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<![CDATA[PENGUATAN KONSEP AJARAN TRI HITA KARANA MELALUI SEKE BHATRE DI BANJAR LUMBUNG SARI, DESA PAKRAMAN DENPASAR ]]>
<![CDATA[I Gusti Ketut Widana]]>;
<![CDATA[I Gde Widya Suksma]]>
<![CDATA[ JURNAL SEWAKA BHAKTI Vol 1 No 1 (2018): Sewaka Bhakti ]]>
Publisher : <![CDATA[UNHI Press ]]>
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DOI: 10.32795/jsb.v1i1.22
<![CDATA[Sebagai agama wahyu yang maha sempurna, ajaran Hindu sangat kaya dengan konsep ajaran ideal. Namun, apa yang menurut konsep ajaran itu begitu ideal dan baik serta berguna bagi kemuliaan hidup manusia, seringkali diabaikan. Oleh karena itu, diperlukan terobosan baru untuk mengejawantahkan ajaran ideal Hindu secara konseptual dalam tataran kontekstual. Seperti konsep ajaran Tri Hita Karana yang penguatannya dapat diimplementasikan melalui kegiatan “Seke Bhatreâ€, dengan cara melakukan Tirthayatra yang dalam pelaksanaannya mensinergikan ajaran bhakti (kehadapan Tuhan), tresna (kepada sesama manusia) dan eling (terhadap alam lingkungan). Kata kunci : penguatan, tri hita karana, seke bhatre]]>
<![CDATA[LANDASAN TEOLOGI PRAKTIK RITUAL HINDU ]]>
<![CDATA[I Gusti Ketut Widana]]>;
<![CDATA[I Gusti Ayu Suasthi]]>
<![CDATA[ WIDYANATYA Vol 1 No 2 (2019): WIDYANATYA ]]>
Publisher : <![CDATA[UNHI PRESS ]]>
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DOI: 10.32795/widyanatya.v1i2.497
<![CDATA[Basically, ritual activities are a series of sacred (sacred / sacred) actions carried out by Hindus using certain tools, places, and certain ways. Its main function is as a medium to surrender by worshiping God along with His manifestations accompanied by various offerings while accompanied by prayers (mantras) in order to obtain a gift of salvation. The rituals that are often encountered and experienced and carried out in daily life are generally life cycle rituals such as the rituals of birth, marriage, until death that are religiously believed by followers. Hinduism itself as a religion constructed by three basic frameworks positions "ritual" (event) as a supplement of material (skin / packaging) to support the element of "ethics" (moral) as part of an essence that is strengthened as well as to strengthen the foundation of "philosophy" (tattwa) as substance.]]>
<![CDATA[RITUAL HINDU DALAM PERSPEKTIF KONTEMPORER ]]>
<![CDATA[I Gde Widya Suksma]]>;
<![CDATA[I Gusti Ketut Widana]]>;
<![CDATA[I Ketut Winantra]]>
<![CDATA[ WIDYANATYA Vol 2 No 01 (2020): WIDYANATYA ]]>
Publisher : <![CDATA[UNHI PRESS ]]>
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DOI: 10.32795/widyanatya.v2i01.628
<![CDATA[Secara konseptual pelaksanaan upacara yadnya yang dilaksanakan umat Hindu itu memang tampak ideal. Namun jika ditinjau secara kontekstual, aktivitasnya terlalu menitikberatkan kepada unsur ritual dibandingkan pemahaman Tattwa (filosofi) dan aktualisasi Susila atau prilaku sesuai kode etik. Realita di atas, antara lain disebabkan oleh pengaruh modernisasi di era globalisasi, yang secara simultan turut mendistorsi segala tatanan mapan yang di waktu lalu sudah berjalan secara ideal-konseptual, namun kini bergerak cepat dan cenderung berkembang ke arah situasional-kontekstual. Kondisi ini akhirnya menampakkan wujudnya, ketika umat Hindu melaksanakan kewajiban beragama (bhakti), tak dapat dihindari telah disusupi pengaruh gaya hidup kontemporer yang lebih mementingkan penampilan fisikal/personal dan sajian material, daripada peningkatan rohani guna mencapai kesadaran spiritual.]]>
<![CDATA[PENDIDIKAN AGAMA HINDU BAGI PRAMUWISATA DALAM RANGKA MENINGKATKAN KEPATUHAN TERHADAP TATA TERTIB KAWASAN SUCI PURA TIRTA EMPUL ]]>
<![CDATA[I Gusti Ketut Widana]]>;
<![CDATA[Ni Made Sriartini]]>
<![CDATA[ WIDYANATYA Vol 2 No 02 (2020): Widyanatya: Jurnal Pendidikan Agama dan Seni ]]>
Publisher : <![CDATA[UNHI PRESS ]]>
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DOI: 10.32795/widyanatya.v2i02.1041
<![CDATA[Penelitian ini membahas tentang pendidikan agama Hindu dalam pendidikan kepramuwisatan yang diselenggarakan HPI Bali serta implikasinya terhadap peningkatan kepatuhan tata tertib kawasan suci di Pura Tirta Empul. Kajian dikhususkan dalam analisis deskriptif kualitatif dengan pendekatan etik dan pendidikan. Kawasan suci Pura Tirta Empul dipilih karena: (1) daya tarik wisatawan cukup tinggi sebab keunikan objek wisatanya berupa prosesi malukat; (2) data statistik pengunjung yang tinggi serta banyak dipandu oleh pramuwisata; (3) kedekatan wisatawan dengan berbagai macam tata tertib yang cukup ketat dalam memasuki kawasan suci Pura. Relasi antara pendidikan agama Hindu dengan pendidikan pramuwisata ditemukan melalui serangkaian tahapan seperti: knowledge (pengetahuan); comprehention (pemahaman); aplication (penerapan); analysis (analisis), sinthesis (sintesa), dan evaluation (evaluasi). Hasil dari pendidikan pramuwisata yang memiliki aplikasi pendidikan Hindu sesungguhnya menciptakan keberhasilan berupa praktik pramuwisata yang profesional, bertanggungjawab, dan memiliki etika kepemanduan. Namun ditemukan juga praktik yang berkecenderungan pada dua karakter yakni sebagai pengeksplorasi budaya atau sebaliknya justru sebagai penentu batas sakral kawasan suci bagi wisatawan.]]>
