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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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NGELANGENIN DALAM GENDER WAYANG STUDI KASUS: GENDING BIMANIYU GAYA TENGANAN KARANGASEM Hartini, Ni Putu; Sudarta, I Gusti Putu; Muryana, I Ketut
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): 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

Pelestarian budaya menjadi isu penting di tengah arus globalisasi yang semakin kuat. Banyak bentuk seni tradisional terancam punah karena minimnya apresiasi dari generasi muda. Gamelan gender wayang, sebagai salah satu warisan budaya, perlu mendapat perhatian khusus agar tetap relevan serta memiliki keterkaitan erat dengan pengembangan kecerdasan manusia terutama generasi mendatang. Gending Bimaniyu merupakan salah satu gending Gender Wayang yang kaya makna dan tradisi di daerah Tenganan, Karangasem, Bali. Sebagai bagian dari budaya Bali, gending ini memiliki keunikan mengandung nilai-nilai estetika dan filosofis yang mendalam. Penelitian ini bertujuan untuk mengungkap estetika dan makna di balik Gending Bimaniyu gaya Tenganan Karangasem. Penelitian ini akan menggunakan pendekatan kualitatif dengan metode wawancara dan observasi untuk mendapatkan informasi yang mendalam tentang teknik permainan. Melalui pengumpulan data yang sistematis, dihasilkan analisis yang komprehensif mengenai estetika dan makna Gending Bimaniyu Gender Wayang Gaya Tenganan yakni makna religius, kreativitas serta makna pelestarian.
Bridging tradition and modernity: exploring patutan (the modal system) in Balinese music through the hybrid composition ‘cane’ Kartawan, I Made; Putra, I Made Dwi Andika; Hartini, Ni Putu
International Journal of Visual and Performing Arts Vol 6, No 2 (2024)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v6i2.1590

Abstract

This paper examines how the composer integrates traditional Balinese gamelan elements with Western musical concepts in the creation of the piece "Cane," focusing on two main aspects: the creative process and aesthetic analysis. Several strategies are employed, such as adopting, borrowing, transforming, elaborating, ornamenting, and combining musical elements from various genres and cultural traditions. The hybrid work "Cane" exemplifies this approach by blending motifs, patterns, and ornamentation from both Balinese and Western music. Additionally, the piece incorporates the processing of patutan/patet (modal system) from the Semar Pagulingan Saih Pitu gamelan ensemble. Rooted in research and experimentation, "Cane" is structured into five distinct parts, each utilizing one or more of these strategies. The music emphasizes melodic development intertwined with rhythmic, dynamic, and tempo variations. In the context of hybridization, the combination of musical elements includes: (1) Balinese traditions such as kekenyongan, nyongcag, ngempyung, and kekilitan motifs, and (2) Western elements like unison, harmony, dissonance, polyphony, and imitation
Karya Musik Eksperimental "Wind Chimes" Mahayasa, I Pande Komang Bintang; Garwa, I Ketut; Hartini, Ni Putu
GHURNITA: Jurnal Seni Karawitan Vol 5 No 1 (2025): Ghurnita: Jurnal Seni Karawitan
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v5i1.5097

Abstract

Wind chimes in the form of tubes hung on the veranda, made of tubes or rods with diameters, and when they collide with each other can produce sound. In general, all types of wind chimes are musical instruments that produce beautiful sounds due to the vibrations of the tubes that are hit when the wind blows. Each bell or rod produces different tones based on the diameter, length, and thickness of the material. Based on this uniqueness, the strong desire to make wind chimes a medium of expression. Wind chimes that are developed with a larger scale than the size of wind chimes in general and have five tones that each instrument contains two octaves. "Wind Chimes" is an experimental musical art work in fulfilling the requirements for Independent Study/Project (MBKM) as the Final Assignment of the ISI Denpasar Karawitan Art Study Program. The purpose of writing this journal is to describe the stages of creation and form of the experimental musical work "Wind Chimes". The creation method used in the experimental musical work "Wind Chimes" is the Panca Sthiti Ngawi Sani method, which includes five stages: ngawirasa, ngewacak, ngarencana, ngawangun, and ngebah. This work is composed using three parts as the structure of this work. In addition, the experimental musical gamelan work "Wind Chimes" has an aesthetic value that contains postmodern aesthetics such as pastiche, camps and schizophrenia.
AESTHETIC STUDY OF GENDING BIMANIYU REPERTOIRE OF GENDER WAYANG STYLE TENGANAN KARANGASEM Hartini, Putu; Sudarta, I Gusti Putu; Muryana, I Ketut
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i1.3037

