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Kreativitas Dalang I Wayan Wija Dalam Seni Ripta Wayang Bali

I Dewa Ketut, Wicaksandita and I Made, Marajaya and Dru , Hendro (2017) Kreativitas Dalang I Wayan Wija Dalam Seni Ripta Wayang Bali. Documentation. ISI Denpasar, Institut Seni Indonesia Denpasar, Jl. Nusa Indah Denpasar.

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Abstract

ABSTRAK Pertunjukan Wayang Kulit merupakan salah satu kesenian tradisional Indonesia yang telah dikenal dan berkembang sejak dahulu dan telah melintasi perjalanan sejarah yang sangat panjang. Mencermati kondisi masa kini, para dalang di Bali mencoba berusaha memertahankan kesenian wayang dengan daya kreativitasnya mencoba berinovasi dengan hal-ihkwal yang bernuansa kekinian dengan pertimbangan bisa turut serta melestarikan kesenian wayang. Kreativitas tersebut dipengaruhi oleh berbagai faktor diantaranya: pola pikir dan pesatnya teknologi yang berkembang saat ini Tulisan ini menguak tentang proses kreatif Dalang I Wayang Wija yang merupakan seorang dalang asal Desa Sukawati, Gianyar yang aktif berkarya dalam meripta wayang baru dalam jenis wayang Bali. Diketahui bahwa proses tersebut dipengaruhi oleh faktor-faktor yang turut menstimulasi perkembangan bentuk wayangnya. Dari proses kreatif dan faktor-faktor yang mempengaruhi tersebut Dalang I Wayan Wija berhasil menciptakan genre wayang kulit Bali seperti; (Wayang Kulit Parwa dan Wayang Kulit Ramayana), Wayang Kulit Tantri, Wayang Kulit Babad, Wayang Kulit Calonarang, Wayang Kulit Rare Angon, Wayang Kaca Sinar Maya, Wayang Kulit Bungkling, Wayang Kulit Dinosaurus dan banyak lagi yang masih berbentuk prototipe dan wayang simpingan. Daya kreativitas yang tinggi dengan dibarengi intensitas pertunjukan wayang diberbagai wilayah baik dalam maupun luar negeri, mendorong I Wayan Wija semakin kreatif mengemas wujud wayangnya lebih menarik. Dorongan yang turut serta mensimulasi terciptanya wayang-wayang tersebut, membuat hasil karyanya tidak hanya indah dipandang namun juga sarat akan berbagai makna di dalamnya. Kata kunci: Dalang I Wayan Wija, Proses Kreatif, Wujud Kreativitas, Wayang Kulit Bali. 1  ABSTRACT This is a research by the art puppetry that discuss about creativity process of Dalang (puppet master) I Wayan Wija, a baliness puppet master, in creating innovative balinese puppet (wayang) together with means which is contained in his creation. In connection the tittle ' Kreativitas Dalang I Wayan Wija Dalam Seni Ripta Wayang Bali ' (Creativity of Dalang I Wayan Wija in Balinese Pupper), this research is about how good and how far the creativity process of Puppet Master, I Wayan Wija in creating, innovating and packaging puppets form and means. This qualitative descriptive research performed using several theories as a knife to dissect the raised issues, among others like: the Aesthetic Theory, Creativity Approach, And Semiotic Approach. Aesthetic theory is used to study the aesthetic packaging of various types of puppet owned and created by I Wayan Wija. Creativity Approach is used to find out about what factors that backup the process and how is the process of I Wayan Wija to concept and finally create a puppet that he has and use these days, while Semiotic Approach is used to study and deepen meanings in the form of his puppets. This study found that I Wayan Wija, by his singing, puppet manipulation, musiccal manipulation and qualified leather carving (leather is the base material to make puppets in Bali) ability that has success to create quite a lot of puppet creativity by his creative hand. Not only the type of puppet that is commonly performed like 'Wayang Parwa' (Mahabharata) and Ramayana puppet, but also has success to create some new kind of puppet like Tantri, Babad, Rare Angon, Glass Puppet, Bungkling, Dinausaurus and many more that are still in form of prototypes and other puppet that can be included as a side character in the previous puppet. High creativity that is accompanied with wide-open opportunity to perform the show in many areas both inside and outside the country motivated I Wayan Wija to upgread his performance to be more attractive. With all his achievement doesn’t make I Wayan Wija stop innovating. On the contrary, he keep on upgrade his performance to keep the puppetry exist. Key words: Master Puppet of I Wayan Wija, Creativity Process, Creativity Shape in Balinese Puppetre.

Item Type: Monograph (Documentation)
Subjects: N Fine Arts > NX Arts in general
Divisions: Faculty > Performing Arts Faculty > Puppetry Department
Depositing User: Mrs Dwi Gunawati
Date Deposited: 04 Jan 2018 10:03
Last Modified: 04 Jan 2018 10:03
URI: http://repo.isi-dps.ac.id/id/eprint/2586

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