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Pelatihan Pertunjukan Wayang Kulit Tradisi Di Desa Adat Batur “Karya Sudhaningrat” Mahendra, I Kadek Yogi; Hendro, Dru; Marhaeni, Ni Komang Sekar
JURNAL DAMAR PEDALANGAN Vol 4 No 1 (2024): April
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i1.3740

Dilihat dari perkembangan zaman di masa sekarang dimana segala hal sudah bersifat inovasi hal tersebut menyebabkan tradisi mulai tidak diminati oleh generasi muda. Dilihat dari budaya khususnya seni pertunjukan Wayang Kulit di masa sekarang sudah sangat rendah kesksistensiannya di masyarakat, hal ini tidak hanya di alami di satu daerah namun hampir semua daerah di Bali memiliki masalah sepereti ini. Di Bali Utara khususnya di Desa Adat Batur yang dimana kesenian Wayang Kulit Tradisi sangat berperan penting sebagai pelengakap upacara yang diselenggarakan di Pura Ulun Danu Batur, walaupun demikian sangat susah sekali untuk mendapatkan generasi muda yang mau untuk mempelajari kesenian Wayang Kulit Tradisi. Dari permasalahan yang terdapat di Desa Adat Batur penulis melakukan program pembelajaran pertunjukan Wayang Kulit Tradisi kepada salah satu masyarakat yang ingin mendalami di duni seni Pedalangan bliau adalah I Made Sasmika. Ada beberapa tahapan yang dilakukan di dalam proses pembelajaran pertunjukan Wayang Kulit Tradisi antara lain mulai dari memberikan pemahaman tentang kesenian Wayang dan pemilihan gaya pementasan yang pantas dijadikan sebagai dasar pembelajaran. Dalam proses pembelajaran ini dipilih Style pementasan Sukawati karena di dalam pertunjukan Wayang Sukawati sangat banyak terdapat komponen – komponen yang membangun di dalam pementasan. Pada tahap pertama pembelajaran, peserta didik diberikan materi gending Alasarum diserta gerak Wayang, dilanjutkan dengan Penyacah Parwa sebagai sinopsis di dalam pertunjukan wayang yang menggunakan bahasa kawi, tahap ketiga mempelajari gending Bebaturan dan gerakan Mangkat, dilanjutkan dengan mempelajari Tarian Delem dan Siat Wayang. Dengan adanya program ini semoga kedepannya kesenian Wayang Kulit Tradisi di Desa Adat Batur bisa lestari tidak hanya di Batur saja, juga di tempat lain agar bisa terus diminati dan dilestarikan.

Pelestarian Seni Pertunjukan Wayang Kulit Tradisi di Desa Adat Batur Pramana, I Komang Agus; Marhaeni, Ni Komang Sekar; Hendro, Dru; Sudiana, I Ketut
JURNAL DAMAR PEDALANGAN Vol 4 No 1 (2024): April
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i1.3743

Desa Adat Batur merupakan salah satu desa adat tua di Bali, dimana desa ini memiliki banyak sekali potensi dalam bidang seni yang ada, seperti Wayang Kulit, Tari Baris, dan Seni Kerawitan, seluruh potensi kesenian yang ada di Desa Adat Batur sangat erat kaitanya dengan tradisi dan upacara adat, oleh karena itu, upaya pelestarian dari kesenian ini mestinya harus tetap dijaga. Dengan adanya perubahan Era globalisasi sekarang ini dapat menimbulkan perubahan pola hidup masyarakat yang lebih modern, akibatnya masyarakat cendrung untuk memilih kebudayan baru yang dinilai lebih praktis dibandingkan dengan budaya lokal, permasalahan ini dapat ditemukan di Desa Adat Batur. Dimana dengan adanya pola hidup modern salah satu kesenian yaitu Seni Pedalangan/Wayang Kulit mulai mengalami kemunduran dan hampir saja punah. Faktor yang menyebabkan seni tradisi dan budaya lokal di Desa Adat Batur mulai dilupakan dimasa sekarang adalah; kurangnya generasi penerus yang memiliki minat untuk belajar dan mewarisi kebudayaanya sendiri. Oleh karena itu, dalam mewujudkan upaya pelestarian Seni Pertunjukan Wayang Kulit Tradisi di Desa Adat Batur penulis melakukan kegiatan dengan metoda Culture Expericence dengan pelaksanaan secara langsung di lapangan dan melibatkan masyarakat lokal dalam pelatihan Seni Pedalangan. Serta menggunakan metode penulisan secara kualitatif dengan teknik studi pustaka dalam mengumpulkan data.

