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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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Kota denpasar,
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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 6 No 1 (2026): Mei" : 8 Documents clear
Teater Wayang Inovatif Satya Semara Adi, Wira; Sedana, I Nyoman; Bratanatya, I Bagus Wijna
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.5283

Abstract

The declining interest in traditional puppetry among younger generations and the growing demand for adaptive artistic forms have encouraged the need for innovative approaches to Balinese wayang performance. This study aims to describe the creation process, artistic realization, and interpretative strategy of the innovative wayang theater Satya Semara, which reinterprets the value of loyalty within the contemporary narrative of the Ramayana. The creation process employed the Catur Datu Kawiya method, consisting of Pandulame (imaginative exploration), Adicita Adirasa (conceptual formulation), Saranasasmaya (artistic media preparation), and Gunagina Gunamanta (collaborative realization). The artistic outcome presents a hybrid theatrical form integrating Ramayana puppetry, colossal performance, digital lighting, multimedia elements, and contemporary dramaturgy while maintaining essential values of Balinese puppetry. Through the reinterpretation of characters and dramatic tensions, Satya Semara offers a reflective reading of fidelity, sacrifice, and moral dilemmas in contemporary society. This creation contributes to the revitalization of Balinese puppetry through innovative performance strategies that preserve tradition while expanding its aesthetic and pedagogical relevance.
PEWARISAN POLA PEWARISAN PEDALANGAN GAYA I NYOMAN RAJEG: PEDALANGAN jana, janamajaya; Hendro, Dru; Wicaksandita, I Dewa Ketut
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6399

Abstract

This study examines the inheritance pattern of the I Nyoman Rajeg puppetry style in Tunjuk Village, Tabanan, as a dynamic and reflective system of cultural transmission. The research aims to describe the manifestation of transmission pathways within the puppeteer family, analyze the comparative characteristics of intergenerational regeneration methods, and explain their implications for the formation of individual artistic styles. A qualitative approach with a case study design was employed, involving three generations of puppeteers as primary subjects. Data were collected through in-depth interviews, participant observation, and document analysis, and analyzed using the Miles and Huberman interactive model, supported by theories of cultural transmission, sanggit–garap, and restored behavior. The findings reveal that inheritance operates through the simultaneous interaction of vertical, horizontal, and oblique transmission pathways, shaping distinct learning processes across generations. The third generation emphasizes experiential learning, the fourth relies on literary reconstruction and self-reflection, while the fifth integrates familial tradition, social environment, and formal education. These variations produce differentiated artistic styles that are not merely replicative but innovatively grounded within traditional frameworks. This study formulates the concept of “Reflective Performative Inheritance,” highlighting that the sustainability of tradition lies not in formal uniformity but in creative reinterpretation across generations. The findings affirm that Balinese puppetry is a living tradition that continuously evolves through the dialectic interplay of heritage, experience, and artistic consciousness.
A KALA SWETA: REFLEKSI KRITIS ALIH FUNGSI LAHAN DI BALI DALAM GARAPAN WAYANG WAHYA LAKU: KALA SWETA: REFLEKSI KRITIS ALIH FUNGSI LAHAN DI BALI DALAM GARAPAN WAYANG WAHYA LAKU Indranata, I Ketut Esa; Kodi, I Ketut; Sudiana, I Ketut
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6432

Abstract

The accelerating conversion of agricultural land in Bali has reached a critical stage, threatening the sustainability of the Subak system as a cultural and ecological foundation of Balinese life. Responding to this phenomenon, the Wayang Wahya Laku performance Kala Sweta was created as an artistic medium of ecological reflection and social criticism toward the degradation of agrarian values and environmental balance. This study aims to examine the creative process, aesthetic construction, and philosophical dimensions of Kala Sweta, which integrates the mythological narrative of I Gudug Basu with contemporary socio-ecological realities in Bali. Employing a qualitative descriptive method through an art creation approach based on the creative stages of Alma M. Hawkins, the study involved participatory observation in Subak Lanyahan, in-depth interviews, and document analysis. This research offers an aesthetic interpretation of puppetry as a medium of ecological criticism through the integration of puppet symbolism, corporeal theatricality, and environmental narratives grounded in Balinese local wisdom. The findings reveal that Kala Sweta successfully transforms elements of Wayang Lemah and theatrical puppetry into a communicative artistic form that reinforces environmental awareness through visual symbolism, dramaturgical innovation, and the philosophical values of Tri Hita Karana.
PAKELIRAN WAYANG BETEL INOVATIF SIWARAJANI: PENCIPTAAN WAYANG DON NANGKA BERBASIS LAKON LUBDHAKA SIWARATRI KALPA singarsa, ida bagus arthya weda; Sudarta, I Gusti Putu; Wicaksana, I Dewa Ketut
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6491

