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All Journal E-Journal Of Cultural Studies Harmonia: Journal of Research and Education Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni International Journal of Interreligious and Intercultural Studies International Journal of Supply Chain Management Humaniora Abdi Dosen : Jurnal Pengabdian Pada Masyarakat Journal of Music Science, Technology, and Industry (JOMSTI) Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan International Journal of Social Science Multidiciplinary Output Research for Actual and International Issue (Morfai Journal) Journal of Aesthetics, Creativity and Art Management Jurnal Pengabdian Masyarakat Waradin Jurnal Igel: Journal of Dance PUBLICA: Jurnal Pengabdian Masyarakat E-Amal: Jurnal Pengabdian Kepada Masyarakat
Ni Made Ruastiti
Institut Seni Indonesia Bali
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Davedan Show Di Amphi Theatre Nusa Dua Bali Ni Made Ruastiti; Ni Wayan Parmi; Ni Nyoman Manik Suryani; I Nyoman Sudiana
Mudra Jurnal Seni Budaya Vol 33 No 2 (2018): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i2.365

Abstract

Artikel ini disusun dari hasil penelitian yang bertujuan untuk dapat memahami pertunjukan Davedan Show di Amphi Theatre Nusa Dua Bali. Penelitian ini dilakukan karena adanya ketimpangan antara asumsi dan kenyataan di lapangan. Pada umumnya wisatawan yang datang ke Bali hanya senang dan antusias menonton seni pertunjukan pariwisata berbasis seni budaya lokal saja. Tetapi kenyataan ini berbeda. Walaupun Davedan Show tidak dibangun dari seni budaya lokal saja, tetapi kenyataannya wisatawan sangat senang menonton pertunjukan tersebut. Pertanyaannya: bagaimanakah bentuk pertunjukan Davedan Show tersebut?; mengapa wisatawan senang menonton pertunjukan itu?; apa implikasinya bagi pelaku, masyarakat, dan industri pariwisata di Nusa Dua, Bali?. Penelitian ini menggunakan metode penelitian kualitatif, khususnya implementatif partisipatoris yang mengutamakan kerjasama antara periset dengan para informan terkait. Sumber data penelitian ini adalah pertunjukan Davedan itu sendiri, pihak manajemen, para penari, penonton, hasil-hasil penelitian yang telah ada sebelumnya. Seluruh data yang telah dikumpulkan dengan teknik observasi, wawancara, FGD, dan studi kepustakaan itu dianalisis secara kritis dengan menggunakan teori estetika postmodern, teori praktik, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukan bahwa: (1) Davedan Show disajikan dalam bentuk oratorium. Hal itu dapat dilihat dari cara penyajian, koreografi, dan iringan pertunjukannya. Davedan Show yang menampilkan tema Treasure of The Archipelago, membuka gerbang petualangan baru itu diiringi musik rekaman etnik Nusantara secara medley, berkelanjutan dengan struktur pertunjukan: seni budaya Bali, Sumatra, Sunda, Solo, Kalimantan, dan seni budaya Papua; (2) Davedan Show banyak diminati wisatawan manca negara karena penciptaan pertunjukan itu dilatari oleh ideologi pasar, ideologi estetika, dan ideologi budaya Nusantara; (3) Hingga kini Davedan Show berkembang secara berkelanjutan di Nusa Dua Bali karena berimplikasi positif pada ekonomi para pihak terkait, pengayaan bagi seni pertunjukan daerah setempat, dan identitas bagi kawasan wisata Nusa Dua, Bali.This article was compiled from the research results that aimed to understand the Davedan Show at Amphi Theater Nusa Dua, Bali. This research was conducted due to the imbalance between the assumption and the reality in real life. Generally, tourists visiting Bali are more excited and enthusiastic to watch the tourism performing arts that are based on local traditional art and culture. However, the reality is different. The questions are: how is the form of the Davedan show?; why do the tourists enjoy watching the show ?; what are the implications for the performer, the society, and the tourism industry in Nusa Dua, Bali?. This research applied qualitative research methods, especially the participative implementation that prioritized cooperation between the researchers and the related informants. The data sources of the research were the Davedan show, management, dancers, audiences, and similar research results produced by previous researchers. All data that had been collected by observation, interview, FGD, and literature study were then analyzed with aesthetic postmodern theory, theory of practice, and theory of power relationship. The results showed that: (1) Davedan Show was presented with the concept of a new presentation in the tourism performing arts in Bali. It could be seen from the material, the form, the way of presentation, and the management of the show. Davedan Show, presenting the theme of Treasure of the Archipelago and opening the new adventure gate, was accompanied by ethnic music recordings of the archipelago in a medley then continued with the performance structures of: Balinese, Sumatran, Sundanese, Solo, Borneo and Papuan art and culture; (2) Davedan Show attracted many foreign tourists because the show was based on the existence of market, aesthetic, and cultural ideologies of the archipelago; (3) Currently, Davedan Show has developed in Nusa Dua, Bali sustainably because of its positive implications to the economics aspect of the stakeholders, the enrichment of Balinese performing arts, and the identity of Nusa Dua tourism area of Bali.
Catur Guru Dalam Seni Pertunjukan Wayang Wong Millenial Ruastiti Ni Made
Mudra Jurnal Seni Budaya Vol 36 No 3 (2021): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i3.1497

