SESETAN TRADITIONAL VILLAGE AS SOCIAL AND ART ASPECT

2022 ABSTRACT Sesetan Traditional Village is a village that is used as the basis for the preservation of traditions, customs, and Balinese culture. Sesetan Pakraman Village exists with various social, artistic and local culture approaches which include the social structure of Sesetan community, the arts and culture of Sesetan Village and the sekaa (traditional group) that bond as a local tradition, becoming an icon of Denpasar City. Sesetan Traditional Village has a wider area than the other area of South Denpasar Districts. Definitely, some clans or soroh of the Krama residents who live in Sesetan Pakraman Village are diverse. They consist of residents from different clans who form a community based on genealogical descent. When viewed from the structure of community, Sesetan Traditional Village consists of several krama, namely Krama Pengarep, Krama Tamiu, Krama Nyada, Krama Pangile. All these Krama are involved and they synergize each other in carrying out ngayah in the village, and assisting krama who are carrying out religious rituals. The existence of Sesetan Pakraman Village in its culture also has the uniqueness and diversity of art. This can be seen from Banjar Kaja to the Banjar Suwung Batan Kendal area which has a diversity of traditions, arts and culture, as well as aspects of religiosity framed in Hinduism. Such as, Omed-Omedan tradition, Ngelawang, the art of Calonarang dance drama and many others. It becomes interesting topic in this study regarding the socio, cultural and arts that developed in Sesetan Pakraman Village.


INTRODUCTION
Sesetan Pakraman Village comes from or is part of Pedungan Village. Sesetan is taken from the term "kesetan" which is in Balinese defined as a part or its simple meaning "fraction". Judging from the genealogical history of Pakraman Village, it is still said to be not final because there are still different views on the origin of Sesetan Pakraman Village. By looking at the archaeological heritages of Ganesha and Lingga Yoni statues of the 9 th century, located at Puseh Temple Sesetan, it is estimated that Sesetan area has been inhabited since that century and its existence is older than the existing myths. In addition, there are notes in several chronicles relating to the arrival of Aryas in Bali after the conquest of Majapahit. The Aryas were led by Arya Damar with 7 Aryas to Bali, and including Ki Arya Kuta Waringin around the 13 th century. It is said that the existence of Sesetan is mentioned there.
Sesetan Pakraman Village or now called Sesetan Traditional Village is a village with all kinds of uniqueness that can be seen from both the socio-cultural and artistic aspects (Wardana 2019). The social aspect, it can be seen from the people who are involved and synergize with each other in carrying out Ngayah in the village, as well as helping Krama who are carrying out religious rituals (Sari, Sukadi, and Yasintha 2021). The artistic and cultural aspects can be seen in terms of tradition and religious aspects framed in Hinduism (Saizar 2018). It can be seen from the mythology, Sesetan, which is interpreted as a sesaetan (binder), has a close and interrelated relationship between all Banjars, from Banjar Kaja to Banjar Suwung Batan Kendal.
In terms of structure of their social life, the residents of Sesetan Village have a unique social structure that is bound by the unity of dadia. The Sesetan Traditional Village community consists of several krama, namely Krama Pengarep, Krama Tamiu, Krama Nyada, Krama Pangile. All these krama are involved and synergize with each other in carrying out ngayah in village, and assisting krama who are carrying out religious rituals (Sari, Sukadi, and Yasintha 2021). Then from the tradition side, Sesetan Pakraman Village has many activities, especially religious ritual activities such as Omed-Omedan tradition, Ngelawang, Calonarang dance art and many others, which become icons of Denpasar as a famous city for its traditions (Sari, Sukadi, and Yasintha 2021). In addition, Sesetan Traditional Village has a unique cultural diversity. Moreover, it has been the basis for the development of art and culture since the reign of the ancient Balinese kings. The hypothesis is evident from the remains in Sesetan Village (Martiana et al. 2018). The Banjars located in Sesetan Village also have a variety of cultural styles, and they persist with their traditions behind the modernity of Denpasar as an urban area (Suwardani, Paramartha, and Suasthi 2018). In addition, from a theo-relogical point of view, the people"s life is very interesting. In each temple, there is a Bhatara visit, which is carried out in various forms and manifestations that are sacred and glorified as God"s manifestations.
Based on the background of the above problems, it is very clear that the basis of this research is about Sesetan Traditional Village as one of The traditional Villages that can be used as an example in the social and cultural aspects of maintaining traditions, customs, and Balinese culture. It needs to be studied more deeply based on scientific studies on cultural theory, so as to find an exploration of Balinese culture as an effort to inventory culture in Bali. It becomes an interesting thing to study, to get a clear research objective regarding the description of Sesetan Traditional Village from both the socio and artistic aspects of their culture, and one of them in terms of tradition, cultural arts, and religious aspects which is contained in the form of sacred appreciations, filled with magical elements. In the future, it can be used as an established cultural document.

