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All Journal Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni Panggung Abdi Seni Journal of Aesthetics, Creativity and Art Management Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Damar Pedalangan Panggung
Marhaeni, Ni Komang Sekar
Institut Seni Indonesia Bali
Arts Humanities Education Social Sciences

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Pelatihan Pertunjukan Wayang Kulit Tradisi Di Desa Adat Batur “Karya Sudhaningrat” Mahendra, I Kadek Yogi; Hendro, Dru; Marhaeni, Ni Komang Sekar
JURNAL DAMAR PEDALANGAN Vol 4 No 1 (2024): April
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i1.3740

Abstract

Dilihat dari perkembangan zaman di masa sekarang dimana segala hal sudah bersifat inovasi hal tersebut menyebabkan tradisi mulai tidak diminati oleh generasi muda. Dilihat dari budaya khususnya seni pertunjukan Wayang Kulit di masa sekarang sudah sangat rendah kesksistensiannya di masyarakat, hal ini tidak hanya di alami di satu daerah namun hampir semua daerah di Bali memiliki masalah sepereti ini. Di Bali Utara khususnya di Desa Adat Batur yang dimana kesenian Wayang Kulit Tradisi sangat berperan penting sebagai pelengakap upacara yang diselenggarakan di Pura Ulun Danu Batur, walaupun demikian sangat susah sekali untuk mendapatkan generasi muda yang mau untuk mempelajari kesenian Wayang Kulit Tradisi. Dari permasalahan yang terdapat di Desa Adat Batur penulis melakukan program pembelajaran pertunjukan Wayang Kulit Tradisi kepada salah satu masyarakat yang ingin mendalami di duni seni Pedalangan bliau adalah I Made Sasmika. Ada beberapa tahapan yang dilakukan di dalam proses pembelajaran pertunjukan Wayang Kulit Tradisi antara lain mulai dari memberikan pemahaman tentang kesenian Wayang dan pemilihan gaya pementasan yang pantas dijadikan sebagai dasar pembelajaran. Dalam proses pembelajaran ini dipilih Style pementasan Sukawati karena di dalam pertunjukan Wayang Sukawati sangat banyak terdapat komponen – komponen yang membangun di dalam pementasan. Pada tahap pertama pembelajaran, peserta didik diberikan materi gending Alasarum diserta gerak Wayang, dilanjutkan dengan Penyacah Parwa sebagai sinopsis di dalam pertunjukan wayang yang menggunakan bahasa kawi, tahap ketiga mempelajari gending Bebaturan dan gerakan Mangkat, dilanjutkan dengan mempelajari Tarian Delem dan Siat Wayang. Dengan adanya program ini semoga kedepannya kesenian Wayang Kulit Tradisi di Desa Adat Batur bisa lestari tidak hanya di Batur saja, juga di tempat lain agar bisa terus diminati dan dilestarikan.
Pelestarian Seni Pertunjukan Wayang Kulit Tradisi di Desa Adat Batur Pramana, I Komang Agus; Marhaeni, Ni Komang Sekar; Hendro, Dru; Sudiana, I Ketut
JURNAL DAMAR PEDALANGAN Vol 4 No 1 (2024): April
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i1.3743

Abstract

Desa Adat Batur merupakan salah satu desa adat tua di Bali, dimana desa ini memiliki banyak sekali potensi dalam bidang seni yang ada, seperti Wayang Kulit, Tari Baris, dan Seni Kerawitan, seluruh potensi kesenian yang ada di Desa Adat Batur sangat erat kaitanya dengan tradisi dan upacara adat, oleh karena itu, upaya pelestarian dari kesenian ini mestinya harus tetap dijaga. Dengan adanya perubahan Era globalisasi sekarang ini dapat menimbulkan perubahan pola hidup masyarakat yang lebih modern, akibatnya masyarakat cendrung untuk memilih kebudayan baru yang dinilai lebih praktis dibandingkan dengan budaya lokal, permasalahan ini dapat ditemukan di Desa Adat Batur. Dimana dengan adanya pola hidup modern salah satu kesenian yaitu Seni Pedalangan/Wayang Kulit mulai mengalami kemunduran dan hampir saja punah. Faktor yang menyebabkan seni tradisi dan budaya lokal di Desa Adat Batur mulai dilupakan dimasa sekarang adalah; kurangnya generasi penerus yang memiliki minat untuk belajar dan mewarisi kebudayaanya sendiri. Oleh karena itu, dalam mewujudkan upaya pelestarian Seni Pertunjukan Wayang Kulit Tradisi di Desa Adat Batur penulis melakukan kegiatan dengan metoda Culture Expericence dengan pelaksanaan secara langsung di lapangan dan melibatkan masyarakat lokal dalam pelatihan Seni Pedalangan. Serta menggunakan metode penulisan secara kualitatif dengan teknik studi pustaka dalam mengumpulkan data.
Nilai-Nilai Keutaman Dalam Konflik dan Relosusi Pada Alur Dramatik Pertunjukan Wayang Kulit Cenk Blonk Lakon Katundung Anggada Suryanata, I Putu Gede; Hendro, Dru; Marhaeni, Ni Komang Sekar
JURNAL DAMAR PEDALANGAN Vol 4 No 2 (2024): Agustus
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v4i2.4383

