Full Journal Title : Jurnal Damar Pedalangan ISSN (online) : 2798-2823 Chief Editor : Dru Hendro Publisher : Pusat Penerbitan LP2MPP Institut Seni Indonesia Bali Indexing : SINTA | Google Scholar | Garuda | Dimensions Lisensi : CC-BY 4.0 Archiving : CLOCKSS, LOCKSS Publication Frequency : Biannual Publication Medium : Electronic DOI : https://doi.org/10.59997/dmr Editorial Team : Link Template : Link Unggah Artikel : Link Jurnal Damar Pedalangan, yang telah terakreditasi SINTA 5 berdasarkan Keputusan Direktur Jenderal Riset dan Pengembangan Kementerian Pendidikan Tinggi, Sains, dan Teknologi Republik Indonesia Nomor 10/C/C3/DT.05.00/2025 tentang Peringkat Akreditasi Jurnal Ilmiah Periode 1 Tahun 2025, mengundang kontribusi dari para akademisi dalam kontribusinya di bidang seni pertunjukan khususnya pedalangan sesuai dengan fokus dan ruang lingkup jurnal. 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.
PENDIDIKAN DALANG BALI UTARA: DIALEKTIKA BISA DAN DADI DALAM PRAKTIK BELAJAR WAYANG BERBASIS LONTAR DHARMA PAWAYANGAN
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.
Copyright (c) 2026 Erman Risky Dewa Suprapta, Made Reland Udayana Tangkas, I Putu Ardiyasa https://creativecommons.org/licenses/by/4.0
INTEGRASI WAYANG KULIT DAN DRAMATARI GAMBUH DALAM PAKELIRAN GESENG ALAS: MODEL REVITALISASI ESTETIKA PEDALANGAN BALI
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.
Copyright (c) 2026 wayan kembalyana swara, I Made Marajaya, Sang Nyoman Gede Adhi Santika https://creativecommons.org/licenses/by/4.0
KILIT KALUT: TEATER PAKELIRAN SEBAGAI REPRESENTASI KONFLIK BATIN TOKOH SALYA
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.
Copyright (c) 2026 I Komang Wahyu Widiyantara, I Made Sidia, I Kadek Widnyana, Hanolda Gema Akbar https://creativecommons.org/licenses/by/4.0
TEATER PAKELIRAN JARATKARU: DIALEKTIKA TRADISI–MODERNITAS, PATRIARKI, DAN CATUR ASRAMA BALI KONTEMPORER
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.
Copyright (c) 2026 Suryanata I Putu Gede suryanata, Ni Komang Sekar Marhaeni, I Gusti Ngurah Gumana Putra, Ni Luh Ayu Cempaka Dewi https://creativecommons.org/licenses/by/4.0
PAKELIRAN WAYANG BETEL INOVATIF SIWARAJANI: PENCIPTAAN WAYANG DON NANGKA BERBASIS LAKON LUBDHAKA SIWARATRI KALPA
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.
Copyright (c) 2026 ida bagus arthya weda singarsa, I Gusti Putu Sudarta, I Dewa Ketut Wicaksana https://creativecommons.org/licenses/by/4.0
ESTETIKA PENCIPTAAN KARYA WAYANG WAHYA LAKU KALA SWETA SEBAGAI REPRESENTASI KRITIK SOSIAL ALIH FUNGSI LAHAN PERTANIAN DI BALI
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.
Copyright (c) 2026 I Ketut Esa Indranata, I Ketut Kodi, I Ketut Sudiana https://creativecommons.org/licenses/by/4.0
PEWARISAN PERFORMATIF REFLEKTIF DALAM REGENERASI DALANG: STUDI KASUS GAYA I NYOMAN RAJEG DI DESA TUNJUK, TABANAN, BALI
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.
Copyright (c) 2026 janamajaya jana, Dru Hendro, I Dewa Ketut Wicaksandita https://creativecommons.org/licenses/by/4.0
TWELVE ASPECTS OF PAKEM PADALANGAN WAYANG GOLEK PURWA SUNDA: CONCEPTUAL FOUNDATIONS ACCORDING TO MAS ATJE SALMOEN
This study aims to examine the pakem of Sundanese wayang golek purwa as formulated and documented by Mas Ace Salmun, a prominent figure in the codification of this traditional art form. As a cultural heritage of the Sundanese people, wayang golek purwa embodies profound philosophical values, with the pakem serving as the primary guideline in its performance. This research explores the principles of pakem in the art of padalangan according to Ace Salmun’s perspective on wayang golek purwa performances. The study employs a qualitative approach with a literature review method, tracing classical sources and textual documentation that specifically discuss pakem in wayang golek purwa. The findings reveal that Ace Salmun identifies twelve fundamental aspects of pakem padalangan, namely: Awi-Carita, Amardi-Basa, Anta-Wacana, Amardawa-Lagu, Parama-Kawi, Parama-Sastra, Kawi-Radya, Renggep, Sabet, Banyol, Engés, and Tutug. These twelve aspects function as a conceptual foundation that enables a structured analysis of Sundanese wayang golek purwa padalangan practice. This research is expected to enrich the body of literature on cultural and traditional performing arts studies while also contributing to the preservation of Sundanese wayang golek purwa. Accordingly, the study holds significance not only for academics but also for practitioners particularly dalang and broader communities concerned with safeguarding Sundanese cultural heritage.
