Sharing EBP Results Through Narrated Presentations

Assignment: Evidence-Based Capstone Project, Part 6:
Disseminating Results .The dissemination of EBP results serves
multiple important roles. Sharing results makes the case for
your decisions. It also adds to the body of knowledge, which
creates opportunities for future practitioners. By presenting
results, you also become an advocate for EBP, creating a culture
within your organization or beyond that informs, educates, and
promotes the effective use of EBP.
To Prepare:
· Review the final PowerPoint presentation you submitted in
Module 5, and make any necessary changes based on the
feedback you have received and on lessons you have learned
throughout the course.
· Consider the best method of disseminating the results of your
presentation to an audience.
To Complete:
Create a 5-minute, 5- to 6-slide narrated PowerPoint
presentation of your Evidence-Based Project.
· Be sure to incorporate any feedback or changes from your
presentation submission in Module 5.
· Explain how you would disseminate the results of your project
to an audience. Provide a rationale for why you selected this
dissemination strategy.
Submit Part 6, your revised PowerPoint presentation of your
Evidence-Based Project.
Please remember References must match citation. Thank you.
RUBRIC
Part 6: Disseminating Results
Create a 5-minute, 5- to 6-slide narrated PowerPoint
presentation of your Evidence-Based Project:
· Be sure to incorporate any feedback or changes from your
presentation submission in Module 5.

· Explain how you would disseminate the results of your
project to an audience. Provide a rationale for why you selected
this dissemination strategy.
81 (81%) - 90 (90%)
The narrated presentation accurately and completely
summarizes the evidence-based project. The narrated
presentation is professional in nature and thoroughly addresses
all components of the evidence-based project.
The narrated presentation accurately and clearly explains in
detail how to disseminate the results of the project to an
audience, citing specific and relevant examples.
The narrated presentation accurately and clearly provides a
justification that details the selection of this dissemination
strategy that is fully supported by specific and relevant
examples.
The narrated presentation provides a complete, detailed, and
specific synthesis of two outside resources related to the
dissemination strategy explained. The narrated presentation
fully integrates at least two outside resources and two or three
course-specific resources that fully support the presentation.
72 (72%) - 80 (80%)
The narrated presentation adequately summarizes the evidence-
based project. The narrated presentation is professional in
nature and adequately addresses the components of the
evidence-based project.
The narrated presentation accurately explains how to
disseminate the results of the project to an audience; some
specific examples may be provided.
The narrated presentation accurately provides a justification for
the selection of this dissemination strategy and may be
supported by specific examples.

The narrated presentation provides an accurate synthesis of at
least one outside resource related to the dissemination strategy
explained. The narrated presentation integrates at least one
outside resource and two or three course-specific resources that
may support the presentation.
63 (63%) - 71 (71%)
The narrated presentation vaguely, inaccurately, or
incompletely summarizes the evidence-based project. The
narrated presentation may be professional in nature and
somewhat addresses the components of the evidence-based
project.
The narrated presentation inaccurately or vaguely explains how
to disseminate the results of the project to an audience;
inaccurate or vague examples may be provided.
The narrated presentation inaccurately or vaguely provides a
justification for the selection of this dissemination strategy and
may be supported by inaccurate or vague examples.
The narrated presentation provides a vague or inaccurate
synthesis of outside resources reviewed related to the
dissemination strategy explained. The response minimally
integrates resources that may support the presentation.
0 (0%) - 62 (62%)
The narrated presentation vaguely and inaccurately summarizes
the evidence-based project or is missing. The narrated
presentation is not professional in nature and inaccurately and
incompletely addresses the components of the evidence-based
project or is missing.
The narrated presentation vaguely and inaccurately explains
how to disseminate the results of the project to an audience, no
examples are provided, or it is missing.

The narrated presentation vaguely and inaccurately provides a
justification for the selection of this dissemination strategy, no
examples are provided, or it is missing.
The narrated presentation provides a vague and inaccurate
synthesis of outside resources reviewed related to the
dissemination strategy explained or is missing. The presentation
fails to integrate any resources to support the presentation.
Written Expression and Formatting—Paragraph Development
and Organization:
Paragraphs make clear points that support well-developed ideas,
flow logically, and demonstrate continuity of ideas. Sentences
are carefully focused—neither long and rambling nor short and
lacking substance. A clear and comprehensive purpose
statement and introduction is provided which delineates all
required criteria.
5 (5%) - 5 (5%)
Paragraphs and sentences follow writing standards for flow,
continuity, and clarity.
A clear and comprehensive purpose statement, introduction, and
conclusion is provided which delineates all required criteria.
4 (4%) - 4 (4%)
continuity, and clarity 80% of the time.
Purpose, introduction, and conclusion of the assignment is
stated yet is brief and not descriptive.
3.5 (3.5%) - 3.5 (3.5%)
continuity, and clarity 60–79% of the time.
Purpose, introduction, and conclusion of the assignment is
vague or off topic.
0 (0%) - 3 (3%)

continuity, and clarity less than 60% of the time.
No purpose statement, introduction, or conclusion was provided.
Written Expression and Formatting—English Writing Standards:
Correct grammar, mechanics, and proper punctuation.
5 (5%) - 5 (5%)
Uses correct grammar, spelling, and punctuation with no errors.
4 (4%) - 4 (4%)
Contains a few (one or two) grammar, spelling, and punctuation
errors.
3.5 (3.5%) - 3.5 (3.5%)
Contains several (three or four) grammar, spelling, and
punctuation errors.
0 (0%) - 3 (3%)
Contains many (five or more) grammar, spelling, and
punctuation errors that interfere with the reader’s
understanding.
Total Points: 100
Name: NURS_6052_Module06_Week11_Assignment_Rubric
The Education of a Balinese Dalang
Author(s): I Nyoman Sedana and Kathy Foley
Source: Asian Theatre Journal, Vol. 10, No. 1 (Spring, 1993),
pp. 81-100
Published by: University of Hawai'i Press on behalf of
Association for Asian Performance

(AAP) of the Association for Theatre in Higher Education
(ATHE)
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The Education of a Balinese Dalang
I Nyoman Sedana
Edited by Kathy Foley

The dalang is the Balinese shadow-master, narrator, and
puppeteer
who presents the stories of wayang parwa-the shadow theatre of
the area
-via narration, song, dramatization, puppet manipulation,
music, and
humor.1 Pedalangan is the lore, technique, and religious-
philosophical
knowledge this artist must master. Although he most frequently
performs
shadow puppetry, a dalang is also needed as narrator in genres
which do
not involve puppets, including sendratari (dance drama), kecak
(monkey
chant), and legong (a classical court dance traditionally done
by prepubes-
cent children). This article focuses on the education of a
dalang, drawing
on my experiences of studying in both formal school settings
and informal
village situations. By informal I mean traditional study under
the guid-
ance of an older teacher who is usually a relative. This
informal study
contrasts with the institutional programs in which pedalangan
has been
taught since 1974 via developed curricula and formal degrees.
Although
my discussion will be colored by my personal experience of
each of these
paths, it should give insight into how a contemporary Balinese
gains
knowledge of pedalangan.
Traditional Education and Ritual Practices

Students of pedalangan are normally male descendants of
dalang
who routinely assist their father or grandfather in performances
by pass-
I Nyoman Sedana is a dalang and instructor at STSI-Denpasar.
He studied at KOKAR/SMKI under
I Nyoman Sumandhi and received instruction from Dewa
Ngakan Sayang and Dalang I Made Sidja.
In 1989, he was one of the first students to receive the
advanced degree of SSP in pedalangan from
ASTI/STSI. He is currently an M.A. student in the Theatre,
Speech, and Dance Department of
Brown University, where he supervises the gamelan angklung.
He has also studied and taught at UC-
Santa Cruz, where the first draft of this article was written.
Kathy Foley has written widely on Southeast Asian theatre and
is Southeast Asia editor for ATJ.
Asian TheatreJournal, Vol. 10, no. I (Spring 1993). ? 1993 by
University of Hawaii Press. All rights reserved.
2020 00:53:45 UTC
Sedana
ing puppets or playing the gender (bronze metallophones,
percussive
instruments which provide the background music for the
performance).
By observation during performances, the students come to
understand

the language, puppet movement, and story structure. Eventually
they
become dalang themselves. In Balinese villages like Mas,
Sukawati,
Buduk, Tunjuk, and Pacung, dalang train younger relatives in
this way,
perpetuating the tradition.2
Students who are not from dalang families, such as myself, can
also
enter this training system by persuading a dalang to take them
as an anak
murid ("child by study"). The student visits the teacher for
lessons and
accompanies his performance as a musician or puppet assistant
for an
extended period. Eventually the student will have observed
enough to
perform.3 Whether a student has the advantage of birth within
a dalang's
family or not, the training process is similar. First the student
is attracted
to wayang by the jokes, battle scenes, movement, music, and
story. As
curiosity flares, practical study begins. The student learns to
move the
puppets, memorize the stock narration, and master the vocal
style for
each puppet's voice.
The neophyte approaches the basic framework of a performance
with its set movements, speeches, songs, and standard scenes.
He studies
hard to master the main parts of a performance, including
opening narra-
tions, audience scenes, love scenes, sad scenes, and fights.4

