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• Prof. Ir. I Nyoman Gelebet  + (Prof. Ir. I Nyoman Gelebet is a senior arc … Prof. 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.)
• Promote domestic tourism and address infrastructure gaps  + (Promote domestic tourism and address infra … Promote 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 Sedana  + (Putu Sedana was born in Pengastulan, Decem … Putu 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.)
• I Putu Sutawijaya  + (Putu Sutawijaya (1970)studied art at Indon … Putu Sutawijaya (1970)studied art at Indonesia Institute of Fine Art (ISI) Yogyakarta. He currently lives and works in Yogyakarta and Bali. As a painter, sculptor and performance artist, he is hailed as one of the most important young artists to watch out for. His canvases are highly charged with the energy, or qi, that is suggestive of Chinese calligraphy masters. While Chinese calligraphy influences his technique, his subject matter captures the essence of Balinese religious and tribal rituals. The visual impact of his canvases is explosive yet contemplative. They reflect the mutual desire for harmony in order and chaos, a oneness with the universe. Man as the centrifugal figure in paintings is distinctively Sutawijaya and continues to be prominent in his works.</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.)
• Putu Vivi Lestari  + (Putu Vivi Lestari was born in Tabanan, Nov … Putu 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.)
• Jero Mangku Dalem Suci  + (Renowned Chef and restaurant owner Jero Ma … Renowned Chef and restaurant owner Jero Mangku Dalem Suci (Gede Yudiawan or Gede Buldog) is from Desa Les and his incredible cooking skills have been recognized by the most acclaimed Indonesian Chef, William Wongso, and he has joined the maestro in introducing Balinese cuisines across several countries in the world.</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, Au … Richard 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.)
• 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.)
• 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.)
• 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 and … Shelly 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.)
• Idanna Pucci  + (Since leaving her ancestral home in Floren … Since leaving her ancestral home in Florence, Italy, Idanna pursued her interest in diverse cultures through far-flung travels. First she worked in New York for her uncle, Emilio Pucci, when his designs ushered vibrant colors into fashion.</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.)
• 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)
• Luh Ketut Suryani  + (Suryani was born in Singaraja, Bali in 194 … Suryani was born in Singaraja, Bali in 1944 and raised in modest surroundings with six children. Her father was a nurse and an integral part of Indonesia’s struggle against the Dutch. Suryani’s mother was a successful business woman who supported the family’s finances.</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.)
• Dadalan Sejarah Wangunan Monumen Perjuangan Rakyat Bali  + (THE BACKGROUND OF THE ESTABLISHMENT OF THE … THE 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.)
• Tan Lioe Ie  + (Tan Lioe Ie was born in Denpasar, Bali, Ju … Tan Lioe Ie was born in Denpasar, Bali, June 1, 1958. He kept the Chinese name even though during the New Order era there was some pressure to replace the ethnic Chinese name with an indigenous name. He is familiarly called Yoki.</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.)
• Peralihan Potensi Lapangan Pariwisata untuk Mengembangkan UMKM  + (The Potential Transition of Tourism Resour … The 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 Ulu … The Yak spoke with Ajit Khatai, ceo of Uluwatu handmade Balinese lace – the 50-year-old true Bali legacy fashion brand – about life in Bali, the journey so far and the future for the brand.</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)
• I Ketut Rida  + (The senior poet I Ketut Rida was born in B … The senior poet I Ketut Rida was born in Banjar Kanginan, Sulang Village, Dawan District, Klungkung, September 11, 1939. He finished school at SGA Stella Duce/ Kanisius Yogyakarta in 1958, then continued his B1 Indonesian Language at Dénpasar, but did not finish.</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”.)
• 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.)
• Tyra Kleen  + (Tyra Kleen (29 June 1874 - 17 September 19 … Tyra Kleen (29 June 1874 - 17 September 1951) was a Swedish artist, author and women's rights activist. Her paintings, illustrations, lithographs and publications were important to the Swedish fin de siècle art movement. But above all she was an independent ethnographical researcher.</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.)
