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All Journal E-Journal Of Cultural Studies Panggung Jurnal Igel: Journal of Dance
Cerita, I Nyoman
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Arts Humanities Education

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THE BARONG LANDUNG PERFORMING ART FROM THE PERSPECTIVE OF CULTURAL ACCULTURATION Cerita, I Nyoman; Wirawan, AA Bagus; Suarka, I Nyoman
E-Journal of Cultural Studies Volume 10, Number 2, May 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (572.879 KB) | DOI: 10.24843/cs.2017.v10.i02.p01

Abstract

The Barong Landung performing art, as the acculturation of the Balinese culture and Chinese culture, has opened the new history of the relationship between the Balinese culture and Chinese culture. The acculturation has also become the peak of the Chinese cultural impact on the Balinese culture in general and the Balinese performing art in particular. Moreover, Balong Landung has also been considered the symbolic appearance of the Balinese King, Sri Aji Jaya Pangus, and his wife, Kang Cing Wie, who governed from 1099 to 1103 Caka Year. The qualitative method was used in the present study and the data were collected through library research. The data were collected through the secondary data source. The primary data were collected through interview, observation, and documentation techniques. The result of the study shows that the barong landung performing art is a traditional Balinese performing art which has been affected by the Chinese culture. It has been strongly integrated into the elements of the people’s performing art and culture in every region of Bali. In Bali it reflects the humanity-oriented culture. It can be classified as the sacred, magical, and religious performing art and is performed as part of the traditional and religious rituals in Bali.
TARI SAKANAYA CERMINAN MORAL MANUSIA Kusuma, I Wayan Krisna Ananta; Cerita, I Nyoman; Sutirtha, I Wayan
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (178.299 KB) | DOI: 10.59997/journalofdance.v1i2.867

Abstract

The creative source of the Sakanaya dance work comes from the Sengkuni character who is the antagonist as the source of conflict in the Mahabharata story. His intelligence and abilities make him dissolved into destruction, because he cannot control the six enemies that are within him (Sad Ripu).The creation of this dance work uses the theory of imagination which means the power to form images (images) and the theory of aesthetics which means beauty. The process of realizing it into creative dance works using the creation method in the book Creating Through Dance by Y. Sumandiyo Hadi, a translation of the book Creating Trough Dance by Alma M. Hawkins with stages of exploration, improvisation, and forming. Exploration is thinking, imagining, and responding, by doing research on creative sources, determining ideas and themes for the work, designing the concept of work, selecting dancers, choosing composers and accompaniment players and choosing a place to practice; Improvisation is the process of pouring out the concept of a work to dance performers and has a probationary period; The last stage of forming is the process of uniting and assembling movement patterns, arable structures, music, and formation as a whole.This dance work is packaged in a creative dance work, with the theme of social life. Danced with seven dancers, accompanied by gamelan Semarandhana. The realization of this dance work is expected to awaken every human being that the importance of self-introspection is to maintain integrity or harmony in the lives of fellow human beingsKeywords: Sakanaya, Sengkuni, Sad Ripu, Creative
PENGGABUNGAN DUA GENRE TARI KE DALAM BENTUK KAKEBYARAN Pratama, Putu Angga; Sariada, I Ketut; Cerita, I Nyoman
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (130.111 KB) | DOI: 10.59997/journalofdance.v1i2.869

Abstract

Kebyar Jang is a dance creation originating from Truna Jaya Dance and Rejang Sacred Lanang Dance. The two dance genres have different characteristics and movement patterns, then the creators combine them to produce a new dance creation using a theme of spirit combination. The purpose of the creation of the Kebyar Jang dance is to preserve and introduce the arts in the Buleleng area, especially dance.This dance creation uses the angripta-sasolahan method by I Kt. Suteja with stages: ngarencana, nuasen, makalin, nelesin and ngebah. Ngarencana is done by observing, thinking, and imagining the creative resources used. Nuasen is a ritual ceremony before improvising the movement by performing prayers followed by all the dancers. Makalin is done by selecting the supporting the elements of creation and improvising the motion. Nelesin is a stage of formation which is done by summarizing the results of improvised motion that have been obtained. Ngebah is the first stage of the performance to find out the form of creation and get the results of the evaluation. Using the theory of imagination, symbols and aesthetics to assist in the creation process.This dance creation is packaged in the form of the kakebyaran dance which is danced by 6 male dancers using a fan property. Using makeup and clothing a combination of the rejang dance and the kakebyaran dance. Accompanied by the gamelan Semarandhana that can support the atmosphere of each structure that is displayed.Keywords: Kebyar Jang, Kakebyaran Dance, Truna Jaya Dance, Rejang Sacred Lanang Dance.
Eksistensi Tari Tradisional Megoak-Goakan sebagai Etnisitas Budaya di Kabupaten Buleleng Sustiawati, Ni Luh; Cerita, I Nyoman; Suryatini, Ni Ketut
PANGGUNG Vol 31 No 4 (2021): Implementasi Revitalisasi Identitas Seni Tradisi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i4.1854

Abstract

Tari tradisional Magoak-goakan merupakan refleksi budaya lokal kabupaten Buleleng yang sarat dan kuat dengan nilai-nilai etika, estetika, dan logika. Sebagai representasi etnisitas budaya, tarian ini merupakan warisan leluhur masyarakat Bali Utara dan telah menjadi khasanah budaya Bali yang adiluhung. Tari ini terinspirasi dari permainan tradisional Magoak-goakan yang dicetuskan oleh Raja Buleleng Ki Barak Panji Sakti pada tahun 1660 M di desa Panji, kecamatan Sukasada. Penelitian ini bertujuan mendeskripsikan keberadaan tari tradisional Magoak-goakan. Penelitian ini berpendekatan kualitatif, teknik pengumpulan datanya digunakan observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukan bahwa eksistensi tari tradisional Magoak-goakan memiliki peranan penting dalam kehidupan sosiokultural masyarakat Buleleng sehingga perlu dilestarikan dan dikembangkan berdasarkan entitas dan kualitas serta kaedah-kaedah yang dimiliki. Peran penting lainnya sebagai sumber pembelajaran seni budaya di sekolah, khususnya pada kompetensi mengapresiasi dan mengekspresikan seni tradisi.Kata kunci: eksistensi, tari megoak-goakan, suku, dan budaya
Co-Authors Anak Agung Bagus Wirawan I Ketut Sariada, I Ketut I Nyoman Suarka Kusuma, I Wayan Krisna Ananta Ni Ketut Suryatini, Ni Ketut Ni Luh Sustiawati Pratama, Putu Angga Sutirtha, I Wayan