Events & News

Ubud Jazz Festival 2015


The annual 3rd Ubud Village Jazz Festival will be held, once again, on 7thand 8th of August 2015 at ARMA Ubud and will feature a world-class line-up that is guaranteed to be even more impressive than the previous festivals. Acclaimed jazz musicians from Indonesia such as Indra Lesmana, Nial Djuliarso, Dewa Budjana, Dodot & Co, Gustu Brahmanta Project, Kirana Big Band, Dion Janapria, Nita Artsen Trio, Dwiki Dharmawan, Balawan etc, and international musicians, Oran Etkin (USA), a great bass clarinetist who has won a Grammy Award for his compilation CD “All About Bullies”. Etkin's latest album on Motema Music, Gathering Light, features his trio with Nasheet Waits and Ben Allison plus guests Lionel Loueke and Curtis Fowlkes. This amazing Trio just can’t wait to come to the island of God and experience the unique sensation of playing jazz in Ubud.
Yet, Laura Brunner will bring you her deep voice, combined with Nial Djuliarso Quartet. Both, they have done some projects in USA and Asia. Nevertheless, Julian Banks Trio and Alex Lahey (Australia), Miles! Projects (Holland) and more, will play under the stars in the grounds of the magnificent Arma Museum, Ubud.

Encouraged by different kinds of local communities, Ubud Village Jazz Festival stands for one of the most respected Jazz Festival in the region. Most of the organizers who volunteered in the event, are coming from different backgrounds, such as art, media, video, design, music, even food! Yet, it keeps the spirit of UVJF, that is mall festival but big message.

Anom Darsana, one of the co founders of UVJF said, “Our talented young Indonesian artists are the key to the development and future existence of Jazz in Indonesia.” The Festival aims to provide important cross-cultural and networking opportunities between International and local jazz musicians and will showcase established and emerging musicians over two days, using three stages. It will collaborate with local industries, such as handmade drums from Jakarta and double bass from Solo and bamboo installation for the stage décor.
And for the second time, Ubud Village Jazz Festival 2015 is proud to partner with The Jazz Summer School in Korea-Netherlands as an exciting initiative to promote Jazz education in Indonesia. The Bali Jazz Summer School will be held over 5 days before the festival and will be divided into 6 classes featuring guitar, drums, piano, double bass, brass and reed instruments

and vocal.  Said Yuri Mahatma, Festival Co-Founder , ”This is a great opportunity for young Indonesians to gain valuable knowledge and improve their skills through classes in theory and daily jam sessions”.

For more info, please visit:

Early bird Ubud Village Jazz Festival tickets are now available online and will be available until July. Don’t miss out on this extraordinary deal!

Ø  Early Bird ticket price (Including taxes) February- July 2015 period

Please log on into our website to get the most updated tickets’ price.

Ø  Normal ticket price (Including taxes) Aug 2015 period

One day ticket: IDR 385.000
Two days ticket: IDR 550.000

For further information or inquiries, please check our website:

News Letter April - Mei 2015



ARMA Museum & Resort Hires

Click Link for Download Our Hires Pictures






Larasati Aution, Sunday, 9 March 2014

Jan Peter van Opheusden Exhibition at ARMA Museum



Exhibition: “BANTEN”

Artist:       Jan Peter van Opheusden

Venue:      ARMA Museum, JalanPengosekanUbud Bali.

Telp: 0361 976659  E.

Opening:   January 25th 2014.

Time:        18.30 hrs. pm.

Start press conference :January Kopi Museum ARMA


Jan Peter van Opheusden

Born in Eindhoven The Netherlands 1941, Jan Peter van Opheusden attended the renowned Academy for Industrial Design in Eindhoven, The Netherlands.

After a career as a teacher in drawing and sculpting he established as an independent painter in the early eighties of the last century. Soon his work was vastly collected by Dutch, German and French art collectors.

His international breakthrough came with the exposition “Painter On The Roof” in 1998 at La GrandeArche in Paris France. At that time the European Union existed of 8 member states and Jan Peter van Opheusden was selected the  Dutch artist to represent The Netherlands with an astonishing 145 paintings and 40 sculptures. Earlier in 1993 Earl McGrath Gallery in Los Angeles USA discovered and showed his work, selling it to celebrities like Tina Turner, Tony Curtis and Roger Moore.His name was internationally established and galleries and collectors sued for his hand.

Jan Peter van Opheusden’s is not easily classified in any European Art tradition. Some say it is influenced by the French Fauvistes (The wild Ones)

His work is highly emotional and at times pure poetry.


What does the art community has to say about his work?

Richard Horstman( Art publicist and cultural observer)

“How do we explain the works by Jan Peter?   Best not to try, as it can be difficult, even futile to match words to depth and thrust of emotional responses we may experience when interacting with his creations.   By allowing our body’s intelligence to communicate the innate essence we have no need for intellectual comprehension.”  


