Get to know: Mariko Sugimoto, ceramic artist (and Slanker)

Mariko Sugimoto is a Japanese ceramic artist based in Ubud. She was born and raised in Tokyo until she was 12 years old before moving to Nagoya with her family. To date, she has two ceramic studios. One in Ubud (Setia Ceramics) and one in Nagoya where young people learn how to make ceramics.

Elami and Co. worked together with Ibu Mariko last year for our Elami Box series.

When did you start making ceramics?

When I finished my college, I became a kindergarten teacher for 4 years in Nagoya. Then after that, I began my ceramic journey.

It started from our program back in school. In Japan, we have kyushoku, it’s when all the students and teachers make and have lunch together at school. Usually, it comes with a glass of milk. Before graduation, the school organized this event where the teachers made ceramics for their students as a gift. So we made mugs for the children to drink milk. Kyushoku is also an event where the school invites the parents to watch what kind of activity we hold for their children. Parents take a lot of photos of this event usually.

What was your background in college?

I was in college for kindergarten teacher education.

So did you always want to be a kindergarten teacher?

Not really, hahaha, back then I only thought that it’s better for me to earn the certification. It would be easier for me to apply for a job. I got the kindergarten teacher license and a cooking license. These two license exams were easy for me. It’s a normal thing in Japan. People earn specific licenses and work based on the needed expertise. For example, men choose to take mechanics licenses for vehicles. Besides being easy to get a job, the salary is also higher because we have the licenses. Because of that, many of the kindergarten teachers don’t just teach. Some of them are also professional pianists or musicians.

Back to the story of how I found ceramics, I decided to continue learning how to make ceramics. I lived in one of the ceramic maestro’s studios in Seto. It was 20 minutes from Nagoya by car. Nagoya is a city famous for ceramics. There are a lot of ceramic artists, handcrafts, and studios. Seto is also a famous place where many people from other countries come to learn how to make ceramics. Including 8 other people who lived in the studio before me. They came from France, Australia, Germany… They all keep coming from abroad… Mostly learning how to make ceramics in a traditional way, such as Japanese tea ceremony ceramics.

Did you still teach in kindergarten when you started your ceramics practice?

No, I quit to make ceramics. I was just like a tukang (craftsman) who helps the wood artisans in Jalan Raya Mas. We had our small rooms like a kos-kosan (boarding house) and we got free meals but no salary. I lived in the maestro’s studio for 5 years. It’s not long compared to one ceramicist who stayed there for 20 years.

What is your maestro’s name? And why did you choose him if there are a lot of maestros in Seto and Nagoya?

Kato… Kato Motoo… He has already passed away. Well, no reason, in particular, just a coincidence.

Why do you have many ceramic designs for sake and arak?

I receive orders from restaurants and shops. So the ceramic designs for sake and arak are one of the popular orders. They might order here because I have the Japanese style they require. It brings back memories of when I arrived in Bali. I wanted to open a ceramic studio but I didn’t know what the customers needed and wanted. Eventually, I found out that they like the Japanese style. In Japan, there are enough ceramic artists to make Japanese-style ceramic for sure but here there aren’t many.

What is your favorite thing to make from clay?

Hmmm… the thing I like the most is interior furniture. Lamp bodies, vases, candlesticks, and other small pieces we usually like to keep in the room.

How did you come to Ubud and how long ago?

I was a tourist, traveling to Bali around 1998 or 2000, I don’t remember. One of my friends has a shop in Bali and I came along with her, so did my friends. I came to Bali once a year. Eventually, I came to Ubud and my respect towards the people has only grown since then. I feel at peace, so I started to follow rituals like going to the temple and joining the ceremonies.

At that time, I worked in Japan and Bali, staying in each place for 6 months. Until I found it difficult to manage my production timeline. So I needed to decide, which one of the countries should I live in. At first, I decided to live in Japan. I was too afraid to live in Bali alone. Yes, I love the culture, but I was not familiar enough with it. Back in Japan, I had my network and I had contracts with some of the art galleries already. Everything was easier and manageable. Also, professional ceramicists have their career paths in Japan. In Indonesia, I need to compete with the market. Also, every time I mentioned that I am a ceramicist here, many people would think I make ceramic tiles.

However, when I addressed this, my uncle, who was 98 years old at that time, was the one who encouraged me to move to Bali. He was the oldest of 8 children from my mom’s line and I was close to him. My uncle was an ambitious type of person. The only ambition he didn’t achieve was living abroad. So, I guess that’s the reason behind his strong suggestion. He said that since I have my ceramic studio already in Bali, I should start to take care of it. I thought, well my ceramic studio was actually a prep studio for my artworks in Japan. Oftentimes I would buy material from Bali such as traditional baskets, woven fabric, and metal to combine them with my ceramic artworks. Some of the commissioned works came from this ‘assimilation’ as well.

Long story short, I listened to my uncle and I gave myself a chance to move to Bali for good. This then brought me a big surprise, because not long after I moved to Bali, there was a huge tsunami in Tohoku (2011). The economy in Japan collapsed and a lot of art galleries were closed. I felt lucky but also devastated because I saw how distressing it was when I went to Japan once it was safe again. I came back to Bali and continued what I started. It’s difficult, yes, but I have made a strong commitment and work hard. So here I am, 10 years later.

Will you move back to Japan someday?

I guess when I’m really old there might be a chance.

Who are your favorite Indonesian and Japanese artists?

Nara Yoshitomo! He is a painter.

And Kuncir too, I respect his work… oh and Rio Simatupang.

I like them.

Do you have a favorite place that makes you miss being in Japan?

Hotspring! Onsen! There are so many onsens in the Japanese villages. The one that I like is in Takayama, a few hours from Nagoya. There are a lot of heritage buildings and traditional food there. The village view is literally as beautiful as anime in real life. We keep our cities, towns, and villages from over-building. The Japanese government makes strict policies to regulate this.

What is the most important event in your life?

Finding a ceramic practice… That was the best moment of my life. I have been working 20 years working and never ever have I been bored. That is my happiness.

We know you’re a huge fan of the music scene in Java and Bali, who is your favorite musician and why?

Slank. We became good friends and those friendships became my reason to stay in Indonesia, in Bali.

I used to watch their performances on TV and liked their music a lot. I collected their cassettes and CDs, listened to them even when I was in Japan, and learned what they were talking about in the lyrics. There wasn’t info about them in Japan, or online of course, so I thought I would register my contact in their fanbase to have their concert info. One time I need to go to Jakarta to manage my visa. I stayed at my friend’s place in Kemang, which is close to Gang Potlot, where the Slank fanbase is based.

I just went there and my idea was it’s just a registration office. I remember I paid Rp5.000,- for registration. Later I learned that the Slank members and Bunda Iffet were living there as well [Bunda Iffet is Bimbim’s mother, one of the Slank founders and members. She is also the band manager]. When I was there, hundreds of Slankers were hanging out, playing music and singing together. So I joined in. One of them asked me whether I could sing Slank’s songs. I was so proud. They were surprised, maybe thinking who is this Japanese girl singing a Slank song. That, the registration officer came to me saying Bunda Iffet wanted to see me. I was shy at first but then I met her and the band members. They are a lovely family, humble people, and I felt welcomed straight away. She invited me to join their backstage team along with the band to go to Sukabumi, West Java. So I stayed with them for two days before their concert. That was a wow moment for me. I went there just as a fan wanting to know their upcoming concert schedule, wondering if they would have a concert in Bali.

With a backstage pass, I learned so many things with them. They have a solid backstage team. I never saw a crew’s stamina like theirs. Also, the team was built from the people who like to listen to Slank as well. When I was in university, I took an arubaito (part-time job) at a music concert event company. They managed concerts from international musicians such as Eric Clapton, Bob Dylan, Led Zeppelin, and David Bowie. I worked there so I could watch the music concerts for free. I love rock music and I gained a lot of experience from being a part of that huge team. There, we were divided into certain roles and divisions. But I saw what this solid team did for Slank. They worked differently. It looks like no one was the supervisor. I have huge respect for how they have trust in each other.

I have good relationships with the Slank members and Bunda until now. Sometimes they order ceramics for the band merchandise and I stay at their place whenever I go to Jakarta. The Slank members are rebellious, but only for a good cause and they all are kind-hearted. Two years ago, if I’m not mistaken, I went to Hongkong and Sumba for their concerts. They are my family in Indonesia.

What is the best advice you have ever had?

I have taken this away from Osamu Tezuka’s works:

“If you see this world we live in is beautiful, then your world will be.”

I honor his mangas. For me, manga teaches me more rather than reading a complex book. Tezuka is a manga artist, one of the manga pioneers originally from Japan. He likes to write philosophically and historically. He wrote Atom (Astro Boy), one of my favorite mangas.

What is your typical morning routine as an artist?

Wake up, coffee, work, sleep that’s it.

Do you have a favorite anime and favorite show from Indonesia?

Akira… and Bajaj Bajuri!

