JURNAL KAJIAN BALI
Hlm. 01­—

Journal of Bali Studies

p-ISSN 2088-4443 # e-ISSN 2580-0698 Volume 15, Number 01, April 2025

Actualization of the Spirit of Nationhood in
Karawitan Musical Compositions by
Balinese Maestro I Wayan Beratha
I Gede Yudarta1* , Ni Luh Sutjiati Beratha2 , I Komang Sudirga3
1,3
The Indonesian Institute of the Arts Bali, Indonesia
2
Universitas Udayana, Indonesia
DOI: https://doi.org/10.24843/JKB.2025.v15.i01.p12

Abstract: Like other art forms, dance and music serve as expressive media for
conveying social messages, including nationalism. However, nationalism in musical
rhythms is often less explicit than in verbal or visual arts. This article explores the
actualization of the spirit of nationhood in dance and karawitan—traditional Balinese
musical compositions—by I Wayan Beratha (1926–2014), a maestro who created over
50 works, including dance pieces and instrumental compositions inspired by the
national spirit of their time. Using a qualitative approach, this study gathers data
through literature reviews, document analysis, and in-depth interviews. Ricoeur’s
hermeneutical theory informs the analysis, positioning texts as a foundation for
interpreting their social and ideological contexts. Findings reveal that Beratha’s works
embody ideological themes, creative expression, and a deep commitment to national
unity. His contributions continue to inspire contemporary artists, encouraging them
to preserve and expand upon his legacy.
Keywords: nationhood spirit; Balinese dance; Balinese karawitan musical composition;
I Wayan Beratha

1. Introduction
alinese traditional music is a product of Balinese artists’ ideas, sense, and will,
expressed through vocal and instrumental arts based on Balinese cultural
values and traditions. As the product of Balinese artist creations, traditional
music serves various functions, including as an aesthetic presentation, a means
of entertainment, and a dedication both in the context of religious rituals and as
a tribute from the community to the nation and homeland. This descriptions are
in line with Ruastiti’s et al. statement (2019, p. 93) that in a work of art, there is

B

*

Corresponding author’s email: gedeyudarta@isi-dps.ac.id
Submitted: 11 October 2024; Accepted: 27 March 2025; Published: April 2025
Copyright © 2025 by the author (s). This article is published by Jurnal Kajian Bali (Journal of Bali Studies),
University of Udayana, Bali, Indonesia, under a Creative Commons Attribution 4.0 International License
(http://creativecommons.org/licenses/by/4.0/).