“Jan Peter does not categorize himself other than as a creative being, a lover of color and life: spontaneity and the moment.  He refuses to consume time explaining his paintings, “I make paintings,” he says without care, or a sense of responsibility to have to add more.  If questioned how long it takes to complete a work, “A lifetime,” is his answer, equally as short, as well as profound. “I don’t need inspiration, I need perspiration”, he states when reflecting upon his work ethic.  Jan Peter is a wise and gentle soul, unassuming, with a twinkle in his eye.”


Dr. Jean Couteau( Art critic , writer  )



“All this to come to the works of an artist I barely know, whose works I just discovered a few weeks ago, Jan Peter van Opheusden, and which have stunned me. But how can words convey the rhythm that inhabits them, as they combine and pulsate within one another, when not standing out in a sudden contrast and burst of red, blue and more. Do they shape forms or figures? Yes, they seem in an instant to do so in shadows, but, a while later, no! 

It becomes obvious the “subject” our eyes wants to see is not the final and only one. As soon as it is on the verge of fully standing out, it already flutters and “moves”, to be eventually turned into something fleeting, beyond any definition, or rather always “between” any fixed state of form and color. “Indefinable” and “fuliginous” are perhaps the best adjectives to qualify what one sees, as forms and colors successively grow, then wither and blend into one another, continuously morphing into forms and un-morphing into colors. Looking at a J.P’s painting is thus a purely sensorial experience about “something” visual one “feels” and does not have to comprehend to love.

A few things can be explained though. It is obvious that J.P van Opheusden is on the side of the subjective. Reality may be what he has all around himself, but it does not interest him in itself. He does not want to describe it, and even less study and delineate it. Even if he knows the rules of academism, he looks indifferent to “representation” and it’s related problematic. Reality matters to him only as the locus of his emotions, and representation as the field of his intuitions.

To him, the world is not out there to be understood, it has instead to be “his” world, fully encapsulated in the way he feels it ---which is why he translates it in fluctuating colors and indefinable forms. So, contrary to “modern” artists, one cannot say of his art that it is based on a systematic exploration of form and even less color. It is too intuitive for that. His paintings may be musical, but certainly not in the intellectual way of someone like Kandinsky. They are more spontaneous or, let me use the word, more “naïve”. If music there is in them, it is more like the music of the flute-playing shepherd than that of the conductor.

Yet J.P van Opheusden is not guided by any “psychologism” either, be it that of surrealism or Cobra. It is not the “exploration” of the self he is after. In his works, it is the “unconscious” rather than the subconscious that comes out. “Something” that flows out, just like that, effortless, at what he sees, experiences and feels. What he senses at the view of a woman, of a flower, of Bali. Intuition rules. Translated in color, and with an exceptional intensity.

J.P van Opheusden is a well-known painter in Holland. Born in Eindhoven (1941) where he still lives today, he was trained not at a proper art school , but at the AcademievoorIndustrieleVormgeving (Design Academy) in Eindhoven, an environment which probably gave him more leeway to express himself outside the fashions of the day. He has exhibited throughout Europe and in the US. One also finds him in many publications, including in a book, Oogin Oog(Eye to Eye), where he stands next to the likes of Corneille and Picasso.

I cannotread Dutch, so cannot guess what Dutch writers have said about his works, but it is obvious to me that JP’s paintings transcends any definite classification of style. The only certainty is that they are becoming increasingly rich in color, ethereal and intuitive. They reveal a fragile, innocent soul in its encounters with life and a reality he does not really know how to cope with, except in painting, with color. So, to “define” him, let us be as subjective and hazy as he is, as well as avoid any definition that would be a confinement of sorts. So let us call him a master of the intuitive.“

We sincerely believe in intercultural exchange of “creative DNA” between East and West. Therefore we cordially invite you to be present at the press conference in order to interview the artist on his thoughts and views on this subject and of course on his work.

During the opening ceremony we celebrate these two worlds coming together through the emotional and spiritual power of a great Balinese modern dancer.

Ida Ayu Indah Tejapratami will perform the world premiere of her choreography : “Soul Vibrations”  Where in the works of Jan Peter van Opheusden emotion is frozen in paint, the performance of Ida Ayu is emotion in motion in its purest form. A truly great way of two worlds embracing each other.


We hope to meet you on the 25th


Kindest regards


Aegid Tonnaer

Paul Husner Painting Exhibition



Close your eyes, then open them and look. As they faithfully follow the artist’s strokes on the canvas, as they playfully skip from one color surface to the other, from one figure to the next.  You will see a landscape or human scenery, either Balinese or, beyond Bali, “Indonesian”, slowly unfold in its outward appearance. Thus you will “know”, and give a name to what you see.

If you are Indonesian, you may be proud; “this is my beautiful country”, you may think. If you are not, you may be enthralled as you dream of a tropical paradise, of everything your birthplace is not. But, wait! As you watch, you will soon discover that the figures you see are not merely objects, nor the colors visual impressions: they combine to open up on a world that is not a referred reality, but some “essential” reality, that sums up the real into something that immediately transcends it. Taking it somewhere, “there”, at the meeting point, to us, of perception and imagination; and, to the artist, of the world and his subjective self. Taking us beyond our own expectations, what Paul Husner opens to you is not simply Bali, or Indonesia, it is painting –his painting, something at the crossroads of the real and his reality.

