Article Per Year (5 Year)
p-Index From 2021 - 2026
3.832
P-Index
This Author published in this journals
All Journal MUDRA Jurnal Seni Budaya KALANGWAN Abdi Seni Tamumatra : Jurnal Seni Pertunjukan Ghurnita: Jurnal Seni Karawitan Journal of Aesthetics, Creativity and Art Management Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Innovative: Journal Of Social Science Research Global Art Creativity Conference
Garwa, I Ketut
Institut Seni Indonesia Bali
Religion Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

Published : 22 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 22 Documents
Search

 1   2   3 
SAMIRATA a Musical Art Composition Creative Percusion | SAMIRATA Sebuah Karya Komposisi Seni Karawitan Tabuh Kreasi Kadek Angga Wahyu Pradana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.355

Abstract

Abstract The creation of this final percussion is starting to decrease, especially in Buleleng. In the past five (5) years, there has been no creative percussion in the form of a game pattern that focuses on the melodic processing approach, but the packaging or presentation of creative percussion works tends to use a rhythmic working approach. From the differences above, the stylist wants to create a more dynamic musical composition work. The medium expressed in this creative musical composition is the North Balinese style barungan gong kebyar (pacekan). From this, ideas emerged in the stylist to create a creative percussion composition entitled "Samirata". "Samirata" can be divided into 2 words namely sami and rata. Sami which means all while flat which means the same high / low surface that covers all parts and gets the same amount. So, Samirata means something that is indicated by the same thing without any difference in number, in the whole part. The stylist imagines by systematically arranging a composition whose source of inspiration is from the similarities in various types of ornamentation in the techniques of ubitan gangsa maker, gangsa kantilan, reong with other instruments. Keywords: Samirata, Gong Kebyar, Ubit-ubitan, Equation.
Method of Creation And Creative Process of Composition “Temuku Aya” | Metode Penciptaan dan Proses Kreativitas Komposisi “Temuku Aya” I Made Adi Suyoga Adnyana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1086

Abstract

Temuku Aya is a musical composition that raises the visual object of temuku as idea in this composition. This musical composition is an innovative composition with the medium of expressing gamelan selonding as well as several additional instruments, such as trompong semarapagulingan, suling, and rain stik. The instrument used in this composition is an instrument with a pelog seven tone. In the method of creating the project of Temuku Aya, it’s based on the method offered by Roger Session in the book The Creative Process written by Brewster Ghiselin. This method has three steps in the creation of music, such as inspiration, conception, and execution. At the execution step there is a creative prosess that is part of the execution step. To perfect the creative prosess in the project Temuku Aya a creator used step by Mr. I Wayan Berata and Mr. I Ketut Gede Asnawa, the addition of step in the creativity process is carried out to provide clear step in carrying out the creativity process to project. There are three steps from Mr. I Wayan Beratha, such as nguping, menahin, and ngelesin, while the steps from Mr.I Ketut Gede Asnawa is ngungkap rasa. From the steps that became the reference of the creator to form the project of the creativity process in the Temuku Aya composition.
Music Composition Kaliyuga | Komposisi Musik Kaliyuga Kadek Guntriana; Garwa I Ketut
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.2092

Abstract

Kaliyuga is one of the most recent eras among other Yugas in a cycle of development of the Hindu Religion era in Bali, which is known as Catur Yuga. Kaliyuga is called the Age of Darkness or also known as the Age of Desolation. This creation of percussion is inspired by the negative side of human nature in the Kaliyuga era, in which the human body was filled and controlled by the nature of Adharma. The creator created a creation of percussion work entitled "Kaliyuga" by using the media said barungan gamelan Gong Kebyar. The creator has an interest in transforming it into a new creation percussion work, which uses the creation method of Alma M. Hawkins to be able to realize this work. There are three important stages that must be passed from the method, namely the assessment/exploration stage, the trial/improvisation stage, and the forming/forming stage. This method is used by the creators as a reference or basis in creating this percussion work. The benefit of the creation of this work is that the creator can add to his work experience and this work was created for the purpose of being the author's Final Project Work in his undergraduate study program at the Indonesian Art Institute in Denpasar.
Music Creation Concerto Polyrhythm – Euphony | Karya musik Concerto Polyrhythm – Euphony Agung Indrawan Indrawan Wijaksana; I Ketut Garwa
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3356