Copyright (c) 2025 Marsel Ridky Maulana https://creativecommons.org/licenses/by/4.0
PENCIPTAAN TEATER WAYANG INOVATIF SATYA SEMARA SEBAGAI REINTERPRETASI NILAI KESETIAAN DALAM NARASI RAMAYANA KONTEMPORER
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.
Copyright (c) 2026 Wira Adi, I Nyoman Sedana, I Bagus Wijna Bratanatya https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA TEATER MONOLOG WAYANG UPIH “MOVED MOTION”
This artistic research explores the creation of a contemporary monologue puppet theater entitled Moved Motion, inspired by the traditional Wayang Upih made from betel sheath (upih). The work departs from the urgency of revitalizing nearly forgotten local traditions while addressing ecological and philosophical values through artistic innovation. The aim is to transform Wayang Upih into a three-dimensional puppet theater that embodies symbolic narratives of karma, transformation, and human existential reflection. The study employs a practice-led research approach, integrated with the Balinese creation framework Asta Widhi Kawya, which guides the process from conceptualization, narrative development, rehearsal, to final performance. Data were obtained through literature review, field observation, and direct experimentation in collaboration with a local art community. The result is a performance that combines traditional material with contemporary dramaturgy, featuring symbolic figures such as the human puppet, butterfly, and mirror to represent bondage, hope, and self-reflection. The novelty of this work lies in the ecological use of natural materials, the integration of personal narrative with traditional philosophy, and the re-positioning of Wayang Upih within contemporary performing arts. This creation contributes to the preservation and reinterpretation of Balinese puppetry while offering a sustainable model for innovative artistic practices.
Copyright (c) 2025 I Made Adi Pranajaya, I Kadek Widnyana, I Dewa Ketut Wicaksana, Hanolda Gema Akbar https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA WAYANG GOLEK TOPENG “GEGER GIANYAR”
This study presents the creation of Wayang Golek Topeng: Geger Gianyar, a theatrical innovation that reinterprets Balinese performing arts in response to contemporary cultural dynamics. Rooted in the dual challenge of preserving tradition while embracing modernity, the work employs wayang golek topeng as a hybrid medium that integrates the symbolic depth of Balinese topeng with the dramaturgy of rod puppetry. The creative process was guided by Prof. I Nyoman Sedana’s Catur Datu Kawya framework—Pandulame (imagination), Adicita-Adirasa (ideas and emotions), Sranasasmaya (media and method), and Gunatama (technical skills)—applied through collaborative practice with the Manduka Asrama Art Community in Gianyar. The work dramatizes social tensions and identity struggles in Gianyar, symbolizing broader cultural negotiations within Balinese society. Its novelty lies in the synthesis of mask-dance aesthetics and puppetry, producing a multisensorial performance that bridges sacred symbolism with contemporary stagecraft. Beyond its artistic value, the performance contributes to national discourse on cultural sustainability by positioning traditional puppetry as an adaptive medium for education, reflection, and intercultural dialogue. Thus, Geger Gianyar affirms the strategic role of practice-based research in revitalizing Indonesian performing arts while fostering cultural resilience in the era of globalization.
Copyright (c) 2025 I Ketut Kertajaya, I Nyoman Sedana, I Made Sidia https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA PAKELIRAN TEATER “KARNAYANA”
This artistic research explores the creation of Karnayana, a Balinese shadow puppet theater (teater pakeliran) that reinterprets the epic figure Karna from the Mahabharata as a locus of existential reflection. The study responds to the contemporary challenges of preserving traditional wayang in the context of globalization, shifting audience interests, and the demands of academic innovation under the Merdeka Belajar–Kampus Merdeka (MBKM) program. Employing the methodological framework of Catur Datu Kawya (Pandulame, Adicita–Adirasa, Sranasasmaya, Gunatama) developed by I Nyoman Sedana, the creative process integrates imagination, philosophical value, artistic devices, and performative skill into a coherent dramaturgy. The narrative highlights Karna’s dilemmas of loyalty, honor, and tragic destiny, realized through three main acts—his encounter with Kunti, the rejection at Drupadi’s contest, and his death in the Bharatayudha war—visualized by silhouettes, gamelan–digital compositions, vocal expressions, and lighting design. The findings demonstrate that Karnayana contributes not only as an innovative performance model that synthesizes tradition and modern theater, but also as an academic discourse that affirms the relevance of philosophical-humanist values in contemporary art. Thus, the work establishes a dual contribution: revitalizing the artistic grammar of Balinese wayang and offering a methodological reference for artistic creation within higher education.