Husner’s Bali, Husner’s Indonesia can thus be said to have, for us, the magic of truth and the truth of magic. But to him it is “his” truth. As he puts it, he is a “medium”. In his works, don’t expect to find over-idealized images of Bali’s tropical paradise, or of Bali’s beautiful women. Don’t expect either to find any social judgment over people’s poverty or the like. …, or even their opposite, but look instead for a keen grasp of the truth of a landscape, of the truth of working people, of the truth of contrasting color.

In short, his works are not so much those of a “painter of Bali”, or a “painter of Indonesia”, but by a painter in Bali, a painter in Indonesia. Instead of trying to depict and paint “reality”, which to him would be absurd –it does not exist objectively as such —Husner tries to convey his reality. He creates and dreams the world as much as he represents it. It is indeed in his awareness of the imbrications of objective reality and his subjective self that his works is most remarkable, as it takes us beyond fashion, even beyond “style”, into a highly appealing, but personal interpretation of the truth of the world.

Such affirmations have to be qualified.  

Thinking of Husner’s unique skills at conveying his essence/truth of reality, I recall how, some time ago, he explained to me his working process: “You see, Jean, to me, when I work, the most important takes place before I start painting. I tell myself: forget, forget what you like and dislike, what you deem beautiful and ugly. Un-condition yourself, free yourself from all previous commentary.” It is only when I have a new eye that I can be objective. And it is only then that I can start to work.”

Doesn’t such a statement sound strange coming from someone who is clearly, among the foreign painters of Indonesia, the most learned, and who knows better than anyone the visual impact of the clash of colors and the imaginary results of the melting, or, on the other hand, the accentuation of figurative forms? Who can also sketch significant detail of any scene catching his attention, or reduce any representation to its basic structure?

To better understand Husner, let us go back to the choices and determinations that have guided his path. No need to dwell too much on his youth and early art studies in Basel, Switzerland, and his initiation to color through a “retoucheur” job with a publisher in his birthplace. They shaped him, but no more than in a broad, Western cultural way. No need either to depict his adventures on the Grand Tour he undertook in his twenties around the Mediterranean, beginning with the Prado in Madrid, continuing through Morocco towards the Pyramids in Egypt, to end up in Greece and the Italian towns of Renaissance fame. No! He learned a lot, but it was not the strict classicism he admired in this Grand Tour –that of an effort toward objective art—which had the most influence on his art. It was the other side of Western tradition, its irrational “Dionysian” side, best expressed in the German literary and philosophical exploration of subjectivity.

This was for Husner a conscious process. In his student days, in the 1960s, Husner already considered himself as an existentialist. It was then in fashion in Europe–the war had damaged all historical optimism. But he went farther, in a long quest for meaning. This took him first to the study of Middle-Age mysticism, anthroposophy and Eastern religions. He then delved into the subjective abyss of Romanticism and the reading of the great German poet Hölderlin.

Before long, however, fascinated by issues of the “soul”, he was soon studying Freud to better discard him upon discovering Jung and his theory of cultural archetypes: his paintings can indeed be construed as “extracting” archetypes from the real. But Husner’s philosophical anchoring was his admiration for the great German 19th century philosopher Schopenhauer, whom he continues reading to this day.

Schopenhauer was one of the first Western thinkers to give serious attention to Indian cosmic philosophies. But Husner was drawn to him by his philosophical approach to the real: Schopenhauer attacked Kant’s notion of the “object in itself” (Ding an sich), the apex of classical Western philosophy. He affirmed instead the primacy of the subject, which he qualifies as the “only thing that knows everything without being known,” in his own words.

This learning process illustrates of the pervasive links between Art, literature and philosophy in the West, but, regarding Husner, it also accounts for the way his art is informed if not guided by conscious philosophical concerns, and by the primacy of the subjective. He is indeed a very Western artist, from the great Germanic tradition that gave birth to expressionism.

To him, good artists need “knowledge” as much as they need to “forget” this very same knowledge during their creative process. To achieve this, however, they need to know how they are determined. Hence his awareness of the knowledge bearing on him, and hence his keenness to cast it aside whenever he engages in a work. Knowledge to him is worth only when it is technical, when it is fully integrated, without thought process, to his eyes and hands, in other words when it gives fluidity to the creative process.

But when it is “commentary”, when it comes to the mind through a media buzz from nowhere, be it as a demand for exoticism or as a concern for social issues, Husner knows it has to be discarded. This is when he creates “void” in the self, “un-conditions” himself from any ready-made. Only then, returning to a state of “innocence”, does he let himself go to the possibility of surprise and awe. He can then turn the “void”, well integrated, into its opposite. Opening himself, he can catch the hidden violence of the far-away sea, understand the threatening violence of a looming volcano, or even grasp the balance of forms and colors of banal objects of a living room shelf. When he has done so, his work of painting is almost all done. Knowledge can come back, the one that inhabits his brain and hands, to structure, define color nuances, not imitate, but “re-create reality”, as he likes to put it.