[Akira is a Japanese cyberpunk manga series written and illustrated by Katsuhiro Otomo; Bajaj Bajuri is an Indonesian sitcom that aired on Trans TV from 2002 - 2007, it told the story of a humble Betawi family in Kampung Betawi in Jakarta]

Get to know: Budhita Kismadi, creative community activist & facilitator

We got a chance to have an interesting conversation over the phone with Budhita “Budhsi” Kismadi. Budhsi is a creative community activist engaged in various issues such as the environment, education, human rights, culture and well-being in Indonesia. Budhsi is the co-founder of Inspirit, a group of trail-blazing facilitators who work in the non-profit and government sector in Indonesia.

Elami and Co has collaborated with Budhsi, especially during TEDxUbud, where she has hosted sessions with her incredible grace and compassion. Budhsi is an expert storyteller and incredibly good at helping people find their words and be comfortable in front of an audience. We talked to her about the power of events, how virtual events changed the game, and how facilitating can uncover what’s inside.

Hi Budhsi! How are you? Can you share what you are currently up to?

I’m good! I started my new routine back in April. I go to the office once a week. Currently, I am assisting a project development program. My team and I designed a closing event for a social inclusion program. The program is made to create space for the unseen and the unheard. Including the children of migrant laborers, children who are sexually exploited, and children in conflict with the law. We work with local institutions to provide rehabilitation, involving their family in the process. In this context, we built a safe space for the children to undergo a rehabilitation process with their families. We have 1965 survivors, indigenous people, and people from religious minorities joining the program.

I learned many things that I might not have known about. Some issues that were only on the news suddenly become the main things I studied. My team and I feel strongly about empowering people to tell their stories. When they are comfortable with telling the story, I am able to understand and empathize with them. Some are funny, heartwarming, or shocking.

There was one transwomen’s group that encounters a lot of discrimination. Our event facilitated bringing a group together with other community groups. One time we paired the trans group with a Kiai (religious leader) who had never talked to a trans person before. Unexpectedly, he was fully interested and listened to all the discrimination they had faced. We were nervous as one group blended in different ways. From that experience, we learned that they were actually creating their safe space in their own way. They went beyond economic and education status, allowing them to just be human beings, sharing in an equal interactive space. Another thing we learned was encountering inner or self discrimination is no less powerful than discrimination inflicted by others.

I like your nickname, how did you get it?

Budhsi comes from Budhita, my name. My mother is a Catholic Phillipina and my late father was a Muslim Indonesian. I was raised in a pluralistic family. In the Philippines, nicknames are common. When I was 2 years old, I was bald, big, and like to sit cross-legged like a smiling Budha statue. My grandmother said I was like a little Buddha. Because the Philippines was formerly colonized by Spain, she called me Budhita. It means little Buddha in Spanish. Then it became Budhsi for short.

What is your background?

Cultural Anthropology undergraduate in Sophia University in Tokyo, Japan. Anthropology in my university was specifically divided into physical and cultural. That was the best place for me at that time, knowing that Japan’s cultural life was so strong. I lived there for 7 years and worked in an archeological site. In Japan, if there’s an artifact found in the middle of the building site, an excavation process is a must. I love what I did. Once I found a beautiful cremation jar in an excavation area and we made a ceremony for it.

When I went home to Indonesia, I was thinking about continuing my study/career either in archeology or ethnomusicology. But then I asked myself, do I want to be a researcher? What do I want to be? In my family, community service is really important. I remember my dad asked me,” What is your task in life? Have you found it?”. A lot of my relatives work in NGOs. My father used to be the Minister of Environment in Indonesia. Climate change and sustainability have been ingrained in my head from the start. So I worked for an NGO that has donor projects with environmental NGOs. That’s where I got my connection to environmental NGOs and movements in Indonesia.

Then I applied for a scholarship for a Public Policy Master Degree in NTU. That was a program between NTU and Harvard Kennedy School. So I passed with a diploma from both universities. After I graduated, I continued to work for an organization that takes care of Canadian volunteers in Indonesia.

I have acquaintances from several environmental NGOs from that time and started to assist some of their events in my after-hours. Eventually, I got an offer to join facilitations. That’s how everything started.

Because of my working circle, I was exposed to various issues. I decided to not go deep into certain issues. My friend, Dani, and I built an organization where we are facilitating and improving facilitators in Indonesia. Inspirit is an umbrella organization where we offer services- the main one is vibrant facilitation. So now I am a vibrant facilitator.

What does a vibrant facilitator mean? And how do you as the vibrant facilitator create a meaningful event?

Vibrant Facilitation is a way of facilitation. Inspirit exists to design and create space and programs that allow participants to continue to grow and develop and have the competence to manage the changes they are facing. So we are not aiming to inspire, but to move people to inspire themselves. We are not motivators.

The alumnus of our courses are the ones who embody, bring life into a meeting, event, workshop, or any form of interaction by transmitting energy that enlivens the spaces with several values.

People who join our facilitation training have to be really interested in facilitating events, have empathy, and unconditionally respect others. We know that everyone has assumptions but to be aware of that and be present and non-judgemental needs practice.

Speaking of assumptions, some people associate vibrant facilitation with inciting activity. It’s because we often play music while facilitating. So they often just take away the idea of incorporating fun in the process. If we look deeper, we bring out the character and the feelings that are restored in the participants. Another thing a vibrant facilitator does is to awaken the senses. Our programs activate participants holistically, emotionally, rationally, and physically. All the senses are awakened by the Inspirit process. Full of life, in spirit, to give life.

How has the world of events changed for Inspirit now when we can’t do face to face anymore?

We entered the virtual event world when the pandemic hit. It is a new challenge for us because we need to transfer what we do at the venue to an online presence. So we tried, it took us 3 months but turned out to be really good. We experimented with spaces, aromatherapy, and colors. I also applied what I learned from a 3-day online facilitator intensive course— I decided to take the class last year in the quarantine period and I got so much from there. In the session, my facilitator trainer used mindfulness exercises.

“Relax, make sure you have water close to you, sit comfortably, think about where you are, and expand your imagination. Imagine we are sitting in the same space together. Shake out your arms, feel your feet, raise your arms. If anything comes in between, just remember we are under the same sky, on the same land. For the next 1 hour and 30 minutes we are in this space together.”

It completely changed the atmosphere. So I adapted it to our facilitation practice. Inspirit invests in the introduction. “Look around you… what do you see that you can show to the camera… what is your favorite color?”.

We started to have to lower our expectations and outputs. Meaning that we can’t do it as we did before. The longest we can do is 3 hours per day, with a long break. Yes, that’s risky. People tend to change their mood after the break. But that situation requires us to educate the clients. For example, we encourage them to create a surprise during the event, or host a podcast before the event. So it’s not just designing the process and how it is delivered, it activates our 5 senses. Now we have invested in the lighting, microphone, and any audiovisual equipment that is supporting what we do. Our office turned into a studio.

This vibrant facilitator dream started with our being tired of really bad meetings. Also, many meetings only give opportunities to certain people to talk. They cast out introverts. What we do is to shine a light on them but not in a way that forces them to be under the spotlight.

Many of the alumni experienced change within themselves after the facilitation training. On how they treat other people, rediscovering something about themselves, or even falling in love again with their spouses. I guess because the reflection session at the end of our facilitation has always been an important part of training.

What makes you interested in what you do? Is there a favorite thing that you’re always looking to get out of a person when you are facilitating?

Hmmm, I find my calling through books actually. I say to myself every time before I start doing an event, change the way you see everything, change the way you see yourself and your situation. I see every person who comes into facilitating, hoping that they will find something that is usually already within them.

What I do requires listening and sharing stories of where my roots are. When I told you my name, I shared the story behind it so you change the way you see me. When I did it, I remembered it again and so on. In the facilitation process, we allow everyone to share what they want to share instead of what we want them to share.

From there, we can learn once again, to hear and respond. We will find similarities and differences. Those small changes that we look for on a personal level. I like to hear what they learn on a deeper level too. Interestingly, we often get deep reflections. One that I remember dearly is an answer from a kid. He was a volunteer in an organization that is active in social inclusion issues. He said that he turned out to be great (as a person). I was so moved.

I think that’s why we resonate with what Elami and Co does. Everybody who walks out from TEDxUbud experienced everything in 5 senses. And you do it in everything you do.

Is there a remarkable experience you want to share with us?

Our vision is Inspirit Indonesia Keren 2045. We work to build the vision by assisting participants to create their vision boards -so to get Indonesians dreaming about Indonesia. We ask them to make personal vision boards, but also think about what kind of Indonesia they want to have. Inspirit did this once with a women’s group in eastern Indonesia. Fast forward to 4 years later, we did a women’s leadership workshop there. So we also visited alumni on our trip. There was one lady who chased me showing her vision board to me. She said almost everything is achieved. She wanted to go to school and she did it. So now she wants to make a vision board together with her family.

What are the hobbies you use to recharge? Can you share what you hold onto to keep you sane these days?

To recharge and keep me sane, I play with my pets! They are my source of energy to keep me grounded. I am a rescuer, so I live with 20 cats, 5 dogs, 2 birds, 1 turtle. Some of the cats live in my neighbor’s house. The turtle is so special to me, it’s over 20 years old and it likes to stay in the garden. So I have an official guardian of the garden. I live with my mom and 2 staff members to help me take care of my animal friends.

