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All Journal E-Journal Of Cultural Studies Harmonia: Journal of Research and Education Jurnal Kajian Bali MUDRA Jurnal Seni Budaya 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 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
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Energy Engineering Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Medicine & Pharmacology Public Health Social Sciences Transportation Other

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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.
PELATIHAN MANAJEMEN SENI PADA SANGGAR CITRA KARA DI DESA BATUAN, KECAMATAN SUKAWATI, BALI Suardana, I Wayan; Ruastiti, Ni Made; Ruta, I Made; Suryantari, Eka Putri; Prasiasa, Dewa Putu Oka; Muka, I Ketut; Ardika, I Gusti Ngurah Putu
E-Amal: Jurnal Pengabdian Kepada Masyarakat Vol 4 No 3: September-Desember 2024
Publisher : LP2M STP Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47492/eamal.v4i3.3575

Abstract

Arts management training at the Citra Kara aims to increase the practical benefits of crafts activities. Dominant kriyawan are skilled at leather crafts. However, quite a few kriyawan from the Cita Kara admit that their craft works could be more helpful. The problems : 1) What is the form of arts management training?; 2) How does arts management training impact?. The training uses R&D methods. The results : 1) training in selecting commodity materials, training in the production of commodities, technical assistance in the production of commodities, technical assistance in the coloring of commodities, training in the marketing of commodities, training in digital marketing and assistance in the digitalization of marketing of commodities; 2) there is an increase in artists' skills in producing new types of craft art commodities & there is an increase in artists' interest in marketing leather inlaid art commodities in new ways.
Nyanyian Duh Ratu Sang Hyang dalam Kelompok Nyanyian Ordinarium Missa de Angelis Berbahasa Bali: Kajian Bentuk Musik Inkulturasi Dewi, Irene Nyoman Esterina Pregie Angga; Ruastiti, Ni Made; Laksmi, Desak Made Suarti
Journal of Music Science, Technology, and Industry Vol. 7 No. 2 (2024)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan: artikel ini membahas bentuk nyanyian Duh Ratu Sang Hyang dalam kelompok nyanyian Ordinarium Missa de Angelis Berbahasa Bali yang berkembang di Gereja Katolik Paroki Tritunggal Maha Kudus Desa Tuka Kabupaten Badung. Nyanyian Ordinarium Missa de Angelis merupakan sebuah nyanyian liturgis yang disusun dalam Bahasa Latin dan dibawa oleh para misionaris ke tanah misi. Nyanyian Duh Ratu Sang Hyang menjadi produk nyata hasil inkulturasi budaya yang dimiliki Gereja Katolik Universal dengan budaya masyarakat Bali di Desa Tuka. Metode penelitian: Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan fenomenologi yang difokuskan pada analisis bentuk dari nyanyian Duh Ratu Sang Hyang sebagai hasil inkulturasi dari kedua budaya tersebut. Hasil dan pembahasan: penelitian menunjukan bahwa nyanyian Duh Ratu Sang Hyang dibentuk oleh unsur musikal dan ekstra-musikal. Unsur musikal tersebut meliputi penggunaan melodi modus Lydian dan tropus pada bagian melismatis nyanyian ini. Implikasi: unsur ekstra musikal yang membentuk mencakup penggunaan Bahasa Bali untuk menggantikan penggunaan Bahasa Latin serta adanya integrasi konsep kepercayaan Bali seperti “Tri Murti” untuk memudahkan Umat Katolik perdana di Bali memahami konsep Ketuhanan yang ada dalam iman Katolik.
WAYANG KENTONGAN "BELL PUPPET" AS A MEAN OF COMMUNICATION IN EXPERIMENTAL THEATER I Nyoman Sadi; I Nyoman Sedana; Ni Made Ruastiti; I Gusti Putu Sudarta
International Journal of Social Science Vol. 4 No. 4: December 2024
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v4i4.9749

Abstract

He actual events of the life of the puppeteer artist with the traditional ritual life conditions of the Balinese people are the reality of life which can be seen as a human effort to optimize conditions that provide gaps in displaying desires/ego and idealized true existence. The situation of consciousness is realized through material reality that is rational and full of ethics and aesthetics in theater art. In the wayang kentongan work, a unique and interesting means of communication is realized in an experimental theater work. Puppet works Kentongan Puppet This is a new innovative wayang puppet made from bamboo in the shape of a kentonganas a means of communication with the community. Work show Experimental Theatre This harmoniously combines the movement of wayang, dance, accompaniment with the natural background of the village environment, the natural road with craftsmanship lighting modern. The work is studied descriptively and in-depth analysis using the social theory of kinship in community life that is able to live side by side, mutual cooperation, mutual care and nurturing. This performance in the form of puppet theater is expected to awaken human awareness of the importance of togetherness and mutual cooperation which has begun to fade due to human egoism. The communication interweaving of this experimental theater work can add to the form of presentation and treasure of Balinese skin puppetry, as a medium for delivering messages of education, philosophy, morals and ethics, kinship, cooperation, and cooperation
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.
Co-Authors Anak Agung Ayu Mayun Artati Anak Agung Bagus Wirawan Anak Agung Indrawan Anak Agung Ngurah Anom Kumbara Ardika, I Gusti Ngurah Putu 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 I Gde Parimartha 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 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 Novia Apsari Ketut Tara Listiawan Ketut Tara Listiawan Komang Ojas Govardhana Laksmi Dewi, Ni Putu Putri Laksmi, Desak Made Suarti MS Prof. Dr. I Wayan Rai . Mutiara Dewi, Kadek Ayu Diah 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 Putu Sudarta, I Gusti Rahmawati, Ni Nyoman Rino Ega Vebrian Ruta, I Made Suminto Suminto Yunus Wafom Yunus Wafom