Balinese Art Research Articles

BALINESE ART STUDIOS: THE LEARNING PROCESS OF ART AND CULTURE TO SUPPORT SUSTAINABLE TOURISM

Purpose: A lot of perspectives have been discussed about Bali and this paper will discuss it from the angle of the learning process of art and culture in the Balinese art studios in Gianyar Regency.
 Research methods: The research was conducted on the months of July and August 2019. Qualitative data was obtained during the research because the method of data collection was interviewing the owner of the dance studio.
 Results and discussions: One of the A’s in tourism is attraction and Bali have a strong attraction for tourists both domestic and foreign tourists. The art and culture is the breath of tourism in the island of Bali, which is based on the Hindu religion. The resources for these art and culture are nurtured in several forms, which one of them is through sanggar or studios, which is a non-formal education institution for learning Balinese art and culture. Various types of art and culture and developed and nurtured in these studios, such as performing arts, fine arts, and local wisdoms. The tourism industry has given positive and negative impacts for Balinese art and culture, depends on how one may argue if seen through different perspectives. Performing arts have flourished in terms of daily performances taken places in hotels and designated performance theaters. The types which can be easily watched are the music and dance of Bali.
 Conclusion: Tourism in this sense is not a direct aspect but, in the future, has a direct impact: providing culture resources for performances in tourism objects and destinations. This as a part of social sustainability, also the sanggars, is a part of the sustainable tourism family

Marginalization of Genggong Art in Batuan Villages in the Global Era

Genggong performance art is a form of art in Batuan Village. Its existence in the midst of community life is closely related to the tourism industry. Its presence is currently increasingly squeezed by the Golbal culture which is not only present from modern (calcic) traditional arts but also contemporary culture. If it is left out it is not impossible that Genggong art will disappear. It can also erase the local cultural identity in Batuan Village. Efforts to optimize Genggong's art at this time are a problem. This not only arises because of internal problems from the Genggong actors themselves, but also externally the network that was cut off was often caused by factors playing in it. The importance of making this Genggong art present in Batuan is none other than the icon of the Batuan Culture village which has become a tourist village, worth fighting for given that cultural richness is a hallmark of genius society. In addition to optimizing the Genggong art, it has the opportunity to be a more useful touristic spectacle. The impact of the Genggong art problem in Batuan Village will also be a pilot project for the arts of the same fortune in the global era. In addition, financially the actors involved in it feel they have the opportunity to earn a fortune and protection. This study uses a cultural study approach that is more focused on solving problems to raise the issue of marginalization with cultural theories. It seems that through qualitative methods explanations can find a deeper analysis. Resolving the Genggong art problem can be a model for other traditional arts that also suffer a similar fate. The findings of this study at least give rise to a new awareness to jointly provide a way out of traditional Balinese art so that it can be enjoyed more broadly over time.

Intercultural Transfer and Balinese Gamelan Preservation

The influence and spread of traditional Balinese music over time and across regions has been conducted through a number of different channels. In addition to locally-focused efforts, cultural transfer has also contributed to the preservation of traditional Balinese arts. From the self-interested, strategic support of gamelan music by Japanese occupational forces to the global experimental music scene today, Balinese arts have been shared, supported, translated, and appropriated in various ways by a number of different actors to political, artistic, and commercial ends. Building on Michel Espagne’s definition of cultural transfer and Stephen Greenblatt’s concept of cultural mobility, this paper aims to outline different modes of cultural transfer (or “bridges,” as Espagne would say), with explicit attention to power dynamics and multi-way flows of influence. Several key historical and contemporary examples of the transfer of traditional Balinese music will be discussed in an effort to better understand the relationship between cultural transfer and preservation.

Effect of Gamelan Selonding Commodification on Balinese Society

This paper aimed at answering the challenge to understand, provide an interpretation of the empirical phenomenon combined with logic systems, and truth values. The writing mechanism is to analyze the described text, used as a starting point to find out and understand the effect of gamelan selonding commodification on Balinese society. Gamelan selonding is a set of gamelan instruments whose blades all shaped. The blade material is made of iron. It is often referred to as gamelan selonding wesi. The slats are hung above the pelawah [paddle] following a predetermined row of tones. It is developed empowering the potential tradition in the formulation of modern performance art expressions. It has given more space to Balinese artists to produce new nuanced products by empowering their traditional conditions. The efforts of creativity and innovation carried out, in many ways affect the way of viewing and understanding of the gamelan selonding so that commodification is inevitable. Commodification is an effort to search for artists to realize new works with the dimensions of space and time, oriented to the present aesthetic and enlightenment to answer future challenges.n

