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All Journal Jurnal Pendidikan Jasmani, Olahraga dan Kesehatan Jurnal Kajian Bali Humaniora Jurnal Penelitian Arkeologi Papua dan Papua Barat Abdi Dosen : Jurnal Pengabdian Pada Masyarakat Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan Jurnal Pendidikan Jasmani, Olahraga dan Kesehatan Undiksha Journal of Aesthetics, Creativity and Art Management Bhumidevi : Journal Of Fashion Design

MS Prof. Dr. I Wayan Rai .

Institut Seni Indonesia Denpasar

Author-ID : 214637

Religion Arts Humanities Education Health Professions Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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Articles

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The Meaning of Pura Agung Surya Bhuvana on the Religious Lives in Jayapura in The Global Era I Wayan Rai S; I Gusti Made Sunartha; Ida Ayu Made Purnamaningsih; Ni Made Ruastiti; Yunus Wafom
Humaniora Vol. 11 No. 1 (2020): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v11i1.6222

The aim of the research was to be able to understand the meaning of the Pura Agung Surya Bhuvana for the harmony of religious life in Jayapura in the global era. Lately, people’s lives in Jayapura had been highlighted by frequent turmoil. The research problems were (1) why did non-Hindus in Jayapura often visit the Pura Agung Surya Bhuvana? (2) How did they understand the Agung Surya Bhuvana temple in this global era? The research applied a qualitative method. The data source was the life of a multicultural society in the Agung Surya Bhavana temple in the global era. The selected informants included the chairperson of Parisada Hindu Dharma Indonesia Jayapura, chairperson of Parisada Hindu Dharma Indonesia Papua, stakeholders, pengempon, penyungsung, and temple visitors both Hindus and non-Hindus who often come to visit the temple. All data collected through observation techniques, interviews, FGDs, and documentary studies that were analyzed interpretatively using religious theory, symbol theory, and structural-functional theory. The results show that (1) Non-Hindus in Jayapura often visit the Agung Surya Bhuvana temple because Hindus at the temple are very kind, friendly welcoming them, often involved in religious activities at the temple, for sightseeing, for meetings between residents. (2) The people in Jayapura in this global era interpret Agung Surya Bhuvana temple as a place of worship, a meeting place for religious followers, a place of art, a place to strengthen multicultural life (multiculturalism), and as a vehicle to strengthen national integration.

TIFA DI TANAH PAPUA DALAM PERSPEKTIF ETNOMUSIKOLOGI I Wayan Rai S
Jurnal Penelitian Arkeologi Papua dan Papua Barat Vol. 12 No. 2 (2020): November 2020
Publisher : BALAI ARKEOLOGI PAPUA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/papua.v12i2.290

Tifa adalah salah satu jenis alat musik tradisi di Tanah Papua. Sampai saat ini studi tentang Tifa masih sangat terbatas, walaupun ada beberapa artikel tentang alat musik ini, namun tulisan-tulisan tersebut masih sangat ringkas dan tidak lengkap. Tujuan dari penelitian ini adalah untuk mengetahui secara lebih mendalam tentang musik Tifa di Tanah Papua. Tifa dipandang sebagai instrumen musik penting bagi masyarakat Papua yang telah diwarisi sejak masa yang lampau. Selain itu juga untuk mengetahui konteks sosial-budaya tifa itu pada masyarakat pendukungnya di Tanah Papua. Penelitian ini dilakukan dengan menggunakan metode kualitatif. Sumber data penelitian ini adalah musik Tifa itu sendiri, para informan terpilih antara lain kepala suku, para pemain, dan budayawan daerah setempat. Seluruh data yang telah dikumpulkan melalui observasi partisipasi, wawancara, dan rekaman, dianalisis dengan menggunakan teori musik dan teori fungsional struktural. Berdasarkan hasil analisis data dapat disimpulkan bahwa: (1) Tifa adalah instrumen musik tradisi di Tanah Papua yang terbuat dari kayu dengan membrane dari kulit binatang dan tergolong single-headed frame drum. Asal usul Tifa terkait erat dengan foklor. Badan Tifa dihiasi dengan motif-motif tertentu sesuai kepercayaan masyarakat pendukungnya Alat musik ini dimainkan oleh seorang pemain dengan jalan memukul bagian membrane nya dengan basis empat pola ritme. (2) Dalam konteks sosisal budaya, tifa memiliki fungsi sebagai atribut kebesaran Ondoafi (kepala suku), sebagai sarana komunikasi, sarana penghubung kepada Tuhan, leluhur, serta kekuatan alam lainnya. Sebagai hasil kebudayaan ekspresif, alat musik ini dipergunakan sebagai pengiring nyanyian wor dan pengiring tari. Masyarakat Papua memaknai tifa sebagai karya budaya yang dijadikan simbol jati diri, pemberi identitas, dan sarana penguat ikatan relasi sosial.

