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PEMBINAAN PELATIHAN PAKELIRAN WAYANG JAWA GAYA SURAKARTA BAGI PESERTA DIDIK SANGGAR PARIPURNA DESA BONA, KECAMATAN BELAHBATUH, KABUPATEN GIANYAR Dru Hendro; Saptono Saptono; Wahyu Sriwiyati
Abdi Seni Vol. 14 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v14i2.5496

Abstract

ABSTRAKKeberadaan Sanggar Paripurna semakin eksis dengan berbagai karya seni kreatif dan inovatif tanpa mengabaikan nilai-nilai tradisional budaya Bali sebagaimana ditanamkan oleh I Made Sidja. Hasil-hasil karya Made Sidia bersama Sanggar Paripurna telah ditampilkan dalam berbagai acara penting, baik yang bertaraf lokal, nasional, maupun internasional. Bahwa Sanggar Paripurna tidak hanya mementingkan jenis seni lokal bali saja, namun juga peduli dengan perkembangan seni yang berasal dari daerah lain seperti Jawa. Pada kesempatan tahun ini, pimpinan sanggar paripurna memohon kepada pembina untuk melakukan kegiatan Pengabdian kepada masyarakat dengan materi pakeliran Wayang Jawa untuk membina siswa-siswa dari golongan usia remaja.  Dengan adanya kegiatan ini, dari pihak sanggar sangat antusias karena anak didiknya kembali mengenal Wayang jawa sebagai pembanding secara estetis antara wayang Jawa dan Wayang Bali. Kegiatan ini, disamping kerjasama dengan sanggar paripurna, kami juga melibatkan mahasiswa yang masih aktif, yaitu semester VI prodi pedalangan, yang berdomisili dekat dengan sanggar paripurna, disamping untuk ikut membina, juga menambah perbendaharaan materi dari mahasiswa yang pernah mendapatkan matakuliah Praktek wayang Jawa di kampus ISI Denpasar. Kegiatan PKM ini Pembina menerapkan metode yang sederhana yang mudah dipahami oleh siswa Sanggar Paripurna disesuaikan dengan materi yang akan diberikan pada pelatihan, karena mayoritas siswa ataupun peserta belum memahami pengetahuan mengenai teknik dasar pakeliran wayang Jawa. Adapun metode yang digunakan adalah; metode ceramah, metode imitasi dan demonstrasi, metode evaluasi dan metode Tanya jawab.Kata Kunci; Sanggar Paripurna, Pembinaan, PKM, Pakeliran Jawa ABSTRACTThe existence of Sanggar Paripurna increasingly exists with various creative and innovative works of art without ignoring the traditional values of Balinese culture as instilled by I Made Sidja. Made Sidia's work with Sanggar Paripurna has been displayed at various important events, both local, national and international. That Sanggar Paripurna is not only concerned with local types of Balinese art, but also cares about the development of art originating from other regions such as Java. On this year's occasion, the leadership of the plenary studio asked the supervisors to carry out community service activities with Javanese Wayang puppet material to develop students from the teenage age group. With this activity, the studio is very enthusiastic because their students are getting to know Javanese wayang again as an aesthetic comparison between Javanese wayang and Balinese wayang. In this activity, apart from collaborating with the plenary studio, we also involve students who are still active, namely sixth semester of the puppetry study program, who live close to the plenary studio, in addition to taking part in coaching, also adding to the repertoire of material from students who have received the Javanese wayang practice course on campus ISI Denpasar. In this PKM activity, the supervisor applies a simple method that is easy for Sanggar Paripurna students to understand, adapted to the material that will be provided in the training, because the majority of students or participants do not yet understand the basic techniques of Javanese wayang puppetry. The methods used are; lecture method, imitation and demonstration method, evaluation method and question and answer method.Keywords; Plenary Studio, Development, PKM, Pakeliran Java
Campuhan: A New Music Creation | Campuhan: Sebuah Musik Kreasi Baru Gede Made Rama Pratama; Saptono -
GHURNITA: Jurnal Seni Karawitan Vol 1 No 2 (2021): Juni
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i2.149