• Walter Spies  + (Walter Spies is a German artist born in Mo … Walter 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.)
• W.O.J. Nieuwenkamp  + (Wijnand Otto Jan Nieuwenkamp (Amsterdam, J … Wijnand 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.)
• Yong Sagita  + (Yong Sagita, born in Buleleng, November 30 … Yong 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.)
• 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.)

• 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.")
• Arie Smit  + (15 April 1916 – 23 March 2016. Dutch-born … 15 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 in … 1898 – 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)
• Josiah Alexander Sila  + (A funny thing happened to Joey Alexander o … A funny thing happened to Joey Alexander over the past five years, a whirlwind period during which he became the most brilliantly precocious talent in jazz history—that is, a renowned festival and concert-hall headliner; the youngest musician ever nominated for a Grammy Award in a jazz category; and a media favorite who’s earned a profile on 60 Minutes, a front-page profile in the New York Times and other premier coverage.</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/.)
• I Made Wahyu Senayadi  + (A graduate in Fine Arts from the Indonesia … A graduate in Fine Arts from the Indonesian Art Institute (ISI) Denpasar, Senayadi has exhibited two and three-dimensional works in exhibitions, including two solo shows, throughout Bali and Java since 2005. He represents a new wave of Balinese artists dedicated to innovating within the contemporary format experimenting with conventional and non-conventional media. “I am very grateful for having my work recognised in the UOB Painting of the Year Awards,” said Senayadi, born in 1985 in Marga, Tabanan, Central Bali. “Through this award, I trust it will help provide a bridge to the goals that I want to achieve in my career.”</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 sevent … A 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.)
• Symon  + (A stylistic heir to Walter Spies, Le Mayeu … A stylistic heir to Walter Spies, Le Mayeur and his mentor, the Indonesian-Dutch painter Arie Smit, Symon was among the last in the lineage of foreign artists who have helped raise Bali’s international profile as an exotic destination for art and design. Renowned for his vivid pop style with new iconic motifs, he was born on April 13, 1947, as Ronald Thomas Bierl in Detroit, Michigan, the United States, and made Bali his home in 1978. He was installed in the Puri Kaler of Ubud Palace by the Ubud royal family, who had for decades been patrons of foreign artists. Symon later took over Arie Smit’s cottage in nearby Campuhan, where his studio grew into local landmark. In 2014, he moved full-time to his other destination studio at Alas Sari in North Bali, Art Zoo, which he had founded in 1998.</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.)
• I Made Mahendra Mangku  + (Abstract became the visual language that M … Abstract became the visual language that Made Mahendra Mangku chose to express. Various abstract explorations are presented, such as the play of lines, colors, and splashes.</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.)
• Adrien-Jean Le Mayeur de Merpres  + (Adrien-Jean Le Mayeur de Merpres was a Bel … Adrien-Jean Le Mayeur de Merpres was a Belgian painter who lived in Bali and donated his house in Sanur as a museum. He was born in Brussels, Belgium, February 9, 1880. The Impressionist painter arrived in Bali in 1932 and first rented a house in Banjar Kelandis, Denpasar. It was also at Kelandis that he became acquainted with Ni Nyoman Pollok, a Legong dancer who was 15 years old at the time, and later became a model for his paintings.</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.)
• Agus Vrisaba  + (Agus Vrisaba is a writer born in Klaten, C … Agus Vrisaba is a writer born in Klaten, Central Java, May 15 1941. In the 1970s he lived in Bali and socialized closely with many Balinese artists. In the late 1980s he moved to Tawangmangu, Central Java. He died on February 17 1992. Agus was a very productive short story writer. His works are published by Kompas, Sinar Harapan. Later also in Suara Pembaharuan, Vista, Jawa Pos, Bali Post, Intisari, Surabaya Post, Suara Indonesia, Zaman, and also various other regional newspapers. Kompas Book Publishers (PBK) is trying to bring back his works and edit them in a book, a collection of his first single short stories, entitled "From Bui to Nun" in 2004. Agus himself, until the end of his life, had not had time to publish his works. There is only one short story, namely "Sodom and Gomorrah" which was included in the anthology "Two Sexes for Midin", published by Kompas Book Publishers in 2003.blished by Kompas Book Publishers in 2003.)
