PENCIPTAAN KARYA SENI PAKELIRAN SULUH MALAT "KELANA CARANG NAGA PUSPA”
DOI:
https://doi.org/10.59997/dmr.v5i2.4920Keywords:
Pakeliran , Suluh Malat, Kelana Carang Naga Puspa, CerminanAbstract
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.
Downloads
References
[1] S. Ramadhan and R. P. W. Murti, "Dinamika Alih Fungsi Lahan Sawah dan Upaya Perlindungan Lahan Pertanian Pangan Berkelanjutan di Wilayah Metropolitan Sarbagita," Tunas Agrar., vol. 7, no. 3, pp. 303–325, September 2024, doi: 10.31292/jta.v7i3.357.
[2] M. D. Vitiara and A. A. Putri, "Analisis dampak alih fungsi lahan subak terhadap kerawanan bencana banjir (Studi kasus di desa Jatiluwih, kecamatan Penebel, kabupaten Tabanan, provinsi Bali)," Safses Soc. Agric. Food Syst. Environ. Sustain., vol. 1, no. 1, pp. 20–33, 2024, doi: 10.61511/safses.v1i1.2024.551.
[3] R. W. S. S. Sari and E. Yuliani, "Identifikasi Dampak Alih Fungsi Lahan Pertanian Ke Non Pertanian Untuk Perumahan," J. Kaji. Ruang, vol. 1, no. 2, p. 255, January 2022, doi: 10.30659/jkr.v1i2.20032.
[4] I. D. K. Wicaksandita and I. D. K. Wicaksana, "Siva Nataraja: Konsep Estetika Hindu dalam Seni Pertunjukan Wayang," Panggung J. Seni Budaya, vol. 35, no. 3, pp. 419–441, 2025, doi: 10.26742/panggung.v35i3.2693.
[5] I. D. K. Wicaksandita, S. Hendra, Saptono, I. W. Sutirtha, and I. D. K. Wicaksana, "Trans Memori Imajinasi Dalam Pewarisan Nilai Monumental Pertunjukan Wayang Kulit Bagi Masyarakat Hindu di Bali," J. Penelit. Agama Hindu, vol. 9, no. 1, pp. 37–56, January 2025, doi: 10.37329/jpah.v9i1.3499.
[6] I. D. K. Wicaksandita, S. N. G. A. Santika, I. D. K. Wicaksana, and I. G. M. D. Putra, "Nilai-Nilai Estetika Hindu Wayang Kulit Bali: Studi Kasus Internalisasi Jana Kertih Melalui Karakter Tokoh Pandawa, Sebagai Media Representasi Ideal Manusia Unggul," J. Damar Pedalangan, vol. 4, no. 1, pp. 63–80, 2024, doi: 10.59997/dmr.v4i1.3744.
[7] I. G. A. B. Senopati and I. D. K. Wicaksandita, "Wayang Bali dan Aktivisme Sosial: Studi Kasus Retorika Dan Wayang Sampah Daur Ulang Dalam Teaser Sinematografi Pahayu Gumine," J. Damar Pedalangan, vol. 3, no. 2, pp. 41–53, 2023, doi: 10.59997/dmr.v3i2.2851.
[8] I. D. K. Wicaksandita, "Signifikansi Narasi-Vokal Dan Gerak Yoga Dalam Membangun Karakter Tokoh Pada Suasana Mistik Adegan Setra Pertunjukan Teater Pakeliran Puyung Bolong Telah Ilang Karya I Gusti Putu Sudarta," J. Damar Pedalangan, vol. 3, no. 2, p. 12, 2023, doi: 10.59997/dmr.v3i2.2853.
[9] I. M. A. A. Wiguna, I. K. Sudiana, and I. D. K. Wicaksandita, "Produksi Karya Teater Pakeliran 'Bibi Anu'," J. Damar Pedalangan, vol. 5, no. 1, pp. 40–51, 2025, doi: 10.59997/dmr.v5i1.4886.
[10] I. G. D. Artawan, I. M. Marajaya, and I. G. N. G. Putra, "Teater Pakeliran Wayang Penyalonarangan 'Pangristaning Mujung Sari'," J. Damar Pedalangan, vol. 2, no. 2, pp. 28–36, 2022, doi: 10.59997/dmr.v2i2.1863.
[11] I. K. A. S. Atmaja, I. N. Sedana, and I. K. Kodi, "Penciptaan Karya Teater Pakeliran 'Ngaramu Yana'," J. Damar Pedalangan, vol. 4, no. 2, pp. 146–152, August 2024, doi: 10.59997/dmr.v4i2.4391.
