Proceeding Bali-Global Arts and Design Symposium
Re‑imagining Museum Space between Cultural Containment
I approach the rumah gambar; those Malay picture‑houses of the late nineteenth century, The rumah gambar; a travelling Malay picture‑house discussed by Simon Soon (2018), provides the hinge of the argument. More than a studio, it operated as an embryonic, community‑run museum: a porous room where photographs, maps, and panoramas were shown, discussed, and occasionally re‑labelled by local viewers. Tracing Lambert’s print from this egalitarian setting into rigid colonial vitrines, then into the speculative circuits of today’s art market, reveals an institutional relay in which intimate portraiture is repeatedly recast as public memory. Each metamorphosis leaves fissures where counter‑narratives can germinate. This paper traces the rumah gambar’s curatorial logic through its later incarnations: colonial museums that fixed the once‑fluid images behind glass; national archives that indexed them; contemporary art fairs that circulate them anew. The itinerary reveals containment not as a static enclosure but as a rhythm of pause and release. Images settle, accumulate meaning, then travel on. Understanding that rhythm, I argue, helps us rethink present debates over the museum’s social role; debates crystallised in the triadic theme Tutur‑Bhuwana‑Tuwuh. Tutur describes the picture‑house’s first utterance: a luminous tale told through cloth and light. Bhuwana marks the worldly journey of those tales across ports, plantations, and catalogues, where they gather new valuations and frictions. Tuwuh names the work still ahead: to revive the pavilion’s permeability in contemporary practice; inviting audiences to annotate, to disagree, to share custodianship; while acknowledging the colonial scaﬀolding that once framed the same images. Grounded in archival research, site visit, and small‑scale re‑enactments, this study proposes the rumah gambar as a model of flexible stewardship: a museum space light enough to travel, strong enough to hold memory, and open enough to let new voices re‑compose its glow.
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On the threshold: A road trip beyond the living and the dead, through lands of desert gold, and heavenly kings
This text explores the thought processes at the intersection of memory, culture, and mortality through a personal narrative that juxtaposes a road trip across the Western Australian desert with a journey to Toraja, Indonesia. The author, Paul Trinidad, reflects on the experience of riding his vintage Ducati motorcycle through the Eastern Goldfields, where the vastness of the landscape evokes thoughts of pioneers, some of whom are buried in the harsh terrain. The thought processes travel the tary serpent, via unsettling mindscapes which follow pioneers' struggles and tumble posthumously through the remnants of their lives. The journey provides impetus to make, and to explore new meanings, new representations. Though not stated implicitly, the writing explores new ideas in context of contemplation and discovery along the way, the development of our own myths, representing humanity's endeavour to find meaning in the awe inspired by the universal cosmology. This introspection leads to a poignant comparison with Toraja’s unique approach to death, where the deceased are not buried but placed in an elaborate variety of tombs, emphasizing in the process, a continual connection between the living and the dead. Trinidad grapples with themes of existence, contrasting rituals surrounding death, and the cultural significance of memory, ultimately contemplating the role of art and personal expression in finding new ways of preserving these legacies. The narrative weaves together a tapestry of experiences that question our understanding of life, death, and the bonds that transcend both, reflecting our inherent quest for meaning and representation amid the vastness of existence.
