Alpha Savitri

Divine beauty lives on at Tirta Empul

2008-08-30T01:11:00.000+07:00

The Jakarta Post

By Alpha Savitri

TAMPAKSIRING, Bali (JP): Set amid beautiful leafy scenery, the Tirta Empul is a breath-taking sight for the first-time visitor. It boasts a cool climate and terraced rice fields, which are a welcome respite for visitors arriving from hot, dusty lowlands.

Tirta Empul's main attraction, however, is its compound of moss-covered ancient temples, bathing pools and fountains, which have drawn devotees for centuries.

It is located at the eastern point of Tampaksiring Palace, the vacation home of the late Sukarno, the country's first president. The glorious palace compound, with hundreds of tall pine trees, is visible from the site. It is said that Bung (older brother) Karno liked to stand at the top of the palace, watching the bathing pools, considered sacred by local Hindus. He built his own pool, which is now a public swimming pool.

There are four shower compounds at the southern part and one in the west. Cold, clear water continually flows into the stone reservoirs filled with fish.

The most peculiar feature of these fountains are the pallawa letters inscribed on the inner surfaces. In the past, Indian priests engraved the letters and sanctified them. In the eyes of the Hindus, these features differentiate the fountains from other wells.

Tirta Empul itself means ""water with steam rising from it"". According to mythology, the water was created by a god called Bhatara Indra to annul the influence of Mayadenawa, an arrogant king who declared himself to be a god. It is said that, during a battle against the Mayadenawa troops, many of Bhatara Indra's troops were killed because of poison created by Mayadenawa. Bhatara Indra then created a holy water to wash the deceased troops. The dead came back to life after being bathed in the water called Tirta Empul.

According to Dewa Beratha, an archaeology graduate from Tampaksiring, the temples have existed for a long time and its water is considered holy. According to an ancient inscription found at Manukaya village, Tampaksiring, in 884 on the Hindu Balinese calendar, or 962 A.D., the compound was renovated by King Sri Candrabaya Singha Warmadewa. At that time, imported fountains from India with the letter inscriptions on them were installed to sanctify the water.

The northern temple was constructed later, over a period of three years during the reign of King Masula Masuli, also known as Maheswara Maheswari, and was completed in 1250 A.D.. The physical form of the temple and fountains has remained unchanged over the centuries.

Hindu Balinese visit Tirta Empul not only on religious holidays but also on days considered special on the Hindu Balinese calendar. Those coming to carry out rituals are usually asking forgiveness for malicious things they have said, or those seeking freedom from nightmares. The fountain water is also believed to be capable of ridding curses or black magic and is used for special religious ceremonies for babies aged three months old.

Do not be surprised if a visit to the site includes the sight of a woman wearing only long fabric who plunges into the pool under the fountains. Or perhaps there will be someone going to the well compound after completing his prayers in the Temple of Tirta Empul. He will likely be carrying bottles which will be filled with water from the fountains. This water will be brought home for ceremonial means.

If a visit coincides with a Hindu Balinese holy day, there will be the strong smell of incense and flowers. But words are not enough to describe this place's mystery and beauty -- only a visit to Tirta Empul will allow you to understand its full magic.

Kiswara's mystical gift

2008-08-30T01:08:00.000+07:00

The Jakarta Post , Thu, 10/25/2001

Alpha Savitri, Contributor, Denpasar, Bali

Every painter has his own special mark reflecting their source of inspiration.

For Balinese artist Kiswara, his works reflect his spiritual belief, a metaphysical touch that can be found not only in the themes of his works, but also in his extraordinary brushwork.

His paintings, on display alongside the works of other six painters at an ongoing exhibition at the Nikko Bali Resort and Spa here, are totally filled with magical nuances.

Although Kiwara received no formal training, he seems proficient in mastering his brush, mixing colors to create supernatural or mystical objects out of his imagination.

The rare talent of the painter was discovered several months ago by I Made Yudia Putra, an organizer of painting exhibitions.

At first it was difficult to persuade him to take part in an exhibition as Kiswara considers his paintings the result of a supernatural force and he had to ask god Shiva's permission before participating in such an exhibition. But finally, Kiswara said, god Shiva granted him his request.
For Kiswara, his paintings are the manifestation of his dreams in reality.

The artist claims he is often visited by spirits -- followers of god Shiva or even god Shiva himself -- who takes him to fly and fight enemies before returning victorious. Sometimes he is taken by him to watch tabuh rah, cockfighting at a temple.

When he wakes up, he puts his dream on to the canvas, following supernatural voices that urge him to immediately paint what he has seen in the dreams. The result can be seen in his works, such as Topeng Sidakarya I, Topeng Sidakarya II (The Mask of Sidakarya I and II), Tabuh Rah, 3 Bidadari (Three Angels), which are all imbued with symbols of god Shiva, whom he worships.
Kiswara has been fond of painting since childhood and was taught by the late painter, Antonio Blanco.

However, until around a year ago, he had never been seriously involved in painting.
He explained that it was the hand of god that assisted him in selecting and mixing the colors, dark gradations and somber colors and the rendering of magical objects.

""When I pour out what I see in my dreams, I feel the presence of god watching and helping me in my work,"" said the father of two who prepares offerings before starting to paint.

In his daily life, Kiswara is widely known as a rangda (symbol of evil power) dancer in the temple in his hometown in Jembrana regency in Bali.

In Bali, not everyone can become a rangda dancer at the temple. The selection is done through a spiritual process.

When Kiswara, born on Jan. 21, 1965, was still in senior high school, the temple priest, possessed by a supernatural power, appointed him as the dancer. Hence he was officially appointed as the follower of god Shiva, something he had never imagined before.

His mastery of dance is visible in Topeng Sidakarya, which is filled with symbols of god Shiva. To Balinese Hindus, Topeng Sidakarya is a performance filled with religious significance and is always performed to complete five important ceremonies (Pancayadnya) in Bali: Dewayadnya, Pitrayadnya, Manusayadnya, Resiyadnya and Butayadnya.

The unique thing is, whenever he is asked to perform the dance, unknowing a desire to paint emerges from within him. Therefore, Kiswara always brings along his brushes and paint. And during the show, he paints as well, sometimes not aware of what he is doing as he is in trance. When he becomes conscious, the painting, although still unfinished, stands in front of him. Later, Kiswara only has to apply some finishing touches to it.

This phenomenon might be hard to comprehend. But in Bali, there's a belief that some artists are endowed with taksu, a gift from God. Famous artists are known to make use of taksu so that their work is admired.

Niki finds her home among Bali's waves

2008-08-30T00:59:00.001+07:00

The Jakarta Post , Thu, 09/06/2001

By Alpha Savitri

KUTA, Bali (JP): Being a surfer never crossed her mind. She was the graduate of the Japanese department at a prestigious university in Jakarta and a member of the national basketball team. But a fling with Bali's waves changed everything.

Her most memorable holiday in Bali entirely changed her destiny. Now, the tall and slim woman, Theresia Herlani, who is better known as Niki, is one of the most talented female surfers in the country.

Her love affair with the waves started two years ago when an old friend, an American surfer, introduced her to his surf board and the beauty of Nusa Dua's waves during the holiday. She was curious and eager to try the board herself.

Soon, she was running into the water and started paddling her surfboard toward the waves, startling her American friend with her perfect movements, which seemed like a professional's. The way she handled the waves was amazing, especially for a beginner like her.

Now, Niki has grown into a skilled and prominent surfer. Her surfing technique has matured, making her capable of surfing both coastal beaches and among large waves, everywhere in Bali.
Born in Kudus, Central Java in September 1974, Niki now enjoys wide popularity. Her activities are widely covered by both local and foreign sports media. Several surfing magazines have even profiled her.

Niki is a rare jewel in the local surfing world. Surfing has not yet attracted many local people since it is still considered an exclusive and expensive activity.

At present, there are not many male surfers in the country or in Bali, let alone female surfers like Niki. So far, there were only five active female surfers in the country, she said.

This is sad, since Indonesia is renowned as a maritime country where clear water beaches with good waves are everywhere in the archipelago. Bali has grown into one of the world's surfing heavens.

Lack of information and, especially, expensive equipment might be the reasons why surfing is not yet popular among Indonesians. A surfboard alone can cost upwards of US$498, too expensive for most.

For Niki, money has meant nothing compared with her obsession to become a reputable surfer and she has been willing to work hard to achieve her dream.

In love

One thing for sure, Niki has fallen in love with Bali and its waves. She no longer intends to return to Jakarta and find herself a job to support her sports activity.

For a woman who has mastered Japanese and English, it was not difficult to find a job in this tourist island.

""I needed to find a job that enabled me to spend part of my time surfing on beaches,"" said Niki.
She was quite surprised that there was a company in Denpasar that was willing to hire her despite her strict requirements, but in the end she found a suitable company belonging to a foreign female surfer.

""I can work whenever I want to as long as I finish my work on time,"" said Niki, who helps look after of the company when her boss goes abroad.

Life for Niki seems as easy as a Sunday morning. In reality, she is a hard worker with very high self-discipline.

""I always wake up at dawn before anyone else here,"" Niki said.

Then, she will take her bike or walk to nearby Kuta beach, just to check the weather and the height of the waves.

""By monitoring the waves on Kuta beach, I can predict the height of waves at other beaches on the island,"" explained Niki, who likes surfing on Geger beach in Nusa Dua.

Whenever she finds Kuta's waves perfect, Niki rushes home and takes up her surfboard. Suddenly, she has forgotten her laundry and her breakfast.

""I have been surfing for almost two years now but have still not come across any Indonesian women who are seriously interested in this sport,"" she complained.

Recently, she said, there were a number of women enrolling at some surfing schools here. But soon, they disappeared.

Surfing, according to Niki, has taught her how to improve her discipline and courage.

""My life has become so organized. A good surfer will certainly stay away from drugs, alcohol and other negative things,"" she said, sharing her experience. ""Then, she or he must wake up early in the morning to catch the good waves. Lazy people won't become successful surfers.""

Surfing, as she admitted, promises no material gain.

