Prof. Dr. I Wayan Pastika, M.S. (et al.)

Department Of Culture, Gianyar Regency

In Collaboration With

Center Cor Bali Studies Udayana University

2015

Gianyar Regency Udayana University

Prof.Dr.IWayanPastika,M.S.(etal.)

The Government of Gianyar Regency

BRANDING OF GIANYAR REGENCY

Identity Representation of Kabupaten Seni and Kota Pusaka in the Local, National, and International Communication

ByProf. Dr. I Wayan Pastika, M.S. (et al.)

DEPARTMENT OF CULTURE, GIANYAR REGENCYIN COLLABORATION WITH

CENTER COR BALI STUDIES UDAYANA UNIVERSITY2015

ii

BRANDING OF GIANYAR REGENCYIdentity Representation of Kabupaten Seni and Kota Pusaka in the

Local, National, and International Communication

©2015 Department of Culture, Gianyar Regency

AuthorsProf. Dr. I Wayan Pastika, M.S.

Prof. Dr. Phil. I Ketut Ardhana, M.A. Prof. Dr. I Wayan Dibia, M.A.

Drs. I Wayan GeriyaDr. Drs. Anak Agung Gd. Raka, M.Si. I Dewa Ngurah Anom, S.Pd., M.Pd.

TranslatorSang Ayu Isnu Maharani, S.S., M.Hum & friends

PreprintSlamat Trisila

PublisherPustaka Larasan

Jalan Tunggul Ametung IIIA/11BDenpasar, Bali 80116

Email: [email protected]

DEPARTMENT OF CULTURE, GIANYAR REGENCYin collaboration with

CENTER FOR BALI STUDIES UDAYANA UNIVERSITY

First Edition: 2015

ISBN 978-602-1586-55-6

iii

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 BaskaraCokorda 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 GeriyaDr. Drs. Anak Agung Gd. Raka, M.Si. I Dewa Nyoman Anom, S.Pd., M.Pd.

iv

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 RenaYoke Darmawan

v

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. Before the book was written by Team of the Authors, it was firstly performed a number of academic activities and field activities that can enrich the data and the information design for Gianyar Regency Branding. Those academic activities are such literature 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 the Modern Era: Definition, Function, Meaning (by I Wayan Geriya, Chapter IV Transformation of Kecak as the Basic Foundation Branding of Gianyar Regency (by Dr. Drs. Anak Agung Gde 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,

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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 gratitude also goes to the Rector of Udayana University and staffs who have commissioned us through Bali’s Udayana University Research Center to work together to succeed creation Branding Gianyar regency. We would also thank the Head of Department of Culture, Gianyar regency and staffs that have facilitated us with the excellent cooperation so that all activities can be carried out smoothly. Finally, we would also express our highest appreciation to all the public figures in Gianyar and members of the committee for their contributions, either idea or energy, to the realization for the Branding of Gianyar regency.

Om Shanti, Shanti, Shanti Om.

Gianyar, 10 Desember 2015 Editor

vii

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

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source of inspiration Branding Gianyar regency. As it is known that Cak dance was born in Gianyar in 1935, but I have the confidence, based on stories that have been told by elders in Puri Gianyar, that dance is already in Gianyar long before 1900 in more 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.

My gratitude goes to all those who have been objectified the creation of Gianyar Regency Branding.

Om Shanti, Shanti, Shanti, Om.

Gianyar, 15 Dessmber 2015

REGENT OF GIANYAR,

A.A. GDE AGUNG BHARATA

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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 done through literature, but also a field study with the application of theory, methods and instruments that its validity could be accounted. Gianyar regency basically inhabited by people 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 the publication of Gianyar Regency Branding book. For the first and foremost gratitude that goes to the honorable Regent of Gianyar and staffs for the credence that has been given to our academics to actively participate in realizing the development programs of Gianyar, and one of which is the publishing of this Branding book

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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 2015Rector of Udayana University,

Prof. Dr. dr. Ketut Suastika, Sp.PD-KEMDNIP 195503291980121001

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DAFTAR ISI

FOREWORD ...............................................................................................MESSAGE FROM REGENT OF GIANYAR .........................................MESSAGE FROM RECTOR OF UDAYANA UNIVERSITY ............TABLE OF CONTENTS ...........................................................................

I. INTRODUCTION ..........................................................................1.1 Background ............................................................................1.2 The Objective and Benefit ...............................................1.3 Problems .................................................................................1.4 Concept and Theoretical Framework .........................1.5 Research Method ................................................................

II. GENERAL OVERVIEW OF GIANYAR REGENCY: KABUPATEN SENI AND KOTA PUSAKA ............................2.1 History of Gianyar ...............................................................2.2 Ecosystem, Demography, Economy, and Tourism...2.3 Government ...........................................................................2.4 Gianyar and Its Wealth and Diversity of Art and

Culture ...................................................................................2.5 Natural, Cultural, and Visual of Kota Pusaka

Gianyar ...................................................................................2.6 Local, National, International Network of Kota

Pusaka Gianyar ...................................................................

III. BRANDING IN MODERN ERA: DEFINITION, FUNCTION, MEANING ..............................................................3.1 Concept, Dimension and Indicator ...............................3.2 Forming Excellence in Branding ...................................3.3 Definition, Function, and Meaning ..............................3.4 SWOT Analysis .....................................................................

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3.5 Transformation of Branding into WOW Marketing

IV. TRANSFORMATION OF KECAK AS THE BASIC FOUNDATION FOR THE BRANDING OF GIANYAR REGENCY ........................................................................................4.1 Introduction ..........................................................................4.2 Transformation of Kecak into Graphic Design .......4.3 Meaning and the Form of Branding ............................4.4 Branding Message: Local, Nasional, and Universal

V. APPLICATION OF BRANDING ON THE DEVELOPMENT OF GIANYAR REGENCY .............................................................5.1 Background ..........................................................................5.2 Branding and Identity ........................................................5.3 Branding and Merchandise .............................................5.4 Branding and Land Mark ..................................................5.5 Branding as Decoration......................................................5.6 Branding as Promotion .....................................................5.7 Branding on Digital, Website, Social Network, Google, Youtube, Yahoo! ....................................................5.8 Branding and Event Management ................................5.9 Branding and Development of Bumi Seni ..............5.10 Branding and Development of Kota Pusaka .........

VI. LEGISLATION, INTELLECTUAL PROPERTY RIGHTS (IPR) AND SOCIALIZATION OF THE BRANDING ..........6.1 Legislation through PERDA ............................................6.2 Branding and IPR ................................................................6.3 Branding Socialization ......................................................6.4 Branding Conservation .....................................................

VII. INFERENCE ...................................................................................7.1 Conclusion .............................................................................

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7.2 Recommendation ................................................................

BIBLIOGRAPHY ........................................................................................APPENDICES .............................................................................................Appendix 1 Graphic Design Draft for the Branding of

Gianyar Regency ..........................................................Appendix 2 Formulation of FGD ....................................................Appendix 3 Material for Presentation of FGD from the

Chairman of the Committee ....................................Appendix 4 Reporter Notes of FGD ..............................................Appendix 5 Attendant List of FGD ................................................Appendix 6 The Competition Guidance of Branding Design

Creation of Gianyar Regency ..................................Appendix 7 Photos of FGD ...............................................................

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xivKecak dance

1

I

INTRODUCTION

1.1 Background

The 21st century is a culture revitalization century. Functionally, the culture revitalization is concerned with 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 creative culture which has the strength to rise evolution diffusion, and even the mental revolution.

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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,

3


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

Orientation of Universal Value

Logic

Ethic

Aesthetic Creativity

Solidarity

Spirituality

4


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 BenefitsThe Objectives The Benefits

To construct by formu-1. lating branding of Gi-anyar Regency based on culture, philosophy, main value representa-tion of Art Regency and Heritage City Gianyar with the main theme Ke-cak Performance.To narrate Gianyar 2. Branding based on local wisdom which harmo-nius with the national ideology, national cul-ture, mental revolution and the nationality. To promote various ac-3. tivities, creativity, prod-uct, of Art Regency, Gian-yar and Heritage City in local, national and world communication.

1). Local The human revitalization, the creative community of Gianyar based on culture to foster econo-my, technology, education, to im-prove the added value for welfare and happiness.

2). National To widen the national network as Art Regency and Heritage City in the network of JKPI, BPPI, Min-istry and integrity as a nation, Unity and Diversity.

3). InternationalTo develop international network cross countries with UNESCO about WBD, OWHC concern with Heritage City, having the brand-ing as the media establish civi-lization strength of Gianyar, Bali, Indonesia

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1.3 The Problem FormulationGianyar 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.

