Balinese Art Research Articles

The Ancient Tantric in Balinese Contemporary Art

In recent years, artists from various cultures have increasingly drawn on the spiritual and philosophical principles of ancient tantra. This article explores the influence of ancient tantric traditions on contemporary Balinese arts. It employed an innovative art-based research methodology utilizing qualitative, interpretive, and practice-based research methods. These included observation, interviews, and document analysis while integrating theoretical frameworks, symbolic perspectives, and theo-aesthetic considerations. The research reveals how artists transform and reinterpret tantric themes in their work, highlighting the complex relationship between modern expressions and ancient inspirations. Balinese art, as the study shows, achieves beauty by blending opposites, such as masculine and feminine qualities, through the concept of lanang-wadon. By examining this topic, the research provides valuable insights into the evolving relationship between spirituality, creativity, and cultural exchange in Bali and the interconnected world. This study underscores the dynamic interplay between ancient traditions and contemporary artistic practices, showcasing a unique fusion that enriches both the art and its cultural context.

TRADITIONAL REPETITION PATTERNS IN THE CREATIVE PROCESS OF THE KETUT SUGANTIKA LEKUNG’S POROSAN SERIES

This research examines the repetition patterns found in the creative process of Ketut Sugantika Lekung's Porosan Series artworks. Porosan Series is one of Ketut Sugantika Lekung's artworks, inspired by the shape and the making process of a sacred ritual object called Porosan. In general, Porosan Series artworks display visualizations that emphasize the impression of repetition. The creative process of the Porosan Series imitates the process of making the original Porosan. Imitation activities in this creative process were studied to see the influence of traditional repetition patterns originating from making original porosan. This research uses a descriptive method with a qualitative approach, which emphasizes more in-depth data analysis. The results of the research show indications of the influence of original porosan making's traditional repetition pattern in the creative process of the Porosan Series. The Porosan Series creative process also uses three stages like the original porosan: preparation, realization, and finishing, but the original Porosan's final stage is drying, not finishing. Even though there are several modifications, the strong influence of the traditional repetition pattern is still visible because it shows some behaviors that are similar in every stage and process between the two things, such as focus, relaxation, and sincerity, thus creating a meditative state without realizing it. This research is essential to see the impact of local wisdom, which can positively influence the creative process of original Balinese artists to create a potential new method based on Balinese traditions and local wisdom.

Rerajahan Aesthetics as an Idea for Creating Painting Works

This independent study report raises the theme of Rerajahan Aesthetics as an Idea for Creating Painting Works, starting from raising ideas around rerajahan. All aspects of Balinese life are imbued with Hinduism, which indirectly gives birth to a socio-religious culture. Various cultural elements were born due to the demands of religious needs. Art as an element of culture was also born due to the demands of religious activities. This has encouraged the creation of various forms of symbolic-magical art which are representations of something abstract. One of them is in the form of pictures or writing which is commonly called Rerajahan. For the Balinese people, rerajahan, apart from being a means of religious ceremonies, is also believed to have very high supernatural powers. This believed power functions as a means of suggestion to achieve certain desires or goals. In this case, the effect of rerajahan is that it is able to become a source of ideas for artists in creating modern works of art without abandoning the traditional values behind it. Rerajahan is also a very inspiring work of traditional art, and a source of ideas for some Balinese artists in creating individual works.

ANALYSIS PRODUCTION PROCESS LIVE BROADCAST TALKSHOW OF THE BALI TV SAMATRA BALI ARTIST AS A PLACE FOR PUBLICATION OF LOCAL MUSICIANS WORKS

The Samatra Artis Bali Talkshow live broadcast program has succeeded in becoming a forum for local musicians to publish their work. Because as a local Balinese television media, Bali TV is a source of information media that is able to instill noble cultural values, as well as supporting local Balinese artists. In accordance with the Merdeka Belajar Kampus Merdeka (MBKM) curriculum, the author had the opportunity to carry out an Internship/Work Practicum program which was carried out on Bali TV. The aim of this research is to explain the production process carried out. This research uses descriptive qualitative research methods with observation techniques on Bali TV. Data collection in preparing this thesis was obtained through interviews, documentation and observation. The author had the opportunity to directly see the pre-production, production and post-production processes. In the research carried out, at the pre-production process stage, the production team held an internal meeting to prepare the rundown. At the production stage, a 1 hour Live On-Air was carried out. And in the post-production stage, the team evaluates whether or not there are any obstacles that occurred during the program. A television program will not run smoothly if the behind-the-scenes activities are not managed effectively. With this thesis, the author hopes that readers, especially the Balinese people, including artists/art lovers, can better appreciate and preserve cultural works of art in Bali. The Bali Artist Samatra Program makes writers understand more about the importance of publishing their work/introducing their work via television media.

