The Legend of Balerung

Balerung Mandera Srinertya Waditra was established as a place for Balinese artists to practice and perform music and dance, particularly the musicians and dancers from the village of Peliatan, with the aim of preserving the classical music and dance of the Peliatan area and further developing Balinese dance

BIOGRAPHY

ANAK AGUNG GDE NGURAH MANDERA

ARTIST BEEF AND DANCE

PERSONAL DATA

Name: Anak Agung Gde Ngurah Mandera

Small Name: Anak Agung Lepo / Anak Agung Meregeg

Place / Date of Birth: Peliatan Ubud, Monday Umanis 1905

Male gender

Status: Married

Hindu religion

Address: Puri Kaleran Pusaka, Banjar Teruna Peliatan Village District: Ubud Gianyar Regency

Family Data:

Wife:

  1. Alm. Anak Agung Oka

Child:

– Alm. Anak Agung Raka Bawa

– Anak Agung Oka Nadri

 

  1. Alm. The Great Child of Anom

Child:

– Alm. Agung Rai Dalem’s son

– Alm. Anak Agung Ayu Oka

– Anak Agung Arimas

– Alm. Anak Agung Putra Dalem

 

  1. Jero Wiraga

Child:

– Anak Agung Gde Bagus Mandera Erawan

– Son of the Great Gde Oka Dalem

– Anak Agung Raka Astuti

– Anak Agung Sri Utari

 

 

  1. FORMAL EDUCATION
  • Age 12 years starting in public school in Gianyar only up to grade 3 (three)
  • On the recommendation of Raja Gianyar, Anak Agung Gde Ngurah, continued to move schools at HIS (High International School in Denpasar, which is a school for Dutch children. He was only up to grade 5) because at that time there was a devastating earthquake in Mount Batur in 1917 known as the “GEJER” Age.
  1. EXPERIENCE
  • After dropping out of school start learning to play Gamelan, the most preferred is to play Kendang and learn from the Alm. Anak Agung Raka Gendot from Puri Kawan Peliatan who is also a marketer dancer in Sekaa Arje.
  • After mastering the playing of drums, in 1922 he founded Sekaa Barong Bangkung whose barong was made from Pelapah Pinang. Start gathering 25 members from the Peliatan village
  • Ngelawang Barong usually on Galungan and Kuningan days with the accompaniment of gamelan melodies using Tingklik from Bamboo. Because he received a good reception from the community at that time, he continued to make Barong Keket (1923) which had been combined with Arje and Baris Cina dances. In 1924, Barong Bangkal made another refinement in terms of material and appearance … … it was there that his leadership as a leader and intelligence played drums which were very prominent from other children.
  • After he was appointed as an employee of the Dutch government in 1924 as a CERAKEN employee, a land surveyor around the villages of Peliatan, Ubud, Gianyar, Bangli. And in 1925 he was appointed Seka Abian, the land tax collector in Gianyar, under the supervision of the Dutch government.
  • Despite being a very busy office employee, especially after moving to Peliatan, which at that time became 2 (two), namely the Peliatan District & Ubud District. The activities of ngelawang mebarong barongan are still carried out between work activities because it is a pleasure that gives inner satisfaction and increases income.
  • Furthermore, barong quality for ngelawang has been improved, which has been integrated with Arja. Ngelawang is increasingly reaching further places such as Gianyar, Klungkung, Bangli, and even to Singaraja (Buleleng). If you go to Singaraja it takes a full day to walk on foot with gamelan and barong instruments leaving from 4am to 6pm. Although it is tiring but because of the enthusiasm to be able to perform the dance, all can be done with pleasure.

The combination of arje and bebarongan is supported by 30 people consisting of dancers and musicians with the story “Sampik Eng Thai”. One stage is usually paid with 1000 to 5000 kepeng. The Engik Sampik story which finally inspired the creation of the Oleg Tamulilingan dance.