With the stan-
dard scenes well practiced, the young dalang is ready to
perform. He will
still find it difficult if he is hired to perform more than once in
the same
place, however, since his audience will expect variation in the
stories he
presents, and he may not yet have the flexibility to adapt the
"model" to
fit the needs of different lakon (stories). Embellishing the
conventional
frame into a finished story is the most difficult task the
beginner faces.
Your teacher offers you a model with standard dialogue and
scenes, but
you must learn how to adapt these to the myriad lakon in the
repertoire.
You pick up hints from watching your teacher and other dalang,
but the
actual working out of the story and its successful performance
depend on
your own skill and creativity.
As you follow the thread of pedalangan you find yourself
starting
from the domain of entertainment, moving into the practical
aspects of
the arts, and grappling with the meaning of each story and the
ideas
behind the various social and aesthetic conventions that define
its prac-
tice. As you attempt to understand the poetic passages and
repertoire you
are moved relentlessly toward the sphere of knowledge and
philosophy.
The beginning dalang does not realize his destination when he

falls in love
with the puppets; only gradually does it dawn on him that he
has chosen
to study philosophy and esoteric knowledge that require a
lifetime to con-
template. He turns to selected lontar (palm-leaf manuscripts) to
develop an
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EDUCATION OF A DALANG
understanding of the art.5 In performances, the dalang must
always link
his understanding from literary and philosophical study to the
realities of
the audience's life. His understanding deepens as religious
philosophy,
the current realities, and artistic technique become
complementary forces
that build on one another to strengthen his performance.
The "curriculum" that the student encounters in the traditional
system will eventually force him to master many traditional
Balinese arts.
The apprentice dalang must first learn gamelan: mastery of the
gender which
accompany the performances will give him an understanding of
the tun-

ing, moods, and melodic structures he must work with as he
performs.
Likewise, he must understand the many poetic and song forms
of Bali
which are included in different parts of a performance.
Most dalang today, even those who enter formal education,
engage
in traditional training to some extent. Here I will discuss I
Gusti Nyoman
Data, from Bedulu, Gianyar, Bali, who has trained exclusively
in the tra-
ditional system, and add insights from my own experiences as
an anak
murid of our common teacher, I Made Sidja. When Gusti Data
was eight,
he was apprenticed to I Gusti Nyoman Gledag (dalang and
traditional
painter) and learned to paint wayang puppets. By 1977, Gusti
Data had
become a prosperous wayang painter and began to study
performance
practice with I Made Sidja.
Sidja is a compendium of Balinese arts and wisdom. He is a
dalang,
rice farmer, topeng dancer, arja (opera) instructor, honorary
teacher in
SMKI (Indonesian High School of Performing Arts), puppet
and mask
maker, an expert on traditional architecture, founder and
director of
Sanggar Seni Paripurna (Paripurna Arts Group), and pembina
(special
instructor) of arts at both a district (Gianyar) and provincial

(Bali) level.
He has toured Korea, Sweden, Australia, and Japan and was the
creator
in 1976 of wayang aria, a new form of puppetry which uses the
Balinese
opera repertoire and singing style (Sedana 1986, 10). He is
trusted by vil-
lagers to officiate at cremation ceremonies that require a
dalang of signifi-
cant spiritual power and has an ample stock of supplies,
including two sets
of puppets, masks,-numerous dance costumes, two quartets of
gamelan gen-
der wayang, and the larger dance orchestra, gamelan semar
pegulingan. Often
he performs two or three times a day. If he has two invitations
which con-
flict, he sends a student to perform in his place, lending him
the equip-
ment required. As he is a generous guru who teaches all who
seek him,
regardless of compensation, students stream to his door.
Sidja does not teach in a systematic manner; rather, the onus is
on
the student. When a student enters Sidja's house, he knows that
the out-
come of the lesson will depend on the questions the pupil has
formulated.6
Sidja cares about the training and works to fulfill the students'
requests.
On a typical day, one student may come to tape record a
specific musical
83

2020 00:53:45 UTC
FIGURE 6. I Made Sidja, dalang. Bona Village, Bali. (Photo:
Gina Andrea Fatone)
2020 00:53:45 UTC
FIGURE 7. I Nyoman Sumandhi, dalang and director of SMKI/
KOKAR, giving a demonstration of wayang kulit technique.
(Photo: Larry Reed)
piece which he will later listen to over and over at home. A
student who
also studies at a school may arrive with pad in hand to
interview Sidja and
later use these notes for a class paper or to construct a
performance.
Another more advanced student, who is already a practicing
dalang, may
come asking for a new story or an embellishment on an old one.
In this
environment, Gusti Data is a frequent participant. He never
takes notes
or makes recordings as do students who also study in an

institutional envi-
ronment, however, but rather asks questions, engages in
discussion, and
watches, absorbing bits and pieces of the information sought by
the other
students. He was an especially frequent visitor in the period
when he was
beginning as a performer and needed to transfer his
understanding of
pedalangan into practice.
85
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Sedana
If a student desires a more focused session with the master, he
may
invite Sidja to critique a more private rehearsal in his own
village. This
training is crucial to a young dalang who wants to advance
swiftly. Before
my major recital for graduation from the academy, for example,
I brought
Sidja to the university to critique my technique and direct the
madewasa
(initiation ceremony).
In each such rehearsal, I found that Sidja teaches only a limited
amount. One session, for example, may focus on how to

compose the dra-
matic structure of a scene by developing appropriate dialogue
or narra-
tion. Another time, he may emphasize how to fit the sound
created by
rapping on the puppet chest to the puppets' movements or
explain how to
arrange a romantic scene. On a third occasion, he may teach the
student
how to flesh out the outline of a story, giving tips on how to
hold particular
puppets or demonstrating how to distribute energy into
distinctive pup-
pets' manipulation. Sidja never organizes these lessons
according to a
stated syllabus or lesson plan; organization and assimilation
are the stu-
dent's responsibility.
Sidja has particular foci that influence the practice of Gusti
Data
and all his students. These include his stress on language, the
musical use
of the puppet chest, and the ethics of the art. One of his prime
concerns is
the correct use of grammar and language level (angah-unguhing
basa). This
is important for wayang, since the bulk of dialogue used by the
main char-
acters is in the archaic Javanese, or Kawi. Sidja will make sure
his stu-
dents understand the differences between kalaganta, kita,
inganika, kamung.
All mean "you," but each indicates a different relationship to
the individ-

ual addressed. Kalaganta indicates that the person addressed is
a subordi-
nate-an animal, adversary, or enemy; kita/kamung refer to
someone who
is the equal of the speaker; inganika refers to someone superior
to the
speaker-an aristocratic person or god might be addressed in this
way.
Sidja pushes the student to understand how these
differentiations in lan-
guage operate in ways that go beyond grammatical thinking. He
urges
them to consider the value choices they will make in
performance dia-
logue. For example, he will have them contemplate the relative
status of
Kresna, an incarnation of the god Wisnu, and Yudistira, whose
spiritual
father is the god Darma. Which one, Sidja will ask, is higher in
status or
prestige? Some students may say Kresna is higher because he is
an avatar
and older in age. Other students may say Yudistira is actually
higher
because he is predicated as the king among kings. In such
lessons, the stu-
dent comprehends that this is not just an issue of grammar but
also a test
of interpretation.
Another element Sidja emphasizes is musicianship. Sidja
regards
the puppet chest as a musical element, emphasizing more than
other
teachers the patterns of the cepala, a wooden hammer held
between the