Based on above problem, this analysis answer five main problems:

1. How is the construction and the formula of the branding 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 effectifve medium of communication in the local, national and international scale?

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?

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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 the local, national, and international effective communication which is based on culture and sustained. The communication covers: governemtn, edication, trade, tourism, technology, science, culture and others.

The branding formulation should follow scientific, comprehensive procedure and should fulfill the tenth indicators:

(1) Having authentic value as the representation of a region(2) Having strong base on the local wisdom(3) Having clear configuration of the main values: logic, ethic,

aesthtetic, creative, solidarity, and spirituality(4) Able to develop local, national and international situation (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 MethodThe three scientific suppport, the three scientific processes

and the three keys paradigm were being applied as the scientific base in analyzing the formulation of the Branding. The three scientifics method include: (1) objectivity, (2) systemic, dan (3) methodology. The three scientific processes consist of: (1) inductive process (2) deduktive process (3) verificative process. The three paradigm keys are taken from the local wisdom in the universal spirit, they cover: (1) siwam (divine and spirituality), (2)

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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 obtain from the field through observation and interview with some key informants. They consists of Kecak artist, art maestro who is still exist and actively produce art work. The secondary 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 and also local figures.

The method of collecting data was: (1) systemic observation method, (2) indepth interview method, (3) discussion 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, design grafis expert, marketing expert, and management branding expert. Realibility or the trust of information was done by check – crosss – check method, counter interview, FGD and comparative study.

The road map of the research includes one systemic and

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dynamic process, which consist of five main steps, they are : (1) library research , (2) pra concept about branding, (3) socialization through FGD (4) final concept, (5) legislation in the form of local act (Perda).

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Diagram : Peta Jalan dan Langkah Pokok

Penyusunan Branding Kabupaten Gianyar

I II III IV V

Kajian Pusataka

Pra Konsep

Sosialisasi dan FGD

FinalKonsep

PERDA

I II III IV V

Diagram : Road Map and Main StepsThe Formulation of Branding of Gianyar Regency

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II

GENERAL OVERVIEW OF GIANYAR REGENCY:

“KABUPATEN SENI” AND “KOTA PUSAKA”

2.1 Dynamics of Gianyar History2.1.1 Arceological and Historical Heritage in Gianyar

According to archeological and historical record, Gianyar Regency has many old heritages that are still exist in the life of society since long time ago until this present. This could

clearly observe as what is founded on the area between the flow of two rivers, Petanu and Pakerisan River in the area that covers Bedulu-Pejeng until Tampaksiring (Ardhana & Setiawan, 2014). 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 KingdomsBased on those archeological and historical discoveries,

so then Gianyar has been regarded as the centre of development

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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,

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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 Last King of ancient Bali before it was finally bowed to Majapahit (source: https://id.wikipedia.org/wiki/Kabupaten_Gianyar).

2.1.3 Development of Gianyar HistoryThe 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 was a man, he finally went before the King and reminded him that he is his son. As the King recognized this prince so then he announced at the time to all the relatives in 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

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there was occurred riot because of a slander which was intendly issued to him. Therefore, he fled to Alas Bun and there he was married to I Gusti Ayu Pahang, a daughter of I Gusti Pinatih Resi. From Alas Bun he continued his journey 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 his father’s throne in Bengkel. He has three wifes, first is Desak Ketut Sunia who was given birth to a prince named I Dewa Manggis 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 to fight against the reign of Bengkel. Knowing this threat of rebel, he appointed his son I Dewa Ketut Pinatih with some knights Gusti Kebon Tubuh, Pungakan Nyoman Tegal, and I Gde Meranggi Dana to attack those villages, so then the threat were managed and finally Serongga and Kesihan were under the authority of Bengkel

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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 story went, he finally departed to Geria Mas Lod Peken to learn spiritual knowledge (kediatmikan) from Ida Pedanda Sidawa 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 KingdomThe 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

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Melaspas and Memungkas Agung that was held on Friday, Wage wuku Krulut (based on Balinese Lunisolar calendar), specificly on April 19, 1771. So then it was understanable that in accordance with those informations that date is presently celebrated as the anniversary of Gianyar City with commemoration of I Dewa Manggis Sakti as the first King of Gianyar (244 years old on April 2014). (https://id.wikipedia.org/wiki/Kabupaten_Gianyar).

When I Dewa Manggis Sakti was passed away, he was replaced by his son I Dewa Manggis Di Madya (1814–1839) as the first successor. Briefly, after he was passed away, he was replaced by I Dewa Manggis Di Rangki as the King Gianyar III (1839–1847). 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 conflicts were emerged and the good relationship with others kingdoms was turning into a distrust. He finally took the choice to ask for protection from the Dutch colony that was already settled in Bali. According to the General Governor of Dutch East Indies, I Dewa Gede Raka was promoted as “stedehourder” or representative of Dutch East Indies Government since January 2, 1901. His official promotion was completed with some traditional

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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 given for each regencies was different one to another, however, in Gianyar the title that was given is “Anak Agung”. In additions, there were many regulations that were reformed under the authority of 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

Puri Gianyar sekitar akhir abad XIX

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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 period of the influx of outside influences into the Dutch East Indies government in Indonesia, and particularly in Bali. On the Second World War, the Japanese troops was landed in 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 IndonesiaThe 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

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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 that Dutch was not finished with Bali. They were landed on March 2, 1946 and joining the Dutch East Indies armies that were still not leaving their colonies. Further, they were again coming 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 figures of Balinese national hero, such as I Gusti Ngurah Rai, and in Gianyar; Anak Agung Anom Asta and I Ketut Suetha that were 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 20, 1946, 88 people were dead on the fierce battle of Puputan Margarana. In addition, 10 more victims of young fighter from the youth members of Gianyar were died on that time, some of their 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 the young fighters from Gianyar that were sacrificed their lives while defending the independent of Indonesia. Apparently, the Dutch colony was not giving up for Bali, it was in accordance with 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

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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.

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(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 TourismGianyar 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 Subdistrict2). Blahbatuh Subdistrict3). Gianyar Subdistrict4). Tampaksiring Subdistrict5). Ubud Subdistrict6). Tegallalang Subdistrict7). Payangan Subdistrict

Gianyar regency is a region that is fertile and has a farm fields with a water system that is regulated by a system of Subak as other districts in Bali. Gianyar regency has a lot of tourist attractions; therefore, tourism is growing rapidly based cultural tourism.

2.3 The GovermentThe 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

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culture, field of cultural heritage (archeological artifacts), field of literature, and field of law. Whereas, BPCB Bedulu, Gianyar is particular institution that is dealing with matters of maintenance and preservation of cultural heritage. Thus, the source of funds for 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 as, for the rights, responsibilities, and benefits derived from the cultural heritage. Provincial Parliament as an arm of the House of Representatives in the region, in addition to receiving proposals 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

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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 the academic field, their role is needed in research, education, and community service. The existence and the role of Four Helixes (communities, governments, legislators and academics) 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 into five zones, namely: North Gianyar Zone (Tampaksiring, Tegalalang, and Payangan Subdistrict) as an agricultural zone to the life of the creative industries; West Gianyar 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 benefits and so forth. Especially in this era of global tourism, desa pakraman can revitalize the cultural heritage as a resource for

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improving the economy of society.

2.4 Gianyar with Its Diversity and Predominance of Art and Culture

The globalization that influence rapidly and followed by its dynamics has led to a culture of individualism, materialism, consumerism, and homogenism that are also affecting the social order. The negative impact of globalization, was not only in the cities, but also in the lives of the people at the district level. 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

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known as the “Moon of Pejeng”, which since the first until now still sanctified and consecrated by the community not only by people who come from the Gianyar Regency but also from other districts or cities in Bali (See: Sutaba, Astawa, and Wirawan, 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 are the two central figures in the development of Balinese culture both in terms of philosophy, religion, socio-cultural, legal, gender, and political governance. 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

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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 by enrichment activities that are creative in innovative efforts to develop quality.

The following can be seen, for example, the existence of 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.

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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 five religions.

6. District 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 receive the influence of foreign cultures in order to preserve the cultural traditions that have been held it is flexible and dynamic. In the area of this district are important sites that are not only significant for the local community, but also for the community at the national level, for example, in the District Tampaksiring Tampaksiring are Presidential Palace that have been built since the time of the first President of Indonesia, President Soekarno.

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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 significance to the cultural life of the community (sustainable cultural development).

