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All Journal Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya International Journal of Interreligious and Intercultural Studies Randwick International of Social Science Journal Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni E-Amal: Jurnal Pengabdian Kepada Masyarakat
I Made Ruta
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Social Sciences

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Angkara Movie Based on Bali Traditional Art I Komang Arba Wirawan; I Made Ruta; Paul Trinidad; I Dewa Made Darmawan; I Made Saryana; Made Rai Budaya Bumiarta
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.2164

Abstract

This research aimed to discover how the Angkara movie is based on Balinese traditional art and to find out the mise and scene in the pre-production, production, and post-production processes. Clekontong Mas for the Balinese people is a comedian studio (Bondres), which is well known and admired by the community. Clekontong is translated as ritual media, and Mas means noble. This studio was founded in Denpasar in 2012 and pioneered by I Komang Dedi Diana (Tompel), I Ketut Gede Rudita (Sokir), and I Nyoman Ardika (Sengap). Bondres  profoundly has the opportunity to be the inspiration for innovative film productions. However, there is no related research that has examined it further. The data sources used Angkara movies, film directors, cultural experts, and the audience. The method of data collection was conducted through observation, interviews, and documentation; online and offline. The Angkara movie was analyzed from the initial scene to the final scene qualitatively using the approach of setting, directing style, blocking, costumes, lighting, and revealing the aesthetics of the Angkara film. The result found that Angkara is a comedy genre film based on Balinese traditions. Directing style, and blocking the placement of Clekonteng Mas were successful role measurements in acting. The costumes of Angkara actors with traditional Balinese characteristics can describe the comedian's situation based on Balinese’s local wisdom. The social phenomenon in the production of the Angkara movie was produced and won national and international festivals. Presenting local Balinese cultural identity can be a source of film creation and characteristics to enrich the aesthetics of Balinese’s local wisdom in the form of films.
The Rwa Bhineda Painting Principles: The Art of I Dewa Nyoman Batuan I Made Ruta; Ni Wayan Masyuni Sujayanthi; Ni Made Purnami Utami; I Made Saryana; Gede Yoga Kharisma Pradana
Randwick International of Social Science Journal Vol. 4 No. 1 (2023): RISS Journal, January
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i1.591