  1. ESTABLISHING A SEKAA GONG KEBYAR
  • Experience ngelawang in the village of Munduk Singaraja that had to spend the night there then heard the sound of Gong Kebyar, when at that time there was a group of people who were practicing, then all the groups came to watch the exercise and were very impressed watching people playing the very dynamic Gong Kebyar where the players the drum is like Sugriwa Subali dancing. After seeing and hearing how this Kebyar Gong was played at that time his desire arose that he would one day want to have a set of Gong Kebyar.

Return to Peliatan Village on foot while serving the hired people along the road until reaching Peliatan Village for 2 (two) days.

 

  • The desire to establish Sekaa Gong Kebyar can be realized because in Gunung Sari Peliatan Church there is a set of Paying Gongs obtained from Rules (donors) from Sawan Singaraja Village for Ida Pedande’s services by the work of a pande resident from Sawan Singaraja Village. With the permission of the Gunung Sari Pedande Geriya Ide, a set of Gong Kebyar was given to be brought to Kaleran Castle to further find a drummer. Next, he began to bring percussion teachers from Batubulan Village named SI PASUNG GRIGIS, assisted by a number of friends, to improve mastery mastery, so on the instructions of Ida Pedanda Geriya Gunung Sari, a drummer from Singaraja named I KETUT MADU, who happened to be working in Gianyar, was looking for instructions. After 3 (three) months it was taught by I Ketut Madu sekaa Gong that was getting smarter to beat Gong Kebyar. When I Ketut Madu was carrying out a traditional ceremony in Singaraja, his Group was invited to perform in Singaraja and this was the first appearance for the group to appear before the community, with very happy and proud feelings and from then on the newly formed sekaa was invited. for various other events in several places, until finally there are offers to perform abroad.

 

  1. PREPARATION OF THE STORY TO PARIS (FRENCH)
  • In 1925 Cokorde Gede Raka Sukawati from Puri Ubud offered a visit to Paris (France). Initially Anak Agung Gde Ngurah Mandera refused the offer because the French State must have been so far away that there was a feeling of fear, but after getting an explanation and Cokorde Gede Raka Sukawati would accompany the trip from Bali to get to Paris and back to Bali then the offer was approved. Start training activities regularly carried out starting from morning, noon, and night, the results of the maximum exercise amazed the audience who came to watch up to the relatives of Puri Ubud.
  • Constraints arose after the set of Gongs could not be brought because the rent was too expensive, 200 ringgit, so it was decided to make gamelan in the Tiingan Klungkung Village, because the Gong was not yet complete, the shortfall was borrowed at Jero Dangin Belaluan Denpasar such as: Reong, Trompong, Jublag , and harmonized according to the gong made in the village of Tiingan Klungkung including the pelawah also adjusted. After the new set of gamelan gongs is complete, the dancers who will support the program will be taken to Paris.

The dancers are not only from Peliatan but there are also from Sanur, Pejeng, Kedewataan, Singapadu, Ubud as dancers from Janger.

