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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

Author-ID : 233854

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 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

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.

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

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

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

Tari Legong Kreasi Mahisamanggala adalah tari yang ditarikan oleh enam orang penari putri, yang terinspirasi dari ritual Kebo Dongol di Desa Adat Kapal, Kecamatan Mengwi, Kabupaten Badung. Tari ini hanya mengangkat inti sari dari ritual Kebo Dongol sebagai ide garapan yang terdiri dari penari yang menarikan sesajen, bentuk sesajen yang menyerupai kerbau, pertemuan sesajen Kebo Dongol dan Pedang Sudamala serta adanya megarang-garangan sesajen. Berorientasi dari pemikiran tersebut, maka terciptalah hasil penciptaan berjudul Mahisamanggala. Mahisamanggala merupakan istilah lain untuk menjelaskan Ritual Kebo Dongol. Tari Legong Kreasi Mahisamanggala tercipta menggunakan prinsipprinsip metode angripta sesolahan yang terdiri dari Ngarencana yaitu proses awal penjelajahan sumber yang mendukung penciptaan, Nuasen merupakan upacara ritual yang dilakukan sebelum berproses, Makalin merupakan proses pemilihan materi yang mengandung terciptanya karya tari, Nelesin yaitupenggabungan untuk menentukan bentuk ciptaan dan Ngebah merupakan pementasan pertama dari sebuah hasil karya tari. Penggarapan Tari Legong Kreasi Mahisamanggala dikemas dalam lima struktur terdiri dari pepeson, pengawak, pengetog, pengecet, pekaad. Secara keseluruhan, karya tari Legong Kreasi Mahisamanggala digarap tidak bercerita, namun disajikan secara dramatik dengan menggunakan mode penyajian simbolik. Tujuan dari penciptaan tari Legong Kreasi Mahisamanggala adalah untuk memperkenalkan kepada masyarakat, bahwa ritual Kebo Dongol memiliki nilai-nilai filosofi dan estetika yang tinggi, sekaligus melestarikan kesenian dengan memuat budaya lokal.Kata Kunci : Ritual Kebo Dongol, Penciptaan, Legong Kreasi Mahisamanggala.

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

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 Dewi, I Gusti Ayu Agung Adi Sartika; Arshiniwati, Ni Made; Suandewi, Gusti Ayu Ketut
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

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 Cahyanthi, Ni Komang Putri; Arshiniwati, Ni Made; Ardhika, I Gusti Lanang Oka
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

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

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

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

TARI LEGONG NGELAWANG DI DESA APUAN, KECAMATAN SUSUT, KABUPATEN BANGLI Luh Risa Melliani; Ni Made Arshiniwati; Kompiang Gede Widnyana
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6071

AbstrakTari Legong Ngelawang termasuk dalam jenis Tari Legong Keraton yang telah dimodifikasi olehpenciptanya. Nama Legong Ngelawang digunakan karena tarian ini ditarikan dengan cara ngelawang (ditarikanmengelilingi Banjar Bangun Lemah, Desa Apuan). Tarian ini termasuk dalam jenis tari kelompok yang terdiri daritiga penari wanita dan diklasifikasikan ke dalam tari wali. Penelitian yang berfokus pada Tari Legong Ngelawangini memiliki dua masalah dengan kajian utama ada pada bentuk dan fungsi Tari Legong Ngelawang di Desa Apuan,Kecamatan Susut, Kabupaten Bangli. Teori yang digunakan untuk membedah dua permasalahan itu adalah teoriestetika dan teori fungsional. Penelitian ini merupakan penelitian deskriptif kualitatif yang ditinjau dari kajian senipertunjukan dengan menggunakan teknik pengumpulan data wawancara, observasi, studi pustaka, dan dokumentasi.Hasil penelitian menunjukkan bahwa Tari Legong Ngelawang termasuk dalam jenis tari lepas yangditarikan oleh tiga orang penari yang sudah dipilih berdasarkan pawisik dari Sesuhunan Pura Dalem. Strukturpertunjukannya terdiri dari tiga bagian yaitu pepeson, bapang, pengawak dengan ragam gerak sederhana yang terdiridari agem, tandang, tangkis, dan tangkep. Penari menggunakan riasan wajah dan busana yang sangat sederhanadengan menggunakan kipas sebagai properti. Iringan yang digunakan adalah gamelan palegongan yang dibawakanoleh penabuh sekaa Legong dengan jumlah dua puluh orang. Tempat pementasan Tari Legong Ngelawang adalah disetiap gang, dan pertigaan jalan Banjar Bangun Lemah dengan pola lantai yang masih sederhana. Pementasandilaksanakan setelah persembahyangan bersama sampai sore hari pada hari Raya Galungan dan Kuningan. Tarianini memiliki fungsi utama sebagai sarana ritual.Kata Kunci: Tari Legong Ngelawang, Bentuk, Fungsi

THE CONTRIBUTION OF DIGITAL TECHNOLOGY TO ART STUDIO BUSINESS IN JAKARTA Budiastomo, Denta Mandra Pradipta; Trisnawati, Ida Ayu; Arshiniwati, Ni Made; Sudarta, I Gusti Putu
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

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 Ayana, I Wayan Deo; Arshiniwati, Ni Made; Mawan, I Gede; Karja, I Wayan
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

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

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 -

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