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All Journal E-Journal Of Cultural Studies Jurnal Kajian Bali MUDRA Jurnal Seni Budaya KALANGWAN Segara Widya: Jurnal Penelitian Seni Pendas : Jurnah Ilmiah Pendidikan Dasar Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni GETER : Jurnal Seni Drama, Tari dan Musik Ghurnita: Jurnal Seni Karawitan Jurnal Penelitan Mahasiswa Indonesia Jurnal Kajian Seni International Journal of Multidisciplinary Research and Literature (IJOMRAL) Cultoure: Jurnal Ilmiah Pariwisata Budaya Hindu Jurnal Batarirupa : Jurnal Pendidikan Seni Jurnal Igel: Journal of Dance Cendikia Pendidikan Journal of Aesthetics, Design, and Art Management Global Art Creativity Conference Open Access DRIVERset
Ni Made Arshiniwati
Institut Seni Indonesia Denpasar
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Physics Social Sciences Other

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Tari Kreasi Ngelinyar Ni Luh Putu Eka Wahyuningsih; Ni Made Arshiniwati; A.A.Ayu Mayun Artati
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.817

Abstract

The creative source of this dance work comes from the creator's personal experience by seeing firsthand how the character Liku dances on stage in such a unique and eccentric style and has had several opportunities to support the dance test at ISI Denpasar. The experience gave the creator an idea to create a dance work that shows how bright female characters is klinyar. The word klinyar has meanings, namely nglinyar which means lively and maklinyaran which means flirty, with a special view of girls. The process of realizing it into a dance work using the method of creation by applying the principles of angripta-sesolahan, among others: ngarencana (exploration), nuasen (ceremony before the improvisation process), makalin (improvisation), nelesin (forming), and ngebah (first performance). This dance work is packaged in the form of creative dance, with the theme of social life, which is danced by six female dancers. The selection of dancers is adjusted to the creator's body posture. The accompaniment music uses the Semara Pagulingan barungan combined with the strains of the gerong sound to make the musical atmosphere more memorable. The realization of this dance work is expected to provide awareness on how to judge someone not only from the outside, but it is better if we also know how the character is inside.Keyword : character, Liku, klinyar, creation.
TARI KREASI SAGUNG WAH I Gusti Ayu Agung Adi Sartika Dewi; Ni Made Arshiniwati; Gusti Ayu Ketut Suandewi
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 | DOI: 10.59997/journalofdance.v1i2.864

Abstract

Sagung Wah's dance was inspired by the heroic story of Sagung Ayu Wah as a young woman who fought against the invading forces who wanted to rule her kingdom, the Kingdom of Tabanan. The story of Sagung Wah's struggle is also written in the Chronicle of Arya Tabanan and Queen of Tabanan. The heroic story of Sagung Ayu Wah was then poured into the form of dance creations. Kreasi baru dance is a type of dance that has been given a directed pattern that has been developed and refined so that it can create a new movement pattern. The creator chooses dance movements that are created but still based on traditional motion patterns in order to gain freedom in moving and imagination.The method that the creator used in working on this dance work is alma M. Hawkins creation method consisting of exploration, improvisation, and forming stage. The three methods were successfully applied in working on this work with dance supporters. The purpose of the creation of this dance creation is to commemorate the story and services of a Sagung Wah in defending the tabanan kingdom as well as a form of appreciation as a woman of Tabanan region.Sagung Wah dance created by eight dancers consists of five female dancers and three male dancers. Makeup on this film uses soft makeup but still sharpens the eyes to fit the concept of clothing used. The dress of this work combines the colors between white which has a sacred meaning and the colors gold and black will look magnificent and authoritative. The dance creations of Sagung Wah are packaged in five structures, namely, flashback, papeson, pangawak, pangecet, pasiat, and panyuwud. The 12-minute directed is accompanied by Semara Pegulingan gamelan.Keywords: Sagung Wah, Tabanan Kingdom, Dance Creations, Creatio.
Pembelajaran Tari Legong Lasem Di Sanggar Tari Warini Ni Komang Putri Cahyanthi; Ni Made Arshiniwati; I Gusti Lanang Oka Ardhika
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1611