Copyright (c) 2025 Esa Putra Dananjaya, Sang Nyoman Gede Adhisantika, I Dewa Ketut Wicaksandita, Ni Luh Ayu Cempaka Dewi https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA MANNEQUIN PUPPET “ASMARA SAMARA”
The creation of the Mannequin Puppet performance entitled Asmara Samara is driven by the need for innovation in Balinese puppetry to bridge traditional values with contemporary artistic expression. This work presents a tragic romance between Prince Semara Yana of the Nila Kingdom and Princess Asmara Gantari of the Seta Kingdom, whose love is challenged by an enduring conflict between their parents. The purpose of this artistic project is to introduce a new format of puppetry that is communicative, philosophically grounded, and appealing to younger generations. The creative process employed the Dalang Anumana method formulated by I Gusti Made Darma Putra, consisting of five stages: Ngawit (starting), Ngepah (conception), Ngastawa (spirituality), Ngripta (making), and Ngebah (performing). Through visual exploration, media experimentation, and integration of theater, dance, and video mapping, the performance successfully embodies Balinese aesthetics within a naturalistic and symbolic style. The result demonstrates how Balinese philosophical concepts such as swasraya, karmaphala, and tri hita karana can be recontextualized through innovative performance media. In conclusion, Asmara Samara not only represents an artistic innovation but also serves as a medium for the preservation and transformation of Balinese puppetry in the global cultural landscape.
Copyright (c) 2025 I Wayan Candra Asmara Nata, I Made Marajaya, Ni Komang Sekar Marhaeni, I Gusti Made Darma Putra https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA TEATER PAKELIRAN SASTRA RUPA “JAPA TUAN”
This research-creation explores the development of the Teater Pakeliran Sastra Rupa “Japa Tuan” as an innovative model of Balinese shadow theatre that recontextualizes the classical gaguritan Japa Tuan into a contemporary performative form. The study aims to demonstrate how local Balinese literary sources can be transformed into theatrical works that maintain spiritual depth while responding to the aesthetic demands of modern audiences. The creative process was framed by the Asta Widhi Kawya method, adapted within the MBKM (Merdeka Belajar Kampus Merdeka) scheme, encompassing conceptual contemplation, narrative structuring, vocal and movement exploration, symbolic embodiment, and final staging. The results reveal that the story of Japa Tuan—depicting spiritual quest, grief, and transcendence—was successfully embodied through the integration of vocal performance, silhouette theatre, wayang manipulation, ritualized movement, and symbolic scenography. The artistic outcome emphasizes both the sacred and aesthetic dimensions, producing a hybrid form that remains rooted in Balinese cultural philosophy while offering an alternative format of contemporary pedalangan. The novelty of this work lies in its use of gaguritan as a dramaturgical foundation and its synthesis of textual, visual, and spiritual elements. This creation contributes to the revitalization of traditional arts, the enrichment of academic discourse in performing arts, and the affirmation of Balinese cultural identity in a global context.
Copyright (c) 2025 I Wayan Gunayasa, Dru Hendro, I Gusti Putu Sudarta https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA SENI PAKELIRAN SULUH MALAT "KELANA CARANG NAGA PUSPA”
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.
Copyright (c) 2025 Krisna Mahendra I Gusti Ngurah, I Gusti Ngurah Gumana Putra, I Ketut Sudiana https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA SENI PERTUNJUKAN WAYANG PREMBON “PUGPUG KI BALIAN BATUR”
This article presents the creative research and realization of the shadow puppet performance Wayang Prembon “Pugpug Ki Balian Batur”, an innovative work that transforms the traditional Balinese Prembon dramatari into the medium of wayang. The study is motivated by the lack of scholarly and artistic attempts to adapt Prembon into puppet theatre, despite its historical and cultural significance in Bali. The creative methodology employed was Asta Widhi Kawya, the eightfold principle of artistic creation, encompassing contemplative reflection, narrative construction, vocal and movement training, scenographic design, aesthetic synthesis, and final staging. The process involved documentation, observation of rehearsals, and interviews with key informants, analyzed through descriptive-reflective approaches. The performance was structured by integrating narrative from Babad Ki Balian Batur with elements of wayang babad, wayang arja, Balinese topeng, music, and ritual practice. The resulting work reveals a unique synthesis that balances tradition and innovation, producing a performance that is aesthetically engaging, culturally grounded, and spiritually meaningful. The novelty of this research lies in offering the first model of Wayang Prembon based on historical babad sources, demonstrating how creative practice can simultaneously preserve tradition and generate new performative forms within contemporary Balinese pedalangan.
