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All Journal Jurnal Damar Pedalangan
I Nyoman Sedana
Institut Seni Indonesia Bali
Arts Humanities

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KAJIAN UNSUR DRAMATIK DAN ESTETIKA TAMAN PENASAR CERAKEN I Komang Prayoga Putra; I Nyoman Sedana; Dru Hendro
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.v5i1.4880

Abstract

Taman Penasar is an artistic development derived from Pasantian, which integrates vocal performance, literature, acting, and traditional music played by 5-7 core performers. This performance serves not only as entertainment but also as a guide for social interaction. Unfortunately, despite its profound cultural values, it has received limited academic attention, such as the Taman Penasar performance titled Ceraken, which presents issues surrounding traditional Balinese medicine and the role of Balian (traditional healers), a topic of current discussion. This study aims to analyze the dramatic structure, aesthetic elements, and inherent values of the performance. A qualitative approach is used to descriptively present the findings, employing drama theory and aesthetic theory as analytical tools. The results of this study show that the dramatic elements of the performance are constructed through: 1) A plot based on contemporary societal issues; 2) A forward-moving narrative structure; 3) Characterization through new terms introduced in the performance, such as Panegteg, Panungkas, Panembang, and Paneges; 4) Setting conveyed through dialogue; 5) Dialogue that upholds the ethical use of the Balinese language. The aesthetic elements are built through the performance's integrity, emotional depth, harmony in costumes and movement, and the prominence of tembang (traditional songs), musical accompaniment, and acting. Additionally, the balance between tembang, musical accompaniment, Paneges, Panegteg, and Panungkas is emphasized. This performance also upholds religious, social, and educational values. Therefore, the researcher hopes that this performance will continue to thrive and attract public interest as a valuable medium for learning.
PENCIPTAAN KARYA WAYANG GOLEK TOPENG “GEGER GIANYAR” I Ketut Kertajaya; I Nyoman Sedana; I Made Sidia
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.v5i2.5003

Abstract

This study presents the creation of Wayang Golek Topeng: Geger Gianyar, a theatrical innovation that reinterprets Balinese performing arts in response to contemporary cultural dynamics. Rooted in the dual challenge of preserving tradition while embracing modernity, the work employs wayang golek topeng as a hybrid medium that integrates the symbolic depth of Balinese topeng with the dramaturgy of rod puppetry. The creative process was guided by Prof. I Nyoman Sedana’s Catur Datu Kawya framework—Pandulame (imagination), Adicita-Adirasa (ideas and emotions), Sranasasmaya (media and method), and Gunatama (technical skills)—applied through collaborative practice with the Manduka Asrama Art Community in Gianyar. The work dramatizes social tensions and identity struggles in Gianyar, symbolizing broader cultural negotiations within Balinese society. Its novelty lies in the synthesis of mask-dance aesthetics and puppetry, producing a multisensorial performance that bridges sacred symbolism with contemporary stagecraft. Beyond its artistic value, the performance contributes to national discourse on cultural sustainability by positioning traditional puppetry as an adaptive medium for education, reflection, and intercultural dialogue. Thus, Geger Gianyar affirms the strategic role of practice-based research in revitalizing Indonesian performing arts while fostering cultural resilience in the era of globalization.
PENCIPTAAN TEATER WAYANG INOVATIF SATYA SEMARA SEBAGAIREINTERPRETASI NILAI KESETIAAN DALAM NARASI RAMAYANA KONTEMPORER I Putu Wira Adi Prasetya; I Nyoman Sedana; I Bagus Wijna Bratanatya
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.v6i1.5283

Abstract

The declining interest in traditional puppetry among younger generations and the growing demand for adaptive artistic forms have encouraged the need for innovative approaches to Balinese wayang performance. This study aims to describe the creation process, artistic realization, and interpretative strategy of the innovative wayang theater Satya Semara, which reinterprets the value of loyalty within the contemporary narrative of the Ramayana. The creation process employed the Catur Datu Kawiya method, consisting of Pandulame (imaginative exploration), Adicita Adirasa (conceptual formulation), Saranasasmaya (artistic media preparation), and Gunagina Gunamanta (collaborative realization). The artistic outcome presents a hybrid theatrical form integrating Ramayana puppetry, colossal performance, digital lighting, multimedia elements, and contemporary dramaturgy while maintaining essential values of Balinese puppetry. Through the reinterpretation of characters and dramatic tensions, Satya Semara offers a reflective reading of fidelity, sacrifice, and moral dilemmas in contemporary society. This creation contributes to the revitalization of Balinese puppetry through innovative performance strategies that preserve tradition while expanding its aesthetic and pedagogical relevance.
Co-Authors Dru Hendro I Bagus Wijna Bratanatya I Ketut Kertajaya I Komang Prayoga Putra I Made Sidia I Putu Wira Adi Prasetya