86
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dalang's toes and struck on the box. Sidja's style requires a
particular pup-
pet chest sound, and students must practice long hours with the
hammer
to win his approval.
Sidja also emphasizes a sense of values. I remember him telling
me
that dalang have a duty to perform regardless of compensation.
This
thinking reaps its reward. When I asked him, "Why don't you
buy a
car?" he replied, "Because all of my friends let me use their
cars if I
need." From Sidja the student learns in a deep way that the
work of a
dalang is sacred.
A final element that clarifies Sidja's practice is a sense of
ritual.
The pedalangan props are powerful, and they are ceremonially
honored
every 210 days on Tumpek Wayang (the puppet anniversary),
as well as
by offerings at each performance.7 Puppets are kept in

sanctified places
and even touching them outside of performance may be
prohibited,
minimizing the student's opportunity to rehearse with real
puppets.
In traditional education, the student learns the importance of
maintaining purity, making proper offerings, and undergoing
ceremonies
of initiation. I personally have experienced a number of rites
including
madewasa and mawinten (self-purification). Madewasa is a
ceremony which
determines the most auspicious day to start rehearsals or
training accord-
ing to the solar and lunar calendars. Because the task of
becoming a dalang
is sacred, the ceremony matur piuning (requesting permission
of God and
asking for taksu, the spiritual power that infuses the performer
during a
performance) is needed. Sometimes another ceremony,
mesakapan (unifi-
cation), is also done at the same time to fuse the dalang with
his puppets,
screen, music, and musicians. Before a young dalang graduates
as a per-
former, self-purification (mawinten) is held under the direction
of a priest
(pedanda or mangku).8
Although variations can be expected due to the desa-kala-patra
(place-time-circumstances) concept of Bali, which invites
people to tailor
practice to suit personal needs, a description of my own
ceremony gives a

sense of the event. About twelve years ago, in 1979, my mother
asked the
pedanda in Geria Suniawati for advice. The pedanda decided to
conduct the
ceremony in her house on the day of my Balinese birthday. In
addition to
ordinary offerings such as bayuan (literally "energy") and
pejati (proof or
evidence), the pedanda required my family to obtain water from
thirty-five
sources. Then a ceremony in the temple was conducted by a
lower-caste
priest, a mangku. This temple, Pura Tegal Wangi, was the
closest one to
my house in Tegallinggah, Bedulu village, Gianyar, Bali. Next,
at my
home shrine a ceremony was conducted by my mother. Finally,
at the per-
formance I myself conducted a ceremony assisted by relatives.
As this
summary indicates, a mawinten ceremony can be complex and
multilay-
ered, requiring the cooperation of religious specialists, family,
and
87
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Sedana

friends. Though the dalang who is the guru (in this case Sidja)
may not be
directly involved in ceremonies, the student will follow the
traditions of
both his teacher and his village during such rituals.
Although I have significant experience in village training,
when I
compare myself with Gusti Data I see significant differences.
His study
has been much more orally and aurally oriented than mine. He
has not,
as I have, sought training from a variety of teachers or sources.
I can
recall his study in 1981 as he prepared with me for a "Parade of
Dalang"
contest. I saw Data frequently at Sidja's house and noted that
he received
his technique and training from Sidja alone. His interest, it
seems to me,
has been practice rather than theory, which I have explored in
greater
depth. His path has brought him considerable success. By 1983,
he had
earned enough through his numerous performances to acquire a
set of
wayang parwa puppets and a quartet of gender wayang, a major
investment
for a young performer. Moreover, he won first prize in 1990 at
a puppet
contest held by the Bali Wayang Foundation (Yayasan
Pewayangan Bali).
Traditional dalang education in Bali has few structural
similarities
to the training in a formal school. There is no tuition, no

certificate, no
freshman, sophomore, junior, or senior year, no paper
assignments, no
quiz, no presentation, no oral examination. Only the audience
is there to
act as a subtle judge, for they will approve of the performance
or reject it.
What the student needs most is a proper attitude, an appropriate
heart,
and respect for the instructor. Imitation, observation, and
repetition will
help the student progress. Doing the performance-rather than
talking,
writing, or thinking about it-will make the difference.
The Formal Education
Having discussed my training within the traditional system, I
now
wish to backtrack a bit and explain the path that led me to
dalang Sidja's
door. My route, through a more formal system of schooling,
was round-
about. My formal training began in SMKI/KOKAR (Balinese
High
School/Conservatory of Traditional Music) and continued in
STSI/ASTI
(Indonesian Advanced School/Academy of Dance).9 I currently
hold a
B.A. from ASTI and the equivalent of an M.A. (SSP/Sarjana
Seniman
Pedalangan, graduate of pedalangan arts) from STSI, and I am
an instruc-
tor in the program. I know this system well from my thirteen

years as a
participant.
SMKI
InJanuary 1978, when I started high school at SMKI/KOKAR in
Denpasar, both my experience of wayang training and the
system itself
88
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were young. My love of the dalang's art, born of watching
many perfor-
mances in the village, was already well ingrained, but I had no
instruc-
tion. By my second semester, I chose pedalangan as my major,
with a
minor in music and dance. At that time, the pedalangan
program was
about to graduate its first student. Four years later twelve peers
and I
graduated from the newly established department. It was
exciting to be
involved in the early years, for innovations were taking place.
In 1977,
for example, the first Balinese women dalang were trained by I
Nyoman
Sumandhi, then dean of the pedalangan department and now

director of
the school. ?
With the establishment of pedalangan as a major, a study
system
was developed that made the training more organized and
academic than
in the village. In retrospect, I understand that the curriculum
was not, as
in village training, just aimed at creating a dalang who
understood philos-
ophy and could emulate the style of a teacher. The training did
require us
to practice and to understand the art, but it had other objectives
as well.
Embedded in the context of a formal academic institution
created by the
national government, my training was designed to develop
artists pre-
pared to explicate the arts in modern Bali. Here I offer my
analysis of the
overall curriculum and the place of practical and theoretical
courses in
wayang within that curriculum.
During the four years of high school training, students
majoring in
pedalangan are required to take numerous relevant courses. Not
all of these
are classes about wayang per se, although they may deal with
related arts
that a dalang should know. By the time I graduated from SMKI
in 1982, I
had taken twenty courses. I divide them into three categories:
studies for
the heart, studies for the head, and studies for the art. The first

category is
aimed, I believe, at fostering national thinking and derives
from govern-
ment policy in Jakarta. The four classes I group in this
category are reli-
gion, pancasila (the government program of national principles
first articu-
lated by President Sukarno), Indonesian (a language which
binds the
country together linguistically), and physical education, which
develops
healthy citizens. These studies are not central to the training of
a dalang,
but they are important for creating a good citizen of modern
Indonesia.
No matter what the major of an SMKI student, these four
courses are
mandatory. Since the stated goal of Indonesian education is to
mold "a
good person and not just a clever one" (manusia susila yang
cakap), each
student must get the equivalent of a C in these courses.
The second group comprises studies for the head. Courses
include
cultural history, management, teaching methods, English, and
arts expo-
sition. They develop the intellect and prepare students to
manage the
arts, understand them in a historical context, and represent
them to stu-
dents and international scholars. This group of courses, while
important,
89

2020 00:53:45 UTC
Sedana
is not crucial and students will not be held back even if they
obtain less
than a C.
The last group, studies for the art, includes eleven courses
focused
on pedalangan. Classes include Balinese language and
literature, theory of
wayang, theory of pedalangan, performance for the dalang,
rhetoric for the
dalang, music, music theory, dance, dance theory, voice, and
performance
practicum. In these courses the student must score at least a C.
These stu-
dies approximate the training that would be communicated by a
dalang to
his student in the village context. Yet the instruction varies
considerably
from a village course of study. The variety of teachers, the
structure of the
curriculum divided into semesters and academic years (as well
as periods
in a school day), the format of individual sessions, the
separation of the-
ory and practice, the holding of formal exams and graduations,
the deem-

phasis of religious and ritual practices-these were some of the
elements
which varied from the village model. I will discuss each of
these elements
briefly.
I had over ten major teachers, each teaching a distinctive
territory
in their specialized course. A number of instructors were
skilled dalang as
well as fine teachers from other arts. Group projects, though
occasionally
undertaken, were few, and the student's time and loyalty were
split
among a variety of instructors. 1' In this my experience was
quite different
from Gusti Data's adherence to one teacher and one style. Each
year in
pedalangan we would typically learn one story from beginning
to end over
the year. The first year Dewa Ngakan Sayang gave us Arjuna's
Medita-
tion (Arjuna tapa), the second year I Nyoman Rajeg gave Bima
as Sacrifice
(Bima dadi caru), the third and fourth years I Wayan Wija gave
General
Drona (Senapati Drona). Ida Bagus Sarga taught the tale of
Jayasemara, a
son of Arjuna. In studying with four teachers, all of them
practicing
dalang, I was exposed to four divergent styles and given
comprehensive
guidance through each particular story in regular progression.
Again, this
instruction would be extraordinary in a village format.

