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All Journal MUDRA Jurnal Seni Budaya KALANGWAN Abdi Seni Ghurnita: Jurnal Seni Karawitan Journal of Aesthetics, Creativity and Art Management Innovative: Journal Of Social Science Research Global Art Creativity Conference
Garwa, I Ketut
Institut Seni Indonesia Denpasar
Religion Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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Journal : Global Art Creativity Conference

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The Humanitarian Narrative of Pramoedya within the Local Cultural Traditions of Tenganan Pegringsingan Try Adi Stanaya, I Komang; Swandi, I Wayan; Suteja, I Kt; Garwa, I Ketut
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 5 (2025): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v5i1.623

Abstract

Pramoedya Ananta Toer is widely known for his humanitarian narratives that place human beings at the center of values. This idea finds its relevance in Tenganan Pegringsingan Village, Bali, which is rich in traditions and a value-based social structure. Although both reflect humanitarian values, there is still limited research linking Pramoedya’s humanism with the cultural practices of indigenous communities such as those in Tenganan. The results of this study reveal three key points. First, there is a connection between Pramoedya’s narrative and the social practices in Tenganan, reflecting the relationship between ideas and the implementation of values. Second, the respect given to traditional leaders is based on their social responsibility, not merely their status. Third, the traditional structure in Tenganan demonstrates collective humanitarian values through mutual cooperation (gotong royong). These findings affirm that Pramoedya’s humanistic values are not only alive in literary works but also manifested within contextual local cultural practices.
CREATION OF THE DANCE MUSIC FOR THE PUCUK BANG MASCOT OF BANGLI REGENCY Garwa, I Ketut
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.591

Abstract

Pucuk Bang, or Hibiscus Rosa-Sinensis, was established as the identity and mascot of Bangli Regency during the leadership of Regent I.B. Gede Agung Ladip (1990–1995, 1995–2000) and officially declared on Bangli's 771st anniversary on May 10, 1991. Regent Sang Nyoman Sedana Arta (2021–2026) aimed to revive Bangli's taksu through the creation of the Pucuk Bang Dance as a visual icon, communication medium, identity symbol, and representation of Bangli’s vision and mission, fostering emotional connections and broad acceptance. The Pucuk Bang flower embodies purity, love, sincerity, and courage. "Pucuk" symbolizes the peak or forefront, and "Bang" (red) represents bravery, spirit, and the deity Brahma, a manifestation of God. It reflects courage and rising to the top with purity, love, and sincerity. The Pucuk Bang concept was transformed into a creative work integrating music, dance, and technology, deeply exploring textures, shapes, colors, and meanings. Inspired by Bangli’s heritage, such as Baris dances and Gong Gede gamelans, it uses the Tri Angga structure (kawitan, pangawak, pangecet). The musical work is united by nine dancers symbolizing the Universe's greatness as Sarining Padma Bhuwana. The Pucuk Bang flower embodies purity, love, sincerity, and courage. "Pucuk" symbolizes the peak or forefront, and "Bang" (red) represents bravery, spirit, and the deity Brahma, a manifestation of God. It reflects courage and rising to the top with purity, love, and sincerity. The Pucuk Bang concept was transformed into a creative work integrating music, dance, and technology, deeply exploring textures, shapes, colors, and meanings. Inspired by Bangli’s heritage, such as Baris dances and Gong Gede gamelans, it uses the Tri Angga structure (kawitan, pangawak, pangecet). The musical work is united by nine dancers symbolizing the Universe's greatness as Sarining Padma Bhuwana.
Co-Authors Gusti Putu Ngurah Prakrti Mahendra I Gede Edo Prasetya Dewantara I Komang Sudirga I Made Adi Suyoga Adnyana I Wayan Swandi Indrawan Wijaksana, Agung Indrawan Kadek Angga Wahyu Pradana Kadek Suartaya Mahayasa, I Pande Komang Bintang Marhaeni, Ni Komang Sekar Ni Putu Hartini Sujayanthi, Ni Wayan Masyuni Suteja, I Kt Try Adi Stanaya, I Komang Wardizal, Wardizal Yudana, I Gede