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The The Archetypal Journey of the Kawi: A Jungian Psychological Reading of the Discourse of Kalepasan in Kakawin Panca Dharma Ni Made Ari Dwijayanthi; I Nyoman Suarka; I Ketut Sudewa; I Gusti Ayu Agung Mas Triadnyani
International Journal of Multilingual Education and Applied Linguistics Vol. 3 No. 1 (2026): International Journal of Multilingual Education and Applied Linguistics
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/ijmeal.v3i1.455

Abstract

This study reinterprets Kakawin Panca Dharma through Carl Gustav Jung’s analytical psychology, viewing kalepasan (liberation) as a symbolic manifestation of the poet’s (kawi’s) inner transformation through the process of individuation. While previous studies have treated Kakawin Panca Dharma as a theological or ethical text, this paper argues that the discourse of kalepasan reflects archetypal structures of the psyche—shadow, anima, and Self—within the creative process of the kawi-wiku. Through a qualitative hermeneutic method integrating philological reading and Jungian symbolic interpretation, this research uncovers how motifs of silence (sunya), detachment (putus), and purification (wimala) embody stages of psychological transformation. The findings reveal that Kakawin Panca Dharma serves as a “temple of language,” where poetic creation functions as an act of active imagination, integrating conscious and unconscious dimensions of the self. Liberation thus signifies not only spiritual transcendence but psychological wholeness—the realization of the Self archetype.  
TRANSFORMASI TUTUR TARU PRAMANA KE DALAM FRAGMENTARI SOLAH TUTUR TARU PRAMANA Pradnyawati, Ni Ketut Sukma; Suarka, I Nyoman; Kurniawan, Putu Widhi
Sphatika: Jurnal Teologi Vol 16 No 2 (2025)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/sphatika.v16i2.4937

Abstract

Tutur Taru Pramana is one of the classical manuscripts that tells the story of various types of plants that can be used as herbal medicine. Essentially, Tutur Taru Pramana is an oral narrative text that describes dialogues between characters within the text, such as the character Sang Prabhu Mpu Kuturan, a powerful healer who possesses the knowledge to communicate with plants. This study aims to examine the transformation of oral literary works into a fragmentary performance art, as a form of adaptation and modification of literary works into a performance medium. Data collection was conducted through reading, translation, and observation methods, using techniques such as note-taking, direct translation, transcription, and interviews. The data were analyzed using a qualitative method supported by descriptive-analytical techniques and examined through Sapardi Djoko Damono's theory of transformation or intersemiotic transfer. The results of the analysis are presented using both formal and informal methods, through deductive and inductive techniques. The findings of this study reveal the transformation process of Tutur Taru Pramana into the performance Fragmentari Solah Tutur Taru Pramana, which involves reduction, adaptation, and modification. The results of this research are expected to serve as a reference for similar studies and to foster gratitude for the environment, empathy toward others, and efforts to maintain the balance of plant ecosystems.
Folklore Of Sang Sandiaka Based On The Function Theory, Morphological Theory And Mythological Theory At Depeha Village, Kubu Tambahan District Ni Nyoman Seri Astini; I Nyoman Weda Kusuma; I Nyoman Suarka; I Wayan Suardiana
e-Journal of Linguistics Vol. 13 No. 1 (2019): January
Publisher : The Doctoral Studies Program of Linguistics of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/eJL.2019.v13.i01.p07

Abstract

This study aims to find the functions and ideologies of Depeha Village folklore entitledSang Sandiaka. The focus of the problems to be studied in this study consists of three things; theyare: (1) to find out the narrative structure of the folklore of Sang Sandiaka, (2) to find out thefunctions of the story, and (3) to find out the ideologies in it. The type of this study is qualitative.The theories used in this study are the morphological theory , the function theory and themythological theory. The data were collected through documentation and interview. Thus theanalysis started with a review of Sang Sandiaka's story, then the narrative structure and thefunction as well as the meaning of the story, and the ideologies contained in it were presented.The results of this study showed that: (1) the story of Sang Sandiaka functions to remind the past,as non-formal education of the community and as the entertainment for the Depeha Villagecommunity, and (2) the ideologies which the folklore contain are the ideology of leadership andthe ideology of social equality.
COUNSELING OF HINDU RELIGION THROUGH PERFORMANCES TOPENG BONDRES ART I Gusti Ngurah Ananjaya; , I Made Surada; I Nyoman Suarka
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 6 No 2 (2022)
Publisher : UHN I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/vidyottama.v6i2.1676