Each practical class began with pamungkah (see Zurbuchen
1987),
the opening in which the puppets first appear. The overture,
during
which a dalang makes a final check of all his equipment and
prepares to
perform, was omitted, perhaps because our study focused more
on the
manipulation of the puppets and the development of the story
once pup-
pets were present. Each student would come to class having
already mem-
orized the script (pakem) that had been given out in written
form at the
beginning of the year. The instructor would usually sit beside
the practic-
ing student, giving examples or playing the musical
accompaniment. The
other students, awaiting their turn, played the music, watched,
or moved
puppets against the wall which served as a substitute for the
screen. Dur-
ing practice, the students were always encouraged to improvise
on the
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assigned script to develop their talents. It was easy to discern

which stu-
dents had talent in developing dialogue and which were just
repeating the
given text. In one instance, I Nyoman Sumandhi challenged us
to convey
the story without voice and with the puppet movements alone.
The exer-
cise was educational-and again would not fit into traditional
training.
The students who did not have a chance to practice on the
screen in one
session would be given the first chance to practice in the next
class. To
learn more quickly or to obtain a better grade, some students
would stay
to practice after the class or work at home. At school,
equipment such as
gamelan, puppets, and screen are available year-round, in
contrast to the
traditional practice which confines puppet use to performance
time.
The theory classes were presented in lecture format. Writing
pakem
was emphasized, as well, and by the end of the third year we
were com-
pelled by I Nyoman Sumandhi to compose our own pakem. By
the fourth
year, when about 60 percent of the lessons are practical, we
were accus-
tomed to creating our own scripts as well as the improvised
commentary
that surrounds them. Though the basic frame of wayang has
been well
developed for centuries, variation within that classical frame is

enormous.
Consider pizza as a rough analogy: due to different ingredients
and prep-
aration, one pizza may taste better than others, but all are still
pizza. So it
is with pakem: all must adhere to the frame, but each student
can develop
his own strength in relating the story. One presenter might put
in a
romantic scene, the next might focus on a sad scene, and a third
might
have both.
At the end of each semester, there was always a final
examination
(ulangan umum). Students performed what they had learned
over the
semester as best they could and their grades were duly recorded
in the roll
book. Academic ceremonies like graduations and tests replace
such vil-
lage rituals as madewasa, mawinten, and performances in front
of the pub-
lic.12 After four years at SMKI, the normal student will have
learned the
basic frame of one or two genres-probably the two most
popular genres,
wayang parwa and wayang ramayana. The less frequently
performed genres
of wayang cupak, tantri, arja, and calonarang, or more obscure
stories like
Lubdaka and Sutasoma, cannot realistically be learned within
this same
period.13 Nor will most students have acquired sufficient
expertise to
adapt these principles expertly to to the range of lakon

available for these
popular frames.
To summarize aspects of this system, then, students are
separated
by class level, working with a variety of teachers, covering a
set curricu-
lum structured by the teacher over a set time span. Theory and
practice
are largely isolated from one another, and half the curriculum
is devoted
to developing a good citizen and a well-developed arts
educator. In this
system, examinations and graduations are formalized, while
religious cer-
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Sedana
emonies and ritual practices are deemphasized. Students in this
system
gain much more regular access to practical training, and they
work in a
variety of teachers' styles.
The onus for structuring the training is removed from the
student
and assumed by the teachers. In some ways, then, the student is
much

more active (with unlimited access to equipment for practice in
contrast to
the very restricted access in the village system) and in other
ways much
more passive (the students accept the teacher's syllabus rather
than con-
stantly improvising their own). Moreover, the teacher/student
bond is
radically different. The student's loyalty is not to one instructor
but is
divided among a dozen teachers with different areas of
expertise. The
SMKI graduate can perform a few stories, but usually lacks an
under-
standing of how to adapt his or her learning to the many lakon
he might
perform. Most who do develop into practicing dalang will want
to study
further either in the village system or at STSI or pursue both
these path-
ways.
STSI
Founded in 1967 as ASTI, STSI provides college and
university-
level training in the arts and, since 1981, has offered degrees in
peda-
langan. (The name was changed to STSI in 1989 when graduate
degrees
were added to the B.A. offering.) This is the only university
where
advanced formal education in Balinese pedalangan can be
undertaken for
an academic credential. Pedalangan students at STSI typically

arrive with
prior experience of wayang, and a full 95 percent are of dalang
descent.14
Most of them have graduated from SMKI, where they may have
majored
in music or dance, but a few may have gone to regular high
schools or to
specialized high schools for Hindu religion (PGA Hindu).
Typically the
pedalangan students at STSI evince a high level of self-esteem
and many
have already received recognition for their artistic work from
the village
audience. One of my peers, for example, had already won a
major com-
petition for child dalang and came from Sukawati, a village
noted for its
gifted dalang.
The enthusiasm and intensity of dedicated and talented students
from all over the island make STSI a more exciting
environment for stu-
dying pedalangan than SMKI. Peer education is added to fine
instruction.
Each student may add his own strengths, thus contributing to
the devel-
opment of his peers. Better facilities, including a stronger
library, as well
as outstanding instructors who have either acknowledged
expertise as vil-
lage performers or the formal degrees of the academy, make
STSI a
rewarding environment. Students who might become conceited
in the
context of their village must measure themselves against the
best instruc-

tors and top students from across the island.
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The school offers four majors: dance, music, pedalangan, and
the
recently initiated crafts (krya or seni rupa). The dance
department invari-
ably attracts the greatest number of students; music is the
second largest,
and pedalangan the smallest. In 1986, for example, over a
hundred danc-
ers, twenty-five musicians, and six dalang majors were
enrolled. Pedalangan
is the smallest program; sometimes only one student is in a
class level. Yet
growth is evident and on February 21, 1989, the first seven
students were
awarded the post-B.A. degree of SSP.
I attribute the limited enrollment to the difficulty of the field
com-
pared to other areas of study, as well as to economic and
personal factors.
The major obstacle is the magnitude of the endeavor itself.
Pedalangan is a
vast area: knowledge of music, dance, literature, religious

philosophy,
and the ability to perform in an entertaining style within a
ceremonial
context are all required. At the same time, the degree granted
by the
academy is by no means the prerequisite for success as a
practicing per-
former. The aspiring dalang at STSI will find that these factors
test his
determination on a number of occasions. The dalang knows he
must
achieve excellence in three demanding areas-drama, dance, and
music
-whereas his friends in other majors will only need to master a
more lim-
ited sphere. Students discover that it is hard to reach the
quality expected
by the school and by society and may become discouraged. At
this point,
it is appealing to switch to another major, probably dance or
music,
where one's skill is evident and one's shortcomings are not so
exposed.
The wide range of skill and the absolute mastery that is
required of dalang
make it the most demanding course of study offered.
Thus I watched two friends switch to dance, two others move to
other universities, and still another switch to an arts academy
in Yogy-
akarta, where she could finish more expeditiously. Female
students stop to
marry, male students run out of funds, and many find a B.A.
sufficient
and do not pursue the advanced degree. Some feel they do not
have the