Ancient Balinese Society From The Perspective of Modern Theater Performance
The rich world of ancient Balinese society can be reimagined through the lens of modern theatre. Balinese culture holds a deep legacy of philosophy, spirituality, and social values that have long been expressed through its traditional arts. Over time, these art forms have evolved and so has theatre itself. The challenge today is how to bring the social structures, beliefs, and daily life of historical Bali to the modern stage, blending traditional aesthetics with contemporary performance techniques. This study uses a qualitative and descriptive approach, drawing on literature, live performance observations, and interviews with practitioners of contemporary Balinese theatre. It draws inspiration from Stuart Hall’s theory of representation which explores how meaning is built through language and symbols and Richard Schechner’s theory of performativity, which views performance as a living, transformative act of culture. The findings show that modern Balinese theatre has become a powerful space for reinterpreting the past. Through symbolism, storytelling, and the creative dialogue between tradition and innovation, theatre can revive and renew Bali’s collective cultural memory. Rather than replacing traditional values, this evolution strengthens and expands them, connecting old wisdom to new audiences. Modern theatre thus stands as a bridge between Bali’s cultural history and its contemporary identity, helping safeguard its spirit in an ever-globalizing world
Panca Warna: The Living Energy of the Cosmos from Ancient Myths to Contemporary Art Practice
In Balinese tradition, color is central to both artistic expression and spiritual practice, serving as a guiding principle that connects aesthetic forms with cosmological meaning. This study focuses on Panca Warna, the five sacred colors, white, red, yellow, black, and multi-colored/gold, each associated with a specific direction: east, south, west, north, and center. These colors express principles of opposites, balance, and renewal, connecting human life as a microcosm with the universe as a macrocosm in harmony. The study uses an interdisciplinary approach, combining cultural analysis, hermeneutic interpretation, and artistic reflection, to show how color serves both as a symbolic system and as a medium of artistic innovation, preserving ancestral wisdom while enabling new interpretations in contemporary practice. The findings demonstrate that the significance of color transcends its cultural origins, offering a paradigm for understanding how traditional cosmologies inform broader global discourses on art, ecology, and spirituality. This study expands the understanding of sacred colors in Balinese tradition and demonstrates their relevance to global discourses, offering a foundation for cross-cultural studies and contemporary art practices rooted in traditional wisdom.
Inclusive Identity of stage: Myths, Local Wisdom, and Resistance in the Baris Bebila Dance of Bengkala Village
Bengkala Village in Bali presents a unique phenomenon, where a community of deaf (Kolok) and hearing (Enget) people coexist in a state of near-perfect integration. At the heart of this integration lies the Baris Bebila Dance, a performance masterpiece that is not merely a cultural attraction but a crystallisation of myth, local wisdom, and a decades-long process of constructing an inclusive identity. This ethnographic study aims to analyse the role of the origin myth and local wisdom of Bengkala Village in shaping this inclusive performing art, as well as to understand how the identity of the Kolok community is constructed and re-signified through the medium of dance. Data was collected through intensive participant observation, in-depth interviews with Kolok dancers, the dance's creator, and traditional elders, as well as a study of documents related to the village's myths and history. The research findings reveal that the myth of the Kutukan Goda Cacat (Goda Cacat's Curse) is not viewed as a disgrace; instead, it has been intelligently transformed through local wisdom into a source of strength and collective unity. The Baris Bebila Dance becomes a stage upon which the identity of "deafness" is radically reconstructed; from a limitation into a sacred and powerful uniqueness. The values of selempah (close kinship) and equal partnership between theKolok and Enget, manifested through the entire community's mastery of Bahasa Isyarat Kata Kolok (BIKK, the Kolok Sign Language), form the social foundation that enables this inclusion to be realised organically. The conclusion of this research affirms that the Baris Bebila Dance is, in essence, a subtle yet powerful form of cultural resistance against the stigma of disability. The story of Bengkala proves that authentic and sustainable inclusion is not an imported ideal, but can flourish from within, nurtured by the community's own value systems and creativity.
Rejang Sutri: The Magical Dance of The Myth of Queen Ratu Gede Mecaling
The development of ceremonial dance in Bali is inseparable from various underlying factors. The formation of sacred ceremonial dances sometimes arises from beliefs within the community, such as myths, disasters, vows, territorial legitimacy, the legitimacy of a figure, divinity, and so on. The development of these dances is believed to bring prosperity and inner peace, thus fostering a vibrant presence in human life. Similarly, the emergence of the Rejang Sutri dance in Batuan Village, which is rooted in myth. Myth strongly influenced the formation of Rejang Sutri, a legacy of sublime local wisdom, and its function as a dance to ward off disaster. This ward off disaster is the negative aura of the plague spread by Ratu Gede Mecaling, which coincides with the arrival of the fifth month (sasih kelima) through to nine month (sasih kesanga), estimated to be from October/November to March of the following year. The residents of Batuan Village, Gianyar regency, an ancient village in Bali, have inherited an oral tradition that states that Ratu Gede Mecaling lost a battle against I Dewa Babi, a retainer of the Dewa Agung Anom Sirikan, who initially reigned in Batuan Village and later built a palace in Sukawati. Ratu Gede Mecaling uttered vows, curses, and mystical revenge for the Batuan community, which were warded off in harmony with the Rejang Sutri performance. Furthermore, a series of other ceremonies related to this ritual are also performed in Batuan Village, such as Gocekan (cockfighting), mecaru at the village border and at each village entrance, and several other rituals.
