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I Putu Udiyana Wasista
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udiyanawasista@isi-dps.ac.id
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+628179704492
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damar@isi-dps.ac.id
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Program Studi Pedalangan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar, Jl. Nusa Indah, Sumerta, Kec. Denpasar Timur, Kota Denpasar, Bali 80235
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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 2 (2025): Oktober" : 8 Documents clear
PENCIPTAAN KARYA WAYANG PREMBON ''PUGPUG KI BALIAN BATUR'' Satria Darmawibawa, Anak Agung Putu; Kodi, I Ketut; Brata Natyam, I Bagus Wijna
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4917

Abstract

This article presents the creative research and realization of the shadow puppet performance Wayang Prembon “Pugpug Ki Balian Batur”, an innovative work that transforms the traditional Balinese Prembon dramatari into the medium of wayang. The study is motivated by the lack of scholarly and artistic attempts to adapt Prembon into puppet theatre, despite its historical and cultural significance in Bali. The creative methodology employed was Asta Widhi Kawya, the eightfold principle of artistic creation, encompassing contemplative reflection, narrative construction, vocal and movement training, scenographic design, aesthetic synthesis, and final staging. The process involved documentation, observation of rehearsals, and interviews with key informants, analyzed through descriptive-reflective approaches. The performance was structured by integrating narrative from Babad Ki Balian Batur with elements of wayang babad, wayang arja, Balinese topeng, music, and ritual practice. The resulting work reveals a unique synthesis that balances tradition and innovation, producing a performance that is aesthetically engaging, culturally grounded, and spiritually meaningful. The novelty of this research lies in offering the first model of Wayang Prembon based on historical babad sources, demonstrating how creative practice can simultaneously preserve tradition and generate new performative forms within contemporary Balinese pedalangan.
PENCIPTAAN KARYA SENI PAKELIRAN SULUH MALAT " KELANA CARANG NAGA PUSPA" I Gusti Ngurah, Krisna Mahendra; Gumana Putra, I Gusti Ngurah; Sudiana, I Ketut
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4920

Abstract

Emerging from the application and development of traditional wayang performances, a new concept called Pakeliran Suluh Malat was born. The creator implemented elements of traditional performances with a fresh perspective, such as Tembang (Melodies), Antawacana (Rhetoric), Tutur (Adages), and the dramatic structure of the narrative, which became essential elements in Pakeliran Suluh Malat. This performance highlights social issues such as land conversion and government policies, reflecting concerns about the future of the coming generations. The Pakeliran Suluh Malat performance is expected to provide reflection, wisdom, and messages that can be applied in human life. The method used to formulate Pakeliran Suluh Malat is based on Alma M. Hawkins’ approach, adapted by Y. Sumandio Hadi. This method consists of three main stages: exploration, improvisation, and formation. In addition to conveying moral messages, Pakeliran Suluh Malat is rich in aesthetic values. The visual composition presents choreography along with symbols that convey messages through movement, sound, sign language, and verbal language. Thus, Pakeliran Suluh Malat emerges as a new form of performance while maintaining the breath of tradition.
PENCIPTAAN KARYA TEATER PAKELIRAN SASTRA RUPA “JAPA TUAN” Gunayasa, I Wayan; Hendro, Dru; Sudarta, I Gusti Putu
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4936

