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From BASAbaliWiki
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About students who were asked by their mothers about online learning +
About the teaching and learning process is still being done online +
Abu Bakar, is a playwright and theater figure, born in Kediri, Tabanan, Bali, January 1, 1944. His father is Javanese and his mother is Balinese. Apart from theater, he also pursued literature and photography. There are many plays that he has performed and directed. He had visited several countries for artistic matters, among others, France and the United States.
In America, Abu performed his collaboration with Ikranegara artists in the form of the theatrical performance “Berani-Beraninya Waiting Godot” (1990). He also directed the performances “Kereta Kencana” and “Indonesia Luka” (both in 2012) and “Malam Jahanam” (2013). In the field of literature, apart from being published in several newspapers, his works have also been published in "My God Butterflies", "America Outside the Window" and "Fireflies". He also wrote a monologue script entitled “Wanita Batu” (2006) and television dramas “Comedy Hitam”, “Bali Crying (2004), and so on.
Abu is the founder of the “Polyclinic Theatre” and “Earth Theatre”. +
Achmad Obe Marzuki was born in Jakarta, July 30 1975. He has lived in Bali since 2002 and is active in the arts, including playing theater, writing poetry, reading poetry, photography and painting. He deepened his writing skills through a journalism course at Planet Senen, Central Jakarta in 1995. He joined the Jakarta Theater Forum and the South Jakarta Cultural Service's Fairy Tale Institute (1995-1996). Reads his poems in the free pulpit on the 1998 TIM reform stage. Joined the AGA Theater (Waterhouse Children) and founded the API Community (Indoor Market Children) in 2000. Founded Pelangi Art Bengkel Handicraft 2001. Together with Sanggar Poerbatjaraka he was involved in the performance Layon ( 2008) and Hong (2008) at the VI Nusantara Student Theater Gathering in Surabaya. Now he has joined the Jatijagat Life Poetry community in Denpasar, Bali. +
This baligraphy reads "angamet sarining amreta ring telenging segara". This baligraphy uses the color blue to describe the sea and conditions in the sea, with the sun shining at the right angle. This baligraphy uses the form of acintya which means the unthinkable omnipotence of God.This baligraphy is a participant in a baligraphy competition held in the context of the Bulan Bahasa Bali V in 2023. This baligraphy belongs to the Dinas Kebudayaan Provinsi Bali. +
Adhy Ryadi was born in Singaraja, January 17 1960. He completed his Bachelor of Law studies at Undiknas Denpasar. Writing poetry since 1981 and published in the Bali Post, Mind of the People, Berita Buana, Suara Indonesia, and collected in the poetry book "Hram" (1988). He once worked as a journalist at the Bali Post. He died in 1995. +
[EN] The battle between Pandava and the Kauravas took place some 5,000 years ago in India and was recorded by Rsi Wedawyasa as the Epic of the Mahabharata. There are 100,000 verses in this book which are divided into 18 Parwas (big chapters). Each Parwa has a section called Kanda.
Adi Parwa is the first part of the Mahabharata which tells about the ancestral lineage of the Pandavas and Kauravas. It was stated that they were descendants of the Lunar Dynasty. In ancient times, humanity was ruled by the great kings of two dynasties, namely the Sun and the Moon. The two dynasties began from Lord Surya (the sun-god) and Lord Candra (the moon-god), so the quality of the kings of their descendants far exceeded those of ordinary humans.
Adi Parwa mainly tells about the creation of the universe in four stages, the appearance of the divine incarnations (avataras) of God in the previous eras, the birth of Pandavas and Kauravas and the birth of Maharsi Krishna Dwaipayana Wyasa who is the incarnation of God and the most respected sage for the Hindus around the world. The most important part of Adi Parwa is the story of the appearance of Sri Krishna, God Almighty, into this mortal world to speak the Bhagavad-gita which is considered one of the most important Vedic scriptures for Hindus.
At the time of Dharmawangsa reign in the Panjalu kingdom, Adi Parwa was translated into ancient Javanese together with other parwas by the Javanese poets at that time. Some names of places in Sanskrit are distorted during translations. Because of this massive literacy project in Dharmawangsa era, many names of places in the Mahabharata were used as names of places in Java until now. +
Born in Denpasar in 2000.
