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Academic literature on the topic 'Calonarang'
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Journal articles on the topic "Calonarang"
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Widayanti, I. Gusti Ayu, I. Made Surada, and I. Made Adi Brahman. "KAJIAN FILOSOFIS LONTAR CALONARANG." Jurnal Penelitian Agama Hindu 2, no. 1 (May 28, 2018): 274. http://dx.doi.org/10.25078/jpah.v2i1.480.
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<p><em>Lontar Calonarang's literary works is a work of art. Calonarang term other than as one of the works of literature, Calonarang also means characterization</em><em> </em><em>or the name of a man in the play known as Rangda ing Girah. Calonarang is also known as art form such as wayang pacalonarangan and in staging pacalonarangan dance drama. Lontar Calonarang is a lontar manuscript that specifically tells about Calonarang revenge using black magic against the people in Girah village. This is because the people in the village of Girah no one wants to marry Calonarang child is Ratna Manggali. Lontar Calonarang literary work is interesting to read and researched because this literary work has a philosophical meaning of construct so easy to be understood in depth. </em></p><p><em>The results that can be obtained from this literary work are Teachings contained in lontar Calonarang include Rwa Bhineda, Catur Asrama, and Tantra. The function of the teachings contained in the Calonarang lontar is the religious function, the social function, and the function of cultural preservation. While the philosophical meaning derived from this literary work is the meaning of balance, meaning of education, and the meaning of divinity.</em><strong><em></em></strong></p>
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Haryawati, I. Luh Ade, I. Gede Sudirtha, and Made Diah Angendari. "PEMBUATAN BUSANA FANTASI DENGAN SUMBER IDE DRAMATARI CALONARANG." Jurnal BOSAPARIS: Pendidikan Kesejahteraan Keluarga 10, no. 3 (November 26, 2019): 167. http://dx.doi.org/10.23887/jjpkk.v10i3.22151.
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Abstrak Penelitian ini bertujuan untuk (1) mendeskripsikan proses pembuatan busana fantasi dengan sumber ide Dramatari Calonarang; (2) mendeskripsikan hasil dari pembuatan busana fantasi dengan sumber ide Dramatari Calonarang. Penelitian ini merupakan penelitian pengembangan (Research and Development), menggunakan model pengembangan PPE. Proses penelitian pengembangan busana ini dilakukan melalui beberapa tahap, yaitu yang terdiri dari 3 tahap yaitu: Perencanaan (planning), produksi (production), evaluasi (evaluation). (1) Pengumpulan data yang digunakan dalam pengembangan ini adalah angket. Proses dari pembuatan buasana fantasi melalui beberapa tahap yakni tahap perencanaan hal pertama yang dilakukan adalah menganalisis terhadap sumber ide yang dikembangkan menjadi busana. Kemudian dilanjutkan dengan proses perancangan atau desain. Pada proses ini peneliti membuat desain busana berdasarkan analisis. Setelah proses perencanaan, kemudian tahap selanjutnya yaitu produksi. Pada proses pengembangan terdiri dari dua langkah yaitu, persiapan dan pelaksanaan. Tahap evaluasi dilakukan uji produk terhadap hasil dari pengembangan busana. (2) Hasil pembuatan busana fantasi dengan sumber ide Dramatari Calonarang terdiri dari dua busana dengan siluet A dan I yang bersumber ide dari tokoh busana penari Matah Gede. Berdasarkan hasil uji produk busana fantasi dari ahli busana I dan ahli II mendapatkan hasil 98,5%. Hal menunjukan bahwa pembuatan busana fantasi dengan sumber ide Dramatari Calonarang memiliki tingkat pencapaian sangat baik. Kata Kunci: Busana Fantasi, Dramatari Calonarang, Sumber Ide. Abstract This study aims to (1) describe the process of making fantasy fashion with the source of Dramatari Calonarang's ideas; (2) describe the results of making a fantasy outfit with the source of Dramatari Calonarang's ideas. This research is a research and development, using PPE development model. The clothing development research process is carried out through several stages, consisting of 3 stages: planning, production, evaluation. (1) Data collection used in this development is a questionnaire. The process of making fantasy atmosphere through several stages namely the planning stage the first thing to do is to analyze the source of ideas developed into clothing. Then proceed with the design process. In this process the researcher makes a fashion design based on analysis. After the planning process, then the next stage is production. In the development process consists of two steps, namely, preparation and implementation. The product evaluation phase is tested on the results of clothing development. (2) The results of making a fantasy outfit with the source of ideas Dramatari Calonarang consists of two outfits with silhouettes A and I sourced from the fashion figure of the dancer Matah Gede. Based on the test results of fantasy fashion products from fashion experts I and experts II get 98.5% results. This shows that the making of fantasy fashion with the source of ideas from Dramatari Calonarang has a very good level of achievement. Keywords: Fantasy Clothing, Development, Idea Source.