""However, surfing can become a gateway to success and business opportunity. I have a lot of friends from every part of the world,"" said Niki, who got her present job thanks to her surfing connection.

The woman insisted that a person must be persistent and serious in pursuing a goal. Citing an example, she said that she never expected to be included in the national team when she was a basketball athlete, but her coaches noticed her perseverance. She was a member of the Indonesian basketball team from 1991 to 1997.

In the surfing world, Niki is known as a hard worker and an outstanding professional female surfer.

""I get lots of job offers from my friends,"" said Niki, who also acts as a guide for Japanese surfers wanting to explore various beaches in Bali.

Her reputation has prompted four surfing companies to provide her with several items every month. At present she is involved in a documentary film project exploring the world of surfing in Bali from the 1970s to the present.

Surfing is not her only talent. The woman is also an accomplished painter. Most of her paintings portray the surfing world, as well as sea views and the Balinese landscape. Her stunning painting style and use of bold colors have attracted many art lovers.

""Some of my friends who own surf shops have offered to exhibit my paintings in their establishments,"" she said.

""Sometimes, I give one of my paintings to a friend in return for a surfboard that is too expensive for me,"" Niki laughed.

Her obsession is to take part in a world female surfing contest and to surf at all the world's surfing beaches.

""But most of all, I want to surf until I grow old.

Photographer captures images of Balinese art

2008-08-30T00:55:00.001+07:00

The Jakarta Post , Thu, 06/28/2001
By Alpha Savitri

DENPASAR, Bali (JP): Except for one small room in the Ksirarnawa Building, the month-long 23rd Bali Art Festival in Denpasar would have been just another routine annual event in which the arts were placed center stage.

In that room there is a display of some 40 photographs, recording important events in this annual art festival between 1991 and 2000. The pictures show how the festival, which opened on June 15, is not simply about the percussion, dancing and handicrafts on display.
For photographer Joko Sugianto, the events in the art festivals over one decade have allowed him to demonstrate his skills, the results of which are being shown in the exhibition titled Bali Dances.

Joko has explored and exploited the exoticism of this world-renowned island, and his works also reflect how the aura of peace within the area wooed him. The exhibition, sponsored by Fuji Film and the Bali chapter of the Alliance of Independent Journalists, focuses on the long-held image of Bali as an exotic, mysterious paradise.

Critics may note that not a single photograph presents the ""unspoken"" other side of Bali, away from the charmed images. For example, there are no tourism pictures depicting the expressions of dirty child food vendors mesmerized by their more fortunate peers appearing on the stage during an art festival.

Most pictures are records of stage performances, with the performers dressed in all their finery. But there is something special about this exhibition. Most of the pictures give a mystical impression, such as the dancers shot against a dark, somewhat ominous background.
Joko resorts to panning, a technique in photography usually used to record movement-rich sports events. This is a highly difficult technique suitable only for a master photographer.
Photos like Rangda, Barong and Sangyang cannot fail to impress the viewer with their rich movement and mysticism. In Ni Ketut Cenik, Joko has demonstrated his great photography skills. The world's only Joged Pingitan dancer, now elderly, appears on the stage, dancing with all her strength to show her mimicry, hand gestures and inscrutable expression.

""It is not without reason that I have called this exhibition Bali Dances. Dancing has movement as its main source. My photos present movement,"" Joko said.

The photos show Joko's patience in waiting for the right moment. To be able to get a good result, he must be willing to stand for hours for the split-second moment in a dance performance when all of the elements come together.

""I've got to look for it myself. It is no easy job but, as a photojournalist, I consider it my duty to find this momentary scene. Otherwise, I'll get frustrated,"" he added.

He instinctively feels when the climax of the performance is approaching.

""There are always moments when a dancer seems to have greater energy than usual so that whatever he or she does will mesmerize the audience. It is this very moment that I seek to record with my camera,"" said Joko.

Joko Sugianto is a self-taught photographer. A graduate in architecture from Udayana University in Bali, he has developed his love for photography since he was a university student. Every year, he would take his camera to the Bali Art Festival to record events of great interest to him, just because he loved photography.

Between 1994 and 1999, he worked for NUSA, a Bali-based newspaper, as a photojournalist. He became well known for his ability to capture stunning images from usually difficult subjects, particularly those with fast movement, such as soccer or equestrian sports.

In 1999 he joined the Bali Tribune, a Bali-based tourism magazine. His photographs, usually cultural in nature, appear in the magazine, often providing surprises for photography buffs.
To be able to concentrate fully on photography, he has opted for freelance work.

""I want to be free so that I can hunt for good pictures any time I want to. My short-term goal is to set up a photo gallery,"" Joko said.

Windsurfer I Gusti Made Oka Sulaksana a king of the sea

2008-08-30T00:44:00.000+07:00

The Jakarta Post , Thu, 06/21/2001
By Alpha Savitri

SANUR, Bali (JP): ""Eccentric"" would probably be the most suitable adjective to describe 30-year-old windsurfer I Gusti Oka Sulaksana.

Sun-burned, muscular, dyed-blond hair, bare-chested and wearing knee-length pants, a pair of sunglasses perched on his nose, unkempt -- that is I Gusti Made Oka Sulaksana, a beach boy and Indonesian windsurfer.

In the sweltering heat of noon, after carrying out his routine windsurfing regimen, he joined his fellow beach-lovers at Sanur. Unlike his other more voluble friends, he is taciturn, but turns out to be a good listener.

It was on this beach that he started his career and it is here that he spends every day. The sea has been the most important part of his life. And it is also the sea that thrust him into the limelight after he won various windsurfing contests at the international level.

His father -- a fisherman -- introduced him to the might and ferocity of the sea when he was a toddler. Growing up on Sanur Beach, he became emotionally attached to it -- just like one madly infatuated with a beautiful woman. ""If I don't see Sanur even for a single day, I get a headache and feel like something is missing in me,"" he explained.

Every morning after rising and taking his son to elementary school, he goes straight to the beach for regular training or to coach fledgling surfers.

There, the best Indonesian athlete of 1999 based on the votes of journalists is involved in a string of aquatic activities. He owns a space on the beach where he stores his surf boards and windsurfing paraphernalia to be leased out to tourists. Teaming up with a hotel there, he rents out surfing and diving equipment.

He acknowledged this line of business has brought him success. However, most of the proceeds do not flow into his pockets but end up being paid out on training expenses or efforts to promote windsurfing.

""Perhaps this is the risk of dealing with a less popular sport. It is different from trying to upgrade quality in badminton or tennis where funds are easy to come by,"" he said.

The winner of many world-class windsurfing awards spent his childhood peddling odds and ends on the beach. ""By doing so I could pay my school fees,"" he recalled.

After school, the little Oka would always walk to the beach hawking shells, necklaces and bracelets. He never had any idea of what his future was going to be like. And neither would the idea of becoming a world class surfer ever have flashed through his mind.

""They say that life is just a gamble,"" he said.

""Traditionally, my family didn't mold me to have high expectations. And to us, to be able to go to school was already a blessing,"" recollected Oka about the hardships of his youth. He went through good and bad times and not infrequently he was subjected to rough treatment, physical violence and intimidation by public order officers.

""I had no other choice,"" he said. ""They were after me and I was so scared that I plunged into the sea. I was soaked to the skin and so was my merchandise. Then I burst out crying. Can you imagine that the officers, too, were willing to plunge into the water to get me.""

At the age of seven, Oka was already well acquainted with the surfboard and, naturally, most of the beach boys were able to surf. When the weather was favorable, all of the beach boys took to the sea with their boards.

Oka only came to know about windsurfing in 1982 when the Sanur Beach Hotel held a competition for the hotel guests. Much to his consternation, he discovered there was another sport similar to surfing and one that was even more fascinating as it looked as if the surfboard had a sail, just like the sail on the traditional sailing boat his father had.

Upon seeing a new type of surfboard, Oka couldn't wait to try it out. He borrowed one from a tourist and had a go on it. He found out that it was actually more exciting than the ordinary surfboard. Later on, he managed to borrow some windsurfing gear from the Bali Dive center but after a few days, to his dismay, the equipment broke meaning he had to stop for a while.

Enthused with the joy of windsurfing and aided by his companions from the Bali Hyatt -- Jack Sujana and Ketut Weta -- he then fashioned a windsurfing board out of bamboo, a piece of cloth and the trunk of a waru tree. Surprisingly, it worked perfectly well.

Feeling confident, Oka joined the second Bali Open Tournament in 1984 using his homemade gear but, as many had predicted, he failed dismally. A year later, he tried out his skill in another event. Out of sheer luck, a visitor from Jakarta was willing to lend him a board; he tried it and finally he won. In 1986, he recorded another victory. Soon afterward, he scored another success in his Singapore Open debut where he came second.

Oka has climbed to the top of the windsurfing ladder of fame. From Singapore, he headed for France to participate in the World Open Sailboard competition. Out of 150 participants of international standing, he managed to come 20th. In 1988 he was invited by MISTRAL to join an international competition, beating hundreds of other participants, though he only came ninth.

The following year, at the Malaysia SEA Games, he took the bronze. Thereafter, he has participated in various competitions in Asia and has always come out a winner.

The year 1993 was a bad one for him. He had the misfortune of being hit by a speeding jet ski while resting on the beach. Multiple fractures and a three-day coma meant that he had to spend six months in hospital. ""I was really frustrated and worried that I would never be able to go wind surfing again. ""Thank goodness, I'm OK now, although I never really recovered 100 percent,"" he said.

A year later, he participated in two competitions in Singapore and Thailand and, rather surprisingly, he did very respectably. Thailand's SEA Games saw him taking a gold medal. In the qualifying round of the Spa Ragatta in the Netherlands, he was in the top nine. He was in the top 11 in IMCO. Successive achievements smoothly paved the way toward his participation in the world's most prestigious sporting event -- the Olympic Games.

""I didn't know that I would be in the Indonesian contingent until two weeks before the Olympic Games were scheduled to start, so I had not prepared myself for it ... I was not informed at all so I thought I wasn't going to be there,"" he recalled. Using a sailboard totally new to him, he only managed to gain the 13th slot.