Abstract

Pertunjukan Wayang Kulit Cenk Blonk lakon Katundung Anggada merupakan lakon carangan dengan penyajian konflik yang melibatkan isu sosial. Isu ini diselesaikan melalui resolusi yang merefleksikan nilai-nilai keutamaan tokoh Anggada melalui alur struktur dramatik pertunjukan wayang. Penelitian bertujuan menganalisis bentuk konflik serta resolusi dalam pertunjukan tersebut, dan bagaimana kedua elemen ini menghadirkan nilai dan pesan moral bagi audiens. Metode deskriptif kualitatif digunakan untuk menganalisis struktur alur dramatik dan resolusi konflik lakon Katundung Anggada. Hasil penelitian menunjukkan pertama, bahwa konflik dan resolusi lakon Katundung Anggada dihadirkan dalam basis cerita carangan dengan latar waktu pasca runtuhnya Alengkapura. Diperkenalkannya tokoh anggada sebagai sosok kera bertubuh manusia (wenara) dengan sifat-sifat kejujudan, ketabahan, dan berpegang teguh pada kebenaran sebagai tokoh protagonis, diuji ketika ia menghadapi fitnah atas terjadinya kerusuhan di kerajaan Ayodya yang dipimpin Sri Rama akibat tuduhan Raksasa Sura Prenawa yang dikisahkan pasca perang Alengka dipungut dan diangkat oleh Sri Rama sebagai Patih di Ayodya. Konflik memuncak ketika hasutan Sura Prenawa berhasil membuat Sri Rama mengusir Anggada yang disinyalir akan melakukan pembalasan, di mana Sura Prenawa meyakinkan Rama bahwa Anggada masih menyimpan dendam akibat keterlibatan Rama dalam meninggalnya Subali ayah Anggada. Dengan sifat-sifat keutamaanya, Anggada didampingi para punakawan memilih mengasingkan diri dan memohon petunjuk Bhatari Durga, di mana resolusinya Anggada diminta untuk menyerang Ayodya dalam rupa raksasa dan berhasil mengalahkan kelicikan Sura Prenawa. Kedua Konfilk dan Resolusi dalam kisah Katundung Anggada yang dihadirkan secara dramatis dalam analisisnya mengandung nilai-nilai keutamaan yang memiliki dampak psikologis di anataranya nilai kejujuran, pengabdian, integritas, dan kebijaksanaan.
TETIKESAN PRACTICAL TRAINING OF WAYANG PARWA BEBADUNGAN STYLE PERFORMANCE IN SANGGAR MAJALANGU Marajaya, I Made; Marhaeni, Ni Komang Sekar; Suteja, I Kt.
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.v7i1.2805

Abstract

Abstract Wayang Parwa performances in the last three decades have become increasingly rare in society. This performance originates from the Mahabharata epic and is accompanied by the Gender Wayang gamelan, which is one of the oldest in Bali. Wayang Parwa is usually used as a basis for learning to become a puppeteer in formal and non-formal education. Wayang Parwa has many versions, and in Bali, there are four styles of Wayang Parwa: Bebadungan Style, Sukawati Style, Tunjung Style, and Buleleng (North Bali). One of the styles with the most favorite is the Bebadungan style, which is spread across six districts/cities in Bali, such as Tabanan, Negara, Klungkung, Bangli, Karangasem, and Denpasar City. With the emergence of various variants of innovative wayang performances, the popularity of Wayang Parwa has decreased. To maintain the existence of the Wayang Parwa Bebadungan Style performance in this millennial era, conservative efforts needed to be made, namely through training. Considering the Wayang Parwa Bebadungan style performances by today's young puppeteers, many need to be stronger in Tetikesan (puppet movements). For this reason, the training material provided to members of Sanggar Majalangu, Kerobokan Village, North Kuta District, Badung Regency, led by I Made Agus Adi Santika, is Tetikesan. This training could answer the public's opinion that the weakness of the Wayang Parwa Bebadungan style performance refers to Tetikesan. The training was focused on one of the studio members using instructional, structured, gradual, and innovative learning methods by utilizing YouTube media, which releases audio recordings of Wayang Buduk performances by puppeteer Ida Bagus Arnawa (deceased) and his son, puppeteer Ida Bagus Puja (deceased) as standardization of the Bebadungan style. Keywords: Training, Tetikesan, Wayang Parwa Bebadungan Style
Artikel PENCIPTAAN KARYA SENI TEATER PAKELIRAN “JARATKARU”: PENCIPTAAN KARYA SENI TEATER PAKELIRAN “JARATKARU” I Putu Gede Suryanata; Ni Komang Sekar Marhaeni; I Gusti Ngurah Gumana Putra; Ni Luh Ayu Cempaka Dewi
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.v6i1.6504

