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All Journal Jurnal Kajian Bali Panggung Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Abdi Seni Pantun: Jurnal Ilmiah Seni Budaya Jurnal Penelitian Agama Hindu Abdi Widya: Jurnal Pengabdian Masyarakat Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Damar Pedalangan Panggung Open Access DRIVERset
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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Alih Aksara dan Analisis Ragam Bahasa Lontar Dharma Pawayangan Koleksi Dalang I Made Sidja Wicaksana, I Dewa Ketut; Wicaksandita, I Dewa Ketut
Jurnal Penelitian Agama Hindu Special Issue Budaya dan Pendidikan
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (486.506 KB)

Abstract

Dharma Pawayangan is a holy book of puppeteers in Bali which is dynamic. The significance of this lontar is that its content is considered to contain structured and contextual knowledge of the theo-cultural activities of the Balinese puppeteers. However, the existing Lontar Dharma Pawayangan is still written in Balinese script and is in a condition that has not been digitized so that it is prone to damage and is often difficult to read. The purpose of this research is to translate one of I Made Sidja's lontar samples which is considered to have a tendency to signify complete content and to analyze the variety of languages that appear in it. Coding methods and literary studies are used to support linguistic theory and a hermeneutical approach to the analysis of this sacred literature. The results of the study found, first, the transliteration of one of I Made Sidja's Dharma Pawayangan palm manuscript samples with significance lies in part II of the manuscript entitled “Tatikas Sapratingkahing Sang Amangku Dalang” consisting of 9 (nine) sheets with coding consisting of numbering (1a) to (9b) showing the contents of various subject and object phrases vocabulary in the context of Balinese traditional wayang kulit performances. The phrases that appear are the names of the gods in Balinese Hindu mythology; spells; the pattern of the puppeteer's actions when he is about to start the performance; various names of wayang accompaniment percussion; variety of wayang performance apparatus; wayang names; stage technique; the ritual of making holy water (tirta) and means of wayang rituals. Second, there are 3 (three) types of language used in the Dharma Pawayangan text, such as; Old Javanese, Sanskrit, and Balinese.
Estetika Adegan Bondres Wayang Tantri oleh Dalang I Wayan Wija I Dewa Ketut Wicaksandita; I Ketut Sariada; Hendra Santosa
PANGGUNG Vol 30 No 1 (2020): Polisemi dalam Interpretasi Tradisi Kreatif
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v30i1.1146