Other than that, I started journaling again after the pandemic. Somehow a lot of things I started in the early year faded away because I went back to facilitating.

Get to know: Ajeng Anggrahita

Can we introduce you to Ajeng? Ajeng came to Elami in a blissful moment of serendipity- she spotted our job advert within seconds of it being posted and was the first applicant. It was meant to be. Ajeng can always be counted on to know someone in every corner of every institution and organization in Bali’s art scene, make an incredible playlist, and quietly follow up every last thing on her to-do list.

We asked her a few out-of-left-field questions in honor of her endless ability to surprise.

What’s the best thing about being an only child?

A master of alone time and enjoying it.

What’s your favorite word in the Indonesian language and why?

Oh a lot!

But I’ll pick the classic one: “nanti besok”

I grew up in a mixed culture between Bali and Java.

In some contexts, besok (tomorrow) is whenever after today, while nanti (later) could be in a second or 6 hours or whenever or even a way of passive-aggressively avoiding something.

Scenario 1: You bump into your friend and talk. She/ he is casually saying ‘let’s have a proper catch up someday’. But you are not sure when or whether you like the idea, or you both know that it will be once in a blue moon. Then you just say ‘ok besok ya’. Your friend knows that she/ he isn't supposed to expect tomorrow is the day.

Scenario 2: One day I asked my landlord’s nephew to prune one of the trees in our garden. My neighbor usually needs branches for his shed. So I recommended him to give them all to my neighbor. He then said that he wanted to make sure of it. After a while, my housemate went to our rooftop and said that the branches are there. I had a lot of ‘nanti’ when I reminded him to put them away.

Though Java and Bali use those two words in a similar context, I found myself learning the “nanti besok” concept in Bali. In Java, sometimes you will find people say “besok nanti”.

nanti besok/ besok nanti doubles the vague concept of time. In reverse, you can only know when it’s literally nanti besok/ besok nanti by the mix of gesture, experience, and gut feeling :’D

What was the proudest moment in your professional life so far?

Now.

If you had to pick 5 artists only to listen to for the rest of your life who would they be?

Soko, Haim, Khruangbin, Susso, … Bjork.

When was the first time you made a collage? Can you describe the end result?

I can’t remember, but I started seriously 2 years ago. I use A4/ A5 plain paper as the base or tweak from the one page of the magazine. I do them manually. I cut magazine papers and/or use the byproduct of my previous cut/collages. Sometimes I add used/found things like bubble gum wrap, chocolate wrap, shell, bottle cap, dried flower, calendar, etc. I always compose most of the pieces before pasting. Even though, often, I stack additional material after all. Sometimes (very rare), I make collages in GIF format.

They tend to look like a scene in the film or story. A lot of them are representing certain feelings too. I think it’s easy to imagine single and broad interpretations from my collages. They either have main characters conditioned in certain ambience/ situations or ambience itself. I often play around with myths and body politics. Through this question, I thought about my collages and I think they are mystic.

You’re known for your sense of style and elegance. How do you curate your look?

Mood based.

Analyze your coworkers based on their astrological signs.

What a coincidence that our team has 2 Libra suns and 2 Taurus suns, which are ruled by Venus. When Libra is all dreamy and imaginary, the Taureans make them grounded and thinking practically. They are known for their sense of aesthetics too.

Get to know: Michellina Suminto

Let us introduce to our very own Michi, the multi-talented, perfectly right-brain and left-brain balanced member of our team. Michellina not only balances a budget and schedule beautifully but is an incredible photographer and hand-lettering enthusiast. We asked her a few questions.

You are so talented! Tell us one thing you are secretly bad at.

Thank you!! Doing the Asian squat 🙃

Why do you love illustration and typography?

It started back in elementary school when we were asked to copy one sentence in cursive and fill the whole page to practice. I simply love the act of writing and drawing, also the feel when a pen/pencil touches a paper/board. Those strokes… bliss!

How did your practice change over time?

The first time you get into something, it’s all about learning basic techniques and rules.

For me these days and most of the time, it’s kind of a quantity-over-quality situation. I want to perfect a style I’ve studied before (I want to achieve that “font” look) or explore the variations and looking back into your practice book shows a lot.

Sometimes I also dissect structure, look up the history (yes, am that geek. But you’ll be surprised with how much the term actually says about something, the meaning can be quite literal), and try to analyze the practice of the day.

I LOVE picking apart every little element that built up a style. It makes my brain process information better!

Oh, and NEVER, EVER, skip warm-ups. Have to maintain muscle memory.

Why do you love doing events?

Simply being surprised with how one event pushes the team’s and my limits, like you are being stretched to every possible end in a good way. And every time we are doing a new event, it feels like I get to know and “conquer” a new planet of resources, knowledge, and possibilities; things you never knew you could make happen.

With that said, I have always been a planner person. To see months of preparation come into life in a day is something that never fails to delight me. There is a very distinct satisfaction that comes from it.

Seeing people having a great time and being blown away by unexpected elements is a sweet bonus!

How do you keep endurance during events and tight timelines?

Big breakfast, vitamin, and good footwear on the day of the event are a must.

Oh and Proud Mary and Great Balls of Fire (kinda on repeat) on my way to the event!

I think the rest comes from adrenaline and good energy rush.

During events, my brain shifts to “is everything/everybody alright?”, “does anything need fixing?”, “what’s happening on stage next?”, “is the team doing good or does somebody need help?”, and so on. And before I know it, we are already tearing down the venue again.

What things bother you in general?

Quite a lot actually because I tend to overthink the overthink.

How do you manage it?

Always be open for a “slap”; may it be a good hard smack on your face or a nice gentle tap on your shoulder. It’s always a good reminder to ground yourself.

And not to panic or when I reach the panic state, panic inside first before projecting it outside.

One breath at a time :)

What brings you joy working in the Elami team?

MOUNTAIN OF SNACKS! Just kidding.

The amount of non-generic things that we need/have to do for a project is pretty amusing sometimes. We keep discovering alternatives and exceeding our limitations. It is very rewarding in a certain way.

It literally has been and still is an endless learning experience.

2 years (and counting) with Elami team, I am still constantly amazed with how Dani’s brain works when she’s doing her wiz on designs or how brilliant (which is an understatement) Mila is at storytelling (spoken and written) or how Ajeng put together a killer playlist.

((Thank you for letting me pick (and peek at) your brains, ladies!))

At the end of the day, we do make a killer team!! HA! 😎👊

Get to know: Made Griyawan, artist

We’ve been honored to work with Made Griyawan over the last year. Pak Made is part of a long lineage of Batuan artists and brings a fresh style to the tradition. We got to know him when worked with him for an exhibition of his work at John Hardy Jewelry in Seminyak and find ourselves captivated by his world view, how he sees his art, and how he’s working to pass his knowledge down to the next generation. We’ve also worked with him to create the second edition of our reimagined Bali Snakes and Ladders- launching in late 2020.

We sat down with him to ask him a few questions and, as always, felt grateful that we are able to sit and listen to his thoughts on art, life and 2020.

All photo credits to Suki Zoe.

When did you start drawing? What was your first one?

I started when I was 7 years old. I used to like to watch Bapak (Note: Made Griyawan’s father is I Wayan Taweng, part of the renowned first generation of Batuan artists) paint. At that time, I took the rest of the paper and drew my first sketch, a leaf, with pencil. I was persistent so Bapak started to give me the whole piece of paper. He said to me, ”Draw whatever you can without copying me.” He was my only reference, so that was hard for me. But I followed what he said and tried to draw anything that came across my mind or that surrounded me.

When I was a child, we used a palm stick dipped in the ink as a paintbrush. Actual paintbrushes were so special. I was happy when Bapak allowed me to use a paintbrush when I was in junior high school. Before that, I was just practicing my sketching and drawing. Although my siblings and I sometimes secretly picked up a brush (if we were lucky) and used it- I still remember how Bapak was mad if he found out.

So I began to paint. Bapak paid attention to my patterns when I was painting. I tended to not finish a painting and start a new one. So he said to me, ”de kutang-kutangan megae, selesaikan apapun hasilnya. Mau nanti tidak suka, terima saja dulu” - don’t stop work halfway. Always finish what you do and accept whatever the result will be. I kept painting even though I never dreamt to be a painter.

Back then, I was an active member of the volleyball team. I made it into the top high school through my volleyball accomplishments. I was so persistent and I got to represent Bali in the national tournament. However, I always painted. Even though I never thought about wanting to be a painter.

After I graduated from high school in 1997, I worked as a driver based in Monkey Forest. In the downtime between tours, I made time to paint. I still competed in the volleyball tournaments.

10 years later, after my marriage, I quit volleyball and focused on working as a transportation service provider. Still, I was painting for my own pleasure.

