Gianyar Regency Udayana University
Prof. Dr. I Wayan Pastika, M.S. (et al.)
Department Of Culture, Gianyar Regency In Collaboration With Center Cor Bali Studies Udayana University 2015 The Government of Gianyar Regency
BRANDING OF GIANYAR REGENCY
Identity Representation of Kabupaten Seni and Kota Pusaka in the Local, National, and International Communication
By Prof. Dr. I Wayan Pastika, M.S. (et al.)
DEPARTMENT OF CULTURE, GIANYAR REGENCY IN COLLABORATION WITH CENTER COR BALI STUDIES UDAYANA UNIVERSITY 2015 BRANDING OF GIANYAR REGENCY Identity Representation of Kabupaten Seni and Kota Pusaka in the Local, National, and International Communication
©2015 Department of Culture, Gianyar Regency
Authors Prof. Dr. I Wayan Pastika, M.S. Prof. Dr. Phil. I Ketut Ardhana, M.A. Prof. Dr. I Wayan Dibia, M.A. Drs. I Wayan Geriya Dr. Drs. Anak Agung Gd. Raka, M.Si. I Dewa Ngurah Anom, S.Pd., M.Pd.
Translator Sang Ayu Isnu Maharani, S.S., M.Hum & friends
Preprint Slamat Trisila
Publisher Pustaka Larasan Jalan Tunggul Ametung IIIA/11B Denpasar, Bali 80116 Email: [email protected]
DEPARTMENT OF CULTURE, GIANYAR REGENCY in collaboration with CENTER FOR BALI STUDIES UDAYANA UNIVERSITY
First Edition: 2015
ISBN 978-602-1586-55-6 ii Advisory Committe Prof. Dr. dr. I Ketut Suastika, Sp.PD. KEMD (Rektor Universitas Udayana) A.A. Gde Agung Bharata, S.H. (Bupati Gianyar)
Officer In Charge: Prof. Drs. I Made Suastra, M.A, Ph. D. (Pembantu Rektor IV Unud) Drs. I Gusti Ngurah Wijana, M.M., M.Pd. (Kepala Dinas Kebudayaan Kabupaten Gianyar)
Organizing Committe : Prof. Dr. I Wayan Pastika, M.S. (Head) Prof. Dr. Phil. I Ketut Ardhana, M. A. (Secretary) Dra. Sulanjari, M. A. (Finance)
Members: Ir. Wayan Suwija, M.M. Dra. Ida Ayu Made Adnyani, M.Si. A.A. Gde Putra Parwata, S.Sn. I Gusti Nyoman Kodim, S.S.Kar. I Wayan Darya, S.Sn. I Gusti Putu Gotama, S.Sn. Dr. I Ketut Setiawan Dra. A.A.A. Rai Wahyuni, M. Si. Drs. Ida Bagus Gede Putra, M. Hum. I Wayan Ery Setiawan, S.H. Fransiska, S.S. Ida Bagus Gede Baskara Cokorda Gde Eka Badrayana Ni Luh Nyoman Juliari
Team of Authors: Prof. Dr. I Wayan Pastika, M.S. Prof. Dr. Phil. I Ketut Ardhana, M.A. Prof. Dr. I Wayan Dibia, M.A. Drs. I Wayan Geriya Dr. Drs. Anak Agung Gd. Raka, M.Si. I Dewa Nyoman Anom, S.Pd., M.Pd.
iii Informan: Prof. Dr. Ir. I Wayan Windia, S.U. Prof. Dr. I Nyoman Wedakusuma, M. S. Drs. I Wayan Muliarsa, Ir. Ketut Witarka Yudiata, M.T. Ir. I Wayan Gomudha, M.T. Ir. I Gusti Made Rena Yoke Darmawan
iv FOREWORD
Om Swastyastu,
This branding book of Gianyar regency can be published as it was planned because of the blessing from Ida Sang Hyang Widi Wasa/Almighty God. Therefore, we should deliver our gratefulness, angayu bagia, and parasuksma over His greatness.
thatBefore can the enrich book thewas data written and by the Team information of the Authors, design it for was Gianyar firstly Regencyperformed Branding. a number Those of academicacademic activitiesactivities andare such field literature activities study and Focus Group Discussion (FGD) that are ordered to explore and assess the referral sources that can be used as a conceptual basis for the branding. In addition, the Branding Plan Committee of Gianyar Regency was also conducting several meetings and roundtable discussions to accomplish two things, they are: (1) the availability of graphic design draft (2) realization of a branding book of Gianyar regency. In the branding book of Gianyar regency was examined seven aspects: Chapter I Introduction (by Drs. I Wayan Geriya), Chapter II Overview of Gianyar Regency: The Arts Regency and Heritage City (by Prof. Dr. I Ketut Ardana, M.Phil.), Chapter III Branding in
Chapter IV Transformation of Kecak as the Basic Foundation Brandingthe Modern of Era:Gianyar Definition, Regency Function, (by Dr. MeaningDrs. Anak (by Agung I Wayan Gde Geriya, Raka, M. Hum.), Chapter V Application of Branding in the development of Gianyar regency (by Prof. Dr. I Ketut Ardana, M.Phil.), Chapter VI Legislation, IPR and socialization of the Branding (by Prof. Dr. I Wayan Pastika, MS), and Chapter VII Inference (by Prof. Dr. I Wayan Pastika, MS). In addition of those seven chapters, the book is also attached with a number of appendixes that inform the preparatory process of its designing: the formulation of FGD,
v reporter notes of FGD, introductory material of FGD from the Chairman of the Committee, the attendant list of FGD, proposal of graphic design for the Branding of Gianyar regency from the Committee, and the Branding Competition Guidelines of Gianyar regency. On this auspicious occasion we should express our gratitude profusely and highest appreciation to the honorable Regent of Gianyar that has given way to us for this noble task. Further, uur who have commissioned us through Bali’s Udayana University Researchgratitude alsoCenter goes to towork the Rectortogether of toUdayana succeed University creation andBranding staffs Gianyar regency. We would also thank the Head of Department of the excellent cooperation so that all activities can be carried out smoothly.Culture, Gianyar Finally, regency we would and also staffs express that our have highest facilitated appreciation us with for their contributions, either idea or energy, to the realization for theto all Branding the public of figuresGianyar in regency. Gianyar and members of the committee
Om Shanti, Shanti, Shanti Om.
Gianyar, 10 Desember 2015
Editor
vi MESSAGE FROM REGENT OF GIANYAR
Om Swastyastu, First, I would like to show my gratefulness, angayu bagia, before Ida Sang Hyang Widi Wasa/the almighty God so I could have the opportunity to give this written speech for the publishing of Gianyar Regency Branding Book 2015. As the regent of Gianyar, I consider that the establishment of branding either as the city or county, as it has been prepared this far, is a compulsion. A branding is not merely a symbol or emblem of an institution, but it is a symbolic representation of the potential and predominance that refer to the institution. In addition, branding is also a visual image, emotional, rational and cultural image as a symbol of the identity of the institution; or symbols of products or services that belong to an agency. In the industrial world the term branding has the same meaning as a trademark. In accordance with branding of Gianyar, the chosen emblem will be used as a media campaign to gain recognition at the local, national, and international levels. Gianyar Regency has a lot of potential and predominance in various aspects of life characterized by the culture of Bali that are dominant, therefore the preservation and empowerment of Balinese culture are very important. Preservation of culture is not only important because of Balinese culture, itself, is showing our identity as Balinese Hinduism, however it is also able to prosper us, both materially and spiritually. In this regard, I feel very happy to read this book who has studied the existence of “Cak” dance as a
vii source of inspiration Branding Gianyar regency. As it is known that Cak based on stories that have been told by elders in Puri Gianyar, that dance dance is already was born in Gianyarin Gianyar long in 1935,before but 1900 I have in themore confidence, innocent and simple form. Cak dance not only depicts about harmony of nature-human-God that we called it Tri Hita Karana, but also shows the high level of dynamics and collaboration regardless of social status. Therefore, I also believe that the dynamics of Gianyar society portrayed in Cak dance which latter was inspiring the scheme of Gianyar Regency Branding. Finally, I hope that imaging through Gianyar Regency Branding can be socialized properly so that all components of society can be continuously work together and could always drive them to a successful progress. creation of Gianyar Regency Branding. My gratitude goes to all those who have been objectified the Om Shanti, Shanti, Shanti, Om.
Gianyar, 15 Dessmber 2015
REGENT OF GIANYAR,
A.A. GDE AGUNG BHARATA
viii MESSAGE FROM RECTOR OF UDAYANA UNIVERSITY
Om Swastyastu, By saying grace before the almighty God, I feel honored to give my regards on the publishing of this Branding book of Gianyar regency. The publishing of the branding book that is done by a remarkable work the Cultural Expert Team of Gianyar Regency is an academic step to establish a branding design. It was not only of theory, methods and instruments that its validity could be accounted.done through Gianyar literature, regency but alsobasically a field inhabited study with by the people application of Bali those are very dynamic in their livelihood, social, religion, art and culture life, so that the source of inspiration for the creation of branding can be extracted from those regarding elements. The elements of their life could never be separated from the character of Balinese people in general, with a breath of Balinese Hinduism. Therefore, Gianyar in its branding is worth of the slogan: “Gianyar the Soul of Bali”. As the Rector of Udayana University I was also concerned to express gratitude to all parties who have provided positive support, both material and spiritual towards the achievement of foremost gratitude that goes to the honorable Regent of Gianyar the publication of Gianyar Regency Branding book. For the first and to actively participate in realizing the development programs of Gianyar,and staffs and for one the of credence which is thatthe publishinghas been givenof this to Branding our academics book
ix of Gianyar regency. The following acknowledgments addressed to the members of the Expert Team, both from inside and outside the University of Udayana. Further, we would also express our gratitude to every level of society as much as it has demonstrated by positive support to the activities of the Cultural Expert Team in Gianyar, so that the government programs of Gianyar regency are successfully done according to plan. Finally, we prayed for the welfare of society, both materially and spiritually can be achieved as soon as it has planned. Hopefully, Ida Hyang Widhi Wasa will always enlightening the path of truth, goodness and peace for all of us.
Om Shanti, Shanti, Shanti, Om.
Denpasar, 10 Desember 2015 Rector of Udayana University,
Prof. Dr. dr. Ketut Suastika, Sp.PD-KEMD NIP 195503291980121001
x DAFTAR ISI
FOREWORD ...... MESSAGE FROM REGENT OF GIANYAR ...... v MESSAGE FROM RECTOR OF UDAYANA UNIVERSITY ...... vi TABLE OF CONTENTS ...... ix xi I. INTRODUCTION ...... 1.1 Background ...... 1 1 1.3 Problems ...... 4 1.2 The Objective and Benefit ...... 1.4 Concept and Theoretical Framework ...... 5 1.5 Research Method ...... 6 6 II. GENERAL OVERVIEW OF GIANYAR REGENCY: KABUPATEN SENI AND KOTA PUSAKA ...... 2.1 History of Gianyar ...... 9 2.2 Ecosystem, Demography, Economy, and Tourism... 9 2.3 Government ...... 19 2.4 Gianyar and Its Wealth and Diversity of Art and 20 Culture ...... 2.5 Natural, Cultural, and Visual of Kota Pusaka 22 Gianyar ...... 2.6 Local, National, International Network of Kota 27 Pusaka Gianyar ...... 31 III. BRANDING IN MODERN ERA: DEFINITION, FUNCTION, MEANING ...... 51 3.1 Concept, Dimension and Indicator ...... 51 3.2 Forming Excellence in Branding ...... 54 56 3.4 SWOT Analysis ...... 58 3.3 Definition, Function, and Meaning ...... xi 3.5 Transformation of Branding into WOW Marketing 59
IV. TRANSFORMATION OF KECAK AS THE BASIC FOUNDATION FOR THE BRANDING OF GIANYAR REGENCY ...... 61 4.1 Introduction ...... 61 4.2 Transformation of Kecak into Graphic Design ...... 66 4.3 Meaning and the Form of Branding ...... 67 4.4 Branding Message: Local, Nasional, and Universal 69
V. APPLICATION OF BRANDING ON THE DEVELOPMENT OF GIANYAR REGENCY ...... 75 5.1 Background ...... 75 5.2 Branding and Identity ...... 78 5.3 Branding and Merchandise ...... 80 5.4 Branding and Land Mark ...... 82 5.5 Branding as Decoration...... 87 5.6 Branding as Promotion ...... 88 5.7 Branding on Digital, Website, Social Network, Google, Youtube, Yahoo! ...... 90 5.8 Branding and Event Management ...... 91 5.9 Branding and Development of Bumi Seni ...... 91 5.10 Branding and Development of Kota Pusaka ...... 93
VI. LEGISLATION, INTELLECTUAL PROPERTY RIGHTS (IPR) AND SOCIALIZATION OF THE BRANDING ...... 95 6.1 Legislation through PERDA ...... 95 6.2 Branding and IPR ...... 100 6.3 Branding Socialization ...... 102 6.4 Branding Conservation ...... 107
VII. INFERENCE ...... 111 7.1 Conclusion ...... 111 xii 7.2 Recommendation ...... 112
BIBLIOGRAPHY ...... 115 APPENDICES ...... 119 Appendix 1 Graphic Design Draft for the Branding of Gianyar Regency ...... 119 Appendix 2 Formulation of FGD ...... 121 Appendix 3 Material for Presentation of FGD from the Chairman of the Committee ...... 123 Appendix 4 Reporter Notes of FGD ...... 125 Appendix 5 Attendant List of FGD ...... 137 Appendix 6 The Competition Guidance of Branding Design Creation of Gianyar Regency ...... 143 Appendix 7 Photos of FGD ...... 153 .
xiii Kecak dance xiv I
INTRODUCTION
1.1 Background he 21st century is a culture revitalization century. Functionally, the culture revitalization is concerned Twith the three basic fuctions of culture for the human life, livelihood and the excellence. Firstly, the function for the life concerns with identity aspect, soul and psychology and psychological unity. Secondly, the function for livelihood concern with the welfareness. Thirdly, the function for excellence concerns with the geniousity and the sustainaibility of existency within the relation of cross community, generation and civilization. The culture revitalization is appreciated by the scientist, artist, and anthropologist is identical with the rise and the development. The culture revitalization as the culture movement is the human response and smart community toward the globalism dynamic and modernism which enter the all aspects of public life; having various opportunities and challenges. Peluang terkait kemungkinan akselerasi nilai tambah secara ekonomi, teknologi dan kultural. The challenges concern with all pragmatic lifestyle, materialistic and the image simulacra which hide the distortion phenomena, desivilisation, and dehumanism. The culture revitalization is an indication that human with soul of and even the mental revolution. creative culture which has the strength to rise evolution diffusion, 1 Branding of Gianyar Regency Optimalization answers various positive opportunities in the midst of globalism and modernism, various communities develop various strategies and smart steps, adaptive in accordance to the potency which they have. The Gianyar Regency, Bali in responding various opportunities creatively in economy, technology, education, social network, the improvement of competitiveness is creating branding of Gianyar regency. The Branding which is explored, developed and improved and formulated based on the uniqueness, the soul, and the excellence owned by Gianyar with culture base, Tri Hita Karana philosophy, the main values of logic, ethic, aesthetic, creativity, spirituality as the representation of Gianyar, the Art Regency, the City of Heritage. To prevent and minimalize the negative impact of the various challenges and threat of globalism and modernism in all aspects of life, micro, meso and macro,culture strength of branding is a soft power to realize, to trigger, to put synergy the dynamic movement of globalization and the turning point of civilization as mentioned by Prof. I. B. Mantra (1998), Shinji Yamashita (2003), dan Fritjof Capra (2004). Through the branding culture, it is expected that Gianyar community will found its identity which based on the harmonious soul, tolerance, and dedication for the noble civilization of Gianyar, Bali; reknowned nationally and internationally. In the modern era, in the lately decade, each city/regency around the world including Gianyar, is competing to optimalize information and communication and also competency in achieving appreciation and symphaty of the world through the regency program or city branding. This is done not only to make the city/regency will have the improvement in the number of tourist, however, it is more concern with the preparation of the software in making projection and more holistic future planning. The holistic planning develops with vision, mission, the identity of city/regency, the city infrastructure, symbol, mentality and creativity which include education, health, tourism, trade, service and cultural industry which inline with the UNESCO program,
2 Branding of Gianyar Regency WTO, which cover national, regional and international condition. Richard Florida emphasized through his book who is your city (Florida, 2002), that the important decision for a person in this century is to choose a region or city which will become the place of visit, settle, and trade. The region/city which is chosen should be able to give comfort, security, new experience, inspiration, climate, and the creativity support, productivity, and to ensure life and the future survival for a better future, to give welfare and make the community happy. The sixth value which are very inspiring universally includes logical values, ethic, aesthetic, creativity, solidarity, and spirituality. (see diagram I).
Diagram I : The Orientation of the Universal Value which inspired Life and Branding Formulation
Spirituality Logic
Orientation of Universal Value Solidarity Ethic
Creativity Aesthetic
3 Branding of Gianyar Regency There are some principals and core values in Kecak performance : (1). Authenticity : Kecak grows in the Art Regency, Gianyar (2). Harmony : The harmonius relation human and human, human and nature and human and God. (3). Ekspresive : Having solidarity value, ethic and aesthetic (4). Progresive : The dynamic shown through the energy representation, spirit, creativity and togethernesss. (5). Humanist & Noblety : Open toward antitesis, synergy and sintesis (6). Togetherness : Inclusive, tolerance and appreciating multi culture
1.2 The Objectives and Benefits The Objectives The Benefits 1. To construct by formu- 1). Local lating branding of Gi- The human revitalization, the anyar Regency based creative community of Gianyar on culture, philosophy, based on culture to foster econo- main value representa- my, technology, education, to im- tion of Art Regency and prove the added value for welfare Heritage City Gianyar and happiness. with the main theme Ke- 2). National cak Performance. To widen the national network 2. To narrate Gianyar as Art Regency and Heritage City Branding based on local in the network of JKPI, BPPI, Min- wisdom which harmo- istry and integrity as a nation, nius with the national Unity and Diversity. ideology, national cul- 3). International ture, mental revolution To develop international network and the nationality. cross countries with UNESCO 3. To promote various ac- about WBD, OWHC concern with tivities, creativity, prod- Heritage City, having the brand- uct, of Art Regency, Gian- ing as the media establish civi- yar and Heritage City in lization strength of Gianyar, Bali, local, national and world Indonesia communication.
4 Branding of Gianyar Regency 1.3 The Problem Formulation Gianyar Regency has large potency and base capital as the Art Regency and Heritage City. The regency has long historical experiences through the community culture, keraton culture, colonial culture, national culture and modern as well as postmo culture. The Regency of Gianyar, Bali is also open in local, national and international communication through art activity, tourism and the culture diplomacy. In the midst of open world which bring the opportunity of economy, technology, social, sains and cultural, the regency of Gianyar has not yet owned a branding which functioned strategically as the representation of identity, the medium of communication, the promo trade, or branding about compentency, authenticity and quality insurance. problems: 1. BasedHow is on the above construction problem, and this the analysis formula answer of the fivebranding main by having reference of Kecak performance as the authentic art element, excellence and representing Gianyar Soul of Bali? 2. What are the base philosophy, main value, base character which represents Kecak Performance, Gianyar Soul of Bali which able to obtain the pride appreciation and become an
and international scale? effectifve medium of communication in the local, national 3. How to transform the Kecak Performance into design grafis (brand mark) which represents kecak Performance visually as a simple, ethnic, holistic, ethic, aesthetic and metaksu branding? 4. How to apply the Kecak Performance branding into various innovationa and activation which concern with (1) identity, (2) marchandise, (3) landmark, (4) decoration, (5) promotion and publication, (6) digitalisasi, website, social-network, (7) google, youtube, yahoo, (8) event promotion, (9) event manajement, (10) others?
5 Branding of Gianyar Regency 5. How to start, to maintain and to preserve the branding as a sustainable Gianyar culture heritage (tangible dan intangible)?
1.4 Branding Concept and Indicator Conceptually, branding is a brandmark of an institutiton, company, government institution, such as in the regency/city as the representation of identity, quality, represents in developing which is based on culture and sustained. The communication covers:the local, governemtn, national, edication, and international trade, tourism, effective technology, communication science, culture and others.
(1) TheHaving branding authentic formulation value as the representation should follow of scientific,a region comprehensive(2) Having strong procedure base andon the should local fulfill wisdom the tenth indicators:
aesthtetic, creative, solidarity, and spirituality (4)(3) AbleHaving to cleardevelop configuration local, national of the and main international values: logic, situation ethic, (5) Having the continuity principal (6) The Branding Icon should not become a plagiarism or fake (7) The Branding should has applicative value (8) Transformatif toward the marketing (9) Clear in terms of mening and functions. (10) Able to reach traditional or even modern (digital) media
1.5 Scientific Method
base inThe analyzing three scientific the formulation suppport, the of thethree Branding. scientific Theprocesses three and the three keys paradigm were being applied as the scientific scientifics method include: (1) objectivity, (2) systemic, dan The(3) methodology.three paradigm The keys three are scientifictaken from processes the local consistwisdom of:in the (1) inductive process (2) deduktive process (3) verificative process. universal spirit, they cover: (1) siwam (divine and spirituality), (2)
6 Branding of Gianyar Regency satyam (the truth) and (3) sundaram (art dimension, aesthetic). The research location covers art centers of Gianyar which spreads in seven districts and concentrated in the villages which are knowned as the art village or the cultural village which rooted from the long periodical history, having creative lifes of the art maestro, in particular the Kecak Performance which is chosen as the icon of the branding of Gianyar. The villages spread from Bedulu village, Peliatan, Ubud, Bona, Blahbatuh, Sukawati, even Singapadu and also Batubulan, Gianyar City is becoming the center of the Heritage City. The source of the data includes premier data which was some key informants. They consists of Kecak artist, art maestro whoobtain is fromstill exist the fieldand actively through produce observation art work. and interviewThe secondary with data obtained from various heritage book, documentation and also the result of research which concern with Kecak performance as well as other related art performance for comparative study and analysis. The informants chosen were scientist, head of the sanggar (foundation) and head of Sekaa Kecak. The informants were the representative of five-elix : beaureacrat, scientist, artist, anthropologist, head of sekaa The method of collecting data was: (1) systemic observation method, (2) indepth interview and method, also local (3) discussionfigures. method in fosus grous discussion (FGD), (4) visual method. The analysis applied covers content analysis: meaning analysis, SWOT sustainability analysis. Validity and realibility is emphasized in the analysis of the branding. Validity concerns with the valid of the research, started by the validity of choosing experts, who put the various experts together: anthropological experts, art expert, literature expert, expert. Realibility or the trust of information was done by check design grafis expert, marketing expert, and management branding – crosss – check method, counter interview, FGD and comparative study. The road map of the research includes one systemic and
7 Branding of Gianyar Regency
library research , (2) pra concept about branding, (3) socialization dynamic process, which consist of five main steps, they are : (1) act (Perda). through FGD (4) final concept,Diagram : Peta (5) Jalan legislation dan Langkah in Pokokthe form of local DiagramPenyusunan : Road Map Branding and Kabupaten Main Steps Gianyar The Formulation of Branding of Gianyar Regency
II II IIIIII IVIV VV
Kajian Pra Sosialisasi Final PERDA Pusataka Konsep dan FGD Konsep
10
8 II
GENERAL OVERVIEW OF GIANYAR REGENCY: “KABUPATEN SENI” AND “KOTA PUSAKA”
2.1 Dynamics of Gianyar History 2.1.1 Arceological and Historical Heritage in Gianyar ccording to archeological and historical record, Gianyar Regency has many old heritages that are still exist in the life Aof society since long time ago until this present. This could of two rivers, Petanu and Pakerisan River in the area that covers Bedulu-Pejengclearly observe untilas what Tampaksiring is founded (Ardhanaon the area & betweenSetiawan, the 2014). flow This archaeological evidence seems scattered along the Petanu River from the upstream in Timbul village, Bukian, Marga Tengah, Melayang, Bintang Kuning, and down to Bedulu. It can be said that starting from Bedulu to Pejeng, distribution of sarcophaguses are located on some area of Petemon, Beng, Sengguan, Bona and many more in other regencies in Bali. (see: https://id.wikipedia. org/wiki/Kabupaten_Gianyar) (see also: https://id.wikipedia.org/ wiki/Kabupaten_Gianyar#Sejarah_Kota_Gianyar).
