published 2018 Sept-June

Published August 2018

Sanur- birthplace of tourism on the island

And ray of hope for cultural sustainability

The word Sanur can be translated as “who is above” or “one light” and although Sanur Beach is indeed one of the most popular places in Bali to watch the sunrise, it is not the only place to greet the day. There is a mysterious and inspiring light that draws people together in this apparently sleepy village that has steadily grown over the years yet has retained tranquility that is firmly rooted in local customs.

Today the main streets of Sanur are crowded with shops, restaurants, and cafes as is the shore of Sanur Beach, yet – like the calm ocean waves of Sanur Beach that are buffered by the sacred Island of Nusa Penida and by a nearby coral reef, as the village of Sanur is buffered from the onslaught of commercialization that comes with tourism, buffered by a mysterious force that many attribute to the culture of the people of Sanur.

Others say that this mysterious force is what brought people to Sanur in the first place and an ancient stone inscription dated to the run of the last Millenium bears witness to the attractive force of Sanur. In fact, Sanur has a rich and intriguing history that continues to unfold until this very day with art playing an important role. From the large number of Brahmin families who call Sanur home to the first Europeans to settle in Bali, Sanur has inspired creative people of kinds since time immemorial.

On August 19th, 2018, this rich legacy continued to unfold in the form of a launch for authors Ida Bagus Siddartha and I Putu Swasta’s fascinating book about Sanur entitled Sanur-Merawat Tradisi di Tengah Modernisasi (maintaining traditions in the midst of modernization), published by Lestari Kirana with the cooperation of Yayasan Pembangunan Sanur and Sudamala Resort.

This book explained co-Author I Putu Swasta gives a brief outline of some of the most compelling facts of Sanur’s history with particular attention to how it served as the main doorway into Bali for many years and indeed gave birth to tourism on the island.

While other parts of the island like Singaraja and Ubud were attractive to visitors, for a long time the locals there were reticent to interact with non-locals, whereas the people of Sanur – perhaps due to the high percentage of priest class peoples, were always more open to having visitors live amongst them. This openness continues to this day as witnessed by the strong community spirit that reigns in Sanur and includes people from all over the world.

The book tells of some of the more well-known foreigners who have called Sanur home over the years and also explains some of the influences they brought to Bali’s already rich artistic heritage with effects as far-reaching as Ubud and eventually the world. Sanur-Merawat Tradisi di Tengah Modernisasi also explores some of the challenges and perhaps more importantly some of the successful ways that Sanur has managed to maintain its rich cultural traditions.

Tourism has indeed grown rapidly in Sanur over the last few decades and by some estimates risks eating away at the local culture. The Yayasan Himpunan Pembangunan Sanur who contributed to the publishing of this book was established -amongst other things, to ensure that the natural harmony of Sanur is maintained. Ben Subrata of Sudmala Resorts also contributed to the book including a brief forward and Sudamala Resort intentionally supports local art and culture in their Sudakara Art Space. Satrian Gallery (Griya Santrian Resort and Villas) where the book launch took place also walks that fine line between serving tourism and serving as a stronghold of local art and culture with success in both fields. For the occasion of the book launch, Satrian Gallery also opened an exhibition of photographs by 21 different local photographers as part of the upcoming Sanur Village Festival.

Sanur is also home to a number of vibrant art communities both traditional and more contemporary in form, whose interactions with the wide range of visitors to this tourism village enrich their own practices as well as those who visit, making Sanur a low-key hotbed of talent and creative forces.

How well traditional arts and indeed social structures will survive amidst the modernizing forces of tourism depends on a number of factors, including the room these customs are given to flourish. Sanur has done an exceptional job of ensuring that local traditions are not eroded -in part thanks to the intentional discussions on this matter that continue to be held on a regular basis both within the traditional community context and beyond.

As head of the Bali chapter of the Indonesia Hotel and Restaurant Association, soon-to-be vice-governor of Bali, and long-standing supporter of local art and culture, Ubud’s royal family figure Cok Tjokorda Oka Artha Ardana SukawatI said during the book launch: “tourism can in fact serve to strengthen traditional practices as our customs are in fact a huge reason why tourists visit. Tourism brings wealth to local people through direct exchanges without villagers having to rely on government subsidies to survive and thus encourages people to maintain the customs that attract this source of income. Balinese people are not making money directly from their customs, but because these customs draw visitors, it serves as an incentive for the younger generation to value this rich heritage”.

From the wealth of local gastronomical delights on offer in Sanur, to the pleasantly peaceful yet mystical powerful beach, from the upscale resorts to the local gigantic kite festival, from the deeply mystical to the more commercial arts and many things in between, Sanur remains a testament to the ability of tourism and local culture to interact in relative harmony. The upcoming Sanur Village Festival bears witness to this harmony and though not the historic chronicle that Sanur-Merawat Tradisi di Tengah Modernisasi is, this festival is perhaps an important part of Sanur’s history in the promise that it offers of having tradition be given a place of honor amidst modern tourism.