Then we had Gangga, my daughter, the following year. My wife and I were working and we thought one of us should quit our job to take care of her. I knew that my wife was happy with what she does. With the system we have, I didn’t think it would be easy for her to return to the job if she took the time off. I saw so many women lose that opportunity, either after they gave birth or resigning for some time. So I quit my job and managed the household. In those times, I painted to pass the time. I never had the idea to sell my paintings. Until one day, a foundation from Singapore came to Batuan to run an art program preserving Batuan paintings. They came and curated some of Batuan paintings from our villages. My painting was one of the chosen. Since then, the universe works the way it works.

What is your inspiration? What kind of conditions/situations inspire you?

My father's collection, always.

Back in 2009, I had a question. What should I paint so they can live long like the Mahabharata legend? I think I started painting my wondering on canvas. Be it questions, reflections, or current wisdom. Because then people who look at my paintings said that my paintings are philosophical. They project life purpose, self-development, and selfhood.

I also paint every morning, right after I get up from bed. From 6AM to 11AM, I can bear to sit and paint the whole time. After is my free time. Sometimes, I also paint at night. But often only for making sketches.

I always remember the concept of Tri Murti: Brahma, Wisnu and Siwa, who are responsible for creating, taking care of, and destroying. When I am painting, I am the Brahma. When it’s done, I take the role of Wisnu. I learn to not become attached to my paintings even though part of myself is always in my paintings. So when they’re gone, that is the time when I’m ready to make the new ones.

So, before the painting knows its next journey, I take care of it.

Do you know where the most inspirational place is?

Toilet! (excitedly spoken like an eureka moment).

Beneran (really).

Toilets are sacred!

What is your favorite fable?

Dongeng Tantri or Tantri’s tales.

Naughty monkeys, stories about nature, fishes, elephants, water… I really like them.

Tantri is a daughter of Patih who was married to a King. The king likes to sleep around with women everyday. Putri Diah Tantri doesn’t like his character. So she always tells the king different stories every night before intercourse. The king enjoys the stories and is too tired after to sleep with her. That continues to 1001 stories, until the day the king died.

What does your down time look like?

Going to the beach alone. I really like Pantai Pabean in Ketewel. I go there almost every afternoon. I always feel like I have a connection with that beach. Later, I found out that it holds a lot of Balinese history. It is the place where the Gajahmada expedition started. Perhaps - in the seventh century, I’m not sure - the beach also used to be a major trading port in Bali.

Can you tell us about the children learning painting in Batuan?

Since the pandemic, this program has been stopped. We used to have 2 sessions on Sundays with a maximum of 25 children per class. But then we reorganized around 2 months ago and applied the social distancing protocol. Now, we only allow a maximum of 10 children and only organize one session on Sundays. I’m glad to know that they miss painting together and enthusiastically return to the class.

I remember we built this community back in 2018 to introduce painting tradition across generations. We want them to see and know. If some wanted to practice more, we are here to teach. If some didn’t enjoy the class, we don’t force them. It is their will. This community has grown and not just in my Banjar now. There are some children from other villages too like Ketewel, Saba and Ubud. I love to be with them and see their spirit.

Why do you paint? And we also know that you like to paint on different media as well.

To paint is a calling. I really enjoy the painting process.

I also enjoy experimenting. I paint on dried maja (a type of fruit which belongs to the rutaceae family. It is known for its bitterness and inspired the naming of Majapahit), unique shapes of wood I found on the beach, plant pots. I like the challenge of finding a way for the paint to stay on certain surfaces. I think we artists should not limit ourselves since our achievement is freedom itself. Some people say that my experiments are not Batuan style. It’s ok with me. I don’t need to secure a prestigious label. I like doing it. I play with a lot of natural dye lately.

How do you see the development of Batuan style?

I see it is harmoniously growing. The Batuan artwork from the 1930s tended to have dark shades. A lot of them are one object exposed in the middle with the black color blocking the background. I think this certain style was affected by that time’s perspective and rare painting materials- we used to paint with self-made charcoal.

Talking about Batuan as the community and style, in my opinion, it is actually Bali tradition that lives in Batuan. But we call it Batuan style. Now, for me, we can call it contemporary. The objects and materials are shifting. For me, tradition should follow the age. There’s an expression in Balinese called Desa Kalapatra: Desa is area, Kala is time, and Patra is material. It means humans need to adjust to what's served/available here and now. Value is not measured from the material or the theme, but in our sense of the work process itself.

When I am painting, I always look at it as yadnya or an offering to God who lives inside me. Do what you can and give the best.

Have faith in the process. I believe every artwork will have its own destiny. They have their own journeys.

In the future, I want to see the Batuan community be sustainable. The painting process of the Batuan tradition contains ethics and character development that should be maintained. I find my self-discovery through painting. I also see some children who were unmanageable become more relaxed, aware, and calm. I think the painting process is really important for identity development.

What question do you think people should ask? That people won’t know to ask, but need to know the answer to.

How can I survive?

Many people ask me that question and are curious about how I face the pandemic. Especially because many people have financial difficulties. In this reality, I keep working without thinking about how it will turn out. I see the pandemic teaches us about crises. Even I haven’t found a way to make peace with myself in this condition. So that’s why I think we need to create our own harmony. For me, I have been working from home for years, so there’s no significant change in my daily habit. Instead, I use this time to stop, breathe, and look inward.

My wife works as a nurse at Bali Royal Hospital, Denpasar. Luckily it is not the main referral hospital for COVID-19 patients. Although we will never know what will happen. My wife and I just do what we can to keep ourselves healthy, mind and body. So in the meantime, dwelling in frustration too much is a waste of time. Instead, calm is necessary and we keep doing what we can do according to our respective roles.

I have been asking to hold online workshops, but I don’t have good devices to support it. I don’t want to force it. Actually, I feel so grateful I can spend more time with my family. This pandemic situation makes me think about the father and mother definitions as well. For me now, a mother is someone who loves and a father is someone who protects. Regardless of gender. These masculine and feminine energies are complementary.

Get to know: Tassa Agustriana, foodie and entrepreneur

We had the pleasure of working with Tassa Agustriana when she was still with Big Tree Farms and we’ve been following her story ever since, from her search for the island’s best negronis, to her love for Indonesia’s best edible treasures.

Tassa has a brand new project that we’re excited to watch: Re-Publik is a social enterprise concept dedicated to team members who lost their work during the pandemic. A place to collaborate and help the artisan maker showcase their product. A place to meet over coffee, brunch, work online and reconnect with loved ones. Check it out next time you’re in Berawa. She’s also part of the Archipel Coffee team: Born in Bali, they bring Indonesian coffee to the next level. A blend of Kintamani coffee with Indonesian spices from Maluku. The islands were known as the Spice Islands because of the nutmeg, mace, and cloves that were exclusively found there, the presence of which sparked colonial interest from Europe in the sixteenth century.

We asked her a few questions so you can get to know her too.

Please share your story… Why coffee? Why Bali?

I studied Food Technology and graduated from Universitas Brawijaya, Malang, East Java. I grew up in Banjarmasin, South Kalimantan, until I was 17 years old. Back then in Banjarmasin, a lot of my friends took medicine, or engineer, architect, planology, legal studies … They are the majors that symbolize the success of parents who send their children to school. However, I can’t draw so I can’t be an architect, also I can’t take medical studies, I can’t even bear to look at the blood. So I was looking for the best fit for me. I thought food is essential, but I don’t like gardening. So I was interested in learning post-harvesting and processing technology. I used to think to work at Nestle, Indofood, or other big manufacturing companies. Quality management systems and regulations for the international food trade have always fascinated me. So I took them for my program studies.

After I graduated, I had to come back home just like other Indonesian children after being sent away to school. At that time, I was accepted for an internship at Nestle. But my mom didn’t allow me to go because I had been away from home for 5 years. She wanted me to come home and assist my uncle. He was in the process of building his company and needed me as part of the main team. So I promised her to come back home only for a maximum of 3 years. We agreed. Turns out that was my learning point in the professional world. He built a drinking water company and wanted me to take care of the initial stage. I didn’t have any experience but he just gave me general information about what he expected, the timeline, and the budget. I was just around 21-22 years old. I asked my seniors in the professional field a lot and just did what I could.

After the second year, I still wanted to go outside of my safe zone. I think my uncle understood me. He knew that I was at that age where I still needed to prove and acknowledge to myself that I can use my skills for something more, without help from family. So I applied for jobs. I found Big Tree Farm through that. Never had I ever thought about Bali. My family always goes to Java for holiday and mostly Jogja. In the following 2 months, Big Tree Farms called me to schedule an interview. Within 10 days, I moved to Bali. I immediately handed over to my uncle; what departments he needed to recruit for and what other things in detail he needed to follow up. Fortunately, I did most of the work earlier, to set all the systems, ready for the upcoming opening. So here I am, many years later.

With coffee, I have another story. I met Dee-Ann, Archipel’s founder, who is based in the United States. She is the product inspirator. I am one of the shareholders and I handle the management. We used to like to hang out at Seniman Coffee and by coincidence at Ubud Food Festival. She has a child who studied in New York and another who used to be a Green School student. So from those circles, she noticed beverage trends. At that time it was pumpkin spice latte. She knows that many brands use food sweeteners and artificial flavors. So we thought why don’t we make the original version.

