I Putu Gede Padma Sumardiana
Universitas Hindu Indonesia

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SOUVENIR BAGI WISATAWAN BALI I Putu Gede Padma Sumardiana; Ni Luh Putu Trisdyani
WIDYANATYA Vol 2 No 01 (2020): WIDYANATYA
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v2i01.624

Abstract

Era globalisasi saat ini telah melahirkan industri baru yaitu berupa industri pariwisata yang telah menggeser nilai-nilai tradisional budaya agraris masyarakat menjadi sekedar hasil produksi berupa jasa dan barang. Dengan merebaknya industri pariwisata ini, oleh-oleh memiliki prospek tinggi dalam memberikan keuntungan berupa materi bagi masyarakat pariwisata dan menjadikan industri ini sebagai pendapatan terfavorit, karena kedatangan setiap wisatawan yang berkunjung ke sebuah tempat wisata, tentu menginginkan kenang-kenangan untuk dibawa ke Negara mereka masing-masing dan di sinilah peranan penting dari keberadaan souvenir sebagai salah satu komoditi pariwisata selain pertunjukan dan alam.
SENI LUKIS DALAM KACAMATA ILMU SOSIOLOGI I Putu Gede Padma Sumardiana; Ni Luh Putu Trisdyani; Ni Wayan Yuni Astuti
WIDYANATYA Vol 3 No 2 (2021): Widyanatya: Jurnal Pendidikan Agama dan Seni 
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v3i2.2121

Abstract

Sociology is a social science which epistemologically sociology comes from the Latin, namely Socius which means friend, friend, while Logos means knowledge. As a science, sociology is a social knowledge that is composed of the results of scientific thought and can be critically controlled by other people or the public.Painting is a reflection of the state of the environment. When Indonesia was under colonialism, the New Art Movement (GSRB) appeared to undermine the Mooi Indie art building. The Mooi Indie concept was considered not to represent the situation of the oppressed, hungry, sad and depressed people at that time, instead depicting beautiful things (natural landscapes) and manipulating the situation. A paradigm to represent how painting has a close relationship with sociology.
KUASA PENDIDIKAN ERA GLOBAL PADA SENI TRADISI GENGGONG DI DESA BATUAN, STUDI KASUS SENI PERTUNJUKAN GENGGONG I Nyoman Winyana; I Made Sugiarta; I Putu Gede Padma Sumardiana
WIDYANATYA Vol 1 No 1 (2019): widyanatya
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v1i1.271

Abstract

ABSTRAK Salah satu penyebab keberadaan kesenian Genggong menjadi tidak populer dalam kehidupan masyarakat masa Global adalah peran pendidikan yang diduga tidak berpihak pada seni Genggong seperti di Desa Batuan. Seni pertunjukan Genggong Batuan di era tahun 1973 sempat menjadi karya seni pertunjukan yang mengundang perhatian khususnya pada pertunjukan seni hiburan. Kekhasan dan keunikan bentuk karya ternyata tidak cukup mampu mempertahankan populeritasnya di panggung hiburan. Kajian tulisan ini berangkat dari metode kualitatif yang dirancang guna memperoleh jawaban secara lebih mendalam. Analisis data dilakukan dengan memperhatikan keabsahan data langsung di lapangan selain dokumentasi tersimpan. Teori yang dipakai membedah persoalan kuasa adalah diambil dari teori kuasa yang menekankan pada ranah kuasa dan juga habitus yang terjadi di masyarakat. Hasil akhir kajian ini adalah temuan yang berhubungan dengan proses pendidikan seni tradisional Genggong nyatanya tidak terkait dengan aktivitas kegiatan yang hiburan. Keterlantaran yang diakibatnya oleh perubahan gaya hidup dan struktur yang kurang berpihak pada seni Genggong Desa Batuan. ABSTRACT One of the causes of the existence of Genggong art became unpopular in the lives of the people of the Global period was the role of education which was allegedly not in favor of Genggong art such as in the Village of Batuan. The performance of Genggong Batuan in the 1973 era had become a performance art work that drew attention especially to entertainment art performances. The peculiarity and uniqueness of the form of work turned out to be not enough to maintain its popularity on the entertainment stage. The study of this paper departs from qualitative methods designed to obtain answers in more depth. Data analysis is done by paying attention to the validity of direct data in the field besides the stored documentation. The theory used to dissect the issue of power is taken from the theory of power which emphasizes the realm of power and also habitus that occurs in society. The final result of this study is that findings related to the process of traditional Genggong art education are in fact not related to entertainment activities. The negligence that was caused by changes in lifestyle and structure was not in favor of Genggong Desa Batuan art.
PENGEMBANGAN TABUH TARI WALI SANGGAR SENI PARI GADING DESA PUPUAN SAWAH, KECAMATAN SELEMADEG, KABUPATEN TABANAN I Ketut Gede Rudita; I Putu Gede Padma Sumardiana; Ida Ayu Putu Sari
WIDYANATYA Vol 1 No 2 (2019): WIDYANATYA
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v1i2.500

