The Concept of Dasa Paramartha on the Characterization of Aji Dharma in a Wayang Tantri Performance by I Wayan Wija. Dasa Paramartha, as the teachings of dharma (goodness) in Hinduism, then becomes a material that is flexible enough to be displayed in broadcasting the meaning and value of ethical, moral, and social behavior education. Wayang Tantri, in the play of Sang Aji Dharma Kepastu presents the character of Prabu Aji Dharma with the characteristics trait displayed as a figure of dharma who later becomes a role model for Wayang Tantri audiences. This study aims to reveal the values of Dasa Parartha’s teachings in the characterization of Aji Dharma figures. The qualitative descriptive method with data collection in the form of observation, interviews, and study documentation of the Wayang Tantri video of Sang Aji Dharma Kepastu with a duration of approximately 2 hours, then analyzed by, The Aesthetic Pedalangan Theory supported by Semiotic Theory. The results of the research are the representation of the teachings of Dasa Parmartha, which is in the form of Tapa: physical and mental self-control; Bharata: curb lust; Samadhi: mental concentration on God; Santa: being calm and honest; Sanmata: aspiring and aiming towards goodness; Karuna: affection between living beings; Karuni: compassion for plants, goods and so on; Upeksa: being able to distinguish right from wrong, good and bad; Mudhita: trying to please others; and Maitri: eager to seek friendship based on mutual respect.Keywords: representation; Dasa Paramartha; Aji Dharma; Wayang Tantri

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.

Adegan bondres merupakan sebuah adegan yang dimunculkan dengan tujuan untuk menghibur penonton. Adegan bondres pada wayang Tantri lakon Bhagawan Kundala Nangun Yadnya oleh Dalang Wija dimunculkan dengan beragam kreativitas yang tidak pernah dilakuakn Dalang lain. Hal ini memunculkan apresiasi berupa tepuk tangan dari penoton yang mengindikasikan terpenuhinya rasa nikmat indah atas nilai estetis yang muncul. Tujuan utama penelitian ini ialah untuk mengetahui estetika dari adegan bebondresan. Metode penelitian berupa observasi, wawancara dan dokumentasi menjadi sumber perolehan data oleh penulis yang selanjunya direduksi dan dianlisis menggunakan teori estetika instrumental dan teori estetika sifat estetis. Hasil penelitian ini selajutnya menemukan bahwa wujud adegan bondres ini terbentuk secara visual berupa tiga wayang bondres yaitu, pria memegang kendang, wanita sexy dan wanita tua lincah, strukturnya terdiri dari tiga buah wayang kulit dua dimensi, sebuah kendang dan tamborin yang dikombinasi melalui pola bermain wayang, alat musik dan vokal dialog wayang. Estetika adegan bondres ini terletak pada, (1) ‘keterkaitan’ yaitu keutuhan yang dilihat dari keterkaitan, keterpaduan dan harmoni pada elemen-elemen pembentuk adegan; (2) ‘kerumitan’ yang terjalin diantara elemen-elemen pada struktur yang dipentaskan melalui pola bermain yang kompleks; (3) ‘penonjolan’ yaitu presentasi hasil pencapaian kreativitas oleh Dalang Wija yang dilihat dari ciri-ciri karya seni, latar belakang kemampuan dalang dan motivasinya.