Abstract

ABSTRACTBebondresan is a scene that is raised in order to entertain the audience. The scene of the bonding on theTantri puppet play Bhagawan Kundala Nangun Yadnya by Dalang Wija was brought up with a varietyof creativity that no other Dalang had ever done. This gave rise to appreciation in the form of applausefrom the audience who indicated the fulfillment of the wonderful taste of the aesthetic values that emerged.The main purpose of this research is to find out the aesthetics of the bebondresan scene. The researchmethod in the form of observation, interviews and documentation is the source of data acquisition by theauthor, which is then reduced and analyzed using instrumental aesthetic theory and aesthetic theoriesof aesthetics. The results of this study later found that the form of the bondres scene was formed visuallyin the form of three puppet Bondres namely, men holding drums, sexy women and agile old women,the structure consisted of three two-dimensional leather puppets, a drum and tambourine combinedthrough puppet play patterns, musical instruments and vocal wayang dialogues. The aesthetics of theBondres scene lies in, (1) ‘interrelations’, namely wholeness which is seen from the interrelationship,integration and harmony in the elements forming the scene; (2) ‘complexity’ that is interwoven betweenthe elements in the structure that are staged through complex playing patterns; (3) ‘prominence’ whichis the presentation of the results of the achievement of creativity by Dalang Wija which is seen from thecharacteristics of the artwork, the background of the mastermind’s abilities and his motivation.Keywords: Bondres Scene, Wayang Tantri, I Wayan WijaABSTRAKAdegan bondres merupakan sebuah adegan yang dimunculkan dengan tujuan untukmenghibur penonton. Adegan bondres pada wayang Tantri lakon Bhagawan Kundala NangunYadnya oleh Dalang Wija dimunculkan dengan beragam kreativitas yang tidak pernahdilakuakn Dalang lain. Hal ini memunculkan apresiasi berupa tepuk tangan dari penoton yangmengindikasikan terpenuhinya rasa nikmat indah atas nilai estetis yang muncul. Tujuan utamapenelitian ini ialah untuk mengetahui estetika dari adegan bebondresan. Metode penelitianberupa observasi, wawancara dan dokumentasi menjadi sumber perolehan data oleh penulisyang selanjunya direduksi dan dianlisis menggunakan teori estetika instrumental dan teoriestetika sifat estetis. Hasil penelitian ini selajutnya menemukan bahwa wujud adegan bondresini terbentuk secara visual berupa tiga wayang bondres yaitu, pria memegang kendang, wanitasexy dan wanita tua lincah, strukturnya terdiri atas tiga buah wayang kulit dua dimensi, sebuahkendang dan tamborin yang dikombinasi melalui pola bermain wayang, alat musik dan vokaldialog wayang. Estetika adegan bondres ini terletak pada, (1) ‘keterkaitan’ yaitu keutuhan yangdilihat dari keterkaitan, keterpaduan dan harmoni pada elemen-elemen pembentuk adegan;(2) ‘kerumitan’ yang terjalin di antara elemen-elemen pada struktur yang dipentaskan melaluipola bermain yang kompleks; (3) ‘penonjolan’ yaitu presentasi hasil pencapaian kreativitasoleh Dalang Wija yang dilihat dari ciri-ciri karya seni, latar belakang kemampuan dalang danmotivasinya.Kata Kunci: Adegan Bondres, Wayang Tantri, I Wayan Wija
Trans Memori Imajinasi Dalam Pewarisan Nilai Monumental Pertunjukan Wayang Kulit Bagi Masyarakat Hindu di Bali Wicaksandita, I Dewa Ketut; Hendra, Santosa; Saptono, Saptono; Sutirtha, I Wayan; Wicaksana, I Dewa Ketut
Jurnal Penelitian Agama Hindu Vol 9 No 1 (2025)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/jpah.v9i1.3499

Abstract

Memory transfer (memory trance) conceptually involves actively remembering, realizing, and inheriting values of greatness, survival, and stability in performing arts. Imagination, used to affirm memory transfer, creates mental images that emphasize large, impressive objects, ideas, or concepts, significantly influencing the inheritance of the monumental value of Balinese traditional wayang kulit performances. This research aims to first identify memory trance based on imagination in inheriting Balinese wayang kulit's monumental value; second, analyze the significance of memory trances in this inheritance. A phenomenological approach (psychology-imagination) and instrumental aesthetic theory support the qualitative research. Findings include: first, imagination memory trance reveals action phases based on imagination behavior, such as 'imagination' (transmutation of objects by the subject), ‘creativity and mental imagery’ (transformation through metacognition), ‘cultural context’ (value clarification and internalization), and 'monumental value' (understanding the majestic value). Second, the significance of imaginary memory transience impacts active behavior in inheriting Balinese wayang kulit's monumental value. It examines the audience's aesthetic experience from imaginary images presented by the puppeteer and transforms artistic sources into aesthetic elements involving socio-cultural trends, creating 'dialectics' and 'catharsis' for audience appreciation. Additionally, it involves internalizing socio-religious values, building involvement, and vertical-horizontal existence, and forming the image of wayang as monumental art.
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 Kidung Kawitan Wargasari Bagi Generasi Muda di Desa Batukandik Kecamatan Nusa Penida Kabupaten Klungkung Wicaksandita, I Dewa Ketut; Wicaksana, I Dewa Ketut; Adhisantika, Sang Nyoman Gede
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 4 No 1 (2025): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v4i1.5407