Abstract

This research-creation explores the development of the Teater Pakeliran Sastra Rupa “Japa Tuan” as an innovative model of Balinese shadow theatre that recontextualizes the classical gaguritan Japa Tuan into a contemporary performative form. The study aims to demonstrate how local Balinese literary sources can be transformed into theatrical works that maintain spiritual depth while responding to the aesthetic demands of modern audiences. The creative process was framed by the Asta Widhi Kawya method, adapted within the MBKM (Merdeka Belajar Kampus Merdeka) scheme, encompassing conceptual contemplation, narrative structuring, vocal and movement exploration, symbolic embodiment, and final staging. The results reveal that the story of Japa Tuan—depicting spiritual quest, grief, and transcendence—was successfully embodied through the integration of vocal performance, silhouette theatre, wayang manipulation, ritualized movement, and symbolic scenography. The artistic outcome emphasizes both the sacred and aesthetic dimensions, producing a hybrid form that remains rooted in Balinese cultural philosophy while offering an alternative format of contemporary pedalangan. The novelty of this work lies in its use of gaguritan as a dramaturgical foundation and its synthesis of textual, visual, and spiritual elements. This creation contributes to the revitalization of traditional arts, the enrichment of academic discourse in performing arts, and the affirmation of Balinese cultural identity in a global context.
Penciptaan Karya Mannequin Puppet "Asmara Samara" Asmara Nata, I Wayan Candra; Marajaya, I Made; Sekar Marhaeni, Ni Komang; Darma Putra, I Gusti Made
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4986

Abstract

The creation of the Mannequin Puppet performance entitled Asmara Samara is driven by the need for innovation in Balinese puppetry to bridge traditional values with contemporary artistic expression. This work presents a tragic romance between Prince Semara Yana of the Nila Kingdom and Princess Asmara Gantari of the Seta Kingdom, whose love is challenged by an enduring conflict between their parents. The purpose of this artistic project is to introduce a new format of puppetry that is communicative, philosophically grounded, and appealing to younger generations. The creative process employed the Dalang Anumana method formulated by I Gusti Made Darma Putra, consisting of five stages: Ngawit (starting), Ngepah (conception), Ngastawa (spirituality), Ngripta (making), and Ngebah (performing). Through visual exploration, media experimentation, and integration of theater, dance, and video mapping, the performance successfully embodies Balinese aesthetics within a naturalistic and symbolic style. The result demonstrates how Balinese philosophical concepts such as swasraya, karmaphala, and tri hita karana can be recontextualized through innovative performance media. In conclusion, Asmara Samara not only represents an artistic innovation but also serves as a medium for the preservation and transformation of Balinese puppetry in the global cultural landscape.
Jurnal Hasil Penciptaan Karya Pakeliran Teater Karnayana Putra Dananjaya, Esa; Adhisantika, Sang Nyoman Gede; Wicaksandita, I Dewa Ketut; Cempaka Dewi, Ni Luh Ayu
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.4998

Abstract

This artistic research explores the creation of Karnayana, a Balinese shadow puppet theater (teater pakeliran) that reinterprets the epic figure Karna from the Mahabharata as a locus of existential reflection. The study responds to the contemporary challenges of preserving traditional wayang in the context of globalization, shifting audience interests, and the demands of academic innovation under the Merdeka Belajar–Kampus Merdeka (MBKM) program. Employing the methodological framework of Catur Datu Kawya (Pandulame, Adicita–Adirasa, Sranasasmaya, Gunatama) developed by I Nyoman Sedana, the creative process integrates imagination, philosophical value, artistic devices, and performative skill into a coherent dramaturgy. The narrative highlights Karna’s dilemmas of loyalty, honor, and tragic destiny, realized through three main acts—his encounter with Kunti, the rejection at Drupadi’s contest, and his death in the Bharatayudha war—visualized by silhouettes, gamelan–digital compositions, vocal expressions, and lighting design. The findings demonstrate that Karnayana contributes not only as an innovative performance model that synthesizes tradition and modern theater, but also as an academic discourse that affirms the relevance of philosophical-humanist values in contemporary art. Thus, the work establishes a dual contribution: revitalizing the artistic grammar of Balinese wayang and offering a methodological reference for artistic creation within higher education.
Teater Wayang Golek Topeng GEGER GIANYAR Kertajaya, I Ketut; Sedana, I Nyoman; Sidia, I Made
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.5003

