DEVELOPMENT OF GIANYAR
5.4 Branding and Landmark
In this regard, the government of Gianyar regency focused on branding districts, which are based on the values of philosophy that is rooted in communities in Gianyar, local wisdom, universal outstanding values, and also see the culture uniqueness and the advantages of local genius. Being based on key indicators, it is expected that by the disclosure Gianyar branding district can develop the culture and civilization in Gianyar directionally, which is a synergy between the districts with other districts and develop in a sustainable manner.
The question arises, among others: first, how cities in Southeast Asia in maintaining his identity, so it has an identity that can be promoted with the outside world. In addition, how the strategy of development of the cities, so it can offer something different from other cities. And lastly, what efforts should be made so that the city can improve the welfare of its inhabitants who live in the midst of the region. History records that the development of a city can not be separated from the development that occurred earlier. It occurs commonly in Mainland Southeast Asia, and in the
same happens in the countries of Southeast Asia, was influential on the development of cities or districts in underneath. The development of the cities in Southeast Asia has strong historical ties with the former colonial power. However, unfortunately, due to a lack of understanding of the historical values they contain as their existing buildings of colonial architecture, it was dismantled and left no trace. In fact, if listened further against colonial buildings left behind it, there is an impression and historical message he left behind. At least it will help future generations to understand the dynamics of society and culture that took place in the past in relation between the West and Eastern societies.
Based on the understanding about this heritage, Gianyar regency is based on the development of culture and civilization that can be viewed from the Period of Prehistory, History of Bali Kuna which lasted from the 10th century until the 11th century, History of Bali with the rise of castles such as the Kingdom of Gianyar-era royal tradition, especially after the arrival of Majapahit, the era of Dutch colonial rule and independence. From the prehistoric past, it can be seen in the archaeological sites that are important in Gunung Kawi, Goa Gajah, Yeh Pulu and so forth. Yeh Pulu on the sites, for example, the limestone building that describe how Gianyar people’s lives in prehistoric times with a system of hunting, farming, architecture and so on. Other archaeological relics is the site of Goa Gajah, Pura Tirtha Empul, Arjuna Metapa, and so forth. Remains of archaeological sites can give us an understanding of how the high civilization of society so that cultural traditions can still be witnessed in community life. Then on, historical evidence such as past history of Bali Kuna, can be seen during the reign of King Udayana Warmadewa. The period of influence of Hindu Jawan is an important historical episode, because the Balinese people can develop a culture that is rooted in the strong foundation until this present life. In addition, the past history of Bali Kuna, for example, are characterized by dynamic development of religious beliefs, whether Hindu or
Samuan Tiga, depicting the unification of the Hindu-Buddhist, although the two beliefs are not the same , but the meaning is one. In the Dutch colonial period, it appears there are efforts to appreciate the values of heritage that exist in this society. It was actually already started to develop since the Dutch colonial period, as can be seen in the concept Balisering. In this concept concerns the Dutch colonial government who do not want any drastic changes to the cultural traditions of society at that time. Indeed, during the colonial era of Dutch colonial policy of placing more emphasis only on heritage buildings such as castles, museums, but during the current government, its policies not only on the physical building that was it, but it is more advanced in thinking about sustainability culture of physical and non-physical (tangible and intangible culture). This policy is understandable, because it is not only the physical buildings are considered, but also the problems of structuring cultural values on people in the district and the town of Gianyar put forward in the hope would be able to increase the prosperity of its people.
Options to elevate branding “Gianyar the Soul of Bali”
seems to be reckoned, where the branding is contained meaning that Gianyar is “the soul or spirit of Bali”. Many archaeological and historical evidence showing that there are relics of the royal Bali Kuna in Gianyar, especially in the time of King Udayana and his Queen Mahendradatta as a ruler who succeeded in laying the foundations of Balinese culture and civilization from ancient times until today. To that end, equipped with their Cak Dance is considered to present a genuine culture of society Gianyar, which according to records people’s oral tradition is Cak Dance was born in Gianyar. This is a landmark or marker regions that are considered to present the original richness Giuanyar that may arise as this branding.