INFORMATION TECHNOLOGY BASED MODEL FOR BALINESE CLASSICAL DANCE PRESERVATION

Bali is one of the famous island with unique art and culture. One of the interesting benefits of Balinese art is the art of dance. Dance which is the origin of Balinese dance there is Classical Balinese Dance. Classical Balinese Dance is a Balinese dance that has certain norms, rules, standards and has high artistic value. Currently the development of Balinese Dance is very rapid as many emerging modern dance in Bali. This causes the Balinese Classical Dance which is the origin of Balinese dance began to be forgotten and rarely staged. Many people are not aware of the existence of Classical Balinese dance. With the development of information technology, the delivery of information can be done by digitizing information. This research examines the utilization of information technology for preservation of classical Balinese dance. The result of this research is the information technology based model of preservation of classical Balinese dance to preserve classical Balinese dance so that people can revive the classical Balinese dance that has been almost forgotten. In addition, this research produce a classic balinese dance website andmobile application. The research method consists of stages of literature review, environmental aspect assessment, analysis, identification, model development, model implementation.

Study on Application of Design Criteria on the Openstage of Latest Rooms and Displays in Gianyar, Bali

The purpose of Open Stage Anyar in Gianyar is to provide a facility or facilitate activities associated with Balinese tradi-tional performing arts, modern performing arts and various types of performances related to the elements of preserva-tion, development of interests and talents to Balinese arts. Criteria of design to help determine the final outcome of a desired design to match the function of the building. Some things in the review of the Criteria of design which includes layout and appearance of the building. the spatial arrangement shows the results of macro and micro-based analysis of the site and and the activities in it. In terms of appearance the building gives an impression or atmosphere that re-flects local knowledge of an area and can also make people become interested when looking at the view of the build-ing.
 Index Terms— open stage, arts, performances.

Palabra e imagen en La Isla de Bali de Miguel Covarrubias

The Island of Bali, by Miguel Covarrubias, has remained one of the definitive treatments of the subject since its original publication in 1937. The book’s facility with words is matched by elegance of drawing. The book was also composed in a colonial context, written by a Mexican who was part of a Euro-American group of cosmopolitan intellectuals and artists. Miguel Covarrubias has been attacked as an orientalist, and praised as a trans-Pacific visionary. His encounter with Bali was especially an encounter with Balinese art, especially the new form of modernism emerging in the 1930s. Covarrubias’s interests in magic coincided with Balinese preoccupations with spiritual forces, something he pursued with his study of Balinese texts. For Covarrubias, art was a vehicle for achieving liberation. Despite heavy outside editorial intervention, Island of Bali advances a global view of connec-tions between societies through art.

El impacto de la obra de Miguel Covarrubias en los artistas de Shangai

La isla de Bali de Miguel Covarrubias se ha mantenido como uno de los tratamientos más consolidados acerca del tema, desde su publicación original en 1937. La facilidad que tiene el libro con las palabras se iguala con la elegancia del dibujo. El libro se hizo en un contexto colonial, escrito por un mexicano que a su vez era parte de un grupo euro americano de intelectuales y artistas cosmopolitas. A Miguel Covarrubias se le ha criticado por “orientalista” y se le ha elogiado como un visionario transpacífico. El encuentro de Covarrubias con Bali fue especialmente un encuentro con el arte balinés, en específico con una nueva forma de modernismo que emergió en los años treinta. El interés de Covarrubias por la magia coincidió con las preocupaciones balinesas por las fuerzas espirituales, algo que Covarrubias buscó con su estudio de los textos balineses. Para Covarrubias, el arte era un vehículo para lograr una liberación. A pesar de haber tenido una fuerte intervención editorial externa, La isla de Bali adelantó una visión global de las conexiones entre sociedades a través del arte.

Politik Identitas Komunitas Bali di Desa Mukti Jaya Kecamatan Muara Telang Kabupaten Banyuasin

This paper explains and depicts the Politics of Bali Community Identity in the Mukti Jaya Village, Muara Telang District, Banyuasin District. This type of research is a study using a fact-based field case study approach in the field. The focus of this study is to find out how the Balinese group can be accepted and mingled, and even the existence of other migrant populations is recognized without social and cultural discrimination. This research wanted to know what processes and actions carried out by the Balinese group in order to get recognition and get their rights to be equal with other residents, and how the approach of the Balinese group with the majority community so that they never experienced conflict can live side by side safely and peacefully.
 In the village of Mukti Jaya, the Balinese group established very good relations with other migrants, the Balinese group upheld tolerance and help other fellow migrants. even the Balinese group was once the leader of a village head in the village of Mukti Jaya, with the holding of Balinese as the head of the Mukti Jaya Village the first milestone in getting permission to establish a place of worship in the village of Mukti Jaya. Balinese ethnic customs still flourish in the village of Mukti Jaya, and are still taught to the young generation of Balinese. for example Ogoh-ogoh celebrations, Ngaben ceremonies, and other Balinese arts.