2.1.2 Gianyar on the period of Ancient Bali Kingdoms Based on those archeological and historical discoveries, so then Gianyar has been regarded as the centre of development 9 Branding of Gianyar Regency and old civilization in Bali (Ardhana & Setiawan, 2014). There are several “Pura” or temples that located along the river, they are: Pura Pegulingan (Stupa Pegulingan), Pura Tirta Empul, Pura Mengening, Pura Sakenan Manukaya, and Candi Tebing Gunung Kawi Tampaksiring. In addition, if it is traced to the south (downstream) there are many heritages such as Candi Tebing Krobokan, niche of Goa Garba in the Pura Pangukur-ukuran, and Candi Tebing Tegelinggah. In the village of Pejeng has been founded some historical and archaeological remains that are stored in the temple and in the homes of residents, Pura Kebo Edan in which there is a statue of Ciwa Bhairawa, Pura Pusering Jagat is famous for sangku Sudamala has the year of 1329 AD and it has ornate reliefs of Samudra Mantana (Mandara Giri). In Pura Penataran Sasih there is Nekara – A piece of Bronze that is known as “Bulan Pejeng” or literally means “The Moon of Pejeng”. Moreover, there are still many other temples such as; Pura Agung, Pura Melanting, Pura Pangukur-ukur, and Pura Kahyangan Jagat Samuan Tiga. Pura Samuan Tiga is a place of worship for Ciwa- Buddha and in the vicinity there are more temples such as; Santian (lingga caksu), Telangu (the bronze Ganesha), Batan Jeruk, Goa Gajah, Patapan, Pura Desa Pengastulan, Pura Desa Alit (Arca Ciwa Mahadewa), Pura Dalem (Arca Ciwa Guru), Pura Jaksan and Pura Dari Arca Durga Mahisa From Sura Mardini, Pura Jero Agung, and Relief Yeh Pulu (source: https://id.wikipedia.org/wiki/ Kabupaten_Gianyar#Masa_kerajaan), (https://id.wikipedia.org/ wiki/Kabupaten_Gianyar). With those heritages in Gianyar Regency particularly in the region of Bedulu-Pejeng-Tampaksiring, it is proposed that the centre of Reigns on the period of ancient Bali was situated on the area along the rivers of Petanu and Pakerisan. As for the Kings that ruled on that range of time, however, one of them that was very famous is King Udayana Warmadewa. Based on some incriptions, the one that is called Prasasti Sading A has pointed out King Udayana and his queen, Gunapriyadharmapatni togetherly ruled in Bali from 1001-1011 AD (Ardhana & Setiawan, 2014:5). Further,
10 Branding of Gianyar Regency King Udayana ruled without his queen from 1011-1016 AD, as it is written on Prasasti Batur Pura Abang A that is only pointed the name of King Udayana. According to Prasasti Pandak Badung (1071 AD), it is said that “…paduka aji anak wungsu nira kalih bhatari lumah I buruan, bhatara lumah I banyu wka…” (Callenfels, 1926: 14). That means “…His Exellency King Anak Wungsu (son) both of the King and Queen as one (husband-wife) Queen that is honoured with the temple in Buruan and King that is honoured with the temple in Banyu Wka…” When the Queen and King Udayana passed away the reigns was continued by their sons King Marakata and King Anak Wungsu, they were mentioned as the King who had issued many inscriptions. Prasasti Langgahan Saka 1352 (1435 AD) mentioned that Sriastasuraratnabumibanten was the
(source: https://id.wikipedia.org/wiki/Kabupaten_Gianyar). Last King of ancient Bali before it was finally bowed to Majapahit 2.1.3 Development of Gianyar History The next stage of Gianyar history was began from the replacement of Central reign of Bali Kingdom that was centered in Gelgel, Kelungkung Regency. For decades, Gelgel Kingdom was on its golden age under the reign of King Sri Dalem Segening, meanwhile it was said that one of his son in Bengkel village who was becoming the origin of the emergence of Gianyar Kingdom. It began from the existence of a knight whose name is I Dewa Manggis Kuning from what had said before a palace of Alas Bengkel, precisely located on the area of Beng village, north of the present capital of Gianyar. He is the son of King Gelgel, Sri Dalem Segening (1580-1630) that was given birth from one of his empress Ni Desak Ayu Gedong Artha, from Manggis village. When I Dewa Manggis Kuning and reminded him that he is his son. As the King recognized this prince so then he announced was a man,at the he time finally to all went the beforerelatives the in King the Kingdom that he claimed that is true I Dewa Manggis Kuning is his own son and appointed him to ascend the throne as the King of Badung. However, soon after his reign was started, it was said that
11 Branding of Gianyar Regency there was occurred riot because of a slander which was intendly Alas Bun and there he was married to I Gusti Ayu Pahang, a daughter of I Gusti Pinatih Resi. issuedFrom Alas to him. Bun Therefore,he continued he hisfled journey to back to Bengkel. There he has become a formidable knight and has succeed to assemble his soldiers. When the King heard of his success he again invited him comeback to Gelgel but he did not want to leave Bengkel. Once upon a time, Gelgel was being attacked by Karangasem and Buleleng Kingdoms and I Dewa Manggis Kuning was came to help and proudly won the battle against both kingdoms. For that he was awarded the King’s robe and a Keris of Ki Baru Obag- Obag along with 40 soldiers. Further, it was said that I Dewa Manggis Kuning partied with paramilitary troops of Sidemen had won another battle against the reign of Gusti Agung Maruti who ruled Gelgel in 1873. Since then, Gelgel regained its power that previously was crumbled by the war of the throne. I Dewa Agung Jambe who was ruled in Gelgel gave his appreciation for I Dewa Manggis Kuning for his loyalty to Gelgel dynasty. Thereupon, from his marriage with Ni Gusti Ayu Pahang he bequeathed a son named I Dewa Manggis Pahang that continued Desak Ketut Sunia who was given birth to a prince named I Dewa Manggis his father’s throne in Bengkel. He has three wifes, first is Bengkel; the second wife is I Gusti Pinatih from Tulikup who was given birth to three princes, they are I Dewa Gede Pinatih, I Dewa Nyoman Pinatih, and I Dewa Ketut Pinatih; and the third wife is Putri Pasek Kebayan from Dauh Uma village who was given birth to I Dewa Gde Kesiman. Afterward, the reign of I Dewa Manggis Pahang became much stronger because of the union with Dauh Uma, Angkling, and Peling village. However, it was not the same for Serongga and Teba Jero Kesihan village that were in a colony he appointed his son I Dewa Ketut Pinatih with some knights Gusti to fight against the reign of Bengkel. Knowing this threat of rebel, Kebon Tubuh, Pungakan Nyoman Tegal, and I Gde Meranggi Dana to attack those villages, so then the threat were managed and Serongga and Kesihan were under the authority of Bengkel
12finally Branding of Gianyar Regency Kingdom (source: https://id.wikipedia.org/wiki/Kabupaten_ Gianyar). When I Dewa Manggis Pahang was passed away, the throne of Bengkel dynasty went to I Dewa Manggis Bengkel. He was married to Ni Dewa Ayu Nila Putri who was the princess of Taman Bali and by this marriage meant an expansion of Bengkel’s domain up to Petak, Madangan, Suwat, Mantring, Kendran and Manuaba village. Moreover, he could expand his domain to Pejeng as he married to the daughter of I Dewa Pemayun Putra, the elder of Pejeng village, however, it was not blessed with any child so he adopted one of the princes from Pejeng dynasty named Tjokorda Anom Bende who was latter strengthen the relation between Bengkel and Pejeng. After I Dewa Manggis Bengkel was passed away, he was replaced by his son, I Dewa Manggis Sakti. He was considered to be the greater King for Manggis dynasti because he was born with the birthmark on his belly which has the shape of “tapuk manggis” or literally means “a mangostine’s skin”. As the Geria Mas Lod Peken to learn spiritual knowledge (kediatmikan) from Ida Pedanda Sidawa story went, he finally departed to Taman Bali. In addition, he as well learned the political study (NIti praja) from I Dewa Agung Mayun at Puri Sukawati. Shortly, the stay was managed to be a marriage of him with the daughter of I Dewa Agung Mayun; afterward he came home to Bengkel. (https://id.wikipedia.org/wiki/Kabupaten_Gianyar).
2.1.4 The Raise of Gianyar Kingdom The idea of esthablishing a new kingdom had stroke his head after he was arrived in Bengkel. The selected location was on the south of Bengkel Kingdom which was belong to Brahmana Ida Pedanda Sakti Tarukan. The emergence of this kingdom was started in 1770. As the location was a “Geria” or literary means the house for the strata of Brahmana (priest family, the highest of society) then it was named as Geria-Anyar (New House) and later was shorten as GIANYAR. It was said that the construction of the new Palace could be completely done with the following ritual of
13 Branding of Gianyar Regency Melaspas and Memungkas Agung that was held on Friday, Wage wuku Krulut April 19, 1771. So then it was understanable that in accordance with those informations(based on Balinese that dateLunisolar is presently calendar), celebrated specificly on as the anniversary of Gianyar City with commemoration of I Dewa Manggis Sakti 2014). (https://id.wikipedia.org/wiki/Kabupaten_Gianyar). When I as Dewa the first Manggis King of Sakti Gianyar was (244 passed years away, old on he April was replaced by his son I Dewa Manggis Di Madya (1814–1839) as the by I Dewa Manggis Di Rangki as the King Gianyar III (1839–1847). first successor. Briefly, after he was passed away, he was replaced Shortly, he was replaced by his son, I Dewa Pahang (1847–1892) as the King Gianyar IV. It was said that on his period, there was a political chaos between the Kingdoms of Bangli, Klungkung, and Badung. I Dewa Pahang was threated by Ida I Dewa Agung Kelungkung and was exiled to Satria, so then he named as I Dewa Manggis Mantuk Di Satria. However, both of his sons, I Dewa Pahang and the little brother I Dewa Gede Raka was succeed to escape and return to Gianyar. Finally, Ida I Dewa Pahang was ascended the throne as the King Gianyar V (1893–1896) and said that he could regained the unity of Gianyar Kingdom. (See: Sutaba, Astawa, and Wirawan, 2007:310—333), (https://id.wikipedia. org/wiki/Kabupaten_Gianyar).
2.1.5 Gianyar Kingdom in the Colonial Period of Dutch and Japan The next King of Gianyar was I Dewa Gede Raka, as King Gianyar VI (1896-1912) he was not capable to rule until many
toconflicts ask for were protection emerged from and the the Dutch good colonyrelationship that was with already others settledkingdoms in Bali.was turningAccording into to a the distrust. General He Governor finally took of Dutchthe choice East Indies, I Dewa Gede Raka was promoted as “stedehourder” or representative of Dutch East Indies Government since January 2,
1901.14 His official promotion was completed with some traditional Branding of Gianyar Regency
Puri Gianyar sekitar akhir abad XIX ceremony and ritual (Abisekaratu) on June, 15 1903, where we was given the title of Ida I Dewa Manggis VIII. Since that time, the Dutch East Indies government as well had succeed to place their handler, JHBF Schwartz, in Gianyar that was considered to comprehend the Balinese culture and tradition with a diplomacy purpose. Afterwards, there was a customization of the government structure that was generally in Bali and particularly in Gianyar. The “stedehourder” was changed into a regent, that indicating that was a turnover from kingdom to a regency. The titles that were
Gianyar the title that was given is “Anak Agung”. In additions, there weregiven manyfor each regulations regencies that was were different reformed one underto another, the authority however, ofin Dutch East Indies government, such as the appointment of Patih or knight that were selected from Pasek clan, the appointment of Dewan Kerajaan that was consist of the punggawa, manca, and pendeta, the esthablishment of King’s military corps called Para Yuda or Prayoda as tax collector. Moreover, regarding to the regulations that issued from the Dutch East Indies government on July 1, 1938 said that the each region that spred out in Bali were 15 Branding of Gianyar Regency called as Swapraja that is headed by a King and it had its own rights to autonomy that refered to the regulations of religious ceremony, tradition, prayoda, education, general occupancies, health, tax, and income. Finally, after he passed away, I Dewa Manggis VIII was replaced by his son, Ida Anak Agung Ngurah Agung as the King of Swapraja Region of Gianyar. (https://id.wikipedia.org/wiki/ Kabupaten_Gianyar), (https://id.wikipedia.org/wiki/Kabupaten_ Gianyar#Masa_kolonialisme). Dynamics of Gianyar history later developed into the
Indies government in Indonesia, and particularly in Bali. On theperiod Second of the World influx War, of the outside Japanese influences troops into was the landed Dutch in East Bali on March 1942. The take over of Dutch authority by Japan had changed some regulations for the government structure in Bali, which could seen by the change of Swapraja into Syutjo. In order to get the intensive occupation in Gianyar, further, Japanese troops was arrived in Gianyar on February 23, 1942 and all the Dutch handler, one of them was Van-Romoudt, were arrested and sent to Denpasar. Some Japanese quarters were constructed using the former Prayodas’ quarters. However, the prominent Japanese regulation that was newly applied to Indonesia, and particularly Bali, was the sadistic forced labor system that was called Romusha. (https://id.wikipedia.org/wiki/Kabupaten_Gianyar), (See also: Sutaba, Astawa, and Wirawan, 2007:418-428).
2.1.6 Integration with Republic of Indonesia The proclamation of the independent of Indonesian Republic that was announced to all over Nusantara on August 17, 1945 had brought a revolutionary changes. It was not only the end of the colonial period that extruded Dutch and Japan from the lands of Indonesia, but the restructure of the Nation’s government had transformed Bali into a province of Sunda Kecil that was headed by I Gusti Ketut Poedja as the governor and Ida Bagus Putra Manuaba as the head of National Commision of Bali Province. Several youth organization were emerged, for instances are Angkatan Muda
16 Branding of Gianyar Regency Indonesia (AMI) and Pemuda Republik Indonesia (PRI). They were came up with demonstration on Desember 13, 1945 and asked Japanese government to release all the Indonesian activists that were captured previously when they were on the revolt. Finally, all the Indonesian activists and leaders were released with the help of Tentara Serikat or the Indonesian National Army that were sent to Bali. However, the appearance of Red Elephant Army in Bali that was leaded by Letkol Inf F.H. Ter Meulen, was indicating
2, 1946 and joining the Dutch East Indies armies that were still notthat leavingDutch was their not colonies. finished with Further, Bali. theyThey werewere againlanded coming on March to some regions in Bali, as well as Gianyar to start again the friction. In this fragile political situation, then was the emergence of some I Gusti Ngurah Rai, and in Gianyar; Anak Agung Anom Asta and I Ketut Suetha that were figures of Balinese national hero, such as joined themselves into a group that was called Maskar Besar. They were later integrated their resistance under the operation of Ciung Wanara troops as the prominent battalion. On November Puputan Margarana. 20,youth 1946, members 88 people of Gianyar were deadwere died on the on fiercethat time, battle some of of their In addition, 10 more victims of young fighter from the leaders were Kapten I Nyoman Sueta from Ubud, Lettu I.B. Manik from Sukawati, Kopral I Limbuk from Ketewel, Kopral I Rudeg from Batuyang, Kopral I Sara from Pejeng, Peratu I Rambug from Sasih, and Perak I Roja from Samu. However, there were uncounted of while defending the independent of Indonesia. Apparently, the Dutchthe young colony fighters was not from giving Gianyar up for that Bali, were it was sacrificed in accordance their withlives the esthablishment of their federal authority of Negara Indonesia Timur (NIT) or the East Federation of Indonesia, and Bali Island was geographically registered on the list. They were using the situation of government structure in Bali on that time that could be considered as a form of federation that consists Badung, Bangli, Buleleng, Jembrana, Gianyar, Karangasem, Klungkung, and Tabanan. From the bureaucratic system administration, it
17 Branding of Gianyar Regency was seen that tha Balinese government had a Paruman Agung or Supreme Court of Kings Board which serves as the House of Representatives (DPR). In the year 1947, King of Gianyar, Anak Agung Gede Oka as the head of Kings Board and it seemed that the federalist group were integerated and formed a Security Lines on every kingdoms in Bali. (https://id.wikipedia.org/wiki/ Kabupaten_Gianyar), (https://id.wikipedia.org/wiki/Kabupaten_ Gianyar#Masa_awal_kemerdekaan), (See also: Sutaba, Astawa, and Wirawan, 2007: 438--458). Paruman Agung or Supreme Court that was formed was then convened on June 8, 1950 with an agreement that the kings formed a Temporary Local Government Executive Agency. This Paruman Agung was then transformed into the Regional Representatives Council (DPRD) Bali, with the inauguration ceremony on September 25, 1950 in Denpasar. There has been a change in the system of government in the 1950’s started from the capital of Jakarta, hereinafter, implemented incorporation of the states into the Republic of Indonesia (NKRI), which occurred on August 17, 1950. Meanwhile, in the regions there were transformation of regional level/Swapraja unoccupied for eight of the former kingdom in Bali. According to Law No. 69 on the Establishment of the Government of the Autonomous Region-II, as the Head of the Autonomous Region-II raised Ida Anak Agung Gede Oka, who served between 1958–1960. Subsequently, he was replaced by Tjokorda Ngurah with the period between 1960- 1963. Then he was replaced by Dra. Tjokorda Anom Pudak, and then replaced by I Made Suyoga, B.A. The dynamics of government on the local level seemed to continue, there was a change of power shift towards the Old Order to the New Order government, which was showed by the change of Regents that was entering the era of the Reformation. It can be said, there has been a political dynamic in Gianyar administration and later became one of the districts in Bali within the frame of the Unitary State of the Republic of Indonesia (NKRI) until the present.
18 Branding of Gianyar Regency (https://id.wikipedia.org/wiki/Kabupaten_Gianyar), (https:// id.wikipedia.org/wiki/Kabupaten_Gianyar#Masa_sekarang), (See also: Sutaba, Astawa, and Wirawan, 2007: 438-458).
2.2 Realm, Demography, Ekonomy, and Tourism Gianyar regency with its capital Gianyar is located on the area of Southern Bali with its boundaries; on the north is Bangli regency, on the east are Bangli and Kelungkung regency, on the south are Indonesian Ocean and Badung Strait, and on the west is Denpasar capital and Badung Regency. Geographically, Gianyar regency is located between 080.18’.48” - 08038:58” South Latitude dan 1150.13’.29”-1150.22’.23” East Longitude, with the total width of area 36.000 hectares. Administratively, Gianyar consists of seven subdistricts, they are: 1). Sukawati Subdistrict 2). Blahbatuh Subdistrict 3). Gianyar Subdistrict 4). Tampaksiring Subdistrict 5). Ubud Subdistrict 6). Tegallalang Subdistrict 7). Payangan Subdistrict
Gianyar regency is a region that is fertile and has a farm Subak as other districts in Bali. Gianyar regency has a lot of tourist attractions;fields with a therefore, water system tourism that isis growingregulated rapidly by a system based of cultural tourism.
2.3 The Goverment The government institution that has the role of maintenance and preservation of cultural heritage is Department of Culture and Balai Pelestarian Cagar Budaya (BPCB) Bedulu, Gianyar. Under the SKPD of Department of Culture there are four sections that play the roles according to each field, they are: field of art and 19 Branding of Gianyar Regency
particularculture, field institution of cultural that heritageis dealing (archeological with matters of artifacts), maintenance field andof literature, preservation and offield cultural of law. heritage. Whereas, Thus, BPCB the Bedulu,source of Gianyar funds for is the maintenance and preservation of cultural heritage, apart from information obtained from a source of funds that has budgeted by Gianyar regency SKPD Disbud, it is also came from BPCB. For those Desa Pakraman who revitalized as an object of cultural heritage and tourist attraction, they get an additional cost (capital) for the maintenance and preservation from the funds (donations) of the incoming visitors. Besides the government, the role of the legislature is also very important in supporting the government’s program, which in this case is represented by the legislature, namely the Regional Representatives Council Gianyar regency. Legislative Council has a strategic role in the maintenance and preservation of cultural heritage. As we know, who designed the Cultural Heritage Act (UU-Cagar Budaya) is the Parliament. It is the Legislative Council that was considered to know and understand about the maintenance and peletarian cultural heritage, as well cultural heritage. Provincial Parliament as an arm of the House of Representativesas, for the rights, in responsibilities, the region, in addition and benefits to receiving derived proposals from the for the planning of maintenance and preservation of SKPD, the board itself may be intimated to SKPD, how important the existence of the cultural heritage. There are at least four major considerations that the Parliament used when formulating the Cultural Heritage Act (UU-Cagar Budaya), they are: (1) the economic side; (2) on the side of public responsibilities; (3) on the side of civilization, and (4) the governance of the country (Yunus Satrio A, 2012:17). In addition to the government and the legislature, there is also the role of the academics. The existence and the role of academic institutions here is refered to the formal educational institutions. One of them is the state higher education institutions in Denpasar, the Udayana University. Two faculty who have a role in the maintenance and preservation of cultural heritage is
20 Branding of Gianyar Regency the Faculty of Letters, Department of Archaeology, Department of Literature, Department of History and Anthropology; and the Faculty of Agriculture in particular courses that have the relevance to the Subak. Those who pursue the world of education related to cultural heritage has duties and obligations in the maintenance and preservation of cultural heritage, both institutionally and individually. Therefore, they who engaged in and community service. The existence and the role of Four Helixes (communities,the academic field,governments, their role legislators is needed and in research,academics) education, are very important in maintaining and preserving the cultural heritage. Gianyar regency is one of those regencies/municipalities in Bali’s most rich in its cultural heritage (Ardika, 2007; 2015). Gianyar regency which is made up of seven subdistricts is the owner of a wide range of cultural heritage. To make it easier to map out the heritage property, the Government of Gianyar has divided Gianyar
Tegalalang, and Payangan Subdistrict) as an agricultural zone tointo the five life zones, of the namely:creative industries; North Gianyar West Zone Gianyar (Tampaksiring, Zone (Ubud Subdistrict) with the heritage of art and culture; South Gianyar Zone (Sukawati and Blahbatuh Subdistrict) with creative icons of heritage-based economy; East Gianyar Zone (District of Gianyar) is the heritage of urban culture with a multi-ethnic, castles, courts, markets, temples, catuspata and so forth; and Central Gianyar Zone (Pejeng and Bedulu Subdistrict) as conservation zones and cultural heritage (religious archeology sites) (Department of Tourism Gianyar 2011:117). Community institution that was told is desa pakraman or the traditional villages. The institute’s role can not be ignored because of the cultural heritage located in the area of traditional villages/ desa pakraman. Thus the involvement of citizens in the maintenance and preservation either directly or indirectly is needed. As we know that the existence of the cultural heritage has a multi-use, other than as identity also have economic desa pakraman can revitalize the cultural heritage as a resource for benefits and so forth. Especially in this era of global tourism, 21 Branding of Gianyar Regency improving the economy of society.
