Garuda - Garba Rujukan Digital

Taru Tari Tara I Putu Bagus Bang Sada Graha Saputra
Joged Vol 7, No 1 (2016): APRIL 2016
Publisher : Institut Seni Indonesia Yogyakarta

“Taru Tari Tara” adalah judul dari karya tari yang menunjuk pada konsep dasar yang diwujudkan ke dalam sebuah koreografi kelompok. Taru dalam bahasa Bali memiliki arti kayu, kemudian Tari berarti tari atau apabila dilihat dari substansi dasarnya adalah gerak atau perilaku, selanjutnya Tara yang berasal dari kata ketara dalam bahasa Bali berarti terlihat. “Taru Tari Tara” berarti bagaimana gerak dan perilaku (Tari) yang terlihat (Tara) dalam mengolah sebuah kayu (Taru). Ide karya tari ini muncul dari ketertarikan penata terhadap gerak dan perilaku seorang maestro seniman pembuat topeng di Bali bernama I Wayan Tangguh, yang merupakan kakek penata sendiri.Karya tari ini secara struktural dibagi ke dalam lima adegan (introduksi, adegan satu, dua, tiga, ending) dengan lebih berfokus pada aktivitas I Wayan Tangguh sebagai seorang petani, pembuat topeng, dan pemangku. Gagasan tersebut muncul berdasarkan pengamatan yang dilakukan secara visual kemudian berkembang menjadi sebuah ide. Hasil dari pengamatan yang dilakukan terhadap proses pembuatan topeng dijadikan sebagai bahan acuan untuk melangkah pada tahap ekpslorasi, meliputi pencarian gerak, pembuatan properti, setting, kostum tari, dan musik tari.Karya tari yang disajikan dalam bentuk koreografi kelompok ini melibatkan enam orang penari laki-laki, menggunakan properti tari berupa topeng Bali, dan dipentaskan di proscenium stage. Gerak tari yang digunakan berdasar pada hasil eksplorasi gerak membuat topeng seperti menyerut kayu, memukul kayu, memegang topeng, dan menjepit topeng menggunakan kaki, serta divariasikembangkan dengan sikap serta motif gerak tari tradisi Bali seperti agem, malpal, ngaed, dan nayog. "Taru Tari Tara" is the title of a created dance piece. The title is pointing to the basic concepts that are embodied into a choreography group. Taru in Balinese language means wood, then Tari or dance means when seen from the substance or behavior is essentially the motion, then Tara is derived from the word in the language of Bali means striking looks. “Taru Tari Tara” means how movement and behavior (Tari) are visible (Tara) in processing a timber (Taru). The idea of this dance work arises from interest from the choreographer against the motion and behavior of a master artist mask maker in Bali named I Wayan Tangguh, choreographer's own grandfather.This dance piece is structurally divided into five scenes (introduction, scene one, two, three, ending) with a focus on the activities of I Wayan Tangguh as a farmer, mask makers, and stakeholders. The idea arose based on observations made visually and then developed into an idea. The results of observations made on the process of making a mask used as a reference material for stepping on stage ekploration, includes motion search, the manufacture of the property, setting, costume dance, and dance music.Dance works presented in the form of the group choreography involving six male dancers, using the property Balinese dance masks, and staged in a proscenium stage. Dance movement that is used, based on the results of exploration motion that makes the masks like shaving wood, hitting the wood work, holding the mask, and clamping the mask using the feet, as well as attitudes and motives varied and develop with traditional Balinese dance like agem, malpal, ngaed, and nayog.

Taru Tari Tara I Putu Bagus Bang Sada Graha Saputra 1111370011
Saraswati Jurnal Mahasiswa Seni Tari
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.1024

“Taru Tari Tara” adalah judul dari karya tari yang diciptakan. Judul ini sekaligus menunjuk pada konsep dasar yang diwujudkan ke dalam sebuah koreografi kelompok. Taru dalam bahasa Bali memiliki arti kayu, kemudian Tari berarti tari atau apabila dilihat dari substansi dasarnya adalah gerak atau perilaku, selanjutnya Tara yang berasal dari kata ketara dalam bahasa Bali berarti terlihat. “Taru Tari Tara” berarti bagaimana gerak dan perilaku (Tari) yang terlihat (Tara) dalam mengolah sebuah kayu (Taru). Ide karya tari ini muncul dari ketertarikan penata terhadap gerak dan perilaku seorang maestro seniman pembuat topeng di Bali bernama I Wayan Tangguh, kakek penata sendiri. Karya tari ini secara struktural dibagi ke dalam lima adegan (introduksi, adegan satu, dua, tiga, ending) dengan lebih berfokus pada aktivitas I Wayan Tangguh sebagai seorang petani, pembuat topeng, dan pemangku. Gagasan tersebut muncul berdasarkan pengamatan yang dilakukan secara visual kemudian berkembang menjadi sebuah ide. Hasil dari pengamatan yang dilakukan terhadap proses pembuatan topeng dijadikan sebagai bahan acuan untuk melangkah pada tahap ekpslorasi, meliputi pencarian gerak, pembuatan properti, setting, kostum tari, dan musik tari. Karya tari yang disajikan dalam bentuk koreografi kelompok ini melibatkan enam orang penari laki-laki, menggunakan properti tari berupa topeng Bali, dan dipentaskan di proscenium stage. Gerak tari yang digunakan berdasar pada hasil eksplorasi gerak membuat topeng seperti menyerut kayu, memukul kayu, memegang topeng, dan menjepit topeng menggunakan kaki, serta divariasikembangkan dengan sikap serta motif gerak tari tradisi Bali seperti agem, malpal, ngaed, dan nayog. Kata kunci : Taru Tari Tara; topeng; koreografi kelompok