Gending Gender Wayang Sudamala: Representation of Myths and Philosophies of Moral Purification in the Preservation of Cultural Heritage
This article examined in depth the Gending Gender Wayang Sudamala as a representation of myths and moral purification philosophies in the context of preserving Balinese cultural heritage. Through the analysis of the musical structure, ritual function, and symbolism contained in the Gending Sudamala, this study revealed its central role in wayang kulit or shadow puppet performances as a medium of spiritual expression and community protection. Sudamala reflects on cosmological and ethical values rooted in Balinese Hinduism, especially in the narrative of purification of the soul which functions as a means of moral education and social harmony. Field ethnographic data showed that this gending is not only an accompaniment to music, but also serves as an instrument of cultural identity formation that connects generations in the process of cultural transmission. This article also highlighted the adaptation strategies implemented by the community to maintain the sustainability of the Gending Sudamala in the midst of the dynamics of globalization and social change. The findings of this study made an important contribution to understanding how traditional performing arts are able to be a bridge between myths, moral philosophies, and the challenges of modernity in contemporary civilization.
Kidung Merapi as the Arts-Politics of Memory
Mount Merapi is not merely an active volcano but a living symbol in Javanese cosmology, deeply intertwined with myths of sacred guardians and ritual performances. This study explores the kidung (ritual chants) performed during the Labuhan Merapi as a form of noble wisdom and a cultural strategy for negotiating human–nature relationships in a disaster-prone landscape. Using Performance Studies and Politics of Affect, this research analyzes how these chants produce affective atmospheres of fear and reverence that sustain collective memory of past eruptions. Ethnographic observation, textual analysis of the kidung, and interviews with ritual custodians reveal that the poetic structure encodes ecological knowledge, local cosmology, and the philosophy of sumeleh (sincere acceptance) as a mode of living with disaster. The study highlights how ritual music and simple gamelan accompaniment create a sacred soundscape that connects spiritual beliefs with communal resilience. However, the transformation of Labuhan into a form of spiritual tourism generates tensions between the sacred and the commodified, raising critical questions about who benefits from this affective economy. This paper argues that the Merapi kidung is not merely a static heritage but an affective performance that is constantly renegotiated within the interplay of local agency, state narratives, and the tourism industry. As such, the noble wisdom embedded in these ritual soundscapes offers alternative knowledge for sustaining life amid ongoing threats and the pressures of modern cultural commodification.
Beyond Fortress and Flow Through Ratu Gede Macaling and the Ethics of Permeable Protection in Anthropocene Contexts
This study interrogates the exhausted binary between fortress mentality and neoliberal permeability by theorizing liminal interiority through the Balinese figure of Ratu Gede Macaling (RGM). The objective is to demonstrate how indigenous cosmologies articulate spatial and ecological ethics that remain underexplored in global debates on the Anthropocene. Drawing on comparative hermeneutics of myth, ethnographic documentation, and ritual practice, the analysis reveals that RGM embodies threshold immunity: a mode of protection contingent upon ethical reciprocity rather than territorial sovereignty. The findings show that RGM’s guardianship operates through calibrated mediation, ritualized protocols that regulate circulation between order and chaos, human and more-than-human domains. This framework enables protective cohabitation, where ecological stewardship emerges from contractual engagement with spiritual sovereignties, contrasting with Western conservation models premised on exclusion. The implications extend beyond Balinese contexts: first, by positioning mythological literacy as an epistemic practice for navigating ontological pluralism; second, by offering “calibrated openness” as an alternative paradigm for border ethics, environmental governance, and intercultural dialogue. Yet the study also cautions against the commodification of RGM within tourism economies, which risks stripping guardianship of its ecological epistemology. Future research should pursue comparative inquiries into liminal guardians across Asia-Pacific traditions, investigate institutional designs that integrate myth-sensitive governance, and empirically assess how ritual authority mediates conflicts between ecological protection and capitalist extraction. Ultimately, the study argues that sustainable futures may depend less on universalist principles than on cultivating the capacity to learn from civilizational narratives encoding millennia of experimentation with dwelling across difference.