Cover image of Swasta's book entitled 'SanurMerawat Tradisi di Tengah Modernisasi

Student film and devotional work Napak Pertiwi

Mother Earth on the silver-screen

Mother Earth is honored and thanked for the abundant gifts she provides for us in different ways all over the world. In Bali, she is acknowledged in her myriad forms including specific roles like rice Goddess though also in all women and indeed all life on earth. Here on the Island of the Gods, she is generally honored as the divine incarnate.

So important is Mother Warth or Bu Pertiwi as she is known here, that most Balinese ceremonies include a ritual called Napak Pertiwi, which literally translated means “footprint of mother earth”, and refers to the arrival or manifestation of the spirit of creation in a given moment or place. This ritual is performed as a kind of summoning of this spirit to ‘land on earth’ in order to be given thanks for the support she provides.

There is certainly no shortage of rituals, ceremonies, painters, priests, galleries, or stories in Bali, yet seldom are they brought together and depicted in a distinctly contemporary context with only symbolic references to the customary traditions that inform them.

Young Balinese filmmaker Ida Bagus Hari Kayana Putra (known as Gus Hari) has however done just that with his astounding feature-length film entitled Napak Pertiwi which was created as his final assignment for graduation from (ISI Denpasar) the Denpasar National Film School’s nascent film department.

The Napak Pertiwi ritual is not directly mentioned or depicted in the film however its essence is told through the life struggles and triumphs of a painter from Nusa Penida island, particularly through the important role that women play in his life.

Told with equal parts tragedy and humor, the remarkable depth of the film could easily be lost to the pure pleasure of watching the contemporary tale of a young man’s coming of age, leaving his small island village to make his way in contemporary Bali.

Inspired by the real-life story of a painter from Nusa Penida named I Putu Sudiana ‘Bonuz’, whom Gus Hari was introduced to through a poem by Wayan Jengki Sunarta entitled ‘Napak Pertiwi’, in which the devotional act of creating art in thanks to mother earth is described with great beauty, the young film student decided to explore this notion of devoting one's talents to mother earth, to the community and indeed the nation. In Bali, such devotional work -usually performed in the religious context, is known as “ngayah”.

Stunning footage of majestic landscapes is contrasted with extremely intimate interactions between the distinct characters as the twists and turns of the life of this talented painter slowly reveal a story that is lived by every human on planet earth in one way or another – a story about how we interact with the life-supporting force of mother earth.

Relying on the visual language of the film more than on complex dialogues, Napak Pertiwi -amongst other things, manages to carve out a place in cinema for the rich visual and performing arts heritage of Bali and indeed Indonesia to be expressed in contemporary terms.

The film project explained Gus Hari, brings together the tremendous talents of young Balinese writers, artists, editors, musicians, managers, and performers in an astounding feat that gave birth to the first film by a graduate of ISI Denpasar’s film department to be shown in a Cineplex Theater.

“I am only the director and DOP of this film, and it is truly an honor to stand in this role but I am deeply humbled and grateful for the incredible amount of support, dedication, and enthusiasm that everyone involved has brought to this project. I hope that the devotion through which this film came to light is felt by all those who watch it and that it inspires others to give their best to whatever they do”, explained first-time director Ida Bagus Hari Kayana Putra.

Napak Pertiwi will be screening at Bioskop Denpasar Cineplex, Jl Thamrin no 69 Pertokoan Lokitasari 3rd Floor on August 22,23,24th at 13:00, 15:00, 17:00 and 21:00 in Indonesian with English subtitles.

Ida Bagus Hari Kayana Putra's directorial debut: Napak Pertiwi

Modern Approaches to Spiritual Traditions

Prism Exhibition at Sudakara Art Space

Three prolific, talented, and deeply spiritual painters have joined together to exhibit their works as individual artists and also as a unified trinity, to deliver a common message to the viewing public about the challenges of solitude and the power of togetherness.

Although their paintings are widely divergent in visual style, they share a common approach to art and indeed to life. This approach is distinctly expressive of a culture that values harmony, beauty, and togetherness and reflects these three artists’ commitment to developing themselves as human beings and their desire to inspire others to express their greatest selves.

Artists I Made Somadita, Ni Nyoman Sani, I Ketut Jaya (Kaprus), were all born and raised in Bali and deeply influenced by the cultural and spiritual traditions of the Island of the Gods. However, all three artists also express this influence in forms that appear far removed from the aesthetics for which Balinese traditional art is known, yet remain nonetheless firmly rooted in the philosophy or worldview that informs these aesthetic forms.

The title of the exhibition is ‘Prism’ and indeed refers to a transparent triangular object with refractive surfaces that disperses white light into its constituent parts – the colors of the rainbow. Or, to put it another way: the same essence of life is expressed in myriad forms and perceived in different ways depending on one’s perspective while remaining essentially one.