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the most important thing, namely the meaning that shows the usefulness of the
work of art for human life.
Delving into the musical compositions of I Wayan Beratha (1926-2014),
many of his works subtly convey a profound meaning: a strong spirit of
nationalism. The existence of this spirit is closely related to the personality of I
Wayan Beratha, an artist who loves Balinese traditional art very much and has
a strong spirit of nationalism and nationality (For a complete list of Beratha’s
works, see the Appendix).
Nationalism is a profound sense of pride, respect, fondness, and deep
loyalty to one’s homeland,creating a readiness to sacrifice oneself for the
nation’s and country’s interests (Pramitasari, 2021, p. 23). The presence of a
spirit of nationalism in Indonesia is crucial to examine, given the emergence of
various threats that could lead to national disintegration.
Throughout the fight for independence, many artists were driven by a
profound duty to defend their homeland, dedicating their hearts and souls
(Adeng, 2012, p. 53). Among these artists are the poet Chairil Anwar (Generation
of the year 1945) and HB Jasin (Generation of the year 1950) in the field of
literary arts, as well as several painters such as Emiria Sunassa, G.A. Sukirno,
Sudiardjo, Herbert Hutagalung, Ramli who are members of the Persatuan Ahli
Gambar Indonesia (Indonesian Association of Illustrators). Various artworks
created are full of values ​​of struggle and the spirit of nationalism. In the musical
arts, as noted by Mintargo (2012, p. 309), the song Indonesia, composed by W.R.
Soepratman in 1928 and becoming Indonesia Raya in 1944, is monumental. This
work was then echoed on August 17, 1945, when Soekarno, Mohamad Hatta
and other fighters in Pegangsaan Timur, Jakarta, proclaimed Indonesia’s
independence. The song Indonesia Raya is designated the National Anthem of
Indonesia in Article 36b of the 1945 Constitution. This spirit rose again in the
struggle to defend independence from Dutch interference. Musicians composed
songs that carry messages of struggle to inspire and awaken the spirit and
nationalism of the nation’s youth. It proves that music has the power to speak
to all aspects of human life (Riiser, 2010, p. 22).
In addition to the manifestation of nationalism by musicians through
compositions that reflect patriotic sentiments, a parallel phenomenon is evident
among traditional music artists. In Bali, numerous musical works encapsulate
the essence of nationalism, serving as cultural expressions of identity and
unity. Notable examples include Gesuri (Genta Suara Revolusi Indonesia or The
Bell of the Voice of the Indonesian Revolution) (1964) by I Wayan Beratha, a
composition that embodies the revolutionary spirit of the Indonesian people
during the era of President Sukarno; Kebyar Dang Citta Utsawa (1983), also by I
Wayan Beratha, which integrates instrumental and vocal elements to represent
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the implementation of Pancasila values during the New Order regime;
and Lekesan (2001) by I Nyoman Windha, a work that symbolizes unity amidst
ethnic diversity in Bali by incorporating elements of Islamic music into a novel
and innovative musical composition. These works collectively highlight the
role of traditional music as a medium for expressing and reinforcing national
identity and cultural cohesion, as well as several other musical works.
Among these composers, I Wayan Beratha stands out as a pivotal figure
in the evolution of Balinese music. His extensive contributions have shaped the
traditional musical landscape, making his works a benchmark for subsequent
generations. This study specifically examines the compositions of I Wayan
Beratha, a distinguished traditional musician and composer who has significantly
contributed to the development of Balinese music. Recognized as a pioneering
figure in the Balinese musical landscape, his works are widely acclaimed and
have become a benchmark for subsequent generations of composers. Having
produced dozens of compositions, his musical pieces not only captivate
audiences but also convey profound philosophical and patriotic messages, often
incorporating the principles of Pancasila, Indonesia’s foundational ideology,
thereby reinforcing cultural and national identity through artistic expression.
The presence of nationalist spirit in I Wayan Beratha’s works is closely
related to his ideological foundation and creative vision as an artist dedicated to
offering his finest works to society, the nation, and the country. This ideological
foundation is critical to discuss, considering that in the 1990s, the ideology of
Balinese music artists shifted toward pragmatism. This shift was characterized
by a focus on the present and an alignment with market demands, resulting in
works created primarily as commissioned pieces driven by financial motives
(Sugiartha, 2015, pp. 128–129). This results in a situation where the development
of music is primarily driven by entertainment, overshadowing the appreciation
of national values conveyed through songs of struggle (Mintargo, 2021, p. 5).
Analyzing the spirit of nationalism in the works of I Wayan Beratha plays
a vital role in reviving national values through musical arts. His emphasis on
nationalism and patriotism serves as a powerful theme in his artistic creations,
offering both reflection and renewed awareness aimed at reinforcing the nation’s
cultural identity. In the current era of globalization, the Indonesian people must
remain vigilant and well-prepared to protect and preserve their national identity
amidst external influences. Based on the description above, this study analyzes the
manifestation of nationalist spirit in the musical compositions of I Wayan Beratha.
2. Literature Review
Scholars have conducted many studies on nationalism in social, political,
cultural, historical, and colonial contexts. However, studies on nationalism
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within the realm of art, mainly traditional Balinese music, are limited. Thus, the
present study aims to fill that gap.
The significance of nationalism as a unifying force has been widely
discussed by scholars. Hans Kohn, a historian in the book Nationalism: Its
Meaning and History (1956), stated that Nationalism is a mental condition in which
the highest loyalty of an individual is felt as the property of the nation-state.
Deep attachment to the homeland, local traditions, and established territorial
authority have existed at various levels throughout history (Kohn, 1956, p. 9).
Indonesia, as a pluralistic country with various ethnicities, religions, cultures,
and customs, has a very high potential for conflict. Mistakes and disrespect
in understanding this diversity often trigger conflicts that lead to national
disintegration. In this regard, means and media are needed to convey messages
that can foster the mental attitude of each individual or society collectively so
that they have a sense of love for the homeland, fighting spirit, unity, and high
devotion to the nation and state. In the current social conditions of society, the
revival and improvement of nationalism are significant in avoiding national
disintegration and the fall of national dignity. One way to revive it is through
art and cultural approaches.
Historically, the use of art and culture as a medium to promote nationalism
has been evident since the colonial and revolutionary eras. The use of art and
culture as a medium for propaganda, conveying messages of nationalism, has
been adopted since the colonial era until the revolutionary era. At that time, music
was a powerful propaganda medium to convey political messages (Mintargo,
2003, p. 105). Putranto and Susilo (2021, p. 189) explain that art is a very effective
propaganda medium to increase national spirit. A similar statement was also
conveyed by Pramitasari (2021, p. 24), arguing that arts and culture play an
important role in fostering national defense and patriotism awareness, which
aligns with the Astagatra Indonesia framework. Astagatra is a fundamental
concept in Indonesia’s national resilience framework, integrating Tri Gatra and
Panca Gatra as its core components. Tri Gatra encompasses three natural aspects:
geography, demography, and natural resources. Meanwhile, Panca Gatra has
five social dimensions: ideology, politics, economy, socio-culture, and defense
and security (Pramitasari, 2021, p. 24). This integrated approach reflects the
interdependence between environmental and societal factors in maintaining
national stability and resilience (Adryamarthanino, 2023).
Arianto’s (2023) article is Konsep Nasionalisme Michael Sastrapratedja:
Sebuah Tinjauan Filsafat Pancasila dalam Rangka Pengembangan Karakter Bangsa
Budaya (Michael Sastrapratedja’s Concept of Nationalism: A Review of Pancasila
Philosophy in the Framework of Developing National Character Culture).
Sastraprateja (2013), as quoted by Arianto, stated that nationalism and culture
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are deeply interconnected and mutually reinforcing. Nationalism emerges due
to cultural development, as evolving cultural dynamics introduce new national
identity and integrity challenges. In this way, culture shapes and sustains the
concept of nationalism (in Arianto, 2023, p. 352). Sastrapratedja (2013) further
elaborates that nationalism does not emerge from a complete void; rather, it
arises under the influence of the modern world, which provides the necessary
conditions for its development. Nationalism, by its nature, operates within a
framework of opposition, whether real or perceived, against other nations and
is inherently shaped by international dynamics (Arianto, 2023, p. 352).
Mintargo (2021), in his study Fungsi Lagu-Lagu Perjuangan Sebagai Upaya
Penguatan Kepribadian Bangsa (The Function of Songs of Struggle as an Effort to
Strengthen National Personality), explains that national songs, both from the
pre- and post-independence periods, serve a crucial role in shaping national
identity. These songs have the power to transform individuals and groups,
shifting their outlook from pessimism to optimism and inspiring positive
desires that lead to constructive actions (Mintargo, 2021, p. 6).
Senen (2002) and Putra ed. (2014), through each of their book, provide
detailed biography and creative process of I Wayan Beratha. Senen’s book
titled I Wayan Beratha Pembaharu Gamelan Gong Kebyar Bali (I Wayan Beratha,
the Reformer of Balinese Gamelan Gong Kebyar) (2002) provides an in-depth
examination of I Wayan Beratha’s artistic innovations and contributions.
Senen highlights Beratha as a transformative artist who has played a pivotal
role in developing kakebyaran, a Balinese performing art that integrates music
and dance within a kebyar aesthetic. Furthermore, Senen asserts that Beratha’s
intellectual contributions and artistic creations have significantly shaped the
evolution of Balinese performing arts.
Senen also discusses two key factors that drive artistic renewal. Internal
factors include the motivation for achievement, the desire to adapt existing
works, and the aspiration to contribute to society through artistic creation.
External factors, conversely, encompass commissions for new artistic works,
influences from global artistic developments, and incentives from ongoing
artistic activities.
Additionally, Senen explains that Beratha’s approach to artistic renewal
was implemented through two primary methods. First, he restructured classical
compositions into innovative works infused with kakebyaran nuances. Second,
he created entirely new compositions and introduced novel forms of gamelan
(Senen, 2002, p. vii). The book also provides a comprehensive biography
of I Wayan Beratha, detailing his life journey, artistic background, creative
philosophies, composition methods, and cataloging of his works from 1958 to
1999.
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Putra ed.’s book I Wayan Beratha Seniman Bali Kelas Dunia (I Wayan Beratha
World Class Balinese Artist) contains profile information, artistic activities of I
Wayan Beratha, as well as his contribution to the life of Balinese art and culture
and introducing Balinese art to the world (Putra, 2014, p. xii). The book also
presents important information regarding ideas and creative processes in creating
artworks as well as the views and reviews of several artists and cultural figures,
such as I Made Bandem, I Wayan Dibia, Made Mantle Hood, I Wayan Madra
Aryasa, Komang Astita, I Ketut Gde Asnawa, I Gde Arya Sugiartha, regarding
the various activities and achievements of I Wayan Beratha in the field of art as
well as the footsteps of I Wayan Beratha to obtain various designations such as
Maestro in the field of Karawitan Art, as Mpu Karawitan Bali (highly skilled
expert in karawitan), as the Father of Bali dance and drama, and as a World Class
Balinese artist. The above three works of literature are used complementarily as
the primary references to reveal the profile of I Wayan Beratha.
Based on the literature reviewed, it is evident that cultural arts play a
crucial role in fostering nationalistic values, especially in the face of contemporary
challenges related to national disintegration. The various studies cited offer
valuable insights that support the discussion of this paper’s central topic. This
study uniquely focuses on the expression of nationalism in traditional music
compositions—a subject that has not been explored in depth by other researchers.
Analyzing traditional music compositions is particularly significant, as these
works embody original artistic ideas and contribute meaningfully to promoting
national identity and values.
3. Method and Theoretical Framework
3.1 Method
This study uses a qualitative method to explore the actualization of the
nationhood spirit in the musical works of I Wayan Beratha. This approach
enables an in-depth examination of the study object, ensuring the findings
are valid and aligned with the study objectives. Primary data were collected
through semi-structured interviews with key informants directly connected to
I Wayan Beratha and his artistic endeavors. The informants include I Wayan
Dibia (77 years old), a performing arts expert who collaborated extensively with
Beratha; I Ketut Gde Asnawa (72 years old), a prominent Balinese composer
and former student of Beratha; and I Gusti Made Kondra (93 years old), a senior
member of Gong Sadmerta who participated in the 1964 New York World
Fair as part of the Indonesian delegation. From I Wayan Dibia, insights were
gathered regarding Beratha’s nationalist spirit, his dedication to the nation, and
the embodiment of these values in his artistic creations. I Ketut Gde Asnawa
provided valuable information on Beratha’s creative processes and the stages
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involved in his artistic production. Meanwhile, I Gusti Made Kondra shared
firsthand accounts of Gong Sadmerta’s activities during the 1964 New York
World Fair, particularly the creation of the Gesuri composition, which was
performed at the inauguration of the Indonesian Pavilion.
Secondary sources such as books, academic journals, magazines, archival
documents, photographs, and relevant online resources were utilized to supplement
the primary data. The family archives of I Wayan Beratha, including personal
documents and photographs, were also examined to obtain additional supporting
data. Data analysis was conducted using the Miles and Huberman interactive
model (in Saleh, 2017), which involves three systematic stages: data reduction,
data presentation, and conclusion drawing/verification. The findings are presented
descriptively within a structured analytical framework, facilitating a critical
discussion of nationality and artistic expression themes in Beratha’s musical works.
By employing a qualitative approach, this study aims to comprehensively
uncover the spirit of nationalism embedded in the musical compositions of I
Wayan Beratha. Through an in-depth analysis of his works, this study sheds
light on the intricate ways music serves as a powerful medium for articulating
and reinforcing national identity. Furthermore, it provides valuable insights
into the dynamic interplay between traditional Balinese gamelan music and
contemporary expressions of nationalism, highlighting the enduring cultural
and ideological significance of Beratha’s contributions. This study not only
enriches the academic discourse on music and nationalism but also underscores
the role of artistic innovation in preserving and reinterpreting cultural heritage
within a modern context.
3.2 Theoretical Framework
This article stems from an interpretive endeavor that examines music
composition in relation to the spirit of nationhood. The analytical framework,
informed by the hermeneutical theory of Paul Ricoeur (2016), facilitated a
more profound exploration by positioning the texts as the foundation of
interpretation. Artworks as texts result from human action and are open works
whose meaning is still in tension as they open up to new references and receive
new relevance. Therefore, human action also awaits new interpretations to
determine its meaning (Ricoeur, 2016, p. 170). To derive meaning, a text must
be interpreted deeply because it is not just a series of sentences, all of which
are equal and can be understood in isolation. A text is a whole, a totality. The
relationship between the whole and its parts is like in a work of art (Ricoeur,
2016, p. 172). Ricoeur’s hermeneutic model focuses on the idea that meaning
is not taken only from the perspective of the author’s life but also from the
readers’ perspective (Sastrapratedja, 2012, p. 251).
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Interpretation is the organized thought process of finding the hidden
meaning in the meaning that appears in the “folds” of the level of literal meaning.
Between symbols and interpretation can be a correlative concept; there will be
interpretations that have multiple meanings. According to Nugraha (2016),
music is a text that can be read and felt through the sense of hearing, which can
be categorized as poetry in literature (in Latip & Abdull Rahman, 2022, p. 3).
When analyzed and interpreted, each musical work reveals hidden meanings
that reflect the ideas and emotions of its creator. Argstatter (2016) explains that
there are six basic emotions (happy, sad, fear, disgust, anger, surprise) that are
perceived through stimulus in the form of music (in Shaleha, 2019, pp. 45–46).
The six basic emotions are presented through musical elements, including
melody, rhythm, tempo, dynamics, timbre, and harmony, thus representing the
feelings and emotions of a composer.
In addition to emphasizing the interpretation of the text, Ricoeur also
highlights the importance of interpreting the individual, specifically the
composer, since the composer plays a central role in creating musical works.
An interpretative analysis of the composer is crucial for a deeper understanding
of the messages and meanings they wish to convey through their music. Behind
every musical composition are ideologies, meanings, and messages that reflect
the composer’s creative vision and dedication to the community, nation, and
state. Similarly, struggle songs are created and dedicated to increasing love for
the country and enriching the nation’s cultural repertoire (Mintargo, 2021, p.
14). In the context of this study, interpretation theory is specifically applied as
an instrument to analyze the manifestation of the actualization of the spirit of
nationalism contained in I Wayan Beratha’s compositions.
An artwork emerges from the creative process of developing a concept
rooted in the artist’s ideology, making the artist’s ideology the epicenter of the
creation of works of art (see Figure 1).

