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Dewi Dian Reich + (One of the things at the centre of Balines … One of the things at the centre of Balinese culture, perhaps can be said to be the certainty of one’s relationship to Nature. If art is integral to our culture, how much more is Nature.The White Wood of Bayan (Pohon Kayu Putih Bayan) is an ancient tree. One of the many ancient trees that is on Sacred ground and is in itself part of a Temple, Pura Babakan. Being hundreds of years old, it certainly did not appear suddenly out of nowhere. However, it has begun to attract far more attention in these recent months. Perhaps due to the growing awareness on social media, there are certainly more visitors there in the past year.The Beauty of the White Wood of Bayan, these photographs centre on the presence of its Temple. That when we look upon this Tree, it is not separate from looking upon that which is Sacred.te from looking upon that which is Sacred.)
Dewi Dian Reich + (Reflecting on the nature of Time and our r … Reflecting on the nature of Time and our relationship to the Earth and Spirit through a conceptual journey. Ref exhibition guide https://sawidji.com/2022/12/13/kala-and-the-guardians-a-timely-reflection/Kala is known to come with many definitions. Among these are time, death, performing arts, and specific deities in Hinduism, Javanese and Balinese mythologies. Yet, despite the many origin stories, there is a connecting thread that Kala is all of those manifestations. However, in this Collaboration, Kala is our canvas. Here Kala is defined specifically through her manifestation as TIME. Kala is experienced through the conceptual portraits of the two Guardians representing our Earthly World and our Spiritual World. The portraits of the Guardians of Earth and Spirit were created through a combination of installations and the photography of Dewi Dian and ManButur Suantara. The paintings of Nyoman Handi respond to the questions and reflections raised by the Guardian portraits.lections raised by the Guardian portraits.)
Tjandra Hutama + (Rejang is a sacred Balinese dance, a sacri … Rejang is a sacred Balinese dance, a sacrificial dance in which the girls symbolically offer themselves to the gods. It is held in the Hindu Temples of Klungkung Regency and Karangasem Regency in Bali, Indonesia. ‘Rejang’ means ‘offering’. This dance is performed to greet the gods that descend to the Earth.In this series ‘Rejang, a Beautiful Reminder of Impermanence’, the themes of beauty, impermanence and time are explored. Tjandra Hutama has won many awards in photography competitions. It is the saturation of pictorial beauty that he encountered throughout those years that prompted this need to reflect something deeper about our perception of beauty. To remind us of its impermanence and of its limitations.(Read full article at Sawidji Gallery reference cited)rticle at Sawidji Gallery reference cited))
I Nyoman Marsa + (Seated Balinese woman. 1980)
Dewi Dian Reich + (The Living Masks of Bali is our series tha … The Living Masks of Bali is our series that explores and celebrates Balinese traditional masks. We return today with a close-up look at Topeng Tua, the Old Mask. A conversation with Dancer and Mask Maker Kadek Sudiasa of Mas Ubud. A series of portraits of Topeng Tua. Accompanied by a conversation with Kadek Sudiasa, who explores his relationship and memories with Topeng Tua. As a dancer and as a mask maker.peng Tua. As a dancer and as a mask maker.)
Ni Putu Tirka Widanti + (The diversity of the language of the envir … The diversity of the language of the environment of Green School Bali needs to be studied, especially the treasury of green ecolexicon as they reflect strategical effort to preserve local wisdom of Balinese culture. This study used a descriptive qualitative approach. Data was obtained from the Green School Bali educational environment by using observation and interviews method. The results shown that the grammatical category of the ‘green’ lexicon is in the form of nouns and verbs that are in the form of basic words and phrases and the ‘green’ syntactic construction at Green School Bali contains these natural lexicons, including noun phrases such as bambu hitam ‘black bamboo’, and verb phrases such as bermain Jegog ‘play Jegog’ while the social praxis dimension of the green ecolexicon namely the ideological dimension, the sociological dimension and the biological dimension. This research also uniquely contributes to preserving the concept of local wisdom in real action in the context of international education in Bali.ontext of international education in Bali.)
Putu Marmar Herayukti + (The imposing 600 by 400 by 250 cm wood and … The imposing 600 by 400 by 250 cm wood and papier-mâché sculpture had an important, timely message. Made from sustainable items with traditional Balinese techniques that pushed the levels of materiality, ‘Pejuang Adat’ (Indigenous Warriors), was the artist’s bold call to his people. A traditional sailing vessel perched dangerously upon the crest of a wave and destined for disaster, ‘Pejuang Adat’ is a metaphor for the current plight of the Balinese society, that according to the artist, lacks in leadership and is without a strong vision for the future.is without a strong vision for the future.)
Putu Sucita Yanthy + (The number of Balinese women taking touris … The number of Balinese women taking tourism education at various levels appears to be increasing in line with the development of tourism education institutions and the tourism industry in Bali. This article analyzes the motivation of Balinese women in pursuing higher education in tourism, starting from the Bachelor level to the doctoral program. By applying a qualitative method, this article collects data through interviews with 30 Balinese women who have taken tourism education at various levels. The results show that Balinese women are motivated to take tourism educationfor several reasons, including the motivation to get a job in the tourism sector, they have families who work in the tourism sector, and they live in Bali which has more job opportunities in the tourism sector. By taking tourism education, Balinese women who were informants in this study proved that they had found better jobs and career opportunities in the tourism industry. Their experiences have also become a source of inspiration for other Balinese women to take the same career path.linese women to take the same career path.)
Margaret Coldiron + (The visual and choreographic parallels bet … The visual and choreographic parallels between Japanese and Balinese mask traditions are striking, and, though the exact interrelationship between masks of these two cultures cannot be proven with historically verifiable data, juxtaposition of the similar genres is useful for understanding mask dance. The masks discussed are the dog/lions Shishi ( Japan) and Barong (Bali), the witch-like Hannya ( Japan) and Rangda (Bali), and the sacred old men Okina ( Japan) and Sidha Karya (Bali). Possible links include cultural diffusion and patterns of human perception. However, the visual language in which these mask characters are expressed and the mythology that delineates them probably comes from Indian Tantric models.probably comes from Indian Tantric models.)