Abstract

Counseling on Hinduism is carried out in many ways, such as through dharma wacana, dharma tula, dharma gita and others. But all that is currently rarely in demand. People prefer shows that are not serious and contain funny content. To address this, the government is trying to change its strategy by using Topeng Bondres (Bondres mask) as a medium. This Bondres is a kind of spectacle that contains more humorous elements so that people are interested in watching it. In order for the teachings of Hinduism to reach the people, these teachings are inserted in it along with funny things. If the teachings are taken seriously, people get bored quickly and quickly switch. Bondres masks have the usual communication style as people do so that they are more able to accept it. Rumors of Hindu teachings at the time of a funny appearance made people interested. Hindu teachings are accepted naturally and are not considered something to be afraid of. This work descriptively describes how Bondres masks are used as a medium for counseling Hindu religion. This media is said to be very effective in conveying Hindu religious teachings because people prefer entertainment than formal religious lectures.
THE REPRESENTATION OF PUJASMARA IN ABUANG DANCE IN TENGANAN PEGRINGSINGAN VILLAGE, MANGGIS DISTRICT, KARANGASEM REGENCY Ni Ketut Riska Dewi Prawita; I Nyoman Suarka; I Nyoman Linggih
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 7 No 1 (2023)
Publisher : UHN I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/vidyottama.v7i1.2318

Abstract

Abuang dance is one of the dances that accompany religious ceremony at Usaba Kasa and Usaba Sambah in Tenganan Pegringsingan. The art of dance provides an image of worshiping the greatness of God through beauty, therefore Sang Hyang Smara is believed to be God of worship as God of Beauty. This research is a qualitative research with an ethnographic research approach. The results of the research show that Abuang Dance contains many symbols of Pujasmara that can be internalized to the Tenganan Pegringsingan community, Pujasmara's representation in Abuang Dance is shown by dancers, fashion, property, movement, and selonding gamelan. The belief of the Tenganan Pegringsingan community is a belief in local wisdom based on the desa, kala, patra which cannot be changed, but remains in the teachings of the Hindu religious scriptures that God is One ‘Esa’.
HINDU THEO-LINGUISTICS: SANSKRIT AS THE LANGUAGE OF HINDU THEOLOGY IN LONTAR BHUWANA SANGKSEPA Putu Eka Sura Adnyana; I Nyoman Suarka; Relin D.E; Ni Nyoman Suryani
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 8 No 1 (2024)
Publisher : UHN I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/vidyottama.v8i1.2496

Abstract

Sanskrit has its prestige for the narrators, thus encouraging the narrators to use Sanskrit terminology and Sanskrit vocabulary in the process of composing Kawi literature. One of the types of literature referred to and contains philosophical, religious, and life values is the Tutur text. Bhuwana Sangksepa is a speech text that uses two languages, namely Sanskrit and Old Javanese, in the content of the text. This paper uses the theory of Theo-linguistics which is an interdisciplinary theory, that etymologically comes from the words theology and linguistics.  In addition, to support data acquisition in data collection, it is also combined with interview techniques. Interview techniques are often referred to as interviews. The method of analyzing language research data is the agih method (distributional method) and the translational pairing method. The analyzed data will then be presented using formal and informal methods. Lontar Bhuana Sangkṣepa is one of the important lontar that contains the teachings of Hinduism (Siwatattwa). The text of Lontar Bhuana Sangkṣepa contains a dialog between Bhaṭāra Śiwa and Bhaṭāri Uma accompanied by Bhaṭāra Kumara. Lontar Bhuana Sangkṣepa consists of 128 śloka of Sanskrit with Old Javanese. Lontar Bhuwana Sangkṣepa can be understood as one of the oldest lontars, but after lontar Bhuwana Kośa and Jñana Siddhanta. The texts included in this category are most likely the oldest because as a benchmark for the use of Sanskrit śloka contained in the text, they reflect the situation at a time when Sanskrit texts were still circulating in the archipelago and the language was still actively used and well understood by scholars. The implementation of Sanskrit in śloka through Old Javanese/Kawi language commentary that contains Hindu theological teachings, namely: Bhaṭāra Śiwa, Iṣṭa Dewatā, Sṛṣti Bhuwana Agung, Śūnya, Swara-Wyañjana, Smarana, Nirbāṇa/Nirvāṇa, and Pralaya.
Conflict and Harmony Between Desa Adat and the Bali Provincial Government Following the Enactment of the Regional Regulation on Customary Village 2019 I Putu Gede Sridana; I Wayan P. Windia; I Nyoman Suarka; Ni Luh Sutjiati Beratha
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 14 No. 2 (2024): Reclaiming Cultural Heritage
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2024.v14.i02.p12