talent to succeed as a dalang or are intimidated by the
significant cost of
purchasing gender and puppets (currently an expenditure of
$1,700). I
have seen all these factors cause students to quit school or
change to
another major.
The required twenty-five courses fall into the same three
catego-
ries I defined as making up the curriculum at SMKI. The heart
of the
Indonesian citizen, the head of an academic, and the skill
required of an
artist-dalang: all are developed in the students. Some
differences, how-
ever, are evident. The languages required are intensified (Kawi
and the
complexities of Balinese are studied in addition to Indonesian
and
English). Literature and dramaturgy are undertaken. Some
courses that
were not available at SMKI are offered: a seminar in
pedalangan, a recon-
struction class (resuscitating forms that are no longer
practiced), and
classes in puppet making, iconography, and independent
composition
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Sedana
(the art of making new stories). These classes focus
specifically on the
dalang's craft. They aim, I believe, at making the student
capable of pre-
paring his own stories and puppets and fully understanding the
field.
The focus on composition is highlighted in the final
examination.
Each student is required to perform a new composition and
write a thesis.
(At some later date I hope to write more extensively about the
impact of
this creative project on young dalang.) My thesis topic, for
example, was
wayang arja. I wrote a scholarly study of the genre for my B.A.
and, for my
SSP degree, I developed and performed a new wayang aria. Not
only was
the project intellectually strenuous, but it was financially
taxing; the cost
of a final production may exceed the tuition fee. For my B.A.
degree I
paid about $20 per year, but for my exam I paid $90. For my
advanced
degree, I paid $75 per year but needed $200 for my final
examination.
The village student, who pays no set fee and has no
examination require-
ment, seems to have a bargain by comparison. Many students of
the

schools go deeply into debt to cover the expenses of their
exam.
In summary, then, the training at STSI is especially stimulating
in
the way it gathers together high-level students and instructors
well versed
in their particular areas of expertise. It trains students to
become per-
formers who can create their own scripts and encourages them
to do this
in written form. The course of study has emotional and
financial burdens
that will weed out those who are not devoted to the path. The
greatest test
is the performance/thesis which comes in the final year. On
graduation,
the students step out into the world with an advanced academic
credential
and an academic way of thinking. Their training should also
have helped
them acquire skills that will launch them as practicing dalang,
if they can
acquire performing equipment.
The establishment of pedalangan as a major at both the high
school
(SMKI) and collegiate (STSI) levels is proof that this field has
been ack-
nowledged as important by the Department of Education and
Culture.
This is an appropriate way of validating this traditional
knowledge in a
modern, academic setting. Aspiring dalang benefit from the
availability of
the formal training in a number of ways. Students improve their

abilities,
gain recognition from their communities and government, and
learn oral
and written expository skills that are considered important for
advance-
ment in a modern society. At the end of their education,
students are
required to present their theses for consideration and perform
before pub-
lic audiences, uniting the academic model and the traditional
audience
test that all dalang must pass.
Conclusion
Now I shall summarize and compare the training found in tradi-
tion and the formal school structures. Traditional study creates
an artist-
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performer who is concerned with performance in a village
sphere where
entertainment and religion commingle; theory is not an explicit
concern.
Study takes place in a dalang's home or at his performances,
where stu-
dents assist and observe. Students learn only a single genre, in

a specific
local style, and follow the traits of one guru.15 Rites of
passage and perfor-
mance will be observed, and the religious practices emphasized
will be
conducive to a conservative attitude toward behavior and
performance.
There is no set time for graduation, and practice sessions are at
the con-
venience of the teacher. Balinese language is the medium of
training.
There are no compulsory assignments, but the student will
intuit what is
"compulsory" for his advancement and find ways to acquire the
answers
from his teacher. In this environment, the student becomes the
seeker
working actively to replicate the past. The successful student in
a sense
"becomes" his teacher, practicing his guru's style, getting his
initial
bookings from the teacher, borrowing his equipment, and
eventually
attracting audiences and students of his own. Ultimately, he
will become
an artist-dalang, performing at ceremonies as his teacher did
before him.
In the formal atmosphere of a school, the system is more
academic
-here the aim is to create not only an artist-performer but also a
scholar-
theorist. The classes take place in a formal institution, on a
specific sched-
ule, and the different disciplines needed for mastery are
assigned to differ-

ent hours, days, and years. Books and theoretical treatises are
studied as
students learn many genres and styles from all over Bali under
numerous
instructors. Outstanding professional dalang, chosen for their
particular
expertise, dominate practical classes, while instructors who
have more
formal academic credentials teach theory classes. Compared to
traditional
methods, this system is more secular, since no ritual
ceremonies are con-
ducted. Students, due to their village background, will know
the rules of
sanctity-for example, they will not sit on, step over, or misuse
the pup-
pets, gamelan, or screen; however, the more ritual aspects of
wayang are not
highlighted in the academic setting and access to equipment is
much eas-
ier. Specified times for the study of each subject, scheduled
practices, and
Indonesian language as the medium of training are the norm.
The stu-
dent receives compulsory assignments from instructors, rather
than being
forced to frame questions. But, eventually, the students will be
asked to
write out their own scripts and analyze what they perform in
ways the vil-
lage dalang will never consider.
SMKI and STSI students must not only know how to perform
but
also how to think, analyze, speak, and write about the genres
studied and

their own performances. Discussions and papers for classes
culminate in a
performance and a thesis analyzing this final show. Libraries
and inde-
pendent field research become tools whereby students gain
insight and
knowledge. During research, students talk not just to one or
even many
teachers but to all who can discuss their subject.
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Sedana
The students from SMKI are half artist and half comparative
his-
torian. They are invited to create their own material and
explore new
ways to think about it. Much is brought to the student: the
wealth of
Balinese pedalangan is tossed at their feet. They scramble,
trying to catch
the riches and special aspects of each village style. They are
eventually
tested, not for their religious understanding or ability to
replicate their
teacher or even to please an audience, but to satisfy their
examiners. In
their training they are challenged, perhaps, to consider their
cultural heri-

tage and determine how the best parts can be amalgamated into
their own
theories and the creations that they, as modern intellectual
Indonesians,
can develop as performers and teachers for the future.
Postscript
What happens to these artists? The village dalang, as I have
shown,
carries on his teacher's work, adjusting it to the audiences
present. He is
instrumental in perpetuating an ancestral tradition in a current
village
context. What of the SMKI/STSI artist? After a degree has been
earned,
some graduates take government positions, others become
independent
artists, and most try to do both. Who would not rather face a
puppet
screen at night than a desk in the morning? The dalang's social
and reli-
gious responsibility and the higher compensation he enjoys
become added
incentives to choose performance over an office job. Although
the gradu-
ates of formal training are few compared to the many village-
trained
dalang, a preliminary analysis of their current occupations is
informative.
Most graduates of pedalangan at SMKI and STSI teach: one at
elementary
school, five at the high school level (three at SMKI itself), four
at STSI.
Two work at the government radio station (RRI). Only a
handful are

exclusively performing dalang.
Are these graduates destined to be primarily teachers? If they
are,
an interesting side issue will be their relationship to the village
dalang who
have been hired to teach them during the inaugural years of the
pro-
grams. Before graduates of SMKI and STSI started teaching,
the bulk of
the instructors were village artists. To this day, the best village
dalang are
more skilled than we graduates with our official credentials. It
seems
ironic, therefore, that village dalang who teach at the academy
receive
smaller salaries and are not eligible for the research funds that
we, their
students, may receive. Nor are these village artists always
credited for
information given us during our research. Understandably,
village dalang
become frustrated once they realize their subordinate position,
and attri-
tion of these expert instructors from the schools back to the
villages is
symptomatic of the problem that arises when the best artists,
for lack of
academic credentials, are given a lower status. One of my
teachers, for
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example, has often threatened to quit his job, saying that my
peers and I
are already capable of running the department. Will the
students of the
next generation be deprived of the master artists as teachers via
this pol-
icy? This generation of educators will have to resolve these
issues. 16
The traditional method of transmitting knowledge and expertise
has produced excellent performers. I hope the new endeavors of
the
SMKI/STSI program will produce teachers who can elucidate
the under-
lying philosophy and concepts of the performances. Dalang do
not tradi-
tionally verbalize such descriptions of their activities, much
less encode
them in written language. Great dalang, like I Nyoman
Granyam from
Sukawati and Ida Bagus Baglug from Mas village, have taken
their
knowledge with them to the grave, since no one recorded their
methods or
ideas. In 1939-1941, when the noted scholar of things Balinese,
C. Hooy-
kaas, left Bali, there were no lampahan/lakon written down
(Hooykaas
1973, 4). Recently however, there have been two transcriptions
and

