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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

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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.

CERMINAN NILAI-NILAI PENDIDIKAN KARAKTER TOKOH YUDISTIRA DALAM LAKON SANGUT DADI RAJA OLEH DALANG I MADE SIJA I Nyoman Adi Sujayantara; Komang Indra Wirawan; I Ketut Muada
Batarirupa: Jurnal Pendidikan Seni Vol. 1 No. 2 (2021): Batarirupa: Jurnal Pendidikan Seni
Publisher : Fakultas Keguruan dan Ilmu Pendidikan

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Melihat merosotnya nilai moral manusia, mengingatkan betapa pentingnya posisi wayang sebagai kesenian dalam membantu membentuk manusia yang berkarakter. Menanggapi hal tersebut, perlu kiranya menanamkan nilai pendidikan karakter dengan becermin pada tokoh Yudistira. Penelitian ini mengambil objek cerminan nilai-nilai pendidikan karakter dari tokoh Yudistira pada lakon Sangut dadi raja. Metode dalam penelitian ini menggunakan analisis konteks, yaitu membahas sekaligus sebagai kerangka berpikir untuk mengumpulkan semua data. Metode yang digunakan dalam penelitian ini yaitu melalui pendekatan kualitatif deskriptif dengan menganalisis, meringkas dan mengambarkan kondisi, situasi dari berbagai data yang di kumpulkan berupa hasil wawancara atau pengamatan. Hasil dalam penelitian ini meliputi pengertian wayang, filsafat yang terkandung dalam karakter maupun bentuk wayang Yudistira, fungsi wayang dalam tatanan kehidupan masyarakat Bali dan cerminan nilai-nilai pendidikan karakter dalam tokoh Yudistira. Dengan semua ini diharapkan dapat sebagai cerminan dan refleksi untuk membantu pembentukan manusia yang berpendidikan karakter.

PENGGUNAAN MEDIA AUDIO VISUAL UNTUK MENINGKATKAN PRESTASI MENARIKAN TARI CILINAYA SISWA KELAS IX A SMP NEGERI 2 SELAT KARANGASEM TAHUN PELAJARAN 2021/2022 Ni Luh Putu Sintia; I Made Gede Putra Wijaya; Komang Indra Wirawan
Batarirupa: Jurnal Pendidikan Seni Vol. 2 No. 1 (2022): Batarirupa: Jurnal Pendidikan Seni
Publisher : Fakultas Keguruan dan Ilmu Pendidikan

Media Pembelajaran Audio Visual ini sangat membantu penulis dalam meningkatkan prestasi menarikan tari Cilinaya. Penelitian ini dilakukan untuk mengatasi masalah penerapan pembelajaran siswa dikelas dalam menarikan tari Cilinaya secara demonstrasi. Sehingga pada penelitian ini digunakan untuk memudahkan siswa mengikuti proses pembelajaran di kelas. Tujuan yang terdapat yaitu untuk mengetahui sejauh mana media audio visual dapat meningkatkan prestasi siswa dalam menarikan tari Cilinaya kelas IX A SMP Negeri 2 Selat Karangasem Tahun Pelajaran 2021/2022. Pengumpulan data dalam penelitian ini menggunakan 3 metode, yaitu metode observasi, metode wawancara, dan metode tes. Penelitian ini bersifat deskriptif kuantitatif yaitu uraian data-data yang didapat dari observasi, wawancara dan tes tindakan. Hasil penelitian menunjukan bahwa penggunaan media audio visual dapat meningkatkan prestasi menarikan tari Cilinaya siswa kelas IX A SMP Negeri 2 Selat Karangasem Tahun Pelajaran 2021/2022. Hal ini dibuktikan dari nilai prasiklus skor rata-rata 68,14 dengan predikat cukup, meningkat pada siklus I skor rata-rata 69,07 predikat cukup baik dan pada siklus II skor rata-rata 92,59 dengan predikat tinggi.

KEMAMPUAN MEMAINKAN INSTRUMEN CAJON DALAM LAGU KARENA KUCINTA KAU PADA SISWA KELAS XI IPA 1 SMAK THOMAS AQUINO TANGEB TAHUN PELAJARAN 2021/2022 Made Junaidi; Komang Indra Wirawan; I Ketut Lanus
Batarirupa: Jurnal Pendidikan Seni Vol. 2 No. 1 (2022): Batarirupa: Jurnal Pendidikan Seni
Publisher : Fakultas Keguruan dan Ilmu Pendidikan

Penelitian yang dilakukan di SMAK THOMAS AQUINO TANGEB bertujuan untuk mengetahui kemampuan memainkan instrument cajon dalam lagu karena kucinta kau siswa kelas XI IPA 1 SMAK Thomas Aquino Tangeb tahun pelajaran 2021/2022 dan bertujuan untuk mengetahui kendala apa saja yang dihadapi dalam memainkan instrument cajon pada siswa XI IPA 1 SMAK Thomas Aquino Tangeb tahun pelajaran 2021/2022. Ruang lingkup penelitian ini hanya terbatas pada kemampuan memainkan instrument cajon dalam lagu karena kucinta kau dengan meliputi aspek-aspek: ketepatan dalam memukul membran cajon, ketepatan dinamika, dan ketepatan birama. Dalam mengadakan sebuah penelitian perlu adanya metode yang digunakan yaitu: 1) Metode penentuan subjek penelitian menggunakan teknik populasi, yang menjadi subjek penelitian seluruh siswa kelas XI IPA 1 di SMAK Thomas Aquino Tangeb tahun pelajaran 2021/2022; 2) Metode pendekatan subjek penelitian menggunakan metode empiris; 3) Metode pengumpulan data dalam penelitian ini menggunakan metode tes tindakan dan wawancara; dan 4) Metode pengolahan data dengan cara mencari skor maksimal ideal, dimana masing - masing aspekdiberikan bobot 4 dan rentangan nilai ( 1-4 ). Jumlah populasi dalam penelitian ini berjumlah 28 orang. Pedoman konvrensi juga dipakai untuk menentukan skor standar, rata - rata nilai seluruh siswa yang dicari untuk melihat kemampuan semua populasi. Berdasarkan analisis data dapat disimpulkan bahwa presentasi memainkan instrument cajon dalam lagu karna kucinta kau dengan nilai rata - rata yaitu 80,39, dan nilai rata - rata ini memiliki predikat cukup. Dari 28 siswa yang menjadi data populasi dalam penelitian ini terdapat 25 orang yang dinyatakan tuntas dan 3 orang dinyatakan tidak tuntas

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