How “Pahit Manis, Night Forest” Based on Batuan Paintings and “K-Pop Demon Hunters” are Related: Ancestral Stories Retold in Contemporary Time
Our understanding of myths and noble wisdom in the Asia-Oceania civilisation has been side eyed by many scholars due to colonialism. For many years our collective polycentric aesthetics views (Shohat and Stam, 1998) in understanding how the world works are seen just as mere imaginary stories. Our ancestors constructed stories for better lives in the future, unfortunately distracted from colonialism to globalisation. In recent years there have been many efforts building back these myths and memories, re-introduced to today’s world so that younger generations can learn from. One way that has been done is through video installations and films. To note there will be two, what seemed opposite art films, yet actually are very related that will be discussed here. First, is a short film by Australian-Balinese artist, Leyla Stevens, “Pahit Manis, Night Forest” presented in an installative exhibition. “Pahit Manis” is a reintroduction to what’s once Mead and Bateson’s Batuan paintings’ collections and its familiar Tantri stories at the Art Gallery of New South Wales. The film eventually travelled to Bali to be shown to Batuan painters and families of the paintings represented, along in Potato Head and recent ARMA Fest. Second, is a very popular full-length movie titled K-Pop Demon Hunters, telling the story of a South Korean girl band that fights demons and protects the world from them. The details of myths and memories brought up are intriguingly symbolised. Within these stories are effects of colonialism, indigenous stories, and most importantly these ancestral stories retold in a contemporary time.
Ecological Balance in the Symbolism of Balinese Hindu Mythology on the Bali Arts Festival Posters
Despite being grounded in the ecological philosophy of Tri Hita Karana, modern Bali faces the paradox of an acute ecological crisis resulting from mass tourism, land conversion, and a water crisis. This condition creates an urgency to revitalize local wisdom. This research aims to analyze how the Bali Arts Festival (PKB) posters, as the festival's main visual communication medium, use symbolism from Balinese Hindu mythology to communicate messages and values of ecological balance. Using a visual semiotics approach and iconographic analysis, this study examines recent PKB posters as visual texts. The results show that the selection of mythological iconography is a deliberate semiotic act to translate the vision of Nangun Sad Kerthi Loka Bali. Key figures analyzed include the Kalpataru Tree (PKB 2021) as a representation of Wana Kerthi (purification of forests), Naga Basuki (PKB 2022) as the guardian of the hydrosphere symbolizing Danu Kerthi (purification of water), and Gajah Mina (PKB 2023) as a metaphor for ridge-to-reef ecosystem interconnection representing Segara Kerthi (purification of the seas). This study concludes that PKB posters have transformed into a "visual dharma wacana" (visual sermon/discourse) capable of "bypassing textual literacy". This medium effectively educates the public intuitively about the sacredness of nature and functions as a vital bridge between government policy, sublime philosophy, and public ecological awareness
Retelling the Myth of Timun Mas through Aniwayang ‘Ijo dan Emas’
This study explores the reinterpretation of the well-known Javanese folktale Timun Mas through the short animation Ijo dan Emas (2023), produced by Aniwayang Studio. Unlike the conventional narrative that highlights Timun Mas as a heroine against the evil ogre Buto Ijo, Ijo dan Emas reimagines the myth from the perspective of Buto Ijo, challenging the binary opposition between good and evil. Written by Andina Subarja and directed by Daud Nugraha, this animation film introduces a novel use of colored wayang puppets, where green and gold motifs are embedded in the carved perforations of the main characters to align with their names and symbolic identities. This creative intervention not only extends the expressive potential of shadow play but also embodies a new aesthetic dialogue between tradition and modern animation practice. Using a semiotic approach, the study analyzes how symbols, colors, and narrative shifts produce fresh layers of meaning and invite viewers to reconsider myths as fluid cultural texts. The paper argues that Ijo dan Emas demonstrates the power of re-narrating folklore in digital forms to sustain cultural memory while fostering new interpretations relevant to contemporary audiences in Indonesia and beyond.