Abstract

Creation of new musical works using important string instruments in Karangasem Regency, Bali. Development and updating of important musical instruments in Karangasem. Adopting kotekan for playing important musical instruments and ggambangan for western music playing techniques, namely polyrhythms. Development of string music is important, by enriching the types of strings on the musical instrument. It is important as a medium that Balinese musical instruments are now being developed to be more modern, with updated musical elements, as well as other contemporary playing techniques. Contains ideas about a western music playing technique, namely polyrhythms, and is packaged nicely with a series of melodies that are pleasant to hear, namely euphony. The combination of these two elements can be combined into a musical work. There are three elements of the method used to realize this work, namely the exploration stage, the design stage and the realization stage. By using experimental music genres, as the foundation for the creation of this new musical work.
Karya Musik Eksperimental "Wind Chimes" Mahayasa, I Pande Komang Bintang; Garwa, I Ketut; Hartini, Ni Putu
GHURNITA: Jurnal Seni Karawitan Vol 5 No 1 (2025): Ghurnita: Jurnal Seni Karawitan
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v5i1.5097

Abstract

Wind chimes in the form of tubes hung on the veranda, made of tubes or rods with diameters, and when they collide with each other can produce sound. In general, all types of wind chimes are musical instruments that produce beautiful sounds due to the vibrations of the tubes that are hit when the wind blows. Each bell or rod produces different tones based on the diameter, length, and thickness of the material. Based on this uniqueness, the strong desire to make wind chimes a medium of expression. Wind chimes that are developed with a larger scale than the size of wind chimes in general and have five tones that each instrument contains two octaves. "Wind Chimes" is an experimental musical art work in fulfilling the requirements for Independent Study/Project (MBKM) as the Final Assignment of the ISI Denpasar Karawitan Art Study Program. The purpose of writing this journal is to describe the stages of creation and form of the experimental musical work "Wind Chimes". The creation method used in the experimental musical work "Wind Chimes" is the Panca Sthiti Ngawi Sani method, which includes five stages: ngawirasa, ngewacak, ngarencana, ngawangun, and ngebah. This work is composed using three parts as the structure of this work. In addition, the experimental musical gamelan work "Wind Chimes" has an aesthetic value that contains postmodern aesthetics such as pastiche, camps and schizophrenia.
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.
Komposisi Musik Terapeutik Jantra Abhinawa Yudana, I Gede; Sudirga, I Komang; Garwa, I Ketut
Innovative: Journal Of Social Science Research Vol. 5 No. 4 (2025): Innovative: Journal Of Social Science Research
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/innovative.v5i4.21101

Abstract

Komposisi Musik Terapeutik Jantra Abhinawa merupakan bentuk penciptaan musik neurologis yang berangkat dari fenomena gangguan kejiwaan remaja di Indonesia. Terapi musik berfrekuensi rendah dipilih sebagai solusi untuk memberikan efek relaksasi dan penyembuhan psikis, dengan memanfaatkan derau alami Tukad Balian sebagai sumber inspirasi musikal. Proses penciptaan meliputi proses transformasi derau air Tukad Balian sebagai objek penciptaan ke dalam komposisi musik, penyusunan bentuk dan struktur komposisi musik terapeutik, serta nilai artistik-estetik dan unsur neurologis dalam komposisi musik terapeutik “Jantra Abhinawa”. Karya ini juga menjadi media revitalisasi instrumen tradisional Bali bernama Guntang yang eksistensinya sudah menurun melalui penciptaan instrumen baru bernama Klenar (Klentit Masenar). Metode penciptaan karya ini menggunakan pendekatan Practice-led Research dan metode SAMAWAPA. Adapun tahapan dari metode tersebut antara lain sebagai berikut: Sambhada (masalah), Ananyamat (teliti), Makaphala (sebagai hasil), Aruru (mencari), Wangun (bentuk), Aswada (rasa), Pariksa (uji), Angrengwaken (mendengarkan). Komposisi Jantra Abhinawa tersusun atas 3 (tiga) bagian antara lain, bagian I Klebutan, bagian II Sekakan, dan bagian III Loloan. Secara musikal dan simbolik ketiga bagian tersebut merepresentasikan perjalanan pemulihan psikologis manusia. Karya ini menunjukkan keterkaitan antara alam, musik, dan manusia, serta memberikan kontribusi terhadap pengembangan seni karawitan Bali berbasis terapeutik dan pelestarian alat musik tradisional.
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.
Music Creation Concerto Polyrhythm – Euphony | Karya musik Concerto Polyrhythm – Euphony Indrawan Wijaksana, Agung Indrawan; Garwa, I Ketut
GHURNITA: Jurnal Seni Karawitan Vol 4 No 2 (2024): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i2.3356

