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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) 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 E-Amal: Jurnal Pengabdian Kepada Masyarakat
Ni Made Ruastiti
Department Of Dance, Faculty Of Arts, Indonesia Institute Of The Arts Denpasar, Indonesia
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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.
SMARA JANTRA Mutiara Dewi, Kadek Ayu Diah; Ruastiti, Ni Made; Putu Sudarta, I Gusti
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.v5i2.3850

Abstract

Smara Jantra is a contemporary dance work rooted in local wisdom, reflecting a reinterpretation of Tari Telek, one of the core elements in the mepajar ritual of Desa Adat Legian, Bali. This work emerges as an aesthetic response to contemporary challenges facing the preservation of sacred values in traditional performing arts, which are increasingly confronted by the forces of tourism commodification and shifts in meaning. Tari Telek, traditionally functioning as a spiritual medium and protective symbol, has undergone transformations in function and significance over time. In response, the choreographer seeks to transform these values into a new choreographic form that remains grounded in Balinese philosophical and spiritual foundations. This creative research examines three main aspects: (1) the creative process in formulating and developing the artistic concept; (2) the choreographic form as the result of creation; and (3) the symbolic meanings and reflective messages embodied in the work. The Angripta Sesolahan method serves as the primary approach, consisting of five stages, ngarencana, nuasen, makalin, nelesin, and ngebah, derived from the philosophy of tradition-based creative work in Bali. The outcome is a site-specific performance staged at Pura Agung Legian, offering an integrated experience of space, body, and spirituality. The novelty of this work lies in the integration of the cosmological concept of luwan-teben as the foundation for a transformative aesthetic, as well as the application of a contextual local creation method within the realm of contemporary Balinese performing arts.
LOCAL WISDOM-BASED TOURISM THEATRE: A COMMUNITY EMPOWERMENT MODEL FOR CULTURAL PRESERVATION Ruastiti, 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.v5i2.3856

Abstract

Local wisdom is a cultural resource rich in aesthetic, social, and spiritual values, as well as serving as a community's collective identity. In the context of tourism, local wisdom has great potential to be developed into tourist theater that not only provides entertainment but also conveys authentic cultural narratives. The urgency of this research stems from the need to develop a tourist theater model capable of empowering local communities as key actors, so that the preservation of traditions can go hand in hand with strengthening the creative economy. This research aims to formulate a tourist theater management model based on local wisdom by involving the community, identifying strategies for maintaining cultural values, and measuring its impact on socio-cultural sustainability. The issues raised include formulating a tourist theater concept based on local values, community empowerment strategies, and indicators of successful cultural preservation in the tourism context. This research uses qualitative ethnographic methods through participant observation, in-depth interviews, and documentation analysis, supported by focus group discussions with artists, traditional leaders, and tourism managers. The results show that tourist theater based on local wisdom is effective in building collective awareness, strengthening cultural identity, and increasing community income. The integration of traditional narrative elements, performance aesthetics, and participatory management is key to the success of this model. The novelty of this research lies in the development of a community-based tourism theater model that combines ethnoaesthetics and community-based tourism theories, resulting in a conceptual and practical framework that can be replicated in various areas with cultural tourism potential in Indonesia.
Rupaning Vrihannala Listiawan, Ketut Tara; Ruastiti, Ni Made; Suartini, Ni Wayan
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 | Full PDF (222.779 KB) | 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.
Strategi Pembelajaran Gerak Dasar Tari Bali Untuk Anak-Anak di Sanggar Tari Warini Govardhana, Komang Ojas; Ruastiti, Ni Made; Kasih, Ni Nyoman
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (590.794 KB) | DOI: 10.59997/journalofdance.v2i2.1885