METHOD RESEARCH
The research used in this study used a qualitative approach with descriptive analysis techniques. The research method used in this research is descriptive. That descriptive analysis is a method that serves to describe or provide an overview of an object under study through data or samples that have been collected as they are without analyzing and making conclusions that apply to the public (Amin et al. 2020). Defines qualitative methodology as a research procedure that produces descriptive data in the form of written or spoken words from people and observed behavior (Moleong 2021). The data of this research are words, expressions, phrases and sentences in which there is the use of social descriptions in the traditional village (Ginting, Maulidiah, and Nisa 2022). The subjects used in this study were the researchers themselves and were assisted by the data inventory format.

RESULT AND DISCUSSION
Sesetan Pakraman Village is an icon of Denpasar City, which is famous for its uniqueness in terms of both socio-cultural aspects, and one of them in terms of tradition, cultural arts and religiosity aspects, which are framed in Hinduism (Wardana 2019).
sociology is a science that summarizes a social action and its causes and consequences. These social actions lead to individuals and are directed to others by observing their behavior (Langer 2022).
The social life structure of Sesetan Pakraman Village residents is bound in sociocultural ties called Adat. Banjar Adat, which is located in Sesetan Village has a temple that binds each other, namely Kahyangan Tiga Temple, Swagina Temple, Dadia and other Temples. As it is known, Sesetan is a wider area than the South Denpasar District and other sub-districts. As a residential area and part of Pedungan, of course, the clans of Karaman residents who live in Sesetan are diverse. They are residents with different terah or gotra who form a community based on genealogical descent. The following discussion describes the social structure of Sesetan Village community.

Krama Pengarep
Krama Pengarep are Sesetan residents who have settled and joined Banjar Adat in Sesetan. Each Banjar Adat in Sesetan Pakraman Village has a karama pengarep which is tied by the awig-awig (rules) of Banjar Adat and the Awig-Awig of Pakraman Village. Pengarep are residents who are directly involved in religious activities and can be declared fully responsible for all customary, traditional, religious and socio-cultural activities in Banjar Adat and their respective Pakraman Villages.

Krama Tamiu
Apart from krama Pengarep as the core krama that is tied into a traditional socio system, in Sesetan Pakraman Village there is also Krama Tamiu which is estimated to be quite a lot in Sesetan Pakraman Village. In each Banjar Adat, there is Krama Tamiu which is ruled in such way in a traditional pattern based on Awig-Awig of Pakraman Village, Perarem Desa and dresta which took place in Sesetan Pakraman Village.
Referring to Awig-Awig of Sesetan Pakraman Village, Krama Tamiu is a resident of immigrants who has joined banjar adat in Sesetan Pakraman Village. Thus, krama tamiu are not natives of Sesetan Village, but have settled in Sesetan Village. As it is known, Sesetan is a heterogeneous area with the densest population compared to other villages in the South Denpasar District. With such population density, karma tamiu who live in Sesetan Pakraman Village are certainly very large.

Krama Nyada
In addition to the krama mentioned above, in the social system of Sesetan Pakraman Village community, there is also Krama Nyada. Based on literacy searches related to krama nyada, there are several sources of studies that explain krama nyada. As explained in the description of Parimartha (2008: 221), krama nyada are elderly or old people who are no longer active in social and customary activities. They are given the thing to break away and get ready to enter the Wanaprastha Dharma.

Krama Pangile and Mulih Daha
In the socio structure of Sesetan Village, there is also krama called krama pangile. Probably, the younger generation of Sesetan Village does not know much about this krama pengile. In fact, this is important to know because it is part of traditional system still exists in Sesetan Village. Apart from krama pengarep and krama nyada, krama pangile is also recognized as an integral part of Sesetan socio-cultural system.
Krama pangile in the socio system of Sesetan Pakraman Village are Sesetan residents who have legally adhered to banjar adat, have only female descendants, and do not get sentana, so that their descendants marry outside Sesetan Village. Therefore, he will live alone and will continue to join Banjar adat until he is 60 years old. When he is 60 years old, he is still a krama pengarep, but escapes the ayah-ayahan arirang or in other words he is freed from partial responsibility. For example, there is a piodalan (ceremony in temple), who is subject to a fee of one hundred thousand rupiah, so he only has to pay fifty thousand rupiah.
As a Traditional Village, all activities that are carried out by the community, both personally and communally, have been arranged into the awig-awig of Pakraman Village and have been well-systemized. As the supreme leader of Pakraman in a village, Jero Bendesa is the one who manages everything and is based on the traditional village awigawig. Then Kelihan Banjar Adat and other Banjar Adat administrators synergize with each other to create a good Traditional Village.