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Ary Murdaningsih, Ni Kadek. "PEMENTASAN CALONARANG PADA PIODALAN DI PURA DALEM DESA PAKRAMAN UMANYAR TAMANBALI BANGLI (Perspektif Teologi Hindu)." Jurnal Penelitian Agama Hindu 1, no. 1 (May 25, 2017): 53. http://dx.doi.org/10.25078/jpah.v1i1.131.
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<p>Pementasan <em>Calonarang</em> di Desa <em>Pakraman </em>Umanyar menggunakan cerita Pawarangan Bahula Ratna Mangali, yaitu anak Mpu Bharadah yang akan dinikahkan dengan anak Walunateng Dirah untuk mendapatkan pustaka yaitu Nircaya Lingga dan Niscaya Lingga. Dalam pementasan <em>Calonarang</em> ini, adanya keunikan yaitu Tarian <em>Tengklung. </em>Tari<em> Tengklung </em>merupakan seni bela diri (pencak silat) yang ditarikan oleh seseorang yang <em>kerauhan.</em> Dalam hal ini, melalui <em>kerauhan</em>, seseorang yang dipinjam badan raganya oleh kekuatan alam sekitarnya dan mengetahui ke mana arah <em>yadnya </em>(<em>upakara</em>) dipersembahkan.</p><p>Berdasarkan latar belakang yang telah diuraikan di atas, permasalahan dan tujuan yang harus dijawab dalam penelitian ini dapat dirinci sebagai berikut: (1) Bagaimana proses pementasan <em>Calonarang</em> pada <em>Piodalan</em> di Pura Dalem Desa <em>Pakraman</em> Umanyar, Tamanbali, Bangli? (2) Apakah fungsi pementasan <em>Calonarang</em> pada <em>Piodalan</em> di Pura Dalem Desa <em>Pakraman </em>Umanyar, Tamanbali, Bangli? (3) Apakah makna <em>teologi</em> pementasan <em>Calonarang</em> pada <em>Piodalan </em>di Pura Dalem Desa <em>Pakraman</em> Umanyar, Tamanbali, Bangli?. Sebagai landasan berfikir dalam penelitian ini, digunakan beberapa teori sebagai berikut: Teori Religi, Teori Fungsional Struktural dan Teori Simbol. Di samping itu, data yang dipergunakan yaitu data Primer dan data Sekunder. Metode pengumpulan data yang digunakan dalam penelitian ini adalah metode observasi, wawancara, dokumentasi, dan kepustakaan.</p><p>Hasil yang diperoleh dalam penelitian ini adalah proses pementasan <em>Calonarang,</em> dipentaskan pada <em>Piodalan</em> di Pura Dalem, dengan ritual tertentu. Fungsi dari pementasan <em>Calonarang</em> dalam penelitian ini, yaitu fungsi sosial adalah mendidik warga masyarakat untuk saling membantu, dan saling menolong, fungsi <em>religi</em> adalah untuk meningkatkan kualitas <em>sradha </em>dan <em>bhakti</em>, dan fungsi hiburan adalah dari seni yang membangunnya pementasan <em>Calonarang</em> merupakan seni total <em>teater</em>. Makna yang terkandung dalam penelitian pementasan <em>Calonarang</em> adalah makna teologi, makna filosofis dan makna simbol. Makna yang dapat diambil dari pementasan <em>Calonarang</em> tersebut dapat dijadikan sebagai suatu patokan atau pedoman hidup untuk masa mendatang guna mencapai kebahagiaan yang tertinggi bagi generasi penerus.</p>
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Darmajaya, I. Wayan. "IMPLEMENTASI AJARAN ATHARVAVEDA DALAM PEMENTASAN DRAMATARI CALONARANG DI PURA DALEM GEDE DESA SUKAWATI KECAMATAN SUKAWATI (Perspektif Pendidikan Agama Hindu)." Jurnal Penelitian Agama Hindu 1, no. 2 (October 6, 2017): 407. http://dx.doi.org/10.25078/jpah.v1i2.275.