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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 the south. In the sloping topography that is flowing rivers that cut Gianyar, including Pakerisan River and River Petanu. In the area of these rivers are the remains, remains critical of the 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 purified by villagers who nyungsung (manage) Pura TSB. (Geriya, et al., 2013). In the area Pakerisan River, from upstream, is the location of Pura Tirta Empul (Tampaksiring), with a 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 Kawi (Tampaksiring), Cliff Temple Kerobokan (Pejeng), Temple Estimator-size (Pejeng), Cliff Temple Tegallinggah (Bedulu), Rlief Bitra (Gianyar), and downstream is in the Pura Masceti in Turkish Masceti (Blahbatuh). In Petanu River region, there is also 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

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Bali is situated in Pejeng and Bedulu. Researchers, such as Goris were more emphasis on research in the field of inscriptions. Meanwhile, Kempers and Stutterheim, concentrate more on the field of cultural. Although the approach was done in different ways, but the synergy of research led to the conclusion about the character and power controllers of that era. Power controllers 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 that are conflict can be brought together. The development of art and culture thrive, based in Pakerisan and Petanu River region, particularly in Pejeng and Bedulu. In fact it can be mentioned that 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

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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 has artifacts (material) in the form of temples and rice fields. It can be mentioned that subak is the Balinese cultural heritage. (Windia and Arthawiguna, 2013) Geriya, et al. (2013) noted 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 the interests of individual farmers who have fields that exist in that area. Farmers need to gain subsidies and protection, so they were happy to farm. Gianyar regency government already provides tax-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 of cultural activities, have been reflected since the time of the kingdom of Bali Kuna. Pejeng and Bedulu village has developed into a natural area, where it has occurred akivitas various cultures. Until 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

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Preservation Agency office (BPCB) in the village of Bedulu. Thus Bedulu Village and next to that, Pejeng, more solid existence as the center of the ancient Balinese royal golden age was recorded 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 of the 272 indigenous villages, 70 villages and seven sub offices

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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 character of cultural heritage reflects the diversity of Gianyar regency periodization: the period of ancient civilizations, medieval civilization, a new civilization and modern. The 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 be developed in different regions. The core of the development of TSB, is to support the district. Gianyar as a heritage area. Meanwhile, the development of the region should be able 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.

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Table. Development Plan to support the Structuring and Preservation of Hetitage City Program (P3KP)

No. Zone / Area Land UseWidescale (Ha)

KDB (%)

KLB (%)

Building’s tall

1. One Day Cul-tural Tour

Throughout Pak-erisan River re-gion. Starting from Subak Museum in Masceti Beach (Medahan Village / Keramas) Gian-yar - Pura Sam-uan Tiga (Bedulu Pejeng, and BPCB Office) - Pakerisan River bank (Tam-paksiring).

- - - -

2. The centre of ev-ery districts in Gianyar (Gian-yar, Blahbatuh, Sukawati, Ubud, Te g a l l a l a n g , Payangan, and Tampaksiring). As the center of development of Catuspatha city.

Preservation of the castle, traditional market develop-ment, culinary, offices for govern-ment and private sector.

Not higher than a co-conut trees (max. 4th floor).

3. Pakerisan River bank, in Tam-paksiring.

Preservation of temple, water 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 particularly in relation to socio-cultural policy fields:

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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. Masterpieces in the field of Balinese arts (dance, percussion, painting, literature and sound), Balinese architecture, Balinese 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

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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, find funds from gambling to build a temple and a big ceremony), consumerism (e.g. conversion to secondary needs), completion problems with conflict (e.g. the border village economic background resulting in physical attacks), the implementation of tri hita karana is unbalanced (e.g. rivers and the sea become a landfill because there is no support facilities / infrastructure of the Government). All that can be classified as a “dark side” that is growing in Gianyar society that need to be addressed 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 (rice paddies and fields) as supporters of Balinese culture; not letting the land use to 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 /

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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 that can be done with regards to the first Policy is as follows. First, enlightenment program led by the Hindu Association and the 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

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of religion is avoided. For example, the implementation of a large ceremony had to walk though the financing of the sales profit of the temple, the estate, gambling massively and continuously. 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:Empowering the role of Subak (rice paddies and fields) as supporters of Balinese culture; not letting the land use increasingly 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 and fields) to landusing the productive land, (2) help farmers in the form of objects and not money in land management activities (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 avoid gambling as a source of financing religions and cultures. In Bali today, especially in the district of Gianyar, theere are more 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

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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 (we do not find a source that is accurate), some of the proceeds from land conversion ends among tajen. Unfortunately, gambling has been done as a way to find funds to finance the construction of the temple and religious ceremony, which in terms of religious ethics and Tatwa, it is not justified. Gambling is also a cause of impoverishment of society. Gianyar local government should 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 positive entertainment community, but also an offering for the God or part of Hindu religious ceremonies. Therefore, the Government 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;

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(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

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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 advantages in all three relationships, but specifically regarding on palemahan, there are still many things that need to be improved. 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

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of Gianyar facilitate the availability of landfill in each district, (2) Government of Gianyar provide first vehicle carried the waste to every Pekraman village and its maintenace submitted to the 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).

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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

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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 asissten 1 Setwilda the field of law and governance, which consists of representatives from cultural, legal, and Chairman BPCB Bedulu-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:

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a. The development of environment-friendly craft industry are as follows:

• Developing the industry to increase the added value of the highest, expanding employment, business opportunities and increase the volume exports.

• Develop the handicraft industry, especially small and medium scale food industry, industry of clothing and leather, handicraft industry, webbing households to support the tourism sector.

• Develop industrial estates in the centers of small industry and home industry.

• Increase the diversity of the processing industry, especially in the wood sub-sector and industry made of wood, household appliances and household handicraft industry and other small industries.

b. Tourism area development which is potentially in nature and culture are as follows:

• Develop a strategic area of tourism should that should pay attention to aspects of environmental sustainability and sustainable development.

• Manage, develop and preserve the ancient historical heritage.• Revitalizing cultural values as well as sites / historically

valuable cultural heritage.• Establish and develop the distribution of tourist attraction

with appeal of natural beauty, local cultural activities and others.

• Strengthening the integration of agriculture with tourism through the development of agro-tourism and others.

• Corroborate the existence of Pakraman village, Subak and other civic organizations.

• Developing cooperation pattern that gives protection to the

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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:

• Directing Gianyar western region as dominance-based tourism development zones with Balinese culture and craft industry.

• Directing Gianyar eastern region as the center of government, education and teen travel / recreation.

• Directing next Gianyar Central Region as the dominance of cultural heritage conservation area.

• Directing Gianyar southern region as the regional dominance of trade / services and shopping as well as agriculture.

• Directing the Northern Territory as domination Gianyar district agricultural development and conservation of water catchment areas.

• Improve the quality and quantity of facilities and infrastructure supporting the development of cultural 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:

• Scared Area in Hills are spread around Northen area of Payangan, Tegallalang and Tampaksiring District.

• Scared Area in Campuhan cover the Campuhan Ubud in Ubud District and all of the confluence of two rivers in the entire district.

• Scared Area of Beaches covers:o Beach in Blahbatuh District (Saba, Masceti,

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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.• Springs Area covers:

o Taman Beji Giri Kusuma in Melinggih Kelod Village, Payangan

o Tirta Empul in Tampaksiring Districto Pura Mengening in Tampaksiring Districto Gunung Kawi in Sebatu village, Tegallalang

District• The other spring water in district areas, which is functioned

as a place for doing relogious ceremony for Hinduism: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:

• Tampaksiring District: Pura Penataran Sasih, Pura Gunung Kawi, Pura Mangening, Pura Tirta Empul, Pura Pagulingan, etc.

• Blahbatuh District: Pura Samuantiga, Pura Goa Gajah, Pura Desa Pengastulan and Relief Yeh Pulu in Bedulu, Pura Bukit

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Dharma, Kutri, etc.• Ubud District: Pura Gunung Lebah, Pura Telaga Waja, Pura

Jukut Paku, etc.• Sukawati District: covers the cultural heritage of Pura

Hyang Tiba, Pura Puseh Canggi, Pura Puseh Batuan, etc.• Tegallalang District: cultural heritage of Pura Dalem

Manuaba.

Furthermore, the establishment of a strategic area of Gianyar regency (Article 62), include:

• National Strategic Area: National Strategic Area in Gianyar based on the importance of economic growth include Sarbagita region, namely the Urban Area Denpasar, Badung Urban Area, Urban Area of Gianyar and Tabanan.

• Strategic Province Area: As is the provincial strategic areas include provincial strategic areas on the basis of economic 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.