In Bali, Kintamani is the best source of coffee. Maluku in the 16th century used to be colonized because of its spices. Dian and I then started to develop Archipel. Drinking coffee has become part of our daily life as well. We experimented and sold small batches. It took us almost a year to finalize the product. We went on many trips to Maluku for sourcing. We went to Banda, Seram, Tidore, Ternate, Minahasa, and Halmahera too. Also, I have a friend who grew up in Holland but his family is from Maluku. My friend has a good relationship with Maluku farmers so we use the spices from the farmers’ families.

When we did the formulation, we were just so overwhelmed with how good the spices are. They are just so fresh and have good qualities. Wait until you try nutmegs from Banda too, the native land. We only need to use a small portion of nutmeg and the taste is so rich.

Back then, Dee Ann was in the middle of the process to move to the United States. It was after my resignation and I was wanting to just be an independent consultant. But then she asked me to run the company. If it’s happening, she will handle the US market. She is a marketing person. She enjoys doing that. So I guess if I am asked to articulate what I am doing, it is connecting the dots. Suppliers, ideation, product development to operation.

How would you describe your project?

I have #ThriveFoodConsulting, it’s my very first independent project.

Let me share with you how it began.

From 2011 to 2017, I worked for Big Tree Farms. I developed their quality department. The last one year I was in the team, I supervised Big Tree Farm’s big facilities in Solo and Jogja. Back then I was overseeing Bali, Jogja, and Solo. After a while, I decided to just step back and rest.

Right after my resignation, I was actually in the state of looking for a new position. But then I happened to get a project. I was asked to make research on technology for an alternative sweetener. We used sugarcane juice. Before that, many of my colleagues asked me whether I want to hold a consultation session. For example, to consult about the food legality management, or an overview of the food industry in Indonesia. They said I should use my background and experience in quality and food safety. I was used to dealing with the audit process, especially for organic and natural products.

So that is how I had the idea to offer my services. I enjoy it so much. I think it's because the process is close to the product development process, where my creativity takes place. There was a moment when the project finished, I asked myself why I left such a secure life when I was in Big Tree Farms. To be honest, after 7 years, it’s not easy to let go. Moreover, this is my very first attempt to offer my own service by freelancing. But I am excited.

Can you share about the fair trade practices that are the fundamental values of the brand?

I source from the sourcing suppliers who get the spices directly from the farmers. Some of the suppliers that we met are closely connected to the farmers. So we can extend our networking with the farmers and ask them about prices. I compared the prices myself to other suppliers and traders. They are more expensive. But again, we are committed, so it’s better for us to buy more expensive spices but the money goes directly to the farmers. We think about the small stuff we can do now.

I do really think that people, the consumers, have learned in the past 7 years about which products are just sustainability tagged. Always look at how far the company and the brand are giving you information about their supply chains.

We are so used to mass production that gives us good prices in the big market. I know it’s working. I don’t say that they are doing something worthless. I understand they make a big effort. I also learned in Big Tree Farm how a company’s vision focuses on the sustainability of the people. Because so many big companies focus on the product, but forget about the person behind the product.

Archipel’s vision is towards the sustainability industry. Where the whole concept - from the very small parts - is a very high quality product. It means how you treat the people working with you. Even though we are still only a year old, I believe we have good intentions and we will always find a way. We care so much about sustainability and not just abusing the word.

We visited the farmers again after a while to check their stocks and trace the beans so we know the origins. It is such an amazing experience. From that I know the price. It is so saddening that a lot of farmers use the old prices. I know how much things cost once they are in the international market. The gap is crazy.

The farmers grow all the spices naturally and harvest from their backyard. Many families do this. They sell household batches with cheap prices to collectors, then the collectors sell the selected and bigger batches to traders. The most shocking thing I found out is there is no involvement from the government to facilitate an integrated system for drying. Every time I am in Banda, I feel like I go back to the past decade. Also, the cooperative system is not popular there. I only found one farmer in Tidore and one farmer in Ambon who are in a cooperative. Can you imagine the journey of imported spices? From Ambon to Surabaya port, before being exported, or from Halmahera to Sulawesi before going out from Indonesia. Everything is so expensive there because according to logistics, we know they have difficulty with physical access and delivery routes. So when you buy a coffee, the money doesn't go to the farmers.

Since then I contacted some of my colleagues in the Food and Beverages Industry in Indonesia to share my experience and thoughts. Some of them are sourcing in Sulawesi, Papua, or Maluku. They told me the same stories. Farmers are the very bottom of the chain. Archipel cares so much about this and we ask ourselves, What can we do? What do we hope for? So through this project, we aim to grow bigger and stronger so we can give impact sustainably and invest in those things. We don’t know yet what exactly it’s going to be. But we always approach the farmers to get insights and ask them directly how we can help. One of the things that I do is to keep in touch with my colleagues in the Food and Beverage Industry who are linked to the government. I keep up with their projects to know if there’s something Archipel could participate in. We are also aware that Archipel is still very small now.

How do you maintain the relationship with the coffee farmers and what is your takeaway from the journey?

I’m so happy I have such a very broad point of view now from the farmers. When I talked to them, it reshaped what I thought a real problem was. They also talk in a simpler way. But their questions are challenging. They just open my mind to things I didn’t know. I used to be a homebody. From the experiences I had in my work, I went to several remote areas. I think that’s what we should do if we work in an agricultural community, especially if it’s organic.

We need to explore the hills, mountains and forests. The experience really led me to appreciate artisanal work, which is done by all the local farmers themselves. I used to take food on my table for granted but when I saw how long and complicated it was to make a handful of coconut sugar, it shifted how I define a simple product.

Also, I appreciate how the family plays a role hand in hand in harvesting. You can see they are the most modest people you have ever met but they are actually ruling what they do. And that has been going on for generations.

What’s been your experience running a business during this period?

Crazy, definitely hard. I am lucky because there are still some clients using my service. It is essential for their business to have me to assist and run. But the hardest thing is of course you have to be… well, controlling the budget is always the thing you have to do, but you are finally at the point where you decide after 4 months as much as we want to give you full hours and full salary, we come to realize that we need to adjust. That’s the hardest part. To talk to your team that there are no orders in the future for us to keep running. Production cost, we can control it, supply is going to be hard, but again we can not close our eyes to the fact the demand is also decreasing. It might go to 20-30% while the operation cost keeps running. Thankfully, my current projects are the projects I have worked on since last year. Our budgets are allocated to certain times of our working capital. I can not imagine how big companies deal with the previous profit and current loss.

A market targeting foreigners at first is actually very volatile. Things like this happen, so I really think we have to be open-minded now. Maybe this has opened my eyes too. In the artisan organic natural product world, most of the targets are foreigners and/or travelers from other countries. Because they are the ones who probably have the buying power. They also understand the product. Now, what I see is with the pandemic, who else is going to buy? At least, we can depend on the local market that understands the product and can also afford the product.

I often feel funny about it because I make something local but we can not sell it to locals. Many companies don’t realize this fact.

The ones who support you always are your closest community. We need to build something from the community and for the community. Yes, we might source locally but often we forget that it also has to be for the community, not just the supply side but also to who consumes it.

The quality must be good and enjoyed by everyone. At Archipel, we use coffee from Kintamani. Recently we also source spices from the same area like red ginger. Also vanilla from different parts of Bali, or long pepper from Jogja and Sulawesi. We are always looking for the closest we can reach so supply isn’t disturbed. Always trying to make something from the raw materials grows near where we live.

It’s been hard to search for suppliers. Yes, we still have some inventory. But we still need to refill and we can’t do that from where we source in Maluku. Then we thought, Indonesia is large, we can always try to get them from other sources. Also, the Food and Beverage manufacturing circle allows us to exchange information, so that’s the other way to avoid big trader chains.

What’s next for you?

For me, I am focusing on Thrive Food. I want to make a one-stop boutique consulting company that focuses on organic natural artisan food. We have space we can do anything from legal, ideation, product development, packaging development, to make things like a pilot production to commercial production. Now, I’m by myself but I still work with other parties for product or packaging development. But I really want to have a solid company. Through that, I want to help more artisans and restaurants like Room4Dessert or Locavore or anyone who wants to source anything from Indonesia. Create something using Indonesia ingredients, so they can export them but also target their products for the locals. There are so many talented people in Indonesia who just become unseen but I want to place them at the forefront.

Get to know: Paola Zancanaro, designer

From the moment we saw the designs of Namu, we fell in love. We’ve been even happier to form a friendship over the years with the woman behind the brand. Paola has worked with prestigious designers, including Miuccia Prada, Giorgio Armani, and Vivienne Westwood, and has traveled to far-flung regions to create events, exhibitions, and installations. Paola is an advocate of fair trade and slow fashion and is passionate about all crafts and to maintain alive age-old artisanal techniques.

Where do you come from?

I come from a charming town called Alassio in the northern part of Italy. Alassio is located between Cinque Terre and the south of France and has a beautiful white sandy beach and lush green hills.

