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Geguritan Kebo Iwa (Kajian Bentuk, Fungsi, dan Pendidikan Karakter) Anak Agung Ngurah Agung Eka Cahyadi; I Nyoman Linggih; I Wayan Sugita
Dharma Sastra: Jurnal Penelitian Bahasa dan Sastra Daerah Vol 1 No 2 (2021): Volume 1 Nomor 2 Tahun 2021
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

The uniqueness of Balinese culture in the form of folklore (satua), should be preserved as an ancestral heritage that contains elements of education, especially in character building. One of the existing folklore is the Kebo Iwa story where its existence is starting to be forgotten. By one of the sons of Bali, the story of Kebo Iwa is presented in the form of geguritan as an educational medium with Hinduism in mind. Geguritan Kebo Iwa was formed by pupuh who were already known to the public, bound by the Padalingsa rules. The work of Mr. I Nyoman Suprapta uses the common Balinese language and the presentation time is short so that the contents and meanings are easy to understand, can provide enlightenment and foster a sense of pride, especially to the younger generation of Bali. The general purpose of research is as an effort to explore, preserve, develop, and describe conceptual values. The specific objectives are to find out the form, explain the function, and understand the value of character education in Geguritan Kebo Iwa. The concepts presented are form, function, and character education, which are guided by structuralism theory, function theory, semiotic theory and value theory. This type of research uses qualitative research. The primary data source is the Geguritan Kebo Iwa manuscript, the secondary data includes books, magazines, and other libraries that are considered relevant, as well as the results of observations, interviews, literature studies and documentation to ensure the truth of the data obtained. Intrinsic elements in Geguritan Kebo Iwa are themes, incidents, plots, characters and characterizations, settings, language styles, and messages. Extrinsic elements are religious, historical, socio-cultural, psychological, and aesthetic elements. The functions of Geguritan Kebo Iwa are recreational, didactic, aesthetic, moral, and religious. The hidden value of education is a summary of the Ministry of National Education's identification, contained in Presidential Decree No. 87 of 2017, including religious, mutual cooperation, independence, nationalism, and integrity.

Inovasi Seni Pertunjukan Drama Gong Pada Era Digital I Wayan Sugita; I Gede Tilem Pastika
Mudra Jurnal Seni Budaya Vol 36 No 3 (2021): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i3.1492

Artikel ini bertujuan membahas inovasi drama gong pada era digital dewasa ini. Sebagai hasil kajian kualitatif, pengumpulan data dilakukan melalui observasi, wawancara mendalam dengan pelaku seni dan penggemar drama gong, dan studi dokumentasi dengan mengkaji kembali lima kisah drama gong yang ditayangkan oleh Bali TV, TVRI Bali dan channel Youtube tahun 2020 dan 2021. Analisis deskriptif kualitatif dilakukan dengan menerapkan teori semiotika dan teori interasionisme simbolik. Hasil penelitian menunjukkan, eksistensi drama gong sampai dekade 2000-an telah mengalami inovasi, meliputi: (1) kemasan cerita; (2) regenerasi pemain dengan melibatkan generasi muda Bali; (3) dialog, (4) setting/tata panggung; (5) adanya kolaborasi dengan seniman non drama gong; dan (6) pemanfaatan teknologi digital dalam proses pengemasan dan penyaluran pertunjukan drama gong. Inovasi drama gong dalam dekade 2000-an ini mengindiasikan bahwa seni tradisional berbahasa Bali ini tetap eksis dan mampu mengikuti perkembangan zaman. Inovasi drama gong model baru memperoleh sambutan positif dari masyarakat Bali, termasuk penggemar drama gong dari kalangan anak muda Bali.

Nilai-Nilai Pendidikan Agama Hindu Yang Terkandung Dalam Paribasa Bali Suguhan Pertunjukan Wayang Kulit Cenk Blonk I Wayan Sugita; I Gede Tilem Pastika
Kamaya: Jurnal Ilmu Agama Vol 4 No 1 (2021)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (281.604 KB)

The rapid globalization has caused the Balinese language (BB) to become extinct. If BB goes extinct, Paribasa Bali (PB) will also disappear. In fact, PB has various functions, including forming noble characters. Various groups including the government took various efforts to preserve PB. Among the artists, one of them who preserved PB was the puppeteer I Wayan Nardayana in the Wayang Kulit Cenk Blonk (WKCB) performance. The problems discussed in this study are (1). What form of PB is shown in the WKCB performance? (2). What is the function of PB that is shown in the WKCB performance? (3) What Hindu religious education values are contained in PB that is shown in the WKCB performances? To analyse these problems, some theories are used. Popular culture theory is used to analyse the form of PB, semiotic theory is used to analyse PB functions and critical discourse theory is used to analyse the values of Hindu religious education contained in the PB presented by WKCB performances. The results of the study are as follows: 1). The PB forms in WKCB performance are (1) sesonggan; (2) Cecangkitan; (3) bladbadan; (4) Sesenggakan; (5) Peparikan; (6) Cecimpedan; (7) Sesawangan. 2) The PB functions in WKCB performance, namely: (1) The function of giving advice; (2) The function of conveying ridicule; (3) The function of humbling oneself; (4) The function of delivering praise; (5) Entertaining function; (6) aesthetic function; (7) Function of conveying bad luck. 2) The value of Hindu religious education contained in WKCB's PB performance, namely: (1) The value of self-education; (2) The value of education protects the weak; (3) The educational value of tradition; (4) The value of education makes satvika; (5) The educational value of the Tri Kona; (6) the value of awareness about appearance education; (7) The value of education improves the quality of human resources.