Abstract

This artistic creation aims to develop an innovative wayang (shadow puppet) performance entitled Siwarajani, based on the Lubdhaka story from the Siwaratri Kalpa text, utilizing wayang don nangka (jackfruit leaf puppets) as the primary medium. The work addresses the gap between the ideal preservation of Balinese pedalangan tradition and contemporary artistic expression, while integrating ecological awareness and philosophical depth into performance art. The creation process employs the Panca Sthiti Ngawi Sani methodology developed by I Wayan Dibia, encompassing five stages: ngawirasa (inspiration), ngewacak (exploration), ngarencana (conception), ngawangun (execution), and ngebah (presentation). This method provides a structured framework for transforming abstract spiritual concepts into tangible artistic expression. The result is a 47-minute integrated performance that harmoniously combines traditional pedalangan elements with digital media innovation. The wayang don nangka crafted from dried jackfruit leaves serves not merely as visual property but as a philosophical symbol representing life cycles, impermanence, and spiritual transformation. The performance demonstrates that everyday natural materials, often overlooked, can become meaningful artistic media. This work implies significant potential for future research in developing sustainable puppet media and integrating digital platforms to support wayang performances. The novelty of this creation lies in the transformation of dried jackfruit leaves into philosophically grounded puppet media integrated with digital visual performance.
Artikel PENCIPTAAN KARYA SENI TEATER PAKELIRAN “JARATKARU”: PENCIPTAAN KARYA SENI TEATER PAKELIRAN “JARATKARU” I Putu Gede suryanata, Suryanata; Sekar Marhaeni, Ni Komang; Gumana Putra, I Gusti Ngurah; Cempaka Dewi, Ni Luh Ayu
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6504

Abstract

This article discusses the creation of the Teater Pakeliran Jaratkaru as an artistic output within the ISI Bali Berdampak Independent Project program. The work integrates theatrical performance and Balinese wayang tradition by using a warung (penggak) as a narrative frame to reflect contemporary Balinese social dynamics. The purpose of this creation is to reinterpret a classical story from Adi Parwa in order to address current issues related to patriarchy, lineage, and lifelong education. The creative process employed the Panca Stiti Ngawi Sani method, consisting of ngawirasa, ngewacak, ngarencana, ngawangun, and ngebah. The results show that the integration of theatre and pakeliran effectively contextualizes classical narratives, making them more communicative and relevant to modern audiences while preserving traditional aesthetic values. This work also embodies Balinese cultural concepts, including patriarchal inheritance systems and the Hindu philosophy of Catur Asrama as lifelong education. Furthermore, the creation of Jaratkaru is projected to generate social, environmental, and economic impacts, such as fostering intergenerational dialogue, strengthening ecological awareness based on Tri Hita Karana, and contributing to the sustainability of the performing arts ecosystem. This study implies that practice-based artistic research can serve as an effective medium for cultural reflection and community engagement in future artistic productions.
Artikel Kilit Kalut: Teater Pakeliran sebagai Representasi Konflik Batin Tokoh Salya: Kilit Kalut: Teater Pakeliran sebagai Representasi Konflik Batin Tokoh Salya Wahyu Widiyantara, I Komang; Sidia, I Made; Widnyana, I Kadek; Akbar, Hanolda Gema
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6553