Copyright (c) 2025 Anak Agung Putu Satria Darmawibawa, I Ketut Kodi, I Bagus Wijna Brata Natyam https://creativecommons.org/licenses/by/4.0
Figurative wayang is an innovation in performing arts that combines traditional elements with modern approaches to create a unique and original art form. This work introduces a new perspective in wayang art through the exploration of three-dimensional movement techniques, individual performance systems, and visual aesthetics that blend traditional and contemporary elements. The wayang puppets are designed in a surrealistic style, depicting human figures with distortion, deformation, and stylization to create a profound aesthetic effect. The creative process in crafting figurative wayang involves the development of movement techniques using specialized rods, creating the illusion of suspended puppets moving naturally. The one-puppet-one-puppeteer system provides freedom for dynamic and expressive movement exploration. Costume and accessory designs adapted from everyday life enhance the social and cultural relevance of the work, making it not only entertaining but also a reflection of life. This work also integrates elements of theater, dance, and shadow mapping projection to create an immersive aesthetic experience. These techniques strengthen the narrative and evoke a deep dramatic atmosphere, effectively conveying moral messages and life values in an inspiring way. With its innovative approach and integration of diverse artistic elements, figurative wayang becomes a form of performing art that not only preserves tradition but also offers relevant updates in line with contemporary developments. This work is expected to inspire artists to continue evolving wayang art as a dynamic and living cultural heritage.
Copyright (c) 2025 I Gede Githa Premma Adhitya, Ni Komang Sekar Marhaeni, I Gusti Made Darma Putra https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA SENI PEDALANGAN WAYANG KULIT TRADISI DAN INOVASI SENI RITUAL DALEM PURUSA PREDANA “PUTRI MURTI”
The story takes place in a realm called Uma Praksa, where a kingdom named Brahma Purana is ruled by Queen Ratu Putri. One night, during a royal meeting attended by Indurasmi, Ratu Putri recalls a tale told by the Brahmin Vishnu Yogi—that she can only be defeated by a powerful incantation known as Durga Murti Putri. The following night, Ratu Putri’s disciples, including Ni Sindur, gather at Setra Gandamayu for a ritual. After their meditation, Dewi Durga appears and grants them a divine blessing. They return to the palace, and later that night, Ratu Mohini, Raja Putra, Ni Condong, and Waraha Putra perform a sacred offering in Alas Putra, led by Ratu Mohini’s father, Sage Sri Nadaswara. During the ceremony, a thunderous roar surprises the assembly as Hayagriva, an avatar of Vishnu, descends. Meanwhile, Kala Boma summons Delem and Sangut to announce his plan to destroy Uma Praksa and its surroundings. That night, chaos unfolds as Kala Boma attacks the kingdom. Ratu Putri’s disciples and Raja Putra’s siblings, including Ratu Rupini and her allies, engage in fierce battle. Ratu Putri transforms into Rangda Putih, while Ratu Indurasmi becomes Rangda Bang or Durga Bang. The war rages for 108 days until Raja Putra, guided by Hayagriva, confronts and awakens his sister, Ratu Putri. Raja Putra then transforms into Banaspati (Barong). In their final transformation into Barong and Rangda, Raja Putra and Ratu Putri vanish, never returning to their human forms.
Copyright (c) 2025 Putu Diki Laksamana, I Bagus Wijna Bratanatya, Ni Luh Ayu Cempaka Dewi https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA PAKELIRAN SAJAK “GEDOG GERODOG”
The final project script of the Independent Study Project was conducted for one semester at the Sanggar Seni Hari Dwipa Gamelan Group, with the aim of creating a Balinese puppetry art work called Pakeliran Sajak Gedog Gerodog, which raises the phenomenon of Gedog Gerodog in the world of Balinese puppetry. This final project research uses a combination research method, namely quantitative research method and qualitative research method, with data collection through interviews and observations. The results of the study show that Gedog Gerodog is a phenomenon that is mystical and realistic, which occurs because puppets are starting to be forgotten in modern times as a means of worship. The Pakeliran Sajak Gedog Gerodog artwork creates a new concept in the world of puppetry, by combining poetry and puppetry, using the Panca Sthiti Ngawi Sani method, which includes Ngawi Rasa (Inspiration Stage), Ngawacak (Exploration Stage), Ngarencana (Conception Stage), Ngawangun (Execution Stage), and Ngebah (Performance Stage). This concept enables a more dynamic and interactive puppet performance. The Pakeliran Sajak Gedog Gerodog artwork also has educational value, as it can be a means to introduce and preserve Balinese puppetry culture. In addition, this artwork can also be an inspiration for other artists and researchers to develop innovative and creative art works.
