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All Journal Imaji: Jurnal Seni dan Pendidikan Seni E-Journal Of Cultural Studies Gorga : Jurnal Seni Rupa Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN PRABANGKARA Segara Widya: Jurnal Penelitian Seni Gondang: Jurnal Seni dan Budaya Pendas : Jurnah Ilmiah Pendidikan Dasar VIDYA WERTTA : Media Komunikasi Universitas Hindu Indonesia Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal Bali Membangun Bali Ghurnita: Jurnal Seni Karawitan Abdi Widya: Jurnal Pengabdian Masyarakat Journal of Aesthetics, Creativity and Art Management Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Open Access DRIVERset

I Gede Yudarta, I Gede

Institut Seni Indonesia Denpasar

Author-ID : 622929

Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Public Health Social Sciences Transportation Other

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Articles

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KARYA SENI KARAWITAN EKSPERIMENTAL NAWA RIRIG Suparsa, I Made Adipramana; Yudarta, I Gede; Suharta, I Wayan
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32246

Nawa Ririg merupakan sebuah karya seni karawitan eksperimental yang mengeksplorasi tiga jenis gamelan Bali dengan sistem empat nada, yaitu gamelan Angklung, Balaganjur, dan Jegog. Ketiga jenis gamelan ini merepresentasikan keragaman sekaligus kekayaan tradisi karawitan Bali, serta menjadi inspirasi utama dalam proses penciptaannya. Penciptaan ini berfokus pada tiga rumusan masalah utama, yaitu: (1) proses penciptaan, (2) bentuk serta teknik yang diterapkan, dan (3) nilai kebaruan sebagai penanda estetik. Ketiga aspek tersebut dianalisis menggunakan tiga landasan teori: teori kreativitas dari James Melvin Rhodes untuk kerangka eksperimen, teori struktural fungsionalisme dari Talcott Parsons untuk kerangka bentuk dan struktur, serta teori estetika dari Sedyawati untuk menelusuri nilai kebaruan, pesan dan makna yang tersirat dalam karya. Rumusan masalah ini dijawab melalui metode penciptaan seni berbasis kearifan lokal yang meliputi delapan tahapan, yaitu: gagasan, modal kreatif, pemahaman, konsep/rancangan karya, doa, proses perwujudan, ngebah (uji coba), dan penetapan karya. Pola kerja ini berakar pada tradisi lokal namun disesuaikan dengan kebutuhan penciptaan yang bersifat eksperimental. Hasil dari proses penciptaan ini adalah karya seni karawitan eksperimental Nawa Ririg, yang menghadirkan susunan sembilan nada hasil dari penggabungan gamelan Angklung, Balaganjur, dan Jegog, sebuah bentuk yang belum pernah ada sebelumnya. Sembilan nada tersebut kemudian dipetakan menjadi sembilan kelompok ririg, setiap ririg terdiri dari tujuh nada. Konsep ini diadaptasi dari sistem patet dalam tradisi karawitan.

Samaya Music Creation | Penciptaan Musik Samaya Juliadinata, I Putu Gede Yana; Yudarta, I Gede
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.1422

The Old Javanese Indonesian Samaya Dictionary comes from the Sanskrit language, namely a promise, which can be interpreted at a meeting that is agreed upon and agreed by two or more parties. The contract can be related to the trust of each partner, which can be expressed in sincere words such as mutual understanding, promise to live as long as death, promise always to be faithful, and promise to always take care of each other. The stylist was inspired to relate the above story to the wayang stories of Rama and Sita by using the media to reveal the gender of wayang. Gender wayang is a gamelan set and is generally used to accompany Balinese wayang kulit or wayang wong puppets. Creating this work is explained as making form and structure to the presentation arrangement of Samaya's work. The method of creation uses the method developed by Hawkins, namely the exploration stage, improvisation stage, and formation stage. The data collection techniques include library sources, audio and audio-visual recordings, and interviews. The stylist is interested in bringing up the story of love, loyalty, and the promise of a husband and wife. From this story, the stylist came up with an idea to make a source of inspiration into a new musical percussion art creation. All of these things interested the cultivators because the various atmospheres in achieving these goals, namely happiness, made them want to explore and pour them into creative percussion.

