Gusti Ayu Ketut Suandewi
Institut Seni Indonesia Bali

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Pilahing Watu Ni Komang Vivi Larasati; Gusti Ayu Ketut Suandewi; I Putu Bagus Bang Sada Graha Saputra
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.v5i2.5034

Abstract

Pilahing Watu The Pilahing Watu Dance Work takes its creative source from a story in Beraban Village. About a village woman who was born or emerged from a split stone in Banjar Batu Gang or Batugaing. The story is raised with the theme of women, implementing female characters who have gentle, graceful, tough and majestic traits. The arranger collaborates with partners, namely the Pancer Langiit Art Studio in the process of realizing the Pilahing Watu Dance Work, starting from selecting movements to selecting music. The process of forming the Pilahing Watu Dance work uses an approach from I Kt. Suteja, namely Angripta sesolahan or creating dances. The Angripta sesolahan method consists of the stages of Ngarencana, Nuasen, Makalin, Nelesin, Ngebah and Presentation. The Pilahing Watu Dance Work uses six female dancers, using music from Swarapala which is also under the auspices of the Pancer Langiit Art Studio using the Gong Gede Saih Pitu Gamelan. It is hoped that this work can be enjoyed by many people, especially in Beraban Village, where the story originates. Keywords : Pilahing Watu, Split Stone, Beraban Village.
Tari Joged Bumbung Klasik Banjar Betngandang Desa Adat Intaran Desa Sanur Kauh Denpasar Komang Jesha Adi Tangkas; Gusti Ayu Ketut Suandewi; Kompiang Gede Widnyana
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.v6i1.6498

Abstract

Joged Bumbung is a social dance traditionally performed at the end of the harvest season as a form of entertainment. This art form exists in almost every region of Bali, with variations unique to each locality. In Sanur Village, Denpasar, the dance is known as Joged Bumbung Betngandang, a cultural heritage that has been preserved and transmitted across generations. The Banjar Betngandang Joged Bumbung embodies pregina taksu and features a sacred roll (roll), serving as a testament to its enduring presence in the community. This study employs a qualitative approach to explore three research questions: (1) the historical emergence of Joged Bumbung in Banjar Betngandang, (2) the structural and stylistic form of the dance, and (3) its cultural and social functions. The study applies aesthetic and functional theoretical frameworks. The aesthetic approach analyzes local expressions of beauty in dance movements, costumes, music, and other artistic elements, while the functional approach examines the roles and significance of the performance within the community. The findings indicate that the Joged Bumbung Betngandang is a prominent dance tradition in South Bali, with origins dating back to the 1960s. The dance typically involves four to six performers, maintains the traditional Joged movements and Gamelan music, and preserves the original songs. Functionally, the dance serves as a medium for cultural preservation, entertainment, and educational purposes. The emergence of Joged Bumbung Betngandang is linked to the penglingsir of Banjar Betngandang, who possessed pregina taksu, marking the beginning of this dance tradition. The sacred roll is performed every fifth Full Moon during piodalan, reinforcing its cultural and spiritual significance. Keywords: Joged Bumbung, dance form, function.