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I Dewa Ketut Wicaksana
Institut Seni Indonesia Bali
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Strategi Pengembangan Teknik dan Repertoar Gamelan Baleganjur untuk Meningkatkan Partisipasi Budaya Umat Hindu di Keerom, Papua Indra Wijaya Kadek; Wicaksana I Dewa Ketut; Ida Bagus Gede Surya Peradantha
Komatika: Jurnal Pengabdian Kepada Masyarakat Vol. 5 No. 1 (2025): Mei 2025
Publisher : Pusat Penelitian dan Pengabdian Kepada Masyarakat, Institut Informatika Indonesia Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34148/komatika.v5i1.1096

Abstract

Kegiatan pengabdian ini bertujuan mengembangkan teknik bermain gamelan Baleganjur bagi komunitas Hindu di Kabupaten Keerom, Papua. Meski telah tersedia gamelan Baleganjur hasil swadaya dan bantuan pemerintah, pengetahuan teknik dan repertoar musik yang relevan masih kurang untuk kegiatan keagamaan setempat. Komunitas Hindu yang tergabung dalam Sanggar Seni Saraswati berkeinginan kuat mendukung budaya dan keagamaan melalui Baleganjur. Metode pelatihan demonstratif langsung digunakan untuk meningkatkan pengetahuan dan keterampilan bermain gamelan Baleganjur di kalangan anggota komunitas. Penggunaan teknologi modern, seperti perekaman audiovisual dan pembuatan materi tutorial, diharapkan meningkatkan aksesibilitas dan fleksibilitas pembelajaran. Kegiatan ini difokuskan pada dua aspek utama: 1) Pengembangan teknik bermain Baleganjur pada tiap instrumen; dan 2) Pengayaan repertoar gending Baleganjur, seperti Tabuh Gilak dan Bebarongan. Luaran utama dari program ini adalah video dokumentasi pelatihan, mencakup sesi teori, praktik, dan penampilan akhir peserta. Hasil kegiatan ini menunjukkan kemajuan positif. Para penabuh Sanggar Seni Saraswati telah berhasil meningkatkan teknik bermain gamelan Baleganjur, khususnya telah menguasai teknik pukulan instrumen reyong, pola gegilakan dan jagul dalam instrumen kendang dan teknik kakilitan dalam instrumen ceng-ceng. Keberhasilan selanjutnya adalah penambahan materi gamelan Gilak untuk musik ilustrasi upacara Caru, serta gamelan Babarongan yang digunakan untuk mengiringi upacara Melasti. Peningkatan ini membawa dampak positif dalam memupuk rasa kebersamaan antarkomunitas umat Hindu setempat baik dalam konteks budaya maupun keagamaan.
Transformative Thanatology and Mesatya Politics: Reconstructing Kumbakarna's Heroism in Contemporary Balinese Shadow Puppet Theatre I Dewa Ketut Wicaksana; I Dewa Ketut Wicaksandita; Hanggar Budi Prasetya; Hedwig Ingrid Rigmodis Hinzler
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p07

Abstract

This study re-examines the paradigm of heroic death in traditional performing arts through the Kumbakarna Lina (The Death of Kumbakarna) episode of Balinese shadow theatre as a dialectical locus between local values and global discourses. Employing an interpretive-hermeneutic approach, it integrates Balinese Hindu cosmology with Heidegger’s concept of Being-towards-death, Festinger’s theory of cognitive dissonance, and Schechner’s notion of restored behavior. Data were collected through participatory observation, visual documentation, textual analysis of the Kakawin Rāmāyana, and interviews with puppet masters and cultural practitioners. The findings highlight three contributions: (1) the conceptualization of transformative thanatology, positioning death as moral-cosmic integration; (2) the articulation of mesatya as a political-spiritual resistance principle transcending genealogical loyalty; and (3) the transformation of sacred narratives from textual media to contemporary performance and digital platforms, raising ethical concerns of authenticity. These insights enrich cross-cultural studies of death, heroism, and performance while offering practical implications for preserving and adapting tradition in the global era.
PAKELIRAN WAYANG BETEL INOVATIF SIWARAJANI: PENCIPTAAN WAYANG DON NANGKA BERBASIS LAKON LUBDHAKA SIWARATRI KALPA ida bagus arthya weda singarsa; I Gusti Putu Sudarta; I Dewa Ketut Wicaksana
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6491

