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Hendra Santosa
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Program Studi Seni Karawitan Fakultas Seni Pertunjukan Institut Seni Indonesia (ISI) Denpasar Jalan Nusa Indah Denpasar Bali, 80235. Telp. (0361) 227316 Fax.(0361) 236100.
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Ghurnita: Jurnal Seni Karawitan
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 27986128     DOI : -
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Social Sciences
Ghurnita, Jurnal Seni Karawitan. Ruang lingkup keilmuan mencakup pengkajian dan penciptaan karawitan
Arjuna Subject : Seni dan Humaniora - Musik
Articles 28 Documents
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Search results for , issue "Vol 4 No 1 (2024): Maret" : 28 Documents clear
Samaya Music Creation | Penciptaan Musik Samaya Juliadinata, I Putu Gede Yana; Yudarta, I Gede
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.v4i1.1422

Abstract

The Old Javanese Indonesian Samaya Dictionary comes from the Sanskrit language, namely a promise, which can be interpreted at a meeting that is agreed upon and agreed by two or more parties. The contract can be related to the trust of each partner, which can be expressed in sincere words such as mutual understanding, promise to live as long as death, promise always to be faithful, and promise to always take care of each other. The stylist was inspired to relate the above story to the wayang stories of Rama and Sita by using the media to reveal the gender of wayang. Gender wayang is a gamelan set and is generally used to accompany Balinese wayang kulit or wayang wong puppets. Creating this work is explained as making form and structure to the presentation arrangement of Samaya's work. The method of creation uses the method developed by Hawkins, namely the exploration stage, improvisation stage, and formation stage. The data collection techniques include library sources, audio and audio-visual recordings, and interviews. The stylist is interested in bringing up the story of love, loyalty, and the promise of a husband and wife. From this story, the stylist came up with an idea to make a source of inspiration into a new musical percussion art creation. All of these things interested the cultivators because the various atmospheres in achieving these goals, namely happiness, made them want to explore and pour them into creative percussion.
Music Creation Lwah Solas | Kreasi Musik Lwah Solas Yata, I Gusti Bagus Putra
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.v4i1.2195

Abstract

Lwah Solas is a Creative Musical Work inspired by 11 (eleven) springs or rivers that meet to become one, which gives a source of life for living things, but on the other hand, also brings crash and destroy everything. The stylist tries to process ideas into a karawitan work that is still based on the concept tradition, where in the arrangement, prioritizing internal techniques gamelan Gong Kebyar such as Kekotekan, Norot, nyogcag and in some parts it uses eleven beats. Techniques processed in such a way and still firmly rooted in the essence of tradition, which has become the foundation of composing. tetekep, gegebug, and expressions become an essential reference into a unified whole and the concept of deep musical arrangement Balinese fussiness. It is essential to create Tabuh Kreasi Lwah Solas because of the large amount of pollution of springs by humans that is happening nowadays. From here, the stylist created the percussion creations of Lwah Solas to remind the public to protect, respect, and sanctify the existing springs because springs are the main element for human survival.
Developing Singakerta Village Through the Establishment Sekaa Gong | Membangun Desa Singakerta Melalui Pembentukan Sekaa Gong Darmawan, I Komang Werdi; Santosa, Hendra
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.v4i1.2396

Abstract

The Thematic Community Service Program Developing Village was conducted in Singakerta Village, focusing on Banjar Tunon. The first activity was to observe the track record of the Karawitan in Singakerta Village. From the case study, a generation-related problem was found. The non-developing potential of the Childern’s Traditional Music Group was formed in 2013, so researchers intend to rebuild the Childern’s Traditional Music Group to become a work program in the Thematic Community Service Program Developing Village. The name of Childern’s Traditional Music Group is Jenggala Kauripan. The research method applied is a qualitative method with the process of collecting data through observation and interviews. The rehearsal at Jenggala Kauripan Childern’s Traditional Music Group is held four times a week by applying the Balinese Karawitan teaching method, namely the Catur Maguru method such as maguru lima, maguru panggul, maguru kuping, and maguru rasa and also accompanied by additional procedures, such as the drill method and the questioning method. Through this training, the results have been staged two times so that the contribution of this training can be achieved.
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.
Reconstruction of Mascot Dance Gending Sekar Tunjung | Rekontruksi Gending Tari Maskot Sekar Tunjung Andika, I putu Restu; Hartini, Ni Putu
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.v4i1.2532