‘Prism’ also refers to all three artists’ approach to art making as a way to reflect back to themselves their inner workings discovered through various forms of isolation. The artists here serve as the three refractive surfaces that disperse white light into a variety of colors.

As writer, I Wayan Juniarta explained during the exhibition opening: “isolation is the hardest thing for a human to face and yet is also necessary to the creative process. All three artists have experienced isolation in their own ways but have become stronger through the challenges thus faced. This exhibition is a celebration of the uplifting power of coming together with others”.

Up until relatively recently, there was no word for art in Balinese, as the act of creating beautiful objects or performances was an integrated part of cultural and spiritual activities and always served a particular function related to these spheres of life. As such, art was created anonymously and often collaboratively based on the notion that all human beings have an innate desire to express the divine force that flows through us, and the expression that emerges is meant to serve the greater good and is not attributable to any individual as it springs forth from this common divine source.

Contemporary painters, Sani, Kaprus, and Soma -as they are known amongst their peers, function in the contemporary art sphere and so, although their works are neither created in the same community-based context nor serve the same religious function as they might have a hundred years ago, they are still acutely aware of this context and function and seek to maintain this essence in their practice.

The collaborative work they created explained Ni Nyoman Sani, was a way for them to put into practice the idea of setting aside one’s personal ego to allow a true spirit of togetherness to emerge on the canvas. “When we do ngayah or perform devotional works –whether for the banjar (community) or for the ceremonies, we come together as one large working unit to achieve something far greater than any of us could as individuals. Remembering this spirit we decided to create a contemporary artwork with this in mind”, explained I Made Somadita.

I Made Jaya, whose aesthetic inspiration comes directly from the visual manifestations of his culture further explained that: “we took turns painting, so we were each inspired by the way the others work thus opening new possibilities for each of us as individuals and for all of us as a whole. We hope that that the way we use painting as a process for healing is felt by the viewing audience and serves to inspire them to express their artistic impulse and thus heal themselves in the process”.

The group show entitled Prism opened to the public on the evening of August 11th at Sudakara Art Space Jalan Sudamala no 20, Sanur, and will remain on display from August 12- November 11, 2018 (9 AM to 6 PM) with intermittent workshops also being offered in the space.

Artists and gallery owner in front of group painting UNITY at Sudakara Art Space

Monumental GWK statue completed

Icon of Bali or Icon of Balinese openness?

The island of Bali itself is an iconic tourist destination, known the world over for its art, culture, and pleasant environment. Although the stepped-roof Meru shrines found in many of Bali’s temples, the mythical barong, legong dancers, frangipani flowers, and such are often used to represent this popular tourist destination, there is no single image that stands out as a distinct icon of this enchanting island.

Rather, it is the sheer volume of living art and cultural practices, along with the general pleasantly relaxing atmosphere of Bali that have become etched in the minds of people all over the world, attracting millions to vacation here every year. Though Bali certainly became known for the truly astonishing artistic talents of its people, the island nonetheless remains best known for the general atmosphere that is nurtured by these art practices.

It is indeed the plurality that so flourishes in Bali which continues to delight visitors and locals alike. It is the fine balance between strictly held traditional customs and the allowing of new forms of its essence to be expressed and of entirely other ways of being to live side by side in harmony that has enabled this distinct culture to thrive despite massive social, economic, and other changes.

Desa Kala Patra is a Balinese saying that means something like ‘every village has its own customs’ and refers to this openness and allowing of a great variety of forms of expression. Although to many visitors Balinese culture appears to be highly distinct from other cultures, within this homogeneity there exist seemingly endless variations and derivations. Like the natural world itself, there is a general understanding that the source of creation is centered everywhere and therefore every place is a center in its own right.

In Indonesia, Bali often represents the plurality of the nation, living proof of the harmony enshrined in the nation's motto Bhinneka Tungal Ika (unity in diversity), both because of the distinct character of Balinese culture that thrives despite its minority statues and because people from all over Indonesia live on the island of the gods with easy acceptance of one and other’s differences.

The Republic of Indonesia’s motto is most commonly represented by the mythical Garuda bird who clutches these words in its claws, bearing a shield upon which the five founding principles of the country known collectively as Pancasila are inscribed.

On August 8th, 2018, a massive monument located just 15 minutes from Bali’s Ngurah Rai International airport was finally completed after 28 years since its inception. The Garuda Visnu Kencana monument depicting Lord Vishnu astride the great Garuda bird stands some 120 high (or 276 meters above sea level) making it the second largest statue in the world and the tallest copper and brass sheeting statue in the world. The Garuda bird is the mythical vehicle of Lord Visnu who serves as protector of the world ensuring that harmony is maintained.

Although conceived and planned in 1989-90, construction of the monument in fact began in 1997 after many years of challenges and faced many more to come. Balinese sculptor Nyoman Nuarta held strong to his vision and began constructing the 754 separate parts with the help of some 120 other artists in his studio in Bandung, West Java before having the parts slowly shipped to Bali where they were meticulously assembled over many years.

