Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra
Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra merupakan jurnal ilmiah yang memiliki misi memperluas kajian bidang bahasa dan sastra daerah sebagai referensi dalam mewujudkan pendidikan bahasa dan sastra daerah sebagai bagian dari kekayaan budaya lokal Nusantara. Penguatan pendidikan bahasa dan sastra daerah penting untuk dioptimalkan, tidak hanya di lingkungan keluarga maupun pendidikan formal saja, tetapi juga melalui kajian-kajian ilmiah hasil penelitian maupun hasil pemikiran yang mengacu pada kaidah-kaidah ilmiah. Tujuannya adalah untuk menjadikan pendidikan bahasa dan sastra daerah sebagai landasan dalam mewujudkan masyarakat yang bermartabat, cerdas, humanis dan berwawasan multikultural.
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<![CDATA[SIWA TATTWA PURANA [RITUAL-RITUAL KEHIDUPAN DAN KEMATIAN] ]]>
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1508
<![CDATA[Shiva Tattwa Purana means ancient stories about the nature of Shiva. This story is begins with a description of Sang Hyang Jagatpati who is in Shiva Loka. Jagadpati is another name for Shiva. Shiva Tattwa Purana provides information and knowledge about Padma Bhuwana, Rituals of Life and Rituals of Death. Padma Bhuwana is a mystical-geographical map. The Ritual of Life according to Shiva Tattwa Purana begins with the union of Smara and Ratih in Cantik Gedong Mas. The ceremony while in the stomach is Pagedong-gedongan. Afterwards continue with the ceremony at twelve days, during a month, three months, six months, start walking and teething, matatah, getting married, then Apodgala. Rituals of Death can be done on people who have a corpse and does not have. This death ritual is carried out starting from the Atiwa-tiwa, Nyekah, Mukur, Ligya to Angluwer levels.]]>
<![CDATA[PERUBAHAN PANGAKSAMA ISTA DEWATA DALAM SASTRA JAWA KUNA KAJIAN TEOLOGI-SASTRA ]]>
<![CDATA[Gede Agus Budi Adnyana]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1511
<![CDATA[Pangaksama dalam sastra Jawa Kuna, menunjukan ista dewata yang dipuja oleh rakawi Jawa Kuna di dalam menuliskan karya sastranya. Secara pasti pangaksama merubah seluruh teologi sastra dari paham Waishnawa menjadi paham Siwaisme yang kenal akan kekuatan magis. Perkembangan dari fase- fase sastra Jawa Kuna, secara keseluruhan merujuk pada keyakinan Siwa sebagai ista dewata yang utama. Bagian terpenting dari sastra itu sendiri adalah untuk menemukan kebijaksanaan dan sastra di sini sebagai penuntun serta petunjuk untuk mengarah kepada kesadaran rohani.]]>
<![CDATA[AKSARA WREASTRA DAN WIJAKSARA DALAM AKSARA BALI (Studi Struktur dan Makna dalam Agama Hindu) ]]>
<![CDATA[I Kadek Widiantana]]>;
<![CDATA[I Made Wiradnyana]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1512
<![CDATA[Humans as socio-cultural creatures can never be separated from the use of symbols, including symbols related to linguistics, which are used as sacred symbols in Hinduism in Bali, namely scripts, both Wreastra and Wijaksara Scripts. Hindus in Bali, for the most part, consider that the Wreastra script is only an ordinary script, which has no philosophical meaning, making researchers interested in studying the philosophical meaning in the Wreastra Script that is accompanied by the study of Wijaksara Script.Starting from this background, there are several research problem formulations, namely what is the meaning of the Wreastra and the Wijaksara Scripts in Hinduism. To answer these problems, the researcher use structural theories, semiotic theories, and theories of meaning. This type of research is qualitative research, with a philosophical-symbolic approach.The results of this study are the Wreastra and Wijaksara scripts have a meaning as worship to the God with all its manifestations adjusted to the script used. The application of the Wreastra and Wijaksara scripts in religious ritual activities in Bali as part of socio-religious activities can be seen from its use in the Rerajahang Kajang, Ulap-Ulap and Pecaruan rites.The conclusion that can be drawn is that the Wreastra and Wijaksara scripts have a high philosophical meaning of God, so that in writing and its use is not arbitrary, always starting with prayer of worship to the God.]]>
<![CDATA[GURU SUŚRUSA DALAM TEKS ĀDIPARWA ]]>
<![CDATA[Ida Bagus Subrahmaniam Saitya]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1596
