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All Journal E-Journal Of Cultural Studies PRASI: Jurnal Bahasa, Seni, dan Pengajarannya Jurnal Kajian Bali MUDRA Jurnal Seni Budaya PRABANGKARA Segara Widya: Jurnal Penelitian Seni Jurnal Bahasa Rupa Panggung Semiotika: Jurnal Komunikasi Studi Budaya Nusantara PRATAMA WIDYA : JURNAL PENDIDIKAN ANAK USIA DINI Widya Duta: Jurnal Ilmiah Ilmu Agama dan Ilmu Sosial Budaya Bakti Budaya: Jurnal Pengabdian kepada Masyarakat Amarasi : Jurnal Desain Komunikasi Visual Abdi Widya: Jurnal Pengabdian Masyarakat Widya Duta: Jurnal Ilmiah Ilmu Sosial Budaya Journal of Communication Studies and Society Panggung Jurnal Bahasa Rupa
Nuriarta, I Wayan
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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REPRESENTATION OF BALINESE CULTURE IN GUN GUN’S MAHABHARATA EPIC PUPPET COMIC I Wayan Nuriarta; I Nyoman Darma Putra; I Nyoman Suarka; Ida Ayu Laksmita Sari
E-Journal of Cultural Studies Vol 17 No 2 (2024): Volume 17 Number 2 May 2024
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/cs.2024.v17.i02.p01

Abstract

The Mahabharata epic is better known to people in Bali, especially in shadow puppet plays. However, since 1955, the Mahabharata epic has been presented in the form of comics. This way of storytelling continued until 2014 with the printing of the Mahabharata epic puppet comic by Gun Gun, which presents Balinese cultural icons. This research aims to describe the representation of Balinese culture in Gun Gun’s Mahabharata epic puppet comic. The research method employed a critical qualitative design. Data collection was conducted through observation, interview, and literature study. The theories utilised are comic theory, hegemony theory, representation theory, and articulation theory. The findings indicate that Gun Gun’s Mahabharata epic puppet comic employs three forms of Balinese cultural representation. The three forms are as follows: (1) visual representation, whereby characters and backgrounds are depicted in comics in a manner that evokes Balinese architecture, including wantilan, pura, and togog; (2) verbal representation, which is evidenced by the presence of Balinese vocabulary in the dialogue of the characters, such as om swastiastu, kerahayuan, yadnya, Hyang Widhi, and darma; and (3) narrative representation, which is evident in the explicit portrayal of Hindu teachings, including karma phala. The dialogue of the characters, such as om swastiastu, kerahayuan, yadnya, Hyang Widhi, and darma, and the narrative representation that shows explicitly the teachings of Hinduism, such as karma phala, are also forms of cultural representation. The study of Balinese cultural representation in the Mahabharata epic comic contributes to the understanding that comics also serve as a medium for the adaptation of external cultural influences, thereby reinforcing Balinese identity. Keywords: Balinese culture, Mahabharata epic, comics, representation, Balinese identity
Edukasi Pemilahan Sampah Rumah Tangga di Dinas Lingkungan Hidup (DLHK) Badung-Bali Melalui Desain Komunikasi Visual Ari, Ida Ayu Dwita Krisna; Dewi, Alit Kumala; Nuriarta, I Wayan
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 3 No 1 (2024): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v3i1.3574

Abstract

Badung menghasilkan 281 ton sampah, 52 truk/ hari dengan rata-rata berisikan total 1,6 ton. Sampah yang diambil petugas dari rumah warga masih dalam kondisi tercampur (tidak dipilah sesuai dengan jenis sampahnya). Mengatasi permasalahn sampah, diperlukan penerapan skema pengelolaan sampah dengan mengembangkan prinsip dasar 3R (Reduce, Reuse, Recycle). Berdasarkan data-data serta keterangan langsung dari pihak DLHK, menunjukkan bahwa kesadaran warga khususnya sekitar Badung-Bali dalam memilah jenis sampah masih rendah, sehingga perlu dilakukan kegiatan edukasi kepada warga terkait pengelolaan sampah. Salah satu upaya yang dapat dilakukan untuk meningkatkan kesadaran masyarakat terkait pengelolaan sampah, adalah dengan cara perancangan komunikasi visual sebagai media edukasi pemilahan sampah rumah tangga. Tujuan kegiatan pengabdian masyarakat ini selain menghasilkan karya desain yang efektif sebagai media edukasi, juga untuk meningkatkan pengetahuan, pemahaman, yang berujung kepada aksi kepedulian masyarakat dalam mengelola sampah dimulai dari lingkup rumah tangga. Metode yang digunakan terdiri dari tiga tahapan: Observasi lapangan ke tempat pemilahan sampah untuk menentukan media edukasi yang tepat. Mendesain dan merealisasikan media komunikasi visual untuk edukasi pemilahan sampah rumah tangga. Setelah melalui beberapa tahapan, terealisasi 10 media komunikasi visual yang efektif, informatif dan persuasif terkait sampah. Desain yang dibuat diharapkan mampu berfungsi sebagai problem solver bagi pihak DLHK untuk memudahkan sosialisasi dan edukasi bagi masyarakat agar mulai mengolah sampahnya sendiri di rumah tangga.   
Perancangan Identitas Visual Media Promosi Pada Brand Bakery Bite Bali Natabuana, Nugraha; Nuriarta, I Wayan; Wibawa, Arya Pageh
AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL Vol 5 No 01 (2024): Amarasi: Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual

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

Abstract

Bite Bali is a bakery & dessert cafe from Bali located on Sunset Road, Seminyak, Badung. The competitor is quite tight with a similar business concept, Bite Bali has its own advantages and uniqueness, namely their special menu of pastry croissants with various choices of flavors. Not only the menu, the interior design of the Bite Bali shop is also no less interesting to visit. However, all of this uniqueness is considered insufficient to compete with other competing brands which are increasingly emerging with the same business concept. The Bite Bali brand has shortcomings in terms of visual branding, such as colors, typography and illustrations that do not yet have a consistent visual brand identity. Therefore, it is necessary to design a strong visual identity for the Bite Bali brand to further strengthen their brand awareness so that it has a distinctive image. This will help to build customer perceptions of the Bite Bali brand to be stronger, easier to remember and known and able to compete with other competitors. This project uses Alina Wheeler's creation method with five stages of conducting research, clarifying strategy, designing identity, creating contact points, and managing assets. The data collection technique using a qualitative descriptive method, namely collecting data through four methods, namely interviews, observation, documentation and literature study. This project produces a brand's visual identity, such as logo, colors, typography and illustrations. After that, the brand's visual identity is consistently applied to the required commercial media design such as posters, menus, loyalty cards, stickers and social media content.
PERANCANGAN IDENTITAS VISUAL PADA EVENT KEEP ON STAGE DI PREGINA SHOWBIZ BALI Pranawa, I.G.A.Ngurah Bagus Rama; Nuriarta, I Wayan; Swandi, I Wayan
AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL Vol 5 No 02 (2024): Amarasi: Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/amarasi.v5i02.3894

Abstract

Keep on Stage is a concept for a music performance event that is designed by Pregina Showbiz Bali with the intent to conserve the spirit to keep doing live performances on a stage. But, the Keep on Stage event does not yet have any visual identity to present itself to the public. Therefore, Keep on Stage needs a visual identity design that is strong so It can be recognized and remembered. This design uses the creation method developed by Hawkins on the book “Creating Through Dance” that is Exploration, Improvisation, and Formation. This design also uses method of collecting data like interview, observation, literature study, and documentation. This design creates brand visual identity like logo and illustration assets that is apllicated on promotion media like Instagram post, Billboard, T-Banner, T- Shirt, and Nametag. The idea of conserving the spirit of music performance that Pregina Showbiz Bali wants to show through Keep on Stage event are presented on the visual identity that have been designed.
Komunikasi Visual Kajang Dalam Upacara Ngaben di Bali Swandi, I Wayan; Nuriarta, I Wayan
Jurnal Bahasa Rupa Vol. 6 No. 2 (2023): Jurnal Bahasa Rupa April 2023
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v6i2.1313

Abstract

Kajang is one of the essential elements in Balinese death rites. Kajang, as a symbol, has visual communication because it is a representation of the meanings of life. This research aims to classify the Kajang's appearance and interpret the Kajang's rerajahan from a visual communication perspective as the ceremony's spirit. The benefit of this research is that it can be used as a reference in classifying the visual appearance of awnings and is useful for understanding the meaning of awnings, so that awnings can be widely recognized by the Balinese people. The research method used is a critical qualitative method with the point of view of cultural studies.The results show that in the Hindu tradition, especially in Bali, Kajang is written in the Modre script and the Swalalita script and then placed on the curvature of the person to be incised. The types of Kajang in the composition of Ulaka Warih Ida Bhatara Dalem Benculuk Tegeh Kori, namely; (1) Kajang Klasa Walaka, (2) Kajang Pemijilan Walaka, (3) Kajang Kawitan Walaka, (4) Kajang Recedana Walaka, and (5) Kajang Sari/ Siwa Walaka. Kajang in Balinese Hindu tradition is a symbol (pengawak) of the spiritual and physical bodies of people who have died. In visual communication, Kajang is an illustration that explains a narrative of life. Religiously, the Kajang is a religious symbol with the meanings of human life.
Ideologi Visual Media Representatif Konstruksi Citra Budaya Bali I Wayan Swandi; I Wayan Nuriarta; I Nyoman Larry Julianto
PANGGUNG Vol 33 No 2 (2023): Ideologi, Identitas, dan Kontekstualitas Seni Budaya Media
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i2.2623

