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All Journal Lekesan: Interdisciplinary Journal of Asia Pacific Arts Segara Widya: Jurnal Penelitian Seni JURNAL PENDIDIKAN TAMBUSAI Abdi Seni Dinasti International Journal of Education Management and Social Science JOURNAL SCIENTIFIC OF MANDALIKA (JSM) Jurnal Ilmiah Wahana Pendidikan International Journal of Social Science Multidiciplinary Output Research for Actual and International Issue (Morfai Journal) Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Damar Pedalangan Global Art Creativity Conference
Sudarta, I Gusti Putu
Institut Seni Indonesia Denpasar
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GELUNGAN PANJI DALAM KULTUR BALI, SEBUAH KAJIAN HERMENEUTIK ANTROPOLOGIS Satyani, Ida Ayu Wayan Arya; Trisnawati, Ida Ayu; Sudarta, I Gusti Putu; Sudirana, I Wayan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Gelungan Panji adalah hiasan kepala tokoh Panji dalam seni pertunjukan dramatari Gambuh. Dibandingkan dengan bagian busana lainnya, gelungan Panji mendapat perlakuan istimewa dari masyarakat pemiliknya. Dihormati sebagai sungsungan, bergelar Ratu Panji atau Batara Panji Landung Shakti, ada juga cerita gelungan Panji niskala. Meski demikian, kajian mendalam mengenai gelungan Panji belum ditemukan. Tujuan penelitian ini, untuk menginterpretasi makna gelungan Panji melalui bahasan: Apa itu gelungan Panji? Mengapa mendapat perlakuan istimewa? Bagaimana bentuk, struktur, dan makna gelungan Panji? Penelitian ini menggunakan metoda interpretasi dalam teori hermeneutika antropologis menurut Clifford Geertz. Terdapat empat langkah operasional dalam metoda ini, yaitu: 1) menentukan objek (teks) dan komunitas etnis (penulis teksnya), 2) melakukan studi etnografi, 3) menuliskan, merefleksikan, memahami struktur makna, 4) pelukisan mendalam, menemukan struktur makna yang khas. Hasil penelitian bahwa keyakinan masyarakat Bali terhadap prinsip hulu teben; satyam-siwam-sundharam; dan taksu mengejawantah dalam perilaku memuliakan gelungan Panji. Desain gelungan Panji tersusun oleh sepuluh elemen utama yang mencerminkan keutamaan Panji. Panji merupakan karakter idaman masyarakat Nusantara dengan keutamaan fisik, mental, maupun spiritual sebagai seorang bangsawan. Bangsawan di era kini hendaknya dimaknai sebagai setiap individu yang mampu memenuhi tantangan zaman, berguna bagi setiap mahluk, memiliki kecerdasan spiritual serta kerendahhatian sebagaimana citra Panji.
PEMBINAAN IRINGAN BATEL WAYANG WONG DI BANJAR PESALAKAN, DESA PEJENG KANGIN, KECAMATAN TAMPAKSIRING KABUPATEN GIANYAR. Sudarta, I Gusti Putu; Bratanatyam, I Bagus Wijna; Wicaksandita, I Dewa Ketut
Abdi Seni Vol. 15 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Pertunjukan Wayang Wong di Banjar Pesalakan merupakan salah satu bentuk kesenian yang memiliki nilai-nilai sosial-religius dalam tampilan estetis seperti gerak tari, retorika antawancana, dan intrumentalia gambelan Bali, sehingga ia muncul sebagai salah satu identitas yang menggambarkan tingkat kreatifitas seni masyarakat. Dalam konteks religius, Wayang Wong di Desa Pejeng Kangin merupakan objek yang disakralkan (sesuhunan) dan kerap ditampilkan pada upacara-upacara besar di Desa. Seiring bertambahnya usia pelaku seni pertunjukan Wayang Wong, dinamika estetika pertunjukan semakin berkembang. Di mana sebagai bagian dari identitas budaya, Wayang Wong diharapkan tetap dapat mengikuti perkembangan nilai-nilai yang ada. Pada awal tahun 2023, manggala desa Pejeng Kangin memutuskan revitalisasi dan reaktualisasi pertunjukan Wayang Wong secara bertahap, termasuk perbaikan instrumen kebendaan, dan pembinaan kepada sekaa Wayang Wong, khususnya pada bagian pengiring gambelan batel wayang. Dengan di ajukanya permohonana revitaliasai dan aktualisasi oleh manggala desa, pembina melalui program PPKM yang diselenggarakan ISI Denpasar mengajukan usulan pengabdian dengan melibatkan dosen dan mahasiswa pedalangan. Hal ini dilakukan dalam bentuk kerjasama mitra yang berimplikasi pada peningkatan kualitas sumber daya pelaksana kegiatan, baik peserta pelaku seni Wayang Wong maupun pembina (dosen dan mahasiswa). Metode pemberdayaan berbasis demonstrasi dengan teknik ceramah, disuksi, praktek, evaluasi, dan pementasan, efektif diterapkan sebagai solusi melalui dua tahapan, pertama pelatihan instrumen primer yaitu gender wayang (pola tetabuhan Gender, gegedig dan tetekep) dan kendang krumpungan (gupekan, mupuh kendang, dan pola kekendangan), kedua gabungan seluruh instrumen melalui materi gending-gending tabuh Wayang Wong (pategak, putri, kakan-kakan, punakawan, palawaga, bapang jojor, selisir).
WAYANG KENTONGAN "BELL PUPPET" AS A MEAN OF COMMUNICATION IN EXPERIMENTAL THEATER I Nyoman Sadi; I Nyoman Sedana; Ni Made Ruastiti; I Gusti Putu Sudarta
International Journal of Social Science Vol. 4 No. 4: December 2024
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v4i4.9749

