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All Journal MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Abdi Seni International Journal of Visual and Performing Arts Tamumatra : Jurnal Seni Pertunjukan Journal of Music Science, Technology, and Industry (JOMSTI) Widyanatya: Jurnal Pendidikan Agama dan Seni Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Ghurnita: Jurnal Seni Karawitan Jurnal Pengabdian Seni Abdi Widya: Jurnal Pengabdian Masyarakat Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Ni Putu Hartini
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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PEMBINAAN PUPUH MACEPAT “SURKI”I MADE SIJA PADA SEKAA PASANTIAN SWASTI MARGA BRATA DI DESA SELISIHAN KLUNGKUNG I Kadek Widnyana; Ni Komang Sekar Marhaeni; Ni Putu Hartini
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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

Abstract

Berdasarkan analisis situasi di desa Selisihan Klungkung lingkungan tersebut sudah timbul gejolak adanya perselisihan, etika yang kurang baik dan kurangnya persatuan. Atas dasar itu mitra memerlukan sebuah pembinaan guna menuntun ke arah tersebut agar kedamaian mampu terwujud. Materi yang ditawarkan demi terwujudnya hal itu dengan pembinaan tembang Macapat “Surki” (akronim dari kata sasur siki). Sasur (pasasur) artinya 35, asiki artinya satu. Jadi pasasur asiki berarti 36 pada/bait pupuh implementasi dari 36 butir Pancasila yang dirangkum dalam 7 pupuh macapat. Tujuan pembinaan agar meminimalis perselisihan, bertika, persatuan dan kedamaian dapat terwujud, diawali dengan pemahaman tembangnya. Melalui tembang unik ini, liriknya berisi nilai luhur Pancasila yaitu ke-Tuhanan, kemanusiaan, persatuan, kerakyatan dan keadilan terjabarkan dari 36 butir nilai Pancasila. Pembinaan tembang Macapat dengan metode drill (pengulangan-pengulangan). Hasil pembinaan sekaa Pasantian Selisihan Klungkung mulai memahami dan selanjutnya selalu mengumandangkan lewat Radio Orari di lingkungan desa sebagai media sosialisasi, pelestarian dan pengembangan.
Tabuh Sinom Ladrang Training at Seka Gong Children Jaya Kumara Banjar Busana, Abiansemal | Pelatihan Tabuh Sinom Ladrang Pada Seka Gong Anak-Anak Jaya Kumara Banjar Busana, Abiansemal I Putu Dony Suryawan; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2507

Abstract

KKNT activities include the preparation stage, teaching practice, and implementation. The results achieved from the performance of the individual program are to provide changes in the learning process, especially in the field of expertise of the active and exciting karawitan study program, as well as train students' process skills in drumming,  especially the practice of tabuh gending as an example of Sinom Ladrang gending. Individual programs can run well and benefit the personal progress of constituents, students, lecturers, and institutions in supporting the process of practicum activities in the field for now and in the future. Apart from being a vehicle for student training and learning, the KKNT program is also an effort by the Indonesian Institute of Arts Denpasar to contribute to transforming educational values in society. The hope is not only as an additional insight provided by the village area where they contribute but also as a transfer of value. It is hoped that the students of the Thematic Real Work Lecture of the Indonesian  Institute of the Arts Denpasar 2023 will be able to make changes to advance Indonesian education in the arts.
Musical Composition of Gender Wayang "Silat Lidah" | Komposisi Musik Gender Wayang "Silat Lidah" Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.311

Abstract

Silat Lidah is a musical composition that uses the Instrument of Gender Wayang as a medium for expressing interesting musicals such as melody, rhythm, timbre (sound color), tempo, and dynamics. The meaning of Silat Lidah is to harmonize the family who are debating. The shape or structure of this music uses intermittent musical sentences in tempo and dynamics for different in perception in family conflicts. The concept of the Silat Lidah is divided into three parts, from the three sections producing different characters for approval of the Silat Lidah. The Karawitan artwork with the title Silat Lidah is displayed in Pura Dalem, Desa Adat Munggu, which is supported by 4 musicians or performers including composer who participate in the presentation. The selected musician or performer is a player who has expertise in Gender Wayang musics consisting of two players of Gender Wayang Pemade and two players of Gender Wayang Kantilan.
Wira Chandra New Music Creation | Musik Kreasi Baru Wira Chandra I Made Dwi Rustika Manik; I Nyoman Sudiana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.383

Abstract

The composition of Wira Chandra is inspired by the characteristics of a teacher who is teaching his students, the stylist is interested in bringing the event into a work idea that will be transformed into a slick and spectacular musical composition. Wira Chandra is a warrior who has a strong personality and an attitude of compassion by interpreting ideas from the characteristics of a teacher. Creating a work of Wira Chandra's art will be poured into one of the Balinese gamelan expression media, namely Gong Kebyar. Wira Chandra's compositional work is a slow composition inspired by the character of a teacher who is packaged into a creative slow dance using the basic Tri Angga Pegongan structure, and the stylist breaks down the structure into Kawitan, Pengawak, Pengisep, Pengcet, Ngembat and Pekaad, beat egg or mad. The realization of Wira Chandra's work is through a creative process which is divided into three stages, namely exploration, improvisation, and forming.
Individualism: A Work of Musical Composition Experimental | Individualisme : Sebuah Karya Musik Eksperimental Ida Bagus Oka Prabawa; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1013

