Painting Kamasan wayang is one of Bali’s cultural treasures. Painting is believed to have developed rapidly in the 14th century when the Gelgel Kingdom was ruled by Dalem Waturenggong.
This painting has a unique character. The form and content show a harmonious impression. Form is related to the structure of the painting and content is related to socio-cultural values and a reflection of the reality of human life. This uniqueness makes it popular with art lovers.
The existence of paintings full of stories is not only found in Kamasan Village, both in every house and in a number of village buildings. But also in other places, one of which is the Kertha Gosa building which is located in the center of Semarapura City. This painting decorates the ceiling of the building and is an attraction for visiting tourists.
The existence of wayang kamasan in modern times cannot be separated from the influence of the communal management of the painting system. Each painting is produced through a series of activities involving each skill, from material makers, and painters, to colorists.
Currently, artists have entered their old age. This reality must of course be addressed with regeneration efforts so that the existence of Kamasan wayang as an Indonesian cultural treasure can continue to be maintained.
The existence of the studio is one of the efforts made by several Kamasan Wayang painters to maintain regeneration. Ganesha University of Education (Undiksha) academics are interested in studying in more depth the challenges of organizing this studio. Based on the results of observations, the management of the studio, which is non-formal in nature, is not yet supported by a curriculum for learning. So far, learning has been carried out by relying on the previous teacher’s narrative.
Another finding is that there are still minimal activities that facilitate the participation of the younger generation actively participate in getting to know and have direct contact with Kamasan wayang paintings, such as painting and coloring competitions.
In that context, Undiksha academics consisting of Ida Bagus Nyoman Pascima, I Gede Partha Sindu, and Putu Riesty Masdiantini tried to take part in maintaining the regeneration of Kamasan wayang paintings. This role is realized through the Community Service (PkM) program. The implementation of this program also involved students, Dewa Made Wisma Dwipayoga, I Dewa Gede Agung Wibhisana, I Komang Sasra Wiardana, and Kadek Rosila Putri. This program was initiated as a collaborative approach with various parties, such as Rumah BUMN Klungkung, Kamasan Village Government, and the community.
The team leader, Ida Bagus Pascima, explained the program being carried out, namely the design of the Kamasan wayang curriculum and the Kamasan wayang painting competition. The curriculum design is designed as part of non-formal education which in the future is also expected to correlate with the increase in participants in holding Kamasan wayang painting competitions in scope the greater one. It is hoped that such integration will open up more effective and optimal opportunities for efforts to preserve Kamasan Wayang.
This service is fully funded by DRTPM – Directorate General of Higher Education, Ministry of Education and Culture of the Republic of Indonesia under the Community Partnership Empowerment service scheme. Apart from the regeneration of painters, there are two other main programs being implemented, namely social media marketing and photography training and developing promotional media in the form of a Balinese saka calendar of Kamasan wayang paintings equipped with a web application to introduce the painters. “We have been carrying out curriculum development since July 2023 and a coloring competition on September 5, 2023. The coloring competition activity had a target of 50 registrants, but it overflowed to 63 people because many parents asked for help so that their children could take part in the competition,” he explained.
Through this series of programs, the Undiksha Technical and Vocational Faculty lecturer hopes that many people will again see the potential offered by the art of Kamasan Wayang painting and make many people aware of the value of this art. “Apart from that, introducing this art and developing a curriculum is hoped to help increase the love of Kamasan wayang painting which will have an impact on the regeneration of painters,” he concluded. (rls)