  • Preparations for Paris in 1931 were prepared from 1925 by the percussion coach I Ketut Madu from Singaraja.
  1. MISSION OF CULTURE TO PARIS
  • The group departed from Bali for Paris on 31 August 1931 with a group of 51 consisting of 25 musicians and 26 dancers.
  • The group left via the port in Singaraja for Jakarta by boarding a ship. After arriving in Jakarta the group stayed 2 (two) days there, the journey continued with a merchant ship from Jakarta to Belitung Bay (Sumatra) then headed to Padang to continue the journey to the Port of ADEN Africa, after going through the waves that were quite large the group finally docked at the port of Leiden Sea . Although the weather was very cold, all the groups remained healthy and were equipped with thick coats. There the group also met with black people only white teeth so it was very frightening to the group, a trip by sea continued through North The Sea to Terusen Zues in Africa to the European Continent namely French Marselles, a trip to Marselles from Akarta took 30 days. The journey continues towards the Dutch Denhaag through Paris, upon arrival in the city of Denhaag, was immediately greeted by King William while the venue for the first time in the next stage was in Heito, at the residence of King William and the King was very fascinated by the program that was presented, there were also children there the king named Ratu Yuliana because the performance was only for the king’s family with a nice dinner for the whole group. The king’s admiration to say “how come there are Balinese who dare to come to Europe?” As a sign of farewell to the King, the sentence was revealed by Cokorde Raka Sukawati, “Long Life De Keneighen” which means “Hopefully Long Life” Visit in the city of Denhaag for 14 days .
  • In Paris, the ongoing world market, the group was then placed in the Dutch Pavilion. stage activities every day as much as 2 times for two weeks which is always crowded with spectators where the tickets are always sold out every Sunday performance. There was a fire accident at the Pavilium where the group was staying fortunately in the firing place where there was no fire because the distance was quite far. The fire started at around 23:00 until 04.00 which destroyed the Pavilium. On the recommendation of Raja Wiliam’s son, Ratu Yuliana Pavilium, was renovated for 40 days and the group was also visited by Queen Yuliana who was greeted with Gong and all dancers. Because Ratu Yuliana felt sorry for seeing the safety of the Balinese people were assigned by the army to maintain security. At the same time there was also a group from Cambodia taking part in the stage and they were also so impressed with the performance from Bali that they said “like the Wind Dance”. The success of the staging in France is seen in the article that reads “If you have traveled all over the world already in Paris, including the dream world of art, namely BALI, but for those who have come to Paris, do not just dream, immediately see the reality actually coming to BALI”. All groups felt proud of the success of the tour. Because of this success and success the group was finally invited to perform at the large and well-known Theater Building named “THEATER MARINI”. proceeds from the performance there will be donated to build a Dutch School in Klungkung Bali, which until now has been Klungkung I Middle School.

The dances staged in Paris are: Janger Dance, Calonarang Dance, Barong Dance, Cak Dance, Baris Dance, and Legong Dance.

  • The group who came to Paris in 1931 totaling 51 people were:

 

Person in charge

Cokorde Gde Raka Sukawati (Puri Kantor Ubud)

Cokorde Gde Rai (Puri Agung Peliatan)

Leader:

Anak Agung Gde Ngurah Mandera

 

Member:

 

  1. Cokorede Gde Rai
  2. IB Mrs. Cim
  3. I Bajra
  4. Gusti Oka
  5. I Grodong
  6. I Gerindem
  7. Ngog Togog
  8. No Compassion
  9. I Kuwus
  10. I Toblo
  11. Kt Gerudug
  12. An. Ag Rai Dobler
  13. An. Ag. Kontje
  14. I Gst Kompiang
  15. I Keredek
  16. Ni Serining
  17. Ni Renes
  18. Ni Jabreg
  19. I Wede
  20. I Regog
  21. I Gejer
  22. I Bees
  23. I Olas
  24. Cok Gde Oka
  25. Cok Gde Rai Sayan
  26. Cok Ngurah Wing
  27. Cok Pera’s Wife
  28. Cok Rai Agung Mas
  29. Jero Candra
  30. I Ronje (Payangan)
  31. An. Ag. Rai (Payangan)
  32. I Liang (Payangan)
  33. I Lasia (Payangan)
  34. N. Kodir (Payangan)
  35. Sang Ayu Ruwet (Payangan)
  36. Ni Tunjung (Payangan)
  37. Ds Merenjong (Payangan)
  38. Ni Renti (Payangan)
  39. Ni Kardi (Payangan)
  40. Gst Rai Mara (Payangan)
  41. Ni Rinceg (Sanur)
  42. Unreadable (Sanur)
  43. Ni Jabreg (Sanur)
  44. I Mload (Sanur)
  45. I Gugdug (Sanur)
  46. ​​Cok Gde Anom
  47. Cok Agung
  48. Cok Oka Singapadu
  49. I Serog
  50. Cok Gde Raka Sukawati
  51. Anak Agung Raka Batuan

 

  1. SECOND STATE OVERSEAS TRIP
  • In 1952 Indonesia was independent, Bung Karno who was in Tampaksiring Palace summoned Anak Agung Ngurah Mandera whose core of the speech offered again to bring art missions to Europe and America.