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<p>DramatariCalonarangtelah menjadikelengkapan dalam upacara<em>piodalan</em>diPura Dalem Gede Desa Sukawati yang jatuh pada <em>Anggara Kliwon Wuku Tambir,</em> pementasan ini diselenggarakan setiap tahun yaitu pada <em>piodalannadi.</em> Dramatari Calonarang dipentaskan ketika upacara <em>panyimpenan Piodalan </em>yaitu pada <em>Rahina Sukra Pon Wuku Tambir.</em> Dalam pementasannya mengandung berbagai ajaran dari kitab suci Weda, yang salah satunya adalah <em>Atharvaveda</em> yang merupakan bagian dari Weda <em>Sruti</em> pada bagian <em>Mantra.</em></p><p>Berdasarkan latar belakang tersebut, maka yang menjadi masalah di dalam penelitian ini adalah sebagai berikut, 1) Bagaimanakah implementasi ajaran <em>Atharvaveda</em> dalam pementasan dramatari Calonarang di Pura Dalem Gede Desa Sukawati Kecamatan Sukawati ? 2) Apakah fungsi pementasan dramatari Calonarang di Pura Dalem Gede Desa Sukawati Kecamatan Sukawati ? 3)Nilai-nilai pendidikan apakah yang terkandung dalam pementasan dramatari Calonarang di Pura Dalem Gede Desa Sukawati Kecamatan Sukawati?</p><p>Metode penelitian yang dipergunakan dalam penelitian ini adalah metode kualitatif Deskritif. Dalam penelitian ini menggunakan teoriReligi, TeoriFungsi, sertaTeoriNilai. Metodepengumpulan data yang digunakanadalah observasi, wawancara, studi kepustakaan, dan studi dokumentasi. Teknik analisis data dalam penelitian ini yaitu reduksi data, display data, dan penarikan kesimpulan dan verifikasi</p><p>Berdasarkan data yang diperoleh maka hasil penelitian dapa disimpulkan sebagai berikut: 1) Impementasi ajaran <em>Atharvaveda</em> dapat dilihat dari <em>Yadnya </em>yang dilakukan dari tahap awal hingga akhir pementasan, serta didalam penokohan yang ditonjolkan dalam pementasan dramatari Calonarang. 2) Dramatari Calonarang merupakan ungkapan rasa Bhakti Masyarakat Desa Sukawati terhadap <em>Ida Ratu Ayu</em> yang merupakan <em>Sungsungan </em>yang berstana di Pura Dalem, menjadi ruang untuk memupuk solidaritas dikalangan masyarakat Desa Sukawati serta melestarikan budya yang telah diwariskan oleh leluhur terdahulu. 3) Pementasan dramatari Calonarang mengandung berbagai nilai pendidikan diantaranya adalah nilai etika, nilai magis, serta nilai estetika yang terkandung didalamnya.</p>
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Sitharesmi, Riana Diah. "Gadamerian Hermeneutics in An Artistic Process of Retno Maruti And Bulantrisna Djelantik’s Bedoyo-Legong Calonarang." Journal of Arts and Humanities 6, no. 11 (November 10, 2017): 01. http://dx.doi.org/10.18533/journal.v6i10.1276.