Psychological reasons
He said he also failed to win a medal in Sydney's 2000 Olympic Games for psychological reasons.

""I must say that I was psychologically unfit. At first they had promised AA Dwi Arini -- my wife -- a return ticket to see me compete. I really needed her moral support. But they never kept their word,"" he said. Oka, however, expressed the hope that he could still take part in the next Olympic Games before he quits; he plans to be a coach afterward as he knows the challenges Indonesia may face in the future.

Oka relentlessly struggles to promote windsurfing and trains some kids in the vicinity for free. At times he has to use his own money to help these elementary- and high-school children pursue their hobby.

Occasionally, he spends as much as $85 repairing a damaged part. ""I really want to see somebody here who cares about windsurfing, but I haven't seen any so far,"" complained the father of two children, his eyes gazing out to sea as the tide went out. Oka has to manage everything by himself; he bought his own equipment and makes his own preparations and arrangements. In other words, he willingly plows a lonely furrow.

To join the 14th National Sports Event, Oka needed some Rp 25 million. He had no money so he pawned his Isuzu Panther van which he finally had to sell to pay off his debts. For his medal, KONI in Bali rewarded him with a bonus of Rp 30 million. ""But that just works out even,"" he said.

Many people would think that Oka lives a good life and earns a good living from his participation in various championships. The true picture is, however, different: International events don't often give prize money. Windsurfing, in a way, has messed up his schooling; his regular training regimens have occasionally forced him to stay away from school and he has made lots of sacrifices. Nevertheless, he keeps on training some 20 students.

Promising offers have started to pour in from Jakarta and East Java for him to help strengthen their teams. Malaysia, Thailand and Hong Kong have offered him coaching positions with their respective home squads. However, he says, ""I still love Bali and I don't want to be away from my family.

Pemecutan, a symbol of religious tolerance

2008-08-30T00:32:00.001+07:00

This 1,089-square-meter plot in Badung Cemetery, which is adjacent to Tegal Terminal, Denpasar, is special to archaeologists and sociologists.

Two cultures live in peaceful coexistence, as is evident from the characteristics of the building -- a blend of Hindu and Islam -- and visitors to the grave include Balinese Hindu and Muslims.

Here you will sometimes see Muslims praying in a large open structure near the grave and Hindus praying in their own way beside the grave of Anak Agung Sagung Sayu Rai, taking with them a canangsari of flowers. They show great tolerance to each other.

Former graveyard caretaker Mangku Canang said that visitors came here to make wishes. ""But only good wishes will be granted. It is not the place where you can make a wish to bring harm to other people,"" said the lady, who is aged about 60.

The grave is located in the backyard. To get to the grave, you must go through a gate connecting the street and the front yard. The gate is a unique structure in that it is terraced in the style of Hindu architecture but has a dome, a reflection of Islamic culture.

On your way to the grave, you go through a gate between the front and back yards. The gate lends prominence to Islamic culture through a picture of a crescent moon and a star on the wall above the gate. Upon entering the plot of land there is a tall tree to welcome you and where you will see offerings.

When you get to the backyard, the grave on your right. In the center of the yard, you will see trees with thick foliage. On your right is the open structure. As is the case with graves considered sacred, this grave is in a raised building.

To get close to the grave, you must climb a number of steps and walk past another gate set in a fence. On either side of the fence there is a Balinese-style umbrella. Except for the yellow fence, white is the only color you can see for the floor, the walls and the gravestone.

Wrapped Balinese-style in poleng (a black and white checkered cloth), a large tree grows at the head of the grave, its trunk penetrating the building's roof. The gravestone lies in a roofed building, but right above it is another roof, from which white mosquito netting hangs, making the grave resemble a bed.

Close to the gravestone, there is a box for donations and a table holding a number of Koran. These holy books are old and faded, obviously from frequent use. On the rear wall is an Islamic calligraphic drawing. Exactly at the base of the grave there are a number of vessels containing water. Visitors can take these home as they are believed to be blessed by Siti Khatijah.

The grave is over 100 years old and its history is fraught with tragedy. There are a number of stories about the grave. The story generally believed to be true is that Anak Agung Sagung Sayu Rai was the daughter of King Anglurah III of Pemecutan. When she was still a maiden, she became ill and was confined to bed. Nobody could cure her. One day, a Madurese man of nobility, Raden Sasraningrat, came and cured her. Sasraningrat and the princess fell in love and the king approved of their marriage.

The princess converted to Islam and was called Siti Khatijah. She went to Madura with her husband. Several months after she gave birth to their first child, a son, she paid a visit to Pemecutan Temple in her hometown. As she was then a Muslim, she performed the Islamic evening prayer and wore her mukenah (white prayer outfit for women). The kingdom's chief minister saw this and thought she was practicing leak (Balinese black magic). Without much ado, he dragged the princess until they reached the present grave site. He wanted to kill her with his knife; he could not because his knife would not penetrate her skin.

With the chief minister in a state of utter despair, the princess remove a hairpin from her hair and said, ""Thrust this into my throat and I'll die."" The chief minister took the hairpin and thrust it into her throat. The princess fell down and died. She was buried in the Islamic way.

Nobody knows why a tree grew at the head of the grave. Nobody now knows what type of tree this is. Outwardly it looks like a ylang-ylang tree and is said to be the incarnation of the princess' beautiful black hair.

Visiting this site you can see very clearly that the Islamic and Hindu cultures live in peaceful coexistence. The grave, just like any other Islamic grave, extends from north to south and bears no name.

You can also see an element of pre-Islam culture. The grave has a gravestone and a protective structure often called cangkup. Another Hindu element is noticeable from the fact that the grave is in a raised building just like a terraced sacred place.

The ancient community believed that a terraced sacred place was the symbol of the universe. When someone dies, his soul lives in another world, reunited with other rulers; the soul will dwell on a mountaintop, on a tree-top, up in the sky, etc.

The netting and the wall symbolize a deep respect for the kindhearted princess. In the tradition of the pre-Islamic community, there was the practice of worshiping ancestors' souls.

This graveyard is crowded during Islamic and Hindu holy days. ""Visitors from Java usually come in groups by bus,"" said Mangku Canang.

Lantern wizard going strong at 100

2008-08-30T00:29:00.001+07:00

The Jakarta Post , Tue, 06/17/2003

The popular and much sought-after artworks, damarkurung or unique painted lanterns of East Java, overshadow the meticulous artist behind the creations, Masmundari, a grandmother now a centenarian.

A very modest woman, she lives in a simple house located in a narrow alleyway on Jl. Gubernur Suryo VII/41B, Gresik, East Java, with her only daughter and three grandchildren. None of the lanterns made from her paintings adorn her home.

As she was seated on the damp floor, painting on a sitting-room table, Masmundari was not aware of the presence of a stranger until a tap on the shoulder startled her and made her laugh.
""You must be a journalist. You've got a big bag, so you want to take my pictures,"" she said in Javanese. Still laughing, she took out newspaper clippings from a locker in the sitting room, containing articles about her, and photo albums showing her pictures with top officials, including former presidents Soeharto and Abdurrahman ""Gus Dur"" Wahid.

Masmundari looked healthy at 100, though her hearing was impaired, requiring one to speak very loudly when communicating with her. As her pronunciation was not so clear either, her grandson Nur Samaji, 27, acted as interpreter for her guests.

Besides painting, she keeps doing the household chores: washing and cooking. ""She gets angry if we ask her to rest. Nobody can stop her particularly when she is absorbed in her art,"" said Nur Samaji.

She spends the best part of her days painting on canvasses and more frequently on paper. After making sketches on paper sheets, she paints with slender bamboo sticks dipped in oil paint. It is these pictures that will adorn damarkurung, Gresik's coastal styled lanterns.

The traditional lamps are made of bamboo frames with Masmundari's paper paintings on four sides. By tradition, Gresik lanterns are only sold on the eve of Ramadhan (Muslim fasting month). People usually hang the lamps on their porches and light them moments before the drums in the mosque are beaten to mark twilight prayers.

In 1970, only 10 damarkurung (literally meaning cased lamps) painters remained. Today Masmundari is the very last one. Who will succeed her? Or, will such lanterns soon disappear from East Java as no one else is as yet seriously interested in this traditional art?

While 10 years ago Masmundari was capable of producing pictures for 300 lanterns a year, now with her advancing age she can at the most turn out 30 lamps for the fasting month, which sell at less than Rp 50,000 per unit. More luxury lanterns using mica sheets, normally made on order, may cost hundreds of thousands of rupiah. Her canvas paintings though are more expensive.
Born in a family of artists, Masmundari is the eldest of four. Her father, Sinom, was a famous lantern painter and wayang (leather puppet) master in Gresik, and her mother was Mak Ijah. All her three siblings learned the art of damarkurung handed down through eight generations, but the others have already passed on.

Claiming to have had no formal schooling, she had only been taught to recite the Holy Koran and transcribe Javanese into locally styled Arabic characters. Though she is well versed in lantern painting, originally she had no instruction. Her father even taught her to sing. ""No women did the work. Lantern making was seen as men's job,"" she was quoted by Nus Samaji.

As a young girl in the Dutch colonial period, however, Masmundari led a hard life by selling goods or working as a porter, carrying salt from the harbor to a factory.

""When I was very tired, many young men would help me. They were mostly after me because I was quite pretty,"" she said, bursting into tearful laughter.

This village star finally married. But she went through several marriages until her fourth and last marriage, from which she had a daughter, Rokayah, now 56 with three children. While she was silent on her first three husbands, she beamed when asked about the fourth: ""He was Gondorukman, a top ludruk (folk drama) artist.""

Sadly, he left without a word early on in her pregnancy. ""He never returned, probably he was too ill or caught by the colonizers,"" she reasoned.

