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PEWARISAN POLA PEWARISAN PEDALANGAN GAYA I NYOMAN RAJEG: PEDALANGAN I Dewa Gede Jana Majaya; Dru Hendro; I Dewa Ketut Wicaksandita
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6399

This study examines the inheritance pattern of the I Nyoman Rajeg puppetry style in Tunjuk Village, Tabanan, as a dynamic and reflective system of cultural transmission. The research aims to describe the manifestation of transmission pathways within the puppeteer family, analyze the comparative characteristics of intergenerational regeneration methods, and explain their implications for the formation of individual artistic styles. A qualitative approach with a case study design was employed, involving three generations of puppeteers as primary subjects. Data were collected through in-depth interviews, participant observation, and document analysis, and analyzed using the Miles and Huberman interactive model, supported by theories of cultural transmission, sanggit–garap, and restored behavior. The findings reveal that inheritance operates through the simultaneous interaction of vertical, horizontal, and oblique transmission pathways, shaping distinct learning processes across generations. The third generation emphasizes experiential learning, the fourth relies on literary reconstruction and self-reflection, while the fifth integrates familial tradition, social environment, and formal education. These variations produce differentiated artistic styles that are not merely replicative but innovatively grounded within traditional frameworks. This study formulates the concept of “Reflective Performative Inheritance,” highlighting that the sustainability of tradition lies not in formal uniformity but in creative reinterpretation across generations. The findings affirm that Balinese puppetry is a living tradition that continuously evolves through the dialectic interplay of heritage, experience, and artistic consciousness.

PRODUKSI KARYA TEATER PAKELIRAN “BIBI ANU” I Made Arta Wiguna; I Ketut Sudiana; I Dewa Ketut Wicaksandita
JURNAL DAMAR PEDALANGAN Vol 5 No 1 (2025): Mei
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i1.4886

The Pakeliran Theater "Bibi Anu" explores the theme of land uncertainty in Bali caused by ongoing land conversion, highlighting the conflict between tradition and modernization that impacts the cultural identity of the Balinese people. The title "Bibi Anu" carries a profound philosophical meaning, with "Bibi" symbolizing a mother as the guardian of life, and "Anu" reflecting the ambiguity of social changes. This work merges puppetry art and theater, following a creative process consisting of three stages: exploration, improvisation, and formation. Each stage reflects the evolving relationship between humans and the land, from harmony with nature to the crisis triggered by rapid social transformations. The performance is divided into three acts, each with significant meaning. The first act portrays harmony between humans and nature based on the Tri Hita Karana principle, which emphasizes balance between humans, God, and nature. The second act examines the shift in traditional values due to tourism, altering the way of life in Bali. The third act focuses on the emotional crisis resulting from the disconnection between people and the land, leading to feelings of loss and anxiety. This work invites critical reflection on the challenge of preserving tradition amid modernization. "Bibi Anu" fosters dialogue on social and environmental changes in Bali, exploring the complex relationship between humans, culture, and nature in a rapidly changing world.

PENCIPTAAN KARYA PAKELIRAN TEATER “KARNAYANA” I Putu Esa Putra Dananjaya; Sang Nyoman Gede Adhisantika; I Dewa Ketut Wicaksandita; Ni Luh Ayu Cempaka Dewi
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4998

This artistic research explores the creation of Karnayana, a Balinese shadow puppet theater (teater pakeliran) that reinterprets the epic figure Karna from the Mahabharata as a locus of existential reflection. The study responds to the contemporary challenges of preserving traditional wayang in the context of globalization, shifting audience interests, and the demands of academic innovation under the Merdeka Belajar–Kampus Merdeka (MBKM) program. Employing the methodological framework of Catur Datu Kawya (Pandulame, Adicita–Adirasa, Sranasasmaya, Gunatama) developed by I Nyoman Sedana, the creative process integrates imagination, philosophical value, artistic devices, and performative skill into a coherent dramaturgy. The narrative highlights Karna’s dilemmas of loyalty, honor, and tragic destiny, realized through three main acts—his encounter with Kunti, the rejection at Drupadi’s contest, and his death in the Bharatayudha war—visualized by silhouettes, gamelan–digital compositions, vocal expressions, and lighting design. The findings demonstrate that Karnayana contributes not only as an innovative performance model that synthesizes tradition and modern theater, but also as an academic discourse that affirms the relevance of philosophical-humanist values in contemporary art. Thus, the work establishes a dual contribution: revitalizing the artistic grammar of Balinese wayang and offering a methodological reference for artistic creation within higher education.