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<p class="Default">The research is to investigate the existence of <em>Bedoyo-Legong Calonarang</em>,<em> </em>as a dance piece, which its creation based to reinterpretation towards tradition and indigenous wisdom. The dance brings Indonesian classical idioms and mythological sphere into a dynamic contemporary. The dance attempts to avoid either the clichés or<em> </em>destructive forms. It is imperatively seeking the ontology of <em>Bedoyo-Legong Calonarang </em>through investigating hermeneutical aspects in the process of creating, conceptual sphere, and spectacle representation. The juxtaposition, in which the dance is presented, is a unique way to accommodate the process of inter-subjective understanding respectively amongst choreographers, aesthetical values of Java and Bali, the myth of <em>Calonarang</em>, and today’s reality.</p><p class="Default"> </p><p class="Default">A philosophical qualitative is the foreground to investigate a new understanding about artworks through Hans-Georg Gadamer’s hermeneutics. Such perspective provides the interwoven understanding towards contemporary (of art-works), the critique of aesthetics, revitalizing the tradition, and dialogical pattern inside the effort of the fusion of horizons. Gadamerian hermeneutics is confidentially constructed through identifying choreographic concept and aesthetic codes from the analysis of dance structure and representation. <em>Bedoyo-Legong Calonarang</em> achieves its innovative, artistic ontological existence and its spiritual field, in the middle of Indonesian contemporary society. Its concept assertively suggests Indonesian choreography to accommodate contemporary innovation, while it also conveys its cultural identity into broader implementation of multicultural state.</p><p class="Default"> </p><p>Keywords : Gadamerian hermeneutics; choreographic process; dialogical sphere; The <em>Bedoyo-Legong Calonarang.</em></p>
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Sariada, I. Ketut, and Gede Ginaya. "Tektekan calonarang at puri anyar kerambitan." International journal of linguistics, literature and culture 5, no. 3 (May 30, 2019): 48–60. http://dx.doi.org/10.21744/ijllc.v5n3.636.
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This study aims at presenting the comprehensive insight on the commodification of Tektekan Calonarang in Puri Anyar Kerambitan which uses sacred barong and rangda for tourism. The data was collected through observation, in depth-interview, and literature study. The collected data then analyzed using the descriptive qualitative method. The theories of deconstruction, social practice, aesthetic, and power/knowledge are used to undertake this study. The results of the study reveal that positive and negative influences of tourism occur in the context of traditional performing arts. The emergence of creativity is very evident in the rapid development of various types of performing arts in Bali including the increasing number of art activists, but at the same time several sacred dances including ritual procession elements, such as Tektekan Calonarang in Puri Anyar Kerambitan have become in between sacred or profane because they have been shown to tourists.
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Indra Wirawan, Komang. "Liturgi Sakralisasi Barong-Rangda: Eksplorasi Teo-Filosofis Estetik Mistik Bali." Mudra Jurnal Seni Budaya 34, no. 3 (September 6, 2019): 417–27. http://dx.doi.org/10.31091/mudra.v34i3.800.
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Barong-Rangda selalu hadir dalam praktik-praktik beragama Hindu di Bali. Sosok yang dicitrakan sebagai Hyang Siwa dan Hyang Bhatari Uma selalu dihubungkan dengan dunia mistik, dan Rangda selalu dikaitkan dengan tokoh Calonarang bernama Datengdirah, yakni janda Girah dalam lotar Calonarang. Dalam kepercayaan masyarakat Hindu di Bali, Rangda adalah perwujudan dari Hyang Bhatari Durga sakti Bhatara Siwa dan sebagai penguasa kuburan yang dihubungkan dengan hal-hal yang menakutkan. Demikian pula Barong selalu dilekatkan dengan murthi Siwa dalam perwujudannya sebagai Banaspati Raja. Menariknya Barong-Rangda bukan saja dipahami sebagai simbol suci, tetapi dihayati dalam penghayatan yang beragam. Menariknya, sosok Barong-Rangda juga ditarikan oleh orang khusus yang disebut nyolahang Barong-Rangda atau menarikan sosok Barong-Rangda dalam ruang ritual dan pentas kesenian sakral. Berdasarkan hal tersebut, menarik untuk mengkaji liturgi sakralisasi Barong-Rangda, sehingga menemukan beberapa makna di dalamnya.