2.4 Gianyar with Its Diversity and Predominance of Art and Culture its dynamics has led to a culture of individualism, materialism, The globalization that influence rapidly and followed by order. The negative impact of globalization, was not only in the cities,consumerism, but also and in homogenism the lives of thethat people are also at affecting the district the level.social If this persists, it is considered to be a negative impact also on the order of a society which is already having roots culture, and has been used as a way of life from far behind on the period of prehistoric times to the history (Sutaba, Astawa, and Wirawan 2007 cf. Sjoberg, 1965). In line with that, the evidences of archaeological and historical could be seen in physical heritage such as temple building, castle, subak (tangible culture), as well as on non-physical culture that is laden and thick with values that contain elements of kebersamaan (togetherness), gotong royong (mutual cooperation), so that implied the existence of adiluhung or the outstanding cultural values (Eiseman, 1990). Their social and cultural capital as shown in the abandonment of cultural heritage, which until now still being developed and maintained in public life, it seems relevant to the dynamics of universal values (Covarrubias, 1937), as has been appreciated by world bodies like UNESCO. The condition seems to need to be developed, because the social capital and culture in society Gianyar actually have also what is called outstanding universal values, as already developed by other cities in Indonesia (See: Leushuis, 2014 and “Kota Pusaka: The Other Side of Ternate”, the Indonesian Kota Pusaka preservation Magazine, (Indonesia-heritage.net, edition 01/2015). Archaeological remains are actually numerously exposed in Gianyar regency compared with those other districts or cities in Bali. It’s understandable, because both prehistoric relics such as those found in Penataran Sasih, there is also a relic of prehistory
22 Branding of Gianyar Regency known as the “Moon of Pejeng” people who come from the Gianyar, which Regency since but the also first from until other now districtsstill sanctified or cities and in consecrated Bali (See: bySutaba, the community Astawa, and not Wirawan, only by 2007:49). Similarly, the historical heritage of Bali Kuna seems to be centered in Pejeng (Pejeng in Gianyar as their previous royal on period of Udayana dynasty from 10th until 11th century) (Ardhana and Setiawan, 2014), which became the foundation of the development of civilization and culture of Bali until now the. King Udayana is king renowned not only in Bali, but up in East Java who was married to Queen of Java called Mahendradatta or Ratu Sri Gunapriyadharmapatni the development of Balinese culture both in terms of philosophy, religion, socio-cultural, legal, gender, are andthe two political central governance. figures in Because of the role played quite important in his reign, so that their names had become an icon of the big names in the name of government institutions such as the name of Military Command Udayana, was also used to name the biggest University in Bali, Udayana University, while the name of Mahendradatta used as the name of the Mahendradatta University. After the expiry of Udayana kingdom centered in Pejeng, then subsequently transferred to Bedahulu-- kingdom at that time called Pejeng, also refers to the designation Bedulu-- under the authority of Sri Asura Ratnabumi Banten until the coming to power of the kingdom of Majapahit to Bali (cf. Catrini and Carey , 2014). There are changes in the tradition of building that can be seen, for example, when the king Udayana ruled in Bali in the Period of Bali Kuna, many of the buildings are made of materials rocks as can be seen at Gunung Kawi and Goa Gajah, while when Bedulu is under Majapahit dynasty, a change that is the building tradition which has introduced the use of brick as can be seen in the buildings of the castle and the temple in Gianyar regency until now. The dynamics of culture and society Gianyar still growing, although the Dutch colonial powers come since the end of the 19th century, until the Japanese landing in the 20th century. At
23 Branding of Gianyar Regency the time of independence Gianyar social and cultural life of society continue to be developed, so that the existing cultural heritage that remains to be revitalized until the present time. Various heritage still appreciated its existence and developed, even accompanied develop quality. by enrichmentThe following activities can that be seen,are creative for example, in innovative the existence efforts ofto some superior cultural heritage contained in the seven districts of Gianyar regency as follows.
1. Sub-district Sukawati: cobra, padas sculpture, silver statue, Pakraman, Subak, banjo, pesantian, barong (about Barong Landung, see: Gottowick, 2005), masks, puppets, gambuh, Calonarang, Rejang, painting, sculpture , wood, calendar systems, Batuan village temple, temple Puseh Batubulan, taksu, processions peed, monuments and statues of the baby,
2 Blahbatuh: Pande gong (equipment gamelan, gableran, endek Bona, handicraft, rontal and bamboo, Pakraman, sekeha, banjo, gong pindha, myth Kebo Iwa, Usada castle Blahbatuh, Pura Masceti, Mrana and Melasti, Sarad, and pura Bukit Dharma Kutri.
3. Gianyar: Bade, nagabanda, pelebon Puri Gianyar, endek woven Beng, culinary (kelepon snacks and a variety of traditional snacks), Pakraman, sekaa gong Sengguan, pesantian, big gong percussion, angklung Sidan, Gianyar Puri adventures pelebon
4. District Tampaksiring: irrigation technology systems, Pejeng batik, handicraft, bone and horn, Pakraman, boil and Subak Subak Pulagan, banjo, sekaa goong, nekara “Pejeng Moon,” Tatiapi, Tirta Empul, Denawa Maya legend, and system pattern rice planting, knowledge usada, Tirta Empul as a place of physical and spiritual cleansing, Heritage DAS Pakerisan, and Heritage Village Pejeng.
24 Branding of Gianyar Regency 5. District of Ubud: Bade, nagabanda, adventure, pelebon Puri Ubud, Puri Peliatan, Mask cats, Ubud market, culinary (pork roll), Pakraman, banjar, galleries, stories Buana Sari, Studio Sri Ratih Ubud Writers and Readers, festivals, literature, kakawin, Oleg Tambulilingan dance, painting, umbrella universal belief in the
6.five District religions. Tegallalang: bowl, tray Sebatu, kepeng, handicraft, Pakraman, Subak, wayang wong, telepud, Sebatu Nyepi culture, robber-begalan ceremony, rice terraces, bamboo culture, aesthetics waterfall Sebatu
7. Kecamatan Payangan: tray, Payangan markets, galleries, yasa Son Sedana, Pengaji, Subak, sinom mentioning Payangan, Sekatian percussion, musical instruments Gong Gede, heritage (Sarcopagus Keliki)
In addition to the results of the inventory of cultural arts are considered superior, to the typical and rare at this point in more detail can be read in the book Blueprint Revitalization of Gianyar Toward Regency Excellence in Arts and Culture (2013), a study conducted in collaboration between the district Gianyar and study Center Bali - Udayana University. It can be said that all the districts it is an area that is very rich with heritage values are rooted in prehistoric times, Bali Kuna History, History of Modern and Post-Modern. It shows that people in Gianyar can selectively
Inreceive the area the influenceof this district of foreign are important cultures in sites order that to preserveare not only the cultural traditions that have been held it is flexible and dynamic. at the national level, for example, in the District Tampaksiring Tampaksiringsignificant for arethe Presidentiallocal community, Palace but that also have for been the community built since the time of the first President of Indonesia, President Soekarno.
25 Branding of Gianyar Regency In addition, the international community in this regard UNESCO also recognized the importance to world heritage, namely the existence of traditional Balinese irrigation system called Subak system which has now been recognized to be a world cultural heritage . This shows that not only the cultural heritage , but also very intense natural heritage developed in Gianyar . It can be seen from the recognition given by world bodies like UNESCO to organizational development and Subak Subak Pulagan boil as one of the world heritage proud people and government of Gianyar regency . This is understandable because the concept of local communities as supporters of the tradition and culture of Subak, by itself implies the support of the spiritual values, solidarity, mutual aid, which is the social capital and cultural capital that is still being developed today and tomorrow will come. Some of the cultural heritages in Gianyar regency is certainly there that the situation is still intact, partially damaged, and there is a faded, and even destroyed, because of the age of the building is quite old. In general it can be said that the physical cultural heritage spread in Gianyar regency until today still can be seen among others, the castle buildings, temples, markets, bale banjar which is an integral smallest social unit, Setra, or the grave, and so on. Some of the building if it is not declared as cultural heritage or cultural heritage (she’s over 50 years), then as a city asset inheritance, alleged existence can switch function (Priyanto, 2014). Puri Gianyar region which in the past was the center of the traditional center of government activity, economic and socio-cultural activities can be considered as the center of civilization and culture of the people in Gianyar. It can be seen from a philosophical understanding which follows the pattern of the arrangement of the great intersection as shown in the Catuspatha concept. Commitment Gianyar regency government leaders and the public on this issue appears to contain heritage cultural development). significance to the cultural life of the community (sustainable
26 Branding of Gianyar Regency 2.5 Natural, Cultural, and Visual of Kota Pusaka Gianyar As with any natural sloping topography of Bali Island, the natural topography Gianyar regency is also tilted towards cut Gianyar, including Pakerisan River and River Petanu. In the areathe south. of these In therivers sloping are the topography remains, remainsthat is flowing critical riversof the that era it represents, with superior quality. Village area located between two rivers among which are Pejeng and Bedulu Village. In both villages listed as base areas remains, archaeological remains, especially in the form of art remains of statues by the hundreds. Arca was stored on dozens of sacred places (temples), and highly et al., 2013). In the area Pakerisan River, from upstream, is the locationpurified by of villagers Pura Tirta who Empulnyungsung (Tampaksiring), (manage) Pura with TSB. a (Geriya, source of water that is unique, recorded in an inscription which dates to the year 960 AD (882 years Caka) (Goris, 1954 and Damais,
1955, in Ardika, et al., 2013). Then flows to the south, there is a temple Mengening (Tampaksiring), Cliff Temple Gunung BitraKawi (Gianyar), (Tampaksiring), and downstream Cliff Temple is in Kerobokanthe Pura Masceti (Pejeng), in Turkish Temple MascetiEstimator-size (Blahbatuh). (Pejeng), In Cliff Petanu Temple River Tegallinggah region, there (Bedulu), is also Rlief an important remains representing two beliefs (Religion) is Hindu and Buda, a site Elephant Cave. All the remains of those mentioned above, that is associated with the controlling authority at the time, is the remains of dynastic rule Warmadewa. Sri Kesari as a forerunner to the kings of the dynasty Warmadewa left three inscriptions. Two of them are in the mountains (Malat Gede and Panempahan in Tampaksiring), and another in the area of Sanur, which is in Belanjong. The third inscription was framed in Caka 835 (913 AD) (Goris, 1948). Based on the position where the remains of past cultures whose location is located in the Pakerisan River and the Petanu River, especially in the area of Pejeng and Bedulu, there may be mentioned that the center of the kingdom era Kuna
27 Branding of Gianyar Regency Bali is situated in Pejeng and Bedulu. Researchers, such as Goris
Meanwhile, Kempers and Stutterheim, concentrate more on the were more emphasis on research in the field of inscriptions. ways, but the synergy of research led to the conclusion about the characterfield of cultural. and power Although controllers the approach of that era. was Power done in controllers different are the kings of the dynasty Warmadewa (10–14 century AD). The golden age era of work in Bali, recorded in the reign of King Udayana Warmadewa. He was accompanied by a priest, named MPU Kuturan. Under the policy MPU Kuturan, all sects in Bali and culture thrive, based in Pakerisan and Petanu River region, particularlythat are conflict in Pejeng can be and brought Bedulu. together. In fact it The can development be mentioned of that art the center of civilization in the Age of Bali Kuna is in Pejeng and Bedulu, Gianyar regency. With the various remains of the need to develop the implementation of cultural tourism, in the form of One Day Cultural Tour. Can be started from the remains in Coast region Masceti (being built Subak Museum). Followed by a visit in the city area Gianyar (Traditional Market), then to the region Bedulu and Pejeng (Pura Samuan Tiga, archaeological remains of the Institute for Preservation of Cultural / BPCB). Proceed to the World Cultural Heritage area in Tampaksiring (Subak and temple). Today, UNESCO has recognized the headwaters region Pakerisan in Tampaksiring Gianyar, as a World Cultural Heritage area (WBD). Among these include Pulagan Subak, Subak Top boil, boil Subak Down, Pura Tirta Empul, Pura Mangening, Pura Gunung Kawi and Pura Pegulingan. Culture or culture (Koentjaraningrat, 1993) has three states, namely the values, social, and artifacts (material). As mentioned earlier that the Gianyar Regency has the region Pakerisan River, and in the upper reaches of the system of Subak (Subak Pulagan and Subak boil (Up and Down). Subak is a cultural heritage that is intangible (not shown), such as the values of Tri Hita Karana, and tangible (visible), in the form of system of rice terraces, and also systems pura subak. Furthermore, the system water control
28 Branding of Gianyar Regency system can also include all form the culture. where the system subak values, namely the Tri Hita Karana. Furthermore, there a form of social, where subak has organizations of the solid that is supported by a foundation in the form of awig-awig (written rules) and perarem (unwritten rule, but it has been agreed by consensus) are implemented strictly. Meanwhile, subak also can be mentioned that subak is the Balinese cultural heritage. (Windiahas artifacts and (material) Arthawiguna, in the 2013) form Geriya,of temples et al.and (2013) rice fields. noted It that the springs and Pura Tirta Empul is the ultimate symbol of irrigation systems get water from Pakerisan river. Where the springs that exist in the temple TSB, a major source of water in the river Pakerisan. One of the oldest royal inscriptions related to irrigation, recorded in the year 962. It was mentioned in the inscription was that there is a dam on the TSB website, which is considered one of the oldest structures of irrigation channels in Bali. Tirta Empul temple remains a Subak, and also a place of worship is an important destination for residents in Bali. Thus Pakerisan River upstream region that has become the world’s cultural heritage, and has been recognized by UNESCO, need to be maintained and preserved. Especially preserving the existence of Subak system existing in the region . Subak region is the most vulnerable region to be preserved , because it involves area. Farmers need to gain subsidies and protection, so they were happythe interests to farm. of Gianyarindividual regency farmers government who have fields already that provides exist in thattax- free United Nations for farmers in the region Subak TSB, and also provides a wide range of support facilities and infrastructures . Nature of Gianyar regency which developed into a medium kingdom of Bali Kuna. Pejeng and Bedulu village has developed into aof natural cultural area, activities, where it havehas occurred been reflected akivitas sincevarious the cultures. time of Until the now, the area of the villages that have been proven to be an area of cultural development. Various remains were recorded in that area. The Indonesian government to build the Cultural Heritage
29 Branding of Gianyar Regency
Bedulu Village and next to that, Pejeng, more solid existence as thePreservation center of theAgency ancient office Balinese (BPCB) royal in the golden village age of wasBedulu. recorded Thus at the time of King Udayana. Meanwhile, natural Pakerisan Upper River Region (Pura, Subak, etc.) Is also a natural area that is very important for the people of Bali’s Gianyar and also the general population. In this region (the village of Tampaksiring and Manukaya village, in the district. Tampaksiring), there are several sources of water as the main source of water Pakerisan River, to irrigate some water control system in the district. Gianyar. The main spring in the region and Pura Pura Tirta Empul Mangening. The temple has been widely known as a place of worship for the people of Bali, and the water that comes from springs in the temple area is believed to be holy water, and therefore sacred by residents in Bali. Pakerisan River upstream region has been designated as a World Cultural Heritage (WBD), and therefore it needs to be preserved. Other natural areas, which has evolved as a cultural district is at each center of the kingdom, which used to exist in every district in the district. Gianyar (Gianyar, Blahbatuh, Sukawati, Ubud, Payangan, Tegallalang and Tampaksiring). In every area of the township center, there are relics of Puri, there intersections or catuspatha grand. In the vicinity there is a market, and often there is also a Chinatown area. The core area will be, needs to be organized and developed, so that the area was developed into a tourist destination area. Thus, the region will provide economic benefits to the surrounding communities. 2.6 The Heritage City Network of Local, National and International
2.6.1 The Local City Heritage Network In the perspective of topos (space), the distribution of Cultural Heritage Gianyar regency very broad, covering the whole of30 the 272 indigenous villages, 70 villages and seven sub offices Branding of Gianyar Regency Gianyar regency. Perspective space to bring zoning Cultural Heritage. Zoning Heritage Culture-based districts in Gianyar district includes seven zones, namely: (1) Zoning Sukawati, (2) Zoning Blahbatuh, (3) Zoning Gianyar, (4) Zoning Sukawati, (5) Zoning Ubud, (6) Zoning Tegalalang, and (7) Zoning Payangan. Based on the Cultural Heritage area indicator in Gianyar developing zoning-Pejeng Bedulu-Tampaksiring rich archaeological heritage, historical and religious. Then, based on the book of history Gianyar from prehistoric times to the new era-modern (Sutaba et al., 2007), is also developing zoning Gianyar city as an Urban Heritage to centers Catus Pata, Puri Gianyar, squares, markets, local communities, kawasanan pencinaan (ethnic Chinese) which in total represent Gianyar as heritage Cities with architectural heritage, housing, art, tradition and literature, wastra, culinary, art and others. In the perspective of Kronos (time), the identity and regency periodization: the period of ancient civilizations, medievalcharacter civilization, of cultural a heritage new civilization reflects theand diversitymodern. The of Gianyar period of ancient civilizations (Ancient Balinese) is represented through a variety of Cultural Heritage era of King Udayana (XI century). Period mid civilization represented through a variety of Cultural Heritage era of King Gianyar (XVI century) and the period of modern civilization is represented through Cultural Heritage independence era (post- 1945). To that end, the government Gianyar Regency has a variety of planning programs that will of TSB, is to support the district. Gianyar as a heritage area. Meanwhile,be developed the in development different regions. of the regionThe core should of the be developmentable to lead to the welfare of the surrounding community. As for the condition of the area planned for development of the area, as shown in the following table.
31 Branding of Gianyar Regency
Table. Development Plan to support the Structuring and Preservation of Hetitage City Program (P3KP) Wide KDB KLB Building’s No. Zone / Area Land Use scale (%) (%) tall (Ha)
1. One Day Cul Throughout Pak- ---- tural Tour erisan River re- gion. Starting from Subak Museum in Masceti Beach (Medahan Village / Keramas) Gian- yar - Pura Sam- uan Tiga (Bedulu Pejeng, and BPCB
River bank (Tam- paksiring).Office) - Pakerisan
2. The centre of ev- Preservation of the Not higher ery districts in castle, traditional than a co- Gianyar (Gian- market develop- conut trees yar, Blahbatuh, ment, culinary, (max. 4th Sukawati, Ubud, - Te g a l l a l a n g , ment and private Payangan, and sector.offices for govern floor). Tampaksiring). As the center of development of Catuspatha city.
3. Pakerisan River Preservation of bank, in Tam- temple, water paksiring. spring, Subak sys- tem (Pulagan, Ku- lub Atas and Kulub Bawah).
Here are some structuring and preservation programs of Gianyar heritage city in the field of physical development particularly32 in relation to socio-cultural policy fields: Branding of Gianyar Regency
Gianyar communities, especially those who has Bali cultural backgrounds and Hinduism, from the structure of the surface, it does have in common with the people of Bali in general. However, if we look closely at the deep structure, the religious social life has its own uniqueness. Our task (local government, civil society, entrepreneurs, scholars and humanists) are doing the foundation, maintenance, utilization and development in order to achieve visionary long-term goals, either on the cultural elements of surface structure or deep cultural elements. Balinese culture that is practiced by the people of Gianyar is certainly also part of cultural elements which are universal (as summarized from various sources by Koentjaraningrat (1974: 82) into (i) equipment and supplies of human life, (ii) livelihood, (iii) social system, (iv) language, (v) arts, (vi) the knowledge system and (vii) religious, so that the practice of social and cultural life of society in Gianyar is one of the cultural diversity of the universal culture elements. If the seven elements of culture is being a reference for developing the lifestyle of the people of Gianyar, then the center of our attention should be directed to the changing that occur in their orientation. The orientation change occurs from a traditional agrarian society (characterized by socio-centric) towards the industrial society which based on capital-centric. As usual Balinese people in general, in every transition form, the elements still characterizes the daily relegi in Gianyar society. As part of Gianyar communities we certainly have pride in the achievements of this community both in the past and present. painting, literature and sound), Balinese architecture, Balinese Masterpieces in the field of Balinese arts (dance, percussion, culinary and so become an inherent characteristic and can be labeled as valuable work. However, because of the times, Gianyar communities also faced with various social, cultural and economic issues. The appearance of social, cultural and economic
33 Branding of Gianyar Regency issues can not be separated from the weakening of the mental attitude of people to maintain their identity as Balinese people “outside-in” in the face of external pressure. All of the pressures were, unfortunately, responded with a shortcut, which led to: the appearance is more important than the content (for example, consumerism (e.g. conversion to secondary needs), completion find funds from gambling to build a temple and a big ceremony), background resulting in physical attacks), the implementation problems with conflict (e.g. the border village economic of tri hita karana is unbalanced (e.g. rivers and the sea become a landfill because there is no support facilities / infrastructure that is growing in Gianyar society that need to be addressed of the Government). All that can be classified as a “dark side” systematically to slow it or to stop it. Therefore, if people want to be styled Gianyar, then the “dark side” should be changed into “bright side”. There are seven policies that are needed to be developed:
1. Enhancing the role of Pakraman Village as a basis for the development of ethics, morality and spirituality based on the teachings of Hinduism, especially on an ethical framework and Tatwa, not just a ceremonial framework.
2. Empowering the role of Subak supporters of Balinese culture; not letting the land use to (rice paddies and fields) as increasingly widespread.
3. Encouraging the community through the institutions of traditional organizations (Pakraman village, banjar, tempekan, pemaksan penyungsung pura) in order to avoid
gambling as a source of financing religions and cultures. 4. Preserving and developing the Balinese arts (music /
34 Branding of Gianyar Regency gamelan, dance, swara and oral literature and literary writing) through empowerment of sekaa, galleries, artists, writers and humanists. 5. Preserving the values of cultural heritage, history, heroism and potential of cultural heritage that are still alive.
6. Rescuing, taking care, studing, revitalizing and documenting the culture of verbal forms that are stored in folklore (oral) and codices.