Husner already practiced his philosophy during his early career in Holland. But Indonesia he gave it new thrust. Here must be mentioned the role of the one the artist called his “muse”, the anthropologist Tine G, Ruiter, a specialist of the Batak people in Sumatra. In 1980, she invited him to come along on a field trip. He was by then, beside teaching at the Royal academy, a professional painter in his own right, but he accepted. To him, this was the beginning of a second career. They eventually settled in Bali. Alas, Tine’s companionship was to last only until a tragic day of February 2013, when she had an accident, which caused her death a few days later. This exhibition is homage to her.

With Tine, Husner went on visiting Bali, Java and Jakarta, in quick order “un-conditioning” himself before, always, sketching, and then, “re-creating” the stunning reality that uncovered itself to his eyes. They biked around in rice fields and steep valley roads “to smell the air, feel the atmosphere, and to explore the unknown of nature.”

They walked small roads.” They stayed in Kuta to feel” the power of its surfing rollers” and to pause to witness the glittering light of the setting sun on its breakers and beachside pools. In Sanur, they trod along the beach track running adjacent to the shore with Mount Agung looming in the distance. In Bali, there were also the fantastic trees, the festivals into the night, and more. In Jakarta there were the Chinese temples and the Dutch monuments from the past. All things Husner observed, then sketched, each time identifying their components, the peculiar quality of the light, the attached distribution of space, and later color. All sketch elements he would later use and recompose to create the “reality” he would then enliven with color.


The result is always visually stunning. First Husner sets a structure in place, usually around a strongly defined composition, with components reduced to their Cezannian core. Such component are usually derived from a previous analysis of form or borrowed from various sketches, but they are here transformed into a new expressionistic reality. Then, to give soul, Husner creates a “music” of color, which consist of tonal variations of just a few affined colors – like sienna’s, ochre’s and dark yellows – with subtle nuances from object to object.

On purposely selected objects such as banners or small shrines spread over the canvas, he  adds color spots of a different, usually light eye-catching color. As we look for those spots, the eyes are thus made to either skip joyfully, or on the contrary, loiter leisurely on the surface of the canvas. The combination of soft nuances and sharp contrasts, within well contoured and at times sharp-edged, and others elegantly curved forms, is where the magic operates. Nature and people take a visual life of their own. 

“Light in Bali”, says Husner, “is like that of no other place in the world.” He is of course right: there is magic in Bali. But, beyond, what Husner definitely conveys in his works on Bali and Indonesia is the magic of painting and the magic of “truth”.


Jean Couteau


Sanggar Dewata Indonesia Exhibition at ARMA Museum on Sunday, 9th June 2013





Larasati's Auction will be held aagain at ARMA Museum as a partener for the auction. The auction are for Traditional, modern and contemporary arts.  


Exhibition & Book Launch Miguel Covarrubias

Exhibition & Book Launch Miguel Covarrubias held in ARMA Museum

Paintings Exhibition of the late Ida Bagus Made Nadera

Paintings Exhibition of the late Ida Bagus Made Nadera will be hosted by ARMA Museum on Saturday, 9 of June , 2012 at 6:00 pm.

Book Launching "Palaces of Bali" at ARMA Open Stage

The Book "Palaces of Bali" that written by Richard Mann Launched on Thursday, 31st of May 2012 at ARMA Open Stage. Book launching is opened by the Regent of Gianyar Regency Bpk. Ir.Tjokorda Oka Artha Ardhana Sukawati,MSi at ARMA Open Stage. The book contains about the existence of the royal palaces in Bali. When the book launching was attended by some of the King from some palaces in Bali.

ARMA Activities

Some guests got some activities at ARMA Museum. there were egg painting activity, wood carving, Balinese Batik and offering making. We have many activities in ARMA Museum, and you can learn about the activities.

Workshop and Team Building 2012 from Telkomsel Cellular phone provider at ARMA Water Garden

Wednesday, 09 May 2012.

Workshop and Team Building 2012 from Telkomsel Cellular phone provider at ARMA Water Garden (Wantilan ARMA).

Museum Tour and Lecture at ARMA Museum from Bali Institute

Wednesday, 09 May 2012.

Agung Rai as ARMA founder gives a lecture for the students from Bali Institute at Warung Kopi . The students came from America who want to know about Bali especially about Balinese Tradition and Balinese culture. After the lecture, they do some walking tour in ARMA Museum and Resort . Agung Rai explained all about ARMA Museum and Resort and explained about the painting collection in Museum also. The students looked very enthusiastic along the lecture and walking tou.

ARMA is a Living Tradition

ARMA is a combination between culture and tradition. The concept of ARMA is a Living Tradition. We preserve the Balinese culture and tradition by introducing the culture and traditions of Bali to everyone who visiting ARMA Museum and Resort. You can learn balinese culture, like Balinese music (gamelan), Dance, etc. 