This truly and massively impressive artistic feat pays tribute to the incredible wealth of talent, inspiration, and perseverance of Balinese artists. The monument is the centerpiece of a sprawling cultural park designed to feature a range of arts and cultural performances, events, and other attractions. The GWK Cultural Park has already hosted many highly successful events and offers pleasant grounds and large seating capacities indoors and out.

Although the Garuda Vishnu Kencana monument itself has yet to be officially inaugurated, a Balinese ceremony was performed on August 8th, 2018 to mark the physical completion of the astounding undertaking of building this great monument with little technological assistance.

The impressive large-scale monument is intended by many to serve as Bali’s main icon and by extension an icon for Indonesia as it is by far the nation’s largest monument. There is the expectation that this monumental statue will serve as a point of reference or icon to attract many more visitors to Bali.

There is however some doubt as to whether this massive construction suitably represents the spirit of the island. For although the image of Garuda Visnu Kencana certainly holds great significance for the people of Bali, the very fact that it is so massively monumental and seeks to serve as a kind of central point of reference, runs contrary to the notion of Bali as a place where beauty, harmony, and oneness can be found everywhere and in a multitude of forms of expression.

There is little doubt that many tourists will visit the Garuda Vishnu Kencana monument and cultural park as it is remarkably well designed for this purpose and certainly offers a way to experience the awe-inspiring spirit of Bali in a convenient manner.

However, rather than becoming an icon of Bali itself this impressive monument might more likely become iconic of Bali’s ability to allow space for myriad forms of expression – even those that seem out of line with the way of life of the people of this island.

The Garuda Visnu Kencana statue is certainly unique in its form, was a labor of love for the artist, and is a remarkably impressive accomplishment. The cultural park that surrounds it is indeed strikingly beautiful, and highly functional, and will no doubt delight both visitors and those who benefit from the activities held there.

However, rather than an icon of Bali itself, it more accurately stands as an icon of Bali’s willingness to cater to a global trend of providing convenience and simplified versions of locally distinct cultures. In this sense, the GWK statue is indeed an icon of Bali – or at least the aspect of Balinese culture that embraces all ways of being.

Although the image of the giant statue certainly represents deeply significant and distinctly local philosophy and traditions, the form and function of the monument are in fact common to any number of places throughout the world today.

Given that what makes Bali such a unique attraction in its own right is the fact that the people of this island continue to maintain a way of life that seamlessly includes artistic expression, agriculture, religious devotion, caring for the natural environment as a living whole, practicing loving kindness, genuine acceptance of different ways of being as valid expressions of the divine and acknowledgment that all localities serve as their own center, it seems unlikely that a single monument could stand as an icon for these and other aspects of what is known collectively as Bali.

Galungan Cina at Museum Neka

The beauty of togetherness

The long history of cultural, religious, political, artistic, and trade relations between Indonesia and China dates back over half a millennium and continues to have profound influences on both countries. Though mostly harmonious these relations have also been marked by some deeply troubling events and as a consequence, some less than harmonious attitudes and actions have occurred over the years often eclipsing the generally positive interactions that in fact flourish in day-to-day relations.

Bali has a particularly close relationship with Chinese culture that began long ago but is perhaps most notably described in the love story that took place in the 12th century between Balinese King Jaya Pangus of Kintamani and Chinese princess Kang Cing Wie of the Kang Dynasty that continues to resonate to this very day.

There are various renditions of the story but in essence, they fell madly in love and the cultural influences that the Chinese princess brought with her have become part of Balinese culture in general with particular influence in the area of Kintamani where this legendary couple lived.

There were of course many Chinese merchants and cultural envoys visiting Bali and other parts of Indonesia before and after this story, however certain distinct influences like the use of pis bolong (Chinese coins) and the barong landung (Chinese style barong) and other influences from Chinese culture took root with this couple and have made their way all over the island and have become integrated into Balinese culture.

On July 25th, 2018 Neka Museum in collaboration with the artist community Segara Lor from Udiksnas University opened an exhibition entitled “Galungan Cina” in celebration of the harmonious relations between these two cultures. According to some accounts, what has become one of Bali’s most important religious holidays – Galungan and Kuningan were born out of the love story between King Jaya Pangus and princess Kang Cing Wie.

As curator and cultural art historian, I Made Susanta Dwitanaya explained: “the title of the exhibition was chosen as a way to show how Balinese culture is one that is based on inclusion rather than exclusion, whereby influences from other cultures – in this case, Chinese culture, are not feared, rejected or vilified but rather considered as enriching and incorporated into the broader world view of Balinese culture itself”.

Segara Lor invited guest artist Tien Hong to join them in this exhibition as a Balinese painter whose family descends from China. Hong is from Desa Lampu, Kintamani where the majority of residents are also of Chinese descent. His family and neighbors have been living in Bali for many generations and although they acknowledge their roots in China and maintain certain traditions, they also practice Balinese religious and cultural customs. “Yes I am of Chinese descent but I am also very much Balinese. Never once in my life have I felt like a foreigner here, nor have I ever witnessed any kind of strained relations based on differences in ethnicity in my village. In fact, Desa Lampu was given a national award for most harmonious inter-ethnic relations. I believe this is a testament to the possibility of such harmonious relations between all peoples in Indonesia”.