Ni Luh Sutjiati Beratha + (This article analyses the phenomena of … This article analyses the phenomena of language related to the prescription of beauty from Balinese Traditional Manuscript (Lontar) entitled Lontar Indrani Sastra (Indrani Sastra Manuscript). The beauty of recipe in the Lontar Indrani Sastra is an ancestry cultural inheritance which has been already merged with the lives of the Balinese. Bali is famous because has conserved traditional manuscripts that become cultural heritage of the island. This article does not only apply the method of library research and field research but also descriptive qualitative method. The theory that is used to analyze the data is the theory of language functions. The function of beauty ecolexicon in the Lontar Indrani Sastracan be divided into three functions, namely (1) informative function, (2) interactive function, and (3) imaginative function. The informative function relates to various information about beauty prescription plants, body parts that can be treated and methods of treatment. Interactive functions are found through dialogue between Dewi Saci and Rukmini. Similarly, imaginative functions are discovered through the use of metaphors such as crocodile’s calla (panggal buaya) and the Arjuna ecolexicons.panggal buaya) and the Arjuna ecolexicons.)
Mark Hobart + (This article aims to bring the intellectua … This article aims to bring the intellectual rigour of Cultural Studies to Balinese ideas about culture which confuse culture with ideology. Cultural Studies is not the study of culture, but its critique which deconstructs culture as misrepresenting actuality as an Imaginary convenient to regimes of power. The New Order articulated ‘kebudayaan’ to create a submissive populace happy to embrace global tourism. Culture is no longer how how people do things but marketable commodities posturing as ‘ancient tradition’. Bali as paradise is a cliché. The island now fulfils Madame Suharto’s dream of Disneyland. The capitalist fantasy of endless cost-free growth bears no resemblance to the sophisticated Balinese cosmology of Kali-Yuga, which ends in cataclysmic dissolution; or to popular ideas of the world as ceaseless transforming. Although kebudayaan dismisses ordinary people as stupid masses, they often escape the ideological straitjacket of kebudayaan by just getting on with culture as everyday life. getting on with culture as everyday life.)
Margaret Coldiron + (This paper charts the increasing involveme … This paper charts the increasing involvement of women performers in Balinese topeng (mask dance) and emerged from discussions and emails among the authors. Following an overview explaining women’s traditional absence from this form and noting the pioneering women who have been at the forefront of change, the authors discuss how, as non-Balinese female performers and researchers, they discovered that they shared many similar stories, curiosities, and challenges relating to their training and experiences. Their insights provide a detailed picture of some important issues for women in Asian theatre.portant issues for women in Asian theatre.)
Dewi Dian Reich + (Topeng Dalem. The King, the Mask and the D … Topeng Dalem. The King, the Mask and the Dance.Topeng Dalem represents the King, Dalem Waturenggon, associated with the Golden Age of Balinese Kingdom of Gelgel during the 16th century. He is known within this narrative as loving, benevolent and wise. A compassionate King. That is why, according to Kadek Sudiasa, in order to carve and capture the essence of Topeng Dalem is difficult. To capture the calm and gentleness of this King, with what he describes as having a particular softness around the eyes. It is this very subtlety within his character that makes it difficult to capture. He lacks the obvious characteristics that are embodied in Topeng Keras or Topeng Tua.For Full article https://sawidji.com/2023/07/19/topeng-dalem-the-truth-of-a-king/23/07/19/topeng-dalem-the-truth-of-a-king/)
Putu Eka Guna Yasa + (Translating is one of the pinnacles … Translating is one of the pinnacles of IGB Sugriwa's skills which are now increasingly rare. Therefore, this article aimsto discuss two things,: (1) tracing the translated works produced by IGB Sugriwa; (2) the translation model developed by IGB Sugriwa in the Kakawin Rāmatantra. To achieve this goal, this article uses the methods of providing data, analyzing data, and presenting the results of the analysis. At the stage of providing data, observation and interview methods were used to find the translated works of IGB Sugriwa. Furthermore, IGB Sugriwa's translations were classified according to genre and Kakawin Rāmatantra was analyzed to find the translation model developed by IGB Sugriwa. Based on this analysis, this article finds that IGB Sugriwa has translated 13 literary works. Translated works are included in literature such as Kakawin Dharma Shunya (1954), Kakawin Sutasoma (1956), Bharata Yuddha (1958), Kakawin Ramayana (1960), Kakawin Arjuna Wiwaha (1961) and Kakawin Rāmatantra(t.t). Meanwhile, the translation works included in the speech are Sang Hyang Kamahayanikan (1957) and Sarasamuccaya (1967). Meanwhile, IGB Sugriwa was also quite productive in translating texts related to traditional Balinese historiography across clans such as the Babad Pasek (1957), Babad Blahbatuh (1958), Dwijendra Tattwa (1967), Babad Pasek Kayu Selem (tt), and the Pande Inscription. (tt). The translation model developed by IGB Sugriwa in the Kakawin Rāmatantrais formulated into four stages, namely (1) kosabasa (vocabulary); (2) kretabasa(grammar), (3) bhasita paribhasa (language style); and bhasita mandala (cultural context).); and bhasita mandala (cultural context).)