Copyright (c) 2025 I Gusti Agung Bayu Senopati, I Made Sidia, I Gusti Ngurah Gumana Putra https://creativecommons.org/licenses/by/4.0
PRODUKSI KARYA TEATER PAKELIRAN “BIBI ANU”
The Pakeliran Theater "Bibi Anu" explores the theme of land uncertainty in Bali caused by ongoing land conversion, highlighting the conflict between tradition and modernization that impacts the cultural identity of the Balinese people. The title "Bibi Anu" carries a profound philosophical meaning, with "Bibi" symbolizing a mother as the guardian of life, and "Anu" reflecting the ambiguity of social changes. This work merges puppetry art and theater, following a creative process consisting of three stages: exploration, improvisation, and formation. Each stage reflects the evolving relationship between humans and the land, from harmony with nature to the crisis triggered by rapid social transformations. The performance is divided into three acts, each with significant meaning. The first act portrays harmony between humans and nature based on the Tri Hita Karana principle, which emphasizes balance between humans, God, and nature. The second act examines the shift in traditional values due to tourism, altering the way of life in Bali. The third act focuses on the emotional crisis resulting from the disconnection between people and the land, leading to feelings of loss and anxiety. This work invites critical reflection on the challenge of preserving tradition amid modernization. "Bibi Anu" fosters dialogue on social and environmental changes in Bali, exploring the complex relationship between humans, culture, and nature in a rapidly changing world.
Copyright (c) 2025 Arta Wiguna I Made, I Ketut Sudiana, I Dewa Ketut Wicaksandita https://creativecommons.org/licenses/by/4.0
PROGRAM MERDEKA BELAJAR KAMPUS MERDEKA MEMBANGUN DESA/KULIAH KERJA NYATA TEMATIK PEMBINAAN KESENIAN GENDER WAYANG DI DESA ADAT KUKUB
The rapid development of times demands students to possess skills and knowledge relevant to the issues faced by society. In this context, the "Merdeka Belajar Kampus Merdeka" (MBKM) program plays an important role as an innovative learning platform, encompassing various activities such as internships, research, and thematic Community Service (KKN). This research focuses on the Desa Membangun (Village Development) program in Kukub Traditional Village, Bali, which was once known for its art and cultural potential but is currently experiencing a decline in interest among the younger generation towards traditional arts, especially Gender Wayang. The aim of this research is to preserve the traditional art by involving the community in the learning process and the introduction of the art form. The methods used include socialization, training, and field practice. The results of this activity are expected to increase awareness and interest in the community to understand and preserve the Gender Wayang art, while also contributing to the improvement of education and culture in Kukub Traditional Village. This research demonstrates that by involving both students and the community, the preservation of traditional arts can be more effective and sustainable.
Copyright (c) 2025 I Putu Weda Wikantika, I Ketut Kodi, Sang Nyoman Gede Adhi Santika https://creativecommons.org/licenses/by/4.0
KAJIAN UNSUR DRAMATIK DAN ESTETIKA TAMAN PENASAR CERAKEN
Taman Penasar is an artistic development derived from Pasantian, which integrates vocal performance, literature, acting, and traditional music played by 5-7 core performers. This performance serves not only as entertainment but also as a guide for social interaction. Unfortunately, despite its profound cultural values, it has received limited academic attention, such as the Taman Penasar performance titled Ceraken, which presents issues surrounding traditional Balinese medicine and the role of Balian (traditional healers), a topic of current discussion. This study aims to analyze the dramatic structure, aesthetic elements, and inherent values of the performance. A qualitative approach is used to descriptively present the findings, employing drama theory and aesthetic theory as analytical tools. The results of this study show that the dramatic elements of the performance are constructed through: 1) A plot based on contemporary societal issues; 2) A forward-moving narrative structure; 3) Characterization through new terms introduced in the performance, such as Panegteg, Panungkas, Panembang, and Paneges; 4) Setting conveyed through dialogue; 5) Dialogue that upholds the ethical use of the Balinese language. The aesthetic elements are built through the performance's integrity, emotional depth, harmony in costumes and movement, and the prominence of tembang (traditional songs), musical accompaniment, and acting. Additionally, the balance between tembang, musical accompaniment, Paneges, Panegteg, and Panungkas is emphasized. This performance also upholds religious, social, and educational values. Therefore, the researcher hopes that this performance will continue to thrive and attract public interest as a valuable medium for learning.
