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I Gde Nala Antara + (I Gede Nala Antara pinaka Development Team … I Gede Nala Antara pinaka Development Team Governor of Bali pinaka Keynotespeech maosang indik Bali madué the potential of sané ageng civilization. Silih sinunggil, based on sané ngawinang, Balinese madué, based on panglimbak kawagedan, manusané, sané, strong santukan, Balinese madué, soang-soang script. So akéh local language sané wénten ring Indonesia, Balinese language wantah silih tunggil base sané madué script. "Wantah script silih single means of communication, mawinan digital application innovation ngengén Balinese script prasida kalimbakang ring sajeroning Balinese script education ring sajeroning Balinese script education)
Tjandra Hutama + (In this series ‘Rejang, a Beautiful Remind … 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.Physical beauty that is subject to decay and deconstruction is merged with representations of the spiritual and sacred. Elements that are timeless and infinite. Within the layers of Rejang images, the beauty of the dancers is merged with the textures of broken-down buildings, decaying walls, brittle wood, leaves, rust, ash and dust. Despite this, what we see is still beautiful. These textures that are introduced into the work represent the five elements known as Panca Maha-Bhuta. The elements that are the basis of all cosmic creation as believed in Hinduism.l cosmic creation as believed in Hinduism.)
Dewi Dian Reich + (Kala and the Guardians Reflecting on the n … Kala and the GuardiansReflecting on the nature of Time and our relationship to the Earth and Spirit through a conceptual journey.A collaborative exhibition with the works of Dewi Dian, ManButur Suantara, Nyoman Handi.Kala and the Guardians conceptualise an abstract idea. The primary themes that we explore here are Kala, Earth and Spirit. In and of themselves, their nature. In addition to seeing these three entities separately, the threading of them together in this collaboration is to ask you to explore your relationship to each of these elements.Kala, Earth and SpiritKala 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. Of the three characters that we introduce, Kala is the faceless one. She is not represented as a portrait, or in a painting. Yet, she is present in them and in a significant way. That is also part of our display and exploration of Time. Part of the reflections in which Sawidji invites you to contemplate.How different art mediums reinforce the message..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.Collaboration, More Than Just a WordAll the mediums present in this collaboration bring very different qualities. Sawidji leads with photography. However, the photographic works are actually partners to installation pieces. Installation pieces that we created together as a team. The making of the costumes and studio installations together as a team is truly at the heart of each of our collaborations. A seed of an idea may be singular, but as it germinates and grows, all the contributing elements are what make it possible for it to flourish and blossom. Much the same for Sawidji Collaborations.The artists that come together agree on the message. We feel the same about the message. It resonates in each of us. With this trust and agreement, we move together throughout the day and create together, the best embodiment of our concept. There is in fact a lot of freedom. A lot of room for each person to spontaneously make changes and try new things. There is no shortcut to the process. Our work is a result of going through a growth and maturing process for each concept, and this is done together.Online Exhibition available for viewing https://sawidji.com/2022/12/13/kala-and-the-guardians-a-timely-reflection/ala-and-the-guardians-a-timely-reflection/)
Nyoman Butur Suantara + (Landscape photography is very satisfying w … Landscape photography is very satisfying when you explore this genre. Especially if you are lucky enough to live in a place that has amazing destinations all within a short distance and rich in diversity as we have. This image was taken in Yeh Malet in Karangasem regency Bali. Pantai Yeh Malet is actually best known for its Wates Beach, for its sandy black sand that reflects light. Often through popularity, one aspect of a region gets exposure and we often don't see the many layers of beauty that are present every day. Like in this image. Not the sunny popular black sand beach, but in the evening, life of the village still goes on.vening, life of the village still goes on.)
