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Gamelan Angklung Sebagai Pengiring Paket Seni Pertunjukan Wisata Suharta, I Wayan; Sutirta, I Wayan; Widyarto, Rinto
Kalangwan : Jurnal Seni Pertunjukan Vol 2 No 2 (2016): Desember
Publisher : Institut Seni Indonesia Denpasar

Ketika terjadi hubungan antara masyarakat pemilik seni dengan masyarakat wisata, maka akan tercipta produk seni pertunjukan yang disesuaikan dengan kondisi dan potensi yang dimiliki. Sifat memberikan pengaruh yang demikian adalah peluang untuk menjadikan gamelan Angklung, lahir sebagai bentuk seni pertunjukan wisata. Merupakan adaptasi berdasarkan kondisi, disposisi, dan reprensi kultural masyarakat untuk mencapai keadaan sesuai tuntutan perkembangan masyarakat masa kini. Produk kesenian berupa paket seni pertunjukan wisata yang diiringi gamelan Angklung adalah kemasan bentuk kesenian bernuansa baru, agar gamelan Angklung memiliki fungsi yang lebih proporsional. Bentuk kreativitas dengan pembaharuan yang terjadi, masih tetap mengacu kepada bentuk serta kaidah-kaidah seni yang telah ada, tidak terlepas dari selera estetis seniman dan selera para wisatawan.

Revitalisasi Tari Janger Lansia Di Kelurahan Tonja Denpasar Ruastiti, Ni Made; Suharta, I Wayan; Suryani, Ni Nyoman Manik
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar Vol 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Tari Janger Lansia merupakan sebuah kesenian yang dirancang khusus untuk para lansia. Hal itu dapat diamati dari koreografi, tata rias busana, dan tempo iringan musik tarinya. Tari Janger Lansia penting untuk direvitalisasi mengingat selama ini tari tersebut telah terpinggirkan dan tidak berkelanjutan lagi. Tujuan riset ini dilakukan untuk merevitalisasi model Tari Janger Lansia di Kelurahan Tonja dalam rangka membangkitkan kembali semangat para lansia itu berkesenian. Riset implementatif ini dilakukan di Kelurahan Tonja dengan mempertimbangkan tingkat populasi dan potensi berkesenian para lansia di daerah tersebut memadai. Untuk itu, riset yang dilakukan dengan menggunakan metode kualitatif, khususnya implementatif partisipatoris ini menjadikan para lansia tersebut sebagai informan, yang memberi informasi tentang berbagai permasalahan terkait dengan ketidaksesuaian model tari itu bagi kondisi fisik mereka, sementara para seniman yang turut dalam kegiatan revitalisasi tersebut dijadikan informan kunci untuk mengungkap, sekaligus memberikan saran yang bermanfaat. Dengan demikian Tari Janger Lansia yang sebelumnya terpinggirkan itu akan dapat bangkit dan hidup bergairah kembali.Tari Janger Lansia, the Janger dance which is performed by the elders is particularly designed for the elders. That can be observed from its choreography, clothing, cosmetics, and the music which accompanies it. It is important to revitalize it as it has been marginalized and discontinued. This present study is intended to revitalize the model Tari Janger Lansia as an attempt to make the elders motivated again to get involved in arts. The study was conducted at Tonja Subdistrict for the reason that the number of the elders and the potential they have to get involved in arts are adequate. The qualitative method, especially the participatory implementative one, was used, meaning that the elders were used as the informants who could give information on the matters pertaining to the model which is physically impracticable to them. The informants involved in the revitalization were used as the key ones who revealed what the model was like and gave useful suggestions. The Tari Janger Lansia, which had been marginalized, would be resurrected and revitalized again.

