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All Journal Jurnal Ilmu dan Teknologi Kelautan Tropis Cakrawala Pendidikan E-JURNAL LINGUISTIK E-Journal Of Cultural Studies (JELIKU) Jurnal Elektronik Ilmu Komputer Udayana Linguistika Forum Arkeologi Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Arsitektura : Jurnal Ilmiah Arsitektur dan Lingkungan Binaan International Journal of Interreligious and Intercultural Studies Jurnal Penelitian Agama Hindu
I Made Suastika
Udayana University
Religion Arts Humanities Biochemistry, Genetics & Molecular Biology Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Education Engineering Environmental Science Languange, Linguistic, Communication & Media Library & Information Science

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Journal : E-Journal Of Cultural Studies

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BARONG MEETING AT PUCAK PADANG DAWA TEMPLE BATURITI TABANAN REGENCY: IN THE PERSPECTIVE OF CULTURAL STUDIES Dana, I Wayan; Dibia, I Wayan; Putra Agung, A.A. Gde; Suastika, I Made
E-Journal of Cultural Studies Vol. 3, No. 2 Juli 2009
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This dissertation contains research findings on the Barong Meeting, a multidimentionalcultural event performed at Pucak Padang Dawa Temple, Baturiti Tabanan Regency. Such ameeting is attended by more than sixty various barongs and rangdas of various types comingfrom various areas in Central Bali, and is the biggest in Bali. The research on such a culturalphenomenon is intended to reveal holistically the existence of the Barong Meeting while theprocess of modernization is taking place in Bali nowadays.Such a cultural phenomenon was investigated based on the problems formulated inseveral research questions. (1) How is the Barong Meeting performed at Pucak Padang DawaTemple, Baturiti, Tabanan Regency?; (2) what ideology is referred to by the Barong Meeting atPucak Padang Dawa Temple, Baturiti, Tabanan Regency?; (3) What does the Barong Meetingmean viewed from the socio cultural system of the Balinese society?By applying qualitative method and regarding the Barong Meeting as a multilayerentity, this study is intended to understand and analyze the ideology and meaning contained inthe Barong Meeting, which is believed to have centralistic strength making the cultures fromvarious areas of Central Bali meet. The problems were solved by applying some relevanttheories such as the theory of power relationship, the theory of religions, the theory of esthetics,and the theory of semiotics.Five important findings of this study are; Firstly, the Barong Meeting at Pucak PadangDawa Temple is a cultural event with religious, social and theatrical dimensions. Secondly, theBarong Meeting is an old religious ritual viewed from what is stated in Purana of the LuhurPucak Padang Dawa Temple. Such a Barong Meeting is still carried out by the society membersat Bangli Village. Thirdly, the Barong Meeting is a cultural event covering the areas of CentralBali such as Tabanan Regency, Negara Regency, Badung Regency, Gianyar Regency and BangliRegency. Fourthly, the Barong Meeting is not an event which is habitually carried out but aritual ceremony which is dynamically repeated by absorbing innovations which still refer to thephilosophy and ethics of Hinduism, making it able to develop collective awareness respectingdiversity featuring the era’s life. Fifthly, the Barong Meeting is a religious event realizingconcrete, real and direct actions based on Hindusm. Such a ritual ceremony densely containingartistic values emphasizes the dynamic relationship and integratedness of performance of artsand art performance in the cultural activities performed in Bali Hindu.What can be concluded in this study shows that the Barong Meeting at Pucak PadangDawa Temple, Baturiti, Tabanan Regency, serves as an inviting and attending processioncovering the initial, the essence, and the end which is both centripetal and centrifugal. Theideology referred to is worshipping, power, and performance. The integration of these three basicideas present ritual ceremony dimension, social activity, and art performance, making the BarongMeeting a multidimensional event. The Barong Meeting contains multilayer senses such asmagic religious, socio unifier, politics of authority, economics and esthetics.