What makes you do what you do?

Curiosity, never wanting to stop learning and a real passion for the crafts and everything that is handmade and heritage.

How does Bali influence your designs?

The lush green of the rice fields and the different hues of flowers and leaves are a constant inspiration for my work. Bali’s culture and its skilled artisans will never stop influencing what I do and what I enjoy dedicating my time on.

When was the first time you ever touched fabric? And what excites you about your work at the moment?

I was surrounded by fabrics since my early childhood as my grandmother had an atelier and my mother had stunning dresses made by my “nonna” from jacquard to exotics silks and beautiful crepes encrusted with bejeweled embellishments. Since the lockdown, I have dedicated my time to learn more about natural dyeing techniques and which barks and leaves are available in Indonesia. I am trying to upcycle my collection by re-using leftover fabrics and create garments that are fun to wear both at home and out.

What are your favorite patterns and influences? Where are they from?

The Art Deco period will always be the main influence for my work - I love everything of that period from the ladies hair cut to the gorgeous jewels that the Indian Maharaja used to ask jewellery houses like Cartier to customise from themselves.

How do you measure your progress in life and work?

Good question! I measure my progress both in life and work by being serene and content with myself and securing that my team is happy and learning from what we build together.

Who were you as a kid?

Naughty! Never stop talking and asking why, why and why…I guess I am still a kid ;-)

What is your favorite event?

Difficult questions. As in my life I have been fortunate to organise many beautiful events across the globe for some of the most prestigious fashion houses but my favorite ever it has to be Holi Saloni in Udaipur in 2018, where we celebrated the Indian festival of colors.

Imagine you are there, what are your three favorite things about that event?

The explosion of color on Holi Day, the Indian craftsmanship to build Ad Hoc mud houses and intricate decorations and stunning venue Devigargh Palace.

Get to know: Summa Durie, Curator and Artist

We caught up with our dear friend Summa Durie recently to ask her what’s new in 2020, what she thinks about everything that’s happening in the event space, and to tell us what’s going on in her world of art, events, curation and more.

Photo by Roberto Aria Putra. of Summa durie with Roa

What was your favourite moment today?

We recently moved back up to Ubud to what I can only describe as a little smurf village. Our balcony looks out over a jungle garden and rice fields—a view normally saturated in greens, sky blues & pops of tropical colours. Today started with a rainy, misty morning but suddenly through all the greys and blues the most brilliant, eery orange appeared on the horizon as the sun tried to peek through. I am kind of obsessed with colours at the moment so this stuck with me.

Tell us about the projects you are working on…

And which one has your heart right now? I am the International Curator for an art space here in Bali called Rumah Sanur - Creative Hub. In 'normal' times this is a bustling place that hosts art, live music, festivals, markets—last year alone we welcomed 32,000 people through our doors, held 450 events/concerts/art exhibitions, and held workshops for over 6,000 participants. I am also the Co-Curator of TEDxUbud (working with the awesome folks at Elami & Co) and a freelance curator. In the crazy times we are living through right now a lot of this curatorial work has come to a standstill as gathering people has become slightly tricky. So this has become a time of reflection and resilience—looking at how models can change and how art and artists can still connect in different ways. With that in mind, we've been cooking up some new projects which are still in the very early stages. Without saying too much at this point one of them involves some of my favourite things—art, monsters, myth & history—so I am very excited to see how it unfolds.

Photo by Neyna Rahamdani for TEDxUBUD

What are you (un)secretly good at?

I originally trained as a theatre designer but realised I'd never learnt how to paint. So a couple of years ago I found some classes to learn the basics and mucked around now and then. But it has only been since this lockdown that I have established a regular practice and have felt myself developing as a painter. I have been working on a series of studies to explore different styles and colours—it been wonderful seeing what works and what doesn't. If you want to have at my look at my experiments see my IG @summa_. It has also been a great time for exploring other artists’ work and making connections online. I have found a lot of forums for artists gathering together and learning from each other which has been brilliant. A special shout out to Nicolás Uribe (@nicolasuribe) for his insanely brilliant art and daily videos. At the moment I'm totally fangirling over the works of Colleen Barry (@colleenbarryart). If I ever get a chance to attend a workshop with either of these artists I'll be one happy woman!

How did you start curating?

I started curating in non-traditional spaces—clubs, bars, restaurants—in my early 20s. My focus back then was on emerging and street artists*, and I'll always be grateful to the people who allowed me to take over their spaces. I believe art can and should exist outside white cubes, that art should be where people are. But alternative spaces don't work for all art forms, so these early exhibitions led to me curate exhibitions for major festivals and in more traditional gallery spaces over time. My curatorial work in the visual arts morphed into programming music, performing arts and even a writers festival—I programmed the Ubud Writers & Readers Festival programs 2013-15, which is how I landed in Bali. What I am most excited by is the intersection between different art forms and how when they come together they can create little moments of magic.

*Side note: after working with street artists in Australia, a dream came true here in Bali when Belgium street artist ROA came to Rumah Sanur and did a piece on our walls. I had stalked ROA's work all over Europe so I’m still pinching myself one of his works is on our walls.

How do you curate?

Curating is all about connections, most importantly the connection with artists—it is still the thing I adore most about it, working with and watching artists grow.

Curators need to have an understanding and respect for artists—their background, art form and the stories they are telling. If an artist in return trusts the curator's vision for their work and the exhibition, good things can happen.

Curating groups show can also be about understanding how different artists' can work together, how to create a cohesive exhibition that doesn't feel disjointed visually or thematically. Again, this comes back to understanding an artist's style and voice. But curating is also about connections to communities, spaces, festivals, buyers, sponsors, funding agencies, media, and arts writers. A lot goes into making an exhibition successful, far more than simply hanging works on walls. A good curator knows how to make all these connections work or can bring in the right people to make them happen.

Photo by Suki Zoe, Gelombang by Made griyawan Exhibition for john Hardy Jewelry

Do you have some tips for upcoming curators?

I am stealing some advice a mentor once passed onto me, but I think it is still relevant for all curators and they are the three Rs.

Relationships – know the artists, art spaces, and galleries you want to work with and develop those relationships. Go to artist studios, attend art exhibitions and artists talks. Remember relationships take time, but if you show up they will happen.

Research – a curator must always be researching—new artists, new works, and ways of presenting contemporary ideas that will resonate with an audience. But equally important is knowing your art history—limitless resources exist online so there is no excuse not to do your research.

Relentless – the final ‘R’. Curators must be relentless. Being a curator is not a 9-5 job, it’s a way of being—constantly searching, piecing art, and works together.

To be a good curator you have to be part-composer, part-mad scientist and above all be a relentless collector of people, ideas and things.

How does the curation process happen in the COVID-19 era?

This is a big question that I think everyone is still trying to work out. There is no issue in creating connections and ideas for exhibitions at the moment. We are all connecting via Zoom, IG Live, or whatever platform you like to use. I think the big question comes in the delivery of these ideas. Online exhibitions and digitally generated walkthroughs can go so far, but there is nothing like seeing the artwork in real life. For me something is still lost in the digital realm—I love to walk around sculptures and get up close to paintings to see the texture. Also missing from online is the other people. Art is about an individual's experience in the artwork, but it is also about a collective experience—when people gather in RL to appreciate art.

Where do you see it all going? Meaning, the future of events in the time of a pandemic…

Again I don't think anyone quite knows the answer to this as none of us knows how long this pandemic will go on for. But for the time being, I think we'll see more experiments with online viewings or exhibitions and events with restricted numbers. For galleries, this is not such a hard thing, but for a lot of other art forms like music and performing arts it is hard to create sustainable events with only a fraction of the ticket-buying audience. I think we are all hoping there is a magic bullet that will solve this crisis but no one knows if and when this will happen. What I do know is that humans are creative and resilient beings and whatever happens I am sure we will continue to make art and share it, although I can't wait for the day we can all do that together again.

Thank you, Summa!

Get to know: Novieta Tourisia, botanical textile artist

For our first The Creative Refresh, Novi was one of our creative mentors. She creates textile art by fusing indigenous wisdom, artisanal craftsmanship, and sustainable innovation under the name of Cinta Bumi Artisans. Novi works with eco printing, bark cloth and plant dyes to create her wearable art. We sat down with Novi to ask her a few questions about how she got to Ubud and her creative process.

What inspired you to build Cinta Bumi Artisans and how did it start?

Tourism is my background. I was born, grew up, and worked in Jakarta as a tour program manager until 2009. Then I decided to move Bali since I really need something new in my life. At that time, I had an opportunity to work at Green School for a year and then the Odyssey Institute. My husband had a project to build a school for women in Poso, The Mosintuwu Institute, and we were both invited to Poso. The Mosintuwu Institute is a grassroots community organization whose members consist of Poso conflict survivors. At first, I thought I would come to a scary conflict area but it all changed when I arrived. Who knew that that would be the beginning of Cinta Bumi Artisans.