• The provincial department of social angle is the preservation of cultural mores or cultural areas and the protection of cultural relics, among others Scared Area of Pura Sad Kahyangan and Cultural Heritage DAS Pakerisan.

• Strategic Area District based on the importance and function of the carrying capacity of the environment (Article 64) is 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.

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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

In detail specific strategic area based on socio-cultural interests (Article 67) consisting of:

• Pura Dang Kahyangan and cultural heritage object and the biggest archaeological object in Tampaksiring, Tegallalang , 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:

• Northen area covers Payangan, Tegallalang and Tampaksiring district, coast area covers the villages in southern area 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.

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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 and intensively lifting findings, information and roaming the meaning of cultural heritage, the attention of statesmen, heads of 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

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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 universal value), then the efforts to participate as members of the Network Heritage Cities Indonesia is hope for all levels society 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.

Various positive achievements recorded in the reflection of the cultural history of the Gianyar regency include: (1) the growth of HR creative and includes a number of masters of art and culture in various fields, (2) development of natural habitats Gianyar regency as the center of Jagat Bali (Bali Central) as a center of culture and civilization Culture of ancient Bali, Buda Agriculture, Cultural Royal Palaces, National Heritage, Culture Modern to Cultural Multi-culture, (3) History, identity, character and philosophical basis Gianyar regency which is firmly imbued with the power of Taksu and the value of Tri Hita Karana, (4 ) Gianyar regency is the 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)

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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 actions and directives Heritage District futurological field of cultural development from 2015 to 2030.

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III

BRANDING IN MODERN ERA:Meaning, Function and Value

3.1 Concept, Dimention and Indicator

The concept of branding is a logo, an icon, a marker of a company, institution, community, either at the level of district / 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 multidimensional. Specifically, there are two main dimensions, which are: (1) tangible dimension and (2) intangible dimension. Tangible dimension in Gianyar branding, Kecak, the 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 features multicolored: yellow, red, blue with a specific meaning, (c) alphabets in the sentence of Soul of Bali represent about the psychiatric nature of propelling words and act in line with the concept of Tri Kaya Parisudha (think good and right, say good and

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PictureAlphabets

Branding Vi-sual of Kecak Art,

Soul of Bali

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

Colors

Figure 4. 1: Tangible and Intangible DimentionsGianyar Regency Branding

Kecak Art, Soul of Bali

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As mentioned in Chapter I, that the formulation of branding in scientific, comprehensive and whole compulsory completed the ten indicators. The ten indicators are shown in Figure 4.2 below

Figure 4.2 : Ten Indicators of Branding ProposalGianyar Regency, Kecak Art Soul of Bali

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3.2 Build the Excellence in BrandingIn the modern era, aspects and excellence missions plays

a very important role, strategic and effective. Excellence aspects cover all aspects, which are holistically play constructing the 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:

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Figure 4.3 : Eight Excellence of Branding Seni Kecak, Soul of Bali

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3.3 Meaning, Function and ValueWith 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 on three components: (a) the majesty of fire illustrates the soul, (b) the component of area or ecology, and (c) the component of person or human resources, (3) Meaning script: the 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 as offerings for the wider interests that stretches from the scope of the village, district, county, province and nation and also universalism, (4) Meaning of color, which is covering three basic 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

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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.

In significance perspective, it covers: (1) the meaning of expressive, (2) the meaning of progressive, (3) the meaning of sustainability. Expressive meaning is associated with despair 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 condition2. Family harmony3. Environmental conditions4. Social relations5. Health6. Work7. The availability of spare time8. Condition of the house and assets9. Revenue10. 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)

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3.4 SWOT AnalysisSWOT analysis is trying to reveal in detail and

holistically about the strengths, weaknesses, opportunities and challenges of Gianyar Seni Kecak, Soul of Bali branding through the identification as follows:

No Catagory Narrative

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-ness

The socialization of Kecak is comprehensive •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).

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3 Opportu-nity

Open in local, national and international •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-•cieved some appreciations in every field, including tourism, marketing, maritim, edu-cation, until cultural diplomation.

4 Chal-lenge

The potential for mutual claims against Ke-•cak is in cross city and cross country.As branding, it sounds a bit complicated in •tangible and intangible aspects.Socialization is more widely and effectively •through local media, national, internation-al.Challenges related to holistic or partial pla-•giarism Cultivate the harmony power of art and the •power of branding.Achieve real values and immediate benefits •for the creation, sustainability of kecak and positive impact on the welfare and happi-ness of society.

3.5 The Transformation of Branding into WOW MarketingRealizing 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

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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 effectively. The variety aspect consists of: (1) Aspects of HR, which is an intelligent HR or smart people; (2) Aspects of culture, an intelligent culture, rich with need for achievements 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).

Diagram 4.4: WOW Marketing based on Intelligent

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Diagram 4.4 : WOW Marketing Berbasis Kecerdasan

SDM Cerdas

BudayaCerdas

Jaringan Cerdas

Ekonomi Cerdas dengan Multi Nilai Tambah

Teknologi Cerdas

Manajemen Cerdas

Strategi Cerdas menuju WOW

Marketing

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IV

TRANSFORMATION OF “CAK DANCE” AS BRANDING-BASED

IN GIANYAR REGENCY

4.1 Background

The idea of making Gianyar branding, actually has been initiated by Mr. Anak Agung Gde Agung Bharata at the end of 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 in Gianyar, with hard work and intelligence, all efforts for progress towards Gianyar has been done, such as: having a cooperation with the Bali Study Center, Udayana University, then made 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

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that must be fulfilled is to continue the struggle to pass the regent of Gianyar as a Chairman in Presedium Indonesian Heritage Cities Network (JKPI) held in Bau-Bau, Southeast Sulawesi, 26th-28th 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.

The first trust, which is given by JKPI after designated as Heritage City, is to give an opportunity to the Regent of Gianyar to represent Indonesia for presenting and showcasing the 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 Dance, figures of funny orderly, cliff temple, Meru, etc. Some important aspects to be considered to determine the choices are: historical background, philosophical background, mythological 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 presented is the buffer, the bearer of the other idea with various arguments, and they are competent in the field of branding. The determination of the resource persons and participants of FGD handed over entirely to the Head of the Gianyar 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

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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 BAPPEDA Office, Gianyar. FGD featuring a single speaker, Prof. Dr. Wayan Pastika, M.S. with his paper entitled “Designing Branding Gianyar regency”. Furthermore, the other sources are given the opportunity as a buffer and / or convey an idea (topic) with another argument. Through a discussion that was very tough, but then definitely agreed that “Cak Dance” as the branding of Gianyar with a graphic design that is designed by I Dewa Nyoman Anom, S., Pd., M.Pd. and colleagues. There are fourteen forms of graphic 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 12.00 pm at the office of the regent of Gianyar, Gianyar Regent select the image No. 3 of the following three images, which are considered the best of the fourteen pictures branding prepared by the Committee. However, the picture No. 3, according to the regent of Gianyar, still need a little modification to the element of fire, dancers and cak written characters. Elements of the dancers desirable that consists of three rows of circles, while the fire element is also composed of three ends as a symbol of Tri Sakti and character writing shows a strong character.

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No. 1

No. 2

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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 designed to ensure a bountiful harvest or to celebrate significant events in life such as birth or marriage (Danesi, 210: 186). For

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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.

Certainly, there is no much different from the existence of regional dances above that “Cak Dance” was voted to be one of the classical art of Bali, which is also the cultural heritage of the 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

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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 exchange. Economically, it is very profitable for the Government of Gianyar regency. Because in an effort to meet the needs of their peoples are so numerous and complex, they must be supported by the capital. Gianyar development today, is counted on three 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 and culture and other properties is very effective as a promotional item. With a presence that is both global (universal) certainly did not lose competitiveness with other regions.

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.

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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 / Godhead. Three flames can be interpreted as the holy light of God that illuminates the three worlds (underworld, the world and 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. 33 is a significant number of pangurip earth (world) symbolized by man as a symbol of a small world (Microcosmos) 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

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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 must be staged in any five-star hotel, in the stage-the stage, and in other places in Bali.

4.4 Branding Message: Local, Nasional, and UniversalMessage 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 branding with considerations: firstly, “ Cak Dance” can be used as a symbol (marker) that gives the identity of Bali, especially Gianyar regency, both in domestic and abroad; secondly, “Cak Dance”, besides loaded with local message, it also carries a message quite representative of national and universal message.

