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All Journal E-Journal Of Cultural Studies Harmonia: Journal of Research and Education Jurnal Kajian Bali MUDRA Jurnal Seni Budaya KALANGWAN PRABANGKARA Segara Widya: Jurnal Penelitian Seni Panggung Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Journal of Music Science, Technology, and Industry (JOMSTI) Community Development Journal: Jurnal Pengabdian Masyarakat Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan International Journal of Social Science Journal of Aesthetics, Creativity and Art Management Pensi: Jurnal Ilmiah Pendidikan Seni Panggung Global Art Creativity Conference
I Komang Sudirga
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Medicine & Pharmacology Public Health Social Sciences Other

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Pasantian Sebagai Sumber Inspirasi Riset dan Kreativitas I Komang sudirga
Mudra Jurnal Seni Budaya Vol 32 No 1 (2017): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i1.66

Abstract

Penelitian ini  mengungkapkan tentang kedudukan pasantian sebagai aktivitas budaya yang mengandung unsur-unsur seni kompleks yang menjadi tambang emas pengetahuan dan dapat memberikan peluang bagi para pengkaji dan kreator seni untuk mendiskusikan dan mewacanakan secara kreatif. Pasantian yang media utamanya bersumber dari karya sastra  banyak mengungkapkan pengalaman pengarang tidak hanya pengalaman estetis, tetapi juga pengalaman religius. Berdasarkan hasil kajian menunjukan bahwa dalam pasantian terdapat nilai-nilai kearifan lokal yang sangat relevan untuk pembentukan karakter bangsa. Untuk menguatkan jati diri bangsa aktivitas pasantian sangat layak untuk dikedepankan dan dijadikan sumber nilai pembentukan karakter. Pasantian merupakan aktivitas budaya yang mampu menjadi benteng pemertahanan budaya Bali yang  secara realitas telah ikut menguatkan sendi-sendi tradisi seni dan budaya Bali. Terdapat beberapa faktor yang dapat diungkap sebagai penyulut munculnya kreativitas. Bentuk-bentuk hasil kreativitas inovatif merupakan bentuk pembiakan kultural. Dalam kaitan kreativitas pasantian, faktor-faktor penyulut (pemicu) dapat diungkapkan karena tingginya frekuensi ruang ritual, tersedianya ruang kontestasi sosial dan media, serta bergulirnya era reformasi dan demokratisasi.
Nekara Pejeng: Representasi Peninggalan Karya Seni Zaman Praaksara Bali Ida Bagus Brata; I Komang Sudirga; I Ketut Laba Sumarjiana
Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i1.1750

Abstract

This paper was compiled based on the results of a study to identify and understand the Nekara Pejeng artifact as a representation of the heritage of Balinese pre-literacy. The conducted study belongs to qualitative research with settings according to the condition of the subject. This research was carried out through a literature review approach and data studies through computer networks, such as social media and the internet, combined with field studies by visiting Penataran Sasih Temple where nekara is kept as cultural objects, which was also the research locus. Primary data was obtained through direct observation by visiting the object of research in addition to conducting interviews with a number of informants who had been determined before the research activity began. Secondary data were obtained through literature review in order to collect expert opinions that have been stated in books, accompanied by writings in various journals, results of seminars and workshops, as well as social media. The secondary data here were complementary to the primary data. This is due to studies in the research carried out being closer or more comprehensive. This study aimed to provide a clearer picture of Nekara Pejeng as a work of art from the Balinese pre-literacy era so that the method used was more descriptive qualitative. Because of its qualitative nature, the researcher is the main instrument, supported by interview guidelines in the form of a list of questions to guide the interview with informants such as Gedong Arca Bedaulu Gianyar Museum officers, Pejeng Village Heads, Village Prajuru (staff), temple administrators, community leaders who were purposively selected. This study proved that the moon of Pejeng is a bronze drum (nekara) stored in Penataran Sasih Temple which is believed by the Balinese to have supernatural powers and is used by the community in ceremonies asking for rain. The characteristics of Nekara Pejeng are in the form of a drum/drum made of bronze, there is a waist pattern in the middle, equipped with two sides of the punch field, and one of the fields is open. The moon of Pejeng is the largest nekara discovery in Asia which can represent the advancement of technology and art in the Balinese pre-literacy era. The decoration on the nekara contains magical religious meanings, namely local wisdom in the form of beautiful works of art with high aesthetics as evidence of the creativity of Balinese people in art which began in the pre-literacy period, continues to grow, develop, and have dynamics to this day.
I Wayan Ary Wijaya's Creative Process in Creating Digital Gamelan Music Kadek Wahyudita; I Komang Sudirga; I Wayan Suharta
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1809.372 KB) | DOI: 10.31091/jacam.v1i1.1596