Abstract

This scientific work aims to discuss the concept and implementation of Catur Guru in the Millennial Wayang Wong Performing Arts. As a result of qualitative research, data collection was carried out through document study, observation, and in-depth interviews with dance teachers, artist representatives, and Balinese socio-cultural observers. All data collected were analyzed qualitatively using pedagogical theory and social action theory. The results showed that : First, Catur Guru is an educational concept that includes Guru Swadyaya (God Almighty), Guru Wisesa, Guru Pengajian, and Guru Rupaka. Second, the Wayang Wong Millennial performance art tells the story of Cupu Manik Astagina. Cupu Manik Astagina is a form of the implementation of Catur Guru, namely : 1) arousing awareness to always serve God as a self-help teacher, 2) the role and support of government officials as Guru Wisesa to support, care and mediate the educational process relate the Wayang Wong Bali, 3) the role of teachers in schools as Guru Pengajian, who guide their students to love the arts and culture of their nation and, 4) the role of parents as in educating their children. Wayang Wong Millennial also teaches Balinese children, who involved as Millennial Wayang Wong artist are expected to be creative, skilled at communicating, able to work together and collaborate, be able to think critically and be ready to compete in global competitions. In that case, teachers and parents of students need to assist their children in accessing online sites to support their physical growth and social and spiritual quotion.
Tourist Performing Arts: Balinese Arts-Based Creative Industry Ni Made Ruastiti
Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (45.279 KB) | DOI: 10.31091/mudra.v25i3.1567

Abstract

Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.
“Nga-wayang”: A New Dance Creation from a Globalized Sociocultural Environment Ni Putu Ari Sidiastini; I Wayan Rai S; Ni Made Ruastiti
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (358.268 KB) | DOI: 10.31091/jacam.v1i1.1593

Abstract

This scientific article aims to discuss a new dance creation entitled “Nga-wayang”, whose creation idea depicts the character Gatot Kaca in a two-dimensional wayang kulit show. No one has worked on a dance that was transformed from a two-dimensional wayang kulit performance into a new three-dimensional dance creation. The creation of the “Nga-wayang” dance uses qualitative methods. The creation process is carried out in stages: ngarencana, nuasen, makalin, nelesin, and ngebah. The search for ideas was carried out using participatory observation techniques and in-depth interviews with related parties. The deepening of the character of Gatot Kaca's character is carried out through library research and discography. The process of creating this new dance creation is carried out using transformation theory and aesthetic theory. The cultivation of this work of art has resulted in a new dance creation entitled “Nga-wayang”. As a new dance creation, “Nga-wayang” is presented full of new ideas based on the influence of the art ecosystem in the influence of globalization in terms of poses, variety of movements, techniques, dynamics, tempo, and level play based on multimedia such as LCD projectors, LED lights, and smoke. The process of composing this dance has been carried out since this material was developed as a final choreography class assignment, the presentation of which has been continuously refined. “Nga-wayang” is a new dance creation that departs from the experience of the cultural environment in the era of globalization, namely the ecosystem as an art reinforcement.
Keterpinggiran Kelompok Kesenian Cak Bedulu Dalam Seni Pertunjukan Pariwisata Bali Ni Made Ruastiti
Mudra Jurnal Seni Budaya Vol 34 No 2 (2019): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v34i2.700