I was introduced to the Founder of the Mosintuwu Institute and asked to make a tourism program. So I stayed there 3 months to collect information with people there. One day, a man, who is now our artisans coordinator, took me to the rice fields where I could hear sound of hammering. It was in Lembah Bada, part of the National Park of Lore Lindu. I was so surprised seeing the women making ranta (barkcloth). The man said that I was so lucky because there were less than 10 people who could still do that.

They told me that they were making cloth for a ceremony and sometimes they make it for government tourism exhibitions too. But I’d never seen anything like this before, so I asked if I could buy a meter of textile to make something.

At that time, I travelled to Poso and Bali every 2 months. I usually stayed longer in Poso. So I made a bag fro ranta and even colored a part of it using natural dyes. When they saw the bag, they didn’t believe it was made from their ranta. So I proposed to work together with them - it was totally their decision to form the partnership. It’s their tradition, they do it from generation to generation, and I am just a women from a different background who fell in love with indigenous craftsmanship.

I encouraged myself to join the Pasar-Pasaran event in Ubud in 2016, officially launching the brand. For a year, we were focuses only on barkcloth until we faced a challenge. We had been working with 4 villages in Lembah Bada who always planted and harvested sustainably. Cinta Bumi Artisans always takes it in turn to source the barkcloth from different villages so that the trees have time to grow the bark back. It takes months to grow 40-50 meter per village per season. For a piece of 1x1 meter, the women work for 2 weeks.

However, the problem is most of the people don’t want to replant the trees. Especially the young generations. They tend to choose to work for the palm oil and mining companies because of the fast money they can get. I think that it would be really good for them replant, to take care of the trees, and maybe someday they can revive the barkcloth tradition and manage it for their economic and cultural sustainability. The paper mulberry tree (the barkcloth tree) was used to be endemic, even in Bali, but because of the clove plantations that massively established in Bali, they become rare. So the replanting is still the issue.

Cinta Bumi Artisans’ framework is based on everything made from the natural resources of Indonesia, on artisanal craftsmanship. For me, craft is everything you make with hands. I adore indigenous craftsmanship.

There are 4 types of plant sources that I use in the process: my dyeing garden, kitchen waste, roadside windfall, and waste from weddings. All are tropical leaves easily found here in Bali and Indonesia. Sometimes, the leaves surprise me with the medicinal benefits they have. It’s like making a healing cloth. So I wanted to develop and apply this to the eco-printing project. Now I am still exploring the possibility of using peace silk, which I found being produced in Jogja. The pea silk is made sustainably from the silk worm but no harm is inflicted in the process. Instead of boiling the cocoon right away, they wait for the silkworms to turn into butterflies first. Although I am not vegan, I always choose to be responsible with what I do and what I consume.

What is your next project?

Cinta Bumi Artisans will soon launch Naluri Botanica, a collection using peace silk and barkcloth. Sometimes people call it cassava silk as the silkworms eat the cassava leaves. Naluri Botanica integrates the indigenous craftsmanship (barkcloth) with the contemporary art and natural dyeing (eco print). The products will vary, including bags, accessories, jewelry, etc. The difference with Cinta Bumi Artisans will be the medium. I am still exploring using the remnants of barkcloth and making it into jewelry.

Through the materials that I use for Naluri Botanica, I would like to encourage artists, designers, basically everyone, to know that Indonesia’s textile traditions include more than batik and ikat weaving.

What 3 events do you really like and why?

One is the event that I really want to attend one day, the Folk Art Market in Santa Fe. It is a festival especially for indigenous cultural art around the world. I wish I could bring all the women from Poso there to exhibit their work with barkcloth.

The second one is TEDx. I used to attend the one in Jakarta and I really hope I can attend the one in Ubud. I love that the event gathers a lot of speakers from different background which I think is what we need as a person to grow- to listen and see other perspectives and experiences. From me personally, to not just meet with other textile artists, but also people from other fields to broaden my views.

The third one is the biennial Festival Panen Raya Nusantara (PARARA) in Jakarta. They present entrepreneurial products from various communities and indigenous peoples around Indonesia. These products are the result of long collaboration between entrepreneurs, communities and creative workers. The event aims to provide basic information about the importance of local products made by local communities to its visitors. It puts the spotlight on the value of a community’s struggle in producing products and safeguarding the natural environment where the products are produced.

Get to Know: Maya Kerthyasa, food writer

We have been working with Maya Kerthyasa to co-create The Dinner Series. We want more people to know her the way we do, so we sat down with her and asked a few questions of our favorite food writer.

Would you like to share a little about your background and interests with us?

I am half Balinese and half Australian. I grew up between Bali and Sydney and studied journalism. Since then, I’ve worked mainly as a food writer. I spent four-and-a-half years at Australian Gourmet Traveller Magazine and wrote a little bit about travel, but my strongest love is food. And that’s something that I’ve been interested in since I was born, really. I spent a lot of my childhood running around the back of house at Ibah, my parent’s hotel in Campuhan. And I think, through that, I developed a really strong love of hospitality.

I did my first restaurant review when I was nine years old with a dear friend of mine, Jane Adams, who has become one of my biggest mentors. I remember the day vividly, and from that moment on I have been fascinated by restaurants and food culture as a whole.

When I was working in magazines, I was lucky enough to eat and write about many different kinds of food. Now that I’ve had a child and am spending more time at home, I’ve made it my mission to focus on the food of Bali. It’s so layered, complex and full of cultural significance, but it just isn’t spoken about internationally. I’d like to change that, and so that’s where I am at the moment.

Maya and her grandmother in the kitchen

What makes you interested in food and Balinese food?

Well, I have a very healthy appetite. That helps. I’ve been fortunate enough to have eaten some really wonderful food not just in Bali, but around the world. Both of my parents are good cooks. So many of my fondest memories are connected to cooking and eating.

I’m also really lucky to still have both of my grandmothers, who cook in very different but equally wonderful ways. Food is an interesting way to explore not only the flavors of a place, but also its history and culture. And that’s why I love it. If you dig deep enough into most traditional cuisines, you’ll find they are laced with stories. When you dissect the ingredients, the way they’re prepared, you might see the history of a place, how it’s been influenced by other cultures, colonialism or immigrants. You can see how food is used as medicine, how it’s used to celebrate, even to mourn. So, for me food is such a strong vessel for discovery and connection.

What is the story behind The Dinner Series?

I have a lot of respect for Mila, Daniela and the Elami team, so I was really excited when we started talking about The Dinner Series. It’s started off as a conversation and then slowly it grew, and we did the first dinner at Green Village with Wayan Kresnayasa from Potato Head, which was such an amazing way to start.

Mila and I both saw an opportunity to create eclectic boutique events in Bali. Not your run-of-the-mill party or festival, or four-hands dinner – events that truly connect and inspire people in the creative field. I wanted to give some love to the people doing solid stuff in the culinary scene. And for Mila, there was a strong creative drive. You know, life in Bali changes so rapidly and these days we are all so divided by geography, traffic jams, and our own busy lives, that we don’t really get together as much as we used to. So, I think there’s a bit of nostalgia in there as well. To put it simply, we want to find people doing great things and celebrate them in the most interesting way possible.

What projects are you immersed in right now?

The Dinner Series of course.

I am also in the process of recording my Balinese grandmother’s recipes in the hope of compiling them into a cookbook. I think there are so many layers to Balinese food that I haven’t yet explored, so I’m calling it a book about the food I grew up with. It’s taking a while, but it’s allowed me to spend some really precious time with my Niang who is in her 90s. And learning as much as I can from her, in more of a hands-on sense, as opposed to just writing and recording. It’s a very different approach for me, but it’s teaching me a lot about my culture, my family and who I am as a cook and a writer – having that ability to slow down and be truly conscious in the kitchen.

What is your routine to get inspired?

Every morning I try and do three pages of free writing. I’ve got a book especially for this, so I sit down with a cup of tea and my favourite pen and just write anything that comes to mind. Sometimes it makes no sense, some days it’s more of a diary entry, other times I’ll just write about the way the morning light is touching the kitchen bench that day. There are really no rules and it just gets my creative juices going.

Get to know: Janur Yasa on sustainability, food and personal experiences

We talked with Janur Yasa, one of the founders of Moksa, a plant-based restaurant in Ubud, and a Bali native. Janur has worked with Elami and Co. and TEDxUbud from the very early days - the second edition of TEDxUbud! He’s been an inspiration and calming source of support for our team over the years. In the last few years, Janur has been bringing Moksa, his amazing garden to table venue into being.

What inspired you to build Moksa?

I built Moksa with my business partner, Chef Made Runatha. We were working together at one of the healing centers in Ubud and we often talked about building a restaurant together. I was so interested because I always see Chef Made as a creative and qualified individual. He sees food as a medicine- what we eat is beneficial to our body. This bring us to the 4 principles that we apply in Moksa: learning, earning, sharing, and fun.

What are the values that form the foundation of the brand?

We have a tagline, “to create a place of awakening the senses” and we want all the guests who eat here to feel this in every way. They see the food presentation, hear the sound of the tempe cracking, touch the crafted cutlery and the texture of the food, smell the cool atmosphere mixed with the kitchen, garden, and food smells, and, lastly, be surprised by the taste. We really want that to lead to a personal experience every time they come here, whether it is the first time, or the second.