Rare Kelangon The Innovation Of Gender Wayang Colosal For Children

Indonesia is a country with a high level of cultural heterogeneity. In accordance with the State of the Republic of Indonesia’s President Joko Widodo, the country needs disruptive innovations. Disruptive innovation reverses the impossibility into opportunities and results intransformative value for the Indonesian people and nation. Disruptive innovation can also be applied in the arts. Moreover, amid the setbacks in the ethical and moral values ​​of the Indonesian nation, art offers a way to shape character. One of the Balinese arts which has succeeded in changing the character is the art of Balinese traditional music. The tradition of storytelling, traditional children’s games and songs (gending) Bali is needed in upholding moral values ​​and character education early on. For this reason, the creation of the “Rare Kelangon” which has been tested by the international public at the Cultural Performance at the IMF in Nusa Dua Bali on October 11, 2018 and the 24th National Education Day on August 25, 2019. The method used in creating this music innovative of Gender wayang was the research and development of Brog and Gall combined with Bandem and Suteja’s Balinese art creation method. There are 8 stages of creations, namely ngerencana,nuasen, makalin, refinement of the initial product, ngebah I, revision of the final refinement and ngebah II. The results of the study found that the innovations which made in the creation of Rare Kelangon works were extension types, which the invention of the development of existing products, added so that it becomes something new and valuable. The gender wayanggamelan has existed before, but to revive the genderwayang songs, a component of work which also needs to be preserved is gending rare (traditional children’s songs), traditional games, and satua (fairy tales) of the Balinese people who are also full of values ​​of character education.

Photography As A Bridge To Intercultural Interaction In Bali During The Netherland Indies Colonial Period Of The 1920-1930S

This article presents the process of commencing inter-cultural interactions and artistic collaboration between Balinese and western photographers through photography. In the beginning, the photography project only showed visual record of the Kings, the royal family along with the royal government apparatus in Bali. Beginning with Gregor Krause, a colonial doctor who practiced photography, the others photographers then began exploring nature, culture, art and Balinese society into recording their photographic works. The activity then continued to be an artistic collaboration between westerners as photographers and Balinese as photo models. Not only that, the collaboration also extends to the incorporation of many western cultural elements into photography properties. In addition, the models that appear in photographic works are not only from the royal community, but begin to spread to ordinary residents, artists and their environment. Through the bridge of photography, many western artists combine their ideas with Balinese artists to design and create works of art in the needs of photographic documentation. The collaborative work then attracted tourists to Bali to enjoy the exotica of Bali which was first collaborated by western photographers and writers.

The Harmonization of Ecology and Balinese Local Identity through Music by Indie-Folk Trio Nosstress

This study explores the importance of art and ecological values in Bali, especially during the reclamation of Tanjung Benoa nowadays, which is reflected in the existence of music by Indie-Folk Trio Nosstress. Those two prominent aspects interweave the other facets in Bali—nature, social, culture, economy, until spiritualism—which then makes the basic tenet of Tri Hita Karana becomes harmonious. Using qualitative method as well as the theory of Constructing Community initiated by Barbara Hatley, the results of this study show that the ‘reality’ value of that phenomena is disharmonization between ecology and local which lies on the first half of the lyrics. Whereas the rest of the lyrics depict the need to revitalize the harmonization of both aspects which becomes the ‘ideal’ value from those Balinese artists. In conclusion, this study denotes that the ecological disharmony, that still strucks Bali until these days, is considered as a heavy polemic. This is because the role of nature as one of the aspects of basic principle Tri Hita Karana, makes it become respected as an essential thing for the Balinese society itself.

Art, image and environment: revisualizing Bali in the Plastiliticum

ABSTRACTThis article deals with environmental activism in Balinese contemporary art. I demonstrate how young Balinese artists have used their creativity to give visibility and/or audibility to some of the main threats to Bali’s natural, social and cultural environments, including land reclamation projects and plastic waste pollution. I argue that their work is not to be narrowly interpreted as a heuristic device of the environmentalist movement or waste recycling campaigns. In terms of media, content and styles of representation and presentation, the artists engage with the socio-political histories and aesthetic regimes behind the economic developmentalism and consumer behaviour causing the various types of environmental destruction. They address the creative strategies of craftsmen, performers and visual artists that have constructed the image of Bali as a tropical paradise since colonial times, but also the anti-communist mass purges in the mid-1960s that paved the way for the neoliberal policies and large-scale tourism projects of the New Order regime. Some of their work suggests that more sustainable relations between humans and nature can only be achieved if environmental action is combined with deep reconnections with Balinese cultural and spiritual values and traditions, beyond their clichéd representations in tourism campaigns and consumer ads.

