Nyoman Nuarta's Sleeping Giant to Tower Over Bali
Nyoman Nuarta's latest, most challenging project (JG Photo/Richard Horstman)
Award-winning Balinese sculptor Nyoman Nuarta is often cited as Indonesia's most prominent contemporary artist. He has been responsible for numerous monumental public artworks in key positions throughout the country.
But one visionary project — the Garuda Wisnu Kencana Cultural Park in Jimbaran, South Bali — has turned out to be the most challenging of his illustrious career.
"The idea of building GWK first came to mind in the late 1980s. At that time I was already a well-established sculptor, living in Bandung with my family," said the 61-year-old from Tabanan, Bali.
The GWK Cultural Park, set in limestone hills on a 60-hectare site, first began construction in 1996. The concept was devised by the GWK Foundation, headed by two ministers of the Suharto government, Nyoman and a few individuals and businessmen close to the former president.
Under the auspice of President Suharto, Nyoman was commissioned to create an enormous sculpture of the Hindu god Wisnu for GWK, as a cultural icon for Bali.
"The GWK concept was not only to build a giant sculpture, but we also hoped that we could introduce different cultures of the world through our main mission, the GWK World Cultural Forum.
The forum's goal is to educate people to become more understanding towards other cultures. So in the end, the main objective is world peace," said Nyoman, a former student of the Bandung Institute of Technology (ITB) in West Java.
"I use the image of Garuda and Lord Wisnu, a symbol of courage and loyalty. It is also Indonesia's coat of arms. Also, the Balinese consider Wisnu the preserver of life and responsible for cosmic balance and harmony. The statue, therefore, symbolizes a universal calling for all people in this world to play their part in nurturing and protecting the Earth."
In late August, hundreds of local residents and cultural enthusiasts attended the ground-breaking ceremony of the GWK statue marking a new chapter in the construction after a 16-year hiatus due to the fall of the Suharto government, the Indonesian economic crisis, internal conflicts and nervous investors.
Designed to be Indonesia's tallest monument and Bali's new cultural icon, the recommencement of the project has been made possible by property developer Alam Sutera Realty, which committed Rp 450 billion ($40 million) to finance the project. In addition, there are plans to develop the cultural park and integrated tourism facilities.
Made of copper and brass sheeting and a stainless-steel framework, the 22,000 square meters of the outer parts of the statue are being constructed in Nyoman's workshop in Bandung. They will be cut into 700 modules before being transported to Bali on 400 individual truck journeys before the sculpture will be assembled.
"This new Bali needs a different kind of cultural symbol and creative language," said Balinese culture expert, Jean Couteau. "The statue appropriately represents the cultural identity and character of the Balinese and Indonesians, as well as the nation's longing to contribute something meaningful to the global community."
Like Nyoman, Couteau believes that Bali cannot be forever bound to the past.
"Bali has undergone rapid transformation from being a traditional, agriculture-based island to a modern, urbanized society. Now there must be responsible consideration to the future development of Bali including the whole community. The process of modernization has focused on profit and exploitation and the resulting social and environmental complexities are on the whole being neglected," Couteau said.
At the beginning of the project Nyoman was well aware that the Balinese tourism industry relied too heavily on cultural heritage alone and this was unsettling for him.
"There were only minimal efforts from the government, private and public sectors to sustain the tourism industry. I understood that we needed to build a place where our heritage can be both protected and also be developed," he said. "I envision the complex to be a place where Balinese thinkers and artists can showcase their works and have a creative dialogue with their counterparts from across the globe."
When completed in 2015, GWK should be an inspiration for many people, he added, not just for the Balinese. Nyoman said 20 years had passed since the conception of the idea, and GWK has been the longest-lasting project in his life. "I have lost count on how much money and effort I have spent on this project, yet I must see it through, while keeping my promise to the Balinese people," Nyoman said.
"Despite the years of delays this project has taught me to be patient and to never give up on my dreams. Along with big dreams, will come big challenges. The best thing that you can do is remain focused and trust in your ability to succeed."
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Balinese dish Karee Nangka, young jackfruit curry
A Balinese live cooking station joins the buffet restaurant's roster of cooking stations, each featuring a different type of cuisine. "The idea behind the Balinese Food Festival is to bring a new style of food to Market Cafe," says Executive Chef Josef Miklav.
A mix of influences
Gado Gado is a dish of assorted vegetables with peanut sauce.
There were Indonesian staples such as Gado Gado or mixed vegetables with peanut sauce; Rendang Sapi or braised beef in coconut sauce, and Nasi Goreng or Indonesian fried rice; as well as Balinese specialties like Lawar Kacang or long bean salad, Bebek Menyatnyat or braised duck with Balinese spices, and Babi Kecap or braised pork in soya sauce.
