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I Dewa Ketut Wicaksandita
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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Journal : Abdi Seni

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PEMBINAAN IRINGAN BATEL WAYANG WONG DI BANJAR PESALAKAN, DESA PEJENG KANGIN, KECAMATAN TAMPAKSIRING KABUPATEN GIANYAR. Sudarta, I Gusti Putu; Bratanatyam, I Bagus Wijna; Wicaksandita, I Dewa Ketut
Abdi Seni Vol. 15 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Pertunjukan Wayang Wong di Banjar Pesalakan merupakan salah satu bentuk kesenian yang memiliki nilai-nilai sosial-religius dalam tampilan estetis seperti gerak tari, retorika antawancana, dan intrumentalia gambelan Bali, sehingga ia muncul sebagai salah satu identitas yang menggambarkan tingkat kreatifitas seni masyarakat. Dalam konteks religius, Wayang Wong di Desa Pejeng Kangin merupakan objek yang disakralkan (sesuhunan) dan kerap ditampilkan pada upacara-upacara besar di Desa. Seiring bertambahnya usia pelaku seni pertunjukan Wayang Wong, dinamika estetika pertunjukan semakin berkembang. Di mana sebagai bagian dari identitas budaya, Wayang Wong diharapkan tetap dapat mengikuti perkembangan nilai-nilai yang ada. Pada awal tahun 2023, manggala desa Pejeng Kangin memutuskan revitalisasi dan reaktualisasi pertunjukan Wayang Wong secara bertahap, termasuk perbaikan instrumen kebendaan, dan pembinaan kepada sekaa Wayang Wong, khususnya pada bagian pengiring gambelan batel wayang. Dengan di ajukanya permohonana revitaliasai dan aktualisasi oleh manggala desa, pembina melalui program PPKM yang diselenggarakan ISI Denpasar mengajukan usulan pengabdian dengan melibatkan dosen dan mahasiswa pedalangan. Hal ini dilakukan dalam bentuk kerjasama mitra yang berimplikasi pada peningkatan kualitas sumber daya pelaksana kegiatan, baik peserta pelaku seni Wayang Wong maupun pembina (dosen dan mahasiswa). Metode pemberdayaan berbasis demonstrasi dengan teknik ceramah, disuksi, praktek, evaluasi, dan pementasan, efektif diterapkan sebagai solusi melalui dua tahapan, pertama pelatihan instrumen primer yaitu gender wayang (pola tetabuhan Gender, gegedig dan tetekep) dan kendang krumpungan (gupekan, mupuh kendang, dan pola kekendangan), kedua gabungan seluruh instrumen melalui materi gending-gending tabuh Wayang Wong (pategak, putri, kakan-kakan, punakawan, palawaga, bapang jojor, selisir).
PEMBINAAN IRINGAN BATEL WAYANG WONG DI BANJAR PESALAKAN, DESA PEJENG KANGIN, KECAMATAN TAMPAKSIRING KABUPATEN GIANYAR Sudarta, I Gusti Putu; Bratanatyam, I Bagus Wijna; Wicaksandita, I Dewa Ketut
Abdi Seni Vol. 15 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v15i2.6077

Abstract

The Wayang Wong performance in Banjar Pesalakan is a form of art that has socio-religious values in its aesthetic appearances, such as dance movements, antawacana rhetoric, and Balinese gambelan instrumental show, which appear as an identity that describes the artistic creativity of the community. In a religious context, Wayang Wong is a sacred object (sesuhunan) often performed in major ceremonies in the village. As the performers of Wayang Wong age, the dynamics of aesthetic forms in performances are evolving. As part of their cultural identity, Wayang Wong expected to keep up with the changing values. In early 2023, the village's community leaders decided to gradually revitalize and re-actualize Wayang Wong performances, including improving the physical instruments and providing guidance to Wayang Wong sekaa, particularly accompanying music of the Batel Wayang Gambelan. With the proposal for revitalization and actualization by the village's leaders, the mentors through the PPKM program organized by ISI Denpasar, proposed a community service project involving lecturers and students of puppetry (pedalangan). This collaboration aims to enhance the quality of resources, including participants of Wayang Wong performance and mentors (lecturers and students). A demonstration-based empowerment method, utilizing techniques such as lectures, discussions, practices, evaluations, and performances, effectively addressed the issue through two stages. The first stage focused on training in primary instruments, such as gender wayang (Gender’s hitting techniques, gegedig, and tetekep) and kendang krumpungan (gupekan, mupuh kendang, and kekendangan/drumming patterns). Second, it combines all instruments through practices of various tabuh (rhythmic patterns) of gendhing in Wayang Wong performances.
Co-Authors Adhisantika, Sang Nyoman Gede Adisaputra, I Ketut Divayana Ardiyasa, I Putu Bratanatyam, I Bagus Wijna Hinzler , Hedwig Ingrid Rigmodis I Dewa Ketut Wicaksana, I Dewa Ketut I Ketut Sariada, I Ketut I Made, Arta Wiguna Kanaka, Ida Bagus Ari Ni Luh Ayu Cempaka Dewi Putra Dananjaya, Esa Putra, I Gusti Made Darma S.Pd. M Kes I Ketut Sudiana . Santika, Sang Nyoman Gede Adhi Santosa, Hendra Saptono Saptono, Saptono Senopati, I Gusti Agung Bayu Singarsa, Ida Bagus Arthya Weda St. Hanggar Budi Prasetya Sudarta, I Gusti Putu Sutirtha, I Wayan Widnyani, Ida Ayu Sri