I Made Suastra + (Undang-Undang dasar 1945 Pasal 32 aya … Undang-Undang dasar 1945 Pasal 32 ayat 2 and Undang-Undang Nomor 32 Tahun 2004 provide a vast opportunity for the local community to manage their capacity in every aspect of their life. In the application of the otonomy, local community has an opportunity to preserve their social cultural values as their identity of their community. Balinese can basically be recognised by their language (phonic form) they use as well as their traditions (physical forms) they practice. These aspects are commonly used as a symbol of identity by the Balinese ethnic community nationally and internationally. This symbol needs to be maintained for the shake of the Balinese community preservation. The purpose of this study is to explain the position of Balinese Language in the global era as a symbol of identity for the community. The study focuses on the description of the Balinese identity related to the Balinese language. One function of language is as symbol of identity. Balinese has this role for its community and it is also a pride. This condition can be proven by the development of the use of the Balinese language in time. At the present time Balinese has their function as a mean for expressing their cultural aspects. However, in this global era, the Balinese language develops naturally in line with the need of the user. The internal as well as the external problems of the language use in Balinese community need to be identified in order to find out the solution for maintaining the language, in turn the language itself is still continually function as a symbol of Balinese community.unction as a symbol of Balinese community.)
Nyoman Butur Suantara + (Walakiri Tree is part of the series ‘Trees … Walakiri Tree is part of the series ‘Trees’ in Black and White by ManButur Suantara. Walakiri Tree is released as Limited Edition prints and signed by the artist. Trees in Black and White by ManButur Suantara. The beauty and poetic vision of ManButur in a series of captures across the Indonesian landscapes. What do you feel when you see a trees’ shadow? When you look upon their reflections and silhouettes. There is something intrinsically human about them.A Trees’ ReflectionPerhaps you can say, it may be that it is the other way around. There is something intrinsically tree like about human beings. Why we see our own reflection in the Earth’s oldest children. For of the oldest living things on this Earth, trees are amongst them. They carry the memories and earths’ blood in their veins.There is this basic truth that trees bring life to others. From the time they are a seed, to their stems and flowers, there is no waste. From the beginning to the end of their life, they are givers to the world.Nyoman ‘Butur’ Suantaraers to the world. Nyoman ‘Butur’ Suantara)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
I Wayan Subudi Yadnyana + (‘The Book of Infinite Knowledge’ 2020, exh … ‘The Book of Infinite Knowledge’ 2020, exhibited in ‘Raga Rhythm’ by Wildskids late in 2020 at Titik Dua in Mas, pays homage to Saraswati the Balinese Goddess of Knowledge, Music, Art and Learning. “The process of creating such layered works involves a dedicated focus. Working with cardboard cutting individual pieces attached to board he constructs 3-dimensional works of up to 10 layers. A single work of one-meter square may require up to one week.” Swoofone’s compositions give the impression of dimensional reliefs. One of the Balinese Classical paintings’ less-identified influences is the narrative reliefs of the 9th- century Central Javanese Buddhists temple, the Borobudur. Javanese Buddhists temple, the Borobudur.)
Nyoman Butur Suantara + (“Magic is seeing wonder in nature's every … “Magic is seeing wonder in nature's every little thing, seeing how wonderful the fireflies are and how magical are the dragonflies.” ― Ama H.VanniarachchyPhotography by ManButur Suantara that explores Macro photography, specifically only using natural light in natural environments with no staging.The dictionary definition of Macro Photography is simply taking a picture extremely close up, bigger than life-size. Macro photography is all about showcasing a subject larger than it is in real life — an extreme close-up of something small. A full-frame insect in a five-by-seven-inch photo and a four-inch product shot of a cornflake go well above life-size: both are examples of macro photography. - both are examples of macro photography. -)

Ni Kadek Anggreni + (A culturally-based trilingual dictionary in Balinese, Indonesian and English.)

Gede Suanda + ('Spiritual Healing’ 2022 is Sayur’s most … 'Spiritual Healing’ 2022 is Sayur’s most recent painting and a light-hearted response to Bali as an international spiritual tourist mecca. Beautiful soft colours and visual rhythms highlight the composition, an interesting fusion of creative influences inherited from his culture and others inspired by other painters. First, the soothing blue sky makes way for graceful curving lines of brown and orange clouds. Next, our eyes are drawn to the conical shape of the volcanic peak and immediately follow the gentle rhythm of the smoke wafting from the crater. Sayur’s description of the smoke is a modification of the cloud motif taken from the Classical Balinese style.Harmonic colouration catches the eye. Two white herons on both sides of the smoke create a dynamic sense of movement, emphasising the bird’s motion of flight—our eye dances in tune, one-two-three, observing the icons. As we continue down the composition, the green foliage of the forest captures our attention. The visual rhythm changes again as our eye circumnavigates the leaves. The vertical lines of the tree allow the eye to sweep up and down the elongated trunks. To the right, the artist entertains us with other information, tall palms, curvaceous rice terraces, and round coconuts. He depicts a kite trapped in a tree as a simple, humorous distraction.The focal point of the composition is the three figures. A Balinese woman carries an offering upon her head. A pale-skinned female tourist with her palms raised and water pouring onto her head participates in a Balinese cleansing ritual called melukat. A monkey upon a brown rock watches on with a grin of delight as he pushes a toy boat into the spring. The swirling curves on the stone are the artist’s modification of a classical icon. The visual rhythms change as the eye flows around the arcs of the figures, each with differing dimensions, colouration and feeling. Finally, we follow the shape of the skimpy blue G-string as it disappears into the tourists behind.as it disappears into the tourists behind.)
Ketut Yuliarsa + (A bilingual (Indonesian and English) colle … A bilingual (Indonesian and English) collection of contemporary Balinese Poems by one of Bali's leading poets.These poems contemplate the modern Balinese people's struggle between tradition and today's values.This compilation of work spans the period between 1996 and 2006 and includes the lyrical verse written for the theatre production of "The Theft of Sita" which toured throughout Europe, America and Australia in 2001/2.The poems are not literal translations but rather have been written and rewritten in both languages to enhance the reader's experience.guages to enhance the reader's experience.)