The beef rendang was tender and faintly spicy, perfect with the nasi goreng. The gado gado, a personal favorite, is, to put it very simply, similar to our nilagang gulay except served with peanut sauce instead of bagoong.
A variety of sates from fish to meat
"We have eight different sates on the menu from fish to meat, (all served) with peanut sauce. And they make this rice cake longing, (where) you put rice in a banana leaf and you boil it and the rice expands in there and keeps together. It's very compact, very nice, and goes with the peanut sauce and sate," Chef Josef says.
Of all the sates, I liked the fish and beef the most. The peanut sauce that accompanied them was made fresh, and had complex notes of sweet and spice.
Another dish to look out for is the Karee Nangka or young jackfruit curry with eggplant, a rich vegetarian dish.
"I think it's a very unique dish," says Chef Josef. I was very excited to try this dish but I couldn't find it when I was there, giving me an excuse to return to the Food Fest for a round two. —KG, GMA News
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Five of Bali's Most Scenic Cafés and Restaurants
Honeymooners travel to Bali each year to feel the romanticism of the island. (Burufly Photo).
From American model Jerry Hall to actress Mila Kunis, honeymooners travel to Bali each year to feel the romanticism of the island. Not just for the breathtaking panorama and spellbinding culture, they also come to the Island of Gods to enjoy the many design-conscious establishments which offer fantastic food and drinks that focus on great ambiance. We take you to five of them.
Finn's Beach Club, Semara Uluwatu
Tucked away in a cliff with its own private beach, Finn's Beach Club is the best place in Bali to have fun in the sand without nagging souvenir vendors. The thatched-roof restaurant and bar add to the laid-back effect in one of Bali's most well-known beach spots.
Ayung Terrace, Four Seasons Bali at Sayan
Stand-out architecture is what the main building of Four Seasons Bali at Sayan is famous for and the Ayung Terrace restaurant is the best place to enjoy the singular design. For privacy, choose a seat in the outdoor terrace and savor a carefully crafted list of menu items from Indonesia and beyond. Some say the restaurant serves the best eggs benedict in Bali.
Soleil, The Mulia Bali Nusa Dua
Opened at the end of 2012, Soleil is one of the most romantic restaurants in the island. Indulge in seaside Mediterranean and pan-Asian menu while enjoying sweeping views toward Nusa Dua Bay. Enjoy the Sunday brunch (11 a.m. – 3 p.m.) with free flow wine-
Sunset Cabana, Alila Uluwatu
The contemporary lines that have become the signature of this astonishing property provide maximum exposure to the panoramic views of the sea. One of the best places to enjoy it is the Sunset Cabana.
El Kabron, Pecatu
Spanish delicacies made by a former three-star Michelin restaurant chef from Barcelona add to the attraction while the view makes a visit to El Kabron a must.
Burufly
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Governor Made Mangku Pastika said that working overseas, on cruise liners in particular, was a good way to improve the livelihoods of poor families.
“I think, we have a big chance to overcome poverty through the program. We can give soft loans to poor people on the island to fund their courses and various expenses needed to work overseas,” Pastika said after the opening ceremony for a job fair involving 50 companies at Lila Bhuana, Ngurah Rai Sports Stadium, in Denpasar on Friday.
Currently, 3.95 percent of Bali’s 4.1 million residents are living below the poverty line, making Bali the province with the second lowest number of poor people in the nation, after Jakarta. The percentage of impoverished residents has fallen from around 6 percent in 2008. This year, the administration is targeting reducing poverty to 3.28 percent of the population. Pastika, who was re-elected in May, is eager to decrease poverty to 1 percent by the end of his leadership in 2018.
Through the Bali Mandara initiatives, the administration implements several poverty alleviation programs, comprising JKBM, a free healthcare service for all registered residents of the island; bedah rumah, house renovation assistance for poor households; simantri, cash and technical assistance for farmers’ groups willing to adopt organic farming and alternative energy sources; scholarships for underprivileged students; cash assistance for customary villages and traditional farming and irrigation societies; and gerbang sadhu, a generous Rp 1 billion (US$92,500) in aid for any village willing to establish community-based economic enterprises.
“We want to speed up poverty eradication. Working overseas may greatly improve livelihoods. I am sure that there are many people who are willing to work in foreign countries, but they mostly don’t have the money to study and depart for those destinations,” Pastika said.
An increasing number of young people on the island are now considering working overseas as the best way to improve their future. Positions in hotels, spas and on cruises ships abroad not only offer the chance to travel and learn about other cultures, but also a higher rate of pay than available from tourism establishments back home. Indonesian workers overseas can earn over $1,000 per month working on a cruise ship.
