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Review of Shape and Color on Poleng Motifs in Bali Arya Pageh Wibawa; Imam Santosa; Setiawan Sabana; Achmad Haldani Destiarmand
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.1983

In the beginning, the poleng motif was a sacred motif by the Balinese people. The poleng motif has a meaning as a form of petition and protection to God Almighty in His form and manifestation as creator, preserver, and harmonizing to achieve a happy and prosperous life. Another meaning is as a form to neutralize and restore balance from dark forces to help achieve the perfection of life. In its application as a motif wrapped around sacred objects, the poleng motif has the meaning of a repellent to strengthen and as a place of worship of God in His manifestation as a guardian. In subsequent developments due to tourism with increasing local and foreign tourist visits, the poleng motif has functioned as a decoration. This shift certainly leads to a reinterpretation of the meaning of the poleng motif in Bali. This study aims to get a new meaning for the poleng motif in Bali. To get this new meaning, a qualitative methodology is used based on the theoretical basis of Panofsky's iconology which emphasizes the study of visual analysis. The study carried out resulted in new findings in the form of a new meaning for the poleng motif. Based on the analysis, it was found that there was a shift in meaning from sacred to profane with the new meaning of the poleng motif being cultural communication. The form of communication created is a self-image product that reflects Balinese cultural identity. Local cultural identity is used to introduce Balinese culture.

PERANCANGAN MOTION GRAPHIC UNTUK MEDIA PROMOSI MERCHANDISE SOYL BALI STUDIO Wira Palguna, I Putu Adi; Pageh Wibawa, Arya; Tri Narulita, Eldiana
AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL Vol 5 No 01 (2024): Amarasi: Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual

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SOYL Bali Studio is a media partner that operates in the music industry and creates podcasts and live sessions in the form of videos uploaded on the YouTube platform and is also active on Instagram to share the activities they are carrying out and is now starting to develop with the addition of several divisions such as SOYL Merch and SOYL Records. The merchandise that SOYL made was previously intended only as souvenirs for guest stars, and now the merchandise wants to be sold to the public and SOYL podcast viewers, so the role of innovative promotional media is needed in the creative and business industries to build brand image, attract customer attention , and survive in tough competition. To overcome this competition, new and different promotional content is needed compared to the use of photos as content that is commonly used, the use of animated motion graphics as a form of promotional media can be different and can be a special attraction. Motion graphics are a combination of moving images and audio-visual elements, such as text, sound, illustrations, photos and videography. In designing motion graphics, it starts from the exploration, improvisation, and formation stages. This design includes the use of a creation method based on the Hawkins concept and its application in designing motion graphics for promotional media for SOYL Bali Studio merchandise. In addition, it discusses the role of management in the creative process at SOYL Bali Studio, with a focus on the effective use of human and other resources. Study/Independent Project at SOYL Bali Studio combines learning about management and creating motion graphic promotional content to support the promotion of SOYL Merch merchandise on social media.

MAKNA BHŪTA KALA PADA DESAIN KEMASAN KOPI “LEAK BALI” DI BALI Wibawa, Arya Pageh; Swandi, I Wayan; Wasista, I Putu Udiyana; Swandi, I Made Dwiarya
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 10 No. 04 (2024): Desember 2024
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v10i04.11544

Secara etimologi, kata Bhūta Kala terdiri dari dua kata yaitu Bhūta yang bermakna sesuatu yang ada dan kala yang bermakna kekuatan atau energi. Kata Bhūta juga dapat diartikan sebagai unsur-unsur alam yang terdiri dari lima elemen yang disebut dengan Panca Maha Bhūta yaitu unsur tanah, air, api, udara, dan ether (udara). Masyarakat Hindu Bali memiliki berbagai ritual keagamaan yang berhubungan dengan Bhūta Kala yang disebut dengan Bhūta Yadnya. Tujuan Bhūta Yadnya adalah untuk menjaga keharmonisan antara manusia dengan alam. Dalam perkembangannya, Bhūta Kala ini digunakan dalam produk-produk yang dikonsumsi oleh manusia. Salah satunya adalah produk kopi “Leak Bali”. Hal ini disebabkan oleh pariwisata yang menyebabkan terjadi pergeseran makna pada simbol-simbol tersebut. Penelitian ini bertujuan untuk mengetahui makna Bhūta Kala dalam kehidupan masyarakat Bali dan makna Bhūta Kala dalam kemasan produk kopi “leak Bali”. Manfaat penelitian ini adalah untuk melihat pergeseran makna Bhūta Kala dalam kehidupan masyarakat Bali. Metodologi yang digunakan adalah kualitatif dengan analisis menggunakan teori semiotika dari Roland Barthes. Hasil penelitian menunjukkan bahwa makna Bhūta Kala dalam kehidupan masyarakat Bali adalah kekuatan, penjaga, dan hukum alam. Makna denotasi Bhūta Kala dalam kemasan kopi “leak Bali” adalah janda, makna konotasi kekuatan ilmu sihir, dan makna mitologinya adalah produk yang nikmat.