Abstract

The creation of the puppetry performance Kilit Kalut is grounded in the need to expand the aesthetic and social functions of Balinese puppetry in responding to contemporary human inner conflicts. Traditional puppetry has predominantly emphasized external conflicts, leaving psychological dimensions underexplored. This study aims to represent the inner conflict of Salya from the Kakawin Baratayudha through a teater pakeliran framework as an artistic innovation. A qualitative-descriptive method with a practice-based research approach was employed, utilizing Harymawan’s 4M stages (imagining, writing, performing, observing), supported by rehearsal observations, textual analysis, and cross-media artistic exploration. The results demonstrate that the integration of Balinese shadow puppetry, live actors, lighting design, and gamelan effectively constructs a symbolic and dramatic representation of psychological duality. This innovation repositions puppetry as a medium for existential reflection rather than mere entertainment or ritual performance.  This study introduces inner conflict as the central dramaturgical axis in Balinese puppetry through an integrative teater pakeliran approach. In conclusion, the study contributes to the development of contemporary puppetry aesthetics while sustaining traditional values within a modern cultural context.
Pakeliran Wayang Gambuh "Geseng Alas" swara, wayan kembalyana; Marajaya, I Made; Adhi Santika, Sang Nyoman Gede
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6621

Abstract

The creation of the Wayang Gambuh performance “Geseng Alas” is grounded in the declining public interest in Balinese puppetry due to the dominance of modern entertainment forms that are more visually appealing and instant. This condition necessitates aesthetic innovation and revitalization strategies without neglecting the philosophical and structural conventions of traditional puppetry. This study aims to describe the creative process and performative structure as a model of tradition-based innovation. A qualitative-descriptive method was employed through participatory observation, literature review, and textual analysis of the pakeliran structure, combined with creative practice exploration at Kakul Mas Art Studio. The findings reveal that the integration of shadow puppetry and Gambuh dance produces a new aesthetic synthesis through intensified dramaturgy, visual exploration, and expanded performative dimensions of the dalang. This innovation not only enriches the artistic idiom of puppetry but also functions as an adaptive revitalization strategy aligned with contemporary audience preferences. The study concludes that this cross-traditional collaborative model contributes significantly to the discourse of puppetry creation as a dynamic artistic practice while reinforcing its socio-cultural function in preserving Balinese heritage.
PENDIDIKAN DALANG BALI UTARA: STUDI KONSEPTUAL BISA DAN DADI DALAM PRAKTEK BELAJAR WAYANG BERBASIS LONTAR DHARMA PAWAYANGAN Suprapta, Erman Risky Dewa; Reland Udayana Tangkas, Made; Ardiyasa, I Putu
JURNAL DAMAR PEDALANGAN Vol 6 No 1 (2026): Mei
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i1.6864

Abstract

This research investigates the growing dissonance in North Balinese puppetry education, specifically the gap between technical proficiency ('bisa') and spiritual-ethical legitimacy ('dadi'). The dalang, traditionally a sacred figure guided by the Lontar Dharma Pawayangan, faces a pedagogical crisis as the holistic 'aguron-guron' (master-apprentice) system is supplanted by formal institutions prioritizing technical skills. This qualitative study, employing ethnographic methods and textual analysis, reveals that this shift leads to a perceived decline in 'taksu' (spiritual charisma) and a suboptimal implementation of the Dharma Pawayangan theo-aesthetic principles among younger puppeteers. To address this fragmentation, the study proposes a 'Tri-Pola Integrative Model' for puppeteer education. This model aims to synthesize the strengths of the three existing pillars to produce a complete puppeteer. This model synthesizes the strengths of three pillars: the Academic (formal institutions) as a theoretical foundation, a center for critical research, documentation, and analysis; the Community (sanggar) as a practical laboratory, an incubator for creativity, and a space for social interaction; and the Spiritual (Mpu/masters) as a vehicle for transmitting intangible elements such as taksu, ethics, and spiritual practices. By integrating John Dewey's philosophy of experiential learning and Talcott Parsons' AGIL framework for systemic sustainability, this model aims to produce a 'dalang paripurna' (a perfected puppeteer) who holistically embodies both 'bisa' and 'dadi', ensuring the vitality and sanctity of the tradition.

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