translations of Balinese shadow plays: Ida Bagus Ngurah's
Bima Suarga,
translated by Larry Reed (1986), and I Nyoman Rajeg's Dimba
and
Dimbi, translated by Fredrik deBoer (1987). It is ironic that
European and
American scholars have so far been the main recorders of
information
about the dalang of the past. Formal schools like STSI, with
their aim of
half practice and half theory, will change this situation, since
they are
molding artists who are scholars too. Although the effort is
young, it
seems to offer great promise of success. Thus the twentieth
century may
well see a new type of Balinese dalang-one who can perform
wayang and
explain it for the modern world as well.
NOTES
1. Recent research on Balinese wayang parwa is found in
Zurbuchen
(1987), Hobart (1987), and Hinzler (1981). Grateful
acknowledgment of helpful
suggestions for this article is owed to Fredrik deBoer, Larry
Reed, and John
Emigh, who also provided editorial assistance.
2. Significant dalang of the present involved in this family-
based training
include Ida Bagus Baglug (Mas), who trained his grandson, Ida
Bagus Gria; I
Nyoman Granyam (Sukawati), who trained his son, I Nyoman

Ganjreng; Ida
Bagus Ngurah (Buduk), who trained his son, Ida Bagus Puja; I
Nyoman Rajeg
(Tunjuk-Tabanan), who trained his son, I Nyoman Sumandhi;
and I Gusti
Pekak Dauh (Pacung), who trained his son, I Gusti Nr. Putra.
3. Some current dalang who were not born into lineages, but
have learned
as anak murid, are I Ketut Kodi, I Ketut Darya, and myself.
4. The pamungkah, the protocol for starting a play, includes
mantra, ges-
tures, opening the box, and putting the puppets in their proper
position. The kay-
onan are the special dances and utilization of the tree of life
puppet. Its image is an
abstract illustration of all nature, and its opening dances
remind the dalang how
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Sedana
the universe, made of panca-maha-buta (the five elements), was
generated out of
the void. The penyacah parwa is the prologue for a parwa
(Mahabharata) story while
the purwa kanda ("original story") is the prologue for a

Ramayana story. Alas harum
("perfumed forest") is a vocal/instrumental musical passage
which accompanies
the first entrance of the puppets-refined heroes with their
clown servants. Candi
rebah ("tilting temple") is the entrance music for the larger-
eyed puppets who
represent more aggressive characters and often act as
antagonists in the perfor-
mance. Rundah ("agitated") is the musical accompaniment for a
demon or witch
character, and mesem ("sad") is music for a sorrowful scene for
a refined charac-
ter. Bopong is the musical accompaniment and movement for
an evil or energetic
character. Rebong ("flirtation") is the music and associated
gestures for a roman-
tic scene, while siat ("fight/battle") is for a battle scene.
Petangkilan ("approaching
a king") is a meeting scene; bendu semara ("erotic
disappointment") is a sad scene
for a strong character. Angkat-angkatan is a traveling scene-
one in which a char-
acter makes a journey. See Zurbuchen (1987) and Hobart
(1987).
5. Important manuscripts include the Darma Pewayangan (Lore
and Incan-
tations of the Wayang), available in Hooykaas (1973); the Niti
Sastra (Obeying Lit-
erature) and Sarasamuscaya (Essence of Divine Knowledge),
both discussing
proper human conduct; and the Kakawin, Hindu epics in Old
Javanese.
6. The only exception I can recall is when he prepared his third

son, I
Wayan Sira, to perform in a contest of child dalang (ages seven
to eight) sponsored
by the Bali Puppet Foundation (Yayasan Pewayangan Bali). At
this time he com-
posed everything, including actual phrases of dialogue. This,
however, was a
very unrepresentative learning situation.
7. Among the offerings for puppets and musical instruments
that the stu-
dent will learn about in the village system are bakaran
("burnt"), which refers to
the raw meat or live chicken sent to the dalang's house prior to
a performance. At
the beginning of the performance, two offerings are presented,
one for gods, san-
tun pemungkah ("essence of opening")-a coconut, egg, rice,
flowers, money,
incense, and water-and the second for demons, segehan
("feeding"), including
palm and rice wines, water, rice, flowers, and incense. A betel
leaf may also be
prepared for the opening, according to local requirements and
the type of cere-
mony taking place. The offering will be much bigger for an
exorcistic perfor-
mance-the so-called wayang sapuleger ("sweeping impurity")-
and the student
knows that such performances are only to be undertaken by a
few dalang who are
sufficiently prepared in spiritual practice and of proper
genealogical descent.
8. A pedanda is a priest from the highest caste (Brahmana) who
is madwi-

jati (reborn) via appropriate offerings. A mangku is a priest,
from any caste, who is
honored by appropriate offerings. Each temple has a mangku.
In my village,
Tegallingah, there are five mangku and one pedanda.
9. Founded in 1962-1963, Konservatori Karawitan Indonesia
(KOKAR), the Indonesian Conservatory of Traditional Music,
chiefly stressed
Balinese performing arts but included Javanese music and
dance in the curricu-
lum. In 1973-1974, KOKAR's name was changed to SMKI
(Sekolah Menegah
Karawitan Indonesia, the Indonesian High School of
Traditional Music) and a
Jurusan pedalangan (pedalangan major) was established. STSI
(Sekokah Tinggi Seni
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Indonesia), the Indonesian Advanced School of Art, is the most
recent name of
ASTI (Akademi Seni Tari Indonesia), the Indonesian Academy
of Dance and
Related Arts.
10. Ni Ketut Trijata was the first female dalang, but other

female students
took KOKAR classes as well. Ni Komang Sekar Marhaeni was
the first woman
to receive her dalang degree from STSI. Soon women from
outside the schools
were performing too, including Ni Ketut Nondri, the widow of
I Ketut Madra, a
major dalang in the 1970-1978 period.
11. On a few projects, students from different levels do
cooperate, as hap-
pened for productions of Wayang Wong Kumbakarna Lina
(presented on the school
anniversary), Wayang Calonarang (presented in Yogyakarta),
and Wayang Cupak
(presented in conjunction with field study injembrana in Bali).
12. SMKI does not conduct any religious rites for students. I
believe
some ceremony could be introduced, however, since students
require this purifi-
cation process both for their own spiritual development and to
understand the
proper use of equipment. This need not be the major
purification ceremony
(mawinten ageng); the minor ceremony (mawinten bunga)
would suffice.
13. Wayang Cupak tells the story of how the greedy brother
Cupak is foiled
in his attempts to cheat his sibling out of his inheritance. Tantri
tells the story of a
woman, Ni Diah Tantri, who outwits a Casanova-like king,
Iswaryadala, by tell-
ing him animal stories through the night. Wayang arja is a
genre which uses opera-

style singing and stories about Prince Panji. Calonarang is an
exorcistic form
which tells of the defeat of the witch Calonarang. Lubdaka is a
story about a
hunter who is treed by a tiger and spends the magical
purification night of Siwa
in the forest-where he encounters and meditates with the god
Siwa himself.
Sutasoma concerns a king who becomes a hermit.
14. Hence they have puppets and musical instruments in the
family.
15. Most students will learn how to perform the most popular
genre, way-
ang parwa.
16. Compared to Surakarta and Yogyakarta, where the first
schools were
established in the 1920s (Van Groenendael 1985, 30), the
availability of formal
pedalangan education in Bali has arrived late.
REFERENCES
Groenendael, Van, Victoria M. Clara. 1985.
The Dalang Behind the Wayang. Dordrecht: Foris Publications.
Hinzler, H.I.R. 1981.
Bima Swarga in Balinese Wayang. Verhandelingen van het
Koninklijke
Instituut voor Taal-, Land-, en Volkenkunde 90. The Hague:
Martinus
Nijhoff.