THE USE OF ELECTRIC ENERGY FOR HOUSEHOLD NEEDS AT SUKAWATI DISTRICT, GIANYAR REGENCY: IN THE PERSPECTIVE OF CULTURAL STUDIES Jondra, I Wayan; Agung, A. A. Gde; Wijaya Kusuma, I G. B.; Suastika, I Made
E-Journal of Cultural Studies Vol. 5, No. 2 Juli 2011
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Sukawati District, Gianyar Regency is one of the tourist attractions anddestinations. Sukawati has Sukawati art market and Guwang market, art shops,craftsmen, wood carvers, painters, traditional and contemporary artists. They all completethe atmosphere at Sukawati. As a result, more and more people intend to build housesthere for which more and more electric energy is needed. This study was conducted toevaluate the use of electric energy at Sukawati District. The problems are formulated asfollows: how electric energy is used; how comodification takes place; how thegovernment and Perusahaan Listrik Negara, abbreviated to PLN (the Utility Company)dominates people and how the people resist the government’s hegemony, what are theeffects and meanings of the electric energy used at Sukawati District.Qualitative method supported by quantitative data, which characterize CulturalStudies, was adopted in this study. The data were taken from primary resources andsecondary resources. Qualitative method was eclectically employed for analyzing thedata supported by the theory of consumer behavior, the theory of comodification, thetheory of hegemony, the theory of knowledge and power and the theory ofdeconstruction. The results of the study were formally presented using tables, graphs andpictures and were informally narrated.The results of the study show that the increase in the number of population hasresulted in the increase in the number of traditional houses without/with slightmodification and modern houses. The rise in the number of houses has resulted in the risein electricity needed for illumination, mechanical purposes and so forth. The peopleliving at traditional houses use less and simpler electric utilities than those living atmodern houses. The electric utilities used are highly influenced by both internal andexternal factors. The advertisements of electric utilities also contribute to the use ofelectric utilities, meaning that electricity has touched what is required by the people atSukawati District. By referring to the 1945 Constitution, the PLN has dominated thedistribution of electricity. This has been used to comodify electric energy by changing itsstatus into a limited liability company, and to increase the basic rate of electricity (tarifdasar listrik, abbreviated to TDL) with its various scenarios socialized through massmedia. The government and the PLN dominate the community to accelerate their comodification practices. Such a dominance or hegemony is resisted by the traditionalpeople by strengthening their Balinese identity through the preservation of Balitraditional houses. Electricity has covered all the banjar/dusun (neighborhood under avillage) resulting in different effects such as giving up bathing in the public bathingplace, the extinction of informal communication among the people, renegotiation ofsacred values, change in orientation of the sekas (the traditional groups established forparticular purposes) from being orientated their activities to non economic motivationsinto economic ones. The different backgrounds of the people at Sukawati District havecaused the meaningfulness of the availability of electricity to vary.
SPATIAL ALTERATION AT UBUD TRADITIONAL VILLAGE, GIANYAR, BALI IN THE GLOBALIZATION ERA: A CULTURAL STUDY Artha Ardhana Sukawati, Tjokorda Oka; -, Sulistyawati; Parimartha, I Gde; Suastika, I Made
E-Journal of Cultural Studies Vol. 3, No. 1 Januari 2009
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

In the era of globalization much spatial alteration has taken place at Ubud TraditionalVillage, Gianyar Regency, Bali as the consequence of fast development of tourism. The aspectswhich have changed, as the result of the shift from agricultural culture to tourism culture since1970, include the spatial relationship between man and God (parhyangan), the spatial relationshipbetween man and his environment (palemahan), and the spatial relationship between man and hisfellow being or the three things which cause physical and spiritual prosperity among human beings.This research in cultural studies was conducted to reveal the spatial alteration which hadtaken place at Ubud Traditional Market in the globalization era especially since 1970 as theconsequence of the fast development in tourism. The data were analyzed by applying qualitativeanalysis technique, eclecticism of the theory of change, the theory of space, the theory ofhegemony, and critical and practical theories. The research was conducted by employing qualitativemethod which features cultural studies.The results of the research show that the increase in population and in what is needed bytourism has led to the spatial alteration in parhyangan in the village and home levels. The spatialalteration in pawongan as a unity of membership (krama) does not take place and the spatialalternation in families does not either. This indicates that Ubud Traditional Village is getting morecomplex in facing modern and global condition with its commercial culture. Its tradition,agricultural culture and nature have contributed to the development of tourism. In regard topalemahan, catus patha has not been the only center of orientation any more. The settlement of thepopulation has followed the development of tourist facilities. Tourism has also altered the landusefulness causing zero-settlement based on groups of banjar (neighborhood under a traditionalvillage) to be irrelevant. In regard to the patterns of space occupied by families, the walls built toseparate one family from another have been demolished; the buildings (bale) have beenrehabilitated, teba (the unoccupied part of a compound where animals raised for sale are usuallykept and rubbish are usually gathered) has been exploited. The change in people’s behavior frombeing non commercial into commercial has blurred the layout and function of the buildings built inthe zones of madya (immediate level) and nista (lower level).