Abstract

Creation of new musical works using important string instruments in Karangasem Regency, Bali. Development and updating of important musical instruments in Karangasem. Adopting kotekan for playing important musical instruments and ggambangan for western music playing techniques, namely polyrhythms. Development of string music is important, by enriching the types of strings on the musical instrument. It is important as a medium that Balinese musical instruments are now being developed to be more modern, with updated musical elements, as well as other contemporary playing techniques. Contains ideas about a western music playing technique, namely polyrhythms, and is packaged nicely with a series of melodies that are pleasant to hear, namely euphony. The combination of these two elements can be combined into a musical work. There are three elements of the method used to realize this work, namely the exploration stage, the design stage and the realization stage. By using experimental music genres, as the foundation for the creation of this new musical work.
Karya Karawitan Citra Jalatarangga I Putu Nanda Yoga Mayura; I Ketut Garwa; I Gede Yudarta
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8411

Abstract

Citra Jalatarangga is a karawitan composition that is contextually inspired by the duality of freshwater and seawater springs found at Geger Beach. The duality embodied in this idea serves as the fundamental concept and is subsequently implemented in the formulation and structuring of Balinese karawitan performance techniques. This paper discusses the process of creating the work, the formal structure of the composition, and the aesthetic values contained within it. The karawitan composition Citra Jalatarangga employs three theoretical frameworks as analytical tools to describe the duality of the different water sources. Transformation theory is used to determine the form and structure of the composition, creativity theory serves as a reference in the creative process, and postmodern aesthetic theory functions as a guideline for applying aesthetic nuances to the work. The creative method used in the creation of Citra Jalatarangga is the Panca Sthiti Ngawi Sani method, which consists of five stages: the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngarencana), the execution stage (ngawangun), and the production stage (ngebah). This work utilizes several instruments from the Gamelan Semara Dana as its expressive medium and is structured into three sections, each representing the duality of the water sources through different formulations and performance techniques. In addition, instrument arrangement, costume design, and lighting design also function as supporting aspects in the presentation of the work, which was staged at Wantilan Banjar Sawangan, Desa Adat Peminge.
Co-Authors Agung Indrawan Indrawan Wijaksana Gideon Bima Maharesi Gusti Putu Ngurah Prakrti Mahendra I Gede Edo Prasetya Dewantara I Gede Yudarta, I Gede I Komang Sudirga I Made Adi Suyoga Adnyana I Made Dwi Andika Putra I Nyoman Kariasa I Putu Nanda Yoga Mayura I Wayan Swandi Indrawan Wijaksana, Agung Indrawan Kadek Angga Wahyu Pradana Kadek Guntriana Kadek Suartaya Mahayasa, I Pande Komang Bintang Marhaeni, Ni Komang Sekar Ni Made Ruastiti Ni Putu Hartini Ni Wayan Ardini, Ni Wayan Putu Tiodore Adi Bawa Sujayanthi, Ni Wayan Masyuni Suteja, I Kt Try Adi Stanaya, I Komang Wardizal, Wardizal Yudana, I Gede