Model of Innovative Wayang Wong for Millenial Generation to Meet 4.0 Industrial Revolution Era in Bali

Journal of Environmental Treatment Techniques

2020, Volume 8, Issue 3, Pages: 999-1004

J. Environ. Treat. Tech.

ISSN: 2309-1185

Journal web link: http://www.jett.dormaj.com

Model of Innovative Wayang Wong for Millenial

Generation to Meet 4.0 Industrial Revolution

Era in Bali

Ni Made Ruastiti *,I Komang Sudirga *, I Gede Yudarta *

Performing Arts, Institut Seni Indonesia Denpasar, Bali, Indonesia

Received: 15/01/2020

Accepted: 18/03/2020

Published: 20/09/2020

Abstract

This study aims to develop an innovative Wayang Wong Performing Arts model for millennial to meet the 4.0 industrial revolution

in Bali. This research was inspired by the imbalance between assumptions and reality in the field. Supposedly, Wayang Wong, as one of

the local wisdom in the form of performing arts, is in demand in the community. However, the reality is different. This research was

conducted by integrating qualitative and quantitative methods through several stages of development. The research model design was

applied by means of participatory observation, and in-depth interviews targeting millennials (teenagers and children) in Bali. The

conclusion of the research is a model of Innovative Wayang Wong that was developed by a new perspective regarding the millennial

generation need with a new creation and new meanings. The Innovative Wayang Wong performing arts is expected to have an impact

on the sustainability of this performance art, which will indirectly strengthen the children’s national character

Keyword: Model, Innovative Wayang Wong, Millenial Generation, 4.0 Industrial Revolutions

Introduction¹

in the development and transformation of traditional industries.

Economic capital can also be realized through the character

building of the community concerned. The fourth industrial

revolution, and hence the 4.0, will come about via the Internet

of Things and the Internet of services becoming integrated with

the manufacturing environment (3). Through the character

building, the community empowerment will realize the

economic capital that can flow within the social structure;

therefore, it can be used as a basis for moving the economy

towards the usefulness of the community's life. Fourth

Industrial Revolution is unprecedented and possesses a whole

range of peculiarities, as compared to previous industrial

revolutions (4). Only if humanity appropriates fixed digital

capital, turns it and sublets it into a means for the end of

humanist socialism and socialist humanism. Creating an

innovative interactive orientation program creates a balance of

human and technology (5). It is the same case as the use of the

Wayang Wong performing art which has recently begun to be

marginalized from the social and economic capital of the

people in the era of the 4.0 industrial revolution in Bali.

Generational differences have been overlooked in the

development of new approaches to learning and clinical

practice.

In the era of the 4.0 industrial revolution, there are many

shifts and changes. Revolution has the meaning of a quick

change towards progress or establishment. Human labor is

replaced by automation and digitalization of machines. A lot of

human work opportunities eventually disappear. Within this

discussion, the interaction between humans and machine is of

particular relevance for Industries 4.0. Industry 4.0 adds to a

better understanding of the relationship between manufacturing

and politics as well as technological change in manufacturing

(

1). This phenomenon also occurs in the realm of the Balinese

performing arts. An example is the performances of the

performing arts in the context of tourism at several hotels in

Bali. Many Balinese performing arts should be displayed in an

intact fashion, completed with castrated gamelan. What is

meant is that when the Balinese dance is performed for tourists,

the performance is frequently displayed using cassettes or CDs

only. This phenomenon certainly shifts the role played by and

employment opportunities of humans as the musicians

accompanying the dances performed. In other words, in this

context there has been a shift in the role played by humans;

instead, technology is used to reduce the production cost in

order to obtain greater profits. Technology advances continue

to grow very rapidly and gave birth to the digital society (2).

The industrial revolution that prioritizes the value of the

community’s economic growth through community

empowerment will be able to build harmony and synergic

cooperation to develop the economy of the community

concerned. Industry 4.0 is considered to have an important role

In the context of the information technology revolution and

the mix of generations (6). This research was inspired by the

imbalance between assumption and reality in the field.

Supposedly, Wayang Wong, as one of the local wisdom, is in

demand in the community. However, the reality is different.

