Exhibition: “BANTEN” Artist: Jan Peter van Opheusden Venue: ARMA Museum, JalanPengosekanUbud ..
PAUL HUSNER: THE MAGIC OF TRUTH 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 colo..
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 held in ARMA Museum..
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...
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 ..
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 ..
Wednesday, 09 May 2012. Workshop and Team Building 2012 from Telkomsel Cellular phone provider at ARMA Water Garden (Wantilan ARMA)...
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 Bal..
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 Ba..
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 (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..
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. Sit..
LARASATI AUCTION ..
Music Performance at ARMA Open Stage on Saturday, 25th February 2012 Performed by TATIANA SCALI FEATURING ANELLO CAPUANO Untitled Document ..
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 ..
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..
Please Click here for more information : http://www.balispiritfestival.com..
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. ..
TRI KAYA PARISUDHA: MORALITY AND ETHICS IN NEW GLOBAL CULTURE IntroductionThe basic relation between the universe, mankind and culture is normally constructed in such an energetic, sym..
This Video is dedicated to Agung Rai Museum of Art Foundation, for the cultural preservation at ARMA. ..
For more information, Please visit our website : http://www.socialchangefilmfestival.org..
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 scr..
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 BaliSpir..
Jumat, 30 Juli - Minggu 1 Agustus 2010 Opening : 30 Juli pkl. 18.30..
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..
The Music of Maestro Sri Chinmoy Sebuah Penghargaan Tertinggi Bagi karya musik Maestro Sri Chinmoy Please be our guest at theArma Museum and Cultural Center, Ubud, Balion Thursday Feb. 5th, ..
Stiftung AtlantisNatural Healing foundationStiftung Atlantis, Hohe Weide 28 , 20 259 Hamburg, Germany email@example.comIt is our pleasure to invite you for our 3 rd annualPeacedaywith our chairman..
We are showing you something different while you in Bali in UBUD perticularly every Thursday, Full moon and New moon!..
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 de..
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 ..
Artist: Jan Peter van Opheusden
Venue: ARMA Museum, JalanPengosekanUbud Bali.
Telp: 0361 976659 E. firstname.lastname@example.org
Opening: January 25th 2014.
Time: 18.30 hrs. pm.
Start press conference :January 25th16.30.pm.Warung 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 )
JAN PETER VAN OPHEUSDEN: A MASTER OF THE INTUITIVE
“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…
PAUL HUSNER: THE MAGIC OF TRUTH
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”.
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.
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 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.
ARMA Museum & Resort
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.
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.
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.
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 pleasecontact ARMA (0361) 976659. Tickets could be purchased in Ubud Tourism Office, Kafe, ARMA, Naughty Nuri’s and Tutmak or visit baliismylifefilm.com to learn more about “Bali Is My Life”
The BaliSpirit Festival is a spiritually charged event that celebrates yoga, dance and music and the synergy of global cultural collaboration through the arts. Night Time Venue: Agung Rai Museum of Art (ARMA) – Jln Pengoseken, Ubud. 5pm-midnight
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.
The BaliSpirit Festival is a spiritually charged event that celebrates yoga, dance and music and the synergy of global cultural collaboration through the arts.
Night Time Venue: Agung Rai Museum of Art (ARMA) – Jln Pengoseken, Ubud.
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
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
Natural Healing foundation
Stiftung Atlantis, Hohe Weide 28 , 20 259 Hamburg, Germany email@example.com
It is our pleasure to invite you for our 3 rd annual
with our chairman an spiritual teacher
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: www.armaresort.com
Stiftung Atlantis, Hohe Weide 28 , 20 259 Hamburg, Germany firstname.lastname@example.org
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."
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 www.armamuseum.com for more information. Other unique and exciting locations will also be used for afternoon small group gatherings and evening activities.
Private Bale Tunjung provides individual or couple exclusive treatment purifying and balancing the body..
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..
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