GAMELAN SELONDING CHRICAL FUNCTIONS IN TENGANAN PEGRINGSINGAN VILLAGE

This paper aims to study and understand the sacredness of the Salonding gamelan in Tenganan Village in its context with religious rituals and the people of Tenganan Village as protection. Gamelan Selonding in Tenganan Village has its own history, its existence is associated with stories or myths that have been passed down from generation to generation. The approach used is semiotic through interpretive analysis of texts and contexts that support the culture concerned. The research found that, starting with the discovery of three iron plate blades which were declared as Selonding gamelan blades. Believed to be a descent that is not made by ordinary humans, but because of the gift of nature, the people of Tenganan Village are called 'Bhatara Bagus Selonding'. Gamelan Selonding for the people of Tenganan Village is very sacred. In maintaining its sacredness it is adjusted to the concept of the village, kala, and patra, not to be touched by other people, except by members of the selected art group (Gambe) with seven members. Gambel juru has the responsibility to maintain the sanctity of the Selonding gamelan. For the people of Tenganan Village, the sacredness of the Selonding gamelan is not just an outward statement, but a totality that represents the integration of people's thoughts, feelings, speech and attitudes, so that the treatment of Selonding is prostration. So, Selonding for the people of Tenganan village, is not just a medium of artistic expression but a representation of religiosity so that selonding is sacred and sanctified.  Keywords: Gamelan Selonding, representation, art, religiosity