“Devdan Show” Dalam Perspektif Seni Pertunjukan Pariwisata I Putu Bagus Bang Sada Graha Saputra
Cultoure: Jurnal Ilmiah Pariwisata Budaya Hindu Vol 1, No 2 (2020)
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Devdan is one of the performing arts performance industries that is able to attract enthusiastic tourists both domestic and international, through its spectacular dance performances. The presence of Devdan Show as a tourism performance art, can be said to bring fresh air to the atmosphere of performing arts in Bali. A good managerial system, high quality standards in terms of dances and performances, and a great sense of concern for its employees, make Devdan Show one of the performing arts industries that can be used as an example for the development and preservation of tourism-based cultural arts in Indonesia. The method used to research Devdan Show is a qualitative research method with direct observation and interview techniques. In the perspective of tourism performing arts, there are 4 important things that can be used to discuss the content presented by Devdan Show, including: 1). Performance form; 2). Audience society; 3). Dancers or talents; and 4). Rewards or awards. Devdan Show as a performing art can be said to be a forum for art development. Thus, art, which is one of the elements of culture, is expected not to give inner satisfaction to art actors and tourists, but at the same time it can improve people's lives through the tourism industry. Through the tourism industry, performing arts, and dance in Bali, it is not only able to fulfill the need for beauty, but in fact it is able to provide prosperity as well as improve the standard of life for performing arts actors in Bali. Keywords: Devdan Show, Tourism performing arts.

Tari RESULT Pratama, I Putu Oka Surya; Kasih, Ni Nyoman; Saputra, I Putu Bagus Bang Sada Graha
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.v4i1.4202

Result is a contemporary dance work whose idea comes from dice. The creator has an interest in the form of a number game and the clash of dice which results in an uncertain number value, and is poured into the dance work Result. In the method of creating this dance work, the creator found a gambling game method that was applied spontaneously by both dancers and musicians with dice media, the creator wanted to visualize it in a dance work to try or experiment on dice media. Do not forget that the creators also used Jacqueline Smith's dance creation method, called the construction method. The construction method consists of five stages, namely I to V, each of which has a stage in the process of creating a dance work.

Legong Krincing Suara Ni Kadek Intan Pramudita Dewi; I Wayan Sutirtha; I Putu Bagus Bang Sada Graha Saputra
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.v5i1.5020

Legong Krincing Suara The Legong Krincing Suara dance is a new Legong dance creation with Gongseng as the creative source of creation. The stylist tries to combine aspects of movement, music, make-up and fashion, namely Legong and Gongseng. The creation of the Legong Krincing Suara dance uses the Panca Sthiti Ngawi Sani creation method created by Prof. Dr. I Wayan Dibia, SST, MA. Which include: Ngawirasa, Ngawacak, Ngaplan, Ngawangun, and Ngebah. This dance is performed in a group using 6 female dancers with a dance structure, part 1 depicts the sound of gongseng like a "voice" that comes from all directions, part 2 describes the sound play produced by gongseng which is combined with legong movements that have been developed, and part 3 depicts small balls moving in the gongseng, giving rise to irregular or irregular sounds. The duration of this work is 10 minutes 33 seconds and uses Musical Instrument Digital Interface (MIDI) accompaniment using Legong gambelan combined with Gongseng Sound. Using general Legong dance make-up and clothing with some modifications to the fan and the addition of Gongseng anklets. Keywords : Legong Dance Krincing Suara, Gongseng, Legong.

Tari RESULT Pratama, I Putu Oka Surya; Kasih, Ni Nyoman; Saputra, I Putu Bagus Bang Sada Graha
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.v4i1.4202

Result is a contemporary dance work whose idea comes from dice. The creator has an interest in the form of a number game and the clash of dice which results in an uncertain number value, and is poured into the dance work Result. In the method of creating this dance work, the creator found a gambling game method that was applied spontaneously by both dancers and musicians with dice media, the creator wanted to visualize it in a dance work to try or experiment on dice media. Do not forget that the creators also used Jacqueline Smith's dance creation method, called the construction method. The construction method consists of five stages, namely I to V, each of which has a stage in the process of creating a dance work.