Abstract

Artikel ini disusun berdasarkan hasil penelitian yang bertujuan untuk dapat mengetahui dan memahami keterpinggiran Tari Cak Bedulu dalam seni pertunjukan pariwisata Bali. Penelitian ini dilakukan karena dilatari adanya ketimpangan antara asumsi dan kenyataan yang terjadi di lapangan. Semestinya sebagai pelopor seni pertunjukan pariwisata Bali, kelompok kesenian ini paling sering ditampilkan dalam aktivitas kepariwisataan. Namun kenyataannya hal ini berbeda. Walaupun Cak Bedulu merupakan pelopor kesenian Cak untuk pariwisata Bali, kelompok kesenian ini justru mengalami keterpinggiran. Pertanyaannya: (1). Mengapakah kelompok kesenian ini mengalami keterpinggiran?; (2). bagaimanakah bentuk pertunjukannya?; dan (3). apakah implikasinya bagi masyarakat dan seni pertunjukan Bali?. Penelitian ini menggunakan metode kualitatif. Sumber data penelitian ini adalah pertunjukan Cak Bedulu, para pihak terkait, dan masyarakat di Desa Bedulu, Bali. Data yang dikumpulkan dengan teknik observasi, wawancara, FGD, dan studi pustakaan dianalisis dengan teori estetika, teori seni pertunjukan pariwisata, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukkan bahwa: (1). Kelompok kesenian Cak Bedulu mengalami keterpinggiran karena cara penyajiannya kini sudah tidak sesuai lagi dengan ideologi pasar, ideologi seni pertunjukan pariwisata, dan ideologi budaya masyarakat di Desa Bedulu; (2). Kesenian Cak Bedulu disajikan dalam bentuk sendratari dengan lakon Ramayana. Hal itu dapat dilihat dari cara penyajian, struktur pertunjukan, dan tata rias busana pertunjukannya; (3) Keterpinggiran Cak Bedulu secara tidak langsung berimplikasi pada hilangnya media berkesenian, hilangnya masukan finansial dari kegiatan berkesenian, dan hilangnya identitas budaya lokal.
Musical Creation: Aku dan Kamu Bukan Kita | Kreasi musik: Aku dan Kamu Bukan Kita I Agus Agus Junaedi; Saptono -; Ni Made Ruastiti
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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

Abstract

The new karawitan artwork entitled "I and You are Not Us" means that the appointment of me (the stylist), the audience (you), and us (not us) is a difference in interpretation, appreciation, and understanding of each individual who enjoys this work. This means that in this life, we must be aware of differences in principles, perceptions, perspectives, and treatments in life. Differences are beautiful and do not have to be uniform. We must accept and respect each other's differences, because differences are enrichment that can be used to complement each other and fill each other's shortcomings. The creation of this work aims to display a new color in Balinese karawitan art, which has always been played in groups with each person playing one instrument. This is different from this new work, which in its presentation uses one instrument, played by one player. This soloist music presentation was developed from the tingklik instrument by adopting the playing techniques of various traditional Balinese percussion instruments. The creation of a new musical art work, "I and You are Not Us", is done using the creation method proposed by Wayan Senen, namely through the initial stimulation process, followed by the process of implementing ideas using the creation process proposed by Halma Hawkins, through the exploration stage, improvisation, and shaping. The innovation of this new karawitan art that is played as a soloist develops the technique of playing the instrument, which is adopted from various percussion instruments in Bali.
The Meaning of Legong Dedari Performance in Banjar Abian Nangka Kaja, Kesiman Petilan, East Denpasar Ni Nyoman Manik Suryani; Ruastiti Ni Made; Katie Basset
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.2253