Rekasedana, Diatmika, And Widyaguneng Ringgit: Local Wisdom In Contemporary Learning As A Wimba Panititala of Balinese Puppetry
Balinese shadow puppetry (Wayang Kulit Bali) embodies dharmic values, religious reflections, and cultural wisdom, positioning it as a world heritage art form of enduring significance. The dalang (puppet master) occupies an esteemed role within Balinese society, achieved through a long process of intellectual, artistic, and spiritual cultivation. To attain such mastery, a comprehensive Panititala Pedalangan (pedagogical framework) is required to guide practitioners toward Jayeng Lango (artistic and spiritual excellence). This study examines the concepts of Rekasedana, Diatmika, and Widyaguneng Ringgit in the Purwa Wasana text as essential local wisdom that remains relevant in contemporary pedagogy. Using a qualitative textual approach, the research involved transliteration, interpretation, and synthesis of textual data into wimba (conceptual models). The analysis employed hermeneutics, intertextuality, Lingga Yoni Tatwa Widya Lango, and Bourdieu’s theory of social practice. Data were collected through textual study and interviews, and analyzed through intertextual mapping and interpretation of social-educational functions. Findings indicate that Purwa Wasana serves as an adaptive medium of learning, sustaining continuity with the Mahabharata and Ramayana while reframing narratives through Balinese cultural values. The dalang emerges as a mediator of ethical knowledge, transforming moral principles into communicative and educative performances. The study formulates the Wimba Panititala Seni Pedalangan Bali as a systematic framework consisting of three dimensions: Widyaguneng Ringgit (knowledge and terminology), Rekasedaneng Ringgit (forms and structures of performance), and Diatmikeng Ringgit (theological-spiritual knowledge of the dalang). These findings underscore the pedagogical and cultural significance of puppetry as a medium of ethical transmission and educational renewal.
Inheritance System of Ngeloang Capah Tradition as a Symbol of Harvest Success in the Subak of Tamblang Traditional Village
The Ngeloang Capah is a sacred, ancient harvest tradition in Tamblang Traditional Village, Buleleng, Bali, symbolizing gratitude for an abundant harvest through the presentation of the capah. Initiated by the Subak Community (Bali's traditional irrigation organization, recognized by UNESCO), the tradition is a tangible expression of the Balinese life philosophy, Tri Hita Karana. This philosophy emphasizes harmony in three relationships: with God (Parhyangan), fellow humans (Pawongan), and nature (Palemahan). Subak operates not just as an irrigation regulator but as a socio-religious institution, managing rice and water as divine gifts in accordance with these values. The study found that the tradition is maintained through a vertical inheritance system, passed directly from the older generation to the younger, and is inseparable from religious life. This mechanism is key to preserving local wisdom. The elements passed down include the capah symbols, the ceremonial sequence, and also some art practice like Gong Alit, Mask (Topeng) and Dawang - dawang. Crucially, the tradition fosters kinship and mutual cooperation (gotong royong) through the practice of ngayah (communal volunteer work), which concretely embodies the Pawongan pillar. By preserving Ngeloang Capah, the Tamblang community ensures the continuity of their cultural identity and the fundamental Tri Hita Karana philosophy.
SANDYAGITA Vocal and Instrumental Bali: Tradition and Innovation for Strengthening Wisdom Memories
Sandyagita is a form of Balinese traditional musical expression that unites vocal and instrumental elements imbued with deep philosophical, aesthetic, and social meanings. As a traditional choral form emphasizing collective vocal expression, Sandyagita is rooted in mythological narratives and sacred memories transmitted through literary texts and melodic traditions. Its soft yet dynamic vocal style reflects the continuity between the mythical world and collective memory, embodying harmony and balance as central values in Balinese cosmology. In its modern development, Sandyagita is usually accompanied by the Gong Kebyar gamelan tuned in pelog panca nada, while vocal elaborations explore slendro or pelog sapta nada scales. This study aims to examine the functions of vocals and instruments in Sandyagita and explore the innovations emerging within the contexts of performance and Balinese music education. Employing literature study, observation, and interviews with practitioners, the findings reveal that vocals remain the core element, while instruments enhance the musical atmosphere. Innovations arise through the creative synthesis of traditional vocal techniques with modern arrangements, strengthening collective memory and cultural wisdom. Thus, Sandyagita serves not only as an artistic expression but also as a living memory that connects myth, world, and wisdom through music.