Campur Kode dalam Lirik Lagu-Lagu Bagus Wirata: Kajian Sosiolinguistik

In recent years, the practice of code mixing in public communication in Bali has increased. Code mixing events can occur anytime and anywhere. One form of code mixing that has attracted attention is code mixing in pop song lyrics, especially Balinese pop songs. This is a concern in itself regarding the character of Balinese Pop songs, which were initially aimed at preserving Balinese art and culture, especially in terms of language, but have become something that seems to be forced solely for the sake of market demands. The formulation of the problem in this research is: 1) What is the form of code mixing in the lyrics of songs sung by Bagus Wirata 2) What factors encourage code mixing in the lyrics of songs sung by Bagus Wirata. The research approach used is an empirical method because the use of Balinese in the lyrics of Bagus Wirata's songs already exists naturally. The object of research in this research is the songs sung by singer Bagus Wirata. The data collection methods used were document study, observation and interviews.The research results are; 1. The form of code mixing in the lyrics of songs sung by Bagus Wirata is: The use of code mixing in the form of words is most often used in the lyrics of songs sung by Bagus Wirata with a total usage percentage of 63%. Code mixing in the form of clauses ranks second with a usage percentage of 19%. The remainder is code mixing in the form of phrases amounting to 13%, code mixing in the form of basters 3% and code mixing in the form of repeated words 2%. 2. Factors that encourage code mixing in the lyrics of songs sung by Bagus Wirata are; 1) language dominance, 2) language attitudes, 3) psycholinguistic motivation, 4) lack of equivalent words in Balinese, 5) commercial target market. 3. The impact of using code mixing on the Balinese language, namely; 1) destruction of the Balinese language system, 2) extinction of the Balinese language.

Metastability through Tri Hita Karana: Sustaining Balinese art and Culture

Tri Hita Karana means three causes of happiness, which is to achieve balance and harmony in life. The purpose of this research is to present a concept and strategy for the development of art for Bali as a small island that has a strong and big impact on traditional art based on Animism, Hindu, and Buddhist religious beliefs. This cultural heritage is something static and becomes a classical value (stability). Meanwhile, the power of globalization and the tourist industry which is the impact of the development of information technology requires enormous changes so rapidly in a short time, that there is a concern about marginalizing and losing the quality of traditional art and too much production with less creation in a new art (instability). To overcome this, Tri Hita Karana implemented metastability to sustain Balinese art. How to apply the metastability concept in the development of art that can drive dynamic-integrated energy of development that is creating sustainability? The method used in this research is interpretative, qualitative, and participatory, to find the meaning contained therein. As a result, art does not have to remain static or stable, nor does art have to be over-exposed to mass production, or commodification for material gain. Arts, crafts, and tourist art go according to their respective paths. To overcome phenomena like this, it is important to have the concept of balance Tri Hita Karana as the spirit of metastability to sustainability the Balinese art to face globalization.

Semiotic Analysis of Curative Preservation in the Jaran Kepang Art Tradition of Temanggung, Central Java

Art is a skill in creating a quality of work. Indonesia itself is famous for its many arts from Sabang to Merauke. The number of arts that exist around the community makes every region in Indonesia have dances, paintings, or carvings typical of their respective regions, especially in the Java Island area there is the art of Kuda Lumping. Kuda Lumping art performance commonly called Jaran Kepang is one of the original Indonesian traditional arts originating from Temanggung Regency, Central Java. This art is a featured art in Temanggung which is marked by the Jaran Kepang statue located in the eastern district park. Along with its development, the Jaran Kepang Temanggung dance no longer features stories about Diponegoro soldiers that characterize this dance. Some cultural initiators in Temanggung have modified the dance to include elements of Balinese art. Therefore, preservation is a fitting way to preserve and maintain an object or thing that does require protection, care, or preservation in the hope that the information remains. This research aims to preserve the performing arts of Jaran Kepang Temanggung with curative preservation through visual media, namely photography. This research uses a qualitative descriptive approach method that aims to describe fully and deeply about various phenomena studied and the use of semiotic analysis techniques. The results of this research will be in the form of a photo presentation of the visual preservation of jaran kepang which is useful to facilitate the delivery of messages from the photo of jaran kepang itself. Although this cultural heritage has begun to compete fiercely with the influx of foreign cultures and arts, this dance still shows high appeal and becomes a performance that captivates the hearts of its audience. In this case, the protection and preservation of the art of jaran kepang is needed so that it will always be recognized by future generations.

