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All Journal E-Journal Of Cultural Studies JOGED PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni Panggung Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang JURNAL TATA KELOLA SENI Humaniora Pantun: Jurnal Ilmiah Seni Budaya Santhet: (Jurnal Sejarah, Pendidikan Dan Humaniora) Journal of Music Science, Technology, and Industry (JOMSTI) Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan Center of Knowledge Journal of Aesthetics, Creativity and Art Management Jurnal Igel: Journal of Dance Jurnal Riset Rumpun Ilmu Bahasa (JURRIBAH) Pariwisata Budaya: Jurnal Ilmiah Pariwisata Agama dan Budaya Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Panggung Global Art Creativity Conference Open Access DRIVERset
I Ketut Sariada, I Ketut
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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The Analysis of the Art Ecosystem in the Development of Musicmathematics Samuel, Samuel; Mudra, I Wayan; Sariada, I Ketut
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.v4i2.6085

Abstract

Musicmathematics is the integration of mathematical principles in music, offering a new approach in contemporary music composition. This study arises from the urgency to understand the impact of musicmathematics on the art ecosystem holistically, encompassing cultural, social, economic, educational, legal, and technological aspects. The research employs document analysis and audiovisual analysis methods to identify patterns, relationships, and the influence of musicmathematics on various elements of the art ecosystem. The study is based on the art ecosystem theory by Becker (1982), which emphasizes the interaction between art actors and social structures, and Benoît Mandelbrot’s fractal theory (1989), which observes recurring patterns in music structures. Additionally, the concept of dynamic culture (Geertz, 1973a) is used to understand cultural transformation through the application of mathematical innovations. The results of the research indicate that musicmathematics significantly contributes to music composition innovation, despite facing challenges in social acceptance and commercialization. Culturally, musicmathematics creates tension between innovation and tradition; socially, this genre forms a limited experimental community; and in education, it enriches curricula with analytical approaches facilitated by technology. The study concludes that musicmathematics holds great potential in supporting the transformation of contemporary arts, particularly through strengthening education and technology. However, adaptive strategies are needed to increase the acceptance of this concept in a broader art ecosystem. Keywords: musicmathematics, art ecosystem, music innovation, music education, art technology.
The Phenomenon of Baris Pendet Dance at Dalem Tanjung Sari Temple, Tanjung Bungkak Traditional Village, Denpasar City, Bali Sariada, I Ketut; Swarsana, I Putu; Sulistyani, Sulistyani; Yulianti, Ni Ketut Dewi; Santika, Sang Nyoman Gede Adhi
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.v4i2.6086

Abstract

This research aims to obtain a holistic understanding of Baris Pendet Dance in Tanjung Sari Temple, Tanjung Bungkak Traditional Village, Denpasar City, Bali Province. This research was conducted by analyzing aspects of dance form, function, and philosophical meaning of Baris Pendet Dance. This research uses a qualitative research model with a descriptive approach. Data collection using observation techniques, interviews, literature studies and documentation studies. Several theories such as Aesthetic Theory, Structural Functionalism Theory, and Semiotics Theory are used to analyze data about the form, function and meaning of dance. The results showed that Baris Pendet dance in Pura Dalem Tanjung Sari is a group dance consisting of eight boys who have not yet entered puberty. The function of this Baris Pendet dance is the function of ritual, spectacle, and cultural preservation. Denotatively, this dance symbolizes respect for the value of spirituality in periodic rituals at Tanjung Sari Temple. While connotatively, this dance symbolizes the welcoming of humanity to the descent of the gods during the ceremony held at Tanjung Sari Temple.
Negotiating the Third Space: Islamic Performing Arts and Cultural Diplomacy Between Muslim Minorities and Royal Patronage in Bali Sariada, I Ketut; Gunadi Putra, I Gede; Rahiminejat, Rahim
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p06

Abstract

In Bali, Islamic performing arts have long bridged relations between Muslim minority communities and the puri royal courts, shaped by trade, intermarriage, and mutual coexistence. This study examines Rodat as a medium of social interaction and identity negotiation in Kepaon, Denpasar, and Puri Agung Pemecutan, with comparisons from other regions in Bali. Using a qualitative ethnographic approach that combines observation, interviews, and document analysis, the research traces the historical, symbolic, and political dimensions of these practices. The findings show that Rodat and other Islamic performances serve dual functions: preserving Muslim identity while legitimizing palace authority, creating a third space that enables coexistence without forced assimilation. This space functions as a mechanism of interfaith diplomacy, reinforced through rituals, mutual recognition, and cultural patronage. In doing so, this study advances theoretical understanding by demonstrating how Bhabha’s ‘third space’ can be institutionalized through traditional patronage, enabling coexistence without assimilation.
Negotiating the Third Space: Islamic Performing Arts and Cultural Diplomacy Between Muslim Minorities and Royal Patronage in Bali Sariada, I Ketut; Gunadi Putra, I Gede; Rahiminejat, Rahim
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p06

