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All Journal E-Journal Of Cultural Studies MUDRA Jurnal Seni Budaya KALANGWAN Segara Widya: Jurnal Penelitian Seni Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Dinasti International Journal of Education Management and Social Science GETER : Jurnal Seni Drama, Tari dan Musik Ghurnita: Jurnal Seni Karawitan Multidiciplinary Output Research for Actual and International Issue (Morfai Journal) Jurnal Penelitan Mahasiswa Indonesia Jurnal Kajian Seni Cultoure: Jurnal Ilmiah Pariwisata Budaya Hindu Jurnal Batarirupa : Jurnal Pendidikan Seni Jurnal Igel: Journal of Dance Cendikia Pendidikan Global Art Creativity Conference
Ni Made Arshiniwati
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Energy Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Social Sciences Other

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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

Show Abstract | Download Original | Original Source | Check in Google Scholar

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.
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.
THE CONTRIBUTION OF DIGITAL TECHNOLOGY TO ART STUDIO BUSINESS IN JAKARTA Denta Mandra Pradipta Budiastomo; Ida Ayu Trisnawati; Ni Made Arshiniwati; I Gusti Putu Sudarta
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.571

Abstract

By leveraging technology, empowering people, encouraging innovation, and strengthening organizations, art studios can increase competitiveness while maintaining the relevance of arts and culture in modern society. To develop a business, the combination of technology usually consists of knowledge and physical equipment. Technoware (T), Humanware (H), Infoware (I), and Orgaware (O) are four basic components of development that interact dynamically in the development process. The purpose of this study is to analyze the contribution of digital technology through various digital media to art studio businesses in Jakarta in arts and cultural activities. This research uses quantitative methods, data sources are determined through a purposive sampling technique. Data were collected by direct observation, interviews, Focus Group Discussions, document reviews, and literature studies. The results of this study show the coefficient value of the contribution of digital technology for each technological component of the art studio business for the welfare of artists.
KECAK DANCE LEARNING AND CULTIVATION OF CHARACTER EDUCATION VALUES IN PASRAMAN WIDYA SANTHI, SEBATU VILLAGE, BALI I Wayan Deo Ayana; Ni Made Arshiniwati; I Gede Mawan; I Wayan Karja
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.574

Abstract

Pasraman, ashram, padukuhan, or gurukula is a traditional education system in Hinduism that has existed since ancient times. Hinduism recognizes that education is an important aspect of human life. In Bali, the history of pasraman has been known since ancient times. In various folktales, there are many touches of education and the existence of padukuhan or pasraman, where Balinese generations gained knowledge in ancient times. This research aims to evaluate Kecak Dance learning in non-formal education in Pasraman Widya Santhi Sebatu Village and to know the process of instilling character education values through Kecak Dance learning in Pasraman Widya Santhi Sebatu Village. The research method used is descriptive qualitative with data collection techniques through observation, interviews, and documentation. The findings indicate that the learning of the Kecak Dance at Pasraman Widya Santhi is effective through interactive and participatory teaching methods. This learning process not only enhances students' dance skills but also provides a deep understanding of Balinese cultural values. Moreover, the activities successfully instill character education values such as discipline, responsibility, hard work, creativity, and pride in local culture. Community support, a conducive learning environment, and the integration of arts and cultural education are key factors in the program’s success. This study concludes that the learning of the Kecak Dance at Pasraman Widya Santhi serves as an effective model of non-formal education in shaping skilled, character-driven, and culturally aware youth. The structured and culture-based learning process enriches students' artistic skills while fostering awareness of the importance of preserving Bali's cultural heritage
Payas Roko Deeng Buleleng di Desa Liligundi Kecamatan Sukasada Kabupaten Buleleng Kadek Rendy Wiradana; Ni Made Arshiniwati; suminto
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5656

Abstract

Buleleng has one of the Payas Deeng called Payas Roko Deeng Buleleng precisely in Liligundi Village,Sukasada District. Payas Roko Deeng Buleleng was originally used during the cremation ceremony or palebon by thepuri community precisely during the palebon of I Gusti Putu Gria. This Payas is used as a symbol of final respect fortheir ancestors and those who perform the deeng are relatives or siblings who have died. They must or are required topresent a pair of Deeng, male and female to help guide the deceased's spirit to heaven. Payas Roko Deeng Buleleng iscurrently being studied with the help of a Partner, namely Uje Mua Bali. Uje Mua Bali is located in Buleleng, using theoffline learning method or direct meetings to learn how to install the head shape and clothing of Payas Roko DeengBuleleng. It is hoped that with this Thesis, it can provide broad information about Payas Roko Deeng Buleleng. PayasRoko Deeng has a payasan form that uses a roll of roko roko on the head, uses songket and men use 2-meter longkancut. This has the meaning that roko-roko is used as a symbol of akasa or upper space and kancut as a symbol ofpertiwi (lower space) or land. The unification of these two elements will help the deceased spirit to harmonize the upperand lower realms. A pair of Deeng is also used as a symbol of purusa and pradana or the difference between men andwomen. Payas Roko Deeng Buleleng is also seen based on the current social strata of society, the economy of societycan be seen through the Payas Deeng that is offered.Keywords: Cremation, Payas Roko, Buleleng Deeng
Resilience of Jakarta’s Performing Arts Studios: A THIO Analysis of Digital Technology in the Creative Ekonomi Budiastomo, Denta Mandra Pradipta; Trisnawati, Ida Ayu; Sudarta, I Gusti Putu; Arshiniwati, Ni Made
Dinasti International Journal of Education Management And Social Science Vol. 6 No. 6 (2025): Dinasti International Journal of Education Management and Social Science (Augus
Publisher : Dinasti Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38035/dijemss.v6i6.4980

