DHARMASMRTI: Jurnal Pascasarjana UNHI
Jurnal Ilmu Agama dan Kebudayaan (Dharmasmrti) Diterbitkan oleh Pascasarjana Universitas Hindu Indonesia Denpasar sebagai media informasi dan pengembangan Ilmu Agama dan Kebudayaan Hindu, terbit dua kali setahun yaitu setiap bulan April dan Oktober.
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<![CDATA[MEMBANGUN PERADABAN BANGSA: PERSPEKTIF SOSIOLOGI AGAMA ]]>
<![CDATA[Ida Bagus Gde Yudha Triguna]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.74
<![CDATA[Civilization as a representation of the moral commitment of goodness to its citizens [singular and plural] is then used as a reference in the concept of living together. Meanwhile, It is also the source of appreciation, creativity, and expressing feelings. As a valuable moral commitment, it re- quires its adherents to nurture, preserve, and interpret it in the best way according to their meth- odology. The number of ways available to interpret the value have opened up the possibility of po- larization of meaning, so it may open the possibility of bias and differences in the interpretation of a value, moreover, if external factors have contributed to the polarization of how to interpret the value.]]>
<![CDATA[TARI NAMPYOG DALAM PIODALAN DI PURA SAMUANTIGA DESA ADAT BEDULU, KECAMATAN BLAHBATUH GIANYAR ]]>
<![CDATA[I Gusti Ayu Made Widiantari]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.75
<![CDATA[The sacred dance of Nampyog which is performed at the temple of Samuantiga, Bedulu, Blah- batuh, Gianyar has uniqueness among other dance in Bali 1) Nampyog dance is a dance used as a complement of the series of piodalan ceremony at Pura Samuantiga which means sanctification in the series of the Ida Bhatara will be going to have a process of embodyment (tedun) and neutral- izing the mrana (plague) 2) The dancers of the Nampyog dance are marely women who do not experience menstruation anymore (menopause). 3) The dancers of the Nampyog dance are people who commit themselves to dedicate their lifelong as the pengayah ‘non-payment workers’ called the permas. 4) If the permas are no longer capable of being the pengayah, they will be passed on by their heir (based on descendants) 5) The Nampyog dance is accompanied by several gamelan (gong, angklung) simultaneously by those people who also make ngayah on the piodalan ceremo- ny. 6) This sacred Nampyog dance is performed only on the piodalan ceremony at the temple of Samuantiga, Bedulu, Blahbatuh, Gianyar regency.]]>
<![CDATA[ASPEK FUNGSIONAL UPACARA MABAYUH OTON ]]>
<![CDATA[Ida Ayu Komang Arniati]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.76
<![CDATA[Mabayuh Oton ceremony has several special functions that are first functioning religiously. This ceremony is one of the manusa yadnya ceremonies held in Bali which aims to free human beings from the shackles of Sad Ripu or the nature of the gamut brought from birth. After mabayuh oton has been executed, the bad traits will be controlled and emerging traits that are in accordance with the norms of moral Hindu religion and the basis of a holy life. Secondly, itserves as a form of local culture of the Balinese community which until now is still held. Third, This ceremony serves to the character building of children. According to the naturalistic view of the children character beside of being formed by the environmental factors, their character are also built innate factors.]]>
<![CDATA[EFEKTIVITAS KEGIATAN KELOMPOK KERJA GURU (KKG) ]]>
<![CDATA[Dewa Agung Putri Widiasih]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.77
<![CDATA[The act No. 14 of 2005, article 1, paragraph 1 states that the teachers are professional educators with the primary task of educating, teaching, guiding, directing, training, assessing and evaluating the students on the early childhood education, formal education, primary education, and middle educa- tion. The teachers are required to carry out the process of learning which includes exploration, elabo- ration and confirmation to change the educational paradigm, which is from the paradigm of teaching to the paradigm learning. The obstacle for the teachers is that because they have abandoned the strat- egy of teacher-centered learning (teacher center oriented) strategies in order to work on the student- centered learning orientation.]]>
<![CDATA[UPAYA MENINGKATKAN KEMAMPUAN GURU AGAMA HINDU DALAM MENGGUNAKAN ALAT PERAGA SEBAGAI MEDIA PEMBELAJARAN MELALUI FOCUS GROUP DISCUSSION (FGD) ]]>
<![CDATA[Ida Bagus Suparta]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.78
<![CDATA[The problem which has made the quality of student understanding and reasoning to be in the lower standard in responding the lessons given by the teachers is because the teachers are disable and unwilling to create, manage, and apply the props. Based on this problem, this research has been conducted with the aim to increase the ability of Hindu religion teachers in the District of Tampaksiring in creating and managing as well as using the props as their medium of learning through Focus Group Discussion (FGD).]]>
<![CDATA[PEMANFAATAN SIMBOL SUCI HINDU DALAM INDUSTRI PARIWISATA BALI ]]>
<![CDATA[I Gusti Ketut Widana]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.79