Abstract

This article discusses the creation of the Teater Pakeliran Jaratkaru as an artistic output within the ISI Bali Berdampak Independent Project program. The work integrates theatrical performance and Balinese wayang tradition by using a warung (penggak) as a narrative frame to reflect contemporary Balinese social dynamics. The purpose of this creation is to reinterpret a classical story from Adi Parwa in order to address current issues related to patriarchy, lineage, and lifelong education. The creative process employed the Panca Stiti Ngawi Sani method, consisting of ngawirasa, ngewacak, ngarencana, ngawangun, and ngebah. The results show that the integration of theatre and pakeliran effectively contextualizes classical narratives, making them more communicative and relevant to modern audiences while preserving traditional aesthetic values. This work also embodies Balinese cultural concepts, including patriarchal inheritance systems and the Hindu philosophy of Catur Asrama as lifelong education. Furthermore, the creation of Jaratkaru is projected to generate social, environmental, and economic impacts, such as fostering intergenerational dialogue, strengthening ecological awareness based on Tri Hita Karana, and contributing to the sustainability of the performing arts ecosystem. This study implies that practice-based artistic research can serve as an effective medium for cultural reflection and community engagement in future artistic productions.
ADAPTASI GAYA ALTERNASI RETORIKA PEWAYANGAN BALI LINTAS MEDIA PADA PEMENTASAN TAMAN PENASAR CERAKEN DUTA KOTA DENPASAR I Komang Prayoga Putra; I Ketut Kodi; Ni Komang Sekar Marhaeni; Sang Nyomoan Gede Adhi Santika
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7503

Abstract

Wayang art is a performance medium that integrates multiple artistic components, one of which is rhetoric. Among its rhetorical techniques, the alternation style—defined as the adaptive and applicative variation of discourse—plays a significant role in enhancing the aesthetic quality of the performance. This study aims to identify the types of rhetorical alternation and their adaptation strategies within the Taman Penasar performance by the Denpasar delegation during the 2024 Bali Arts Festival (Pesta Kesenian Bali). Taman Penasar was selected due to its dramatized actor-based format rooted in Pesantian, which reflects the dynamic discourse practices unique to Balinese puppetry. This study employs a qualitative descriptive case study using participant observation, audiovisual documentation, and semi-structured interviews. The analysis applies rhetorical and dramatic approaches to identify forms of alternation and examine their adaptive functions in the performance. The findings reveal two main results. First, rhetorical alternation styles emerge in several forms: (a) shifts between Kawi and Balinese languages, (b) alternation of formal and informal speech registers, (c) transitions between tembang (metrical speech) and prose narration, and (d) rhythmic modulation in character interactions. Second, adaptation strategies are implemented through: (a) thematic and atmospheric planning, (b) character design, (c) dialogue construction, and (d) selection of appropriate speech registers between characters. These adaptations significantly contributed to the performance’s success in competition and reinforced the communicative and aesthetic appeal of wayang in a modern theatrical format.
TEATER WAYANG FIGURATIF PASUNG JIWA I Gede Githa Premma Adhitya; Ni Komang Sekar Marhaeni; I Gusti Made Darma Putra
JURNAL DAMAR PEDALANGAN Vol 5 No 1 (2025): Mei
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i1.4916