PEWARISAN PERFORMATIF REFLEKTIF DALAM REGENERASI DALANG:STUDI KASUS GAYA I NYOMAN RAJEG DI DESA TUNJUK, TABANAN, BALI I Dewa Gede Jana Majaya; Dru Hendro; I Dewa Ketut Wicaksandita
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6399

This study examines the inheritance pattern of the I Nyoman Rajeg puppetry style in Tunjuk Village, Tabanan, as a dynamic and reflective system of cultural transmission. The research aims to describe the manifestation of transmission pathways within the puppeteer family, analyze the comparative characteristics of intergenerational regeneration methods, and explain their implications for the formation of individual artistic styles. A qualitative approach with a case study design was employed, involving three generations of puppeteers as primary subjects. Data were collected through in-depth interviews, participant observation, and document analysis, and analyzed using the Miles and Huberman interactive model, supported by theories of cultural transmission, sanggit–garap, and restored behavior. The findings reveal that inheritance operates through the simultaneous interaction of vertical, horizontal, and oblique transmission pathways, shaping distinct learning processes across generations. The third generation emphasizes experiential learning, the fourth relies on literary reconstruction and self-reflection, while the fifth integrates familial tradition, social environment, and formal education. These variations produce differentiated artistic styles that are not merely replicative but innovatively grounded within traditional frameworks. This study formulates the concept of “Reflective Performative Inheritance,” highlighting that the sustainability of tradition lies not in formal uniformity but in creative reinterpretation across generations. The findings affirm that Balinese puppetry is a living tradition that continuously evolves through the dialectic interplay of heritage, experience, and artistic consciousness.

PEMBELAJARAN LINTAS BUDAYA MELALUI PRAKTIK WAYANG LEMAH: STUDI PARTISIPASI TAKAHITO KAWATE PADA DALANG I DEWA AGUNG SUTRESNA MESI Ngakan Putu Gede Wira Adnyana; Dru Hendro; I Dewa Ketut Wicaksandita
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7504

Balinese shadow puppetry functions not only as a ritual and performative medium but also as a cultural learning space that is open to international participants. This article aims to describe the learning process and participation of foreign students in Balinese shadow puppetry practices under the guidance of puppeteer I Dewa Agung Sutresna Mesi in Bangli, with particular attention to Takahito Kawate from Japan as the primary participant. Participants from China and Italy are positioned as part of the broader context of intercultural interaction emerging within the performance environment. The study employed a qualitative approach based on participant observation, interviews, and documentation conducted during training sessions and performances. The learning process involved direct mentoring, imitation, dialogue practice, participation as katengkong, and active involvement in performances. Takahito Kawate, who received the Balinese name I Gede Darma Mesi, actively participated in voicing the punakawan characters and accompanying the puppeteer in both Wayang Lemah and wayang peteng performances. Intercultural interaction was reflected in the use of Balinese, Indonesian, and Japanese languages, as well as in the involvement of participants from different national backgrounds within the performance space. These practices demonstrate that learning Balinese shadow puppetry takes place through direct, participatory, and contextual engagement rather than through formal instruction alone. The participation of foreign students thus demonstrates the capacity of Balinese shadow puppetry to function as a cross-cultural learning medium and as a space for the internationalization of traditional Balinese performing arts through embodied participation and performance-based cultural learning.

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