Abstract

In Bali, Islamic performing arts have long bridged relations between Muslim minority communities and the puri royal courts, shaped by trade, intermarriage, and mutual coexistence. This study examines Rodat as a medium of social interaction and identity negotiation in Kepaon, Denpasar, and Puri Agung Pemecutan, with comparisons from other regions in Bali. Using a qualitative ethnographic approach that combines observation, interviews, and document analysis, the research traces the historical, symbolic, and political dimensions of these practices. The findings show that Rodat and other Islamic performances serve dual functions: preserving Muslim identity while legitimizing palace authority, creating a third space that enables coexistence without forced assimilation. This space functions as a mechanism of interfaith diplomacy, reinforced through rituals, mutual recognition, and cultural patronage. In doing so, this study advances theoretical understanding by demonstrating how Bhabha’s ‘third space’ can be institutionalized through traditional patronage, enabling coexistence without assimilation.
The Art Ecosystem of Amreta ing Huma I Gusti Ngurah Diva Ismayana; I Wayan Mudra; I Ketut Sariada
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.v5i1.6215

Abstract

Amreta ing Huma is an art ecosystem whose ideas sparked the subak phenomenon and its current existence. By linking culture, society, education, politics, technology, economics, and stakeholders, it can become an alternative way of thinking for Balinese society, both nationally and internationally. This paper is compiled based on the results of fieldwork through a qualitative approach, namely the implementation of interview methods accompanied by direct observation, the process of transcribing information in the form of field data, processing data to compiling data into a systematic and coherent data report. The aesthetic approach used is that of Clive Bell and William Morris, along with a sustainable ecological art approach. Amreta ing Huma, interpreted as the water of life in rice fields, is a product of thought in the form of an art ecosystem. The achievement of an art ecosystem begins with the creation of the Amreta ing Huma artwork, ecological art, which ultimately forms an art ecosystem. Based on this artwork, a role model for interaction within the community is established through the perspectives of culture, education, politics, economics, and stakeholders.
Studi Kasus Peran Griya Musika Sukawati Cressendo Dalam Membangun Ekosistem Seni Musik Lokal Bali Sabath, Brill Obed; Mudra, I Wayan; Sariada, I Ketut
Journal of Music Science, Technology, and Industry Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

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

Abstract

Purpose: This study aims to analyze the role of Griya Musika Sukawati Cressendo as a music education institution in building a local music arts ecosystem in Gianyar, Bali. Method: This research uses a qualitative research method with data collection through observation, interviews, and document studies. The results of the study show that Griya Musika Sukawati Cressendo has a significant role in the local music arts ecosystem in Gianyar. They not only provide quality music education, but are also active in developing the talents of local musicians, preserving traditional Balinese music, and creating a space of expression for musicians to work and collaborate. Result and Discussion: A SWOT analysis revealed that the institution's strengths lie in its comprehensive curriculum and qualified teaching staff. However, its weaknesses may lie in limited accessibility for underprivileged communities. Significant opportunities are seen in potential collaborations with the tourism industry and arts festivals in Bali, as well as the growing interest in music among the younger generation. Meanwhile, threats come from the globalization of music, which could shift preferences or the lack of clear career paths for graduates. Implication: The implications of this research emphasize that local music education institutions have great potential as a main pillar in the sustainability and revitalization of the arts and culture ecosystem, and provide strategic guidance for the development of similar models in other regions to balance cultural preservation with artistic innovation.
Exploring Nietzsche's Philosophical Idea on Nihilism: “The Question of the Essence of Morality in Humanizing Humans”: Menelisik pemikiran filsafat Nihilisme Nietzsche: “Persoalan Hakikat Moralitas Memanusiakan Manusia” Faldi Hendrawan; Anak Agung Gede Rai Remawa; I Ketut Sariada
Santhet: (Jurnal Sejarah, Pendidikan Dan Humaniora) Vol 10 No 1 (2026): SANTHET: (JURNAL SEJARAH, PENDIDIKAN DAN HUMANIORA)
Publisher : Proram studi pendidikan Sejarah Fakultas Keguruan Dan Ilmu Pendidikan Universaitas PGRI Banyuwangi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36526/santhet.v10i1.6798

Abstract

This article discusses a critical analysis of Friedrich Nietzsche's thought by highlighting the main issues related to the foundations of nihilism and the relevance of two of his central ideas, namely the will to power and the Übermensch, as an effort to overcome the collapse of traditional values. The research uses a qualitative approach with a subjectivism-humanities paradigm through a literature study of Nietzsche's works, especially Thus Spoke Zarathustra and The Will to Power, as well as secondary studies from philosophers and historians of thought. The analytical method is carried out through textual hermeneutics to interpret Nietzsche's aphorisms that are unsystematic but full of philosophical meaning. The results of the study show that Nietzsche's nihilism is not merely a rejection of values, but a diagnosis of the crisis of modern culture that has lost its foundation of meaning; in this context, the will to power functions as a creative human drive to overcome old moral determinations, while the Übermensch becomes an ideal concept of humans who are capable of creating values ​​autonomously. These findings confirm that Nietzsche's thought makes a significant contribution to the development of contemporary philosophy through a rereading of values, freedom, and human existence
Bentuk dan Makna Pertunjukan Tari Renteng di Desa Saren, Nusa Penida, Klungkung, Bali Ni Made Ruastiti; Anak Agung Indrawan; Ketut Sariada
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 11 No. 1 (2021): Volume 11 No. 1. April 2021
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2021.v11.i01.p10