Ni Kadek Anggreni +
Drs. I Wayan Selat Wirata + (A modern Balinese literary work that tells the story of a grandmother who supports herself who is thought to have occult knowledge)
Aditya Parama Setiaboedi + (About this work Aditya explains In NOW Bal … About this work Aditya explains In NOW Bali magazine: “I have no manual skills of drawing and painting, my creativity developed within the design field. I became interested in graphic design at school as the technology I learned easily, and I perceived this as a career opportunity,” Aditya told me. “When the pandemic began, I was unsure what to do. I began following a collective of artists from Jakarta, IZZY, on the Internet who streamed information about 3-dimensional digital art. This offered me new insights, triggering my imagination to the possibility of fresh creative expressions. I became dedicated to understanding 3D animation from free open-source platforms.”“Digital art rarely enters the normal art world and is mostly focused upon design and advertising. NFTs exist in an exciting and rapidly evolving decentralised and democratic art world, which eliminates the middleman. Anybody can become an artist or collector,” Aditya explained. “I have learned by watching online and joining Indonesian and international communities. I, therefore, do not need to enter the conventional Bali and Indonesian art worlds.”“I have minted (the process of uploading digital works onto blockchain platforms for sale) over fifteen NFTs and sold more than 10 works. I have sold one exclusive NFT on the ETH platform for 0.1ETH the equivalent of USD $300 and am making series of ten works. More than five of my series have sold out at the price of 3 Tezos, a cryptocurrency valued at about $5 for 1 Tezos. In addition, I have sold two NFTs on the secondary market and received royalties. The royalty mechanism is the advantage of NFTs over conventional art which exists in a domain rife with dishonest practices and at the highest tier is flushed with fake work.”“Many see NFTs as simply a cash grab. The technology is in its infancy, is unregulated, yet allows opportunities to create new artistic expressions and earn money.“ “When you talk to a human in 2035, you’ll be talking to someone that’s a combination of biological and non-biological intelligence,” says American futurist and Google’s Director of Engineering Ray Kurzweil. “I have set the date 2045 for the ‘Singularity’ which is when we will multiply our effective intelligence a billion fold by merging with the intelligence we have created.”“I seek to create unique NFTs with references to Bali to provide an alternative for the crypto art market,” he stated. “I believe what is important is artists and creatives learning about new technologies and the growing array of opportunities available to them. Such as new expressive genres, reaching new audiences and securing alternative income streams.” and securing alternative income streams.”)
Arie Smit + (Article from Bali Post newspaper May 1980 … Article from Bali Post newspaper May 1980Bali Post English Edition, May 1980Conversation with Arie SmitThe name is synonymous for many with the 'Young Artist' movement of Penestanan, Ubud- a name that inevitably crops up when one studies the modern evolution of Balinese art. Some people feel that the introduction of the 'Young Artist' movement has only led to a crass form of art whose only merit is commercial, others feel that it is too 'un Balinese'.Arie Smit himself doesn't elaborate much on his role in initiating this new school of art, he considers his role as that of a mere 'suggester'. He implies that he never taught the 'Young Artist's any fundamental concepts or techniques, insisting that he works not on "putting in but bringing out". He claims that he is more interested in the mental states and environment that influence art, the people and the culture that characterise it.His romance with the imagery of Bali is on-going: "Bali is a bulwark of images" and though he admits that this source of inspiration is eventually limited, he cannot shake his passion for it. Perhaps this is a direct result of his philosophy of art, a philosophy that has been tested and refined over the many years that he has spent in Indonesia (he became an Indonesian citizen in 1951).His fascination with Balinese imagery is linked with his interest in 'Child Art'. Fittingly his contribution to Bali has been to provide a vehicle for Naive Art in the ‘Young Artist’ movement.To explain the beginnings and motives for this he takes us back to the Fifties when he was in Bandung. At the time he was working for the Publishing house "Masa Baru” as a lithographer. One of his colleagues was the Dutch born Rina Marsman, a remarkable woman who had once tutored Queen Wilhelmina’s children in exile during WWII.Her extensive knowledge in the field of education led involvement in the area in Indonesia, a country she had learned to love. Rina Marsman had the foresight to include a formidable library of books on the subject amongst the possessions she brought to Indonesia. Arie Smit took full advantage of this opportunity to plunge into books on education and “child art”.Prompted by her, he began working part time teaching members of the Yayasan Beribu organization (made up of influential society women of the time) in education techniques. The Yayasan Beribu was chaired by Mrs. Mary Effendy Saleh, whose husband was in charge of Indonesia's railroads at the time. Rina Marsman was bringing the latest education techniques to this group who in turn were to teach children.In the spare time that he had Arie Smit managed to paint. Out of this set of circumstances grew the first real momentum towards the 'Young Artists'. At one point he was teaching lithography to Bandung's ITB (Technical Institute) students - and through this decided to mount an exhibition there. Via his contact with Mrs. Saleh he managed to distribute art materials to the children of railway workers. "These children drew what they saw around them, and the realities that they lived with. Children can only draw what they have experienced, their own mental environment - and it's spontaneous, non-intellectual...". It fascinated him to see the readiness with which children drew their world, the power of their observation - "there were locomotives, carriages, derailments (it was during the Darul Islam terrorist times), and we noticed that although fundamentally the same there were slight differences between the girls and the boys: the girls would sometimes put in a nurse!" The exhibition was a success. Again when staying near Puncak on the Jakarta-Bandung route he would notice how the village children had 'spontaneously' acquired a catalogue-like knowledge of motor vehicle makes and specifications. He set about experimenting, providing these children with art materials. Once more there was a spontaneous outpouring of the details of their environment, the same overwhelming power of observation. He undertook these experiments wherever he went in Indonesia.When he first arrived in Ball in 1956 he followed the same pattern. It proved to be a surprise: "It just all came pouring out. As there were no cars, ships, etc. then, they naturally drew what was in their environment. But the quality of their imagination was fantastic, the scope of the Balinese children was tremendous: dances, witches, cremations...” He noticed an emphasis on religion and ceremony, a factor he attributed to the wealth of the culture. But for him the most surprising aspect of these drawings