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FUNGSI DAN MAKNA DRAMA TARI PACALONARANGAN DALAM UPACARA SUDHAMALA BHUMI PRATISTHA DI DESA PAKRAMAN SESETAN Indra Wirawan, I Komang
PANGKAJA Vol 14, No 2 (2012): PANGKAJA
Publisher : PANGKAJA

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (33.87 KB)

Pacalonarangan Ballet is a theatrical art which is a unification of dance, drama and literature supported by fine arts such as sculpture, decorative art, painting, etc. The term of calonarang, besides as a literary work, means a figure or a name of person in the story named Ni Calonarang. Calonarang is also found in the forms of work of art such as wayang (shadow play) pacalonarangan and in the theatrical art of ballet called Pacalonarangan Ballet. The calonarang story in Pacalonarangan is not releted yet to the common calonarang story. It is a piece of babad: Basur, or Ki Balian Batur, which contains mystical elements. In the calonarang performance, the story shows fighting between the power of black and white magic which are simbolyzed by: pangundangan (inviting), pangerehan (trance), watangan hidup (living corpse), traktakan linggih ratu ayu, pepatih, Rangda (the throne of queen, ministers, and Rangda (the goddess).Pacalonarangan Ballet in Sudhamala Bhumi Pratistha in Sesetan village aims at guiding Sesetan villagers’ understanding in order to strengthen their faith (sradha) to God. People consider pandemic the act of devil spirit or power which is hard to overcome by human. One of people’s efforts is to pray for safety and being avoided from dificulty. As the form of their gratitude, the people of Sesetan village hold Sudhamala Bhumi Pratistha ceremony. The ballet is the reflection of the ceremony. Last, the meaning of Pacalonarangan ballet; they are theologic meanings including Panca Durga as the symbol of darkness, power and nature. They are also to discusses about the meaning of aesthetic, education, and harmony implied in the cheremony. Through its symbols, it is expected that the ceremony could be the reflection of the life itself creating balance of macro and micro cosmos resulting in true happiness.Key words : Drama tari Pacalonarangan, Sudhamala Bhumi Pratistha

TAKSU DALAM DRAMATARI CALONARANG Wirawan, Komang Indra
Widyadari : Jurnal Pendidikan Vol 19 No 1 (2018): April 2018
Publisher : LP2M IKIP PGRI Bali

The performance of the dramatic art of Calonarang belongs to sacred arts. In a sense, the dramatic Calonarang is always staged as a complement to the yajña ceremony. Until now the staging of Calonarang remains a complement to the yajña ceremony, and still retains its magical and sacred power. Although in its development, the dramatic performances of Calonarang have shifted. From the former catharsis to the profane. However, the dramatic performance of Calonarang until now still retains the spirit of taksu which has been a functional power of the staging functionally still remains a sacred art that comes into contact with magical power and taksu. The emergence of taksu is a spirit that brings implications for the strengthening of local beliefs, that Calonarang's performances are a way of humans sheltering from noetic power.

TAKSU DALAM DRAMATARI CALONARANG: SEBUAH KAJIAN ESTETIKA HINDU Wirawan, Komang Indra
Widyadari: Jurnal Pendidikan Vol. 19 No. 1 (2018): April 2018
Publisher : LPPM IKIP PGRI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5281/zenodo.1240590

The performance of the dramatic art of Calonarang belongs to sacred arts. In a sense, the dramatic Calonarang is always staged as a complement to the yajña ceremony. Until now the staging of Calonarang remains a complement to the yajña ceremony, and still retains its magical and sacred power. Although in its development, the dramatic performances of Calonarang have shifted. From the former catharsis to the profane. However, the dramatic performance of Calonarang until now still retains the spirit of taksu which has been a functional power of the staging functionally still remains a sacred art that comes into contact with magical power and taksu. The emergence of taksu is a spirit that brings implications for the strengthening of local beliefs, that Calonarang's performances are a way of humans sheltering from noetic power.