As a consolation, Masmundari started painting with the equipment left behind by her late father, imitating his basic style. When she sold her works, they were more in demand than the products of other lantern artists of that time. People said Masmundari's paintings were more refined.
Eventually, Masmundari established herself as a damarkurung painter. An artist from Gresik, Imang AW, was later attracted by her pictures. He then introduced her to more modern materials and instruments. And it was Imang who took her to Jakarta's Bentara Budaya exhibition center for a successful display.

Thereafter, she began to be recognized not only in Gresik but also across the country, with more and more exhibitions ahead. Masmundari's works have now become part of the collections of art
enthusiasts both here and abroad.

Masmundari's lanterns have their own characteristics. She has had the courage to depart from standard themes. Normally, damarkurung patterns are related to Gresik's history, the legend of Anglingdharma and wayang episodes. Her pictures, while retaining some classic designs, have included current events like wedding parties, busy roads and funfairs.

Masmundari has also created imaginary figures, namely Mbok Omah and Nyonya Muluk. The former has a dozen kids, making her movements very cumbersome, and the latter is a Dutch woman who likes traveling by air balloon or plane.

Masmundari's creativity has earned her various awards. Among others, she has received Gresik Regent Djuhansyah's award in 1990, Malang's Tugu Park Foundation award in 1991, the Kartini Award in 1996 and the East Java provincial administration cultural award in 2002.

Kampung Bugis Residents Welcome Ramadhan

2008-08-30T00:12:00.000+07:00

Published by The Jakarta Post, Thu, 11/22/2001

Ramadhan has arrived and everybody in Kampung Bugis, a small Islamic village here, is very happy to welcome the holy fasting month.

The sound of the Koran recital through a megaphone at an old Assyuhada mosque is heard in every corner of the 2.5 hectare village, near the Benoa harbor in Denpasar, the provincial capital of the Hindu dominated island of Bali.

For the 255 Moslem residents in Kampung Bugis, Ramadhan is a special month. It is a proper time to enhance their spiritual well-being by carrying out various religious rituals. The village dwellers have faithfully retained age-old Ramadhan traditions.

Established around the early 17th century, Kampung Bugis is one of the oldest Islamic villages in Bali. The villagers are descendants of Bugis sailors who fled their homeland in South Sulawesi to avoid Dutch troops.

They landed on Serangan island and built a residential place before being captured by the King of Badung. Knowing that the Bugis were brave warriors, the King used them to fight the Mengwi Kingdom. With the help of the Bugis people, Badung claimed victory.

The King later awarded these Bugis people with a plot of land currently known as Kampung Bugis, which their descendants now reside on.

Almost cut off for centuries from the hustle and bustle of tourism activities in Bali, Kampung Bugis has hardly changed at all. The majority of the village's population maintains the traditions that have been kept alive for generations. An Islamic mood is felt everywhere. Most women wear traditional kebaya covered by headscarves, while male members are decked out in modest sarongs.

The Assyuhadda mosque, the oldest one in Bali, stands sturdy as the village's landmark and a center of religious, social and educational activities. During Ramadhan, people usually flock to the mosque to perform tadarusan (Koran recital) before and after the breaking of the fast. Weeks before the fasting month, villagers worked together to clean and repaint the mosque.

Mothers and their daughters usually cook traditional Bugis delicacies like dokok (a sweet cake made of sticky rice, coconut milk and palm sugar wrapped in banana leaves), sarimuka (a steamed cake made of egg, sugar and sticky rice) and bingka (coconut cake) and other cakes. They sell the cakes in front of their houses. Each house usually sells different items.

Haji Mansyur, an influential figure, explained that, ""It is not a pure business activity. They sell these cakes just for fun and to tighten their relationship with neighbors.""

Such a scene only takes place during the fasting month. ""It is a sort of homesickness although many of us were born here and have never been to Makassar,"" a woman added.

Ramadhan's festive mood in Kampung Bugis has long attracted people from neighboring hamlets. ""They only come here to buy food and to speak with the locals. Many of them are believers of other religions. We have been living here side by side peacefully for hundreds of years,"" said Haji Mansyur.

Visiting the village during Ramadhan is really worthwhile, socially and spiritually.

People respect each other and devote their lives to performing good deeds during the entire month.

All members of the community are invited to break their fast at the mosque. Food is free. Local women are eager to donate a large variety of food and beverages as part of their contribution during the holy month.

Every afternoon, girls and boys recite the Koran at the old mosque, while their male elders continue the exercise after the Tarawih (special prayer during Ramadhan). ""Two days prior to Idul Fitri, we will read all the pages of the Koran twice and then we will hold a special thanksgiving party.""

Ramadhan and Idul Fitri are the most important days for the Bugis villagers. A perfect time to purify their hearts and minds before entering better days in the future.

Bali music maestro Rembang happy on the home front

2008-08-30T00:04:00.000+07:00

(I write this article in 1999 and published by The Jakarta Post).

He is now 70, but Nyoman Rembang, a maestro of Balinese drums and gamelan, is always active -- performing at hotels and public places, and passing on his skills to students, both local and foreign.

This tall, slim man spends much of his time writing books. At present he is completing a book on the music that accompanies the Gambuh dance, the oldest Balinese classical dance. Music researchers from many countries and those writing their dissertations on traditional music often crowd his house in Banjar Tengah, Sesetan, Denpasar.

""When I realize my age, I feel like having a rest. My spirit, however, is difficult to dampen. I have been involved in art since I was young. I feel uncomfortable if I don't do any art activities, even if it's only one day,"" said Nyoman Rembang.
He even fills his spare time involving himself in art activities. His hands, no longer as strong as they once were, continue to strike various percussion instruments that are stored next to his house. Sometime he cuts up bamboo stems to make a bungbang gamelan, a set of traditional gamelan instruments that he began producing in 1985.

Large and small pieces of bamboo produce many different sounds. Equipped with his highly sensitive ear, he has turned these bamboo pieces into a beautiful accompaniment instrument.

A complete set of the gamelan is played by 32 people, each playing one bungbang. This instrument is flexible -- it can be used to accompany any dance or song.
Bungbang has been a popular instrument among traditional musicians and academic circles for dozens of years. This instrument can now be found in various U.S. and European universities, and Rembang continues to receive many orders from overseas.
Rembang received the Adhikarya Seni (Masterpiece in Art) award from the government in 1999, one of many awards that have been initiated by the local Balinese provincial government, the education ministry and president Soeharto when he was in power. UNESCO has also recognized Rembang recently in its program, ""Sacred Rhythm: The Millenia, Percussion for Union"". But he does not like to talk about his awards; his art is what matters to him.

Rembang is concerned that many of his colleagues are not properly remunerated for their skills.
""Most are underpaid, receiving amounts lower than what the government has stipulated. What can they do? If an order is rejected because the pay is bad, then many other people will take the order. Artists, from villages in particular, need money badly, especially when the country is still in the grip of an economic crisis,"" he said.

Rembang himself sets his own fees for hotels.

""An artist must have his or her own bargaining position prepared, otherwise they'll be belittled. Perhaps it is only my group that dares to set a fee,"" said Rembang, chairman of the gong association, langestisari, an organization that brings together veterans and younger Balinese artists.

Informal study
Nyoman Rembang studied art, particularly percussion and gamelan, informally. His formal education went no further than the elementary school level.

His father was a farmer and his mother a gambuh dancer. At the age of seven years, he began to learn how to play gamelan gender, studying under the instruction of two noted musicians in his local area of Sesetan. His teachers were impressed by his extraordinary talent. After receiving instruction only a few times, he could play the gender with confidence and precision.

The young Rembang also learned how to play gamelan legong. So that he could study with the master teachers of this instrument, he was willing to walk to Kuta, Geladang, Kepaon, Tohpati and elsewhere. Throughout his period of learning he was urged on by a strong desire to provide musical accompaniment to the gambuh dance, a highly complicated performance.

So, away he went in search of another master. This pattern continued, with Rembang wanting to learn other, and still other kinds of traditional music. He gained fame for his versatile skills in practically every kind of Balinese traditional music when he was still in his teens.

He also began to give lessons on how to play Balinese traditional percussion when he was still very young. In the wake of all this activity, the orders started coming in for performances.

In 1952, Nyoman Rembang accepted an offer to be a member of the permanent teaching staff of Balinese percussion at the Indonesian Traditional Music Conservatory (Kokar), a music center based in Surakarta. During his appointment in Surakarta, he also learned the Javanese gamelan, which explains why he is also a formidable Javanese gamelan player.

In 1963, when Bali set up its own traditional music conservatory, Rembang returned to his home island. At that time many people were pressuring him to stay with the Surakarta conservatory, ""but I didn't have formal education ... I was just an ordinary lecturer,"" he said.

Nyoman Rembang has often been invited abroad, either to perform or to give lectures as an honorary lecturer. He usually feels happy to accept invitations for a performance, which often come from Singapore and Sri Lanka. In response to invitations to become an honorary lecturer, he considers carefully before making a decision.

""If I agree to sign a teaching contract, I will have to stay abroad for many months. Well, I would miss my family,"" said Rembang, now a widower with three children.

He once signed a three-year contract to teach Balinese gamelan at the University of California at Berkeley in the United States. Approaching the sixth month of his contract, he greatly missed his wife and decided to return home.

""Actually, I was allowed to take my wife, but she refused to join me because she was afraid of the flight,"" he reminisced.

Instead of going abroad, Nyoman Rembang chooses to continue practicing his art, spend time with his grandchildren and spend time in the place he loves most -- home. (Alpha Savitri)

Gunung Kawi, a place for spiritual goings-on

2007-04-07T21:42:00.000+07:00

GIANYAR, Bali: Rich in historical and spiritual significance, Gunung Kawi was once a favorite site of the country's first president Sukarno when he visited Tampaksiring Palace in Gianyar regency, a kilometer away from the mountainous region.
A former official of the president at the palace, Ngakan Dewa Gede Dharma, said Sukarno built steps leading to the meditation site in Gunung Kawi.

Gunung Kawi, which is also a burial site of Bali's famous king Sri Udayana Warmadewa, was originally called Amarawati temple but, after Java's Majapahit kingdom expanded its influence as far as Bali, the name was changed into Gunung Kawi, meaning artificial mountain.
Now, it is an ideal site for those wanting to relax and escape,the noisy commotion of the city.