was not the subject matter: “They did not depict objects from their immediate environment, or what was static in their surroundings, they almost always drew or painted what was about to happen. They were always anticipating events to come, such as the cremation next week or the dance the following night..” In all his experiments this 'anticipation' was unique to Bali: the tendency of children's imagination to project into the future.It was precisely this type of exotic material that was to prove of interest to foreigners in Indonesia. In 1960 Arie Smit chose Penestanan as the site for his major ‘experiment’, the ‘Young Artist’ movement. It was a poor village virtually owned by neighbouring landowners who used their labor. Arie Smit began by bartering their first paintings for art materials from foreigners working in Jakarta. “During Sukarno's time art supplies were almost impossible to obtain - this source of supplies was vital to the movement". It grew and grew, and other intermediaries began to play a more active role in the marketing (Jimmy Pandy was one who in Arie's memory was most helpful). On the other hand others had to be convinced and won over - yet when these dealers finally started marketing Young Artists they were surprised to see it become one of the fastest selling itemsAn exhibition in Jakarta several weeks after Gunung Agung erupted was a roaring success, partly because Bali was the focus of public sympathy at the time. For Arie Smit it was a relief to get away from the marketing once things were rolling along by themselves - he never relished the role of salesman. "But it was mainly the diligence and industriousness of these painters that kept me going, I felt that I couldn't let them down.”Despite the fact that the movement has now proliferated tremendously ("Nowadays even an expert would have a hard time wading through all these paintings”) he feels that the best of the Young Artist remain the same 40 that he started off - though they are hardly young anymore.Getting back to 'child art’ Arie states again that all naive painting is a spontaneous, symbolic rendering of the ‘environment’ of the painter. He points out that the Balinese have a tremendous power or vision, and feels that they have no need to work from models or to do life sketches. Arie feels that human beings were never the all-important center of the Balinese Cosmos, and says that the renaissance emphasis on man as the center of the Universe is completely foreign to the Balinese. Thus, at least for Arie Smit, the Young Artist is closer to real Balinese art than the art of those influenced by Bonnet: According to him the 'real Balinese' art is embodied in the paintings that came out of Batuan during the Thirties - the depiction of the various different worlds, the symbolic style. Young Artists, by painting from their own imagination in an essentially symbolic style are closer to this Balinese concept of art than any other ‘modern movement’.One of the important traits of ‘child art’ is the exemption of the intellectualization process - Arie worked mainly with young people under the age of 17, the age around which he says "comes an intellectual crisis. The intellect interferes with the direct expression of the imagination, sometimes to the point where hesitation blocks the expression completely." How did the children of the 60's, the young Artists of Penestanan, cope with growing up?He admits that they ran into a couple of crisis points, where ‘intellectual’ concepts began to interfere with their free expression.Despite his principle of non-interference he finally was compelled to step in: "I watched if for some time, letting it go. But at a certain point I had to re-suggest, to re-affirm their confidence in their own power of vision”.He is obsessed with the ‘power of Balinese vision' - the ability to absorb details, the power of the imagination to recall.When one questions the apparent stagnation of Balinese art, especially that of the Young Artists he admits that there is a need for new directions, not only now but continually. "But total freedom of expression is not an Asian trait. Asians, including Balinese, are more concerned with achieving perfection through repetition."He thinks that this maybe the reason that so many Western Art. movements run dry so quickly, because of the tremendous pressure to create something new all the time, every time! To the oriental there is no such stigma attached to repetition. His work with the Balinese has been one of careful balance between new inspiration and tradition, it was never easy. And not always welcome: once when residing in Ubud at Puri Kaleran, he tried to initiate some girls into painting. "It was back in the Fifties. Some of the girls were quite talented - but unfortunately the banjar community objected." Not only was painting not a woman's role, but for these young maidens to be working in the house of a bachelor was out of the question!Rio Helmiachelor was out of the question! Rio Helmi)
Alexander R. Cuthbert + (Bali is a global tourist destination havin … Bali is a global tourist destination having had the added descriptor paradise for most of the last century. But it is now transparent to most visitors that serious problems prevail across the entire local economy and built environment. The incoherence of development is largely to blame. Given the failure to generate a new Balinese architecture that matches the integrity of the old, Balinese urbanists are now caught in a Gordian knot where a unified traditional architecture remains, yet a new architecture is not forthcoming. How to untie the knot is the question. Architecture suffered major discontinuity when traditional building was largely abandoned in the face of progressive urbanization. The problem remains unresolved. The following paper represents a preliminary attempt to expose key issues. It suggests methods of moving forward. But a new momentum demands a new philosophy in the realm of urban theory, the foundation of all professional activity. No significant progress can take place without it. My attention is therefore directed to answering the question how can the transition be made from traditional Balinese architecture emerging from the dynamics of feudalism, to its conscious translation and accommodation within post-modernity, informational capitalism, and globalization? While the problem needs tackled at several levels – education, policy, strategy and enforcement, I suggest in conclusion that these should be framed within generic principles derived from vernacular transformations, a culture of critical Balinese regionalism, and an adaptation of the New Urbanist lexicon to a tropical environment.rbanist lexicon to a tropical environment.)
Richard Fox + (Balinese forms of social organization, col … Balinese forms of social organization, collective labor and solidarity are gradually being transformed – and often displaced – by new social institutions and their attendant ideals, desires and pleasures. The rise of the nuclear family, as a new social ideal and institution, is one the more important developments in this connection. This essay examines rival conceptions of the family, and of household economy, that underpinned a debate that took place in a southerly Balinese ward over the provision of neighborly assistance during six-monthly odalan ceremonies. The analysis provides insight into how social and cultural transformation is understood and experienced at the level of day-to-day life.perienced at the level of day-to-day life.)