Abstract

This experimental musical work entitled Individualism aims to convey the nature of humans who have an excessive understanding of idealism. Reveal about how they live a life that is analogous to their own beliefs. Starting from their idealistic attitude, the characteristics of those who tend to want to be alone, want to have their own freedom, fulfill their needs, run their own lives, and sometimes they will do anything to achieve satisfaction. This individualism attitude is not from individually, sometimes also in groups that will unite their perceptions under the control of someone as the leader. The creation of this musical composition uses the creation method of Alma H. Hawkins in the book Method of Compiling Musical Works (An Alternative) by Pande Made Sukerta (Sukerta, 2011). The stages or methods in question are exploration, casting and experimentation (improvisation), and forming. From these stages or methods, the stylist carries out a creative process, a concept of the nature of individualism which started from an idea that led to the use of instruments and also to the pattern of working on a work. From this work, we can reflect for our survival so that in the future it will not be a disappointment and regret for ourselves and others. This work is poured into an instrument that has its own rhythm, timbre, and dynamics, which illustrates the attitude of each idealist.
Creative Percussion “Ilang” | Tabuh Kreasi “Ilang” I Putu Pryagus Nyoman Sana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 3 (2023): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i3.1673

Abstract

Ilang is a creative percussion composition inspired by the life of a stylist who feels the loss of a mother he loves.  In the Balinese Indonesian dictionary, it is explained how the word Ilang means lost or lost.  The meaning of loss can be in the form of sadness and suffering or a slap on the quality of fortitude and self-preparedness.  Loss shows a sense of not being completely whole, feeling lacking without the presence of something or someone.  Seeing the phenomenon that occurred, an inspiration emerged to lift Ilang into a title for musical composition in the form of creative percussion.  The composition of this creative percussion uses the media expressed by Gamelan Semare Pagulingan Saih Pitu and is supported by vocal musicians (Gerong) as a medium for delivering messages that the stylist wants to convey to art connoisseurs.  The method of creation used in Ilang's percussion works is the Panca Sthiti Ngawi Sani method which includes;  1 stage of inspiration (Ngawirasa), 2 stages of exploration (Ngawacak), 3 stages of conception (Ngarencana), 4 stages of execution (Ngawangun) and the last 5 stages of production (Ngebah).  This work is approximately 13 minutes long, this work cultivates melodies, rhythms, and dynamics that are so harmonious and still uses the concept of tradition by using contemporary elements to create new nuances. Keywords: Creative Percussion, Ilang, Panca Sthiti Ngawi Sani
Tabuh Sinom Ladrang Training at Seka Gong Children Jaya Kumara Banjar Busana, Abiansemal | Pelatihan Tabuh Sinom Ladrang Pada Seka Gong Anak-Anak Jaya Kumara Banjar Busana, Abiansemal I Putu Dony Suryawan; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 4 (2023): Desember
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i4.2507

Abstract

KKNT activities include the preparation stage, teaching practice, and implementation. The results achieved from the performance of the individual program are to provide changes in the learning process, especially in the field of expertise of the active and exciting karawitan study program, as well as train students' process skills in drumming,  especially the practice of tabuh gending as an example of Sinom Ladrang gending. Individual programs can run well and benefit the personal progress of constituents, students, lecturers, and institutions in supporting the process of practicum activities in the field for now and in the future. Apart from being a vehicle for student training and learning, the KKNT program is also an effort by the Indonesian Institute of Arts Denpasar to contribute to transforming educational values in society. The hope is not only as an additional insight provided by the village area where they contribute but also as a transfer of value. It is hoped that the students of the Thematic Real Work Lecture of the Indonesian  Institute of the Arts Denpasar 2023 will be able to make changes to advance Indonesian education in the arts.
Reconstruction of Mascot Dance Gending Sekar Tunjung | Rekontruksi Gending Tari Maskot Sekar Tunjung I putu Restu Andika; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.2532