Ogoh-Ogoh Attraction Of Nyepi Ritual In Bali Suharta, I Wayan
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 3, No 1 (2019)
Publisher : Institut Hindu Dharma Negeri Denpasar

Ogoh-ogoh as an artwork and at the same time is a cultural phenomenon in the social life of the Balinese community besides being filled with symbolic values, also giving freedom of expression. Not only does it elevate mythological tales, but it also raises actual everyday themes that are used as autocritical expressions of social phenomena.Ogoh-ogoh in performance art is a spectacle of a combination of works of art, art, and mechanical technology. It is a creative effort of young artists to innovate. Ogoh-ogoh is seen as a central figure, even appointed as the theme of the artwork. The dancers play certain characters according to the characterization in the story, the results are displayed in the form of dance fragment.Animatronic adopted and combined with performance art is a form of the latest developments in performing arts in Bali. It becomes a challenge, because the technology continues to grow. Aesthetic sensitivity is needed, namely the synergy between dance, music, fine art, and mechanical technology, involving skilled and qualified personnel in their respective fields.

Revitalisasi Tari Janger Lansia Di Kelurahan Tonja Denpasar Ni Made Ruastiti; I Wayan Suharta; Ni Nyoman Manik Suryani
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Tari Janger Lansia merupakan sebuah kesenian yang dirancang khusus untuk para lansia. Hal itu dapat diamati dari koreografi, tata rias busana, dan tempo iringan musik tarinya. Tari Janger Lansia penting untuk direvitalisasi mengingat selama ini tari tersebut telah terpinggirkan dan tidak berkelanjutan lagi. Tujuan riset ini dilakukan untuk merevitalisasi model Tari Janger Lansia di Kelurahan Tonja dalam rangka membangkitkan kembali semangat para lansia itu berkesenian. Riset implementatif ini dilakukan di Kelurahan Tonja dengan mempertimbangkan tingkat populasi dan potensi berkesenian para lansia di daerah tersebut memadai. Untuk itu, riset yang dilakukan dengan menggunakan metode kualitatif, khususnya implementatif partisipatoris ini menjadikan para lansia tersebut sebagai informan, yang memberi informasi tentang berbagai permasalahan terkait dengan ketidaksesuaian model tari itu bagi kondisi fisik mereka, sementara para seniman yang turut dalam kegiatan revitalisasi tersebut dijadikan informan kunci untuk mengungkap, sekaligus memberikan saran yang bermanfaat. Dengan demikian Tari Janger Lansia yang sebelumnya terpinggirkan itu akan dapat bangkit dan hidup bergairah kembali.Tari Janger Lansia, the Janger dance which is performed by the elders is particularly designed for the elders. That can be observed from its choreography, clothing, cosmetics, and the music which accompanies it. It is important to revitalize it as it has been marginalized and discontinued. This present study is intended to revitalize the model Tari Janger Lansia as an attempt to make the elders motivated again to get involved in arts. The study was conducted at Tonja Subdistrict for the reason that the number of the elders and the potential they have to get involved in arts are adequate. The qualitative method, especially the participatory implementative one, was used, meaning that the elders were used as the informants who could give information on the matters pertaining to the model which is physically impracticable to them. The informants involved in the revitalization were used as the key ones who revealed what the model was like and gave useful suggestions. The Tari Janger Lansia, which had been marginalized, would be resurrected and revitalized again.

KKN Mahasiswa ISI Denpasar Pada Masa Pandemi Covid-19 I Wayan Suharta
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 9 No. 1 (2021): Maret
Publisher : Institut Seni Indonesia Denpasar