Abstract

This paper is to trace the creative process in composing Digital Gamelan Music (DGM) done by I Wayan Ary Wijaya a balinese artist. It a qualitative study by operating observation, documentation, and interview. Interview is done with I Wayan Arsa Wijaya and other related parties. DGM was created by Ary Wijaya from linking gamelan and music technology. DGM is another way to strengthen tradition and at the same time foster creativity by using the gamelan (traditionality) and the technology (modernity) as a medium of inspiration. It is found that DGM is composed using Panca Sthiti Ngawi Sani theory: inspiration stage (ngawirasa); exploration stage (ngawacak); conception stage (ngarencana); execution stage (ngewangun); presentation stage (ngebah). DGM as a terminology is still experiencing struggles in terms of concept definition, form, and creative work process. Besides that, the digital technology belongs to a product of capitalism.
Aesthetic hybridity of the song “Jali-jali” in Gambang Kromong music Yusuf Arrahman; Ni Wayan Ardini; I Komang Sudirga
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (827.3 KB) | DOI: 10.31091/jacam.v1i2.1828

Abstract

"Jali-jali" in Gambang Kromong (Kromong Xylophone) music is a very popular Betawi song. This song is the result of acculturation of Betawi and Chinese culture. The popularity of “Jali-jali” is inversely proportional to the existing literature about this song. This study aimed to understand its specificity thoroughly. It is a type of field research by describing the data qualitatively and the selection of theory is based on data in the field. The type of data in this study is qualitative data. Research data sources consist of primary and secondary data sources. Data were collected through interview, observation, documentation and literature studies. Data analysis was carried out by data reduction, data presentation, and data verification. The results show that in "Jali-jali" the hybridity of Chinese and Betawi culture can be seen from the cultural aspects, namely ideas, activities, and artifacts. There is also a musical aspect in the playing of Tehyan which has a diatonic scale and Gambang Kromong which has a pentatonic scale. The form of "Jali-jali" in Gambang Kromong music is A-B-A-B-C, has 10 sentences and 5 periods. The aesthetics of "Jali-jali" is found in the melodic tone that sounds distinctive because the differences in the hybridity of Betawi music and Chinese music produce a contrasting melody, from which there is a very distinctive harmonization so that "Jali-jali" in Gambang Kromong music is closely related to Betawi cultural identity.
Megeguritan: Media Pendidikan Karakter Generasi Muda Dalam Menghadapi Arus Budaya Global (Studi Kasus Di Desa Pakraman Bresela Payangan Gianyar) Ida Bagus Brata; I Komang Sudirga
Mudra Jurnal Seni Budaya Vol 34 No 2 (2019): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v34i2.705