2020: MSc in Data Analytics and Business Economics (MScDABE) Programme in Hong Kong Baptist University (HKBU). Free lance 3D artist based in Bali.
Aditya’s earlier works focused upon his cultural ideas of beauty. His recent works, however, consider culture and tourism and their possible future ramifications. +
Adrian Vickers is an Australian author, historian and professor of Southeast Asian Studies at the University of Sydney. He has studied and documented Gambuh dance traditions, Panji (prince) stories, and other Indonesian art and cultural subjects as well as historiography and colonialism. He has a BA and PhD from the University of Sydney, is the Professor of Southeast Asian Studies (Personal Chair) and Director of the Asian Studies Program. Vickers' most recent book, The Pearl Frontier, co-written with Julia Martínez, won the University of Southern Queensland History Book Award at the 2016 Queensland Literary Awards. +
Adrien-Jean Le Mayeur de Merpres was a Belgian painter who lived in Bali and donated his house in Sanur as a museum. He was born in Brussels, Belgium, February 9, 1880. The Impressionist painter arrived in Bali in 1932 and first rented a house in Banjar Kelandis, Denpasar. It was also at Kelandis that he became acquainted with Ni Nyoman Pollok, a Legong dancer who was 15 years old at the time, and later became a model for his paintings.
Le Mayeur's works using Ni Pollok as a model were exhibited in Singapore for the first time in 1933 and sold out. Then Le Mayeur bought a plot of land on the shores of Sanur Beach which he used as a studio and house. That is where every day Le Mayeur painted with Ni Pollok as the main model. In 1935, Le Mayeur married Ni Pollok.
In 1956, the Minister of National Education of the Republic of Indonesia, Bahder Djohan, visited Le Mayeur's house and was fascinated by these gentle works. Bahder then suggested to Le Mayeur that his house would later be used as a museum. Le Mayeur agreed and worked even harder to improve the quality and add to his collection of paintings.
On August 28, 1957, Le Mayeur signed a testament in which Le Mayeur bequeathed all his possessions including land, house, and everything in it to Ni Pollok as a gift. At the same time, Ni Pollok then transferred everything that was inherited from her husband to the Government of Indonesia to be used as a museum.
In 1958, Le Mayeur suffered from ear cancer. Accompanied by Ni Pollok, he was treated in Belgium. Two months later, on May 31, 1958, Le Mayeur died at the age of 78 and was buried in Brussels. Ni Pollok then returned to Bali to take care of his house until her death on July 18, 1985 at the age of 68 years.
Le Mayeur's works can be enjoyed at the Le Mayeur Museum, which is located on the shores of Sanur Beach, Denpasar. +
The Samsara Museum is a beautiful place to learn about Balinese customs, traditions and culture which is supported by ancient equipment and buildings. +
Agastya Parwa literally means "Maharsi Agastya's Chapter". This palm manuscript is an adaptation of Weda Agastya Samhita in Sanskrit. It describes dialogs bewteen Maharsi Agastya and hs son, Dridhasyu. The content of their dialogs is split into seven parts. The first part tells about creation of the universe. Th second part tells about maintenance and dissolution of the cosmic manifestation, including the existence of heaven and hell. The second part also describes sinful and pious activities. This part also contains lists of merits one gets from doing certain pious activities. The third part discuses about the life of the demigods and the demons (asuras) as well as genealogy of the Manus. In the fourth part, Rsi Agastya teaches about self-realization and spiritual advancement (moksa). In the fifth part there are family trees of pious kings and great sages in the past. In the sixth part, there is a description about prescribed duties of mankind especially regarding sacrifice, atonement and self-restrain. In the seventh part, there is a description about duties of each varna (division) in the human society. +
Small and simple yet mini ogoh-ogoh on the side of the road have a deep impression on my heart. Anyone has access to have it and feel the euphoria of carrying the ogoh-ogoh and not just being a spectator. There is the happy face of a child receiving a mini ogoh-ogoh and the proud face of parents seeing their child enthusiastic about fostering culture from an early age.
