Claim Missing Document
Check
Articles

Found 1 Documents
Search
Journal : MUDRA Jurnal Seni Budaya

Wacana “Ajeg Bali” Pada Seni Kerajinan Sarana Upacara Di Gianyar Bali Ni Kadek Karuni; I Wayan Suardana
Mudra Jurnal Seni Budaya Vol 33 No 1 (2018): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i1.321

Abstract

Dalam usaha  mengantisipasi tergerusnya seni budaya Bali yang adiluhung, Bali post dan Bali TV meluncurkan wacana “Ajeg Bali” yang artinya menjaga dan melestarikan identitas budaya Bali agar tidak jatuh di bawah hegemoni budaya global. Penelitian ini ingin mengungkap peranan wacana Ajeg Bali dalam meningkatkan seni kerajinan sarana upacara, dan perubahan sikap hidup masyarakat dalam melakukan upacara adat dan agama. Hal ini perlu diketahui agar konsep Ajeg Bali sesuai dengan tujuan dan sasaran yang dikehendaki.  Oleh karena itu, diperlukan pendekatan estetika dan sosiologi, yang dipergunakan untuk menganalisis karya seni dan perubahan sosial kehidupan masyarakat dengan adanya wacana Ajeg Bali. Metode  penelitian yang digunakan adalah metode kualitatif dengan analisis deskriptif analitik. Hasil penelitian menunjukkan, bahwa Wacana Ajeg Bali berperan sangat besar dalam pengembangan seni kerajinan sarana upacara yang ada di Gianyar Bali. Wacana ajeg Bali ini diaktualisasikan dengan meningkatkan berbagai aktivitas upacara adat dan agama serta aktif  melakukan persembahyangan  ke berbagai Pura yang tersebar luas di seluruh Pulau Bali, yang disebut dengan “Rekreasi Religius” Meningkatnya aktivitas upacara dan rekreasi religius, memerlukan berbagai sarana upacara dengan tampilan yang indah dan menarik. Para perajin melihat peluang ini sangat pontensial dan mulai mengembangkan kreativitasnya untuk menciptakan sarana upacara yang baru dengan tetap memiliki identitas Bali. Di berbagai wilayah Kabupaten Gianyar mulai banyak tersebar seni kerajinan sarana upacara seperti di kecamatan Tegallalang, Payangan, Sukawati, dan Tampaksiring. Banyaknya aktivitas upacara adat dan agama, dan tingginya keinginan masyarakat untuk memiliki sarana upacara dengan berbagai bentuk dan jenis, memberi motivasi yang tinggi pada perajin untuk menciptakan sarana upacara yang lebih unik dan menarik.In an effort to anticipate the decrease of Balinese art culture, adiluhung, Bali Post and Bali TV have published a discourse of “Ajeg Bali”which means to protect and to preserve Balinese culture from falling victim to global  hegemony.  This research has been conducted as a means of knowing the influence discourse of  “Ajeg Bali”has in increasing the art crafts of ceremonial facilities, and the changes in society's attitude in performing tradition and religious ceremony as well. These are paramount to knowing whether the concept of “Ajeg Bali”is appropriate to the goal and target stated. That is why, an aesthetic and sociological  approach is required to analyze the art works and social life changes of the society by means of discourse in “Ajeg Bali”. The research method used in this study was qualitative method by analytic description.The result of this study shows that the discourse of “Ajeg Bali”plays an important role in developing the art crafts of ceremonial facilities in Gianyar Bali. It is promoted through intensifying of various events such as traditional and religious ceremonies as well as ritual of prayers held in temples spread out over Bali known as “Religious Recreation”. This increase in activities of ceremony and religious recreation has led to an increasing demand for artistic and attractive facilities for various ceremonies. Craftsmen see this as a promising opportunity and begin to improve their creative process in producing new ceremonial facilities that retain Balinese identity. In Gianyar Regency, there are many craft centers producing ceremonial facilities that have begun to grow, such as those in subdistricts of Tegallallang, Sukawati, Tampaksiring, and Blahbatuh. The rise of activities of tradition and religious ceremony and the high of society willing to have ceremony facilities with various shape and type, has given high motivation to craftsmen to produce more unique and interesting ceremonial facilities. In an effort to anticipate the decrease of Balinese art culture, adiluhung, Bali Post and Bali TV have published a discourse of “Ajeg Bali”which means to protect and to preserve Balinese culture from falling victim to global  hegemony.  