Bringing the Arts to the Everyday Lived Experiences of Young Children

The purpose of this arts-based education research was to explore the complex art forms in Bali, Indonesia, for a cross-cultural understanding of the everyday importance of the arts in the teaching and learning of young children. Five Balinese artists and one Javanese artist were interviewed to discuss their journeys as artists from a young age, their practicing art forms, and perceptions of the importance of the arts in their communities, cultural identity, and in the everyday lived experiences of children. While there is literature on the historical and complex art forms of Bali, giving context to the importance of time and place and hierarchies of the culture, little is documented on the interconnection between the arts as a paradigm that shapes culture and informs an understanding of the arts as important to teaching and learning. This research experience aimed to deepen the researcher’s understanding of how the arts are embodied and woven together in Balinese culture, and how this knowledge can be connected to the teaching and learning of children in the Canadian context.

Meguru Panggul and Meguru Kuping; The Method of Learning and Teaching Balinese Gamelan

“True musical experience is the experience of trust”—trust between the student and teacher. Whatever teaching method a teacher applies, it will not work without any trust. “It is only when we learn to trust one another, to dissolve in the realization of our shared humanity, will the music finally play.” This is an autoethnography. It exhibits the long process of musicianship in a traditional Balinese community. Also, I explore how, as a modern Balinese musician, my musicianship fit in with the new musical setting of a Western community. The paper is divided into three parts: the first part is an exploration of the traditional learning process and Balinese musical pedagogy called meguru panggul. The second is an exploration of my experience in continuing my studies at ISI Denpasar (the Balinese Arts Institute)— how the teacher conducts the learning process in a formal setting, and my own discovery in learning with ear (meguru kuping). And lastly, the third explores the development of my perception and conception of a new learning and teaching style, when I was exposed to the Western way of teaching and learning music at the University of British Columbia, Vancouver, Canada.

“The Legend of Balinese Goddesses”: Komodifikasi Seni Pertunjukan Hibrid dalam Pariwisata Bali


 
 
 This article examines the commodification of hybrid performing arts in Bali tourism, especially the “Bali Agung - The Legend of Balinese Goddesses” performed regularly at Bali Safari and Marine Park, Gianyar. Data were collected by observation techniques, interviews, and literature review, then discussed with commodity theory and cultural tourism ideology.The study shos that hybridity in this performance is evident from the blended of cultural elements of Bali, China, and Western technology. Hybrid tourism performing arts produced can be communal and institutional in ownership. The hybrid tourism performing art is communal because it is created without copyright so it belongs to the people of Bali, while the hybrid performing arts is institutional because it is created with copyright so that ownership and pro t is only enjoyed by the industry that ‘recreated dan performed’ it. Although di erent, communal and institutional hybrid tourism performing arts have been able to become arts that give new color to the rich variety of Balinese art and culture.
 
 

Wacana “Ajeg Bali” Pada Seni Kerajinan Sarana Upacara Di Gianyar Bali

Wacana “Ajeg Bali” Pada Seni Kerajinan Sarana Upacara Di Gianyar Bali

UPACARA NYANGLING DI PURA TIRTA EMPUL BANJAR KEDIRI DESA SINGAPADU KALER KECAMATAN SUKAWATI KABUPATEN GIANAR (Persepektif Filosofi)

