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All Journal 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
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Signifikansi Narasi-Vokal Dan Gerak Yoga Dalam Membangun Karakter Tokoh Pada Suasana Mistik Adegan Setra Pertunjukan Teater Pakeliran Puyung Bolong Telah Ilang Karya I Gusti Putu Sudarta Wicaksandita, I Dewa Ketut
JURNAL DAMAR PEDALANGAN Vol 3 No 2 (2023): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v3i2.2853

Abstract

Dalam konteks pertunjukan Teater Pakeliran Puyung Bolong Telah Ilang karya I Gusti Putu Sudarta, penggunaan narasi vokal dan gerakan yoga berpengaruh signifikan dalam pembangunan karakter tokoh serta penciptaan latar mistik adegan Setra pada pertunjukannya. Dengan memanfaatkan teori peran teater dan praktik yoga, penelitian ini mendokumentasikan peran kunci teknik narasi vokal dan gerakan yoga dalam menghadirkan dimensi karakteristik yang dalam dan autentik bagi para pemain, serta dalam membentuk atmosfer mistik yang mempengaruhi persepsi penonton. Penelitian ini menggunakan pendekatan kualitatif melalui observasi mendalam terhadap pementasan "Puyung Bolong Telah Ilang." Teori kawi dalang dan teori drama digunakan untuk menganalisis pengaruh teknik narasi vokal dan gerakan yoga terhadap pembentukan karakter tokoh, sementara pendekatan yoga digunakan untuk memahami bagaimana praktik yoga memperkaya interpretasi para pemain terhadap latar mistik adegan Setra. Hasil penelitian menunjukkan bahwa penggunaan teknik vokal dan gerakan yoga secara efektif menghasilkan karakter tokoh yang lebih mendalam dan kompleks, memungkinkan pemain untuk menjelajahi dimensi psikologis karakter dengan lebih baik. Selain itu, penggunaan gerakan yoga juga membantu menciptakan atmosfer mistik yang memperkaya pengalaman penonton, mengaitkan mereka secara lebih mendalam dengan naratif dan pesan pertunjukan. Hal ini mengindikasikan bahwa integrasi narasi vokal dan gerakan yoga memiliki signifikansi yang substansial dalam mengembangkan pertunjukan Teater Pakeliran modern yang inovatif, serta memberikan kontribusi positif terhadap pemahaman dan apresiasi seni pertunjukan tradisional Bali dalam konteks kontemporer.
Nilai-Nilai Estetika Hindu Wayang Kulit Bali: Studi Kasus Internalisasi Jana kertih Melalui Karakter Tokoh Pandawa, Sebagai Media Representasi Ideal Manusia Unggul Wicaksandita, I Dewa Ketut; Santika, Sang Nyoman Gede Adhi; Wicaksana, I Dewa Ketut; Putra, I Gusti Made Darma
JURNAL DAMAR PEDALANGAN Vol 4 No 1 (2024): April
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i1.3744

Abstract

Nilai-Nilai Estetika Hindu Wayang Kulit Bali:Studi Kasus Internalisasi Jana kertih Melalui Karakter Tokoh Pandawa,Sebagai Media Representasi Ideal Manusia Unggul
Wanita Dalam Seni Pedalangan Bali: Studi Kasus Partisipasi “Dalang Luh” Dalam Meningkatkan Motivasi Dan Minat Seni Pedalangan Singarsa, Ida Bagus Arthya Weda; Kanaka, Ida Bagus Ari; Adisaputra, I Ketut Divayana; Widnyani, Ida Ayu Sri; Wicaksandita, I Dewa Ketut
JURNAL DAMAR PEDALANGAN Vol 4 No 2 (2024): Agustus
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i2.4387

