MODEL KEUTUHAN PERTUNJUKAN FRAGMENTARI OGOH-OGOH PADA BENCINGAH FESTIVAL DI DENPASAR

Authors

DOI:

https://doi.org/10.37802/candrarupa.v5i2.1381

Keywords:

ogoh-ogoh, fragmentary performance, artistic autoethnography, performance unity, performance dramaturgy

Abstract

This study examines recurring problems in fragmentary performances at the 2025–2026 Bencingah Ogoh-Ogoh Festival in Denpasar, Bali. It aims to identify recurring weaknesses, explain their structural relationships, and formulate an operational model of performance unity. The study employs an interpretive qualitative approach within an artistic autoethnographic framework. Data comprise audiovisual recordings of performances, field and judging notes, researcher reflections, participants’ synopses, and the researcher’s official judging sheets. Narrative, visual, and thematic analyses were used to examine relationships among story, character representation, dramaturgy, performance units, and value embodiment. The findings identify five recurring problems concerning narrative foundation, visual and character coherence, dramaturgical organization, integration among performance units, and value embodiment. Their interrelation reveals three structural problems: an additive mode of composition, a gap between textual and performative narratives, and a weak relational framework at the design stage. Based on these findings, the study formulates the Model of Fragmentary Ogoh-Ogoh Performance Unity through five corresponding dimensions and observable indicators. The model treats performance unity as a relational quality rather than the mere presence or accumulation of performance elements. It provides a framework for examining which relationships within a performance are already coherent and which require further artistic development.

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Published

2026-10-13