After that, he began to do training preparations with material that would be brought such as Janger’s Creation with the accompaniment of Gender, Upasunda Sundanese Dance Drama, Oleg Tamulilingan, the group was also selected again both dancers and musicians who were younger and more beautiful. In preparation for the tour to America also got an idea (inspiration) to make a Giant Tapel whose face resembles the face of Dadong Ranti (neighbor) as a model. For this reason, a Tapel worker named I Dewa Putu Glebes from Singapadu sought to make a tapel that resembled Dadong Ranti until now this tapel is called Celuluk Tapel, and even the dance was adapted to Dadong Ranti’s body movements.

Whereas the idea of ​​the Oleg Tamulilingan dance was inspired by the spirit of Sampek Eng Thae who became a pair of butterflies, after seeing the Kekelik Dance created by I Mario who became the embryo of the Oleg Tamulilingan Dance by adding and subtracting a few movements while the accompaniment of the music was worked on in Peliatan. As the first dancer Oleg Tamulilingan was I Gusti Ayu Raka from Banjar Teruna Peliatan and I Sampih from Bongkasa Village, these two dancers were very good at bringing Oleg Tamulilingan dance movements like butterflies that were flying beautifully sucking honey accompanied by a beetle.

  • The preparations that were complete enough were the material to be presented, the costumes of dancers, the musicians, who as the manager at that time were Jhon Kost. Feeling very satisfied with the preparations, before leaving the group was quarantined for a few days at Tampaksiring Palace while being given directions to the rules on the way to Overseas. After that the group departed by plane “KLM” to Bangkok from here to Singapore, then to Damascus, to Paris, then to London.
  • In London the staging is for 2 (two) weeks with a rather narrow stage and crowded with spectators.
  • From Europe to America where every performance is always filled with spectators and some of the viewers even come from London who have watched it before and it makes him very happy and proud because he gets so much enthusiasm. During the New York performance there was a strange experience where her miracle ring disappeared from its place which was always used every time but suddenly it was there again, and after investigation it turned out the ring was stolen and the thief returned it, after she asked why you returned it she said , he was very scared because after he took the ring that night he was chased by a giant that came out of the ring. It turned out that despite being in New York the ring still radiates an amulet that makes him more authoritative when performing.
  • After a week in New York the journey continues to the city of Chicago for a week and a stage performance to Las Vegas which was received by the Indonesian Ambassador, Mr. Ali Sastro Amijaya who also gave a message to the group not to play gambling, 2 (two) weeks in Las Vegas where the stage is not good and then the journey continues to San Francisco through a very long bridge and a very large bell, because the audience was very happy with this performance, the tour in San Francisco was extended to 20 days.
  • The staging schedule arranged by the group continued the journey to Holywood here he met with Mr. “Bob Hawk” who was making a film with the title “Road to Bali” here I saw how a film was made and it did not match what he thought before, turns out the scene was repeated, edited.

 

