Academic literature on the topic 'Balinese educators'

Saraswati Day is a day to commemorate the descent of knowledge as a source of human intelligence. According to the Balinese calendar, Balinese people celebrate the day on Saniscara (Saturday) Wuku Watugunung, which falls every 210 days of the Balinese calendar or every six months according to the solar calendar. The high potential of public enthusiasm to commemorate Saraswati and Banyu Pinaruh days cannot be separated from the previous celebrations, which were always held in festive. Before the COVID-19 pandemic, these two days were crowded with activities from students and educators on Saraswati Day, then continued with the melukat ritual by the Balinese Hindu community at various water sources and holy places the next day in Banyu Pinaruh. The drastic shift in situation, If it is interpreted according to the purpose of Saraswati’s day itself, namely to gain wisdom, as the essence of knowledge, then the pandemic situation can be viewed as a new challenge in humankind. From the COVID-19 pandemic, humans are expected to be adaptive to their environment for the sake of mutual prosperity. Therefore, the obtained knowledge about everything that exists in this world would give a significant meaning. It would not be only a knowledge written in a book, learned, and stays on people’s heads. Nevertheless, it has become an applied science that is practiced and provides significant benefits for humankind.

Until now, Balinese people believe that someone who is born in the wuku wayang should doing ruwatan sapuh leger. It is suspected that this belief manifests itself on the basis of mythology in literature, along with its practical meaning and function. This study aims to find out about Wayang Sapuh Leger and its sources Sang Mpu Leger as dalang ruwat, function and the meaning of Wayang Sapuh Leger. Qualitative analysis methods based on observation research, interviews and literature, are used in support of philological theory, the theory of princple of unity, and the theory of meaning to obtain research results. The results of the analysis concluded, the lukatan nyapuleger ceremony is a ceremony for purifying children born in the span of the tumpek wayang week. It is believed that this time is under the power of Bhatara Kala, and must be purified (lukat) through sesaji (banten) and holy water (tirta panglukatan/tirta sudamala), and first perform shadow puppets from a special story (the play Dewa Kala). The nyapuh-leger ceremony in Bali is thought to have originated from the manuscript of Tantu Panggelaran, in the XV or XVI centuries. When it is manifested, a puppeteer is called sang mpu leger in addition to being an artist: (a) the puppeteer as (the) communicator of the niskala realms (virtual world) and sekala (real world); (b) the puppeteers as (mpu) educators, instructors, and preachers; and (c) the puppeteers (sapuh leger) priests/philosophers and spiritualists. The function of Wayang Sapuh Leger for the life of the Balinese people is as a communication tool to strengthen beliefs, values, norms that live in society. Wayang Sapuh Leger as a form of sacred art has an important meaning and significance in the social order of the Balinese people, this is still believed and adhered to in the Balinese social structure.

As an experiment, a Balinese gamelan was integrated with a summer music course for the physically handicapped. Two ethnomusicologists were invited to demonstrate playing techniques and to teach pieces of gamelan music which were later performed. This article documents the success of the experiment and describes the very considerable potential of the gamelan in general recreational and educational music therapy. More particularly, the essentially non-Western methods of learning and practising adopted on the course encouraged and engendered a broad range of skills in those with little or no previous musical experience, and significantly extended the abilities of the musically trained. The results of this experiment suggest that both music therapists and music educators may be able to extend the range of their work by drawing on certain non-Western musical traditions.

<p><em>Indonesia is a country with a massive cultural diversity in every region. The cultural community certainly has its own characteristics to show their respective traditions with the natural forces of the region both real (sekala) and intangible (niskala). In that case, to live the socio -cultural life is certainly not independent of the procedures, attitudes and ethics when dealing with society. now, ethical attitudes in character seem almost extinct and neglected. This is becoming more viral with the participation of unethical attitudes by young people through youtube content, InstaGram, and other electronic media that have been rapidly developing lately. So it is necessary the role of parents, the role of educators, and the role of the government to be able to filter the food on the media and always direct the students to always improve the values of Pancasila as the basis of being ethical as a moral teaching. In this case, Pancasila will be discussed through ethical education from the point of view of Balinese Theology and Culture.</em></p>