Figure 1. Diagram of Analytical Framework (Source: I Gede Yudarta, 2024)
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4. Result and Discussion
4.1 Ideology and Meaning of I Wayan Beratha’s Composition Works
Born in Belaluan, Denpasar, to I Made Regog and Ni Wayan Rerod, I
Wayan Beratha (1926–2014) was a distinguished artist, maestro (Mpu Karawitan)
and a world-class musician; not only did he perform in various cities around
the world, but he also had international students who study karawitan with
him and called him guru (see Putra, 2014; Senen, 2002). Genealogically, his
artistic lineage can be traced to his grandfather, I Ketut Keneng (1876–1926), an
artist dedicated to the royal palace, and his father, I Made Regog (1900–1982),
an artist who primarily contributed to the community. The artistic tradition
also extended to his two brothers, I Nyoman Geng Darmada (1929–2003) and
I Nyoman Yudha (1939–2013), although his only sister, Ni Made Sadri (1933–
2014), did not pursue a career in the arts. As the eldest son, I Wayan Beratha
demonstrated a deep commitment to his family’s artistic heritage, eventually
emerging as a prolific choreographer and composer who significantly shaped
the Balinese performing arts (see Picture 1).

Picture 1. I Wayan Beratha played the kendang, a Balinese drum, in 1956 (Source:
I Nyoman Yuda, reproduced, 2024).
Beratha’s career gained national recognition when he was entrusted
with creating the Tari Tani (Farmer Dance) in 1958 at the request of President
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Soekarno. His contributions to Balinese performing arts spanned multiple
genres, as classified by Asnawa, including new musical compositions, new
dance creations, ballet accompaniment, papanggulan (classical music categories)
arrangements, and the initiation of new gamelan ensembles (Putra, 2014, p.
250). Across these categories, Beratha produced numerous monumental works
that reflect his nationalistic spirit. In the domain of new musical compositions,
pieces such as Kebyar Swa Bhuwana Paksa and Kebyar Dang Citta Utsawa embody
themes of struggle and the core values of Pancasila. Similarly, within the dance
category, in addition to Tari Tani and Yudapati (Heroic) Dance, Beratha created
the ballet Bhaktining Pertiwi (Devotion to the Motherland), which narrates the
Indonesian people’s resistance against Dutch colonial rule (Putra ed., 2014, p.
277; Senen, 2002, p. 68).
Gesuri significantly contributed to the development of papanggulan music
composition, one of Bali’s classical composition forms. This music composition
was created in New York, USA when I Wayan Beratha served together with
Seka Gong Sadmerta as Indonesian cultural ambassadors at the New York
World Fair in 1964 and, for six months, presented Balinese performances at the
Indonesian Pavilion (Picture 2). Yudha (2012, p. 28) stated that the creation of
Gesuri music composition was motivated by a request from the stage manager
of the Organizing Board of the New York World Fair to I Wayan Beratha as
the technical leader to prepare a musical arrangement to be presented at the
opening of the Indonesian Pavilion. With this request, I Wayan Beratha and the
musicians immediately compiled a musical work based on papanggulan.