Abstract

The gending Bimaniyu of gender wayang is one of Bali's cultural heritage that needs to be preserved. This research can provide an in-depth understanding of the aesthetics of gending, which can help its preservation efforts. The Uniqueness of the Karangasem Style The Karangasem style in the gender gending of the Bimaniyu puppet has characteristics that distinguish it from other styles. This research can reveal the uniqueness of the aesthetics of this style so that it can enrich the cultural treasures of Bali. The specific purpose of this study is to describe the aesthetics of the Gending Bimaniyu style of Tenganan Karangasem. This research will be carried out within 7 months with unique objectives, including a) aesthetics in Gending Bimaniyu style Karangasem and b) Gending Bimaniyu technique style Karangasem. This research is a qualitative descriptive research. The data source was obtained by recording and reviewing the results of the recording of Gending Bimaniyu using a literature method supported by interviews with Gender Wayang artists. The results of the data analysis used to present the results of data analysis are presented by formal and informal methods. The output of this research is in the form of journals, HKI, and teaching materials, which can be used by students and karawitan artists who graduated from ISI Denpasar in analyzing, reconstructing, and displaying a good, correct, and engaging performance composition structure in the Gender Wayang performance.
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.
Creative Process Of Janger Dance “Nusantara Mahardika” Haryati, Ni Made; Hartini, Ni Putu; Kandiraras, Tudhy Putri Apyutea
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2202

Abstract

The creation of this Janger Dance refers to the concept of a dance based on the moral message contained in the philosophical meaning of Bhineka Tunggal Ika. One of the efforts to cultivate Bhineka Tunggal Ika is to incorporate this philosophy into a dance piece that will eventually serve as a tool for expressing the values and meaning of unifying the nation.Janger is performed by 16 dancers, 8 of whom are female and 8 of whom are male. As a social dance, Janger is expected to be able to encourage the younger generation to comprehend and implement the philosophy of Bhineka Tunggal Ika by utilizing the creative process in its creation effectively. The creation of the Janger dance "Nusantara Mahardika" implements the method of artistic creation described by Alma M. Hawkins in his book "Creating Through Dance.", which was translated by Y. Sumandiyo Hadi (2003) in Mencipta Lewat Tari. According to Alma M. Hawkins, the stages of art creation consist of exploration, improvisation, and forming."
NEMU–ANG, A NEW MUSICAL COMPOSITION Santosa, Hendra; Darmawan, I Komang Werdi; Hartini, Ni Putu
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i1.2782

Abstract

Nemu-Ang is an innovative Karawitan musical composition. The background of the musical artwork is from the phenomenon of appreciate the melody, which currently doesn't exist in almost every musical artwork. The main reason for that is that the lay public can't enjoy the work. This phenomenon inspired Karawitan's composition with the medium of the Gamelan Singapraga. This Karawitan music composition takes the object of honey as a central object because this honey has a multitude of benefits and a sweet taste that stands out, so this focuses on aspects of how honey is produced and the taste of honey itself. Nemu-Ang's innovative form of musical composition uses rhythm, melody, and harmonization from the Singapraga Gamelan to have a sweet taste like honey and the process of making it. The method for producing this work is Panca Stithi Ngawi Sani by Prof. Dr. I Wayan Dibia, and it is very easy to understand for ordinary people who want to create art. This method includes the ngawirasa (find the inspiration), ngawacak (object exploration), ngarencana (conception of the object), ngawangun (execution of the concept), ngebah (presentation/performed the artwork). Based on the results of applying this method, Nemu-Ang's work was very effective, and the work was realized as it should have a duration of 11 minutes. In the future, this work can be enjoyed by the wider community to become an inspiration for further musical works.
Reconstruction of Mascot Dance Gending Sekar Tunjung | Rekontruksi Gending Tari Maskot Sekar Tunjung Andika, I putu Restu; Hartini, Ni Putu
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.
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