The teachings of Sad Dharma become an important basis that can be used by educators in creating learning strategies that are able to direct students to apply the theories of religious education that they get. The values ​​of Sad Dharma's teachings are also very relevant to be applied at the level of education, both from Kindergarten (TK) and even college. The implementation of the Sad Dharma-based strategy is also part of the preservation of Balinese Hindu culture such as the dharma gita and dharam discourse which are rarely touched by the younger generation. What Sad Dharma are 6 dharma goals that must be carried out by Hindus indirectly through the implementation of Sad Dharma-based Hindu Religious Education strategies, educators are able to deliver their students to achieve these goals. The purpose of this study was to find out about the Sad Dharma-based Hindu education strategy. The research method is qualitative using secondary data sources, data collection techniques in this study use study documentation plus library techniques and when the data has been obtained and compiled in the form of scientific work, the author will perform data analysis. Overall, this sad dharma-based Hindu education strategy can provide maximum results in the quality of student education because its implementation is not only found in theory but also in action in implementing its teachings in line with the concept of learning that is currently being promoted by the government.

In a 2019 interview, the musician, dancer, and educator I Nyoman Wenten discussed the centrality of Balinese religious practices, emphasising that sacred artistic offerings and questions about the natural environment are “always intertwined”. What accounts for this kind of intertwinement in Bali? In this article, this question is approached by exploring Balinese Hindu concepts including tri hita karana and sekala/niskala, which are related to post-1945 Balinese Hinduism while also connecting to the millenniumold water irrigation system of subak. Scholarship about subak has mainly occurred in the areas of anthropology, environmental analysis, and tourism related studies, but there are broad connections to Bali’s well-documented musical traditions as well. This article suggests how Balinese ideas about spirituality, engagement with the natural world, and approaches to the arts involve forms of “relational practice”. Some ways in which Bali has hosted a multiplicity of religious and artistic processes that have nurtured productive and enduring relationships among people, nature, and the sacred are discussed. The article proceeds by first providing some history and concepts involving Balinese Hinduism. Then, aspects of subak as social processes akin to artistic practice are considered, after which music and the arts as they relate to concepts including tri hita karana and sekala/niskala are discussed. The article concludes that relational practices are historical traditions to learn from and adapt as ways to navigate a changing present. Regularly shared artistic pursuits and communal offerings are ways of drawing immediate human interactions together with the natural environment and beyond.

The choice of jobs portraits the community’s mindset. However, the consistency of Balinese mindset to gender-stereotyped careers and the distribution of the students' genders in each department in Bali Hospitality and Tourism Institutes or higher educations have not been reported. The present study aimed at examining the proportions of the students' genders in each department in Bali Hospitality and Tourism Institutes or higher educations and the community mindset regarding the choice of jobs based on gender. 1,656 students of the three Tourism and hospitality institutes in Bali took part. Data were based on the entrance test and questionnaire (Google Form) analyzed with iterative analysis (Yin, 2010). Hospitality Management, Food and Beverage Service Management, Hospitality, Food Service Management, and Tourism Management and Hospitality Administration are the favorite departments. Two of the six departments, Hospitality Management and Food and Beverage Service Management are the two most favorite departments. On the contrary, four least favorite departments are Travel Business Management, Tourism Destination, Convention and Exhibition Management and Spa Management. All departments of the Bali Tourism and Hospitality institutes, females are more dominant. It shows that Balinese community are flexible and hold the same mindset regarding gender-stereotyped careers, such as Food and Beverage Service Management, Hospitality, and Food and Service Management.

The persistence of Legong Ratu Dedari Dance in Ketewel Village is very well known as a classical Balinese dance group that has very complex movements and the accompanying percussion is the influence of Gambuh. In its preservation, the uniqueness of this dance can be seen in its very sacred performances and wearing masks during its performance. The purpose of this research is to find out how the development process of Legong Ratu Dedari Dance in the Globalization Era. The results of the study explain the persistence of the Legong Ratu Dedari dance, which is a sacred and unique type of dance because there are several angel masks that are characteristic of classical dance in Ketewel Village. The Legong Ratu Dedari dance is the most famous legong dance before the creation of other legong dances in Bali. As for the development of the Legong Ratu Dedari Dance, there is a special social organization formed by Ketewel Village, namely the Indra Parwati Organization. The organization was formed from a group of young people and girls in Ketewel Village, as a special organization in preserving and maintaining the sustainability of the Legong Ratu Dedari Dance. Indra Parwati's organization educates and looks for a girl who is not menstruating so that she can dance the legong dance. In this effort, it can save and preserve the typical culture of Ketewel Village to become more developed and beneficial for the welfare of the Ketewel Village community.