Abstract

Blahkiuh Traditional Village is the capital city of Abiansemal District, Badung Regency, Bali Province which has famous artistic assets in Bali such as the Kecak Dance, Parwa, Arja Basur, Joged Bumbung, and carving art. The mascot dance that has sunk long ago with the aim of being rebuilt. Various attempts have been made by the author, such as exploring holding hearings with several related officials and several existing art activists, in order to obtain information and activities8that can be superior. After obtaining the information, the author tries to assist in this reconstruction process so that this reconstruction process can run smoothly and quickly. Blahkiuh village has very good potential, especially in performing arts and has a performing art that is used as a village icon in the form of the Sekar Tunjung mascot dance. Sekar Tunjung consists of 2 syllables, namely sekar and tunjung, sekar which means flower, and tunjung which means purity. In Bali, the lotus is believed to emerge from the navel of Lord Vishnu, with Brahma sitting in the center of the flower. Some believe that the Lord's hands and feet are like lotuses and his eyes are shaped like lotus petals, his gaze and touch are said to be as 6gentle as lotus buds. 9Hinduism also teaches that in every person there is a lotus spirit. 7The lotus plant is one of the plants used to describe human life. The meaning of this lotus plant is much related to personal strength,9 a reminder that human life is only temporary and also about human life that should be regardless of the environment. Based on the statement above, the author chose Blahkiuh village as a partner in implementing the MBKM Thematic Work Lecture program. With the aim of helping in the Mascot Dance reconstruction program and accommodates the potential to develop it and has 1an important role in all activities of the Blahkiuh village community.
PEMBINAAN GENDING BOPONG GENDER WAYANG GAYA KAYUMAS DENPASAR PADA SANGGAR TABUH KEMBANG WARU DI KOTA DENPASAR Hartini, Ni Putu; Mariyana, I Nyoman; Mawan, I Gede
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 3 (2023): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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

Abstract

Penelitian ini bertujuan sebagai usaha penyelamatan aset warisan tak benda yaitu gending Bopong Gaya Kayumas Denpasar. Gending bopong merupakan salah satu dari gending petangkilan dalam adegan pertunjukan wayang kulit Bali. Belakangan ini terjadi fenomena Gending Bopong sudah jarang disajikan lagi karena gending ini memiliki struktur yang panjang sehingga kesulitan untuk dapat menguasai gending ini. Hal tersebut menyebabkan gending ini dikhawatirkan mengalami kepunahan sehingga diperlukan pembinaan mengenai penguasaan teknik keahlian menabuh dan penguasaan materi gending Bopong secara praktis. Metode yang digunakan melalui beberapa tahapan yaitu Metode yang digunakan dalam kegiatan pengabdian ini melalui beberapa tahapan yaitu (1) Sosialisasi; (2) Tahap Pelaksanaan; (3) Fase Stabilisasi; (4) Tahap Evaluasi; dan (5) Penyajian hasil pembinaan.Hasil dari kegiatan pengabdian ini peserta pelatihan di Sanggar Tabuh Kembang Waru mampu memperkaya pengetahuan dan keterampilan menabuh Gender Wayang serta menumbuhkan kebanggaan dan kecintaan dalam menjaga sekaligus mengembangkan warisan seni tradisi.
PEMBINAAN GENDING BOPONG GAYA KAYUMAS DENPASAR DI SANGGAR TABUH KEMBANG WARU DENPASAR Ni Putu Hartini; I Nyoman Mariyana; I Gede Mawan
Abdi Seni Vol. 15 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v15i1.5506

Abstract

This community service activity aims to preserve one of the intangible heritage assets, namely Gending BopongGaya Kayumas Denpasar. Gending Bopong is one of the Petangkilan Gendings in the Balinese Wayang (shadowpuppet) show scene. Recently, there has been a phenomenon that Gending Bopong is rarely presented anymorebecause this game has a long structure, making it difficult to master it. This is why it is feared that this gending willbecome extinct, so coaching is needed regarding mastering drumming skills and practical mastery of the Boponggending material. The methods used are lecture, demonstration, and imitation. This coaching process goes throughseveral stages, namely: (1) socialization, (2) implementation stage, (3) stabilization phase, (4) evaluation stage,and (5) presentation of coaching results. As a result of this service activity, training participants at the SanggarTabuh Kembang Waru were able to enrich their knowledge and skills in drumming Gender Wayang and foster prideand love in the effort to maintain and develop the traditional artistic heritage.
Co-Authors A.A. Trisna Ardanari Adipurwa Andika, I putu Restu Darmawan, I Komang Werdi Garwa, I Ketut Haryati, Ni Made I Bagus Wijna Bratanatyam I Gede Gunadi Putra I Gede Mawan I Kadek Deo Sandiawan I Kadek Widnyana, I Kadek I Made Dwi Andika Putra I Made Dwi Rustika Manik I Nyoman Juniarta I Nyoman Mariyana I Nyoman Mariyana I Nyoman Nyoman Mariyana I Nyoman Sudiana I Pande GedeYudista Wijasa I Putu Angga Mahendra I Putu Dony Suryawan I Putu Pryagus Nyoman Sana I putu Restu Andika Ida Bagus Oka Prabawa Iriani, Ni Wayan Kartawan, I Made Mahayasa, I Pande Komang Bintang Marhaeni, Ni Komang Sekar Mariyana, I Nyoman Muryana, I Ketut Ni Komang Sekar Marhaeni Putu Sandra Devindriati Kusuma Putu Tiodore Adi Bawa Santosa, Hendra Sudarta, I Gusti Putu Sujayanthi, Ni Wayan Masyuni Tudhy Putri Apyutea Kandiraras Widiastuti, Ni Made Dian