7. Increase public awareness on hygiene and environmental health.
Each of the seven policy are interrelated between spirituality, ethics, morality and everyday behavior that lead to the deepening of the Bali identity who relied on Hinduism. More detailed explanation for each of the policy are as follows:
The program of activities based on socio-cultural policy are as follows:
Policy 1: Enhancing the role of Pakraman village as a basis for the development of ethics, morality and spirituality based on the teachings of Hinduism, especially on an ethical framework and
Tatwa, not just a ceremonial framework. Two flagship programs enlightenment program led by the Hindu Association and the that can be done with regards to the first Policy is as follows. First, Council of Regency Pekraman Village. Both religious institutions and traditional institutions should set Bisama which is rooted in religion to encourage people performing the ceremony in an honest and responsible. It means the ceremony must consider the ethics and philosophy, so that activity which is contrary to the purpose
35 Branding of Gianyar Regency of religion is avoided. For example, the implementation of a large of the temple, the estate, gambling massively and continuously. ceremony had to walk though the financing of the sales profit Both these institutions must often meet with pekraman villagers, the sulinggih, community leaders, prajuru villages and hamlets. Second, to encourage all that can be realized, through Local Government Department of Culture in collaboration with Hindu Association and the Assembly Pekraman Village, can do some sort of Competition Conduct annual Religion and Culture at the local level Gianyar.
Policy 2: supporters of Balinese culture; not letting the land use increasingly Empowering the role of Subak (rice paddies and fields) as widespread. At least four programs can be implemented for water control system that can contribute maximumly to support the material needs of cultures and religions activities, those are: (1) set policy at the local level Gianyar to prohibit farmers (rice paddies the form of objects and not money in land management activities and fields) to landusing the productive land, (2) help farmers in (eg, seed, fertilizer, pesticide, tractors, irrigation channels) and post-harvest (eg, marketing and processing of the crop), (3) Held a Subak Competition, (4) development of Subak.
Policy 3: Encouraging the community through the institutions of traditional organizations (Pakraman, banjar, tempekan, pemaksan penyungsung temple and water control system) in order to
Bali today, especially in the district of Gianyar, theere are more avoid gambling as a source of financing religions and cultures. In established big wantilan which id used to gambling games or tajen. Wantilan tajen exists at: Mas Ubud Village, Pejeng Sembuwuk village, Sukawati village (in the Pura Dalem), Tebongkang
36 Branding of Gianyar Regency Village, Ketewel village, Guwang Village, Kemenuh Village, and so forth; not including the permanent formless tajen wantilan, for example, in the Lembeng village, and so forth. In the village of Mas and in the village of Ketewel, according to our observations from land conversion ends among tajen. Unfortunately, gambling (we do not find a source that is accurate), some of the proceeds of the temple and religious ceremony, which in terms of religious has been done as a way to find funds to finance the construction impoverishment of society. Gianyar local government should ethics and Tatwa, it is not justified. Gambling is also a cause of be very concerned with such negative phenomena. Indonesian Goverenment indeed has banned gambling, but the reality on the ground is very hard prohibited, especially tajen which is the massive and continuously be done. Programs that need to be done by Gianyar local government, among others: (1) the negation of aid for the pekraman village who maintain gambling facilities and the pekraman village who led gambling continues to grow (tajen and so on); (2) race village without gambling.
Policy 4: Preserving and developing the Balinese arts (music / gamelan, dance, swara and oral literature and literary writing) through empowerment of sekaa, galleries, artists, writers and humanists. Art of Bali is part of Balinese life because of its presence not just as or part of Hindu religious ceremonies. Therefore, the Government positive entertainment community, but also an offering for the God should continue to support Gianyar both materially and morally to the actors of the art, both individuals and groups or organizations (banjar, sekaa, galleries, and so on). The programs need to support appearance and quality frequencies of the arts, among others: (1) hold a dance performance or percussion regularly every month in the city of Gianyar to subsequently contested; (2) provides awards to actress and humanists who have demonstrated masterpiece;
37 Branding of Gianyar Regency (3) facilitate and provide guidance to sekaa-sekaa arts (dance / percussion and pesantian) in hamlets; (4) the revitalization of rare art, which is an attempt to preserve the rare art in Gianyar regency. To promote sustainability of the artistic creation activities are necessary in the form of competition: (a) the Bali Arts Festival Gianyar regency level; (B) The Dharma Gita Utsawa Giianyar district level.
Policy 5: Preserving the values of cultural heritage, the history of heroism and potential of cultural heritage that still exist. The spatial concept from royal centers in the past, the centers of resistance of heroes against the invaders and cultural heritage, that are still alive, are given real attention , The programs can be realized are: (1) facilitating environmental regulation outside the castle as a form of relics of the concept of Catus Patha (pattern arrangement of the intersection of the great, economic centers (near the market), the administrative center (castle), the center relegius (near Geria)); ( 2) Completed the Heroes Grave garden level with one meseum in Gianyar and Gianyar public struggle diorama; (3) to revitalize the cultural heritage that is still alive (agriculture, architecture, papyrus manuscript, and so on).
Policy 6: Rescuing, taking care, studying, revitalizing and documenting the culture of verbal forms that are stored in folklore (oral) and old manuscripts. Verbal forms of culture associated with the language and literature, both oral and written realm, are given a real concern that the pattern of cognition Balinese continues to be understood. Balinese language as the most important element in Balinese culture should be maintained and developed from generation to generation. Threats to this is unusually strong language, both from within and from outside. The threat from
38 Branding of Gianyar Regency within can be seen from the weakening of the attitude of the Balinese language speakers aged toddlers to teenagers towards the language. Meanwhile, the threat from the outside comes from the dominance of national languages and international economic challenges, globalizationi and communication technologies, as well as the lack of state attention. Balinese literature also faces similar problems caused by the pressure, which is almost the same. Therefore, the Government of Gianyar need to make the program as follows: (i) issue a decree on the protection and development of the language, literature and the Balinese primarily aimed at preschool, elementary school, junior and senior high school (existing Regulation Gianyar Regent about it in 2013; (2) facilitating extracurricular activities at each school that makes the language, literature and the Balinese as activity creations verbal; (3) inventoring, documenting and revitalizing the literary works of oral and written literature (Latin script or script Bali), both literary traditions (classical and ancient) and modern literature.
Policy 7: Increase the public awareness on hygiene and environmental health. Hindu community in Bali has a conceptual reference concerning three harmony of social relationships (Tri Hita Karana): a relationship with God (Parahyangan), relationships with fellow human beings (pawongan), and the relationship with nature (palemahan). Indeed, the people of Bali has many palemahan, there are still many things that need to be improved. advantages in all three relationships, but specifically regarding on Consider, for example, beaches all along the Gianyar (the same thing also happened in other areas), as if it has become a garbage dump. Trash it came from the household garbage and trash result of cultural activities are discharged into the river. We certainly can not blame the public and the government, but there must be a long-term programs, which can be done: (1) The Government
39 Branding of Gianyar Regency
of Gianyar facilitate the availability of landfill in each district, (2) to every Pekraman village and its maintenace submitted to the Government of Gianyar provide first vehicle carried the waste Pekraman village, (3) Government of Gianyar install the retaining wire mesh trash in the river mouth. The purpose of it all is to create a clean environment on an ongoing basis and encourage a clean lifestyle as devotion to nature. In addition, as a tourist destination, Bali (especially Gianyar) can be respected and getting a visit because of its cleanliness.
2.6.2 National Net of Hetirage City In 2008, the Mayor of Surakarta, Joko Widodo (currently President of RI 2014-2019 period) intensify the programs assigned to the city through an international symposium organized by the OWHC. The initiator of the symposium is Suhadi that emphasizes excellence universal values must be implemented and maintained. That time BPPI introduce an institution, called the Indonesian Heritage Cities Network (JKPI) with its chairman is Sawahlunto the Mayor and Joko Widodo the Vice Chairman, who was then mayor of Surakarta. BPPI established in Sawahlunto with the aim of encouraging cooperation between local government and central government. When it was discussed that the meaning of a city is not only about the city itself, but also including sub- districts and districts in Indonesia. The underlying reason that authority and autonomy are at the city level or region or district. This means that the mayor or regent plays an important role in designing the program. JKPI second congress was held in the city of Ternate, while the third congress held in Surabaya and fourth konres in Singkawang. JKPI members amounted to 51 cities / counties (composed of 37 cities and 14 counties).
40 Branding of Gianyar Regency
Table 4. JKPI Members (Indonesian Heritage Cities Net) No City/ District No City/ District 1 Surakarta City 27 Pontianak City 2 Ternate City 28 Semarang City 3 Sawahlunto City 29 Salatiga City 4 Pekalongan City 30 Bukit Tinggi City 5 Pangkalpinang City 31 Langsa City 6 Jogyakarta City 32 Bangka Barat District 7 Blitar City 33 Central Jakarta City 8 Palembang City 34 Sungaipenuh City 9 Denpasar City 35 Tegal City 10 Ambon City 36 Banjarnegara District 11 Surabaya City 37 Brebes District 12 Medan City 38 Gianyar District 13 Banda Aceh City 39 Ngawi District 14 Bogor City 40 Padang City 15 Cirebon City 41 Banyumas District 16 Banjarmasin City 42 Buleleng District 17 Malang City 43 Karangasem District 18 Sibolga City 44 Purbalingga District 19 Lubuk Linggau City 45 Singkawang City 20 North Jakarta City 46 Tidore Kepulauan City 21 Madiun City 47 Bangli District 22 Jakarta Barat City 48 Batang District 23 Palopo City 49 Cilacap District 24 Bengkulu City 50 Kepulauan Seribu District 25 Bau-Bau City 51 Tegal District
41 Branding of Gianyar Regency
26 Bontang City Gianyar regency government has a special institution to deal with the management of cultural heritage, namely: Board of Management of Cultural Heritage. The institute is headed by of representatives from cultural, legal, and Chairman BPCB Bedulu- asissten 1 Setwilda the field of law and governance, which consists Gianyar. Those who sit in this institution plays condition and giving sinergies in all resources, both material and non-material which is input from For Helik. The formulation resulting from this collaboration For Helik input is expected to produce a theory for the maintenance and preservation of cultural heritage. Gianyar District Regulation No. 16 of 2012, concerning Spatial Planning Gianyar Regency Year 2014-2032 as a whole is the basic reference for the program development Gianyar regency as the Heritage City. The directive stated in accordance with the objectives, policy and strategy of spatial planning of Gianyar regency. Interest spatial structuring of the Gianyar Regency (Article 5) is to realize Spatial quality, safe, comfortable, productive, self- identity as Balinese culture and sustainable, integrated with the National Strategic Area Denpasar, Badung, Gianyar and Tabanan (Sarbagita) as a center cultural tourism which are supported by agriculture, trade / services and art industry. Gianyar regency spatial planning policy (Article 7) consists of nine grain policy. The overall policy can be used as the basis of policy in the development of Gianyar regency as the Heritage City. There are at least three (3) policies which can be used as a reference, among others: a. The development of friendly environment in craft industry, b. Based tourism area development potential of nature and culture, c. Regions development based on the potential and character of the area. The policy outlined in the strategy of spatial Gianyar regency. Structuring strategies that can be used as a reference, among others:
42 Branding of Gianyar Regency
a. The development of environment-friendly craft industry are as follows:
highest, expanding employment, business opportunities • Developing the industry to increase the added value of the and increase the volume exports.
medium scale food industry, industry of clothing and • Develop the handicraft industry, especially small and leather, handicraft industry, webbing households to support the tourism sector.
and home industry. • Develop industrial estates in the centers of small industry in the wood sub-sector and industry made of wood, • Increase the diversity of the processing industry, especially household appliances and household handicraft industry and other small industries. b. Tourism area development which is potentially in nature and culture are as follows:
attention to aspects of environmental sustainability and • Develop a strategic area of tourism should that should pay sustainable development.
• Manage, develop and preserve the ancient historical heritage. valuable cultural heritage. • Revitalizing cultural values as well as sites / historically with appeal of natural beauty, local cultural activities and • Establish and develop the distribution of tourist attraction others.
through the development of agro-tourism and others. • Strengthening the integration of agriculture with tourism other civic organizations. • Corroborate the existence of Pakraman village, Subak and
• Developing cooperation pattern that gives protection to the43 Branding of Gianyar Regency land rights of local communities.
• Improving the human resources of local communities. • Develop tourism facilities and infrastructure. Development of the region based on the potential and character of the area (Article 8) are as follows:
tourism development zones with Balinese culture and craft • Directing Gianyar western region as dominance-based industry.
government, education and teen travel / recreation. • Directing Gianyar eastern region as the center of cultural heritage conservation area. • Directing next Gianyar Central Region as the dominance of of trade / services and shopping as well as agriculture. • Directing Gianyar southern region as the regional dominance district agricultural development and conservation of water • Directing the Northern Territory as domination Gianyar catchment areas.
infrastructure supporting the development of cultural • Improve the quality and quantity of facilities and tourism, agriculture, trade / services and craft industries, both within the region and the development of the region development.
Furthermore, the Plan of Protected Areas designated space pattern among others (Article 34) that the sacred area is an area that is considered to have sanctity by the Hindus as follows:
Payangan, Tegallalang and Tampaksiring District. • Scared Area in Hills are spread around Northen area of
• Scared Area in Campuhan cover the Campuhan Ubud in entire district. Ubud District and all of the confluence of two rivers in the o Beach in Blahbatuh District (Saba, Masceti, • Scared Area of Beaches covers: 44 Branding of Gianyar Regency Keramas and Segara Wilis) o Beach in Gianyar District (Beach Lebih, Beach Siyut) o Beach in Sukawati District (Beach Er Jeruk and Beach Ketewel) o Scared Area of Loloan covers all the rivers along the Beach in Gianyar. o Scared Area of Ocean spread along the ocean area which is functioned as Hinduism ceremony place.
o Taman Beji Giri Kusuma in Melinggih Kelod • Springs Area covers: Village, Payangan o Tirta Empul in Tampaksiring District o Pura Mengening in Tampaksiring District o Gunung Kawi in Sebatu village, Tegallalang District
as a place for doing relogious ceremony for Hinduism: • The other spring water in district areas, which is functioned o Scared Area of Catus Patha covers Catus Patha Agung and Catus Patha Alit which are spread through all the pekraman village, and it is functioned as a place to hold a relogious ceremony for Hinduism, meanwhile, The Sacred Area (Article 35) covers the Pura Sad Kahyangan, Pura Dang Kahyangan, Pura Kahyangan Tiga and other pura area with the sacred radius of its own.
Furthermore, in Article 40, set the area of cultural heritage and knowledge spread across several districts as follows:
Kawi, Pura Mangening, Pura Tirta Empul, Pura Pagulingan, • Tampaksiring District: Pura Penataran Sasih, Pura Gunung etc.
Desa Pengastulan and Relief Yeh Pulu in Bedulu, Pura Bukit • Blahbatuh District: Pura Samuantiga, Pura Goa Gajah, Pura 45 Branding of Gianyar Regency Dharma, Kutri, etc.
Jukut Paku, etc. • Ubud District: Pura Gunung Lebah, Pura Telaga Waja, Pura Hyang Tiba, Pura Puseh Canggi, Pura Puseh Batuan, etc. • Sukawati District: covers the cultural heritage of Pura Manuaba. • Tegallalang District: cultural heritage of Pura Dalem Furthermore, the establishment of a strategic area of Gianyar regency (Article 62), include:
based on the importance of economic growth include • National Strategic Area: National Strategic Area in Gianyar Sarbagita region, namely the Urban Area Denpasar, Badung Urban Area, Urban Area of Gianyar and Tabanan.
include provincial strategic areas on the basis of economic • Strategic Province Area: As is the provincial strategic areas growth as fast-growing economies and supported by a network of infrastructure and supporting facilities such economic strategic area of tourism ubud, a strategic area more tourism and strategic areas along the arterial road of Tohpati-Kusamba.
of cultural mores or cultural areas and the protection • The provincial department of social angle is the preservation of cultural relics, among others Scared Area of Pura Sad Kahyangan and Cultural Heritage DAS Pakerisan.
of the carrying capacity of the environment (Article 64) is • Strategic Area District based on the importance and function determined based on the following criteria: o Region determines the hue changes in nature and have a broad impact on the continuity of life, provide protection against macro climate balance, providing protection to balance water use planning, prone to natural disasters, protection of coastal areas.
46 Branding of Gianyar Regency
In detail, the special strategic areas based on economic interests consist of:
• Tourism Area of Ubud • Tourism Area of Lebih • Trade Area of Sukawati • Agro-Tourism Area of Payangan • Teenage-Tourism Area of Bukit Jati • City Area of Tegallalang • City Area of Tampaksiring • City Area of Gianyar (Article 67) consisting of: In detail specific strategic area based on socio-cultural interests biggest archaeological object in Tampaksiring, Tegallalang • Pura Dang Kahyangan and cultural heritage object and the , Ubud, Blahbatuh and Sukawati District; Central cultural conservation area covers Bedulu, Pejeng Kaja, Pejeng Kangin, Pejeng Kawan, Pejeng Kelod and Pejeng village.
In detail, the strategic area of the district is based on the interests of the function and capacity of the environment (Article 68) consisting of:
district, coast area covers the villages in southern area • Northen area covers Payangan, Tegallalang and Tampaksiring which are consisted in the 3 areas of administration in Sukawati, Blahbatuh and Gianyar district. The villages are Ketewel, Guwang, Saba, Pering, Keramas, Medahan, Lebih and Tulikup village. Also some substance which can be taken from District Regulation Gianyar, No. 16, Year 2013, about the Spatial Plan of Gianyar Regency in Year 2012- 2032. The substance is taken of how the section regarding Gianyar Development Program as a Heritage District.
47 Branding of Gianyar Regency
2.6.3 International Net of Heritage City In the perspective of sciences - humanities, cultural heritage including the cultural, artistic, value systems, traditions, language to literature is a treasury of creativity, taste and creative human initiative were able to present the philosophy, values, character, mental and civilized progress. Since the study of archeology, history, anthropology, ecology and art holistically meaning of cultural heritage, the attention of statesmen, heads of and intensively lifting findings, information and roaming the provinces / districts / cities, academia and institutions - cultural institutions, including the ARDI, OWHC, UNESCO cultural heritage to appreciate the enormous scale of local, national, international. Indonesia is a country in the middle of a big nation and the cultural dynamics of civilization - universal nation. Indonesian nation storing wealth, diversity and cultural uniqueness in the corridors of national unity to be able to color the world civilization and grow synergistically aligned with nations - other nations in the international arena. Since Swiss developing countries, the World Economic Forum, Davos, Brazil proposed the World Ecology Forum, Rio de Janeiro, Indonesia to implement the World Cultural Forum, Bali in 2013. Bali WCF-2013 is a cultural forum mondial category of large-scale and able to grow with the expectations of inclusions and synergy as the country’s culture towards Indonesia Adi Gold (Centennial NKRI), in 2045. Directions formulation Bali Promise as output WCF-2013 opened the door for cultural revitalization, including the revival of districts / cities Pusaka Nusantara. Gianyar regency is one of the nine districts in the regency / city of Bali province. Gianyar Regency appear in the representation of the image and the reality that has great potential as a heritage district, Earth Art da Region Heritage who earn the appreciation