Abstract

In general, what is meant by percussion has to do with sounding the gamelan. Maybe by hitting, blowing, swiping and others. Tet Port or percussion is interpreted by the sound of gamelan music in a performance, as a supporter of a ceremony or accompaniment of a dance. Specifically in Balinese musical meaning, what is meant by percussion is the result of the artist's ability to achieve a balance of the game in realizing a repertoire (reportoar) to match the soul, taste and purpose of the composition. Beating does not mean the origin of hitting the gamelan following a melody, but hitting the gamelan with all the rules or procedures that have been determined so that the sound of the gamelan can be heard beautifully. The beauty arising from the sound of the gamelan, not only depends on one factor, for example, because the composition of the song is played well, but the beauty occurs due to a balance between the song composition factors, the sound of the gamelan itself including the barrel, the procedures or rules for voicing the gamelan, skills and the artist's ability to animate the song's play. The implementation of religious traditions in the Pupuan Sawah Village is always accompanied by percussion or gamelan to show an aesthetic or beauty and contain the full meaning of sacredness.
SENI LUKIS WAYANG KOPANG PERSPEKTIF PENDIDIKAN SENI RUPA HINDU I Kadek Sumadiyasa; I Wayan Arissusila; I Putu Gede Padma Sumardiana; Ni Luh Putu Trisdyani
WIDYANATYA Vol 3 No 1 (2021): Widyanatya: Jurnal Pendidikan Agama dan Seni 
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v3i1.1687

Abstract

Kopang Puppet Art Painting in Kopang Workshop Kerambitan Village Tabanan Regecy is a work of fine art education and Hindu ornament which is very unique that was inherited traditionally. It is uniquely researched with title Kopang Puppet Art Painting Perspective of Hindu Fine Art Education. With problem, 1) How are the form, function and values of Fine Art education and Hindu Ornaments in it. The result of research analysis found about how is the form of Kopang puppet art painting in Kerambitan village Tabanan that is the form of puppets for Human, God and Goddesses, animal, giant, etc. In the form of tall and big/Landung which consist of 3 parts such as Main (Head of puppet), Madya/Body of the puppet, Nista/Foot of the puppet), With Flat Symmetrical Balanced Composition Arrangement, Simple Dark Color. Materials and tools; canvas, brush, pencil, Ornaments; simple. Process; sketch, ngorten, coloring, nyawi, decorating. The function of Kopang puppet art painting; Religion as Srada Bakti, Culture as classic fine art preservation, Education as character education of Hindu fine art, as well as functioned as identity. The educational values of fine art and Hindu ornaments in Kopang puppet art painting; Educational, sincerity, creativity, unity values.
PENGELOLAAN KARYA LUKIS DI MUSEUM LUKISAN SIDIK JARI I Putu Gede Padma Sumardiana; Ni Luh Putu Trisdyani
WIDYANATYA Vol 4 No 1 (2022): Widyanatya: Jurnal Pendidikan Agama dan Seni 
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The importance of art management to manage artistic activities is often overlooked by art performers. The lack of attention of artists to art governance often leads to a lack of professional performance in managing works of art (painting). This phenomenon causes not many artists to be known in the community because of the lack of information about works of art (painting) or the studio where the artist creates his work.The maintenance of works at the Fingerprint museum to the cleanliness of the works is done personally. Of course, for the distribution of works and maintenance of works, the quality and quality are guaranteed because Ngurah Gede Pemecutan has so much experience when he was the head of a division in a foreign company. This experience has enabled him to manage this museum well and sustainably. ABSTRAK Pentingnya manajemen seni untuk mengelola kegiatan berkesenian seringkali diabaikan oleh pelaku seni. Kurangnya perhatian seniman terhadap tata kelola seni sering menyebabkan kurangnya kinerja professional dalam mengelola karya seni (lukis). Fenomena ini yang menyebabkan tidak banyak seniman yang dikenal di masyarakat karena kurangnya informasi mengenai karya seni (lukis) atau studio tempat seniman itu mewujudkan karyanya. Pemeliharaan karya di museum Sidik Jari sampai dengan kebersihan karya dikerjakan secara pribadi. Tentunya untuk pendistribusian karya dan perawatan karya terjamin mutu dan kualitasnya karena begitu banyaknya pengalaman yang dimiliki oleh Ngurah Gede Pemecutan ketika beliau menjabat sebagai kepala bagian di perusahaan asing. Pengalaman inilah yang membuat beliau dapat mengelola museum ini secara baik dan berkelanjutan.