Although this performance art is local wisdom that contains

many great cultural values, the reality shows that this

Corresponding authors: (a) Ni Made Ruastiti, Performing Arts, Institut Seni Indonesia Denpasar, Bali, Indonesia. E-mail:

nimaderuastiti@gmail.com. (b) I Komang Sudirga, Performing Arts, Institut Seni Indonesia Denpasar, Bali, Indonesia. E-mail:

sudirgakomang@yahoo.com. (c) I Gede Yudarta, Performing Arts, Institut Seni Indonesia Denpasar, Bali, Indonesia. E-mail:

yudartagede67@gmail.com.

Journal of Environmental Treatment Techniques

2020, Volume 8, Issue 3, Pages: 999-1004

performance art is only sought after by the elderly group of

people. Local wisdom can contribute to specialization and style

specifications in the form of social practice (7). Local wisdom

can influence the existence of cultural meanings, social

meanings and economic meanings (8,9). Difficulties in finding

the next generation and the lack of the young generation’s

interest in pursuing this performance cause it to be increasingly

marginalized and endangered in Bali. In fact, Bali is an island

of paradise. It is a tourist destination that relies on cultural arts

as tourist attractions. Therefore, conservation efforts need to be

made through a strategic approach so that the Wayang Wong is

sought after by the wider community; especially the younger

generation as the nation’s successor.

Wayang Wong is a traditional Balinese performing art

presented in the form of a drama. Wayang Wong comes from

the words Wayang and Wong. Wayang can be interpreted as

icons or figures initially displayed using leather. Wayang is

made from carved cow leather. This form of theater has a

specific story (10). The wayang form is adapted to the character

presented in the performance; i.e. the character of Ramayana.

Wayang Kulit performance is accompanied by the gamelan

gender Wayang. Over time, a new performing art inspired by

the Wayang Kulit emerges, which is called Wayang Wong

performance because the character and musical

accompaniment of the performance are the same as those in the

Wayang Kulit performance; the difference is only that the

Wayang Wong is played by humans.

The Wayang Wong performance featuring the character

Ramayana is presented in the form of a drama accompanied by

gamelan battle. Generally, the dancers of the Wayang Wong

performance are adults or elder people only. Each player

dances wearing a mask while having dialogues in Kawi

Language which is translated by the characters referred to as

panakawan named Sangut, Delem, Merdah and Tualen. The

difficulty of the language material and the dialogue used in

performing art has caused Wayang Wong with its noble values

to keep being marginalized. The lack of interest of the

community in becoming the performers causes this type of

performance to be able to be performed by certain groups such

as adults or elder people in the context of ceremonies. To keep

Wayang Wong performance sustainable, the local people are

made to oblige their citizens to perform this performing art in

every ritual that they carry out in every six months or even once

a year in their area. Yet, the audience just includes elder people.

In Bali, the performing art of Wayang Wong is developing

among others in North Bali including Tejakula Village and

Anturan Village of Buleleng Regency. Meanwhile, in South

Bali, it is developing among others in Tunjuk Village of

Tabanan Regency, Tonja Village of Denpasar and Tanjung

Benoa Village of Badung Regency. The model of the

Innovative Wayang Wong performance will be developed

throughout Bali by targeting the performing art studios in the

area. The development of this performing art model is a

strategic step to preserve the local cultural arts while

strengthening the national character in this globalization era.

The preservation of the local arts will be more effective if it

empowers the community by involving young people in all

aspects of activities directly related to the Wayang Wong

performing art and the process of organizing the performance.

In addition, the development of this art model of the innovative

Wayang Wong, Bali, as a tourist destination, can empower the

local communities and can develop all aspects of life. As a

tourist destination, Bali is known for its cultural tourism. The

selection of Wayang Wong art as a cultural manifestation is not

spared because the performing arts containing these precious

values have never been touched by the millennial (children and

teenagers).

Millennials is a generation that is flexible and likes

freedom, but not unlimited freedom (11). Millennial genes are

known to be generation-saving compared to other generations.

Millennial is known to require self-affirmation which among

them is mostly granted or accommodated through the

mediation of facilities and infrastructure from industry 4.0 (12).

By presenting this performance art, the players and the

audience or tourists will be able to grasp the meaning and

philosophy of the characters universally performed. The youth

believe that such content represents the truth and try to defend

it as hard as possible (13).

The composition of a particular shape design can provide a

different response (14). The strategic position of Bali as a

tourist destination opens opportunities for different

appreciation and tourism development (15). One of the

developments in tourism is to open opportunities for the

millennial generations to conduct tourism in Wayang Wong Art

synergizing different parties, namely, the community and the

government. The application of synergistic governance is

needed in the management of sustainable tourism. Synergic

governance will enable the optimal process of the community

empowerment as an effort to improve prosperity. That relations

with local governments can have an impact on social relations

and cultural sustainability. Development is a form of social

change (16). Since this innovative Wayang Wong performing

art is in the form of traditional art that has already existed, the

local community does not necessarily make major changes.