Bridging Tradition and Tourism in Puri Saren Agung Ubud

Puri, as one of the cultural heritages, contains cultural elements worthy of conservation. In addition to culture, Puri carries a reputation and inherent authority, shaping the image of leaders in society. The ancient buildings with extraordinary architecture and carvings on each structure not only stand as witnesses to the kingdom's past but also function as a living museum. The artistic system within this cultural element is manifested by the shift in the function of Puri Saren Agung Ubud from a residence to a tourist destination packaged with cultural tourism. . Tjokorda Gde Agung Sukawati's visionary establishment of the Tedung Agung Studio in the 1980s has not only provided a space for children to learn dance and percussion but has also contributed to the preservation and evolution of traditional Balinese performing arts. The tourism experience of performing arts at Puri Saren Agung has further elevated the cultural significance of Ubud. Balinese art, with its dual functions of wali and balih-balihan, has become a captivating form of tourist performing art. From the classical Legong dance to other traditional performances, Puri Saren Agung Ubud has been a focal point for tourists seeking an authentic and immersive encounter with Balinese culture.

Karawitan Composition Eka Semaya | Komposisi Karawitan Eka Semaya

Eka Semaya is a composition of karawitan petegak, which takes ideas from the stylist's personal experience. Eka Semaya is taken from the word Eka, which means One, and Semaya, which means Promise. So it can be concluded that Eka Semaya is a promise made by someone who is used to describe love and affection for the opposite sex, or it can be interpreted as a determination or a commitment between two humans (men and women) in which they make this Promise or determination in a wedding procession. This work creates stories about the stylist's and his partner's life journey. It is poured into a karawitan composition using the gamelan Semar Pegulungan Saih Pitu as the medium. The creation method used in Eka Semaya's karawitan designs is Alma M. Hawkins' method, which includes several stages: exploration, improvisation, and forming. Eka Semaya's composition is divided into four rounds, totaling 12 minutes. The realization of Eka Semaya's karawitan arrangements is expected to increase young Balinese artists' creativity to create works based on personal experience and have a value of beauty and features in compositional works.

INTEGRATION OF BALINESE, CHINESE AND EUROPEAN ORNAMENTS IN THE ARCHITECTURE OF PURI AGUNG KARANGASEM-BALI

Purpose: This study aims to explain the form of integration of Balinese, Chinese and European ornaments in the architecture of Puri Agung Karangasem.
 Research methods: A qualitative descriptive method was implemented to explain the integration of ornaments in the architecture of Puri Agung Karangasem. Data collection techniques are observation, interviews, and documentation, while the data sources are ornaments on the architecture of the palace heritage, cultural experts, and community leaders. The Penglingsir Puri (Palace’s Elders) and Abdi Dalem Puri (Palace’s Courtiers) are key informants.
 Findings: The results showed that the forms of ornaments found at Puri Agung Karangasem could be divided into three, namely ornaments in traditional Balinese, Chinese, and European styles, resulting in a combination of the typical ornament forms of Puri Agung Karangasem. The three styles of ornament were integrated with each other, then developed by Balinese artists to create patra cina, patra olanda, karang sae, karang bentulu, and the visualization of a crowned lion as it is known today. Other integrations can be seen in the technique of making ornaments using casting techniques.
 Implications: The rulers of Puri Agung Karangasem in ancient times had cultural relations with people from China and Europe, reflected in the visualization of the integration of carved ornaments into the palace’s architecture.

Development of a drama gong performance model: an effort to preserve the traditional Balinese drama in the digital era

Drama Gong is a traditional Balinese performance art that enjoyed popularity. However, since the 1990s, the advent of television and the internet has led to a decline in the prominence of Drama Gong. Therefore, there is a pressing need to revitalize and innovate this traditional art form. One such effort by Balinese artists involves the creation of a digital adaptation known as 'Drama Keraton Cilinaya.' This qualitative descriptive research aims to explore the development model of Drama Gong in the digital era. The research data were collected through a comprehensive document analysis, which included the examination of seven episodes of 'Drama Keraton Cilinaya,' as well as direct observations and interviews with the creators. The findings revealed that 'Drama Keraton Cilinaya' has undergone significant internal and external innovations. Internally, the artists emphasized the importance of having an open mindset to embrace global changes, packaged stories for enhanced appeal and comprehension, incorporated contemporary dialogue, employed multiple languages, engaged younger talents, enhanced makeup and costume artistry, introduced digital music, and improved stage layouts. External innovations involve collaborations with artists beyond the Drama Gong tradition, utilizing digital technology in production, and distributing the performances through TV media and YouTube channels to broaden their audience reach. It is anticipated that the findings of this research will serve as a valuable digital packaging model, not only for Drama Gong but also for the development of other traditional Balinese performing arts, ensuring their sustainability in the digital era.