<p><em> Implementation of religious teachings, especially in the field of ceremony (yajna) there is a difference between one area to another. The difference is based on local traditions cultural and Hindu culture develops in conformity with the natural enviroment. Nyangling ceremony in Tirta Empul Temple in Banjar Kederi, Singapadu Kaler village, Sukawati District Gianyar regency. Nyangling ceremony is unique because in the ceremony Nyangling using rice means, the rice is then purified with holy water contained in Tirta Empul Temple. Based on the above background, then the formulation of the issues to be discussed include: (1) How is the procession of Nyangling Ceremony, At Tirta Empul Temple in Kederi street, Singapadu Kaler village, District Sukawati Gianyar regency? (2) What is the function of Nyangling Ceremony, in Tirta Empul Temple, Banjar Kederi, Singapadu Kaler Village, Sukawati District, Gianyar Regency? (3) What Is Philosophical Of Nyangling Ceremony Tirta Empul Temple, Banjar Kederi, Singapadu Kaler Village, Sukawati District, Gianyar Regency.</em></p><p><em></em><em>Based on data analysis it can be concluded (1) Nyangling ceremony procession is a series of ceremony gods yajna. Place of execution at Tirta Empul Temple Banjar Kederi, Singapadu Kaler Village, Sukawati District Gianyar Regency and led by Dewa Mangku Tirta .. (2) Nyangling ceremony has various functions that are the function of religious system, social function, function of cultural preservation, aesthetic function. (A) The function of the Religious System is a spiritual aspect which can not be attained. (B) Social Function as a unifying tool for the achievement of a properous society, and cultive a sense of togetherness. (C) Cultural Preservation Function, Nyangling Ceremony Represents the culture of the Banjar Kederi, Singapadu Kaler Village, Sukawati District, Gianyar Regency, which is sacralized as a vehicle for preserving Balinese art and culture. (D) Aesthetic function is found in the community movements of Kederi street walking looks neat rows of time walking towards Tirta Empul Temple and sound to the hymn accompanied by gambelan . (3) It should be observed from its meaning, namely: (a) The philosophical meaning of Nyangling ceremony in Tirta Empul Temple, Banjar Kederi, Singapadu Kaler Village is to purify the means of rice to be used at the time of piodalan and offer various means of upakara / banten as a form of our devotion before God . (B) The meaning of balance and harmony in the Nyangling ceremony is seen at the time of the ceremony since its preparation, procession and execution. Members of the community Banjar Kederi, Singapadu Kaler Village help each other based on the heart and hospitality during theNyangling ceremony took place. (C) The Purification of the Nyangling Ceremony is contained in the holy tirtha which is requested to purify the means of the ceremonial rice and the bodies of its worshipers.</em></p><pre><em> </em></pre>

KARAKTERISTIK, MOTIVASI DAN KEPUASAN WISATAWAN NUSANTARA YANG BERKUNJUNG KE DAYA TARIK WISATA CITY TOUR DENPASAR

This study aims to determine the characteristics, motivation and satisfaction of tourists who visit the tourist attraction city tour Denpasar. Research methods include: observation, questionnaires to 100 tourists, literature study and documentation and descriptive qualitative as the analysis techniques. The results showed that the characteristics of tourists dominated 81% aged 15-30 years, 60% male, 79% are not married, university level education 71%, 77% students, 56% of the island of Java, resources through friends / family 36 %, 62% ground transportation, hotel accommodations as a means of 65%, frequency of visit to Bali 2-3 times 75%, 45% choose to visit, type of visit 65%, 65% of people who had been invited, organizers of 75%. Furthermore, intrinsic motivation tourists dominated by indicators want to know the Balinese art with scale score of 4.21 (strong), while extrinsic motivation is dominated indicators admission fee affordable fascination with score of 4.20 (strong). In general, tourists are satisfied with the tourist attraction, and the indicator that dominates is the physical aspect of the form of security with score of 4.33 (very satisfied) and non-physical aspects of the hospitality and courtesy clerk with score of 4.97 (very satisfied). Through this research is expected the municipality, manager of a tourist attraction can improve the quality and attractiveness of city tour service in accordance with the characteristics, motivation and satisfaction of tourists so the frequency and the number of tourist arrivals increased evenly.

The Role of Pitamaha in Balinese Artistic Transformation: A Comparison Between Kamasan and Gusti Nyoman Lempad Artistic Style

The Balinese artistic traditions of wayang style paintings that were known as Kamasan lasts for generations occurred some changes. Following the collapse of Balinese traditional court, the arrival of western artists and scholars, Pita Maha association was established to prevent the excess of commercialism to Balinese arts and crafts. A new generation of artists started to emerge, not only they adopted western painting techniques taught by their western ‘gurus’, but they also showed freedom of self-expressions in their works; one considered as a genius was Gusti Nyoman Lempad. The aim of this research was to compare the artistic transformation before Pita Maha and after Pita Maha. It was done by analyzing examples of Kamasan styled painting and works of Lempad through the qualitative method with a case study approach. The analyses show the differences between both styles regarding themes, iconographies, human figures proportions and composition, presentation of narrative stories, decorative elements and availability of artists’ signature in the paintings. It shows the artistic transformation of Balinese art. Through Pita Maha, Balinese starts to adopt western painting techniques, while preserving the cultural inheritance and symbolic value of traditional art in addition to their economic value.