“Nga-wayang”: A New Dance Creation from a Globalized Sociocultural Environment Ni Putu Ari Sidiastini; I Wayan Rai S; Ni Made Ruastiti
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

This scientific article aims to discuss a new dance creation entitled “Nga-wayang”, whose creation idea depicts the character Gatot Kaca in a two-dimensional wayang kulit show. No one has worked on a dance that was transformed from a two-dimensional wayang kulit performance into a new three-dimensional dance creation. The creation of the “Nga-wayang” dance uses qualitative methods. The creation process is carried out in stages: ngarencana, nuasen, makalin, nelesin, and ngebah. The search for ideas was carried out using participatory observation techniques and in-depth interviews with related parties. The deepening of the character of Gatot Kaca's character is carried out through library research and discography. The process of creating this new dance creation is carried out using transformation theory and aesthetic theory. The cultivation of this work of art has resulted in a new dance creation entitled “Nga-wayang”. As a new dance creation, “Nga-wayang” is presented full of new ideas based on the influence of the art ecosystem in the influence of globalization in terms of poses, variety of movements, techniques, dynamics, tempo, and level play based on multimedia such as LCD projectors, LED lights, and smoke. The process of composing this dance has been carried out since this material was developed as a final choreography class assignment, the presentation of which has been continuously refined. “Nga-wayang” is a new dance creation that departs from the experience of the cultural environment in the era of globalization, namely the ecosystem as an art reinforcement.

The aesthetics of unity in Kendang Pangarjan performed by I Dewa Nyoman Sura and Cokorda Alit Hendrawan I Putu Swaryandana Ichi Oka; I Wayan Rai S.; I Wayan Suharta
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

The purpose of this study was to analyze the aesthetics of unity that exist in kendang pangarjan which is performed by two Balinese drummers namely I Dewa Nyoman Sura and Cokorda Alit Hendrawan. Data collection is done by observation, interviews, literature studies, and document studies. The results showed that kendang pangarjan is one type of instrument found in Balinese gamelan. Two names of kendang pangarjan performances whose expertise have been very famous in Bali are I Dewa Nyoman Sura and Cokorda Alit Hendrawan. The aesthetics of unity in question is divided into three elements, namely unity in diversity which includes processing the color of the sound which then forms a song sentence; unity in purpose which includes the function of each. Kendang (lanang/male and wadon/female) instruments are different, but in carrying out their duties they have the same goal, namely as an interpreter of the tempo and dynamics of the song, and; unity in fusion that can be viewed from the philosophy of naming the lanang-wadon (male-female) instrument which in human life reflects the blend of men and women. Keywords: Kendang Pangarjan, unity, male and female drum.

Sauk Ekendi : Analogi Tumbuhan Buah Merah Sebagai Inspirasi Penciptaan Busana Vintage Look Dewantari; I Wayan Rai S; Tjok Istri Ratna Cora S.
BHUMIDEVI: Journal of Fashion Design Vol. 1 No. 2 (2021): Bhumidevi
Publisher : BHUMIDEVI: Journal of Fashion Design

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (962.516 KB)

