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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 Journal of Aesthetics, Creativity and Art Management Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Damar Pedalangan Global Art Creativity Conference Open Access DRIVERset
I Made Marajaya
Institut Seni Indonesia Bali
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Embodying the Living Corpse: Intermedial Adaptation in Balinese "Calonarang" Shadow Theatre I Made Marajaya; Ida Ayu Gede Sasrani Widyastuti
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.  
WAYANG GAMBUH AS A REPRESENTATION OF BALINESE CULTURAL VALUES: AN AESTHETIC PERSPECTIVE ON THE PERFORMING ARTS I Made Marajaya
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v9i1.3872

Abstract

Wayang Gambuh is a form of Balinese shadow puppet theater rich in aesthetic and cultural-philosophical values. This performance has its roots in the Gambuh dance-drama, so the essence of Gambuh is strongly felt in every performance. The aesthetics of Wayang Gambuh are reflected through the elements that form the structure of the performance, such as the narrative, the visual imagery, the characterization, and the accompanying music in the form of the Gambuh gamelan. This study aims to analyze the aesthetics of Wayang Gambuh as a representation of Balinese cultural values from the perspective of performing arts. As a hybrid of the Gambuh dance-drama, Wayang Gambuh is often perceived as complex and difficult to master by aspiring puppeteers. However, this is not the case. Unlike Wayang Arja, which follows the patterns of Arja dance-drama, Wayang Gambuh retains the structure of traditional wayang kulit performances, though its aesthetic nuances differ due to the accompaniment of Gambuh gamelan. The research findings indicate that Wayang Gambuh follows the structure of traditional wayang kulit performance art, such as Wayang Parwa, in a complete and dynamic manner. The audio-visual components including vocal performances, visual effects, characterization, and musical accompaniment blend into a symbolic unity that represents the values of harmony, artistry, aesthetics, and spirituality within Balinese society. Wayang Gambuh serves not only as entertainment but also as a medium for cultural and spiritual education that strengthens the identity of the Balinese people. This research is expected to open up broader avenues of study for researchers and enthusiasts of traditional art to re-examine the aesthetic elements of Wayang Gambuh, while also encouraging the preservation and development of this art form so that it remains relevant amidst the changing times.
Eksagerasi animasi god toon dalam cerita Alkitab: Kisah Daniel dalam konteks historis dan kultural Andreas James Darmawan; I Made Gede Arimbawa; I Made Marajaya
KURIOS Vol. 9 No. 2: Agustus 2023
Publisher : Sekolah Tinggi Teologi Pelita Bangsa, Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30995/kur.v9i2.729

Abstract

Exaggeration is a solution to attract attention again when conveying a message, especially when the message is an old, repeated message. This exaggeration is needed to provide novelty to the target's boredom with old, repetitive messages. This research examines a Bible story film with a bold novelty value with the scientific knife of romantic hermeneutics. The episode that is the scope of the research is the story of Daniel in the Lion's Cage, from a Korean animation studio called God Toon. This research uses a descriptive qualitative method, which describes historical and cultural contexts obtained from several literary sources, interviews, and researcher interpretations. The research results are a study of exaggeration in Biblical characterizations, which gives rise to reference implications for research that addresses similar topics. The impact of the research is to encourage similar efforts that try to make a breakthrough in the target's boredom of receiving Bible stories that are visually relatively the same, as well as trying to generate story messages so that they continue to gain interest and a place in the hearts of Christians. AbstrakEksagerasi merupakan solusi untuk menarik atensi kembali dalam menyampaikan sebuah pesan, apalagi pesan yang hendak disampaikan adalah pesan lama yang berulang; eksagerasi ini diperlukan sebagai solusi dalam upaya memberikan kebaruan pada kejenuhan target pada pesan lama yang berulang. Penelitian ini mengkaji sebuah film cerita Alkitab dengan nilai kebaruan yang berani dengan pisau keilmuan hermeneutik romantisme. Episode yang menjadi lingkup penelitian adalah cerita Daniel di Kandang Singa, dari studio animasi korea bernama God Toon. Metode penelitian ini menggunakan metode kualitatif deskriptif, yang menggambarkan kedua konteks baik historis maupun kultural, yang didapatkan dari beberapa sumber literatur, wawancara, dan tafsiran peneliti. Hasil penelitian berupa sebuah kajian tentang eksagerasi pada penokohan Alkitab, yang melahirkan implikasi acuan bagi penelitian yang mengangkat topik yang serupa. Dampak penelitian adalah mendorong upaya serupa yang mencoba melakukan terobosan bagi kejenuhan target menerima cerita Alkitab yang secara visual relatif sama, serta berupaya mengenerasi pesan cerita agar tetap mendapatkan minat dan tempat dalam hati umat Kristiani.
Pakeliran Wayang Gambuh "Geseng Alas" I Wayan Kembalyana Budi Swara; I Made Marajaya; Sang Nyoman Gede Adhi Santika
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6621