Tari Baris Gede Télék at Pura Dalem Kedewatan Desa Adat Sanur: A Study of Form and Function

The people of Sanur Traditional Village preserve culture through a process of solidarity, meaning the process between the dance performance of Baris Gede Télék as a local art entity and the local community as its supporters who are faced with something sublimation. The sublimation in question is a process of adjusting society to the development of newer times, but not abandoning existing art. The focus of this research is the form and function of Baris Gede Télék dance. The purpose of this research is to increase understanding and awareness of Balinese art, especially in Baris Gede Télék dance in life, which will basically always exist and remain sustainable. The method used as the basis for the analysis stage is a qualitative method that is descriptive-analytical by identifying and describing a phenomenon that occurs in the field as it is. The sources presented in this paper are obtained from direct observation, then an interview was conducted with the relevant informant, and deepened by the study of documents obtained from a collection of archives, books, videos, and audio recordings related to Baris Télék dance. The collected data is then analyzed through the stages of data reduction, data presentation, and data verification before the data is concluded. With the application in the cultural inheritance space, the people of Sanur Traditional Village are expected to be able to be faced with a process of educating the self-awareness of the community as cultural supporters in the context of directing art, so as to form a character value that will have a major influence on the development of the local community.

Gending Aesthetics in Janger Menyali Dance in Sawan District, Buleleng Regency

Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.

Pengelolaan Museum Rudana Sebagai Daya Tarik Wisata Berbasis Kearifan Lokal Di Desa Peliatan Kecamatan Ubud Kabupaten Gianyar

Rudana Museum is an art museum located in Ubud, Gianyar, Bali and is used to exhibit and promote works of art in the form of paintings and sculptures by Balinese artists. Rudana Museum was founded by Nyoman Rudana, a painting collector who is also the owner of Rudana Fine Art Gallery and Genta Fine Art Gallery. Proper management is very important. This research will discuss how to manage Rudana Museum as a local wisdom-based tourist attraction in Peliatan Village, Ubud District, Gianyar Regency. The focus of this study focuses on three things, namely to determine the potential of Rudana Museum as a local wisdom-based tourist attraction in Peliatan Village, Ubud District, Gianyar Regency, how the management of Rudana Museum, and the implications for the community around Rudana Museum. This research is a type of research with qualitative methods and the determination of informants is done by purposive sampling. The results of the discussion show that Rudana Museum was founded on the basis of the idealism of its founder, Nyoman Rudana, where art is a universal thing, as a result, contributing to the process of harmonization between man and God (parahyangan), between man and man (pawongan) and man and the surrounding nature (palemahan) which is reflected in the Balinese philosophical concept of Tri Hita Karana, where art is very instrumental in helping to spread peace, prosperity and a sense of brotherhood among mankind worldwide. The management of Rudana Museum is based on the application of tourism management functions, namely (Planning, Organizing, Motivation, Actuating, Controlling). Rudana Museum also cooperates with other museums in Indonesia.

Legong Keraton in the Perspective of Balinese Artists

Legong Keraton, one of the most influential Balinese dance genres in the growth of dance in Bali, has existed since the end of the nineteenth century. This dance has undergone three eras in Balinese culture, starting from the reign of kings, Dutch colonialism, and post-independence of Indonesia. The objective of this study is to find out how Balinese artists construe the existence of Legong Keraton. As a performing art, Legong appears in multiple layers and requires a multidisciplinary approach. The ethnochoreological approach, considered as a multidisciplinary approach, was implemented to examine objects from various aspects to obtain a complete and comprehensive understanding. The author carried out this qualitative study in procedural systematic manner including literature review, informant determination and interview, field observation, data sorting, and analysis. The results of the study indicate that Legong Keraton acts as a milestone in changing form of Balinese dance as a source of inspiration for the creation of works of art as well as a means of education. Furthermore, as a learning material, Legong Keraton has unique form and transmission method. Balinese artists consider Legong Keraton as a traditional art carrying the identity of Balinese dance that make it deserve to be appreciated and preserved.