<![CDATA[DEGRADASI ETIKA BUSANA SEMBAHYANG UMAT HINDU ]]>
<![CDATA[I Gde Widya Suksma]]>;
<![CDATA[I Gusti Ketut Widana]]>
<![CDATA[ WIDYANATYA Vol 3 No 1 (2021): Widyanatya: Jurnal Pendidikan Agama dan Seni ]]>
Publisher : <![CDATA[UNHI PRESS ]]>
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DOI: 10.32795/widyanatya.v3i1.1679
<![CDATA[Reflecting on the Balinese civilization in the past, it turns out that it is known, not because of the absence of no rma or past society ethics , which made most Balinese (Hindus) not wear complete clothes (especially without clothes), but simply because of the level of civilization at that time. such is the situation. The situation at that time was much influenced by the difficult economic situation , thus making the conditions of the Balinese people difficult . For example, the problem of food (welfare) is still very concerning. Especially for business clothing (clothes) looks all round economical, especially because of the limitations of k Capacity of . Do not be surprised if later on average apparel/ clothing is worn, both of men and woman. But when progress in various fields, especially the economy is getting better, new problems arise, not located in the completeness of fashion, but rather the occurrence of the phenomenon of ethical degradation of dress, especially when the people carrying out the event praying.]]>
<![CDATA[PERUBAHAN SISTEM WARNA MENJADI WANGSA, LABELING KASTA PADA MASYARAKAT BALI ]]>
<![CDATA[I Gusti Ketut Widana]]>;
<![CDATA[I Gede Widya Suksma]]>
<![CDATA[ WIDYANATYA Vol 3 No 2 (2021): Widyanatya: Jurnal Pendidikan Agama dan Seni ]]>
Publisher : <![CDATA[UNHI PRESS ]]>
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DOI: 10.32795/widyanatya.v3i2.2116
<![CDATA[At least there are some ties that make Balinese people's lives strongly bound, such as the "Color" system, which later developed into "Wangsa", which apparently cannot be separated from "Soroh", a kind of grouping of people based on blood relations by following the "Purusa" lineage vertically. In subsequent developments, the existence of "Color, House, and Soroh" is often identified, even explicitly mentioned as a form of "Casta", moreover it is also equipped with the appendages of "titles/titles" for each along with a hierarchical structure that is so well known and recognized. accepted as it is in the midst of Balinese society who incidentally is Hindu. This change in the Color system to Wangsa then became a kind of labeling the existence of a caste system in Balinese society.]]>
<![CDATA[MITOLOGI SEBAGAI LANDASAN PENGUAT PRAKTEK RITUAL HINDU ]]>
<![CDATA[I Gusti Ketut Widana]]>;
<![CDATA[I Ketut Winantra]]>;
<![CDATA[Dewa Kadek Sudyana]]>
<![CDATA[ WIDYANATYA Vol 4 No 1 (2022): Widyanatya: Jurnal Pendidikan Agama dan Seni ]]>
Publisher : <![CDATA[UNHI PRESS ]]>
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<![CDATA[One of the reinforcing foundations in Hindu ritual practice is matters related to mythology (myth). The basis of this mythology is related to something 'occult' and even 'mystical' which is packaged in the form of a story or story, complete with all sanctions, precisely the risks that can occur and be experienced if you do not carry out as mandated. This mythological foundation then makes Hindus in carrying out their yadnya ritual obligations so obedient, submissive and sometimes even shrouded in fear. Fear not to do what is told in the myth. Because in the myth also equipped with various kinds of risks in the form of threats and even punishments that can occur, befall or be experienced by the people. This article will examine why mythology is the basis for strengthening every ritual practice of Hindus. ABSTRAK Salah satu landasan penguat dalam praktik ritual Hindu adalah hal-hal yang berhubungan dengan mitologi (mitos). Landasan mitologi ini berhubungan dengan sesuatu yang bersifat ‘gaib’ bahkan ‘mistis yang dikemas dalam bentuk cerita atau kisah, lengkap dengan segala sanksi, tepatnya risiko yang bisa terjadi dan dialami jika tidak melaksanakan sebagaimana sudah diamanatkan. Landasan mitologi ini kemudian menjadikan umat Hindu dalam melaksanakan kewajiban ritual yadnya begitu taat, tunduk bahkan adakalanya diselimuti rasa takut. Takut untuk tidak melaksanakan apa yang dicerita-kisahkan dalam mitos. Sebab di dalam mitos tersebut juga dilengkapi beraneka rupa risiko berupa ancaman bahkan hukuman yang bisa terjadi, menimpa atau dialami umat. Artikel ini hendak mengkaji mengapa mitologi menjadi landasan penguat dalam setiap praktik ritual umat Hindu.]]>
