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All Journal DHARMASMRTI: Jurnal Pascasarjana UNHI Widyanatya: Jurnal Pendidikan Agama dan Seni
I Putu Gede Padma Sumardiana
UNHI
Religion Arts Education

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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.
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 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.
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.
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

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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.
DINAMIKA KERAJINAN PATUNG KAYU DALAM MENDUKUNG PARIWISATA BUDAYA BALI I Wayan Arissusila; I Gusti Ayu Nilawati; I Putu I Gede Padma Sumardiana
DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 20 No 2 (2020): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan
Publisher : Pascasarjana Universitas Hindu Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/ds.v20i2.1039

Abstract

Kebudayaan di Kabupaten gianyar telah berkembang sejak lama terutama yang berkaitan dengan upacara religius, pertanian dan penciptaan karya seni, salah satunya yaitu kerajinan patung kayu di Batubulan Kangin. Masyarakat mengawali kegiatan kesenian pembuatan patung sejak tahun 1968-1970, seperti pembuatan patung garuda Wisnu, dan kebanyakan mengambil tema ramayana. Kegiatan tersebut juga dilanjutkan dengan pemasaran dan berhasil memotivasi perajin untuk meningkatkan kreatifitasnya. Dinamika kerajinan patung kayu di Desa Batubulan Kangin dalam mendukung pariwisata budaya Bali menarik dikaji dari sudut pandang teori estetika dan teori perubahan sosial. hasil penelitian ini yaitu kerajinan patung kayu di Desa Batubulan Kangin merupakan karya budaya yang memiliki karakteristik yang khas sehingga menambah ragam kerajinan patung di Bali. Apalagi adanya pariwisata, perajin seakan berlomba menciptakan patung baru yang dijajakan kepada wisatawan, terutama dalam sebagai cenderamata. Penjualan patung kayu di desa tersebut belakangan ini mengalami penurunan, tetapi produksi tetap tinggi. hal ini dilakukan untuk melestarikan karya budaya adiluhung dan mengantisipasi kerajinan itu agar tidak ditelan zaman serta dapat bersaing di pasaran.
FUNGSI GAMBAR KARTUN DALAM KEHIDUPAN MANUSIA I Putu Gede Padma Sumardiana; Ni Luh Putu Trisdyani
WIDYANATYA Vol 4 No 2 (2022): Widyanatya: Jurnal Pendidikan Agama dan Seni 
Publisher : UNHI PRESS

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Abstract

ABSTRAK Kartun merupakan salah satu media yang sangat baik digunakan sebagai hiburan yang murah dikarnakan kartun dapat kita nikmati atau tonton secara gartis di televisi maupun maupun secara online (komputer), selain itu kartun juga dapat digunakan sebagai media “pembantu”, dalam artian untuk mempermudah penyampaian sesuatu kepada masyarakat seperti pada dunia pendidikan, politik dan seni karena sifat dari kartun notabene bersifat lucu dan bertendensi parodi. Terkait fungsi dari kartun pada kehidupan manusia dapat dispesifikasikan menjadi lima hal yaitu: Kartun sebagai media hiburan yang murah meriah, Sebagai media untuk bercerita, Media untuk berekspresi, Media pendidikan, Media pariwisata, Sebagai media propaganda. ABSTRACT Cartoons are one of the best media to use as cheap entertainment because cartoons can be enjoyed or watched for free on television or online (computers), besides that cartoons can also be used as "helper" media, in the sense of facilitating the delivery of something. to the public such as in the world of education, politics and the arts because the nature of cartoons is actually funny and has parody tendencies. Regarding the function of cartoons in human life, it can be specified into five things, namely: Cartoons as cheap entertainment media, As media for storytelling, Media for expression, Media for education, Media for tourism, As propaganda media.
KAYU PULE SEBAGAI MEDIA PEMBUAT TOPENG BALI I Putu Gede Padma Sumardiana; I Wayan Sukadana; I Nyoman Winyana
WIDYANATYA Vol 5 No 1 (2023): WIDYANATYA: JURNAL PENDIDIKAN AGAMA DAN SENI
Publisher : UNHI PRESS