Abstract

This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance without stories. This can be seen from the presentation, choreography, and the music accompanying the performance. Renteng dance is accompanied by Balinese gamelan Balaganjur music with a specific movement dance performance structure. Saren community members support this dance because it has meaning as an expression of faith, social concern, and the interest in ecological preservation.
Konsep Dasa Paramartha pada Karakterisasi Tokoh Aji Dharma dalam Pertunjukan Wayang Tantri oleh I Wayan Wija Wicaksandita, I Dewa Ketut; Santosa, Hendra; Sariada, I Ketut
Dance and Theatre Review Vol 3, No 1: May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1037.378 KB) | DOI: 10.24821/dtr.v3i1.4415

Abstract

The Concept of Dasa Paramartha on the Characterization of Aji Dharma in a Wayang Tantri Performance by I Wayan Wija. Dasa Paramartha, as the teachings of dharma (goodness) in Hinduism, then becomes a material that is flexible enough to be displayed in broadcasting the meaning and value of ethical, moral, and social behavior education. Wayang Tantri, in the play of Sang Aji Dharma Kepastu presents the character of Prabu Aji Dharma with the characteristics trait displayed as a figure of dharma who later becomes a role model for Wayang Tantri audiences. This study aims to reveal the values of Dasa Parartha’s teachings in the characterization of Aji Dharma figures. The qualitative descriptive method with data collection in the form of observation, interviews, and study documentation of the Wayang Tantri video of Sang Aji Dharma Kepastu with a duration of approximately 2 hours, then analyzed by, The Aesthetic Pedalangan Theory supported by Semiotic Theory. The results of the research are the representation of the teachings of Dasa Parmartha, which is in the form of Tapa: physical and mental self-control; Bharata: curb lust; Samadhi: mental concentration on God; Santa: being calm and honest; Sanmata: aspiring and aiming towards goodness; Karuna: affection between living beings; Karuni: compassion for plants, goods and so on; Upeksa: being able to distinguish right from wrong, good and bad; Mudhita: trying to please others; and Maitri: eager to seek friendship based on mutual respect.Keywords: representation; Dasa Paramartha; Aji Dharma; Wayang Tantri
Co-Authors Adhyatma, I Putu Ananta Wira Anak Agung Bagus Wirawan Anak Agung Gde Agung Indrawan Indrawan Anak Agung Gede Angga Mahputra Anak Agung Indrawan Anak Agung Ngurah Anom Kumbara Bhumi, I Made Bayu Puser Cerita, I Nyoman Desiari,  Made Ayu Devi, Putu Rismayuni Dewa Made Arta Subawa Udayana Dipasatyadewi, Ni Luh Faldi Hendrawan I Dewa Ketut Wicaksandita I Gede Adi Sudi Anggara I Gede Arya Sugiartha, I Gede I Gede Gunadi Putra I Gede Mawan I Gede Oka Surya Negara I Gusti Ngurah Diva Ismayana I Kadek Agus Sujiro Putra, I Kadek I Made Adhi Wiguna I Made Rianta I Made Rianta I Made, Rianta I Nyoman Cerita I Nyoman Sedana I Putu Bagus Restu Pratama Wiwaha I Wayan Dibia I Wayan Mudra, I Wayan Ida Ayu Triana Titania Manuaba Ida Ayu Trisnawati, Ida Ayu Indra Sadguna, I Gde Made Indrawan, Anak Agung Kaiway, Yudhi Aji Ristanto Kasih Kasih Kasih, Kasih Ketut Tara Listiawan Komang Indah Parasari Komang Indah Parasari Made Marajaya Made Tiartini Mudarahayu Ni Ketut Dewi Yulianti Ni Luh Ria Novitasari Ni Luh Sustiawati Ni Made Arshiniwati Ni Made Ayu Kesuma Dewi Ni Made Ruastiti Ni Made Ruastiti Ni Nyoman Manik Suryani Ni Wayan Juli Artiningsih, Ni Wayan Ni Wayan Suartini Prastiti, Ni Putu Suci Pratama, Putu Angga Putu Angga Pratama Rahiminejat, Rahim Remawa, Anak Agung Gede Rai Ricky Fernando Rino Ega Vebrian Sabath, Brill Obed Samuel Samuel Santika, Sang Nyoman Gede Adhi Santosa, Hendra Satyani, Ida Ayu Wayan Arya Sulistyani Sulistyani Swarsana, I Putu Syahrian, Alfin Udayana, Dewa Made Arta Subawa Wiguna, I Made Adhi