Barong Ket Dance: The Spirit of Traditional Mythology in Balinese Society
Barong Ket is one of the traditional art forms that represent the noble values of spiritual culture, which continue to live, endure, and evolve in harmony with the spiritual dynamics of Balinese society. The existence of Barong Ket is deeply rooted in daily life, as it is believed to possess sacred power that protects the village and its people. Barong Ket is regarded as a symbol of virtue, standing in contrast to Rangda, who symbolizes evil. Together, they embody the dualistic cosmic forces or the Rwa Bhineda concept — a worldview centered on balance and harmony within the universe. In the context of Balinese society, this dance is not merely an aesthetic performance but also serves as a medium of traditional education that internalizes moral, spiritual, and social values. This study examined the role of the Barong Ket Dance in transmitting the spirit of traditional education within Balinese society, emphasizing its ritual, symbolic, and pedagogical functions. The research employed a qualitative approach with an ethnographic method, combining data from participatory observation, interviews, and literature review. The findings revealed that the Barong Ket Dance functions as a collective learning space, where the community — particularly the younger generation — gains understanding of the philosophy of life balance, communal solidarity, and respect for transgenerational cultural values. Furthermore, the presence of Barong Ket in piodalan or ceremonies at temples illustrates how myth and tradition are transformed into a continuous form of cultural education. Thus, the Barong Ket Dance can be understood as a manifestation of wisdom that not only strengthens Balinese cultural identity but also contributes to a universal understanding of the importance of maintaining harmony among human beings, nature, and transcendent forces.
The Existence of Palegongan Banjar Binoh Kaja’s Style: Between History and Mythology
Banjar Binoh Kaja, Ubung Kaja Village, is one of the banjars in Denpasar City that is well-known for its rapid development in the arts, namely the art of palegongan, which has been passed down from generation to generation. The preservation of this palegongan art is closely related to religious activities, so that children in the Banjar Binoh Kaja area are required to learn karawitan and dance. The emergence of legong art in Binoh, now known as “Legong Keraton,” experienced its heyday and peak around the 1920s, when Sekaa Palegongan Binoh was mentored by the late Guru Besar I Wayan Lotring from Banjar Tegal, Kuta -Badung and Ida Bagus Boda (deceased) from Banjar Kaliungu Denpasar. Then, in accordance with the ups and downs of life after experiencing glory, Sekaa Palegongan Binoh began to experience a decline with the emergence of a new art form, namely the Gong Kebyar gamelan. However, palegongan gamelan activities in Banjar Binoh Kaja continued because in Banjar Binoh Kaja itself there are 12 sacred buildings (Pura), where every 6 Balinese months (7 calendar months) they are assigned to accompany piodalan ceremonies at the Pura. The development of Legong Binoh Kaja in this era of modernization has also experienced a decline, largely due to the rapid advancement of technology, which inevitably leads to negative consequences such as gadget dependency activities in the fields of education, social and cultural affairs, as well as the talents possessed by the younger generation, have been neglected. This is a shared responsibility to begin directing the use of technology and gadgets towards more interaction with friends through activities organized by Sekaa Palegongan Binoh and Sanggar Tari Murda Sruti in Banjar Binoh Kaja.
Hindu Mythology in The Visual of The Aqua Brand Logo on The Market Share Of Mineral Drinking Water
Aqua mineral drinking water has no doubt its existence in the mineral water business, where Aqua has been introduced since 1974. At that time Aqua was produced by PT. Golden Mississippi 950ml in glass bottles, what is interesting about the Aqua brand is the existence of the logo and the concept of mountain water that has remained in use since its initial launch until now so that the visual branding of the Aqua logo is so strong and very familiar in Indonesian society in general, and through across generations from the 70s to now, even the use of colors applied by Aqua mineral water seems to be a color reference used by other mineral water brands, even when Most people want to buy mineral water, the first thing that comes to mind is the Aqua brand, this happens because of the consistency of visual branding carried out by Aqua from time to time, and the mountain water used as the branding concept of Aqua mineral drinking water is strong and has a meaningful relationship in Hindu mythology.