Picture 2. Gong Sadmerta musicians at the 1964 NYWF with I Wayan Badra was
squatting (Source: I Nyoman Yudha, reproduced in 2024).
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Armed with his creative experience, knowledge, and the support of
reliable musicians in five rehearsals, the composition could be realized. Once
realized, at the suggestion of I Wayan Badera - who was also a member of the
art team - the work was titled Gesuri (Genta Suara Revolusi Indonesia), identical
to Bung Karno’s speech delivered at the Senayan Stadium Jakarta in 1963. The
suggestion of the name Gesuri by I Wayan Badera was based on his admiration
for Bung Karno as the President of Indonesia (I. G. M. Kondra, personal
communication, March 16, 2025).
As an innovative composition, Gesuri incorporates various creative
developments in musical structure and presentation techniques, enhancing its
appeal and dynamism while preserving the grandeur and majesty characteristic
of classical papanggulan compositions. This work not only embodies a profound
nationalist ethos but also catalyzes further innovation within the genre.
Beratha’s contributions extended to the development and revitalization
of various gamelan ensembles, including Smar Pagulingan, Gong Gede, and Gong
Kebyar, as well as the creation of Genta Pinara Pitu and Semaradhana Gamelan.
These innovations reinforced the role of traditional music as a medium for
dance and ballet accompaniment while simultaneously promoting Balinese
cultural identity within the national artistic landscape. His lifelong dedication to
advancing Balinese performing arts exemplifies the intersection of nationalism
and artistic innovation, positioning his work as a vital component of Indonesia’s
cultural heritage.
As a prolific and highly esteemed composer, I Wayan Beratha produced
numerous monumental works that achieved significant recognition in
prestigious competitions. His compositions secured top honors at esteemed
events such as Merdangga Utsawa in 1968 and 1969, as well as the Gong Kebyar
Festival, an integral part of the Bali Arts Festival officially organized by the
Bali Provincial Government. Over the 46-year history of the Bali Arts Festival,
Beratha’s compositions have been consistently featured in various programs
performed by artists from across Bali. His works have frequently been showcased
in major categories, including the Adult Gong Kebyar Festival, the Children’s Gong
Kebyar Festival, and the Women’s Gong Kebyar Festival.
As part of the Legendary Gong Kebyar Parade at the 45th Bali Arts Festival in
2023, Seka Gong Sadmerta, representing Denpasar City, prominently presented
Beratha’s instrumental masterpiece papanggulan creation music “Gagancangan,”
along with his new creation “Palguna Warsa” and the renowned Tari Tani. These
performances highlight the enduring influence of Beratha’s compositions,
reaffirming his role in shaping and preserving Balinese musical traditions
within the framework of national and regional cultural festivals (see Picture 3).
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Picture 3. Gong Sadmerta Musician as the City of Denpasar ambassador for
Gong Kebyar Legendaris Parade, Bali Art Festival 2023 (Source: Seka Gong
Sadmerta, 2023).
In his journey as an artist, besides participating in various activities at
the local (Bali) level, I Wayan Beratha with several seka gong (traditional music
groups), including Seka Gong Belaluan, Seka Gong Sadmerta, and Conservatory
of Balinese Karawitan (KOKAR) also conducted activities on a national and
international scale. At the national level, I Wayan Beratha has performed
traditional Balinese dance and music in several regions of Indonesia, including
Makassar, Palembang, Surabaya, West Nusa Tenggara, East Nusa Tenggara,
Bogor, Jakarta. Another national art performance activity is performing Balinese
dances at the Bogor Presidential Palace, Tampaksiring Presidential Palace, and
the Jakarta Merdeka Presidential Palace to welcome and entertain State Guests
and enliven the Independence Day Celebration of the Republic of Indonesia.
From 1958 to 1963, Seka Gong Sadmerta was assigned by the Bali Provincial
Government to perform Balinese dances at important state events (Yudha 2012,
p. 4).
At the international level, I Wayan Beratha, together with Balinese artist
groups, was often assigned as ambassadors in Indonesia’s cultural diplomacy
at the international level. During a period of 40 years, from 1956 – 1997, I Wayan
Beratha actively participated in international performances in various countries
in Asia, Australia, Europe, and America, which makes Beratha suitable to
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be called a world-class musician. Amongst these extensive international
experiences, a profound impression was experienced when assigned by Ir.
Soekarno as the Indonesian Cultural Ambassador to China in 1956 to carry out
performances in several regions in China for three months and as the Indonesian
Ambassador at the New York World Fair in 1964 for eight months (Putra, 2014,
p. 64). Participating in these two government programs brought many ups and
downs and valuable experiences.
Beyond his extensive artistic contributions and the creation of various
forms of performing arts, one of I Wayan Beratha’s most significant creative
achievements lies in his innovation in gamelan composition. His pioneering
efforts led to the development of new gamelan ensembles, notably Gamelan
Genta Pinara Pitu (1984), Gamelan Semaradhana (1987), and Gamelan Gong Gede
Saih Pitu (1995). The conceptualization of Gamelan Genta Pinara Pitu and Gamelan
Semaradhana was driven by a visionary approach to merging two distinct
gamelan traditions: Gamelan Gong Kebyar and Gamelan Smar Pagulingan. The
primary objective of this innovation was to establish an alternative ensemble
that could effectively replace Gamelan Gong Kebyar and Gamelan Smar Pagulingan
as musical accompaniment for large-scale ballet performances at Denpasar
Cultural Park (Putra, 2014, p. 195).
The initial experimental fusion of these gamelan styles resulted in the
creation of Gamelan Genta Pinara Pitu in 1985, which I Nyoman Windha
subsequently utilized to accompany the Kindama ballet, his final project with
NLN Swasti Wijaya Bandem at the Indonesian Institute of the Arts (Institut Seni
Indonesia [ISI]) Yogyakarta in 1985, as well as new creation Janger performing
art in 1986. However, this early iteration was deemed unsatisfactory due to
the absence of a crucial tonal element required for kakebyaran compositions. In
response to these limitations, I Wayan Beratha continued his experimentation
and successfully developed Gamelan Semaradhana in 1987. This innovative
ensemble has gained widespread recognition and popularity within Balinese
musical traditions.
Beratha’s contributions to establishing these new gamelans represent
a transformative milestone in the evolution of Balinese musical arts. The
widespread adoption of Gamelan Semaradhana has encouraged younger
generations of artists to explore creative possibilities and catalyzed the
emergence of other innovative gamelan forms, further enriching the Balinese
musical landscape.
The various forms of creative works indicate that I Wayan Beratha was
an artist who was creative and persistent in maintaining the values and culture
of the nation, especially Balinese musical arts. According to I Wayan Dibia
(personal communication, October 12, 2024), most of the great and monumental
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works created by I Wayan Beratha are the implementation of his inherent spirit
of nationalism, his love for the nation’s traditional and cultural values, and his
concern for the development of Balinese musical and performing arts.
In recognition of his outstanding contributions and dedication to the
development of Balinese performing arts, I Wayan Beratha received numerous
prestigious awards from local and national institutions, alongside multiple
certificates of appreciation for his artistic contributions. Among the most
notable accolades are the Anugerah Seni Charter from the Government of
the Republic of Indonesia (1976), the Kerthi Budaya Charter from the Badung
Regency Government (1978), and the Dharma Kusuma Charter from the Bali
Provincial Government (1981). Additionally, he was honored with the Anugerah
Ciwa Natha Raja from the Indonesian Institute of the Arts (ISI) Denpasar (1992),
the Satyalencana Kebudayaan honorary medal conferred by President Megawati
Soekarnoputri (2004), and the distinguished title of Empu Seni in the field of
Balinese music awarded by ISI Denpasar (2012). These accolades underscore
Beratha’s significant role in shaping and preserving Balinese artistic traditions,
further cementing his legacy as a pivotal figure in Indonesia’s cultural and
artistic landscape.
I Wayan Beratha’s numerous accolades and recognitions affirm his
contributions to the development of Balinese performing arts and reflect his
deep commitment to preserving and innovating Bali’s artistic and cultural
traditions. These awards are tangible evidence of his enduring influence on the
artistic landscape, underscoring his role as both a guardian of tradition and a
visionary reformer. Beyond mere acknowledgment, these honors highlight the
ideological foundation that underpins his creative endeavors. This ideology is
intricately linked to his efforts to sustain and transform Balinese cultural arts in
response to evolving societal dynamics.
The presence of various artistic works that he has produced and
dedicated to the community, nation, and state further illustrates the depth of
his ideological commitment as a creator and innovator. His artistic philosophy
aligns with broader conceptual frameworks of ideology, a term attributed to
the French Enlightenment philosopher Destutt de Tracy, who sought to define
it as a “science of ideas” (Muttaqin, 2011, pp. 185–198). Destutt de Tracy stated
that etymologically, the word “ideology” came from the French words idéo
meaning idea, ideals, to see, to look; logie, meaning logic or rationality, and thus
ideology can be defined as a set of ideas that forms the belief and understanding
to realize the human ideals.
Eagleton (1991, p. 1) claimed ideology to be something complex, which he
defines as (1) a body of characteristics, ideas, or thoughts from a particular social
group or class; (2) false ideas that help to legitimize a dominant political power;
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(3) action-oriented sets of beliefs; (4) the process whereby life is ‘converted’ to a
natural reality. Within the life of a particular group or society, Asshiddiqie (2010)
defines ideology as the complete system of thoughts, values, and fundamental
attitudes of that specific social or cultural group. According to Vigo, as cited in
Achmadi (2005, pp. 19–20), this whole system serves three primary functions:
(1) it provides legitimacy and rationalization for behaviors and social relations
within society; (2) it serves as a foundational reference for social solidarity among
the group’s members; and (3) it motivates individuals to follow specific patterns
of action that are expected of them (in Daud, 2012, p. 348).
From the various concepts of ideology mentioned above, in the context of
artistry, ideology represents the values and principles that an artist or a group
of artists adheres to in their actions and behaviors to achieve the goal of creating
works of art, whether as individuals or as a group. Artists’ ideologies will
always be reflected in their works. The profile of I Wayan Beratha, as depicted
in Picture 2, portrays an artist with a strong foundation and a deep commitment
to making a meaningful impact on his community. Self-realization is crucial
as it motivates individuals to showcase their potential and creative abilities,
strengthening their existence as karawitan artists.
According to Abraham Maslow’s theory of needs, humans have several
psychological needs, such as safety, love and belonging, esteem, and selfactualization (in Rostanawa, 2018, p. 66). These needs motivated I Wayan
Beratha to develop his potential according to his abilities, enabling him to
achieve fulfillment through his creations. The “need for achievement” (n-ach)
is another factor that drives individuals to accomplish their goals and reach
high standards in their achievements, reflecting a strong desire for excellence
in their field of expertise. The combination of self-actualization and the n-ach
factors contributed to I Wayan Beratha’s success in creating monumental and
prestigious works of art with profound meaning.
Aside from the spirit of self-actualization, I Wayan Beratha’s nationalist
ideology, which has strong values and principles, has become an important
basis. He possesses a nationalist ideology, which is patriotic acts. These acts
are shown through his love for his homeland by holding traditional values and
the national cultural identity firmly, having a clear vision and goal in creating
a sincere and high level of devotion towards the people, nation, and state, as
well as the exercise of Pancasila values as the symbol of the nation. It aligns
with the ideology initiated by President Ir. Soekarno involves cultural elements,
especially music, in his political practices (Ali, 2019, p. 24). This ideology gives
his musical creations a clear vision and purpose, enabling them to represent a
spirit of patriotism, the spirit of revolution, and the practice of Pancasila values
as promoted by the government.
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Building upon this recognition, I Wayan Beratha’s contributions to Balinese
music extend beyond mere composition; his innovations have fundamentally
shaped the structural and stylistic development of Gamelan Gong Kebyar. His
ability to integrate traditional Balinese musical elements with new creative
approaches solidified his reputation among ethnomusicologists and influenced
subsequent generations of composers. As I Made Bandem highlighted,
Beratha’s role as the architect of Gamelan Gong Kebyar in the twentieth century
underscores his visionary approach to redefining Balinese musical aesthetics
while maintaining the integrity of its cultural heritage (Putra, 2014, p. 216).
I Wayan Beratha’s strong ideological foundation is reflected in his creative
works, acute sensitivity to social conditions, and deep commitment to national
identity. From an ideological perspective, his artistic contributions can be
understood through the lens of cultural nationalism, where music serves as an
identity expression and a medium for social cohesion. According to Destutt de
Tracy’s concept of ideology as a science of ideas, Beratha’s compositions function
as a structured system of thought that reinforces collective beliefs and national
values. Similarly, Eagleton (1991) conceptualizes ideology as a set of ideas and
a mechanism for legitimizing dominant socio-political structures.
Within this framework, Beratha’s works such as Tari Tani dance, Kebyar
Swa Bhuwana Paksa music composition, Gesuri music composition, and Kebyar
Dang “Citta Utsawa music composition” serve as artistic manifestations of
ideological principles, including patriotism, independence, and the Pancasila
philosophy. These compositions function as vehicles for cultural expression
and align with the state’s broader ideological framework, demonstrating
how traditional Balinese musical elements can be strategically infused with
nationalistic themes. Beratha’s ability to integrate ideological content within his
artistic creations underscores the role of music as both a medium of cultural
identity and a dynamic response to socio-political realities.
Throughout his career as a composer, I Wayan Beratha successfully
created several monumental works, drawing inspiration from the sociopolitical conditions of the nation and society at the time. One of his significant
compositions, the Tari Tani (Farmer Dance), was commissioned by President
Sukarno and premiered during the Proclamation of Independence Celebration
at the Merdeka Palace in Jakarta in 1958. This dance artistically portrays the
various stages of rice cultivation, including land preparation, seed planting, birdscaring, harvesting, and crop transport (see Picture 4). The creation of the Tari
Tani was closely linked to national efforts to strengthen food security, a crucial
issue extensively discussed by Sukarno during that period. As articulated in his
landmark speech at the Faculty of Agriculture, University of Indonesia, in 1952,
the advancement of the agricultural sector and food security was paramount,
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as agriculture played a decisive role in determining the survival of a nation
(Aminah, 2015, p. 198).