Sesetan Traditional Village as Social and Art Aspect Indra Wirawan, Komang
Devotion: Journal of Community Service Vol. 3 No. 5 (2022): Devotion : Journal of Community Service
Publisher : Green Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36418/dev.v3i5.139

Sesetan Traditional Village is a village that is used as the basis for the preservation of traditions, customs, and Balinese culture. Sesetan PakramanVillage exists with various social, artistic and local culture approaches which include the social structure of Sesetan community, the arts and culture of Sesetan Village and the sekaa (traditional group) that bond as a local tradition, becoming an icon of Denpasar City. Sesetan Traditional Village has a wider area than the other area of South Denpasar Districts. Definitely, some clans or soroh of the Krama residents who live in Sesetan PakramanVillage are diverse. They consist of residents from different clans who form a community based on genealogical descent. When viewed from the structure of community, Sesetan Traditional Village consists of several krama, namely Krama Pengarep, Krama Tamiu, Krama Nyada, Krama Pangile. All these Krama are involved and they synergize each other in carrying outÂ ngayahÂ Â in the village, and assisting krama who are carrying out religious rituals. The existence of Sesetan Pakraman Village in its culture also has the uniqueness and diversity of art. This can be seen from Banjar Kaja to the Banjar Suwung Batan Kendal area which has a diversity of traditions, arts and culture, as well as aspects of religiosity framed in Hinduism. Such as, Omed-Omedan tradition, Ngelawang, the art of Calonarang dance drama and many others. It becomes interesting topic in this study regarding the socio, cultural and arts that developed in Sesetan Pakraman Village.

SENI KREATIF DI MASA PANDEMI DALAM ALUNAN MUSIK GAMUT (GAMELAN MULUT) Komang Indra Wirawan
Jurnal Ilmiah Cakrawarti Vol 4, No 2 (2021)
Publisher : Universitas Mahendradatta Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47532/jic.v4i2.297

During the Covid-19 pandemic, it did not reduce the enthusiasm of Balinese artists to be productive in their work. Especially with the development of an increasingly advanced era and faster technology, artists can easily hone their creativity through virtual, considering that during this pandemic, the number of people who can gather together is limited. Artists continue to make various efforts to continue to work, one of which is through the YouTube channel which is currently widely used as a place or place for creativity. One of the creative arts that is currently attracting the attention of Balinese people is gamut art or better known as oral gamelan, popularized by artist Made Agus Wardana on his YouTube channel. Artist Made Agus Wardana invites the public to continue to strengthen the fighting spirit of the artists with various efforts, this is done to overcome various obstacles in today's difficult times while maintaining the embers of art.

TAKSU DALAM DRAMATARI CALONARANG: SEBUAH KAJIAN ESTETIKA HINDU Komang Indra Wirawan
Widyadari : Jurnal Pendidikan Vol. 19 No. 1 (2018): April 2018
Publisher : LP3M Universitas PGRI Mahadewa Indonesia

The performance of the dramatic art of Calonarang belongs to sacred arts. In a sense, the dramatic Calonarang is always staged as a complement to the yajña ceremony. Until now the staging of Calonarang remains a complement to the yajña ceremony, and still retains its magical and sacred power. Although in its development, the dramatic performances of Calonarang have shifted. From the former catharsis to the profane. However, the dramatic performance of Calonarang until now still retains the spirit of taksu which has been a functional power of the staging functionally still remains a sacred art that comes into contact with magical power and taksu. The emergence of taksu is a spirit that brings implications for the strengthening of local beliefs, that Calonarang's performances are a way of humans sheltering from noetic power.

TEO-ETIKA HINDU PADA PEMENTASAN TARI SAKRAL RANGDA DALAM PROSESI NAPAK SITI Komang Indra Wirawan
DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 21 No 1 (2021): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan
Publisher : Pascasarjana Universitas Hindu Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/ds.v21i1.1667

Pada kajian ini, secara khusus menelisik lebih dalam tentang pementasan tari sakral Rangda pada prosesi napak siti melalui pendekatan Teo-etika Hindu. Melalui kajian ini, penulis berupaya menggali makna teologis dan etika pementasan tari sakral Rangda yang dipentaskan dalam setiap sritual napak siti atau mapinton ketika prosesi sakralisasi Barong-Rangda dilakukan. Prosesi â€œmenarikanâ€ Rangda ini menjadi penting dilakukan sebagai sebuah proses â€œpengesahanâ€, bahwaRangda telah layak disebut sakral, dan berhak dijadikan objek pemujaan. Meskipun, Barong-Rangda sudah disakralkan melalui proses ritual, tetapi belum dilakukan proses napak siti, maka Barong dan adalah proses pemberkatan kepada pertiwi (bumi), dan dalam teologi Hindu pertiwi adalah Sakti dari Bhatara Siwa sebagai simbol kekuatan yang supream. Jadi, pementasan tarian napak siti ini menjadi hal yang menarik dikaji dalam upaya menggali makna teologi, estetik dan etika dalam menarikan Rangda sebagai pentasbihan, bahwa Rangda sudah terbukti sakral dan dapat dijadikan objek pemujaan.