Nilai-Nilai Keutaman Dalam Konflik dan Relosusi Pada Alur Dramatik Pertunjukan Wayang Kulit Cenk Blonk Lakon Katundung Anggada Suryanata, I Putu Gede; Hendro, Dru; Marhaeni, Ni Komang Sekar
JURNAL DAMAR PEDALANGAN Vol 4 No 2 (2024): Agustus
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i2.4383

Pertunjukan Wayang Kulit Cenk Blonk lakon Katundung Anggada merupakan lakon carangan dengan penyajian konflik yang melibatkan isu sosial. Isu ini diselesaikan melalui resolusi yang merefleksikan nilai-nilai keutamaan tokoh Anggada melalui alur struktur dramatik pertunjukan wayang. Penelitian bertujuan menganalisis bentuk konflik serta resolusi dalam pertunjukan tersebut, dan bagaimana kedua elemen ini menghadirkan nilai dan pesan moral bagi audiens. Metode deskriptif kualitatif digunakan untuk menganalisis struktur alur dramatik dan resolusi konflik lakon Katundung Anggada. Hasil penelitian menunjukkan pertama, bahwa konflik dan resolusi lakon Katundung Anggada dihadirkan dalam basis cerita carangan dengan latar waktu pasca runtuhnya Alengkapura. Diperkenalkannya tokoh anggada sebagai sosok kera bertubuh manusia (wenara) dengan sifat-sifat kejujudan, ketabahan, dan berpegang teguh pada kebenaran sebagai tokoh protagonis, diuji ketika ia menghadapi fitnah atas terjadinya kerusuhan di kerajaan Ayodya yang dipimpin Sri Rama akibat tuduhan Raksasa Sura Prenawa yang dikisahkan pasca perang Alengka dipungut dan diangkat oleh Sri Rama sebagai Patih di Ayodya. Konflik memuncak ketika hasutan Sura Prenawa berhasil membuat Sri Rama mengusir Anggada yang disinyalir akan melakukan pembalasan, di mana Sura Prenawa meyakinkan Rama bahwa Anggada masih menyimpan dendam akibat keterlibatan Rama dalam meninggalnya Subali ayah Anggada. Dengan sifat-sifat keutamaanya, Anggada didampingi para punakawan memilih mengasingkan diri dan memohon petunjuk Bhatari Durga, di mana resolusinya Anggada diminta untuk menyerang Ayodya dalam rupa raksasa dan berhasil mengalahkan kelicikan Sura Prenawa. Kedua Konfilk dan Resolusi dalam kisah Katundung Anggada yang dihadirkan secara dramatis dalam analisisnya mengandung nilai-nilai keutamaan yang memiliki dampak psikologis di anataranya nilai kejujuran, pengabdian, integritas, dan kebijaksanaan.

From Moral Teachings to Entertainment: Dysfunction of the “Pakem” Rules in Wayang Purwa Performances in the Contemporary Era Bagong Pujiono; Iwan Budi Santoso; Dru Hendro; Tatik Harpawati
Jurnal Kawistara Vol 16, No 1 (2026)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.115839

The dysfunction of the “pakem” rules in contemporary wayang purwa performances has become a significant phenomenon that has changed the face of this traditional art. Pakem, which should serve as a guideline for the narrative, characters, plot, dialogue, and ethics of the performance, has shifted from its role as an aesthetic standard toward more pragmatic and market-oriented considerations. This shift has caused the dysfunction of the “pakem” rules in wayang performances, which previously upheld traditions and noble values, to now be more oriented towards entertainment and market demands. This study aims to analyze the impact of the dysfunction of the “pakem” rules on the quality of wayang purwa performances in the contemporary era, focusing on three main aspects: the simplification of sulukan, the shift of authority from the dalang to guest stars, and extreme changes in performance style. Qualitative data obtained through in-depth interviews with puppeteers, musicians, and art observers were used to analyze this phenomenon. This analysis is also supported by relevant literature to provide a broader context for the changes occurring in puppetry practices. The results of the study show that the dysfunction of the “pakem” rules tends to influence the perceived quality of wayang performances, leading to the loss of the cultural and aesthetic depth that has been the identity of wayang purwa. This decline in performance quality also reflects a shift in orientation from moral teachings to mere entertainment. Therefore, further research is needed to enrich our understanding of wayang performances in the contemporary era, especially in efforts to revitalize pakem and reinforce traditional values in wayang performances.