  • While in Hollywood I was invited to Horlando, which is located close to the city of Florida, then invited to dance to MIAMI.
  • Because it has been 6 (six) months in Europe and around the US all groups want to go home because they feel homesick for their hometown in Bali, after he wrote a letter to Ambassador Ali Sastro Amijaya in accordance with the wishes of the group, it turns out that the letter reply actually came from Mr. President Soekarno, that the group was not allowed to return to Bali, it was recommended to dance to other Europeans. Because the president’s order, which happened to be his role model, also presented a “Sword of Naval Command” upon arrival in Indonesia, he continued his journey to Europe precisely in Belgium, Germany and Italy.
  • The trip continues to BRUSSEL Belgium which was welcomed by Indonesian Ambassador Anak Agung Gde Agung and all the groups were very happy to meet the Balinese who were ambassadors, dancing here for 2 (two) weeks with very successful performances.
  • From Belgium, the group continued their journey to ROMA ITALIA for 2 (two) days and to WEST GERMANY for 2 (two) days and finally arrived at PARIS, performing at the MARINI Theater, of course, very famous in Paris. The performance was so satisfying that everyone asked for his autograph.
  • After two weeks at Theatere Marini, the group finally returned to Jakarta by plane and immediately greeted by Cokorde Gede Raka Sukawati, 5 (five) days in Jakarta the group returned to Bali by ship via Singaraja, feeling banga, touched, glad all the groups returned to their respective homes.
  1. FURTHER TRAVELS
  • Even though he is no longer young, he continues to work at least every day activities such as training children who come to Puri Kaleran Pusaka to learn to dance, especially Legong Peliatan because it has become a calling of the soul to continue serving in the arts. In 1971 a person from Australia called “KEEFER HOKIG” came, an admirer of Balinese art who offered him to perform in Australia, so the group of Gunung Sari Sekaa Gong departed from Ngurah Rai Airport on a Qwantas Air landing at Cambera welcomed by the Ambassador Great Indonesia. From Cambera, the group headed to Melbourne, which at that time was going on at the Festival, held a 7 (seven) day staging, after that they went to Sydney and also performed for a week and also performed at the medical campus in Sydney for 2 weeks. After the performance they received a good reception while in Australia all the group returned to Bali by KLM flight to Ngurah Rai.
  • In 1981 there was another offer to perform in Mexico, although he was no longer the leader of Sekaa because he was getting older but he still went to Mexico because there was an Arts Festival there. The performance there was quite successful with bringing arable that tells the birth of “Cow & King” which is almost similar to Mexican folklore about Matador. His activities are lighter because all the affairs have been handled by his children. The area visited was Acapuleco, Puertorico, for three weeks there the group returned to Bali via Ngurah Rai Airport by Garuda plane.
  1. RECENT TRAVELS ABROAD
  • In 1985 there was an offer for a stage to Japan sponsored by NHK TV, Nippon Cultural, Ashi Shambin Center, to fill the program at the TSUKUBA EXPO, even though he was already sick because of diabetes, but his enthusiasm was never quenched to serve in the field art. The preparation is quite serious because quite a number of programs will be presented to Japanese people and this is an art mission that really needs to be fought for.

The dances that were performed were:

– Classical Janger Peliatan dance which involves the musician as his Tecak

– Barong Telek dance, which at that time collaborated with Asti Denpasar for its Telek movement

– Pala Pala Ballet, Baris Dance, Oleg Tamulilingan, Teruna Jaya, Arja, Calonarang, Legong Lasem Style Peliatan.

The group also got a chance to perform at “National Theatere” which is a special theater if it is considered to have good quality art, which was also witnessed by “The Imperial Family” namely “Takahito Sinno”. Staging in Japan is fairly successful as evidenced by the next tour to Japan.

  • Returning from Japan in 1985 he was so ill that his toe had to be amputated and finally he breathed his last breath on December 1, 1986 at 3:00 in the morning. Family and relatives are covered in a deep sorrow for having lost a father in the eyes of the family and also as a Tabuh Art and Dance Figure who has devoted himself throughout his life. He was released on December 18, 1986 by a large family and the Peliatan community. After that the arts activities continued by his children as the next generation who should be able to take lessons from his persistence in the field of art so that the Village of Peliatan is known as the Village of Arts in order to continue to be steady and sustainable, for his services I as his son and family, the community pray for Mr. get the best place by HIM.