Abstract

The Bali Provincial Government collaborates with desa adat (customary village) to enhance their strength and resilience, notably through the enactment of Province of Bali Regulation Number 4 of 2019. However, excessive regulatory impact may diverge from this goal. This study explores the ideological framework shaping interactions between desa adat and the government post-regulation. Using a qualitative methodology, data were collected through literature review, observations, and in-depth interviews. The findings draw on theories of hegemony, ideology, discourse, and the power of knowledge. Hidden ideologies of power, capital, and religion influence these interactions. The regulation's uniform framework on diverse desa adat leads to resistance and inefficiency, reflecting hegemonic control and the use of ideology and knowledge to legitimize power. This article contributes to developing legislation that empowers the desa adat while maintaining their unique characteristics.
Articulation of Indonesian Identity in Mahabharata Epic Puppet Comics by Sundanese, Javanese, and Balinese Comic Artists I Wayan Nuriarta; I Nyoman Suarka; Ida Ayu Laksmita Sari; Suryadi
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 14 No. 1 (2024): Articulating Identity
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2024.v14.i01.p02

Abstract

This research examines Mahabharata epic puppet (wayang) comics, created by three renowned comic artists: R. A. Kosasih, Teguh Santosa, and Gun Gun, who respectively have Sundanese, Javanese, and Balinese cultural backgrounds, through the lens of Indonesian identity articulation. The comics of wayang which translates ‘puppet’, are a distinctive genre that employs panels to depict puppetry tales. While being influenced by foreign cultures such as American comic art and the Indian Mahabharata epic, these artists intentionally incorporate Indonesian elements into their works. This is evident from 1955 to the present. This research used a critical qualitative descriptive approach to investigate the articulation of the identity discourse within the cultural realm of comics. The comic works of the artists are analysed through articulation and hegemony theory. The research concludes that the artists’ works establish a cultural connection and relate cultural comic art to Indonesian readers. This not only constructs Indonesian identity but also promotes cultural diversity.
Menari Tanpa Rasa: Pendidikan Kritis Anak Tunagrahita dalam Pembelajaran Seni Tari di SDLB Kuncup Bunga Denpasar Ni Putu Diah Astriningsih; I Nyoman Suarka; I Gede Mudana
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 9 No. 1 (2019): WACANA KRITIS BUDAYA BALI
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2019.v09.i01.p10