Abstract

Dewasa ini timbul kekhawatiran di kalangan masyarakat terhadap kelakuan generasi muda akibat pengaruh globalisasi, sehingga dituntut terciptanya sumber daya manusia berkualitas, berkarakter, imtak (iman dan takwa) untuk terwujudnya insan cerdas berakhlak mulia tidak tercerabut dari akar budaya bangsanya. Tulisan ini bertujuan mengkaji Megeguritan sebagai Media Pendidikan Karakter bagi Generasi Muda dalam menghadapi Arus Budaya Global. Metode yang digunakan dalam kajian ini adalah induktif kualitatif dengan pendekatan eksploratif dalam latar yang alamiah. Hasil kajian menunjukkan: Megeguritan merupakan karya sastra tradisional dan klasik masyarakat Bali. Geguritan merupakan sebuah wujud kebudayaan, yaitu kebudayaan yang berbentuk karya sastra Bali. Di dalam karya sastra ini banyak mengandung nilai-nilai pendidikan karakter yang sangat baik bagi perkembangan manusia, khususnya bagi generasi muda, terutama di dalam menghadapi dinamika masyarakat dalam peradaban global. Pada kenyataannya tidak ada masyarakat yang dapat bersembunyi atau menghindar dari tekanan arus budaya global. Kuatnya arus budaya global tidak terlepas dengan semakin canggihnya perkembangan teknologi, telekomunikasi, dan transportasi. Untuk mengantisipasi pengaruh negatif akibat globalisasi, maka setiap bangsa harus berusaha memprotek dirinya agar jangan tergerus oleh budaya global tersebut. Generasi muda merupakan aset bangsa, wajib dijaga agar tetap memiliki jati diri yang kokoh jangan sampai terseret arus negatif budaya global.
The Music Composition Tajen Jangkrik | Komposisi Musik Tajen Jangkrik I Wayan Srutha Wiguna; I Komang Sudirga
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Abstract

Tajen Jangkrik consists of two words, namely tajen which means fight, and cricket is a small insect with a loud sound. Tajen Jangkrik is a Balinese musical art work that describes the process of playing cricket fighting games. This work raises the phenomenon of youth and old people in Bali past or present, especially in Kesiman Village who play cricket fights for gambling or betting. This work will be realized in the form of innovative musical works using the media, namely Gamelan Semarandana and Gamelan Selonding. The purpose of the creation of this work is as a criticism through Balinese musical works of art to the public that this gambling game is not good to do, it can harm oneself because of betting and harm the living things that are used as a means of playing. The method used in the process of creating works is the creation method of Alma M. Hawkins with three stages in it, namely the exploration stage, the improvisation stage and the forming stage. The recommendation that can be given is how the stylist combines two gamelan barungan with different techniques, materials and characteristics into one complete work. From these recommendations, hopefully it can be an inspiration as a reference for future works.
Karawitan Composition “Pancung” | Komposisi Karawitan “Pancung” wayan ade; I Komang Sudirga
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.475

Abstract

Pancung musical artwork is a Karawitan art creation that is inspired by the phenomenon of natural beauty, especially the gurgling flow of water around the Pancung river which is decorated with rock carvings together with the sacred Beji temple environment. Along the river, which is located on the west part of Banjar Kebon Singapadu, has its own charms such as waterfalls, springs, natural cliffs and those that have been carved by local residents. This area is commonly known by local residents as Beji Pancung. Based on this natural phenomenon, there is an interest for the composer to transform this phenomenon into an innovative musical composition. The media used to support this idea is a set of Gamelan Gong Gede Saih Pitu with the addition of the angklung kocok (shake) instrument.The method of creation in this music uses the creative process approach of Alma M. Hawkins, namely exploration, improvisation, and formation. This composition is based on the Tri Angga structure, namely kawitan, pengawak, and pengecet. Each part in the structure describes the atmosphere and the phenomena of Pancung's natural beauty from upstream to downstream which can be observed through processing patterns in musical elements, such as melody, rhythm, tempo, harmony, and dynamics, as well as patet playing which is rich in additive nuances.
The Philosophy Meaning Experimental Music Works “Dreadlocks” Gede Made Rama Pratama; Rai S I Wayan; I Komang Sudirga
Randwick International of Social Science Journal Vol. 4 No. 3 (2023): RISS Journal, July
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i3.659