Picture 4. Farmer dance performed by Seka Gong Sadmerta as the City of
Denpasar ambassador for Gong Kebyar Legendaris Parade, Bali Art Festival
2023 (Source: Seka Gong Sadmerta, 2023).
In 1959, I Wayan Beratha composed an instrumental Kebyar Swa Bhuwana
Paksa (“Wings of the Homeland’s Protector”). This work was specifically created as
a tribute to the Indonesian Air Force (Angkatan Udara Republik Indonesia). Swa
Bhuwana Paksa symbolizes the doctrine, teachings, and emblem that represents
the fighting spirit of the Indonesian Air Force. As shown in the recording on the
YouTube panggul_jones channel 2006, the Kebyar Swa Bhuwana Paksa composition
was performed by Sanggar Burat Wangi from the USA in 2006 (Panggul_jones,
2006). The composition, which lasts 4 minutes and 30 seconds, features a
dynamic, rhythmic gamelan pattern with striking, energetic beats, accompanied
by various instrumental motifs displayed with high technical skill. The Kebyar
Swa Bhuwana Paksa composition effectively represents the spirit of nationalism
of the Indonesian Air Force.
Gesuri music, composed in 1964, serves as a musical representation of
President Sukarno’s speech titled Gesuri (Genta Suara Revolusi Indonesia or The
Bell of the Voice of the Indonesian Revolution), which he delivered during the
Independence Day Commemoration on August 17, 1963, at the Senayan Main
Stadium in Jakarta. The term genta, which forms the basis of the abbreviation
Gesuri, carries profound philosophical significance. In Hindu tradition, a genta is
a sacred bell used by priests in religious ceremonies, symbolizing divine unity,
while its reverberations connect worshippers to the divine (Larashanti, 2022, p.
95). Sukarno’s speech titled Gesuri has a deep symbolic meaning as an affirmation
of the important role of the people’s voice in the revolutionary struggle. This
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speech underlined the importance of national unity in building Indonesia as a
sovereign nation. In his speech, Soekarno emphasized that Indonesian unity
from Sabang to Merauke is a necessity that must be realized until West Irian
is successfully returned to the bosom of the motherland (Prasetyo, 2019). As
expressed by Soekarno in the Gesuri speech:
“....’From Sabang to Merauke,’ these four words are not merely a series of
geographical words. ‘From Sabang to Merauke’ does not merely describe one
geographical concept. ‘From Sabang to Merauke’ is not merely one geographical
entity… It is one national unity. It is one national entity. It is also one unified
nation, one whole and strong state entity. It is one unified willpower, unified
ideology, one dynamic ideological entity. It is one unified social ideal that burns
like a bonfire,”.
Musically, the spirit of nationalism and revolutionary fervor are conveyed
through the compositional structure and the arrangement of musical elements.
The implementation of a compositional framework based on classical principles
comprising pangawit (opening), pangawak (body section), and pangecet (final
section) establishes a grand and majestic atmosphere, symbolizing the strength
and dignity of the Indonesian nation. The inclusion of various variations in
the final section, performed at an accelerated tempo, musically represents the
resilience and indomitable spirit of the Indonesian people during the revolution.
The orchestration and treatment of musical elements in Gesuri can be
observed through the use of high-pitched, resonant notes (forte) and dynamic
variations, ranging from slightly soft (mezzo piano) and moderately loud
(mezzo forte) to loud (forte) and extremely powerful (fortissimo). Additionally,
the composition integrates diverse tempo transitions, progressing from slow
and expressive (adagio) to fast and jubilant (allegro), ultimately culminating
in an intensely rapid tempo (presto). These musical characteristics collectively
encapsulate the power of the people’s voice during the revolution, embodying
an unyielding spirit that burns with the intensity of an eternal flame.
The Gesuri composition was specifically selected as the opening music
for the inauguration of the Indonesian Pavilion and its regular performances.
This choice was driven by the composition’s profound patriotic message, which
encapsulates the spirit of nationalism while emphasizing the values of national
unity and solidarity. The incorporation of Gesuri contributed to an energetic
and compelling performance, reinforcing its symbolic significance. In addition
to the performance of Gesuri, the inauguration, and opening of the Indonesian
Pavilion also featured the Pendet dance, performed by a collaborative ensemble
of dancers from Bali, Java, Sunda, and Sumatra (Yudha, 2012, p. 40). The
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presentation of Pendet served as a powerful representation of Indonesia’s
cultural diversity, embodying the spirit of unity across the nation’s multiethnic
landscape.