Abstract

He actual events of the life of the puppeteer artist with the traditional ritual life conditions of the Balinese people are the reality of life which can be seen as a human effort to optimize conditions that provide gaps in displaying desires/ego and idealized true existence. The situation of consciousness is realized through material reality that is rational and full of ethics and aesthetics in theater art. In the wayang kentongan work, a unique and interesting means of communication is realized in an experimental theater work. Puppet works Kentongan Puppet This is a new innovative wayang puppet made from bamboo in the shape of a kentonganas a means of communication with the community. Work show Experimental Theatre This harmoniously combines the movement of wayang, dance, accompaniment with the natural background of the village environment, the natural road with craftsmanship lighting modern. The work is studied descriptively and in-depth analysis using the social theory of kinship in community life that is able to live side by side, mutual cooperation, mutual care and nurturing. This performance in the form of puppet theater is expected to awaken human awareness of the importance of togetherness and mutual cooperation which has begun to fade due to human egoism. The communication interweaving of this experimental theater work can add to the form of presentation and treasure of Balinese skin puppetry, as a medium for delivering messages of education, philosophy, morals and ethics, kinship, cooperation, and cooperation
GAGELARAN DALANG MANUT DHARMA PAWAYANGAN PUPPETEER’S DUTY ACCORDING ANCIENT WISDOM DHARMA PAWAYANGAN I Gusti Putu Sudarta
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 2 (2022): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

