cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
I Putu Udiyana Wasista
Contact Email
udiyanawasista@isi-dps.ac.id
Phone
+628179704492
Journal Mail Official
damar@isi-dps.ac.id
Editorial Address
Program Studi Pedalangan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar, Jl. Nusa Indah, Sumerta, Kec. Denpasar Timur, Kota Denpasar, Bali 80235
Location
Kota denpasar,
Bali
INDONESIA
Jurnal Damar Pedalangan
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 27982823     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Jurnal Damar adalah media publikasi artikel ilmiah dalam bidang ilmu teater tradisional seni pedalangan dan pewayangan. Sebagai akronim DAlang-MAya-Rahasia, DAMAR dalam pagelaran wayang adalah api energinya, bayu, urip, electron-proton-neutron, Agni(api)-Gangga(air)-Maruta (angin) (Agama) seperti matahari sumber pengetahuan dan kehidupan. Formulasi Dharma Pewayangan “Panunggalaning wayang ring jnana ening” [Pengetahuan murni ditemukan dalam wayang] adalah doktrin rahasia, situs interelasi kehidupan fisik dengan metafisik. Selain mengakomodasi seni rupa, desain dan seni pertunjukan, Damar Seni pedalangan dan pewayangan mengandung seni cipta konseptual, seni ripta /sanggit/ kawi dalang, dan seni widya/filsafat.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 8 Documents
 1 
Search results for , issue "Vol 5 No 1 (2025): Mei" : 8 Documents clear
PENCIPTAAN KARYA TEATER BAYANG RAGA NUSANTARA DOOMED ROMANCE Gunawan, Gede Putra Arya Bagus; Marajaya, I Made; Sudarta, I Gusti Putu
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.v5i1.4825

Abstract

The performance Shadow Theater: Raga Nusantara adapts traditional Balinese wayang techniques, blending them into a modern theater performance that tells the love story of Sri Tanjung and Sidapaksa, a tale believed by the Banyuwangi community. The Raga Nusantara shadow theater applies methods from Eko Supriyanto’s book “Ikat Kait Impulsif Sarira”—namely Re-Visiting, Re-Questioning, and Re-Interpreting. This work, titled Doomed Romance, translates to a shattered romance or broken love. The shadow theater piece, Doomed Romance, originates from the social phenomena prevalent among the younger generation, particularly concerning the dynamics of romantic relationships. This phenomenon reflects various aspects of young people's lives as they undergo the process of searching for identity, self-existence, and the meaning of love in an ever-changing social context. Romantic relationships often become an important part of their lives, involving not only emotions but also complex social interactions. This work narrates the love journey of Sri Tanjung and Sidapaksa, filled with obstacles and temptations, which form the dynamics of their romantic story. The story carries many moral messages and meanings, particularly in the realms of romance and trust. This tale is considered relevant to the phenomena experienced by the younger generation undergoing the dynamics of social or romantic relationships, which is why the artist chose this story for the Raga Nusantara shadow theater.
PENCIPTAAN KARYA TEATER BONEKA “POPPY-UTOPIA” ida bagus, nanda adi naya; Widnyana, I Kadek; Wicaksana, I Dewa Ketut
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.v5i1.4863

Abstract

“Poppy-Utopia” is a puppet theater performance that offers a profound reflection on life through the unique perspective of a dog named Poppy. This production delves into various social issues, particularly the negative stigma often directed at dogs within cultural contexts, utilizing an artistic approach that integrates narrative, visual elements, and puppetry techniques. The creative process is guided by I Wayan Dibia's five-stage method, encompassing Ngawirasa (inspiration from dog training and cultural stigma), Ngawacak (exploration of literature, Balinese epics, and visual arts), Ngarencana (conceptualizing a theater design combining human theater, animation, and minimalist visuals), Ngawangun (script execution, rehearsals, and illustration creation), and Ngebah (final performance with integrated artistic elements). Through a compelling storyline, nuanced characters, and innovative visuals, Poppy-Utopia delivers an emotionally engaging and reflective theatrical experience. The performance invites audiences not only to be entertained but also to reflect on themes of loyalty, struggle, and the importance of fostering harmonious relationships between humans, animals, and nature.
Kajian Unsur Dramatik dan Estetika Taman Penasar Ceraken I Komang, Prayoga Putra; Sedana , I Nyoman; , Dru Hendro
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.v5i1.4880