PERANCANGAN MOTION GRAPHIC UNTUK MEDIA PROMOSI MERCHANDISE SOYL BALI STUDIO Wira Palguna, I Putu Adi; Pageh Wibawa, Arya; Tri Narulita, Eldiana
AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL Vol 5 No 01 (2024): Amarasi: Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual

Show Abstract | Download Original | Original Source | Check in Google Scholar

SOYL Bali Studio is a media partner that operates in the music industry and creates podcasts and live sessions in the form of videos uploaded on the YouTube platform and is also active on Instagram to share the activities they are carrying out and is now starting to develop with the addition of several divisions such as SOYL Merch and SOYL Records. The merchandise that SOYL made was previously intended only as souvenirs for guest stars, and now the merchandise wants to be sold to the public and SOYL podcast viewers, so the role of innovative promotional media is needed in the creative and business industries to build brand image, attract customer attention , and survive in tough competition. To overcome this competition, new and different promotional content is needed compared to the use of photos as content that is commonly used, the use of animated motion graphics as a form of promotional media can be different and can be a special attraction. Motion graphics are a combination of moving images and audio-visual elements, such as text, sound, illustrations, photos and videography. In designing motion graphics, it starts from the exploration, improvisation, and formation stages. This design includes the use of a creation method based on the Hawkins concept and its application in designing motion graphics for promotional media for SOYL Bali Studio merchandise. In addition, it discusses the role of management in the creative process at SOYL Bali Studio, with a focus on the effective use of human and other resources. Study/Independent Project at SOYL Bali Studio combines learning about management and creating motion graphic promotional content to support the promotion of SOYL Merch merchandise on social media.

Rekonstruksi Tari Rejang Dewa pada Tradisi Megebeg-Gebegan dalam Rangka Penguatan Identitas Budaya Tradisional Bali di Desa Tukad Mungga, Buleleng Ni Made Ruastiti; Gede Yoga Kharisma Pradana; Ni Kadek Suryani; Arya Pageh Wibawa
Jurnal Pengabdian Masyarakat Waradin Vol. 6 No. 1 (2026): Januari : Jurnal Pengabdian Masyarakat Waradin
Publisher : Sekolah Tinggi Ilmu Ekonomi Pariwisata Indonesia Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56910/wrd.v6i1.927

The Rejang Dewa is one of Bali's traditional cultures that has long been preserved in the Megebeg-Gebegan tradition. However, it is nonexistent as part of the Megebeg-Gebegan. This community service activity aims to reconstruct the Rejang Dewa Dance and strengthen local cultural identity. Specifically, this activity aims to reveal the crisis facing the Rejang Dewa dance in Megebeg-Gebegan (1), reconstruct the Rejang Dewa dance in the Megebeg-Gegeban (2), and analyze the contribution of Rejang Dewa in the Megebeg-Gebegan tradition (3). Data analysis was conducted qualitatively based on the achievements of participatory observation, interviews, choreography training, and workshops. The results: 1) the loss of pride among the local community and the difficulty in finding Rejang Dewa dancers indicate a crisis; 2) the reconstruction of the Rejang Dewa dance was carried out through replication and integration of art and education in PKM activities based on local cultural studies; 3) the reconstruction of the Rejang Dewa has impacted on strengthening the aesthetic aspects and the function of religion and fostering a sense of pride in the culture of the Tukad Mungga Village community.

ANALISIS TATA KELOLA DIGITAL PADA SISTEM PENGARSIPAN KOMUNITAS SENI: STUDI KASUS KOMUNITAS BUMI BAJRA Ni Putu Suci Pramesti; Arya Pageh Wibawa
Segara Widya : Jurnal Penelitian Seni Vol. 14 No. 1 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/sw.v14i1.3857

Komunitas Bumi Bajra merupakan komunitas seni pertunjukan di Bali yang aktif dalam produksi karya dan kolaborasi lintas disiplin. Aktivitas tersebut menghasilkan arsip administratif dan artistik yang berfungsi sebagai dokumentasi, memori kolektif, dan sumber pengembangan karya. Namun, praktik pengarsipan yang masih bersifat informal menimbulkan tantangan dalam aspek pengelolaan, akses, dan keberlanjutan arsip. Penelitian ini bertujuan untuk menganalisis praktik pengarsipan yang berlangsung serta mengidentifikasi kesenjangan dalam perspektif tata kelola digital. Penelitian ini menggunakan pendekatan kualitatif deskriptif dengan teknik observasi, studi dokumen, dan wawancara. Analisis mengacu pada kerangka tata kelola digital, records management (ISO 15489), dan digital curation. Hasil penelitian menunjukkan bahwa pengarsipan masih bergantung pada individu, belum memiliki standar dan sistem terintegrasi, serta minim metadata, digitalisasi, dan backup. Kondisi ini menunjukkan perlunya sistem pengelolaan arsip yang lebih terstruktur untuk mendukung keberlanjutan praktik seni.

