IN GIANYAR REGENCY
4.1 Background
T
he idea of making Gianyar branding, actually has been initiated by Mr. Anak Agung Gde Agung Bharata at the end of his tenure as a regent of Gianyar in the period of 2003- 2008 (informant: head of the Gianyar Cultural District). When there is a succession of Gianyar leadership in 2008-2013, the control of power moved into the hands of Cokorde Artha Ardhana Sukawati, and the idea of making branding was not continued (stuck).Then, in the elections of Gianyar in 2013, Agung Bharata, again managed to win over political opponents of Cokorda Son Nindia for the period 2013-2018. As a regent who has experienced lead in Gianyar, with hard work and intelligence, all efforts for progress towards Gianyar has been done, such as: having a cooperation with the Bali Study Center, Udayana University, then made a Gianyar Development Blue Print Book Writing Team (2013); The research and the writing of the book “Browse Prabhu Warmadewa Udayana Bali” (2014); Building Expert of Heritage Cities Team (2015) with the main task is to strive to achieve Heritage Cities.
In the age of the sweet corn, Heritage City were successfully achieved. Not quite up there, but the duties and other obligations
of Gianyar as a Chairman in Presedium Indonesian Heritage Cities Network (JKPI) held in Bau-Bau, Southeast Sulawesi, 26th-28th of May 2015. The accuracy of strategy in the political struggles for a chairman position, proved a result. The chairmanship of Presedium JKPI in 2016-2017 were achieved by the Regent of Gianyar.
The first trust, which is given by JKPI after designated as Heritage City, is to give an opportunity to the Regent of Gianyar to represent Indonesia for presenting and showcasing the cultural Gianyar in England, September 6th, 2015. To that end, with hope, the regent asked the Expert Team of Gianyar Heritage City to write a quick overview about Gianyar branding, before heading to Britain. The expert team responded positively to the request by forming a team of researchers branding. The research team led by Prof. Dr. I Wayan Pastika, M.S. with its members began to conduct research on the wealth of art and culture of Gianyar, which is already well known at the local, national, and international level, such as: Legong dance, barong dance, Cak Dance, figures of funny orderly, cliff temple, Meru, etc. Some important aspects to be considered to determine the choices are:
historical background, philosophical background, mythological background, form, function, meaning, and no less important is the value of local wisdom. Of all the types of art, which are studied, the research team agreed to choose “Cak Dance” as the branding to be appointed in a focus group discussion (FGD).
To ensure the validity of the FGDs, the speakers who presented is the buffer, the bearer of the other idea with various arguments, and they are competent in the field of branding.
The determination of the resource persons and participants of FGD handed over entirely to the Head of the Gianyar Culture Department. With in-depth consideration and advice from the Expert Team of Heritage City, Disbud decided that the resource persons and the participants that are invited, are: BAPPEDA
Anom, S. Pd., M.Pd. (Graphic designer), Ir. Gusti Made Rna (Retired BP3), Ir. Yudi Tarka (Architect), Drs. I Wayan Muliarsa, M.Sc. (A Chairman of BP3 Bedulu-Gianyar), Prof. Dr. I Wayan Windia, S.U.
(Researcher of Subak), Prof. Dr. Phil. I Ketut Ardhana, M.A. (Head of Research Center Bali), Cokorda Gde Agung, the head of Pejeng Village (designer), and others complete name list in the attachment 5). FGD event was held on Thursday, August 13th, 2015, at the BAPPEDA Office, Gianyar. FGD featuring a single speaker, Prof. Dr.
Wayan Pastika, M.S. with his paper entitled “Designing Branding Gianyar regency”. Furthermore, the other sources are given the opportunity as a buffer and / or convey an idea (topic) with another argument. Through a discussion that was very tough, but then definitely agreed that “Cak Dance” as the branding of Gianyar with a graphic design that is designed by I Dewa Nyoman Anom, S., Pd., M.Pd. and colleagues. There are fourteen forms of graphic design prepared by the Committee for submission to the regent of Gianyar. From several meetings between the Committee and the regent of Gianyar to discuss the design of fourteen designs (as attached in this book), there are three selected designs that are considered the best. The committee then resubmit the three design to be selectes as one of the best. Finally, in a meeting with the Regent of Gianyar, on Wednesday, December 23rd, 2015, at 12.00 pm at the office of the regent of Gianyar, Gianyar Regent select the image No. 3 of the following three images, which are considered the best of the fourteen pictures branding prepared by the Committee. However, the picture No. 3, according to the regent of Gianyar, still need a little modification to the element of fire, dancers and cak written characters. Elements of the dancers desirable that consists of three rows of circles, while the fire element is also composed of three ends as a symbol of Tri Sakti and character writing shows a strong character.
No. 2
“Cak Dance” was chosen as a base branding for Gianyar regency, of course with a variety of underlying reasons. To know the history of the birth and development until now, will become more complete and perfect when it sought a comparison with other countries existance of arts and other areas in the archipelago. In general, works of art are belonging to the old, originally (in the mythical era) the artists in expressing his art, usually got inspiration from nature and the environment. Various natural phenomena tried to be transformed into a cultivated form of artwork. When the shape is clear, then that should not be released is a function of the arts.
The academics also believe that art originally had the function of ritual and mythic. In ancient cultures, art was created to be used as part of a communal ceremony. Art was made by all members of the community, not only by professional groups only. For the example, in traditional Aboriginal culture in North America, art is still regarded as one aspect of a community ritual designed to ensure a bountiful harvest or to celebrate significant events in life such as birth or marriage (Danesi, 210: 186). For
Papua Province serves as a media drive out evil spirits; Giring- giring dance, in Central Kalimantan as the exorcist of evil; Reog Dance in Ponorogo, as a religious dance, which has magical function as a force against and demonized, and others (Tim Media Vista, 2009). All kinds of dance is a genuine cultural heritage of the area concerned.
Certainly, there is no much different from the existence of regional dances above that “Cak Dance” was voted to be one of the classical art of Bali, which is also the cultural heritage of the pre-history. The elements that is bracing is to see and observe the overall appearance, which is very simple and played by members of the community, so it felt very communal. Then, supported by the aspect that describes the shape of natural formations revealed by various phenomena, such as dance and accompanying music.
From the aspect of function, “Cak Dance” is a dance that is used as a media ritual summon ancestral spirits that are considered sacred by the community of devotees who come down to earth in order to provide protection and welfare; the costumes are very simple, just wear cloth (parchment) with ginting bullet patterns;
as well as the garnish advance, which is only using points (gecek) whiting in the section between the forehead and on the end of right side of the forehead and the tip of the left on the forehead. All the elements that support strengthens of “Cak Dance” is a work of art in pre-Hindu period of cultural heritage (local culture).
4.2 Transformation of “Cak Dance” into Graphic Design