According to local residents, Gunung Kawi is often visited by officials hoping for a promotion or successful career. A local Hindu priest, who wished to remain anonymous, said that shamans from various parts of the country were among visitors coming to meditate in the area.
Many skillfully carved caves, temples and shrines are located deep in the center of this hilly area, which is regarded as an important spiritual center.

While walking down the hundreds of steps to reach the main site, visitors can enjoy views of magnificent and enchanting rice fields, ravines, hills.-and the Pakerisan river that traverses the area. At the end of the steps, one will see a stone wall with a carving that resembles a cave. Here, a natur passed away in the Jalu, or Pakerisan river) engraved on King Udayana's tombstone; Rwa Nakira (my two sons) on Marakata's and Anak Wungsu's tomb al melody of sounds emanating stones; and Rakyan (ministers) from the river can be heard. On the ministers'tombstones. Around the river, visitors will notice scattered caves and temples covered with moss, evoking an mood of ancient times.
These temples have carved stone walls. Slim with multilevel roofs, they resemble Hindu temples found in Java. Balinese call these temples paderman.

The graves of King Warmadewa and his wife, as well as those of his ministers, arc buried in several paderman and local people believe they can communicate with the spirits of the king and his family there.
According to anthropologist and lontar (palm leaf) manuscript expert, Dewa Beratha, the temples at Gunung Kawi were built in the 9th and 10th centuries by Marakata, who began construction, and continued by Anak Wungsu. Both were sons of King Udayana. It is estimated that the king died between 933-938. The temples were probably built based on King Udayana's wish for the area to be his spiritual resting place. There are four temple complexes in Gunung Kawi, lying in the east, west, south and southwest of the Pakerisan river.

According to Dewa, the king was buried in the eastern part of the complex with Marakata, Anak Wungsu and two wives. The king's ministers were buried in the southwest complex.
Ancient Javanese words are found on those graves, such as Lumah ing Jalu, "It could be the king's preferred ministers who were buried here," Dewa said. Ancient Javanese words in the west complex are no longer readable while those in the south are incomplete, prompting the residents to call it the Batal (Canceled) temple. Caves covered with moss scattered around the temf5les were once used by priests dnd members of their families to meditate.

Out of the caves, there is a biggest one. And according to Dewa, the biggest cave is now reserved for priests only. "Only certain priests are now allowedto meditate or perform religious' rituals there," Dewa said.
(Alpha Savitri)

Cheng Hoo: A mosque with some Chinese flair

2007-04-07T21:07:00.000+07:00

Alpha Savitri
Friday, June 13, 2003

From a distance the new building at Jl. Gading No. 2, Surabaya, looks like a Chinese shrine with its bright colors, dragon-fin rooftop and octagonal threetiered dome.
But upon a closer look, one will realize that it is in fact a mosque.
The oriental-style exterior is certainly appropriate because it was built by PITI, Chinese-Indonesians' Islamic propagation organization.
Its name is also quite unique with a notable Chinese influence: the Muhammad Cheng Hoo Mosque. It is one of the few mosques with Chinese architecture in Indonesia.

The mosque was named after Admiral Muhammad Cheng Hoo, who is remembered as a respected negotiator who spread the word of Islam among the Chinese community in Java.
Cheng Hoo, better known in Indonesia as Sam Po Kong or Sam Po Tae Jin, was a Chinese official who embarked on a trade and cultural exchange mission around the world in the 15th century. During his long journey, Cheng IIoo also disseminated Islamic teachings.

On Java, Cheng Hoo built a number of mosques and places of worship. Among his most important achievements are the Gedung Batu Mosque in Semarang (Central Java), and several smaller places of worship in Jakarta, Tuban, Gresik and Surabaya (East Java).
His expedition, which set sail on July 11, 1405, lasted for nearly 27 years. Cheng Hoo was at the helm of the 28,000-strong crew aboard the 200 ships and he headed his mission through 38 Asian and African countries. His voyage was no less prominent than those of,,Vasco da Gama, Marco Polo and Christopher Columbus, and were even undertaken before them.

A replica of the vessel that carried Cheng Hoo during his world expedition can be found on the northern side of, the new mosque, which was inaugurated late last month. A wall relief of the famous admiral's face adorns the mosque.
The mosque measures 21 meters by 11 meters, and the inspiration for its architectural design came from the Niu Jie Mosque in Beijing, China. However, the Muhammad Cheng Hoo Mosque accommodates both Indonesian and Arabic influences.

The size of the main prayer room is 11 meters by 9 meters, as the Kaaba in Mecca was 11 meters at the time of its construction, while nine implies the Walisongo, Java's first nine Islamic preachers.
The Indonesian influence is also apparent in the use of the bedhug (a large drum), which is beaten at the time of prayers. Cheng Hoo's drum is beaten 17 times.

In the first session it is beaten nine times, again suggesting the Walisongo, and eight times after a brief pause to signify the Pat Kwa, the eight directions and elements in Chinese geomancy.
Built by Chinese-Indonesians, the mosque is open to everyone and every Muslim can use this facility, which has functioned as a place of worship since the end of last year.

KH Burnadi, the chairman of Muhammad Cheng Hoo's management beard, said the mosque was also open to all denominations of the Islamic faith.
"During the fasting month of Ramadhan we have two sessions of tarawih (evening prayers after the breaking of the fast); the one for those applying the 11 rakaat (a set of rituals) and the other for the 21 sets," said the father of two.
In previous months, when Idul Fitri, at end of the fasting month, and Idul Adha, the day of sacrifice, fell on different days, two prayer sessions were also held at the Muhammad Cheng Hoo for both Muslim schools.

"We embrace all Muslims. Members of the Nahdlatul Ulama and the Muhammadiyah can perform their religious duties here without discrimination. Differences constitute a blessing," said Burnadi, who became a Muslim when he was in his teens.
As it is open to all Islamic groups, the mosque has had a good response from the Muslim community, particularly in Surabaya. Even before its inauguration, it was already crowded, most notably on Fridays.
"It holds 200 people but about 500 to 600 worshipers flock to the mosque for prayers every Friday. We have to put up tents out in the yard to accommodate them," he added.

Muslims pray at the Muhammad Cheng Hoo Mosque in Surabaya. The mosque several in Indonesia that feature Chinese architecture. The mosque is also popular for weddings and those vowing to profess Islam. More than a dozen couples and converts have had their ceremonies held at the unique building so far.

"People everywhere knew about it even before it was officially opened. We have had a lot of visitors daily since then," Burnadi said. Is just one wing to the overwhelming public response, the mosque will be extended in the near future. In the long term, it wig also serve as a tourist destina tion for those on spiritua journeys and a new highligh to be included on tours fo Surabaya's visitors.

Age-old tradition continues in Bugis village

2007-04-07T20:34:00.002+07:00

DENPASAR, Bali: The Muslim community of Bugis village in Serangan, Denpasar, celebrates the unique ritual of Megalicik Quran every year in a tradition dating back to when the village was visited by death.
Megalicik is from the Bugis dialect of South Sulawesi, which means to parade or carry, while Quran refers to the holy Koran. The tradition is believed to have started in the 17th century when the Buginese seafaring people first arrived on the Hindu-dominated island.

One of the oldest Islamic villages in Bali, Serangan continues to be mainly occupied by sailors who fled South Sulawesi when the Dutch attempted to crush the many Islamic kingdoms in the area.
Many Buginese, a people known for their bravery, chose to flee and look for new areas to settle, including Serangan, instead of succumbing to the Dutch.

According to villager Haj Mansyur, the pioneering Buginese seamen were soon caught by the King of Badung's troops.
But the king knew that Buginese people were renowned as being courageous sailors and soldiers, and ordered them to fight against rival Mengwi troops. With the help of the Buginese sailors, the Badung kingdom won their battle and annexed Mengwi as part of its territory.

The king awarded the Buginese a plot of land in Serangan village where they have lived for generations. Their descendants faithfully follow their ancestors' traditions, including parading the Koran, usually held once a year on the ninth day of the Islamic Muharram month.
Village elder Hj. Mansyur, 60, said the tradition began when the village was devastated by a terrible plague. Victims fell sick in the morning and were dead by nightfall. The plague spread to surrounding villages, taking a terrible toll.

One of the village's founders, Hj. Hasbullah, was visited by God in a dream. He was told that the plague was sent down as a warning from God about the sins of man and the only way to end it was to have the men of the village conduct Megalicik Quran as a spiritual cleansing.
The men were required to perform the ceremony for three consecutive days while reciting an Arabic chant.

"The verse in Arabic is very long, but he was able to memoi Z-e it from his'dream.When he woke up, all of the villagers were instructed to learn the verse," Mansyur said.
The plague passed, but continued to strike surrounding Hindu villages. They eventually tried the parade around their villages, but, of course, without carrying the Islamic holy book. The disease and dying also stopped in those places.

Purification
The ritual continues today in a process of spiritual purification. This year, after Ashar (afternoon) prayers in April, the 255 male villagers gathered at the 17th century Assyuhada mosque.
A group of men commenced the ritual. One of them took the Koran and carried it on his head. On his right, a child carried a red and white colored national flag, while on the left, another carried the Zulfaar flag, the community's trademark.

It is believed the Zulfakar flag was used by the villagers' ancestors as a symbol of victory when they helped the King of Badung in a battle against the Mengwi kingdom.
The village -men hummed adzan (the call to prayer) and later walked around the village while singing the famous verse in Arabic. They stopped in every corner of the village and stood facing the direction of Mecca. They repeated the parade three times in a ritual taking about one hour.

The day after the ritual, a closing ceremony was held. Village women prepared special porridge garnished with egg, which they ate together with their menfolk at the mosque.
The tradition has changed little over the years, but it has been simplified by the villagers, most of whom earn a living in Jbe ornamcptal trade. From 1070, the nr~n ham not conducted the ritual over three days in a row, but instead three times on the one day. It may have been changed for the, times, but it is important for them nevertheless, in giving thanks for God's grace and acknowledging His power.

