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All Journal MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Abdi Seni Tamumatra : Jurnal Seni Pertunjukan Journal of Music Science, Technology, and Industry (JOMSTI) Widyanatya: Jurnal Pendidikan Agama dan Seni Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Ghurnita: Jurnal Seni Karawitan Jurnal Pengabdian Seni Abdi Widya: Jurnal Pengabdian Masyarakat Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Ni Putu Hartini
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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Pertunjukan Gender Wayang Pada Pekan Seni Remaja Kota Denpasar Kajian Bentuk, Estetika, Dan Makna Hartini, Ni Putu
Kalangwan : Jurnal Seni Pertunjukan Vol 3 No 1 (2017): Juni
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (13954.646 KB) | DOI: 10.31091/kalangwan.v3i1.160

Abstract

Gender Wayang merupakan salah satu jenis gamelan Bali golongan tua. Teknik permainan yang cukup sulit menyebabkan kurangnya minat generasi muda untuk mempelajarinya sehingga peminatnya hanya dari kalangan tua. Pada kenyataannya, sejak tahun 2005 Gender Wayang dijadikan salah satu materi dalam Pekan Seni Remaja (PSR) Kota Denpasar. PSR dijadikan sarana sebagai upaya pemerintah untuk menarik minat generasi muda dalam melestarikan Gender Wayang. Sejak diadakannya PSR Kota Denpasar terjadi fenomena menarik terhadap keberadaan Gender Wayang. Penelitian ini merumuskan tiga hal. Pertama, bagaimanakah bentuk pertunjukan Gender Wayang pada PSR Kota Denpasar? Kedua, apa sajakah kreativitas estetik dalam pertunjukan Gender Wayang pada PSR Kota Denpasar? Ketiga, apakah makna pertunjukan Gender Wayang pada PSR Kota Denpasar?. Metode yang digunakan adalah metode deskriptif dengan pendekatan kualitatif. Pemahaman bentuk, estetika, dan makna pertunjukan Gender Wayang dalam penelitian ini dianalisis dengan menggunakan teori bentuk, teori estetika, dan teori semiotika. Hasilnya ditemukan bahwa pertunjukan Gender Wayang pada PSR Kota Denpasar merupakan salah satu ajang kreatif dan upaya pelestarian serta pewarisan nilai-nilai budaya tradisional kepada para pelajar. Pertunjukan Gender Wayang memiliki bentuk-bentuk estetis, yaitu dari segi bentuk instrumen dan bentuk penyajiannya. Kreativitas estetik dapat dicermati melalui trik-trik atau aksen dalam memainkan gending Gender Wayang serta penataan gerak, gaya, dan ekspresi dalam penampilan penabuh pada PSR Kota Denpasar. Makna yang terkandung dalam pertunjukan Gender Wayang pada PSR Kota Denpasar meliputi makna kreativitas, makna pelestarian, makna pendidikan, makna kompetisi, dan makna aktualisasi diri.
Konsep Dualistis dalam Pertunjukan Gender Wayang pada Pekan Seni Remaja Kota Denpasar Tahun 2015 Ni Putu Hartini
Journal of Music Science, Technology, and Industry Vol. 4 No. 1 (2021)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This paper discusses Gender Wayang, which is one of the older Balinese gamelan types. The progress that has occurred is that the public's interest in the Gender Wayang instrument is growing due to the orientation of the function which prioritizes as a form of performance that has aesthetic elements. Research methods: Qualitative research methods are carried out by relying on field data, applied to primary and secondary data sources where the data collected is carried out through direct interviews with creators or artists. Results and discussion: One form of this performance is at Pekan Seni Remaja Denpasar (Denpasar Youth Art Week), which is presented by a group of SMPN 6 Denpasar musicians. This is interesting as well as a challenge to examine the problem of how the Dualistic Concept in the Gender Wayang Performance at the Denpasar Youth Art Week 2015. The dualistic concept in the Gender Wayang performance at the Denpasar Youth Art Week 2015 can be seen from every element in the Gender Wayang performance. Implication: This dualistic concept can be viewed from the form of the instrument or the Gamelan Gender Wayang itself and its presentation system.
PERAN REMAJA PUTRI DALAM MELESTARIKAN GAMELAN GENDER WAYANG DI KOTA DENPASAR Ni Putu Hartini
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.v3i2.2118