Buah merah (Pandanus Conoideus) merupakan salah satu tumbuhan endemik Papua yang tumbuh di dataran rendah hingga dataran tinggi khususnya di Kabupaten Jayawijaya Provinsi Papua. Penduduk asli di lereng gunung Jayawijaya menyebutnya dengan istilah Sauk Ekendi yang berarti buah darah atau sering juga disebut buah keajaiban karena buah ini kaya manfaat misalnya untuk bahan obat tradisional, sebagai makanan, pewarna makanan, bahan kosmetik dan bahan sabun. Namun demikian, sampai saat ini buah merah belum pernah dijadikan sumber inspirasi dalam penciptaan karya seni fesyen. Oleh karena itu, penulis ingin menciptakan busana vintage look dengan sumber inspirasi dari buah merah dengan tujuan memperkenalkan tumbuhan buah merah kepada masyarakat luas agar tetap dibudidayakan. Dalam penciptaan busana vintage look ini dipergunakan teori FRANGIPANI yaitu terdiri dari 8 tahapan (1) ide pemantik, (2) riset dan sumber data, (3) pengembangan desain, (4) prototype, sampel dan konstruksi, (5) koleksi akhir, (6) promosi, merek dagang dan pemasaran, (7) produksi dan (8) bisnis fesyen. Data-data tentang buah merah ini didapatkan melalui sumber wawancara dan sumber kepustakaan. Selanjutnya digarap dengan teori FRANGIPANI. Hasil dari penggarapan ini adalah busana vintage look yang terdiri atas 3 jenis busana yaitu ready to wear yang artinya busana siap pakai yang diproduksi dalam skala besar dengan menggunakan mesin, ready to wear deluxe yang artinya busana siap pakai dengan kualitas dan desain yang lebih eksklusif serta pengerjaannya masih menggunakan mesin, dan ketiga haute couture yang artinya busana adiluhung dengan desain orisinil atas pesanan pelanggan, dibuat secara eksklusif, proses pengerjaan 80- 90% dengan tangan.

Kale Ritual Processing in the Kalimusada as a New Balaganjur Andi Pastika Putra; I Wayan Rai S; Kadek Suartaya
Randwick International of Social Science Journal Vol. 4 No. 2 (2023): RISS Journal, April
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i2.656

Kalimasada is an experimental Balaganjur work from a new perspective. Experimental Balaganjur with a new perspective was created due to the reality that most of Balaganjur's creations are still guided by traditional principles. Therefore, the purpose of creating Balaganjur's work is to create experimental Balaganjur according to the creator's ideas by developing instrumentation, sound exploration, playing techniques, and searching for new timbres and appearances. The problem: what are the characteristics of kale composition as music?. Sources of data in this creation are carried out through interviews, video or audio documentation, and appreciating the Balaganjur performance directly. The process is qualitavelly analysed using the theory of the creation of works of art based on local wisdom, the theory of Hindu aesthetics, and the theory of creativity. The Results: The creation of Balaganjur's experimental work "Kalimasada" produces an experimental work by Balaganjur from a new perspective of creation in the process of its creation, focusing on exploring the exploration of timbre, rhythm, thematic, and fabric as creativity in the work. Through this process, the experimental Balaganjur "Kalimasada" is realised in a freer form, changes, and shows the creator's creative attitude. Balaganjur's experimental work "Kalimasada" has aesthetic value, creativity value, honesty value, and creator identity value as a new offer in the creation of Balaganjur's work.

Transcription, Inheritance, and Meaning of Tri Sandya Puja Mantra Ni Made Ayu Dwara Putri; Ni Wayan Ardini; I Wayan Rai S
Journal of Aesthetics, Creativity and Art Management Vol. 2 No. 1 (2023): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/jacam.v2i1.2350

Tri Sandya Puja is a mantra (prayer) that is routinely performed three times a day by Hindus in Bali. Derived from two words, namely Tri which means "three" and Sandya which means "relationship". Tri Sandya is three times to connect with God (Ida Sang Hyang Widhi Wasa). It is a chant of a mantra and is categorized as an oral literature in the form of magical poetry. The Tri Sandya Mantra has been passed down orally in Bali and consists of six stanzas. In this article the authors will discuss the Tri Sandya Puja in more detail in terms of the meaning of the mantra, transcription of the melody of the mantra as well as cultural inheritance and its existence to date.

