Modern Performing Arts as a Reflection of Changing Balinese Identity∗

Putra, I Nyoman Darma

doi:10.1080/13639810802017842

Cited by 7 publications

(5 citation statements)

References 13 publications

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“…Cenk Blonk's twelve to fifteen minute podcasts attract a large audience. They are also extensively shared on social media, seemingly endlessly, allowing Cenk Blonk's wayang to live on and, simultaneously, the art of wayang to grow in popularity and strengthen Balinese cultural identity based on performing and visual arts (Putra, 2008;Putra, 2014;Verheijen & Putra, 2020). The magnetism of the Cenk Blonk podcast lies primarily in its articulation and rhetoric: clear, articulate, intelligent, witty, poignant, refreshing, and authentic (Saputra, Mbete & Muliana, 2022).…”

Section: Rhetoric As the Capital Of Popular Culturementioning

confidence: 99%

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Suaka,

Budiasa

2024

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The contemporary history of Balinese performing arts is characterized by the inception of the renowned puppeteer Wayan Nardayana's monumental puppet show, popularly known as puppet or wayang Cenk Blonk, derived from the name of their punakawan characters (servants to the main hero) who are comical, intelligent, critical, and possessed of a broad range of social knowledge. The emergence of the Cenk Blonk puppeteer since the early 1990s has led to a significant expansion of the wayang performance in Bali, from rural older adult to urban youth audiences. This article examines the popularity of puppeteer Nardayana, focusing on his ability to incorporate rhetoric into his performances. The data was taken from the dialogue texts of his performances and examined with rhetoric theory. The study demonstrates that puppeteer Nardayana's popularity is attributed to his ability to present stories in a refreshing, original, critical, and entertaining style without sacrificing the traditional puppetry principles. This study contributes to appreciating the revitalization of traditional art in a globalized era.

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Section: Rhetoric As the Capital Of Popular Culturementioning

confidence: 99%

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Suaka,

Budiasa

2024

JKB

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“…Oleh karena seni pertunjukan ini merupakan campuran antara tradisional dan modern, maka dia disebut dengan istilah "drama klasik" atau "drama" saja. Nama drama gong belum muncul walau dalam pementasan drama "Mayadenawa" diiringi gamelan gong (Putra, 2008).…”

Section: Drama Gong: Teater Tradisional Bali Yang Merakyatunclassified

“…Penamaan "drama klasik" menjadi Drama Gong pertama kali diganti oleh I Gusti Bagus Nyoman Panji. Pergantian itu merujuk pada dua unsur baku yakni Drama dan iringannya, yakni Gong Kebyar (Putra, 2008;Sugita, 2016).…”

Section: Revitalisasi Bahasa Bali Melalui Seni Pertunjukan Drama Gongunclassified

Revitalisasi Bahasa Bali Melalui Seni Pertunjukan Drama Gong

Sugita

Pastika

2022

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Artikel ini bertujuan membahas keberadaan seni pertunjukan drama gong sebagai media edukasi untuk merevitalisasi bahasa Bali. Sebagai hasil kajian kualitatif, koleksi data dilakukan melalui observasi, kajian dokumen dan wawancara mendalam dengan beberapa informan kunci yang memahami Bahasa dan budaya Bali. Analisis data dilakukan dengan menerapkan teori interaksionime simbolik dan semiotika. Hasil kajian menunjukkan bahwa drama gong merupakan salah satu bentuk teater tradisional Bali yang lahir pada dekade 1950-an. Teater tradisional Bali yang mengangkat kisah mahabarata, cerita panji dan cerita rakyat Bali, diiringi gong gebyar ini memakai bahasa Bali sehigga mudah dimengerti dan dicintai oleh penggemarnya. Disamping sebagai hiburan, drama gong juga menjadi media edukasi untuk merevitalissai bahasa Bali. Edukasi bahasa Bali via drama gong ini sangat efektif karena memberikan contoh dan praktek berbahasa Bali secara langsung mencakup pola bahasa Bali, sorsinggih dan stratifikasi sosial masyarakat Bali.

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“…The performance is accompanied by Balinese gamelan, dialogue in mixed Indonesian and Balinese languages, and the performers wear traditional Balinese clothes. Since this performance art is a mixture of traditional and modern, it is referred to as "classical drama" or just "drama" [3,4].…”

Section: Introductionmentioning

confidence: 99%

Counter Hegemony of Cultural Art Innovation against Art in Digital Media

Sugita

Setini

Anshori³

2021

Journal of Open Innovation: Technology, Market, and Complexity

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Culture is the most critical thing when driving innovation. This paper aims to discuss the counter-hegemony of Drama Gong against modern entertainment arts today with the dynamics of openness innovation. The research method used is qualitative and uses triangulation analysis. Basic qualitative data were obtained by examining two stories of Drama Gong, namely: (1) Angling Dharma (the 1980s) and (2) Jayaprana (2020). Data were collected through observation, document review, and interviews with artists and art observers of the Drama Gong culture of Bali. Qualitative descriptive analysis was carried out by applying the theory of semiotics and the theory of symbolic interaction. The results showed that to maintain its existence since the 1980s Drama Gong performance art has been revitalized as a form of counter-hegemony to today’s modern entertainment arts. The counter-hegemony concerns three things, namely: (1) the innovation of Drama Gong performance art, (2) the application of new technology to support the packaging and performance of the Drama Gong, and (3) efforts to maintain the function of the Drama Gong as a way to teach Balinese culture.

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Modern Performing Arts as a Reflection of Changing Balinese Identity∗

Cited by 7 publications

References 13 publications

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Revitalisasi Bahasa Bali Melalui Seni Pertunjukan Drama Gong

Counter Hegemony of Cultural Art Innovation against Art in Digital Media

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