The local people also feel familiar with the Wayang Wong

performing art because they have already had this type of

performing art. In addition to active participation, the Wayang

Wong performing art requires a public appreciation for its.

However, the players (children and teenagers) need to be

equipped with skills related to it so that they and the audience

or tourists get entertained with it, get insight into and

understand the values of life through the performance of this

innovative Wayang Wong art. The values of local wisdom can

be obtained through Wayang Wong about Indonesian cultures,

such as the value of tough, patient, and nrimo ing pandum

sincere to reach the dream (17). The most important thing is

how children and teenagers, as players of the performance,

enjoy this benevolent performance. Thus, the impact from the

cultural side will be extended to the economic side that will

generate profits in the area through the local art and cultural

media. The application of the innovative Wayang Wong art

model in the millennial generation (children and teenagers) is a

strategic step to preserve the cultural arts and strengthen the

national character in this globalization era. The problem is: how

to apply the art model of the innovative Wayang Wong

performing art to the current millennial generation? What form

of the Innovative Wayang Wong performing art is suitably

applied to these children? What are the implications of its

performance model on them in this globalization era?

Literature Review

The Wayang Wong performance is now almost getting

extinct because of the difficulty in finding dancers as the next

generation of the performing arts. She mentioned that Wayang

Wong performance is commonly danced by certain groups

only; i.e. adults or elder people only. In fact, this performing art

is needed by the local community as a part of a temple festival

“yadny”. In his research entitled Revitalizing Wayang Wong

Dramatari in Bualu Village to Encourage the Community’s Art

Creativity and Creative Economic Growth (2016), innovated

the Wayang Wong Dramatari performance in Tanjung Benoa

area by targeting the art groups in the area to support tourism

and empower the local community. Theoretically, the material

object of the research conducted is indeed the same as that of

000

Journal of Environmental Treatment Techniques

2020, Volume 8, Issue 3, Pages: 999-1004

the current study, namely the Wayang Wong. But the

objectives, objects, subjects, approaches, methods, and the time

and location of the two studies are different.

getting marginalized resulting from its serious and monotonous

presentation and the use of the Old Javanese Language which

the public finds it difficult to understand and so forth. The

The development of the tourism industry in Bali has an

impact on the performing arts of this area. Many people present

their performing arts as tourist performing arts in order to

obtain financial income for the players and the art groups. The

Balinese performing arts packaged for tourists include the

Wayang Wong performing art. Learning media is carried out

through observation and monitoring of the performance of

Wayang Wong. Real learning media (Wayang Wong) can meet

tourism needs .The people really appreciate the art of Wayang

Orang performances at the Sriwedari Surakarta Building. The

similarities can be seen from the indicators of interest, pleasure,

attention, and benefit. Miles & Huberman revealed that the

influence of the public appreciation of the Wayang Wong

performance at Surakarta Building would increase if it was

presented in accordance with the current taste. Each dance is

full of pauses, silences, motions arrested in space, meditative

poses, and passages of immobility (18).

innovation concept in tourism and develop a valid

multidimensional innovation construct. the innovation concept

into a model, including determinants and consequences (20).

The Wayang Wong performing art is should be strategically

introduced to the millennial generation to strengthen the

nation’s character in the globalization era.

Research Method

This research uses research and development method, in

education, refers to a process used to develop and validate

educational products. This model was applied to develop

Wayang Wong crocodile art in an effort to preserve traditional

art. The model developed in this research is a descriptive

procedural development model that outlines the steps that

should be taken to produce a product. The model was chosen

as it gives emphasis on the repeated trial and revision to

produce a viable product. In addition, product analysis is

specified and oriented towards the learning outcome. This

research & development approach is a combination of

quantitative and qualitative approaches. The qualitative

approach is used to develop the model and the quantitative

approach is used to measure the effectiveness of the model.