STEREOTYPE OF MADURESE ETHNIC PEOPLE MADE BY JAVANESE ETHNIC PEOPLE THROUGH HUMORS Tabrani, Akhmad Tabrani; Mbete, Aron Meko; Suastika, I Made Suastika; Mariyah, Emiliana Mariyah
E-Journal of Cultural Studies Vol 8 No 2 (2015): Volume 8, Number 2, May 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This study was inspired by several things such as (1) there was a negative impression on the Madurese ethnic people’s attitude and behavior, (2) the conflict taking place between the Madurese ethnic people and the other ethnic groups which resulted from the wrong impression on the Madurese ethnic people, (3) there was a close contact between the attitude and behavior of the Madurese ethnic people and the attitude and behavior of the other ethnic peoples outside Madura. This present study was intended to identify the form, factor, and impact of the stereotype of the Madurese ethnic people made by the Javanese ethnic people through humors. The data in the present study were collected through in-depth interview, observation, documentary study, and library research. There were several factors which contributed to the stereotype of the Madurese ethnic people made by the Javanese ethnic people through humors such as (a) education, (b) legitimacy of violence, (c) ideology, (d) the resistance of the Madurese ethnic people to the Javanese ethnic people, and (e) the Madurese people’s attitude and behavior. The stereotype on the Madurese ethnic people was created to give an inaccurate image although to some extent it was true. The ethnical humor leads to ethnical stereotype. The ethnical humor, which, in this case, was created by the dominant ethnic people, which, in this case, the Javanese ethnic people, contained satire, dislike, hatred, insulting, praise, and resistance of the Madurese ethnic people to the Javanese ethnic people.
DECONSTRUCTION OF THE SYMBOLIC MEANING OF THE KERATON SURAKARTA ARCHITECTURE S. Pitana, Titis; Semadi Astra, I Gde; Suastika, I Made; Yudha Triguna, I. B. Gde
E-Journal of Cultural Studies Vol. 4, No. 2 Juli 2010
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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This dissertation is the result of a study entitled ”Deconstruction ofthe Symbolic Meaning of the Keraton Surakarta Architecture.” This studyis intended not to understand the Keraton Surakarta architecture as aphysical materialization of architectural planning and design. Rather, inthis study, the Keraton Surakarta is the material object of a study on thedeconstruction of the symbolic meaning which focuses on three mainproblems: (1) the cause of the deconstruction of the symbolic meaningtoward the Keraton Surakarta architecture; (2) the deconstruction processof the symbolic meaning; and (3) the implication of the deconstructiontoward the social-cultural life of the keraton people and Surakarta society.
JOGED DANCE IN YOUTUBE Suartaya, Kadek; Suastika, I Made; Dibia, I Wayan; Agung, Anak Agung Gde Putra
E-Journal of Cultural Studies Vol 9, No 3 (2016): August 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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In Indonesia Joged Bumbung is a dance which was created in Bali; it is known as tari pergaulan, namely, a social dance which is performed to make friends; however, it has   innovated so freely that it becomes a dance with pornographic movements  presented vulgarly.   The recording of such a dance can be easily watched in YouTube; it can also be easily watched in shared video web sites, through which the users can download, watch and share different video clips free of charge. The problems of the present study are (1) what is the negative impact of the pornographic joged dance on the aesthetic values of Joged Bumbung; (2) how negatively people view the dancers and group of such a pornographic joged dance; (3) how negatively people view the Balinese cultural art resulting from the fact that such a pornographic joged dance has been uploaded in YouTube? The main objective of the present study is to identify the negative impact of the pornographic joged dance in YouTube. The data were collected through observation, interview, and library research. The collected data were then analyzed descriptively and qualitatively using the phonological theory; and the qualitative method is used. It can be concluded that the pornographic joged is still watched in different parts of the island; it is watched every night. The government, art observers, and the society’s leaders are anxious about the negative impact of such a joged dance on those who are involved in its performance. Therefore, the Bali government has persuaded the dancers and groups that are involved in the performance of such a joged dance to return to the ethical choreography of the performing art of Joged Bumbung. The government has directly met them for this purpose; however, what has been done has not been successful yet. There were three negative impacts of such a joged dance presented in YouTube. They are (1) the art value of the Joged Bumbung dance has become degraded; (2) the dancers have been immorally justified; and (3) the Balinese art and culture have been distorted.
