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All Journal E-Journal Of Cultural Studies Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni Kurios Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Damar Pedalangan Global Art Creativity Conference
Made Marajaya
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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WAYANG CINEMA LAKON KAPI BALI LINA SEBUAH MODEL PENGEMBANGAN WAYANG KULIT BALI Marajaya, I Made; Peradantha, Ida Bagus Gede Surya
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Artikel ini bertujuan untuk mengkaji estetika Wayang Cinema berjudul Kapi Bali Lina yang diproduksi oleh SMK 3 Sukawati Gianyar. Wayang Cinema yang memadukan dua elemen estetik dari wayang kulit dan seni perfileman ini, telah ikut meramaikan kesenian wayang di media sosial melalui Channel Youtube. Wayang Cinema yang mengangkat cerita Kapi Bali Lina ini memakai medium wayang kulit dan “aktor” manusia. Permasalahan yang diangkat dalam artikel ini adalah; (1) bagaimana estetika Wayang Cinema lakon Kapi Bali Lina?; (2) apa pesan moral yang terkandung di dalam lakon Kapi Bali Lina?. Permasalahan di atas dikaji menggunakan metode kualitatif. Data yang diperoleh di lapangan dikumpulkan dengan teknik observasi, wawancara, dan literatur. Data yang terkumpul dianalisis secara deskriptif kualitatif interpretatif, dan didukung dengan teori kreativitas dan estetika postmodern. Hasil penelitian menunjukkan bahwa telah terjadi pembaruan dalam pertunjukan wayang kulit Bali, menggunakan peran wayang dan manusia, serta dikemas dengan teknik perfileman. Garapan Wayang Cinema dengan lakon Kapi Bali Lina ini memberi pesan moral, yaitu satya wacana dan kesalahpahaman. Terbunuhnya Subali oleh Sang Rama karena petunjuk para dewata, bahwa yang dibunuh oleh Sang Rama adalah sifat orang yang tidak pernah menempati janjinya.
Interpreting Life Values in The Performance of Ramayana Shadow Puppet Setubanda Play I Made Marajaya
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 3 (2023): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

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Abstract

Ramayana Shadow Puppet Performance is a type of Balinese shadow puppet from the Ramayana Epic, and its position still exists in society today. The Ramayana Shadow Puppet Performance's main characters are Rama a symbol of good and Ravana a symbol of evil. The characters consist of humans, monkeys (ore), and giants. This performance of Ramayana story is famous for its characteristic "ngore" (monkey sound). One of the most popular plays show is Setubanda play, named Sundara Kanda. The shadow puppet play tells the story of Rama's army led by Sugriwa was building a connecting bridge from Mount Mahendra to Alengka. The Setubanda Bridge which had been completed by Rama's troops was then damaged by Ravana's son Detya Kala Sura Bhuta and his crocodile army. Then there was a war that ended with the death of Detya Kala Sura Bhuta. This research used qualitative methods and was supported by semiotic and hermeneutic theories. It can be philosophically interpreted as a bridge between Paramatman (Rama) and Jiwatman (Sita) who were separated by Ravana. The Setubanda play contains many life values; the value of education, leadership, unity, loyalty, and the value of solidarity.
THE IMPACT OF TECHNOLOGY ON THE DEVELOPMENT OF BALINESE SHADOW PUPPETRY IN THE GLOBAL ERA I Made Marajaya; Ida Bagus Gede Surya Peradantha
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.589