Indonesia Budiasa, I Made; Adhiti, Ida Ayu Iran; Wirawan, Komang Indra
Dharma Sastra : Jurnal Penelitian Bahasa dan Sastra Daerah Vol 3 No 2 (2023): Oktober
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/ds.v3i2.3093

This study aims to determine the success of the drill and practice learning model in improving student achievement and learning response. The techniques and tools for obtaining data are the test method in the form of student work sheets, the observation method in the form of student response assessment format, and the questionnaire method in the form of written questions along with answer choices and data processed using descriptive statistical methods. Applying the drill and practice learning model succeeded in improving the ability to aksara wresastra and pangangge suara characters in class III A SD No. 3 Benoa 2018/2019 school year. This can be seen from the average value of the test results in the first cycle of 79.8 or 71.87% with sufficient predicate, and increased in the second cycle stage by 81.42 or 93.75% with a good predicate. In the response of students experiencing success it is evident from the average value of the first cycle of 78.32 or 71.87% with sufficient predicate, then increased in the second cycle of 86.71 or 93.75% with a good predicate.

Pergeseran Konsepsi Kuburan Pada Masyarakat Hindu Bali: Antara Tantra, Calon Arang, dan Wacana Populer Wirawan, Komang Indra
Jurnal Penelitian Agama Hindu Vol 9 No 1 (2025)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/jpah.v9i1.3159

The charnel ground (sĕma/setra) is one of the locations regarded as sacred by the Balinese Hindu community, serving as a center for various religious rituals, ranging from Pitra Yadnya to less common rites such as Ngĕreh. This sacredness is illustrated in the Calon Arang performance, where the charnel ground is featured as one of the key spaces, in addition to being a significant element in the Calon Arang text. On the other hand, various media, from films to information found on the internet, often depict charnel grounds in a negative context. Observing these two contrasting portrayals, this research is aimed at investigating the differences in perception regarding the meaning of charnel grounds from the two aforementioned perspectives, focusing on the discourses surrounding charnel grounds in Calon Arang (both in the text and in performance contexts) and comparing them with narratives disseminated through popular media, while analyzing these through the lens of Balinese Hindu theology rooted in Tantric teachings. The research method employed is a semiotic approach with a descriptive qualitative framework. The findings reveal that contemporary Balinese Hindus tend to hold a negative image of charnel grounds, which is inconsistent with the theological teachings of Hinduism. This shift in perception is largely influenced by widespread information from various popular media, such as social media and the internet, which often portray charnel grounds negatively. As a result, there is a dissonance between the values taught in the Śāstra and the general public's views. Understanding this shift becomes crucial in preserving the theological values of Hinduism amid the flow of digital information. Hence, this study highlights the urgency of awareness regarding this perceptual change and the need for concrete actions to uphold the integrity of religion and culture in Bali.

Sesetan Traditional Village as Social and Art Aspect Indra Wirawan, Komang
Devotion : Journal of Research and Community Service Vol. 3 No. 5 (2022): Devotion: Journal of Research and Community Service
Publisher : Green Publisher Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36418/dev.v3i5.139

Sesetan Traditional Village is a village that is used as the basis for the preservation of traditions, customs, and Balinese culture. Sesetan PakramanVillage exists with various social, artistic and local culture approaches which include the social structure of Sesetan community, the arts and culture of Sesetan Village and the sekaa (traditional group) that bond as a local tradition, becoming an icon of Denpasar City. Sesetan Traditional Village has a wider area than the other area of South Denpasar Districts. Definitely, some clans or soroh of the Krama residents who live in Sesetan PakramanVillage are diverse. They consist of residents from different clans who form a community based on genealogical descent. When viewed from the structure of community, Sesetan Traditional Village consists of several krama, namely Krama Pengarep, Krama Tamiu, Krama Nyada, Krama Pangile. All these Krama are involved and they synergize each other in carrying out ngayah in the village, and assisting krama who are carrying out religious rituals. The existence of Sesetan Pakraman Village in its culture also has the uniqueness and diversity of art. This can be seen from Banjar Kaja to the Banjar Suwung Batan Kendal area which has a diversity of traditions, arts and culture, as well as aspects of religiosity framed in Hinduism. Such as, Omed-Omedan tradition, Ngelawang, the art of Calonarang dance drama and many others. It becomes interesting topic in this study regarding the socio, cultural and arts that developed in Sesetan Pakraman Village.

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