Abstract

Blahkiuh Traditional Village is the capital city of Abiansemal District, Badung Regency, Bali Province which has famous artistic assets in Bali such as the Kecak Dance, Parwa, Arja Basur, Joged Bumbung, and carving art. The mascot dance that has sunk long ago with the aim of being rebuilt. Various attempts have been made by the author, such as exploring holding hearings with several related officials and several existing art activists, in order to obtain information and activities8that can be superior. After obtaining the information, the author tries to assist in this reconstruction process so that this reconstruction process can run smoothly and quickly. Blahkiuh village has very good potential, especially in performing arts and has a performing art that is used as a village icon in the form of the Sekar Tunjung mascot dance. Sekar Tunjung consists of 2 syllables, namely sekar and tunjung, sekar which means flower, and tunjung which means purity. In Bali, the lotus is believed to emerge from the navel of Lord Vishnu, with Brahma sitting in the center of the flower. Some believe that the Lord's hands and feet are like lotuses and his eyes are shaped like lotus petals, his gaze and touch are said to be as 6gentle as lotus buds. 9Hinduism also teaches that in every person there is a lotus spirit. 7The lotus plant is one of the plants used to describe human life. The meaning of this lotus plant is much related to personal strength,9 a reminder that human life is only temporary and also about human life that should be regardless of the environment. Based on the statement above, the author chose Blahkiuh village as a partner in implementing the MBKM Thematic Work Lecture program. With the aim of helping in the Mascot Dance reconstruction program and accommodates the potential to develop it and has 1an important role in all activities of the Blahkiuh village community.
Development Of Karawitan Arts And Creation Of Welcome Dance In Madenan Village | Pembinaan Seni Karawitan Dan Penciptaan Iringan Tari Penyambutan Di Desa Madenan Gede Navio Raykin, Navio; Kariasa, I Nyoman
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.v4i1.2663

Abstract

This article contains about Freedom to Learn on an Independent Campus in the Thematic Real Work Lecture (KKNT) program which was held in Madenan Village, Tejakula District, Buleleng Regency. The purpose of this KKNT is to develop Madenan Village through karawitan art and provide experience to the author in applying theoretical knowledge and developing the practice of learning and creating karawitan art in the community. The entire work program is carried out using data collection methods, namely observation, interviews, documentation or library research. In the creation of the gending method used is Panca Sthiti Ngawi Sani which has been tested in the creation of art. During the process of implementing the Thematic Real Work Lecture, several pieces were produced, namely in Gong Kebyar drawing two percussion, namely Telu Buaya Mangap and Sekatian Ririg Cenik, in Gamelan Gender Wayang performing two percussion, namely Seketi and Rebong. The musical dance of the Madenan Village mascot in the form of a welcoming dance is entitled “Kiraja” inspired by the very unique durian fruit that only exists in Madenan Village. The success of this KKNT is the author's hope that it can continue to inspire the enthusiasm of the community and the younger generation in the arts, especially musical arts in Madenan Village.
Empowering Human Resources Within Training and Education About Musical Art at Pemuteran Village | Memberdayakan Sumber Daya Manusia Melalui Pelatihan dan Pendidikan Seni Karawitan di Desa Pemuteran Suradinata, I Kadek Bagas
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.v4i1.2667

Abstract

This article is refered to a policy from government about Merdeka Belajar Kampus Merdeka (MBKM) within program Kuliah Kerja Nyata Tematik (KKNT) implemented at Pemuteran Village, Gerokgak District, Buleleng City. The workplan carried out is training about tabuh telu gegilakan, teaching the basic technique on playing Gong Kebyar, and training about tabuh telu lelambatan kreasi “Wási Silakrama” to childern’s Jelung Kumara Pemuteran Gong Kebyar Group JKP 3 and JKP 4. Especially for JKP 3, I applied creation tabuh telu lelambatan kreasi “Wási Silakrama” and tabuh telu gegilakan. The workplan held with some methods that writer used which is the imitation method came up by M. Gabriel Tarde, meguru panggul, observation, interview, and documentation. Apart from that, I also use the method of creation written by I Wayan Dibia in making the composition. The methods I've used have worked with frequent players in my program of work that I've done. I hope within two groups JKP 3 and JKP 4 is success and capable to come forth some creations which has been given for Sanggar Jelung Kumara anniversary held on July 8 2023. Hopefully this creation is very useful for two groups that will used for another festival, ceremony, etc.
Karawitan Composition Atma Prasangsa | Komposisi Karawitan Atma Prasangsa Mahendra Adi Putra, I Gede; Masyuni Sujayanthi, Ni Wayan
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.v4i1.2708