Abstract

Figurative wayang is an innovation in performing arts that combines traditional elements with modern approaches to create a unique and original art form. This work introduces a new perspective in wayang art through the exploration of three-dimensional movement techniques, individual performance systems, and visual aesthetics that blend traditional and contemporary elements. The wayang puppets are designed in a surrealistic style, depicting human figures with distortion, deformation, and stylization to create a profound aesthetic effect. The creative process in crafting figurative wayang involves the development of movement techniques using specialized rods, creating the illusion of suspended puppets moving naturally. The one-puppet-one-puppeteer system provides freedom for dynamic and expressive movement exploration. Costume and accessory designs adapted from everyday life enhance the social and cultural relevance of the work, making it not only entertaining but also a reflection of life. This work also integrates elements of theater, dance, and shadow mapping projection to create an immersive aesthetic experience. These techniques strengthen the narrative and evoke a deep dramatic atmosphere, effectively conveying moral messages and life values in an inspiring way. With its innovative approach and integration of diverse artistic elements, figurative wayang becomes a form of performing art that not only preserves tradition but also offers relevant updates in line with contemporary developments. This work is expected to inspire artists to continue evolving wayang art as a dynamic and living cultural heritage.
PENCIPTAAN KARYA MANNEQUIN PUPPET “ASMARA SAMARA” I Wayan Candra Asmara Nata; I Made Marajaya; Ni Komang Sekar Marhaeni; I Gusti Made Darma Putra
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4986

Abstract

The creation of the Mannequin Puppet performance entitled Asmara Samara is driven by the need for innovation in Balinese puppetry to bridge traditional values with contemporary artistic expression. This work presents a tragic romance between Prince Semara Yana of the Nila Kingdom and Princess Asmara Gantari of the Seta Kingdom, whose love is challenged by an enduring conflict between their parents. The purpose of this artistic project is to introduce a new format of puppetry that is communicative, philosophically grounded, and appealing to younger generations. The creative process employed the Dalang Anumana method formulated by I Gusti Made Darma Putra, consisting of five stages: Ngawit (starting), Ngepah (conception), Ngastawa (spirituality), Ngripta (making), and Ngebah (performing). Through visual exploration, media experimentation, and integration of theater, dance, and video mapping, the performance successfully embodies Balinese aesthetics within a naturalistic and symbolic style. The result demonstrates how Balinese philosophical concepts such as swasraya, karmaphala, and tri hita karana can be recontextualized through innovative performance media. In conclusion, Asmara Samara not only represents an artistic innovation but also serves as a medium for the preservation and transformation of Balinese puppetry in the global cultural landscape.
TEATER PAKELIRAN JARATKARU: DIALEKTIKA TRADISI–MODERNITAS,PATRIARKI, DAN CATUR ASRAMA BALI KONTEMPORER I Putu Gede Suryanata; Ni Komang Sekar Marhaeni; I Gusti Ngurah Gumana Putra; Ni Luh Ayu Cempaka Dewi
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.v6i1.6504

Abstract

This article discusses the creation of the Teater Pakeliran Jaratkaru as an artistic output within the ISI Bali Berdampak Independent Project program. The work integrates theatrical performance and Balinese wayang tradition by using a warung (penggak) as a narrative frame to reflect contemporary Balinese social dynamics. The purpose of this creation is to reinterpret a classical story from Adi Parwa in order to address current issues related to patriarchy, lineage, and lifelong education. The creative process employed the Panca Stiti Ngawi Sani method, consisting of ngawirasa, ngewacak, ngarencana, ngawangun, and ngebah. The results show that the integration of theatre and pakeliran effectively contextualizes classical narratives, making them more communicative and relevant to modern audiences while preserving traditional aesthetic values. This work also embodies Balinese cultural concepts, including patriarchal inheritance systems and the Hindu philosophy of Catur Asrama as lifelong education. Furthermore, the creation of Jaratkaru is projected to generate social, environmental, and economic impacts, such as fostering intergenerational dialogue, strengthening ecological awareness based on Tri Hita Karana, and contributing to the sustainability of the performing arts ecosystem. This study implies that practice-based artistic research can serve as an effective medium for cultural reflection and community engagement in future artistic productions.
Co-Authors Ariadnyana, Made Alit Widi Asmara Nata, I Wayan Candra Astika, I Made Rival Raynata Dewi, Kadek Candy Cintya Dru Hendro Dwitiya, I Kadek Bhaswara Garwa, I Ketut I Gede Githa Premma Adhitya I Gusti Made Darma Putra I Gusti Made Darma Putra I Gusti Ngurah Gumana Putra I Kadek Widnyana, I Kadek I Ketut Kodi I Komang Prayoga Putra I Made Marajaya I Putu Gede Suryanata I Wayan Candra Asmara Nata Kadek Dwiyani Mahendra, I Kadek Yogi Ni Luh Ayu Cempaka Dewi Ni Putu Hartini Pramana, I Komang Agus Premma Adhitya, I Gede Githa Rinto Widyarto S.Pd. M Kes I Ketut Sudiana . Sang Nyomoan Gede Adhi Santika Sudarta, I Gusti Ngurah Suryanata, I Putu Gede Suteja, I Kt.