral research program started from 2016-2017 on the cultural ecology of the Marori and Kanum people in Merauke, Papua under the ELDP (Endangered Languages Documentation Program) and Australian National University (ANU) scheme. He was a visiting researcher at KITLV (Koninklijk Instituut voor taal-, Land-en Volkenkunde), Universiteit Leiden 2017 – 2018 to write his research on the formation of the middle class elite in the interior of Papua. His books on Papua include: A Broken Soul (2014), Looking for the Morning: Ethnographic Fragments (2015), Papua Versus Papua: Disunity and Cultural Change (2017), Dismissed Voices: Against Silent Culture ( 2017), Dim Living Space: The Ecological Concussion of the Marori and Kanum People in Merauke, Papua (2018), Kitong Pu Dreams: Anthropology and Transformation of the Papuan People (2018), Searching for a Changing Bali (2018).18), Searching for a Changing Bali (2018).)