Abstract

Rwa Bhineda are two distinct characteristics that exist in this life. The goal of this article is to reveal the principle of rwa bhineda in I Dewa Nyoman Batuan's mandala paintings. The mandala paintings by I Nyoman Batuan are very distinctive and have inspired many other artists' paintings. However, there has been no study that discusses the principle of rwa bhineda, which makes mandala paintings by I Dewa Nyoman Batuan look distinctive. This article discusses the principle of rwa bhineda in a painting by I Dewa Nyoman Batuan and the meaning of rwa bhineda in a mandala painting by I Dewa Nyoman Batuan. This study uses a qualitative method. The data sources for this study were mandala paintings by I Dewa Nyoman Batuan himself, mandala painters, cultural observers, and people observing mandala paintings selected based on purposive sampling and snowball techniques. All data obtained through observation, interviews, and literature studies were analyzed qualitatively and interpretatively using aesthetic theory and deconstruction theory. The results of the research show that the principle of rwa bhineda in the mandala painting by I Dewa Nyoman Batuan is made in the form of a circle, which is beautified by the duality motif. The principle of rwa bhineda in mandala paintings by I Dewa Nyoman Batuan has an aesthetic meaning, a cultural meaning, and a counter-destruction meaning.
AIR SUMBER IMAJINASI DALAM PENCIPTAAN KARYA SENI LUKIS Made Purnami Utami; I Made Ruta; Luh Budiaprilliana
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Bentuk air secara citra visual dan karakter air yang melekat dari spirit dan sifat fisiknya dapat menjadikan alasan sebagai ide penciptaan karya seni lukis, memungkinkan dieksplorasi untuk dihadirkan kembali guna menciptakan bentuk-bentuk imajinatif dengan karakteristik yang dimilikinya sebagai penyampaian gagasan atau kegelisahan terhadap suatu peristiwa yang dialami manusia. Imajinasi bentuk dan karakter air tidak sekedar sebagai unsur alam semata, juga menjadi objek untuk mewakili persoalan dalam kehidupan, yang membuat penulis tertarik untuk mengangkat Air Sumber Imajinasi sebagai subjek matter dalam penciptaan karya seni lukis. Permasalahan dalam proses penciptaan yaitu: (1) Bagaimana bentuk dan karakter air sebagai sumber imajinasi dalam penciptaan karya seni lukis? (2) Bagaimana mewujudkan bentuk dan karakter air menjadi karya seni lukis. Metode yang digunakan: ide (gagasan), Kontemplasi (memilih objek), Stimulasi (mewujudkan gagasan), Eksplorasi (penjajagan lapangan), Eksperimen (percobaan), Proses Berkaya (pengolahan ide), Peciptaan Karya Seni. Seluruh bentuk hasil karya disajikan dalam karya seni lukis abstrak yang diciptakan di atas kain kanvas dengan media bahan Cat Pouring Acrylik dan cat acrylik dalam proses penciptaan seni lukis. Perwujudan karya yang dihasilkan memiliki nilai-nilai pembaruan (Teknik).
POLA AIR SEBAGAI KONSEP VISUAL DALAM WORKSHOP SENI RUPA I Wayan Sujana; I Made Ruta; Luh Budiaprilliana
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Penelitian ini bertujuan menuliskan hasil workshop guru-guru SMP seni rupa Buleleng, melalui penerapan pola air sebagai konsep visual dalam workshop seni rupa. Konsep dasar visual pola air berupa garis lengkung berulang-ulang menimbulkan citra gelombang air. Dipadu dengan permainan warna melalui pendekatan repetitif mengasilkan ekspresi seni rupa yang unik. Permasalahan dalam penelitian adalah kenapa menggunakan pola air sebagai konsep visual dalam workshop seni, bagaimana metode terapan workshop pola air sebagai konsep visual, serta jenis-jenis ekspresi yang dihasilkan? Beberapa teori yang dijadikan landasan penciptaan karya senirupa berbasis bambu antara lain: Menggunakan metode penciptaan MAL dalam merancang konsep. Pengumpulan data melalui observasi, implementasi, dan studi kepustakaan. Model analisis data disajikan secara formal dan informal. Hasil penelitian menunjukkan berbagai pola ekspresi dari setiap peserta. Implementasi pola-pola ekspresi implementasi dapat dijadikan pemantik pengembangan kekaryaan selanjutnya.
MELASTI SEBAGAI SUMBER INSPIRASI DALAM KARYA LUKIS Kariana, I Nengah; Putra, I Gusti Putu Ngurah Cahyana Ady; Kondra, I Wayan; Mudana, I Wayan; Ruta, I Made
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 3 (2023): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Tujuan dari penelitian dan penciptaan tentang Melasti adalah menciptakan karya seni lukis sebagai pengalaman estetis, mengekspresikannya melalui elemen-elemen penciptaan seni lukis dan penerapan tehnik dengan kombinasi media. Tujuan umumnya adalah sebagai dokumentasi dan memberi inspirasi pada seniman pemula memperkaya kasanah dan menambah kepekaan para seniman muda terhadap aktifitas dan fenomena yang ada dalam kehidupan di lingkungan sekitarnya. Metode penciptaan yang digunakan adalah metode observasi, wawancara, kepustakaan dan dokumentasi. Berikut dalam penciptaan karya, pencipta menggunakan metode observasi, eksperiman, peforming, dengan memperhatikan aspek ideoflastis dan fisikoflastis. Hasil/Temuan penelitian dan penciptaan berupa dokumentasi dan hasil karya 7 buah karya lukis yang merepresentasikan upacara melasti mulai dari prosesi awal Melasti, perjalanan Melasti, suasana dan spirit Melasti, serta aktifitas dan prosesi upacara di pura sehabis Melasti. Kesimpulan, Upacara Melasti yang dilakukan masyarakat Bali, terutama menjelang Hari Raya Nyepi, melahirkan berbagai inspirasi dalam penciptaan karya seni dalam hal ini adalah karya lukis. Upacara Melasti juga dapat dijadikan sebagai smber inspirasi yang sangat kaya bagi para seniman diluar seniman lukis. Implikasi dari Upacara Melasti dan karya lukis yang tercipta bagi masyarakat Bali, dapat terwujudnya rasa dan jiwa kebersamaan, kesetaraan, serta meningkatkat jiwa spiritual utuk sujud dan bakti kepada Tuhan Yang Maha Esa.
TARI MERAK ANGELO SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS Ardiana, I Komang; Ruta, I Made; Putra, I Gusti Ngurah
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): Cita Kara : Jurnal Penciptaan Dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i2.718