Galungan Cina features a diverse range of works by 19 artists: Wayan Sudiarta, Tien Hong, Komang Trisno Adi Wirawan, Made Kartiyoga, Kadek Antara, Dewa Gede Purwita, Riski Nanda Riwaldi, Nyoman Arisana, Ni Luh Pangestu Widya Sari, I Gusti Agung Prawira Yuda, Ida Bagus Pandit Prastu, I Made Hendra Putrawan, kadek Jefri Wibowo, Putu Suhartawan, Kadek Omo Santika, and Dewa Johana.

All of the works in the exhibition refer in some way to the influence of Chinese culture in Bali, whether tangible or intangible and pay tribute to the wealth that comes from such cultural interactions. The high quality and great diversity of the works themselves also echo the distinct ability of Balinese culture in particular and Indonesian culture, in general, to allow for great diversity while preserving a fundamental identity. It is perhaps this ability to remain coherent while embracing difference that defines the unusually beautiful identity of this island and the nation of which it is part.

“Neka Museum is dedicated to supporting local, national, and international artists of note and we are especially pleased to welcome alumni from Udisknas University’s Fine Arts department who have formed into the art community Segara Lor to present this exhibition – Galungan Cina, which speak to the long history of harmonious relations between Bali and China. We hope that this exhibition can demonstrate the beauty and power of unity in diversity and serve as an example for all of us who make up this great diverse nation”, explained the founder of Neka Museum, Pande Wayan Suteja Neka

Galungan Cina will be on display at Neka Museum, Jl Raya Sagingan, Ubud, until August 15th, 2018, and is a must-see for any art lover and anyone interested in the wonderful dance between Bali and China that continues to yield much beauty, harmony and togetherness.

Painting by I Wayan Juni Antara on display at Neka Museum's Galungan Cina exhibition

Published July 2018

Rain cannot stop Catur Rebah

Barongs from all over Bali gather at Pura Puncak Natar Sari

Days of heavy rains and chilling winds did not dampen the spirits of the thousands of people who traveled miles to worship at Pura Puncak Natar Sari in Apuan, Tabanan this weekend (July .15-18). Starting with a procession to the western coast of Bali to Batu Bolong for the melasti ceremony for purifying the holy objects and their contents, the rituals continued with a massive rejang dance ( July 11) leading up to the peak event of the week-long ceremony -Barong Turun Kabe”, on Saturday ( July 14) in which 41 Barong and entourage from all over Bali joined together in the upper courtyard of the temple for blessings.

Pura Puncak Natar Sari is the sister temple of Pura Puncak Dewa and each serves as a kind of home base for the spirit of Bali’s sacred Barong – the king of the forest or the force of positive energy on the Island of the Gods. Nearly every village temple in Bali has a Barong and his counterpart Rangda the female destructive energy and they are brought out for important ceremonies in which they entertain but more importantly re-establish harmony. Each Barong has its own unique characteristics and powers, but in some way, they all carry the spirit or taksu that is best known to the world through Bali’s performing arts.

When Barong from villages all over Bali come to Puncak Natar Sari Temple for this grand ceremony, it is like they are coming home to recharge and refresh, and each is given a place around the perimeter of the courtyard of the uppermost holy temple. One by one the Barong, Rangda, and other important characters and holy objects arrive in trucks along with accompanying gamelan. Before entering the temple they are carried down to the holy spring or beji as they are known in Bali, to be purified – to connect with the water of their spiritual place of origin.

In different sized but always grand processions complete with Balinese holy flags ( known as kober) and tedung the beautiful cloth umbrellas that are also iconic of Bali, young men accompany the processions playing cymbals and giant gongs, older women singing holy chants, middle-aged men carrying the holy objects, and young and middle-aged women carrying offerings on their heads, they all make their way down the main road of Apuan Village to the beji for the purification rite, then they head to the temple.

As each Barong entourage arrives into the lowest courtyard, they stop in front of the main gates where they are greeted by a temple representative, and special offerings are placed on the ground while all the women present from that village dance the rejang, as prayers are recited. Each village has its own specific rituals that are performed upon arrival but all of them take great care to make their presence known in the most respectful ways- often with the entire entourage circling the middle courtyard three times.

After ascending the stairs to the uppermost courtyard, they all stop to give prayers at the main altar before proceeding to their assigned spot on the perimeter of the inner temple, where more prayers are made and rituals performed. As each of the Barong arrived in turns people from all over Bali also come in turns to pray at the main altar and in front of the Barong from their village. Mangku or lower priests sit continuously with the Barong throughout their entire stay in Pura Puncak Nata Sari as a multitude of dances are performed in the middle courtyard and throngs of people come and go giving offerings and receiving holy water.