Makna Simbol Rangda Sebagai Bentuk Kedigdayaan Perempuan Bali Arya Pageh Wibawa; I Gede Agus Indram Bayu Artha; I Made Hendra Mahajaya Pramayasa
PANGGUNG Vol 36 No 1 (2026): Echoes of Archipelago Mythos: Interweaving Tradition, Symbolism, and Narrative i
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v36i1.3683

This study examines the symbolism of Rangda in Balinese culture, focusing on the representation of female power reflected in texts and visual cultural expressions. Rangda, often depicted as an evil figure in Calonarang performances, reflects the duality of transformative feminine power, encompassing both destructive and protective aspects. As a manifestation of the Goddess Durga, Rangda represents feminine energy maintaining the balance of the universe, creating harmony between good and evil through the concept of Rwa Bhineda. This study employs a qualitative, descriptive-analytical approach to explore the symbolic meaning of Rangda across mythological and contemporary contexts. The results show that Rangda is not merely a symbol of evil power but a sacred entity that plays a vital role in maintaining Bali’s cosmic order. The representation of Rangda in visual art and religious rituals enriches the understanding of the role of femininity in maintaining the social and spiritual balance of Balinese society.

Pengabdian Masyarakat di Desa Gadungan, Tabanan, Bali: Pembuatan Film Dokumenter Perjuangan Rakyat dengan Judul “Baliwerti – Bara di Tanah Gadungan” I Made Denny Chrisna Putra; Gede Pasek Putra Adnyana Yasa; Arya Pageh Wibawa; Epriliana Fitri Ayu Pamungkas
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 5 No 1 (2026): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v5i1.5943

Desa Gadungan di Kabupaten Tabanan, Bali, memiliki nilai historis yang kuat terkait perjuangan masyarakat dalam mempertahankan kemerdekaan. Namun, pengetahuan sejarah tersebut sebagian besar masih bersifat lisan dan berpotensi hilang akibat minimnya dokumentasi serta terbatasnya transmisi antargenerasi. Kegiatan pengabdian ini bertujuan untuk mendokumentasikan dan mentransmisikan kembali memori kolektif masyarakat melalui produksi film dokumenter berjudul “Baliwerti: Bara di Tanah Gadungan”. Metode yang digunakan meliputi tahapan pra-produksi, produksi, dan pasca-produksi, yang dipadukan dengan pendekatan partisipatif dan etnografi visual. Tahap produksi dilakukan dengan metode perekaman memori melalui keterlibatan langsung narasumber di lokasi historis. Hasil menunjukkan bahwa film dokumenter berperan tidak hanya sebagai media dokumentasi, tetapi juga sebagai sarana rekonstruksi memori sosial, jembatan antar generasi, dan penguatan identitas budaya masyarakat. Selain itu, film ini memiliki potensi sebagai media edukasi dan promosi desa berbasis sejarah. Secara akademik, kegiatan ini berkontribusi pada pengembangan film dokumenter sebagai metode pengabdian berbasis budaya dan partisipasi masyarakat.

Komodifikasi dan Transformasi Representasi Visual Rangda dalam Budaya Bali Kontemporer Gede Lingga Ananta Kusuma Putra; Vanesa Martida; Arya Pageh Wibawa
Jurnal Bahasa Rupa Vol. 9 No. 2 (2026): Jurnal Bahasa Rupa April 2026
Publisher : Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v9i2.2174

Rangda beredar dalam kebudayaan Bali kontemporer melalui ruang ritual, pertunjukan wisata, pakaian, stiker, sepatu, dan kemasan produk. Penelitian ini menganalisis perubahan representasi visual yang menyertai peredaran tersebut serta cara pelaku budaya Bali mempertahankan batas antara penggunaan sakral dan komersial. Studi kasus kualitatif-interpretatif ini menganalisis satu catatan wawancara informan budaya yang dapat ditelusuri pada Januari 2025, empat artefak visual komersial yang didokumentasikan atau diakses pada Desember 2024–Januari 2025, serta dokumen ilmiah dan ritual. Analisis visual kontekstual membandingkan ikonografi, bentuk, warna, penempatan, audiens, fungsi komunikasi, nilai simbolik, dan kontrol budaya. Hasil penelitian menunjukkan bahwa komodifikasi tidak memindahkan Rangda secara linear dari sakral menuju profan. Rekontekstualisasi visual justru melipatgandakan maknanya. Dalam ritual, Rangda tetap menjadi kehadiran spiritual yang memperoleh otorisasi; dalam komoditas, atribut terpilih berfungsi sebagai penanda identitas Bali, daya tarik estetis, pembeda merek, dan nilai tukar. Komunitas menjaga otoritas sakral dengan memisahkan benda yang disucikan dari desain nonsakral dan mengatur penggunaannya. Penelitian ini menawarkan kerangka reartikulasi visual kontekstual untuk menjelaskan keberlanjutan otoritas simbol sakral di ruang desain dan konsumsi.

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