Ni Luh Sutjiati Beratha + (Balinese people who live at Ubud Village i … Balinese people who live at Ubud Village in Gianyar Regency are bilingual because they have mastered more than one language. In the environment of Balinese language, there also live other languages, e.g. the national language, i.e. Indonesian language, foreign languages such as English, Japanese, Mandarin, Korea, etc. Balinese people nowadays have difficulties in using Balinese language so they use mixed languages, namely Balinese language with Indonesian language, with English language, with Mandarin or Korean Language, etc. This phenomenon might indicate that Balinese language appears to be marginalized. This paper aims at investigating what languages are used in Balinese language environment, since by tradition, ecological locality is very important to be explained because it has strong relation to the sustainability of the use of Balinese language, and natural environment with its diversity. Sociocultural approach, i.e. using the concept of language diversity related to the use of language is applied in this paper. In addition, qualitative method is applied by using observation technique and in-depth interview in collecting the data and information. Theories related to the use of language is used to analyze the data.The result of the study shows that the marginalization of Balinese language appears to exist because there are various ethnic groups of immigrants who live in this village. The village of Ubud is already occupied by expatriates who deliberately come to Bali and settle at Ubud. The reasons why they choose Ubud Village, among others is business they own in tourism sector, the occurrence of intermarriages between Balinese people at Ubud and foreigners (such as Italian, Australian, French, Spaniard, etc), Balinese arts and cultures,etc. This condition affects the choice and use of languages.n affects the choice and use of languages.)
Brett Hough + (Bali’s history is made up of many contradi … Bali’s history is made up of many contradictions. Some of these are intrinsic to Balinese culture and society; others are due to the experience of colonisation by the Dutch and the result of incorporation into the nation-state of Indonesia. Others still stem from forces of modernisation, globalisation, tourism and consumerism. The authors of Bali’s Silent Crisis: Desire, Tragedy and Transition highlight these contradictions to reveal underlying problems that continue to shape, influence and in certain ways, haunt daily life in Bali. They contend that these forces and associated changes have resulted in deep psychological and cultural trauma that remains largely unacknowledged – hence a ‘silent crisis’ – and runs counter to the discourse of Bali as a paradise.The authors have lived and worked in Indonesia over many years, with much of that time in Bali. With academic backgrounds in cultural studies and health promotion they bring an interesting perspective to their subject and display an obvious concern for the long-term psychological health of Balinese caught up in the profound processes of change, violence, and desire that are encapsulated in the subtitle of their book. From the outset we get a very strong sense of their motivation in researching and writing the book and their commitment to Balinese friends and colleagues. It is clear they have a great deal of affection for their subjects and come to their conclusions based on a long-term engagement with Bali.The full review of the book is available in: https://www.insideindonesia.org/review-bali-s-silent-crisis?highlight=WyJiYWxpIiwiYmFsaSdzIiwiJ2JhbGkiLCJiYWxpJyIsImJhbGknLiIsIidiYWxpJ3MiLCJiYWxpJywiLCJiYWxpcycuIl0%3DIidiYWxpJ3MiLCJiYWxpJywiLCJiYWxpcycuIl0%3D)
Made Gde Subha Karma Resen + (Based on the absence of rules that provide … Based on the absence of rules that provide certainty to issues of customs in Bali. Such as dispute resolution and Customary Law or Adat Law in Bali, the pattern of the relationship between people and activities within the community, thus requiring legalcertainty. Business activities are activities that require certaintyand good adaptation wherever the place of business is established. This article aims to analyze the legal position of established businesses in communities that are still closely related to rules of Customary Law. Analyzing the legal relationship Desa Pekraman (Pakraman Village) with outsiders/Krama Tamiu and Tamiu (Investor, Businessman), and the rights and obligations of entrants who opened the business. By using juridical studies, this paper will describe legal position, as well as the consequences obtained to businessman in carrying out its business activities in Desa Pekraman. its business activities in Desa Pekraman.)
Putu Dyatmikawati + (Based on the absence of rules that provide … Based on the absence of rules that provide certainty to issues of customs in Bali. Such as dispute resolution and Customary Law or Adat Law in Bali, the pattern of the relationship between people and activities within the community, thus requiring legalcertainty. Business activities are activities that require certaintyand good adaptation wherever the place of business is established. This article aims to analyze the legal position of established businesses in communities that are still closely related to rules of Customary Law. Analyzing the legal relationship Desa Pekraman (Pakraman Village) with outsiders/Krama Tamiu and Tamiu (Investor, Businessman), and the rights and obligations of entrants who opened the business. By using juridical studies, this paper will describe legal position, as well as the consequences obtained to businessman in carrying out its business activities in Desa Pekraman. its business activities in Desa Pekraman.)
Robert Lemelson + (Batuan Interactive, is a multi-modal websi … Batuan Interactive, is a multi-modal website intended to widen access to and provide an engagement with the Mead/Bateson collection of paintings and their legacy while amplifying the voices of Balinese painters and visually connecting the artwork to ongoing ethnographic explorations of Bali.ongoing ethnographic explorations of Bali.)