CENK BLONK LEATHER PUPPET PERFORMANCE WITHIN POPULAR CULTURAL CONTEXT Marajaya, I Made Marajaya; Suastika, I Made Suastika; Dibia, I Wayan Dibia; Ratna, I Nyoman Kutha
E-Journal of Cultural Studies Vol 8 No 3 (2015): Volume 8, Number 3, August 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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This present study is intended to discuss the Cenk Blonk leather puppet performance “Wayang Kulit Cenk Blonk (abbreviated to WKCB) within the popular cultural context. If viewed from the perspective of cultural studies, this present study is concerned with a new reality and phenomenon in the Balinese puppetry art. The Balinese leather puppet performance, which does not refer to the source book of the shadow play story “pakem pewayangan” and the puppetry norm “Dharma Pewayangan”, is preferred by many people. This present study analyzes the form, factor, and meaning of the WKCB performance with the popular cultural context using the theory of popular culture, the theory of deconstruction, and theory of discourse. The qualitative interpretative method was used. The data were obtained through observation, in-depth interview, and documentary study. The data were analyzed using the descriptive, qualitative and interpretative method of analysis. The data were presented starting from the basic data, data presentation, data analysis and conclusion. The result of the study shows (1) the WKCB was performed as part of the promotional activity; (2) the WKCB was performed as part of the socialization activity; (3) the WKCB was performed as part of the commemoration of anniversaries. Second, the factors contributing to the WKCB performance within the popular cultural context included: creativity, art sustainability, the practice for the supporting artists, the modern cultural impact, the advance in technology, and the market demand. The meanings of the WKCB performance within the popular cultural context included: the aesthetic meaning, the social meaning, the welfare meaning, the amusing meaning, the political meaning, the conservation meaning, and the image meaning. The novelty shows that the WKCB performance within the popular cultural context presents the elements of popular works, popular discourses, the change in presentation, the change in the performing apparatus, and the freedom in receiving messages from those who have it performed to be transmitted to viewers.
RELIGIOUS TRANSFORMATION OF SENI DODOD TAKING PLACE AT MEKAR WANGI VILLAGE SOUTH BANTEN Kasmahidayat, Yuliawan; Dibia, I Wayan; Alwasilah, A. Chaedar; Suastika, I Made
E-Journal of Cultural Studies Vol. 5, No. 1 Januari 2011
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Religious transformation of Seni Dodod taking place at Mekar Wangi Village, SaketiDistrict, Pandeglang Regency, South Banten, Banten Province enriches the analysis of thecommunity cultural pattern based on the art characteristics born and developing in thecommunity. In relation to that, this study describes the cultural phenomenon of religioustransformation as the ideological basis of the pre-modern, modern and postmodern communities.Multidisciplinary qualitative method was employed in this study and the data needed werecollected by in-depth interview, participatory observation and documentation techniques. Thefindings show that the Seni Dodod has the belief or the religion adhered to by the people living atMekar Wangi Village as its religious background. Such a belief affects the relation patternbetween the individuals and their community, nature and God. This is used as the reference inwhat is done in the agricultural process, making Seni Dodod a cult and realizatrion. When thecultural transformation process was taking place, it was found that there was a point of contactbetween traditional arts and modern arts outside the domain of Seni Dodod . Nowadays newcompositions of Seni Dodod have been created functioning as instruments of wedding andkhitanan rituals (khitanan = a feast celebrating a circumcision). The process of acculturation wasformally performed at school by using its compositions as the learning material of art andculture. Its application in its original form and composition was informally inherited throughSeni Dodod studios, the youth and villagers. Its religious meaningfulness was reflected from thecountry life performed by the people living at Mekar Wangi village. Such meaningfulness wasbased on that given by the leaders of pondok pesantren (Muslem boarding school) and on theexplanation clarifying, showing, separating and elaborating seven clauses of Al-Qur’an. Themeaningfulness provided resulted in intactness of movements, the costumes worn, the poem oflutung kasarung , the magic formula or the prayers used. In addition, it was also referred to asMuslim art and culture. It seems that nowadays a shift has taken place as far as its function isconcerned. It used to be employed as a means of agricultural ritual but now it has been animportant part of wedding and khitanan rituals; however, it has not been employed as a secularart
THE HEGEMONY IMPOSED BY THE GOVERNMENT AND THE RESISTANCE OF WETU TELU SASAKNESE ETHNIC GROUP AT BAYAN DISTRICT, NORTH LOMBOK REGENCY Wirata, I Wayan; Parimartha, I Gde; Suastika, I Made; Subagiasta, I Ketut