Abstract

This study is motivated by the significant changes in Balinese shadow puppetry (wayang) resulting from the integration of technology in the global era. While the introduction of technology has opened new opportunities for the development of Balinese wayang, there are concerns that its use may undermine traditional values, affect the creativity of the puppeteers, and potentially threaten the preservation of this art form. Based on this, the study poses two main research questions: (1) How does technology influence the creativity of Balinese wayang in the global era? and (2) What are the impacts on the preservation and advancement of Balinese wayang? This qualitative research employs data collection methods such as observation, interviews, and literature review. The data were analyzed descriptively and interpretively, supported by creativity theory. The results indicate that technology has stimulated boundless innovation in Balinese wayang, leading to more engaging audio-visual performances. Moreover, the use of technology has contributed to the resurgence of the wayang-watching culture in Balinese society, while supporting the sustainability of this art form in the global era.
PENCIPTAAN KARYA TEATER BAYANG RAGA NUSANTARA DOOMED ROMANCE Gunawan, Gede Putra Arya Bagus; Marajaya, I Made; Sudarta, I Gusti Putu
JURNAL DAMAR PEDALANGAN Vol 5 No 1 (2025): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i1.4825

Abstract

The performance Shadow Theater: Raga Nusantara adapts traditional Balinese wayang techniques, blending them into a modern theater performance that tells the love story of Sri Tanjung and Sidapaksa, a tale believed by the Banyuwangi community. The Raga Nusantara shadow theater applies methods from Eko Supriyanto’s book “Ikat Kait Impulsif Sarira”—namely Re-Visiting, Re-Questioning, and Re-Interpreting. This work, titled Doomed Romance, translates to a shattered romance or broken love. The shadow theater piece, Doomed Romance, originates from the social phenomena prevalent among the younger generation, particularly concerning the dynamics of romantic relationships. This phenomenon reflects various aspects of young people's lives as they undergo the process of searching for identity, self-existence, and the meaning of love in an ever-changing social context. Romantic relationships often become an important part of their lives, involving not only emotions but also complex social interactions. This work narrates the love journey of Sri Tanjung and Sidapaksa, filled with obstacles and temptations, which form the dynamics of their romantic story. The story carries many moral messages and meanings, particularly in the realms of romance and trust. This tale is considered relevant to the phenomena experienced by the younger generation undergoing the dynamics of social or romantic relationships, which is why the artist chose this story for the Raga Nusantara shadow theater.
MAKNA PERTUNJUKAN WAYANG WONG RAMAYANA LAKON MAYA SANDI DI BANJAR PESALAKAN GIANYAR Ni Komang Sekar , Marhaeni; Marajaya, I Made
Segara Widya : Jurnal Penelitian Seni Vol. 13 No. 2 (2025)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/sw.v13i2.3421

Abstract

Penelitian ini bertujuan mengkaji makna pertunjukan Wayang Wong Lakon Maya Sandi di Banjar Pesalakan Kabupaten Gianyar Bali. Wayang Wong yang lakonnya bersumber dari cerita pewayangan ini termasuk kesenian langka dan hanya terdapat di beberapa daerah di Bali. Wayang Wong Ramayana ini dipentaskan pada tanggal, 19 September 2024 saat upacara pujawali atau odalan di Pura Dalem Prajurit. Kehadiran Wayang Wong dalam upacara ini mengandung makna yang diyakini dapat membawa berkah dan keselamatan bagi para pendukungnya. Permasalahannya adalah: (1) Bagaimana bentuk estetika pertunjukan Wayang Wong Lakon Maya Sandi di Banjar Pesalakan Kabupaten Gianyar?; (2) Makna apa yang terkandung dalam pertunjukan Wayang Wong Lakon Maya Sandi di Banjar Pesalakan Kabupaten Gianyar?. Penelitian ini menggunakan metode kualitatif. Data kualitatif dikumpulkan melalui observasi, wawancara, dan studi literature. Data yang telah terkumpul diolah secara deskriptif kualitatif didukung oleh teori estetika dan teori semiotika. Temuan di lapangan menunjukkan bahwa bentuk estetika pertunjukan Wayang Wong lakon Maya Sandi di Banjar Pesalakan di Kabupaten Gianyar dapat dilihat pada; lakon, penokohan, retorika, gerak, antawacana, dan dialog antar tokoh. Makna pertunjukan Wayang Wong Ramayana lakon Maya Sandi antara lain; makna religius, makna estetika, makna hiburan, makna pelestarian, dan makna sosial.
Embodying the Living Corpse: Intermedial Adaptation in Balinese "Calonarang" Shadow Theatre Marajaya, I Made; Sasrani Widyastuti, Ida Ayu Gede
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 2 (2025): Symbolism in Balinese Rituals
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i02.p14