Picture 5. Seka Gong Sadmerta, in Indonesia Pavilion, New York World Fair
1964 (Source: I Nyoman Yudha, reproduced, 2024).
Entering the New Order era under the leadership of President Soeharto
(1967–1998), the regime prioritized economic and political stability, which,
according to some observers, had a significant positive and restrictive impact
on artistic activities across various genres. The development of performing arts
in Indonesia increasingly gravitated toward popular forms, as the New Order
government gave artists the freedom to create and innovate within a controlled
framework (Sukma, 2021, p. 9). However, despite this apparent artistic freedom,
the government strategically utilized its authority to direct the performing arts
as an instrument of political propaganda.
Art became inextricably linked to political agendas within such a
centralized power structure. As described by Umar Kayam (1991), a power
system is the most dominant force, influencing and regulating various social
systems that shape societal dynamics (in Rianto, 2009, p. 4). In this context,
artists, as integral components of the social system, were systematically
guided to play an active role in legitimizing and promoting government
policies. The state’s influence over artistic expression thus underscored the
instrumentalization of culture, where performing arts were not only a means
of entertainment and creativity but also a vehicle for reinforcing ideological
narratives and consolidating political authority.
During the New Order era, the government established the Badan Pembinaan
Pendidikan Pelaksanaan Pedoman Penghayatan dan Pengamalan Pancasila (BP7), or
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the Agency for Educational Development and Implementation of Guidelines
for the Internalization and Enactment of Pancasila, through Presidential Decree
Number 10 of 1979. The primary objective of this institution was to reinforce and
institutionalize the internalization and consistent implementation of Pancasila
values and the 1945 Constitution.
To disseminate Pancasila values among citizens, the government, through
the BP7 Agency, actively collaborated with artists to organize various cultural
events, such as festivals, parades, and artistic performances that embodied the
spirit of Pancasila. In the 1990s, BP7 of the Bali province engaged in partnerships
with local artists to further reinforce Pancasila values through festivals,
including the Prembon Mask Festival, Janger Festival, and the Drama Musical
Festival, which brought together artists from different regencies and cities across
Bali. These events served as platforms for artistic expression and functioned as
strategic tools for ideological reinforcement, aligning artistic creativity with the
broader national agenda of fostering unity and ideological cohesion.
Prior to the establishment of BP7 in Bali, efforts to integrate Pancasila
values into the artistic domain had already been initiated by leading Balinese
artists. Notably, I Wayan Beratha composed Kebyar Dang “Citta Utsawa” in
1983, a karawitan composition that blended instrumental and vocal elements
of Balinese music. This composition was designed as a performance piece for
Akademi Seni Tari Indonesia (ASTI) Denpasar students at the Indonesian Art
Festival in Bandung. Structurally, Kebyar Dang “Citta Utsawa” comprises several
segments: the kebyar section, the gineman riyong section, the bapang section,
the gagenderan section, the pangawak (main part section) section, and finally,
the pangecet (final part section), showcasing a highly dynamic and engaging
musical arrangement. The composition’s vibrant, expressive, and melodically
rich qualities effectively convey a spirit of nationalism, reinforced through its
vocal and lyrical elements that thematically center on Pancasila.
The enactment of Pancasila values within Kebyar Dang “Citta Utsawa”
is particularly evident in the pangawak I and pangawak II sections, as well as
in the pangecet segment. As illustrated in the following table, the pangawak
section contains a lyrical message encouraging collective participation in
national development, aligning with the New Order’s socio-political agenda
and emphasizing Pancasila as the foundation of national identity. Meanwhile,
the pangecet section features lyrics that advocate for economic productivity,
particularly among farmers and fishers, emphasizing prosperity and
sustainable development. This integration of ideological messaging within
traditional Balinese music underscores the strategic use of the arts as a vehicle
for ideological reinforcement and socio-political mobilization during the New
Order, as in the following excerpt.
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Original Text
Translation
Pangawak Verse I (Body Section)
Singgih Ratu, ide dane sane prasida rawuh
Ladies and gentlemen who have come today
Mangde side Ida dane ngampurayang
I hope you have the mercy to forgive
Tityang rawuh ngiring pikayun saking
For this performance carries the
luhuring
government’s developmental program
Mapidapdab sane becik…
As planned as the program…
Saluiring sampun kakayunin…
Everything has been planned…
Pangawak Verse II (Body Section)
Sampun patut ida dane sami ngiring
It is only right, dear listeners, for you to
mewangun…
take part in developing…
Mangde side katon becik jagat Indonesia
So that the Indonesian nation will be better
Wewangunan Orde Baru/Reformasi patut
The New Order’s/Reformation growth
kajunjungin
must take priority
Pancasila anggen dasar jagate
Pancasila as the national principle
Wantah nika patut kajunjungin
Only that should be enforced
Pangecet section (Final Section)
Petani patut tingkatang,
Farmers must be improved
Nelayan sami giatang
Fishers must keep flourishing
Punika wantah arepang …
All of that must be advanced…
Negara subur, rakyat makmur…
A wealthy nation, a prosperous people
Wewangunan mangde lantur
Development for sustainability
Kesenian patut kelanggengin
For arts to be preserved
Source: Results of the interview with Ni Komang Sekar Marhaeni, 12 September
2024

In the Reformation era, although Kebyar Dang “Citta Utsawa” was
composed during the New Order period, it has maintained its relevance and
continued to be performed within Balinese society. This composition remains
a significant performance piece among Balinese artists, particularly those
involved in seka (village-level artistic associations), sanggar (art collectives or
ateliers), and other artistic communities, including the Indonesian Institute of
the Arts (ISI) Denpasar (now called ISI Bali), which has frequently showcased
this piece in various public performances. To align with the evolving sociopolitical landscape of the nation, artists from ISI Denpasar made a crucial
modification by replacing the term “New Order” in the second verse of the
pangawak section with “Reformation,” ensuring that the composition remains
relevant and acceptable in contemporary public discourse. This adaptation was
prominently demonstrated in ISI Denpasar’s rendition of the piece as part of the
Legendary Gong Kebyar Parade at the Bali Art Festival 2024 (see Pictures 6 and 7).
The enduring presence of this composition in artistic performances underscores
its remarkable adaptability and timeless aesthetic value, allowing it to persist
as a culturally significant work across different historical and political contexts.
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Picture 6. ISI Bali legendary musician, during the Legendary Gong Kebyar
Parade, Bali Art Festival 2022 (Source: Bungan Dedari Group, ISI Bali, 2022).