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Local MessageBali is well known both in domestic and abroad. It is due

to the typical (unique) cultural values. Grow, live and thrive with a flourishing culture of Bali, certainly because of all religious activity in Bali requires the presence of art and culture, both as complementary and supporting, and Hinduism itself as 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

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archipelago is very important as a capital for diplomacy with other countries in the world through the field of culture. Culture is the stronghold of a country (Edward Said, 2012). The destruction of the culture in a nation is as a marker of the destruction of the 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 from the philosophical aspect, “Cak Dance” is a reflection of the natural environment and its contents by the spirit of God. Natural environment, human beings, and God are three important aspects 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).

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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, refined and developed values; ethnic identity (Bali); and also be able to retrace the development of the times. The four properties which, according to Prof. Budi Santoso (1989) is a condition that 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.

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Universal MessageIt 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 satisfied with just watching, but immediately learned to dance. Things like that indicates that “Cak Dance” is a representative to convey the message of the earth of art (Gianyar) to foreign countries. But it would be more effective if the dissemination of the message through the form of branding, because it is easier to produce and promote it. That is, through the media branding 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.

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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.

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V

THE APLICATION OF BRANDING IN THE

DEVELOPMENT OF GIANYAR

5.1 Background

Branding on the issue of cultural heritage is a priority issue in improving community development that prioritize cultural tourism as a mainstay. To that end, efforts to

manufacture quality branding is indispensable in improving competitiveness between one region to another. It required 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

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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 the concept of branding should be a scientific, comprehensive, and a whole shall meet the ten indicators, which are: distinctive / authentic: as a representation of the areas concerned, solid in the base philosophy of local wisdom, evident in the configuration of the main values, like: logic , ethics, aesthetics, creativity, solidarity and spiritual; able to develop in the communication of local, 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 theories critically, constructively and verification.

The exist hopes on having a branding for a region has become a dream, which should be realized. For example, Gianyar government branding issues had been discussed, since the Regent Anak Agung Gde Bharata, who served as the head of the first Gianyar regency. However, it had not realized due to a change of regent. Therefore, when the Regent Bharata was re-elected to lead the Gianyar Regency, the hence of desire 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

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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 solid philosophical meaning, 3. The existence of the configuration of the core values 4. Developing local communities, 5. principled continuity, 6. not the result of plagiarism, 7. applicative, 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 HeritageSaujana Cultural HeritageArcheology Cultural HeritageHistory Cultural HeritageSettlement and Architecture Cultural Heritage

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Subak Cultural HeritageReligion Cultural HeritageArt, Tradition and Literature Cultural HeritageMulticultural Cultural HeritageCharacterized 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 IdentityBranding 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 problems that arise differences. In general said, that the concept of inheritance is the creation of a human or a creature that is passed on from one generation to the next. Balinese in terms 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

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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 (Bali Kuna). However, among Gianyar branding, it is offered with regard to the problem of candi patahan tebing, which considered the only one in Bali, but they have a characteristic originality, 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

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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 MerchandiseGenerally 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 income earned from the sector flows to the centers of power, and the local people seemed not much involved in this promising sector, which is often put forward ironically with “Bali Enough”. 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 to the tourism industry. Nevertheless, remediation efforts to

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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 other hand, if it is not anticipated well in the field, is considered to be able to erode the values of the folk wisdom that can also erode the identity of the local community. Therefore, how important it is to supervise that the process of “westernization” that goes not to happen, because either directly, or indirectly, may result in the weakening bonds of tradition “oriental” is often different from the values of Western consumer goods, consumerism, and individualism.

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 effectively, cultured and sustainable. The scope of accessible communications field which includes multifield: government, education, trade, tourism, technology, science, culture and others. Until now, it still can be seen in those functions in people’s lives in Gianyar. The functions developed in the region present among others in the field of trade and services, education, offices, housing, worship and recreation are expected to meet the needs of modern society, yet still retain and develop its cultural heritage. 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 revealed by Gerberich (2005: 78), including how efforts are being made to mitigate them. The fourth impact is comprised of: (a)

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the sustainability aspects of culture, a concern that is evolution occurred degradation of the value of local knowledge. Efforts to do, which was to reduce the fulfillment of tourist interests that can erode the values of the local culture; (b) aspects of environmental sustainability, pollution and cultural heritage sites. Efforts to overcome that required the cooperation of all parties to maintain and preserve the cultural heritage; (c) socio-economic aspects, that benefit is not only for a moment. It is necessary for the proper way in presenting the cultural heritage in order to remain interesting places to visit; and (d) socio-political aspects, namely 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 LandmarkIn 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.

The question arises, among others: first, how cities in Southeast Asia in maintaining his identity, so it has an identity that can be promoted with the outside world. In addition, how the strategy of development of the cities, so it can offer something different from other cities. And lastly, what efforts should be made so that the city can improve the welfare of its inhabitants who live in the midst of the region. History records that the development of a city can not be separated from the development that occurred earlier. It occurs commonly in Mainland Southeast Asia, and in the

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world archipelago (the Islands of Southeast Asia), which is the same happens in the countries of Southeast Asia, was influential on the development of cities or districts in underneath. The development of the cities in Southeast Asia has strong 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 period of influence of Hindu Jawan is an important historical episode, because the Balinese people can develop a culture that is rooted in the strong foundation until this present life. In addition, the past history of Bali Kuna, for example, are characterized by dynamic development of religious beliefs, whether Hindu or

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Buddhist, can be done peacefully, as can be seen with the Pura Samuan Tiga, depicting the unification of the Hindu-Buddhist, although the two beliefs are not the same , but the meaning is one. In the Dutch colonial period, it appears there are efforts to appreciate the values of heritage that exist in this society. It was actually already started to develop since the Dutch colonial period, 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

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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 means that it can contain the meaning of the world wake. At first cak means do. If it is linked with philosophy, it is a conclusion. In the universal values Cak also contains the meaning of the word global. Therefore, in light of the historical significance of dance also appears to be touching it, and its uniqueness is precisely unity in diversity. Cak Dance vigorously contains the meaning 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 significance. As the fire for the example universal meaning, so with this Cak will display the message intact. Thus it can be said that the selection of Cak Dance shows how the world was born 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, as

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Trisula sign which peaks towering and given the show of color is red fire. As for the color of its human was given the green circle.

During this time there is an impression that Cak as a branding, many who use it either of the various regions, art institutions and so on, without any in-depth look at where it comes from Cak Dance at first. In the context of Indonesia looking for original, Cak Dance is indeed exist everywhere apart from in Bali, generally served in hotels to domestic and foreign tourists. 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 that originated from Gianyar. Access first appeared in Gianyar, but later in its development came the idea any mandatory hotel serves Cak dance. It can be said that it is generally acknowledged that, 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 dance, but there are still other offerings such as the proposal of Legong, Candi Tebing, and so on. With the branding of Cak Dance, there is an expectation, when making graphic design should be 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

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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 DecorationGianyar 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

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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 offered branding so that it will be able to have the best branding matches the cultural arts community of Gianyar as the “Earth Art”.

5.6 Branding as a PromotionBranding was created on a place or city to become a

particular attraction for domestic and international travelers. This effort is to improve the image of interesting in relation to the increase of tourism who visits Gianyar, without sacrificing the identity or the identity of the city concerned. In Bali, for example, has experienced rapid growth of tourism. which 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.

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Table 3. Gianyar’s Art and Culture: Uniqueness and Rareness

No Sub-District Uniqueness Rareness

1 Sukawati Fashion, Gastronomy, Lontar Usada, Sanghyang Dedari, Barong Landung, Baris, Asta Kosala Kosali, Astronomy, Awig-awig (Traditional Law)

Jineng, Sekaa Se-mal, Traditional Game, Folklore, Joged, Janger, Usada, Nyastra, Nangluk Marana

2 Blahbatuh Gastronomy, Sekaa Gong, Marga Sekala (tradition-al pop music), local lit-eracy, Arja, Baris Truna Batu, Wayang, Arja, Asta Kosala Kosali, Astrono-my, Nyamleh, Pasupati, Awig-awig (Traditional Law)

Jineng, Sekaa Se-mal, Traditional Game, Folklore, Joged, Usada, Nyastra, Nan-gluk Marana

3 Gianyar Togog (Statues), Bali-nese textile, Gastronomy, Bakti, Usada Lontar, An-cient Script, Sanghyang Dedari, Barong Land-ung, Asta Kosala Kosali, Astronomy, Nangluk Merana

Jineng, Tradi-tional Game, Folklore, Joged Bukit Jati, Dra-ma Gong, Usada, Nyastra, Nan-gluk Marana

