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All Journal Ghurnita: Jurnal Seni Karawitan
Edy Upadana, I Ngurah
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Construction of Tabuh Gilak Ravana among Sekaa Gong children of Singakerta Village | Pembinaan Tabuh Gilak Rahwana Di Kalangan Sekaa Gong Anak-Anak Desa Singakerta Edy Upadana, I Ngurah
GHURNITA: Jurnal Seni Karawitan Vol 4 No 1 (2024): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i1.2455

Abstract

Singakerta Village has two sekaa gongs, namely Sekaa Gong Kerta Yowana and Sekaa Gong Children of Singakerta Village. Sekaa Gong Kerta Yowana was formed around late 2014. Sekaa Gong Kerta Yowana was formed around the end of 2014, but its activities stopped around the end of late 2019. To form a new generation called Sekaa Gong Children of Singakerta Village in early 2023. Thematic Real Work Lecture (KKNT) activities exist for students to conduct coaching on Sekaa Gong for Singakerta Village Children with Gilak Ravana Tabuh Material. The method used in fostering tabuh gilak ravana, namely the Training Method, means the determination of the delivery method used during the training, and the author also uses several methods in fostering Sekaa Gong for Singakerta Village Children, such as meguru kuping, meguru panggul, meguru dingdong, and meguru rasa. Tabuh Gilak Ravana was created by Mr. I Wayan Bratha. Tabuh Gilak Ravana depicts the character of Ravana, an antagonist who embodies wrath and human sins. Tabuh Gilak Ravana is implemented using Gong Kebyar gamelan barungan. Tabuh Gilak Ravana uses 32 (thirty-two) beats in one melody, and in its presentation, there are basic punch techniques in playing gamelan, such as the kekenyongan technique. In addition to fostering, they also participate in coral cadet activities, namely helping community service activities such as mutual cooperation, ngayah, etc.
Creative Music Olah Ulah | Tabuh Kreasi Olah Ulahh” Edy Upadana, I Ngurah
GHURNITA: Jurnal Seni Karawitan Vol 4 No 3 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i3.3255

Abstract

Tabuh Creation Olah Ulah is a musical composition inspired by the concept of tri guna, three essential human natures: animals, rajas, and tamas, which are different from each other. Satwam is calm, honest, kind, and wise. Rajas's nature is arrogant and haughty, while Tamas's is lazy and greedy. The three fundamental properties are interrelated and cannot be separated from each other. The concept is poured through the media, revealing Gamelan Semara Dhana, a new Gamelan barungan in the Karawitan of Bali. The method of creation used refers to the book "Panca Sthiti Ngawi Sani" by I Wayan Dibia. In this book, five stages are mentioned, namely the Inspiration Stage (Ngawirasa), the Exploration Stage (Ngewacak), the Conception Stage (Ngerencana), the Execution Stage (Ngewangun), and Ngebah. The form and structure of the work "Olah Ulah" are based on the concept of Tri Angga, which is pengawit, Pengawak, and Pengecet. Pengawit describes the nature of Sattwam: wise, honest, and calm. Pengawak describes the nature of rajas and tamas: arrogant, haughty, and lazy. Pengecet describes neutralizing these three properties so that balance is a Sattwam trait.
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