Copyright (c) 2025 Prayoga Putra I Komang, I Nyoman Sedana , Dru Hendro https://creativecommons.org/licenses/by/4.0
PRODUKSI KARYA TEATER BONEKA “POPPY-UTOPIA”
“Poppy-Utopia” is a puppet theater performance that offers a profound reflection on life through the unique perspective of a dog named Poppy. This production delves into various social issues, particularly the negative stigma often directed at dogs within cultural contexts, utilizing an artistic approach that integrates narrative, visual elements, and puppetry techniques. The creative process is guided by I Wayan Dibia's five-stage method, encompassing Ngawirasa (inspiration from dog training and cultural stigma), Ngawacak (exploration of literature, Balinese epics, and visual arts), Ngarencana (conceptualizing a theater design combining human theater, animation, and minimalist visuals), Ngawangun (script execution, rehearsals, and illustration creation), and Ngebah (final performance with integrated artistic elements). Through a compelling storyline, nuanced characters, and innovative visuals, Poppy-Utopia delivers an emotionally engaging and reflective theatrical experience. The performance invites audiences not only to be entertained but also to reflect on themes of loyalty, struggle, and the importance of fostering harmonious relationships between humans, animals, and nature.
Copyright (c) 2025 nanda adi naya ida bagus, I Kadek Widnyana, I Gusti Putu Sudarta https://creativecommons.org/licenses/by/4.0
PENCIPTAAN KARYA TEATER BAYANG RAGA NUSANTARA DOOMED ROMANCE
The performance Shadow Theater: Raga Nusantara adapts traditional Balinese wayang techniques, blending them into a modern theater performance that tells the love story of Sri Tanjung and Sidapaksa, a tale believed by the Banyuwangi community. The Raga Nusantara shadow theater applies methods from Eko Supriyanto’s book “Ikat Kait Impulsif Sarira”—namely Re-Visiting, Re-Questioning, and Re-Interpreting. This work, titled Doomed Romance, translates to a shattered romance or broken love. The shadow theater piece, Doomed Romance, originates from the social phenomena prevalent among the younger generation, particularly concerning the dynamics of romantic relationships. This phenomenon reflects various aspects of young people's lives as they undergo the process of searching for identity, self-existence, and the meaning of love in an ever-changing social context. Romantic relationships often become an important part of their lives, involving not only emotions but also complex social interactions. This work narrates the love journey of Sri Tanjung and Sidapaksa, filled with obstacles and temptations, which form the dynamics of their romantic story. The story carries many moral messages and meanings, particularly in the realms of romance and trust. This tale is considered relevant to the phenomena experienced by the younger generation undergoing the dynamics of social or romantic relationships, which is why the artist chose this story for the Raga Nusantara shadow theater.
Copyright (c) 2025 Gede Putra Arya Bagus Gunawan, I Made Marajaya, I Gusti Putu Sudarta https://creativecommons.org/licenses/by/4.0
Penciptaan Karya Teater Pakeliran “Ngaramu Yana”
Studi atau projek independen adalah suatu progam pembelajaran yang memberikan kesempatan kepada mahasiswa/i untuk melakukan pembelajaran di luar lingkungan kampus seperti di sanggar, komunitas, desa, perusahaan dan lain-lain. Tujuan dari progam ini tiada lain yaitu mengembangkan potensi-potensi dalam menciptakan suatu karya pertunjukan bagi mahasiswa/i itu sendiri yang akan dibimbing langsung oleh mitra sehingga kedepannya bisa menjadikan seniman yang ber-akademisi dan dipercaya oleh masyarakat setempat. Sanggar Seni Gema Abhiraja Widya Jnana merupakan salah satu sanggar yang berada di Banjar Pujung Kaja tepatnya berada di Jalan Raya Pujung Kaja, Desa Sebatu, Kecamatan Tegallalang, Kabupaten Gianyar. Yang bergerak pada bidang kesenian seperti Seni Tari, Karawitan, Vokal dan tentunya pada bidang Seni Pedalangan atau, serta pada bidang pembuatan properti pertunjukan tradisi yang ada di desa setempat. Sejarah terbentuknya Sanggar Seni Gema Abhiraja Widya Jnana berawal dari kegiatan ngayah - ngayah di pura, karena terlalu sering ngayah maka terbesitlah ide untuk membuat seka atau komunitas yang di beri nama Sanggar Seni Gema Abhiraja Widya Jnana, yang berdiri pada tahun 2017. Teori Kawi Dalang berbasis pada penciptaan seni pedalangan, namun penulis melihat bahwa teori ini dapat diaplikasikan pada berbagai jenis pertunjukan di Bali, termasuk garapan Wayang Pakeliran Teater Ngaramu Yana. Adapun pesan tersirat dari garapan teater Ngaramu Yana tersebut dapat menginspirasi anak muda yang sedang merasakan kalut serta perang batin antara logika dalam keluarga utnuk perjuangan hidupnya pada generasi muda, agar tetap memiliki semangat dan tetap berpegang teguh memiliki sebuah prinsip serta motivasi dalam menjalani kehidupan.
