The Bali module has been developed over many years as a product of the partnership between ISI Denpasar and East 15 Acting School, University of Essex, England. It was created by Professor Leon Rubin from East 15 and Professor Nyoman Sedana from ISI to introduce MA/MFA International Theatre Directing students from East 15 to the performing Arts and Culture of Bali. It takes place annually in Bali for 4 weeks. In recent years the module has also been adapted for International MA/MFA Acting students from East 15, often twice a year. The module focusses on various genres and styles of performance with a strong emphasis on practical skills, giving additional importance to seminars and discussions about Balinese religious, philosophical and aesthetic traditions.
The international students also collaborate with local students from ISI Denpasar or village artists in special projects that explore traditional as well as hybrid and experimental approaches to contemporary performance. The key reference book and essential reading preparation for the module is Rubin, Leon and Sedana, I Nyoman. 2007. Performance in Bali. London and New York: Routledge. (More information can be found here.)
Since its founding, Bali Module has become an indispensable foundation for international scholars, artist, and communities who seek a greater understanding of Balinese arts and performance. Along with the academic and social discussions integrated into the module, the training and interaction with locals provide unique inroads for experiencing the rich tradition of Balinese performance culture, as well as understanding more recent developments born from contemporary cultural tourism. Balimodule seeks to facilitate this exploration in accordance with the need and conditions of the participants, offering a middle path for those who find ISI’s training program either too simple or advanced, or formally too restrictive. In addition, Balimodule has developed new courses unique to the module, including: (1) Theater in time of Terrorism, (2) The lore and philosophy of Balinese artists, (3) Bali Aesthetic Concept and Culture in the Current Global Context, (4) Theory of Bali Creative Arts and Performance, (5) Theory of Puppeteer Creativity (Playwright), (6) Taksu, the ultimate aesthetic power.
Extending collaboration with the Good Vibrations, the module has recently been adapted to develop the foundation of a rehabilitative process with the multicultural prison inmates in Krobokan Denpasar. Of the 22 women and 18 men participating inmates trained in the last three months, 25 of them performed Puspanjali and Cendrawasih dance for the Indonesian Independent Day Celebration in the prison on August 17, 2013.
Balimodule’s resources include: three box of Wayang Kulit puppets, several sets of dance costumes, Gamelan Gong Kebyar and Semarpagulingan music orchestras, and several sets of Gender Wayang metallophone ensemble. In addition to the house of Balimodule below, the meeting may take place in other places like GEOKS Singapdu, Puri Agung Kesiman Palace, Sanggar Citta Usadhi Mengwi-Badung, Puri Agung Gianyar Palace, Puri Taman Sabha-Blahbatuh-Gianyar, Campus ISI, Campus IHND, Grya Tegallantang Ubud, D’Topeng Museum Kingdom-Kuta, SMK3/KOKAR Art Conservatory, etc.
I Nyoman Sedana, Ph.D. (Director of Balimodule & Professor at ISI Denpasar) email@example.com Tel. (+62-361) 244589 M +62 81999541284
My Author ID di SCOPUS: 39963249800, Hi Index: 1, 3 SCOPUS publications (http://www.scopus.com/authid/detail.url?authorId=39963249800), 4 Thompson publications
Theory of Bali Creative Art (Teori Cipta Seni Konseptual) is explorable via Balimodule.
Embryo that generated the Theory of Bali Creative Art was my Kawi Dalang: Creativity In Wayang Theatre (Ph.D. dissertation at the University of Georgia, 2002), accessible via http://www.takey.com/Thesis_38.pdf OR https://www.researchgate.net/publication/34267125_Kawi_dalang_creativity_in_wayang_theatre_electronic_resource OR https://www.scribd.com/document/189110374/Kawi-Dalang-Creativity-in-Wayang-Theatre-sedana-i-nyoman-200205 OR http://www.book.xlibx.info/bo-political/3469366-23-kawi-dalang
“Traditional Indonesian Theatre” Routledge Handbook of Asian Theatre. Siyuan Liu (ed.). London: Routledge, 2016. https://books.google.co.id/books?id=H1iFCwAAQBAJ&pg=PA76&lpg=PA76&dq=Innovation+of+Wayang+Puppet+Theatre+in+Bali&source=bl&ots=3imFj7F-bF&sig=3Qva-hmitUODk0GhoT_osQos94o&hl=en&sa=X&ved=0ahUKEwjQzdXozIPOAhVGuI8KHT5GB5kQ6AEISjAJ#v=onepage&q=Innovation%20of%20Wayang%20Puppet%20Theatre%20in%20Bali&f=false
“Wayang Adaptation in Cross Cultural Education (Wayang Greek Myth)” Puppetry International, Fall and Winter 2015 Issue # 38: 35. http://www.unima-usa.org/pi-38-selection-4/?rq=Wayang%20Adaptation%20in%20Cross%20Cultural%20Education
“From Theatre Research in Bali to Directing Bali Dream at Butler University, USA, [Da Pesquisa Teatral Em Bali a Direcaio de Bali Dream na Universidade de Butler, EUA]” Moin-Moin 9 No 10 2013: 184-217. https://teatrodeanimacao.wordpress.com/revista-moin-moin/moin-moin-no-10-encenacao-teatral/
Book Performance in Bali (2007) publisher: Routledge http://www.untag-smd.ac.id/files/Perpustakaan_Digital_1/BALI%20Performance%20in%20Bali.pdf
“Theatre in a Time of Terrorism: Renewing Natural Harmony after the Bali Bombing via Wayang Kontemporer” Asian Theatre Journal Vol 22 Number 1 Spring 2005: 73-86. https://muse.jhu.edu/article/178225 https://www.researchgate.net/publication/236779407_Theatre_in_a_Time_of_Terrorism_Renewing_Natural_Harmony_after_the_Bali_Bombing_via_Wayang_Kontemporer
“Collaborative Music in the Performance of the Balinese Shadow Theatre” Asian Music vol 36, number 1, Winter/Spring 2005: 44-59. https://muse.jhu.edu/article/181615 https://www.researchgate.net/publication/249910712_Collaborative_Music_in_the_Performance_of_the_Balinese_Shadow_Theater