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All Journal Jurnal Kajian Bali Panggung Jurnal Penelitian Agama Hindu Abdi Widya: Jurnal Pengabdian Masyarakat Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Damar Pedalangan Global Art Creativity Conference Open Access DRIVERset
I Dewa Ketut Wicaksana, I Dewa Ketut
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METAFORA SAMUDRA DALAM CERITA DEWA RUCI, MAKNA SUGESTI BIMA MEMBENTUK JATI DIRI Wicaksana, I Dewa Ketut; Wicaksandita, I Dewa Ketut
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

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Abstract

Bima adalah salah satu tokoh Pandawa, yang berkat sugesti samudra ia mampu mengafirmasi diri memperoleh kemanunggalanya. Lakon Dewa Ruci menggambarkan upaya Bima (manusia) mencapai kebenaran (sadhu), melalui medium lautan/samudra (sindhu) sebagai perenungan/ penyucian diri sampai ia bertemu Dewa Ruci, energi spritual (taksu) dalam dirinya. Tergambarlah ‘hukum ketertarikan’ (law of attraction) sebagai efek interaksi Bima yang merupakan subjek tersugesti dan samudra sebagai objek penyugesti. Penelitian ini bertujuan menelaah secara estetik-filosofis metafora lautan dan samudra dalam kisah Dewa Ruci; menganalisis signifikansi makna dan sugesti atas afirmasi diri Bima sebagai refleksi generasi muda menempa jati diri. Riset kualitatif berpendekatan studi kasus dipergunakan sebagai metode penelitian ini, dengan analisis teori estetika (significant form), teori sastra (semiotika-strukturalisme) dan teori pisikologi (low of attraction & kognitif). Temuan kunci penelitian ini: Relevansi metafor tematik, sebagai alternatif proses kognitif ‘berfikir ke dalam’ (think inside) bagi generasi muda mengenali dan meningkatkan kualitas etika dan moralnya, di tengah ketumpangtindihan informasi. Pertama, lautan/samudra merupakan metafora kompleksitas alam fikir dan raga manusia seluas batas kemampuan mengekplorasi filosofi makna spiritual atas pengalamanya; Naga melambangkan tantangan, dan konflik pengalaman internal-eksternal yang memengaruhi perkembangan jiwa dan raga; Dewa Ruci, merupakan batas jangkauan jati diri yang bersifat dinamis. Kedua, Signifikansinya, bahwa proses kognitif Bima memahami kemanunggalan memiliki pola yang sama seperti generasi muda mempelajari jati dirinya. Bima haruslah tersesat untuk memasuki ruang yang tidak ia pernah pahami. Disinilah samudra berperan menuntun Bima melampaui objek itu sendiri, sehingga Bima berkeputusan menceburkan diri ke laut yang bermakna menyelam ke dalam alam fikirnya agar mampu mengenali versi sempurna dirinya yaitu Dewa Ruci.
Nilai-Nilai Estetika Hindu Wayang Kulit Bali: Studi Kasus Internalisasi Jana kertih Melalui Karakter Tokoh Pandawa, Sebagai Media Representasi Ideal Manusia Unggul Wicaksandita, I Dewa Ketut; Santika, Sang Nyoman Gede Adhi; Wicaksana, I Dewa Ketut; Putra, I Gusti Made Darma
JURNAL DAMAR PEDALANGAN Vol. 4 No. 1 (2024): April
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i1.3744

Abstract

Nilai-Nilai Estetika Hindu Wayang Kulit Bali:Studi Kasus Internalisasi Jana kertih Melalui Karakter Tokoh Pandawa,Sebagai Media Representasi Ideal Manusia Unggul
Gugurnya Bhisma Oleh Srikandi: Studi Mengenai Refleksi Konsep Karma-Phala Melalui Cerita Mahabharata Mejaya, I Dewa Gede Jana; Wicaksana, I Dewa Ketut; Sidia, I Made
JURNAL DAMAR PEDALANGAN Vol. 4 No. 2 (2024): Agustus
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i2.4386

