Experimental Karawitan Works “Marebu Agung” | Karya Karawitan Eksperimental Marebu Agung
DOI:
https://doi.org/10.59997/jurnalsenikarawitan.v4i3.4257Keywords:
Ngerebong, Ancag-ancangan, Experimental, Bebarongan, SemarandanaAbstract
"Marebu Agung" is an experimental music composition that inspired the idea of the Ngerebong ceremony in Kesiman Petilan Village, East Denpasar, Denpasar City. The composer's interest in the aspects of the Ngerebong ceremony, such as ritual aspects through the ceremony stages and musical elements through the instruments or gamelan that accompany the ceremony, drove the composer to realize it in an experimental artwork. In this case, the composer aimed to transform the Ngerebong ceremony into an experimental music composition by combining the musical aspects of the ceremony, including Ancag-ancagan or Leluangan motifs on the Gong Kebyar and motifs of Batel, Bapang, and kale on the Baleganjur Bebarongan. Marebu means neutralizing, while agung means nature, so marebu agung means neutralizing or purifying nature. In this case, it refers to the Ngerebong ceremony itself, carried out to purify the nature of Kesiman. Three problem formulations become the focus of this creation: how the creation process, form, and aesthetics. Methods used in the creation process is Panca Stithi Ngawi Sani from I Wayan Dibia, consisting of ngawirasa, ngewacak, ngerencana, ngawangun, and ngebah. This creation's theories include creativity, aesthetics, and transformation. This creation has a magical tone and highlights pattern processing based on combining two Karawitan motifs in the Ngerebong ceremony.
Downloads
References
Apriyani, N. K. A., Trisnawati, I. A., & Adnyana, A. K. O. (2022). Tari Amerta Sri Bumi: Representasi Upacara Perang Tipat Dalam Merdeka Belajar-Kampus Merdeka Bersama Sanggar Seni Pancer Langiit. Urnal Igel: Journal Of Dance, 2(1), 65–73.
Azizah, S. F. (2021). Penyelenggaraan Sala Hatedu 2021 Secara Virtual Wujud Mempertahankan Eksistensi Event Budaya Di Era Pandemi. Tanumatra Jurnal Seni Pertunjukan, 3(2).
Dibia, I. W. (2020). Panca Sthiti Ngawi Sani: Metodologi Penciptaan Seni. Pusat Penerbitan LP2MPP Institut Seni Indonesia (ISI) Denpasar.
Fibiona, I., & Harnoko, D. (2021). Kagunan Sekar Padma: Kontinuitas dan Perkembangan Kesenian Tradisional Di Yogyakarta, Awal Abad XX. BPNB DIY.
Gede Parmajaya, I. P. (2021). Implementasi Konsep Tri Hita Karana dalam Prespektif Kehidupan Global. Purwadita: Jurnal Agama Dan Budaya.
Handayani, R., & Afiyanto, H. (2024). Eksistensi Pusaka Tombak Kyai Upas: Dari Sakralitas Ke Media Hiburan Tahun 1824-2000’an. Ndonesian Journal of History and Islamic Civilization (IJHIC), 1(1), 29–42.
Herawati, N. (2024). PERSUASI DAN JANTURAN DALAM PERTUNJUKAN WAYANG PURWA. Prosiding Seminar Nasional Dan Internasional HISKI, 1(1), 120–137.
Juniarta, I. N., Sudiana, I. N., & Hartini, N. P. (2022). Composition karawitan Bali" Pajegan"| Komposisi Karawitan Bali “Pajegan.” GHURNITA: Jurnal Seni Karawitan, 2(1), 25–31.
Kariasa, I. N., & Putra, I. W. D. (2021). Karya Karawitan Baru Manikam Nusantara. Mudra Jurnal Seni Budaya, 36(2), 222–229. https://doi.org/10.31091/mudra.v36i2.1471
Kusuma, A., & Haryanto, T. (2022). Karawitan Composition “Catra Patra” | Komposisi Karawitan “Catra Patra.” GHURNITA: Jurnal Seni Karawitan, 2(1), 1–8. https://doi.org/10.59997/jurnalsenikarawitan.v2i1.374
Mariyana, I. N. (2021). Tantangan dan Upaya Pelestarian Gamelan Gambang di Masa Depan. Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara, 1, 126–132. https://eproceeding.isi-dps.ac.id/index.php/bdw/article/view/249
Pradana, K. A. W., Rai S, I. W., & Suherta, I. W. (2023). The The Musicality of Gamelan Gong Kebyar Mepacek as a North Bali Traditional Music Identity. Randwick International of Social Science Journal, 4(2). https://doi.org/10.47175/rissj.v4i2.653
Prameswari, H. L. K., & Setiawan, S. (2024). Peningkatan Kualitas Pelatihan Karawitan Pada Komunitas Teras Budaya Melalui Pendekatan Manajemen Partisipatif. Komitmen: Jurnal Ilmiah Manajemen, 5(1), 54–68.
Pryatna, H. S. I. K. S. I. P. D. (2020). Teknik Permainan Kendang Tunggal Pada Gamelan Bali. Pusat Penerbitan LP2MPP ISI Denpasar. http://repo.isi-dps.ac.id/3795/
Pryatna, I. P. D., Santosa, H., & Sudirga, I. K. (2020). Permainan Kendang Bali. Dewa Ruci: Jurnal Pengkajian Dan Penciptaan Seni, 15(2), 90–100. https://doi.org/10.33153/dewaruci.v15i2.2991
Purnomo, J. E., & Yandra, Z. (2021). Buku Siswa Seni Budaya SMA/MA Kelas 10. Gramedia Widiasarana Indonesia.
Saputra, I. M. G. N., Wardana, I. K., & Nerawati, N. G. A. A. (2018). Eksistensi Upacara Ngerebong di Desa Adat Kesiman Kecamatan Denpasar Timur Kota Denpasar. Jurnal Penelitian Agama Hindu.
Simorangkir, A. V., Sihombing, O. O. K., Banjarnahor, P. G., Saragih, E. T. A. br, & Harahap, S. H. (2024). Analisis Makna Dalam Adegan Film Toba Dream Dengan Pendekatan Semiotika dan Kaitannya Dengan Kearifan Lokal. Jurnal Kewarganegaraan, 8(1), 401–409.
Subagya, T. (2021). Kontekstualisasi, Rekontekstualisasi, dan Dekontekstualisasi Pertunjukan Wayang Kulit sebagai Langkah Pembinaan Penonton Wayang Kulit. Lakon Jurnal Pengkajian & Penciptaan Wayang, 18(2).