Pandemi covid-19 yang melanda seluruh dunia memberikan dampak yang luar biasa terhadap kehidupan masyarakat tak terkecuali di Bali. Kegiatan ekonomi, sosial, pemerintahan, bahkan dunia pendidikan pun menjadi terhambat karenanya. Dalam sektor pendidikan, kegiatan perkuliahan yang biasanya dilakukan secara tatap muka, harus disiasati dengan berbagai cara. salah satunya dengan sistem daring (dalam jaringan). Dilaksanakan melalui video confren, google class room, whatsApp grup, zoom meeting, dan lain sebagainya. Walaupun dalam masa pandemi perkuliahan harus tetap berlangsung, termasuk Kuliah Kerja Nyata (KKN). Namun, pelaksanaannya harus mengacu pada aturan yang berlaku termasuk pemberlakuan protokol kesehatan yang sangat ketat. Pembagian kelompok Kuliah Kerja Nyata ini disesuaikan dengan daerah asal atau daerah tempat tinggal mahasiswa. Tujuannya untuk menghindari mobilisasi massa yang terlalu banyak juga untuk bisa memutus rantai penyebaran covid-19. Walaupun pelaksanaan Kuliah Kerja Nyata ini bimbingannya dilaksanakan secara daring, namun pelaksanaannya bisa dianggap sukses walaupun tidak sempurna sekali. Pelaksanaan Kuliah Kerja Nyata Mahasiswa ISI Denpasar dalam masa pandemi ini dilaksanakan selama satu bulan penuh, mulai tanggal 1 Agustus sampai 31 Agustus 2020. Pembagian kelompok disesuaikan dengan daerah asal atau daerah tempat tinggal mahasiswa. Tujuannya untuk menghindari mobilisasi massa yang terlalu banyak, juga untuk memutus rantai penyebaran covid-19. Program kegiatan yang dilaksanakan adalah pentingnya penggunaan masker, gambar konsepsual dinding, mengajar teknis melukis, pembelajaran teknik dasar Tari Rejang Dewa, pelatihan teknik dasar gamelan Angklung dan Gong Kebyar, serta pendampingan paduan suara bagi Ibu PKK.

Ogoh-Ogoh Attraction Of Nyepi Ritual In Bali I Wayan Suharta
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 3, No 1 (2019)
Publisher : Institut Hindu Dharma Negeri Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/ijhsrs.v3i1.785

Ogoh-ogoh as an artwork and at the same time is a cultural phenomenon in the social life of the Balinese community besides being filled with symbolic values, also giving freedom of expression. Not only does it elevate mythological tales, but it also raises actual everyday themes that are used as autocritical expressions of social phenomena.Ogoh-ogoh in performance art is a spectacle of a combination of works of art, art, and mechanical technology. It is a creative effort of young artists to innovate. Ogoh-ogoh is seen as a central figure, even appointed as the theme of the artwork. The dancers play certain characters according to the characterization in the story, the results are displayed in the form of dance fragment.Animatronic adopted and combined with performance art is a form of the latest developments in performing arts in Bali. It becomes a challenge, because the technology continues to grow. Aesthetic sensitivity is needed, namely the synergy between dance, music, fine art, and mechanical technology, involving skilled and qualified personnel in their respective fields.

Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi” I Putu Riangga Budi Pramana; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 1 No 4 (2021): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i4.371

“Konfrontasi” composition is a musical composition that refers to a representation of one form of conflict, which describes an event in which one provokes an action or argument opposite from another person who is considered an opponent openly. In music, confrontation is likened to a word that describes the dynamic and disharmist movement of musical sentences. Confrontation is realized based on the continuity of Gong Kebyar's gamelan character as a revealing medium, namely dynamic characters. Confrontation is realized with the aim of enhancing the knowledge and expertise of stylists to build the ability to create contemporary compositions based on simple thinking on the relevance of the characteristics of ideas to the characteristics of Gong Kebyar. In realizing the composition of Confrontation, stylists use the method of creation of Panca Sthiti Ngawi Sani consisting of: Ngawirasa (Inspiration), Ngawacak (Exploration), Ngarancana (Conception), Ngawangun (Execution), and Ngebah (Presentation). Konfrontasi composition is presented as a contemporary composition with structural parts consisting of three parts with a focus on the concept of contrast and harmony. Contemporary composition is a musical composition that not only considers free without considering conventional provisions or forgetting tradition.