I Wayan Bendi + (Bendi is considered by other Batuan artist … Bendi is considered by other Batuan artists to be something of an outsider, due to his unconventional use of caricatures and sketches, which can be drawn quicker than the elaborate detail which is present in other works by Batuan artists. His works primarily depict the modern history of Indonesia and the behaviour of tourists. (Hohn 1997: 161) The eldest of the sons of Wayan Tawang to start painting. -- The Virtual Museum of Balinese Painting-- The Virtual Museum of Balinese Painting)
Fitri Amalia Rhamadani + (Deviations in the behavior of foreign tour … Deviations in the behavior of foreign tourists often occur in Badung Regency. Forms of deviant behavior include aggressive behavior, behavior against authority, disrespectful behavior and stupid behavior. The need for a preventive social control effort in anticipating the occurrence of deviations in the behavior of foreign tourists in the future. Determination of informants using purposive sampling and snowball sampling. Data collection is done by observation, interviews, literature study, and documentation. Data analysis techniques using qualitative analysis with the creditability test and the dependability test. The discussion resulted in a model of the construction display framework of preventive social control in Badung Regency, which was formed based on facts or the phenomenon of behavior deviations that often occur. In the introduction of the forms of deviant behavior of foreign tourists there are 4 forms and have a total of 17 behaviors and the total forms of such deviations require social control with a preventive approach. In the preventive approach there are 10 ways that can control foreign tourists to deviate. The role of tourism stakeholders (local communities, government and tourism entrepreneurs) is needed to distribute Do's and Don't's in Bali brochures. The brochure will later contain supporting pictures or illustrations to attract the reader's interest, understand the meaning in each sentence. Preventive social control material by dividing 3 material is presented, namely: Do's in Bali, Do's in Bali, and Why in Bali. After the mechanism for distributing brochures is carried out by stakeholders and there is still a deviation of tourist behavior, the next stage of violators will be subject to sanctions.of violators will be subject to sanctions.)
John Darling + (Episode 1: between the mountain and the se … Episode 1: between the mountain and the sea. This is the first part of Bali Triptych, a film by John Darling (1988). This film explores the geological and cultural influences which have contributed to the evolution of Balinese cosmology, that is dominated by ancestor worship. The film also narrates the turbulent history of the Balinese people. turbulent history of the Balinese people.)
Ida Ketut Djelantik + (Geguritan Sucita-Subudi is one of his work … Geguritan Sucita-Subudi is one of his works that is known to many people, why is that? Because this geguritan contains Balinese cultural concepts such as Dharma, Tri Hita Karana, Kala Patra Village, Rwa Bhineda, and Karmaphala. Dharma is one of the important concepts in Hinduism. Dharma is often equated with truth, virtue or duty and law. Dharma is likened to a smooth and very cool path that can protect and help people who follow that path from disaster. One who practices the Dharma is called "Dharmika". People who practice dharma only want one thing that is eternal and eternal happiness not the false happiness caused by worldly things. Tri Hita Karana is the concept of harmonious relationship that can bring happiness. The harmony of the relationship includes three things, namely the harmony of human relations with God, the harmony of human relations with fellow humans and the harmony of human relations with the surrounding natural environment. In the Geguritan Sucita-Subudi, the concept of harmony between humans and God is called an unreal or spiritual relationship, while the concept of harmony between humans and humans and the relationship between humans and the natural environment. Rwa Bhineda is a dualistic concept that reflects two opposite categories in life, such as good and bad or positive and negative. In the Geguritan Sucita-Subudhi, this concept is explained implicitly or indirectly in the expression in something called "Byakta" or something that exists always contains two things that unite. This concept implies that in this world nothing is perfect except God. Everything has advantages and disadvantages at the same time.Karmaphala is one of the five belief systems in Hinduism called Panca Sradha. Karmaphala comes from the words karma 'action' and phala 'fruit' which is defined as the result of one's actions. The essence of the notion of karmaphala is that a cause will produce an effect. Geguritan Sucita-Subudi consists of 1841 stanzas. Of the many stanzas that are formed by 11 kinds of pupuh. The eleven kinds of pupuh are Sinom, Pangkur, Durma, Ginanda, Ginanti, Kumambang, Warga-sari, Pucung, Semarandhana, and Sadpada Ngisep Sekar. Among these pupuh the most frequently used is the Sinom pupuh, which is 15 times. The use of these pupuhs in the Geguritan Sucita-Subudi is selected and adjusted between the duties or character of each pupuh.een the duties or character of each pupuh.)
Richard Fox + (Grounded in ethnographic and archival rese … Grounded in ethnographic and archival research on the Indonesian island of Bali, More Than Words challenges conventional understandings of textuality and writing as they pertain to the religious traditions of Southeast Asia. Through a nuanced study of Balinese script as employed in rites of healing, sorcery, and self-defense, Richard Fox explores the aims and desires embodied in the production and use of palm-leaf manuscripts, amulets, and other inscribed objects.Balinese often attribute both life and independent volition to manuscripts and copperplate inscriptions, presenting them with elaborate offerings. Commonly addressed with personal honorifics, these script-bearing objects may become partners with humans and other sentient beings in relations of exchange and mutual obligation. The question is how such practices of "the living letter" may be related to more recently emergent conceptions of writing—linked to academic philology, reform Hinduism, and local politics—which take Balinese letters to be a symbol of cultural heritage, and a neutral medium for the transmission of textual meaning. More than Words shows how Balinese practices of apotropaic writing—on palm-leaves, amulets, and bodies—challenge these notions, and yet coexist alongside them. Reflecting on this coexistence, Fox develops a theoretical approach to writing centered on the premise that such contradictory sensibilities hold wider significance than previously recognized for the history and practice of religion in Southeast Asia and beyond. of religion in Southeast Asia and beyond.)
Mary S. Zurbuchen + (In Bali: 50 Years of Changes: A Conversati … In Bali: 50 Years of Changes: A Conversation with Jean Couteau, Eric Buvelot and Jean Couteau have produced an intricate, sweeping, and controversial picture of Balinese consciousness, social patterns, and religious life, as well as Bali’s place within the national framework of Indonesia. It is doubtless the most ambitious attempt to present a holistic view of the island since Fred Eiseman, Jr.’s Bali: Sekala and Niskala (1990), or Adrian Vickers’ Bali: A Paradise Created (1989). Yet this is not a historical narrative, or the culmination of years of comprehensive research on a particular topic. Instead we find a series of transcribed conversations between two expatriates: Buvelot, a journalist based on the island since 1995, and Couteau, a renowned writer, social observer and commentator intimately involved with Bali since the 1970s.mately involved with Bali since the 1970s.)
