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All Journal MUDRA Jurnal Seni Budaya ANUBHAVA: Jurnal Ilmu Komuniksi Hindu Sevanam: Jurnal Pengabdian Masyarakat Pangkaja: Jurnal Agama Hindu
I Nengah Duija
Institut Hindu Dharma Negeri, Denpasar, Bali
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Ekspresi Seni Masyarakat Tradisional Desa Adat Penglipuran Bangli Sebagai Sarana Pemujaan Kepada Tuhan (Kajan Bentuk, Fungsi, Dan Makna) I Nengah Duija
Mudra Jurnal Seni Budaya Vol 22 No 1 (2008): Januari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (228.447 KB) | DOI: 10.31091/mudra.v22i1.1535

Abstract

In Balinese Culture art is substantial because it closely relates to the system of belief especially Hindu religion. Thus art is having inner power that is the spirit of the purity of Hindu itself. Therefore functionally art in Bali can be categorized into: seni wali, bebali and balih-balihan. The intensity of art activities relate to the ritualistic performance of Balinese Hindu society. In Ba- linese traditional society art activities relate to religious ritual are frequently performed even melted into the life of their rites. Likewise in the village of Adat Penglipuran Bangli, has expressed that art as an act of worship in the form of sacred Baris Dance. The performance of sacred Baris dance in the village of Adat Pengli- puran has form, function and meaning pertaining to worship, both to ancestors (cosmic axis) at Bayung Gede Kintamani and to God. The aesthetic concept that is used as a mean of worship borne theo- aesthetic term. Because of having those functions and meaning this sacred tradition survive. Besides that, this sacred Baris Dance as honor to geographical reality that has its upper reach at mountain, so it’s value-oriented is on war myth, fertility, water, etc. Thus the artistic expression of Penglipuran society as worship rites toward the Creator.
Koservasi dan Identifikasi Naskah Lontar Di Griya Agung Puri Tegaltamu Kabupaten Gianyar Ni Nyoman Perni; I Made Dian Saputra; I Nengah Duija; I Wayan Sugita; I Made Wiradnyana; I Nyoman Temon Astawa; Made Iwan Indrawan Jendra; I Komang Aryadi Arnata; Ni Wayan Anik Ardiningsih; Luh Made Wardyaningsih; I Wayan Mardana Putra; Ni Ketut Yoni Riskayanti; Dewa Ayu Putu Winda Suari; Gusti Ayu Ary Purnami; Gede Rama Sudarsana; Ni Luh Putu Juliastini; Ni Putu Sumariani; I Kadek Nuryawan; I Wayan Putu Yasa; Putu Adi Darma Putra; I Ketut Putra Adi Utama
Sevanam: Jurnal Pengabdian Masyarakat Vol 1 No 1 (2022): Maret
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/sevanam.v1i1.2590

Abstract

Lontar is one form of ancient manuscripts (manuscripts) that exist in the archipelago. Lontar is commonly found on the island of Bali, especially in Griya Agung Puri Tegaltamu, Br. Tegaltamu, Batubulan Village, Sukawati District, Gianyar Regency is a priceless heritage. Therefore, it is necessary to preserve the manuscript through conservation activities and identification of both physical and content. Based on the results of the activities carried out on 49 lontar manuscripts. The identified characters can be classified into several types of text groups. Identification is obtained after all the lontar manuscripts are preserved and can be read clearly.
TRANSFORMASI GEGURITAN RAJAPALA DI ERA GLOBALISASI Gede Yuli Sutrawan; I Nengah Duija; I Ketut Tanu
Pangkaja: Jurnal Agama Hindu Vol 24 No 1 (2021)
Publisher : UHN IGB Sugriwa Denpasar

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Abstract

Geguritan Rajapala can be seen in paintings, murals, name of streets, reliefs, name of places, name of a business, short films, Balinese Pop songs, dances, etc. The various transformations present us with half of the story, or in other words, the plot of Rajapala presented incompletely. Thus, it is really important to rise the Transformation of Geguritan Rajapala in the Globalization Era as the topic of research. The present research concerns three main problems, such as, (1) the narrative structure of Geguritan Rajapala; (2) the transformation form of Geguritan Rajapala in the globalization era; and (3) the values in Geguritan Rajapala. The theories used in this research were structural, semiotics, esthetics, and values theory. The present research is qualitative. The data collection was carried out by interview, library research, and document study. The results of the present research are, (1) the narrative structure of Geguritan Rajapala; (2) the transformation forms of Geguritan Rajapala; and (3) the values inside the Geguritan Rajapala.
PEMENTASAN JRO GEDE PANEMBAHAN SAKTI DI DESA GUBUG PERSPEKTIF KOMUNIKASI TRANSENDENTAL Ni Komang Susani; I Nengah Duija; Made Sri Putri Purnamawati Purnamawati
Anubhava: Jurnal Ilmu Komunikasi HIndu Vol. 1 No. 1 (2021): Communication, Moderation and Harmony
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/anubhava.v1i1.1070

Abstract

Jro Gede Panembahan Sakti staging in Gubug Village, Tabanan District is a dance performance that uses the symbol of a form of Barong Landung or what is called Jro Gede Panembahan Sakti. The issues to be discussed include: (1) What is the process of staging Jro Gede Panembahan Sakti in Gubug Village, Tabanan District, Tabanan ? (2) What elements of communication are contained in the performance of Jro Gede Panembahan Sakti in Gubug Village, Tabanan District, Tabanan Regency? (3) What are the communication implications arising in the performance of JroGedePanembahanSakti in Gubug Village, Tabanan District, Tabanan Regency? Analyze the problem formulation : Aesthetic by Djelantik, Interersonal Communication by Burhan Bungin, and The Dependency Theory of Mass Communication Effects by Ardianto. The methods used to collect data are: observation, interviews, documentation and literature.      The results of the study show that (1) the process of implementing Jro Gede Panembahan Sakti in Gubug Village, Tabanan District, Tabanan Regency, namely: History of Jro Gede Panembahan Sakti where it began during Majapahit government and the entry of other religions that were not Hindu in Majapahit and at that time Bhatara Dalem Majapahit left Majapahit, the form of prerai, gambelan used, clothing, offerings and the process of staging Jro Gede Panembahan Sakti, at the initial stage of preparation, implementation and closing stages. (2) The elements of communication contained in the performance of Jro Gede Panembahan Sakri in the village of Gubug, namely: Communications,  messages, media, communicants, and feedback, (3) Implications of Communication in the Staging of Jro Gede Panembahan Sakti in Gubug Village, namely: knowledge (knowledge about staging, and learning of Hinduism), Tri Hita Karana implications and religious implication.
Co-Authors Dewa Ayu Putu Winda Suari Gede Rama Sudarsana Gede Yuli Sutrawan Gusti Ayu Ary Purnami I Kadek Nuryawan I Ketut Putra Adi Utama I Ketut Tanu I Komang Aryadi Arnata I Made Dian Saputra I Made Wiradnyana I Nyoman Temon Astawa I Wayan Mardana Putra I Wayan Putu Yasa I Wayan Sugita Luh Made Wardyaningsih Made Iwan Indrawan Jendra Made Sri Putri Purnamawati Purnamawati Ni Ketut Yoni Riskayanti Ni Komang Susani Ni Luh Putu Juliastini Ni Nyoman Perni Ni Putu Sumariani Ni Wayan Ardini, Ni Wayan Putu Adi Darma Putra