Qualitative research methods provide strategies for exploring

experiences, practices, and phenomena in sociocultural worlds

Wayang Wong The State Ritual Dance Drama in the Court

of Yogyakarta”, said that Wayang Wong had never been

performed outside the palace until the first quarter of the 20

century because it was considered an “heirloom”. In the past,

Wayang Wong was only performed on the Tratag Bangsal

Kencana Stage in the palace environment at dawn. He also

mentioned that there was a very special history in the creation

of Wayang Wong; therefore, the performance art was never

performed outside the Surakarta palace. in his book

entitled“Yogyakarta-Style Wayang Wong: A Glorious and

Fading Period, stated that Yogyakarta-style Wayang Wong was

created by Sultan Hamengku Buwana. Its golden era started

from the beginning of the 20th century to the outbreak of World

War II in 1939. The Yogyakarta-style Wayang Wong was

popular in the reign of Sultan Hamengku Buwana VIII (1921-

(

21). The model is developed from the potential which the

Indonesian cultural art (Wayang Wong) has as the independent

variable, which includes the quality of Wayang Wong’s

performing art and the increase in the people’s interest in the

Wayang Wong performing art. This research applied an

experiment with the pretest-posttest design as follows:

1 X 02

939) because he was a dancer, dance lover, and protector of

the art. It was stated that during his 18 year-reign the Wayang

Wong performance involved 15 characters adopted from

Mahabharata and Ramayana. The Wayang Wong performing

art was a show of totality as it included dance, drama, literary

art, music, and visual art. Therefore, it required players with

expertise in various arts. Since the dancers were from the court,

the Wayang Wong performance at that time was referred to as

the aristocratic performing art as the important actors were the

Sultan’s sons, relatives, and courtiers. Even the common people

were allowed to watch it at the Palace under certain conditions.

Wayang Wong was also referred to as a very expensive show as

the performance lasted long; i.e. four days and four nights,

causing it not to be performed every year.

Description: X stands for the treatment with meaningful

learning models, 01 stands for the pretest, and 02 stands for

posttest. To determine the effectiveness of the development of

the Wayang Wong performing art model, the learning

evaluation model from the perspective of the creation of new

meanings described by the following scheme in Figure 1.

Broadly speaking, the application of the innovative

Wayang Wong performance art model for the millennial

generation consists of five stages; they are: (1) the description

of the context, (2) the design, (3) the learning implementation,

(

4) the product measurement (output and outcome) and (5) the

decision determining or recommendation regarding the

following steps or actions.

Based on the results of her research entitled Wayang Wong

Priangan:

A Study of the Traditional Dance-Drama

Result and Discussion

Performance in West Java (19), mentioned that Wayang Wong

Priangan was appreciated and favored by the Sundanese people

from the time when Indonesia got its independence to the late

The innovative Wayang Wong performing art model

applied to the millennial generation includes a variety of

movements, choreography, and appreciation from each

character, play, dialogue and musical accompaniment of the art

performance. Collaborative relationships in the process of

presenting different performing arts can result in new nuances

and appreciation. As cultural innovation, wayang wong

requires a novelty to assert existentially. in creating creative

and innovative wayang wong it needs commitment, creativity,

and responsibility from stakeholders (22). This innovative

Wayang Wong performing art was adopted from the Ramayana

story entitled “Cupu Manik Astagina”. It is narrated that

Begawan Gotama was giving advice to his two sons, Arya

Bang, and Arya Kuning at Pesraman. During the meeting, Arya

Bang and Arya Kuning asked about the problem of Cupu Manik

Astagina to the Begawan.

960s. It was stated that the Wayang Wong Priangan

performance combining various elements of roles,

performances, dances, sounds, and music are still sustainable

as it is presented based on the taste of the audience. The

interactive Wayang Wong performance has made the Priangan

people, especially Sundanese, very happy to watch the

performance. Based on the studies reviewed, it can be

concluded that until now no research has been found applying

the innovative model of the Wayang Wong performing art in

the millennial generation as far as the context of preserving the

cultural arts and strengthening the national character is

concerned. It is important to conduct this current study as the

Wayang Wong performing art that contains great values is

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Journal of Environmental Treatment Techniques

2020, Volume 8, Issue 3, Pages: 999-1004

Figure 1: The Model of Innovative Wayang Wong

The Begawan Gotama did not know about the matter, so

the Begawan asked Dewi Anjani to explain about the Cupu

Manik. Dewi Anjani explained that she obtained Cupu Manik

from her mother named Dewi Indradi. Being curious, Begawan

Gotama then called his wife Dewi Indradi. However, she could

not explain the Cupu Manik.

by Bhagawan Gotama. She remained silent and then turned into

a stone. Bhagawan Gotama was angry and finally threw the

gemstone into the forest. He then ordered his three children to

compete (contest). Whoever could get the Cupu Manik, he or

she would be the one who had the right to have it. The three

children immediately chased the Cupu Manik to the forest.