<![CDATA[PEMANFAATAN SIMBOL SUCI HINDU DALAM INDUSTRI PARIWISATA BALI ]]>
<![CDATA[I Gusti Ketut Widana]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 17 No 1 (2017): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v16i01.79
<![CDATA[In fact, whatever exists, both outside and inherent in the human self is also a series of symbolic nodes which, when interpreted, will puncture or bring about various meanings. Meanings derived from the results of observation, reading, appreciation or even agreement on what is behind the symbols. The essence of the symbol is not merely in what appears in the form of material matter, but rather to what is “hidden†behind the embodiment itself. Likewise with toolsrelated to the implementation of ceremony / upakara yadnya very rich symbol, and certainly has a sacred value (sacred) which is only limited to be used in establishing a relationship to Hyang Widhi bhakti and all his manifestations. If then because of the unique aesthetic look of the media the sacred symbol is then used for the benefit of the tourism industry, as long as it remains in the context as it is displayed in terms of the implementation of yadnya, certainly not a problem. But if the sacred symbol media is only manipulated to be taken in aesthetic terms and then packaged as part of commercialization, then in addition to the risk of harassment and even desecration, is also likely to rip the religious emotions of Hindus who strongly believe the sanctity of the symbol as a sacred device that is oriented transcendental, The appearance of financially sourced material for sale.]]>
<![CDATA[TATTOO GANESA, TATU BAGI UMAT HINDU ]]>
<![CDATA[I Gusti Ketut Widana]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 18 No 1 (2018): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v1i18.99
<![CDATA[The influence of tourism for the majority of Balinese Hindus making the existence of Bali Island a enter of national tourism development, even international. Added to the acceleration of the rate of modernization with the wave of globalization that is so powerful, whether or not it has entered and touched, even slowly but surely has eroded the established order of Bali’s scene with all its changes. At least in terms of openness, Balinese people (Hindus) tend to be so easy to accept outside elements (foreign), almost without selection. The permissiveness or the letting go of what comes has made the Hindus so vulnerable to be affected, especially by the negative, destructive and counterproductive influences to the religiously defended values that are morally vested in the value of money. Like the commodification of the values of holiness or sacredness of the sacred symbol of Hindu like god Ganesha which by the tourism businessmen has made as Tattoo object with the human body media (male/ female) as a canvas, which is not uncommonly painted on the sensual organ. The Tattooo of Dewa Ganesha on the human body is actually a Tatu (wound) that slashed even sliced the heart, feelings and inner state of thhe Hindus, because the figure of Ganesha worshiped has been dumped, harassed and even tainted by sacredness solely for the taste of tourists for the benefit of material gain/ financial for the perpetrators of tourism.]]>
<![CDATA[AKTIVITAS RITUAL UMAT HINDU, ANTARA REPRODUKSI IDENTITAS DAN RELIGIOSITAS ]]>
<![CDATA[I Gusti Ketut Widana]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 18 No 2 (2018): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v9i2.141
<![CDATA[Pengaruh modernisasi di era globalisasi, secara simultan turut mendistorsi segala tatanan mapan yang di waktu lalu sudah berjalan secara ideal-konseptual, namun kini bergerak cepat dan cenderung berkembang ke arah situasional-kontekstual. Kondisi ini akhirnya menampakkan wujudnya, ketika umat Hindu melaksanakan kewajiban beragama, terutama dalam bentuk ritual, tak dapat dihindari telah disusupi pengaruh gaya hidup kontemporer yang lebih mementingkanpenampilan fisikal/personal dan sajian material, daripada peningkatan rohani guna mencapai kesadaran spiritual. Sehingga aktivitas ritual tampak sebagai media artikulasi reproduksi identitas, dan belum mengarah pada obsesi penguatan religiositas.]]>
