World cultural artists and performers are welcome to network and develop a stronger performance position with exhibition outcomes, ensuring the preservation of cultural expression while encouraging contemporary extensions. At this moment we are keen to work with the Emerald and international artists as we have extensive experience in gamelan music, dance, mask, teaching and are also a custodian of the ancient artistic cultures of Bali.
Bali Module offers (but is not limited to) the following courses in theory, demonstration, and practice:
- Culture: introduction to art, politics, and religion
- Wayang puppet show (practiceand theory: spiritual norms and ritual form of worship through aesthetic devotions, entertainment, and social commentary).
- The lore and philosophy of Balinese artists
- Bali Aesthetic Concepts and Culture in the Current Global Context
- Taksu(the ultimate power of unmediated knowledge)
- Theatre in a Time of Terrorism: Renewing Natural Harmony after the Bali Bombing viaWayang Kontemporer
- Theater in time of Terrorism
- Theory of Bali Creative Arts and Performance
- Theory of Puppeteer Creativity (Playwright)
- Taksu, the ultimate aesthetic power
- Art Management in Contemporary Bali
- Basic history of Bali (local, overseas connection, and contemporary global extension)
- Wayang puppet practice (repeatable up to 3 weeks)
- Religion and basic philosophy of Balinese people
- Puppet Making: drawing, carving, and painting (repeatable up to 2 weeks)
- Introduction to dance, music, drama forms and their context
- Dance practice (posture, movement, expression, theme/character)
- Selected dance movement/type (repeatable up to 2 weeks)
- Introduction to Topeng masked theatre
- Selected topic on classical and contemporary Bali performing arts
- Mask making: demonstration and practice (repeatable up to 3 weeks)
- Selected masked dance character/type (repeatable up to 2 weeks)
- Kecak (dance, movements, narration, sung lines, numerous patterns of chanting rhythms, and sung music)
- Music introduction to various types of Gamelan ensembles
- Music practice: Gong Kebyar, Semar Pagulingan, and most challenging Gender Wayang metallophone orchestra.
- Selected ensemble of gamelan music practice (repeatable up to 4 weeks)
- Introduction to Balinese architecture
- Sung Arja “opera” dance drama to engage student singing while dancing
- Prembon, simiar tocommedia del arte (Demonstration and Practice)
- AttendingOdalantemple ceremony
- Ubud visit and selected aesthetic experiences
- Ancillary cultural visits to various performances: Mask and Puppetry Museum, Uluwatu sun-set Kecak and fire dance, etc.
- Colloquial with ISI students that often results in collaborative seminar, workshop, and performances presented in campus, village, and Bali Arts Festival, such as wayang shadow puppet Alexander Tapa2012,Two Gentlemen of Ferona 2013, As You Like It 2014, etc.
- Special Project Performance at the end of the module. Among more than a dozen productions: Kecak dance dramaSleeping Beauty;Statue dance drama comedy; Bali Dream; Bali Tempest.
|Instructors/Lecturers:||Areas of Expertise:|
|Prof. I Wayan Dibia, Ph.D.||Dance Composition, The lore and philosophy of Balinese artists, Bali Aesthetic Concept and Culture in the Current Global Context, and Taksu (the ultimate power of unmediated knowledge).|
|Prof. I Nyoman Sedana, Ph.D.||Theory of Art Creation; Theory of Creativity in Puppetry (Wayang and Topeng); Educational Art Theory; Theatre in Time of Terrorism; Wayang puppet theatre, The Sacred Music Gender Wayang (the eldest extant challenging Gamelan music of Bali), Kecak choir, Selected repertoire of dance, music, and drama forms, Art Management.|
|Prof. I Made Bandem, Ph.D.||Ethnomusicology, Art Management and Anthropology, Performance theories, and Cultural Diplomacy|
|Prof. Dr. I Made Titib||History, Basic Philosophy and Region of Balinese People|
|I Nyoman Catra, Ph.D.||Topeng masked dance, Arja opera, Play construction, & Speech Diction and Voice recital|
|Last King of Gianyar, A A Gde Berata, SH||Balinese architecture and its meaning in traditional leadership|
|Lat King of Kesiman Palace, Gusti Ngurah Kusuma Wardana (Turah)||Social Criticism and Commentary in Balinese Contemporary Arts|
|Desak Swarthi Laksmi,MA.||‘Tembang’ sung poetry, Arja opera, and Dance performance|
|Ni Wayan Seniasih, S.Sn.||Dance, Costumes, Make ups, choreography and performance practice|
|Kadek Wahyudita, M.Si (Penggak Palace Art Manager)||Introduction on Gamelan: the theory, composition, and performance practice.|
|I Nyoman Windha, MA.||Gamelan music composition and performance practice.|
|I Ketut Kodi, M.Si.||Topeng mask making and performance: Bondres comic characters, Voice, Speech, and Diction|
|I Gusti Nr. Serama Semadi, M.Si.||Legong classical dance and wayang painting|
|Drs. I Wayan Kun Adnyana, M.Hum.||Painting, Exhibition, and Fine art theories|
|I Kutut Sudiana,S.Sn.,M.Sn.||Wayang carving and puppet making|
|I Wayan Nartha||Wayang Puppet making|
|I Kadek Budi Setiawan, S.S. (Capung)||Wayang Puppet making|
|I Putu Rekayasa||Wayang puppet making|
|I Dewa Made Supartha
|Topeng mask making|
|I Wayan Wina Widyatama (Wina)||The Challenge of Balinese Artists in the High Cost of Economic Culture; Balinese Performing Art Manager License; Communication and Media Liaison|
|Made Georgiana Triwinadi (Georgian)||Wayang puppetry workshop and performance in full English|
|Dr. Ida Bagus Suwamba
I Made Sidia, SSP.,MSi.
Wayan Purwanto, S.Sn.
Gung Rahma Putra (PhD Candidate)
| History, Religion, and Basic Philosophy of Balinese People
Cotemporary Bali Wayang Puppetry
Refined male dance
Cotemporary Balinese Dance
I Nyoman Sedana, Ph.D.(Director of Balimodule & Professor at ISI Denpasar) firstname.lastname@example.org Tel. (+62-361) 244589 M +62 81999541284
Manager Kamajaya Art Ins and PEPADI (Indonesian Puppetry Community) Office of Cultural Division, Gianyar Regency.