Abstract

The purpose of creating the experimental piece of music "Dreadlocks Hair" is to prove that the Rebab can be used as the main instrument in gending. The experimental musical work "Hairlocks Dreadlocks" was created using a creation theory based on local wisdom (Rai S., 2021), which focuses on talent as the principal capital and identity of the work. The process of creating this new musical work uses a creation theory based on local wisdom by developing elements of: (1) talent as the main capital, (2) creativity ability, (3) understanding of local wisdom, (4) concept of work, (5) as a prayer offerings, and (6) visualizing the form of the work. The process of creating this piece of Dreadlocks music is based on the Rebab, namely the "Electric Rebab" instrument. The new innovation in this experimental piece of music lies in the protrusion of the resulting Rebab sound register. The novelty of this experimental piece of music is that the Rebab is able to produce 3 (three) sound colors namely low, medium and high simultaneously in one instrument. The problem: What does Dreadlocks mean in a new piece of music?; What does Dreadlocks mean in a new piece of music? The development of the Rebab instrument which is actualized as the dominant instrument in the experimental musical work "Dreadlocks" is not necessarily interpreted literally, but is interpreted as extramusical or the personification of the creator who views the Rebab instrument as different. The word "hair", in this case, is interpreted as sound-forming elements similar to strings or strings and fine strings on a bowstring. Meanwhile, the creator uses the word "Dreadlocks" as a metaphor to describe the harmonious musical texture, voice register (high, medium, low) and rhythmic patterns contained in this work. Experimental musical piece “Dreadlocks”. contains the meaning of dismantling the established standard, development, preservation, and glorification with a moral message to preserve local wisdom using beraya, dreadlocks aesthetic as a metaphor.
ARJA PAKANG RARAS DI PURA SWAGINA KESENIAN, DUSUN BUDUK, DESA BENGKEL, KECAMATAN KEDIRI, KABUPATEN TABANAN Ni Kadek Intan Pratiwi; I Komang Sudirga; Desak Made Suarti Laksmi
Community Development Journal : Jurnal Pengabdian Masyarakat Vol. 4 No. 4 (2023): Volume 4 Nomor 4 Tahun 2023
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/cdj.v4i4.18825

Abstract

Penelitian ini bertujuan untuk mengetahui nilai-nilai yang terkandung dalam pertunjukan Arja Pakang Raras di Pura Swagina Kesenian, Dusun Buduk, Desa Bengkel, Kecamatan Kediri, Kabupaten Tabanan. Penelitian ini dirancang dengan metode kualitatif dengan pendekatan studi kasus dan lapangan. Datanya diperoleh melalui metode observasi, wawancara, dokumentasi, dan studi kepustakaan yang dikaji menggunakan teori nilai. Berdasarkan hasil kajian didapatkan hasil bahwa Arja Pakang Raras mengandung nilai-nilai Religius, Moral, Pendidikan, dan Estetika. Secara religius, hubungan antara Pakang Raras dan Galuh dipandang sebagai takdir yang ditentukan oleh Tuhan, yang juga menghidupkan kembali Pakang Raras setelah kematiannya. Dalam aspek moral, Pakang Raras menunjukkan keteladanan sebagai seorang abdi yang mampu menempatkan diri dengan baik, sementara Bayan Sangit adalah contoh seseorang yang tidak mau menempatkan diri dengan baik, cerita Arja Pakang Raras ini merefleksikan kehidupan masyarakat dan menjadi cermin dinamika kehidupan sehari-hari. Hubungan antara Pakang Raras dan Galuh digambarkan dengan indah, menunjukkan kasih sayang yang mendalam saat mereka saling mencintai, dan kedua abdi berusaha mencari cara untuk bisa bertemu, menghasilkan sebuah cerita yang penuh dengan aksi dan kegembiraan.
PEMBELAJARAN GAMELAN GONG KEBYAR BERBASIS METODE INOVATIF NOTASI DINGDONG PADA SEKAA GONG MREDHU KUMARA I Putu Budi Satya Kusuma; I Komang Sudirga; I Wayan Diana Putra
PENSI : Jurnal Ilmiah Pendidikan Seni Vol 3 No 2 (2023): Jurnal Ilmiah Pendidikan Seni
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/pensi.v3i2.1111