From Moral Teachings to Entertainment: Dysfunction of the “Pakem” Rules in Wayang Purwa Performances in the Contemporary Era Bagong Pujiono; Iwan Budi Santoso; Dru Hendro; Tatik Harpawati
Jurnal Kawistara Vol 16, No 1 (2026)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.115839

The dysfunction of the “pakem” rules in contemporary wayang purwa performances has become a significant phenomenon that has changed the face of this traditional art. Pakem, which should serve as a guideline for the narrative, characters, plot, dialogue, and ethics of the performance, has shifted from its role as an aesthetic standard toward more pragmatic and market-oriented considerations. This shift has caused the dysfunction of the “pakem” rules in wayang performances, which previously upheld traditions and noble values, to now be more oriented towards entertainment and market demands. This study aims to analyze the impact of the dysfunction of the “pakem” rules on the quality of wayang purwa performances in the contemporary era, focusing on three main aspects: the simplification of sulukan, the shift of authority from the dalang to guest stars, and extreme changes in performance style. Qualitative data obtained through in-depth interviews with puppeteers, musicians, and art observers were used to analyze this phenomenon. This analysis is also supported by relevant literature to provide a broader context for the changes occurring in puppetry practices. The results of the study show that the dysfunction of the “pakem” rules tends to influence the perceived quality of wayang performances, leading to the loss of the cultural and aesthetic depth that has been the identity of wayang purwa. This decline in performance quality also reflects a shift in orientation from moral teachings to mere entertainment. Therefore, further research is needed to enrich our understanding of wayang performances in the contemporary era, especially in efforts to revitalize pakem and reinforce traditional values in wayang performances.

PEMBINAAN PELATIHAN PAKELIRAN WAYANG JAWA GAYA SURAKARTA BAGI PESERTA DIDIK SANGGAR PARIPURNA DESA BONA, KECAMATAN BELAHBATUH, KABUPATEN GIANYAR Dru Hendro; Saptono Saptono; Wahyu Sriwiyati
Abdi Seni Vol. 14 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v14i2.5496

ABSTRAKKeberadaan Sanggar Paripurna semakin eksis dengan berbagai karya seni kreatif dan inovatif tanpa mengabaikan nilai-nilai tradisional budaya Bali sebagaimana ditanamkan oleh I Made Sidja. Hasil-hasil karya Made Sidia bersama Sanggar Paripurna telah ditampilkan dalam berbagai acara penting, baik yang bertaraf lokal, nasional, maupun internasional. Bahwa Sanggar Paripurna tidak hanya mementingkan jenis seni lokal bali saja, namun juga peduli dengan perkembangan seni yang berasal dari daerah lain seperti Jawa. Pada kesempatan tahun ini, pimpinan sanggar paripurna memohon kepada pembina untuk melakukan kegiatan Pengabdian kepada masyarakat dengan materi pakeliran Wayang Jawa untuk membina siswa-siswa dari golongan usia remaja. Dengan adanya kegiatan ini, dari pihak sanggar sangat antusias karena anak didiknya kembali mengenal Wayang jawa sebagai pembanding secara estetis antara wayang Jawa dan Wayang Bali. Kegiatan ini, disamping kerjasama dengan sanggar paripurna, kami juga melibatkan mahasiswa yang masih aktif, yaitu semester VI prodi pedalangan, yang berdomisili dekat dengan sanggar paripurna, disamping untuk ikut membina, juga menambah perbendaharaan materi dari mahasiswa yang pernah mendapatkan matakuliah Praktek wayang Jawa di kampus ISI Denpasar. Kegiatan PKM ini Pembina menerapkan metode yang sederhana yang mudah dipahami oleh siswa Sanggar Paripurna disesuaikan dengan materi yang akan diberikan pada pelatihan, karena mayoritas siswa ataupun peserta belum memahami pengetahuan mengenai teknik dasar pakeliran wayang Jawa. Adapun metode yang digunakan adalah; metode ceramah, metode imitasi dan demonstrasi, metode evaluasi dan metode Tanya jawab.Kata Kunci; Sanggar Paripurna, Pembinaan, PKM, Pakeliran Jawa ABSTRACTThe existence of Sanggar Paripurna increasingly exists with various creative and innovative works of art without ignoring the traditional values of Balinese culture as instilled by I Made Sidja. Made Sidia's work with Sanggar Paripurna has been displayed at various important events, both local, national and international. That Sanggar Paripurna is not only concerned with local types of Balinese art, but also cares about the development of art originating from other regions such as Java. On this year's occasion, the leadership of the plenary studio asked the supervisors to carry out community service activities with Javanese Wayang puppet material to develop students from the teenage age group. With this activity, the studio is very enthusiastic because their students are getting to know Javanese wayang again as an aesthetic comparison between Javanese wayang and Balinese wayang. In this activity, apart from collaborating with the plenary studio, we also involve students who are still active, namely sixth semester of the puppetry study program, who live close to the plenary studio, in addition to taking part in coaching, also adding to the repertoire of material from students who have received the Javanese wayang practice course on campus ISI Denpasar. In this PKM activity, the supervisor applies a simple method that is easy for Sanggar Paripurna students to understand, adapted to the material that will be provided in the training, because the majority of students or participants do not yet understand the basic techniques of Javanese wayang puppetry. The methods used are; lecture method, imitation and demonstration method, evaluation method and question and answer method.Keywords; Plenary Studio, Development, PKM, Pakeliran Java