4 Tampaksiring Pande Besi (Petemon), Sandal Bali Pejeng, Coco-nut Shell (Tampaksiring), Lontar Usada, Sanghyang Jaran Pura Penataran Sasih, Barong Landung (Pejeng), Wayang (Pete-mon), Awig-awig (Tradi-tional Law)

Jineng, Arak (Ta-tiapi), Group Se-mal Traditional Game, Folklore, Arja, Janger (Ta-tiapi), Usada Nyastra

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5 Ubud Pratima, Uang Kepeng (Ida Bagus Panca Mas), Ayan Betutu (Penes-tanan), Patung Burung, Museum Arma, Neka, Rudana, Tari Pendet (Pe-liatan), Asta Kosala Ko-sali

Sekaa Semal Tra-ditional Game, Folklore, Janger, Usada, Nyastra

6 Tegallalang Bokor and Dulang (Se-batu), Gastronomy, Baris Gede (Sebatu), Asta Ko-sala Kosali, Astronomy, Mekiis, Awig-awig (Tra-ditional Law)

Jineng, Tradi-tional Game, Folklore, Usada, Nyastra, Nan-gluk Merana

7 Payangan Dulang, Gastronomy, Se-kaa Janger, Astronomy, Rejang, Asta Kosala Ko-sali, Handicraft.

Pande Besi, Tu-kang Ukir, Folk-lore, Arja, Janger, 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. The first step to work on Gianyar branding:1. Initial study is needed before designing.2. Graphic design concept is needed to be in a contest.3. Confirm a right design for an area.4. A submitted branding must inspired people in Gianyar to

work creatively and inovatively.5. Graphic design, public realtion, marketing for promotion.

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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 infrastructure such as the following: Office / home office of the regent of Gianyar, Catuspatha, Gianyar Square, Gianyar traditional markets, government offices, the building of temples and so on. In the future development and revitalization of culture that needs to be done to cover the makana or traditional cuisine, traditional 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,

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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)

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5.10 Branding and the Development of Hetirage CitySpeaking 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 almost no difference with the other cities in Southeast Asia, causing more interesting travelers to visit rural areas that would display the different exoticism, compared to the other city. Nevertheless, it does not mean that the city can not offer any interesting thing to increase the number of tourists visiting the region.

Similar processes have led to some quarters, especially 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

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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 defined by UNESCO as a World Cultural Heritage includes Subak Pulagan , Buluh Atas, Buluh Bawah, (3) the cultural heritage of arts, such as legong dance, barong dance, painting, and others, (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 a scientific study of the Cultural Heritage inventory and mapping of Gianyar regency. Heritage in Gianyar which amounted into 51 pieces (2014).

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VI

LEGALISATION, HAKI AND SOSIALIZATION

OF GIANYAR BRANDING

6.1 Legislation though PERDA

City Branding is a visual and verbal identity of a city to present a picture of emotion, intellect, work ethic and cultural 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 PerdaThere 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.

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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 flame is higher than the other two) with the color of yellow as a symbol of parhyangan / Godhead.

(2) Harmony between people and nature is represented 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).

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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 the traditional art that must be staged in any five-star hotel, in the stage-the stage, and in other places in Bali. Two branding elements which is already mentioned above (in visual and verbal image), is located in three hirarchy.

First, the image of Cak Dance and its elements (three yellow flames, blue circles and human rows) is at the top.

Second, under the cak dance and its elements 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.

Third, the bottom of the order is filled with phrase in English: “the soul of Bali” horizontally on the bottom left side, coincides with the main article on it “GIANYAR”, which is also written in black.

Branding Color Branding color of Gianyar regency is consisted of five different color:

First, yellow is placed on the upper flamce, which is represented Godness, perfectness and pureness.

Second, blue is placed on the circle in the middle, represented the earth or the earth’s environtment.

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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 difference elements in life: ‘good and bad’ and ‘right and wrong’”. Gianyar logo is established and enforced for all this time, as follow:

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:

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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 different positions when they should be presented on a medium.

First, if they are to be applied on top of a horizontal media that is transversely from left to right, then both should be in the top position with specificity: Logo of Gianyar Goverenment, placed on the extreme left as the position of the earliest attention; Gianyar City Branding, placed at the far right end.Second, if they are to be applied on top of a vertical media with specificity: Gianyar District Government Logo placed in the top position as the object of the earliest attention; Gianyar City Branding, placed directly underneath with a distance of two spaces.

The Use of Logo and Branding Logo and Gianyar Banding is used in Gianyar Goverenment environment from the Village Government, Sub-District Goverenment, SKPD Office which is conected with the Giantar regency and the Regent of Gianyar. Private organizations or groups of people who get permission from Gianyar regency government 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

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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 2001 abouut Brand that be defined in Chapter I, Article 1, point 1 as follows:

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 2Brands as stipulated in this Law include Trademarks and Service Marks.

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Article 3The right of Brand is an exclusive right granted by the State to the owner of brands registered in the General Register of Marks for a specific period of time by using their own brand or give permission to others to use.

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 5Brand 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; ord. 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

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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, flag, emblem or symbol of a state or national and international institutions, except with the written consent of the competent authority;

c. imitate or resemble the mark or seal or official stamp used by the state or government agencies, unless a written consent of the competent authority.

Gianyar branding design is clearly qualified to be registered as IPR belonging to Gianyar, because its existence is typical, there is no element in common with brands, in other hand 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 HoldersStakeholders are all ranks under the Government of Gianyar,

in the realm of executive, legislative and judicial branches;

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from the village, district and SKPD. They are individuals, both personally and institutionally targeted for first on the socialization of branding because they need to know and animates about the existence of branding before disseminated to the general public.

In relation to the objectives and methods of socialization, there are a number of methods that can be done by stake holders. The following methods can be classified into methods of oral and written methods:

(1) Oral: direct explanation to related officials(2) Oral: relevant officials explain to its ranks(3) Oral: arts performances (sound, dance and comedy)

themed Gianyar branding(4) Written: banner in front of the office(5) Written: division sticker to each staff(6) Written: writing poetry and narratives parade about

branding Gianyar(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, confidence and advantage of the potential of Gianyar regency. Branding is a representation of all that that shows dignity, the courage to compete, confidence and excellence that is brought as a result of the joint work between the District Goverenment and Community of Gianyar.

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, soon after Gianyar branding officially established. Meanwhile, long-term socialization is done continuously and applying.

In the longer term there should be a system 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

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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 PublicSocialization to public is usually done after all the staff and the

elements in the ranks of Gianyar Goverenment know, understand and animate the existence of city branding and the meaning of 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 of each of these elements must be able to influence the positive attitude of society to advance the government and the people. In addition to the meaning of each element, the less important

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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.

FORMCONTENT

MEANING PURPOSE

CAK DANCE: Human cir-cular rows of red, blue circle in the center, and the three flames rises up.

Cak dance based on the philo-sophical of Tri Hita Karana, which is three harmonious re-lationship:

(1) The harmony of man’s re-lationship with God is sym-bolized by the image of three flames (flames in the middle is higher than two flames on the other side) with yellow color as a sym-bol parhyangan / Godhead.

(2) Harmony between people and nature is represented 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.

Gianyar regency build all aspects of life with three road alignment (man and God, man and nature and humans with other humans). Therefore, improving the quality of life is not only determined by developed economic principles, but should consider the peace, di-versity, ethics and so-cial care.

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S L O G A N : “Gianyar the Soul of Bali.”

Gianyar is the spirit or the soul of Bali.

Gianyar regency became the center 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 and Hindu influences from India. In a recent development, 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, blue, red, white and black.

Yellow represents perfectness and pureness, as the symbol of Godess.

Blue represents earth or the environment, which should be maintened and preserved for a harmonious live.

Nature is full of colorful color and all of them provide benefits to nature and living things. Color also can be translated as human attitude that always appreciate differences for the sake of harmonious relations.

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P O S I T I O N : vertical and horizontal.Vertical: the upper flame, earth circle in the middle and a row of human in the bottom. Horizontal: Three flames which is focused 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.

A balanced strength is determined by the connectedness of motion from top to bottom and also the motion of the poles leftmost to the rightmost pole.

Humans must maintain a balance between the achievement of material and spiritual attainment ongoing basis so that welfare is not only the rights of the present generation but also future generations.