Dewi Dian Reich + (Nungkalik International Art Festival Art F … Nungkalik International Art FestivalArt Festival debuting in 2023 by Institute of Art Denpasar, founded on themes discussed by Dr. Sujana Suklu. Featuring Artists Bambang Herras, Agung Gunawan, Martina Feirtag, Diwarupa, Made Kaek, Putu Bonuz Sudiana, Robert Martin, Galung Wiratmaja, Steve Bolton, Dewi Dian Reich, Ketut Sumerjana and Dr. Mas Ruscitadewi.Nungkalik International Art Festival. An introduction to a contemporary art festival debuting this year in Bali that is in its early stages already showing signs of extraordinary possibilities. In nature Nungkalik is bold, experimental and conceptual. Centred on the idea offered by artist and lecturer Dr. Sujana Suklu that artists on a daily basis are subconsciously learning a universal intuitiveness whilst responding to the world throughout their lives.That is to say, whether through their movements, musical or visual expressions as well as verbal interactions. Their bodies and memories compile experiences that keep developing and transforming with each day that passes. Their sensitivity to phenomena that occurs outside of themselves inevitably gets stronger and becomes a substantive sensitivity in their respective internal worlds. We may say this transforms into an instinctive sensitivity that does not require conscious deliberation when external elements circle close to their internal world.The Premise of Nungkalik Art FestivalArtists are invited to participate in this experimental study, from different backgrounds, geographic locations as well as varying creative disciplines. Throughout the festival, community members with specialty areas in sociology, psychology, education and music were also invited to participate and observe. The global theme for the Nungkalik International Art Festival 2023 was introduced as ‘Exploring Archetypes’ with specific explorations on associated concepts during each workshop day.Participating artists were involved in these workshops together with members of the Fine Arts and Performance Arts student body. Our day beginning with a discussion circle. Together exchanging thoughts and ideas about the proposed themes and the significance of the chosen mediums. Within these discussions, it is interesting how very naturally, abstract ideas and concepts were articulated by all artists.full article.. https://sawidji.com/2023/07/27/nungkalik-festival-art-and-its-sacred-paradox/kalik-festival-art-and-its-sacred-paradox/)
Dewi Dian Reich + (Portrait of contemporary artist Wayan Suas … Portrait of contemporary artist Wayan Suastama by Dewi Dian Reich. Environmental portraiture, in an unstaged environment. Naturally depicting the artists studio workshop. Taken in early 2023 whilst cataloguing the artists works.'Through the creative process, you learn to have honest conversations with yourself. That leads inevitably to peace in your life. That’s a gift of positivity.' ~ Wayan Suastama’s a gift of positivity.' ~ Wayan Suastama)
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))
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.)
Bagas Tri Prastyo + (The cone-shaped of Kayonan in shadow puppe … The cone-shaped of Kayonan in shadow puppets symbolize human life. The higher the knowledge and the older the age, The higher the knowledge and the older the age, humans must increasingly conical unite the Soul, Sense, Creation, Initiative, and Work in our lives (closer to the God).and Work in our lives (closer to the God).)
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.)
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.)
David Metcalf + (This is a very popular dance in the villag … This is a very popular dance in the villages whose origins go back to the 1930’s. Also called the Love dance, it is performed by 10 young ( unmarried) couples, and involves singing and dancing to the gambelan and flirtatious movements. Janger means infatuation, so the young ladies and men flirt with each other during the dance creating a happy, fun and sometimes humorous connection.The performers had practised this dance in Pesalakan village , a traditional village about 15 minutes from Ubud centre, for many months before, as many had never danced before.So this was a revival of the culture through dance which is so important to witness with the many modern influencers impacting culture on the island of the gods.One of the main aims of the Togetherness Project is to preserve and revive the culture among the younger generation, and this dance is a wonderful example of togetherness, as it brought the youth together to practise and express their culture.her to practise and express their culture.)
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.)