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Abstract

Dharma Pawayangan is a palm leaf manuscript containing instructions about a puppeteer's obligations (dharma). The text must be understood and carried out by a puppeteer in fulfilling his obligations to remain consistent with Hindu ethics and spirituality. Before a candidate for the puppeteer studies Dharma Pawayangan, the first step must be to know about self-essence, wandering into himself to realize and exceed the layers of body consciousness, mind, emotions, and intelligence so that it reaches Budhi's consciousness. Examining and discussing the text of Dharma Pawayangan to formulate the question that leads to what exactly is the capacity of the puppeteer (gagelaran dalang)? In dissecting this question, the aesthetic theory is used and supported by hermeneutics theory. The result obtained is that the puppeteers’ capacities following the text of Dharma Pawayangan is the Ucap-ucap Tatwa Carita. Ucap-ucap means that the empowerment of vocal puppeteers, which includes the entire voice and developing techniques, understanding of the organs that produce sound, sound processing, breathing and prana techniques, script (aksara) as a symbol of sound (swara), and aware of the vibration of the universe, namely Nada Brahma. Tatwa is a philosophy and spiritual; the puppeteer must master philosophy, yoga, and spirituality. In comparison, Carita is to understand the epic Ramayana, Mahabharata, and Bodha Carita well.
PEMBINAAN IRINGAN BATEL WAYANG WONG DI BANJAR PESALAKAN, DESA PEJENG KANGIN, KECAMATAN TAMPAKSIRING KABUPATEN GIANYAR Sudarta, I Gusti Putu; Bratanatyam, I Bagus Wijna; Wicaksandita, I Dewa Ketut
Abdi Seni Vol. 15 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v15i2.6077

Abstract

The Wayang Wong performance in Banjar Pesalakan is a form of art that has socio-religious values in its aesthetic appearances, such as dance movements, antawacana rhetoric, and Balinese gambelan instrumental show, which appear as an identity that describes the artistic creativity of the community. In a religious context, Wayang Wong is a sacred object (sesuhunan) often performed in major ceremonies in the village. As the performers of Wayang Wong age, the dynamics of aesthetic forms in performances are evolving. As part of their cultural identity, Wayang Wong expected to keep up with the changing values. In early 2023, the village's community leaders decided to gradually revitalize and re-actualize Wayang Wong performances, including improving the physical instruments and providing guidance to Wayang Wong sekaa, particularly accompanying music of the Batel Wayang Gambelan. With the proposal for revitalization and actualization by the village's leaders, the mentors through the PPKM program organized by ISI Denpasar, proposed a community service project involving lecturers and students of puppetry (pedalangan). This collaboration aims to enhance the quality of resources, including participants of Wayang Wong performance and mentors (lecturers and students). A demonstration-based empowerment method, utilizing techniques such as lectures, discussions, practices, evaluations, and performances, effectively addressed the issue through two stages. The first stage focused on training in primary instruments, such as gender wayang (Gender’s hitting techniques, gegedig, and tetekep) and kendang krumpungan (gupekan, mupuh kendang, and kekendangan/drumming patterns). Second, it combines all instruments through practices of various tabuh (rhythmic patterns) of gendhing in Wayang Wong performances.
PENCIPTAAN KARYA TEATER BAYANG RAGA NUSANTARA DOOMED ROMANCE Gunawan, Gede Putra Arya Bagus; Marajaya, I Made; Sudarta, I Gusti Putu
JURNAL DAMAR PEDALANGAN Vol 5 No 1 (2025): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i1.4825

Abstract

The performance Shadow Theater: Raga Nusantara adapts traditional Balinese wayang techniques, blending them into a modern theater performance that tells the love story of Sri Tanjung and Sidapaksa, a tale believed by the Banyuwangi community. The Raga Nusantara shadow theater applies methods from Eko Supriyanto’s book “Ikat Kait Impulsif Sarira”—namely Re-Visiting, Re-Questioning, and Re-Interpreting. This work, titled Doomed Romance, translates to a shattered romance or broken love. The shadow theater piece, Doomed Romance, originates from the social phenomena prevalent among the younger generation, particularly concerning the dynamics of romantic relationships. This phenomenon reflects various aspects of young people's lives as they undergo the process of searching for identity, self-existence, and the meaning of love in an ever-changing social context. Romantic relationships often become an important part of their lives, involving not only emotions but also complex social interactions. This work narrates the love journey of Sri Tanjung and Sidapaksa, filled with obstacles and temptations, which form the dynamics of their romantic story. The story carries many moral messages and meanings, particularly in the realms of romance and trust. This tale is considered relevant to the phenomena experienced by the younger generation undergoing the dynamics of social or romantic relationships, which is why the artist chose this story for the Raga Nusantara shadow theater.
AESTHETIC STUDY OF GENDING BIMANIYU REPERTOIRE OF GENDER WAYANG STYLE TENGANAN KARANGASEM Hartini, Putu; Sudarta, I Gusti Putu; Muryana, I Ketut
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3037