The Turning Cycle of Life: Mythical and Noble Wisdom in the Ayunan Jantra Tradition of Tenganan Pegringsingan
The Ayunan Jantra tradition in Tenganan Pegringsingan Village is a cultural procession deeply rooted in philosophical meaning within the Ngusaba Sambah ceremony. This ritual features young men and women swinging together on a traditional swing, symbolizing balance, harmony, and the continuous cycle of human life. From the lens of myth and ancestral wisdom, Ayunan Jantra represents not only social togetherness but also the cyclical rhythm of existence—birth, growth, and regeneration. More than a cultural performance, Ayunan Jantra can be interpreted as a visual metaphor for sustainability in both life and design. The rhythmic motion of the swing mirrors the design principle of harmony and continuity, emphasizing the interconnectedness of form, function, and purpose. The Bali Aga community of Tenganan Pegringsingan embodies these values by maintaining harmony between humans, nature, and ancestral traditions. This article explores the philosophical dimension of Ayunan Jantra as an expression of myth and wisdom among the Bali Aga people, positioning it within the broader Asia-Pacific cultural context. Through a descriptive-qualitative approach and literature review, the study highlights Ayunan Jantra as a symbol of cultural identity and a universal representation of balance, unity, and life’s ongoing sustainability.
Universal Music: Cosmic Resonance and Asia-Pacific Mythology
This article explores the concept of universal music the cosmic resonance underpinning existence through Asia-Pacific mythologies and contemporary philosophical discourse. It investigates how traditional cosmologies, from the Om vibration in Hindu thought to Polynesian chants and Aboriginal Dreamtime songs, articulate sound as a primordial creative force and the fundamental principle of interconnection. By tracing these mythic soundscapes, this study reveals the early epistemologies of systems thinking and ecological interdependence encoded in the sonic metaphors. Furthermore, it examines the role of mythic sound in shaping cultural identity and collective ethics, highlighting how ritual practices and modern reinterpretations sustain cultural continuity in the context of globalisation. This article argues for a symphonic worldview that integrates ancient wisdom with contemporary science quantum vibration, acoustic ecology, and sound healing to foster relational modes of being and governance grounded in resonance rather than in domination. This synthesis offers practical insights for sustainable development and environmental stewardship by emphasising listening as an ethical practice. Ultimately, the mythic songs of the Asia-Pacific underscore the imperative for humanity to cultivate a new auditory consciousness one attuned to the rhythms of the earth, community, and cosmos to address the pressing ecological crises of the contemporary world.
Gamelan Selonding as A Source of Aesthetic Inspiration and Identity for Young Bali Artists
The Selonding gamelan represents one of the oldest gamelan ensembles in Bali, embodying profound historical, religious, and aesthetic values. Its trajectory of development has moved beyond its sacred functions, positioning it as a significant source of artistic inspiration for emerging generations of Balinese artists. This article argues that the Selonding gamelan operates not only as a medium of creative expression but also as a cultural marker that reinforces collective identity among young Balinese practitioners. Employing a descriptive-analytical approach, the study demonstrates that Selonding serves as both a repository of traditional heritage and a site of aesthetic innovation, thereby enriching the dynamics of Balinese performing arts within the context of globalization.
Factors Shaping the Representation of Power and Global Multiculturalism in the Ornaments of Puri Agung Karangasem
This study examines the strategic incorporation of European architectural ornamentation in Puri Agung Karangasem as a means through which the Karangasem monarchy engaged with the shifting political landscape of the early twentieth century. Rather than viewing Balinese architecture as a homogeneous cultural form, the research demonstrates that the palace complex embodies a deliberate synthesis of Balinese spatial principles and Western aesthetic elements introduced during the colonial period. This hybrid visual configuration is interpreted as a mode of cultural diplomacy that enabled the ruling elite to negotiate political legitimacy and articulate modernity within the hierarchical structure of Dutch colonial governance. Through visual analysis and historical contextualization, the study argues that European-inspired motifs were mobilized not merely as decorative additions but as symbolic instruments that mediated power relations, projected cosmopolitan identity, and framed the monarchy’s engagement with global cultural flows. The findings contribute to broader discussions on architectural hybridity, colonial modernity, and the role of visual culture in shaping political narratives.
The Function and Meaning of the Dewa Ruci Statue in the Perspective of Balinese Culture
Statue is one type of fine art that gives an aesthetic experience through its three-dimensional form. Ruci or Nawa Ruci is a manifestation of God, Ida Sang Hyang Widhi, in a form that is one and absolute. The Ruci statue shows physical beauty and complete structure, where each figure connects and supports the others in its overall composition. The statue has several functions, such as sacred function, ritual or ceremony function, and religious-aesthetic function. The Ruci statue also symbolizes a snake or dragon in the ocean waves, describing the many bonds and challenges of human life in the real world that always move uncertainly. Bhima is shown as the microcosmos or as a human being who is searching for his true self. Ruci or Acintya in the statue represents the sense of “self” that exists in every human. Therefore, the real meaning of the Ruci statue is the dialogue between the human soul (atma) and the highest soul (paramatma) in the process of finding the true essence.
