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Anak Agung Ayu Mayun Artati
Institut Seni Indonesia Bali
Arts Humanities

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Tari Laku Lekuk I Komang Aswinka Krisnanda; Anak Agung Ayu Mayun Artati; Ida Ayu Wayan Arya Satyani
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.5031

Abstract

Laku Lekuk is a new dance work in the form of kakebyar inspired by I Nyoman Gunarsa's painting entitled Kebyar Dancer which depicts the dynamics and beauty of Balinese dance. Based on the inspiration from this painting, the creation of this dance work aims to connect elements of fine art which include scratch painting designs with elements of traditional dance. This dance explores the relationship between body movements and strokes in Gunarsa's paintings, combining traditional and contemporary elements. The theme of this dance work is body curves, with an emphasis on body exploration as the main element with a non-dramatic presentation concept The method used in the process of creating this dance work is angripta-processan by I Kt. Suteja in his book entitled Catur Asrama; The Spiritual Climbing of Balinese People in a Dance Work. These methods include: Ngarencana, Nuasen, Makalin, Nelesin, Ngebah, Presentation (technical evaluation). The Laku Lekuk dance work involves 8 dancers and consists of three acts that reflect the interpretation of the painting and the dancer's freedom in processing body movements. This dance has 3 structures, namely round 1 (papeson), round 2 (pangawak), and round 3 (pangecet, pangipuk, pakaad). This work is accompanied by digital music or MIDI (Musical Instrument Digital Interface), with a duration of 10 minutes. This work was performed on the proscenium stage of the Natya Mandala Building, ISI Denpasar. It is hoped that this work can enrich appreciation of art, inspire the younger generation to preserve Indonesian culture, and open up space for the development of creativity in various forms of art. Keywords: Kebyar Dancer Painting, Scratches, Kakebyaran, Laku Lekuk
TARI KEBYAR TELEK Kadek Indah Cahya Ningsih; Anak Agung Ayu Mayun Artati; I Wayan Adi Gunarta
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6072

Abstract

AbstrakTari Kebyar Telek adalah tarian yang mengambil sumber kreatif penciptaan dari kearifan lokal yang terdapat diPura Dalem Penataran Tegal Jaya, Desa Adat Padang Luwih, Dalung, Kecamatan Kuta Utara, Kabupaten Badung. Tarianini mengangkat tentang tradisi Tari Telek di Pura Dalem Penataran yang dahulu pernah ada, namun kini keberadaannyatelah punah. Karya tari ini mentransformasikan spirit tari Telek ke dalam pola garap tari kakebyaran, sehinggamenghasilkan tari Telek kreasi baru dengan bentuk kakebyaran. Kebyar Telek terdiri dari kata Kebyar yang berarti suatubunyi yang muncul menggelegar secara tiba-tiba dan meriah. Dalam konteks tari, Kebyar ialah kreasi baru dalam tari Bali.Sedangakan kata Telek berarti tarian yang menggunakan topeng dengan karakter lembut dan halus dengan hiasan kepalaunik. Tahapan penciptaan Tari Kebyar Telek menggunakan metode penciptaan Angripta Sesolahan (menciptakan tari-tarian)oleh I Kt. Suteja yang memiliki lima tahapan Penciptaan, yaitu ngarencana (merencanakan), nuasen (prosespersembahyangan), makalin (proses improvisasi), nelesin (proses pembentukan), dan ngebah (proses pementasan). TariKebyar Telek adalah sebuah hasil karya cipta baru yang menggunakan pola garap tari kakebyaran dengan karakterbebancihan dan ditarikan secara berkelompok oleh tujuh orang penari putri. Gerak tarian ini menyajikan perpaduandinamika gerak tari Telek yang berkarakter lembut dan lues dengan gerak tari Kebyar yang berkarakter keras, tegas, dandinamis. Struktur tarinya ini terdiri dari dua bagian yang disajikan dalam durasi 13 menit dan musik tarinya menggunakangamelan semarandhana. Tata rias dan busana yang digunakan ialah jenis tata rias tari panggung dan tata busananyamenggunakan motif-motif dan desain kostum bergaya klasik model sesaputan yang dipadukan dengan gaya busanakakebyaran model lelancingan. Kata Kunci: Kebyar Telek, Dalem Penataran, Kakebyaran
Karya Tari Warak Kruron Nyoman Pasek Meisa Gunawan; Anak Agung Ayu Mayun Artati; Kompiang Gede Widnyana
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5652

Abstract

Warak Kruron Dance is a new dance work inspired by the phenomenon of abortion and a cleansing process. The creator drew on these creative sources to produce a unified concept for the dance work. The creation of the Warak Kruron dance piece aims to educate the public about the importance of understanding the consequences of one's actions. Additionally, the creator incorporates several key aspects of choreography into the purification ritual as a symbolic vessel for a ceremony. The Warak Kruron dance piece was created using Alma M. Hawkins' creation method, which consists of three stages: exploration, improvisation, and formation. This dance piece is performed by nine male dancers and one female dancer, with a contemporary form consisting of three parts: part one, part two, and part three. The music for this dance piece uses MIDI (Musical Instrument Digital Interface) with a musical method (quadrasonic) equivalent to what is now called 4.0 surround sound, using four audio channels with speakers placed at the four corners of the listening space. This system allows for the reproduction of sound signals that are (entirely or partially) independent of one another. Quadraphonic surround sound with four channels can be used to recreate the highly realistic effects of a three-dimensional live concert experience at home. It can also enhance the listener's experience beyond the limitations of conventional two-channel stereo sound. Quadraphonic audio was the earliest consumer product in surround sound. Since its introduction to the public in the early 1970s, thousands of quadraphonic recordings have been produced. The makeup in the Warak Kruron dance piece uses minimalist makeup tailored to the concept of the production, and the costume design features a brown strait endek shirt, a kimono, harem pants, a sleeveless shirt, a kemben, and tile pants. Keyword: Warak Kruron, Aborsi, Prosesi, Contemporary
KARYA TARI LUKA PULIH Eri Susanti; Ni Nyoman Kasih; Anak Agung Ayu Mayun Artati
Jurnal IGEL : Journal Of Dance Vol 6 No 2 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6.2.6554

Abstract

The dance piece “Luka Pulih” (Healing Wounds) is a contemporary dance work that explores the emotional experiences of individuals who have been bullied and subjected to social pressure from their surroundings. This work was created as an effort to visualize the psychological process of a person when facing adversity until they are able to rise again through inner strength. The purpose of this work is to convey the message about the impact of bullying on mental health and to describe the healing process as a form of courage and determination in living life. The creative method in this work includes the stages of idea gathering, movement exploration, concept formation, composition, and evaluation. The movements were developed from observations of human body expressions under emotional pressure, which were then processed into contemporary movements with varying dynamics. The accompanying music, makeup, and costumes were designed to reinforce the emotional character in each part of the work. The results of the creation show that the processing of movement, tempo dynamics, and changes in spatial composition are able to present a representation of the character's emotional transition from a phase of despair and indecision to a phase of awakening. Through the work “Luka Pulih”, the choreographer hopes that the audience can understand that the healing process from the experience of bullying requires time, acceptance, and determination. Keywords: Wound Healing, Bullying, Empirical Experience, Langon Method
Co-Authors Eri Susanti I Komang Aswinka Krisnanda I Wayan Adi Gunarta Ida Ayu Wayan Arya Satyani Kadek Indah Cahya Ningsih Kompiang Gede Widnyana Ni Nyoman Kasih Nyoman Pasek Meisa Gunawan