Made Gede Wiguna Valasara + (Valasara’s work, ‘Part of the Universe’ fi … Valasara’s work, ‘Part of the Universe’ finalised late in 2020, is much larger at 120 by 260 cm. His technical process is demanding. Initially, he sketches onto the canvas the structure. By pinching, filling, and making a volume in the canvas, the individual forms take shape, hand-stitched in cotton. Random threads then complete and inform the chaotic abstract elements, adding a unique potency to his works. The complex works require up to two months of painstaking focus to complete.‘Part of the Universe’ is a flowing picture that draws the viewers eye naturally from left to right across the canvas. The top half of the composition is punctuated by three jagged forms, prominent structural features of a cremation ceremony, that pierce into vast empty space. This work is vastly different than ‘Universe’ 2021. It is defined by its large, negative space of empty canvas emphasising dynamic flowing form and movement within the composition, a technical attribute he has adopted from western art.attribute he has adopted from western art.)
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)
Dewi Dian Reich + (World Without Sound is an Anthology of art … World Without Sound is an Anthology of art and thought.With contributions from Putu Suasta, Warih Wisatsana, Made Kaek, Putu Bonuz, Ellen Lane, Made Artawa, Wayan Suastama, Agung Putra, Made Delo Budiarta, Nyoman Handi, Tjandra Hutama, Made Somadita, David Hopkins, Kadek Sudiasa, ManButur Suantara, Sun Rong Fang, Wayan Juniari, Dewi Dian Reich.Sawidji has collated together a series of artworks and poetry for this special presentation. It is an anthology. This theme of ‘World Without Sound’ was inspired by the wonderful experiences we had in working together with the Sushrusa Deaf School Community. Not simply about raising awareness about those with differences in our community and sign language. Perhaps even more remarkable, is experiencing the reality of the nature of inclusivity. As a powerful value that nurtures a growing collective empathy.Most art exhibitions have one primary objective and that is to feature and highlight artworks and artists. This is by no means very different. However, perhaps the spirit of which this was put together is a little different. Somewhat experimental that it could not be foreseen what will be the result. We invited those in our community, whether it be social, digital or local to participate in a contemplation. To contemplate the concept of ‘Dunia Tanpa Suara’. This translates to ‘World Without Sound’ (though may also be translated to ‘World without voice’). To contribute to this reflection using a creative piece.The Spirit of InclusivityOur invitation was done in the spirit of inclusivity. It was not only artists but also other members of the community who felt reflections on this theme were worthwhile. With the time and space, we have available we can only say a heartfelt thank you to everyone. Those whose works and contributions made it possible for us to present this anthology. One for all of our community to enjoy. It is so so very rich with insight and learning. One that is deep with life lessons from all directions of life experiences.With such personal freedom and intimacy, everyone came to their private message about their imagine ‘World Without Sound’. For each realisation in every individual, it is a lesson of wisdom, empathy or simply of beauty that we can partake in. ur heartfelt gratitude to everyone who opened themselves and generously shared their time, creations and thoughts with us. We are honoured by the generosity of the talented artists and writers who have come together in this anthology of art and thought, living the very spirit of inclusivity.Online Exhibition available for viewing at Sawidji.com https://sawidji.com/2023/04/16/world-without-sound-an-anthology/23/04/16/world-without-sound-an-anthology/)
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. -)

I Ketut Budiana + (I Ketut Budiana’s code of life is - Swadha … I Ketut Budiana’s code of life is - SwadharmaTo do Swadharma(duties) means to do it without expecting anything in return, because the return will come by itself following the karma. To do, to work, and to search for something is a noble and valuable life. Never waste your life."from Usada Bali. Never waste your life." from Usada Bali)

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.)
Drs. I Wayan Selat Wirata + (A literary work of Poetry that tells about how to farm in the fields)
Drs. I Wayan Selat Wirata + (A literary work that contains deep meaning about Melasti, Pangrupukan or Tawur Agung/Kesanga, Nyepi and Ngembak Geni ceremonies)
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)
NDM Santi Diwyarthi + (Bali, including museums, is involved in th … Bali, including museums, is involved in the millennial 4.0 tourism industry. Museum management can no longer be inclusive without borderless and out of the box analysis and application. Museums are one of the means of communication in today's millennial society which must be studied for their benefits in the tourism industry. The research method is quantitative and qualitative, using research instruments in the form of questionnaires, interviews, documentation studies, with the population of museum visitors in Bali. The results showed that most of the guests who visited the museum were people who had studied information related to the museum beforehand, namely 52 percent, 52 percent would write their travel stories to visit the museum, 80 percent would promote the existence of the museum through the internet, 92 percent knew the history of the museum to be visited. and founders, 60 percent will re-promote to others. 40 percent will return to visit the same museum.cent will return to visit the same museum.)