Abstract

Bali dikenal sebagai daerah tujuan pariwisata yang berbudaya. Padahal di abad ke-17, Bali dikenal sebagai pulau kejam dengan masyarakatnya yang suka menjarah kapal karam. Penelitian ini bertujuan untuk mendeskripsikan secara kritis konstruksi citra Bali oleh kolonial Belanda dengan memanfaatkan peran media-media representatif. Metode yang digunakan adalah deskriptif kualitatif kritis. Hasilnya menunjukan bahwa media-media representatif seperti brosur, folder, dan desain sampul buku yang dibuat oleh kolonial Balanda telah berhasil mengkonstruksi citra budaya Bali. Dengan menghadirkan ilustrasi perempuan, patung, upacara Ngaben, dan keindahan alam Bali, citra yang melekat pada pulau Bali sampai saat ini adalah sebagai pulau surga terakhir. Bali memiliki berbagai daya tariknya tersendiri untuk dikunjungi baik keindahan alam maupun tradisi yang masih dijaga kuat. Ideologi visual yang dimunculkan adalah ideologi ketenangan, kenyamanan, dan keindahan pulau Bali. Bali adalah surga terakhir bagi para wisatawan Barat. Kata Kunci: Ideologi Visual, Budaya Bali, Kajian Budaya, Desain Komunikasi Visual
Komunikasi Visual Kajang Dalam Upacara Ngaben di Bali I Wayan Swandi; I Wayan Nuriarta
Jurnal Bahasa Rupa Vol. 6 No. 2 (2023): Jurnal Bahasa Rupa April 2023
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v6i2.1313

Abstract

Kajang is one of the essential elements in Balinese death rites. Kajang, as a symbol, has visual communication because it is a representation of the meanings of life. This research aims to classify the Kajang's appearance and interpret the Kajang's rerajahan from a visual communication perspective as the ceremony's spirit. The benefit of this research is that it can be used as a reference in classifying the visual appearance of awnings and is useful for understanding the meaning of awnings, so that awnings can be widely recognized by the Balinese people. The research method used is a critical qualitative method with the point of view of cultural studies.The results show that in the Hindu tradition, especially in Bali, Kajang is written in the Modre script and the Swalalita script and then placed on the curvature of the person to be incised. The types of Kajang in the composition of Ulaka Warih Ida Bhatara Dalem Benculuk Tegeh Kori, namely; (1) Kajang Klasa Walaka, (2) Kajang Pemijilan Walaka, (3) Kajang Kawitan Walaka, (4) Kajang Recedana Walaka, and (5) Kajang Sari/ Siwa Walaka. Kajang in Balinese Hindu tradition is a symbol (pengawak) of the spiritual and physical bodies of people who have died. In visual communication, Kajang is an illustration that explains a narrative of life. Religiously, the Kajang is a religious symbol with the meanings of human life.
IMPLIKASI KOMIK WAYANG SEBAGAI BENTUK NEGOSIASI BUDAYA TERHADAP PERKEMBANGAN KOMIK DI INDONESIA Nuriarta, I Wayan
PANGGUNG Vol 35 No 1 (2025): Wacana Seni dalam Identitas, Simbol, Pendidikan Karakter, Moral Spiritual dan Pr
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i1.3680

Abstract

Komik identik dengan budaya Barat, kehadirannya pernah ditolak oleh para pendidik di Indonesia pada masa Orde Lama. Namun ‘kelahiran’ Komik Wayang membuat komik bisa diterima oleh masyarakat hingga kini. Tujuan penelitian ini adalah untuk mendeskripsikan bentuk negosiasi budaya dalam komik dan implikasi negosiasi budaya terhadap perkembangan komik di Indonesia. Penelitian ini menggunakan metode penelitian kualitatif. Teori yang digunakan adalah teori komik dan teori hermeneutika. Hasil penelitian menunjukkan bahwa Komik Wayang adalah bentuk negosiasi budaya yang tampak dalam tiga bentuk yaitu visual, dialog verbal, dan narasi. Kehadiran Komik Wayang pun berimplikasi pada epigon genre komik di Indonesia mulai dari komik legenda hingga komik humor. Saat ini kehadiran komik diterima sebagai budaya populer di Indonesia.
Co-Authors Alit Kumala Dewi Anak Agung Gde Bagus Udayana Ari, Ida Ayu Dwita Krisna Bayu Artha, I Gede Agus Indram Bianda Aprilia Rahardjo Gabriel Rico Adhitya I Bagus Wijna Bratanatyam I Gusti Agung Bagus Wimajaya I Made Arsa Krisnawan I Nyoman Darma Putra I Nyoman Larry Julianto I Nyoman Suarka I Wayan Swandi Ida Ayu Laksmita Sari Ida Bagus Ketut Trinawindu Janottama, I Putu Arya Krisna Ari, Ida Ayu Dwita Maria Christina Ongkowidjojo Muhammad Farhan Ashshiddiqie Natabuana, Nugraha Ni Luh Ayu Praba Intarini Ni Luh Desi In Diana Sari, Ni Luh Desi In Ni Putu Dhea Pramesti Pande Putu Sastra Wibawa Patrick Hendrata Putra Pramesti, Ni Putu Dhea Pranawa, I.G.A.Ngurah Bagus Rama Risvi Pangestu Sastra Wibawa, Pande Putu Sujayanthi, Ni Wayan Masyuni Sumbo Tinarbuko Suryadi Suryadi Suryawan, I Gde Wijna Bratanatyam, I Bagus Wirawan, I Gusti Ngurah