Muslim men from Bugis village in Serangan, Denpasar, recite an Arabic chant while parading a copy of the holy Koran. The Megalicik Quran ritual, dating back to the 17th century, is still performed in the village.

Text and photo by Alpha Savitri

Guitarist Balawan makes a name for himself

2007-03-02T02:02:00.000+07:00

DENPASAR, Bali: A blend of various music - rock, pop, jazz and traditional Balinese gamelan orchestra - makes the newly released solo album of guitarist I Wayan Balawan unique.

The CD record, titled Balawan and produced by a recording company in Germany, consists of 17 compositions of diverse musical origins. Apart from western music, he also highlights the tunes of Balinese gamelan such as in Putri Centing Ayu (Princess Centing Ayu), "Music is a gift. It is an expression of life. An image of the soul. I don't consider my music as belonging to any particular genre. Throughout my life, I've been influenced by many different styles of music. I've listened to and played classical, rock, pop, jazz and traditional Balinese gamelan music. Maybe you will be able to hear some of these influences when you listen to this recording. But whatever you think of it, whatever it means to you, I just hope you enjoy it."
Listeners might assume that in producing the record, Balawan was assisted by other musicians or helped by sophisticated technology.. In fact, the intricate technique called tapping, which enables him to produce different timbres in a very brisk tempo, plays nearly all the tunes himself.

Sadly, this extraordinary music piece is not yet available at record stores in the country as the German producer wants the records to be directly imported while Indonesia wishes to buy the license.
I Wayan Balawan, who can play any kind of music, is said to be one of two musicians to have mastered this tapping technique. In this technique, the left and right fingers play the instrument independently - like writing in English with the left hand and in German with the American musician Stanley Jordan is the world's other guitarist who has mastered the tapping style. Jordan presently teaches musical therapy in his country.

Rock musicians here use a simpler tapping technique where the left fingers hold the guitar while the right ones play the instrument by touching it. Balawan's technique is more sophisticated since both his left and right fingers play independently, making it possible for him to create colorful sounds in brief moments with his electric guitar. The technique also makes it possible for him to improvise, making the audience feel they are listening to "a piano recital.

Rare talent

The 28-year-old Balinese guitarist's remarkable talent has made him popular and be invited to play in various music festivals for solo performances.
Besides touring Jakarta, Bandung, Surabaya and Bali, he represented Asia last year, along with a Japanese musician, in the East Meets West International Guitar Festival in Germany, earning him overwhelming acclaim from other musicians, critics and the press.

This prestigious event entailed invitations to different German cities. This was when he met the German acoustic music record producer who asked him to play solo for the album.
For the coming year, the son of I Wayan Regug and Ni Wayan Sunti, looks set to have a tight schedule. For a year, starting September, he will be traveling across Europe, Japan and the United States for concerts and to promote his CD.
"I've signed contracts for at least 15 concerts,"said the owner of 18 guitars.
Learning to play guitar at eight, Balawan joined a rock band when he was at the sixth grade. In senior high school, his fascination with piano melodies inspired his interest in jazz.

By the end of 1980s, he started experimenting and learning the tapping technique. He felt satisfied because the tunes produced by the tapping techni ue esembled those of the piano ` ' "I didn't know then that there was another musician who could play the same music ... I wasn't informed of Stanley Jordan then," Balawan said.
After high school, he continued his studies at the Institute of Music in Sydney where he pursued a one-year certificate program. His talent prompted the institute to offer him a twoyear diploma program.

After graduating from the institute, he was given a scholarship to further his studies. But he did not yet take it because of his lack of interest in orchestral arrangement." I have no talent or interest in dealing with many people. So, I haven't taken up the scholarship offer yet. But the school's head told me that anytime I wanted to, I could further my studies there for free."
Instead, he chose to continue with stage performances and his experiments.
"I want to keep on performing and developing my skill. in music. I can only do so through stage shows. The more I practice and perform on stage, the more skilled I will be. It's the only thing that gives me satisfaction," Balawan said.
His latest album, the second after Globalism, was released at the end of 1999. In his first CD, he performed with Batuan Ethnic Fusion, a group he set up early in 1997.

The popular dancers and traditional musicians in his area, Gianyar, inspired him to establish the group. He then tried to combine his modern music with local tunes with the help of several band players and live gamelan musician. Now, in its performances, the group plays modern music with a Balinese touch.
"But my principle is to play music before the right audience, like those in jazz cafes. A star-rated hotel has been asking me to play there'but I have turned it down because I think its audience is not right for me," said Balawan, who sharpens the sensitivity of his fingers by playing guitar three hours every morning.
Now the guitarist is creating a two-in-one guitar with 12, instead of six strings. "Sometimes I feel like I can't completely express myself with six strings, that's why I am trying to double them (the strings)," said the man who vows to make music his career for life.

With the increasing demand for his shows in other countries, the musician does not rule out the possibility of living abroad.
"If I were given a good opportunity to express myself and my music there, I wouldn't mind giving it a try." (Alpha Savitri)

Museum Megah Bertabur Perempuan Telanjang

2007-02-01T22:49:00.000+07:00

Antonio Blanco, nama yang tak asing di jagad seni lukis dunia, mengabadikan karya-karyanya dalam blanco renaissance museum, Apa keistimewaannya?

Anda pasti ingat, beberapa tahun lalu, terdapat sinetron dokumenter yang begitu artistik berjudul Api Cinta Antonio Blanco. Sinetron itu menggambarkan kecintaan pelukis dunia asal Spanyol Antonio Blanco terhadap Bali. Juga kecintaannya terhadap Ni Ronji, gadis ash Bali yang akhirnya diperistri Antonio Blanco. Memang, pelukis masyur ini, sejak mucla, memang berkeliling ke berbagai penjuru dunia, mencari tempat tinggal yang pas untuk hatinya. Setelah membaca The Island of Bali-nya Miguel Covarrubias, pengelana tempo dulu yang juga penulis, sampailah ia di Pulau Dewata pada usia 39 tahun.

la benar-benar tersihir dengan bumi Bali yang eksotik di mana para perawannya tak malu-malu bertelanjang dada dalam kesehariannya. Tak pelak, pada tahun 1952, Blanco memutuskan untuk menghabiskan sisa hidupnya di Bali. la menikahi gadis asli Bali, Ni Ronji. Perempuan inilah yang senantiasa jadi sumber inspirasinya.
Blanco yang berjuluk The Dali of Bali (karya-karyanya disejajarkan dengan Salvador Dali) meninggal akhir tahun 1999 lalu. Sebelum meninggal, ia meramalkan bahwa Bali kelak menjadi pusat kesenian clan kebudayaan dunia.

Kendati dikenal sebagai pemuja perempuan, namun toh sampai akhir hayat, istrinya cuma seorang, yakni Ni Ronji yang asli Bali. Buah cinta Blanco-Ni Ronji adalah 4 anak. Blanco meninggalkan lukisan-lukisan romantis impresionis yang tetap dikenang
sebagai karya luar biasa. Karya-karyanya umumnya bertema perempuan. Perempuan-perempuan Blanco itu talk cuma telanjang dada, namun banyak yang benarbenar tanpa sehelai benang pun.

Semua lukisan seniman yang juga sahabat Bung Karno tersebut diabadikan di museumnya, di tepi Sungai Campuhan, Ubud. Di museum seluas 2 ha yang baru dibuka itu tersimpan 300 koleksi pribadi Blanco, baik lukisan cat minyak maupun cat air. Namun untuk karya sket, Blanco yang kelahiran 15 September 1911 ini talk pernah menyimpannya. Lelaki ini memang aneh. Sket yang dibuatnya suka dirobek-robeknya sendiri.
Kaya Simbol

Through this portal, pass the most beautiful in Bali. Begitulah kalimat yang terpampang pada gapura masuk kompleks "The Blanco Renaissance Museum" di Ubud, Bali, yang didedikasikan untuk menghormati karya-karya lukis almarhum. Museum Blanco sesungguhnya sudah direncanakan Don Antonio Blanco sejak tahun 1970-an. Namun baru akhir tahun 1998 fondasinya dibangun.

The Blanco Renaissance Museum dibuat sangat megah, sesuai dengan konsep clan keinginan pria yang pernah dianugerahi gelar kebangsawanan "Don" oleh Raja Juan Carlos dari Spanyol. Pada dasarnya, Blanco memang menyukai kemegahan. Konsepnya merupakan perpaduan antara gaya Eropa clan Bali, sangat kaya simbol.
Secara fisik, memang museum ini gayanya gereja Eropa yang megah. Namun, detail gaya museum sangat kental beraromaBali. "Di Bali tempo dulu, setiap kerajaan besar memiliki gapura yang disebut kurikurung," ujar Mario Blanco, anak lelaki Antonio Blanco yang juga direktur museum ini.

Memasuki museumnya, kita akan disambut gapura menjulang tinggi, terbuat dari marmer hijau asli Italia. Desain gapura mengambil inspirasi dari tanda tangan Antonio Blanco. Tanda tangan itu dibuat tegak, lantas
menjadi sebuah gerbang setinggi 15 meter. Di pintu museum, kita disambut patung naga yang mencerminkan penjaga museum.
Lukisan-lukisan Blanco dengan aneka bingkai menawan terpampang di dinding-dinding ruangan museum tiga lantai, yang ditata artistik, dengan lampu-lampu yang tersembunyi.

