Dimensi Estetika Hindu dalam Drama Tari Wayang Wong: Kajian Di Griya Penida, Desa Batuagung, Kabupaten Jembrana

Abstract

Wayang Wong at Griya Penida, Desa Batuagung, Jembrana, occupies a distinctive position as a ritualized dance-drama embedded in the cycle of Pitra Yadnya, particularly the Mamukur phase at ngebejian. This article examines the Hindu aesthetic dimensions that underwrite its sacrality, focusing on pre- and post-performance ritual protocol, the one-act staging of Ngerereh Daging Suci, the role of the gamelan ensemble, the closing phase of ngidergita, and the configuration of performance space. The study employs a qualitative, interpretive, and ethnographic design through participant observation, in-depth interviews with priests, sekeha leaders and members, dancers, and custodians of tapel masks, alongside literature review and photographic documentation. Thematically guided analysis draws on wiraga–wirama–wirasa, rasa and bhāva, taksu, Tri Hita Karana, and desa–kāla–patra. Findings indicate a consistent ritual chain comprising piuning, reception of banten taksu, purification of masks and dancers, preparation of banten arepan, performance, ngidergita, and prayascita. The one-act staging integrates the needs of the yadnya with the Ramayana narrative, supported by the movement typology of Nyamir, Nayog, and Nyeregseg, and by tapel–costume iconography oriented to dharma–adharma and pangider bhuwana (cosmological color-directions). Musical accompaniment has evolved from tingklik (bamboo) to bebatelan (bronze) ensembles that actively shape dramaturgy through angsel cues and cadential motives. Performance spaces are selected to satisfy sacral and communicative principles. The study concludes that Hindu aesthetics function as a mechanism of tradition maintenance, aligning satyam, śivam, and sundaram to realize taksu as the apex of rasa–bhāva experience. Implications include establishing minimal sacred protocols for public stages, strengthening community-based aesthetic education, policy support for safeguarding sacred paraphernalia and archives, and comparative research across villages. Theoretically, the article maps the relation between aesthetic values and performative parameters that sustain communal experience.