This research has been conducted as a means of knowing the influence discourse of  “Ajeg Bali”has in increasing the art crafts of ceremonial facilities, and the changes in society's attitude in performing tradition and religious ceremony as well. These are paramount to knowing whether the concept of “Ajeg Bali”is appropriate to the goal and target stated. That is why, an aesthetic and sociological  approach is required to analyze the art works and social life changes of the society by means of discourse in “Ajeg Bali”. The research method used in this study was qualitative method by analytic description.The result of this study shows that the discourse of “Ajeg Bali”plays an important role in developing the art crafts of ceremonial facilities in Gianyar Bali. It is promoted through intensifying of various events such as traditional and religious ceremonies as well as ritual of prayers held in temples spread out over Bali known as “Religious Recreation”. This increase in activities of ceremony and religious recreation has led to an increasing demand for artistic and attractive facilities for various ceremonies. Craftsmen see this as a promising opportunity and begin to improve their creative process in producing new ceremonial facilities that retain Balinese identity. In Gianyar Regency, there are many craft centers producing ceremonial facilities that have begun to grow, such as those in subdistricts of Tegallallang, Sukawati, Tampaksiring, and Blahbatuh. The rise of activities of tradition and religious ceremony and the high of society willing to have ceremony facilities with various shape and type, has given high motivation to craftsmen to produce more unique and interesting ceremonial facilities.
Co-Authors Abdul Manan Achjar, Komang Ayu Henny Adirinata, I Komang Pasek Agus Sri Lestari Amrulloh, Muhammad Faqih Anak Agung Gde Bagus Udayana Andi Isma Lestari Amin, Andi Isma Ardika, I Gusti Ngurah Putu Ari Yuniastuti Aribaten, Ni Nengah Zinnia Arimbawa, I Gede Artayani, Ida Ayu Gede Asyauqi Ilham Perdana, Asyauqi Ilham Ayu Harini, I Gusti Bambang Sumiarto Bq Nurlita Anugrah BUDI SETIADI DARYONO Budi Setiadi Dayono Chandra Yowani D. A. Widiasih Denny Widaya Lukman Devi Dwi Jayanti Dewa Gede Agung Widyadnyana Dewa Putu Oka Prasiasa Dewi, Ni Nyoman Astika Dewi, Ni Putu Diah Trisna Dewintasari, Ni Nyoman Paramitha Dwi Lestari Dyah Ayu Widiasih Dyah Ayu Widiasih Dyah Ayu Widiasih Eka Putri Suryantari Emmanuella Felice’anna Dije Karisoh Febri Diana Putri, Ni Putu Febrianti, Andri Nurdiana Franciska, Juliana Gama, I Ketut Gama, Ketut Gede Ngurah, I Gusti Ketut Gejir, I Nyoman Gusti Ayu Marhaeni Hana Kristal Alamanda Septiara Harini, I Gusti Ayu Hartati, Ni Nyoman Henny Achjar, Komang Ayu Hikam, Ahdan Sayid I Dewa Made Sukrama I G. Wijana I Gede Gian Saputra, I Gede I Gusti Agung Ayu Suartini I Gusti Made Krisna Erawan I Gusti Putu Bagus Sasrawan Mananda I Ketut Adi Sugita I Ketut Mangku Budiasa I Ketut Muka I Ketut Suada I Ketut Suardana I Ketut Suatha I Komang Gede Wiryawan I Made Adikampana, I Made I Made Kardena I Made Sukada I Made Sukarja I Made Walesa Putra I Nengah Kerta Besung I Nengah Sujaya I Nengah Wirakesuma, I Nengah I Nyoman Ariana I Nyoman Suarsana I Nyoman Sudiarta I Nyoman Sukma Arida I Nyoman, suardina I Putu Sampurna I Putu Sudiarta I Wayan Adnyana I Wayan Mustika I Wayan Seriyoga Parta I. H. U Utama Ida Bagus Ngurah Swacita Iga Prassetyo Adji, Iga Prassetyo INDAYATI LANYA Iwan Harjono Utama Karuni, Ni Kadek Khamid Yusuf Baehaqi, Khamid Yusuf Komang Januartha Putra Pinatih Kondra, I Wayan Korbinianus Feribertus Rinca Kumalasari, Ni Putu Putri Kusumajaya, Anak Agung Ngurah Laba, I Nyoman MAS DJOKO RUDYANTO Meitisrilatifatulain Fitriadewi Mariana Mertanadi, I Made Michael Haryadi Wibowo Mita Ekamelinda Mochamad Choirul Hadi Ngurah, I Gusti Ketut Gede Ngurah, IGK Gede Ni Kadek Ari Divania Widia Artha Ni Kadek Lyming Lestari Ni Ketut Suwiti Ni Luh Sustiawati Ni Luh Watiniasih Ni Made Ariani Ni Made Ayu Aryati Dinarini Ni Made Ruastiti Ni Putu Ratna Sari Nur Habibah Nuria Fitrianti Putri Nyoman Dewi Pebryani NYOMAN SEMADI ANTARA Oktivia Chandra Mustika, Oktivia Chandra P. Sampurna Padmi, Luh Sri Anggayoni Julia Piartrini, Saroyeni Pitriyantini, Putu Eka Prabhadewi, Ni Putu Sriarta Pramesti, Kadek Diah Pratiwi, Ida Ayu Windhari Kusuma Putra, I Kadek Aldi Margareta Perdana Putu Agus Wikanatha Sagita Putu Ayu Sisyawati Putriningsih Putu Cahaya Semesta Putu Januari Ratna Apsari Putri R Susanti Raharjo, Anis Rahmasari, Ni Nyoman Putri Asri Rasdianah Rasdianah Remawa, Anak Agung Gede Rai Reny Navtalia Sinlae Rian Ka Praja Ribek, Nyoman Richard Christian Daud Ruspawan, Dewa Made Ruta, I Made Satriawati, Ni Nyoman Ayu Siti Helmyati Sri Anggreni Lindawati Sri Wahyuni Suardina, Nyoman Suarya Putra, I Nyoman Agus Sudiantara, I Ketut Sudiantara, Ketut Suharsono, Hamong Sukoco, Hendro Sunatha Putra, Agus Surya, I Kadek Adi Tjokorda Sari Nindhia Totton, Mary Louise Victor Bangun Mulia Wahyu Hananto, Wahyu Wayan Tunas Artama Wayan Tunas Artama Widya Asmara Wilantari, Ni Nyoman Ayu Wulandari, Andi Dewi Wulandari, Kadek Dina Yan Ramona Yuli Darmawan, Yuli Yunita Sri Hastuti, Yunita Sri