PEWARISAN POLA PEWARISAN PEDALANGAN GAYA I NYOMAN RAJEG: PEDALANGAN I Dewa Gede Jana Majaya; Dru Hendro; I Dewa Ketut Wicaksandita
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.v6i1.6399

This study examines the inheritance pattern of the I Nyoman Rajeg puppetry style in Tunjuk Village, Tabanan, as a dynamic and reflective system of cultural transmission. The research aims to describe the manifestation of transmission pathways within the puppeteer family, analyze the comparative characteristics of intergenerational regeneration methods, and explain their implications for the formation of individual artistic styles. A qualitative approach with a case study design was employed, involving three generations of puppeteers as primary subjects. Data were collected through in-depth interviews, participant observation, and document analysis, and analyzed using the Miles and Huberman interactive model, supported by theories of cultural transmission, sanggit–garap, and restored behavior. The findings reveal that inheritance operates through the simultaneous interaction of vertical, horizontal, and oblique transmission pathways, shaping distinct learning processes across generations. The third generation emphasizes experiential learning, the fourth relies on literary reconstruction and self-reflection, while the fifth integrates familial tradition, social environment, and formal education. These variations produce differentiated artistic styles that are not merely replicative but innovatively grounded within traditional frameworks. This study formulates the concept of “Reflective Performative Inheritance,” highlighting that the sustainability of tradition lies not in formal uniformity but in creative reinterpretation across generations. The findings affirm that Balinese puppetry is a living tradition that continuously evolves through the dialectic interplay of heritage, experience, and artistic consciousness.

PEMBELAJARAN LINTAS BUDAYA MELALUI PRAKTIK WAYANG LEMAH: STUDI PARTISIPASI TAKAHITO KAWATE PADA DALANG I DEWA AGUNG SUTRESNA MESI Ngakan Putu Gede Wira Adnyana; Dru Hendro; I Dewa Ketut Wicaksandita
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.v6i2.7504

Balinese shadow puppetry functions not only as a ritual and performative medium but also as a cultural learning space that is open to international participants. This article aims to describe the learning process and participation of foreign students in Balinese shadow puppetry practices under the guidance of puppeteer I Dewa Agung Sutresna Mesi in Bangli, with particular attention to Takahito Kawate from Japan as the primary participant. Participants from China and Italy are positioned as part of the broader context of intercultural interaction emerging within the performance environment. The study employed a qualitative approach based on participant observation, interviews, and documentation conducted during training sessions and performances. The learning process involved direct mentoring, imitation, dialogue practice, participation as katengkong, and active involvement in performances. Takahito Kawate, who received the Balinese name I Gede Darma Mesi, actively participated in voicing the punakawan characters and accompanying the puppeteer in both Wayang Lemah and wayang peteng performances. Intercultural interaction was reflected in the use of Balinese, Indonesian, and Japanese languages, as well as in the involvement of participants from different national backgrounds within the performance space. These practices demonstrate that learning Balinese shadow puppetry takes place through direct, participatory, and contextual engagement rather than through formal instruction alone. The participation of foreign students thus demonstrates the capacity of Balinese shadow puppetry to function as a cross-cultural learning medium and as a space for the internationalization of traditional Balinese performing arts through embodied participation and performance-based cultural learning.

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