Abstract

Taman Penasar is an artistic development derived from Pasantian, which integrates vocal performance, literature, acting, and traditional music played by 5-7 core performers. This performance serves not only as entertainment but also as a guide for social interaction. Unfortunately, despite its profound cultural values, it has received limited academic attention, such as the Taman Penasar performance titled Ceraken, which presents issues surrounding traditional Balinese medicine and the role of Balian (traditional healers), a topic of current discussion. This study aims to analyze the dramatic structure, aesthetic elements, and inherent values of the performance. A qualitative approach is used to descriptively present the findings, employing drama theory and aesthetic theory as analytical tools. The results of this study show that the dramatic elements of the performance are constructed through: 1) A plot based on contemporary societal issues; 2) A forward-moving narrative structure; 3) Characterization through new terms introduced in the performance, such as Panegteg, Panungkas, Panembang, and Paneges; 4) Setting conveyed through dialogue; 5) Dialogue that upholds the ethical use of the Balinese language. The aesthetic elements are built through the performance's integrity, emotional depth, harmony in costumes and movement, and the prominence of tembang (traditional songs), musical accompaniment, and acting. Additionally, the balance between tembang, musical accompaniment, Paneges, Panegteg, and Panungkas is emphasized. This performance also upholds religious, social, and educational values. Therefore, the researcher hopes that this performance will continue to thrive and attract public interest as a valuable medium for learning.
PROGRAM MERDEKA BELAJAR KAMPUS MERDEKA MEMBANGUN DESA/KULIAH KERJA NYATA TEMATIK PEMBINAAN KESENIAN GENDER WAYANG DI DESA ADAT KUKUB Weda Wikantika, I Putu; Kodi, I Ketut; Adhi Santika, Sang Nyoman Gede
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.v5i1.4881

Abstract

The rapid development of times demands students to possess skills and knowledge relevant to the issues faced by society. In this context, the "Merdeka Belajar Kampus Merdeka" (MBKM) program plays an important role as an innovative learning platform, encompassing various activities such as internships, research, and thematic Community Service (KKN). This research focuses on the Desa Membangun (Village Development) program in Kukub Traditional Village, Bali, which was once known for its art and cultural potential but is currently experiencing a decline in interest among the younger generation towards traditional arts, especially Gender Wayang. The aim of this research is to preserve the traditional art by involving the community in the learning process and the introduction of the art form. The methods used include socialization, training, and field practice. The results of this activity are expected to increase awareness and interest in the community to understand and preserve the Gender Wayang art, while also contributing to the improvement of education and culture in Kukub Traditional Village. This research demonstrates that by involving both students and the community, the preservation of traditional arts can be more effective and sustainable.
Produksi Karya Teater Pakeliran "BIBI ANU" I Made, Arta Wiguna; Sudiana, I Ketut; Wicaksandita, I Dewa Ketut
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.v5i1.4886

Abstract

The Pakeliran Theater "Bibi Anu" explores the theme of land uncertainty in Bali caused by ongoing land conversion, highlighting the conflict between tradition and modernization that impacts the cultural identity of the Balinese people. The title "Bibi Anu" carries a profound philosophical meaning, with "Bibi" symbolizing a mother as the guardian of life, and "Anu" reflecting the ambiguity of social changes. This work merges puppetry art and theater, following a creative process consisting of three stages: exploration, improvisation, and formation. Each stage reflects the evolving relationship between humans and the land, from harmony with nature to the crisis triggered by rapid social transformations. The performance is divided into three acts, each with significant meaning. The first act portrays harmony between humans and nature based on the Tri Hita Karana principle, which emphasizes balance between humans, God, and nature. The second act examines the shift in traditional values due to tourism, altering the way of life in Bali. The third act focuses on the emotional crisis resulting from the disconnection between people and the land, leading to feelings of loss and anxiety. This work invites critical reflection on the challenge of preserving tradition amid modernization. "Bibi Anu" fosters dialogue on social and environmental changes in Bali, exploring the complex relationship between humans, culture, and nature in a rapidly changing world.
PENCIPTAAN KARYA PAKELIRAN SAJAK "GEDOG GERODOG" Bayu Senopati, I Gusti Agung; Sidia, I Made; Gumana Putra, I Gusti Ngurah
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.v5i1.4887

