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All Journal Jurnal Penelitian Agama Hindu Widya Sandhi: Jurnal Kajian Agama, Sosial dan Budaya
Piartha, I Nyoman
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Religion Humanities Education Environmental Science Social Sciences

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Dharmagita Dalam Pelaksanaan Upacara Yajña Di Kecamatan Tegallalang Kabupaten Gianyar: (Kajian Filsafat Hindu) Piartha, I Nyoman
Jurnal Penelitian Agama Hindu Vol 8 No 4 (2024)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/jpah.v8i4.3415

Abstract

Dharmagita in the religious and social life of Hindus is a form of offering sound art as a form of offering. Dharmagita is always present in Hindu religious ceremonies in Tegallalang District, giving the impression that the dharmagita accompanies the yajña. This research aims to examine the use of dharmagita in the yajña ceremony in Tegallalang sub-district, Gianyar district, and to discover the elements of Hindu philosophy contained in dharmagita. In general, this research aims to explore and provide a clear understanding of dharmagita and its use in yajña ceremony in Tegallalang District, Gianyar Regency, Hindu philosophy studies. This research uses three theories, functional structural theory, religious theory, and symbol theory to examine the dharmagita problem in Tegallalang district. This research is qualitative research with a phenomenological approach, which took the research location in the tegallalang sub-district, because it is seen from the phenomenon of socio-religious life in communities located in the transition area between sub-district and rural areas. The data sources in this research use primary data sources and secondary data sources. The results of this research confirm that dharmagita is a form of sound art offered to God in the yajña ceremony, including the god yajña, butha yajña, manusa yajña, pitra yajña, and rsi yajña ceremonies. Hindu philosophy in the dharmagita includes tattwa teachings which emphasize the divine aspect and have implications for increasing the sraddha and bhakti of the people in the yajña ritual.
Parekan Buduh Dalam Pementasan Drama Gong Bali (Perspektif Estetika Humor) Pratama, I Gede Bagus Wira; Nerawati, Ni Gusti Ayu Agung; Piartha, I Nyoman
Widya Sandhi Vol 15 No 02 (2024)
Publisher : Institut Agama Hindu Negeri Gde Pudja Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53977/ws.v15i02.2149

Abstract

The structural form of a gong drama performance is always associated with the musical accompaniment to the performance, namely percussion petegak, pepeson, pasiatan, and finally pamuput. Followed by the Prologue, which is a panyembrama or introductory words at the start of a drama play, then it starts with Pepeson which is a sign of the appearance of a person or several characters in starting scene by scene in each act. There are pepeson scenes for petangkilan, meseneng-senengan scenes, romance scenes, pasiatan scenes, and pamuput scenes. However, according to the sources who have explained above, the structure of the gong drama performance is uncertain depending on the story being told but still maintains the standard of Balinese gong drama. The characteristics of the punakawan buduh in the Balinese gong drama performance can be divided into two characters, where there is a tough character which characterizes the human nature of being arrogant, arrogant, self-righteous and fierce. There are also soft characters that are inversely proportional to hard characters, soft characters emphasize human traits that are kind, full of empathy, intelligent, and not arrogant. These two characters symbolize different dualities or what is called rwa bhineda, traits that cannot be separated in human traits in general. The aesthetic theory of humor contained in Punakawan Buduh is divided into three parts, the first is the theory of superiority, the second is the theory of incompatibility and the third is the theory of tension. However, during the performance, the Punakawan Buduh characters, without realizing it, were using this third theory when conveying the joke material. Because in general the Punakawan Buduh characters often practice on stage without knowing the theory of humor they are using, but each joke material already contains this theory of humor according to the situation that occurs during the performance of the Balinese gong drama
Co-Authors Nerawati, Ni Gusti Ayu Agung Pratama, I Gede Bagus Wira