<![CDATA[In fact, whatever exists, both outside and inherent in the human self is also a series of symbolic nodes which, when interpreted, will puncture or bring about various meanings. Meanings derived from the results of observation, reading, appreciation or even agreement on what is behind the symbols. The essence of the symbol is not merely in what appears in the form of material matter, but rather to what is “hidden†behind the embodiment itself. Likewise with toolsrelated to the implementation of ceremony / upakara yadnya very rich symbol, and certainly has a sacred value (sacred) which is only limited to be used in establishing a relationship to Hyang Widhi bhakti and all his manifestations. If then because of the unique aesthetic look of the media the sacred symbol is then used for the benefit of the tourism industry, as long as it remains in the context as it is displayed in terms of the implementation of yadnya, certainly not a problem. But if the sacred symbol media is only manipulated to be taken in aesthetic terms and then packaged as part of commercialization, then in addition to the risk of harassment and even desecration, is also likely to rip the religious emotions of Hindus who strongly believe the sanctity of the symbol as a sacred device that is oriented transcendental, The appearance of financially sourced material for sale.]]>
<![CDATA[DAMPAK PERGAULAN BEBAS SEBAGAI SUMBER IDE PENCIPTAAN KRIYA SENI ]]>
<![CDATA[I Wayan Arissusila]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.80
<![CDATA[Humans are God’ s creatures, who live according to their respective abilities. There are human lives prefer the pleasure, enjoyment and luxury. In life looks like a good meal, luxurious clothing and visible among adolescents tend to lead to sex. Adolescence is the age, studying opportunities and positive nature.In fact, many carried out by mutually couple, without thinking about the future and health. Such behavior is most likely caused by promiscuity impact of AIDS on the body including the organs that are inside, resulting in death. In this paper, the problem can be posed: how do mentranspormasi theme, theimpact of free associations as the source of the idea of creathing art craft. By using the methods associated with the stages of the creations of works of art. Used to dissect the problems that relepan theory with the creation of works of art. The result can be aware of the imfact of free association as a sourceof ideas in the creation of craft art, threedimensional shaped and finished to use transparent watercolors]]>
<![CDATA[KOSMOLOGI TATA RUANG PERMUKIMAN TRADISIONAL ]]>
<![CDATA[I Komang Gede Santhyasa]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 2 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v17i02.83
<![CDATA[Space creation is an attempt to more accurately accommodate human norms and values both as individuals and group members, in meaningful space. In that space one has an emotional attachment of spiritual and material culture, so space can be made a place by man to realize his existence according to local culture. The Hindu settlement in Dusun Jengglong, Wagir, Malang as a case study is used to explore the creation of a settlement space based on cosmological conceptions (Traditional religious). This research aims to illustrate briefly that this exploration is aimed at better understanding the foundation on which the creation of local spatial expression is evoked by the cultural context. The research method used is explorative with direct observation and interview to see the phenomenon in the field. In this research can be concluded that the process of forming the settlement space in Dusun Jenglong, Wagir, Malang using the traditional conception of religious Hindu Bali culture. This approach as one form of human effort aligns its relationship with living environments to achieve higher (religious) objectivesand in turn creates a supportive environmental quality.]]>
<![CDATA[YOGA SASTRA ]]>
<![CDATA[Nyoman Prastika]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 2 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v17i02.84
<![CDATA[This research has been designed on the phenomenology perspective, understanding the nomena behind the phenomenon of mystic praxes by the balian usada in Bali. The starting point of this study are the facts that the yoga and the usada texts contained in the lontar are ‘not yet’ fully transformed to the ‘heirs’. This causes the texts to become increasingly marginalized in the sense that they are no longer meaningful to the present generations. The results of this study show, firstly, theoretically the mystical praxes of the balian usada are actually based on the teachings of yoga as taught by Rsi Patanjali. However in practice, there has been adaptation to the pattern of tantric yoga whose elements are yantra, mudra, mantra, kuthamantra, and pranava. Secondly, the bijaksara formulations practiced by the balian usada turned out to be varied into several versions. Thirdly, the study also found the local genius of the balian usada in Bali has a strong bargaining position in interacting withthe influences coming from outside of themselves.]]>
<![CDATA[GROSIFIKASI IDEOLOGI RASA DALAM PERKEMBANGAN SENI LUKIS BALI ]]>
<![CDATA[I Ketut Suwidiarta]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 2 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v17i02.85
<![CDATA[The focus of this article is the past orientation or idea of the Balinese in painting. The process of grosification of the artistic ideology occurs since the tourism has developed in Bali and the implications of the grossification of the taste ideology on the painting emerging today. The purpose of this article is to present and comprehensively describe the taste grosification in the Balinese painting so that people can assess, sort and get inspired on how to develop the fine arts for the future time ideals.]]>