Abstract

The final project script of the Independent Study Project was conducted for one semester at the Sanggar Seni Hari Dwipa Gamelan Group, with the aim of creating a Balinese puppetry art work called Pakeliran Sajak Gedog Gerodog, which raises the phenomenon of Gedog Gerodog in the world of Balinese puppetry. This final project research uses a combination research method, namely quantitative research method and qualitative research method, with data collection through interviews and observations. The results of the study show that Gedog Gerodog is a phenomenon that is mystical and realistic, which occurs because puppets are starting to be forgotten in modern times as a means of worship. The Pakeliran Sajak Gedog Gerodog artwork creates a new concept in the world of puppetry, by combining poetry and puppetry, using the Panca Sthiti Ngawi Sani method, which includes Ngawi Rasa (Inspiration Stage), Ngawacak (Exploration Stage), Ngarencana (Conception Stage), Ngawangun (Execution Stage), and Ngebah (Performance Stage). This concept enables a more dynamic and interactive puppet performance. The Pakeliran Sajak Gedog Gerodog artwork also has educational value, as it can be a means to introduce and preserve Balinese puppetry culture. In addition, this artwork can also be an inspiration for other artists and researchers to develop innovative and creative art works.  
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 Teater Wayang Figuratif Pasung Jiwa Premma Adhitya, I Gede Githa; Sekar Marhaeni, Ni Komang; Darma Putra, I Gusti Made
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.v5i1.4916

Abstract

Figurative wayang is an innovation in performing arts that combines traditional elements with modern approaches to create a unique and original art form. This work introduces a new perspective in wayang art through the exploration of three-dimensional movement techniques, individual performance systems, and visual aesthetics that blend traditional and contemporary elements. The wayang puppets are designed in a surrealistic style, depicting human figures with distortion, deformation, and stylization to create a profound aesthetic effect. The creative process in crafting figurative wayang involves the development of movement techniques using specialized rods, creating the illusion of suspended puppets moving naturally. The one-puppet-one-puppeteer system provides freedom for dynamic and expressive movement exploration. Costume and accessory designs adapted from everyday life enhance the social and cultural relevance of the work, making it not only entertaining but also a reflection of life. This work also integrates elements of theater, dance, and shadow mapping projection to create an immersive aesthetic experience. These techniques strengthen the narrative and evoke a deep dramatic atmosphere, effectively conveying moral messages and life values in an inspiring way. With its innovative approach and integration of diverse artistic elements, figurative wayang becomes a form of performing art that not only preserves tradition but also offers relevant updates in line with contemporary developments. This work is expected to inspire artists to continue evolving wayang art as a dynamic and living cultural heritage.

Page 1 of 1 | Total Record : 8

 1 

Filter by Year

2025 2025


Reset
Filter By Issues
All Issue Vol 5 No 2 (2025): Oktober Vol 5 No 1 (2025): Mei Vol. 4 No. 2 (2024): Agustus Vol 4 No 2 (2024): Agustus Vol 4 No 1 (2024): April Vol. 4 No. 1 (2024): April Vol 3 No 2 (2023): Oktober Vol. 3 No. 2 (2023): Oktober Vol 3 No 1 (2023): April Vol. 2 No. 2 (2022): Oktober Vol 2 No 2 (2022): Oktober Vol 2 No 1 (2022): April Vol 1 No 1 (2021): Agustus. More Issue