Abstract

Gender Wayang is a Balinese gamelan musical instrument that is very special because it has a form, repertoire, and techniques to grow with virtuosic skills. The once dominant Gender Wayang gamelan grower is still played by men, but with the development of the times or the influence of globalization causes a shift from male anchors to the entry of female growers, especially those who are rife today in Denpasar city, namely young women. This research examined how the role of young women as well as the function of the role of young women in preserving Balinese culture, especially gamelan Gender Wayang in Denpasar City. This research is conducted with a qualitative approach with case study research design. The results of this study show that the contribution of the role of gender in the form of the role of young women in the Gender Wayang brings social and cultural changes in terms of the respect of this emancipation movement leading young women to participate in playing the Gender Wayang and has an impact on the development of its function in socio-culture, aesthetic presentation and economic function.
Musical Composition of Gender Wayang "Silat Lidah" | Komposisi Musik Gender Wayang "Silat Lidah" Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 1 (2021): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i1.311

Abstract

Silat Lidah is a musical composition that uses the Instrument of Gender Wayang as a medium for expressing interesting musicals such as melody, rhythm, timbre (sound color), tempo, and dynamics. The meaning of Silat Lidah is to harmonize the family who are debating. The shape or structure of this music uses intermittent musical sentences in tempo and dynamics for different in perception in family conflicts. The concept of the Silat Lidah is divided into three parts, from the three sections producing different characters for approval of the Silat Lidah. The Karawitan artwork with the title Silat Lidah is displayed in Pura Dalem, Desa Adat Munggu, which is supported by 4 musicians or performers including composer who participate in the presentation. The selected musician or performer is a player who has expertise in Gender Wayang musics consisting of two players of Gender Wayang Pemade and two players of Gender Wayang Kantilan.
Wira Chandra New Music Creation | Musik Kreasi Baru Wira Chandra I Made Dwi Rustika Manik; I Nyoman Sudiana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 1 No 3 (2021): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v1i3.383

Abstract

The composition of Wira Chandra is inspired by the characteristics of a teacher who is teaching his students, the stylist is interested in bringing the event into a work idea that will be transformed into a slick and spectacular musical composition. Wira Chandra is a warrior who has a strong personality and an attitude of compassion by interpreting ideas from the characteristics of a teacher. Creating a work of Wira Chandra's art will be poured into one of the Balinese gamelan expression media, namely Gong Kebyar. Wira Chandra's compositional work is a slow composition inspired by the character of a teacher who is packaged into a creative slow dance using the basic Tri Angga Pegongan structure, and the stylist breaks down the structure into Kawitan, Pengawak, Pengisep, Pengcet, Ngembat and Pekaad, beat egg or mad. The realization of Wira Chandra's work is through a creative process which is divided into three stages, namely exploration, improvisation, and forming.
Composition karawitan Bali "Pajegan" | Komposisi Karawitan Bali “Pajegan” I Nyoman Juniarta; I Nyoman Sudiana; Ni Putu Hartini
GHURNITA: Jurnal Seni Karawitan Vol 2 No 1 (2022): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

There are various kinds of things that can make us feel beautiful when we experience them and the various processes that the stylists go through to create pajegan musical works. Pajegan's musical works are inspired by the mapeed tradition in the Kapal Adat Village, the stylists analogize or discuss a form of pajegan into music. Pajegan is a Balinese term which is generally often called Gebogan, which is an offering made to God Almighty or Sang Hyang Widhi Wasa. The process of creating this work is carried out in 3 stages, namely initial stimulation combined with the concept of Alma M. Hawkins in the book consisting of Exploration, Improvisation and Formation. This work is manifested in the form of a pepangulan percussion that remains grounded in the realm of tradition. In this piece of pajegan music using the medium of expressing the Gamelan Gong Kebyar barungan where the number exceeds 30 people, this work is also carried out with an experimental stage process and carries out a systematic development of the motifs of the game.
DEVELOPMENT OF GENDING GENDER WAYANG BANASPATI TENGANAN PEGRINGSINGAN KARANGASEM STYLE IN BANJAR LUMINTANG, DAUH PURI KAJA VILLAGE, DENPASAR UTARA DISTRICT, KODYA. DENPASAR I Gusti Putu Sudarta; I Bagus Wijna Bratanatyam; Ni Putu Hartini
Abdi Seni Vol 12, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v12i2.3912