Picture 7. ISI Bali singer’s performance during the Legendary Gong Kebyar
Parade Bali Art Festival 2024 in performing The Composition Kebyar Dang
“Citta Utsawa” (Source: Bungan Dedari Group, ISI Bali 2022).
The analysis of I Wayan Beratha’s work aligns with Ricoeur’s perspective,
which posits that performing arts, mainly traditional music, effectively
disseminate ideological values within society. In this context, the composition
Kebyar Dang “Citta Utsawa” represents a concrete manifestation of how
ideological principles can be embedded within traditional artistic expressions.
Beyond its aesthetic function, art also operates as the state’s ideological
instrument to reinforce national identity and social cohesion. The historical
trajectory of Kebyar Dang “Citta Utsawa” illustrates a shift in meaning across
different political eras, particularly from the New Order to the Reformation.
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This transformation is evident in the modification of the lyrics, where the
term “New Order” was replaced with “Reformation,” signifying a process of
recontextualization in response to political transitions. Furthermore, an analysis
of the composition’s narrative structure reveals that specific sections, such as
pangawak and pangecet encapsulate messages that align with broader sociopolitical agendas. It demonstrates that traditional music is an artistic medium
and a symbolic conduit for ideological transmission.
Ricoeur’s concept of appropriation asserts that textual understanding
extends beyond the author’s intent, incorporating the reader’s contextual
perspective. Although Kebyar Dang “Citta Utsawa” originated in the New
Order era, its lyrical modifications demonstrate art’s adaptability across time
without losing its essence. It aligns with Ricoeur’s notion of distanciation,
wherein meaning is not confined to the creator’s original intent but remains
open to reinterpretation by future generations. As a site of dialogue, art
facilitates negotiation between cultural heritage, social change, and individual
expression. The continued performance of this composition within the Balinese
art community underscores how tradition and political transformation interact
through artistic expression.
4.2 Creative Ideas of I Wayan Beratha
According to Paul Ricoeur’s hermeneutic view, interpreting the values
and meaning contained in a text also means interpreting the individual behind
the creation of the text. For Ricoeur, a text is not merely discourse that settles in
writing but also every human action that carries a specific meaning or purpose
(Fithri, 2014, p. 196). I Wayan Beratha is a creative artist who consistently creates
innovative works with novelty values. Some of his gamelan art pieces, with the
spirit of nationalism, are created based on creative ideas, power, and processes.
Creative ideas are innovative, original, valuable, and appear from a creative
thinking process that is the starting point for creating artwork (Eskak, 2013, p. 168).
The creation of gamelan works with the spirit of nationalism, which arises from sharp
intuition and sometimes goes beyond rational reasoning and cannot be explained
logically. It is adaptive to society’s situation and social condition and the ongoing
turmoil in national life. I Wayan Beratha reveals that there are two sources of
inspiration for his compositional works: external and internal inspiration. External
inspiration involves aesthetic experiences from various forms of composition,
especially music compositions, repertoire of techniques, and skills in presenting
compositions. Meanwhile, internal inspiration consists of ideas that emerge from
deep contemplation (imagination) touching the realm of the unconscious, so what
is being contemplated frequently appears in dreams, which are then poured into
concepts and written in the form of notation (Putra, 2014, p. 54).
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Creative power is the ability to process various musical aspects to
create innovative works. This creative power is supported by technical skills,
extensive knowledge, and experience in gamelan art. Due to his expertise,
ethnomusicologists and foreign composers have noted that I Wayan Beratha is
the most well-known gong kebyar composer of the 20th century (Putra, 2014, pp.
211–212).
Further, the creative process is the activity undertaken by an individual
to maximize their abilities in realizing creative ideas to produce something new
and tangible. In order to transform creative ideas into concrete works, there
are structured and systematic stages of work. Each artist has different stages
in their creative process according to their personal practices. As Ketut Gde
Asnawa notes, I Wayan Beratha began his creative process with ngungkab rasa
(contemplation), which develops and enhances sensitivity and imaginative
power to realize bantang gending (musical framework) or musical ideas in line
with the theme of the composition being worked on. These musical ideas are
articulated through ngumik (humming) to achieve the desired aesthetic feeling
while noting them in notation form. Once the ideas are accumulated, the next
stage involves formation through intensive practice. After the composition is
realized, the subsequent stage is to add an aesthetic touch that synchronizes
the ideas, theme, arrangement, and musical expression (rhythm, dynamics,
and tempo), ensuring that all elements harmonize and merge into a cohesive
composition (Putra, 2014, p. 251).
4.3 Spirit of Devotion
In addition to dedicating his life and expertise, I Wayan Beratha
contributed his artistic works to society as a cultural offering to the people,
the nation, and the state. For instance, his composition Gesuri was specifically
created as a tribute to the nation and was performed as the opening piece for
the inauguration of the Indonesian Pavilion at the 1964 New York World’s
Fair in the United States. I Wayan Beratha felt proud when his compositions
were well-received by the public and became a reference for traditional music
composers in Bali. His works spread widely, not only within Bali but also
outside Bali and across the world. Bandem (2014), in his review, mentioned that
I Wayan Beratha’s works in Gong Kebyar were often referenced and discussed
by ethnomusicologists and composers from abroad, such as Michael Tenzer,
Wyne Vitale, Andrew McGraw, and Evan Ziporyn (see Putra, 2014, p. 211).
Specifically, Tenzer (2014) noted that some of I Wayan Beratha’s works, such
as new composition Bangun Anyar, Gesuri, Kebyar Jaya Semara, and Kosalia Arini,
were studied and performed by Sekar Jaya Gamelan (USA) and Gamelan Gita
Asmara Group (Vancouver, Canada) (see Putra, 2014, p. 232).
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The Balinese have life guides that are always grounded in religious
values, as recorded in sacred scriptures. About activities devoted to the nation,
the following sentence can be found in the epic poem Kekawin Ramayana (Catur
Wingsati Sargah: 706)
Original Text
prihentemen dharma dumaranang sarat
saraga sang sadhu sireka tutana
tan artha tan kama pidonya tan yasa
yasakti sang sajjana dharma raksaka

Translation
Strive to uphold dharma (duties) to build
the nation.
Wise scholars should be emulated.
There is no wealth or pleasure attained
without the effort of devotion.
The virtue of a wise person lies in
steadfast adherence to their rightful
dharma.