Klungkung Regency is not only famous for producing songket and endek fabrics, but there are still many other Micro, Small, Medium Enterprises (MSMEs) that have been born and developed there. Semarapura Kaja Village is one of the MSME centers which certainly has a lot of potential that must be supported and developed so that it can become bigger and more independent. However, not all of these MSMEs have adequate capital, strategies, and support to be able to develop rapidly so that synergy and collaboration with the government and other parties are needed to overcome these problems. One solution that can be offered is to carry out promotional activities with interactive advertising language to attract consumer interest through online media in the hope of expanding market share and of course increasing income for MSME in Semarapura Kaja Village. This Community Partnership Program (PKM) educates and assists MSME to create good promotion and marketing strategies, either through print or online media. Assistance in optimizing the use of interactive advertising language in making online advertisements for superior products in Semarapura Kaja Village is targeting MSME who sell Balinese traditional clothing as one of the characteristics of Klungkung Regency which is the center of MSME traditional clothing. In its implementation, it was found that people are still very ignorant not only about advertising language but also with how to create, manage, and develop social media for promotion because there are still social media such as: Instagram and Facebook that are not effective and even not active in uploading content so that the form of implementation of assistance is direct and not in groups to maximize the results. MSMEs that are partners in the Community Partnership Program (PKM) are Dex's Pong and Tri Arta Collection. MSME have been assisted to socialize the importance of professionally managed social media with interactive advertising language, how to create attractive visual content for potential customers, to the importance of publication in print or online media. It is hoped that MSME will be able to consciously and independently promote their products in the future through the media consistently and continuously.

Initial Teacher Education (ITE) programs are responsible for producing graduate teachers with strong capabilities, through advancing high quality teaching strategies and evidence-based teaching. With an increased understanding of universities’ capacities for delivering social change, an interest in broadening knowledges beyond traditional disciplines has emerged. ITE programs are further challenged to address sustainability and mobilise possibilities. A strategic goal for achieving these expectations is to reorient teaching and learning by connecting them with dimensions of the world beyond a discipline focus, including culture, society, and the natural world. Leveraging from Lin’s (2011) work on creative pedagogy, I explore the teaching and learning experiences of Balinese ITE educators and pre-service teachers (PSTs), which interconnect with several ecological zones within the university. The aim of this inquiry is to obtain and offer insights into how a particular pedagogical strategy – creative pedagogy – supports the establishment of transformative environmental learning, including how it enhances the ITE educators’ capacity to scaffold environmental learning, and repositions Balinese indigenous knowledge within an Indonesian ITE program. I also provide an analysis of barriers to practicing creative pedagogies within this higher education context, and signal possible response strategies. This research is informed by Barnett’s (2018) notion of the ‘ecological university’ and draws on literature, and concepts, that relate to creativity in education, pedagogies in higher education, and meaning-making through an indigenous lens. Each chapter of my thesis is accompanied by a different Balinese metaphor that models ways of integrating cross-cultural knowledge. Using the metaphor of Balinese broom construction in the sampat lidi, my study is situated within interpretivist and transformative paradigms. I utilised Kemmis et al.’s (2014) critical participatory action research (CPAR) approaches in semi-structured classroom observations, creative collegial group meetings, and questionnaires with three ITE educators and forty-six PSTs. All participants boast the dual roles of experiencing pedagogies and initiating pedagogical transformation in the ITE program. Data were analysed using two cycles of coding before being displayed as analytic units in a conceptually clustered matrix. Major findings from my research include the emergence of a creative pedagogies mandala that offers an understanding of pedagogical practices across five ecological zones: knowledge, learning, culture, persons, and natural environment. The mandala reflects the results of an interplay between creative teaching, teaching for creativity, and creative learning, techniques administered by the ITE educators to support the shaping of PSTs’ intuitive, collaborative, and reflective skills. The mandala encompasses appropriate pedagogical strategies that are sensitive to indigenous perspectives. The mandala creates a third space for Western and Eastern cultures to interact after creativity and environmental learning, and grounds the indigenous Balinese ways of knowing nature within Western-style ITE classrooms. I pose that creative pedagogies promote the involvement of the ITE educators and PSTs in a more sustainable learning, and support individual and future wellbeing within a world full of uncertainty and ambiguity. Although this research was conducted prior to the pandemic, my findings signal that it is imperative for an ITE program to allow a space for ITE educators and PSTs to experiment with learning, perform risk-taking pedagogical actions, and re-connect with their local places and communities in order to build resilience amidst unprecedented circumstances in the post-COVID era.