Abstract

AbstrakPenelitian ini mengenai pembinaan atau pelatihan gending Banaspati dari Desa Tenganan Pegringsingan. Komposisi gending Banaspati ini merupakan gending gender terpanjang setelah gending Bimaniu yang terdiri dari 11 palet (bagian). Saat sekarang ini Gending Banaspati di Desa Tenganan Pegringsingan tidak lagi ada yang mempelajarinya karena generasi muda di sana tidak ada yang tertarik dan berminat untuk belajar menabuh gender wayang. Metode pelaksanaan dalam pembinaan ini yaitu metode demonstrasi dengan cara menceritakan dan memperagakan bagian-bagian dari Gending Banaspati. Tujuan penelitian ini adalah menyelamatkan atau merekontruksi gending Banaspati sehingga tidak mengalami kepunahan. Hasil dari pembinaan ini menunjukkan Gending Banaspati dapat dikuasai dengan baik oleh peserta pelatihan di Sanggar Seni Pasraman Prabha Budaya Denpasar. Keberhasilan penguasaan gending yang tergolong panjang ini karena diterapkannya metode pelaksanaan penuangan gending yang tepat dan efektif, seperti membagi gending yang panjang menjadi phrase-phrase dan pattern-pattern. Phrase-phrase dan pattern-pattern yang menjadi vokabuler pembelajaran untuk menguasai keseluruhan lagu dan secara otomatis juga meningkatkan kemampuan teknik permainan menabuh gender wayang. Kata Kunci: Pembinaan, Gending Banaspati, Gender Wayang AbstractThis research is about the couching or training of song or gending Banaspati from Tenganan Pegringsingan Village. Gending Banaspati's composition is the longest gending gender wayang after Bimaniu consisting of 11 pallets (parts). Currently Gending Banaspati in Tenganan Pegringsingan Village is almost gone since the interest in learning of gender wayang decreasing especially for the younger generation. The method of implementation in this training is a method of demonstration by demonstrating parts of Gending Banaspati. The purpose of this study was to preserve or reconstruct gending Banaspati so that it would not be extinct.. The results of this training has shown Gending Banaspati could be mastered well by trainees in Sanggar Seni Pasraman Prabha Budaya Denpasar. The successful in mastering of this relatively long gending or song because of the appropriate application and effective methods of presenting gending, such as dividing long gending into phrases and patterns. Phrases and patterns that became learning vocabuler to master the entire gending and automatically also improved the ability of playing techniques in gender wayang . Keywords: Construction, Gending Banaspati, Gender Wayang 
PEMBINAAN SENI TARI, TABUH, DAN MUSIK DI DESA BUWIT, KECAMATAN KEDIRI, KABUPATEN TABANAN Ni Made Dian Widiastuti; Ni Wayan Iriani; A.A. Trisna Ardanari Adipurwa; Ni Made Haryati; I Gede Gunadi Putra; Ni Putu Sandra Devindriati Kusuma; Ni Putu Hartini
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 1 No 2 (2022): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (573.82 KB)