Abstract

Gamelan Gong Kebyar adalah salah satu barungan gamelan yang familiar di Bali. Perkembangannya begitu pesat dari kuantitas barungan hingga bentuk kekaryaannya. Namun dalam pembelajarannya masih perlu diberikan sentuhan inovasi salah satunya dengan menggunakan notasi. Tujuan dari penelitian ini yaitu mendeskripsikan pembelajaran gamelan Gong Kebyar berbasis metode pembelajaran inovatif dengan penggunaan media notasi ding-dong pada sekaa gong anak-anak Mredhu Kumara Banjar Oongan. Masalah yang akan dibahas dalam penelitian ini adalah penerapan metode inovatif, proses dan hasil pembelajaran inovatif, dan faktor pendukung dan faktor penghambat proses pembelajaran. Penelitian ini dirancang dengan menggunakan pendekatan kualitatif yang berhubungan dengan hasil data yang lebih menekankan pada data yang bersifat deskriptif. Teori yang digunakan dalam penelitian ini yaitu teori estetika, teori pembelajaran yang didalamnya terdapat tiga metode inovatif yang digunakan dalam penelitian ini yaitu, metode ceramah, metode demonstrasi, dan metode drill, dan teori yang terakir ada teori media pembelajaran. Sumber data penelitian ini diperoleh dari data yang ada dilapangan yaitu berupa data primer dan data skunder, dari buku-buku atau studi kepustakaan lainya. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah dengan observasi, wawancara, dokumentasi, dan studi kepustakaan. Hasil penelitian menunjukan penerapan metode inovatif dalam pembelajaran notasi karawitam Bali. Pada penelitian ini menggunakan empat tahapan yaitu: tahap persiapan (preparation), tahap penyampaian (presentation), tahap latihan (practice), dan tahap penampilan (perfomance). Hasil pembelajaran dalam penelitian ini yang mendapatkan nilai A (sangat baik) sebanyak 5 siswa dan yang mendapatkan nilai B (baik) sebanyak 11 siswa. faktor pendukung dan penghambat dalam penelitian terdiri atas faktor internal dan eksternal.
Co-Authors Aditya Putra, I Ketut Antara, I Made Bayu Biagi, Gede Nikolas Candra Desak Made Suarti Laksmi Gede Made Rama Pratama I Gede Arya Sugiartha, I Gede I Gede Yudarta I Gusti Ngurah Ardana I Gusti Putu Sudarta I Kadek Bagas Suradinata I Ketut Laba Sumarjiana I Ketut Sudhana I Kt. Suteja I Made Bayu Puser Bhumi I Made Radiawan I Made Suparta I Putu Budi Satya Kusuma I Putu Danika Pryatna I Wayan Adnyana I Wayan Agus Andika I Wayan Diana Putra . I Wayan Mudra, I Wayan I Wayan Srutha Wiguna I Wayan Suharta I Wayan Suharta, I Wayan Ida Bagus Brata Kadek Agung Sari Wiguna Kadek Wahyudita Ketut Sumerjana, Ketut Kustiyanti, Dyah Made Mantle Hood MS Prof. Dr. I Wayan Rai . Muliyadi, I Wayan Ni Kadek Intan Pratiwi Ni Luh Sutjiati Beratha Ni Wayan Ardini, Ni Wayan Prasad, Visvam Bhara Remawa, Anak Agung Gede Rai Santosa, Hendra Sudirana, I Wayan Visvam Bhara Prasad wayan ade Yusuf Arrahman