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Ida Ayu Wayan Arya Satyani
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 LEGONG TINUT Ni Made Ayu Kesuma Dewi; I Ketut Sariada; Ida Ayu Wayan Arya Satyani
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.v5i2.6073

Abstract

Abstrak Tari Legong Tinut merupakan tari kreasi palegongan yang dikembangkan dari gerak tari legong dan kisah mitos awal mula Pura Peti Tenget, di Desa Kerobokan, Kecamatan Kuta Utara, Kabupaten Badung. Pemilihan mitos sebagai sumber kreatif mengantarkan proses kreatifnya pada kebaruan lakon dan kebaruan gerak yang terinspirasi dari tokoh dalam mitos serta jejak artefak yang ada di Pura Petitenget. Penciptaan Tari Legong Tinut mengacu pada rumusan masalah penciptaan: 1) bagaimana proses kreatif penciptaannya, 2) bagaimana wujud karyanya, 3) apa pesan yang disampaikan. Tujuan penciptaanya untuk memperkenalkan dan melestarikan mitos dalam bentuk karya seni tari kreasi palegongan dan mengayakan khasanah penciptaan tari legong kreasi di Bali. Metode penciptaan yang digunakan adalah angripta sasolahan dikemukakan oleh I Kt Suteja. Tahapannya meliputi ngerencana (merancang), nuasen (ritual awal), makalin (pemilahan gerak dan improvisasi), nelesin (merapikan), dan ngebah (pementasan perdana). Tema karya mengangkat kesetiaan dan ketaatan Bhuto Ijo terhadap janji tugasnya untuk menjaga peti pacanangan Dang Hyang Dwijendra. Tari ini dibawakan oleh tujuh orang penari putri dengan iringan tari gamelan semar pagulingan saih pitu. Karya berdurasi 13 menit dengan struktur: pangawit (penokohan Dang Hyang Dwijendra di tengah hutan), batel maya (penyerahan peti pecanangan), papeson (menggambarkan perawakan Bhuto Ijo, terinspirasi dari sikap togog Bhuto Ijo di Pura Petitenget), pangawak (menonjolkan keagungan Bhuto Ijo), pangecet (menggambarakan gerak-gerik kewaspadaan dan kedatangan masyarakat) dan pakaad (menggambarkan grubug yang disebabkan oleh kekuatan Bhuto Ijo dan pesan Dang Hyang Dwijendra untuk masyarakat Desa Adat Kerobokan). Terciptanya Tari Legong Tinut diharapkan kearifan lokal dan kesakralan lingkungan Pura Petitenget dapat terjaga dari generasi ke generasi. Kata Kunci: Legong Tinut, Kesetiaan, Bhuto Ijo
Penciptaan Karya Tari Ledak Manis Ida Ayu Larasathi Putri Yudistira; Ida Ayu Wayan Arya Satyani; Made Ayu Desiari
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.v6i1.6558

Abstract

Ledak Manis Dance Work is a contemporary dance piece inspired by the phenomenon of love bombing in romantic relationships, a form of emotional manipulation that is often perceived as normal but has serious psychological impacts on women. The creation of this work aims to present a medium of expression, reflection, and education through contemporary dance in order to reveal the phenomenon of love bombing, raise awareness of unhealthy relationship dynamics, and represent the process of recovery and self-awareness of women from emotional manipulation.The creative process employs the Angripta Sasolahan method, which consists of the stages of ngarencana (concept planning), nuasen (thematic immersion and emotional exploration), makalin (movement exploration and development), nelesin (structuring the choreographic composition), and ngebah (final presentation). This method allows the development of concepts, movement exploration, and artistic presentation to proceed in a systematic and structured manner The resulting work is a contemporary dance piece structured into four dramatic phases: falling in love, emotional attachment, psychological destruction caused by manipulation, and awakening toward self-awareness. The performance involves seven dancers, with one dancer portraying the main character and six dancers representing the emotional states of the protagonist. The choreography features dynamic and expressive movement exploration, combined with MIDI (musical instruman digital interface), bold minimalist makeup, and Romantic Playful (romantic feminime and playful contemporary styled costumes. The use of properties such as a wardrobe, rose flowers, and spherical lamps serves as symbols of inner space, fragile love, and hope, thereby strengthening the overall emotional and visual meaning of the performance. Keywords: Ledak Manis, love bombing, Angripta Sasolahan, contemporary
Co-Authors Anak Agung Ayu Mayun Artati I Ketut Sariada I Komang Aswinka Krisnanda Ida Ayu Larasathi Putri Yudistira Made Ayu Desiari Ni Made Ayu Kesuma Dewi