NDM Santi Diwyarthi + (Bali, including museums, is involved in th … Bali, including museums, is involved in the millennial era tourism industry. Museum management can no longer be inclusive without borderless and out of the box analysis and application. The museum is one of the means of communication in the middle of millennial society today that must be examined its benefits in the tourism industry. The research method is qualitative, using research instruments in the form of questionnaires, interviews, documentation studies, with a population of museum visitors in Bali. The results showed that most of the visitors who visited the museum were people who had studied museum relatedinformation first, namely 52 percent, 52 percent would write the story of their trip to visit the museum, 80 percent would promote the existence of the museum through the internet, 92 percent knew the museum's history that would visited and itsfounder, 60 percent will promote back to others. 40 percent will return to visit the same museum.cent will return to visit the same museum.)
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.)
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)
Dewa Ayu Posmaningsih + (Community participation is a contributing … Community participation is a contributing factor to the success of waste management. Behavioral changes must be instilled from an early age. The Booklet is a suitable medium used for changes in the behavior of elementary school students. The waste sorting material can be more easily explained by using text messages and pictures. Quasi-experimental research with one group pretest and posttest design. The sampling method is Multistage Random sampling large sample taken for research is 90 people at 65 elementary school in South Denpasar. The instrument of this research is a questionnaire, with data retrieval technique done through interview analysis compare mean paired sample t-test. There is the difference of knowledge, attitude, and action before and after counseling method of self- evaluation by media booklet with a value of (p <0.001). Health promotion efforts by optimizing the role of School Health Services. For further research can be done research on the role of teachers and parents in health promotion activities.s and parents in health promotion activities.)
I Made Lasmawan + (Gamelan Tunas Mekar performing Pekeling (" … Gamelan Tunas Mekar performing Pekeling ("Remembrance"), composed by I Made Lasmawan, at DecorAsian in Denver, Colorado on February 27, 2010. Pekeling is a contemporary composition that, in Pak Made's words, "Is a reflection on the Gods that give me direction in this life." This video features Tunas Mekar performing using the gamelan angklung and ceng-ceng kopyak instruments.angklung and ceng-ceng kopyak instruments.)
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.)
Ni Luh Wida Apriliani, S.Pd + (Geguritan Tamba Sastra was created at the … Geguritan Tamba Sastra was created at the Literary Creation event, Sastra Saraswati Sewana Pamarisuddha Gering Agung at Puri Kauhan, Ubud. Geguritan Tamba Sastra by Ni Luh Wida Apriliani S.Pd. this is included in the 5 best works in the geguritan category at the Literary Creation event. Geguritan Tamba Sastra is bound by 8 Pupuhs, which include pupuh sinom, pupuh sembaradana, pupuh maskumambang, pupuh pucung, pupuh pangkur, pupuh ginanti, pupuh ginada and also pupuh durma.This geguritan is very interesting because it tells about the beginning of the Corona virus that hit the world, especially in Indonesia where Mother Earth experienced a very deep sorrow that was hit by Covid-19. Various ways have been done to prevent this virus but because for so long this virus has caused the condition of society to be increasingly destroyed due to not working, according to the economy, many people have committed crimes because of the many criminal acts that have occurred in Indonesia. And in the end, the President of Indonesia, Mr. Jokowi, remembered one very important thing in life, where these guidelines are the main key to literature, namely Pancasila, which is the 5 foundations of the Republic of Indonesia. The Corona virus is actually a medicine, not a disease because it makes us aware of the 5 important things contained in the 5 basic principles of our country, namely Pancasila.The values contained in Geguritan Tamba Sastra are religious values, social values and also human values.lues, social values and also human values.)