48 Branding of Gianyar Regency of local, national, international.
With government policy of Gianyar regency which is very strong, push and strengthen the presence of heritage, both the cultural heritage and natural heritage, it is not surprising that world bodies like UNESCO pay tribute to the rich heritage possessed by Gianyar, such as subak traditional irrigation system that and also against DAS Pakerisan. Their attention and community spirit and willingness strong government Gianyar regency in appreciating the heritage of their inheritance as a culture that has a universal value that is superior (outstanding
Network Heritage Cities Indonesia is hope for all levels society universal value), then the efforts to participate as members of the and government. Determination of UNESCO on 29 June 2012 of the Cultural Landscape of Bali Province: the Subak System as the Manifestation of the Tri Hita Karana as a World Cultural Heritage (WBD) also includes three Subak in Gianyar, namely: Subak Pulagan, Subak Buluh Top and Subak Buluh Down which represents an agricultural civilization Pekerisan and Petanu valley, Gianyar. the cultural history of the Gianyar regency include: (1) the growth Various positive achievements recorded in the reflection of of HR creative and includes a number of masters of art and culture in as the center of Jagat Bali (Bali Central) as a center of culture and various fields, (2) development of natural habitats Gianyar regency civilization Culture of ancient Bali, Buda Agriculture, Cultural Royal Palaces, National Heritage, Culture Modern to Cultural Multi-culture, (3) History, identity, character and philosophical
Taksu and the value of Tri Hita Karana, (4 ) Gianyar regency is the basis Gianyar regency which is firmly imbued with the power of largest cultural museum various locations in Bali and the realm of the historical development of cross-cultural acculturation, (5) Gianyar regency appreciated as heirloom seed (Core of Excellence)
49 Branding of Gianyar Regency associated richness, diversity and distinctiveness of tangible and intangible cultural heritage. Overall potential and the achievement of the social capital, cultural, ecological and human resources to innovate, acculturated and perform the excellences. Since the beginning of the XXI century, challenges and cultural issues facing quite diverse and not light include: (1) The commercialization that leads the routines and ignore the quality, (2) The dynamics of culture and art that moves involution, lethargic and stagnant innovation, (3) the marginalization of art and artists in their own homes, (4) based creative economy has not grown optimal seed culture, (5) Network Gianyar as the Heritage District is still limited in the locality and has not been expanded nationally, regionally and internationally. Gianyar society in essence have great determination in culture, a spirit of togetherness that is high in the preservation of cultural heritage, as well as the momentum of the second decade of the XXI century to rise as Heritage city, which is nationaly and worldwide. In Heritage Cities Network Secretariat information Indonesia with a total membership of 51 districts / cities in Indonesia, Gianyar position is in number 38. Membership (Source: Secretariat of the Indonesian Heritage Cities Network). Under the Regent of Gianyar, A.A Gde Agung Bharata, S.H. resurrected the spirit of heritage, strengthening Gianyar regency as Members of JKPI proposed back and the action program Gianyar Regency Heritage City prepared as holistically and sustainably. Gianyar regency’s vision in RPJM years 2008 - 2013, i.e. Together for a Prosperous and Cultured Gianyar based on Tri Hita Karana, placing culture as the basis, the identity and guidance that glorify in prosperous society. The present book Blueprint: Towards Revitalization Gianyar Regency seed in the Field of Arts and
Culture has provided a scientific foundation, the management cultural development from 2015 to 2030. actions and directives Heritage District futurological field of
50 III
BRANDING IN MODERN ERA: Meaning, Function and Value
3.1 Concept, Dimention and Indicator he concept of branding is a logo, an icon, a marker of a company, institution, community, either at the level of Tdistrict / city, province and nation with variety of sub- institutions. A branding represents variety of characteristics such as: (1) identity, in order to be easily recognizable, (2) uniqueness for easily appreciated, (3) the advantage, which is making it easy to generate value in its social, economic, cultural, (4) simplicity, in order to make it easy to remember and recognized (5) characteristics, in order to be easily compared and (6) pragmatic, to make it easily transformed and applied. In a dimensional perspective, a branding represents which are: (1) tangible dimension and (2) intangible dimension. Tangiblemultidimensional. dimension Specifically, in Gianyar branding, there are Kecak, two main the dimensions,Soul of Bali, consists of three dimensions, those are: (A) drawings, it is about Kecak visual art that displays a lot of people together, (b) color, it
(c) alphabets in the sentence of Soul of Bali represent about the psychiatricfeatures multicolored: nature of propelling yellow, red, words blue with and acta specific in line meaning, with the concept of Tri Kaya Parisudha (think good and right, say good and
51 Branding of Gianyar Regency right, and do what is good and right) based on the Karmaphala verdict. Intangible dimension includes nine sub-dimensions, which are: (a) philosophy, especially the Tri Hita Karana as the essence of local wisdom in Pancasila synergy as the national wisdom essence or Indonesian ideological, (b) the character, as a representation of Gianyar identity, which is based on culture, (c ) main values, which covers six values: (d) logic, (e) ethics, (f) aesthetic, (g) creativity, (h) solidarity and (i) spiritual. A visual, which is formed the intangible dimensions with ninth synergize, see Figure 4.1
Figure 4. 1: Tangible and Intangible Dimentions Gianyar Regency Branding Kecak Art, Soul of Bali
Alphabets Spiritual Picture
Kecak Visual Three Moves Solidarity
Branding Vi- Three Colors sual of Kecak Art, Soul of Bali Three Alphabets Creativity
Logic
Aesthetics Ethics
Colors Colors 52 Branding of Gianyar Regency As mentioned in Chapter I, that the formulation of branding ten indicators. The ten indicators are shown in Figure 4.2 below in scientific, comprehensive and whole compulsory completed the
Figure 4.2 : Ten Indicators of Branding Proposal Gianyar Regency, Kecak Art Soul of Bali
Typical and Reaching the Authentic Study in Traditional Philosophy and Modern Base Media
Obvious with the Values, Clear Function, and with the Purpose main values
Gianyar Branding, Kecak Art, Soul of Bali Commu- Transformative nicative, towards Local, National, Marketing International
Applicative Principles of Sustainability
not Plagiarism
53 Branding of Gianyar Regency 3.2 Build the Excellence in Branding In the modern era, aspects and excellence missions plays cover all aspects, which are holistically play constructing the a very important role, strategic and effective. Excellence aspects branding, both in tangible and intangible aspects. Intangible aspect is an aspect that can be observed, understood and perceived by naked eyes, including: shapes, colors to characters. Intangible aspect is an aspect that inspires and appreciates the ethical, aesthetic to spiritual. The excellence mission encompasses three main missions: comparative mission, exclusive mission, and inclusive mission. Comparative mission is associated with comparability between one branding strength to the others with diverse excellence. Exclusive mission, where the branding appears independently, but still able to represent its own advantages. Inclusive mission is when the branding mingled with other branding synergistically, but it is able to remain in a superior position as a one star in a middle of variety of branding. In characteristic representations, each branding tries to show its excellence extrinsically and intrinsically. The excellence types, which are attempted to be represented through Gianyar branding with icons and markers in the form of Seni Kecak, The Soul of Bali, cover at - least eight excellences that needs to be represented visually, as follows:
54 Branding of Gianyar Regency Figure 4.3 : Eight Excellence of Branding Seni Kecak, Soul of Bali
Earthh of Art Gianyar, Heritage City
Gianyar with Gianyar with Tri Prima Cultural Hita Karana Tourism Philosophy Base Destinations
Branding Excellence Gianyar with of Seni Kecak in Various Creative Economy Gianyar Regency Product Holistic & Synergistic
Gianyar Representation of Multi-Character, Unity in Gianyar with Diversity Sustainable Creative Human Resources
55 Branding of Gianyar Regency 3.3 Meaning, Function and Value With the perspective paradigm of Meaning, Function and Value, Seni Kecak Soul of Bali Gianyar Regency Branding represents four linked narratives about the concept of meaning: (1) The Holistic meaning of Kecak as a dance that represents unity in diversity. The concept is capable of evolving and relevant to local, national and also mondial, (2) Meaning Picture focused
(b) the component of area or ecology, and (c) the component ofon personthree components: or human resources, (a) the majesty (3) Meaning of fire illustrates script: the the soul soul, of Bali that represents a narrative about the nature and spirit of Gianyar community, that pursues high spirits, especially the spirit of creativity, togetherness as the representation of village communities’ spirit, rural town and district as a totality, as well of the village, district, county, province and nation and also universalism,as offerings for (4) the Meaning wider interestsof color, whichthat stretches is covering from three the basicscope colors: (a) Yellow gold symbolizes majesty, (b) blue-green shows the beauty of the environment and (c) the red color symbolizes humanity who dare, advanced and civilized. In the function perspective, Soul of Bali Gianyar Regency branding represents six basic functions, those are: (1) The function of information and communication, (2) Function of identity, (3) Function of Image, (4) The function of excellence, (5) The function of creativity and (6 ) The function of expectations. Information and communication functions, which are included a large-scale of local range, national and international range community in line with the dynamics in the global era, is open in all three scales in Friedman’s thesis about the openness of the local - national - mondial. The identity function is very important as a pride in the company media and it is shown out as a unique identity that distinguishes the community to the other communities. The image function is directed to create, apply and oversee the sustainability of the positive image as the Earth Art
56 Branding of Gianyar Regency and Heritage City in local networks (Bali), Indonesia (JKPI) and the world (OWHC). The excellence functions is for strengthening the spirit towards greater values and better multi-faceted, like: social, economic, technological, ecological, cultural. Creativity function is to reinforcing the sustainability of art and culture creativity that promote innovation, quality and professionalism. Expectation function is to emphasize the visionary dreams about prosperous, happy, and jagathita Gianyar community. expressive, (2) the meaning of progressive, (3) the meaning of sustainability.In significance Expressive perspective, meaning it iscovers: associated (1) the with meaning despair of about life humanizing, socializing society and nationing a nation. Progressive meaning is associated with despair about the livelihood towards prosperity, happiness and jagathita. It is associated with happiness. There are ten indicators that can be used as a reference, which are:
1. The security condition 2. Family harmony 3. Environmental conditions 4. Social relations 5. Health 6. Work 7. The availability of spare time 8. Condition of the house and assets 9. Revenue 10. Education
Meaning of sustainability is related to the consistent with the SDG’S goals (2015 - 2025) which includes seventeen aspects in the line with the formulation of the United Nations, Nawacita RI and Gianyar Regency Blue Print: Gianyar Revitalization seed in the Field of Art and Culture (2015 - 2025)
57 Branding of Gianyar Regency 3.4 SWOT Analysis SWOT analysis is trying to reveal in detail and holistically about the strengths, weaknesses, opportunities and challenges of Gianyar Seni Kecak, Soul of Bali branding
No Catagorythrough the identification asNarrative follows: 1 Strength • Kecak has long historical roots, older than 50 years, and can be categorized as a cul- tural heritage, which is the Living Heritage. • Kecak is well known and appreciated by lo- cal, national, international. • Authentically, Kecak is a native art from Gi- anyar, which is then dispersed to various districts / cities in Bali. • Kecak has its own identity, humanism char- acter and spirit of Soul of Bali. • Kecak represents the philosophy of Tri Hita Karana and the main value of virtue which is national and includes a universal logic, ethics, aesthetics, creativity, solidarity and spiritual. • Kecak can be transformed into visual graph- ic design and WOW marketing.
2 Weak- • The socialization of Kecak is comprehensive ness as an element of art, but limited as brand- ing. • The branding face is still complecated. • The reception and distribution of Kecak is volatile. • Regeneration of kecak as a living art mod- ern era is limited in place dimensions (vil- lage), time (kala) and mindset (patra).
58 Branding of Gianyar Regency
3 Opportu- • Open in local, national and international nity markets. • Supported by the ICT revolution and digital era through smart people, smart technology and smart networking. • Rechieved the momentum about MEA, WTO, also the regional and international terms. • Gianyar as part of Bali and Indonesia, re-
including tourism, marketing, maritim, edu- cation,cieved until some cultural appreciations diplomation. in every field, 4 Chal- • The potential for mutual claims against Ke- lenge cak is in cross city and cross country. • As branding, it sounds a bit complicated in tangible and intangible aspects. • through local media, national, internation- al.Socialization is more widely and effectively • Challenges related to holistic or partial pla- giarism • Cultivate the harmony power of art and the power of branding. • for the creation, sustainability of kecak and positiveAchieve real impact values on and the welfareimmediate and benefits happi- ness of society.
3.5 The Transformation of Branding into WOW Marketing Realizing Gianyar Seni Kecak, Soul of Bali branding as the applicative branding, productive and appreciative requires the planned transformation, creative and sustainability. This transformation includes the active participation of all stakeholders which include multi-helix: bureaucracy, which is all the SKPD, businessmen, academics, artists-culture, politicians and the public in the line with the legal base (regulation or declaring), which is regulated the legal basis for the existence, application
59 and supervision of Gianyar branding. According to Hermawan Kartajaya, the maestro marketing (2013), the branding transformation to wow marketing requires strategy and smart moves in a variety of aspects, in synergy and sustained, in order to be able to transform optimally and
which is an intelligent HR or smart people; (2) Aspects of culture,effectively. an intelligent The variety culture, aspect rich with consists need of: for achievements (1) Aspects ofHR, or smart culture; (3) Aspects of Social Networks, intelligent or smart network; (4) Aspects of economic, smart economy with added economic value, technology, ecology; (5) Aspects of smart technology related to the speed, breadth and accuracy of the information, (6) Management Aspects, smart Management which
is efficient, effective and sustainable (see diagram 4.4). DiagramDiagram 4.4 : 4.4:WOW WOW Marketing Marketing Berbasis based Kecerdasan on Intelligent
SDM Cerdas
Manajemen Budaya Cerdas Cerdas Strategi Cerdas menuju WOW Marketing
Teknologi Jaringan Cerdas Cerdas
Ekonomi Cerdas dengan Multi Nilai Tambah
60
56
IV
TRANSFORMATION OF “CAK DANCE” AS BRANDING-BASED IN GIANYAR REGENCY
4.1 Background he idea of making Gianyar branding, actually has been initiated by Mr. Anak Agung Gde Agung Bharata at the end Tof 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 towards Gianyar has been done, such as: having a cooperation within Gianyar, the Bali with Study hard work Center, and Udayana intelligence, University, all efforts then for madeprogress 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
61 of Gianyar as a Chairman in Presedium Indonesian Heritage Cities Networkthat must (JKPI) be fulfilled held isin to Bau-Bau, continue Southeast the struggle Sulawesi, to pass the26th-28th regent 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.
Heritage City, is to give an opportunity to the Regent of Gianyar to represent The first Indonesia trust, which for is presenting given by JKPI and after showcasing designated the as 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 important aspects to be considered to determine the choices are: historicalDance, figures background, of funny philosophical orderly, cliff background, temple, Meru, mythological etc. Some 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
Thepresented determination is the buffer, of thethe resourcebearer of the persons other andidea participantswith various ofarguments, FGD handed and over they entirely are competent to the Head in theof the field Gianyar of branding. 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
62 Gianyar, all SKPD in Gianyar regency, Culturalman, I Dewa Nyoman 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
Wayan Pastika, M.S. with his paper entitled “Designing Branding GianyarBAPPEDA regency”. Office, Gianyar. Furthermore, FGD featuring the other a single sources speaker, are given Prof. theDr. another argument. Through a discussion that was very tough, but opportunity as a buffer and / or convey an idea (topic) with with a graphic design that is designed by I Dewa Nyoman Anom, S.,then Pd., definitely M.Pd. and agreed colleagues. that “Cak There Dance” are asfourteen the branding forms of Gianyargraphic 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 select the image No. 3 of the following three images, which are considered12.00 pm at the the best office of theof the fourteen regent pictures of Gianyar, branding Gianyar prepared Regent by the Committee. However, the picture No. 3, according to the regent of Gianyar, still need a little modification to the element of elementfire, dancers is also and composed cak written of characters.three ends Elementsas a symbol of theof Tri dancers Sakti anddesirable character that writing consists shows of three a strong rows character. of circles, while the fire
63 No. 1
No. 2
64 No. 3
“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 events in life such as birth or marriage (Danesi, 210: 186). For designed to ensure a bountiful harvest or to celebrate significant 65 other local arts in the archipelago, for example: Tari Musyoh from 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. regional dances above that “Cak Dance” was voted to be one of the classicalCertainly, art thereof Bali, is whichno much is also different the cultural from theheritage existence of the of 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 Transformation has a meaning of a change in form (Hoed, 2010). The context in the transformation of “Cak Dance” into graphic design is to change the form of “Cak Dance” into patterns of pictures and writing patterns. Or reconstruct “Cak Dance” in the form of a picture (visual) and writing (verbal). It was done, because Gianyar is a storehouse of art and culture, so it is certainly that there are plenty of choices to get one of the best among all in the hope of representing others. As one of the works of art, “Cak
66 Dance” has an advantage than others, which is: the uniqueness of the philosophical and mythological shape of it; the form of dance and makeup are very simple; and no less important is the local creativity. All the characteristics (identity) can make “Cak Dance” very easily recognizable. Speaking about “Cak Dance” as the branding, its existence is the same as a trademark, as long as a commodity. In its capacity as a commodity, its existence is not only required to have a use of value, but also has an exchange of value that can be exchanged for goods or money and come back to buy other products (Barker, 2004). Thus of all, the wealth of art and culture and various other wealth assets are commodities and “Cak Dance” is as its icon. As we know that “Cak Dance” is very well known, not only in the archipelago but also internationally. By making “Cak Dance” as a mask and the spirit of the generator, it can undoubtedly facilitate and accelerate the process of distribution and promotion to reach the consumer area. The target to be achieved is the increasing number of tourists visiting Gianyar regency. Things like that can have a positive impact on increasing the number of incoming foreign
peoplesexchange. are Economically, so numerous it andis very complex, profitable they formust the be Government supported byof Gianyar the capital. regency. Gianyar Because development in an effort today, to meetis counted the needs on of three their sectors, namely: agriculture, trade and industry, and the tourism sector. Among the three sectors, the tourism sector which is used as seed. Things like that is exactly what Gianyar urgently needs to have branding. “Cak Dance” as a representation of all forms of art item. With a presence that is both global (universal) certainly did notand loseculture competitiveness and other properties with other is very regions. effective as a promotional
4.3 Meaning and the Form of Branding Gianyar regency branding structure is composed of two elements, those are: the visual depiction and verbal picture.
67 4.3.1 Visual Depiction: “Cak Dance” “Cak Dance” as one of the classical arts of Bali, made to be Gianyar regency branding, which is started from the prehistoric times belief. Visually, “Cak Dance” is based on the Tri Hita Karana philosophy, which is the three harmonious relationship: (1) The harmony of man’s relationship with God is symbolized by the image of three yellow flames as a symbol of parhyangan be interpreted as the holy light of God that illuminates the three worlds (underworld, / Godhead. the Three world flames and can the world over).
(2) Harmony between people and nature is represented by the blue circle in the center as a symbol of palemahan / natural environment. Three blue circle can be interpreted as the embodiment of the third world, the underworld, the world, and the world over.
(3) The harmony of human relationships with other human beings is symbolized by the picture of red man rows, which are sitting in a circle as many as 33 people as a symbol pawongan number of pangurip earth (world) symbolized by man as a symbol of a small world. (Microcosmos)33 is a significant as many as 33 people.
The three elements imply that human beings should be able to maintain a harmonious relationship with God; in harmony with the natural environment; and in harmony with other human beings. As a work of art, “Cak Dance” has its peculiarities, which are: religious: the play is associated with religious ceremonies; Magical: character actor hyang Dedari or hyang jaran kasurupan (possessed spirits); Egalitarian: a similarity and togetherness
68 feeling in dancing; dynamic: characterized by hand gestures and voice, which are full of changes; and loaded with local value (original), and its existence has been menasional even worldwide. Posts black as a symbol of strength to defend the values of the local culture (native).
4.3.2 Verbal Picture The slogan “Gianyar the soul of Bali”, departed from the presence of Gianyar regency as the center of cultural heritage sites in Bali, sacred and venerated by the people (living monument). In the growth and development, “Cak Dance” was born in Gianyar at the end of the 17th century ago. In tune with the passage of time long enough, in 1935 “Cak Dance” was developed in the Bedulu village; The next in the Bona village (1937), Sukawati village (1938), Blega village, Singapadu village, and further developed in other areas, which are: Sumerta village, Badung. In the era of global tourism, “Cak Dance” became one of the traditional art that other places in Bali. must be staged in any five-star hotel, in the stage-the stage, and in 4.4 Branding Message: Local, Nasional, and Universal Message is a mandate given by others (Depdiknas, 2008). Messages can also be delivered through other media, such as writing, painting, performing arts, architecture, vehicles, and other forms. Messages are not the same as the meaning. Because in one message can have more than one meaning and some messages may also have the same meaning (Danesi 2011: 19). But the meaning of a conveyed message is very important. In context with Gianyar branding, “Cak Dance” is choosen as the symbol (marker) that gives the identity of Bali, especially Gianyar regency,branding bothwith considerations: in domestic and firstly, abroad; “ Cak secondly,Dance” can “Cak be used Dance”, as a besides loaded with local message, it also carries a message quite representative of national and universal message.
69 Local Message Bali is well known both in domestic and abroad. It is due to the typical (unique) cultural values. Grow, live and thrive with activity in Bali requires the presence of art and culture, both as complementarya flourishing culture and supporting, of Bali, certainly and Hinduism because ofitself all as religious giving spirit of the Balinese culture. Because of the close relationship between these two elements, it can be believed that the Balinese culture will live sustainably and passed down from generation to generation for Hinduism that exist in Bali. The existence of Balinese culture as part of the cultural repertoire of the
Picture 4. Kecak Bone, Gianyar
70 archipelago is very important as a capital for diplomacy with the stronghold of a country (Edward Said, 2012). The destruction ofother the countriesculture in in a thenation world is asthrough a marker the fieldof the of destruction culture. Culture of the is country concerned. “Cak Dance” as one of Bali’s identity has expanded its range both in domestic and in foreign countries. When it is viewed natural environment and its contents by the spirit of God. Natural environment,from the philosophical human beings, aspect, and “Cak God Dance” are three is aimportant reflection aspects of the of Hinduism. Hindus believe that the universe (bhuwana agung) and human (bhuwana alit) are given spirit (inspired) by God. All three elements need to be maintained to achieve the harmonious relation and prosperous community life, which is in another language called “Tri Hita Karana”.
Picture 5. Local Message of “kecak dance” (Dokumentasi Dinas Pariwisata Kabupaten Gianyar).
71 National Message “Cak Dance” is one of the arts of Bali known not only in the country, but also internationally. Besides its spreading, which is widespread throughout the country, “Cak Dance” also has a great, able to retrace the development of the times. The four properties which,refined according and developed to Prof. values; Budi Santosoethnic identity (1989) (Bali);is a condition and also that be must be met to be granted for a status as an element of national culture. Thus, in his capacity as national cultural treasures, its presence is not only worthy at the concept level, but practically archipelago community has recognized that “Cak Dance” is part of the culture. Of course, everyone among the Indonesian community residing abroad when watching “Cak Dance”, they will not hesitate to declare that “Cak Dance” is his property and also become their identity.
Picture 6. Kecak Dance at Uluwatu.
72 Universal Message It is already revealed that “Cak Dance” is one of the dance performance whose existence is recognized by people around the world, which by social media and others through direct visits to Bali. For those who come directly to Bali, it seems most of them are not going to feel complete disappearance when not able to watch any performance of art. To watch the activities of dance is a form of expression of love for the arts of Bali. Particularly when watching “Cak Dance”, their interest for the arts egalitarian and simple, both form and layout of dressing. Given the nature of the simplicity of the dance, of course, among those who are not
Things like that indicates that “Cak Dance” is a representative tosatisfied convey with the just message watching, of the but earth immediately of art (Gianyar) learned toto foreigndance. the message through the form of branding, because it is easier tocountries. produce But and it promote would be it. more That effectiveis, through if the mediadissemination branding of can accelerate the process of information dissemination Gianyar cultural richness to the whole world. The picture of a document, which shows foreiginers’ feeling of love towards “Cak Dance” art.
Picture 7. Body Tjak, with cak mini, The colaboration art by IW. Dibia (Bali) and Keith Terry (California, USA) In the performance at Seattle, USA 1990. 73 I Wayan Dibia (Bali-Indonesia) and Keith Terry (California, USA) in tuned bells duet In the colaboration of Body Tjak, In the show at Seattle, USA 1990.
74 V
THE APLICATION OF BRANDING IN THE DEVELOPMENT OF GIANYAR
5.1 Background randing on the issue of cultural heritage is a priority issue Bin improving community development that prioritize manufacture quality branding is indispensable in improving competitivenesscultural tourism between as one a mainstay. region to To another. that end, It efforts required to several stages and the duration of a comprehensive process, so that branding is generated not only be able to be applied for a short term, but also on in the long term. The policy on making branding in an area should also pay attention to brandings which is already existing once, so that the resulting of the branding can apply to compete and not an imitation of other areas. It is important to remember that a branding featuring the peculiarities of an area that is unique. That is why, when a branding is seen, it will give rise to the impression of a distinctive and easily remembered by the viewer. Whether it concerns the shape, coloring and decorations and other meanings contained in a branding. It is necessary to formulate how far the target is expected from local governments, who are working with the central
75 government in the goal of its development, through brandings, which will be introduced later. In this regard, it is necessary to focus on the attention, so that the operationalization of branding, as well as areas of Bali that rely on tourism sector, based on cultural heritage, reaches its target. Generally understood, that and a whole shall meet the ten indicators, which are: distinctive / authentic:the concept as ofa representation branding should of the be areas a scientific, concerned, comprehensive, solid in the the main values, like: logic , ethics, aesthetics, creativity, solidarity andbase spiritual;philosophy able of local to develop wisdom, in evident the communication in the configuration of local, of national, international, contains the principle of continuity, icon branding is not as a result of plagiarism / falsehood, branding worth applicable, the transformation of the whole of the concept of textual symbolic to the application, clear in meaning form , color, and related elements, and reaching traditional media, as well as in a level of modern, local, national, and world. Thus, in- app branding is based on the use of the theory that refers to the concept of functional, structural, symbolic and cultural studies
The exist hopes on having a branding for a region has becometheories critically, a dream, constructively which should and beverification. realized. For example, Gianyar government branding issues had been discussed, since the Regent Anak Agung Gde Bharata, who served as the head to a change of regent. Therefore, when the Regent Bharata wasof the re-elected first Gianyar to lead regency. the Gianyar However, Regency, it had the not hence realized of desire due that previously carried, it manifested back to its collaboration with the Center Bali Study, Udayana University, in relation to the branding according to the particularities Gianyar as earth art. Even more, at this Gianyar regency is placed as a Heritage City. In making the branding became a necessity in promoting cultural heritage problems inherited by the present generation to remain revitalized and developed in the days to come. Therefore, a group of experts coordinated by the Department of
76 Gianyar Culture conducts searches and elaborations to an entity owned by Gianyar, which is made branding to be characterized as earth art of Gianyar culture. Even more so, after the Gianyar district designated as Heritage Cities by the Indonesian Heritage Cities Network (JKPI in Jakarta), which is currently proactively implement in program agendas in Gianyar cultural revitalization to be able to contribute something at the local, national, and even universal. During this time, Gianyar characteristic of presence of relics of archaeological and historical sites such as Candi Pahatan Tebing, has a high aesthetic value, but determining on how branding should set course adapted to the various dimensions or the approaches, so it has strong basics philosophy, but still packaging can be done to facilitate the stakeholders in the aspect of promotion and marketing. To that end, some of the indicators should be given attention, is the presence of 10 indicators should be used as a foothold in determining Gianyar branding, among others: 1. Characteristically typical of the region, 2. Containing of the core values 4. Developing local communities, 5. principled continuity,solid philosophical 6. not the meaning, result of 3. plagiarism,The existence 7. ofapplicative, the configuration 8. from textual to the application, 9. the meaning of each element and intact, and 10. the media covered by the traditional and modern. The concept of branding in cultural heritage issues developed in Gianyar should include a holistic manner based on historical values, ecology, science, archeology, anthropology, architecture, religion, and so forth (the UNESCO Convention, 1972). For that, the whole concept of Cultural Heritage Gianyar regency in tangible dimensions (physical) and intangible (non- physical) covering ten areas, which are:
Nature Cultural Heritage Saujana Cultural Heritage Archeology Cultural Heritage History Cultural Heritage Settlement and Architecture Cultural Heritage
77 Subak Cultural Heritage Religion Cultural Heritage Art, Tradition and Literature Cultural Heritage Multicultural Cultural Heritage Characterized Gianyar Regency Cultural Heritage
On the basis of this ten indicators, Gianyar successfully lifted to the surface of the branding, which is “Gianyar: The Soul of Bali”. It will be discussed further with the branding “Gianyar: the Soul of Bali” and how applications can be done, so with this branding Gianyar expected to compete at the national, international, without uprooted from cultural roots which have formed the identity of Gianyar through history and migration process, which is quite long.\
5.2 Branding and Identity Branding of identity, in this case Gianyar identity, which is associated with the problem of cultural heritag,e is as a broad concept. Here the concept of cultural heritage is centered on the similarities existing problems and compared with the of inheritance is the creation of a human or a creature that is passedproblems on that from arise one differences.generation to In the general next. said,Balinese that inthe terms concept of heritage is steeped in cultural heritage issues which proves their appreciation towards Balinese cultural heritage. It is inherited from generation to generation. In other words, this was meant how their branding intended to create a prosperous life and harmony. Bali island is rich with art and identity of the island with a thousand temples, where art and culture are sources of identity, as the basis of harmony that never dry with creativity. Because of the wealth of cultural traditions, Bali has become important as a tourist destination in Indonesia. Quoting from Wood (1993) Ardhana and Yekti (2015a) noted that cultural heritage is based on traditional culture, which are considered as a socio-cultural construction. Wood further
78 says:
…the definition of what is traditional in culture, the specification of links between an invented present and an imagined past, is constantly being symbolically recreated and contested. There is no objective, bounded thing that we can identify as ‘traditional culture’ against which to measure and judge change. What is defined as traditional culture, both for the past and for the present, is constantly being reformulated (Wood, 1993:58).