Semua lukisan mempunyai bingkai menawan. "Ketika melukis suatu objek, papa membayangkan seperti apa bingkai yang bakal menghias lukisannya. Masing-masing lukisannya memiliki bingkai yang berbeda-beda. la mendesain sendiri bingkai-bingkai tersebut," ujar Mario Blanco.
Lukisan yang terpampang talk cuma terdiri dari lukisanlukisan Blanco di Bali, namun juga karya-karya lamanya semasa ia masih berkeliling dunia mencari °tanph harapan". Tampak antara lain karyanya semasih ia di Amerika, bahkan Rusia. Nyata benar perjalanan proses kreatifnya dari waktu ke waktu. Setiap tempat yang clikunjunginya, pasti menghasilkan goresan karya berbeda. Semakin lama, semakin matang ciri khasnya yang romantis impresionistis itu. Apalagi ketika sampai di Bali.
Sebuah kubah terdapat di lantai paling atas. Konsepnya sebagai penghormatan terhadap sang pencipta. "Ibarat kalau kita menyuguhkan makanan, makanan itu harus kita tutup," ujar Mario. Sembilan ujung yang ada di kubah tersebut cermin dari 9 mata angin. Di Bali konsep tersebut disebut pangider-ider.

Di sebelah kiri bangunan museum, terdapat sebuah bangunan bersejarah. Di situlah tempat pencarian inspirasi sang maestro. Di kompleks museum ini terdapat pula galeri clan studio tempat Blanco biasa melukis. Sampai kini studio tersebut dibiarkan sebagaimana sediakala.
Dulu, Blanco masih menjual lukisan-lukisan aslinya. Namun sejak tahun 1995, Antonio Blanco talk lagi menjual karya asli.
Dalam mengerjakan karyakaryanya, Blanco talk pernah menyertakan tahun pengerjaan. "Karena menurut papi, karyanya belum selesai selama ia masih hidup. Meski tampaknya sebuah karya sudah selesai dibuat, namun suatu ketika papi merevisinya," kata Mario. (alpha savitri)

Who is Mr Right?

2007-01-02T23:09:00.000+07:00

Balinese women and their taste in men

Even as the second millennium dawns, Balinese women are sticking with tradition, As Alpha Savitri discovered, generally speaking, their choice of husband is closely tied to considerations of caste and descent.

Should you visit one of Bali's university campuses, you would notice that the women there look and dress very much like their sisters on the other side of the globe. They wear the lat est-style tops and jeans. Their perfume is a far cry from the scents their ancestors would have used. Their watches are top brand and even their mobile phones are the latest model. Some of them drive cars around. They eat in restaurants that serve international cuisine, and make themselves at home in cafes. To keep their skin white and smooth they frequent the beauty salon, and they de-stress at the spa. And their vacations? They don't stay in Bali or even in Indonesia, but jet off to New York and Paris. They speak English fluently, "so we're not taken completely by surprise when the free market lands upon us," as one woman explained.

But these are mere externals. What of their world views? What is their taste in men, for instance?
As you may have guessed, fashionable, good-looking men fit the bill. Some local women even want their men to be clever. The more materialistic among them hanker after rich men. Indeed, good looking, wealthy and clever are prime conditions for success all over the globe.
But what of descent and caste? Is it an issue? When I asked the women this, many of them looked a little confused at first, and took their time to think about it. Some of them replied in the negative, but the vast majority confessed that caste would influence their choice of a man.

Illustration by Surya Dharma.

CONSERVATIVE
A new century is upon us, in which already democracy is increasingly gaining legitimacy. Physically speaking, Balinese women look much the same as any other women. But when it comes to finding a life partner, it turns out that they are quite conservative. At least that is what some recent interviews with urban women from a number of castes suggests. The results of these interviews were published in the Denpasar daily, Nusa Tenggara, two years ago, under the title Kriteria Lelaki Idaman Gadis Bali (What Balinese Women Look For in a Man).

Traditionally, Balinese society is made up of a number of descent groups, for the Balinese are strongly connected to their ancestors. The brahmana, for example, are descended from Danghyang Nirartha and Astapaka. The ksatria are descended from former kings. The waisya are descended from relatives of the rulers and tradespeople, and the sudra from labourers. Over time, however, these descent groups have developed into castes as in India. The 'high castes' - the brahamana, ksatria and waisya - are known collectively as triwangsa (trinity of castes) whilst Balinese of sudra descent are often referred to as jaba or outsiders.

The interviews published in Nusa Tenggara revealed that 28% of triwangsa women did not want to 'marry down', or marry below their caste, and act which would result in them being stripped of their caste status. Thirty three percent
said they would have to think about it, suggesting that in fact they didn't really want to marry down. In other words, sixty one percent of triwangsa women did not want to marry down. The reason they gave was that such marriages tend to unnecessarily complicate family matters.

When lower caste (sudra) women were asked the same question, many of them were open to the idea of marrying outside their caste (which would necessarily mean marrying up), but most qualified their response by adding that 'it would be better' if the pair were from the same caste.

The Balinese believe that inter-caste marriages, particularly if the woman comes from a higher caste than the man, will not receive God's blessing. Usually, if the woman is from a high caste, her husband must be also. If not, she will be disinherited. But if a jaba woman marries 'up', her family will be eternally grateful. Only, such women are rarely welcomed as equals by their husband's family. They are called 'jero', the name for women who marry up. She must use high Balinese when speaking to her husband's family who conversely, may use low Balinese when speaking to her. Granted, women in this position enjoy an elevated social status, but most of them suffer for it.

MARRYING UP
Head of Psychiatry at Udayana University, Dr Luh Ktut Suryani, has conducted research into the phenomenon of bebainan (posession) among Balinese women. She found that many of the women thus inflicted are jaba women who have married up. "The main problem is one of adaptation. Often, there are problems between the respective families of the couple, which can be very difficult to resolve," Suryani explained. Suryani herself is a jaba woman who married into the ksatria caste. Her early experiences as a new member of her husband's family were less than pleasant. She often felt she was deliberately being insulted for the crime of being a jaba woman. But now, thanks to her capacity to adapt, her husband's family treat her with the utmost respect. Moreover, Suryani is now renowned in her own right as a researcher and a scholar, such that her husband's family now consider themselves fortunate to have her as part of their clan.

Made Yuliana, a 22-year-old student at Warmadewa University, Denpasar, told of the difficulties she encountered in adapting to her ex-boyfriend's higher caste family. "It was not happiness that I found, but a whole stack of problems," she confessed. As do many young, educated urban dweller, Yuliana and her boyfriend tried to make sure their relationship was as democratic as possible. For example, Yuliana never called her boyfriend Gus (the title for brahmana men). "I just called him by his name. He didn't have a problem with it. But his family did. They didn't like me because of it," she said. Yuhana is now separated from her boyfriend and is looking for a man of the same caste as herself. "Love was not enough to keep us together," she lamented.

Sixty one percent of triwangsa women did not want to marry down, The reason they gave was that such marriages tend to unnecessarily complicate family matters

MARRYING DOWN
Ida Ayu Dindha Febrianti, a student of veterinary science at Udayana University, is a brahmana woman who values democratic ideals. "Times have changed. Do we really need to worry about title and status any more?" she poses rhetorically. Dinda, a model, has friends from a variety of social

circles - not only Balinese but also Javanese, Sumateran and even from overseas. Indeed, she has only lived in Bali for the past three years, and spent her childhood travelling the globe as her father moved from job to job. As a result, she is tolerant of difference and has a broad-minded enthusiasm for social change.
Dinda's tolerance, however, does not extend to her choice of partner. "It's very difficult for me to marry outside of my caste. I don't want to take a risk," she assures. When it comes to marriage, this 'Favourite Campus Girl, 1999', who also happens to be a Whitney Houston fan admits that she is unable to simply disown this aspect of Balinese custom, let alone challenge it or break it down,

especially after seeing what happens to other brahmana women who marry outside their caste. "They end up suffering for it. They are disowned by their family, and unseen forces are likely to affect their fate, making it impossible for her to fall pregnant, causing the death of her child or even her husband."
In short, she may develop a crush on a handsome, educated, well-brought-up young
man. But if he is not from the same caste as her, it would be difficult for her to marry him, as it would be were he non Balinese or non-Indonesian. "It's better to bury blossoming love if he's not a brahmana," she commented.

At the moment, Dinda is single, and says she is content to remain so for the time being. Granted, she's only 20 years old. Nevertheless, she often ponders the question of who her partner might be. As a brahmana woman, she must find a brahmana man. But how many brahmana men are there? And are they necessarily as educated and as broad-minded as she would like? Dinda recounts how her parents often invite her to social occasions where they know there will be a lot of single brahmana men "in the hope that I will be attracted to one of these people."

I Gusti Ayu Ratna is in he final year at High School No. l, Denpasar. Ratna is of the ksatria caste and hopes to find a ksatria man. But she is also open to the possibility that she may couple up with a jaba man. "One never knows who will end up being MR. Right. If in the end I don't end up with a ksatria man, it doesn't really matter. But I will try to make sure my husband is also a ksatria," said Ratna.
If Ratna ends up with a jaba man, she doesn't want to elope, as would be usual for a woman in that situation. "The man's family must propose formally to my family. I will then explain to my family that I am ready to take responsibility for the risks involved in this marriage. I think they will accept my choice," proclaimed Ratna, optimistically. Indeed, she assured me that her family honours democratic values.
So what would Ratna prefer, an unemployed ksatria man or a rich, handsome and smart jaba man? Ratna's response is uncommitted. "Beauty, wealth and intelligence are no guarantee for a good relationship. Even if I end up with an unemployed ksatria man, I can always help him find a job."

So, in this age of democratisation, when social status is, supposedly, no longer determined by primordial matters such as descent, why does caste remain such a dominant factor in Balinese women's choice of a man? Many jaba men nowadays have an overseas education, and frequently they hold the economic reigns. In the workplace, for example, brahmana men will often be subservient to jaba bosses. So why do Balinese women and men find it so hard to link up across the castes?

The Balinese believe that inter-caste marriages, particularly
if the woman comes from a higher caste than the man, will not receive God's
blessing

HARMONY AND COMPLIANCE
According to Putu Suasta, a local intellectual, Balinese women may appear to lead progressive lifestyles but, culturally speaking, they remain fairly conservative. They tend to prioritise the need for a husband to be able to support a high standard of living. They want a house and a car. Such desires, claims Suasta, is due to the influence of the mass media. Advertising images are now part of what people expect for themselves.