Pilahing Watu Ni Komang Vivi Larasati; Gusti Ayu Ketut Suandewi; I Putu Bagus Bang Sada Graha Saputra
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.5034

Pilahing Watu The Pilahing Watu Dance Work takes its creative source from a story in Beraban Village. About a village woman who was born or emerged from a split stone in Banjar Batu Gang or Batugaing. The story is raised with the theme of women, implementing female characters who have gentle, graceful, tough and majestic traits. The arranger collaborates with partners, namely the Pancer Langiit Art Studio in the process of realizing the Pilahing Watu Dance Work, starting from selecting movements to selecting music. The process of forming the Pilahing Watu Dance work uses an approach from I Kt. Suteja, namely Angripta sesolahan or creating dances. The Angripta sesolahan method consists of the stages of Ngarencana, Nuasen, Makalin, Nelesin, Ngebah and Presentation. The Pilahing Watu Dance Work uses six female dancers, using music from Swarapala which is also under the auspices of the Pancer Langiit Art Studio using the Gong Gede Saih Pitu Gamelan. It is hoped that this work can be enjoyed by many people, especially in Beraban Village, where the story originates. Keywords : Pilahing Watu, Split Stone, Beraban Village.

Penciptaan Tari Maskot Manyigirang Di Desa Jinengdalem, Kec. Buleleng, Kab. Buleleng Luh Silvi Apriliani; I Gede Oka Surya Negara; I Putu Bagus Bang Sada Graha Saputra
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.6511

Penciptaan Tari Maskot Manyigirang di Desa Jinengdalem sebagai luaran hasil kuliah kerja nyata tematik (KKNT). Karya ini dilatarbelakangi oleh kehidupan masyarakat agraris Desa Jinengdalem yang masih kuat mempertahankan tradisi manyi (panen padi) sebagai simbol kerja, kebersamaan, dan rasa syukur. Tujuan penciptaan tari ini adalah menghadirkan sebuah tari maskot yang mampu merepresentasikan identitas budaya desa serta menumbuhkan rasa kebanggaan masyarakat terhadap kearifan lokal yang dimiliki. Metode penciptaan yang digunakan adalah metode angripte sesolahan, diantaranya tahap ngarancana, nuasen, makalin, nelesin, dan ngebah. Hasil penciptaan berupa Tari Maskot Manyigirang, yaitu karya tari kreasi berbasis tradisi Bali yang menampilkan karakter ceria, energik, dan komunikatif melalui gerak-gerak yang terinspirasi dari aktivitas pertanian namun diolah menjadi bentuk tarian yang indah dan artistik. Karya ini diharapkan dapat berfungsi sebagai simbol identitas Desa Jinengdalem serta menjadi media pendukung kegiatan budaya dan promosi desa.

ANALISIS KONSEP NGUNDA BAYU PADA TARI REJANG DESA, DI DESA TISTA, KECAMATAN ABANG, KABUPATEN KARANGASEM, BALI Ni Ketut Santi Sukma Melati; Rines Onyxi Tampubolon; Lissa Maharani; I Gede Radiana Putra; I Putu Bagus Bang Sada Graha Saputra
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : LPPM UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.616

The Rejang Desa dance has become an important cultural heritage in Tista Village, Abang District, Karangasem Regency. This dance is characterized by its distinctive and classical makeup and costume design, which continue to uphold local wisdom as the central element of their aesthetic arrangement. Rejang Desa can only be performed and appreciated during the Kuningan and Manis Kuningan ceremonies, making it distinct from Rejang Dewa, which may be performed in various religious ceremonies across different villages. The term dance is inseparable from the concept of movement technique, as every dance composition employs movement as its primary medium of expression. In dance movements, the control of breath and energy is essential to maintain the integrity and fluidity of motion. This understanding is commonly referred to as the Ngunda Bayu technique, which is an inherent practice among Balinese dancers across various dance forms. Therefore, this study aims to examine and understand the application of the Ngunda Bayu concept in the Rejang Desa dance of Tista Village. The presence of this concept can be observed through the duration of the performance and the structure of the presentation. To explore this issue, a qualitative research method is employed, supported by the theory of form. It is expected that the findings of this research will reveal and substantiate the use of the Ngunda Bayu concept within the Rejang Desa dance of Tista Village. In line with this objective, the author seeks to develop a scientific discussion that examines the embodiment of Ngunda Bayu in the performance of Rejang Desa in Tista Village.

Title

Found 9 Documents
Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title Search

Found 9 Documents Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title

Found 9 Documents
Search