Abstract

This study presents the creation of Wayang Golek Topeng: Geger Gianyar, a theatrical innovation that reinterprets Balinese performing arts in response to contemporary cultural dynamics. Rooted in the dual challenge of preserving tradition while embracing modernity, the work employs wayang golek topeng as a hybrid medium that integrates the symbolic depth of Balinese topeng with the dramaturgy of rod puppetry. The creative process was guided by Prof. I Nyoman Sedana’s Catur Datu Kawya framework—Pandulame (imagination), Adicita-Adirasa (ideas and emotions), Sranasasmaya (media and method), and Gunatama (technical skills)—applied through collaborative practice with the Manduka Asrama Art Community in Gianyar. The work dramatizes social tensions and identity struggles in Gianyar, symbolizing broader cultural negotiations within Balinese society. Its novelty lies in the synthesis of mask-dance aesthetics and puppetry, producing a multisensorial performance that bridges sacred symbolism with contemporary stagecraft. Beyond its artistic value, the performance contributes to national discourse on cultural sustainability by positioning traditional puppetry as an adaptive medium for education, reflection, and intercultural dialogue. Thus, Geger Gianyar affirms the strategic role of practice-based research in revitalizing Indonesian performing arts while fostering cultural resilience in the era of globalization.
Penciptaan karya teater monolog wayang upih moved motion: moved motion Adi Pranajaya, I Made; Widnyana, I Kadek; Wicaksana, I Dewa Ketut; Akbar, Hanolda Gema
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.5058

Abstract

This artistic research explores the creation of a contemporary monologue puppet theater entitled Moved Motion, inspired by the traditional Wayang Upih made from betel sheath (upih). The work departs from the urgency of revitalizing nearly forgotten local traditions while addressing ecological and philosophical values through artistic innovation. The aim is to transform Wayang Upih into a three-dimensional puppet theater that embodies symbolic narratives of karma, transformation, and human existential reflection. The study employs a practice-led research approach, integrated with the Balinese creation framework Asta Widhi Kawya, which guides the process from conceptualization, narrative development, rehearsal, to final performance. Data were obtained through literature review, field observation, and direct experimentation in collaboration with a local art community. The result is a performance that combines traditional material with contemporary dramaturgy, featuring symbolic figures such as the human puppet, butterfly, and mirror to represent bondage, hope, and self-reflection. The novelty of this work lies in the ecological use of natural materials, the integration of personal narrative with traditional philosophy, and the re-positioning of Wayang Upih within contemporary performing arts. This creation contributes to the preservation and reinterpretation of Balinese puppetry while offering a sustainable model for innovative artistic practices.
TWELVE ASPECTS OF PAKEM PADALANGAN WAYANG GOLEK PURWA SUNDA: CONCEPTUAL FOUNDATIONS ACCORDING TO MAS ATJE SALMOEN Maulana, Marsel Ridky
JURNAL DAMAR PEDALANGAN Vol 5 No 2 (2025): Oktober
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v5i2.5634

Abstract

This study aims to examine the pakem of Sundanese wayang golek purwa as formulated and documented by Mas Ace Salmun, a prominent figure in the codification of this traditional art form. As a cultural heritage of the Sundanese people, wayang golek purwa embodies profound philosophical values, with the pakem serving as the primary guideline in its performance. This research explores the principles of pakem in the art of padalangan according to Ace Salmun’s perspective on wayang golek purwa performances. The study employs a qualitative approach with a literature review method, tracing classical sources and textual documentation that specifically discuss pakem in wayang golek purwa. The findings reveal that Ace Salmun identifies twelve fundamental aspects of pakem padalangan, namely: Awi-Carita, Amardi-Basa, Anta-Wacana, Amardawa-Lagu, Parama-Kawi, Parama-Sastra, Kawi-Radya, Renggep, Sabet, Banyol, Engés, and Tutug. These twelve aspects function as a conceptual foundation that enables a structured analysis of Sundanese wayang golek purwa padalangan practice. This research is expected to enrich the body of literature on cultural and traditional performing arts studies while also contributing to the preservation of Sundanese wayang golek purwa. Accordingly, the study holds significance not only for academics but also for practitioners particularly dalang and broader communities concerned with safeguarding Sundanese cultural heritage.

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