Bebondresan is a scene that is raised in order to entertain the audience. The scene of the bonding on theTantri puppet play Bhagawan Kundala Nangun Yadnya by Dalang Wija was brought up with a varietyof creativity that no other Dalang had ever done. This gave rise to appreciation in the form of applausefrom the audience who indicated the fulfillment of the wonderful taste of the aesthetic values that emerged.The main purpose of this research is to find out the aesthetics of the bebondresan scene. The researchmethod in the form of observation, interviews and documentation is the source of data acquisition by theauthor, which is then reduced and analyzed using instrumental aesthetic theory and aesthetic theoriesof aesthetics. The results of this study later found that the form of the bondres scene was formed visuallyin the form of three puppet Bondres namely, men holding drums, sexy women and agile old women,the structure consisted of three two-dimensional leather puppets, a drum and tambourine combinedthrough puppet play patterns, musical instruments and vocal wayang dialogues. The aesthetics of theBondres scene lies in, (1) ‘interrelations’, namely wholeness which is seen from the interrelationship,integration and harmony in the elements forming the scene; (2) ‘complexity’ that is interwoven betweenthe elements in the structure that are staged through complex playing patterns; (3) ‘prominence’ whichis the presentation of the results of the achievement of creativity by Dalang Wija which is seen from thecharacteristics of the artwork, the background of the mastermind’s abilities and his motivation.Keywords: Bondres Scene, Wayang Tantri, I Wayan WijaABSTRAKAdegan bondres merupakan sebuah adegan yang dimunculkan dengan tujuan untukmenghibur penonton. Adegan bondres pada wayang Tantri lakon Bhagawan Kundala NangunYadnya oleh Dalang Wija dimunculkan dengan beragam kreativitas yang tidak pernahdilakuakn Dalang lain. Hal ini memunculkan apresiasi berupa tepuk tangan dari penoton yangmengindikasikan terpenuhinya rasa nikmat indah atas nilai estetis yang muncul. Tujuan utamapenelitian ini ialah untuk mengetahui estetika dari adegan bebondresan. Metode penelitianberupa observasi, wawancara dan dokumentasi menjadi sumber perolehan data oleh penulisyang selanjunya direduksi dan dianlisis menggunakan teori estetika instrumental dan teoriestetika sifat estetis. Hasil penelitian ini selajutnya menemukan bahwa wujud adegan bondresini terbentuk secara visual berupa tiga wayang bondres yaitu, pria memegang kendang, wanitasexy dan wanita tua lincah, strukturnya terdiri atas tiga buah wayang kulit dua dimensi, sebuahkendang dan tamborin yang dikombinasi melalui pola bermain wayang, alat musik dan vokaldialog wayang. Estetika adegan bondres ini terletak pada, (1) ‘keterkaitan’ yaitu keutuhan yangdilihat dari keterkaitan, keterpaduan dan harmoni pada elemen-elemen pembentuk adegan;(2) ‘kerumitan’ yang terjalin di antara elemen-elemen pada struktur yang dipentaskan melaluipola bermain yang kompleks; (3) ‘penonjolan’ yaitu presentasi hasil pencapaian kreativitasoleh Dalang Wija yang dilihat dari ciri-ciri karya seni, latar belakang kemampuan dalang danmotivasinya.Kata Kunci: Adegan Bondres, Wayang Tantri, I Wayan Wija

Wayang Tantri is one of Wayang arts which is still productive and creative in performing Wayang Kaca (glass wayang) in some scenes of their performance. The visual of the performance is the re?ection of light with the motif of forms and paterns of the traditional Balinese leather puppet(wayang kulit). The creation is conducted by I Wayan Wija by enriching the movements of wayang tetikesan adapted from Balinese leather puppet. The subject of the analysis is wayang kaca in the play of Wayang Tantri of I Wayan Wija’s Sang Aji Dharma Kepastu in Bali record. The aim of thispaper is to identify the form and movement of Wayang. The analysis is explored within local ideas in the form of the wayang. The data are collected through observation, interview, and document study to the video of the subject of the analysis which is more or less about 2 hours. The theory applied is Instrumental Aesthetics and Estetika Pedalangan. The result shows that wayang kaca is Dalang Wija’s thought on the manifestation of Dewa (God) which is re?ected in the form of light (dev) in the performance. The basic materials are created into various forms of Balinese wayang characterssuch as Barong, dewa-dewi, penari baris, etc. The tetikesan model applied in wayang kaca is adapted movements from traditional wayang comprising “gerak wantah” and “gerak maknawi.Keywords: Wayang Tantri, wayang Kaca, form, movement.