Bentuk Pertunjukan Wayang Kulit Bali Lakon Bhima Swarga dalam Upacara Pitra Yadnya I Wayan Sugita; I Gede Tilem Pastika
Kamaya: Jurnal Ilmu Agama Vol 5 No 1 (2022)
Publisher : Jayapangus Press

The Balinese shadow puppet show has a connection between the story that is told and the context of the yadnya ceremony. Mahabharata is an epic that is always the source of stories in Balinese shadow puppet shows, the storylines are often improvised by the puppeteers in the performances. Kawi dalang makes the story used more connected to the context of the implementation of the yadnya ceremony. One of the carangan stories that are often performed is the story of Bhima Swarga at the Pitra Yadnya ceremony. However, in the performance, the audience did not see this meaningful and unique performance. Therefore, it is necessary to conduct a study to find out the form of the performance, so that the reader knows the aspects of the form in the Balinese shadow puppet show Bhima Swarga story. The method used in this research is descriptive qualitative. The results of this study are in the form of a description and analysis of the synopsis, the structure of the performance, the form of the puppet characterizations, the language and vocals used, the musical accompaniment, the offerings used, and the stage set in the Balinese shadow puppet show Bhima Swarga story. all aspects of the form are integrated into a show that elevates Bhima as the central character and the story that is told can be used as an example in life to serve the ancestors.

Revitalisasi Bahasa Bali Melalui Seni Pertunjukan Drama Gong I Wayan Sugita; I Gede Tilem Pastika
Dharma Sastra: Jurnal Penelitian Bahasa dan Sastra Daerah Vol 2 No 2 (2022): Volume 2 Nomor 2 Tahun 2022
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

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This article aims to discuss the existence of the performing arts of drama gong as an educational medium to revitalize the Balinese language. As a result of the qualitative study, data collection was carried out through observation, document review, and in-depth interviews with several key informants who understand the Balinese language and culture. Data analysis was carried out by applying the theory of symbolic interactionism and semiotics. The results of the study show that the drama gong is a performing art that is loved by the Balinese people and consistently uses Balinese as its introduction so that the vitality of the Balinese language can be maintained. Drama gong has become a Balinese language education medium that can directly target young Balinese as supporters of the Balinese language. Besides teaching Balinese language patterns, drama gongs also teach Balinese sorsinggih and the social structure of Balinese society. The drama gong is also a medium for transmitting Balinese to the younger generation of Balinese so that this performing art contributes to ensuring the survival of the Balinese language. In today's digital era, efforts to maintain the Balinese language through the performing arts of drama gongs in the form of TV shows and digital media Youtube need to be continuously developed.

EDUKASI TRI HITA KARANA DALAM PERTUNJUKAN DRAMA GONG PENOPANG KEBERLANJUTAN BUDAYA BALI I Wayan Sugita
Pangkaja: Jurnal Agama Hindu Vol 24 No 2 (2021)
Publisher : UHN IGB Sugriwa Denpasar

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This article aims to discuss the education of Tri Hita Karana (THK) in the drama gong performance in the era of society 5.0 and its meaning for the sustainability of Balinese culture. This article is the result of a qualitative study whose data were collected through observation, document studies, and in-depth interviews with performers and representatives of the audience of drama gong, as well as observers of Balinese arts and culture. Qualitative descriptive analysis was carried out by applying semiotic theory, symbolic interactionism theory, and social action theory (Bourdieu). The results of the study show that traditional Balinese performing arts function as a medium of entertainment and education of Balinese culture, especially about the philosophy of THK to its fans. Through three drama gong stories, namely "Jayaprana", "Ni Diah Tantri" and "Cupak Madeg Ratu" have succeeded in entertaining as well as delivering education on THK, so that Balinese people are able to realize a harmonious life: between humans and God (parahyangan ), humans with each other (pawongan), and humans with nature (palemahan). THK education through drama gong performances has a meaning in strengthening traditions and sustaining the cultural sustainability of the Balinese Hindu community.

Development of a drama gong performance model: an effort to preserve the traditional Balinese drama in the digital era I Wayan Sugita; I Gede Tilem Pastika; I Made Gde Puasa
International Journal of Visual and Performing Arts Vol 5, No 1 (2023)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v5i1.910

Drama Gong is a traditional Balinese performance art that enjoyed popularity. However, since the 1990s, the advent of television and the internet has led to a decline in the prominence of Drama Gong. Therefore, there is a pressing need to revitalize and innovate this traditional art form. One such effort by Balinese artists involves the creation of a digital adaptation known as 'Drama Keraton Cilinaya.' This qualitative descriptive research aims to explore the development model of Drama Gong in the digital era. The research data were collected through a comprehensive document analysis, which included the examination of seven episodes of 'Drama Keraton Cilinaya,' as well as direct observations and interviews with the creators. The findings revealed that 'Drama Keraton Cilinaya' has undergone significant internal and external innovations. Internally, the artists emphasized the importance of having an open mindset to embrace global changes, packaged stories for enhanced appeal and comprehension, incorporated contemporary dialogue, employed multiple languages, engaged younger talents, enhanced makeup and costume artistry, introduced digital music, and improved stage layouts. External innovations involve collaborations with artists beyond the Drama Gong tradition, utilizing digital technology in production, and distributing the performances through TV media and YouTube channels to broaden their audience reach. It is anticipated that the findings of this research will serve as a valuable digital packaging model, not only for Drama Gong but also for the development of other traditional Balinese performing arts, ensuring their sustainability in the digital era.

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