How you get the team to live your values?

My team and I are so close. I often spend my time here at Moksa, working and making new friends. There is trust between us so we respect each other. We share what we learn. We all have to taste our own food so we know what it is and we all can explain it really well. We have the garden and we bring the garden to the table, from table scraps we give back to the garden. The sense of belonging is built in and everyone in the end has each other’s backs because they are disciplined. Disciplines means respecting each other. Fun doesn’t mean ‘airy fairy’, fun is when you are ready to be present, working hand-in-hand, with good communication, that makes it fun.

What kind of events does Moksa support and why?

Always comes back to, ‘does the event support our 4 principles?’. We support Ubud Food Festival, TEDxUbud, and Slow Food events because we are aligned with their values. Especially, what make us sure is the sustainability and waste management policies of the event. We have this huge problem in Bali. Moksa really want to be part of the people who work to protect the environment. So, we want to support events who is in the same vision and mission. TEDxUbud has taught us how a well-organized big event can handle this issue.

Where do you think Moksa is at right now and what is your next project?

I don’t think that our 4 pillars is the destination. It is a process. I would say maybe the 4 pillars is also the parameter, it is day by day journey. Always learning, sharing, earning, and do fun. Like today, I learn from your questions. I never looked at our work in that way before.

We are now in the middle of building a special facility for cooking classes. Also, I started a regular talk and brunch -- which I would like to also make yoga and brunch or other dojo class and brunch. The first one was 8 people but this week it’s already 16 people. So I am really excited. Basically we talked about the history of Balinese temples, the geography, daily culture, the food, and everything related. The other project we have is more learning, more earning, more sharing, and more fun!

Get to know: Chloe Rose Quinn on traditional Balinese decorations and creativity

We spent an afternoon last week in conversation with Chloe Rose Quinn, the co-founder of Make a Scene!. We talked about her team of super weavers, her thoughts on creative events, and her recently joining the Elami and Co family.

What is the meaning of Make a Scene! and what led you to join the team?

Make A Scene! is a play on words. I come from a theatrical background where I was trained to make scenes from plays come alive. Here in Bali I want to make scenarios that bring Balinese craft to life.

The most important thing to me about Make A Scene! is that it is a celebration of two very different cultures joining together through creativity.

At Make A Scene!, it’s all about the shared intention of elevating craft. We transform spaces with Art. We don’t want to take anything away from the space, instead we want to engage with it. When we create new designs we want to bring a sense of theatre to a place. When you are around our ‘woven scenes’ you are inescapably in Bali- It’s a celebration of nature, skill and culture.

The team just happened organically. It really was because of the friendliness and openness of Gus Ari and his partner Ciknang. 3 years ago these two friends were the first two craftsmen who re-introduced coconut leaf weaving into Balinese Wedding decorations. They were the pioneers {of the re-green movement} in decoration. Their first experiment was for their friend’s wedding and I recall Gus telling me that they sat and wove for 4 days and nights straight! Everything was made from coconut leaves and it blew the minds of everyone who saw it. The installation received so much attention and luckily for me,I saw a photo on Facebook and that is how I discovered them!

It’s a total partnership between Gus Ari and myself. We have trusted each other from the beginning. I have an initial concept and share it with Gus. If he’s excited by it, then it goes to the rest of the team. Our team is up for any challenge. They are amazing. They never turn away from something unless the restrictions of the leaf deem it truly impossible. I am just so lucky to be a part of such an ambitious group of artists.

Make A Scene! specialises in weaving with one specific leaf- Slepan. We try not to get sidetracked by ‘glossier additions’, westernised luxuries. We recognize that our weaving is beautiful as it is and that we do not need to go in search of ways to elevate what we already have. As long as we stay innovative with our material and keep our very high standards we can continue to be so proud of the Art we offer.

Why do you think collaboration is important?

Collaboration allows you to learn, to be introduced to new ideas and share knowledge. I think sharing makes everybody stronger. In the western world people are very protective and scared of being copied and that is a shame. I prefer to be more open, welcoming a dialogue and feedback. There is a strong sense of being an artist and representing Bali, so why not help each other to bring out the best of Bali together.

However, sharing and openness can sometimes be a bit tricky and teams can unashamedly copy. At the end of the day we must be happy that people look up to our team as the leaders in this green movement. It pushes us to be at the top of our game. Other teams across Bali are becoming really skilled weavers now and so we cannot ever become complacent, we’ve got to keep moving forward and excite -Innovate.

According to you, what is a creative event?

An event that inspires people, opens their eyes to different areas of creativity, and makes them want to tell others about their experiences. For example TEDx - it’s people sharing a space, that gives them new information, there is art, different foods – they leave needing to process what they have experienced. The effect might not be obvious straight away but I think the right creative event can inspire the soul.

Why do you think joining Elami will bring good things to Make a Scene?

Elami are all about ‘The Best of Bali’. Everything is so carefully sourced, hand-selected and really carefully curated-. Their events are delivered sensitively and in a conscious way. Elami will enable us to continue proudly representing Bali to a wider audience . Elami is ‘from Bali’ and ‘for Bali’. They are fully engaged in the Balinese culture, landscape and sense of place- as non-western as possible! We at MAS! want to be part of that.

Tell us 3 words that spark creativity

Joy : You have to have joy in what you’re doing.

Commitment: You have to commit because sometimes you have to fight for something you create, and argue for it, and push it. Good things don’t come easily.

And possibility! ‘A child would say. ‘I want to be a princess in the day time and hairdresser in the night time and a vet on Sundays. ‘Anything is possible!’

I guess I haven’t let go of my inner child as I wanted to be a creative and to live in Bali one day and look where I am now- actually living my dream!

The most important word for me is the commitment. I think you can have possibilities and be joyful but if you don’t have the drive or the correct tools to get the job done, your ideas will just remain in your head.

Get to know: Jean Howe discusses material culture, sustainable design and workshops

Threads of Life has been our client for nearly 5 years. We've had the privilege of working with them to tell their story and the stories of the communities they work with, online and offline. We sat down with co-founder Jean Howe for a short interview about their work in sustaining the textile arts of Indonesia, impact and sharing knowledge. 

What inspires you and your work?

The team. They’re passionate, committed, lots of fun, so it’s a great place to come into every morning. I love the puzzle of working with traditional communities. So many factors continue to change for them; there are environmental, institutional and other impacts—some positive and some not. But the passion of our partner communities to continue their culture and create textiles that represent their culture is strong. I feel excited about trying to figure out how to keep all of that working.

What was your vision when you first co-founded Threads of Life?

These cultural objects represent far more than just material things. In the 90s, when we saw these amazing artifacts, it was evidence of a material culture.  They are just so beautiful. We kept asking ourselves, “How can these textiles remain important to the community and how can they generate income?”

That’s where Threads of Life came in- we thought there had to be a high-end market for these textiles. It was about wanting to re-inspire community to keep making these important cultural artifacts, at a standard of the highest quality rather than dropping down to the lowest quality, and having a market that would continually support that. Over time, that absolutely happened. The sense of pride about these incredibly beautiful textiles was really reinvigorated, and today there is a good market for these products.  People value them and they value the story; without telling the story to the market about these communities, they are only still simply material goods. With the story, the textiles begin to have value to the buyers.

Why do you think gathering people and community together is important for Threads of Life? Not only in terms of events for the weaving communities, but also weavers and textile artists from around the world.

There was a time when the weaving communities were so remote. There was nobody that was representing them or paying any attention to them. In that time period, bringing local communities together was super important. And it made them feel not alone- that the same values and concerns they had in their community, other communities in totally different areas shared as well. Now there is a lot of infrastructure, a lot of push by the government to support intangible and tangible culture as they call it.  Central government even has a creative economy department which is bringing these weavers and materials to Jakarta and creating a bigger marketplace. This type of marketplace definitely separates the goods from culture though. It's become a kind of fashion statement. But the interest in culture is there as well, which is great.  

We've been doing workshops and bringing other people here to our dye studio who want to learn about these kinds of techniques- the dye process, weaving, batik, etc.  I think the most important part is that participants are taught by the local people. They aren't being taught by ‘the western expert’ but are instead with the local, very humble people, who know deeply what they are doing. These workshops are a lot of fun. Teaching styles are quite different from westerners, who teach from A to Z,  but by developing other media we are trying to fill that side in for participants, so they can experience being taught more organically, rather than in an intellectual way. But for us, we believe it’s really important to let the teachers from these cultures lead the process.

What does sustainable design mean to you?

Sustainable design means having the awareness that things are constantly changing.  If you think sustainable is getting from A to B, you’ll find that by the time you get to B, factors have changed and nothing is sustainable anymore. You have to be able to shift again. It’s about having personal and business values about societies, culture, environment, livelihood, and continually re-examining these values. Be willing to keep shifting with the impacts that are coming at you and the community—whether that is a drought, climate change, government change etc. It’s about how do you respond to those changes, but still hold your values, allowing the values to be ‘massaged’ into something else while being realistic.