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Hadiyatullah, Syahrul, Nurbani Yusuf, and Nurul Zuriah. "PENUMBUHAN RASA NASIONALISME DAN CINTA BUDAYA INDONESIA MELALUI PROGRAM “KAMSI” PADA SISWA SMP NEGERI 1 BATU." Jurnal Civic Hukum 3, no. 1 (May 30, 2018): 111. http://dx.doi.org/10.22219/jch.v3i1.7733.
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ABSTRAKPenelitian ini bertujuan untuk mengetahui dan mendeskripsikan penumbuhkan rasa nasionalisme dan cinta budaya Indonesia melalui program Kamis Kreasi pada sisa SMP Negeri 1 Batu. Penelitian ini menggunakan pendekatan kualitatif dan jenis penelitian ini adalah deskriptif. Subyek penelitian ini adalah siswa-siswi SMP Negeri 1 Batu (Kelas VIII F).Penelitian ini dilaksanakan di SMP Negeri 1 Batu pada tanggal 02 April 2018-10 Mei 2018. Penelitian ini menggunakan teknik pengumpulan data yaitu metode observasi, metode wawancara dan studi dokumentasi. Instrumen penelitian ini adalah dengan menggunakanpanduan wawancara, pedoman observasi dan dokumentasi. Teknik analisis data pada penelitian ini adalah dengan pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. Keabsahan data penelitian ini menggunakan triangulasi sumber dan triangulasi teknik. Hasil penelitian menunjukkan bahwa, penumbuhan rasa nasionalisme dan cinta budaya Indonesia melalui program Kamsi dilakukan dengan proses latihan dan pertunjukan kesenian Teater Calonarang dan seni tari Reog Ponorogo di kelas VIII F SMP Negeri 1 Batu.Kata Kunci : Nasionalisme, Kebudayaan, Kamsi.ABSTRACTThis research aimed at knowing and describing about the rising sense ofnationalism and love for Indonesian culture through Kamis Kreasi (Kamsi) program toward the students of SMP Negeri 1 Batu. The research method used was descriptive qualitative. The research subject was the students of SMP Negeri 1 Batu (VIII F Class). This research was conducted at SMP Negeri 1 Batu started from April 2 to May 10 2018. The technique used of this research was observation, interview and documentation. The instrument used interview, observation and documentation guide. The data analysis used was datacollection, data reduction, data presentation and conclusion. To validate the data, the researcher used source and technique triangulation. The result of this research was to build a sense of nationalism and love for Indonesian culture through Kamsi program done by training and showing the Calonarang theater and Reog Ponorogo Dance at class of VIII F SMP Negeri 1 Batu.Keywords: Nationalism, Culture, Kamsi
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RAKA, Anak Agung Gede, Novi ANOEGRAJEKTI, Putu Ngurah Suyatna YASA, Sudartomo MACARYUS, and Anak Agung Gede Raka GUNAWARMAN. "Bali is Dressing-Up: Ritual as an Identity." Journal of Environmental Management and Tourism 11, no. 6 (September 13, 2020): 1560. http://dx.doi.org/10.14505/jemt.v11.6(46).26.
