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All Journal Jurnal Damar Pedalangan
I Kadek Widnyana
Institut Seni Indonesia Bali
Arts Humanities

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Artikel Kilit Kalut: Teater Pakeliran sebagai Representasi Konflik Batin Tokoh Salya: Kilit Kalut: Teater Pakeliran sebagai Representasi Konflik Batin Tokoh Salya I Komang Wahyu Widiyantara; I Made Sidia; I Kadek Widnyana; Hanolda Gema Akbar
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.v6i1.6553

Abstract

The creation of the puppetry performance Kilit Kalut is grounded in the need to expand the aesthetic and social functions of Balinese puppetry in responding to contemporary human inner conflicts. Traditional puppetry has predominantly emphasized external conflicts, leaving psychological dimensions underexplored. This study aims to represent the inner conflict of Salya from the Kakawin Baratayudha through a teater pakeliran framework as an artistic innovation. A qualitative-descriptive method with a practice-based research approach was employed, utilizing Harymawan’s 4M stages (imagining, writing, performing, observing), supported by rehearsal observations, textual analysis, and cross-media artistic exploration. The results demonstrate that the integration of Balinese shadow puppetry, live actors, lighting design, and gamelan effectively constructs a symbolic and dramatic representation of psychological duality. This innovation repositions puppetry as a medium for existential reflection rather than mere entertainment or ritual performance.  This study introduces inner conflict as the central dramaturgical axis in Balinese puppetry through an integrative teater pakeliran approach. In conclusion, the study contributes to the development of contemporary puppetry aesthetics while sustaining traditional values within a modern cultural context.
PENCIPTAAN KARYA TEATER BONEKA “POPPY-UTOPIA” Ida Bagus Nanda Adi Naya; I Kadek Widnyana; I Dewa Ketut Wicaksana
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.v5i1.4863

Abstract

“Poppy-Utopia” is a puppet theater performance that offers a profound reflection on life through the unique perspective of a dog named Poppy. This production delves into various social issues, particularly the negative stigma often directed at dogs within cultural contexts, utilizing an artistic approach that integrates narrative, visual elements, and puppetry techniques. The creative process is guided by I Wayan Dibia's five-stage method, encompassing Ngawirasa (inspiration from dog training and cultural stigma), Ngawacak (exploration of literature, Balinese epics, and visual arts), Ngarencana (conceptualizing a theater design combining human theater, animation, and minimalist visuals), Ngawangun (script execution, rehearsals, and illustration creation), and Ngebah (final performance with integrated artistic elements). Through a compelling storyline, nuanced characters, and innovative visuals, Poppy-Utopia delivers an emotionally engaging and reflective theatrical experience. The performance invites audiences not only to be entertained but also to reflect on themes of loyalty, struggle, and the importance of fostering harmonious relationships between humans, animals, and nature.
PENCIPTAAN KARYA TEATER MONOLOG WAYANG UPIH “MOVED MOTION” I Made Adi Pranajaya; I Kadek Widnyana; I Dewa Ketut Wicaksana; Hanolda Gema Akbar
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.v5i2.5058

Abstract

This artistic research explores the creation of a contemporary monologue puppet theater entitled Moved Motion, inspired by the traditional Wayang Upih made from betel sheath (upih). The work departs from the urgency of revitalizing nearly forgotten local traditions while addressing ecological and philosophical values through artistic innovation. The aim is to transform Wayang Upih into a three-dimensional puppet theater that embodies symbolic narratives of karma, transformation, and human existential reflection. The study employs a practice-led research approach, integrated with the Balinese creation framework Asta Widhi Kawya, which guides the process from conceptualization, narrative development, rehearsal, to final performance. Data were obtained through literature review, field observation, and direct experimentation in collaboration with a local art community. The result is a performance that combines traditional material with contemporary dramaturgy, featuring symbolic figures such as the human puppet, butterfly, and mirror to represent bondage, hope, and self-reflection. The novelty of this work lies in the ecological use of natural materials, the integration of personal narrative with traditional philosophy, and the re-positioning of Wayang Upih within contemporary performing arts. This creation contributes to the preservation and reinterpretation of Balinese puppetry while offering a sustainable model for innovative artistic practices.
KILIT KALUT: TEATER PAKELIRAN SEBAGAI REPRESENTASI KONFLIK BATINTOKOH SALYA I Komang Wahyu Widiyantara; I Made Sidia; I Kadek Widnyana; Hanolda Gema Akbar
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.v6i1.6553

Abstract

The creation of the puppetry performance Kilit Kalut is grounded in the need to expand the aesthetic and social functions of Balinese puppetry in responding to contemporary human inner conflicts. Traditional puppetry has predominantly emphasized external conflicts, leaving psychological dimensions underexplored. This study aims to represent the inner conflict of Salya from the Kakawin Baratayudha through a teater pakeliran framework as an artistic innovation. A qualitative-descriptive method with a practice-based research approach was employed, utilizing Harymawan’s 4M stages (imagining, writing, performing, observing), supported by rehearsal observations, textual analysis, and cross-media artistic exploration. The results demonstrate that the integration of Balinese shadow puppetry, live actors, lighting design, and gamelan effectively constructs a symbolic and dramatic representation of psychological duality. This innovation repositions puppetry as a medium for existential reflection rather than mere entertainment or ritual performance.  This study introduces inner conflict as the central dramaturgical axis in Balinese puppetry through an integrative teater pakeliran approach. In conclusion, the study contributes to the development of contemporary puppetry aesthetics while sustaining traditional values within a modern cultural context.
IMPLEMENTASI TRI DHARMA PERGURUAN TINGGI BERBASIS PRAKTIK SENI: PERAN MAHASISWA PEDALANGAN DALAM PELESTARIAN BUDAYA BALI MELALUI PEMENTASAN WAYANG WONG Ni Made Imas Berliana; I Gusti Putu Sudarta; I Kadek Widnyana; I Made Sidia
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.v6i2.7506

Abstract

Cultural preservation is a constitutional mandate and a strategic agenda of national education, embedded in the Tri Dharma of Higher Education. In this context, pedalangan students act as cultural agents by implementing learning outcomes and community service through Wayang Wong performances, positioning the art form as a cultural asset to be sustained. This study aims to explore how the Tri Dharma is realized through the practice of pedalangan and to analyze students’ roles in preserving Balinese culture. Using a qualitative method with a constructivist paradigm and a case study design, data were collected through participatory observation, interviews, documentation, and review of relevant legal frameworks. The findings indicate that: (1) the Tri Dharma is implemented through the integration of academic competencies in cultural activities and active student involvement in community-based cultural needs; (2) students contribute to cultural preservation through performance-based competency application, revitalization of visual-audio elements, use of performances for service, and digital media optimization for education. The study concludes that student-led Wayang Wong performances support the realization of the Tri Dharma while playing a significant role in safeguarding Balinese cultural heritage.
Co-Authors Hanolda Gema Akbar I Dewa Ketut Wicaksana I Gusti Putu Sudarta I Komang Wahyu Widiyantara I Made Adi Pranajaya I Made Sidia Ida Bagus Nanda Adi Naya Ni Made Imas Berliana