When viewed from the structure of branding, it is a good branding, it should be able to have ideas, messages, persuasion, and problems (packaging) promotion. It deals also with issues
symmetry. As is the case with domestic branding Malaysia who suggested the name, “Malaysia is truly Asia”, “Solo The Spirit of Java” seems to contain the intended meaning. How about the branding Gianyar which comes up with Cak Dance. Actually, there is one entity. Cak Dance contains a deep meaning. In this regard, when the voice raised Cak Cak then we heard the sound of it means that it can contain the meaning of the world wake. At first cak means do. If it is linked with philosophy, it is a conclusion. In the universal values Cak also contains the meaning of the word global. Therefore, in light of the historical significance of dance also appears to be touching it, and its uniqueness is precisely unity in diversity. Cak Dance vigorously contains the meaning of the locality, which implies a bond of brotherhood, unity intact.
In this context the word is a tribute ning, nung, nong is prelina.
Additionally Cak Dance implies similarity (egalitarian), liberty or freedom are values that actually can be traced in Gianyar’s history since the time of Bali Kuna. Cak Dance builds “Unity in Diversity”. As we know that the only art that empowers it, is Cak Dance. This was the argument of philosophical, sociological and anthropological raised in the terms of why Gianyar choosed Cak Dance in representing its branding. Cak is a very strong philosophy, the problem when creating the graphic design was apparently contains elements that are easy to remember. There’s a Balinese message, and English containing local and universal significance. As the fire for the example universal meaning, so with this Cak will display the message intact. Thus it can be said that the selection of Cak Dance shows how the world was born because of the sound and the symbol of the spirit.
In branding Cak Dance, it also comes with a three loop that contains the meaning of Tri Hita Karana, the balance between man and God, the balance between humans and humans with the natural balance of the environment. There is the concept of Parahyangan (God), Pawongan (Human), and Palemahan (Natural environment), moreover will be filled at the peak flame image, as
red fire. As for the color of its human was given the green circle.
During this time there is an impression that Cak as a branding, many who use it either of the various regions, art institutions and so on, without any in-depth look at where it comes from Cak Dance at first. In the context of Indonesia looking for original, Cak Dance is indeed exist everywhere apart from in Bali, generally served in hotels to domestic and foreign tourists.
For the promotion of tourism in Bali, it is generally used as a branding, which means that Cak Dance is promising in increasing the number of tourist arrivals to Bali in particular and Indonesia in general. In this regard, in hotels, for example, although in the context of the promotion of Cak Dance, it made 5000, such as in Tabanan but Cak Dance was still born in Gianyar. This means, Bali is referring to Gianyar, where Balinese spirit can be traced back starts from Gianyar. It means the branding Gianyar: The Soul of Bali.
If the purity of all ask the pure local. Kecak as the local genius of Bali. Dance can be emphasized that Cak is genuine Balinese dance that originated from Gianyar. Access first appeared in Gianyar, but later in its development came the idea any mandatory hotel serves Cak dance. It can be said that it is generally acknowledged that, Cak dance around Bali, but when trace the origin of Cak dance can be said to be derived from Gianyar. By displaying Cak Dance implies Cak should should be able to build a Cak Gianyar area.
Although when the Focus Group Discussion conducted that there is an agreement about making Gianyar branding, a Cak dance, but there are still other offerings such as the proposal of Legong, Candi Tebing, and so on. With the branding of Cak Dance, there is an expectation, when making graphic design should be easy to digest. This means that when viewed at branding Gianyar, it is expected to directly create an impression. The background
“Gianyar the Soul of Bali”, seemed to be strong. This has led to their story about the nature of the philosophical aspects can enter through the elaboration of Tri Hita Karana in Pakraman Village, which should be used to enrich Cak dance itself. It is expected
no refutation of Cak dance that originated from Gianyar and all parties should be committed to the villages on this Cak dance.