Nuutsih: interpretation of Celuk village revival via soundscape as a cultural phenomenon

Main Article Content

Ni Nyoman Srayamurtikanti
Bambang Sunarto

Abstract

This article discusses the process of creating a work of performing arts entitled "Nuutsih" as an artistic interpretation of cultural phenomena and social phenomena that occur in Celuk Village. Celuk Village is the centre of silver handicrafts in Bali. The village that culturally colours life and economy in Bali experienced a fluctuating event due to the community's attitude towards local wisdom. The local wisdom is in the form of a soundscape in producing silver handicraft motif designs characteristic of Celuk village. This article aims to report on creative activities in creating Nuutsih's musical works. The writing method is an informative reflection of the creative activity the author undertakes as an artist. This method ultimately produces a picture of the artist's creative process in developing a strategy for creating artwork. Mainly with the object of the phenomenon of cultural sounds and the attitude of life of the Celuk village community. The artist sees this object from the perspective of restoring the collective memory of a happy community. Another result is the birth of Nuutsih ontology which will appear described in the discussion of this article. The significance of this article is to demonstrate the application of the rules that artists must adhere to in the creative process of art creation to produce works that the audience can enjoy

Downloads

Download data is not yet available.

Article Details

Section
Articles

References

Y. Abdillah, S. Supriono, and B. Supriyono, “Change and innovation in the development of Balinese dance in the garb of special interest tourism,” Cogent Soc. Sci., vol. 8, no. 1, Dec. 2022, doi: 10.1080/23311886.2022.2076962.

N. N. S. Wisudawati and A. A. I. A. Maheswari, “Potential of Silver Craft Product through to Community-Based for Tourism Sustainability in Celuk Village,” Int. Res. J. Manag. IT Soc. Sci., vol. 5, no. 1, pp. 9–15, 2018. doi: 10.21744/irjmis.v5i1.588

I. G. Santosa, M. Yusuf, I. N. Gunung, and I. K. Rimpung, “Application of Forging Hammer to Increases Productivity of Balinesse Blacksmith,” in International Conference on Innovation in Science and Technology (ICIST 2020), 2021, pp. 195–199, doi: 10.2991/aer.k.211129.043.

B. Truax, “R. Murray Schafer (1933–2021) and the World Soundscape Project,” Organised Sound, vol. 26, no. 3, pp. 419–421, Dec. 2021, doi: 10.1017/S1355771821000509.

S. S. Johansen, N. van Berkel, and J. Fritsch, “Characterising Soundscape Research in Human-Computer Interaction,” in Designing Interactive Systems Conference, 2022, pp. 1394–1417, doi: 10.1145/3532106.3533458.

J. Kang, “Soundscape: Progress in the past 50 years and challenges in the next 50 years,” INTER-NOISE NOISE-CON Congr. Conf. Proc., vol. 263, no. 6, pp. 132–139, Aug. 2021, doi: 10.3397/IN-2021-1302.

M. Solomos, “From sound to sound space, sound environment, soundscape, sound milieu or ambiance,” Paragraph, vol. 41, no. 1, pp. 95–109, 2018. doi: 10.3366/para.2018.0253

B. Tribun, “Kerajinan Perak dan Emas Celuk Dapat Sertifikasi IG,” Bali Tribun, 2019. [Online]. Available: balitribune.co.id.

C. Walker, “‘Generation Z’ and ‘ second generation’: an agenda for learning from cross-cultural negotiations of the climate crisis in the lives of second generation immigrants,” Child. Geogr., vol. 19, no. 3, pp. 267–274, May 2021, doi: 10.1080/14733285.2020.1817334.

D. Lowenthal, “Natural and cultural heritage,” Int. J. Herit. Stud., vol. 11, no. 1, pp. 81–92, Jan. 2005, doi: 10.1080/13527250500037088.

K. Indra Wijaya, “Tangled In Musical Mangroves,” Dewa Ruci, vol. 8, no. 1, pp. 124–138, 2017. doi: 10.33153/dewaruci.v8i1.1095

T. Langevang et al., “Care in creative work: exploring the ethics and aesthetics of care through arts-based methods,” Cult. Trends, pp. 1–22, Dec. 2021, doi: 10.1080/09548963.2021.2016351.

P. Made Sukerta, Metode Penyusunan Karya Musik. Surakarta: Institut Seni Indonesia Surakarta, 2011. Available at: Google Scholar.

S. I Gede, “Arts Workers and Silvers Crafts Problems in the Village of Celuk, Gianyar: Study in Cultural Perspective,” Mudra (Jurnal Seni Budaya), vol. 26, no. 3, p. 1, 2011. Available at: Google Scholar.

B. Sunarto, “Returning to Tri Hita Karana in Bali, Indonesia: Setem’s Paradigm in the Creation of an Environmental Art,” discourse, vol. 7, no. 4, pp. 9–23, 2020. Available at: Google Scholar.

B. Sunarto, “Model and Concept in the Music Paradigm of Creativity,” Music Scholarsh. / Probl. Muzykal’noj Nauk., no. 3, pp. 103–113, Sep. 2020, doi: 10.33779/2587-6341.2020.3.103-113.

B. Sunarto, “Konsep Studi Penciptaan Seni,” in Prosiding Seminar Nasional Festival Kesenian Indonesia Ke-8 “Spirit of the Future: Art for Humanizing,” H. B. Prasetyo and A. Widyasmoro, Eds. Yogyakarta: BP ISI Yogyakarta, 2014, pp. 110–135. Available at: Google Scholar.

B. Sunarto, “Basic Knowledge and Reasoning Process in the Art Creation,” Open J. Philos., vol. 05, no. 05, pp. 285–296, 2015, doi: 10.4236/ojpp.2015.55036.

A. Balkin, “What Is Creativity? What Is It Not?,” Music Educ. J., vol. 76, no. 9, pp. 29–32, May 1990, doi: 10.2307/3401074.

M. U. Shehzad, J. Zhang, and P. B. Le, “Role of collaborative culture and knowledge management process for stimulating radical and incremental innovation: a comparative moderation approach,” Bus. Process Manag. J., vol. 27, no. 7, pp. 2021–2050, Oct. 2021, doi: 10.1108/BPMJ-02-2021-0070.