Hobart, Angela. 1987.
Dancing Shadows of Bali. London: KPI Limited.
Hooykaas, C. 1973.
Kama and Kala. Amsterdam and London: North Holland
Publishing
Company.
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100 Sedana
Mulyono Ir, Sri. 1978.
WayangAsal Usul Filsafat dan Masa Depannya. Jakarta:
Gunung Agung.
Ngurah, Ida Bagus. 1986.
Bima Suarga. Translated by C. L. Reed. Asian Theatre Journal
3(1): 1-33.
Rajeg, I Nyoman. 1987.
Dimba and Dimbi. Translated by Fredrik deBoer. Asian Theatre
Journal
4(1):76-107.
Sedana, I Nyoman. 1986.
"Wayang Arja Di Dusun Bona Kelod Gianyar." B.A. thesis.

Denpasar:
Sekolah Tinggi Seni Indonesia.
Sugriwa, I Gusti Bagus. 1963.
Ilmu Pewayangan/Pedalangan. Denpasar: Konservatori
Karawitan Indo-
nesia.
Zurbuchen, Mary. 1987.
Language of Balinese Shadow Theatre. Princeton: Princeton
University
Press.
2020 00:53:45 UTC
Contentsimage 1image 2image 3image 4image 5image 6image
7image 8image 9image 10image 11image 12image 13image
14image 15image 16image 17image 18image 19image 20Issue
Table of ContentsAsian Theatre Journal, Vol. 10, No. 1, Spring,
1993Front MatterFrom the EditorPlayPan Jinlian: The Story of
One Woman and Four Men-A New Sichuan Opera [pp. 1 - 48]A
Wrinkle in Time: The Shadow Puppet Theatre of Banyumas
(West Central Java) [pp. 49 - 80]The Education of a Balinese
Dalang [pp. 81 - 100]ReportThe Masking and Unmasking of the
Yu Theatre Ensemble [pp. 101 - 114]Book Reviewsuntitled [pp.
115 - 118]untitled [pp. 118 - 119]untitled [pp. 119 -
121]untitled [pp. 121 - 123]Back Matter
Required Readings
Melnyk, B. M., & Fineout-Overholt, E. (2018). Evidence-based
practice in nursing & healthcare: A guide to best practice (4th
ed.). Philadelphia, PA: Wolters Kluwer.
· Chapter 10, “The Role of Outcomes on Evidence-based

Quality Improvement and enhancing and Evaluating Practice
Changes” (pp. 293–312)
· Chapter 12, “Leadership Strategies for Creating and
Sustaining Evidence-based Practice Organizations” (pp. 328–
343)
· Chapter 14, “Models to Guide Implementation and
Sustainability of Evidence-based Practice” (pp. 378–427)
Gallagher-Ford, L., Fineout-Overholt, E., Melnyk, B. M., &
Stillwell, S. B. (2011). Evidence-based practice, step by step:
Implementing an evidence-based practice change. American
Journal of Nursing, 111(3), 54–60.
doi:10.1097/10.1097/01.NAJ.0000395243.14347.7e. Retrieved
from
https://journals.lww.com/ajnonline/Fulltext/2011/03000/Evidenc
e_Based_Practice,_Step_by_Step_.31.aspx
Newhouse, R. P., Dearholt, S., Poe, S., Pugh, L. C., & White,
K. M. (2007). Organizational change strategies for evidence-
based practice. Journal of Nursing Administration, 37(12), 552–
557. doi:0.1097/01.NNA.0000302384.91366.8f. Retrieved from
http://downloads.lww.com/wolterskluwer_vitalstream_com/jour
nal_library/nna_00020443_2007_37_12_552.pdf
Melnyk, B. M. (2012). Achieving a high-reliability organization
through implementation of the ARCC model for systemwide
sustainability of evidence-based practice. Nursing
Administration Quarterly, 36(2), 127–135.
doi:10.1097/NAQ.0b013e318249fb6a
Melnyk, B. M., Fineout-Overholt, E., Gallagher-Ford, L., &
Sustaining evidence-based practice through organizational
policies and an innovative model. American Journal of Nursing,
111(9), 57–60. doi:10.1097/01.NAJ.0000405063.97774.0e.
Retrieved from

https://www.nursingcenter.com/nursingcenter_redesign/media/E
BP/AJNseries/Sustaining.pdf
Melnyk, B. M., Fineout-Overholt, E., Giggleman, M., & Choy,
K. (2017). A test of the ARCC© model improves
implementation of evidence-based practice, healthcare culture,
and patient outcomes. Worldviews on Evidence-Based Nursing,
14(1), 5–9. doi:10.1111/wvn.12188. Retrieved from
https://sigmapubs.onlinelibrary.wiley.com/doi/abs/10.1111/wvn.
12188
Melnyk, B. M., Fineout-Overholt, E., Gallagher-Ford, L., &
Sustaining evidence-based practice through organizational
policies and an innovative model. American Journal of Nursing,
111(9), 57–60. doi:10.1097/01.NAJ.0000405063.97774.0e.
Retrieved from
https://journals.lww.com/ajnonline/Fulltext/2011/09000/Evidenc
e_Based_Practice,_Step_by_Step__Sustaining.27.aspx
EVIDENCE-BASED PROJECT, Part 5: Recommending an
Evidence-Based Practice Change
Henry
Walden University
Jan 24, 2020

1
Description of the Company
Transitional Care Unit (TCU)- Concerned with transition of the
patients from stay in the hospital to home or another level of
care.
The management and the subordinates are open to change.
The aim of the unit is to have in place skilled nursing facility to
aid the patients transition.
The organization support a culture of intercommunication
between individuals within the company.
I work at a Transitional Care Unit (TCU) as a part time job.
TCU presents a short term care facility for complex patients
moving from hospital to another care setting. At our
organization, the employees are advised to maintain the values
and culture that defines it and respect and communication
between the workers is considered key during the transition
process. What defines the growth and effective provision of
care within my organization is the willingness of the employees
to embrace change and the management have been effective in
facilitating this change through effective communication and
listening to the perspectives of other individuals in regards to
change. The management has a culture of bringing everyone on

board and giving them the change for equal contributions on the
ways through which the firm can improve its transition process.
2
Current Opportunity/Problem for Change
Problems
Ensuring continuity of care across health care setting between
the care providers and institutions
Enhanced Readmissions
The readmissions are associated with the loss in the resources
while in some cases, these problems results in patients’ death
due to inadequate care during the transition process.
opportunities
Use of effective provider communication.
Reconciling the patient’s medications upon discharge.
My organization has been impacted by various problems that
requires immediate address to improve the care given to the
patients in the transition process. For instance, ensuring
continuity of care across health setting has been a primary
problem to the organization since there has been ineffective
communication between the care providers and the health
institutions where the patients get transferred (Mansukhani et
al., 2015). Also, there has been increased readmissions due to
inefficient transitions of care that has cost the firm a
burgeoning health care costs. To help counter these
inefficiencies in the transition care, there is an opportunity
characterized by an evidence based practice to employ the use

of an effective provider communication that will help facilitate
the communications between the medical providers and the
other institutions of transitions or homes. Also, there is a
chance to reconcile the patient’s medications upon discharge.
3
Evidence-Based Idea
One essential proposal in the case is effective provider
communication.
It involves direct provider communication to ensure smooth
transition between health care settings.
The care provider abilities to access records from the
ambulatory care and community pharmacy records has been
limited by incomplete health information.
Miscommunication gets perpetuated after the discharge of the
patients.
One of the primary proposals for the case is effective provider
communication. In the organization, most of the problems that
the patients transitioned have faced is lack of effective
communication between the care providers and the high level
health care centers they are transferred to or their homes. The
lack of this communication has limited the acute communication
that makes the individuals not to access the patient information
and pharmacy records especially if the inpatient care provider is
someone other than the main care provider (Mansukhani et al.,
2015). . The direct provider communication idea will help
prevent the miscommunication perpetuated after discharge from
the care setting since the primary care provider may not get the

whole documentation of the diagnostic tests, procedures and the
changes in medication during hospitalization. The hospital
discharge summaries form the primary sources of error in
communication and thus the need for direct provider
communication.
4
Evidence-Based Idea Cont’d
Delay in the hospital discharge summaries.
Lack of communication on the identity of the next pharmacists
and the initial care provider.
Continuity of care cannot be maintained when there is
inadequate information during the transfers/transition.
The National Transitions of Care Coalition (NTOCC) should
employ the use of universal transfer tool in the facilitation of
the movements of patients between the care settings.
Lack of direct effective communication between the primary
care provider and the next level of transition have resulted in
numerous problems for the patients that have caused
readmissions (Lim et al., 2010). The delays in the hospital
summaries have resulted in the patients given wrong treatments
that have further worsened their situations causing more
readmissions and costing the organization more funds in
treating the conditions. From the meta analysis, 12% to 34% of
the discharge summaries reach the outpatient teams once the
patient has already since the physician (Mansukhani et al.,