Abstract

The importance of critical education for mentally retarded children in learning Balinese dance is related to learning, knowledge, and training for mentally retarded children. Critical education as an approach that can help marginalized mentally retarded children in obtaining dance learning to realize the social reality faced in education. Therefore,this article seeks to find out the relationship between critical education for mentally retarded children and the dance learning at the Denpasar Extraordinary Primary School of Kuncup Bunga. Critical education relations relate to the relationship of government stakeholders, teachers, communities, and parents of students who have power over mentally retarded children. The teacher considers mentally retarded children as weak children have unilaterally produced the most marginalized students in the Denpasar Kuncup Bunga Extraordinary Primary School.
Cerita Klasik “Tantri Kamandaka” sebagai Sumber Ekonomi Kreatif I Nyoman Suarka; AA. Gede Bawa
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 8 No. 1 (2018): MODAL BUDAYA PARIWISATA BALI
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This study aims to analyze a classical literary Tantri Kamandaka text as creative economic resources. This research a empts to o er the idea of literary studies to the downstream of research results that can be utilized as much as possible for the welfare of the community. As with the text of Tantri Kamandaka, in addition to being a medium of the nation’s character values, it can also be empowered as creative economic resources or cultural industry. This research made use of content analysis model and medium transfer study. The method used was a method of creating art works by covering the exploratory stage, the exploring activity to uncover the sources of ideas was based on the reading and comprehending Tantri Kamandaka text; the design stage was visualizing the results of ideas exploration into sketches or alternative design to nal draft; and the stage of embodiment, which was to establish the nal design into a prototive model until the perfect work was created in accordance with the ideas. The results show that the text of Tantri Kamandaka potential as a source of creative economy, especially as a source of inspiration for the creation of creative economic product designs.
Co-Authors , I Made Surada A.A. Gde Alit Geria Alit Geria A.A. Gede Bawa A.A. Gede Bawa A.A. Kade Sri Yudari A.A. Ketut Agung Cahyawan W A.A. Ngurah Anom Kumbara AA. Gede Bawa AA. Gede Bawa Admin OJSIkip Anak Agung Bagus Wirawan Anak Agung Ngurah Anom Kumbara Anak Agung Raka Asmariani Ardjani, Ni Luh Bagus Wahyu Sudhyatmika Bawa, Anak Agung Gde Cerita, I Nyoman Desak Putu Andi Suarmini Dewa Gede Bambang Erawan Diah Savitri, Putu Dian Saputra, I Made Dr Pudentia Dra Dafirah Duija, I Nengah Dwi Mahendra Putra Erna Supriathi, Ni Kadek Farhaeni, Mutria Fauzan Al Jundi Fransiscus Bustan Gde Artawan Gede Indrawan Gede Yoga Kharisma Pradana George Mentansan Gitananda, W.A. Sindhu Gusti Ayu Novaeni Hamiruddin Udu, Hamiruddin I Gde Parimartha I Gede Arya Sugiartha, I Gede Arya I Gede Mudana I Gede Oeinada I Gusti Ayu Agung Mas Triadnyani I Gusti Ayu Andani Pertiwi I Gusti Ayu Sri Widiantari I Gusti Ngurah Ananjaya I Gusti Ngurah Seramasara, I Gusti Ngurah I Gusti Ngurah Sudiana I Gusti Ngurah Sudiana I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Darmana I Ketut Jirnaya I Ketut Muka I Ketut Setiawan I Ketut Sudewa I Made Agus Oka Gunawan I Made Arik Wira Putra I Made Arik Wira Putra I Made Dian Saputra I Made Dian Saputra I Made Dian Saputra I Made Gede Anadhi I Made Suastika I Made Sukma Manggala I Made Suyasa I Made Wijana . I Nengah Duija I Nengah Duija, I Nengah I Nengah Sudipa I Nyoman Darma Putra I Nyoman Dhana I Nyoman Kutha Ratna I Nyoman Linggih I Nyoman sukiada I Nyoman Suwana I Nyoman Weda Kesuma I Nyoman Weda Kusuma I Nyoman Weda Kusuma I NYOMAN WIJAYA I Nyoman Winyana, I Nyoman I Nyoman, Rema I Putu Gede Sridana I Putu Gede Suyoga I Wayan Ardika I Wayan Cika I Wayan Mulyawan I Wayan Nuriarta I Wayan P. Windia I Wayan Suardiana I Wayan Suharta, I Wayan I Wayan Suka Yasa I Wayan Suwena I Wayan Suwena I Wayan Tagel Eddy Ida Ayu Gede Artayani Ida Ayu Istri Agung Dharmayanti Ida Ayu Kade Sri Sukmadewi, Ida Ayu Kade Ida Ayu Laksmita Sari Ida Ayu Trisnawati, Ida Ayu Ida Bagus Gde Putra Ida Bagus Jelantik Ida Bagus Kade Gunayasa Ida Bagus Made Wisnu Parta Ida Bagus Nyoman Mantra Ida Bagus Oka Wedasantara Ida Bagus Rai Putra Igaa Mas Triadnyani Jro Made Gede Aryadi Putra Juliana, I Wayan Kamidjan Kamidjan Ketut Widya Purnawati Komang Adi Sastra Wijaya Komang Paramartha Kumiko Shishido Kurniawan, Putu Widhi Kusuma Wardana, Kadek Lilik Rita Lindayani Made Dian Saputra Made Narawati Made Paramasuta Wijaya Maliudin, Maliudin Maria Matildis Banda MPSS, Pudentia Muh Alifuddin Muhammad Badaruddin Ni Ketut Ratna Erawati Ni Ketut Riska Dewi Prawita Ni Luh Gede Meilantari Ni Luh Nyoman Kebayantini Ni Luh Sutjiati Beratha Ni Made Ari Dwijayanthi Ni Made Indiani Ni Made Ruastiti Ni Made Wiasti Ni Nyoman Karmini Ni Nyoman Kartini Ni Nyoman Seri Astini Ni Nyoman Suryani Ni Putu Diah Astriningsih Ni Putu Diah Astriningsih Ni Wayan Ardini, Ni Wayan Ni Wayan Sumitri Ni'mah, Mamluatun Novena Ade Fredyarini Soedjiwo Nyoman Adiputra Nyoman Kutha Ratna OJSIkip, Admin Parahita Nugraha, Gemara Adhiyasa Paramita, Ida Bagus Gede Pradnyawati, Ni Ketut Sukma Pujaastawa, Ida Bagus Gde Pujana, Ida Bagus Anom Wisnu Putra, Ansor Putu Ari Suprapta Pratama Putu Eka Maharani Putu Eka Sura Adnyana Putu Gede Sridana Putu Sanjaya Putu Titah Kawitri Resen Rahmat Sewa Suraya Raka Asmariani, Anak Agung Relin D.E Rema I Nyoman Rianti Simbolon Rudi Irawanto Rustiani, Komang Wahyu S, Aswandikari Sachiko Takasaki Samsul Samsul Sanjaya, Putu Savitri, Putu Diah Setya Yuawana Setya Yuwana Silvia Damayanti Sri Marheni, Komang Sri Martini Subrahmaniam Saitya, Ida Bagus Sugiarta, I Gde Arya Suka Yasa, I Wayan Suroyo Suroyo Suryadi Suryadi Suryadi Syamsul Arifin Tadjudin Maknun TATI NURHAYATI Tjokorda Rai Sudharta Wayan Nurita