We have a lot of painting collection in our Museum. We have traditional painting and academic painting in two different building.

We have resort also with hotels and villas with traditional architecture if you want to stay in ARMA.

So you can consider to come to ARMA. You can look arround ARMA with beautiful nature and fresh air. 


Warmest greating 


ARMA Museum & Resort

Visiting Museum by Indonesian National Arbitration Board

Visiting museum, see the cultural activities and lunch at the ARMA Museum by Indonesian National Arbitration Board in ARMA Museum, on Sunday, 6th 2012.

Indonesian Finance Depatment Meeting at ARMA Water Garden

Indonesian Finance Depatment Meeting at ARMA Water Garden (Wantilan ARMA) on Saturday, 5 May 2012.

Water Garden is the one meeting venue between some meeting venue in ARMA. Water Garden is the open air area venue with beautiful view and fresh air and good surrounding.

Bali Spirit Festival, March 28 - April 1 2012

Night Time Venue


Night Time Venue: Agung Rai Museum of Art (ARMA) – Jln Pengoseken, Ubud.



Our night time stage is on the majestic outdoor stage of ARMA.  Sitting on the grounds of Bali’s best known museum, the stage is surrounded by incredible old growth trees. Located on the South end of Ubud Center, ARMA is  a 15 minutes walking distance from central Ubud and every transport driver in town knows its location, so it is easy to find. Please use the entrance near Café ARMA, not the Museum entrance.


Nightly World Music Concerts and a small food and product Bazaar takes place at ARMA.


For both the day time and the night time:

Children under 12 and caregivers are admitted free and there is a space for kids to play and rest.  Shuttle busses to and from Ubud are available on the hour.






Music Performance at ARMA Open Stage 

on Saturday, 25th February 2012



Performed by 


Untitled Document


Merry Christmas & Happy New Year 2012

National movement love the museum workshop (Gerakan Nasional Cinta museum)

National movement love the museum workshop(Workshop Gerakan Nasional Cinta museum) 

There was a National movement love the museum workshop held at ARMA Water Garden on thursday, 15th December 2011. The Event was organised by the Indonesia Government to make the people more interest to visit museum in Indonesia.

Visits Museum by Prime Minister Spouse of india at ARMA

Visits Museum by Prime Minister Spouse of india at ARMA Museum on Friday 18 Nopember 2011

Lunch and visits museum by the Chairman of the Supreme Audit Board and the delegation of ASEAN

Lunch and visits museum by the Chairman of the Supreme Audit Board and the delegation of ASEAN

Bali Spirit Festival 2012, March 28 - April 1

Please Click here for more information :

Mystical Belly Dance

Belly Dance was performed at ARMA Open stage last night. Performed by such beautiful belly dancersMishaal with Sitara. There was an amazing performance and an exiting experience yesterday.

BALI WORLD CULTURE FORUM 2011, 14th - 16 of june 2011



IntroductionThe basic relation between the universe, mankind and culture is normally constructed in such an energetic, symbiotic and harmonious rhythm for the attainment of comprehensive and sustainable living. Furthermore, mankind develops and embraces technology, science, economy, politics, religion, ideology, law and culture as mean to strengthen its existence as well as to maintain integrity, order and livelihood. Seemingly, the revolution of information and communication technologies, economic exploitation, and self-centered political hegemony has deconstructed the symbiotic and harmonious plain of life, particularly in an increasingly borderless world.The notion of a borderless world (topos), a fast-paced world (chronos) and congested mindsets of a populous world close to seven billion (logos) exposes life and cultures to a variety of opportunities and threats. Culture as mode of adaptation, ground for identity, and rendition of creative lifestyle is constantly subjected to transformation, revitalization, and numerous issues and problems. Among many, the first core issue relates to a state of cultural paradox that induces conflicting ideologies and values, as well as clash of civilizations. Secondly, cultural degradation ranging from identity crisis, moral decadence to the lack of creative ingenuity also poses itself as a challenge. Thirdly, cultural anomaly comes in place, shaping social alienation, disintegration and dehumanization. These major issues infiltrate the micro-realm (personal level, microcosm), the meso-realm (ethnic and national level), and the macro-realm (universal and global level), to which renders an increasingly visible phenomenon of disharmony, disintegration and disequilibrium.This arising opportunities influenced by this borderless world phenomenon has paved the path for cross-national and intercultural communication, to which augments creativity; cross-cultural inventiveness hastening technological, economical and cultural added value. Historical and cultural findings across nations show that the dynamism of glocalization (globalism and localism) imparts promising outcomes.For instance, the archaeological, historical and cultural heritage in Bali delineates that the processes of cultural assimilation, symbiosis and acculturation have enriched the Balinese way of life. The presence of Patra Mesir (Egyptian ornaments) in traditional Balinese architecture, the artisticassimilation of Barong Landung (Bali and China), the harmonious acculturation of Tri Murti(Bali and India), the contemporary interpretation and collaboration of Balinese gamelan by various performing arts group such as Sekar Jaya USA; all demonstrate inspiring and ingeniousintercultural bond. These outcomes, to which are founded onTri Kaya Parisudha (the truthfulness of the mind, righteousness of manner and inventiveness of living) truly revitalizes and liberates logic, aesthetic, and spirituality.

