Article Per Year (5 Year)
p-Index From 2021 - 2026
0.61
P-Index
This Author published in this journals
All Journal Jurnal Igel: Journal of Dance
Kompiang Gede Widnyana
Institut Seni Indonesia Bali
Arts Humanities

Published : 3 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 3 Documents
Search

 1 
TARI LEGONG NGELAWANG DI DESA APUAN, KECAMATAN SUSUT, KABUPATEN BANGLI Luh Risa Melliani; Ni Made Arshiniwati; Kompiang Gede Widnyana
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.v5i2.6071

Abstract

AbstrakTari Legong Ngelawang termasuk dalam jenis Tari Legong Keraton yang telah dimodifikasi olehpenciptanya. Nama Legong Ngelawang digunakan karena tarian ini ditarikan dengan cara ngelawang (ditarikanmengelilingi Banjar Bangun Lemah, Desa Apuan). Tarian ini termasuk dalam jenis tari kelompok yang terdiri daritiga penari wanita dan diklasifikasikan ke dalam tari wali. Penelitian yang berfokus pada Tari Legong Ngelawangini memiliki dua masalah dengan kajian utama ada pada bentuk dan fungsi Tari Legong Ngelawang di Desa Apuan,Kecamatan Susut, Kabupaten Bangli. Teori yang digunakan untuk membedah dua permasalahan itu adalah teoriestetika dan teori fungsional. Penelitian ini merupakan penelitian deskriptif kualitatif yang ditinjau dari kajian senipertunjukan dengan menggunakan teknik pengumpulan data wawancara, observasi, studi pustaka, dan dokumentasi.Hasil penelitian menunjukkan bahwa Tari Legong Ngelawang termasuk dalam jenis tari lepas yangditarikan oleh tiga orang penari yang sudah dipilih berdasarkan pawisik dari Sesuhunan Pura Dalem. Strukturpertunjukannya terdiri dari tiga bagian yaitu pepeson, bapang, pengawak dengan ragam gerak sederhana yang terdiridari agem, tandang, tangkis, dan tangkep. Penari menggunakan riasan wajah dan busana yang sangat sederhanadengan menggunakan kipas sebagai properti. Iringan yang digunakan adalah gamelan palegongan yang dibawakanoleh penabuh sekaa Legong dengan jumlah dua puluh orang. Tempat pementasan Tari Legong Ngelawang adalah disetiap gang, dan pertigaan jalan Banjar Bangun Lemah dengan pola lantai yang masih sederhana. Pementasandilaksanakan setelah persembahyangan bersama sampai sore hari pada hari Raya Galungan dan Kuningan. Tarianini memiliki fungsi utama sebagai sarana ritual.Kata Kunci: Tari Legong Ngelawang, Bentuk, Fungsi
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.
Makna Simbolis Tari Kembang Ura Dalam Tradisi Topeng Sidakarya: Kajian Etnoestetika Dewa Ayu Galih Mas Narapadi Galih; Ni Made Ruastiti; 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.v6i1.6522

Abstract

Kembang Ura Dance is a newly created dance work that emerges from the reinterpretation of the flower-scattering ritual found in the Sidakarya Mask performance, an essential ritual practice within the Balinese Hindu ceremonial system. In the context of contemporary performing arts, the transformation of ritual actions into aesthetic forms often entails the risk of meaning reduction and the profanation of sacred symbols. This condition generates an urgency to examine how ritual values can be translated into choreographic works without losing their cultural and spiritual depth. This study aims to reveal the symbolic meanings of Kembang Ura Dance through an ethno-aesthetic perspective, focusing on its performance structure, the process of transforming the flower-scattering tradition, and the symbolic meanings embedded in its artistic elements. The research addresses three main questions: how the aesthetic structure of Kembang Ura Dance is constructed, how the flower-scattering tradition is transformed into a creative dance form, and what symbolic meanings are articulated within the cultural context of Sidakarya. Employing a qualitative method with ethno-aesthetic and ethnochoreological approaches, data were collected through performance observation, in-depth interviews, and documentation studies. The analysis is supported by ethno-aesthetic theory, ritual theory, and symbolic perspectives in performance studies. The findings indicate that Kembang Ura Dance does not merely represent aesthetic movement but also articulates symbols of purification, universal compassion, and ritual blessing through its choreographic structure, vintage-inspired costume design, and its symbolic relationship with the Sidakarya Mask as the ritual completer of yadnya. The novelty of this study lies in positioning Kembang Ura Dance as a model of ritual-based creative dance that maintains a balance between modern aesthetics and the continuity of sacred values, while offering a critical reading of the role of creative dance within contemporary Balinese cultural dynamics. Keywords: Kembang Ura Dance; symbolic meaning; ethno-aesthetics; flower-scattering tradition; Sidakarya Mask.
Co-Authors Dewa Ayu Galih Mas Narapadi Galih Gusti Ayu Ketut Suandewi Komang Jesha Adi Tangkas Luh Risa Melliani Ni Made Arshiniwati Ni Made Ruastiti