Lukisan Wayang Kamasan Sebagai Salah Satu Elemen Dekorasi Interior untuk Memberi Nuansa Bali yang Unik

Decoration elements are the most calculated elements in interior design to provide aesthetic value to a space. While the reality is that there are still many interior interior designers who have not been able to choose and quarter the right decoration elements based on the concept of space and the function of space. For this reason, it is necessary to study the decoration elements in interior design in accordance with the concept, function, and character of the desired space. Kamasan puppet painting is one of the traditional arts that has a strong and unique philosophy. The Kamasan puppet painting that symbolizes Dewi Semara Ratih pelambang beauty of true love is very suitable to be implemented in the interior of the master bedroom. Kamasan's puppet painting that tells the story of Prabu Kresna as Arjuna's coachman, during the Kurusetra Mahabharat war, is very suitable to be implemented in the interiors of schools, campuses, offices, libraries, and study rooms in residential buildings. Kamasan Dewi Saraswati's puppet painting is very suitable to be implemented in the interior of schools, campuses, offices, libraries and spaces used for work that are related to education. It is recommended for interior designers to make Kamasan puppet painting as an alternative as an element of decoration in the designed interior. In addition to giving a unique feel to the interior that is designed, it is also able to serve as a stakeholder to preserve traditional Balinese art.

PEMBANGUNAN E-LEARNING SENI BUDAYA BALI BERBASIS WEB

Gahita.Com is a web-based e-learning platform, which provides videos for learning Balinese art and culture. The development of a Web-based Balinese Cultural Arts e-Learning information system on Gahita.Com has been successfully completed in accordance with the Team's agreement. Development is carried out using the Scrum Method where the work is organized into a unit called a backlog so that each progress can be easily tracked. Functionality testing carried out using the blackbox testing method on the development of Gahita e-Learning which consists of Login, User Profile, e-Learning Access, Quiz and Certificate can be said to work as expected. Testing is carried out by testers or product owners without knowing the details of the code implementation of the features or functionality being tested, so that the testing phase can be carried out more flexibly without considering the code aspect. The qualitative approach between the author and the resource person resulted in an alarming statement for the future of cultural arts being eroded by globalization which was considered to have a negative impact so that an e-learning information system was built in which there was a digital library which is expected to be useful for the next generation of cultural arts in Bali.

Binoh Pottery MSME marketing expansion through digital marketing strategy

Intense competition and the digital ecosystem have hampered the growth of Binoh's typical pottery MSMEs. Based on problems, the Binoh Pottery MSMEs in Ubung Kaja Village can reach the digital world and a broader market through training and the application of digital-based business. Thus, MSME entrepreneurs can market and promote products through digital channels. Through a series of planned activities, this community service activity aims to provide education on the application of digital business to the Pottery MSMEs in Binoh Village. By using the Participatory Rural Appraisal (PRA) method, the activities are divided into four major stages, namely initial initiation and planning, implementation, supervision, and evaluation. Based on the results of observations and evaluations, it is known that the response of MSMEs actors is very positive to the education provided. MSMEs actors view digital marketing as having an important role to help their businesses survive. It is hoped that in the next stage the government will take an active role in developing Binoh typical pottery MSMEs, Ubung Kaja Village. Not only as a form of effort to move the people's economic sector but also as an effort to maintain pottery as traditional Balinese art.

Cerita on Calonarang Dance Drama

Cerita on <i>Calonarang</i> Dance Drama

AJARAN AGAMA HINDU DALAM SATUA SANG KARNA

Traditional Balinese literary works, especially stories/satua are no stranger to Balinese people, because the author's creations are not only a means of entertainment but more than that, there are teachings that are implied in them, so that literary works are said to have the function of entertaining and providing education to the students. the reader. The story as a work of Balinese literature has a very important role in fostering and developing Balinese art. Through these literary works, artists are inspired to create new creations in various forms of art. Balinese people, especially those who study literature, are still making efforts to preserve these literary works, both written and oral. Stories have very valuable positions and values, especially those related to the teachings of Hinduism. Research on the results of Balinese literary works in the form of stories has been widely carried out, however in reality there are still many stories that have not been studied, so a story of Sang Karna is taken. Satua Bali in its current development seems to have faded in the midst of Balinese society. One of them is Satua Sang Karna, this is inseparable from the development of science and technology which tends to make the younger generation prefer stories that exist in cyberspace. Based on this, it is deemed necessary to conduct research on Satua Sang Karna, the results of which can be donated as a source of scientific information for the community, so that later it can be used as guidelines in life. Keywords: Hindu religious teachings and the story of Sang KarnaSekolah Tinggi