I Gusti Putu Hardi Yudana + (In Bali’s regency called Tabanan, nowadays … In Bali’s regency called Tabanan, nowadays there are emerging home industries producing the Kerupuk Ladrang. Kerupuk Ladrang is crispy chips made of wheat flour with some eggs and spices. For our project, we have chosen two home industries as our partner industries. The first one is the “Biang Bagus” home industry which is owned and managed by Mrs. Gusti Ayu Putu Sukarini and the second one is the “Bu Gusti” home industry which is owned and managed by Ni Gusti Ayu Komang Niri. This project, namely Program Kemitraan Masyarakat, aims in improving the production process by solving the problems that are faced by the two partners. The given solutions are by providing the better production tools and equipment, facilitating the two partners with modern marketing skills (eg. for marketing in the social medias) with some training programs, as well as providing them an Android based software application to be used as a tool in purchase-order process. In short, there are fourmain things done for the partners: providing them with new and better tools and equipment, services, training and guidance. The results shown the two partners have improved their production process which is now become more efficient and faster. Both of the partners are now having broader views, especially in using the modern technologies, which in this case the social medias and the Android based application software. The project is hoped to be continued so that the revenue of the two partners is increased. revenue of the two partners is increased.)
I Gusti Ngurah Ady Kusuma + (In Bali’s regency called Tabanan, nowadays … In Bali’s regency called Tabanan, nowadays there are emerging home industries producing the Kerupuk Ladrang. Kerupuk Ladrang is crispy chips made of wheat flour with some eggs and spices. For our project, we have chosen two home industries as our partner industries. The first one is the “Biang Bagus” home industry which is owned and managed by Mrs. Gusti Ayu Putu Sukarini and the second one is the “Bu Gusti” home industry which is owned and managed by Ni Gusti Ayu Komang Niri. This project, namely Program Kemitraan Masyarakat, aims in improving the production process by solving the problems that are faced by the two partners. The given solutions are by providing the better production tools and equipment, facilitating the two partners with modern marketing skills (eg. for marketing in the social medias) with some training programs, as well as providing them an Android based software application to be used as a tool in purchase-order process. In short, there are fourmain things done for the partners: providing them with new and better tools and equipment, services, training and guidance. The results shown the two partners have improved their production process which is now become more efficient and faster. Both of the partners are now having broader views, especially in using the modern technologies, which in this case the social medias and the Android based application software. The project is hoped to be continued so that the revenue of the two partners is increased. revenue of the two partners is increased.)
Putu Nomy Yasintha + (Indonesia known as a democratic country, b … Indonesia known as a democratic country, but there are still many cases of intolerance, one of which is a large - scale intolerance towards minorities such as LGBTQ people. Indonesia still considered as one of the homophobic countries due to religious norms and rules that limit the movement of LGBTQ people. Indonesian society still lives in a social life that upholds the value of heteronormativity in which heterosexuals are normal people and others considered as abnormal. LGBTQ discrimination also occurs to many adolescents, they do not have free space in society and are even unable to be who they really are even between family and closest friends. Education regarding gender and sexuality is necessary in Indonesian higher education institutions to be able to provide broader education to the community, especially adolescents, which in the end expected to increase public tolerance towards LGBTQ people. This study uses descriptive qualitative method by also distributing questionnaires anonymously at random to several informants. In addition, supporting data from various literatures used to support this research. The results showed that many LGBTQ adolescents felt marginalized by their family and friends. They have not been able to show their sexual orientation without being afraid to get judgement from the public.g afraid to get judgement from the public.)
I Made Arik Wira Putra + (Kakawin Usadhi Negari written by I Made Ar … Kakawin Usadhi Negari written by I Made Arik Wira Putra is one of the 5 best works in the kakawin category on Saraswati Sewana at Puri Kauhan Ubud. The Kakawin contains the contents of the author's dream which has a desire that the virus that has been side by side with us for approximately 2 years will soon disappear. This Kakawin was made briefly max 18 on the big theme "Gering Agung" Covid-19, where kakawin is a work of Balinese Purwa Literature or a traditional work, but he tries to make it according to the theme and other conditions without leaving reality (making literary works modern themed with traditional media and dense meaning).with traditional media and dense meaning).)
I Made Santika + (Kidung Roga Mariana is one of the 5 best s … Kidung Roga Mariana is one of the 5 best songs at the Saraswati Sewana Literary Event which took place at Puri Kauhan Ubud. This song was created by a young writer who is still pursuing his final education at the Faculty of Cultural Sciences, Udayana University by taking the Balinese Literature Study Program. He who was born on January 4, 2000 is the son of a great writer, namely Mr. I Made Degung and Mrs. Ni Ketut Sutarmi. So many achievements that he has achieved, one of which has created his first song and became one of the best kidung. In Kidung Roga Mariana, it tells about eliminating an existing disaster or disease. Where the word "Roga" has the meaning of disease or disaster, the word "Mari" has the meaning of eliminating, and the word "Ana" has the meaning of being.d the word "Ana" has the meaning of being.)
Putu Herry Hermawan Priantara + (Mamunjung is a form of respect and solidar … Mamunjung is a form of respect and solidarity with the deceased. It realizes by the family visiting their late relative in cemetery, then spend their time having meals together with the dead. The tradition has been practicing since the Hindu-Buddhist period. It is well developed both in Java and Bali. The community practices this activity on certain days, such as Galungan, Kuningan and Pagerwesi day while in Java, they carry out Memunjung during holidays such as Idul Fitri. Balinese Hindu offers Tampelan punjung and Banten punjung to the spirit of ancestors, families or relatives at home or cemetery. In certain days, the visitor brings the deceased’s favorite food to the cemetery then they enjoy the meal together with the dead. Recently, the custom to visit the grave is rarely done by Balinese, especially to those who live in regional areas that do not have strict rules about burial. Some argue that the increasing Balinese’s standard of living as well as technological advancements, contribute to change people mindset about the funeral in the present. Hence, there are only a few areas that are still practicing burial for the dead. are still practicing burial for the dead.)