Abstract

Tari Merak Angelo merupakan salah satu seni tari kreasi baru yang termasuk ke dalam jenis tari Balih-balihan yakni tari yang berfungsi sebagai tari hiburan. Tari ini diciptakan oleh I Ketut Rena, S.ST, M.Si pada tahun 2008, memiliki gerak tari yang dinamis, mengisahkan tentang gerak-gerik seekor merak jantan dalam musim kawin yang menari serta meliuk-liukan keindahan bulu ekornya untuk menarik perhatian betina. Ketertarikan penulis pada tari ini muncul setelah menonton pementasanya, sehingga muncul pengalaman estetis penulis pribadi terhadap pementasan tarian ini dan menginspirasi untuk memvisualkannya dalam karya seni lukis. Metode penelitian kualitatif digunakan dalam pengamatan dilapangan untuk mengetahui informasi tentang Tari Merak Angelo. Untuk melandasi ide karya lukis, digunakan teori estetika A.A.M Djelantik. Berdasarkan hasil pengamatan, proses eksplorasi, dan eksperime perwujudan kaya senilukis yang berjudul (1) Ngagem Ngegol, (2) Ngelo, (3) Terbang, (4) Mengibaskan Ekor, (5) Memadu Kasih, (6) Ceria. Melalui karya seni ini diharapkan dapat bermanfaat bagi pengamat karya seni, pencinta karya seni sehingga karya seni lukis yang penulis ciptakan dapat menginspirasi masyarakat luas.
Konsep Tetandingan Jaje Sarad Pulagembal Sebagai Seni Lukis Adi Udyana, I Made; Muka, I Ketut; Ruta, Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1544

Abstract

Jaje Sarad Pulagembal is one of the complementary facilities for the ceremony that attracts the attention of many people, not only the Balinese Hindu community, but also the wider community. In addition to being quite large, it also looks beautiful because it is arranged very artistically. Jaje Sarad Pulagembal is usually displayed in the courtyard of the temple, but not many people know what the purpose and meaning of Jaje Sarad is. Jaje Sarad is usually made during the implementation of the Madyaning Utama piodalan and above, namely the piodalan that uses bebangkit and the ceremony that uses Pulagembal. The method of creation is a systematic way of creating works of art. The stages of creating a work of art that outlines the design of the process of creating a work of art in accordance with the stages of creation from inspiration (ideas), design, to embodiment. How to realize an idea into a painting, of course, is not necessarily done without preparation. Preparation in this process can be divided into 5 stages of creation: (1) preparation, (2) elaboration, (3) synthesis, (4) concept realization, (5) completion or evaluation. In the title chosen, namely "Jaje Sarad Pulagembal's Counter-Concept as Painting", the concept is meant to be defined by various theoretical concepts that include ideas, designs, and the formation of art in general. Here it refers to the basic nature of art, namely composition, form, and color. Sarad is a Hindu religious ceremony in Bali which is mostly made of snacks made from rice flour with visualization of symbols of the contents of the universe. Pulagembal is a collection of several Bantenese that accompany several kojong fruit containing several types of sacred Banten snacks. Jaje Sarad Pulagembal is deemed appropriate to represent various images of life that is felt by the author, by forming new objects into jaje Sarad and not referring to the previous forms of jaje Sarad, the author can pour ideas and new forms into the painting. Not only a description of the author's life, but also raises environmental issues related to the ecology of the Balinese people.
Interpresentasi Estetika Fetishisme Terhadap Hewan Yang Sudah Mati Dalam Seni Patung Iqbal, Mochammad; Ruta, I Made; Mudana, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i2.1844

Abstract

Commodity dimensions in art include exchange value, commercial value, valorization, commodity fetishism, market logic. Reading art through the commodity dimension is an attempt to reveal the economic value contained in the work of art. This value is not only contained in works of art, but also has a deterministic power to build and organize art. art that is part of a commodity—resulting in an aesthetic category, called “commodity aesthetics”. This is the kind of aesthetic, which builds attraction through the workings of the "immediate effect" and provokes an immediate reaction, such as cuteness, fascination or eroticism. Art and science actually have the same things are mutually sustainable, cannot be separated. From the selection of materials, to manufacturing techniques, to the curation stage, it's all a collaboration of art and science. Leonardo da Vinci's realist works are also a merger of fine art and human anatomy—biology. It is from da Vinci's works that the author is compelled to create creation that are related to the biological sciences. It is also an innovation, although not the first in the world, in the arts in Indonesia, with the hope of breaking the arts that always maintain the quo status
Daun Sukun dalam Ekspresi Karya Seni Lukis Putra, I Made Adi Sumarjaya; Gunawan, I Wayan; Ruta, I Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 1 (2023): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v3i1.2331