The Musicality of Gamelan Gong Kebyar Mepacek as a North Bali Traditional Music Identity Kadek Angga Wahyu Pradana; I Wayan Rai S; I Wayan Suherta
Randwick International of Social Science Journal Vol. 4 No. 2 (2023): RISS Journal, April
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i2.653

The purpose of this research was to reveal the musicality of Gamelan Gong Kebyar Mepacek as the identity of North Bali's traditional music. Many researchers have carried out numerous research studies on Gong Kebyar. However, there has not been a single study on the musicality of Gong Kebyar Mepacek's gamelan, which has caused this gamelan to become the hallmark of North Bali's traditional music. How is Gamelan Gong Kebyar Mepacek's musicality measured?. What is the influence of the musicality of Gamelan Gong Kebyar Mepacek on the traditional Balinese music being played? This research was conducted using qualitative methods from the perspective of ethnomusicology. All data that has been collected through observation, interviews, and literature studies is analyzed using ethnomusical theory. The results of the study show that the musicality of Gamelan Gong Kebyar Mepacek has shorter pitch repertoire, a faster closing technique, a faster gending tempo, and a louder gamelan sound compared to Gong Kebyar gamelan in general. To measure the pitch of the Gong Kebyar mepacek gamelan tuner, a tuner was used in the Studio One 5 digital audio workstation (DAW) application. The effect of this mepacek gamelan model on the traditional music played can be seen in the tempo, which is the maximum speed that can be achieved by the musicians playing the gamelan. This means that by pacing the gamelan blades, the drummers do not need to wait long to close the gamelan chords.

“Muara” A Musical Composition | ”Muara” Sebuah Komposisi Karawitan Harys Arya Wibawa; I Wayan Rai S
GHURNITA: Jurnal Seni Karawitan Vol 3 No 2 (2023): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i2.1231

Abstract An estuary is a place where river and sea water meet. One example of an estuary that inspires creators is the estuary at Ketewel Beach, Sukawati, Gianyar, Bali. Based on the inspiration from the estuary of Ketewel Beach, the creator made an innovative musical work entitled "Estuary". In realizing this new work the creator uses the Panca Sthiti Ngawi Sani method which consists of the stages of Inspiration (Ngawirasa), Exploration (Ngawacak), Conception (Planning), Execution (Ngawangun), and Production (Ngebah). After going through cultivation with the above concept, an innovative musical work was created, entitled "Estuary". To realize this work, the creator used the expression media in the form of four gender puppets with slendro barrels, two Krumungan drums, a flute, one Ceng-Ceng Ricik, a Kajar and a pair of Gong Lanang and Wadon. This innovative musical work consists of three parts, namely: the first part describes the atmosphere of a spring from the mountains, the second part describes the atmosphere of a river flow with winding contours, then in the third part describes the meeting between river water and sea water in Ketewel’s estuary. Keywords: Estuary, Method, Works.

The Philosophy Meaning Experimental Music Works “Dreadlocks” Gede Made Rama Pratama; Rai S I Wayan; I Komang Sudirga
Randwick International of Social Science Journal Vol. 4 No. 3 (2023): RISS Journal, July
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i3.659

The purpose of creating the experimental piece of music "Dreadlocks Hair" is to prove that the Rebab can be used as the main instrument in gending. The experimental musical work "Hairlocks Dreadlocks" was created using a creation theory based on local wisdom (Rai S., 2021), which focuses on talent as the principal capital and identity of the work. The process of creating this new musical work uses a creation theory based on local wisdom by developing elements of: (1) talent as the main capital, (2) creativity ability, (3) understanding of local wisdom, (4) concept of work, (5) as a prayer offerings, and (6) visualizing the form of the work. The process of creating this piece of Dreadlocks music is based on the Rebab, namely the "Electric Rebab" instrument. The new innovation in this experimental piece of music lies in the protrusion of the resulting Rebab sound register. The novelty of this experimental piece of music is that the Rebab is able to produce 3 (three) sound colors namely low, medium and high simultaneously in one instrument. The problem: What does Dreadlocks mean in a new piece of music?; What does Dreadlocks mean in a new piece of music? The development of the Rebab instrument which is actualized as the dominant instrument in the experimental musical work "Dreadlocks" is not necessarily interpreted literally, but is interpreted as extramusical or the personification of the creator who views the Rebab instrument as different. The word "hair", in this case, is interpreted as sound-forming elements similar to strings or strings and fine strings on a bowstring. Meanwhile, the creator uses the word "Dreadlocks" as a metaphor to describe the harmonious musical texture, voice register (high, medium, low) and rhythmic patterns contained in this work. Experimental musical piece “Dreadlocks”. contains the meaning of dismantling the established standard, development, preservation, and glorification with a moral message to preserve local wisdom using beraya, dreadlocks aesthetic as a metaphor.

