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Contact Name
I Putu Udiyana Wasista
Contact Email
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,
Bali
INDONESIA
Jurnal Damar Pedalangan
Published by Institut Seni Indonesia Bali
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 117 Documents
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REINTERPRETASI TAKSU MELALUI PENCIPTAAN WAYANG TEATER JRO DALANG PURWA DALAM PEDALANGAN BALI KONTEMPORER I Made Edi Sucita Edi; I Made Marajaya; Hanolda Gema Akbar
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7266

Abstract

This article discusses the creation of a Wayang (shadow puppetry) theater piece titled "Jro Dalang Purwa" as an artistic output of the "ISI Bali Berdampak" Independent Project Program. The work blends dramatic theater performance with Balinese puppetry traditions, utilizing the Durik Temple area as a narrative framework to reflect on the significance of spiritual values Or taksu in the artistic lives of the Balinese people. The project aims to reinterpret the ancestral history of Jro Dalang Purwa, specifically his quest to attain taksu through ascetic practice (tapa yoga) and his eventual creation of the Arjuna Pengamukan puppet during the era of the Gianyar Kingdom. The creative process employed the Panca Stiti Sani Ngawi method conceptualized by Prof. Dr. I Wayan Dibia which encompasses the stages of ngawirasa (feeling/sensing), ngewacak (conceptualizing), ngarencana (planning), ngawangun (constructing/creating), and ngebah (finalizing/presenting). The results demonstrate that the fusion of theatrical and puppetry elements can present a classic narrative in a manner that is contextual, reflective, and communicative for the younger generation, all while preserving traditional aesthetic values. The work embodies various Balinese cultural values, such as the concept of taksu, the preservation of tradition, intergenerational cultural transmission, social solidarity, ancestral reverence, and perseverance in the artistic process. Furthermore, the creation of this Wayang theater piece is expected to generate tangible impacts across social, cultural, and creative economy sectors.
ADAPTASI GAYA ALTERNASI RETORIKA PEWAYANGAN BALI LINTAS MEDIA PADA PEMENTASAN TAMAN PENASAR CERAKEN DUTA KOTA DENPASAR I Komang Prayoga Putra; I Ketut Kodi; Ni Komang Sekar Marhaeni; Sang Nyomoan Gede Adhi Santika
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7503

Abstract

Wayang art is a performance medium that integrates multiple artistic components, one of which is rhetoric. Among its rhetorical techniques, the alternation style—defined as the adaptive and applicative variation of discourse—plays a significant role in enhancing the aesthetic quality of the performance. This study aims to identify the types of rhetorical alternation and their adaptation strategies within the Taman Penasar performance by the Denpasar delegation during the 2024 Bali Arts Festival (Pesta Kesenian Bali). Taman Penasar was selected due to its dramatized actor-based format rooted in Pesantian, which reflects the dynamic discourse practices unique to Balinese puppetry. This study employs a qualitative descriptive case study using participant observation, audiovisual documentation, and semi-structured interviews. The analysis applies rhetorical and dramatic approaches to identify forms of alternation and examine their adaptive functions in the performance. The findings reveal two main results. First, rhetorical alternation styles emerge in several forms: (a) shifts between Kawi and Balinese languages, (b) alternation of formal and informal speech registers, (c) transitions between tembang (metrical speech) and prose narration, and (d) rhythmic modulation in character interactions. Second, adaptation strategies are implemented through: (a) thematic and atmospheric planning, (b) character design, (c) dialogue construction, and (d) selection of appropriate speech registers between characters. These adaptations significantly contributed to the performance’s success in competition and reinforced the communicative and aesthetic appeal of wayang in a modern theatrical format.
PEMBELAJARAN LINTAS BUDAYA MELALUI PRAKTIK WAYANG LEMAH: STUDI PARTISIPASI TAKAHITO KAWATE PADA DALANG I DEWA AGUNG SUTRESNA MESI Ngakan Putu Gede Wira Adnyana; Dru Hendro; I Dewa Ketut Wicaksandita
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7504

Abstract

Balinese shadow puppetry functions not only as a ritual and performative medium but also as a cultural learning space that is open to international participants. This article aims to describe the learning process and participation of foreign students in Balinese shadow puppetry practices under the guidance of puppeteer I Dewa Agung Sutresna Mesi in Bangli, with particular attention to Takahito Kawate from Japan as the primary participant. Participants from China and Italy are positioned as part of the broader context of intercultural interaction emerging within the performance environment. The study employed a qualitative approach based on participant observation, interviews, and documentation conducted during training sessions and performances. The learning process involved direct mentoring, imitation, dialogue practice, participation as katengkong, and active involvement in performances. Takahito Kawate, who received the Balinese name I Gede Darma Mesi, actively participated in voicing the punakawan characters and accompanying the puppeteer in both Wayang Lemah and wayang peteng performances. Intercultural interaction was reflected in the use of Balinese, Indonesian, and Japanese languages, as well as in the involvement of participants from different national backgrounds within the performance space. These practices demonstrate that learning Balinese shadow puppetry takes place through direct, participatory, and contextual engagement rather than through formal instruction alone. The participation of foreign students thus demonstrates the capacity of Balinese shadow puppetry to function as a cross-cultural learning medium and as a space for the internationalization of traditional Balinese performing arts through embodied participation and performance-based cultural learning.
PEMBINAAN DAN FESTIVAL DALANG SEBAGAI STRATEGI REGENERASI WAYANG KULIT BALI: STUDI KASUS PESTA KESENIAN BALI I Gusti Made Darma Putra; Ni Luh Ayu Chempaka Dewi
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7505