Abstract

Eksisnya kesenian pedalangan/pewayangan di Bali, tidak terlepas dari peran kaum wanita. Tidak hanya berpatisipasi aktif sebagai pemain wayang (dalang luh), kaum wanita berperan penting dalam konteks pendidikan dan peningkatan motivasi serta minat terhadap seni pedalangan. Tujuan penelitian ini: pertama, mengetahui wujud partisipasi kaum wanita dalam linimasa seni pedalangan; kedua, menganalisis dampak partisipasi kaum wanita terhadap peningkatan motivasi dalam pendidikan seni pedalangan. Metode kualitatif berpendekatan studi kasus ini menerapkan paradigma ‘feminis’ dan ‘interaksi sosial’ terhadap berbagai wujud partisipasi oleh praktisi dan akademisi wanita dalam bidang dan gelaran seni pedalangan. Metode ini didukung teori tindakan dan teori estetika. Hasil dari penelitian ini yaitu, pertama wujud partisipasi kaum wanita dalam linimasa seni pedalangan: a) Peran Historis Wanita dalam Pedalangan: b) Representasi Wanita dalam Seni Pedalangan: c) Kontribusi Wanita di Balik Layar: Kedua: Dampak partisipasi kaum wanita terhadap peningkatan motivasi dan minat seni pedalangan: a) Pengaruh Inspiratif dalang luh: b) Peningkatan Keterampilan dan Minat; c) Model dan Mentoring.
Transformative Thanatology and Mesatya Politics: Reconstructing Kumbakarna's Heroism in Contemporary Balinese Shadow Puppet Theatre Wicaksana, I Dewa Ketut; Wicaksandita, I Dewa Ketut; Prasetya, Hanggar Budi; Hinzler , Hedwig Ingrid Rigmodis
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p07

Abstract

This study re-examines the paradigm of heroic death in traditional performing arts through the Kumbakarna Lina (The Death of Kumbakarna) episode of Balinese shadow theatre as a dialectical locus between local values and global discourses. Employing an interpretive-hermeneutic approach, it integrates Balinese Hindu cosmology with Heidegger’s concept of Being-towards-death, Festinger’s theory of cognitive dissonance, and Schechner’s notion of restored behavior. Data were collected through participatory observation, visual documentation, textual analysis of the Kakawin Rāmāyana, and interviews with puppet masters and cultural practitioners. The findings highlight three contributions: (1) the conceptualization of transformative thanatology, positioning death as moral-cosmic integration; (2) the articulation of mesatya as a political-spiritual resistance principle transcending genealogical loyalty; and (3) the transformation of sacred narratives from textual media to contemporary performance and digital platforms, raising ethical concerns of authenticity. These insights enrich cross-cultural studies of death, heroism, and performance while offering practical implications for preserving and adapting tradition in the global era.
PEMBINAAN IRINGAN BATEL WAYANG WONG DI BANJAR PESALAKAN, DESA PEJENG KANGIN, KECAMATAN TAMPAKSIRING KABUPATEN GIANYAR I Gusti Putu Sudarta; I Bagus Wijna Bratanatyam; I Dewa Ketut Wicaksandita
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.
Konsep Dasa Paramartha pada Karakterisasi Tokoh Aji Dharma dalam Pertunjukan Wayang Tantri oleh I Wayan Wija I Dewa Ketut Wicaksandita; Hendra Santosa; I Ketut Sariada
Dance and Theatre Review Vol 3, No 1: May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1037.378 KB) | DOI: 10.24821/dtr.v3i1.4415

Abstract

The Concept of Dasa Paramartha on the Characterization of Aji Dharma in a Wayang Tantri Performance by I Wayan Wija. Dasa Paramartha, as the teachings of dharma (goodness) in Hinduism, then becomes a material that is flexible enough to be displayed in broadcasting the meaning and value of ethical, moral, and social behavior education. Wayang Tantri, in the play of Sang Aji Dharma Kepastu presents the character of Prabu Aji Dharma with the characteristics trait displayed as a figure of dharma who later becomes a role model for Wayang Tantri audiences. This study aims to reveal the values of Dasa Parartha’s teachings in the characterization of Aji Dharma figures. The qualitative descriptive method with data collection in the form of observation, interviews, and study documentation of the Wayang Tantri video of Sang Aji Dharma Kepastu with a duration of approximately 2 hours, then analyzed by, The Aesthetic Pedalangan Theory supported by Semiotic Theory. The results of the research are the representation of the teachings of Dasa Parmartha, which is in the form of Tapa: physical and mental self-control; Bharata: curb lust; Samadhi: mental concentration on God; Santa: being calm and honest; Sanmata: aspiring and aiming towards goodness; Karuna: affection between living beings; Karuni: compassion for plants, goods and so on; Upeksa: being able to distinguish right from wrong, good and bad; Mudhita: trying to please others; and Maitri: eager to seek friendship based on mutual respect.Keywords: representation; Dasa Paramartha; Aji Dharma; Wayang Tantri
Co-Authors - Saptono Adhisantika, Sang Nyoman Gede Adisaputra, I Ketut Divayana Ardiyasa, I Putu Bratanatyam, I Bagus Wijna Hinzler , Hedwig Ingrid Rigmodis I Bagus Wijna Bratanatyam 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 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