Abstract

This artistic creation aims to develop an innovative wayang (shadow puppet) performance entitled Siwarajani, based on the Lubdhaka story from the Siwaratri Kalpa text, utilizing wayang don nangka (jackfruit leaf puppets) as the primary medium. The work addresses the gap between the ideal preservation of Balinese pedalangan tradition and contemporary artistic expression, while integrating ecological awareness and philosophical depth into performance art. The creation process employs the Panca Sthiti Ngawi Sani methodology developed by I Wayan Dibia, encompassing five stages: ngawirasa (inspiration), ngewacak (exploration), ngarencana (conception), ngawangun (execution), and ngebah (presentation). This method provides a structured framework for transforming abstract spiritual concepts into tangible artistic expression. The result is a 47-minute integrated performance that harmoniously combines traditional pedalangan elements with digital media innovation. The wayang don nangka crafted from dried jackfruit leaves serves not merely as visual property but as a philosophical symbol representing life cycles, impermanence, and spiritual transformation. The performance demonstrates that everyday natural materials, often overlooked, can become meaningful artistic media. This work implies significant potential for future research in developing sustainable puppet media and integrating digital platforms to support wayang performances. The novelty of this creation lies in the transformation of dried jackfruit leaves into philosophically grounded puppet media integrated with digital visual performance.
Pelangi di Papua: Integrasi Musik Barat dan Tradisi Lokal dalam Karya Musik Berbasis Budaya Papua Yudhi Aji Ristanto Kaiway; IBG surya Peradantha; I Dewa Ketut Wicaksana; Alfred M. Mofu
Pacific Performing Arts Review Vol. 1 No. 1 (2025)
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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

Abstract

The musical work “Pelangi di Papua” was inspired by the cultural, ethnic, linguistic, and religious diversity of Papua. This composition represented a collaboration between modern, Papuan, and Balinese instruments, expressed through a contemporary musical form. The work employed compositional techniques such as unison and harmony, while developing musical elements including melody, rhythm, tempo, and dynamics. The performance of “Pelangi di Papua” was presented on the proscenium stage of the ISBI Papua Auditorium, supported by five musicians with a total duration of 15 minutes. The structure of the composition consisted of four parts—Part 1, Part 2, Part 3, and Part 4—realized through a creative process divided into three stages: exploration, improvisation, and formation. The values of unity and diversity were embodied through several aspects: (1) the use of traditional instruments from various regions (Bali, Java, and Papua) alongside modern instruments; (2) the harmonic interplay between diatonic and pentatonic scales in pelog tuning; and (3) the visual reinforcement of the work’s message through traditional costumes corresponding to the origin of each instrument. “Pelangi di Papua” aimed to explore the cultural values embedded in programmatic music that reflected the plurality of Papua’s ethnic, linguistic, and religious identities. The work sought to promote mutual respect and appreciation for cultural diversity, symbolizing the vision of building a harmonious and beautiful Papua through musical expression.
Co-Authors - Saptono Adhisantika, Sang Nyoman Gede Adi Pranajaya, I Made Agustina Marwati Alfred M. Mofu Hanolda Gema Akbar Hedwig Ingrid Rigmodis Hinzler Hinzler , Hedwig Ingrid Rigmodis I Dewa Ketut Wicaksandita I Dewa Ketut Wicaksandita I Gusti Putu Sudarta I Kadek Widnyana, I Kadek I Made Sidia I Made Sukanadi I Wayan Sutirtha IBG surya Peradantha ida bagus arthya weda singarsa Ida Bagus Gede Surya Peradantha ida bagus, nanda adi naya Indra Wijaya Kadek Junaidi Junaidi Kadek Indra Wijaya Mejaya, I Dewa Gede Jana Ni Putu Laras Purnamasari Nur Sahid Putra, I Gusti Made Darma Raharjo, Arif Budi Sang Nyoman Gede Adhi Santika Santosa, Hendra St. Hanggar Budi Prasetya Yudhi Aji Ristanto Kaiway Yulini Rinantanti