Abstract

Mahabharata samapai saat ini termasyur dan memperoleh apresiasi serta direpresentasikan dalam berbagai ekspresi yang merefleksikan makna-makna kehidupan yang relevan bagi perseptornya. Bhisma sebagai putra mahkota kerajaan Kuru dikenal memiliki kemuliaan, keagungan, dan jiwa besar seorang kesatria, namun demikian Bhisma tidak terlepas dari ikatan sebab-akibat yang membuatnya harus berpihak pada sisi yang salah dan gugur dihadapan Srikandi. Tujuan penelitian ini, pertama, mengungkap kronologi detail gugurnya Bhisma dalam cerita Mahabharata dan menganalisis bagaimana cerita tersebut merefleksikan nilai Karma-Phala sebagai pembelajaran bagi peningkatan kualitas pengetahuan sosio-religius manusia. Metode yang digunakan adalah analisis teks dengan pendekatan hermeneutika untuk menafsirkan makna moral dan spiritual, dalam konteks karya sastra dan seni pertunjukan sebagai medium refelektor. Hasil penelitian menunjukkan, pertama gugurnya Bhisma terjadi setelah ia menerima serangan panah dari Srikandi, yang dipengaruhi oleh nasib dan karma masa lalu Bhisma yang dinilai menyakiti Srikandi di masa lalunya sebagai Dewi Amba. Kedua, Peristiwa ini merefleksikan konsep Karma-Phala dengan jelas, yang mana tindakan masa lalu Bhisma berkontribusi pada takdirnya. Cerita ini memberikan pembelajaran tentang pentingnya menjalani kehidupan dengan kebajikan untuk mencapai hasil positif di masa depan. Terdapat makna moral yang kuat tentang pengorbanan dan ketulusan dalam cerita tersebut. Aspek spiritual dari gugurnya Bhisma juga mengajarkan tentang penerimaan terhadap hukum alam yang tak terhindarkan. Relevansi cerita ini dalam kehidupan modern menegaskan bahwa hukum Karma-Phala tetap menjadi panduan penting dalam menjalani kehidupan manusia, mengingatkan kita bahwa setiap tindakan memiliki konsekuensi yang harus diterima dengan lapang dada.
Wayang Sapuh Leger: Sarana Upacara Ruwatan di Bali Wicaksana, I Dewa Ketut; Wicaksandita, I Dewa Ketut
Jurnal Penelitian Agama Hindu Vol 7 No 1 (2023)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (296.285 KB) | DOI: 10.37329/jpah.v7i1.2126

Abstract

Until now, Balinese people believe that someone who is born in the wuku wayang should doing ruwatan sapuh leger. It is suspected that this belief manifests itself on the basis of mythology in literature, along with its practical meaning and function. This study aims to find out about Wayang Sapuh Leger and its sources Sang Mpu Leger as dalang ruwat, function and the meaning of Wayang Sapuh Leger. Qualitative analysis methods based on observation research, interviews and literature, are used in support of philological theory, the theory of princple of unity, and the theory of meaning to obtain research results. The results of the analysis concluded, the lukatan nyapuleger ceremony is a ceremony for purifying children born in the span of the tumpek wayang week. It is believed that this time is under the power of Bhatara Kala, and must be purified (lukat) through sesaji (banten) and holy water (tirta panglukatan/tirta sudamala), and first perform shadow puppets from a special story (the play Dewa Kala). The nyapuh-leger ceremony in Bali is thought to have originated from the manuscript of Tantu Panggelaran, in the XV or XVI centuries. When it is manifested, a puppeteer is called sang mpu leger in addition to being an artist: (a) the puppeteer as (the) communicator of the niskala realms (virtual world) and sekala (real world); (b) the puppeteers as (mpu) educators, instructors, and preachers; and (c) the puppeteers (sapuh leger) priests/philosophers and spiritualists. The function of Wayang Sapuh Leger for the life of the Balinese people is as a communication tool to strengthen beliefs, values, norms that live in society. Wayang Sapuh Leger as a form of sacred art has an important meaning and significance in the social order of the Balinese people, this is still believed and adhered to in the Balinese social structure.
Alih Aksara dan Analisis Ragam Bahasa Lontar Dharma Pawayangan Koleksi Dalang I Made Sidja Wicaksana, I Dewa Ketut; Wicaksandita, I Dewa Ketut
Jurnal Penelitian Agama Hindu Special Issue Budaya dan Pendidikan
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (486.506 KB)

