Volume 3, Number 5, March 2022 e-ISSN: 2797-6068 and p-ISSN: 2777-0915
SESETAN
TRADITIONAL VILLAGE AS SOCIAL AND ART ASPECT
|
KEYWORDS Sesetan, Social, Art, Culture
ARTICLE INFO Accepted: February, 25th 2022 Revised: March, 13th 2022 Approved: March, 14th 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 9th
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 13th 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).
Structure of the
Socio-Life of the Sesetan Pakraman Village Community
�� Socio or sociology is a science that deals
with human life in the society structure. In other words, sociology can be said as the science of society. According to Max
Weber, 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 socio-cultural 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 awig-awig. 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.
Figure 1
When Ida Bhatara-Bhatari at Banjar Kaja, Sesetan Pakraman Village during
Pujawali ceremony on the Sukra Umanis Wuku Merakih day. Ida is offered for 1
day and presented sesolahan
�� 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:
Figure 2 A Gambuh Flute Player who
blows a Gambuh Flute Well (Source: Suharja, 2013)
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 20th, 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.
Figure 3
Arja artist I Made Suarta who became the pioneer of Arja art in Sesetan Pakraman
Village (Source: Research Team doc, 2018)
����������� 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.
Figure 4 The Calonarang art performance which began with dancing Telek dance by sekaa Calonarang in Banjar Kaja (Source: Research Team doc, 2019)
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
sustainable and can survive with its tradition behind the modernity of Denpasar
as an urban area.
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Komang Indra Wirawan (2022)
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Devotion - Journal of Community Service
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