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MOGO GAPII WINARKO, GALANG BIMA PUTRA WINDURA; Artati, Anak Agung Ayu Mayun; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 4 No 2 (2024): Jurnal IGEL Vol 4 No 2 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i2.3385

The Mogo Gapii dance work started from a creative idea, namely Bakar Batu. It is necessary to pay attention to the limitations in order to clarify the extent of the ideas being discussed. Bakar Batu is a Papuan tradition in the form of a cooking ritual carried out together by village residents which aims to express gratitude, permission, death, bersilahturahmi (gathering of relatives and relatives, welcoming happiness (birth, traditional marriage, coronation of tribal chief), as well as to gather soldiers who died due to inter-tribal wars. This stone burning tradition is believed to have been going on for hundreds of years and is the oldest tradition in Papua. Stone burning is an original tradition of mountain tribe communities including the Agmungme, Dani, Lani, Damal, Nduga, Moni and Ekari tribes. The way to differentiate the Burning Stone Ceremony after burning between tribes from others is at the beginning of the Burning Stone ceremony itself. If the ceremony begins with men shooting pigs, then dancing together with jumping movements and circular patterns filled with shouts. which is interpreted as encouragement, it means the Stone Burning Ceremony after the tribal war. If at the beginning of Bakar Batu the men do not shoot arrows at the pig but instead immediately slaughter the pig as usual, it means that the Bakar Batu Ceremony is a ceremony such as marriage, birth, thanksgiving after the harvest and so on.

Tari Sesandaran Di Griya Delod Pasar Desa Adat Intaran; Kajian Bentuk, Fungsi Dan Makna. Sidhi, I Putu Gede Serana Asta; Trisnawati, Ida Ayu; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 4 No 1 (2024): Jurnal IGEL Vol 4 No 1 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i1.4196

The Sesandaran dance at Griya Delod Pasar is a bebali dance that is sacred to the people and was born in the Intaran Traditional Village. This Sesandaran Dance is the same as the Telek Dance which uses a white tapel or mask and has a subtle character. Of course, the Sesandaran Dance which is located at Griya Delod Pasar is created with its own characteristics and identity. These characteristics exist at the beginning, the form of the dance. This Sesandaran Dance Research uses a qualitative research method with a descriptive qualitative approach. The research data was obtained through several stages, namely observation, structured and unstructured interviews, and indirectly through library research and documentation studies. The final task of the independent learning program in the dance study program this time the researcher chose the object of the Sesandaran Dance at Griya Delod Pasar as the object of research.ance, the function and meaning of the dance. The research results obtained that the Sesandaran Dance at Griya Delod Pasar is a group dance danced by ten dancers. The ten dancers are divided into four lean dancers, four jauk omang dancers, one telek dancer “Ni Swarni” and one jauk lingsir or Gore dancer. The Sesandaran dance at Griya Delod Pasar is built with eight dance structures, namely: Pepeson/Bebarisan, crewman, Pepeson Telek “Ni Swarni”, Pengecet, Pepeson Jauk Omang, Pepeson Gore/Jauk Lingsir, Pesiat and Pekaad. This dance has a function as an accompaniment to sacred performances or opening during the procession of mepajar or Ida Sesuhunan napak pertiwi. This Sesandaran dance contains four meanings, namely, religious meaning, creative meaning, aesthetic meaning and identity meaning

MOGO GAPII WINARKO, GALANG BIMA PUTRA WINDURA; Artati, Anak Agung Ayu Mayun; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 4 No 2 (2024): Jurnal IGEL Vol 4 No 2 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i2.3385