Abstract

Dharma Pawayangan is a holy book of puppeteers in Bali which is dynamic. The significance of this lontar is that its content is considered to contain structured and contextual knowledge of the theo-cultural activities of the Balinese puppeteers. However, the existing Lontar Dharma Pawayangan is still written in Balinese script and is in a condition that has not been digitized so that it is prone to damage and is often difficult to read. The purpose of this research is to translate one of I Made Sidja's lontar samples which is considered to have a tendency to signify complete content and to analyze the variety of languages that appear in it. Coding methods and literary studies are used to support linguistic theory and a hermeneutical approach to the analysis of this sacred literature. The results of the study found, first, the transliteration of one of I Made Sidja's Dharma Pawayangan palm manuscript samples with significance lies in part II of the manuscript entitled “Tatikas Sapratingkahing Sang Amangku Dalang” consisting of 9 (nine) sheets with coding consisting of numbering (1a) to (9b) showing the contents of various subject and object phrases vocabulary in the context of Balinese traditional wayang kulit performances. The phrases that appear are the names of the gods in Balinese Hindu mythology; spells; the pattern of the puppeteer's actions when he is about to start the performance; various names of wayang accompaniment percussion; variety of wayang performance apparatus; wayang names; stage technique; the ritual of making holy water (tirta) and means of wayang rituals. Second, there are 3 (three) types of language used in the Dharma Pawayangan text, such as; Old Javanese, Sanskrit, and Balinese.
Trans Memori Imajinasi Dalam Pewarisan Nilai Monumental Pertunjukan Wayang Kulit Bagi Masyarakat Hindu di Bali Wicaksandita, I Dewa Ketut; Hendra, Santosa; Saptono, Saptono; Sutirtha, I Wayan; Wicaksana, I Dewa Ketut
Jurnal Penelitian Agama Hindu Vol 9 No 1 (2025)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/jpah.v9i1.3499

Abstract

Memory transfer (memory trance) conceptually involves actively remembering, realizing, and inheriting values of greatness, survival, and stability in performing arts. Imagination, used to affirm memory transfer, creates mental images that emphasize large, impressive objects, ideas, or concepts, significantly influencing the inheritance of the monumental value of Balinese traditional wayang kulit performances. This research aims to first identify memory trance based on imagination in inheriting Balinese wayang kulit's monumental value; second, analyze the significance of memory trances in this inheritance. A phenomenological approach (psychology-imagination) and instrumental aesthetic theory support the qualitative research. Findings include: first, imagination memory trance reveals action phases based on imagination behavior, such as 'imagination' (transmutation of objects by the subject), ‘creativity and mental imagery’ (transformation through metacognition), ‘cultural context’ (value clarification and internalization), and 'monumental value' (understanding the majestic value). Second, the significance of imaginary memory transience impacts active behavior in inheriting Balinese wayang kulit's monumental value. It examines the audience's aesthetic experience from imaginary images presented by the puppeteer and transforms artistic sources into aesthetic elements involving socio-cultural trends, creating 'dialectics' and 'catharsis' for audience appreciation. Additionally, it involves internalizing socio-religious values, building involvement, and vertical-horizontal existence, and forming the image of wayang as monumental art.
Pembinaan Kidung Kawitan Wargasari Bagi Generasi Muda di Desa Batukandik Kecamatan Nusa Penida Kabupaten Klungkung Wicaksandita, I Dewa Ketut; Wicaksana, I Dewa Ketut; Adhisantika, Sang Nyoman Gede
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 4 No 1 (2025): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v4i1.5407

Abstract

This community service program aims to develop the ability of young generations in Batukandik Village to sing Kidung while preserving this traditional chant as an essential part of cultural and religious ceremonies. The partner representatives, including the traditional village head and local government officials, faced challenges due to a lack of instructors and the need for young people to acquire Kidung singing skills to enrich local customary and cultural practices. A participatory approach with a structured training method was implemented to effectively transfer knowledge. This method was chosen based on an initial assessment that indicated high enthusiasm among participants and strong support from the community and village authorities. The program consisted of several phases, including community outreach and eight intensive training sessions held from August 15 to 24, 2016, with 11 participants (8 females and 3 males). The training was structured as follows: 1) Introduction to Kidung Kawitan Wargasari, focusing on practical applications, tempo, and vocal tone; 2) Hands-on vocal practice, where participants repeatedly sang Kidung Kawitan Wargasari verse by verse according to the training schedule and measurable targets; 3) Evaluation and final performance, where participants showcased their progress in a mini recital. This program had a positive impact and received appreciation from both the community and village authorities. It successfully provided participants with knowledge of Kidung and increased their interest in singing it, contributing to the preservation and strengthening of cultural values both in theory and practice within Batukandik Village.
PENCIPTAAN KARYA TEATER BONEKA “POPPY-UTOPIA” ida bagus, nanda adi naya; Widnyana, I Kadek; Wicaksana, I Dewa Ketut
JURNAL DAMAR PEDALANGAN Vol 5 No 1 (2025): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i1.4863