The concept of cultural heritage is a statement about the way of life that has been developed by the community from one generation to the next, as customary law issues, the arts, cultural values and so on. According to ICOMOS (2002), the cultural heritage is often expressed as the culture of physical and non- physical that includes: 1. Environmental buildings: buildings, cities, archaeological sites and so on. 2. The natural environment: rural landscape, beaches and coastline agricultural heritage. 3. Artifacts: books and documents, and images.
Cultural heritage is often associated with unique problems. Therefore, the cultural heritage of a concept that has the richness, diversity, and aunthenticity. There are several concepts put forward the concept of cultural heritage, for example: there are proposed about candi pahatan tebing, Balinese architecture (houses, temples and castle), remains of history and archeology regard to the problem of candi patahan tebing, which considered the(Bali only Kuna). one However, in Bali, butamong they Gianyar have abranding, characteristic it is offered originality, with deep philosophy compared with branding of other proposed such as: Cak Dance, which is considered to have the authenticity of the cultural entity appeared in Gianyar in previous centuries. Creating a branding is not easy, especially logos, due to marketing, how this new branding have given the nuance of
79 thought that the branding was a Ginyar branding. Simple logo was very attractive. It needs to look for information related to the problem of graphic design to be used in the long term. A branding is a trademark, but there needs to be a visual image, emotional, rational and cultural image as the institutional identity, a symbol of a product or service. In other words it can be said that branding is necessary build into the work ethic, teamwork, and show identity institution: Meanwhile, out the program should be able to promote services / products, boost loyalty society, and public relations issues.
5.3 Branding and Merchandise Generally it can be said that, as happened in other parts of the world, the issue of globalization has a profound impact on changing people’s lives, both in the cities, as well as in districts with smaller population numbers. In other words, the city has undergone changes in physical form, as a result of the ongoing migration of the population. This is what happened in most of the developing countries that promote the development of tourism policies such as Bali, for example that the increase of foreign exchange revenue relied on the tourism sector, which is due to that lack of sources other mining materials as found in other areas in Indonesia. For areas that promote the tourism sector is often the and the local people seemed not much involved in this promising sector,income which earned is fromoften theput sectorforward flows ironically to the with centers “Bali ofEnough”. power, This means that let Bali experienced the impact of tourism, but the future is not expected to occur with other areas that will develop the tourism sector. In other words it can be said that it should be areas that will develop the tourism sector should think clearly the direction and purpose of tourism development of the area. To that end, the importance of learning from the experience of Bali as a “lesson learned”, in the development of other areas in relation
80to the tourism industry. Nevertheless, remediation efforts to involve all segments of society remain to be done in a sustainable manner, but without completely eroded the wealth of its natural (sustainable tourism development). The changes that occur are often on the one hand, it can improve people’s lives, but on the be able to erode the values of the folk wisdom that can also erode theother identity hand, if of it is the not local anticipated community. well in Therefore, the field, is how considered important to it is to supervise that the process of “westernization” that goes not to happen, because either directly, or indirectly, may result from the values of Western consumer goods, consumerism, and individualism.in the weakening bonds of tradition “oriental” is often different Conceptually, branding is brandmark of the institutions, companies, government agencies such as the district / city as a representation of the identity, quality, representativeness in developing local communication, national, international
education,effectively, trade, cultured tourism, and technology, sustainable. science, The culture scope and others.of accessible Untilcommunications now, it still field can which be seen includes in those multifield: functions government, in people’s lives in Gianyar. The functions developed in the region present housing, worship and recreation are expected to meet the needs ofamong modern others society, in the yet field still of retain trade and and develop services, its education, cultural heritage. offices, Thus, if the community can take advantage of social capital and its culture in the lives of modern and post-modern, it can be said that the population in Gianyar intelligently maintaining its cultural identity. Today, some of which has a unique cultural heritage (peculiarities) as object and tourist attraction. The advantage of the economic side pretty much got out of the cultural heritage, so it needs to be maintained sustainability. However, there are four negative impact caused by the activities of sustainable tourism, as made to mitigate them. The fourth impact is comprised of: (a) revealed by Gerberich (2005: 78), including how efforts are being 81 the sustainability aspects of culture, a concern that is evolution
erodeoccurred the degradationvalues of the oflocal the culture; value of (b) local aspects knowledge. of environmental Efforts to do, which was to reduce the fulfillment of tourist interests that can overcome that required the cooperation of all parties to maintain andsustainability, preserve the pollution cultural and heritage; cultural (c) heritage socio-economic sites. Efforts aspects, to proper way in presenting the cultural heritage in order to remain interestingthat benefit places is not to only visit; for and a (d) moment. socio-political It is necessary aspects, namely for the the theft of cultural heritage. As anticipated move, a very urgent made regulations (awig awig) with fully involve community leaders. Further mandates to the visitors to respect the rules were enacted. Of course with a proportionate sanction in accordance with the abuses committed.
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.
Southeast Asia in maintaining his identity, so it has an identity that canThe be question promoted arises, with the among outside others: world. first, In addition, how cities how in
sothe that strategy the city of developmentcan improve the of the welfare cities, of so its it inhabitants can offer something who live indifferent the midst from of theother region. cities. HistoryAnd lastly, records what thatefforts the shoulddevelopment be made of a city can not be separated from the development that occurred earlier. It occurs commonly in Mainland Southeast Asia, and in the
82 world archipelago (the Islands of Southeast Asia), which is the on the development of cities or districts in underneath. The developmentsame happens of in the the cities countries in Southeast of Southeast Asia hasAsia, strong was influential 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 episode, because the Balinese people can develop a culture that is rootedperiod in of the influence strong foundation of Hindu Jawan until this is anpresent important life. In historicaladdition, the past history of Bali Kuna, for example, are characterized by dynamic development of religious beliefs, whether Hindu or
83 Buddhist, can be done peacefully, as can be seen with the Pura although the two beliefs are not the same , but the meaning is Samuan Tiga, depicting the unification of the Hindu-Buddhist, appreciate the values of heritage that exist in this society. It was actuallyone. In the already Dutch started colonial to develop period, sinceit appears the Dutch there colonial are efforts period, to 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
84 related to the problems form a linguistic sign, color, position, 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 cak means do. If it is linked with philosophy, it is a conclusion. In themeans universal that it canvalues contain Cak alsothe meaningcontains ofthe the meaning world wake. of the At word first also appears to be touching it, and its uniqueness is precisely unityglobal. in Therefore, diversity. Cakin light Dance of thevigorously historical contains significance the meaning of dance 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 with this Cak will display the message intact. Thus it can be said thatsignificance. the selection As the of fireCak forDance the shows example how universal the world meaning, was born so 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,85 as Trisula sign which peaks towering and given the show of color is
During this time there is an impression that Cak as a branding,red fire. As manyfor the who color use of its it human either ofwas the given various the green regions, circle. art institutions and so on, without any in-depth look at where it for original, Cak Dance is indeed exist everywhere apart from in Bali,comes generally from Cak served Dance in at hotelsfirst. In to the domestic context andof Indonesia foreign tourists. looking 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 later in its development came the idea any mandatory hotel serves Cakthat dance.originated It can from be Gianyar.said that Access it is generally first appeared acknowledged in Gianyar, that, but 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
Legong, Candi Tebing, and so on. With the branding of Cak Dance, theredance, is but an thereexpectation, are still when other making offerings graphic such designas the proposalshould be of 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
86 to become the concept for the designer. During this time there is no refutation of Cak dance that originated from Gianyar and all parties should be committed to the villages on this Cak dance.
5.5 Branding as a Decoration Gianyar Regency has many excellent art and culture. From the past, the sources of civilization and culture is sourced in a variety of Puri, scattered in every district in Gianyar. Unfortunately, the castles are in a condition that is poorly maintained to the maximum, because of the constraints of economic and technical factors. However, in the district of Puri Gianyar Gianyar, and Ubud in Ubud sub district, there are some artifacts of the castle which is still maintained to the optimum. Puri Gianyar is supported by the existence of the square, the market, Chinatown (a region populated by Chinese people), and the great crossroad. Similarly basically to Puri Ubud, and other castles in several districts in Gianyar. All that castle is a cultural heritage that should be preserved, not only as a cultural heritage, but also as part of the historical heritage. There should be a variety of programs to preserve the castle district, along with the surrounding environment, where the palaces of the place as a center for the development of arts and culture, whether sculpture, dance, percussion and so on. Now, Puri Ubud and the surrounding region for example (market, square, temples, banjar hall) has become part of a world tourist destination. Therefore, the region needs to be preserved, maintained, and managed, in order to continue its existence. Meanwhile Puri Gianyar, as well as the surrounding area (market square) should also be managed and developed, in order to support the development plan of One Day Cultural Tour Gianyar regency. Gianyar market need to be arranged and supervised the merchant, in order to develop into the Culinary. Now, the role of the castle began to be highlighted as a basis for the development of art and culture. How else castle played an important role in the development of art and in the context of the role of the castle branding is very important to take forward the plan of making this
87 branding. Similarly, the other stakeholders and the involvement of artists and cultural communities should be maximized in accordance with the role. To create and apply branding rooted in a long period of time should be able to do the thinking process of Gianyar society, which is “bottom up”. To that end, thought of philosophy, archeology and historical is needed to the problems of marketing and promoting. If the concept is clear, the selection of the appropriate branding needs to be done to organize the race and also choose options matches the cultural arts community of Gianyar as the “Earth Art”.offered branding so that it will be able to have the best branding
5.6 Branding as a Promotion Branding was created on a place or city to become a particular attraction for domestic and international travelers.
theThis identityeffort is or to the improve identity the of image the cityof interesting concerned. in In relation Bali, for to example,the increase has of experienced tourism who rapid visits growth Gianyar, of tourism. without whichsacrificing has led to a rapid population migration process. As a result of urban development in Bali, it should be followed by good regulation and rapid population to anticipate problems growing population, as a result of the development of tourism. This phenomenon certainly cause concern among central and local government, and even the international community to develop the heritage cities in Indonesia in order not to lose his identity, as a result of the development of the tourism industry. It is intended, so that people who represent the cultural heritage of values can live side by side in harmony and peace. In addition, the values of cultural heritage such as the concept of Tri Hita Karana, which is the balance of the relationship between Man and God, Man and Man and the relationship between Man and Environment, should be able to improve the welfare of local people, as to what hope and meaning of the concept of the heritage town meant it.
88 Table 3. Gianyar’s Art and Culture: Uniqueness and Rareness No Sub-District Uniqueness Rareness 1 Sukawati Fashion, Gastronomy, Jineng, Sekaa Se- Lontar Usada, Sanghyang mal, Traditional Dedari, Barong Landung, Game, Folklore, Baris, Asta Kosala Kosali, Joged, Janger, Astronomy, Awig-awig Usada, Nyastra, (Traditional Law) Nangluk Marana 2 Blahbatuh Gastronomy, Sekaa Gong, Jineng, Sekaa Se- Marga Sekala (tradition- mal, Traditional al pop music), local lit- Game, Folklore, eracy, Arja, Baris Truna Joged, Usada, Batu, Wayang, Arja, Asta Nyastra, Nan- Kosala Kosali, Astrono- gluk Marana my, Nyamleh, Pasupati, Awig-awig (Traditional Law) 3 Gianyar Togog (Statues), Bali- Jineng, Tradi- nese textile, Gastronomy, tional Game, Bakti, Usada Lontar, An- Folklore, Joged cient Script, Sanghyang Bukit Jati, Dra- Dedari, Barong Land- ma Gong, Usada, ung, Asta Kosala Kosali, Nyastra, Nan- Astronomy, Nangluk gluk Marana Merana 4 Tampaksiring Pande Besi (Petemon), Jineng, Arak (Ta- Sandal Bali Pejeng, Coco- tiapi), Group Se- nut Shell (Tampaksiring), mal Traditional Lontar Usada, Sanghyang Game, Folklore, Jaran Pura Penataran Arja, Janger (Ta- Sasih, Barong Landung tiapi), Usada (Pejeng), Wayang (Pete- Nyastra mon), Awig-awig (Tradi- tional Law)
89 5 Ubud Pratima, Uang Kepeng Sekaa Semal Tra- (Ida Bagus Panca Mas), ditional Game, Ayan Betutu (Penes- Folklore, Janger, tanan), Patung Burung, Usada, Nyastra Museum Arma, Neka, Rudana, Tari Pendet (Pe- liatan), Asta Kosala Ko- sali 6 Tegallalang Bokor and Dulang (Se- Jineng, Tradi- batu), Gastronomy, Baris tional Game, Gede (Sebatu), Asta Ko- Folklore, Usada, sala Kosali, Astronomy, Nyastra, Nan- Mekiis, Awig-awig (Tra- gluk Merana ditional Law) 7 Payangan Dulang, Gastronomy, Se- Pande Besi, Tu- kaa Janger, Astronomy, kang Ukir, Folk- Rejang, Asta Kosala Ko- lore, Arja, Janger, sali, Handicraft. Awig-awig Sub- ak (Traditional Law for Tradi- tional Irrigation System) (See: Geriya 2013).
5.7 Branding in the terms of Digital, Website, and Social Network, Google, You Tube, and Yahoo The key element to consider a branding, if it is appropriate, is to listen, observe before formulate a digital strategy.
1. Initial study is needed before designing. The2. firstGraphic step design to work concept on Gianyar is needed branding: to be in a contest.
4. A submitted branding must inspired people in Gianyar to 3. workConfirm creatively a right designand inovatively. for an area. 5. Graphic design, public realtion, marketing for promotion.
90 6. Wary when there is a negative value in the branding. 7. If the requirements is completed, then the branding is ready to be published in google, youtube, and yahoo.
5.8 Branding and Event Management In micro area, includes the heritage relics in the castle, such as: architecture building of Puri Gianyar, which was built in 1771 equipped with Catuspathanya; traditional markets; pakraman villages; the heritage buildings of Chinatown, which represents community life of Gianyar multicultural; multiethnic (compare: Pedersen, 2014), which became an important icon in the development of Gianyar regency. In the vicinity of the buildings included Puri Gianyar complex, there are some regent of Gianyar, Catuspatha, Gianyar Square, Gianyar traditional infrastructure such as the following: Office / home office of the In the future development and revitalization of culture that needs tomarkets, be done government to cover the offices, makana the or building traditional of templescuisine, traditionaland so on. clothing, traditional dances, and the values associated with the folk wisdom that there are problems in Gianyar.
5.9 Branding and the Development of Earth Art The following can be seen below, for example, the existence of some superior cultural heritages contained in the seven districts of Gianyar regency, as follows: 1. Sub-district of Sukawati: tedung, padas sculpture, silver statue, pakraman village, Subak, banjar, pesantian, barong (about Barong Landung, see: Gottowick, 2005), masks, wayang, gambuh, Calonarang, Rejang, painting, sculpture, wood, calendar systems, Desa Batuan temple, Puseh Batubulan temple, taksu, processions of peed, monuments and statues of baby,
2. Sub-district of Blahbatuh: Pande gong (gamelan instrument, gableran, endek Bona, handicraft, rontal dan bamboo,
91 pakraman village, sekeha, banjar, gong pindha, myth about Kebo Iwa, usada puri Bloahbatuh, Pura Masceti, Mrana and Melasti, Sarad, and Bukit Dharma Kutri temple.
3. Gianyar: bade, nagabanda, pelebon Puri Gianyar, endek tenunan Beng, culinary (kelepon and some tradisional snack), pakraman village, sekaa gong Sengguan, pesantian, tabuh gong gede, angklung Sidan, petulangan pelebon Puri Gianyar
4. Sub-district of Tampaksiring: system of irrigation technology, batik Pejeng, handicraft, bone and horn, pakraman village, Subak Kulub and Subak Pulagan, banjar, sekaa goong, nekara “Moon of Pejeng,” Tatiapi, Tirta Empul, legend of Maya Denawa, and the system of cropping pattern of rice, knowledge of Usada, Tirta Empul as a place of physical and spiritual cleansing, Heritage DAS Pakerisan, and Heritage Village Pejeng.
5. Sub-district of Ubud: bade, nagabanda, adventures, pelebon Puri Ubud, Puri Peliatan, Topeng cats, Ubud market, culinary (suckling pig), pakraman village, banjar, sanggar, Buana Sari story, Sanggar Sri Ratih, Ubud Writers and Readers, festival, literature, kakawin, Oleg Tambulilingan dance, paintings,
universal believing which based on five religions. 6. Sub-district of Tegallalang: bokor, dulang Sebatu, uang kepeng, handicraft, pakraman village, subak, wayang wong, telepud, Nyepi Sebatu culture, Begal-begalan ceremony, sawah berundak, bamboo culture, aesthetic of Sebatu waterfall.
7. Sub-district of Payangan: dulang, pasar Payangan, sanggar, yasa Putra Sedana, Pengaji, subak, sinom Uug Payangan, tabuh Sekatian, Gong Gede instrument, heritage (Sarcopagus Keliki)
92 5.10 Branding and the Development of Hetirage City Speaking of city concept in modern and postmodern era today, it is hardly released from our understanding of the concept of tourism that took place intensely in society. Both are related to each other and intersect. This is understandable, because almost all of the problems of tourism, it also takes place in urban areas. Often, because of the city’s most homogeneous appearance and more interesting travelers to visit rural areas that would display almost no difference with the other cities in Southeast Asia, causing tothe increase different the exoticism, number ofcompared tourists visitingto the otherthe region. city. Nevertheless, it doesSimilar not mean processes that the have city can led not to someoffer quarters,any interesting especially thing UNESCO to give attention to try keeping the identity of a city from the negative impacts that brought by the rapid development. Whereas, in the context of understanding of tourism -- in this case the city’s tourism for the example--, usually it is not merely the expected homogenization, but rather the heterogenization which raises cultural uniqueness that can not be seen in other places. The issue of branding is actually long overdue from the Dutch colonial government when it introduced Bali as tourist areas, which is interesting to visit. This can be seen in the early development of tourism in Bali, especially as the advancement of transportation carried out by the Koninklijk Packetvaart Maatschappij or KPM) who visited the colonies at the time. To dispel the impression, Bali is a turbulent, especially in the 19th century between one kingdom to the others, then trying to formulate that the Dutch managed to place government policies colonial in Bali through a policy of “rust en orde” ( “calm and orderly” ) with their terms of Paradise Island, Bali A Paradise Created, as proposed by Adrian Vickers. Since then, it can be said that tourism is well developed among the countries of Southeast Asia. The hotel construction is increasing, like the construction area of the hotel in Nusa Dua, and other tourist areas. The visit of tourists has increased not only in the country, but also abroad. Various attempts were made which
93 showed a very high competition among countries in Southeast Asia. In logos perspective (mental creativity), Gianyar has a diverse genius cultural heritage distinctive from Gianyar characteristic, such as: (1) the cultural heritage of archeology, “Moon of Pejeng”, (2) Subak Cultural Heritage that has been
Pulagan , Buluh Atas, Buluh Bawah, (3) the cultural heritage of arts,defined such by as UNESCO legong dance, as a World barong Cultural dance, Heritage painting, includes and others, Subak (4) cultural heritage of wastra, culinary and also the traditions and literature, and (5) museum - renowned museums in Indonesia are located in Gianyar. In order to gain a holistic and up-to-date data on the richness, diversity and distinctiveness of Gianyar Cultural Heritage, Gianyar regency government is now preparing of Gianyar regency. Heritage in Gianyar which amounted into 51 piecesa scientific (2014). study of the Cultural Heritage inventory and mapping
94 VI
LEGALISATION, HAKI AND SOSIALIZATION OF GIANYAR BRANDING
6.1 Legislation though PERDA ity Branding is a visual and verbal identity of a city to present a picture of emotion, intellect, work ethic and Ccultural image of a city. The symbol should be used and placed correctly for purposes which can be accounted for, so that the functional values, ethics and honor a city can be enforced. To ensure certainty in the use of the components of the city symbol is completed without subtraction, addition and replacement, it is necessary to establish rules in Gianyar regency level. One of the two types of rules can be proposed: the decree or regulation in Gianyar Regency Gianyar regency of Gianyar city Imaging. The second type of rule is an option that more is needed because it has a higher legal force and the long term.
6.1.1 Some aspects that needs to be in Perda There are some aspects from the city branding that is needed to be placed in the rules: (1) branding’s elements, (2) branding position, (3) branding’s color, (4) hierarchy with the Gianyar regency government logos, and (5) the use of branding.
