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All Journal Jurnal Igel: Journal of Dance

Sudibya, I Gusti Ngurah

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Author-ID : 1855461

Arts Humanities

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Proses Kreatif Penciptaan Tari Wong Peken oleh Jasmine Okubo Gayatri, Ni Komang Ananda; Kustiyanti, Dyah; Sudibya, I Gusti Ngurah
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

This article is the result of research into the creative process of creating Wong Peken dance as a contemporary dance that was specifically created for the deaf. This research is focused on how the creativity process is carried out by Jasmine Okubo as the choreographer. Indirectly, this dance breaks the stigma of the people who underestimate the deaf because it has managed to get a fairly good appreciation. Interestingly, Jasmine Okubo has no background or experience in BISINDO communication. The method applied in this research is a qualitative method with reference to the Theory of Creativity. The results obtained indicate that the process of creating Wong Peken dance is a process of the body's journey to find the specialties in each individual regardless of their imperfections. The process of creating Wong Peken dance shows that dance is a universal language for expression and communication. Dance allows people who cannot speak to communicate through movements.Keywords : Wong Peken Dance, creative process, deaf.

Tari Jaran Endut, dari Cerita Rakyat ke Tari Kontemporer Putriandini, Putu Gita Rahayu; Sudibya, I Gusti Ngurah; Satyani, Ida Ayu Wayan Arya
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Jaran Endut Dance is a contemporary dance originating from the folklore of West Nusa Tenggara. Raising the history of the formation of Dusun Endut from the privilege of a horse. The idea of working on this work is the spirit of Jaran Endut in his long journey of helping the people of Pejarakan. The theme used is toughness. Toughness is manifested in the agility, dexterity, sharpness, and speed of the horse in moving. The creator felt challenged to bring an animal character; horse, into the human body. Visualizing the character of a horse requires agile body movements, expression and character deepening, so that the characteristics of the Jaran Endut dance can be conveyed. In addition, "silence" in Jaran Endut's work requires strong energy and physical strength so that the message can be conveyed properly. Humans do have to work hard, but silence is also important in order to choose the next step. The stages of manufacture use the Alma, M. Hawkins creation method, namely the exploration, improvisation, and forming. The structure of the dance work consists of sections 1, 2, and 3, with the form of a large group consisting of eight dancers who have close to compact body postures, thus showing the impression of moving. Accompanied by dance music in the form of MIDI by combining traditional and digital music so that the uniqueness of Jaran Endut I dance music appears. After this process has been running for 1 year, finally this work can be realized with the title of Jaran Endut (Motionless Horse)Keywords: Jaran Endut, Horse Character, Toughness

Perpaduan Bali dan Jazz dalam Teknik Jazli, Tari Studi dalam Kontemporer Putra, Putu Parama Kesawa Ananda; Sudibya, I Gusti Ngurah; Satyani, Ida Ayu Wayan Arya
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

The Blend of Bali and Jazz in Jazli Techniques, Dance Studies in Contemporary Jazli's dance work is a contemporary dance whose idea departs from the creator's personal experience. The experience of studying Jazz dance and the love of Balinese dance made the creators want to raise the acculturation of motion as the theme of the work. Through this dance work, the creator wants to convey the creator's pride in Balinese dance which is very flexible, so that it can be combined with Jazz dance originating from the West. This work aims to offer a new artistic creativity at the Indonesian Institute of the Arts Denpasar, especially in the Dance Study Program in completing the final project. The study dance type was chosen to combine Jazz dance techniques and Balinese dance techniques, so as to find new movement techniques. The creator uses Jacqueline Smith's method as the basis for building Jazli dance works. This method is divided into four stages, called the construction method I, II, III, and IV. In addition to the combination of movement techniques, in the process of his work there is also a combination of music and fashion to represent elements of Jazz and Bali. The form of presentation of Jazli dance works is a group of seven dancers, three male dancers and four female dancers. Jazli's movement technique is the result of the discovery in this dance work. Jazli's movement technique is the creator's reflection on the dance techniques he has studied. The creator hopes that Jazli's dance works can be used as inspiration for the younger generation, and Jazli's movement techniques can develop in Bali. Keywords: Contemporary, Experience, Jazli, Acculturation

SOLAH PURUS Gunawan, I Kadek Adi; Sudibya, I Gusti Ngurah; Sulistyani, Sulistyani
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

Tari Solah Purus adalah karya tari kontemporer mengambil tema kesuburan yang sumber kreatifnya dari peristiwa budaya yaitu Sanghyang Enjo-Enjo.Sanghyang Enjo-Enjo merupakan wujud keyakinan masyarakat yang mempunyai makna kesuburan, menggunakan alat vital laki-laki sebagai simbol. Sanghyang Enjo-Enjo ini memiliki keunikan yaitu dari segi wujud dibuat dari ilalang (ambengan) Berbentuk sosok laki-laki (purusa), yang memegang simbol kesuburan laki-laki dan symbol kesuburan tersebut bisa digerakan dengan cara tarik-ulur serta dari segi penyajian yang ada lima yaitu didorong, ditarik, diangkat, dibanting, dan diputar. pencipta tertarik mengangkat prosesi, bentuk penyajian dan makna dari peristiwa budaya tersebut. Karya tari Solah Purus ini ditarikan oleh Sembilan penari putra dengan postur tubuh yang sama. Metode penciptaan yang digunakan dalam karya tari Solah PurusiniadalahmetodeMencipta LewattariolehY.sumandiyoHadi yangmencakup tahap penjajagan, tahap percobaan dan tahap pembentukan. Karya tari Solah Purus ini menggunakan tata rias wajah dan busana berupa baju dan celana menjadi satu dengan variasi kain rangrang khas Nusa Penida, gelang kana, gelang lengan, deker kaki, gelang kaki, jestring, kancut purus dan sabuk pinggang. Iringan yang digunakan dalam karya tari Solah Purus ini adalah beberapan instrumen gamelan Semar Pegulingan yaitu Riong, Kajar, Jegog, Jublag, Gong, Gentorang serta menggunakan vokal pada bagian opening dan Ending. Karya tari kontemporer Solah Purus dipentaskan di panggung proscenium Gedung Natya Mandala Institut Seni Indonesia Denpasar. Tujuan penciptaan karya ini yaitu untuk memberikan pesan moral bahwa janganlah menyia-nyiakan kesuburan karena kesuburan dibutuhkan setiap manusia dan mewujudkan karya tari baru berbasis kearifan lokal. Hal ini dilatari karena banyaknya kini generasi muda tidak mengenali kearifan lokal budaya mereka sendiri, padahal peristiwa budaya tersebut mengandung nilai-nilai budaya adiluhung yang patut untuk dilestarikan. Kata Kunci: Solah Purus, Kontemporer, Karya Tari, Sanghyang Enjo-Enjo, kesuburan

Co-Authors Gayatri, Ni Komang Ananda Gunawan, I Kadek Adi Kustiyanti, Dyah Putra, Putu Parama Kesawa Ananda Putriandini, Putu Gita Rahayu Satyani, Ida Ayu Wayan Arya Sulistyani Sulistyani

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