The provincial manpower agency recorded that in 2011 there were 14,944 Bali-based workers working overseas. The number decreased to 12,596 in 2012 but is expected to soar significantly this year. Most of the overseas workers are in the cruise industry. Others work in hotels, restaurants and spas in the US, Italy, Spain, New Zealand, India, the Maldives, Turkey, Cyprus, Russia and other countries.
Pastika said that it was estimated that a total of around Rp 20 million was needed for people to start work for a cruise line. This figure includes the cost of study, tickets, and many other administrative costs. “It will be hard for poor people, especially those in rural areas, to get Rp 20 million. That’s why, the soft loans are needed,” he stressed.
The administration plans to implement the soft loan program in cooperation with Bank Pembangunan Daerah (BPD) Bali, Bali Regional Bank, and the Bali Mandara regional loan guarantee company PT Jamkrida.
“We will approach BPD Bali to distribute the loans, and PT Jamkrida Bali Mandara is ready to be guarantor,” he said.
PT Jamkrida Bali Mandara is a loan guarantee institution established by the provincial administration in cooperation with the Denpasar mayoralty, Badung, Gianyar, Karangasem, Bangli and Tabanan regencies. The administrations collected total venture capital of Rp 52,675 billion, which enables PT Jamkrida Bali Mandara to distribute loans with a ceiling of up to Rp 2 trillion.
A survey in February 2013 revealed that 45,380 people, or 1.89 percent of the workforce in Bali, are unemployed. This is a decrease compared to 2012 when 47,330 people, or 2.04 percent of workforce, was unemployed.
Images of young Balinese woman (circa 1930s) clad in sarongs, exposing naked breasts, reached Europe at a time when knowledge of this small tropical isle in the remote East Indies was practically non-existent.
The women’s casual mannerisms, along with the alluring breasts, were misconceived, suggesting a culture of liberal sexual morality. The Balinese regard the breast as a symbol of fertility and of the abundance of Ibu Pertiwi (mother earth).
The Balinese woman is industrious, either at home caring for the family, in the village attending to chores and customs, or working in the fields. Spare a thought for the small armies of women who lug enormous quantities of materials upon their heads all day, from the roads to the many construction sites around Bali.
Women spend countless hours meticulously creating Balinese Hindu offerings. Their fingers delicately weave flowers and leaves into the ubiquitous ceremonial masterpieces.
The most exploited image of Balinese femininity, immortalized by the tourism juggernaut, is that of the beautiful young lady in magnificent traditional costume, poised gracefully while dancing.
The famous traditional expressions of Balinese painting and sculpture are, by and large, patriarchal. There are, however many talented female Balinese artists who complete their academic art training.
Yet rarely does one continue on to become a successful artist, much less one with an international profile. Ni Nyoman Sani, born in Sanur 1975, has achieved this distinction.
Sani had to prove she had the talent and dedication to succeed and then eventually she gained the trust and confidence of her parents. She now raises two children along with devoting time to her cultural duties and career.
Sani is a gifted painter, photographer and fashion designer and her expressions reflect the sovereignty and liberation of women.
The Seniwati Gallery of Art is a women’s only collective established in 1991 in reaction to the invisibility of women artists in the galleries and museums of Bali.
A longtime member, Sani has recently become the new director and is a driving force behind Seniwati.
“Women of Two Continents”, 1993, by Cokorda Isteri Mas Astiti, is an icon of contemporary art by a Balinese woman. In the painting’s foreground — a beach scene — she depicts Balinese women in traditional costumes holding offerings, while in the background three foreign women, two dressed in bikinis and one taking a photograph observe. This is a remarkable composition of contrasts and cross-cultural dialogue.
Indonesia’s most important female artist was the petite Balinese painter Ni Gusti Ayu Kadek Murniasih (1966-2006). Murni started life as the child of a farmer, poor and uneducated, rising to the ranks of artistic distinction. Her father sexually abused her at the age of nine.
Murni’s compositions often explored gender politics in her minimalist, naïve figurative style with powerful coloration. A dedicated member of Seniwati, her first solo exhibition was held at the Seniwati Gallery in 1995. Via the courage to confront her darkest emotions, Murni’s intuition was instrumental in forging new thematic grounds in Balinese art.
A notable work by Murni depicts a woman holding aloft a huge dripping penis. Her unique art was derived from a nurturing source that initiated her healing process, while also seeking to set her free.
Balinese tradition encourages figurative expressions of naked and sexual content. According to Hindu cultural practices, artworks are in no way meant to be offensive, rather their intent is to educate and communicate about the essence of life and existence.
— Richard Horstman is a cultural observer residing in Ubud
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