Abstract

The Legong Dedari is one of the sacred dances performed by the Balinese Hindu community at Banjar Abian Nangka Kaja, Kesiman Petilan Village, East Denpasar. Despite the fact that this dance is frequently performed for ceremonial offerings, no one has studied the Legong Dedari dance. This article aims to discuss the form and meaning of the Legong Dedari dance. The data sources for this research were the Legong Dedari dance performance itself, the dancers, musicians, traditional leaders, village elders, and the local community, who were selected based on purposive sampling and snowball techniques. All the data that has been collected through observation, interviews, and literature studies was analyzed descriptively and qualitatively using structural-functional theory and aesthetic theory. The results showed that the Legong Dedari dance, which is a wali dance (sacred dance), is presented in the form of a loose dance. This can be seen in the manner of presentation, fashion make-up, performance structure, and musical accompaniment. The Legong Dedari dance, which is danced by three female dancers who use delicate princess make-up, is accompanied by Gamelan Gong Kebyar. The community in Banjar Abian Nangka performs this Legong Dedari dance during piodalan ceremonies in the local area, along with Ratu Ayu's sasuhunan on Tumpek Wayang, Tumpek Uduh, and when a prolonged disaster occurs. The local community has continued to preserve the Legong Dedari Dance because the dance contains religious meaning, aesthetic meaning, social meaning, & ecological meaning.
Peliatan Style in Legong Keraton Lasem Performance Ni Made Ruastiti; Ni Putu Ayu Aneska Rastini; Ni Luh Sustiawati
Randwick International of Social Science Journal Vol. 4 No. 2 (2023): RISS Journal, April
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i2.657

Abstract

The Legong Keraton Lasem dance is one of the classical Balinese dances featuring Panji's story about the love story of King Lasem and Diah Rangke Sari. This classical dance first appeared and developed in the palace environment of Bali. There have been many research results on the Legong Keraton Dance. However, there has not been any research that reveals the Legong Keraton Lasem and Peliatan Style. The problems are: 1) How did the Peliatan Style in Legong Lasem Performance Originate?; 2) What is the form of the Peliatan Style in Legong Keraton Lasem dance?. The purpose of this research was to reveal the existence of the Peliatan Style in Legong Keraton Lasem Performance, which has catapulted Bali's name into the eyes of the world. This research was conducted using qualitative methods. The source of the data for this study was the Legong performance, the dancers, musicians, artists, cultural observers, and related communities who were selected based on purposive sampling and snowball techniques. All data that has been collected through observation, interviews, and literature studies will be analysed using aesthetic theory, hierarchical theory, and practical theory. The results showed that the Peliatan Style in Legong Keraton has a distinctive characteristic in the volume of dance movements performed, which tends to be large with the maximum tilt of the dancer's body. It is different from how to dance the Legong Keraton in general. The Legong Keraton Lasem with Peliatan Style emerged due to two factors, namely internal and external factors. Internal factors include the talent possessed by the Legong dancers themselves. They dance with the aim of satisfying their material and spiritual needs. Meanwhile, encouragement from outside came from the environment of Peliatan Village, which is indeed famous for its artistic activities; its people are very passionate about art every day.
Oleg Tamulilingan with Badung Style as the Primadona in the Performance Arts of Bali Tourism Ni Luh Ria Novitasari; Ni Made Ruastiti; I Ketut Sariada
Randwick International of Social Science Journal Vol. 4 No. 2 (2023): RISS Journal, April
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i2.658

Abstract

The Oleg Tamulilingan dance is a traditional Balinese dance with the theme of romance, which depicts the romance of male and female beetles, danced in pairs by a male and female dancer. Researchers have extensively discussed the popularity of the Oleg Tamulilingan Dance. But, no one has disclosed the Badung Style in Oleg Tamulilingan Dance has remained the primadonna of the Bali tourism industry. The question is: what is the structure of the Badung version of the Oleg Tamulilingan dance?; What is the origin of the Badung-style Oleg Tamulilingan dance?. This research was conducted using qualitative methods. The data sources for this study were: Oleg Tamulilingan with Badung Style Dance, dancers, musicians, dance teachers, artists, humanists, experts, and related communities who were selected based on purposive sampling and snowball techniques. All data that has been collected through observation, interviews, and literature studies was analyzed qualitatively. The results of the research show that the Badung Style in Oleg Tamulilingan Dance is performed in the form of a loose dance depicting a male and female beetle making out in a flower garden. This can be seen from the way it is presented, the makeup and clothing, as well as the musical accompaniment used. The structures used in the Oleg Tamulilingan with Badung Style performance are pepeson, pengawak, and pengecet. The emergence of the Badung Style in Oleg Tamulilingan dance was caused by internal and external factors. The internal factor of the Oleg Tamulilingan Dance is the talent of the first dancer, Gusti Ketut Raka Astuti, who teaches his students. The external factor is the development of tourism, which provides an opportunity for the development of the Badung Style in Oleg Tamulilingan Dance and has implications for the enrichment of the presentation model of the Oleg Tamulilingan Dance.
Rupaning Vrihannala Ketut Tara Listiawan; Ni Made Ruastiti; Ni Wayan Suartini
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.v1i2.866