The Creative Process in the Creation of Tabuh Lelambatan Kreasi Works by I Ketut Gede Asnawa Manik, I Made Dwi Rustika; Yudarta, I Gede; Ardini, Ni Wayan
Journal of Aesthetics, Creativity and Art Management Vol. 4 No. 2 (2025): 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/jacam.v4i2.6068

Traditional music is experiencing rapid development from various aspects, including the creative process of making original works and the psychological expression of the artist in the creation process. This research examines the creative process in working on lelambatan music by I Ketut Gede Asnawa, with the aim of analyzing the stages of creation and exploring the knowledge contained in the work. The method used is qualitative with an ethnomusicology approach, which emphasizes direct involvement in the cultural context. The research location was determined purposively, while data collection techniques included observation, interviews, and in-depth documentation. The results showed that the creativity process includes three main modalities: imagination, skill, and sensitivity. In addition, “The Four P's of Creativity” approach (person, process, press, and product) plays an important role in the dynamics of creation. The resulting works are widely appreciated for demonstrating artistic integrity, depth of process, and high sincerity in realizing monumental works of art.

The Impact of Information Overload on Art Appreciation Patterns in the Digital Era Putri Gracia Simatupang; I Gede Yudarta; Ni Wayan Ardini
Journal of Aesthetics, Creativity and Art Management Vol. 5 No. 1 (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/jacam.v5i1.6213

The phenomenon of information overload arising from the flood of data in the digital era has impacted almost all aspects of life, including patterns of art appreciation. This article aims to examine how information overload, particularly through social media and digital spaces, is changing the way society understands, evaluates, and enjoys works of art. This study uses a qualitative approach with literaturea analysis and a critical examination of contemporary visual culture phenomena. The results show that art appreciation, which was previously reflective and in-depth, has shifted toward a consumerist, instantaneous, and digital popularity-based pattern. The appreciation process is now more often determined by algorithmic logic, virality, and the speed of information distribution, rather than the aesthetic value and intrinsic meaning of the artwork itself. This change poses a challenge for artists and art institutions to maintain the quality of art appreciation amidst the rapid flow of digital information.

Actualization of the Spirit of Nationhood in Karawitan Musical Compositions by Balinese Maestro I Wayan Beratha I Gede Yudarta; Ni Luh Sutjiati Beratha; I Komang Sudirga
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 1 (2025): New Dimensions of Bali Tourism
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i01.p12

Like other art forms, dance and music serve as expressive media for conveying social messages, including nationalism. However, nationalism in musical rhythms is often less explicit than in verbal or visual arts. This article explores the actualization of the spirit of nationhood in dance and karawitan—traditional Balinese musical compositions—by I Wayan Beratha (1926–2014), a maestro who created over 50 works, including dance pieces and instrumental compositions inspired by the national spirit of their time. Using a qualitative approach, this study gathers data through literature reviews, document analysis, and in-depth interviews. Ricoeur’s hermeneutical theory informs the analysis, positioning texts as a foundation for interpreting their social and ideological contexts. Findings reveal that Beratha’s works embody ideological themes, creative expression, and a deep commitment to national unity. His contributions continue to inspire contemporary artists, encouraging them to preserve and expand upon his legacy.

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i01.p12

A Composition Titled “Sriya Dasami” Wigraha, I Made Andika Candra; Yudarta, I Gede; Sadguna, I Gde Made Indra
Gorga : Jurnal Seni Rupa Vol. 14 No. 2 (2025): Gorga: Jurnal Seni Rupa (On Going)
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v14i2.68028