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.)
Putu Dyatmikawati + (Hindu society in Bali still retaining a pa … Hindu society in Bali still retaining a patrilineal culture in social life. There are differences in inheritance rights between men and women in patrilineal culture system. Women did not have any right to inherit from their parents. While the issue of equality, fairness, the right to inherit their parents and etc., urged the patrilineal culture is more flexible and gives the right to women to inherit property from their parents. The development of knowledge, the law and the influence of new paradigms that are present in society, pressing the old system order to be able to accept the development of society. The Assembly of Pakraman Village(Majelis Desa Pakraman) Bali No. III of 2010 has taken the initiative to give women the right to inherit, limited tojoint property of her parents. This paper aims to analyze the development of customary law in Bali on, setting the women's right to inherit,because the constitution guarantees every citizen equal treatment before the law and society. By using the juridical research, will be examined how national laws and customary laws in Bali positioned the women, the right to inherit from their parentsn, the right to inherit from their parents)
I Gusti Putu Windya + (I got this information from a resource per … 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.)
Ida Ayu Komang Sartika Dewi + (I must admit it. Being human in the mater … I must admit it. Being human in the material world, like it or not, we must make ourselves as attractive as possible. Either by improving yourself or….even self-exploitation?Like sweets, even without tasting it, we know for sure it tastes sweet. Right? But with an attractive appearance, it will be faster to take the viewer’s heart, which ultimately determines their future (the sweets). But unfortunately, they only have two fates.They are sold out or wasted, becoming rotten.This is my first work inspired by life; instead of talking about my illness, using the object of my body and face as a representation. The reason? I am also human and have experienced this for myself. Young women need to make themselves attractive; otherwise, you will be left out.tractive; otherwise, you will be left out.)
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.)
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 Nyoman Wahyu Angga B. Santosa + (Kakawin entitled PRAPANCA SUDDHANI. Is a l … Kakawin entitled PRAPANCA SUDDHANI. Is a literary work from an author, namely I Nyoman Wahyu Prapanca, in general it has the content or meaning contained, namely discussing the situation of the Covid-19 Pandemic by exploring more about our response to the Covid-19 pandemic so that we don't get carried away in the sadness or suffering caused by the Covid-19 pandemic. this pandemic. In this kakawin we are also taught more about maintaining our inner attitude in facing a difficult situation in this case, namely Covid-19.t situation in this case, namely Covid-19.)
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.)
I G W Murjana Yasa + (Main development problem in developing cou … Main development problem in developing country is the contradiction between unemployment and poverty. It is caused by the strong relation between both problems. Poverty in so many cases mostly started by the lack access of productive human source to the job field. The complexity of the problem drive the worldwide commitment in reducing poverty all over the world by the draft of development goals, called Millennium Development Goals (MDGs). To promote the development, the effort to reduce poverty that mainly started by the unemployment must involve the society in participative platform. The participation pattern possibly reducing poverty to be more grounded, strengthen commitment between society in responsibility to reduce unwelfare . The local genius, for instance Lembaga Perkreditan Desa (LPD) that is own by the village association has the strategic role in reducing poverty trough the improvement of its social function beside the main function which is to improve the members welfare. The social function means the commitment and togetherness between member to institution and between members.member to institution and between members.)
Ni Nyoman Tjandri + (Ni Nyoman Tjandri, one of very few female … Ni Nyoman Tjandri, one of very few female Arja and Dalang (puppet masters) in Indonesia. Tjandri has had to refashion her participation in a 'male' art in order to make it acceptable for her as a woman artist and performer. There's a general discourse about women and the arts in Bali that accounts for the ability of women to participate in this kind of art forms.The talented Tjandri gradually developed superb dance and vocal techniques through interaction with her father, I Made Kredek, who is also a performing artist. Through Makara Dwaja Studio, Tjandri providing traditional arts training such as Arja Dance to the younger generation. She dedicating her life to conserve traditional Balinese culture from onslaught of foreign cultural flows that invading Bali.foreign cultural flows that invading Bali.)