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All Journal Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya KALANGWAN Segara Widya: Jurnal Penelitian Seni Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Gelar : Jurnal Seni Budaya Ghurnita: Jurnal Seni Karawitan Journal of Aesthetics, Creativity and Art Management Jurnal Penjaminan Mutu Global Art Creativity Conference
I Wayan Suharta, I Wayan
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Commodification of Gamelan Selonding in Tenganan Pegringsingan Village, Bali Suharta, I Wayan
Harmonia: Journal of Arts Research and Education Vol 22, No 1 (2022): June 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i1.35062

Abstract

Gamelan Selonding is a form of traditional music found in Tenganan Pegringsingan village, with a pelog tujuh nada in barungan alit classification that is sacred, unique, and deeply rooted in the community. The traditional way of life and productive religious activities with their numerous manifestations ensure Gamelan Selonding’s continuity and authenticity. According to historical dynamics, the influence of external culture and its various modernization styles disrupted Gamelan Selonding’s existence, resulting in its commodification. The commodification of Gamelan Selonding is a process that encompasses three stages, namely production, distribution, and consumption. In production, Gamelan Selonding is duplicated into a commodity by imitating its original form; distribution is an attempt to spread Gamelan Selonding production, which increases development consequences; and consumption Gamelan Selonding is used as a ritual compliment and an artistic medium. The Gamelan Selonding’s commodification occurs due to its adaptable nature; it can accept, absorb, and adapt to changing circumstances, resulting in a diversity of functions, not limited to ritual contexts, but a broader social context. The commodification of Gamelan Selonding is an artistic dynamic that empowers the potential of traditional arts in the formulation of contemporary performing arts expressions, accepted as a local spectacle capable of competing in a global culture.
POSITIVE EFFECTS OF BINAURAL MUSIC ON THE BRAIN Ketut Sumerjana; I Komang Sudirga; I Kt. Suteja; I Wayan Suharta
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.v4i1.505

Abstract

Binaural music, which is characterized by the presentation of two slightly different sound frequencies to each ear, has gained increasing attention owing to its potential positive effects on the brain. Research suggests that binaural beats can influence cognitive and emotional states by modulating brainwave activity. When the brain perceives the difference between the two frequencies, it generates a third "perceived" frequency, known as a binaural beat, which corresponds to specific brainwave states (delta, theta, alpha, beta, or gamma). These brainwave states are linked to various mental and physiological benefits, including relaxation, improved focus, enhanced creativity, reduced anxiety, and better sleep quality. Additionally, studies have indicated that regular exposure to binaural beats may promote neuroplasticity, improve memory retention, and facilitate the brain’s capacity for learning and information processing. This abstract provides a concise overview of how binaural music may serve as a tool to improve mental health, cognitive performance, and emotional well-being, offering a promising avenue for therapeutic and wellness applications. Further research is needed to explore the long-term effects and optimal conditions for the impact of binaural music on brain function.
Social solidarity and cultural preservation: the role of female sekaa gong in Ubud Suharta, I Wayan; In Diana Sari, Ni Luh Desi; Sadguna , I Gde Made Indra
Gelar: Jurnal Seni Budaya Vol. 22 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i1.5913

Abstract

Female Sekaa Gong is a collective of women in Ubud Village who unite to perform Balinese music, transforming individual ideas into a collective vision. This group fosters social relationships and a sense of togetherness among its members. This article explores the intricacies of the Female Sekaa Gong, highlighting its role in preserving traditional Balinese music (Karawitan) and providing feminine aesthetic nuances. The research, conducted through a qualitative interpretive method within a cultural studies paradigm, examines the positionality of the Female Sekaa Gong in social and touristic contexts. Findings indicate a rise in the number of Female Sekaa Gong in Ubud Village, motivated by five key factors: religious emotion, a sense of humiliation, status improvement, actualization of beauty, and the desire to create tourist performances. The Female Sekaa Gong plays several roles in ritual and social activities, including: (1) serving as a ritual complement; (2) building social solidarity; (3) expanding traditional roles; and (4) preserving cultural values. Its presence marks a shift in the social paradigm regarding gender norms in gamelan performance, reflecting a dynamic interplay between tradition and modernity and adapting to contemporary circumstances.
Co-Authors I Komang Sudirga I Kt. Suteja I Made Dandy Pradana I Nyoman Suarka I Putu Swaryandana Ichi Oka I Wayan Arya Bisma I Wayan Cika I Wayan Sutirta, I Wayan In Diana Sari, Ni Luh Desi Kadek Agus Artana Kadek Wahyudita Ketut Sumerjana, Ketut MS Prof. Dr. I Wayan Rai . Ni Made Ruastiti Ni Nyoman Manik Suryani Pramana, I Putu Riangga Budi Rata sunadi I Komang Rinto Widyarto Sadguna , I Gde Made Indra TATI NURHAYATI