Claim Missing Document
Check
Articles

The Direct Instruction Learning Model for Fa’qi Music as an Accompaniment to Puja Bhakti Singing for Students at Buddhist Higher Education Institutions Jimmu Goh; I Komang Sudirga; Ni Made Ruastiti; Ni Wayan Ardini
Bulletin of Science Education Vol. 6 No. 1 (2026): Bulletin of Science Education
Publisher : CV. Creative Tugu Pena

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51278/bse.v6i1.1866

Abstract

The purpose of this study is to apply a direct instruction learning model for students and to analyze the characteristics, form, function, and meaning of Fa’qi music as an accompaniment to devotional hymns at a Buddhist College. Research on Fa’qi music was conducted through the direct instruction learning model, covering both theory and practice. A qualitative method was used in this study with an interdisciplinary approach. Data sources included participant observation, interviews, and documentation. Data analysis utilized theories of aesthetics, ethnoreligion, and semiotics. The research findings include: (1) the direct instruction model facilitates students’ practice and mastery of Fa’qi music accompanying the Puja Bakti chants of Mahayana Buddhists in the form of chanting through the following stages: wensin, namaskara, incense-offering gatha, vandana, and praise gatha;  (2) Fa’qi music, as an accompaniment to the devotional songs of Mahayana Buddhists, serves as a medium connecting the faithful to the Buddha and facilitating communication with him, as a medium for aesthetic expression, a means of strengthening social bonds, and as an identity marker for Mahayana Buddhists; (3) the significance of Fa’qi music as an accompaniment to devotional songs. The findings indicate that a hands-on learning model facilitates students’ ability to learn, understand, and practice Fa’qi music based on the concepts of Buddha Ghosa, including: the structure and composition of the music have proven ideal for accompanying devotional chants continuously recited by Mahayana Buddhists during every ritual activity at the temple; these chants can be understood, comprehended, and practiced wisely by the congregation.
An Aesthetic Analysis of Mahayana Buddhist Puja Bakti at Ekayana Arama Vihara, West Jakarta Jimmu Goh; I Komang Sudirga; Ni Made Ruastiti; Ni Wayan Ardini
Journal of Aesthetics, Creativity and Art Management Vol. 5 No. 2 (2026): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/gm6fpf33

Abstract

This study aims to uncover the forms, functions, meanings of Puja Bakti chants for individuals, the congregation, and the Mahayana Buddhist ritual traditions at Ekayana Arama Vihara, West Jakarta. The study was motivated by the finding that the oral tradition of Puja Bakti—which is consistently accompanied by Faqi music—had not previously been subjected to in-depth analysis. A qualitative method with an interdisciplinary approach (encompassing aesthetics, sociology, and culture) was employed. Data collection involved observation, interviews, literature reviews, and focus group discussions. Data analysis utilized theories of religious aesthetics, ethnomusicology, structural-functionalism, and semiotics. The results indicate that Puja Bakti chants constitute a form of vocal-instrumental recitation containing religious narratives regarding Buddhist teachings; they serve as a medium for connecting with the Divine, a means of communication and entertainment, and an expression of cultural identity. The implications are positive regarding aesthetic development, spiritual intelligence, inner peace, religious emotion, communal solidarity, and the preservation of arts and culture. The study identifies a novel concept regarding the performance of Puja Bakti chants known as Fanbai, encompassing the components, elements, and procedural aspects of this ritual tradition.