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All Journal Journal of Innovation Research and Knowledge Jurnal Damar Pedalangan Global Art Creativity Conference
Ni Luh Ayu Cempaka Dewi
Institut Seni Indonesia Denpasar
Arts Humanities Economics, Econometrics & Finance Education Health Professions Law, Crime, Criminology & Criminal Justice Social Sciences

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PUTRI MURTI Laksamana, Putu Diki; Bratanatya, I Bagus Wijna; Cempaka Dewi, Ni Luh Ayu
JURNAL DAMAR PEDALANGAN Vol 5 No 1 (2025): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i1.4915

Abstract

The story takes place in a realm called Uma Praksa, where a kingdom named Brahma Purana is ruled by Queen Ratu Putri. One night, during a royal meeting attended by Indurasmi, Ratu Putri recalls a tale told by the Brahmin Vishnu Yogi—that she can only be defeated by a powerful incantation known as Durga Murti Putri. The following night, Ratu Putri’s disciples, including Ni Sindur, gather at Setra Gandamayu for a ritual. After their meditation, Dewi Durga appears and grants them a divine blessing. They return to the palace, and later that night, Ratu Mohini, Raja Putra, Ni Condong, and Waraha Putra perform a sacred offering in Alas Putra, led by Ratu Mohini’s father, Sage Sri Nadaswara. During the ceremony, a thunderous roar surprises the assembly as Hayagriva, an avatar of Vishnu, descends. Meanwhile, Kala Boma summons Delem and Sangut to announce his plan to destroy Uma Praksa and its surroundings. That night, chaos unfolds as Kala Boma attacks the kingdom. Ratu Putri’s disciples and Raja Putra’s siblings, including Ratu Rupini and her allies, engage in fierce battle. Ratu Putri transforms into Rangda Putih, while Ratu Indurasmi becomes Rangda Bang or Durga Bang. The war rages for 108 days until Raja Putra, guided by Hayagriva, confronts and awakens his sister, Ratu Putri. Raja Putra then transforms into Banaspati (Barong). In their final transformation into Barong and Rangda, Raja Putra and Ratu Putri vanish, never returning to their human forms.
Jurnal Hasil Penciptaan Karya Pakeliran Teater Karnayana Putra Dananjaya, Esa; Adhisantika, Sang Nyoman Gede; Wicaksandita, I Dewa Ketut; Cempaka Dewi, Ni Luh Ayu
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4998

Abstract

This artistic research explores the creation of Karnayana, a Balinese shadow puppet theater (teater pakeliran) that reinterprets the epic figure Karna from the Mahabharata as a locus of existential reflection. The study responds to the contemporary challenges of preserving traditional wayang in the context of globalization, shifting audience interests, and the demands of academic innovation under the Merdeka Belajar–Kampus Merdeka (MBKM) program. Employing the methodological framework of Catur Datu Kawya (Pandulame, Adicita–Adirasa, Sranasasmaya, Gunatama) developed by I Nyoman Sedana, the creative process integrates imagination, philosophical value, artistic devices, and performative skill into a coherent dramaturgy. The narrative highlights Karna’s dilemmas of loyalty, honor, and tragic destiny, realized through three main acts—his encounter with Kunti, the rejection at Drupadi’s contest, and his death in the Bharatayudha war—visualized by silhouettes, gamelan–digital compositions, vocal expressions, and lighting design. The findings demonstrate that Karnayana contributes not only as an innovative performance model that synthesizes tradition and modern theater, but also as an academic discourse that affirms the relevance of philosophical-humanist values in contemporary art. Thus, the work establishes a dual contribution: revitalizing the artistic grammar of Balinese wayang and offering a methodological reference for artistic creation within higher education.
JENIS-JENIS RENDISI DALAM PERTUNJUKAN WAYANG KULIT "THE AMBROSIA OF IMMORTALITY" DARI BAHASA KAWI KE BAHASA INGGRIS Ni Luh Ayu Cempaka Dewi; Ni Ketut Dewi Yulianti
Journal of Innovation Research and Knowledge Vol. 4 No. 5: Oktober 2024
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/jirk.v4i5.8743

Abstract

Penelitian ini merupakan kajian interpretasi yang menganalisis jenis-jenis rendisi yang diterapkan dalam pertunjukan wayang kulit Bali berjudul The Ambrosia of Immortality. Artikel ini mengkaji jenis-jenis rendisi yang melibatkan dua bahasa, yaitu Bahasa Kawi sebagai bahasa sumber dan Bahasa Inggris sebagai bahasa target. Tujuan dari penelitian ini adalah untuk mengidentifikasi jenis-jenis rendisi dalam pertunjukan wayang kulit Bali yang sejalan dengan teori rendisi serta untuk memahami implikasi yang ditimbulkan dari proses terjemahan, baik secara eksplisit maupun implisit. Metode yang digunakan dalam penelitian ini adalah metode studi pustaka dengan menelaah berbagai sumber terkait interpretasi serta melakukan observasi dari bahasa sumber ke bahasa target melalui media video. Untuk menjamin validitas data, dilakukan observasi tidak langsung dengan menganalisis pertunjukan wayang melalui video. Sebagai alat analisis, teori interpretasi yang diperkuat dengan teori rendisi digunakan sebagai landasan teoritis, sedangkan klasifikasi lintas-koordinasi dipakai untuk menjelaskan implikasi dari berbagai jenis rendisi yang diidentifikasi. Penelitian ini menemukan dua fokus utama: pertama, jenis-jenis rendisi yang diterapkan dalam pertunjukan wayang, dan kedua, implikasi dari penerapan jenis rendisi tersebut. Hasil studi ini mengungkapkan jenis rendisi yang diperluas oleh penerjemah, serta menunjukkan bahwa salah satu implikasi penerapan rendisi ini adalah penggunaan koordinasi implisit oleh penerjemah dari ujaran bahasa sumber ke ujaran bahasa target
MANAGEMENT OF LEARNING IN ARTS AND DESIGN CREATION BASED ON DIGITAL MEDIA FOR THE MILLENIAL GENERATION Sustiawati, Ni Luh; Sari, Ni Luh Desi In Diana; Dewi, Ni Luh Ayu Cempaka
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.606

Abstract

The millennial generation, born and raised during the era of information technology development, has learning the characteristics that tend to be interactive, visual, flexible, and closely tied to the use of digital technology. Millennials are more likely to understand material through media such as graphic elements, videos, or interactive simulations, which allow them to learn both independently and collaboratively in various situations. Additionally, the flexibility of time and place in accessing learning through digital devices is a major advantage that supports their learning patterns. These characteristics demand an innovative, adaptive, and technology-based educational approach to enhance learning motivation and optimize their creative and innovative potential. This study examines the management of learning in arts and design creation based on digital media for the millennial generation. A qualitative approach was used, collecting data through interviews, observations, and documentation, then analyzed descriptively to identify relevant patterns and strategies. This study is expected to contribute to optimizing the potential of the millennial generation and promoting innovation in technology-based education.
Co-Authors Adhisantika, Sang Nyoman Gede Bratanatya, I Bagus Wijna I Dewa Ketut Wicaksandita Laksamana, Putu Diki Ni Luh Desi In Diana Sari, Ni Luh Desi In Ni Luh Sustiawati Putra Dananjaya, Esa