Theme and ConceptThe theme of Bali WCF 2011 is Tri Kaya Parisudha: Morality And Ethics In New Global Culture.This central theme emanates from Tri Kaya Parisudha, a Balinese local wisdom that extends a universal viewpoint about pure and righteous code of conduct.As an integral part of the Indonesian archipelago, the unique Balinese culture is founded by notable conceptsof Tri Hita Karana (a fundamental understanding about the harmonious and balanced relationsof man to God, to other fellow humans, and to the environment) and Desa, Kala, Patra(revered philosophy governing the diversity of space, time and mindset), to which both shines astuteness to Tri Kaya Parisudha, as delineation of cultural creativity. 

Literally, Tri means three; Kaya means behavior; and Parisudharefers to ultimate, pure or spirited. Herein, Tri Kaya Parisudhagenerates the intellectual, emotional, spiritual and creative energies that in terms of a socio-cultural-religious perspectiverepresent the culmination of truth, spirituality, honesty, work ethics and social integrity; it is a philosophical synergy governing the universe, spirituality, human, and the environment. The Balinese believe that cultural creativity governed by Tri Kaya Parisudha will give rise to fruitful and high quality work that projects taksu(charisma, inner power or the state of elated body), as well as a universal character and impact.

Culture Exhibition, Art and Cultural Performances, and Introduction to Culture Heritage

1.    Culture Exhibition

There shall be a number of arts and culture exhibition including Yoga workshops, centralized at Agung Rai Museum of Art (ARMA) Ubud, Gianyar. A visual art exhibition and painting workshop will also take placetherein, curated by the art maestros Drs. Nyoman Gunarsa and A.A.Gde Rai.

2.    Art and Cultural Performances

Participating delegates from various countries will present various art performances at the Art Stage of Agung Rai Museum of Art (ARMA) Ubud, Gianyar.

3.    Introduction to Culture Heritages of Bali

During the commencement of the forum, all participants will be introduced to the uniqueness and diversity of cultural heritage all over Bali. Firstly, participants will visit the Mother Temple Besakih (Karangasem regency), Tampaksiring Palace, Gunung Kawi, Archeology Museum of Bedulu, Royal Palace of Ubud, Ratna Warta Museum, and ARMA Museum in Gianyar regency. Secondly, participants will embark on a tour to the traditional irrigation system of Jati Luwih (Tabanan regency), Taman Ayun Temple and the Royal Palace of Mengwi (Badung regency), as well as visitation to Bali Museum and Monumen Perjuangan Rakyat Bali (the Monument of Patriotism and Heroism of the Balinese People) in Denpasar regency. The head of regency of Gianyar (Dr.Ir. Tjokorda Artha Ardhana Sukawati), Badung (A.A.Gde Agung,SH), and mayor of Denpasar (IB Rai Dharmawijaya Mantra, SE, M.Si.) shall host and welcome the participants during the visitation in respective regencies.


11 June 2011 :    00.00 – 14.00           Registration all participate must be arrive

                            14.00 – 18.00           Parade Of Bali Arts Festival and Bali World


                            19.00 – 21.00           Opening Bali Arts Festival and Bali World Culture

                                                              Forum by President Of Indonesia 

12 June 2011 :    09.00 – 10.00           - Welcome Address by Ministery Of Culture and

                                                                Tourism Of Indonesia “Jero Wacik”


moderator by Prof Dr. I Nyoman Dharma Putra M.Litt

                            10.00 – 10.15           - Snack

                            10.15 – 13.30           - Lisa Gold (Amerika)

                                                              - Made Mangku Pastika

                                                              - Drs. Gde Ardika

                                                              - Adrian Vickers (Australia)

                                                                Moderator by Prof. Dr. I Wayan Ardika, MA 

13 June 2011 :    09.00 – 11.00           - Prof. Dr. I Made Bandem

                                                              - Dr. Ignas Kleden

-  Dr. Neeru Misha (India)

Moderator by Prof.Dr.I Nyoman Sedana, MA., SSP

                            11.00 – 11.15           Snack

                            11.15 – 13.00           - I Wayan Juniarta

                                                              - Prof. Dr.Irwan Abdullah

                                                             - Olga Witt (Denmark Eropa)

                            13.00 – 13.30           - Summary

                                                              - closing Ceremony

                                                              Moderator by Prof. Dr. Gede Sri Darma, S.T., M.M.