95 1) The elements of Gianyar City Branding The branding structure of Gianyar regency is consisted of two elements: 2) Visual image: “Cak Dance” 3) Verbal image: Slogan: “Gianyar the Soul of Bali”
6.1.1.1 Visual image: “Cak Dance” “Cak Dance” is one of a clasic art in Bali, which is used as Gianyar City Branding. It is rooted from the believing of historical times. Visually, “Cak Dance is philosofycally based on Tri Hita Karana, which is the harmonious relation: (1) The harmony of man’s relationship with God is symbolized by the image of three flames (the middle
yellow as a symbol of parhyangan / Godhead. (2) Harmonyflame is higher between than people the other and two)nature with is representedthe color of by the blue circle in the center as a symbol of palemahan / natural environment. (3) The harmony of human relationships with other human beings is symbolized by the picture of red man rows, which are sitting in a circle with the color of red.
The three elements are represented human needs to maintain the harmonious relationship with God, nature, and other human beings. As a work of art, “Cak Dance” has its peculiarities, namely: religious: the play is associated with religious ceremonies; Magical: the character of hyang Dedari or sang hyang jaran kasurupan (possessed spirits); Egalitarian: the similarity and togetherness in dancing; dynamic: characterized by hand gestures and voice full of changes; and loaded with local value (original), and its existence that has been in national even worldwide. Black hand-writing as a symbol of strength to defend the values of the local culture (native).
96 The slogan “Gianyar the soul of Bali” black, departed from the presence of Gianyar regency as the center of cultural heritage sites in Bali, sacred and venerated by the people (living monument). In the growth and development, “Cak Dance” was born in Gianyar at the end of the 17th century ago. In tune with the passage of time long enough, in 1935, “Cak Dance” was developed in Bedulu village; The next is in Bona village (1937), Sukawati village (1938), Blega village, Singapadu village, and Sumerta village. In the era of global tourism, “Cak Dance” became one of stage-the stage, and in other places in Bali. the traditionalTwo branding art that elements must be whichstaged is in already any five-star mentioned hotel, abovein the (in visual and verbal image), is located in three hirarchy.
First, the image of Cak Dance and its elements (three yellow
Second,flames, blue under circles the and cak human dance and rows) its is elements at the top. was written the name “Gianyar” horizontally in the form of a special font-size as the center of attention in branding. The article should be black.
soul of Bali” horizontally on the bottom left side, coincides with theThird, main the article bottom on of it the “GIANYAR”, order is filled which with is also phrase written in English: in black. “the
Branding Color
Branding color of Gianyar regency is consisted of five different color: Godness, perfectness and pureness. First, yellow is placed on the upper flamce, which is represented Second, blue is placed on the circle in the middle, represented the earth or the earth’s environtment.
97 Third, red is placed on the human rows, represented the harmonious rrelationship between human and other human beings.
Fourth, black, which is used on the writings (“Gianyar the soul of Bali”) on the branding is represented the “night” time.
Fifth, white as the branding background is represented the “morning, afternoon” time. The dwi-warna concept of “black and white” is interpreted as rwabhineda concept, or “the two
Gianyar logo is established and enforced for all this time, asdifference follow: elements in life: ‘good and bad’ and ‘right and wrong’”.
Meanwhile, one (of fourteen) draft of Gianyar Branding were given special attention by the Regent of Gianyar (which preceded the assessment by Gianyar regency government in collaboration with the Bali Center Study Udayana University) are as follows:
98 Logo of Gianyar regency government hierarchical higher than the Branding of Gianyar regency although both are symbols of Gianyar regency. The hierarchical differences reflected in First,different if they positions are to bewhen applied they shouldon top ofbe apresented horizontal on media a medium. that is transversely from left to right, then both should be in the top the extreme left as the position of the earliest attention; Gianyar Cityposition Branding, with specificity: placed at the Logo far of right Gianyar end. Goverenment, placed on Second, if they are to be applied on top of a vertical media with top position as the object of the earliest attention; Gianyar City Branding,specificity: placed Gianyar directly District underneath Government with Logo a distance placed of in two the spaces.
The Use of Logo and Branding Logo and Gianyar Banding is used in Gianyar Goverenment environment from the Village Government, Sub-District regency and the Regent of Gianyar. Private organizations or groups ofGoverenment, people who get SKPD permission Office which from isGianyar conected regency with government the Giantar can also use Logo and Branding of Gianyar regency according to the activities that have been proposed.
Imposition of Sanctions for those who Disgrace the Logo and Ginayar Branding The parties who treat Logo and Gianyar Branding not reasonably, likely to be penalized in accordance with applicable law. The treatment is not reasonably likely to be detailed as follows: (1) The use of logo or branding does not follow the provisions of the elements of the logo and branding that has been set. (2) Element addition from outside, removal or
99 replacement of the elements that have been set. (3) The use without the permission from the Government of Gianyar regency.
Legalization of Logo and Gianyar Branding shall inure to the long term; not short-term. This means that the replacement of logos and / or branding can not be done by one party, either the executive or the legislature alone; must be approved by both the government agencies.
6.2 Branding and HAKI Branding design can be compared with the brand according to the Law of the Indonesia Republic Number 15 in as follows: 2001 abouut Brand that be defined in Chapter I, Article 1, point 1 Brand is the sign in the form of images, names, words, letters, numbers, color composition, or a combination of these elements, having distinguishing features and used in the trading of goods or services.
Therefore, the design of Gianyar regency branding can be included as one of the forms of Intellectual Property Rights (IPR) for including the results of human creativity and the work of containing the values of intellectual and cultural image that is realized in the form of images, names and letters.
6.2.1 Brand scopes as HaKi Meanwhile, the scope of the brand according to Law No. 15 in 2001 are set out in Chapter II, Article 2 and Article 3:
Article 2 Brands as stipulated in this Law include Trademarks and Service Marks.
100 Article 3 The right of Brand is an exclusive right granted by the State to the owner of brands registered in the General Register of Marks permission to others to use. for a specific period of time by using their own brand or give 6.2.2 Gianyar Branding Design Meet the Criteria of UU RI No. 15 in 2001 Brand design can not be registered or denied registration if it does not meet the regulations in force. Here is Article 5 and Article 6 of Law No. 15 in 2001 regulating the brand will not be registered and rejected: Article 5 Brand can not be registered if it contains one of the following items: a. contrary to the legislation in force, religious morality, decency, or public order; b. no distinguishing features; c. has become public property; or d. a description or relating to the goods or services applied for registration.
Article 6 (1) The application should be rejected by the Directorate General, if the Brand: a. have similarity in principle or in its entirety with the brands owned by other parties who have registered in advance for goods and / or services similar; b. have similarity in principle or in its entirety with well-known brands owned by other parties for goods and / or services; c. have similarity in principle or in its entirety with geographical indications which are already known. (2) The provisions referred to paragraph (1) letter b can also be applied to the goods and / or services
101 which are not similar insofar as they meet certain requirements will be further stipulated by government regulation. (3) Request must also be rejected by the Directorate General, if the Brand: a. resembles a famous person’s name, photograph, or the name of a legal entity that is owned by another person, except with the written consent of the entitled; b. an imitation or resembles the name or abbreviation,
international institutions, except with the written consentflag, emblem of the orcompetent symbol ofauthority; a state or national and
used by the state or government agencies, unless a c. imitatewritten or consent resemble of thethe markcompetent or seal authority. or official stamp
registered as IPR belonging to Gianyar, because its existence is typical, thereGianyar is no branding element in design common is with clearly brands, qualified in other to hand be it can be accounted for by religious morality, social ethics, based on the values of Pancasila and the diversity and aspire glorious to develop the nation and Homeland.
6.3 Sosialisation of Gianyar Branding Branding design should be disseminated to stakeholders, both within the ranks of local government and to the general public Giannyar. Socialization is not just introducing a symbol or logo, but also an explanation of the meaning of each element of branding with various advantages, potentials and activities proposed by the Government and Society of Gianyar regency.
6.3.1 A sosialisasi to the Stake Holders Stakeholders are all ranks under the Government of Gianyar, in the realm of executive, legislative and judicial branches;
102 from the village, district and SKPD. They are individuals, both of branding because they need to know and animates about the existencepersonally of and branding institutionally before disseminated targeted for first to the on thegeneral socialization public. In relation to the objectives and methods of socialization, there are a number of methods that can be done by stake holders. written methods: The following methods can be classified into methods of oral and
(3)(1) Oral: direct arts performancesexplanation to related (sound, officials dance and comedy) (2) themedOral: relevant Gianyar officials branding explain to its ranks
(6)(4) Written: banner writing in poetryfront of andthe office narratives parade about (5) brandingWritten: division Gianyar sticker to each staff (7) Written: online
The essence of dissemination to stakeholders is not only the introduction of a symbol, but more of building a sense of togetherness, a sense of belonging, the strength of institutions,
Branding is a representation of all that that shows dignity, the confidence and advantage of the potential of Gianyar regency. a result of the joint work between the District Goverenment and Communitycourage to compete, of Gianyar. confidence and excellence that is brought as The period of socialization to stakeholders can be done in two periods, short term and long term. The short term socialization can be carried out simultaneously in all levels of Gianyar government, long-term socialization is done continuously and applying. soon afterIn the Gianyar longer branding term there officially should established. be a system Meanwhile, that is set up in each institution, both public and private institutions. For government agencies, any document or banner activity issued by them, must be included both a symbol of Gianyar, namely: Gianyar
103 District Government Logo placed on the upper left side, while branding or Gianyar City Branding is placed in the upper right side. For private institutions, if their activities sponsored by the government of Gianyar and accompanied by banners, the banners they should be equipped with the District Government Logo and Gianyar City Branding.
6.3.2 Sosialisation to the Public elements in the ranks of Gianyar Goverenment know, understand and animateSocialization the existence to public isof usually city branding done after and all the the staffmeaning and theof each element. Socialization is not only done in institutional but also personal or individual. Institutionally, government agencies can choose various kinds of media to communicate with the public, as well as writing or orally: (1) The introduction and explanation in the form of visual and verbal in the media, both in the form of advertising, news and reviews: television, radio, newspapers and magazines, online (homepage Gianyar, youtube, facebook, dll); (2) The introduction and explanation in the form of visually and verbally to community groups: employers, mass organizations, cultural, banjar-bajar, pekraman village and karang taruna; (3) Installation of custom banners about Gianyar branding in places that are easily accessible to the public; (4) Installation of banners along with Gianyar branding activities in strategic places.
The contents of socialization should be emphasized on the meaning of each element of branding that represents excellence and potential Gianyar symbolized in the branding. The meaning attitude of society to advance the government and the people. Inof eachaddition of these to the elements meaning must of each be able element, to influence the less the important positive
104 is delivered the intent of each meaning of these elements. How the meaning can be translated into every aspect of life, due to the development of Gianyar thoroughly and completely achievable. Following the exposure of the form and content of branding is expected to meet these objectives.
CONTENT FORM MEANING PURPOSE CAK DANCE: Cak dance based on the philo- Gianyar regency build Human cir- sophical of Tri Hita Karana, all aspects of life with cular rows which is three harmonious re- three road alignment of red, blue lationship: (man and God, man and circle in the (1) The harmony of man’s re- nature and humans center, and lationship with God is sym- with other humans). the three bolized by the image of Therefore, improving three flames the quality of life is not up. middle is higher than two only determined by flames rises (flames in the developed economic with yellow color as a sym- principles, but should bolflames parhyangan on the / other Godhead. side) consider the peace, di- (2) Harmony between people versity, ethics and so- and nature is represented cial care. by the blue circle in the center as a symbol palema- han / natural environment. (3) The harmony of human rela- tionships with other human beings is symbolized by the image of man sitting in a circle rows with the color of red. All three of these ele- ments implies that human be- ings should be able to main- tain a harmonious relationship with God; in harmony with the natural environment; and in harmony with other human beings.
105 S L O G A N : Gianyar is the spirit or the soul Gianyar regency “Gianyar the of Bali. became the center Soul of Bali.” of Bali cultural development from Bali Kuna times until now. Bali as a whole based on the powerful Hindu philosophy which is an acculturation of native Balinese culture
from India. In a recent development,and Hindu influences bali received tourism industry as an economic source, but tourism is developed to be characterized by Bali culture. As the soul of Balinese culture, when tourists come to Bali, they have to come to Gianyar because Gianyar is a complete cultural life. C O L O R : Yellow represents perfectness Nature is full of colorful yellow, blue, and pureness, as the symbol of color and all of them red, white Godess. and black. nature and living Blue represents earth or the things.provide Color benefits also can to environment, which should be be translated as human maintened and preserved for a attitude that always harmonious live. for the sake of harmoniousappreciate differencesrelations.
106 PO S I TI O N: A balanced strength Humans must maintain vertical and is determined by the a balance between horizontal. connectedness of motion from the achievement of Vertical: the top to bottom and also the material and spiritual motion of the poles leftmost to attainment ongoing earth circle the rightmost pole. basis so that welfare is inupper the middle flame, not only the rights of and a row of the present generation human in the but also future bottom. generations.
Horizontal:
which is focusedThree flames in the middle and two s p r e a d beside of it; blue earth circle, which is started from right to left, also the row of human circling like a clockwise.
6.4 Conservation of Branding Conservation of Gianyar Branding should hold on a concept that is capable of Gianyar city branding as a region that makes
Bali’.the name This andslogan meaning has been of ‘BALI’ preceded as well by manyas a branding. slogans overMeaning 100 yearsof ‘BALI’ back, should for example,be reflected “Bali in isthe the slogan last paradise‘Gianyar is island”, the soul “Bali of is a thousand temple island”, and so on. All that departed from Bali excellence in many elements, not only the aesthetics, but also elements of the glory of life and spirituality. In this regard,
107 retain all of Bali’s. It can be achieved if Gianyar apply the rules ofGianyar branding, should as manyshow itselfexperts as onetheorized of the mostby branding. persistent One offenders term of branding that can be referenced in the socialization of Gianyar Branding is the branding of Al Ries and Laura Ries (2003: 9-15) referred only eight of twenty-two rules, like in the following: about the ‘twenty-two rules of branding is immune’. In this case 1. Extension Rule: a branding will be stronger if there is a focusing on the product. In this case Gianyar must focus on the excellence of Gianyar as the main feature of Bali.
2. Contraction Rule: The characteristics towards Bali should not be confused with the characteristics of the outside Bali, for example, mass tourism is not in accordance with the maintenance of the traditions of Bali; while cultural tourism becomes very necessary.
or other regions. Bali is different from Thailand, Singgapura, Malaysia 3. Quality Assurance Rule: Quality is important, but the quality should be supported by other sectors. The beauty of nature or landscape does not mean that if a
and jammed everywhere. lot of garbage strewn around it, the traffic is irregular 4. Naming Rule: in the long term, a branding is only a name. Bali should not be allowed to change on a large scale so that its uniqueness is not dominant. If that
name. happens, then the branding of ‘BALI’ will stay to be a 5. Mortality Rule: no branding last forever. Bali does not have to maintain all of its traditions, but it can adjust the elements that do not eliminate identity.
108 6. Authenticity Rule: authenticity of Bali tradition and its derivatives, which has Bali characterized, does not have to be unquested anymore. Therefore, Bali must remain original; there should be no plagiarism from foreign cultures.
7. Publicity Rule: branding acceptance in society is determined by the ability of publicity and not by way of advertisements. In this regard, the public relations department should cooperate with the media and author of the image as well as close to the market place.
8. Singularity Rule: The most important aspect of branding is the appearance of a single or a concept in mind. Ingnoring a single message can weaken a branding. Creation and imaging through a single concept looks simple but it is not easily realized. See, for the example, a simple form of the logo of “APPLE” for IT products, “COCA-COLA”, “TOYOTA”, and others. In
this case, customers are more influenced by branding image, not entirely unaffected by the product.
109 Perfomance of Kecak Dance in Ubud
110 VII
CLOSING
7. 1 Conclusion ianyar Branding will have a range of leverage in Gianyar imaging, both as areas of the city and district, if it’s Gverbal and nonverbal picture represents reality on the ground. The reality is Gianyar has many excellence, which is characterized by a very strong Balinese culture, in terms of cultural aspects in formed (architecture, art, and equipment) and not in the formed (farming systems, social systems, and philosophy of life). Balinese culture aspects like that is also found in other districts / municipalities in Bali, but Gianyar maintain more dynamic, sustainable and humane. Therefore, the design should depict the message in Gianyar branding as one of the excellence of Bali culture that live and thrive in the district. Gianyar regency registered as one of the Heritage Cities in Indonesia, which have strengthened recognition of the district as a region that maintains the cultural heritage and develop them into potential welfare of society. Branding as an emblem or symbol must be able to represent the excellence imaging in the institution. As one of the heritage cities in Indonesia, Gianyar not only develop the economy and the agricultural sector, but also retains its predicate as the 111 “breadbasket of art.” Therefore, Gianyar Branding is inspired by the presence of one art that was born and developed in Gianyar. of Bone (1937) and followed by Kemenuh village (1938). Cak dance was first born in Bedulu, 1935, and grown in the village Art is basic inspiration of Cak Dance in verbal and nonverbal image which is based on four advantages: philosophy, mythology, history, form, function and meaning. Philosophically, Cak dance depicts the process of formation of the universe (cosmogony) and the various phenomena that seemed to occur in nature. In “Dance in the form of banjar with dance movement that is simultaneously Cak”, sound of cak appears first, then enter the performance space raised his hands upward, like a spider builds its nest (process of creation). After being in the show ring, constructing a circle (symbol of the earth / nature); The next is sitting together as they and others. danced by moving the hand imitating a fire, wind, waves, trees After Gianyar Branding is determined, Gianyar regency government must not only socialize the existance of branding and the meaning in it, but also have to establish their legality. Determination of legality was important to do, due to avoid changing, placing and using branding without legal basis or procedures that can be accounted for. The most appropriate form of legality is to set all of it is a form of Gianyar regency regulation about Gianyar Branding. After legality and socialization programs are implemented, Gianyar government should improve the quality and quantity of the work program which can be perceived by Gianyar community. In this case, there will be a proud of work program, so that Gianyar Branding as an imagery symbol can represent concrete activities which are the potential and the excellence of community in Gianyar.
112 7.2 Recomendation Branding Gianyar will not be known to the public if the frequency and method of socialization is ill-prepared. Gianyar regency government needs to set up adequate resources to make the sosilization succeed, so that the branding Gianyar, not only known but also to be proud by society. Pride can be observed from the public response happily to make it as human identity and Gianyar area. Branding Gianyar will not be meaningful when the ethic work of the stakeholders, especially in the realm of Gianyar regency government has not changed in a positive direction. Changes in the positive direction can be proved when people feel government administration. Without all that, it is only considered a lack of progress in their favor when dealing with the affairs of that Gianyar branding logo is without meaning. Therefore, the Government of Gianyar must transform themselves inside and make a change to the outside that everything boils down to the welfare of society as well promoting the culture of Balinese which is spirited from Hinduism.
113 The painting of Kecak Dance by I Gusti Nyoman Darta (Ubud, Gianyar)
114 BIBLIOGRAPHY
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118 APPENDICIES
Appendix 1. Graphic Design Draft for the Branding of Gianyar Regency FOURTEEN PLANS OF BRANDING GIANYAR REGENCY GRAPHIC DESIGN Graphic designer: I Dewa Nyoman Anom, S., Pd., M.Pd and friends
1. 2.
3. 4.
5. 6.
7. 8.
119 9. 10.
11. 12.
13. 14.
120 Appendix 2. Formulation of FGD
FGD FORMULATION “KECAK” BRANDING OF GIANYAR REGENCY REPRESENTATION OF IDENTITY OF ART REGENCY AND HERITAGE CITY IN THE MIDST OF LOCAL COMMUNITY, NATIONAL AND INTERNATIONAL GIANYAR, 13TH AUGUST 2015
I. FGD Activity is a method in conducting analysis in accordance to proposal: Branding of Gianyar Regency, the representation of identity of Art Regency and Heritage City in the Midst of Local Community, National and International By team of researchers : Prof.DR. Wayan Pastika, dkk In collaboration with the Government of Gianyar and The Center for Bali Studies, Udayana University
II. FGD: • Day/date : Thursday, 13th of August 2015 • Venue : Meeting Room of Bappeda Gianyar • Time : 09.00-12.00 • Speech : Welcome speech by Head of Department of Culture, of Gianyar Regency • Participants : 30 persons, consists of: 1. Related unit works 2. Researchers 3. The experts of Heritage City 4. Artist, Anthropologists, Carver 5. Listibiya of Gianyar Regency 6. The Creative community, design, public 7. The Center for Bali Studies
III. The Discussion Process in FGD and suggestion from the participants
121 1. Welcome remark by Head of Center for Bali Studies, Prof. Dr. I Ketut Ardhana, M.Phil 2. Short Presentation of the Proposal by Head of the Researcher Team, Prof. DR. I Wayan Pastika 3. Brain Storming by the participants: Head of Tourism Office, Cokorda Agung, Budiana, Yuke, Witarka, A.A Raka, Susana 4. Group Discussion: a. Group I : Yuke Dharmawan and friends b. Group II : Tjokorda Agung and friends 5. Report of Group I and Group II Main issue : To agree Kecak as the Branding 6. Offering three options of branding which sourced from Kecak Dance 7. Giving suggestion to develop and to explore the narration of Kecak 8. Giving Suggestion for HAKI, Design Grafis, Preparation of Narration to Cambridge, Launching Publishing the holistic result analysis until the post program of Branding Launching
IV. FGD FORMULATION Main ideas of the formulation and recommendation of FGD: 1. The Branding Concept : strong-holistic-original Gianyar Transformation from the concept to design by conducting competition 2. System and process: Output design is expected to be: a. Whole b. Simple c. Easy to understand and remember d. Inspiring e. Soul, as motto Soul of Bali 3. Topos a. locally rooted (Gianyar) b. National Appreciation c. International communication 4. Kronos 122 a. Old time, historical rooted, and archeological b. Now, live as living art d. in the future: After branding Kecak Gianyar is expected to be rise, inspired and foster the creative economy and to support the development of welfare of the community 5. the design concerns constructively with marketing, public relation, and quality tourism locally, nationally and internationally. 6. The Process of Formulating the Design of the Branding: a. Top Down b. Bottom up c. Public participation d. Scientific analysis and expert consultation e. Legislation through Pergub/Perda 7. Be aware: a. Branding is having a negative tendency b. Process of plagiarism, HAKI is necessary c. The Horizontal conflict which may rise to claim Kecak, cross regencies, regions or even countries 8. Philosophy Base and the Main Value of Kecak a. Philosophy Tri Hita Karana b. Philosophy Topos, Kronos, Logos (desa, kala, patra) c. Philosophy of balance between buana alit and buana agung d. Main value: logic, ethic, aesthetic, creative, solidarity, and spirituality e. future intention: to put life as priority, to improve the life, preservation and sustainable empowerment through WBN and WBD 9. Conclusion Kecak is accepted as the Branding of Gianyar Regency 10. Recommendation: a. The analysis should be continued in accordance to the proposal and time frame b. To be taken to Cambridge, London UK 7th September 2015, it is necessary : 1. having the visual image of Kecak Dance 2. Having the verbal image, narration of Kecak 123 3. Roadmap for the future c. Publishing the result of the analysis in bilingual edition, Indonesian and English d. Gianyar Branding should be escorted through multi helix participation including the community active participation e. Some post launching activities are: 1. Mapping of sekaa Kecak in Gianyar Regency 2. HAKI recommendation toward Kecak Branding 3. Formulating Perda about Branding of Gianyar Regency 4. Revitalization of Kecak through Kecak festival in the regency level, and world Kecak Festival 5. Recommendation of Kecak as WBN and WBD through the Ministry of Culture and Education
Gianyar, 13th August 2015
I Wayan Geriya
124 25/01/2016
Appendix 3. Material for Presentation of FGD from the Chairman of the Committee (Prof. Dr. I Wayan Pastika, M.S)
MERANCANG BRANDING KABUPATEN GIANYAR I Wayan Pastika PKB Universitas Udayana bekerjasama dengan KabupatenI Gianyar
125
1 25/01/2016
BRANDING=MerekDagang • Gambaranvisual,emosional,rasionaldancitra budayasebagaisimbolidentitaslembaga,simbol produkataujasayangdistingtif. Sumber:Mints,J.H&Chan,Johana.2009 • Istilahstandaryangdigunakanadalahmerek dagang(trademark). • Brandingsuatukotadigunakansebagaimedia promosiuntukmendapatkanpengakuan,baikdi tingkatlokal,nasional,maupuninternasional
MENGAPA PERLU BRANDING?