Abstract

 Atma Prasangsa is the process of the journey of the spirit or soul from when a person is still alive until he reaches moksha. In everyday life, the stylist relates Atma Prasangsa's meaning to the stylist's personal experience, who lost a grandfather named I Wayan Ngarda. Seeing this phenomenon, the arranger appointed Atma Prasangsa as a musical composition title in the form of percussion creations. Due to limited tools and support from partners due to the Bali Art Festival event, the stylists decided to borrow the Angklung gamelan as a medium for saying in this work at Banjar Kayutulang Canggu. Atma Prasangsa work is intended as a tribute to the late grandfather of the stylist himself. Gamelan Angklung is classified as a gamelan with a four-tone selendro barrel. This work used the structure of the parts and decided to use five for the protrusion that the stylist made to focus the stylist's idea into the work, namely in part two and part four, where the part describes sadness and is sincere about the departure of the stylist's grandfather. The duration of the whole arable is around 12 minutes. Hopefully, with this work, the community can follow the reforms in karawitan art, especially in the Angklung gamelan.
Pecuk: Karawitan Artwork inspired by Pecuk Kite | Pecuk: Karya Seni Karawitan Yang Terinspirasi Dari Layangan Pecuk Putra, I Kadek Vanny Mahendra
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.v4i1.3236

Abstract

Pecuk is a pepanggulan percussion creation inspired by the pecuk kite. A Pecuk kite is a form of traditional Balinese kite that has two equal corners, the result of stretching two identical girlish or bantangs. Kites and flying are entertainment, believed to originate from the mythology of Dewa Rare Angon, a manifestation of Lord Shiva. The pecuk kite is also a symbol of Ulu Candra and Windu, the wijaksara or sacred script symbol of God. Cormorant kites are unique in terms of shape and when they fly. The simplicity of balance in the making and the uniqueness of flying this kite are transformed in preparing this pepanggulan percussion creation. This creation aims to be able to implement ideas taken from the local wisdom of the Balinese people (kites and hovering) into a genre of Balinese composition called Tabuh Kreasi Pepanggulan. The novelty of this pepanggulan percussion creation has been obtained through research using qualitative methods accompanied by methods for creating performing arts based on local wisdom (Rai S., 2021), which includes a process of developing talent, creativity, understanding the local culture, the concept of the work, belief and praying for the implementation of the idea. Work, trial work, and determining the form of work (IPR). Observations, interviews, and literature studies were conducted to find a progressive work concept. The creation process that most produce new percussion creations is entitled "Pecuk, using the Gong Kebyar gamelan barungan as a medium of expression. This work involved 35 musicians and was performed at the Natya Mandala Building, Indonesian Institute of the Arts Denpasar, using the aesthetic rules of performing arts such as stage design, lighting, and clothing.
Bhava New Musical Composition | Karya Karawitan Baru Bhava Dewangga, I Kadek Wahyu Bhaskara; Muryana, I Ketut
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.v4i1.3291

Abstract

Bhava means spiritual vibration, which arises from the sincere devotion of the community to the gods; then, the gods will always give blessings and gifts. In addition to providing gifts, it is also believed that the gods will provide spirit energy (taksu) to the worshipper. Gamelan Gender Wayang generally accompanies Wayang Wong dances. But it differs from the Wayang Wong Dramatari in the Banjar Kawan Bangli Traditional Village, which uses three Gamelan barrages. From this uniqueness, the stylist wanted to raise the euphoria presented by the sound of the three instruments that the stylist poured into the Balaganjur Bebarongan musical work entitled Bhava. The feeling referred to by the stylist in this work is a sense of happiness, fear, and gratitude that arises and is owned by the people of Pura Dalem Purwa Banjar Kawan, Bangli, because of the sound of rumbling earthquakes, and the sound of lightning, but not accompanied by rain that occurred when Ida Bhatara Sakti Dalam Purwa Napak Pertiwi first after the repair of Barong (meodak). By looking at this phenomenon, the stylist was inspired to elevate the phenomenon into a work by combining barungan gamelan balaganjur bebarongan and kroncongan instruments. In theory, the creation of       Bhava's musical work refers to the process of creating artwork according to I Wayan Dibia in the book Panca Sthiti Ngawi Sani in 2020, which consists of five stages, namely Ngawirasa (Inspiration), Ngawacak (Exploration), Ngarencana (Conception), Ngewangun (Execution), Ngebah (Production). Bhava is a religious theme presented by 17 performers using Balaganjur Bebarongan as the medium of expression with the addition of kroncongan instruments.

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