Joged

text by Ari Mustikawati
images courtesy of Ida Bagus Indra











You are born and raised in Bali. I was born in Denpasar 9th May 1974 into a Brahman family with a cartoonist father who later developed his business interests in Bali’s thriving tourism industry. As the Brahman is the top caste in the Hindu belief system I was living among the high priests and other holders of Balinese scriptures, who shaped me into who I am right now: a Balinese person who is fascinated by my own culture as a heritage from our Gods and Goddesses.

How has your work matured so significantly over recent years? I used to describe my work as a form of naughty humour mingled with romance. But now, I identify my work as surrealism and expressionism. The element of surrealism is reflected in my choice of objects I use for my paintings – objects from the world of niskala – the intangible world. Expressionism is more the styles and techniques I employ.

Where do you draw your inspiration from? Primarily from my interaction with niskala during meditation - such as dialogues with the objects of my paintings. I find inspiration comes from everything I see, touch and feel. My series of work ‘Joged’ has been inspired by my wife and the colourful, highly traditional clothing she wears as she dances.

Tell us about Joged. In Indonesia Joged is a folk dance - usually related to earthly rituals. In earlier periods, Joged was regarded as a traditional rhythmic dance performed by groups of women, each choreographing their routine to a dynamic pulse of drumming for the amusement of the king. In my paintings Joged is a representation of colour and dynamism. In ‘The Blue Thunder’ I decided to focus on the momentum of the dance and achieved a heightened sense of dynamic movement by presenting a snapshot of a Joged dance on several narrow canvases. When you link them together the dance forms, sort of like a strip of film.

Do you still call Denpasar home? I call my studio Griya Telabah and yes, it’s in Denpasar on Jalan Tharin where I also built my house, as I want to be close to my wife and children as much as possible. As an artist I can call every spot in this universe my studio, anywhere I find inspiration really!

You have exhibited around the world, but where did it start? My solo exhibitions began back in 2004 at the Lynne Wilton Gallery Australia, then Bali the same year. I also exhibited in Jakarta, the Kufa Gallery in London then Germany, Singapore, and Malaysia. Joged is currently exhibiting at Museum Rudana (Jl. Cok Rai Pudak 44 Peliatan Ubud).

You must have received a lot of international interest in your work over the years. I began my professional career in 1994. After my work sold out to private collectors and galleries throughout Indonesia I decided to move to Melbourne, that was in 2003 following some top recognition at the 2003 Indonesia Art Awards Festival. There, I was labelled one of the Republic’s leading artists which paved my way for exhibiting overseas.

Can we still buy your artwork in Bali? Of course, at Rudana Fine Art Gallery (Jl. Cok Rai Pudak 44 Peliatan Ubud) for my Joged work, or in my studio at Denpasar.

Future plans? After JOGED, I want to concentrate on the preparation of my next exhibition called Kamasutra. It will be an adaptation of the ancient Indian folk tales about love and eroticism and will be shown at the Ganesha Gallery in the Four Seasons Resort later this month.

resource :
http://www.hellobalimagazine.com

Tanah Lot - Natural beauty, history, and legend

text by I.B. Andi Sucirta


Pura Tanah Lot is located in Beraban village, Kediri subdistrict, Tabanan regency, just a 30-minute drive from Kuta. Facing west, it offers a lovely view, especially in the late afternoon, with the temple in dramatic silhouette as the sun sets in the Bali Strait. There are always visitors, both domestic and foreign, and it’s even busier in the afternoons and during school holidays.












Tanah lot

The temple, Pura Tanah Lot, owes its existence to a religious leader from the Javanese kingdom of Majapahit in the late 15th century: Danghyang Niratha, also called Danghyang Dwijendra, and known in Bali as Ida Pedanda Sakti Wawu Rawuh. The temple was originally a sacred site where local people came to worship God as the master of the ocean, seeking safety and success for their work as fishermen. It became better known after Danghyang Niratha came to meditate there. Beraban village was suffering an epidemic at the time, and the holy man’s presence was a blessing for them; with his religious/magical powers, he helped the community recover, and from then on, he provided them with religious guidance, as well as instruction on right livelihood in farming and fishing. From this relationship between the community and the holy man, this place of worship was no longer solely for the people of Beraban village but came to be used by everyone throughout Bali. Since then, Pura Tanah Lot has been considered one of the Sad Khayangan, the six temples of the world.

Another legend about this temple states that the coral rocks were placed in the sea by Danghyang Niratha using his spiritual powers. He then named it "Tengah Lot," meaning land located in the sea. Still according to the same legend, he then transformed the scarf he was wearing into a black-striped sea snake to protect the holy place. All these miracles were meant to demonstrate his sincerity in serving as a religious guide to the community. Whether the legend is true or not, black-and-white striped sea snakes are still found in the coral caves around Tanah Lot.

connecting wall to reach Pura Batu BolongLeaving Kuta, I headed west through Canggu toward Tanah Lot. The road was in much better condition compared with the last time I went. The many terraced rice fields on both sides of the road provide a green and refreshing view. Thirty minutes passed in no time at all, and I was at the entry gate to Tanah Lot. The area has all the tourist facilities we have come to expect: plenty of parking space, toilets, restaurants, souvenir shops, stalls selling traditional snacks, and so on.

One thing I never skip whenever I visit: buying the traditional snack called kelepon from the vendors near the entry gate. Kelepon are small green balls the size of quail eggs, typically served with grated coconut. The balls are made from rice flour, naturally colored with suji leaves, and have a hidden surprise: a blob of liquid palm sugar in the middle. Biting into kelepon and discovering the sweet treat inside is addictive; you can buy a serving of these for just Rp 1000 to Rp 3000.

When the tide is in, Pura Tanah Lot looks like a ship floating on the sea, with the artistic patterns of the rock carved by the waves. Those who come to pray generally prefer to use the space on the beach, rather than crossing over. But occasionally, a few try to make it to the rock, relying on a rope tied to the coral. They are usually supervised and helped in this by the traditional security personnel, or pecalang. Treading cautiously through the water and watching out for incoming waves, these pilgrims seem delighted with their brief crossing.

After traveling around a bit, I returned to Pura Tanah Lot. The day was drawing late and the venue becoming more crowded. The tide was out, so both locals and tourists could now approach the temple more easily. I took this opportunity to view the black-and-white snakes that are part of the Tanah Lot legend, in the caves near the rocks. I saw a number of people placing offerings and handling these tame holy snakes under the supervision of a pawang ular.

Queuing up to pray at Pura Tanah LotThese snakes are actually highly venomous, so they should never be disturbed or handled except under the supervision of an expert. At another part of the coral rock below the temple is a freshwater spring, a source of holy water for the Hindu faithful.

In the afternoon, huge numbers of local people swarm toward the temple to pray. The space for praying at the top of the temple is quite small, so people have to take turns. Walking along the narrow, high rocky path to the top, the worshippers queued in an orderly fashion. As the sun slowly sank on the western horizon, the tourists were entranced by the play of colors of Tanah Lot at dusk. When there was just a glimmer of light remaining in the sky, I set off for home, with fond memories of natural beauty, the temple itself, and the devotion of the local people. I will surely come again; the beauty of Tanah Lot is like a tremendous magnet that attracts everyone who visits, including me.

resource : http://www.garudamagazine.com