I NENGAH MARIASA
Department of Drama, Dance, and Music, State University of Surabaya Lidah Wetan Surabaya, Surabaya 61177, Indonesia

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Taksu and Pangus As An Aesthetic Concept Entity of Bali Dance (A Case Study of Topeng Tua Dance) Mariasa, I Nengah
Harmonia: Journal of Arts Research and Education Vol 15, No 2 (2015): (EBSCO, DOAJ & DOI Indexed, December 2015)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i2.4557

Abstract

There are two types of topeng drama performance (topeng is Bahasa Indonesia for mask) in Bali, Topeng Pajegan and Topeng Panca. Topeng Pajegan is a masked drama performance that is danced by a dancer by playing various tapel, while Topeng Panca is danced by five dancers. Generally, there are three or four stages on topeng performance, i.e. panglembar, petangkilan, bebondresan, and/or pesiat. On panglembar stage, there is one dance represented the character of old people. The dance is then known as Topeng Tua (Old Mask). The costume, tapel, as well as hair worn by the dancer have been considered as one of the precious or noble artworks. The question comes up here, is the aesthetics of topeng only depended on its high aesthetic value costume and tapel? Topeng Tua performance technique is considerably not easy to be done by a beginner dancer. On the other words, it implicitly tells that the aesthetics of the dance depends closely to the dancers’ techniques. A good Topeng Tua dancer will be able to dance by using the technique of ngigelang topeng. Furthermore, the beauty of Topeng Tua does not only lay on its splendor artworks on the costume, tapel, and hair colour, but more to the ability of the dancers’ movement technique that successfully shows the beauty of taksu and pangus.
Taksu and Pangus As An Aesthetic Concept Entity of Bali Dance (A Case Study of Topeng Tua Dance) Mariasa, I Nengah
Harmonia: Journal of Arts Research and Education Vol 15, No 2 (2015): December 2015
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i2.4557

Abstract

There are two types of topeng drama performance (topeng is Bahasa Indonesia for mask) in Bali, Topeng Pajegan and Topeng Panca. Topeng Pajegan is a masked drama performance that is danced by a dancer by playing various tapel, while Topeng Panca is danced by five dancers. Generally, there are three or four stages on topeng performance, i.e. panglembar, petangkilan, bebondresan, and/or pesiat. On panglembar stage, there is one dance represented the character of old people. The dance is then known as Topeng Tua (Old Mask). The costume, tapel, as well as hair worn by the dancer have been considered as one of the precious or noble artworks. The question comes up here, is the aesthetics of topeng only depended on its high aesthetic value costume and tapel? Topeng Tua performance technique is considerably not easy to be done by a beginner dancer. On the other words, it implicitly tells that the aesthetics of the dance depends closely to the dancers’ techniques. A good Topeng Tua dancer will be able to dance by using the technique of ngigelang topeng. Furthermore, the beauty of Topeng Tua does not only lay on its splendor artworks on the costume, tapel, and hair colour, but more to the ability of the dancers’ movement technique that successfully shows the beauty of taksu and pangus.
Estetika kesenian musik Gendang Beleq Gending Arje Panji Sukerare Wicaksono, Bayu Aji; Mariasa, I Nengah
Imaji: Jurnal Seni dan Pendidikan Seni Vol 22, No 1 (2024): April
Publisher : FBSB UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v22i1.62383