Abstract

Tujuan kegiatan ini untuk mengajak generasi muda melestarikan seni tradisi di kalangan generasi muda, sekaligus sebagai terapi dalam menghindari pengaruh gawai digital yang menghambat kemampuan berkomunikasi generasi dini. Kegiatan dilakukan dalam jangka waktu enam minggu, dengan pertemuan tatap muka langsung. Teknik pengajaran dilakukan dengan pemberian contoh gerak dari pengajar yang kemudian ditirukan oleh peserta. Hasilnya generasi muda di Desa Buwit, menguasai tari Pendet, tari Rejang Dewa, tari Wirayuda, dan gamelan pengiring tari Pendet. Kemudian untuk anak-anak usia dini, telah berani untuk berkomunikasi dan mengungkapkan emosinya melalui kegiatan musik dan bernyanyi bersama. Kegiatan ini memberi semangat positif bagi masyarakat di Desa Buwit. Bagi orang tua, mereka sangat senang anak-anak mereka dapat melakukan kegiatan positif dan jauh dari gawai. Lalu yang terpenting adalah seni tradisi Bali dapat terus berlanjut.
Komposisi Tabuh Kreasi Sekar Taji I Kadek Deo Sandiawan; Hendra Santosa; Ni Putu Hartini
Journal of Music Science, Technology, and Industry Vol. 5 No. 2 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (593.968 KB)

Abstract

Purpose: The creation of a musical piece of musical art creation "Sekar Taji" is to realize the imagination or thoughts of the stylist in a new creative musical work. The stylist got an idea from his own experience to make a creative percussion using the gamelan Gong Kebyar as a medium of expression. Research Method: To achieve Balinese musical works, the stylist uses several methods or stages for the creation process, namely the first with the preparation stage, the exploration stage, the formation stage, the guidance stage and the presentation stage. Results and discussion: The Tabuh Kreasi work "Sekar Taji" uses a kawitan, gendered, bapang and pusher structure by combining musical elements such as dynamics, tempo, melody and rhythm that are combined in such a way as to achieve a karawitan musical work, namely percussion creations. Implication: This work is manifested into a creative percussion through a creative process using existing patterns and patterns of strokes as a means of stimulating creativity in the sector of musical art.
Pembinaan Pupuh Macepat “Surki” pada Sekaa Pasantian Swasti Marga Brata di Desa Selisihan Klungkung I Kadek Widnyana; Ni Komang Sekar Marhaeni; Ni Putu Hartini
Abdi Seni Vol 13, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v13i2.4503

Abstract

“Surki” is an acronym for the word sasur siki. Sasur (pasasur) means thirty-five, and asiki means one. Therefore, in this context, pasasur asiki is 36 pupuh (traditional poem) verses/stanzas containing the implementation of 36 items of Pancasila (Five Principles of Indonesia). It is summarized into seven types of pupuh/macapat songs by an art maestro, I Made Sija, namely pupuh Sinom, Pucung, Ginada, Durma, Maskumambang, Pangkur, and Dandang. What makes it unique is that the lyrics contain Pancasila’s noble values, namely divinity, humanity, unity, democracy, and justice, applied in thirty-six pupuh verses that adopt 36 Pancasila values. During Suharto’s New Order in Indonesia, this activity belongs to the Program of Guidelines for the Appreciation and Practice of Pancasila (P4). Then in PKM, the development of the Macapat songs focused on identifying the importance of fostering the Pupuh Macepat “surki” as a medium for guiding Pancasila values for the people of Selisihan Klungkung village. In addition, there has never been a pupuh containing 36 points of Pancasila values and the preservation of the “surki” pupuh by the Pasantian group of people in Selisihan Klungkung village.
Co-Authors A.A. Trisna Ardanari Adipurwa Haryati, Ni Made I Bagus Wijna Bratanatyam I Gede Gunadi Putra I Gusti Putu Sudarta I Kadek Deo Sandiawan I Kadek Widnyana, I Kadek I Komang Werdi Darmawan I Made Dwi Andika Putra I Made Dwi Rustika Manik I Nyoman Juniarta I Nyoman Mariyana I Nyoman Nyoman Mariyana I Nyoman Sudiana I Pande GedeYudista Wijasa I Putu Angga Mahendra I Putu Dony Suryawan I Putu Pryagus Nyoman Sana I putu Restu Andika Ida Bagus Oka Prabawa Iriani, Ni Wayan Marhaeni, Ni Komang Sekar Masyuni Sujayanthi, Ni Wayan Ni Komang Sekar Marhaeni Putu Sandra Devindriati Kusuma Putu Tiodore Adi Bawa Santosa, Hendra Tudhy Putri Apyutea Kandiraras Widiastuti, Ni Made Dian