Abstract

The gending Bimaniyu of gender wayang is one of Bali's cultural heritage that needs to be preserved. This research can provide an in-depth understanding of the aesthetics of gending, which can help its preservation efforts. The Uniqueness of the Karangasem Style The Karangasem style in the gender gending of the Bimaniyu puppet has characteristics that distinguish it from other styles. This research can reveal the uniqueness of the aesthetics of this style so that it can enrich the cultural treasures of Bali. The specific purpose of this study is to describe the aesthetics of the Gending Bimaniyu style of Tenganan Karangasem. This research will be carried out within 7 months with unique objectives, including a) aesthetics in Gending Bimaniyu style Karangasem and b) Gending Bimaniyu technique style Karangasem. This research is a qualitative descriptive research. The data source was obtained by recording and reviewing the results of the recording of Gending Bimaniyu using a literature method supported by interviews with Gender Wayang artists. The results of the data analysis used to present the results of data analysis are presented by formal and informal methods. The output of this research is in the form of journals, HKI, and teaching materials, which can be used by students and karawitan artists who graduated from ISI Denpasar in analyzing, reconstructing, and displaying a good, correct, and engaging performance composition structure in the Gender Wayang performance.
“CATUR KARANA” IDA BAGUS GEDE PURWA STUDY OF SANGGIT LAKON (KAWI CARITA) BALINESE SHADOW PUPPET Widnyana, I Kadek; Sedana, I Nyoman; Sudarta, I Gusti Putu; Mawan, I Gede
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3174

Abstract

Balinese Wayang kulit contains deep philosophy and aesthetics, with plays that are not only entertaining, but also contain moral teachings and life values. An important element in the structure of the play is the concept of "Catur Karana" created by Ida Bagus Gede Purwa. This research uses a qualitative method with a text analysis and phenomenology approach, involving literature study, interviews with puppeteers, audiences and practitioners of the puppet arts. Data is analyzed through text analysis and semiotics to understand the meaning and structure of the story. The research results show that "Catur Karana" is a basic method in building a new play. Dalang needs to understand the four main elements: swamandala, antakarana, uparengga, and pasiat, which support the structure of the play in Reka Sadana. Catur Karana includes five elements (panca reka) and is equipped with Catur Perakreti and Panca Wilasa materials as raw materials for creating new plays, which is an important method in nynggit plays.Qualitative research methods using text analysis and phenomenology approaches explore the application of the concept of "Catur Karana" in the Balinese Wayang kulit play by Ida Bagus Gede Purwa. The main data analyzed came from the Purwa Wasana text and the Kawi Carita text and their documentation. Data collection, literature study, interviews, and art practitioners. Narrative data analysis of text and play structure. Catur Karana by Ida Bagus Gede Purwa in the Purwa Wasana Textbook. Understand the drupadi competition play from the main play (Ramayana, Mahabharata), memorize the characters, understand the structure of the play, characterization, scenes, building blocks, pedum coral, and understand the theme. Ida Bagus Gede Purwa implemented Catur Karana into a play called the Drupadi Competition. In it, elements of chess karana are explored which are presented as a summary of the story, scenes and scenes.
Seni Bertutur sebagai Medium Dialog: Menghubungkan Tradisi dan Inovasi dalam Seni Pertunjukan Kontemporer Indonesia Fauziah Shahab; I Wayan Adnyana; Ida Ayu Trisnawati; I Gusti Putu Sudarta
Journal Scientific of Mandalika (JSM) e-ISSN 2745-5955 | p-ISSN 2809-0543 Vol. 6 No. 10 (2025)
Publisher : Institut Penelitian dan Pengembangan Mandalika Indonesia (IP2MI)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36312/10.36312/vol6iss10pp4001-4010