Abstract

Legong Lasem Dance Lesson at Warini Dance Studio Legong Lasem dance is danced by 3 female dancers including 1 Condong dancer and 2 Legong dancers. Legong Lasem dance tells the love did not reach Prabu Lasem to Princess Rangkesari. Legong Lasem dance prioritiez aesthetic movements, and there are also elements of expression or drama. This studi examines how the Legong Lasem dance learning method is at the Warini Studio, how the Legong Lasem dances enthusiasts are at the Warini Studio, and how are the Legong Lasem dance learning outcomes at the Warini Studio as an effort to increase students understanding of Legong Lasem dance. This study uses a qualitative approach with data collection techniques through observation, interviews, and documentation, uses 2 methods, namely demonstration and imitation. Legong Lasem dance is one of the mandatory materials taught at the Warini dance studio, because this dance is the basis of other dances. The results obtained from this study are able to know the process of learning the Legong Lasem dance in the Warini dance studio as a basis for training dance, thus giving birth to dancers who have strong qualities and techniques due to the will of dancer and the most important thing is the perseverance and patience of a dance maestro, Ms. Arini. Keywords : Legong Lasen dance, method, results
Tari Dayak Melihat Dunia Oleh Komunitas Kita Poleng Ida Ayu Putri Widiastuti; Ni Made Arshiniwati; Yulinis Yulinis
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.v3i1.2378

Abstract

Dayak Seeing the World Dance is a contemporary dance project inspired by the Utik river and life on the island of West Kalimantan, one of which is the life of the Iban Dayak Tribe and the Enggang Bird, which is iconic on the island. This work was created as a vehicle to open the world's glasses about the island of Borneo which is actually the lungs of the world, an important message to be conveyed in this project, to the world about the importance of preserving the beauty of nature. The purpose of this study is to explore the meaning of the title of the Dayak Seeing the World dance and the form of its presentation, so as to produce an understanding of the local genius culture that needs to be understood to maintain the traditions of the tribes in the archipelago towards the universal arena. The research method used is descriptive qualitative method to solve problems found in field observations, interviews, literature studies, documentation and apply aesthetic theory and tie hooks to support this paper. The results obtained from this study include: the meaning of the title Dayak Seeing the World which is closely related to the Dayak Tribe as a part of the Primitive Tribes of the State of Indonesia and has factors that influence the Dayak Tribe, such as cultural customs, traditions and cannot be separated from life. nature so far. The form of presentation consists dance moves from the Dayak tribe that were developed and created but did not change their original from, of a contemporary dance form danced by six dancers, fbrown, using Lanjoor Tombak and Mandau properties, red lighting to strengthen the project with a strong and bold by electronic music (MIDI).  Keywords: Dayak Dance Seeing the World, Meaning, Form Of Presentation.
KAJIAN BENTUK DAN FUNGSI TARI GANDRUNG DI DESA CEMPAGA, KECAMATAN BANJAR, BULELENG Ni Putu Ayu Rika Putri Dewi; Ni Made Arshiniwati; Suminto
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

Abstract

Abstrak Penelitian ini bertujuan untuk dapat memahami keberadaan Tari Gandrung di Desa Cempaga, Kecamatan Banjar, Buleleng. Fakta dilapangan menunjukan bahwa tulisan atau penulisan yang mengkaji tarian ini belum banyak ditemukan, padahal tari ini disajikan secara berkesinambungan dalam konteks upacara oleh masyarakat setempat. Adapun masalah yang yang dikaji adalah bagaimana bentuk dan fungsi Tari Gandrung di Desa Cempaga. Pedengan menggunakan metode kualitatif. Data dikumpulkan melalui observasi, wawancara, studi kepustakaan, dan studi dokumentasi. Data dianalisis dengan menggunakan teori estetika dan teori fungsional yang digabungkan dengan konsep fungsional dari Soedarsono. Hasil penelitian menunjukan bahwa masyarakat Desa Cempaga, Kecamatan Banjar, Buleleng menyajikan Tari Gandrung dalam bentuk tari lepas (tanpa lakon). Hal itu dapat dilihat dari proses penyajiannya, tempat pementasan, tata rias, tata busana, properti, musik pengiring, ragam gerak, struktur tari, dan pola lantai. Hingga kini masyarakat setempat tetap melestarikan tarian tersebut karena tari itu berfungsi sebagai penolak bala, ungkapan rasa syukur warga karena telah memasuki masa panen, ritual, ungkapan pribadi yang sifatnya hiburan, solidaritas, media meditasi, dan media terapi. Kata Kunci: Tari Gandrung, Bentuk, Fungsi
Creative Art Work Atisundara | Tabuh Kreasi Atisundara Kadek Krisna Dwipa Diartama; Ni Made Arshiniwati; Ni Ketut Suryatini
GHURNITA: Jurnal Seni Karawitan Vol 3 No 1 (2023): Maret
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v3i1.1156