The holy water that is available at this ceremony has been created by combining holy water from holy springs throughout the island and is considered to hold the combined power of all the Barong. The ceremony is intended to refresh and restore the power of all the Barong but anyone who desires to enhance their stage presence or simply be blessed by the beneficent powers of Barong is eager to receive this blessing.

Throughout the day Barong arrives in all their splendor and throughout the night dance are performed as well as performance rituals like the calong-arang. Blessings of holy water and offerings of fruit, flowers, and incense are ongoing as people enjoy the intense though beautiful atmosphere or sit chatting in the slightly more casual atmosphere of the lushly decorated middle courtyard., or become absorbed in the dance performances in the wantilan (gazebo) where talented dancers take turns showing off their skills.

The constant rain and extremely chilly weather would certainly be enough to deter any but the most devoted from not only showing up but spending hours sitting in contemplation, dancing, attending to their temple duties, or just keeping the baring company. It is truly a testament to the devotion to the sustaining power of art as a vehicle for expressing the deepest awe gratitude and wonder of life, that so many people came to this ceremony, dressed in their finest and carrying deep love in their hearts which was apparent on their faces, despite the challenging conditions and the many other things that life calls on us to attend to.

As an officiating priest, Ketut Mastrum said when asked how this ceremony that requires the devotional work of hundreds if not thousands of people was able to carry on without a hitch, he casually wiped the rain from his brow and with a heartfelt smile said simply: “Well, of course, -because it is time, this ceremony runs on the schedule of nature and it is nature that sustains our life. All we have to do is honor our commitment to express our gratitude, I mean it is just a little rain after all”.

Barong procession through the rain in Apuan Village

Published June 2018

Modern Traditional Balinese Painting in Ubud

Time brings innovations but essence maintained

Until about a hundred years ago, art in Bali was only ever produced as a form of religious devotion and often in collaboration between several artists for a single artwork. Although individual artists were recognized for their particular gifts without their community, art was produced anonymously and intimately tied to the community and religious practices.

With the arrival of foreign artists in the 1930s, and later with the availability of more and cheaper art materials, many changes in the way art were produced took place in Bali. Visually these changes were marked by the use of shadow to create 3-dimensional images on canvas, a wider pallet of colors, and the subject of paintings also changed. Whereas previously paintings always served a particular spiritual function and thus relied on specific iconography, now painters were representing everyday life activities such as farming, ceremonies, market scenes, and the like. This also gave birth to artworks as a market commodity as increasing numbers of tourists were visiting the island.

Ubud in particular -under the patronage of the royal family and the creation of the Pita Maha Artist Guild and Museum Puri Lukisan, saw the flourishing of the art of painting. Arie Smit was a Dutch painter who had settled in Ubud and taken to providing painting materials and lessons to young villagers in the area.

Many youngsters learned to paint from him in a style that became known as the Young Artist School of Painting, characterized by the bright colors and simple forms inspired by the very young painters, many of whom took to painting as they could not afford to go to school past elementary school. Young painters from Ubud and Penestanan who had access to the nascent tourist market developed a style of painting that was both colorful and with subjects that foreigners could relate to such as animals, flowers, and scenes from everyday life in Bali.

In time people from other nearby villages came to Penestanan to learn from the young painters who were successful at selling their paintings in the increasing number of art shops in Ubud. Young men from Sayan would walk to Campuan to sit with these painters and slowly learn the tricks of the trade. Although the Young Artist Style diverged from the classical style of Balinese painting, the technique for producing artworks remained the same. Starting with pencil lines, black ink was then patiently ground-down from handmade tinctures or store-bought Chinese ink. After the main lines were filled in using a bamboo stylus, lighter shading was added with locally sourced material paintbrushes. Only then was the color applied in a lengthy process of layering watercolor tones one atop the other until the desired brightness was achieved.

In harmony with the Balinese tradition of representing nature as an interconnected whole with great detail, the surface of these paintings would be entirely covered with lines leaving little to no space of empty blocks of color. This visual characteristic is found in all Modern Traditional Balinese paintings to varying degrees.

The painters of Sayan developed their own distinct style with emphasis on bright happy scenes filled with incredibly intricate detail. Whereas many painters in Ubud focused on a few figures in the foreground - whether dancers, people selling their wares in the market, or deities enacting ancient legends and accompanying detailed backgrounds and decoration, the painters of Sayan’s Young Artist lineage tended toward representing agricultural scenes, - particularly rice fields, reflecting the environment in which they lived. Also, unlike their counterparts closer to Ubud who would sell their paintings more quickly, the Sayan painters had the luxury of time to create ever smaller figures and ever more intricate compositions.

Learning directly from more experienced painters through an informal apprenticeship system where an aspiring artist would spend years sitting and watching a elder painter at work, developing the patience required to produce such works, continued through the decades. In the 1980s and ’90s, there were hundreds of painters developing their own unique style within this genre as the market still made it possible for them to live from this passion.

