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Penciptaan Karya Teater Pakeliran “Ngaramu Yana” Atmaja, I Kadek Adi Supadma; Sedana, I Nyoman; Kodi, I Ketut
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.v4i2.4391

Studi atau projek independen adalah suatu progam pembelajaran yang memberikan kesempatan kepada mahasiswa/i untuk melakukan pembelajaran di luar lingkungan kampus seperti di sanggar, komunitas, desa, perusahaan dan lain-lain. Tujuan dari progam ini tiada lain yaitu mengembangkan potensi-potensi dalam menciptakan suatu karya pertunjukan bagi mahasiswa/i itu sendiri yang akan dibimbing langsung oleh mitra sehingga kedepannya bisa menjadikan seniman yang ber-akademisi dan dipercaya oleh masyarakat setempat. Sanggar Seni Gema Abhiraja Widya Jnana merupakan salah satu sanggar yang berada di Banjar Pujung Kaja tepatnya berada di Jalan Raya Pujung Kaja, Desa Sebatu, Kecamatan Tegallalang, Kabupaten Gianyar. Yang bergerak pada bidang kesenian seperti Seni Tari, Karawitan, Vokal dan tentunya pada bidang Seni Pedalangan atau, serta pada bidang pembuatan properti pertunjukan tradisi yang ada di desa setempat. Sejarah terbentuknya Sanggar Seni Gema Abhiraja Widya Jnana berawal dari kegiatan ngayah - ngayah di pura, karena terlalu sering ngayah maka terbesitlah ide untuk membuat seka atau komunitas yang di beri nama Sanggar Seni Gema Abhiraja Widya Jnana, yang berdiri pada tahun 2017. Teori Kawi Dalang berbasis pada penciptaan seni pedalangan, namun penulis melihat bahwa teori ini dapat diaplikasikan pada berbagai jenis pertunjukan di Bali, termasuk garapan Wayang Pakeliran Teater Ngaramu Yana. Adapun pesan tersirat dari garapan teater Ngaramu Yana tersebut dapat menginspirasi anak muda yang sedang merasakan kalut serta perang batin antara logika dalam keluarga utnuk perjuangan hidupnya pada generasi muda, agar tetap memiliki semangat dan tetap berpegang teguh memiliki sebuah prinsip serta motivasi dalam menjalani kehidupan.

A KALA SWETA: REFLEKSI KRITIS ALIH FUNGSI LAHAN DI BALI DALAM GARAPAN WAYANG WAHYA LAKU: KALA SWETA: REFLEKSI KRITIS ALIH FUNGSI LAHAN DI BALI DALAM GARAPAN WAYANG WAHYA LAKU I Ketut Esa Indranata; I Ketut Kodi; I Ketut Sudiana
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.v6i1.6432

The accelerating conversion of agricultural land in Bali has reached a critical stage, threatening the sustainability of the Subak system as a cultural and ecological foundation of Balinese life. Responding to this phenomenon, the Wayang Wahya Laku performance Kala Sweta was created as an artistic medium of ecological reflection and social criticism toward the degradation of agrarian values and environmental balance. This study aims to examine the creative process, aesthetic construction, and philosophical dimensions of Kala Sweta, which integrates the mythological narrative of I Gudug Basu with contemporary socio-ecological realities in Bali. Employing a qualitative descriptive method through an art creation approach based on the creative stages of Alma M. Hawkins, the study involved participatory observation in Subak Lanyahan, in-depth interviews, and document analysis. This research offers an aesthetic interpretation of puppetry as a medium of ecological criticism through the integration of puppet symbolism, corporeal theatricality, and environmental narratives grounded in Balinese local wisdom. The findings reveal that Kala Sweta successfully transforms elements of Wayang Lemah and theatrical puppetry into a communicative artistic form that reinforces environmental awareness through visual symbolism, dramaturgical innovation, and the philosophical values of Tri Hita Karana.

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

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.

PENCIPTAAN KARYA WAYANG PREMBON ''PUGPUG KI BALIAN BATUR'' Anak Agung Putu Satria Darmawibawa; I Ketut Kodi; I Bagus Wijna Brata Natyam
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.v5i2.4917

This article presents the creative research and realization of the shadow puppet performance Wayang Prembon “Pugpug Ki Balian Batur”, an innovative work that transforms the traditional Balinese Prembon dramatari into the medium of wayang. The study is motivated by the lack of scholarly and artistic attempts to adapt Prembon into puppet theatre, despite its historical and cultural significance in Bali. The creative methodology employed was Asta Widhi Kawya, the eightfold principle of artistic creation, encompassing contemplative reflection, narrative construction, vocal and movement training, scenographic design, aesthetic synthesis, and final staging. The process involved documentation, observation of rehearsals, and interviews with key informants, analyzed through descriptive-reflective approaches. The performance was structured by integrating narrative from Babad Ki Balian Batur with elements of wayang babad, wayang arja, Balinese topeng, music, and ritual practice. The resulting work reveals a unique synthesis that balances tradition and innovation, producing a performance that is aesthetically engaging, culturally grounded, and spiritually meaningful. The novelty of this research lies in offering the first model of Wayang Prembon based on historical babad sources, demonstrating how creative practice can simultaneously preserve tradition and generate new performative forms within contemporary Balinese pedalangan.

ESTETIKA PENCIPTAAN KARYA WAYANG WAHYA LAKU KALA SWETA SEBAGAI REPRESENTASI KRITIK SOSIAL ALIH FUNGSI LAHAN PERTANIAN DI BALI I Ketut Esa Indranata; I Ketut Kodi; I Ketut Sudiana
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.v6i1.6432

The accelerating conversion of agricultural land in Bali has reached a critical stage, threatening the sustainability of the Subak system as a cultural and ecological foundation of Balinese life. Responding to this phenomenon, the Wayang Wahya Laku performance Kala Sweta was created as an artistic medium of ecological reflection and social criticism toward the degradation of agrarian values and environmental balance. This study aims to examine the creative process, aesthetic construction, and philosophical dimensions of Kala Sweta, which integrates the mythological narrative of I Gudug Basu with contemporary socio-ecological realities in Bali. Employing a qualitative descriptive method through an art creation approach based on the creative stages of Alma M. Hawkins, the study involved participatory observation in Subak Lanyahan, in-depth interviews, and document analysis. This research offers an aesthetic interpretation of puppetry as a medium of ecological criticism through the integration of puppet symbolism, corporeal theatricality, and environmental narratives grounded in Balinese local wisdom. The findings reveal that Kala Sweta successfully transforms elements of Wayang Lemah and theatrical puppetry into a communicative artistic form that reinforces environmental awareness through visual symbolism, dramaturgical innovation, and the philosophical values of Tri Hita Karana.

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