Abstract

In the process of forming this work, we get a touch of idea when we see a bird of paradise that is very beautiful and beautiful to look at, the beauty of its feathers and the combination of colors that produce a very beautiful harmonization when viewed. Then from there I got the idea to create a work of art based on a bird of paradise, and after looking for references to books and I got one word for the title of the work I will create, namely "ATISUNDARA". Atisundara means daat ayu, or listuayu which in Indonesian means beautiful, graceful and others that contain the word beautiful. And the beauty in question is the beauty of the bird of paradise which is very beautiful both from the feathers, tail and color. Then the idea is transformed into a work of Tabuh Kreasi by playing intertwined melodic patterns and added with flute playing patterns to produce harmony, besides that there are also melodic patterns both at the time of the singer or later, in the gendered section and others. This work uses four parts, namely the first part gineman, gegenderan, bapang, and also pengcet. And the medium of expression used is gamelan Gong Kebyar.
Tari Tunjung Biru Pertiwi, Ni Wayan Eka Sri; Arshiniwati, Ni Made; Gunarta, I Wayan Adi
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.v4i2.3373

Abstract

Tunjung Biru is a dance creation that originating from Sang Hyang Dedari in Br. Pujung Kaja, Sebatu, Tegallalang, Gianyar. Tunjung Biru has a beautiful appearance with strong characteristics, creatively expressed in the New Creation Dance with a magical religious theme. The purpose of creating Tunjung Biru is to preserve and also introduce the art in Br. Pujung Kaja, Sebatu, Tegallalang, Gianyar, especially Sang Hyang Dedari. The creation of this dance creation utilizes the angripta-sasolahan method by I Kt. Suteja, involving stages: planning (ngarencana), ritual ceremony (nuasen), selection and improvisation (makalin), formation (nelesin), and first performance (ngebah). Ngerencana involves observation, thinking, and imagination about the creative sources used. Nuasen is a ritual ceremony before improvising movements, including a prayer performed by all dancers. Makalin involves selecting supporting elements and improvising movements. Nelesin is the formation stage, summarizing the obtained improvisations. Ngebah is the first performance to reveal the work and receive feedback. The creation process incorporates the theories of imagination, symbols, and aesthetics. Tunjung Biru is presented as a New Creation Dance performed by 7 female dancers with kekereb properties, minimalistic makeup, and attire inspired by Sang Hyang Dedari in black and white tones. Accompanied by Gamelan Selonding to enhance the atmosphere of each presented structure. The novelty in this work can be seen from the costumes used, the music, to the new movement patterns to get the characteristic movements such as the Nyapuh Movement, the Dedari Tunjung Biru Movement, and the Tenget Movement so that this work becomes beautiful, supported by chanting hymns and lighting which helps the artist to create convey the desired atmosphere.
MANAJEMEN PENDIDIKAN SENI DALAM MENINGKATKAN KREATIVITAS SISWA DALAM BELAJAR SENI RUPA MENGGUNAKAN BUKU CERITA BERGAMBAR DIGITAL I Komang Rio Saputra Dinata; Ni Luh Sustiawati; I Gede Mawan; Ni Made Arshiniwati
Sindoro: Cendikia Pendidikan Vol. 11 No. 10 (2025): Sindoro Cendikia Pendidikan
Publisher : Cahaya Ilmu Bangsa Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9644/sindoro.v11i10.10166

Abstract

Buku cerita bergambar digital diidentifikasi sebagai media pembelajaran yang inovatif yang dapat menarik minat siswa serta memperkaya pengalaman visual mereka. Melalui pendekatan manajemen pendidikan yang terstruktur, seperti perencanaan pembelajaran yang tepat, pemilihan materi yang relevan, dan penggunaan teknologi yang mendukung, guru dapat menciptakan suasana pembelajaran yang interaktif dan kreatif. Hasil penelitian menunjukkan bahwa penerapan buku cerita bergambar digital mampu merangsang imajinasi siswa, meningkatkan keterampilan berpikir kritis, serta memperluas eksplorasi ide dalam menciptakan karya seni rupa. Secara keseluruhan, manajemen pendidikan seni yang efektif dapat mengoptimalkan penggunaan media digital untuk mendorong peningkatan kreativitas siswa dalam proses pembelajaran seni rupa.
Media Pendidikan Karakter Pada Pembelajaran Seni Karawitan di Kerobokan Diantara, I Putu Arya; Trisnawati, Ida Ayu; Arshiniwati, Ni Made
Jurnal Penelitian Mahasiswa Indonesia Vol. 4 No. 4 (2024): November
Publisher : STKIP AGAMA HINDU SINGARAJA