Art collectors would come to their studios and buy their works from them either to put in art shops in Ubud or to take home with them. Around the turn of the millennium, however, the art market started to suffer as a result of local and global economic challenges. Many of these artists were forced to find other means of earning a living.

A few artists from the Banjars of Baung, Kutuh, Tangkayuda (Bongkasa), have nonetheless managed to find the time to nurture their unwavering passion for this meditative artistic practice and form the core of an artist association called Sangar Seni Lukis Pelagih Banjar Baung, headed by a master painter, I Wayan Kaler. Like most Modern Traditional Balinese painting artist groups, Sangar Seni Lukis Pelangih rarely exhibits as a group anymore as the support system for such exhibitions has faded with the times, so they mostly rely on word of mouth to find buyers.

The 20 or so artists who make up Sangar Seni Lukis Pelangih however are growing older and are concerned about the future of their artistic heritage. With a desire to inspire their fellow painters to continue developing their individual styles and maintain this approach to painting, and also encourage the younger generation to participate in learning to paint in this soul-revealing manner, Kaler approached young up-and-coming painter I Wayan Donal about putting together an exhibition. Renowned painter sculptor and curator of Monkey Forest Ubud Gallery, Ketut Budiana agreed that these breathtaking artworks should be brought together in one place for people to enjoy. Academic art and culture researcher and writer I Made Susante Dwipayana also felt moved by the tremendous value that these painters have to offer the world and is in the process of researching and documenting the aesthetic, formal, historical, and conceptual aspects of the works of each of the artists in this exhibition.

There has in fact been a renewed interest in Modern Traditional Balinese Painting in the last few years especially as younger artists embrace this style expanding its visual vocabulary to include more contemporary issues - most notably painters in Batuan. Although the number of painters using this style and technique has indeed diminished over the last 2 decades and many painters in Ubud now prefer to use more globally understood approaches to painting, what is known as traditional painting is increasingly recognized by these same contemporary painters as an art form that can be just as relevant as any other and can express tremendous value in the hands of dedicated artists. How this will take shape in the coming years remains to be seen.

Sangar Seni Lukis Pelangih Banjar Baung’s exhibition Modern Traditional Balinese Painting from Sayan will open on June 26th at Monkey Forest Gallery at 7 PM with opening words by Arma Museum’s founder Agung Rai and insightful texts by art writer and academic researcher I Made Susanta Dwipayana. The historically rich and visually stunning exhibition will remain on display until July 26th, 2018.

Art Link Indonesia-Laos

A space between worlds

Indonesia and Laos are located relatively close to one another and yet they are in many ways- worlds apart. There has not been a tremendous amount of cultural exchange between these two countries in the recent past. Now, thanks to communications technologies and the new climate of increasing sharing of ideas across borders, new possibilities are opening up for unprecedented possibilities. In this globalized era, it is easier than ever to make contact with people that we have not met in person and to establish cooperative relationships like the ones forged through this project.

Contemporary Laotian art tends to be informed by social issues such as freedom of speech as well as environmental issues but also by the particular cultural context of this country. Contemporary art in Indonesia may have a long history of exploring these and other themes yet artists from both these countries are finding common ground as South-East Asian artists as well as differences in their individual modes of expression.

Art LInk Indonesia-Laos was initiated by Antonius Kho (Indonesia) and Paul Phothyzan (Laos) who met online through Facebook. Without ever having met in person, they started planning this project two years ago. Through their ongoing digital exchanges, they discovered many things that they shared in common, including a passion for creating art, sharing with the public, and bringing people together for the simple joy of exchanging ideas and experiences. They decided to hold two joint exhibitions, one in Vinetiane, Laos and one in Bali with 5 artists from Laos (BounPaul Phothyzan,Ole Viravong Scouvill, Keomany Souvannalat, Souphauck Phongsavath,Khamsouk Keomingmeuang and Somthida S. Chanthabouala) and 5 artists from Indonesia (Antonius Kho, Tjokorda Bagus Wiratmaja, Joshua Tobing, Ketut Lekung Sugantika, and Deddy PAW ).

By having exhibitions in both countries, all the artists have the opportunity to step outside of the digital realm and their own personal contacts to experience firsthand how artists from different parts of the world react and interact with these changing times. The artworks presented in this exhibition speak volumes about the global context that the artists involved are exposed to and involved in, as well as the particular geographic and cultural contexts that have shaped the lens through which they view the world and their place in it.

Antonius Kho has been organizing similar art-exchange projects with countries throughout Asia and Africa since 2006. Being an artist is a special kind of way of being in the world that requires openness, curiosity, and the courage to express a unique vision of the world. These qualities are shared by artists all over the world.

Yet how this is lived and expressed is as varied as the number of artists working in the world. It is at the intersection of these differences as similarities that magic happens, as witnessed in this and other exchanges. By bringing artists together outside of the framework of formal institutions, for the simple joy of sharing, bonds are formed between people and nations in a way that has only been possible in recent years as more people gain access to the internet.