When it comes to marriage, however Balinese women invariably turn to
their family for guidance. Moreover, they have been strictly
socialised to avoid conflict, and maintain harmony. "They would rather lie than get into an argument or a fight," offers Suasta. Indeed, Bali is renowned for its 'harmonious' and 'peaceful' culture. Yet in reality, maintaining harmony requires pretence and camouflage, which are the primary strategies forming the basis of Balinese consensus. According to the anthropologist Jean Couteau, being a Balinese woman can be at once easy and difficult. It is easy because Balinese society is patrilineal and women are kept by the family until they are married. Once married, they become the responsibility of the husband. The difficulty is that leaves them little opportunity to determine their own fate.

In a purely philosophical sense, Balinese men and women are equal. As Couteau explains, similar to the Chinese Yin and Yang, the Balinese have pradana (feminine) and purusa (masculine). Unfortunately, in practice, the purusa dominates society. Inheritance is passed to the males. And in the case where a family has no sons, the inheritance will be passed to the husband of one of the daughters. Further, women have no right to represent the banjar or the village in their own name - they must use the name of their nuclear family. Further, the banjar wives clubs fulfil a role that is strictly determined by the men who run the banjar meetings.

Writer Aryantha Soethama has written about the controversial issue of inter-caste marriage. He argues that many women end up marrying men of the same caste simply to avoid family conflict. "This seems to be a sign that not many Balinese families are supporting their families to challenge the mainstream. We need not be surprised when it turns out that Bali produces few revolutionaries or visionaries. Perhaps we can advertise our youth internationally as 'compliant children from submissive families'," quipped Soethama.

Bali is renowned for its 'harmonious' and 'peaceful' culture Yet in reality, maintaining harmony requires pretence and camouflage, which are the primary stiategies forming the basis of Balinese consensus

Profil : Made Wianta Kanvas Saja Tak Cukup Menampung Ide

2006-12-31T02:28:00.000+07:00

Ketika kanvas dianggap tak cukup buat menampung ide-ide yang membludak, media lain jelas sangat dipedukan. Itulah yang mendasari perupa Made Wianta kerap memakai media lain untuk menyalurkan energi yang terus menyala-nyala. Suatu energi kreatif estetis yang dikombinasikan dengan isu-isu yang sedang mengemuka di masyarakat. Memang, lelaki kelahiran Apuan, Tabanan talum 1949 ini senantiasa ingin menghasilkan karyakarya yang bergema dan berguna bagi kelangsungan peradaban.

Menjelang pergantian abad yang baru lalu, misalnya, ia sukses menggelar Art And Peace yang meramu seni sastra, puisi, tarian, lukisan, dan teknologi menjadi pertunjukan spektakuler untuk menyerukan perdamaian dalam dunia yang serba dilanda konflik ini. Seni kolosal di Pantai Padanggalak, Sanur ini melibatkan 2000 penari, helikopter, perahu boat. Helikopter yang lepas landas dari pantai di Tabanan ini menuju ke arah Pantai Padanggalak, Sanur untuk menurunkan 2000 meter kain berisikan seruan perdamaian dalam berbagai bahasa.

Bagi lelaki yang tinggal di Denpasar ini, sejarah umat manusia, sarat dengan kekerasan untuk mempertahankan kepercayaan, agama, hak milik, maupun
eksistensi. Penjajahan di atas bumi terus terjadi. Di alam kekinian pun pertempuran terus terjadi, baik di bidang ideologi, ekonomi, agama, maupun kepemilikan. Alhasil, perdamaian ada dalam pembicaraanpembicaraan resmi belaka.
Adalah tugas semua orang untuk menyerukan perdamaian, terutama memberi panduan kepada kaum muda untuk mencintai perdamaian. Art and Peace yang digagas Wianta sejalan dengan keinginan membuat semua orang melek bahwa perdamaian sangat membahagiakan umat manusia.

Sesungguhnya, Art and Peace ini bukan yang pertama buat Wianta untuk menyerukan perdamaian lewat keseman. Pada 1982, ia sudah menampilkan pertunjukan di Pantai Parang Tritis, Yogyakarta. Intinya, ia ingin melakukan penyucian kembali air laut yang semakin terpolusi tumpahan minyak.
Pada 1993, Wianta menggelar Procession untuk merespon transformasi masyarakat Bali dari masa agraris menuju era industrial. Dulu, orang Bali cukup berjalan kaki menuju pura. Namun kini mereka memakai kendaraan. Puji-pujian yang dulu dilontarkan secara lisan pun kini bisa didengar lewat loudspeaker. Banyak nilainilai tradisi utama yang hilang.

Pada 1997, pelukis ini menampilkan pertunjukan di tanah kelahirannya sebagai respon dari perbuatan manusia yang semakin tidak ramah terhadap alam dan lingkungan. la ingin menampilkan penghargaannya terhadap misteri kehidupan, impian-impian kuno, dan alam gaib. Pohon-pohon besar di Apuan bukanlah pohon-pohon biasa. Sebagaimana sungai dan batu-batu, mereka adalah gudang spirit. Dalam pertunjukan ini, bola-bola api dibikin bergerak melintasi kabel kecil.
Wianta lahir dalam keluarga Hindu. Bahkan Ayahnya pemimpin spiritual keagamaan di lingkungannya. la kemudian menikah dengan perempuan jawa beragama Islam. Wianta belajar banyak bahwa agama bisa saja menciptakan konflik. Lantas, ia pun lebih suka dengan filsafat. Visinya terhadap lingkungan tak cuma terbentuk dari latar belakangnya dalam lingkungan Bali yang komunal, dari studi keseniannya di Yogyakarta dan keberadaannya di Belgia tahun 1976, namun juga dari serangkaian kekerasan yang ia lihat dalam hidup ini. Pada masa G 30 S/PKI tahun 1965, ia melihat dengan mata kepala sendiri, pemudapemuda yang terluka bahkan dibantai.
Hal ini membuatnya trauma setengah mati. Tak cuma itu, kekerasan di Timor Timur tahun 1975 membuatnya "mual".

Awal 1990-an, Wianta telah menjadi artis yang memiliki kepedulian terhadap masalah-masalah sosial dan politik dan merasa ingin membantu korban kekerasan, wabah, dan bencana alam. Tahun 1993 ia mengorganisasikan Art for Flores untuk meyumbang korban bencana alam. Pada tahun yang sama, ia juga menggelar pertunjukan tunggalnya di Fort Mason Center, San Ftansisco untuk membantu riser penanggulangan AIDS di Asia Tenggara.

Dulu, untuk beberapa waktu, Wianta menampilkan karya-karya figuratif yang didorong oleh tema-tema etnik dan surealistis. Ia terfokus pada dirinya sebagai orang Bali dan jiwa manusia. Karyakarya pertamanya, semisal Crying Candles, menurut penulis dan kritikus seni Marc Bollance, menunjukkan bahwa Wianta percaya terhadap emosi, bukan cuma emosi pada manusia, namun juga benda seperti lilin.
Akhir 1970-an ia meninggalkan Indonesia. la pun menemukan kultur yang lain dengan persepsi yang lain pula. Maka, pertengahan 1970-an, ia mengubah karya-karyanya menjadi abstrak, tak lagi tergantung pada akar budayanya. la mulai lebih konseptual, lebih coba-coba dan lebih intelektual. Dari situ jelas Wianta Semakin memperkaya khasanah seni dunia.

Wianta lantas meminjam konsep dan bentuk dari tradisinya. Segitiga, misalnya, secara intensif digunakan Wianta dalam "Periode Segitiga (Triangle Period)". Segitiga, sebagaimana kita ketahui, merupakan simbol universal, namun juga berkonotasi khusus dalam tradisi Hindu. Segitiga mencerminkan keseimbangan, perdamaian, dan pembuatan dunia menjadi tiga bagian. Yang tertinggi milik Tuhan, yang tengah milik manusia, sedangkan yang bahwh milik hewan dan tumbuh-tumbuhan. Belakangan seniman ini menampilkan segitiga untuk mewakili pertempuran antargalaksi. jelas ini merupakan simbol perubahan dari perspektif lokal menuju internasional.
Tahun 1990-an, Wianra lebih terlibat pada problem-problem yang dialami peradaban. Boleh dikata, tema sentral karya

karyanya adalah destruksi dan dekonstruksi. Kekerasan dan penghancuran yang terjadi di jagad ini menjadi fokus perhatiannya. Mulailah ia menciptakan simbol-simbol semua ini lewat berbagai media. Tak cuma kanvas, ia pun memakai besi, baja, kabel, dan lain-lain sebagai simbol kekerasan dan agresi.
Seni instalasi yang giat dikerjakannya menampilkan interaksinya dengan lingkungan.
Sedangkan Art and Peace adalah kelanjutan dari semua itu. Tak cuma prestasi yang diraihnya, namun juga permulaan baru.
Lebih jauh, ayah dua putri ini menciptakan rangkaian karya hitam putih yang berjudul "The Wave Paintings". Lukisan-lukisannya ini diilhami oleh alam dan pertunjukan Art and Peace sendiri. Dua contoh menonjol adalahThe Waves of Life dan The Waves of Peace. Karya Wianta Embryo menyimbolkan kehidupan baru.

Tak cuma berhenti di situ, Wianta terus berkarya. Beberapa bulan lalu, misalnya, pada HUT ke5 Museum Rudana, di Ubud, Bali, ia mempersembahkan performing art berjudul Persembahan untuk Dewi Sri yang didukung 21 penati wanita bergaun putih. Pertunjukan itu juga menampilkan hasil karya berupa pembuatan gunungan betas 2000 kg dan telur 2000 buah. Tentu saja Wianta ingin mengingatkan, betapa kebudayaan agraris selama ini terabaikan. Padahal ini bagian tak terpisahkan dari kebudayaan Indonesia. la ingin ucapkan terima kasihnya kepada dewi kesuburan yang telah melimpahkan anugerah kesuburan tanah.

Hingga kini Wianta menghasilkan 14000 karya seni, baik berupa sket, lukisan, instalasi, dan dua buku puisi ciptaannya. )))) alpha savitri