The Mogo Gapii dance work started from a creative idea, namely Bakar Batu. It is necessary to pay attention to the limitations in order to clarify the extent of the ideas being discussed. Bakar Batu is a Papuan tradition in the form of a cooking ritual carried out together by village residents which aims to express gratitude, permission, death, bersilahturahmi (gathering of relatives and relatives, welcoming happiness (birth, traditional marriage, coronation of tribal chief), as well as to gather soldiers who died due to inter-tribal wars. This stone burning tradition is believed to have been going on for hundreds of years and is the oldest tradition in Papua. Stone burning is an original tradition of mountain tribe communities including the Agmungme, Dani, Lani, Damal, Nduga, Moni and Ekari tribes. The way to differentiate the Burning Stone Ceremony after burning between tribes from others is at the beginning of the Burning Stone ceremony itself. If the ceremony begins with men shooting pigs, then dancing together with jumping movements and circular patterns filled with shouts. which is interpreted as encouragement, it means the Stone Burning Ceremony after the tribal war. If at the beginning of Bakar Batu the men do not shoot arrows at the pig but instead immediately slaughter the pig as usual, it means that the Bakar Batu Ceremony is a ceremony such as marriage, birth, thanksgiving after the harvest and so on.

Karya Tari Virtual Njek-njek Ti Yasa, I Komang Manik Juliartana; Suandewi, Gusti Ayu Ketut; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Karya tari Njek-njek Ti merupakan sebuah karya tari berwujud kontemporer yang disajikan secara virtual.Penyajian karya tari virtual ini mengkolaborasikan antara teknik pengolahan gerak (koreografi) dan teknikpengambilan gambar (sinematografi). Karya tari ini terinspirasi dari esensi gerak kaki pada permainantradisional Donal Bebek, sehingga pengembangan gerak yang digunakan bersumber dari gerak menyerang danmenghindar yang ada pada permainan Donal Bebek. Pada proses perwujudannya, pencipta menggunakanmetode yang dikemukakan oleh Alma Hawkins. Metode ini meliputi tiga tahapan yaitu tahap penjajagan(eksplorasi), tahap percobaan (improvisasi), dan tahap pembentukan (forming). Tari Njek-njek Ti merupakantari kontemporer yang ditarikan oleh enam orang penari putra dan lima orang penari putri. Karya tari inimenggunakan teknik MIDI pada FL Studio 20 sebagai iringan tari dengan durasi 15 menit. Selanjutnya, tari inimenggunakan kostum bergaya kasual yakni penggunaan baju kaos polos berwarna pastel, celana pendekberbahan tight, dan dilengkapi kaos kaki berwarna hitam. Penciptaan karya tari Njek-njek Ti diharapkan mampumemberikan pemahaman bahwa sebuah karya seni yang berbasis seni dan budaya dapat dikolaborasikan denganpemanfaatan teknologi modern masa kini.Kata kunci: Njek-njek Ti, Donal Bebek, Virtual

Proses Kreatif Tari Eling Bhumi Di Sanggar Pancer Langit Desa Kapal Kabupaten Badung Andayani, Ni Komang Ari; Suteja, I Kt.; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 3 No 1 (2023): Terbitan Kesatu Bulan Juni tahun 2023
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v3i1.2380

Tujuan penciptaan berjudul Proses kreatif tari Eling Bhumi di Sanggar Pancer Langit adalah untuk kreatifitas karya tari kontemporer. Sanggar Pancer Langiit merupakan salah satu sanggar yang terletak di Desa Kapal Kabupaten Badung, yang juga memiliki makna sebagai pusat atau sumber dari segala kekuatan dan langit/lelangit yang berarti leluhur simbol pelindung yang abadi. Metode yang digunakan dalam penelitian ini yaitu menggunakan metode kualitatif, karena data yang diperoleh berupa wawancara yang kemudian hasil dari wawancara tersebut dideskripsikan melalui tulisan dengan kalimat yang detail serta menggunakan teknik dokumentasi dan teknik studi pustaka. Tari kontemporer Eling Bhumi menggambarkan atau menanggapi fenomena pandemi Covid-19 yang sedang melanda dunia saat ini, fenomena ini juga membuat segala sektor kehidupan menjadi terdampak. Konsep garap Eling Bhumi ini mencoba untuk mengolah secara kreatif beberapa unsur gerak tubuh dalam tari dan musik serta mengolahnya dengan memadukan aspek visual permainan properti lontar sehingga menjadi karya seni yang utuh. Kata Kunci: Proses Kreatif, Tari Eling Bhumi, Pancer Langiit