Abstract

This community service program aims to develop the ability of young generations in Batukandik Village to sing Kidung while preserving this traditional chant as an essential part of cultural and religious ceremonies. The partner representatives, including the traditional village head and local government officials, faced challenges due to a lack of instructors and the need for young people to acquire Kidung singing skills to enrich local customary and cultural practices. A participatory approach with a structured training method was implemented to effectively transfer knowledge. This method was chosen based on an initial assessment that indicated high enthusiasm among participants and strong support from the community and village authorities. The program consisted of several phases, including community outreach and eight intensive training sessions held from August 15 to 24, 2016, with 11 participants (8 females and 3 males). The training was structured as follows: 1) Introduction to Kidung Kawitan Wargasari, focusing on practical applications, tempo, and vocal tone; 2) Hands-on vocal practice, where participants repeatedly sang Kidung Kawitan Wargasari verse by verse according to the training schedule and measurable targets; 3) Evaluation and final performance, where participants showcased their progress in a mini recital. This program had a positive impact and received appreciation from both the community and village authorities. It successfully provided participants with knowledge of Kidung and increased their interest in singing it, contributing to the preservation and strengthening of cultural values both in theory and practice within Batukandik Village.
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.
Produksi Karya Teater Pakeliran "BIBI ANU" I Made, Arta Wiguna; Sudiana, I Ketut; Wicaksandita, I Dewa Ketut
JURNAL DAMAR PEDALANGAN Vol 5 No 1 (2025): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

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

Abstract

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.
Śiva Naṭarāja: Konsep Estetika Hindu dalam Seni Pertunjukan Wayang Wicaksandita, I Dewa Ketut; Wicaksana, I Dewa Ketut
PANGGUNG Vol 35 No 3 (2025): Estetika, Identitas, dan Digitalisasi: Praktik Seni dan Budaya Nusantara dalam P
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i3.2693

Abstract

Penelitian ini mengeksplorasi dimensi pemaknaan simbol Śiva Naṭarāja dalam seni pertunjukan wayang kulit Bali melalui pendekatan hermeneutika simbolik Paul Ricœur, semiotika triadik Charles Sanders Peirce, serta konsep estetika Hindu Bali (satyam, śiwam, sundaram). Kajian ini menyoroti keterbatasan studi sebelumnya yang cenderung bersifat visualistik-formalistik dan seremonial, tanpa mengelaborasi praksis simbolik secara performatif. Dengan metode kualitatifpartisipatoris melalui observasi langsung, wawancara mendalam, dan studi naskah lontar sapuh leger, kala purana serta dharma pawayangan. Penelitian ini menemukan bahwa simbol Śiva Naṭarāja tidak hanya direpresentasikan sebagai ikon, melainkan direfigurasi sebagai teks hidup (living text) yang teraktualisasi dalam praksis seni-ritual dalang. Sublimasi audiens terhadap estetika sundaram terwujud dalam harmoni visual, naratif, dan ritualistik yang membangkitkan taksu (energi performatif spiritual) sebagai medan aktualisasi makna kosmis. Penelitian ini merekomendasikan pendekatan transdisipliner dalam kajian estetika pertunjukan Bali yang mengintegrasikan dimensi religius, performatif, dan kosmologis secara utuh.
Jurnal Hasil Penciptaan Karya Pakeliran Teater Karnayana Putra Dananjaya, Esa; Adhisantika, Sang Nyoman Gede; Wicaksandita, I Dewa Ketut; Cempaka Dewi, Ni Luh Ayu
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

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

Abstract

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.
Estetika Adegan Bondres Wayang Tantri oleh Dalang I Wayan Wija Wicaksandita, I Dewa Ketut; Sariada, I Ketut; Santosa, Hendra
PANGGUNG Vol 30 No 1 (2020): Polisemi dalam Interpretasi Tradisi Kreatif
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v30i1.1146