Abstract

“Poppy-Utopia” is a puppet theater performance that offers a profound reflection on life through the unique perspective of a dog named Poppy. This production delves into various social issues, particularly the negative stigma often directed at dogs within cultural contexts, utilizing an artistic approach that integrates narrative, visual elements, and puppetry techniques. The creative process is guided by I Wayan Dibia's five-stage method, encompassing Ngawirasa (inspiration from dog training and cultural stigma), Ngawacak (exploration of literature, Balinese epics, and visual arts), Ngarencana (conceptualizing a theater design combining human theater, animation, and minimalist visuals), Ngawangun (script execution, rehearsals, and illustration creation), and Ngebah (final performance with integrated artistic elements). Through a compelling storyline, nuanced characters, and innovative visuals, Poppy-Utopia delivers an emotionally engaging and reflective theatrical experience. The performance invites audiences not only to be entertained but also to reflect on themes of loyalty, struggle, and the importance of fostering harmonious relationships between humans, animals, and nature.
Śiva Naṭarāja: Konsep Estetika Hindu dalam Seni Pertunjukan Wayang Wicaksandita, I Dewa Ketut; Wicaksana, I Dewa Ketut
PANGGUNG Vol 35 No 3 (2025): Estetika, Identitas, dan Digitalisasi: Praktik Seni dan Budaya Nusantara dalam P
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i3.2693

Abstract

Penelitian ini mengeksplorasi dimensi pemaknaan simbol Śiva Naṭarāja dalam seni pertunjukan wayang kulit Bali melalui pendekatan hermeneutika simbolik Paul Ricœur, semiotika triadik Charles Sanders Peirce, serta konsep estetika Hindu Bali (satyam, śiwam, sundaram). Kajian ini menyoroti keterbatasan studi sebelumnya yang cenderung bersifat visualistik-formalistik dan seremonial, tanpa mengelaborasi praksis simbolik secara performatif. Dengan metode kualitatifpartisipatoris melalui observasi langsung, wawancara mendalam, dan studi naskah lontar sapuh leger, kala purana serta dharma pawayangan. Penelitian ini menemukan bahwa simbol Śiva Naṭarāja tidak hanya direpresentasikan sebagai ikon, melainkan direfigurasi sebagai teks hidup (living text) yang teraktualisasi dalam praksis seni-ritual dalang. Sublimasi audiens terhadap estetika sundaram terwujud dalam harmoni visual, naratif, dan ritualistik yang membangkitkan taksu (energi performatif spiritual) sebagai medan aktualisasi makna kosmis. Penelitian ini merekomendasikan pendekatan transdisipliner dalam kajian estetika pertunjukan Bali yang mengintegrasikan dimensi religius, performatif, dan kosmologis secara utuh.
Penciptaan karya teater monolog wayang upih moved motion: moved motion Adi Pranajaya, I Made; Widnyana, I Kadek; Wicaksana, I Dewa Ketut; Akbar, Hanolda Gema
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.5058

Abstract

This artistic research explores the creation of a contemporary monologue puppet theater entitled Moved Motion, inspired by the traditional Wayang Upih made from betel sheath (upih). The work departs from the urgency of revitalizing nearly forgotten local traditions while addressing ecological and philosophical values through artistic innovation. The aim is to transform Wayang Upih into a three-dimensional puppet theater that embodies symbolic narratives of karma, transformation, and human existential reflection. The study employs a practice-led research approach, integrated with the Balinese creation framework Asta Widhi Kawya, which guides the process from conceptualization, narrative development, rehearsal, to final performance. Data were obtained through literature review, field observation, and direct experimentation in collaboration with a local art community. The result is a performance that combines traditional material with contemporary dramaturgy, featuring symbolic figures such as the human puppet, butterfly, and mirror to represent bondage, hope, and self-reflection. The novelty of this work lies in the ecological use of natural materials, the integration of personal narrative with traditional philosophy, and the re-positioning of Wayang Upih within contemporary performing arts. This creation contributes to the preservation and reinterpretation of Balinese puppetry while offering a sustainable model for innovative artistic practices.
Co-Authors Adhisantika, Sang Nyoman Gede Adi Pranajaya, I Made Akbar, Hanolda Gema Hinzler , Hedwig Ingrid Rigmodis I Dewa Ketut Wicaksandita I Kadek Widnyana, I Kadek I Made Sidia ida bagus, nanda adi naya Mejaya, I Dewa Gede Jana Putra, I Gusti Made Darma Santika, Sang Nyoman Gede Adhi Santosa, Hendra Saptono Saptono, Saptono St. Hanggar Budi Prasetya Sutirtha, I Wayan Yulini Rinantanti