• Anak Agung Made Cakra  + (Anak Agung Made Cakra was born in Denpasar … Anak Agung Made Cakra was born in Denpasar, November 11, 1928. He is a musician and Balinese pop songwriter who was very popular in his time. He taught himself music at the age of seven. In 1943, when he was still a SR (People's School), he participated in a Japanese song competition in Singaraja, and managed to get the attention of a Japanese musician who was present at that time. The Japanese musician then mentored and employed him.</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".)
• Ni Putu Apriani  + (April Artison is the pen name of Ni Putu A … April 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).)
• Strategi Membangkitkan Perekonomian Di Bali  + (As for the aspirations that I want to pour … As for the aspirations that I want to pour out to revive the economy in Bali, the points are as follows:</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.)
• Helen Creese  + (Associate Professor Helen Creese's researc … Associate Professor Helen Creese's research interests include Balinese textual and literary traditions, Balinese history and historiography and gender. Her research spans historical and contemporary periods. It draws extensively on indigenous textual traditions written in Indonesian, Balinese, Old Javanese as well as colonial sources in Dutch and French. Her publications include translations of both classical and modern texts.</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.)
• I Gusti Ayu Laksmiyani  + (Ayu Laksmi full name I Gusti Ayu Laksmiyan … Ayu Laksmi full name I Gusti Ayu Laksmiyani, born in Singaraja, Bali, November 25, 1967. She is a singer, songwriter, dancer, film and theater actress. Was known as a lady rocker in the early 90's. In 2011, twenty years since his first album was released, she re-emerged with her latest album, Svara Semesta. Currently, Ayu Laksmi is active again in various local, national and international music events/festivals.</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)
• I Gusti Nyoman Lempad  + (BALI'S MOST WELL-KNOWN ARTIST, I Gusti Nyo … BALI'S MOST WELL-KNOWN ARTIST, I Gusti Nyoman Lempad (1862-1978), was born in the village of Bedahulu in Gianyar, south-central Bali. He was a master artisan, carver, and architect. His ink drawings on paper, many with touches of color, are internationally famous. Their clarity, expression, composition, and form are unmatched to this very day.</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))
• Bali Virtual Tour & Ngonthel Halal  + (Bali is a beautiful island. Affected by Co … Bali is a beautiful island. Affected by Covid-19, of course, it reduces the income of the population. Are there alternative steps forward? We provide alternative solutions, namely virtual tours and ngonthel halal and are presented in the form of questions and answers.</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.)
• Pesta Kesenian Daerah Wisata (PKDW)  + (Bali is an island of the gods which is wel … Bali 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.)
• "MAI MELALI: Solusi Pariwisata Bali Metangi Berbasis Digital Rikala Pandemi"  + (Bali is famous for tourism with a very str … Bali is famous for tourism with a very strong religious title. However, when the Covid-19 pandemic struck, it caused all aspects of the community's economic support, especially in the tourism sector, to experience suspended animation. Not only Indonesia, but also similar things are experienced by all countries in the world. As the next generation, we should not only dare to criticize but also dare to innovate in order to create a collaboration that can revive Bali's tourism as before.</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.)
• Ida Bagus Made Djatasoera  + (Batuaninteractive.com: "Djatasoera's fathe … Batuaninteractive.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.")
• 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))
• I Gusti Putu Windya  + (Biography Name : I Gusti Putu Windya. lat … Biography </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. lat … Biography </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.)