Governance of Traditional Arts in Bali from a Historical Perspective Art
Traditional art in Bali is a dynamic cultural system and has developed over the centuries through continuous interaction between religious, social and political influences. From an art historical perspective, Balinese art forms—such as sacred dance, gamelan music, sculpture, painting, and ritual performances—not only act as aesthetic expressions, but also as manifestations of spiritual devotion, communal identity, and the socio-political order of Balinese society. This article examines how the governance of traditional arts in Bali developed from the classical Hindu-Balinese kingdom, the Dutch colonial period, Indonesian independence, to the contemporary era marked by globalization and mass tourism. This study uses a historical-cultural approach with literature analysis and contextual interpretation, to explore the role of traditional institutions—such as banjar, Pakraman villages, palaces, and temples—in regulating the production, inheritance, and performance of art based on customary law and religious values. In addition, this article examines how the role of artists underwent a transformation: from ritual servants working for temples and kingdoms, to cultural actors who had to adapt to modern markets and state policies. The results of the study show that even though external forces such as tourism, commodification and state intervention have encouraged innovation as well as the fragmentation of traditional values, the core principles of Balinese art are still maintained through governance that originates from local wisdom. However, the sustainability of traditional Balinese art increasingly depends on inclusive and community-based governance models, which are able to balance the preservation of authenticity and the need for cultural adaptation. This article emphasizes the importance of reflecting traditional Balinese art within the framework of cultural preservation, education and public policy so that it remains alive and relevant for future generations.
Barong and Rangda as Cultural Symbols: Dualism, Conservation, and Social Harmony
This article explores the dynamic relationship between myth, ritual, and cultural philosophy in Balinese tradition, focusing on the symbolism of Barong and Rangda as embodiments of the rwa bhineda concept, the duality of opposing yet complementary forces that sustain cosmic harmony. In Balinese society, myth is not a relic of the past but a living source of ethical, ecological, and spiritual wisdom manifested through rituals, performing arts, and daily practices. The Barong–Rangda performance functions as a sacred drama that restores balance between good (dharma) and evil (adharma), while also serving as a moral and social reminder of unity and mutual respect. Over time, the transformation from sacred ritual to profane performance illustrates the adaptive nature of Balinese culture in maintaining spiritual integrity amidst modernity and globalisation. The study highlights how myth operates as a cultural framework that guides conservation values, ecological awareness, and interhuman tolerance. Ultimately, the Barong–Rangda myth represents a universal message of harmony, affirming that true solidarity arises not from uniformity but from the willingness to coexist in diversity, thus reinforcing Bali’s enduring philosophy of balance between humanity, nature, and the divine.
The Transformation of Tonyraka Art Gallery in Ubud, Bali: Repositioning Institutional Governance Through the Establishment of An Art Lounge
The transformation of art galleries into hybrid spaces that combine art and social activities reflects a significant shift in contemporary arts governance. Tonyraka Art Gallery in Ubud, Bali, offers an illuminating example: initially established as an art gallery focused on exhibitions and collections, the institution later added an Art Lounge as a dining and gathering area directly connected to the gallery and garden. This article aims to analyse how the establishment of the Art Lounge repositions Tonyraka’s governance, while simultaneously reshaping its social role as a creative public space. The study employs a qualitative case study approach, drawing on an analysis of institutional documents (website and official materials), media coverage, and online audience traces. The analysis is conducted through three lenses: (1) a “before–after” timeline of the Art Lounge’s establishment; (2) a spatial mapping of the gallery–garden–lounge configuration; and (3) an interpretive reading of institutional narratives and audience narratives. Preliminary findings indicate that the Art Lounge functions not merely as an additional business unit, but as a governance device that broadens the composition of the audience, extends the duration and intensity of engagement, and negotiates aesthetic and market logics within the framework of Balinese local values. This study offers a conceptual contribution to debates on arts governance in the Global South by highlighting the role of small-scale hybrid art spaces in shaping practices of creative public space and audience engagement models rooted in everyday life.
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