<![CDATA[Catur guru means four teachers or people who are knowledgeable and provide enlightenment and are able to direct others. In Hinduism, guru is a symbol for a sacred place that contains knowledge (vidya) and also the divisor of knowledge. Catur guru consist of guru rupaka, recitation teacher, local teacher, and self-help teacher. In the teachings of Pañca Nyama Brata there is the teaching of the guru suśrusa. Guru suśrusa means listening to or paying attention to the teachings and advice of the guru. In the Ādiparwa text it is told when the Sang Aruṇika carried out his duty to guard the rice field ordered by his teacher Bhagawān Dhomya. Another student, Sang Utamanyu, was instructed to herd cattle, in carrying out his duties he was very hungry and thirsty so he begged for people, but that was prohibited by Bhagawān Dhomya. Furthermore, Sang Utamanyu drank the rest of cow's milk from the herded calf was also forbidden by his teacher so he drank the sap of waduri leaves which caused the Utamanyu to become blind. The act is a manifestation of the teachings of teachers who are sincere to a teacher. The teachings of the guru suśrusa were also demonstrated by Sang Weda to the teacher. He was ordered to cook and serve various dishes and the order of the Bhagawān Dhomya was carried out as well as possible. The teaching of the guru suśrusa is closely related to the devotional teacher. Bhakti is not only for God, bhakti teachings are also applied to parents. Bhīṣma with his devotion to his father Śantanu was willing to brāhmacari for the rest of his life and did not become king in Hāstina so that his father could marry Gandhawati. The form of devotional service to parents was also demonstrated by the Garuḍa to free his mother Winatā from the enslavement carried out by Kadrū along with her children.]]>
<![CDATA[PERATURAN GUBERNUR BALI NOMOR 80 TAHUN 2018 TENTANG PELINDUNGAN DAN PENGGUNAAN BAHASA, AKSARA, DAN SASTRA BALI SERTA PENYELENGGARAAN BULAN BAHASA BALI ]]>
<![CDATA[Ni Made Muliani]]>;
<![CDATA[I Made Sukma Muniksu]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1600
<![CDATA[Penulisan artikel ini bertujuan untuk mengemukakan tentang Peraturan Gubernur Bali nomor 80 Tahun 2018 tentang Pelindungan dan Penggunaan Bahasa, Aksara, dan Sastra Bali serta Penyelenggaraan Bulan Bahasa Bali. Bahasa adalah alat untuk berkomunikasi dan mengadakan interaksi sosial. Bahasa daerah (bahasa Ibu) merupakan salah satu warisan kekayaan intelektual yang diturunkan dari satu generasi ke generasi lainnya. Keragaman bahasa daerah memberikan nuansa unik terhadap Indonesia di mata dunia. Bahasa daerah sudah sepatutnya dibina, dikembangkan dan dilestarikan supaya tidak mengalami kepunahan. Bahasa Bali (Bahasa daerah Provinsi Bali) dilindungi oleh Pergub no.80 tahun 2018 yang mengatur tentang penggunaan bahasa daerah secara intens di lingkungan keluarga, sekolah, masyarakat dan lingkungan kerja. Kemampuan bahasa akan semakin terasah apabila sering diterapkan. Penggunaan bahasa Bali sebagai bahasa pergaulan sehari-hari mendorong generasi muda untuk semakin mencintai bahasa daerahnya.]]>
<![CDATA[MAKNA ETIKA SEBAGAI LANDASAN MENTAL SPIRITUAL PENDIDIK YANG PROFESIONAL DI ZAMAN MILENIAL ]]>
<![CDATA[I Made Putra Aryana]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1601
<![CDATA[This article describes educators in applying ethics as spiritual mental foundations in the millennial period. Discussing the importance of ethics as the mental and Spiritual foundation of Hindu educators to control emotions and behaviours in carrying out the duties of education and teaching in the millennial age. Discussed using observation methods, literature studies and interviews. The attitude of a professional educator, which is avoiding the prohibition of Hindu religion that can inhibit the development of professional and student development. Based on the analysis, a profesioteenic education in the millennial period is obliged to uphold ethics as the foundation of its spiritual spirituality. The Foundation has Hindu teachings, such as Panca Sraddha, Catur Purusa Artha, Trikaya Parisudha, Dharma Laksana.]]>
<![CDATA[TUJUAN HIDUP DALAM KACAMATA KITAB SARASAMUCCAYA ]]>
<![CDATA[Anak Agung Gede Wiraputra]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1602
<![CDATA[Veda is the scripture of Hinduism religion. In addition to the Vedic scriptures, Hinduism also knows what is called the smrti scripture. Sarasamuccaya is part of smerti scripture which rich in moral values in it. One of the moral value in the scripture of Sarasamuccaya is Catur Purusartha or Catur Warga which is known as the four goals of human life, such as dharma (truth), artha (wealth/purpose), kama (lust/desire), and moksa (the ultimate goal/deliverance). The purpose of this paper is to uncover the teaching of Catur Purusartha or Catur Warga contained in the scripture of Sarasamuccaya with device in the form of structural and religion theorys supported by content analysis and descriptive analysis methods. The results of the analysis show that the basic purpose of human life is essentially to always try to do good and help yourself from suffering, so as to realize a better life. The discussion of the purpose of life (Catur Purusartha or Catur Warga) in the scripture of Sarasamuccaya, such as: the dharma outlined in the majesty of dharma segments, the source of dharma, and the implementation of dharma. Artha is elaborated through the primacy of world funds. Kama or lust is described in the discussion of kama (lust) and naughty women. Finally, the doctrine of deliverance (moksa) is described in the concepts and nature of the wise. The whole discussion is a practical guide that is very useful for realizing primary life.]]>