KE DALAM KE LUAR
Bangun Etos Kerja Promosi program/jasa/produk
Kerja Sama Tim Dorong Loyalitas Masyarakat
Jati Diri Lembaga P Relation
126
2 25/01/2016
STRUKTUR BRANDING
ISI BENTUK
Gagasan TandaLinguistik
Pesan Warna
Persuasi Posisi
Promosi Simetri
127
3 25/01/2016
10.JANGKAU MEDIA TRADISIONAL& 1.KHAS Modern,Lok,Nss DAERAH &Internl 9.MAKNA SETIAP 2.KOKOH UNSUR& FILOSOFIS UTUH 10 8.DARI 3. TEKSTUAL INDIKATOR KONFIGUR KEAPLIKASI PERUMUSANISI ASINILAIͲ NILAI BRANDING UTAMA
7.APLIKATIF 4. MENGEMB ANGKAN 6.BUKAN 5. KOM. HASIL BERPRINSIP LOKAL JIPLAKAN KESINAMBU Geria,2015 NGAN
KEUNGGULANGIANYAR 1.BUMISENI 2.KABUPATENPUSAKA ͲSubakWDBͲUNESCO ͲArsitekturBali(rumah,pura&puri) ͲTinggalanSejarah&Purbakala(BaliKunaÆBali Majapahit) ͲKerajinan(kayu,batu&logam) 3.TUJUANWISATA 4.RELEGIUS 5.DINAMIS 6.EKSPRESIF 7.PROGRESIF 8.KREATIF
128
4 25/01/2016
2 129 25/01/2016
BUNDARAN KOSONG CAHAYA
GARIS MANUSIA MELINGKAR
GrҕhƗ݄ar JƯwƗtmaning Balidwipa x The Souf of Bali
Matur suksma
130
8 Appendix 4. Reporter Notes of FGD
NOTULEN FOCUS GROUP DISCUSSION
BRANDING GIANYAR REGENCY REPRESENTATION OF IDENTITY IN ART DISTRICT AND HERITAGE CITY IN THE MIDDLE OF LOKAL,NASIONAL AND INTERNASIONAL COMMUNICATION BY REVIEWERS TEAM COOPERATION WITH THE GIANYAR GOVERNMENT AND BALI CENTRAL STUDY, UNIVERSITAS UDAYANA, GIANYAR 13TH AGUSTUS 2015
I. KECAK ART: SENI KHAS KABUPATEN GIANYAR 1. History of Kecak Art in Gianyar 2. Characters, Artists and Maestro of Kecak Gianyar 3. Basic Philosophy and Main Values 4. Kecak Art: Multi-art Sinergy 5. Centralizations of Kecak Art Gianyar 6. Kecak Art as Branding of Ginyar : Potential, Chance, Challenge II. BRANDING IN MODERN ERA : MMEANING, FUNCTION, VALUE 1. Branding Concept and Indicator 2. Development of Branding in every Country, Corporate Institutions 3. Form, Function, and the Meaning of Branding 4. Aplication of Branding in the Continuation of Live 5. Konservation of Branding through HAKI
1. Speech from the Head of the Cultural District Gianyar implemented, we and PKB work together to do the branding. So that we areBranding not in the had wrong been position filed since before the it was first decided regent, that but there has should not been be a discussion about it. The team of experts do the search for branding which Gianyar had characterized. Gianyar regency designated as Heritage City. In this context, ladies and gentlemen as experts will provide some inputs in order to excite Gianyar citizen in art. Gianyar invited to England to do the presentation and cultural showcase about Gianyar culture. JKBI Centre has set gianyar as Heritage City. Regents hoped to ask to give a quick overview about Gianyar city branding before 6th September, so that it will be launched on the 245th Hut Kota Gianyar.
131 2. Presentation by Prof. Dr. I Wayan Pastika,M.S - Concept of Branding - The Excellence of Gianyar - The Examples of Branding from other Cities - Branding Examples in Bali
A. Branding= Trademarks - Visual Image, emotional, rational and cultural image as the identity of an institution, symbol of product or service - Why branding is needed; o To the inside: to build the work ethic, teamwork, identity of the institution; o To the outside; Promotion of services / products, Society Loyalty Encouragement, Public relation. - Branding Sturcture; o Content : idea, message, persuasion, promotion o Form : Linguistic sign, color, position, Symmetry - Examples of Branding Does not leave a name, Malaysia Truli Asia, Solo the spirit of java - 10 indicators of Branding Content Proposal 1. Typical Area, 2. Solid Philoshophy,
4. Elicited local community, 5.3. PrincipledConfiguration continuity, of main values, 6. Not the result of plagiarism, 7. applicative, 8. From textual to the application, 9. The meaning of each element and the whole, 10. Reach traditional and modern media - Excellence of Ginyar 1. Earth of Art 2. Heritage City - Subak, arcithectur of bali (houses, temples and castles), historical and archaeological remains (bali kuna) - Examples of branding Bali Sightseeing Denpasar The heart of Bali - Examples of branding Gianyar GIANYAR Soul of Bali
132 3. Discussion On Design Concept
(1). Cok Agung (Pejeng)
In terms of design is often not linear, for the examples pekalongan etc., for Gianyar, we’ve lost the identity of the faucet, which is already taken, try to be calm and somewhat see backward, it is a little funky, in the contexts of kecak is also not linear separated from gong Karana with mouth and hands of course, how do we weave with traces of history, when it is forced now, it is rather hard to do.
(2). Budiana (Pelukis) an input, is from the bottom, not the upper side. At once I was doing aWhat discussion is already or contest,served isif good,there butis a Icontest, think the than technic idea willon how come to from find anywhere, then ladies and gentlemen can do the revision from what is already given. There are a lot of things that we do not know, because we have not give a chance to the community, because we have too many experts in Gianyar. I think, it is easy to remember. Suggestion on how to fnd something maximally from the bottom side
Moderator: Find some input from the community who knows about logos. If you it to us. have a fisrt design which is collected from the community, please show (4). Yudi Because it is so urgent, what we need to do is needed to be discussed decission is a raising logo and words in it, just take the others, so that we canfirst, decided because the there logo. are From 3 patterns, design 3, which I choose are: the raising middle logo, one, words, moreover, our white. A quick question for the logo is: for what? And for who? If the decissionthe flame ofshould the design, be in the eventhough A. Everything there should is a contest be made or just in black instantly and ask from the artist, we need to choose the expert designer together, who has the same characteristic that we need, Gianyar logo which is not the
(5).wrong Ibu one. Yoga ‘The’ Darmawan, is needed humas,to be added Gianyar in it. Economic experts As a practitioners in gianyar, we involve many parties, musicians, sculptors, but what is being discussed is what do we have?, we are listing before deciding, logo as an attribute raises new personality, after that we shantys when it is in launcing, it became a joke in Berlin, unfortunately, can talk about folosofi, do not put any ‘in hurry’ impression. I see many 133 the message describes the story of a clever, what story is delivered by
Kecak has not been the logo?. Ambbasor, inspiration, and making people wantKecak, to is stay what well-rounded, people know, even easy forto remember, inverstor. The differensiational, logo should be invitedwhether to visit a big event. Regent wants to focus on the concept, because the concept or the content, I do not understand, that gianyar jiwatmaning Bali Gianyar dwipa, I better understand Gianyar the soul of Bali.
(6). Pak Setiawan -I see a typical characteristic in Ginyar is Candi Pahatan Tebing that has a high aetnich value in it
(7). Pak Agung Raka I agree. It is already globalized. Do not bother the short time period, because it is not usually not good, when it is being taken in a week. There is already one entity. Kecak has a very deep meaning. Cak: is heard, and built the world with sound. It is included in global, dance history, the unique which is being united in diversity, there is egalitarian included in it, there is liberty also. It means the French motto is included in there so that the world will understand that most temples is in Gianyar. The only art that empowers him is Kecak. Stay tune. Cak Dance build togetherness, unity and diversity, Kecak is calling. Out standing, Kecak is known throughout the world. I thought about it deeper. I agree. I thank toyou choose in a short the best time, in andthe future.there is If alreadythe two anphilosophicals idea like this. are Red ready, fire, then the Ihuman, only need the topalemahan worn on twois in pieces. green circle, it is fine. It is our responsibility
(8). Pak We agreed for all suggestions, creating branding is not easy, especially the logo, because this is for marketing, how this new branding is seen already provides people to think that it was ginyar. A simple logo is interesting. It is not like I am making it simple for me, but it looks like for a long term. It was too crowded, if there is no mark on the, how this brandingwe need tocan find be anfor informationmarketing purposes. about the I understanddesign graphic what of Pakthis Rakalogo means, but if kecak was born in Gianyar, because in Uluwatu is also exist. The importance of marketing is very necessary to be considered.
(9). Ketut Susane There is no support or reject when Cak is being discussed. So initially, conclusions. If Cak is oversaid, it is said by the local, means the bond of Cak is ‘doing’. If it is connected with the philosophy, it is the points / 134 brotherhood, unity intact. Ning is a tribute, nung, nong = prelina. If I may
Moderator:say GIANYAR, the ‘I’ should be lower a bit. Kecak philosophy is very strong, the problem is the graphic design should be easy to remember. There was a message of ancient Javanese and English, Gianyar is need not to be repeated. The metter now is that we give message to the graphic design to be easily remembered. Fire became the universal meaning, only the color is, cak is the text, associated with P raka, and we did not enter the Ramayana story, cak provide the complete message.
Bu Yoga: My task is public relations, whatever it is produced, we will wrap and promote it. I noted the World was born because of the voice and symbol of the spirit.
Pak Budiana:
decided cak to build a cak ginyar. - IWe am should a designer, be able this towork find is the for beginners,correct thematic. compete When this, we choose. I speak of the creator.
Pak Raka: we are looking for native Indonesian, cak is does not exist everywhere, even cak is created for 5000 in tabanan but born in Gianyar, if it is can be done, Bali should refer to Gianyar. If all ask for truly local. Kecak Bali as the local genius. Kecak Dance is the original Balinese
Kecak. dance from Gianyar, the first access is in Gianyar, any hotel should serves Moderator: we speak about we use cak or the other else?
Prof. Ardana: - From these 3, we can see Udayana, Candi Tebing, Kecak.
1. Ibu- YogaWe need to dicussed first, then we will meet again. In a group, we are from a variety background. From the public service, we sell culture, quality tourism, history, about the next generation, because there are less of them dok, 3. Potential There are expectations, easily to be undertood. The background of soul of bali, it is strong enough, we collected a lot of story about it, about philosophy, pakraman village explanation, tri hita karana which completed the cak itself, so it will be the materials for the designers. 135 There is no arguments about cak, question for pak rai, what international knows about Bali. We need to have a commitment about Cak in Bali.
2. Pak Cok. do the branding. From the designers point of view, pleace make it as a competition, Wedon’t agreed let it hanging, about Cak. we respectThe matter it, because is the artfirst is aperson perception who point of view. On yahoo, instagram which are usually being used, please make a competition of it with all the criteria.
The short conclusion of the discussion (Drs. I Wayan Griya) - We appreciate the short period of time with all respect, this is the
1. Methodology system proces and poured into graphic design, firstit step is not to easymake to Branding design simplicity. of Gianyar We have not completed this work, the group interviews, personal, and seminars
2. AgreedDesign that graphic Kecak conceptwill be the competition, branding, not in the first competition, agreed with it first, then it can be competed, is to believe that Kecak is Bali, Bali is in Gianyar 4.3. InLocal, the past,nasional now dan and internasional the future, this will is important, not be a problem, the coolnest first of Gianyar which is using Kecak as branding, but not yet inspired people in Gianyar 5. Graphic design, public relation, marketing, they are the one who promoted it. Without arguing, there is a team who will
6. Is it easy to make fun of our branding? like shanti, cak-cak. Be wareindentified of mocking. it. Can Kecak give sinergy? 7. After this, branding will be processed, August to September
about our branding 8. Therewill be will the be first a stury step, about in Berlin, Kecak there until will September, be an information Desember will be the report of the study, then it will be continued in April. 9. Pass the others to make a book about Gianyar 10. Kecak Festival for bali areal in Ginyar then Kecak Festival for Indonesia areal in Gianyar
Closing : 1. There will be a competition about Branding 2. A study about Cak 3. There will be rules in Gianyar to support Cak. 4. Holding a Cak Festival in Gianyar.
136 Appendix 5. Attendant List of FGD
137 138 Lampiran 6: The Competition Guidance of Branding Design Creation of Gianyar Regency
This Guidance of competition is attached on the invitation letter for all potential participants which have capacity and experience of design. However, it is a pitty because untill the date of closing of registration, there is no participants who enroll themselves to rhe office of Department of Culture of Gianyar regency. Based on that obstacle, the Organizing Committe decided to request designers in Gianyar, Bapak I Dewa Nyoman Anom, S., Pd., M.Pd. and partners to make design of Gianyar Branding.
THE GOVERNMENT OF GIANYAR AND CENTER OF BALI STUDIES UDAYANA UNIVERSITY Jl. PB. SUDIRMAN DENPASAR
THE COMPETITION GUIDANCE OF BRANDING DESIGN CREATION GIANYAR REGENCY
Background Gianyar as the name of a regency and also as a name of capital is very united with its people in the old time practices as well as the present tradition practices. The depiction can be seen from the long history of this region since the old Bali period, the classical Bali up to the Modern Bali period. It means that Gianyar memiliki high harmonious concept to be able to survive and flourish in accordance to the demand of time without losing identity which is spirited by Hindu Dharma teaching. Within that concern, the Government of Gianyar as the representative of the central Government has taken its optimal role in giving service to the community. Many positive recognitions have been addressed to Gianyar from many parties, not only from higher level of government but also from its people. There are eight excellences which owned by Gianyar and they are kept being concerned for the purpose of developing the welfare of its people. Those eight predicatea are: (1) The Art Regency (2) The Heritage City (subak WDB-UNESCO, ancient and historical remains, handycrafts), (3) Tourism Objects, (4) Religious (5)
139 Dynamism, (6) Expressive, (7) Progressive, dan (8) Creative The Potency and excellence of Gianyar should be sosialized to common people, policy maker, and also enterpreneur so the development can be done for the welfare. One of the methods which can accelerate is through the imaging of the regency or city knowned as city branding. For that reason, the Government of Gianyar is very need Gianyar Branding as the symbol of imaging which can inspire the community and to develop the region.
Theme To create Branding of Gianyar which depicts the identity of dynamic, harmonious, and religious Gianyar.
Objectives Generally, Gianyar Branding is expected to be inspiration of the community, in the government and private to bring Gianyar become more sustain. To be specific, Gianyar Branding is expected to be able to support productivity, creativity and quality. The support includea: (1) to enhance the work ethic (2) having solid team work, (3) to strengthen the identity. In the other hands, the external support includes: (1) program promotion, service and product, (2) the community`s loyalty and (3) as public relation.
Vision and Mission of Gianyar1 Vission “To realize cultured, excellence, welfare and sustainable Gianyar to jagadhita.” the wording known as “Gianyar BAGUS.” Mission: (1) To explore, to preserve, to revitalize and develop various typical, excellence and rare art and culture in Gianyar; (2) to support the excellence cultural centers (3) to improve the analysis of art and culture (4) to hold cultural local, national and international (5) to develop cultural Institutions (6) to support and oppose the rise of human resource (7) to revitalize creative economy (8) to generate development across sectors; (9) to develop creative culture management; and (10) to improve the welfareness of the community.
The Philosophyical Reference of Gianyar Branding Based on the result of Focus Group Discussion (FGD) which attended by staffs of related unit works of Gianyar Government (SKPD), anthropologist, scientist, designer, artist, and figures of Gianyar, the visual image of Kecak dance and verbal expression “Gianyar The soul of Bali” have been agreedb as the base design of Branding of Gianyar. The detaIl description of the philosopycal base explained as follows:
1 Sumber: Cetak Biru Revitalisasi Gianyar Menuju Kabupaten Unggulan dalam Bidang Seni Budaya. 2013: 86—92) 140 1. Visual Image: “Cak Dance” “Cak dance” as one of the Balinese classical art, becomes the branding of Gianyar Regency, which rooted from the belief of the prehistoruc period. Visually, “Cak dance” is being based by tri hita karana, three harmonious relation: (1) The harmonious relation between man and human symbolized by the picture of three fire tongues as the symbol of parhyangan/ divine. Three dire tongues can be defined as the holy light of which enlighten the three worlds (underworld, middle world and upper world). (2) The harmonious relation between man and environment or palemahan. The tree circles can be defined as the representation of the three worlds; they are under world, middle world and upper world. (3) The harmonious relation between human and human is symbolized by the picture of line of 33 men sitting in a circle; the color is red as symbol of pawongan. The number 33 represents the number of world`s source life/pangurip bumi . It is symbolized by human as the small worlds (microcosmos). Those three elements mean that human should be able to look after the relationship harmoniously with God; harmoniously with nature or environment; and harmoniously with other humans.
As the result of art work, “Cak dance” has distinctive characters, they are: religious: the performance concerns with religious ceremony; magic: the character of sang hyang dedari or sang hyang jaran kasurupan (being tranced); egality: the sense of equality andtiogtherness in dancing; dinamyc: identified with various hand movements and changing voices; having local values (genuine), and its exsistency has knowned nationally even internationally reknowned. the black color writing as the symbol of strength in preserving cultural local values.
1. The Verbal Image The Slogan “Gianyar the soul of Bali”, derived from the exsistence of Gianyar regency as the central sites of cultural heritage in Bali, which is sacred and worshiped as living monument by its community. Within its growth and development “Cak Dance” was created in Gianyar in the17 century. By the time goes by, in Gianyar regency in the year of 1935 “Cak Dance” was created in Bedulu village; in the following years in Bona village (1937), Sukawati village (1938), Blega village, desa Singapadu, and later flourished in other regions, in Sumerta village, Badung.regency. In the tourism global era, “Cak dance” becomes one of the traditions which performed 141 in star hotel, in stages and other places in Bali.
The result of the competition is the image of the followings : 1. Logo/Visual Image: Cak Dance 2. Slogan/Verbal Image: “GIANYAR THE SOUL OF BALI” 3. General description of each of the elements (1) and (2) 4. A4 paper size 5. The width of the branding is 10—15 cm, height should adjust
Term and Conditions 1. Indonesian Citizens, individual or groups from art practioners, students, scientist or general public. However, individual or groups from the related unit works of the Gianyar Office, Juries, Organizing Committee andbthe family members can not jpin the competition. 2. The registered participants should obey the rules of the Organizing Committee. 3. The participants can come from Gianyar or outside of the regions 4. Every registered participants must submit one kind of Branding in six pieces of hard copies and one soft copy as agreed by the Organizing Committee. 5. The Branding design should be submitted without name, only code of registration shod be included in the right bottom. 6. No registration fee required. 7. The Participants should accept the condition if the design is being modified by the OC if the art work declared as winner.
6. Time Schedule No. ACTIVITY TIME VENUE 1 Registration of 02—09 Disbud Gianyar, Jl. participants November 2015 Kebo Iwa Gianyar, Telp. 0361 943076 2 General Explanation 10 November BAPPEDA GIANYAR, to the participants 2015 Jl Kesatrian No. 16 X, regarding the Telp. 0361 948985 competition mechanism 3 Handing over Gianyar 12—19 Disbud Gianyar, Jl. Brabding Design from November 2015 Kebo Iwa Gianyar, Telp. particupants to the OC 0361 943076 4 Presentation of the best 23 November BAPPEDA GIANYAR, three in front of the 2015 Jl Kesatrian No. 16 X, panel of juries Telp. 0361 948985
142 5 The decision of winner 26 November Disbud Gianyar, Jl. by Board of Juries 2015 Kebo Iwa Gianyar, Telp. 0361 943076 6 The Announcement of 27 November Disbud Gianyar, Jl. Winners 2015 Kebo Iwa Gianyar, Telp. 0361 943076 7 Seminar of Gianyar 30 November The Office of Gianyar Branding Design 2015 Regent 8 Handing Over Sunday, I The Office of Gianyar Prizesbto the Winners Desember 2015 Regent 9 Handing Over the 07 Desember The Ofice of Gianyar Report of Branding 2015 Regent Design to the regent of Gianyar
ASSESMENT CRITERIA
NO CRITERIA SCORE 1 Authenticity 30 2 The harmony of logo+slogan with the philosophocal 25 reference (The Guidance of the Competition) 3 Creativity 20 4 the composition between logo and slogan, includes 15 color, shape, image, the shape of the writing and the letter character) 5 The explanation (written description) from.esch 10 elements of the logo dan slogan to have holistic image of Gianyar Branding Total Score 100
Panel of Juries Juries consist of five persons who come from: The Government Office of Gianyar, anthropologist-scientist, expert on design, enterpreneur, and.social figures of Gianyar 1. Drs. I Gusti Ngurah Wijana, M.M., M.Pd. (Head of Department of Culture of Gianyar/Chairperson) 2. Prof. Dr. I Wayan Dibia, M.A. (anthropologist/scientist/member) 143 3. I Made Marlowe M. Bandem, B.Bus. (STIKOM) 4. Enterpreneur (Yuke Darmawan/member) 5. Figures of Gianyar (Anak Agung Gde Rai/Museum ARMA/ member) Prizes
1. I Winner : Rp. 15.000.000,00 + certificate of appreciation
2. II Winner : Rp. 12.500.000,00 + certificate of appreciation
3. III Winner: Rp. 10.000.000,00 + cerrificate of appreciation Notes: The Guidance and information concern with this competition can be accesses and retrieved in the website of Gianyar Government, www.gianyarkab. go.id/
Gianyar, 15th Oktober 2015 On Behalf of the Department of Culture of Gianyar
The Organizing Committee of Branding Design Competition of Gianyar
144 Appendix 7. Photos of FGD
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