6.4 Conservation of BrandingConservation of Gianyar Branding should hold on a concept

that is capable of Gianyar city branding as a region that makes the name and meaning of ‘BALI’ as well as a branding. Meaning of ‘BALI’ should be reflected in the slogan ‘Gianyar is the soul of Bali’. This slogan has been preceded by many slogans over 100 years back, for example, “Bali is the last paradise island”, “Bali 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,

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Gianyar should show itself as one of the most persistent offenders retain all of Bali’s. It can be achieved if Gianyar apply the rules of branding, as many experts theorized by branding. One 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) about the ‘twenty-two rules of branding is immune’. In this case referred only eight of twenty-two rules, like in the following:

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. Bali is different from Thailand, Singgapura, Malaysia or other regions.

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 lot of garbage strewn around it, the traffic is irregular and jammed everywhere.

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 happens, then the branding of ‘BALI’ will stay to be a name.

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.

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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.

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Perfomance of Kecak Dance in Ubud

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VII

CLOSING

7. 1 Conclusion

Gianyar Branding will have a range of leverage in Gianyar imaging, both as areas of the city and district, if it’s verbal 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

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“breadbasket of art.” Therefore, Gianyar Branding is inspired by the presence of one art that was born and developed in Gianyar. Cak dance was first born in Bedulu, 1935, and grown in the village of Bone (1937) and followed by Kemenuh village (1938).

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 Cak”, sound of cak appears first, then enter the performance space in the form of banjar with dance movement that is simultaneously 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 danced by moving the hand imitating a fire, wind, waves, trees and others.

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.

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7.2 RecomendationBranding 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 a lack of progress in their favor when dealing with the affairs of government administration. Without all that, it is only considered 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.

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The painting of Kecak Dance by I Gusti Nyoman Darta (Ubud, Gianyar)

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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.

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9. 10.

11. 12.

13. 14.

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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, 13• th of August 2015Venue : 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. Researchers3. The experts of Heritage City4. Artist, Anthropologists, Carver5. Listibiya of Gianyar Regency6. The Creative community, design, public7. The Center for Bali Studies

III. The Discussion Process in FGD and suggestion from the participants

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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: HeadofTourismOffice,CokordaAgung,Budiana,Yuke,

Witarka, A.A Raka, Susana4. Group Discussion:

a. Group I : Yuke Dharmawan and friendsb. Group II : Tjokorda Agung and friends

5. Report of Group I and Group II Main issue : To agree Kecak as the Branding6. Offering three options of branding which sourced from Kecak

Dance7. Giving suggestion to develop and to explore the narration of

Kecak8. GivingSuggestionforHAKI,DesignGrafis, Preparation of Narration to Cambridge, Launching Publishing the holistic result analysis until the post program of

Branding Launching

IV. FGD FORMULATIONMain ideas of the formulation and recommendation of FGD: 1. The Branding Concept : strong-holistic-original Gianyar Transformation from the concept to design by conducting

competition2. System and process: Output design is expected to be:

a. Whole b. Simplec. Easy to understand and rememberd. Inspiringe. Soul, as motto Soul of Bali

3. Toposa. locally rooted (Gianyar)b. National Appreciationc. International communication

4. Kronos

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a. Old time, historical rooted, and archeologicalb. Now, live as living artd. 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 Downb. Bottom upc. Public participationd.Scientificanalysisandexpertconsultatione. Legislation through Pergub/Perda

7. Be aware:a. Branding is having a negative tendencyb. Process of plagiarism, HAKI is necessaryc.TheHorizontalconflictwhichmayrisetoclaimKecak,cross

regencies, regions or even countries8. Philosophy Base and the Main Value of Kecak

a. Philosophy Tri Hita Karanab. Philosophy Topos, Kronos, Logos (desa, kala, patra)c. Philosophy of balance between buana alit and buana agungd. Main value: logic, ethic, aesthetic, creative, solidarity, and spiritualitye. 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 Regency10. 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 Dance2. Having the verbal image, narration of Kecak

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3. Roadmap for the futurec. Publishing the result of the analysis in bilingual edition,

Indonesian and Englishd. Gianyar Branding should be escorted through multi helix

participation including the community active participatione. Some post launching activities are:

1. Mapping of sekaa Kecak in Gianyar Regency2. HAKI recommendation toward Kecak Branding3. Formulating Perda about Branding of Gianyar Regency4. Revitalization of Kecak through Kecak festival in the

regency level, and world Kecak Festival5. Recommendation of Kecak as WBN and WBD through the

Ministry of Culture and Education

Gianyar, 13th August 2015

I Wayan Geriya

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MERANCANG BRANDING KABUPATEN GIANYAR

I

I Wayan Pastika PKB Universitas Udayana

bekerjasama dengan Kabupaten Gianyar

Appendix 3. Material for Presentation of FGD from the Chairman of the Committee (Prof. Dr. I Wayan Pastika, M.S)

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BRANDING = Merek Dagang

• Gambaran visual, emosional, rasional dan citrabudaya sebagai simbol identitas lembaga, simbolproduk atau jasa yang distingtif.

• Istilah standar yang digunakan adalahmerekdagang (trademark).

• Branding suatu kota digunakan sebagai mediapromosi untuk mendapatkan pengakuan, baik ditingkat lokal, nasional, maupun internasional

Sumber: Mints, J.H & Chan, Johana. 2009

MENGAPA PERLU BRANDING?

KE DALAM KE LUAR

P Relation

Bangun Etos Kerja

Kerja Sama Tim

Jati Diri Lembaga

Promosi program/jasa/produk

Dorong Loyalitas Masyarakat

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ISI BENTUK

Tanda LinguistikGagasan

Pesan

Persuasi

Promosi

Warna

Posisi

Simetri

STRUKTUR BRANDING

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10INDIKATOR

PERUMUSAN ISIBRANDING

10.JANGKAUMEDIA

TRADISIONAL &Modern, Lok, Nss

& Internl

2. KOKOHFILOSOFIS

7. APLIKATIF

8. DARITEKSTUALKE APLIKASI

9. MAKNASETIAP

UNSUR &UTUH

1. KHASDAERAH

4.MENGEMBANGKANKOM.LOKAL

3.KONFIGURASI NILAINILAIUTAMA

5.BERPRINSIPKESINAMBU

NGAN

6. BUKANHASIL

JIPLAKANGeria, 2015

KEUNGGULAN GIANYAR1. BUMI SENI2. KABUPATEN PUSAKA

Subak WDB UNESCOArsitektur Bali (rumah, pura & puri)Tinggalan Sejarah & Purbakala (Bali Kuna BaliMajapahit)Kerajinan (kayu, batu & logam)

3. TUJUANWISATA4. RELEGIUS5. DINAMIS6. EKSPRESIF7. PROGRESIF8. KREATIF

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CAHAYABUNDARANKOSONG

GARISMANUSIAMELINGKAR

Gr ̣hāɲar Jīwātmaning Balidwipa The Souf of Bali

Matur suksma

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Appendix 4. Reporter Notes of FGD

NOTULEN FOCUS GROUP DISCUSSION

BRANDING GIANYAR REGENCYREPRESENTATION OF IDENTITY IN ART DISTRICT AND

HERITAGE CITY IN THE MIDDLE OF LOKAL,NASIONAL AND INTERNASIONAL COMMUNICATION BY REVIEWERS TEAMCOOPERATION WITH THE GIANYAR GOVERNMENT AND

BALI CENTRAL STUDY, UNIVERSITAS UDAYANA, GIANYAR 13TH AGUSTUS 2015

I. KECAK ART: SENI KHAS KABUPATEN GIANYAR1. History of Kecak Art in Gianyar2. Characters, Artists and Maestro of Kecak Gianyar3. Basic Philosophy and Main Values4. Kecak Art: Multi-art Sinergy5. Centralizations of Kecak Art Gianyar6. Kecak Art as Branding of Ginyar : Potential, Chance,

ChallengeII. BRANDING IN MODERN ERA : MMEANING, FUNCTION,

VALUE1. Branding Concept and Indicator2. Development of Branding in every Country, Corporate

Institutions3. Form, Function, and the Meaning of Branding4. Aplication of Branding in the Continuation of Live5. Konservation of Branding through HAKI

1. Speech from the Head of the Cultural District GianyarBranding had been filed since the first regent, but has not been implemented, we and PKB work together to do the branding. So that we are not in the wrong position before it was decided that there should 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.

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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, promotiono 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 Proposal1. Typical Area, 2. Solid Philoshophy, 3. Configuration of main values, 4. Elicited local community, 5. Principled continuity, 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 Ginyar1. Earth of Art2. 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 GianyarGIANYAR Soul of Bali

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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)What is already served is good, but I think the technic on how to find an input, is from the bottom, not the upper side. At once I was doing a discussion or contest, if there is a contest, than idea will come from 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 have a fisrt design which is collected from the community, please show it to us.

