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Suminto
Institut Seni Indonesia Bali
Arts Humanities

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Tolu Dance in The Senggighilang Art Studio, Bailang Village, Bunaken District, Manado City Apriliani Marsella Debora Moray; Kompiang Gede Widyana; Suminto
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.v5i2.6066

Abstract

Higher education in Indonesia aims to produce quality graduates through the Merdeka Belajar Kampus Merdeka program, but the implementation of this program still faces a number of challenges, especially in the lack of dance literacy, especially in North Sulawesi. This study aims to analyze the elements and symbolic meanings contained in the Tolu dance performance: Our Appreciation for You at the Senggighilang Art Studio. This study uses a qualitative descriptive approach, with aesthetic theory and semiotic theory dance literacy, especially in North Sulawesi. This study aims to analyze the elements and symbolic meanings containedin the Tolu dance performance: Our Appreciation for You at the Senggighilang Art Studio. This study uses a qualitativedescriptive approach, with aesthetic theory and semiotic theory.The data collection process goes through the stages of observation, interviews, documentation and data
Karya Legong Bisama Cupar Terinspirasi Dari Cerita Babad Sidakarya, Salah Satunya Pemastu (Kutukan) Brahmana Keling Dalam Upacara Eka dasa Rudra A.A Sagung Intan Sri Widyaswari; Gusti Ayu Ketut Suandewi; Suminto
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: 10.59997/10fder11

Abstract

ABSTRACT This dance work raises the core of the story of Babad Dalem Sidakarya as an idea to work on, namely the Pemastu (curse) of Brahmin Keling which is sourced from Pura Mutering Jagat Dalem Sidakarya, South Denpasar, Denpasar City. On the way of Brahmin Keling from the Bali Strait to the Kingdom of Gelgel to meet his brother to Bandana Negara, the chronicle of Pemastu (curse) Brahmin Keling in the Eka Dasa Rudra ceremony at Besakih Temple and Pura Mutering Jagat Dalem Sidakarya, cursed the occurrence of grubug, and was given the title of Dalem Sidakarya, which the stylist poured into Pelegong's new dance creations. The method used in realizing the Legong Bisama Cupar dance work uses the principle of the Angripta Sesolahan method proposed by I Kt Suteja. The method includes 5 parts, namely Ngeplan, Nuasen, Makalin, Nelesin, and Ngebah. The process was carried out with Manubada Art partners, in Br. Apuan, Singapadu Village, Sukawati District, Gianyar Regency. This dance work is packaged into a new dance creation pattern by being danced by seven female dancers, using fan props. Using women's stage makeup and clothes based on classic legong with brown, black and white colors. Accompanied by the Gamelan Gong Kebyar saih lima which supports every atmosphere of the structure displayed, A.A Aditya Perdana, S.Sn as the composer of the 13-minute work, so that this work becomes beautiful supported by the percussionist of the maye-maye art studio, the singing of songs from the tandak. Structure of Legong Bisama Cupar: Pengawit (flashback), Pepeson, Pengawak, Pengecek and Pekaad. In Legong Bisama Cupar there are also new movement motifs such as agem Brahmana Keling, agem right and left, nyondong lamak, tanjek dalem sidakarya. Keywords: Legong, Bisama Cupar, Pemastu.
Payas Roko Deeng Buleleng di Desa Liligundi Kecamatan Sukasada Kabupaten Buleleng Kadek Rendy Wiradana; Ni Made Arshiniwati; suminto
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.v5i1.5656

Abstract

Buleleng has one of the Payas Deeng called Payas Roko Deeng Buleleng precisely in Liligundi Village,Sukasada District. Payas Roko Deeng Buleleng was originally used during the cremation ceremony or palebon by thepuri community precisely during the palebon of I Gusti Putu Gria. This Payas is used as a symbol of final respect fortheir ancestors and those who perform the deeng are relatives or siblings who have died. They must or are required topresent a pair of Deeng, male and female to help guide the deceased's spirit to heaven. Payas Roko Deeng Buleleng iscurrently being studied with the help of a Partner, namely Uje Mua Bali. Uje Mua Bali is located in Buleleng, using theoffline learning method or direct meetings to learn how to install the head shape and clothing of Payas Roko DeengBuleleng. It is hoped that with this Thesis, it can provide broad information about Payas Roko Deeng Buleleng. PayasRoko Deeng has a payasan form that uses a roll of roko roko on the head, uses songket and men use 2-meter longkancut. This has the meaning that roko-roko is used as a symbol of akasa or upper space and kancut as a symbol ofpertiwi (lower space) or land. The unification of these two elements will help the deceased spirit to harmonize the upperand lower realms. A pair of Deeng is also used as a symbol of purusa and pradana or the difference between men andwomen. Payas Roko Deeng Buleleng is also seen based on the current social strata of society, the economy of societycan be seen through the Payas Deeng that is offered.Keywords: Cremation, Payas Roko, Buleleng Deeng
Co-Authors A.A Sagung Intan Sri Widyaswari Apriliani Marsella Debora Moray Gusti Ayu Ketut Suandewi Kadek Rendy Wiradana Kompiang Gede Widyana Ni Made Arshiniwati