Abstract

Many things have altered as a result of the rise of information and communication technology, and society's transition to the digital age. Advances in digital technology have transformed how performing arts studios understand and produce works of art. The purpose of this study is to determine the value of the contribution of performing arts studios in running their businesses, as well as solutions in choosing digital technology in art activities. This research is quantitative; the sample in this study was 30 respondents. This figure was derived from five performing arts enterprises, each representing six areas in DKI Jakarta, together with input from eight experts. The analysis technique used in the research uses THIO (Technology, Human, Information, Organization) analysis and creative economy theory. This study's findings indicate a Technology Contribution Coefficient (TCC) of 0.339 for the use of digital technology in performing arts studios in Jakarta, categorized as a reasonable value. 
SACRALITY AND SYMBOLISM OF THE BARIS KLEMAT DANCE AT PURA MENEGA, SESEH CEMAGI TRADITIONAL VILLAGE, BALI: AN ETHNOAESTHETIC STUDY Laksmi Dewi, Ni Putu Putri; Ruastiti, Ni Made; Arshiniwati, Ni Made
Multidiciplinary Output Research For Actual and International Issue (MORFAI) Vol. 5 No. 2 (2025): Multidiciplinary Output Research For Actual and International Issue
Publisher : RADJA PUBLIKA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/morfai.v5i2.3849

Abstract

Baris Klemat Dance is an aesthetic expression imbued with sacred and symbolic values within the religious rituals of the customary community in Seseh Cemagi Village, Bali. This study aims to examine the presentation structure, symbolic meanings, and sacred dimensions of Baris Klemat Dance, as well as how the local community internalizes these meanings in ritual practice. A qualitative method with an ethnoaesthetic approach was employed, using participatory observation, in-depth interviews, and literature review. The analysis was guided by the theories of Dance Structure (Kaeppler, 2007), Ethnoaesthetics (Merriam, 1964), and Symbolic Meaning (Turner, 1967). The findings reveal that Baris Klemat Dance is presented in a non-narrative form (without storyline), using "klemat" (miniature boats) as its main property. The performance consists of five structural segments: pepeson, ngelembar, pengawak, pecet, and mendak tirta to the sea. The dance is performed in pairs by male dancers, accompanied by Gamelan ... (to be completed), following a sacredly organized formation and movement pattern during the piodalan ritual at Pura Menega. Its sacred symbolism is reflected in the relationship between movements, costumes, and the klemat property, representing the coastal community's cosmology: the interconnectedness of humans, nature, and ancestors. For the people of Seseh Cemagi, Baris Klemat Dance is not merely an artistic performance but a form of devotional service (ngayah), a medium of spiritual communication with divine forces, as well as a means of cultural preservation and reinforcement of communal identity rooted in their spiritual and social value system. This study underscores the importance of preserving sacred performance arts in maintaining cultural continuity and cosmic harmony in Balinese society.
Co-Authors A.A.Ayu Mayun Artati A.A.Ayu Mayun Artati Anak Agung Gde Agung Indrawan Indrawan Andra Krisna Susanti, Ni Nyoman Budiastomo, Denta Mandra Pradipta Ciclia Indraningsih Jeno Desmi Kartiani, Ni Luh Diantara, I Putu Arya Gst.Ayu Ketut Suandewi I Gede Arya Sugiartha I Gede Arya Sugiartha, I Gede Arya I Gede Mawan I Gede Mawan I Gusti Agung Sri Rwa Jayantini I Gusti Ayu Agung Adi Sartika Dewi I Gusti Ayu Agung Adi Sartika Dewi I Gusti Lanang Oka Ardhika I Gusti Lanang Oka Ardhika I Gusti Ngurah Seramasara, I Gusti Ngurah I Gusti Putu Sudarta I Ketut Sariada, I Ketut I Komang Rio Saputra Dinata I Wayan Deo Ayana I Wayan Mudra, I Wayan Ida Ayu Putri Widiastuti Ida Ayu Trisnawati, Ida Ayu Kadek Ayu Juni Aryani Kadek Krisna Dwipa Diartama Kadek Rendy Wiradana Laksmi Dewi, Ni Putu Putri Ni Ketut Suryatini Ni Ketut Suryatini Ni Ketut Suryatini, Ni Ketut Ni Komang Putri Cahyanthi Ni Komang Putri Cahyanthi Ni Luh Putu Eka Wahyuningsih Ni Luh Putu Eka Wahyuningsih Ni Luh Sustiawati Ni Made Ruastiti 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 Sudarta, I Gusti Putu Sudibya, I Gusti Ngurah Suminto Suminto - Suminto Suminto Supriyadnyana, Pande Gede Widya Wayan Karja Yanti Heriyawati Yulinis -