METODE LANGSUNG DALAM PEMBELAJARAN GENDING JANGER BANJAR BENGKEL, DESA SUMERTA KELOD, KECAMATAN DENPASAR TIMUR, DENPASAR

Abstrak

Gending Janger merupakan salah satu bentuk kesenian tradisional Bali yang memiliki fungsi sebagai hiburan sekaligus media pewarisan nilai budaya kepada masyarakat. Salah satu kelompok Janger yang masih aktif melestarikan tradisi tersebut adalah Janger Banjar Bengkel, Desa Sumerta Kelod, Denpasar Timur. Keberadaan Janger Banjar Bengkel tidak hanya mempertahankan bentuk pertunjukan tradisional, tetapi juga menjaga proses regenerasi pragina melalui pembelajaran gending secara turun-temurun. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif. Data diperoleh melalui observasi, wawancara, studi dokumen, dan kepustakaan, kemudian dianalisis menggunakan teori struktural, teori behavioristik, dan teori semiotika. Hasil penelitian menunjukkan bahwa struktur Gending Janger Banjar Bengkel terdiri atas empat bagian utama, yaitu gending pangaksama, papeson, pangawak, dan mulih yang membentuk satu kesatuan pertunjukan secara utuh. Pembelajaran gending dilaksanakan melalui metode langsung dengan proses mendengar, menirukan, latihan berulang, serta penguatan berupa motivasi dan koreksi dari pelatih. Selain itu, Gending Janger Banjar Bengkel mengandung berbagai makna, seperti makna religius, sosial, gotong royong, etika, estetika, nasionalisme, pendidikan moral, serta hubungan manusia dengan alam. Dengan demikian, Gending Janger Banjar Bengkel tidak hanya berfungsi sebagai hiburan, tetapi juga sebagai media pendidikan budaya dan pelestarian tradisi lisan Bali.

Gending Janger is one of the traditional Balinese performing arts that functions not only as entertainment but also as a medium for transmitting cultural values within society. One of the Janger groups that continues to preserve this tradition is Janger Banjar Bengkel in Sumerta Kelod Village, East Denpasar. The existence of Janger Banjar Bengkel reflects not only the preservation of traditional performances, but also the continuity of performer regeneration through the hereditary learning process of Janger songs. This study employed a qualitative approach with a descriptive method. Data were collected through observation, interviews, document studies, and literature reviews, then analyzed using structural theory, behavioristic theory, and semiotic theory. The findings revealed that the structure of Gending Janger Banjar Bengkel consists of four main parts, namely pangaksama, papeson, pangawak, and mulih, which form a unified performance structure. The learning process is carried out through a direct method involving listening, imitation, repetitive practice, and reinforcement in the form of motivation and correction from the instructors. This process is in line with Albert Bandura’s social learning theory, Edward Thorndike’s law of exercise, and B. F. Skinner’s positive reinforcement theory. In addition, Gending Janger Banjar Bengkel contains various meanings, including religious, social, mutual cooperation, ethical, aesthetic, nationalism, moral education, and human–nature relationship values. Therefore, Gending Janger Banjar Bengkel serves not only as entertainment, but also as a medium for cultural education and the preservation of Balinese oral traditions.