Abstract

The art of storytelling, as one of Indonesia's rich cultural heritages, plays a crucial role in transmitting the values, norms, and collective identity of society. This study aims to explore the function of the art of storytelling as a medium of dialogue in the context of contemporary performing arts, focusing on how traditional elements can be integrated with modern innovations to create a profound aesthetic experience. Using a qualitative approach, this study analyzes several performances that successfully combine the art of storytelling with contemporary elements, as well as their impact on cultural preservation and strengthening local identity. The results of this study indicate that the art of storytelling functions not only as a means of entertainment but also as a tool for social reflection that can connect different generations. These performances create a space for dialogue that allows audiences to engage emotionally and intellectually, and encourages discussion on relevant issues in society. Thus, this study contributes to the understanding of the importance of the art of storytelling in preserving and celebrating Indonesia's cultural heritage, as well as its role in responding to the challenges of globalization and social change.
Resilience of Jakarta’s Performing Arts Studios: A THIO Analysis of Digital Technology in the Creative Ekonomi Budiastomo, Denta Mandra Pradipta; Trisnawati, Ida Ayu; Sudarta, I Gusti Putu; Arshiniwati, Ni Made
Dinasti International Journal of Education Management And Social Science Vol. 6 No. 6 (2025): Dinasti International Journal of Education Management and Social Science (Augus
Publisher : Dinasti Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38035/dijemss.v6i6.4980

Abstract

Many things have altered as a result of the rise of information and communication technology, and society's transition to the digital age. Advances in digital technology have transformed how performing arts studios understand and produce works of art. The purpose of this study is to determine the value of the contribution of performing arts studios in running their businesses, as well as solutions in choosing digital technology in art activities. This research is quantitative; the sample in this study was 30 respondents. This figure was derived from five performing arts enterprises, each representing six areas in DKI Jakarta, together with input from eight experts. The analysis technique used in the research uses THIO (Technology, Human, Information, Organization) analysis and creative economy theory. This study's findings indicate a Technology Contribution Coefficient (TCC) of 0.339 for the use of digital technology in performing arts studios in Jakarta, categorized as a reasonable value. 
Co-Authors Bratanatyam, I Bagus Wijna Budayasa, I Made Siman Budiastomo, Denta Mandra Pradipta Danaswara, I Putu Gede Budhi Darmika, Anak Agung Mayun Dru Hendro Dru Hendro, Dru Dwipayana, Anak Agung Putra Fauziah Shahab Gunawan, Gede Putra Arya Bagus Gunayasa, I Wayan I Bagus Wijna Bratanatyam I Dewa Ketut Wicaksandita I Gede Mawan I Gusti Made Darma Putra I Kadek Widnyana, I Kadek I Ketut Sudhana I Komang Sudirga I Nyoman Sadi I Nyoman Sedana I Nyoman Sedana, I Nyoman I Wayan Adnyana Ida Ayu Trisnawati, Ida Ayu Kembaliana, I Wayan Kodi, I Ketut Krisna, Komang Triana Sparsa Lingga Made Marajaya Meliartawan, I Putu Agus Muryana, I Ketut Mutiara Dewi, Kadek Ayu Diah Ni Made Arshiniwati Ni Made Ruastiti Ni Putu Hartini Purnamawati, Ni Diah Putra, I Gusti Made Darma Putriandini, Putu Gita Rahayu Satyani, Ida Ayu Wayan Arya Sudirana, I Wayan Sulistiawan, I Nyoman Nasib Suteja, I Kt. Wisena, I Made Satriadi