Abstract

This MBKM Independent Project Report, with the title "Breadfruit Leaves in the Expression of Painting Art", departs from a breadfruit tree in I Made Sumadiyasa's studio which sparked the writer to create works of painting. The problem is how to visualize breadfruit leaves in each work. In its visualization, the writer uses the methods and techniques obtained from the MBKM process. The purpose and benefits are to develop the creativity of the writer in expressing imaginary forms and images/photos that are edited according to the needs of the writer in the work process. the author chooses I Made Sumadiyasa and I Ketut Budiana who are his favorite artists and uses his creation method which includes several stages, namely, contemplation, basic research, exploration, experimentation, execution, completion. From this process the author produced 7 works entitled: 1) "Voyage", 2) "Imagination", 3) "The Garuda", 4) "Soekarno", 5) "My Mother", 6) "Raincarnation", 7) " Zoom”. It can be concluded that the author created the work based on his interest in Breadfruit leaves, with ideas originating from phenomena captured in I Made Sumadiyasa's studio and reading reference sources from the internet. At the processing stage, the writer combines the techniques from the MBKM results and the techniques that the writer gets on campus, to be realized in a 2-dimensional form. It is hoped that from all these processes one can find identity in work.
Peran Katalog dalam Pameran Seni Rupa Makna Murni: Lintas Batas 19 Saputri, Deta Anggara Wahyu; Ruta, I Made; Jodog, I Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 1 (2023): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v3i1.2337

Abstract

Starting from the author's ignorance of exhibition cataloging. However, when I visited art exhibitions, I always found a catalog, so I became curious about the role of catalogs in art exhibitions. This prompted the author to examine more deeply the role of an art catalog and try to . The problem is how the catalog plays an important role in an exhibition. In the process of making it, the writer uses the method obtained from the MBKM process. The purpose and benefits are to show how a catalog plays a role in an art exhibition and to develop the creativity of writers in using digital media. In the process of making a catalog the author uses the creation method which includes several stages, namely observation, data collection, exploration, the process of creating. From this process the author produced an exhibition catalog in which there were 9 layouts of the contents of the fine art exhibition catalog. It can be concluded that the author creates works based on his interest in catalogs, with ideas originating from phenomena captured at the Rudana Museum and reading reference sources from the internet. At the processing stage the author refers to the results of the MBKM. Of all these processes are expected to find identity in the work.
Co-Authors Adi Udyana, I Made Ardiana, I Komang Ardika, I Gusti Ngurah Putu BUDIAPRILLIANA, LUH Dewa Putu Oka Prasiasa Drs. I Wayan Mudana,M.Si. . Eka Putri Suryantari Gede Yoga Kharisma Pradana Gede Yosef Tjokropramono I Dewa Made Darmawan I Gusti Bagus Wirawan I Gusti Ngurah Putra I Ketut Adi Sugita I Ketut Muka I Ketut Suda I Komang Arba Wirawan I Made Saryana I Nengah Wirakesuma, I Nengah I Wayan Adnyana I Wayan Gunawan, I Wayan I Wayan Suardana I Wayan Sujana Jodog , I Made Kariana, I Nengah Kondra, I Wayan Made Rai Budaya Bumiarta Mochammad Iqbal Ni Made Purnami Utami Ni Made Ruastiti Niken, Ni Wayan Paul Trinidad Putra, I Gusti Putu Ngurah Cahyana Ady Putra, I Made Adi Sumarjaya Putra, Kadek Win Mahesa Raharja, I Gusti Nyoman Remawa, Anak Agung Gede Rai Saputri, Deta Anggara Wahyu Simatupang, Putri Gracia Sujayanthi, Ni Wayan Masyuni Telaumbanua, Calvin Galileo Tjokorda Udiana Nindhia Pemayun Pemayun, Tjokorda Udiana Nindhia Pemayun Totton, Mary Louise Wayan Karja