Abstract

Mixed means mixed, which in this case is a mixture of human moods or emotions. Campuhan is an innovative musical work that tells the mood of someone who has bipolar mental disorder (drastic emotional changes), by implementing it into a new musical composition with the express media, Semara Pegulingan, Angklung Klentang, and Balaganjur as a form of three emotional bases, namely neutral (tranquility). or happiness), depressive (sadness or sadness), and manic (excited or ambitious). The structure of Campuhan's work is divided into three parts, the first part is a symbol of a neutral emotional state using the medium of saying Semara Pegulingan, the second part is a symbol of a depressive emotional state using the media of Angklung Klentang, and the third is a symbol of a manic emotional state. with the media said Balaganjur. The venue for the performance was in Banjar Antap Kaja Office, Antap Village, Kec. Selemadeg, Kab. Tabanan, precisely at the stylist's house. The supporting members of the work are thirteen personnel, including the stylist, from the Natya Praja Studio and the Kapiwara Studio.
Karawitan Composition “Bhuana Santhi” | Komposisi Karawitan “Bhuana Santhi” Kadek prema Nandayana; Saptono -
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.v3i1.1130

Abstract

Bhuana Santhi is a work by tabuh telu lelambatan creations inspired by community activities doing gotong royong, precisely in Lepang Customary Village, Klungkung Regency. This work is still guided by the pattern of traditional work and a little innovation in some parts. As in the section before entering into the pattern of the stone shades played kebyar which according to the stylist an innovation. This work illustrates a sense of togetherness between each other when doing mutual cooperation activities related to piodalan events, namely at Dalem Sila Pegat Temple, Lepang Customary Village, Klungkung Regency. Before the ceremony takes place usually five or six days before, the people of Lepang Indigenous Village carry out mutual cooperation activities both from krama lanang (male) and krama istri (female). The method of creation used in Bhuana Santhi's work is Panca Sthiti Ngawi Sani by I Wayan Dibia which includes the ngawirasa (Inspiration) stage, the ngawacak (exploration) stage, the ngarencana (conception), the ngawangun (execution), and the stage of worship, (production), making it easier for stylists to realize the work of Bhuana Santhi. Bhuana Santhi uses media revealed Gamelan Gong Kebyar. The structure of Bhuana Santhi consists of three parts, namely the fumigation, manning and the drilling and  the duration of the entire Bhuana Santhi work is 12 minutes.      
TCreation Music Bangsing Waringin | Tabuh Kreasi Bangsing Waringin I Gede Wisnu Kusumayana; Saptono -
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.v3i3.2193

Abstract

Bangsing Waringin comes from two words in Balinese Alus, namely Bangsing and Waringin, "Bangsing" which means Root or Wood while "Waringin" which means banyan or the name of the tree itself. From this concept, the stylists put the idea into the gamelan Angklung Don Kutus with the title percussion creation of Bangsing Waringin. This piece of percussion composition created by Bangsing Waringin emphasizes melodic, rhythmic, dynamic and harmonic patterns. This work describes the robustness and complexity of the banyan tree itself, which has existed for centuries until now and also directly illustrates the benefits of the banyan tree in Kayuputih Village. This creation's tabuh is contemporary but still refers to traditional patterns or grips such as the tri angga with three main frameworks namely kawitan, pengawak, and retailer. Apart from these three main frameworks, the stylist prefers patterns by mentioning divisions in the composition of this creation's percussion accompaniment. The stylist cultivates playing techniques on the pemade instrument, jublag melodies, jegogan and flute, by using more diatonic melodic playing, polyphonic techniques, and kebyaran playing on the accompaniment part.
Co-Authors Dru Hendro Gede Made Rama Pratama I Agus Agus Junaedi I Gede Adi Surya I Gede Mahendra Adi Putra I Gede Wisnu Kusumayana i ketut muryana I Ketut Partha I Ketut Sudhana I Made Agus Natih Sutyasa Kadek prema Nandayana Ni Made Ruastiti Raharjo, Anis Santosa, Hendra Sujayanthi, Ni Wayan Masyuni Wahyu Sri Wiyati