                            18.00 – 21.00         Gala Dinner At Monumen Perjuangan Rakyat Bali


 14 June 2011:    09.00 – 13.00           Trip Landscape ( Tampak Siring-Museum Puri Lukisan

                                                              Ubud-Ubud Arts Market

                            13.00 – 14.00           Lunch at Puri Ubud (Welcome By Bupati Gianyar)

                            14.00 – 17.30           Yoga, Dance and Music at ARMA Museum

                            17.30 – 18.00           Film Documentery “Keras and Manis” at ARMA


                            18.00 – 19.00           Dinner at ARMA Museum

                            19.00 – 20.00           Singapore Performance Maya Dance Theatre's

                                                              Seeking Sita                                                             

15 June 2011 :    09.00 – 13.00           Landscape about Rice field at Jati Luwih- Taman Ayun Temple

                            12.00 – 13.00           Lunch at Puri Mengwi (welcome by Bupati Badung)

                            17.00 – 21.00           Dinner at Puri Denpasar (welcome by Wagub) and

                                                              performance of Thailand 

16 June 2011 :    09.00 – 17.00           Out Registration

PAUL HUSNER Enlightening Bali Light


This Video is dedicated to Agung Rai Museum of Art Foundation, for the cultural preservation at ARMA.












For more information, Please visit our website :


ARMA presents BALI IS MY LIFE film screening featuring world music collaboration to benefit ARMA foundation


Finally the  awaited full-length feature film of Bali Is My Life is to be screened at ARMA. The evening will takes place at the beautiful Water Garden of ARMA in Ubud, Bali on Saturday, 9th  of April 2011 at 6.30 PM. This special event presents Bali Is My Life film screening  with  live performance of World Music collaboration by Ayu Laksmi and friends.

Inspired by the Balinese philosophical concept tri hitakarana – harmony between the divine, mankind and nature - and produced by an award-winning international team, Bali Is My Life revolves around a range of exceptional people who live and work to preserve the unique beauty and culture of Bali in a positive way. Shot with a rare luminosity and beauty, and featuring a fantastically evocative soundtrack by local artists using traditional chants, the film is a song in praise of ancient Balinese wisdom; an homage to the richness of modern-day inter-cultural exchange; and a visionary celebration of how the “island of the gods” can move sustainably into the future. Bali Is My Life is also an offering – an offering of gratitude for all that Bali was, is, and has the potential to become.

This beautiful event will benefit the preservation of art and culture through ARMA Foundation

For RSVP please contact ARMA (0361) 976659. Tickets could be purchased in Ubud Tourism Office, Kafe, ARMA, Naughty Nuri’s and Tutmak or visit to learn more about “Bali Is My Life”.

Bali Spirit Festival

The BaliSpirit Festival is a spiritually charged event that celebrates yoga, dance and music and the synergy of global cultural collaboration through the arts.
The Fourth Annual BaliSpirit Festival 
will take place in Ubud, Bali from March 23-27, 2011.  Don’t miss it!  Early Bird Tickets are available NOW, and look for our 2011 LINE UP, which is UPDATED weekly.

Held over 5 transformational and fun-filled days, this annual celebration brings to Bali a wealth of talented and respected creative masters from around the world, merging the indigenous and rich cultures of Indonesia in the spirit of learning, collaboration and thecelebration of our creative and spiritual diversity.


 Night Time Venue: Agung Rai Museum of Art (ARMA) – Jln Pengoseken, Ubud. 



Jumat, 30 Juli - Minggu 1 Agustus 2010 Opening : 30 Juli pkl. 18.30

Sculptures in the Green : Adi Bachmann 'People et cetera' Sculptures. on Sunday, July 11, 2010, 3.0 pm

Sculptures in the Green : Adi Bachmann People e Cetera Sculptures at the ARMA Museum and Resort, Ubud on Sunday, July 11, 2010, 3.00 pm "In the picturesque venue Agung Rai, creator and owner of the ARMA, and Adi Bachmann, a German artist who lives and works in Ubud, placed People et cetera; that is to say they set up more than 60 of the artist's sculptures. By their meanings and ideas and also by their shapes these sculptures are very differentiated; they are mainly made from cement and almost all of them are painted in bright and intense colors. If you stroll around in the ARMA parks, you will discover Adi's unique sculpture arrangements and his single sculptures in front of a pond or a fountain, near a small river, beside a pool, between bushes or behind some beautiful old trees and along romantic paths - the real sculptures in the Green." The museum and the exhibition are open everyday from 9 am until 6 pm

Forum and Lesson Education with Peter Voss, July 18, 2010, 10 am - 2 pm in ARMA Resort

A New Beginning : the joy of living conflict free, Saturday 25 & 26 September, 2010

Song of Ubud Exhibition in Bali

The First Biennale

The darker side of Paradise

Peter Voss spiritual have arrived in Arma on Friday 31 July 2009

Songs of the Soul

The Music of Maestro Sri Chinmoy Sebuah Penghargaan Tertinggi Bagi karya musik Maestro Sri Chinmoy

Sri Chinmoy

Please be our guest at the
Arma Museum and Cultural Center, Ubud, Bali
on Thursday Feb. 5th, 2009, 19:30 Wita

For details of the program see Arma Website:

For more information -- untuk informasi lebih lanjut hubungi :

Tel. 081 138 04975 or 081 797 26126144

Peace Day

Stiftung Atlantis
Natural Healing foundation

Stiftung Atlantis, Hohe Weide 28 , 20 259 Hamburg, Germany
It is our pleasure to invite you for our 3 rd annual
with our chairman an spiritual teacher
Peter Voss
The topic of the day will be:
Wisdom is simplicity with the power of love
Please be our guest at the
Arma Museum and Cultural Center, Ubud, Bali
on Saturday August 9, 2008, from 10 am until 8 pm

All interested groups and speakers are welcome

For details of the program see Arma Website:

Stiftung Atlantis, Hohe Weide 28 , 20 259 Hamburg, Germany

Mud & Fire dance on the rice field Performance

We are showing you something different while you in Bali in UBUD perticularly every Thursday, Full moon and New moon!

Bali tourism gets OK back from US gov`t

Bali tourism, after having been in the dark shadows of terrorist activities, may soon be on the road to recovery. The US government has endorsed the Indonesian tourism capital by lifting its almost decade-long travel advisory.

The move is expected to have a domino effect on Bali's tourism, with other countries following the US action.

"The US government has lifted the warning due to objective improvements made by the Indonesian government in its current security situation," said an official statement from the US embassy in Indonesia, emailed to media organizations.

In 2000, the US State Department issued a travel warning following several bombings in the country's capital, Jakarta.

The twin Bali bombings in 2002 resulted in the death of more than 240 foreign tourists, mostly Australians on holiday in the island who died as a result of the explosions, blamed on the regional Jemaah Islamiyah terrorist network.

Every year since then both the Australian and Indonesian governments have held a remembrance ceremony in Bali as a mark of respect to those who died in the bombings. However, Australia, which claims 88 Australian tourists were killed in the first Bali bombing, is yet to lift its travel advisory.

The Indonesian government has since then prosecuted and convicted winning praise from the international community due to Bali's attractions as a holiday destination.

"The Indonesian government has disrupted, arrested and prosecuted numerous terrorist elements," said US Ambassador Cameron Hume, adding there has been "significant" improvements in the country's security situation.

Ambassador Hume said he expects more US businessmen, tourists and scholars to visit Indonesia following Sunday's announcement, "helping to expand trade, tourism and educational exchange between both countries."

Increased security precautions since the bombings include sweeping cars for bombs using metal detectors at hotels, shopping malls and other public buildings.

In a statement following the US announcement, Dino Djala, spokesman for Indonesian President Susilo Bambang Yudhoyono, said the US move is a very good and positive sign. "It will help remove psychological barriers that have prevented Americans and others from going to Indonesia."

Major General Ansyaad Mbai, Indonesia's anti-terror official, was quoted as saying, "It will push us to be more effective in handling security matters. The US decision would not slow our efforts to battle extremists."

Quest for Global Healing Conference

This second Quest for Global Healing conference will have its headquarters at the ARMA Museum in Ubud, Bali. Ubud is considered the arts and cultural capital of Bali and is filled with creative and magical artistry in both nature and the Balinese locals. ARMA Museum is a beautiful 6-acre complex offering a gorgeous hotel resort, galleries that host the best of historic and contemporary Balinese art, rice paddies that are still being farmed daily, and an outdoor theatre that features the best in traditional dance and music performances. Local craftspeople, dancers and musicians work onsite, and free art and dance lessons are offered daily to children. The site offers breathtaking Balinese architecture amidst gardens, ponds and fountains. Visit for more information. Other unique and exciting locations will also be used for afternoon small group gatherings and evening activities.

Spa Menu

  • Bale Tunjung

    Private Bale Tunjung provides individual or couple exclusive treatment purifying and balancing the body..

  • ARMA Royal Lulur

    This gentle exfoliating treatment begins with ARMA massage.  Followed by Royal Lulur scrub application of cool yoghurt and  aromatic flower bath. This treatment includes soothing applicat..


    The treatment will start with detection your body from your balinese birthday, the healer “ajik” will help you to know about the strength, weakness, and your sickness. The healing tre..

Bale Tunjung

Private Bale Tunjung provides individual or couple exclusive treatment purifying and balancing the body

ARMA Royal Lulur

This gentle exfoliating treatment begins with ARMA massage.  Followed by Royal Lulur scrub application of cool yoghurt and  aromatic flower bath.

This treatment includes soothing application of our special body lotion.  

120 minutes USD 80.00



The treatment will start with detection your body from your balinese birthday, the healer “ajik” will help you to know about the strength, weakness, and your sickness. The healing treatment focuses on the healing, balancing and cleansing with powers of water. Restoring healthy ions that bring balance to emotion, and increase energy and vitality level. Treatment are designed to balance the body, soul and mind by using water combined with flower and thorn, all renowned can destroy negative energy and help to produce healthy ions as a positive energy in your body. To make it perfect, you will serve herbal drink home made by ARMA spa. 

90 minutes USD 80.00