Sesetan Pakraman Village in its Culture
Culture is a system of ideas and feelings, actions and works produced by humans in society by learning. Culture grows in society from the simple to the complex and they are diverse. This is determined by its relationship with the environment in meeting the needs of life, one of which is spiritual needs.
Sesetan Pakraman Village has diversity in its arts and culture. Sesetan Village, which is located in the South Denpasar District, is very helpful for Denpasar City as an icon of Cultural City. This can be seen from Banjar Kaja to Banjar Suwung Batan Kendal area, which has a diversity of traditions, arts and culture, as well as aspects of religiosity framed in Hinduism.
Art performances in Sesetan Pakraman Village are always related to ceremonial activities, and in this case especially the art of performing sacred arts. That is also, when the Pujawali Jelih procession at the Banjar Adat Temple, all performances are staged as an expression of devotional path. This can be used as a starting point that art and performing arts in Sesetan Pakraman Village are very lively, as shown in the following picture. Sacred art performances are a strong supporter so that it is very difficult to separate the two between art and ritual offerings. Art and offerings are two things that must exist in every Hindu practice in Sesetan Pakraman Village. This shows the polarization of religion, which is reflected in the emission of high aesthetic power and wrapped in belief, so that Sesetan actually has high cultural assets. In almost every ceremony, it is always accompanied by art performances that clearly show the concept of beauty in Hinduism, namely satyam (truth), siwam (holiness) and sundaram (beauty) (Linggih 2015). Here are some of the cultures that exist in Sesetan Pakraman Village and have become an icon of Denpasar City, especially in the arts.

Gambuh Dance of Sesetan Village
Based on developed oral stories, Gambuh dance and art existed in Sesetan around the 1930s. This is traced from the writings of a Western anthropologist named Covarrubias who wrote a glimpse of Gambuh in his book Bali the Island of Paradise, which has been translated into Indonesian entitled Pulau Bali, Temuan yang Menakjubkan. In this writing, Covarrubias, explained that the art of Gambuh dance was performed by sekaa Gambuh Sesetan who collaborated with sekaa Gambuh Batuan Village (Dibia and Ballinger 2012).
The same thing was also revealed, there was a sound recording of the 1928 Gambuh dance drama, identified as recordings of several parts of at least three stages of Gambuh Sesetan performance, namely Bapang Selisir, Biakalang Prabangsa, and Peperangan Sira Panji dengan Prabangsa. This further confirms the existence of Gambuh Sesetan, which has existed since long ago, even before. There is also a 1928 recording containing the song of Kidung Dewa Berata by Ardja Sesetan (Dibia and Ballinger 2012).
However, the greatness of sekaa name of Gambuh Sesetan has now disappeared, even when we revere Sesetan and Denpasar as the City of Culture. It is very difficult to imagine, how majestic and passionate the Sesetan people at that time, they were able to present the drama dance art of Gambuh which made Covarrubias and Colin McPhee document it in a book and music composer. The enthusiasm and self-reliance of the Sesetan people at that time revived the art of Gambuh, so it had a strong vitality. However, the art of Gambuh experienced a period of receding, and not only the Gambuh sekaa in Sesetan, but also the Gambuh sekaa throughout Bali. Therefore, such a fact must be accepted as historical truth.
However, not all of them were destroyed and swallowed up by the Supreme Lord of time. We can still find traces of the greatness of Sekaa Gambuh Sesetan in the practices of belief in Ida Bhatara Sesuhunan who resides at the Pangilen Temple, which is always asked for so that every effort of Sesetan residents can be achieved and prosper so that a noble culture is maintained. Pangilen Temple could be taken from the image of Sesetan residents who are passionate of the arts, including Gambuh and other arts. Pangilen, originated from the word ilen-ilen or artistic performance that can bring out a sense of lango. The following image is contained in the archive records of Sekaa Gambuh Sesetan:  Thus, the existence of Gambuh Sesetan art actually makes a special note, is that first, the Gambuh art grows and develops in the center of banjar, not on the patronage of castle; and secondly, on the characteristics and flexibility of the community to maintain high achievements through various forms, and of course it is supported by its supporters. In this regard, the art of Gambuh in several areas in Bali, including in Sesetan, does not necessarily eliminate traces of the dance drama elements. Dramatic forms in the Gambuh dance drama give influence on subsequent dance drama arts, such as Arja and Calonarang.
Many principles of Gambuh were adopted and used in new forms of dance drama play. For example in Palegongan, many movements adopt the Gambuh movement, because the basic Gambuh movement is very easy to recognize. Then the melody of Gambuh's percussion gave much inspiration to the gamelan repertoire of Semar Pegulingan and Gong Kebyar. Of course, this is a cultural tactic that was also carried out in Sesetan Village, and wisdom to maintain historical continuity that Gambuh art had its peak in Sesetan Village.