2015). However, with the idea i place, the community
pharmacists will be provided with the data on discharge
diagnosis, laboratory results, the changes in medication, the
medications that were initially used during hospitalization and
the identity of the next medical provider. Such measures will
ensure that the patients are given the right medication after the
transition and treated based on the discharge diagnosis. Also, it
will ensure that the patients meet the right care provider for the
appointment and treatment. Moreover, the aspect will guarantee
continuity in the provision of care to the patients even after
transition. The national Transitions of Care Coalition should
ensure that these problems are identified and employ the use of
universal transfer tool in the facilitation of the movements of
the patients between the care settings.
5
Plan For Knowledge Transfer
The use of standardized forms will ensure that essential data are
relayed to other members of the patient care.
The standard forms can be developed through the use of
different technologies such as Continuity Assessment Records
and Evaluation (CARE) item set that also gets developed by the
CMS (Rodrigue et al., 2011).
The CARE will help offer accurate and up-to date data at the
time of discharge from the hospital.
The actualization of this idea can be ensured by using
standardized forms that will ensure that essential data get
relayed to other members of the patient care where they are
getting transferred. The standard forms can get developed

through the use of different technologies like the CARE
(Continuity Assessment Records and Evaluation) developed by
the CMS (Rodrigue et al., 2011). The CARE will ensure that
accurate and up-to date information is provided to the
pharmacists at the time of discharge from the hospital and that
all the details regarding the officials is put in place
(Mansukhani et al., 2015). Also, the system will ensure accurate
assessment of the patient’s medical, functional, social and
cognitive support status across the care settings with the
ultimate goal of improving the quality care of the patient that
receives the care.
6
Plan Cont’d
The plan will also include the development of Universal
Transfer Form.
The form will facilitate the passage of the necessary patient
information from one setting to another.
The plan will also ensure that the information is availed to the
physicians before they begin treatment on the transferred
patients.
The idea will include the establishment of Universal Transfer
Form. The form will be integral in ensuring the pharmacist get
the message about their patients in time before they attend to
them and provide an appropriate information regarding
diagnosis, treatment and care for the transferred patients Flynn,
& Dupuis, 2003). Also, the plan will ensure that before the
physicians begin treatment, they have all the information on the
transferred patients.

7
Outcomes
The idea will provide a more seamless and timely transfer of the
information.
It will increase access of health information by the providers
Reduce redundancies in diagnostics and in the history of the
patient’s health.
Improve provider-to-provider communication and relations
while also enhancing the learning process.
The idea of effective provider communication will be of great
benefit to the organization because it will help offer a more
seamless and timely transfer of the information to the medical
providers or care givers. This will help enhance the treatment
process as it will enhance the access of the health information
by the providers (Schroy III, Mylvaganam, & Davidson, 2014).
Also, the idea will help eliminate redundancies in the
diagnostics and in the history of the patient’s health and this
will also help in the provision of effective care and reduce the
readmissions due to wrong care provision or drug use.
8
Outcomes
The direct communication amongst the providers will also
ensure that there is continuity in care provision because of the
consistence in the provision of the report.
Movements of the patients will be facilitated universal transfer
forms.
Readmission rates will be reduced.

The standard forms will ensure effective evaluation of the data
and accurate measurements taken to deliver the desired care.
The idea will ensure that the readmission rates are reduced
because of the continuity in the provision of care. The idea is
characterized by consistency in the provision of the
information. Also, through universal transfer form, the
movements of the patients can be facilitated to the needed
healthcare systems and attended to in a timely manner. The
standard forms enable appropriate evaluation of the patient data
and the result is better and improved treatment. The system will
enable my organization deliver better and desired care to the
patients and avert the problems of continuity in care provision
and reduce readmissions that are costly to the organization.
9
Critical Appraisal Tool Summary
The Critical Appraisal tool offered guidelines for the treatment
of various disease conditions.
The evidence based practice were identified as effective in the
molecular analysis of the lung cancer required in guiding ALK
and EGFR.
The information provided to the physicians was established as
essential in the treatment process especially with regard to the
use of external beam radiotherapy.

The critical Appraisal Tools were effective in the illustration of
various aspects of Evidence based practice. The CAT illustrated
various methods of evidence practice such as molecular
analysis, external beam radiotherapy, palliative treatment and
even chemotherapy (Azzoli, Temin, & Giaccone, 2012. The
CAT was also effective in the illustration of the communication
of the patient data that is effective in the treatment of the
patients especially to prevent the problems such as readmissions
and reduce the chances of ineffectiveness during the transition
process (Lindeman et al., 2013). The evidence based practice
got identified as effective in the molecular analysis of the lung
cancer and other sensitive conditions that require careful
address.
10
Evaluation Table Summary
The various methods of evidence based practiced were
discussed in the tables including palliative and radioactivity
methods.
I learned that communication between the caregivers is essential
in the improvement of health of the patients and especially in
the transition process.
The tables illustrated the various levels of research based on the
theoretical concepts used in the research.
Most of the research done were associated with the analysis of
the literature review especially on the peer reviewed articles
that support the various treatment methods of disease conditions
especially the lung cancer (Rodrigue et al., 2011).

References
Azzoli, C. G., Temin, S., & Giaccone, G. (January 01, 2012).
2011 Focused Update of 2009 American Society of Clinical
Oncology Clinical Practice Guideline Update on Chemotherapy
for Stage IV Non-Small-Cell Lung Cancer. Journal of Oncology
Practice, 8, 1, 63-6.
Flynn, G., & Dupuis, S. (2003). EASING THE TRASITION
FROM COMMUNITY CARE TO LONG-TERM CARE.
Lindeman, N. I., Cagle, P. T., Beasley, M. B., Chitale, D. A.,
Dacic, S., Giaccone, G., Jenkins, R. B., ...College, . A. P. I. A.
S. L. C. A. M. P. (January 01, 2013). Molecular testing
guideline for selection of lung cancer patients for EGFR and
ALK tyrosine kinase inhibitors: guideline from the College of
American Pathologists, International Association for the Study
of Lung Cancer, and Association forMolecular Pathology. The
Journal of Molecular Diagnostics : Jmd, 15, 4, 415-53.
References
Lim, E., Baldwin, D., Beckles, M., Duffy, J., Entwisle, J.,
Faivre-Finn, C., Kerr, K., ... Win, T. (October 01, 2010).
Guidelines on the radical management of patients with lung
cancer. Thorax, 65.
Mansukhani, R. P., Bridgeman, M. B., Candelario, D., & Eckert,
L. J. (2015). Exploring transitional care: evidence-based
strategies for improving provider communication and reducing
readmissions. Pharmacy and Therapeutics, 40(10), 690.
Rodrigues, G., Videtic, G. M., Sur, R., Bezjak, A., Bradley, J.,
Hahn, C. A., Langer, C., ... Movsas, B. (January 01, 2011).
Palliative thoracic radiotherapy in lung cancer: An American

Society for Radiation Oncology evidence-based clinical practice
guideline. Practical Radiation Oncology, 1, 2.)
References
Rodrigues, G., Videtic, G. M., Sur, R., Bezjak, A., Bradley, J.,
Hahn, C. A., Langer, C., ... Movsas, B. (January 01, 2011).
Palliative thoracic radiotherapy in lung cancer: An American
Society for Radiation Oncology evidence-based clinical practice
guideline. Practical Radiation Oncology, 1, 2.)
Schroy III, P. C., Mylvaganam, S., & Davidson, P. (2014).
Provider perspectives on the utility of a colorectal cancer
screening decision aid for facilitating shared decision making.
Health Expectations, 17(1), 27-35.

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