Abstract

Tujuan Penelitian ini dilakukan adalah untuk dapat memahami dan menjelaskan Strategi Pembelajaran Gerak Dasar Tari Bali untuk Anak-anak di Sanggar Tari Warini. Penelitian ini dilakukan karena dilatari oleh seringnya Sanggar Tari Warini menyabet juara dalam lomba-lomba tari Bali, padahal di Bali banyak terdapat kursus-kursus tari serupa yang tersebar di Bali.  Pertanyaannya adalah: (1) bagaimanakah strategi pembelajaran gerak dasar tari Bali yang dilakukan di Sanggar Tari Warini sehingga anak didiknya terus mendapatkan juara?; (2) metode apa yang digunakan oleh Ibu Arini?; (3) apa dampak dari proses pembelajaran gerak dasar tari Bali bagi anak-anak yang bersangkutan. Penelitian ini dilakukan dengan menggunakan metode kualitatif dan kuantitatif. Metode Kualitatif digunakan untuk mengkaji strategi pembelajaran. Dampaknya dikaji dengan menggunakan metode kuantitatif. Hasil penelitian menunjukan bahwa: (1) Sanggar Tari Warini suskes mendidik anak-anaknya menjadi penari andal karena sanggar tersebut menggunakan strategi pembelajaran pedagogi, heutagogi dan imitasi; (2) Untuk menghasilkan lulusan yang handal, Sanggar Tari Warini mengimplementasikan gerak-gerak dasar tari Bali dengan menggunakan tahapan pembelajaran Gerak Dasar Tari Bali I, Gerak Dasar Tari Bali II dan Gerak Dasar Tari Bali Putra; (3) penerapan Gerak Dasar Tari Bali yang dilakukan secara bertahap tersebut berdampak pada mantapnya penguasaan gerak dasar tari Bali dan tingginya rasa percaya diri anak-anak yang belajar di Sanggar Tari Warini untuk menari.   Kata Kunci :Strategi, Pembelajaran, Gerak Dasar Tari Bali, Anak-Anak, Sanggar Tari Warini
PROSES PENCIPTAAN, BENTUK DAN PESAN TARI GEN DI YAYASAN BUMI BAJRA SANDHI Apsari, Ketut Novia; Ruastiti, Ni Made; Artati, Anak Agung Ayu Mayun
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i2.1887

Abstract

Tujuan penelitian ini dilakukan adalah untuk dapat memahami dan menjelaskan karya seni pertunjukan Tari GEN. Tari GEN ini terinspirasi dari aksara sebagai proses penciptaan. Tari ini memiliki kekhasan dan keunikan sendiri mulai dari awal mula proses penciptaannya, bentuk pertunjukan dan pesan yang disampaikan Tari GEN. Penelitian ini menggunakan metode kualitatif dengan landasan teori estetika dan ikat kait. Data yang diperoleh melalui observasi, wawancara, studi kepustakaan dan dokumentasi. Hasil penelitian ini menunjukkan bahwa ide penciptaan dalam Tari GEN ini berawal dari keinginan pencipta mengangkat aksara sebagai proses penciptaan. Bentuk pertunjukan Tari GEN terdiri dari tiga struktur yakni: (1). Menggambarkan suasana yang magis. (2). Menggambarkan suasana yang ceria. (3). Semua penari melihat bulan sambil menyanyikan lagu Panedeng Masa Kartika. Gerak yang digunakan Tari GEN adalah gerakan yoga asanas, serta menggunakan beberapa gerakan Tari Bali. Pola lantai yang digunakan dalam Tari GEN adalah diagonal, vertikal, horizontal, spiral dan lingkaran yang dibantu menggunakan level tinggi, rendah dan sedang. Riasan pada wajah menggunakan corak berwarna putih ke beberapa penari saja sedangkan penari lainnya tampil tidak memakai riasan wajah atau natural. Busana yang berwarna-warni menjadikan kesan dari anak-anak jelas terlihat. Gending yang dinyanyikan pada tarian berjudul Panedeng Masa Kartika. Alat musik yang digunakan yaitu berupa selonding, riong, ceng-ceng, kendang, suling, kemong/kajar, rebab dan gong dengan digarap menyesuaiakan kebutuhan garapan. Artictic stage dan lighthing design Tari GEN menggunakan layar berlukiskan aksara bali visual art. Pesan pada Tari GEN adalah mengajak seluruh masyarakat khususnya di Bali agar melestarikan bahasa daerah atau aksara Bali.Kata Kunci: Tari GEN, Proses Penciptaan, bentuk, pesan
Kajian Bentuk Dan Fungsi Tari Gandrung Giri Kusuma Di Desa Ungasan, Badung. Dewi, Ni Luh Diah Candra; Ruastiti, Ni Made; Suminto, Suminto
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.v4i1.3204