This study aims to describe and understand the process of creating the Karawitan Sriya Dasami Composition Work, to find out the form and structure of the Karawitan Sriya Dasami Composition Work, to know and understand the value contained in the Karawitan Sriya Dasami Composition Work. The process of creating Sriya Dasami's Karawitan Composition Works is carried out through imaginative and systematic artistic methods, involving six main stages: inspiration, imagination, exploration, formation, refinement, and presentation. This method is rooted in conceptual needs, traditional approaches, contemporary reinterpretations, as well as the empirical experience of creators. The application of this method allows the work to be formed in its entirety with a strong philosophical and musical foundation, and manifested in the form of a presentation based on cosmic symbolism. The creation process is carried out with a musical and visual approach, and utilizes instruments from Gong Kebyar gamelan as a medium of expression. The form and structure of the work are divided into four main sections, which represent the four phases in the astronomical system of the same period. Each piece contains its own musical character with different durations, creating a unique flow dynamic. The main value in this work lies in the efforts of the creator in formulating a new compositional system through the partition of the number ten, as well as the processing of the playing technique that is sourced from the slow but with a contemporary perspective, which reflects the artistic and spiritual identity of the creator.

Karya Karawitan Citra Jalatarangga I Putu Nanda Yoga Mayura; I Ketut Garwa; I Gede Yudarta
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8411

Citra Jalatarangga is a karawitan composition that is contextually inspired by the duality of freshwater and seawater springs found at Geger Beach. The duality embodied in this idea serves as the fundamental concept and is subsequently implemented in the formulation and structuring of Balinese karawitan performance techniques. This paper discusses the process of creating the work, the formal structure of the composition, and the aesthetic values contained within it. The karawitan composition Citra Jalatarangga employs three theoretical frameworks as analytical tools to describe the duality of the different water sources. Transformation theory is used to determine the form and structure of the composition, creativity theory serves as a reference in the creative process, and postmodern aesthetic theory functions as a guideline for applying aesthetic nuances to the work. The creative method used in the creation of Citra Jalatarangga is the Panca Sthiti Ngawi Sani method, which consists of five stages: the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngarencana), the execution stage (ngawangun), and the production stage (ngebah). This work utilizes several instruments from the Gamelan Semara Dana as its expressive medium and is structured into three sections, each representing the duality of the water sources through different formulations and performance techniques. In addition, instrument arrangement, costume design, and lighting design also function as supporting aspects in the presentation of the work, which was staged at Wantilan Banjar Sawangan, Desa Adat Peminge.

Co-Authors Adi Putra Wiwana, I Putu Asra, Rezky Gustian Bhumi, I Made Bayu Puser Bisma, I Wayan Arya Dewi, Ni Putu Putri Laksmi Dwi Dharma Aditya Febrian Putra Garwa, I Ketut I Gde Parimartha I Gede Arya Sugiartha, I Gede I Gede Mawan I Ketut Muryana I Komang Sudirga I Nyoman Pasek I Nyoman Pasek I Nyoman Pasek, I Nyoman I Nyoman Weda Kusuma I Putu Agus Arthanegara I Putu Gede Yana Juliadinata I Putu Nanda Yoga Mayura I Putu Trisna Nugraha I Saptono I Wayan Dibia I Wayan Mudra, I Wayan I Wayan Suharta, I Wayan ikadekagus adityaputra Indra Sadguna, I Gde Made Intan Handayani, Ni Ketut Juliadinata, I Putu Gede Yana Kadek Suartaya Kaiway, Yudhi Aji Ristanto Manik, I Made Dwi Rustika Mariyana, I Nyoman Mayura, I Putu Nanda Yoga Muryana, I Ketut Ni Luh Sutjiati Beratha Ni Luh Sutjiati Beratha Ni Wayan Ardini, Ni Wayan Ni Wayan Suartini Prakasih Putu Paristha Pramana, I Putu Riangga Budi Putra Adnyana, Made Putri Gracia Simatupang Santosa, Hendra Saptono, I Simanjuntak, Yessica Yosia Virginia Suparsa, I Made Adipramana Sutirtha, I Wayan Tri Haryanto Trisna Nugraha, I Putu Weka Sajjana, I Nengah Wigraha, I Made Andika Candra Yessica Yosia Virginia Simanjuntak Yoga, I Nyoman Wiradarma Yudana, I Gede

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