Abstract

As Balinese Calonarang shadow theatre responds to shifting audience expectations and media influences, intermediality has emerged as a strategic mode of adaptation. This article examines a notable example: the emergence of the watangan matah or ‘living corpse,’ a figure performed by a live actor within the traditionally two-dimensional shadow space. This adaptation bridges symbolic shadow play with embodied presence, negotiating ritual integrity with theatrical spectacle. Using a mixed-method embedded design, the study combines descriptive quantitative data with ethnographic interpretation through observation, video analysis, interviews, and an audience survey. Findings show that the inclusion of watangan matah intensifies visual and emotional impact but generates divided responses between younger, media-oriented audiences and ritual purists. More significantly, staging a live corpse figure introduces power contestation, as puppeteers symbolically challenge mystical forces to assert spiritual authority. Watangan matah thus exemplifies how Calonarang theatre navigates preservation and transformation while maintaining its sacred resonance.  
Penciptaan Karya Mannequin Puppet "Asmara Samara" Asmara Nata, I Wayan Candra; Marajaya, I Made; Sekar Marhaeni, Ni Komang; Darma Putra, I Gusti Made
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4986

Abstract

The creation of the Mannequin Puppet performance entitled Asmara Samara is driven by the need for innovation in Balinese puppetry to bridge traditional values with contemporary artistic expression. This work presents a tragic romance between Prince Semara Yana of the Nila Kingdom and Princess Asmara Gantari of the Seta Kingdom, whose love is challenged by an enduring conflict between their parents. The purpose of this artistic project is to introduce a new format of puppetry that is communicative, philosophically grounded, and appealing to younger generations. The creative process employed the Dalang Anumana method formulated by I Gusti Made Darma Putra, consisting of five stages: Ngawit (starting), Ngepah (conception), Ngastawa (spirituality), Ngripta (making), and Ngebah (performing). Through visual exploration, media experimentation, and integration of theater, dance, and video mapping, the performance successfully embodies Balinese aesthetics within a naturalistic and symbolic style. The result demonstrates how Balinese philosophical concepts such as swasraya, karmaphala, and tri hita karana can be recontextualized through innovative performance media. In conclusion, Asmara Samara not only represents an artistic innovation but also serves as a medium for the preservation and transformation of Balinese puppetry in the global cultural landscape.
Co-Authors Adhi Santika, Sang Nyoman Gede Andreas James Darmawan Artawan , I Gede Dodi Asmara Nata, I Wayan Candra Dewi Yulianti Ni Ketut Dru Hendro Dru Hendro Gede Arimbawa, I Made Gunawan, Gede Putra Arya Bagus I Gede Dodi Artawan I Gusti Made Darma Putra I Gusti Ngurah Gumana Putra I Kadek Widnyana, I Kadek I Ketut Sariada I Kt. Suteja I Made Suastika I Nyoman Kutha Ratna I Nyoman Sedana, I Nyoman I Wayan Dibia Dibia, I Wayan Dibia Ida Bagus Eka Darma Putra Ida Bagus Gede Jaya Dwija Putra Ida Bagus Gede Surya Peradantha Jaya, Ngurah Made Asmara Manuaba, Ida Bagus Dwilingga Darpita Marheni, Ni Komang Sekar Ni Komang Sekar , Marhaeni Ni Komang Sekar Marhaeni Nyoman Wirahadi Budiawan Peradantha, Ida Bagus Gede Surya Putra, I Gusti Ngurah Gumana S.Pd. M Kes I Ketut Sudiana . Sasrani Widyastuti, Ida Ayu Gede Sekar Marhaeni, Ni Komang Sudarta, I Gusti Putu Suteja, I Kt.