 

  1. OTHER ACTIVITIES AND IMPRESSIONS AND MEMORIES
  • In collaboration with Dr. Mardono and Mas Sardono, they performed with Sekaa Gong Semara Pagulingan Gunung Jati Teges Kanginan involving other artists such as Mr. Tenjo and Mr. Sandra who had performed at Puri Satria Denpasar.
  • Collaborated with Guruh Soekarno Putra to PRJF 1982 in Jakarta to create Puspa Mekar dance and Baris Gede dance.
  • Always appearing at Tampaksiring State Palace for the mebarungan stage, witnessed by Bung Karno, was presented to other State guests.
  • The most memorable city during an overseas tour is New York because the city is very clean, beautiful, but rarely gets the chance to travel because of limited time and cannot communicate.
  • There was a bad experience with Jhon Kock who lives on Jl Kaliungu Denpasar who also offered a performance in Singapore but was not permitted by Bung Karno who said “what are you doing in Singapore, do you want to dance in the gutter” Bung Karno and Anak Agung Gde Agung (Puri Karangasem) didn’t seem happy with Jhon Kock, and Bung Karno promised to bring the troupe to America and Europe,
  • In 1953, returning from Europe and America, he received a Station car from the United States government under the Chevrolet brand which he had driven himself and the car was only in Jakarta and the only one in Bali.
  • Bung Karno also invited the stage to Gambir Station Jakarta, which at that time had a charity market, he danced with art groups from various regions throughout Indonesia.
  • He also continued to train the children to learn beating and dancing until Bung Karno’s children also studied with him but the most serious study was Guruh Soekarno Putra.
  • In 1938 he participated in the Kebyar gong Festival, which was participated in by Badung, Klungkung, Bangli, Singaraja, Jemberana, Tabanan and Gianyar regencies which were witnessed by all the kings in Bali. After staging and announcing the champion Gong Peliatan came out as a champion, here he felt very proud to be able to show all his abilities before the Kings. At that time when it was Gong Kebyar Singaraja’s turn to appear there was something strange that the sound of the gong was almost inaudible so they hit the gong so hard that some of the gongs broke and broke, which finally made the group from Singaraja angry they thought there were people who tried them with black magic .
  • In 1942, the Kebyar Gong Festival was held in Singaraja at that time represented by 5 groups, but the results of the Peliatan group continued to be champions, he really felt proud because he could become champions outside the cage.

 

  • In 1971 a group of Teges Kanginan left for Iran and America with a set of gamelan samara pagulingan owned by Anak Agung Gde Ngurah Mandera and the one who set up at that time was Guruh Soekarno Putra. After returning from America, the group received a contribution of Rp. 4,000,000. and bought a set of gamelan for Rp. 1,500,000. at that time there were 2 samara pagulingan gongs in teges, and he tried to ask for a borrowed gong but given a new gong because they preferred the old one, so he looked for new sekaa members until in 1975 a sekara samara pagulingan gong was formed.
  • After coming from Paris he made another kebyar gong equipment in Tihingan Village and mixed it with gold so that the sound was louder and also happened to be a heirloom heirloom that was picked up by Anak Agung Rai Doblet on a cliff when he was looking for grass, it was mixed again in the making the gong. After completing the gong, the ceremony was immediately followed by a ceremony with the performer in order to be able to love the gong. Playing the gamelan must be with the soul and feelings of the musicians, and the sound of the gong that he likes the most is Semara Pagulingan because it has a beautiful and melodious voice suitable to accompany the kings if they are going to be united.
  • His favorite gamelan instrument is the Kendang, by playing the drum he can with all his abilities, because the drum is like Opium in his life which makes everything like a first wife forget. By being able to play the drum properly I can travel the world and get to know another world.
  • As a trainer, he always gives a correction to dancers after each stage of the performance of Agem, Tandang, Tangkis, and he likes to choose dancers who are suitable with their physical characteristics so that they can later become good dancers.
  • One of his students, I Gusti Ayu Raka, was accidentally seen as a small butterfly, his face was beautiful, his eyes were sharp, his hair was long, his body was thin, his hands were curved, and after he became a true dapper, he became a good and extraordinary lean dancer. . When working on the oleg tamulilingan dance with I Mario, he was reminded of this child because it fits his net style like a butterfly in flight. This dance was first performed in front of Pui Kaleran Pusaka Peliatan and he was very satisfied with the appearance of Gusti Ayu Raka I Sampih from Bongkasa as the performers were performed very beautifully according to their respective roles.
  • In practicing dance, he really likes Legong dance, especially the condong, because there are quite a lot of variations in his movements. Legong dance was initially very sacred, then its movements such as yoga, only after he watched the ballet dance in a trip abroad that he improved was the position of the legs on the legong and chest so that the movement at the time of nyegegegeg, turning the body can be more agile and dynamic. The chest that was straight before was made more leaning forward and the shoulders were pulled back with the consideration that the legong dance was not sacred due to the spectacle.
  • Hopefully the existing style of stretching in each region is still maintained by its basic standards, as well as other sacred dances such as Rejang so that there are still many enthusiasts.
  • One of the admirers of his janger dance is Raja Gianyar and Raja Karangasem. Every time he dances at Puri Gianyar, all dancers are told to decorate in the king’s room, while the Karangasem king named Anak Agung Bagus Sakeng is happy with the janger, he is willing to sit in front of the dancers to be stepped over because he is considered to be the angel’s bead.
  • The artistic figure of Lithuania whom he admires is “Carlie Caplim” who happened to have met in 1952 at Gunung Sari, which was introduced by Jhon Kush.
  • In the puppet show he admires the “Kresna” character because he can solve all the heaviest problems, while the puppeteer he likes is the Dalah Berahmana from Mas Village and Dalang Krekek from Sukawati, followed by his son named Dalang Granyam.
  1. OVERVIEW OF THE FAMILY
  • Anak Agung Gde Ngurah Mandera was born in Kaleran Banjar Teruna Castle, Peliatan Village handed down by I Dewa Rai Kaleran with I Gusti Ayu Chili Coach. So in his place right now there is a pelinggih Ratu Gusti. Kaleran Castle actually has three parts, namely the western part, the eastern part, and the saren part. The western part is occupied by his father, while the eastern part is occupied by his uncle, and in the saren is occupied by the oldest uncle.