KAJIAN BENTUK DAN FUNGSI TARI REJANG NYUTRI DESA BEDULU, KECAMATAN BLAHBATUH, KABUPATEN GIANYAR Cahyani, Ida Ayu Ari Dwi; Suandewi, Gusti Ayu Ketut; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 3 No 2 (2023)
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v3i1.2880

Abstrak Bali memiliki bermacam – macam jenis tari rejang khususnya di Kabupaten Gianyar, salah satunya Desa Bedulu. Tari Rejang Nyutri Meayunan di Desa Bedulu, Kecamatan Blahbatuh, Kabupaten Gianyar. Tari Rejang Nyutri Meayunan merupakan salah satu tarian sakral yang berasal dari Desa Bedulu dan ditarikan di Pura Gunung Sari Desa Bedulu setiap satu tahun sekali. Tari ini memiliki keunikan dan daya tarik tersendiri sehingga tarian ini layak untuk dijadikan objek penelitian. Penelitian ini menggunakan metode kualitatif dengan tiga landasan teori yaitu, teori fungsional, teori estetika, dan teori semiotika. Data – data mengenai tari ini diperoleh dengan observasi, wawancara dan dokumentasi. Tari Rejang Nyutri Meayunan merupakan sebuah tari sakral yang berada di Desa Bedulu dan ditarikan di Pura Gunung Sari setiap satu tahun sekali. Tari ini berbentuk tari sakral yang ditarikan secara berkelompok. Tarian ini hanya boleh ditarikan oleh jero permas atau wanita yang telah mengalami proses penyucian secara niskala. Para jero permas menggunakan kebaya putih, kamen hitam, dan selendang hitam saat menari. Kemudian pada bagian kepala, para jero permas menggunakan pusung tagel dan diisi bunga pucuk merah atau bunga berwarna merah. Tari Rejang Nyutri Meayunan memiliki gerak yang sederhana dan diiringi dengan gamelan angklung atau gong gede dengan lelambatan tabuh pisan. Masyarakat setempat memfungsikan tarian ini sebagai tari sakral. Selain itu, masyarakat setempat juga mengaitkan tarian ini dengan perekonomian masyarakat di Desa Bedulu. Adapun beberapa aspek dari Tari Rejang Nyutri Meayunan ini jika diselami memiliki makna keseimbangan. Kata kunci : Tari Rejang Nyutri Meayunan, Bentuk, Fungsi

Tari Sesandaran Di Griya Delod Pasar Desa Adat Intaran; Kajian Bentuk, Fungsi Dan Makna. Sidhi, I Putu Gede Serana Asta; Trisnawati, Ida Ayu; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 4 No 1 (2024): Jurnal IGEL Vol 4 No 1 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i1.4196

The Sesandaran dance at Griya Delod Pasar is a bebali dance that is sacred to the people and was born in the Intaran Traditional Village. This Sesandaran Dance is the same as the Telek Dance which uses a white tapel or mask and has a subtle character. Of course, the Sesandaran Dance which is located at Griya Delod Pasar is created with its own characteristics and identity. These characteristics exist at the beginning, the form of the dance. This Sesandaran Dance Research uses a qualitative research method with a descriptive qualitative approach. The research data was obtained through several stages, namely observation, structured and unstructured interviews, and indirectly through library research and documentation studies. The final task of the independent learning program in the dance study program this time the researcher chose the object of the Sesandaran Dance at Griya Delod Pasar as the object of research.ance, the function and meaning of the dance. The research results obtained that the Sesandaran Dance at Griya Delod Pasar is a group dance danced by ten dancers. The ten dancers are divided into four lean dancers, four jauk omang dancers, one telek dancer “Ni Swarni” and one jauk lingsir or Gore dancer. The Sesandaran dance at Griya Delod Pasar is built with eight dance structures, namely: Pepeson/Bebarisan, crewman, Pepeson Telek “Ni Swarni”, Pengecet, Pepeson Jauk Omang, Pepeson Gore/Jauk Lingsir, Pesiat and Pekaad. This dance has a function as an accompaniment to sacred performances or opening during the procession of mepajar or Ida Sesuhunan napak pertiwi. This Sesandaran dance contains four meanings, namely, religious meaning, creative meaning, aesthetic meaning and identity meaning

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