Abstract

Penelitian ini menganalisis estetika musik gendang beleq dari masyarakat Sasak, Lombok, Indonesia, dengan fokus pada sajian gending Arje kelompok Panji Sukerare yang disajikan pada pada kanal Youtube Peresean Official. Melalui metode analisis video tersebut dan mensintesiskan berbagai literatur melalui studi pustaka, penelitian ini menyoroti ritme, melodi, harmoni, dan penggunaan alat musik gendang beleq berdasarkan teori dari Djelantik. Estetika musik gendang beleq dipengaruhi oleh budaya dan tradisi masyarakat Sasak yang kaya akan warisan seni dan musik. Ritme kuat, melodi enerjik, dan harmoni khas menciptakan pengalaman musik yang unik dan menggugah perasaan pendengarnya. Penampilan pemain yang mengenakan kostum dengan motif Sasak yang khas serta pelaksanaan acara yang memperhatikan tata letak dan suasana juga merupakan bagian integral dari estetika musik gendang beleq yang disajikan oleh panji sukerare. Penelitian ini menunjukkan bahwa estetika musik gending arje pada gendang beleq panji sukerare melibatkan elemen musikal dan visual yang saling melengkapi, memberikan pengalaman seni yang menyeluruh bagi penonton. Hasil penelitian ini memberikan pemahaman yang lebih mendalam tentang kekayaan budaya dan nilai-nilai estetika yang terkandung dalam musik tradisional gendang beleq, khususnya dalam konteks gending Arje yang disajikan oleh kelompok Panji Sukerare. Kata Kunci: Estetika, Gending Arje, musik Gendang beleq The aesthetics of the Gendang Beleq music art of Gending Arje Panji Sukerare Abstract This research analyzes the aesthetics of gendang beleq music from the Sasak community in Lombok, Indonesia, with a focus on the performance of Gending Arje by the Panji Sukerare group, presented on the official Peresean Youtube channel. Through the method of video analysis and synthesis of various literature through literature review, this research highlights the rhythm, melody, harmony, and use of gendang beleq musical instruments based on Djelantik’s theory. The aesthetics of Beleq drum music are influenced by the rich cultural heritage and traditions of the Sasak community in the arts and music. Strong rhythms, energetic melodies, and distinctive harmonies create a unique and emotionally evocative musical experience for the listeners. The performers wearing traditional Sasak costumes and the arrangement and atmosphere of the event are also integral parts of the aesthetics of gendang beleq music presented by the Panji Sukerare group. This research shows that the aesthetics of Gending Arje in gendang beleq music by the Panji Sukerare group involve complementary musical and visual elements, providing a comprehensive artistic experience for the audience. The findings of this research provide a deeper understanding of the cultural richness and aesthetic values inherent in traditional gendang beleq music, particularly in the context of the Gending Arje performed by the Panji Sukerare group. Keywords: Aesthetics, Gending Arje, Gendang Beleq music
Taksu and Pangus As An Aesthetic Concept Entity of Bali Dance (A Case Study of Topeng Tua Dance) Mariasa, I Nengah
Harmonia: Journal of Arts Research and Education Vol 15, No 2 (2015): December 2015
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i2.4557

Abstract

There are two types of topeng drama performance (topeng is Bahasa Indonesia for mask) in Bali, Topeng Pajegan and Topeng Panca. Topeng Pajegan is a masked drama performance that is danced by a dancer by playing various tapel, while Topeng Panca is danced by five dancers. Generally, there are three or four stages on topeng performance, i.e. panglembar, petangkilan, bebondresan, and/or pesiat. On panglembar stage, there is one dance represented the character of old people. The dance is then known as Topeng Tua (Old Mask). The costume, tapel, as well as hair worn by the dancer have been considered as one of the precious or noble artworks. The question comes up here, is the aesthetics of topeng only depended on its high aesthetic value costume and tapel? Topeng Tua performance technique is considerably not easy to be done by a beginner dancer. On the other words, it implicitly tells that the aesthetics of the dance depends closely to the dancers’ techniques. A good Topeng Tua dancer will be able to dance by using the technique of ngigelang topeng. Furthermore, the beauty of Topeng Tua does not only lay on its splendor artworks on the costume, tapel, and hair colour, but more to the ability of the dancers’ movement technique that successfully shows the beauty of taksu and pangus.
KAJIAN ESTETIKA BATIK SAWUNGGALING SURABAYA Candra, Erika Nur; Djatiprambudi, Djuli; Mariasa, I Nengah
Jurnal Kajian Seni Vol 11, No 1 (2024): Jurnal Kajian Seni Vol 11 No 1 November 2024
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.95341