Abstract

The creation of the Wayang Gambuh performance “Geseng Alas” is grounded in the declining public interest in Balinese puppetry due to the dominance of modern entertainment forms that are more visually appealing and instant. This condition necessitates aesthetic innovation and revitalization strategies without neglecting the philosophical and structural conventions of traditional puppetry. This study aims to describe the creative process and performative structure as a model of tradition-based innovation. A qualitative-descriptive method was employed through participatory observation, literature review, and textual analysis of the pakeliran structure, combined with creative practice exploration at Kakul Mas Art Studio. The findings reveal that the integration of shadow puppetry and Gambuh dance produces a new aesthetic synthesis through intensified dramaturgy, visual exploration, and expanded performative dimensions of the dalang. This innovation not only enriches the artistic idiom of puppetry but also functions as an adaptive revitalization strategy aligned with contemporary audience preferences. The study concludes that this cross-traditional collaborative model contributes significantly to the discourse of puppetry creation as a dynamic artistic practice while reinforcing its socio-cultural function in preserving Balinese heritage.
Nuwur Performance’s Management of the Bebali Art in Payangan District, Gianyar, Bali I Kadek Yogi Mahendra; I Made Marajaya; I Gede Yudarta
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/jacam.v5i2.6834

Abstract

Bebali Art is one of Bali's cultural treasures that has a dual function, namely as part of a religious ceremony (Yadnya) as well as a means of entertainment containing spiritual values. Situated between the sacred and profane dimensions, Bebali Art demands flexible performance management while remaining grounded in traditional and religious values. This study aims to design and implement a structured, professional, and local wisdom-based Bebali Art performance management system in the form of the Arja Dance Drama through the Nuwur Kalanguan Performance. Problems that often arise in Bebali Art performances include weak planning, limited human resources, and lack of coordination between related parties, which impact the effectiveness and suitability of the performance with traditional values. This study uses Goldblatt's (2014) event management theory and Walter Benjamin's religious aesthetic theory with the stages of production, presentation, and control. The results of the study indicate that the implementation of a structured management system can improve the quality of performance management and maintain the integrity of the values, meanings, and local wisdom of Bebali Art, especially the Arja Dance Drama.
REINTERPRETASI TAKSU MELALUI PENCIPTAAN WAYANG TEATER JRO DALANG PURWA DALAM PEDALANGAN BALI KONTEMPORER I Made Edi Sucita Edi; I Made Marajaya; Hanolda Gema Akbar
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7266

Abstract

This article discusses the creation of a Wayang (shadow puppetry) theater piece titled "Jro Dalang Purwa" as an artistic output of the "ISI Bali Berdampak" Independent Project Program. The work blends dramatic theater performance with Balinese puppetry traditions, utilizing the Durik Temple area as a narrative framework to reflect on the significance of spiritual values Or taksu in the artistic lives of the Balinese people. The project aims to reinterpret the ancestral history of Jro Dalang Purwa, specifically his quest to attain taksu through ascetic practice (tapa yoga) and his eventual creation of the Arjuna Pengamukan puppet during the era of the Gianyar Kingdom. The creative process employed the Panca Stiti Sani Ngawi method conceptualized by Prof. Dr. I Wayan Dibia which encompasses the stages of ngawirasa (feeling/sensing), ngewacak (conceptualizing), ngarencana (planning), ngawangun (constructing/creating), and ngebah (finalizing/presenting). The results demonstrate that the fusion of theatrical and puppetry elements can present a classic narrative in a manner that is contextual, reflective, and communicative for the younger generation, all while preserving traditional aesthetic values. The work embodies various Balinese cultural values, such as the concept of taksu, the preservation of tradition, intergenerational cultural transmission, social solidarity, ancestral reverence, and perseverance in the artistic process. Furthermore, the creation of this Wayang theater piece is expected to generate tangible impacts across social, cultural, and creative economy sectors.
Co-Authors Andreas James Darmawan Artawan , I Gede Dodi Asmara Nata, I Wayan Candra Budiawan, Nyoman Wirahadi Dru Hendro Gede Arimbawa, I Made Gunawan, Gede Putra Arya Bagus Hanolda Gema Akbar I Gede Yudarta, I Gede I Gusti Made Darma Putra I Gusti Putu Sudarta I Kadek Widnyana, I Kadek I Kadek Yogi Mahendra I Ketut Sariada I Ketut Sariada, I Ketut I Made Edi Sucita Edi I Made Suastika I Nyoman Kutha Ratna I Nyoman Sedana, I Nyoman I Wayan Dibia Dibia, I Wayan Dibia I Wayan Kembalyana Budi Swara Ida Ayu Gede Sasrani Widyastuti Jaya, Ngurah Made Asmara Manuaba, Ida Bagus Dwilingga Darpita Marhaeni, Ni Komang Sekar Marheni, Ni Komang Sekar Ni Ketut Dewi Yulianti Peradantha, Ida Bagus Gede Surya Putra, I Gusti Ngurah Gumana Putra, Ida Bagus Eka Darma Putra, Ida Bagus Gede Jaya Dwija S.Pd. M Kes I Ketut Sudiana . Sang Nyoman Gede Adhi Santika Surya Peradantha, Ida Bagus Gede Suteja, I Kt.