Copyright (c) 2024 https://creativecommons.org/licenses/by/4.0
Penciptaan Dramatari Parwa “Abimanyu Aguru”
Eksistensi Parwa terjadi pada tahun 1990-an, namun berbanding terbalik pada masa sekarang. Sehingga penata dengan mitra MBKM penata, berinisiatif untuk membuat suatu pertunjukan Dramatari Parwa dengan lakon “Abimanyu Aguru”. Proses karya Dramatari Parwa dengan lakon “Abimanyu Aguru” menggunakan metode Sumber Kawi Dalang yang diajukan oleh Prof. I Nyoman Sedana, dengan tahapan sebagai berikut: a. Alam Imajinasi Keindahan, Setelah penata mendapatkan sumber cerita untuk digarap, penata tidak akan lepas dengan berimajinasi, penata akan membuka alam imajinasinya. seolah-olah penata masuk dalam dimensi cerita tersebut, b. Ide dan Rasa, Setelah penata berhasil ber-imajinasi selanjutnya penata akan menuangkan ide-ide yang akan digarap kedalam skrip karya, c. Media atau Sarana, Disini penata menggunakan wayang kayonan, pakian atau costum yang menyesuaikan dengan tokoh/peran yang dibawakan, dan iringan yang dipakai ialah gambelan batel gender wayang, d. Skill dan Bakat Keterampilan Khusus, dengan melaksanakan latihan yang maksimal agar pementasan menjadi lebih baik.
Penciptaan Karya Pertunjukan “Teater Pakeliran Kalakama”
Pergaulan bebas marak terjadi pada jaman seperti sekarang ini. Pelaku utama dari pergaulan bebas ini adalah kebanyakan anak-anak yang masih belia atau remaja. Hal ini bisa terjadi karena kurangnya ilmu orang tua dan guru dalam memberikan edukasi tentang pergaulan bebas khususnya Pendidikan Seks. Anak-anak remaja yang seharusnya menjadi penerus bangsa terpaksa harus kehilangan masa depannya akibat dari pergaulan bebas. Mereka tidak mengetahui akan bahayanya jika melakukan pergaulan bebas. Judul dari karya ini adalah Teater Pakeliran Kalakama yang menggunakan metode Catur Datu kawya. Kalakama berasal dari kata Kala yang artinya ruang dan waktu yang menyeramkan, sedangkan Kama artinya hawa nafsu yang berasal dari Sad Ripu dan harus bisa kita kendalikan. Salah satu contoh akibat dari pergaulan bebas yaitu terjadinya kasus bunuh diri yang dilakukan oleh seorang siswi karena hamil dan tidak mendapatkan pertanggungjawaban dari laki-laki yang menghamilinya. Saat ini negara kita sangat membutuhkan Pendidikan Seks yang lebih baik demi menyelamatkan generasi penerus bangsa.
Wanita Dalam Seni Pedalangan Bali: Studi Kasus Partisipasi “Dalang Luh” Dalam Meningkatkan Motivasi Dan Minat Seni Pedalangan
Eksisnya kesenian pedalangan/pewayangan di Bali, tidak terlepas dari peran kaum wanita. Tidak hanya berpatisipasi aktif sebagai pemain wayang (dalang luh), kaum wanita berperan penting dalam konteks pendidikan dan peningkatan motivasi serta minat terhadap seni pedalangan. Tujuan penelitian ini: pertama, mengetahui wujud partisipasi kaum wanita dalam linimasa seni pedalangan; kedua, menganalisis dampak partisipasi kaum wanita terhadap peningkatan motivasi dalam pendidikan seni pedalangan. Metode kualitatif berpendekatan studi kasus ini menerapkan paradigma ‘feminis’ dan ‘interaksi sosial’ terhadap berbagai wujud partisipasi oleh praktisi dan akademisi wanita dalam bidang dan gelaran seni pedalangan. Metode ini didukung teori tindakan dan teori estetika. Hasil dari penelitian ini yaitu, pertama wujud partisipasi kaum wanita dalam linimasa seni pedalangan: a) Peran Historis Wanita dalam Pedalangan: b) Representasi Wanita dalam Seni Pedalangan: c) Kontribusi Wanita di Balik Layar: Kedua: Dampak partisipasi kaum wanita terhadap peningkatan motivasi dan minat seni pedalangan: a) Pengaruh Inspiratif dalang luh: b) Peningkatan Keterampilan dan Minat; c) Model dan Mentoring.