Music composition Of Hayuning Rasa | Tabuh Kreasi Hayuning Rasa Kadek Agus Artana; I Wayan Suharta
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Hayuning Rasa is a new creation of percussion that is still based on the existing tradition, then developed with a touch of creativity, both in terms of game technique, content, and parts of the song. By not eliminating musical elements, traditions, and adapting to the development of contemporary musical aesthetics, which are contained in the media, said Gamelan Gong Kebyar. This work has the theme of social life, which is inspired by life in a society that lives peacefully, happily and harmoniously which will be contained in the work of Tabuh Kreasi Hayuning Rasa. This cultivation method uses stages called Panca Sthiti Ngawi Sani. This stage will serve as a guide in creating a percussion creation of Hayuning Rasa, which consists of five stages: the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (planning), the execution stage (ngawangun), the production stage (ngebah). The form of this work is the form and structure in the work of Tabuh Kreasi hayuning Rasa, which has various elements of musicality, accentuating the playing of instruments in each part, and the balance in this work is organized and arranged so that the relationship between parts can be realized and arranged systematically so that a work that has integrity. The structure consists of kawitan, crew and presses

Jenis Dan Teknik Membuat Instrumen Suling Dalam Seni Karawitan Bali I Wayan Suharta
Mudra Jurnal Seni Budaya Vol 34 No 3 (2019): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v34i3.794

Suling adalah instrumen aerophone, yaitu seruling bambu yang prinsipnya adalah end blow flute, memakai enam buah lubang nada, dan satu lubang pemanis untuk menimbulkan bunyi. Suling Bali memakai siwer, dan mempunyai teknik permainan yang memerlukan tiupan terus-menerus yang disebut ngunjal angkihan (circular blown breathing), dan dibuat dengan bermacam-macam ukuran, dari ukuran besar dan panjang, menengah dan sampai ukuran yang paling kecil. Dalam karawitan Bali, suling mampu memberi kesan lebih hidup dan lebih dinamis dalam melengkapi barungan gamelan Bali. Dibuat sederhana dari sebatang bambu, namun dibalik kesederhanaannya suling menunjukkan identitasnya sebagai sebuah instrumen yang sangat unik, memiliki tingkat permainan yang tinggi, aturan cara pembuatannya yang cukup rumit, serta memiliki fungsi yang cukup beragam. Tulisan ini mempergunakan pendekatan yang bersifat kualitatif, yaitu berupaya menjawab tantangan untuk memahami, memberikan interpretasi pada fenomena emperis yang dipadu dengan sistem logika dan nilai kebenaran dalam Seni Karawitan Bali. Dilaksanakan melalui tahapan-tahapan, yaitu: melakukan persiapan dan menentukan objek penelitian, menentukan lokasi penelitian, pengumpulan data, menganalisis data, dan menyajikan hasil analisis data. Mekanisme penulisannya adalah menganalisis teks yang dideskripsikan, dijadikan titik tolak untuk memahami bentuk dan jenis instrumen suling, selanjutnya menelusuri teknik membuatnya menurut pengalaman beberapa nara sumber. Tulisan mengenai suling mempunyai tujuan memperoleh pengetahuan secara deskriptif tentang suling, memperkenalkan, menggali, mendokumentasikan dan mengembangkan teknik pembuatan suling dalam karawitan Bali. Memberikan informasi dan wawasan untuk dapat memahami eksistensi suling dengan baik, serta memberi motivasi, merangsang generasi mendatang untuk lebih kreatif dan membiasakan diri agar tidak â€˜menganak-tirikanâ€™ salah satu instrumen gamelan Bali.

Makna Balaganjur Dalam Aktivitas Sosial Masyarakat Bali I Wayan Suharta
Mudra Jurnal Seni Budaya Vol 20 No 1 (2007): Januari
Publisher : Institut Seni Indonesia Denpasar

Balaganjur is a form of performance arts and audio- visually it might be an independent art. Balaganjur is a musical communication that instigates sensation and emotional response between the composer, players and viewers. It might influence the fan who are familier with the background of Balinese social life. This article is meant to see and analyze how Balinese people value the function of Balaganjur, especially in the context of festive social activity. The performance of Balaganjur is always conected to a religious life, traditional lore, and aspect of artistic life in response to the development of the cultural millie. Generally, Balaganjur complements the implementation of religious ritual. However, when Balaganjur is secularly composed and performed as an aesthetic presentation, Balaganjur develops its function toward profan values.

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