E-Journal of Cultural Studies Vol. 4, No. 1 Januari 2010
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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This research is entitled “The Hegemony Imposed by the Government and theResistance of Wetu Telu Sasaknese Ethnic Group at Bayan District, North Lombok”.The interaction between the government and the Wetu Telu Sasaknese community atBayan District has resulted in differences in views, ideas, and behaviors leading tofriction and refusal or opposition from the community.This research is focused on 1) how has the hegemony imposed by thegovernment upon the Wetu Telu Sasaknese Ethnic Group residing at Bayan District,North Lombok Regency taken place? 2) what has been done by the people of the WetuTelu Sasaknese Ethnic Group residing at Bayan Distrik, North Lombok to resist to thehegemony imposed by the government upon them? and 3) what are the effects andmeanings of the hegemony imposed by the government and the resistance of the WetuTelu Sasaknese Ethnic Group on the multicultural community life at Bayan District,North Lombok Regency?The data needed were collected by interview, observation, and documentationand were descriptively, qualitatively and interpretatively analyzed. The theories used togive answers to the problems formulated above are the theory of hegemony (Gramsci),the theory of deconstruction (Jacques Derrida), and the theory of discourse (Foucault).The results show that the hegemony imposed by the government has taken placein a number of particular aspects such as the religious aspect, socio political aspect,cultural aspect and educational aspect. Being marginalized and being not free indeveloping their tradition and culture, the people of Wetu Telu Sasaknese Ethnic Groupresiding at Bayan District, North Lombok Regency, have been responsible for theirresistance to the government and the followers Islam Waktu Lima. The resistance hasbeen shown by avoiding, refusing and even opposing what is considered not inaccordance with their tradition and culture.One of the effects of the hegemony imposed by the government and theresistance made by the people of the Wetu Telu Sasaknese Ethnic Group residing atBayan District is that there has been imbalanced communication between the followersof Islam Waktu Lima (which collaborates with the government) and the Wetu TeluSasaknese Ethnic Group residing at Bayan District leading to a social conflict. The othereffects have been that such a social conflict has disturbed the social life of the community, has led to a paradox of cultural preservation, and has narrowed the power ofthe Wetu Telu Sasaknese Ethnic Group residing at Bayan District. From the meaningpoint of view, what has taken place at Bayan District has philosophical and multiculturalmeaning as well as the meanings of struggle for identity, cultural preservation anddynamism.
PANGGUNG BANGSAWAN STUDI POLITIK KEBUDAYAAN DI DAERAH RIAU LINGGA: PERSPEKTIF KAJIAN BUDAYA Arybowo, Sutamat; Ardika, M.A., Prof. Dr. I Wayan; MPSS, M.A., Dr. Pudentia; Suastika, M.A., Prof. Dr. I Made
E-Journal of Cultural Studies Vol. 2, No. 1 Mei 2008
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Penelitian ini membahas “Panggung Bangsawan Studi Politik Kebudayaan di Daerah Riau Lingga: Perspektif Kajian Budaya”. Panggung Bangsawan adalah teater rakyat yang pada masa Orde Lama memiliki kekuatan ritual, lalu zaman Orde Baru hampir punah. Pemerintah Orde Baru merevitalisasi teater tersebut sebagai identitas budaya Melayu tetapi bukannya berkembang, melainkan malah surut. Tujuan penelitian ini: mendeskripsikan proses munculnya Panggung Bangsawan, menjelaskan peran negara terhadap Panggung Bangsawan, dan menganalisis makna politik kebudayaan dalam kaitannya dengan identitas budaya Melayu yang baru.Penelitian ini dilaksanakan dengan metode kualitatif. Peneliti menggali budaya dalam konteksnya dengan dunia nyata dan perspektif pelaku masyarakat seni. Tahap pertama, dilakukan pengumpulan data primer dan sekunder. Tahap kedua, memilih teori untuk mengkaji data. Tahap ketiga, menganalisis dan menginterpretasikan data yang telah diseleksi. Tahap keempat, melakukan penulisan dan konstruksi hasil penelitian. Teori yang digunakan: estetika, hegemoni, semiotika, dan dekonstruksi.Hasil penelitian: Pertama, proses munculnya Panggung Bangsawan, realitasnya meliputi prapentas, peristiwa pentas, dan pascapentas. Pada masa prapentas dan pascapentas ini, muncul pertarungan wacana dengan berbagai kepentingan perorangan atau kelompok. Kedua, peran negara terhadap Panggung Bangsawan, menumbuhkan hegemonisasi. Hegemoni tersebut berdampak pada pergeseran isi cerita tentang kekuasaan. Pada zaman Orde Lama, sistem politik yang berlaku mengikuti pola mechanics of power, sedangkan zaman Orde Baru mengikuti pola poetics of power. Ketiga, makna politik kebudayaan dalam kaitannya dengan identitas budaya Melayu, bahwa setelah dilaksanakan Revitalisasi Budaya Melayu 2004, pemahaman alam Melayu bergeser, mulanya memiliki batasan yang mengeras, sekarang batasan itu mencair. Identitas budaya Melayu yang baru bukan berdasarkan pada konvensi agama tertentu, melainkan lebih pluralistik.
