51 Djohan. Editorial Fortuna Tyasrinestu. Conference Report Karen Kartomi T. Cultural Survival, Continuance and the Oral Tradition Arhamuddin Ali. Ojo Kuwi Song as Communist Discourse Formation Firmansah. Relation Between Creativity and Economy I Wayan Adnyana. Pita Maha Social Institutional Capital Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) I Wayan Adnyana Indonesia Institute of the Arts Yogyakarta email: kun_adnyana@yahoo.com ABSTRACT Research Topic: Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) aims at describing creative waves of Balinese village youth in designing new paintings. The artwork is considered to be the latest development of classical paintings of Kamasan puppet. The patern of development is not just on artistic technique, but also on aesthetic paradigm. Yet, the invention and development of painting concept, which were previously adopted from stylistic patern of puppet Kamasan has successfully disseminated paintings as a medium of personal expression. The artist and patron consolidated art practice in the art function, which was well ordered and professional. Agents including palaces, Balinese and foreign painters as well as collectors and dealers were united in arts social movement, named Pita Maha. Despite the fact that Pita Maha also encompassed the sculpture, this research focuses more on the path of paintings. Socio-historical method is applied to explore the characteristics and models of social capital-institutional ideology that brought forth and commercialized paintings on Pita Maha generation. This topic is also an important part of the writer’s dissertation entitled Pita Maha: Social Movement on Balinese Paintings in 1930s. The discussion on social- institutional capital enables expansion and exploration of a more complete socio-historical construction on Pita Maha existence. The study on social capital aspects, which embodies the initiation of Pita Maha, has constructed a tremendous growth of Balinese paintings, both in terms of aesthetic “ideology”, and institutional competence of the painters. Keywords: pita maha, social-institutional capital INTRODUCTION The artistic image of Balinese paintings of 1930s is substantially diferent from what the writer used to see in his childhood, the Kamasan puppet painting style. In every temple, the puppet painting decorated the wooden plank (parbe) section of the temple’s pavilion (bale-bale) and the various ritual paraphernalia such as banners (umbul-umbul), fags (kober). Similar ones also appeared on rerajahan paintings (drawings with magical propensity used in the cremation ritual, Ngaben) and on ceremonial curtains (langse), which has been popular since the reign of Balinese King Dalem Waturenggong who ruled Bali in the 15 th Century BCE, complete with narrative themes from the Mahabharata and Ramayana epics and the traditional mystic teachings as irreplaceable props of Balinese religious rituals. When closely examining the personal history of Balinese painters of the 1930s, it becomes clear that they already had an advanced skill of painting Kamasan