Wayang Wong Art
In addition to Gambuh art, Wayang Wong art also existed in Sesetan Pakraman Village, especially in Banjar Tengah. Wayang Wong art developed in Banjar Tengah, Sesetan after the decline of Gambuh art. How their existence can be seen from some Gelung that are still neatly stored, as well as some of the costumes that turned out to be used as costumes for the Gambuh dance drama. Based on the narrative of Jero Kelih Banjar Tengah (interview, December 20 th , 2018), that the Gelungan and costumes used by sekaa Wayang Wong in Banjar Tengah were Gelungan and costumes belonging to the sekaa Gambuh. Gelung and costumes are used as equipment in Wayang Wong performances. There are several tapel (mask) depicting the image of characters in Ramayana, and they are still sacred to this day. All tapel made from the high sculpture art are still stored in Gedong Pererepan, and all of this shows the enthusiasm of Banjar Tengah residents in the arts.
Many remains of Wayang Wong dance equipment were also found in resident's homes, and some instruments can still be found as instruments for Wayang Wong performances, which have recently become rare to be performed in several art and ceremonial events. Based on the study of oral history, and based on stories from the elderly of Banjar Tengah Sesetan, that the art of Wayang Wong Banjar Tengah Sesetan developed before the Japanese occupation until the beginning of independence, or the period around 1942 until early 1950s. Some performances outside Sesetan Village that are remembered are performances around Denpasar. Now, this art is no longer presented as a performance that is full of artistic creations and religious cultural values. This is unfortunate, because the passion for classical art must be instilled into the next generation. However, the existence of Gambuh and Wayang Wong arts has given color to subsequent arts, so that in subsequent developments Arja art and other arts emerged.

Art of Arja in Sesetan Pakraman Village
The art of Arja in Sesetan Pakraman Village may be declared to have experienced a tidal phase. Having experienced a period of receding, Arja's art is now reappearing with the presence of several Arja artists in Sesetan Pekraman Village. Arja, as a traditional Balinese art, is said to have first appeared around 1920, which was played by men. The themes that are usually used in arja usually take historical plays or stories, contemporary dramas and love stories (Septiandini et al. 2021).
Different from other traditional Balinese arts, the hallmark of Arja's art in every performance is that it has teachings of kindness, jokes, slapstick, dance and drama that are not inferior to other Balinese arts, Arja also always features songs such as kekawin or traditional Balinese songs and the clothing used is also complete with traditional Balinese clothes. While music or gamelan as an accompaniment in this art is mentioned in the Balinese chronicle, Arja at first only used the gamelan Geguntangan, but about a few years later, Arja was accompanied by gamelan gong kebyar.
There are several Arja artists, who are currently popular in Sesetan Pakraman Village, such as an Arja artist named I Made Suarta and at the same time, he is the Rector of Mahadewa University, Bali. His career as an Arja artist has been long now he is active with the Arja Widyaksara community, Mahadewa University, often performing Arja art performances, and until now, he is actively filling broadcasts on TVRI Bali station with his community. The existence of Arja artists who exist up to now in Sesetan Pakraman Village can be used as a starting point for the existence of Arja art in Sesetan, even though the Arja Sekaa, which are full members, do not exist in Sesetan. The Arja artist, I Made Suarta, can be seen in the following picture. In addition to the artist I Made Suarta, in Sesetan Pakraman Village, there was also the young artist Arja, who often appeared as Liku Arja at the same time as Bondres. Arja artist is named I Komang David Darmawan, who is known as Gek Kinclong. He is also a member of Arja Widyaksara community of Mahadewa University, and often performs with the theme of Arja Innovative. The existence of these two Arja artists further confirms that Sesetan still has high artistic assets, so that Arja art continues to exist.