Co-Authors A. A. Gde Agung A. Chaedar Alwasilah A.A. Gde Alit Geria Alit Geria A.A. Gde Putra Agung AA PT Candra Kartika Pratiwi Abdul Alim Aderlaepe Aderlaepe Agung, Anak Agung Gde Putra Akhmad Tabrani Ali Djamhuri Amin Sumadyo Ariana, I Ketut Eriadi Aron Meko Mbete Asmyta Surbakti Bernad Arifin Pasaribu Crustasia Aji Westriani Daryusti - Diah Savitri, Putu Dr. I Gde M.A. Parimartha Dr. Pudentia M.A. MPSS Edi Sedyawati Emiliana Mariyah I Gde Parimartha I Gde Parimartha Parimartha, I Gde Parimartha I Gde Semadi Astra I Gusti Agung Gede Arya Kadyanan I Gusti Ayu Sri Widiantari I Gusti Bagus Wijaya Kusuma I Gusti Ketut Gde Arsana, I Gusti Ketut Gde I Gusti Made Ngurah I Ketut Eriadi Ariana I Ketut Gede Harsana, I Ketut Gede I Ketut Jirnaya I Ketut Subagiasta I Ketut Sudibia I Ketut Tanu I Nyoman Kutha Ratna I Nyoman Kutha Ratna I Nyoman Murtana I Nyoman Sirtha I Nyoman Suarka I Nyoman Sukartha I Nyoman sukiada I Nyoman Suwija I Nyoman Weda Kesuma I Nyoman Weda Kusuma I Wayan Ardhi Wirawan I Wayan Ardika I Wayan Cika I Wayan Dana I Wayan Deddy Sumantra I Wayan Dibia I Wayan Dibia Dibia, I Wayan Dibia I Wayan Jondra I Wayan Suardiana I Wayan Subagia I Wayan Sukersa I Wayan Wana Pariartha Ida Bagus Gde Yudha Triguna Ida Bagus Made Wisnu Parta Ida Bagus Rai Putra Intan Ayu Puspita Ivana Thalia Iwan Indrawan Jendra, Made Ketut Ardhana Ketut Ardhana, Ketut Ardhana Khrisma Ananditya Leny Pramesti Luh Putu Puspawati Luh Putu Puspawati Luh Riniti Rahayu Luh Suwita Utami Made Iwan Indrawan Jendra Made Marajaya Maria Matildis Banda Mohammad Asrori Ni Luh Nyoman Kebayantini Ni Made Emmi Nutrisia Dewi, Ni Made Ni Made Rai Setyawati Ni Made Ruastiti Ni Nyoman Yuliawati Ni Putu Parmini Ni Wayan Putri Kuna Winaya Nurul Hasanah Nym. Kutha Ratna Nym. Kutha Ratna, Nym. Kutha Ratna Nyoman Kutha Ratna Nyoman Kutha Ratna Philip Teguh Imanto Prof. Dr. Nyoman Kutha Ratna S.U. Pulumun Peterus Ginting Putu Ari Suprapta Pratama Putu Rumawan Salain Putu Sukardja Regina Melianawati Renhat Marlianus Siki Setyawati, Ni Made Rai Singkir Hudijono Sri Purnama Sri Yuliani Suartaya, Kadek Sutamat Arybowo Swastya Darma Pradnyan, I Gusti Made Syamsul Arifin Titis S. Pitana Tjok. Istri Putra Astiti Tjokorda Oka Artha Ardhana Sukawati Yuliawan Kasmahidayat