Gugurnya Bhisma Oleh Srikandi: Studi Mengenai Refleksi Konsep Karma-Phala Melalui Cerita Mahabharata
Mahabharata samapai saat ini termasyur dan memperoleh apresiasi serta direpresentasikan dalam berbagai ekspresi yang merefleksikan makna-makna kehidupan yang relevan bagi perseptornya. Bhisma sebagai putra mahkota kerajaan Kuru dikenal memiliki kemuliaan, keagungan, dan jiwa besar seorang kesatria, namun demikian Bhisma tidak terlepas dari ikatan sebab-akibat yang membuatnya harus berpihak pada sisi yang salah dan gugur dihadapan Srikandi. Tujuan penelitian ini, pertama, mengungkap kronologi detail gugurnya Bhisma dalam cerita Mahabharata dan menganalisis bagaimana cerita tersebut merefleksikan nilai Karma-Phala sebagai pembelajaran bagi peningkatan kualitas pengetahuan sosio-religius manusia. Metode yang digunakan adalah analisis teks dengan pendekatan hermeneutika untuk menafsirkan makna moral dan spiritual, dalam konteks karya sastra dan seni pertunjukan sebagai medium refelektor. Hasil penelitian menunjukkan, pertama gugurnya Bhisma terjadi setelah ia menerima serangan panah dari Srikandi, yang dipengaruhi oleh nasib dan karma masa lalu Bhisma yang dinilai menyakiti Srikandi di masa lalunya sebagai Dewi Amba. Kedua, Peristiwa ini merefleksikan konsep Karma-Phala dengan jelas, yang mana tindakan masa lalu Bhisma berkontribusi pada takdirnya. Cerita ini memberikan pembelajaran tentang pentingnya menjalani kehidupan dengan kebajikan untuk mencapai hasil positif di masa depan. Terdapat makna moral yang kuat tentang pengorbanan dan ketulusan dalam cerita tersebut. Aspek spiritual dari gugurnya Bhisma juga mengajarkan tentang penerimaan terhadap hukum alam yang tak terhindarkan. Relevansi cerita ini dalam kehidupan modern menegaskan bahwa hukum Karma-Phala tetap menjadi panduan penting dalam menjalani kehidupan manusia, mengingatkan kita bahwa setiap tindakan memiliki konsekuensi yang harus diterima dengan lapang dada.
Analisis Nilai Ketaatan dan Kejujuran Tokoh Bima Mengemban Tugas Mencari Tirta Pawitra Dalam Cerita Dewa Ruci
Cerita Dewa Ruci merupakan salah satu kisah klasik dalam tradisi wayang kulit yang sarat dengan ajaran moral dan spiritual, di mana tokoh Bima menjadi pusat dalam upayanya mencari Tirta Pawitra. Penelitian ini bertujuan untuk menganalisis bagaimana nilai ketaatan Bima direpresentasikan melalui tindakan dan dialognya, serta bagaimana nilai kejujuran tercermin dalam karakter Bima dalam cerita ini, yang kemudian dihubungkan dengan pesan moral yang lebih luas. Metode penelitian yang digunakan adalah analisis naratif dengan pendekatan hermeneutik, yang memadukan analisis teks cerita sebagai narasumber kunci. Teori yang diterapkan dalam penelitian ini adalah teori sastra dan teori simbolisme dalam seni pertunjukan. Hasil penelitian menunjukkan pertama, bahwa nilai ketaatan Bima direpresentasikan melalui kesetiaannya dalam melaksanakan tugas yang diberikan tanpa mempertanyakan perintah, yang memperkuat pesan moral mengenai pentingnya disiplin dan pengabdian. Kedua, Nilai kejujuran Bima terlihat dari sikapnya yang selalu jujur terhadap dirinya sendiri dan kepada gurunya Drona, yang menggambarkan ideal keutamaan manusia unggul. Temuan ini juga mengungkap bahwa ketaatan dan kejujuran Bima tidak hanya menjadi cerminan karakter personal, tetapi juga mengajarkan nilai-nilai yang relevan dengan kehidupan sosial dan spiritual masyarakat. Selain itu, penelitian ini menegaskan bahwa cerita Dewa Ruci masih memiliki relevansi sebagai sumber ajaran moral yang dapat diterapkan dalam kehidupan modern, terutama dalam membentuk karakter individu yang berintegritas dan berkomitmen.