Co-Authors ., A. Rizal Zulmi ., Anto Suprayogi ., Deva Reynaldi Wira Adikusuma Pt. ., Dewa Kade Wahyu Sidirastu ., dr. Adnyana Putra, S.Ked., M.Kes. ., Gede Dedy Suardika Atmaja ., Gede Eka Prabawata ., I Gede Pica ., I Kadek Artayasa ., I Kadek Nuprianta Putra ., I Ketut Sumertajaya ., I Km Agus Martayana ., I Komang Gede Sura Mahendra Yasa ., I Made Irvan Wibisana ., I Made Megananda ., I Made Prasada Arya Widana ., I Putu Eka Yudantara ., I Putu Leo Cahya Primadana ., I Wayan Darma Astawa ., I Wayan Raka Saputra ., I Wyn Sunar Aditama ., Kadek Agus Juli Artawan ., Kadek Ryan Arbi Permana ., Kadek Satriawan ., Ketut Ita Purnama Dewi ., Komang Tri Mela Utami ., Made Agus Rumaket u ., Made Agus Suarnaya ., Made Suwarta Jaya ., Made Wahyu Widyatama ., MD. Septian Hardy Contana ., Ngakan Putu Wahyudi Arta ., Ni Kadek Ariani Pertiwi ., Ni Komang Ayu Devika Dewi ., Ni Putu Rose Puteri Suantatika ., NYOMAN PUJA ., Pande Kadek Surya Jaya Priadi ., SANDY CANDRA P ., Wayan Aditya Evandira Mulyama ., YENDI BAGUS SETYAWAN Ade Hindhu Prastya . Adnyana Putra Andi Pastika Putra Dewantari Gede Made Rama Pratama Gede Yoga Kharisma Pradana Harys Arya Wibawa I Gede Agus Redite Ariawan . I Gede Suwiwa I Gede Wardi Arta Putra . I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Ngurah Dwipayana Putra . I Kadek Darmika . I Komang Debi Purnomo . I Komang Sudirga I Made Satyawan I Putu Darmayasa I Putu Swaryandana Ichi Oka I Wayan Suharta, I Wayan I Wayan Suherta I Wayan Suparjana . I Wayan Wikantara . Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Kadek Angga Wahyu Pradana Kadek Suartaya Kadek Yogi Parta Lesmana Komang Agus Satria Jaya . M.Or S.Pd I Ketut Budaya Astra . M.Or. S.Pd. I Ketut Semarayasa . Made Agus Wijaya Made Bani Purwani . Made Kurnia Widiastuti Giri Muhammad Rivai Ni Luh Putu Spyanawati Ni Made Ayu Dwara Putri Ni Made Ruastiti Ni Putu Ari Sidiastini Ni Wayan Ardini, Ni Wayan Purnamaningsih, Ida Ayu Made Putu Erwan Prastyawan . Putu Gandadi Wijitatma . Ratna Cora Sudharsana, Tjok Istri S.Ked. dr. I Made Kusuma Wijaya . S.Ked. dr. Made Suadnyani Pasek . S.Ked. dr. Ni Made Sri Dewi Lestari . S.Ked. dr. Putu Adi Saputra . Sunartha, I Gusti Made Wahjoedi Yunus Wafom Yunus Wafom

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