Action III: In the forest, Cupu Manik, which was thrown

by Bhagawan, turned into a pond. Arya Bang and Arya Kuning

immediately plunged themselves into the pond to get the Cupu

Manik. A strange miracle happened. Arya Bang and Arya

Kuning turned into monkeys. Meanwhile, the only Dewi

Anjani’s hands and face, which were dipped into the water,

became hairy like those of monkeys. Witnessing the incident,

Bhagawan Gotama was very sad and then asked the three

children to meditate to restore their forms as before.

Various movements of the Innovative Wayang Wong

performance include the basic movements made by the

Balinese Dance and the motives of the pure and meaningful

dancing movements. The motives of the pure dancing

movements refer to different dancing movements that do not

contain any meaning or definition, meaning that the different

dancing movements performed are truly pure and are not

beautifully designed and do not contain any certain symbol or

meaning. The motives of the pure dancing movements which

the Innovative Wayang Wong performance contains consist of

ngegol, left and right agem, ngelikas, nyeleog, piles, left and

right seledet, nabdab gelung, nabdab pinggel, gandang-

gandang walk, ngumbang, ngelung, ngotag, miles, buta ngawa

sari, ngelo, and nyeleog. Meanwhile, the different meaningful

dancing movements which the Innovative Wayang Wong

performances contain are the dancing movements with certain

symbols or meanings; among others, different movements of

nuding (pointing at something), ulap-ulap (glaring), nadab

gelung (fixing the crown), and sesaputan (tidying clothes).

Examples of dance movements can be seen in Figure 2.

Begawan Gotama was angry with and condemned Dewi

Indradi to stone. With a sense of disappointment, the Begawan

asked the three children to compete. Whoever could get the

Cupu Manik, he or she would be the one who had the right to

have it. Cupu Manik was then thrown into the forest. The three

children immediately chased it. Then, the Cupu Manik thrown

in the forest turned into a pond. Arya Bang and Arya Kuning

immediately plunged themselves into the pond. A miracle

happened to the Arya Bang and Ayra Kunings faces because

they finally turned into monkeys. Meanwhile, Dewi Anjani’s

face and hands hit by the water became hairy and the other parts

of her body did not. All the animals that took part in plundering

themselves and drinking the pond water turned into monkeys

with diverse faces. Seeing the incident, Begawan Gotama was

very sad and told his three children to do the activity of tapa

brata. This innovative Wayang Wong art is presented in the

form of a drama. It can be seen from the presentation, costume,

makeup, and musical accompaniment of the performance. The

innovative Wayang Wong art performance entitled “Cupu

Manik Astagina” is presented with the following structure of

the performance, among others:

Action I: At Pesraman, Tualen and people came before

Arya Bang and Arya Kuning did. The Bhagawan Gotama gave

advice to his two sons; Arya Bang and Arya Kuning. In this

meeting, Arya Bang and Arya Kuning asked for a Cupu Manik

brought by Dewi Anjani. Bhagawan Gotama was very

surprised at the matter of the Cupu Manik Astagina asked by

Arya Bang and Arya Kuning because the Bhagawan did not

know it at all.

Action II: In the garden, the servants were chatting with

Dewi Anjani. She was very happy to be accompanied by the

servants because she had the gem of Cupu Manik that could

give whatever she wanted. Suddenly, she was startled by the

arrival of her father, Bhagawan Gotama. He asked her to

explain about the Cupu Manik. She explained that she had

obtained it from her mother, Dewi Indradi. Dewi Indradi was

asked by Bhagawan Gotama to explain about the gem. He was

angry because she could not explain the gem. The atmosphere

was tense and Bhagawan Gotama was so angry that a fire

emerged from his hands. Dewi Indradi was cursed to be stone

In addition to different movements, dialogues and music,

each character in the Innovative Wayang Wong performing arts

are defined. The characters include Arya Bang, Arya Kuning

(hard male figure), Dewi Anjani (gentle female figure),

Begawan Gotama (gentle male figure), Dayang-Dayang (hard

female figure), Ape or Monkey (hard male figure), Malen and

Tualen (gentle male figures), Merdah and Sangut (hard male

figures). By providing with the right basic knowledge based on

their ages, it is expected that the applicative process of this

innovative performing art model can be smoothly undertaken.