Abstract

This study examines puppeteer training and puppeteer festivals as strategies for the regeneration of Balinese shadow puppetry in the context of the Bali Arts Festival (PKB). The study focuses on training activities at Sanggar Wayang Aringgit and Sanggar Sandhi Swara, including the documented experiences of I Dewa Ketut Wicaksandita, Ni Kadek Budi Arsani and other young puppeteers who participated in PKB. Using a qualitative case study approach, the research combines historical visual documentation of training and festival performances from 2006 with interviews conducted in 2026 with puppeteers and trainers, supported by PKB records and relevant literature. Richard Schechner’s performance theory, particularly the concept of restored behavior, is used to analyze the transmission and transformation of performative practices. The findings show that puppeteer training develops technical competence through repeated practice of musical accompaniment, puppetry techniques, vocal performance, character presentation, and scene enactment. Festival participation subsequently provides opportunities for public performance, intergenerational interaction, exchange of performance practices, and social recognition. The cases further demonstrate that young puppeteers can continue their practice in ritual and cultural performances and, in some cases, become performers and trainers for subsequent generations. Thus, training and festival participation form interconnected performative processes through which Balinese puppetry practices are transmitted, reproduced, and transformed across generations.
IMPLEMENTASI TRI DHARMA PERGURUAN TINGGI BERBASIS PRAKTIK SENI: PERAN MAHASISWA PEDALANGAN DALAM PELESTARIAN BUDAYA BALI MELALUI PEMENTASAN WAYANG WONG Ni Made Imas Berliana; I Gusti Putu Sudarta; I Kadek Widnyana; I Made Sidia
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7506

Abstract

Cultural preservation is a constitutional mandate and a strategic agenda of national education, embedded in the Tri Dharma of Higher Education. In this context, pedalangan students act as cultural agents by implementing learning outcomes and community service through Wayang Wong performances, positioning the art form as a cultural asset to be sustained. This study aims to explore how the Tri Dharma is realized through the practice of pedalangan and to analyze students’ roles in preserving Balinese culture. Using a qualitative method with a constructivist paradigm and a case study design, data were collected through participatory observation, interviews, documentation, and review of relevant legal frameworks. The findings indicate that: (1) the Tri Dharma is implemented through the integration of academic competencies in cultural activities and active student involvement in community-based cultural needs; (2) students contribute to cultural preservation through performance-based competency application, revitalization of visual-audio elements, use of performances for service, and digital media optimization for education. The study concludes that student-led Wayang Wong performances support the realization of the Tri Dharma while playing a significant role in safeguarding Balinese cultural heritage.
WAYANG SINEMA KUMARA KURU: EKSPLORASI MATERIAL SINTETIS BERWARNA, BAHASA SINEMATOGRAFI, DAN DEKONSTRUKSI LAKON BERBASIS ISU PARENTING I Made Dwi Darma Putra; I Dewa Ketut Wicaksana; I Bagus Wijna Bratanatyam
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7507

Abstract

The background of this study is rooted in the need for aesthetic and medium renewal in Balinese wayang puppetry to remain relevant in responding to contemporary social issues, such as parenting dynamics. This research aims to formulate the concept of Wayang Sinema, develop transparent PVC sheet mika puppets using UV Printing and Laser Cutting, and integrate parenting issues through the lakon Bima Diracuni Duryodana. Employing practice-based artistic research, data were collected through participatory observation, in-depth interviews, and visual laboratory exploration at Sanggar Seni Kuta Kumara Agung. The results show that the integration of transparent PVC sheets, UV Printing, Laser Cutting, and live cinematic visual techniques provides an alternative visual language for Balinese puppetry. The exploration demonstrates the potential of cinematic framing to regulate visual focus and reinterpret the narrative of Bima Diracuni Duryodana through parenting issues.The implementation of cinematic syntax (such as Close Up, Medium Shot, and Fade In/Out) on a 2 x 4 meter screen effectively alters the performance's dramatic perspective in real-time. This study concludes that reconstructing epic narratives through cinematic visual approaches and modern medium exploration transforms Balinese puppetry into a communicative and reflective medium for character education.
PENCIPTAAN WAYANG MIKA TRANSPARAN BERBASIS LIVE CAMERA PROJECTION DALAM PAKELIRAN INOVATIF LARA RAHSA Ida Ayu Sri Widnyani; I Ketut Sudiana; I Gusti Ngurah Gumana Putra
JURNAL DAMAR PEDALANGAN Vol 6 No 2 (2026): Oktober
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/dmr.v6i2.7508

Abstract

This study examines the development of transparent colored mika shadow puppets based on a live camera projection system as an innovation in contemporary Balinese puppetry (pakeliran) for the performance Lara Rahsa. The central problem addressed is the aesthetic and technical limitation of traditional cowhide puppets in presenting colored, transparent, and multi-layered visual representations to transform the fable narrative of Kidung Tantri Nandaka Harana and ecofeminist themes. The study employed qualitative descriptive and practice-based artistic research approaches, in which the creative process, material experimentation, documentation, and reflective evaluation constituted the primary sources of knowledge, the study operationalizes the Asta Widhi Kawya creation method. Primary data were gathered through participatory observation during creative processes with the Sanggar Seni Kuta Kumara Agung, in-depth interviews with puppetry experts, and material experiments involving 0.50 mm mika sheets, UV sticker printing, and articulated joint mechanics. The findings demonstrate that integrating transparent mika puppets with an undersurface live camera projection system indicated that the projected images maintained recognizable contours, color differentiation, and layered transparency under controlled lighting conditions without sacrificing the traditional Balinese tetikesan movement aesthetic.  The study contributes a practice-based model for integrating flexible transparent puppet materials and real-time camera projection into innovative Balinese puppetry.

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