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Abstract

This research aims to discuss the importance of character education for Sekehe Gong Taman Satya Budaya Kerobokan Kelod through the media of Gong Kebyar gamelan training. The data collection methods used were observation, literature study, documentation study and interviews where data collection was carried out by observation and interviews in the field. The analysis used is qualitative analysis. This research uses factors that influence the level of success in character education and is linked to the Gong Kebyar gamelan learning method. This is very significant considering that character education is an effort to embody the Sekehe Gong Taman Satya Budaya Kerobokan Kelod which is based on the reality of the problems in this research such as the decline in the quality of youth's attractiveness in participating in musical arts due to digital technology. By optimizing character education for youth at Sekehe Gong Taman Satya Budaya Kerobokan Kelod through the application of musical art teaching methods, especially Gong Kebyar, youth are expected to be able to increase good knowledge (moral knowing), good feelings (moral feeling) and good behavior (moral action). Theoretically, the results of this research are expected to contribute to the community of Banjar Taman Kerobokan Kelod so that it can help in increasing the intelligence of students and can be applied in both formal and informal learning processes, so that the aim of character education through art can provide material to students, so that they can also realize it significantly.
Reviving the Sanghyang Grodog Ritual Dance: Promoting Social Harmony and Sustainable Cultural Tourism in Nusa Lembongan Island, Bali Ni Made Arshiniwati; Ida Bagus Gede Surya Peradantha
Jurnal Kajian Bali (Journal of Bali Studies) Vol 15 No 1 (2025): New Dimensions of Bali Tourism
Publisher : Pusat Kajian Bali Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i01.p03

Abstract

This article explores the artistic significance and revitalization of the Sanghyang Grodog ritual in Lembongan Village, Bali, following a three-decade hiatus. Using a socio-artistic approach supported by social cohesion and semiotic theories, this study examines the ritual’s role in fostering social identity and promoting sustainable, culture-based tourism. Data were collected through participant observation, interviews, and secondary sources, with findings reinforced by focus group discussions. The results highlight the ritual’s embodiment of spiritual, social, and environmental harmony while addressing challenges posed by increasing tourism pressure. Despite limited public awareness, the ritual’s aesthetic and symbolic values serve as a catalyst for communal unity and sustainable cultural tourism. This study proposes a community-based tourism development strategy that includes the creation of a local mascot, visual branding, and the integration of arts into ecotourism and education, ensuring both cultural preservation and economic benefits for the community.
Co-Authors A.A.Ayu Mayun Artati Anak Agung Gde Agung Indrawan Anak Agung Gde Agung Indrawan Indrawan Andra Krisna Susanti, Ni Nyoman Ardhika, I Gusti Lanang Oka Artati, A.A.Ayu Mayun Ayana, I Wayan Deo Budiastomo, Denta Mandra Pradipta Cahyanthi, Ni Komang Putri Ciclia Indraningsih Jeno Desmi Kartiani, Ni Luh Dewi, I Gusti Ayu Agung Adi Sartika Diantara, I Putu Arya Eka Wahyuningsih, Ni Luh Putu Gst.Ayu Ketut Suandewi I Dewa Ayu Galuh Intan Rakasiwi I Gede Arya Sugiartha I Gede Arya Sugiartha, I Gede Arya I Gede Mawan I Gusti Agung Sri Rwa Jayantini I Gusti Ayu Agung Adi Sartika Dewi I Gusti Lanang Oka Ardhika I Gusti Ngurah Seramasara, I Gusti Ngurah I Ketut Sariada I Ketut Sariada, I Ketut I Komang Rio Saputra Dinata I Komang Sudirga I Wayan Budiarsa I Wayan Mudra, I Wayan Ida Ayu Putri Widiastuti Ida Ayu Trisnawati, Ida Ayu Ida Bagus Gede Surya Peradantha Ida Bagus Gede Surya Peradantha Kadek Ayu Juni Aryani Kadek Krisna Dwipa Diartama Kadek Rendy Wiradana Leslyani, Ni Putu Luh Risa Melliani Ni Ketut Suryatini Ni Ketut Suryatini Ni Ketut Suryatini, Ni Ketut Ni Komang Putri Cahyanthi Ni Luh Putu Eka Wahyuningsih Ni Luh Sustiawati Ni Putu Ayu Rika Putri Dewi Ni Putu Ayu Rika Putri Dewi Ni Putu Leslyani Ni Wayan Juli Artiningsih, Ni Wayan Pande Gede Widya Supriyadnyana Pertiwi, Ni Wayan Eka Sri Putu Desi Anggerina Hikmaharyanti Santi, Heni Widya Sekar Arini, Ni Luh Ayu Sri Repelita, Malona Sudarta, I Gusti Putu Sudibya, I Gusti Ngurah Suminto Suminto - Suminto Suminto Supriyadnyana, Pande Gede Widya Wayan Karja Widiastuti, Ida Ayu Putri Widnyana, Kompiang Gede Yanti Heriyawati Yulinis -