Calonarang Art
The dance drama art of Calonarang can be stated as the icon of Sesetan Pakraman Village, because Calonarang dance drama art really exists in Sesetan Pakraman Village. The Calonarang dance drama seems to be a current trend that is in great demand by the citizens of Sesetan and Bali in general. Sacred art, which is always associated with mystical beliefs, displays two sacred figures, namely Barong and Rangda as a symbol of Rwa Bhineda. The performance of dance drama Calonarang is usually carried out when Pujawali Jelih or Nadi, that is by presenting sesolahan Pelawatan or Pajenengan performed by Calonarang dancers.
The Sekaa Calonarang that exists and can be declared as the elder of dance drama Calonarang performance is Sekaa Calonarang Gases Bali. The Sekaa is very familiar among Calonarang artists, because Sekaa Calonarang Gases always exists carrying the theme of Balinese culture which is always related to mystical and magical aspects. The late I Wayan Candra as an elder of Gases Bali founded the Sekaa. Initially, the Sekaa was established as an effort to preserve arts and cultural activities, and then developed to this day as a Foundation based on Balinese art and culture based on Hinduism in Bali.
Interestingly, the art of Calonarang in Sesetan has been very lively nowadays and exists in every Banjar Adat, and is called sekaa sebunan. Whenever there is a Pujawali, they hold Ida Pelawatan dance with the theme of calonarang. They consist of several artists who are bound together in the Sekaa Calonarang unit, both male and female. They perform in earnest, because the opportunity to perform Ida Sesuhunan in the form of pelawatan is a gift that is highly expected. They believe that taksu blessings will flow to them, so that they will become Calonarang pragina metaksu. The Calonarang art performance by sekaa Calonarang Banjar Kaja can be seen in the following picture.

Mask Art
Another art that still exists in the Sesetan Pakraman Village is Mask art. Mask dance art in the Sesetan Pakraman Village is still rife, and many Mask artists have emerged. This is because of the Mask art is very high expected. Moreover, ceremonial activities are always related to mask performances (Cizmeciler, Erdem, and Erdem 2022). In every ceremonial ritual in Sesetan Village, we see a variety of mask arts being performed, such as the Sidakarya Mask which tells the story of the arrival of Dalem Sidakarya or Dalem Keling when Dalem Waturenggong carry out a large yadnya in Besakih. In every sacred ceremony, in the form of yadnya and others, Dalem Sidakarya Mask is performed as a sign that the ceremony has been completed by Sida Karya or has been successfully carried out.

Ngelawang Arts
Every Galungan and Kuningan holidays, the people of Sesetan Pakraman Village often see Barong performance on the street by walking along the road complete with gamelan accompaniment. The players are mostly children and the equipment used is not Barong Sungsungan (sacred Barong), but Barong Bangkung which is lighter in weight and also not a sacred Barong. Barong Bangkung does not wear fur, but its body is made of black cloth so it is much lighter than Barong Ket. With a light weight, this type of Barong is easy to play by children and it is easy to carry around Sesetan Village.
In this activity, Barong Bangkung danced while walking from door to door of the Sesetan residents' house so that it became quite an entertaining performance as well. Some residents also gave money to encourage the children and as offerings for Galungan and Kuningan. Barong activities around the village like this are called "Ngelawang."

Omed-Omedan Traditional Arts
Art in the Omed-Omedan tradition can be said to has become global and has become a distinctive feature for Sesetan people, especially in Banjar Kaja where the tradition emerged, developed and maintained until now. In the historical dimension, there are several opinions that this Omed-Omedan art tradition originated from the anxiety of a king, so that youth entertainment was created which became known as Omed-Omedan. Literally, Omed-Omedan is derived from the word "omed" which means to pull each other or in Indonesian, "to attract each other".

CONCLUSION
In terms of socio-cultural and artistic aspects, Sesetan Traditional Village is in a social bond called Adat. The impact of socio-unity aspect of Pakraman or Traditional of Sesetan Village which consists of several krama, namely Krama Pengarep, Krama Tamiu, Krama Nyada, Krama Pangile. All these krama are involved and synergize each other in carrying out ngayah in village, and assisting krama who are carrying out these religious rituals. The unification of krama is aimed at creating a good Traditional Village in accordance with awig-awig in Sesetan Traditional Village. This should be used as an example for other regions regarding the social aspects of their society. As its artistic and cultural aspects, Sesetan also has a diversity of traditions, arts and culture, as well as aspects of religiosity that are framed in Hinduism, such as Omed-Omedan tradition, Ngelawang, Calonarang dance drama and many others which are famous for the icon of Denpasar City as a place of art. The impact of arts and culture aspects in Sesetan Village, makes the arts grow and develop in Sesetan Traditional Village area to invite the community or krama around the area to keep strengthen each other's spirit in the arts with various efforts, so that they are