(4). YudiBecause it is so urgent, what we need to do is needed to be discussed first, because there are 3 patterns, which are: raising logo, words, our decission is a raising logo and words in it, just take the others, so that we can decided the logo. From design 3, I choose the middle one, moreover, the flame should be in the A. Everything should be made in black and white. A quick question for the logo is: for what? And for who? If the decission of the design, eventhough there is a contest or just instantly 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 wrong one. ‘The’ is needed to be added in it.

(5). Ibu Yoga Darmawan, humas, Gianyar Economic expertsAs 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 can talk about folosofi, do not put any ‘in hurry’ impression. I see many shantys when it is in launcing, it became a joke in Berlin, unfortunately,

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the message describes the story of a clever, what story is delivered by Kecak, is what people know, easy to remember, differensiational, whether Kecak has not been the logo?. Ambbasor, inspiration, and making people want to stay well-rounded, even for inverstor. The logo should be invited 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 RakaI 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 you in a short time, and there is already an idea like this. Red fire, the human, the palemahan is in green circle, it is fine. It is our responsibility to choose the best in the future. If the two philosophicals are ready, then I only need to worn on two pieces.

(8). PakWe 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 we need to find an information about the design graphic of this logo for a long term. It was too crowded, if there is no mark on the, how this branding can be for marketing purposes. I understand what Pak Raka 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 SusaneThere is no support or reject when Cak is being discussed. So initially, Cak is ‘doing’. If it is connected with the philosophy, it is the points / conclusions. If Cak is oversaid, it is said by the local, means the bond of

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brotherhood, unity intact. Ning is a tribute, nung, nong = prelina. If I may say GIANYAR, the ‘I’ should be lower a bit.

Moderator: 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:- We should be able to find the correct thematic. When we

decided cak to build a cak ginyar.- I am a designer, this work is for beginners, compete 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 dance from Gianyar, the first access is in Gianyar, any hotel should serves Kecak.

Moderator: we speak about we use cak or the other else?

Prof. Ardana: - From these 3, we can see Udayana, Candi Tebing, Kecak.- We need to dicussed first, then we will meet again.

1. Ibu YogaIn 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. PotentialThere 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.

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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. We agreed about Cak. The matter is the first person who do the branding. From the designers point of view, pleace make it as a competition, don’t let it hanging, we respect it, because art is a perception 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

first step to make Branding of Gianyar1. Methodology system proces and poured into graphic design,

it is not easy to design simplicity. We have not completed this work, the group interviews, personal, and seminars

2. Design graphic concept competition, not in the first competition, agreed with it first, then it can be competed, Agreed that Kecak will be the branding,

3. Local, nasional dan internasional will not be a problem, first is to believe that Kecak is Bali, Bali is in Gianyar

4. In the past, now and the future, this is important, the coolnest 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 indentified it. Can Kecak give sinergy?

6. Is it easy to make fun of our branding? like shanti, cak-cak. Be ware of mocking.

7. After this, branding will be processed, August to September will be the first step, in Berlin, there will be an information about our branding

8. There will be a stury about Kecak until September, Desember will be the report of the study, then it will be continued in April.

9. Pass the others to make a book about Gianyar10. Kecak Festival for bali areal in Ginyar then Kecak Festival for

Indonesia areal in Gianyar

Closing :1. There will be a competition about Branding2. A study about Cak3. There will be rules in Gianyar to support Cak.4. Holding a Cak Festival in Gianyar.

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Appendix 5. Attendant List of FGD

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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 rheofficeofDepartmentofCultureofGianyarregency.Basedon 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 UNIVERSITYJl. PB. SUDIRMAN DENPASAR

THE COMPETITION GUIDANCE OF BRANDING DESIGN CREATION

GIANYAR REGENCY

BackgroundGianyar 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 flourishinaccordancetothedemandoftimewithoutlosingidentitywhichis 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)

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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.

ThemeTo create Branding of Gianyar which depicts the identity of dynamic, harmonious, and religious Gianyar.

ObjectivesGenerally, Gianyar Branding is expected to be inspiration of the community, in the government and private to bring Gianyar become more sustain. To be specific,GianyarBranding is expected tobeable to supportproductivity,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 BrandingBased on the result of Focus Group Discussion (FGD) which attended by staffs of related unit works of Gianyar Government (SKPD), anthropologist, scientist,designer,artist,andfiguresofGianyar,thevisualimageofKecakdance 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)

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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:

The harmonious relation between man and human symbolized (1) bythepictureofthreefiretonguesasthesymbolofparhyangan/divine. Three dire tongues can be defined as the holy light of which enlighten the three worlds (underworld, middle world and upper world).The harmonious relation between man and environment or (2) palemahan. The tree circles can be defined as the representation of the three worlds; they are under world, middle world and upper world.The harmonious relation between human and human is (3) 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 equalityandtiogthernessindancing;dinamyc:identifiedwithvarious 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.

The Verbal Image1. 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),Blegavillage,desaSingapadu,andlaterflourishedinotherregions, in Sumerta village, Badung.regency. In the tourism global era, “Cak dance” becomes one of the traditions which performed

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in star hotel, in stages and other places in Bali.

The result of the competition is the image of the followings :Logo/Visual Image: Cak Dance1. Slogan/Verbal Image: “GIANYAR THE SOUL OF BALI”2. General description of each of the elements (1) and (2) 3. A4 paper size4. The width of the branding is 10—15 cm, height should adjust 5.

Term and ConditionsIndonesian Citizens, individual or groups from art practioners, 1. students, scientist or general public. However, individual or groups fromtherelatedunitworksoftheGianyarOffice,Juries,OrganizingCommittee andbthe family members can not jpin the competition.The registered participants should obey the rules of the Organizing 2. Committee. The participants can come from Gianyar or outside of the regions3. Every registered participants must submit one kind of Branding 4. in six pieces of hard copies and one soft copy as agreed by the Organizing Committee.The Branding design should be submitted without name, only code 5. 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

modifiedbytheOCiftheartworkdeclaredaswinner.

Time Schedule6.

No. ACTIVITY TIME VENUE

1 Registration of participants

02—09 November 2015

Disbud Gianyar, Jl. Kebo Iwa Gianyar, Telp. 0361 943076

2 General Explanation to the participants regarding the competition mechanism

10 November 2015

BAPPEDA GIANYAR, Jl Kesatrian No. 16 X, Telp. 0361 948985

3 Handing over Gianyar Brabding Design from particupants to the OC

12—19 November 2015


4 Presentation of the best three in front of the panel of juries

23 November 2015

BAPPEDA GIANYAR, Jl Kesatrian No. 16 X, Telp. 0361 948985

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5 The decision of winner by Board of Juries

26 November 2015


6 The Announcement of Winners

27 November 2015


7 Seminar of Gianyar Branding Design

30 November 2015

TheOfficeofGianyarRegent

8 Handing Over Prizesbto the Winners

Sunday, I Desember 2015

TheOfficeofGianyarRegent

9 Handing Over the Report of Branding Design to the regent of Gianyar

07 Desember 2015

TheOficeofGianyarRegent

ASSESMENT CRITERIA

NO CRITERIA SCORE

1 Authenticity 30

2 The harmony of logo+slogan with the philosophocal reference (The Guidance of the Competition)

25

3 Creativity 20

4 the composition between logo and slogan, includes color, shape, image, the shape of the writing and the letter character)

15

5 The explanation (written description) from.esch elements of the logo dan slogan to have holistic image of Gianyar Branding

10

Total Score 100

Panel of JuriesJuriesconsistoffivepersonswhocomefrom:TheGovernmentOfficeofGianyar, anthropologist-scientist, expert on design, enterpreneur, and.social figuresofGianyar

Drs. I Gusti Ngurah Wijana, M.M., M.Pd. (Head of Department of 1. Culture of Gianyar/Chairperson)Prof. Dr. I Wayan Dibia, M.A. (anthropologist/scientist/member)2.

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I Made Marlowe M. Bandem, B.Bus. (STIKOM)3. Enterpreneur (Yuke Darmawan/member)4. Figures of Gianyar (Anak Agung Gde Rai/Museum ARMA/5. member)

Prizes

IWinner:Rp.15.000.000,00+certificateofappreciation1.

IIWinner:Rp.12.500.000,00+certificateofappreciation2.

3.IIIWinner:Rp.10.000.000,00+cerrificateofappreciation

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

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Appendix 7. Photos of FGD

Prof. Dr. I Wayan Pastika, M.S. (et al.)

Documents

Transcript of Prof. Dr. I Wayan Pastika, M.S. (et al.)