Abstract

Rupaning Vrihannala Is A New Dance Creation Based On The Mahabharata In The Story Of Wirataparwa. This Work Is Presented In The Form Of A Duet Dance, By Two Male And Female Dancers, And Is Presented In The Form Of A Freelance Dance With A Performance Structure : Pengawit, Pengawak, Pengecet And Pakaad. This New Dance Creation, Which Was Developed Based On Local Balinese Wisdom, Shows The Love Story Of Arjuna And Dewi Utari During The Panca Pandawa Disguise In The Wirata Kingdom.The Purpose Of This Dance Work Is To Visualize The Truth Values Contained In The Mahabrata Epic, Especially Related To The Wisdom Of Arjuna As A Dance Teacher In The Kingdom Of Wirata. The Admiration For The Wise, Handsome, Good Archery, And Romantic Arjuna Has Inspired The Creation Of This New Dance Creation. The Romance Between Arjuna And Dewi Utari Is Accompanied By Gamelan Gong Kebyar, Supported By Gerong Vocals. This New Dance Creation Was Created Using The Method Of Creating Works Of Art, Which Was Carried Out In Stages, Namely Ngerencana, Nuasen, And Ngebah. All Data That Has Been Collected Through Observation, Interviews, And Literature Studies Were Analyzed Using Art Creation Theory, Symbol Theory, And Imagination Theory. The Process Of Creating This Dance Work Resulted In A New Creation Dance, Rupaning Vrihannala, About The Romance Of Arjuna And Dewi Utari When They Were Disguised As Dance Teachers In The Wirata Kingdom. To Support The Characterizations, Balinese Fashion Make-Up Is Used As A Characteristic, A Symbol Of Local Culture.Keywords: Rupaning Vrihannala, Proses Penciptaan, Struktur Pertunjukan, Tari Kreasi Baru.
Co-Authors - Saptono Agus Eko Sattvika, I Putu Anak Agung Ayu Mayun Artati Anak Agung Bagus Wirawan Anak Agung Indrawan Anak Agung Indrawan Anak Agung Ngurah Anom Kumbara Apsari, Ketut Novia Ardika, I Gusti Ngurah Putu Artati, Anak Agung Ayu Mayun Arya Pageh Wibawa Desak Made Suarti Laksmi Desiari,  Made Ayu Dewa Ayu Galih Mas Narapadi Galih Dewa Putu Oka Prasiasa Dewi, Irene Nyoman Esterina Pregie Angga Dewi, Ni Luh Diah Candra Edi Sedyawati Eka Putri Suryantari Gede Yoga Kharisma Pradana Gede, Yoga Kharisma Pradana Govardhana, Komang Ojas I Agus Agus Junaedi I Gde Parimartha I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Ngurah Seramasara, I Gusti Ngurah I Gusti Putu Sudarta I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Muka I Ketut Sariada, I Ketut I Ketut Suda I Made Sidia I Made Suastika I Nyoman Sadi I Nyoman Sedana I Nyoman Suarka I Nyoman Sudiana I Wayan Rai I Wayan Rai S I Wayan Suardana I Wayan Suharta, I Wayan Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Indrawan, Anak Agung Kadek Ayu Diah Mutiara Dewi Katie Basset Ketut Novia Apsari Ketut Sariada Ketut Tara Listiawan Komang Ojas Govardhana Kompiang Gede Widnyana Listiawan, Ketut Tara MS Prof. Dr. I Wayan Rai . Ni Kadek Suryani Ni Kadek Suryani Ni Luh Ria Novitasari Ni Luh Sustiawati Ni Made Arshiniwati Ni Nyoman Kasih Ni Nyoman Manik Suryani Ni Nyoman Rahmawati Ni Putu Ari Sidiastini Ni Putu Ayu Aneska Rastini Ni Putu Putri Laksmi Dewi Ni Wayan Parmi Ni Wayan Suartini Putri Anggreni Putu Dyan Ratna, Putu Putu Dyatmikawati Rai S., I Wayan Rino Ega Vebrian Ruta, I Made Sudarta, I Gusti Putu Suminto Suminto Yunus Wafom Yunus Wafom