Abstract

Tari Gandrung Giri Kusuma merupakan salah satu tarian sakral yang berada di Pesambyangan Pura Batu Pageh Desa Adat Ungasan Kabupaten Badung, tari tersebut menjadi objek penelitian. Penelitian ini bertujuan untuk mengetahui lebih dalam Tari Gandrung Giri Kusuma dan memperkenalkan kepada masyarakat luas. Menggunakan metode kualitatif dan teknik pengumpulan data dilakukan dengan cara observasi, wawancara, dan dokumentasi. Pada penelitian ini membahas mengenai bentuk dan fungsi Tari Gandrung Giri Kusuma, maka dalam penelitian ini menggunakan teori estetika dan teori fungsional untuk menganalisis objek. Tari Gandrung Giri Kusuma merupakan tari yang menggambarkan Sang Hyang Dedari, ditarikan oleh satu orang penari perempuan. Tari Gandrung Giri Kusuma menggunakan tata rias minimalis dan busana yang digunakan hampir sama dengan busana tari Legong. Tari Gandrung Giri Kusuma menggunakan musik iringan bambu atau Gamelan Gandrung. Tari Gandrung Giri Kusuma dipentaskan setiap rahina Kajeng Kliwon, Kliwon, dan Tumpek Wayang di Pesambyangan Pura Batu Pageh Desa Adat Ungasan. Adapun bentuk yang diuraikan yaitu mengenai penari, struktur, ragam gerak, tata rias, tata busana, musik iringan, tempat pementasan, properti. Adapun fungsi yang diuraikan yaitu fungsi primer dan fungsi sekunder.
THE WAYANG WONG ANAK-ANAK PERFORMANCE DEVELOPMENT Ruastiti, Ni Made; Rai S., I Wayan; Kharisma Pradana, Gede Yoga
Abdi Dosen : Jurnal Pengabdian Pada Masyarakat Vol. 7 No. 2 (2023): JUNI
Publisher : LPPM Univ. Ibn Khaldun Bogor

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32832/abdidos.v7i2.1543

Abstract

So that the art of wayang wong in Bali can be maintained, the research team has created Wayang Wong Anak-Anak. As a vehicle for socializing cultural values, this model is very important to be developed. The development of this wayang Wong model intensively involves young Balinese people. The problems : 1) How is the process of fostering Wayang Wong Anak-Anak?; 2) What is the form of the Wayang Wong Anak-Anak?. As a result of applied research, a number of data collection have been carried out, including document studies, observations, exercises, and in-depth interviews with informants. The results : 1) The process of fostering Wayang Wong Anak-Anak has been carried out through : (a) applying the performance concepts; (b) conducting exercises to find a model of Wayang Wong Anak-Anak that suits the tastes and abilities of the youth, (c) a trial for a Wayang Wong Anak-Anak show, (d) finalizing a model for a Wayang Wong Anak-Anak; 2) the coaching in the development of wayang wong has succeeded in implementing the Wayang Wong Anak-Anak, namely : themes, variety of movements, and performances that are in accordance with the abilities and character of the youth.
KITES AS SYMBOLS IN BALINESE KARAWITAN MUSIC NEW CREATIONS: DECONSTRUCTING THE KITE TRADITION Agus Eko Sattvika, I Putu; Ruastiti, Ni Made; Gede, Yoga Kharisma Pradana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3561