The excerpt from the Kakawin Ramayana above carries the meaning that
to build a nation; steadfast effort is needed, grounded in the values of truth.
As scholars practice, all wealth and pleasures attained are achieved through
devotion. The meaning of this Kakawin excerpt became one of the guiding
principles in I Wayan Beratha’s life, particularly in his dedication as an artist
contributing to the nation’s and country’s development. In his service to the art
of gamelan, I Wayan Beratha, in addition to mentoring a gamelan group in his
hometown, also actively conducted community outreach. His efforts extended
across Bali’s entire regency and city areas in response to community requests
and assignments from the government, both at the district and city level and
from the Provincial Government of Bali.
5. Conclusion
Based on the discussion above, it can be concluded that traditional music
composition is an effective medium for expressing the spirit of nationalism.
In the works of I Wayan Beratha, this nationalist spirit is reflected through
the title, thematic message, and musical structure. Several factors contribute
to this expression, including ideological influences, creative intent, musical
atmosphere, and a profound commitment to national unity. By examining
the social context of the creation of the Tari Tani and Gesuri gamelan music
composition, for example, it can be revealed that these works explicitly embody
the spirit of nationalism.
The study’s findings indicate that Beratha’s compositions reflect profound
ideological themes, artistic innovation, and an unwavering dedication to
fostering national unity. His musical and dance works not only serve as cultural
expressions but also as mediums for conveying nationalist values and social
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life. Beratha’s artistic legacy remains highly influential, inspiring contemporary
musicians and choreographers to explore and reinterpret traditional forms while
upholding their cultural significance. His contributions continue to motivate
artists to preserve, develop, and expand upon his creative vision, ensuring that
his influence endures across generations.
Beratha’s monumental compositions, deeply rooted in Balinese traditions
and values, constitute a significant cultural heritage. His works have also
inspired artists like I Ketut Mardana and I Gusti Agung Made Kerta (Major
Kerta) to create similar artistic expressions. Given the ongoing challenges of
national cohesion, further study is necessary to explore the deeper meanings
embedded in Beratha’s compositions, alongside preservation efforts to
reconstruct and sustain them for future generations. The insights presented in
this study aim to inspire young artists to engage with and extend his artistic
legacy. As a maestro, Beratha’s works continue to resonate within society,
shaping the creative trajectories of contemporary Balinese artists.
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Appendix
List of I Wayan Beratha’s Works
No
Title of Work
Year Created
A creative work in the form of music and dance, including ballet and musical score
for ballet
1 Tari Tani (Farmer Dance)
1958
2 Tari Yudapati (War Dance)
1958
3 Kupu Kupu Tarum (Buterfly Dance)
1958
4 Jayaprana Ballet
1961
5 Pendet Kolosal
1962
6 Baktining Pertiwi Theatrical Dance
1965
7 Ramayana Ballet
1965
8 Mayadenawa Ballet
1966
9 Rajapala Ballet
1967
10 Musical Score for Arjuna Wiwaha Ballet
1967
11 Gabor Dance
1970
12 Panyembrama Dance
1971
13 Pemutaran Mandara Giri Ballet
1976
14 Musical Score for Narakusuma Ballet
1977
15 Musical Score for Yuda Kanda Colossal Ballet
1979
16 Musical Score for Sundara Kanda Colossal Ballet
1979
17 Musical Score for Utara Kanda Colossal Ballet
1979
18 Musical Score for Pemendak Dance
1979
19 Musical Score for Ramayana Kiskenda Kanda Colossal
1979
Ballet
20 Musical Score for Ramayana Colossal Ballet
1980
21 Musical Score for Pandawa-Korawa Aguru Colossal Ballet
1981
22 Musical Score for Goa Gala-Gala Colossal Ballet
1981
23 Musical Score for Sayembara Dewi Amba Colossal Ballet
1981
24 Musical Score for Sayembara Drupadi Colossal Ballet
1982
25 Musical Score for Pendawa Playing Dice Colossal Ballet
1982
26 Musical Score for Fall of Sang Kicaka Colossal Ballet
1982
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No
Title of Work
Year Created
27 Musical Accompaniment Babarisan Bebandrangan Dance
1990
28 Creation Music Gita Sancaya
1973
29 Creation Music Kebyar Dang Citta Utsawa
1984
30 Creation Kebyar Jaya Semara
1959
31 Creation Music Kebyar Swa Bhuwana Paksa
1959
32 Creation Music Gambang Suling
1963
33 Creation Music Kebyar Dharma Kusuma
1963
34 Creation Music Papanggulan Gesuri
1964
35 Creation Music Palgunawarsa
1968
36 Lelambatan Music Nem Galang Kangin
1968
37 Creation Music Kosalia Harini
1969
38 Creation Music Jayawarsa
1969
39 Creation Music Purwa Pascima
1972
40 Creation Music Telu Berata Yuda
1973
41 Lelambatan Music Pisan Gegancangan
1974
42 Lelambatan Music Muni Dwara Murti Candra
1975
43 Lelambatan Music Pisan Bangun Anyar
1978
44 Lelambatan Music Sekarini
1978
45 Lelambatan Music Pat Gari
1978
46 Lelambatan Music Pat Mina Ing Segara
1982
47 Lelambatan Music Kutus Pelayon
1980
48 Lelambatan Music Pat Sarwa Manis
1986
49 Lelambatan Music Pat Berare
1988
50 Lelambatan Music Nem Semare Metu
1992
51 Lelambatan Music Pat Cupu Manik
1993
52 Lelambatan Music Dua Galang Bulan
1994
53 Lelambatan Music Dua Bulan Kepangan
1994
54 Lelambatan Music Pat Sekar Katrangan
1995
55 Lelambatan Music Pat Manas Manis
1996
56 Lelambatan Music Pat Tembang Perkutut
1997
57 Lelambatan Music Dua Semara Ratih
2006
58 Lelambatan Music Dua Nila Candra
2007
59 Lelambatan Music Telu Trisula
2008
A new generation of gamelan sets that combined the five-pitch and the sevenpitch pelog tuning systems
60 Making new Gamelan Genta Pinara Pitu
1983
61 Making new Gamelan Semaradhana
1987
62 Making new Gemelan Gong Gede Saih Pitu
1996
Sources: Ministry of Culture and Tourism Deputy for Art and Film (2004); Putra
(2014); Senen (2002).

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Authors’ Profiles
I Gede Yudarta, completed his undergraduate education at the Indonesian Arts
College (Sekolah Tinggi Seni Indonesia) in 1990. In 2007, he finished his studies
in the Cultural Studies Program of the master’s Program at Udayana University,
and in 2017, he earned his doctoral degree in the Cultural Studies Program
of the Doctoral Program at Udayana University. He is currently serving as a
lecturer and researcher at the Indonesian Institute of the Arts Denpasar (Institut
Seni Indonesia Denpasar). Email: gedeyudarta@isi-dps.ac.id
Ni Luh Sutjiati Beratha is a professor of English Semantics at Udayana
University. She earned her master’s degree from Monash University in
Melbourne and her Ph.D. from The Australian National University (ANU). Her
expertise and research interests lie in linguistics, including micro-linguistics,
macro-linguistics, and applied linguistics. She has conducted research on
language, literature, culture, and tourism. Her articles on Balish, such as English
Dialect of Tourism Workers in the Kuta Tourism Area, Balish Lexicon in the Tanah Lot
Tourism Area, and The Morphological Processes of Balish, have been published in
various journals. Email: sutjiati59@gmail.com
I Komang Sudirga completed his undergraduate education at the Indonesian
Institute of the Arts Denpasar (Sekolah Tinggi Seni Indonesia Denpasar) in
1993. In 1998, he finished his master’s program at Gadjah Mada University,
and in 2014, he earned his doctoral degree in Cultural Studies from Udayana
University. He is currently a professor in the field of Vocal Arts at the Faculty
of Performing Arts, Indonesian Institute of the Arts Denpasar (ISI Denpasar).
Email: kmgsudirga@isi-dps.ac.id

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