Abstract

ABSTRACTBebondresan is a scene that is raised in order to entertain the audience. The scene of the bonding on theTantri puppet play Bhagawan Kundala Nangun Yadnya by Dalang Wija was brought up with a varietyof creativity that no other Dalang had ever done. This gave rise to appreciation in the form of applausefrom the audience who indicated the fulfillment of the wonderful taste of the aesthetic values that emerged.The main purpose of this research is to find out the aesthetics of the bebondresan scene. The researchmethod in the form of observation, interviews and documentation is the source of data acquisition by theauthor, which is then reduced and analyzed using instrumental aesthetic theory and aesthetic theoriesof aesthetics. The results of this study later found that the form of the bondres scene was formed visuallyin the form of three puppet Bondres namely, men holding drums, sexy women and agile old women,the structure consisted of three two-dimensional leather puppets, a drum and tambourine combinedthrough puppet play patterns, musical instruments and vocal wayang dialogues. The aesthetics of theBondres scene lies in, (1) ‘interrelations’, namely wholeness which is seen from the interrelationship,integration and harmony in the elements forming the scene; (2) ‘complexity’ that is interwoven betweenthe elements in the structure that are staged through complex playing patterns; (3) ‘prominence’ whichis the presentation of the results of the achievement of creativity by Dalang Wija which is seen from thecharacteristics of the artwork, the background of the mastermind’s abilities and his motivation.Keywords: Bondres Scene, Wayang Tantri, I Wayan WijaABSTRAKAdegan bondres merupakan sebuah adegan yang dimunculkan dengan tujuan untukmenghibur penonton. Adegan bondres pada wayang Tantri lakon Bhagawan Kundala NangunYadnya oleh Dalang Wija dimunculkan dengan beragam kreativitas yang tidak pernahdilakuakn Dalang lain. Hal ini memunculkan apresiasi berupa tepuk tangan dari penoton yangmengindikasikan terpenuhinya rasa nikmat indah atas nilai estetis yang muncul. Tujuan utamapenelitian ini ialah untuk mengetahui estetika dari adegan bebondresan. Metode penelitianberupa observasi, wawancara dan dokumentasi menjadi sumber perolehan data oleh penulisyang selanjunya direduksi dan dianlisis menggunakan teori estetika instrumental dan teoriestetika sifat estetis. Hasil penelitian ini selajutnya menemukan bahwa wujud adegan bondresini terbentuk secara visual berupa tiga wayang bondres yaitu, pria memegang kendang, wanitasexy dan wanita tua lincah, strukturnya terdiri atas tiga buah wayang kulit dua dimensi, sebuahkendang dan tamborin yang dikombinasi melalui pola bermain wayang, alat musik dan vokaldialog wayang. Estetika adegan bondres ini terletak pada, (1) ‘keterkaitan’ yaitu keutuhan yangdilihat dari keterkaitan, keterpaduan dan harmoni pada elemen-elemen pembentuk adegan;(2) ‘kerumitan’ yang terjalin di antara elemen-elemen pada struktur yang dipentaskan melaluipola bermain yang kompleks; (3) ‘penonjolan’ yaitu presentasi hasil pencapaian kreativitasoleh Dalang Wija yang dilihat dari ciri-ciri karya seni, latar belakang kemampuan dalang danmotivasinya.Kata Kunci: Adegan Bondres, Wayang Tantri, I Wayan Wija
Co-Authors Adhisantika, Sang Nyoman Gede Adisaputra, I Ketut Divayana Ardiyasa, I Putu Bratanatyam, I Bagus Wijna Cempaka Dewi, Ni Luh Ayu Hinzler , Hedwig Ingrid Rigmodis I Dewa Ketut Wicaksana, I Dewa Ketut I Ketut Sariada, I Ketut I Made, Arta Wiguna Kanaka, Ida Bagus Ari 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