Merajan is only one, namely in the east there are 2 pelinggih rong 3. Pelinggih rong 3 in the south of the pitara which is not yet medieval teak while in the north the pitara is already in the medwi teak. And here is also the queen of flags that is as taksu art in the form of a dipungsung dimungsajan.

  • At that time he would be an arranged marriage to my uncle’s son who lived in the east, but another god wishes that his future wife died of severe illness, then I was appointed as a child by his uncle, he just moved east when he came from Paris.
  • He married at the age of 25 years with Anak Agung Oka who had 2 children, namely Anak Agung Gde Bawa and Anak Agung Oka Nadri.
  • After coming from Paris he remarried Anak Agung Anom, a dancer who took part in the group to Paris, then had 4 children, Anak Agung Rai Dalem, Anak Agung Ayu Oka (Legong dancer who took a tour in Europe), Anak Agung Arimas ( legong dancer), Anak Agung Putra Dalem.
  • After 45 years old, he remarried to a dancer named Wiraga. Because it does not have a royal breed then called Jero Wiraga who also has 4 children, namely Anak Agung Gde Bagus Mandera Erawan, Anak Agung Gde Oka Dalem, Anak Agung Raka Astuti, Anak Agung Sri Utari who are all dancers, and he also gives freedom to all her children to choose work, school and art.

Of the ten children – his children do not all follow in his footsteps only the son of the Great Gde Oka Dalem who is similar to him in terms of artistic activities.

I as his successor he had followed his tours abroad including 1971 to Australia (Mellborne, Sedney, Canbera), 1980 to New Mexico (Acapulco, Peurtorico), and in 1985 to Japan at Tsukuba Expo 1985 (Tokyo, Osaka, Kyoto, Nagoya, Fukuoka, Horoshima, Gifu, Yokohama).

Even though he is married with 3 children and he has 10 children, he still adheres to the principles to prevent divorce. In any endeavor always begins with prayer and ask God for blessing.

  • In pursuing the art world he was very pleased and impressed to meet world figures such as King William, Bung Karno, Queen Yuliana, Carlie Caplin, Antonio Alto, Mario from France. But for him despite having traveled all over the world to consider Bali is a island that is very loved and indeed extraordinary in the world.
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