[12] I. B. D. D. Manuaba, I. M. Marajaya, and I. K. Sudiana, "Penciptaan Karya Pertunjukan 'Teater Pakeliran Kalakama'," J. Damar Pedalangan, vol. 4, no. 2, pp. 130–137, August 2024, doi: 10.59997/dmr.v4i2.4388.
[13] S. C. Budiyono, "Cerita Panji Dalam Perspektif Sejarah," J. Budaya Nusant., vol. 1, no. 2, pp. 141–146, 2018, doi: 10.36456/JBN.vol1.no2.1575.
[14] K. H. Saputra, "Naskah Panji Koleksi Perpustakaan Nasional," Juma, vol. 5, no. 2, pp. 1–9, 2014, doi: 10.37014/jumantara.v5i2.153.
[15] H. Nurcahyo, "Gagasan Cerita Panji Sebagai Aspek Keteladanan," J. Budaya Nusant., vol. 1, no. 2, pp. 117–130, 2018, doi: 10.36456/JBN.vol1.no2.1573.
[16] I. M. Anom Wibawa, I. G. N. Gumana Putra, and I. K. Widnyana, "Penyampaian Pesan Dan Nilai-Nilai Kepemimpinan Melalui Seni Pertunjukan Wayang Kulit Bali Inovatif," J. Damar Pedalangan, vol. 2, no. 2, p. 10, 2022, doi: 10.59997/dmr.v2i2.1861.
[17] A. M. Hawkins, Creating Through Dance (Mencipta Lewat Tari), Translation. Yogyakarta: Institut Seni Indonesia, 1990, p. 248.
[18] I. D. K. Wicaksandita, "Bentuk dan Gerak Wayang Kaca dalam Pentas Wayang Tantri Sebuah Kreativitas Seni Modern Berbasis Kebudayaan Lokal," Pantun J. Ilm. Seni Budaya, vol. 3, no. 1, pp. 28–41, 2018, doi: 10.26742/pantun.v3i1.802.
[19] D. Hendro and M. Marajaya, "Pertunjukan Wayang Cenk Blonk Virtual Sebagai Media Sosialisasi Covid-19," Proc. Semin. Nas. Bali-Dwipantara Waskita, pp. 119–125, 2021.
[20] I. D. K. Wicaksandita, H. Santosa, and I. K. Sariada, "Estetika Adegan Bondres Wayang Tantri Oleh Dalang I Wayan Wija," Panggung, vol. 30, no. 1, pp. 17–34, 2020, doi: 10.26742/panggung.v30i1.877.
[21] I. G. N. Gumana Putra, "Variasi Retorika dalam Pertunjukan Wayang Cenk Blonk," Segara Widya J. Penelit. Seni, vol. 9, no. 2, pp. 106–118, 2021, doi: 10.31091/sw.v9i2.1741.
[22] N. P. Hartini and N. M. Haryati, "Estetika Pertunjukan Gender Wayang secara Virtual," Tamumatra J. Seni Pertunjuk., vol. 5, no. 2, pp. 112–121, 2023, doi: 10.29408/tmmt.v5i2.12256.
[23] I. P. A. Arthanegara, I. G. Mawan, and N. M. Haryati, "Pengembangan Video Pembelajaran Teknik Dasar Bermain Gender Wayang Dalam Gending Batel Style Tunjuk Di Sanggar Seni Kembang Bali," Repos. Inst. Seni Indones. Denpasar, vol. 1, no. 1, pp. 1–11, 2021.
[24] N. P. Hartini, "Konsep Dualistis dalam Pertunjukan Gender Wayang pada Pekan Seni Remaja Kota Denpasar Tahun 2015," J. Music Sci. Technol. Ind., vol. 4, no. 1, pp. 37–49, 2021, doi: 10.31091/jomsti.v4i1.1379.
[25] I. G. P. Sudarta, I. B. W. Bratanatyam, and I. D. K. Wicaksandita, "Pembinaan Iringan Batel Wayang Wong Di Banjar Pesalakan, Desa Pejeng Kangin, Kecamatan Tampaksiring Kabupaten Gianyar," Abdi Seni J. Pengabdi. Kpd. Masy., vol. 15, no. 2, pp. 161–184, 2024, doi: 10.33153/abdiseni.v15i2.6077.
Downloads
Published
Issue
Section
License
Copyright (c) 2025 Krisna Mahendra I Gusti Ngurah, I Gusti Ngurah Gumana Putra, I Ketut Sudiana
This work is licensed under a Creative Commons Attribution 4.0 International License.