Implementation of innovation strategy (innovation or

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Journal of Environmental Treatment Techniques

2020, Volume 8, Issue 3, Pages: 999-1004

imitation) should pay attention to cultures (23). creation of

integrated and innovative tourism regions, positively

influencing competitiveness (24).

Ethical issue

Authors are aware of, and comply with, best practice in

publication ethics specifically with regard to authorship

(avoidance of guest authorship), dual submission, manipulation

of figures, competing interests and compliance with policies on

research ethics. Authors adhere to publication requirements

that submitted work is original and has not been published

elsewhere in any language.

Competing interests

The authors declare that there is no conflict of interest that

would prejudice the impartiality of this scientific work.

Authors’ contribution

All authors of this study have a complete contribution for

data collection, data analyses and manuscript writing.

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We would like to thank all the participants in the research

on wayang wong for the millennial generation. Thank you also

to the Ristekdikti and Institut Seni Indonesia Denpasar for the

opportunities and support for infrastructure and facilities so that

this research can be completed in the form of scientific articles.

15. I Putu Anom. Analisis Pariwisata. Jurnal Analisis Pariwisata,

010;10(1). Retrieved from

003

Journal of Environmental Treatment Techniques

2020, Volume 8, Issue 3, Pages: 999-1004

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Pariwisata-Vol.-10-No.-1-2010.pdf

6. Robert HL. Perspectives on social change. 1989. Retrieved from

http://lib.ui.ac.id/file?file=pdf/metadata-20142315.pdf

7. Wardani NE, Widyahening ET, Suhita R. (). Learning Media

Using Wayang Wong to Introduce Local Wisdom of Javanese

Culture for The Students. Journal of Arts, Science & Commerce.

I Gede Yudarta is a lecturer from the

Indonesian Institute of Art Denpasar in the

Karawitan study program. In 2007 he

received a master's degree from Udayana

University. The man was declared a doctoral

graduate in the cultural studies program at

Udayana University. The man has long

taught the subject of Art Study, Archipelago

Music Notation System, and Basic

Techniques in Working Instruments,

Karawitan Art Criticism and Karawitan

Aesthetics.

016;7:48–54. https://doi.org/0.18843/rwjasc/v7i3/06

8. Kam G. Wayang wong in the court of Yogyakarta: the enduring

significance of Javanese dance drama. Asian Theatre Journal. 1987

Apr 1;4(1):29-51.

9. Ruslaina Y. Wayang Wong Prianganꢀ: Dance Drama of West Java.

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Ruslaiana_Dancedrama.pd

0. Gomezelj, D. Innovativeness in Tourismꢀ: Model Development.

Procedia Economics and Finance. 2015;23(October 2014):750–

56. https://doi.org/10.1016/S2212-5671(15)00550-X

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in Medical and Biological Sciences: From Planning and

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015. https://doi.org/10.1016/B978-0-12-799943-2.00010-0

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https://doi.org/10.1108/00251741111094437

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development. Procedia Economics and Finance. 2015 Jan

;23:744-9.

Authors Profile:

Ni Made Ruastiti is a Lecturer in Performing

Art, Faculty of Indonesia Art Institute

Denpasar, Bali. After finishing Strata 1

Program in Performing Art, since 1992 she

has been appointed a teaching staff member

at the said institution where she is currently

teaching. From 1999-2001, she was

teaching staff member of the Faculty of

Performing Art, Indonesia Institute of the

Arts Denpasar, Bali then pursued her Master

Program in Cultural Studies at the School of

Postgraduate Studies of Udayana University.

From 2004 to 2008, she pursued her

Doctorate program at the School of

Postgraduate Studies of Udayana University.

In addition to teaching, she is also a reliable

practitioner, observer and writer of matters

pertaining to Performing Art.

Komang Sudirga is

a lecturer in the

Karawitan study program, the performing

arts faculty of the Indonesian Art Institute,

Denpasarcompleted

his

undergraduate

education at the Karawitan art study program

at the Indonesian Art Institute in Denpasar in

993. The man was declared a master's

graduate in 2001 at Gadjah Mada University.

S3 Study was successfully completed in 2013

at the Udayana University Cultural Studies

study program. As a lecturer, I Komang

Sudirga is known to teach subjects in the

philosophy of art, ensemble, singing, literary

appreciation, and vocal music.

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