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Abstract

ABSTRAK Masyarakat Bali memiliki aktivitas keagamaan, seni dan budaya yang melibatkan atau menggunakan topeng (tapel). Seiring perkembangannya, topeng-topeng yang di buat dari kayu dengan berbagai ukuran, digunakan dengan tujuan yang berbeda-beda. Selain itu, dinamika budaya topeng di Bali juga diwarnai dengan munculnya topeng-topeng ciptaan baru hasil olah kreativitas para seniman setempat. Hal ini mengisyaratkan bahwa budaya topeng Bali terus hidup dan berdegup sesuai denyut kreativitas senimannya. Penulis pada kesempatan kali ini menggunakan pendekatan secara kualitatif karena metode ini dapat digunakan untuk mengungkapkan dan memahami sesuatu dibalik fenomenayang belum diketahui oleh orang banyak. Topeng atau tapel bali pada umumnya dibuat dari kayu yang dipercaya memiliki unsur magis atau pun memiliki nilai sakral Kata kunci: Kayu Pule, Media, Topeng Bali ABSTRACT Balinese people have religious, artistic and cultural activities that involve or use masks (tapel). As it develops, masks made of wood of various sizes are used for different purposes. Apart from that, the dynamics of mask culture in Bali is also marked by the emergence of new masks created by the creativity of local artists. This indicates that Balinese mask culture continues to live and beat according to the pulse of the artist's creativity. The author on this occasion uses a qualitative approach because this method can be used to reveal and understand something behind a phenomenon that is not known by many people. Balinese masks or tapels are generally made of wood which is believed to have magical elements or has sacred values Keywords: Pule Wood, Media, Balinese Mask
PENGUATAN NILAI PENDIDIKAN LEWAT GAMELAN GANDRUNG DALAM UPACARA PIODALAN NGINGKUP DI PURA TAMAN LIMUT, PENGOSEKAN KELOD, MAS, UBUD, GIANYAR I Wayan - Sukadana; I Putu Gede Padma Sumardiana -; I Putu Agustana -; Pande Gde Eka Mardiana -; I Komang Gede Sandanu Arta -
WIDYANATYA Vol 5 No 02 (2023): Widyanatya: Jurnal Pendidikan Agama dan Seni
Publisher : UNHI PRESS

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Abstract

ABSTRACT Gandrung Gamelan is a Balinese gamelan which is a rare type of gamelan, not many areas in Bali, especially in Gianyar Regency, have Gandrung Gamelan, while several areas in the Gianyar Regency area that have Gandrung Gamelan are Banjar Tegenungan, Banjar Pakuwudan, Banjar Sebali, Susut Traditional Village, and Banjar Pengosekan Kelod. Gandrung Gamelan. Like the Gandrung Gamelan at Taman Limut Temple, Banjar Pengosekan Kelod, this Gandrung Gamelan has a unique instrument, its sacred function, where the Gandrung Gamelan at Taman Limut Temple is performed every time the Piodalan Ngingkup is held. Why is the Gamelan Gandrung tradition in the Ngingkup Ceremony at Taman Limut Temple still carried out and what is its educational value to society? The aim of the research is to explain the educational value contained in the Gandrung gamelan tradition. In this research, a qualitative approach is more appropriate to be developed on the grounds that the data obtained from observations, interviews and document studies are spread across the Pengosekan community area. The discussion in it also involves aesthetic and behaviorist theories. The results of his research found that the presence of Gandrung gamelan for society has educational value as an important form of bond in maintaining ritual life as a form of strengthening the existence of religion. Keywords: gamelan music, educational value, limut garden.
Co-Authors I Gusti Ayu Nilawati I Kadek Sumadiyasa I Ketut Gede Rudita I Komang Gede Sandanu Arta - I Made Sugiarta I Nyoman Winyana I Putu Agustana - I Wayan - Sukadana I Wayan Arissusila I WAYAN SUKADANA Ida Ayu Putu Sari Ni Luh Putu Trisdyani Ni Wayan Yuni Astuti Pande Gde Eka Mardiana -