Abstract

In Balinese gamelan art, a new Balinese musical creation featuring kites has been introduced. While kite-flying traditions had previously existed, there had been no Balinese gamelan musical works featuring. This phenomena reflects a transformational style that involves deconstructive techniques. The concerns are: 1) What is the shape of new kite building in Balinese karawitan art activities?; 2) Are there differences in kite traditions & in Balinese karawitan art activities?; 3) What is the purpose of deconstruction of kite traditions in Balinese karawitan art activities?. A qualitative methods was applied from a cultural studies standpoint. An interdisciplinary strategy was used to collect all data, which included document studies, participant observation, and interviews with Karawitan artists. All data were analyzed qualitatively-interpretively, with consideration given to deconstruction, aesthetics, and ethnomusicology theories. The results show tha t: 1) a new construction of kite tradition elements is seen in the sound patterns of new creative karawitan music; 2) the form of kite tradition is seen in the phase preceding the realization of new creative karawitan music works with a kite theme; and 3) artistic, religious, and communicative meanings are implied in the new creative karawitan artworks as a deconstruction of the kite tradition. These discoveries help to shape karawitan art based on local wisdom and create opportunity for discussion amongst traditional cultural forms.
Rekonstruksi Tari Rejang Dewa pada Tradisi Megebeg-Gebegan dalam Rangka Penguatan Identitas Budaya Tradisional Bali di Desa Tukad Mungga, Buleleng Ni Made Ruastiti; Gede Yoga Kharisma Pradana; Ni Kadek Suryani; Arya Pageh Wibawa
Jurnal Pengabdian Masyarakat Waradin Vol. 6 No. 1 (2026): Januari : Jurnal Pengabdian Masyarakat Waradin
Publisher : Sekolah Tinggi Ilmu Ekonomi Pariwisata Indonesia Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56910/wrd.v6i1.927

Abstract

The Rejang Dewa is one of Bali's traditional cultures that has long been preserved in the Megebeg-Gebegan tradition. However, it is nonexistent as part of the Megebeg-Gebegan. This community service activity aims to reconstruct the Rejang Dewa Dance and strengthen local cultural identity. Specifically, this activity aims to reveal the crisis facing the Rejang Dewa dance in Megebeg-Gebegan (1), reconstruct the Rejang Dewa dance in the Megebeg-Gegeban (2), and analyze the contribution of Rejang Dewa in the Megebeg-Gebegan tradition (3). Data analysis was conducted qualitatively based on the achievements of participatory observation, interviews, choreography training, and workshops. The results: 1) the loss of pride among the local community and the difficulty in finding Rejang Dewa dancers indicate a crisis; 2) the reconstruction of the Rejang Dewa dance was carried out through replication and integration of art and education in PKM activities based on local cultural studies; 3) the reconstruction of the Rejang Dewa has impacted on strengthening the aesthetic aspects and the function of religion and fostering a sense of pride in the culture of the Tukad Mungga Village community.
Co-Authors Agus Eko Sattvika, I Putu Anak Agung Ayu Mayun Artati Anak Agung Bagus Wirawan 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 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 Gde Parimartha I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Ngurah Seramasara, I Gusti Ngurah I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Muka I Ketut Sariada, I Ketut I Ketut Suda I Made Suastika I Nyoman Sadi I Nyoman Sedana I Nyoman Suarka I Nyoman Sudiana I Wayan Rai I Wayan Suardana I Wayan Suharta, I Wayan Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Indrawan, Anak Agung Ketut Novia Apsari Ketut Tara Listiawan Komang Ojas Govardhana Laksmi Dewi, Ni Putu Putri Listiawan, Ketut Tara MS Prof. Dr. I Wayan Rai . Mutiara Dewi, Kadek Ayu Diah Ni Kadek Suryani Ni Made Arshiniwati Ni Nyoman Kasih Ni Nyoman Manik Suryani Ni Putu Ari Sidiastini Ni Wayan Parmi Ni Wayan Suartini Putu Dyan Ratna, Putu Putu Dyatmikawati Rahmawati, Ni Nyoman Rai S., I Wayan Rino Ega Vebrian Ruta, I Made Sudarta, I Gusti Putu Suminto Suminto Yunus Wafom Yunus Wafom