I hope the government pays attention to these small things, one of which is by supporting the preservation of the art of making and carrying ogoh-ogoh in the education system. Facilitating access to learning about culture from an early age with the hope of becoming a cultural knowledge for the future. Nurturing culture, growing proud of culture. +
Agoes Andika was born in Banjar Baleagung, Buleleng, March 5, 1963. In 1981 he settled in Mataram, Lombok. He studied writing a lot with Putu Arya Tirtawirya and Umbu Landu Paranggi at the Bali Post. In 1985 he was invited to Taman Ismail Marzuki Jakarta with several Balinese poets and other Indonesian poets to read poetry. Literary works have been published in the Bali Post, Karya Bhakti, Nusa Tenggara, Simponi, Swadesi, Nova, Buana News, Suara Karya, Suara Nusa, Horizon, and several bulletins in Mataram, Pontianak. Now living in Singaraja. +
If I become a leader in the agricultural sector, I want to foster, teach all farmers to achieve good results, namely:
1. Planting suitable agricultural crops or seeds. Not a few farmers are forced to want to plant types of plants in their area. This is usually done when we see other farmers are able to generate profits from these types of crops. We also need to know that not all types of plants will be suitable if planted on the land. If forced, of course the results will be less than optimal. Therefore, if I become a leader, I must provide counseling about what types of plants are good, as well as facilitate farmers with superior seeds.
2. Cultivate the land and fertilize the land. The most important key to distributing agricultural products other than seeds is land cultivation. Fertile soil will allow plants to grow optimally. Plants that thrive will increase their flowers and fruit. so, the results achieved will be doubled than usual.
3. Regulate irrigation properly. In addition to cultivating land, regulating irrigation is also very mandatory. Plants need water for growth. In fact, land that is wet with water will be loose and plant roots will grip firmly in the soil.
4. Harvest at the right time. Another mistake that farmers usually make is rushing to harvest them. This is usually done with rice plants. Young harvesting is sometimes done because rice is considered too much of a pest. Likewise, because of economic needs.
So in conclusion, the increase in agricultural output is influenced by many things. Namely good seeds, placement of seeds in the right land, land management, irrigation and harvesting time. In addition, pest control is also mandatory to avoid crop failure. I hope that the harvest in August this year, hopefully the farmers will be prosperous and their economic needs will be fulfilled +
Om Awighnam Astu Namo Sidham
Om Swastiastu
Friends, my idea is to improve the economy in Bali, I have a project, which is to make aromatherapy oil, this oil is good for surrounding the room so it smells good and cools the air, this oil is made from lemongrass. In Bali there are many plants that can be used as aromatherapy oil, Bali is rich in natural resources so we as Balinese must conserve and be smart in processing natural resources in Bali. We can make this oil at home, many people like this oil, local and foreign people, this oil is good made during the past of this pandemic. +
Agung Bawantara was born in Klungkung on January 30, 1968. He graduated from the Faculty of Animal Husbandry at the University of Mataram, NTB. He has been writing poetry since the 1980s in Bali Post, Karya Bakti, Nova, Berita Buana, Swadesi, Media Indonesia, etc. His collected poems can be found in Sahayun (1994), and in Klungkung: Tanah Tua, Tanah Cinta (2016). He initiated the Denpasar Film Festival. He has also written short stories, children's stories, fairy tales, and novels. +
1930s Sanur painter. Bateson and Mead notes refer to Gusti Gede Raka and Gusti Putu Raka co-painting a work.
May be the same person as Gusti Putu Raka (and/or Gusti Gede Raka); in Bateson's catalogue, described as the son of Gusti Sodang
Related Artists
Also known as: I Gusti Putu Raka
Mother: Anak Agung Made Glogor +
Agung Wiyat S. Ardhi was born in Puri Anyar Keramas Gianyar on February 3, 1946. He passed away on 24 Februay 2020. He graduated with a degree from ASTI and a Bachelor of Hindu Religion and worked as a teacher at PR Saraswati Gianyar. He also served as Head of the SPG Saraswati Gianyar, was Head of Saraswati Gianyar High School, was a Gianyar Regency Associate Member. As well he was a member of the Gianyar Regency Wija Kusuma Award Selection Team, the Gianyar Regency Extension Team, the Gianyar Regency Gita Main Supervisory Team, and the Gianyar Kabupatén Gianyar Development Team. In addition, he is also well-known as a Drama Gong player / dancer. He received Rancage Literary Awards in 2001 for a work entitled "Gang Girang Sisi Pakerisan" and in 2010 for his services to the field of Modern Balinese literature. In 2015, he received a Widya Pataka from the Governor of Bali for a Balinese play entitled "Bogolan" . +