<![CDATA[NILAI PENDIDIKAN KARAKTER YANG TERKANDUNG DALAM TEMBANG BALI ]]>
<![CDATA[I Gusti Ngurah Arya Putra]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1603
<![CDATA[Masyarakat Bali dalam hidupnya tak pernah terlepas dengan sebuah sastra. Dalam sastra itu sendiri memiliki beberapa bentuk yaitu Gancaran, Tembang, dan Palawakya. Tembang (Prawiradisastra,1991:64) yaitu seni suara yang dibangun dari bermacam-macam laras dan nada sebagai bahannya. Tembang yang dikenal masyarakat bali yaitu sekar rare, sekar alit, sekar madya, sekar agung dan tembang pop bali pun juga termasuk yang sangat digemari. Dengan adanya tembang membantu dalam transfer nilai pendidikan karakter. Nilai karakter ialah suatu penggabungan dalam pengelolaan pemikiran, sikap maupun budi pekerti dalam menentukan apa yang baik dilakukan maupun yang tidak baik dilakukan, dalam bentuk permikiran, perkataan maupun perbuatan sehingga terciptanya sifat atau pribadi individu yang khas. Diharapkan agar tembang ini bukan hanya sebagai sarana pelipur lara atau penuangan ekspresi jiwa tetapi mampu berguna sebagai sarana penanaman nilai pendidikan karakter bagi seseorang. Jenis penelitian ini yaitu kualitatif dengan menggunakan metode analisis.]]>
<![CDATA[STRATEGI SEKOLAH DALAM MENANAMKAN PENDIDIKAN KARAKTER MELALUI DHARMAGITA DI SMK KHARISMA, MENGWI, BADUNG ]]>
<![CDATA[I Wayan Artayasa]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1604
<![CDATA[Masyarakat Bali dalam hidupnya tak pernah terlepas dengan sebuah sastra. Dalam sastra itu sendiri memiliki beberapa bentuk yaitu Gancaran, Tembang, dan Palawakya. Tembang (Prawiradisastra,1991:64) yaitu seni suara yang dibangun dari bermacam-macam laras dan nada sebagai bahannya. Tembang yang dikenal masyarakat bali yaitu sekar rare, sekar alit, sekar madya, sekar agung dan tembang pop bali pun juga termasuk yang sangat digemari. Dengan adanya tembang membantu dalam transfer nilai pendidikan karakter. Nilai karakter ialah suatu penggabungan dalam pengelolaan pemikiran, sikap maupun budi pekerti dalam menentukan apa yang baik dilakukan maupun yang tidak baik dilakukan, dalam bentuk permikiran, perkataan maupun perbuatan sehingga terciptanya sifat atau pribadi individu yang khas. Diharapkan agar tembang ini bukan hanya sebagai sarana pelipur lara atau penuangan ekspresi jiwa tetapi mampu berguna sebagai sarana penanaman nilai pendidikan karakter bagi seseorang. Jenis penelitian ini yaitu kualitatif dengan menggunakan metode analisis.]]>
<![CDATA[ANALISIS PENOKOHAN DALAM GEGURITAN BATUR TASKARA ]]>
<![CDATA[I Putu Agus Aryatnaya Giri]]>;
<![CDATA[Putu Eddy Purnomo Arta]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1605
<![CDATA[The main character in Geguritan Batur Taskara (GBT) is Batur Taskara. Whereas the secondary figures are Raja Patali, Maya's Wife, and Batur Taskara's son. As well as complementary figures are the servants of the king, Empu Bajra Satwa, Pranda Wife, and Hyang Wirocana. Analysis of characterizations in GBT, among others; 1) Batur Taskara is the main character in Geguritan Batur Taskara because he fully supports the story / gets the most portrayal of the figures from other figures. When viewed from the psychological aspect, the Batur Taskara figure is described as a figure who is not good because it always creates chaos in Patali. However, Batur Taskara is not always portrayed as a figure who always does evil. In the end he regretted all the evil deeds he had done and wanted to repent. 2) Raja Patali, from the psychological and sociological aspects, was a king who was highly respected by his people because he ruled in a strict and peaceful manner. 3) Maya's wife is the wife of Batur Taskara who is described as an evil and very devious woman. With her beauty and guile, she tried to win Batur Taskara's heart. 4) Batur Taskara's son is portrayed as an intelligent child and very loyal to his mother, 5) The king's servants are portrayed as being very loyal but rash in their actions. 6) Empu Bajra Satwa has a very high sense of humanity and love because even though he knows that Batur Taskara has committed many crimes, he still wants to accept Batur Taskara as his student, 7) Pranda This wife also has a sense of humanity and love that very high because they are willing to accept Batur Taskara in Pasraman very friendly. 8) Hyang Wirocana is a figure of God who lives in a grave with a good character because he forbids Batur Taskara from returning to Patali at Badra Wada because he could find death.]]>