Art-Link Indonesia-Laos is the 13th rendition of this mutually enriching art-exchange project as is particularly interesting as Laos like Indonesia has a rich history of exchanges with other peoples and has a strong visual arts tradition that dates back thousands of years. Like Indonesia, Laos is also strongly rooted in agricultural rural ways of life. Although the histories of these two nations share certain things in common, there have also been some very significant differences in the histories of these two nations. Indonesia for example has had a strong urban cosmopolitan culture for more than a century which has also shaped the people and thus the art of this archipelagic nation.

Through Art-Link Laos Indonesia, the artists involved and those who have the opportunity to visit their exhibitions in Vinetiane and/or Bali have the rare chance to witness the beautiful space that both separates and brings together these talented contemporary artists.

Art Link Indonesia was on display at Arma Museum throughout the month of June 2018

Cloth and stitching collaged artwork by Somthida S/ Chanthabouala, entitled "Laotian Woman"

Out of the shadows: Sangar Seni Lukis Pelangih Banjar Baung Sayan

Young Artist lineage painters exhibit at Monkey Forest Ubud Gallery

Bali has a long and rich art history that continues to find a form to this day in myriad forms - including in the works of modern traditional Balinese painters from Sayan. Just under a hundred years ago art in Bali was only ever produced in devotion to the divine in a community context. Today art of all kinds is created for many different reasons and much of it is still firmly rooted in the idea of art as a medium for communing with the divine.

When foreign artists started settling in Ubud and Sanur and cheaper painting materials became available in the 1930’2 and ’40s, an artistic renaissance began taking shape that would give birth to what is now called Modern Traditional Balinese Painting.

Artist Arie Smit from the Netherlands came to Sanur in the late 1950s and later settled in Ubud where he taught many youngsters how to paint, provided them with materials to paint with, and introduced the notion of art as a market commodity. Because it was mostly youngsters who learned from Smit and painted in bright clashing colors and simple compositions, their style became known as the Young Artist School.

Increasing numbers of painters from Ubud and Penestanan began filling small galleries -known as art shops, with their works that visitors to the island bought with a voracious appetite. Portraying scenes of everyday life in Bali based on the artist's imagination rendered in a modern style using traditional techniques, proved to be an appealing combination.

Many art groups took shape in different neighborhoods developing different versions of this style. In time individual artists started to develop their own styles as well with distinct approaches to aesthetics, content, and composition. As the art market was flourishing in Penestanan, youngsters from neighboring Sayan started walking down to Campuan to learn from these new painters.

These young men took their knowledge with them back to Sayan, where many more art groups took shape. Keeping with the Balinese idea of regional style, the painters of Sayan developed as individual painters while retaining certain shared characteristics. Unlike their counterparts in Penestanan who had to produce works of art more quickly to keep up with the demands of the market, the painters of Sayan had the luxury of time to work on more detailed compositions in a meditative process that yielded stunning intricate, and beautiful works of art. Also, because Sayan is home to terraced rice fields in the long sweeping valley, landscapes tended to dominate their images more than the figures of dancers and market scenes that were so popular in Ubud.

Individual painters learned directly from more senior painters, thus maintaining certain visual characteristics from one painter's works to another. However once a young man had learned the method and patience required to make these kinds of paintings, they would work in their own studio developing their unique brand of art.

When the art market crashed in the early 2000s due to global and local economic challenges, many of these artists were forced to look for alternative sources of income. In the early 2000s there were over 100 painters working in Banjar Baung, while today there are only about 20 who are still active. These 20 painters now make up a painters group called Sangar Seni Lukis Pelangih Banjar Baung. Many of them are getting on in years and fearing that this art form could die out, their leader I Wayan Kaler reached out to a young and up-and-coming painter from Ubud named I Wayan Donal about putting together an exhibition.

Wanting to inspire their fellow painters to continue creating artworks and also to encourage the younger generation to participate in this profession, these painters who have only exhibited together once before, agreed to show their works.

As an academic, Balinese culture researcher, and art writer, I Made Susanta Dwipayana explained: “These are extremely talented painters who are creating beautiful and historically significant works of art in their own unique styles, but right now there is no system in place to allow their works to be appreciated by art lovers. This is why this exhibition is so important- both for the art market as well as for the younger generation who are now responsible for carrying on this heritage. We hope this is a first step towards truly revitalizing appreciation for their significance as a group and as powerful individual artists”.

The exhibition "Modern Traditional Balinese Painting of Sayan- Banjar Baung’s Sangar Seni Lukis Pelangih” will open on June 26th, 5:45 PM at Monkey Forest Ubud Gallery, Jalan Monkey Forest with opening words by the founder of Arma Museum, Agung Rai and will remain on display until July 26th.

Far left I Wayan Kaler, far right I Wayan Donal, center some of the painters from Sayan discussing an upcoming exhibition