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Barong Landung in Bangli is recognized as one of the former relics of Bali-China contact. This visibly appears from character of its face and narrow lines of eyes. The contact between Balinese and Chinese culture is intertwined through trade channels. With an ethnographic method, the provision of library data of the present study was complemented by field data collected through observation, participation, and in-depth interview with selected participants. Interpretation was done semiotic, by placing each data as a phenomenon of interconnected culture as a whole. The results showed that Sacred Barong Landung was purified and stored in the temple and used in ritual activities that took place inside and outside the temple, such as walking around the village where the temple is located. Sacred Barong Landung is located at Pura Pusering Jagat, Pejeng, Gianyar and at Penataran Sima Siladan Temple, Taman Bali. Profane Barong Landung is situated in Gurukula Foundation, Kubu Sub-district, Bangli and in Sukawati, Gianyar. Traditional theater Calonarang play as a ritual brought in audiences from all levels of the society, including children, teenagers and elderly. Every person coming into the temple follows the activity until the end at the early hours. All the activities are a series of procession of religious activities as a form of benediction to God and as a medium to plead with Him to enable the whole community to always be in a harmonious state in the future.
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Lirishati Soethama, Putu, and I. Gusti Agung Istri Aryani. "The Role of Tourism Activities in Alleviating the Management Cost of Puri Agung Kerambitan, Tabanan." Udayana Journal of Social Sciences and Humanities (UJoSSH) 2, no. 2 (August 6, 2018): 113. http://dx.doi.org/10.24843/ujossh.2018.v02.i02.p08.
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Puri Agung Kerambitan is the forerunner of pekraman village Kerambitan, Tabanan, Bali. Its vast territory covers 19 villages from Kerambitan in the south to Batuaji in the north of the palace. It is founded in 1650 as a fragment of the Kingdom of Tabanan, began to open its access to tourism in 1980, during the reign of Late A A. Ngurah Anom Mayun. Puri Agung offers several activities such as Puri Wedding, Puri Day and Puri Night Dinner for more than three decades. All of these activities involve the palace residents and villagers surrounding it. Arts attraction such as Tabuh Okokan and Tektekan Calonarang, distinctive and authentic of Kerambitan art; until the procedure of making offerings and traditional Balinese cake are displayed. The number of foreign and domestic tourists who visit the palace is certainly has a big impact on the grand cost of the palace management cost. The income and the expenses of the palace within 2016 was obtained by using a quantitative method. Interviews with the management and residents of Puri Agung Kerambitan were conducted for the validity and supporting the research data. The data and problem were analyzed using the qualitative descriptive method. This paper gives an overview and simple description of Puri Agung Kerambitan's income from its tourism activity and the expenses required for managing it. These expenses can be sorted out in physical, such as palace maintenance and staff salaries; as well as non-physical, such as ceremonial financing. The good management of tourism activities could alleviate the grand maintenance cost of the palace.
Books on the topic "Calonarang"
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Marajaya, I. Made. Kajian estetika dalam pertunjukan wayang kulit Calonarang: Laporan penelitian. Denpasar: Sekolah Tinggi Seni Indonesia, 1998.
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Sukraka, I. Gde. Fungsi rangda pada dramatari calonarang di Kedaton: Laporan penelitian. Denpasar: Sekolah Tinggi Seni Indonesia, 1995.
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Widnyana, I. Kadek. Pemakeman sebagai alternatif pengkaderisasian wayang kulit calonarang I Made Mandra di Banjar Parekan, Sibang Gede, Badung: Laporan penelitian. Denpasar: Sekolah Tinggi Seni Indonesia, 1995.
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Trance and transformation of the actor in Japanese Noh and Balinese masked dance-drama. Lewiston, N.Y: E. Mellen Press, 2004.
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Calonarang: Janda Dirah : skenario ceritera legenda sejarah versi Bali. [Denpasar: s.n., 1990.
Find full textConference papers on the topic "Calonarang"
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Paramadhyaksa, I. Nyoman Widya. "Pencarian Intisari Pesan Fundamental dalam Tradisi dan Seting Pementasan Calonarang di Desa Getakan, Klungkung, Bali." In Seminar Ikatan Peneliti Lingkungan Binaan Indonesia. Ikatan Peneliti Lingkungan Binaan Indonesia, 2017. http://dx.doi.org/10.32315/sem.1.c039.
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