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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 E-Amal: Jurnal Pengabdian Kepada Masyarakat
Ni Made Ruastiti
Institut Seni Indonesia Bali
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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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.
SACRALITY AND SYMBOLISM OF THE BARIS KLEMAT DANCE AT PURA MENEGA, SESEH CEMAGI TRADITIONAL VILLAGE, BALI: AN ETHNOAESTHETIC STUDY Ni Putu Putri Laksmi Dewi; Ni Made Ruastiti; Ni Made Arshiniwati
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 Kadek Ayu Diah Mutiara Dewi; Ni Made Ruastiti; I Gusti Putu Sudarta
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 Ni Made Ruastiti
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.
Bentuk dan Makna Pertunjukan Tari Renteng di Desa Saren, Nusa Penida, Klungkung, Bali Ni Made Ruastiti; Anak Agung Indrawan; Ketut Sariada
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 11 No. 1 (2021): Volume 11 No. 1. April 2021
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2021.v11.i01.p10

Abstract

This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance without stories. This can be seen from the presentation, choreography, and the music accompanying the performance. Renteng dance is accompanied by Balinese gamelan Balaganjur music with a specific movement dance performance structure. Saren community members support this dance because it has meaning as an expression of faith, social concern, and the interest in ecological preservation.
Bali Diaspora di Jayapura: Makna Pura Agung Surya Bhuvana dalam Membangun Kerukunan di Tanah Papua I Wayan Rai S; I Gusti Made Sunartha; Ida Ayu Made Purnamaningsih; Ni Made Ruastiti; Yunus Wafom
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 10 No. 1 (2020): BALI DIASPORA
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2020.v10.i01.p01

Abstract

The purpose of this study is to look for the meanings of the Balinese temple Pura Agung Surya Bhuvana in Jayapura in building harmony in the land of Papua. The life of Jayapura people is identical with the frequent riots. It looks different from the life of the Balinese diaspora around the temple Surya Bhuvana which marked by inter-religious harmony. The study focused on two issues: Why do non-Hindus in Jayapura often visit the Pura Agung Surya Bhuvana? How do they understand the temple Surya Bhuvana in this global era? This is a qualitative research and data were collected through observation, interview, FGD, and document study techniques. Data were analyzed with religious theory, symbol theory, and structural-functional theory. The results showed that the hospitality of the Balinese diaspora who manages the temple makes non-Hindus community feel welcome to visit the temple. The Balinese diaspora community in Jayapura interpreted Pura Agung Surya Bhuvana as a place of worship, a meeting place for people of different faiths, a place of art, a place to strengthen multi-cultural life and as a medium to strengthen national integration.
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 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 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 Listiawan, Ketut Tara MS Prof. Dr. I Wayan Rai . 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 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