Abstract

Batik, warisan budaya Indonesia yang diakui UNESCO, mencerminkan identitas daerah yang unik. Batik Sawunggaling dari Surabaya menonjol karena warna-warna cerah dan motif berani. Penelitian ini menelaah estetika batik Sawunggaling dengan mengacu pada teori estetika Djelantik, menyoroti interaksi antara bentuk, substansi, dan presentasi dalam desainnya. Metodologi yang digunakan adalah kualitatif deskriptif, mencakup wawancara dengan pengrajin lokal dan tinjauan literatur. Analisis menunjukkan bahwa motif Sawunggaling, yang menggambarkan pertarungan mitologis antara ayam jago, bukan hanya hasil keterampilan artistik tetapi juga mengandung pesan kepahlawanan dan ketangguhan, mencerminkan etos budaya Surabaya. Estetika motif ini terlihat dari garis dan bentuk dinamisnya, serta bobot makna yang diungkapkan melalui simbolisme warna dan pola. Presentasi batik ini menggabungkan teknik tradisional dengan pengaruh kontemporer, menekankan kemampuan batik untuk beradaptasi dan tetap relevan dalam konteks budaya modern. Penelitian ini menyimpulkan bahwa batik Sawunggaling berfungsi sebagai ikon budaya yang menjaga identitas komunal dan kesinambungan sejarah Surabaya. Temuan ini memperkuat pemahaman tentang peran batik sebagai media ekspresi dan pelestarian budaya di era globalisasi, serta kontribusinya dalam mempertahankan warisan budaya melalui seni tradisional.
TEKNIK SULAM FANTASI KARYA SENIMAN VERA SHIMUNIA 2017 – 2025 TERHADAP ESTETIKA BENTUK Adawiyah, Saffa’ Rabi’atul; Mariasa, I Nengah; Rahayu, Eko Wahyuni; Trisakti, Trisakti
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i1.7087

Abstract

Penelitian ini bertujuan untuk mengeksplorasi karya sulam fantasi Vera Shimunia dengan fokus pada penggunaan teknik sulam modern dan penerapan nilai budaya dalam karya seni tekstil kontemporer. Mengintegrasikan teknik tradisional dengan elemen-elemen kontemporer dalam menciptakan karya yang relevan dengan perkembangan seni saat ini. Konteks masalahnya berkaitan dengan perkembangan seni sulam dalam dunia digital dan media sosial, serta perannya dalam pendidikan budaya dan ekonomi kreatif. Penelitian ini berposisi pada analisis estetika dan sosial dari karya Vera Shimunia, dengan pendekatan kualitatif melalui kajian visual dan wawancara terkait proses kreatif seniman. Pembahasan dilakukan dengan mengidentifikasi teknik sulam yang digunakan, serta mengkaji dampak karya tersebut terhadap penikmat dan kontribusinya terhadap seni tekstil modern. Hasil penelitian ini menunjukkan penggabungan teknik tradisional dengan inovasi yang sesuai dengan perkembangan zaman, menciptakan karya yang tidak hanya memiliki nilai estetika, tetapi memberi dampak sosial yang signifikan dalam memperkenalkan budaya dan membuka peluang ekonomi kreatif. Selain itu, penggunaan media sosial sebagai platform untuk memperkenalkan karya-karyanya memberikan kontribusi dalam penyebaran apresiasi terhadap seni tekstil kontemporer.
THE FORM OF BALINESE PUSPANJALI DANCE THROUGH AN AESTHETIC APPROACH Paramacitha, Ni Luh N Jeylita; Mariasa, I Nengah; Trisakti, Trisakti; Handayaningrum , Warih; Rahayu, Eko Wahyuni
MSJ : Majority Science Journal Vol. 3 No. 3 (2025): MSJ-August
Publisher : PT. Hafasy Dwi Nawasena

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61942/msj.v3i3.424

Abstract

Dance is a form of expression that reflects human interaction with the environment and culture as a ritual or entertainment art. One of them, Puspanjali Balinese dance is categorized as an entertainment dance in the form of a new creation dance (Balih-balihan Dance). This research examines the aesthetics of the Puspanjali dance form which refers to the aesthetic theory of Satyam, Sivam, Sundaram. The methodology used is descriptive qualitative by conducting observations, interviews with Balinese dance experts and literature studies. The analysis shows that Puspanjali dance movements are performed repetitively consisting of Agem (Agem right and left), Tangkis (Ngegol, Ngegol Nyemak Saput, Angsel, Ngeseh, Jalan swinging hand ukel, Jalan swinging holding saput), Tangkep (Ngliyer, Seledet). This variety of motion refers to pure motion that only shows aesthetics without meaning. This research concludes that the aesthetics of Puspanjali dance form can be seen through the concept of satyam which categorizes Puspanjali dance presentation as Balih-Balihan dance and the concept of sundaram refers to the beauty of Puspanjali dance form. Through the aesthetic approach, this research increases the understanding of Puspanjali dance form.