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All Journal Jurnal Ergonomi Indonesia (The Indonesian Journal of Ergonomic) Jurnal Ilmiah Poli Rekayasa Matrix : Jurnal Manajemen Teknologi dan Informatika Logic : Jurnal Rancang Bangun dan Teknologi Bhakti Persada Jurnal Aplikasi IPTEKS Civilla : Jurnal Teknik Sipil Universitas Islam Lamongan Jurnal Vokasi Jurnal Bali Membangun Bali International Journal of Engineering, Science and Information Technology TIERS Information Technology Journal Synergy and Society Service Journal Research of Management Mimbar Pendidikan Indonesia Journal of Hospitality Accommodation Management Jurnal Igel: Journal of Dance Logic : Jurnal Rancang Bangun Dan Teknologi Jurnal Abdimas: Pengabdian dan Pengembangan Masyarakat Reinforcement Review In Civil Engineering Studies and Management Journal of Business on Hospitality and Tourism Berkala Forum Studi Transportasi antar Perguruan Tinggi BJHTCR Jurnal Mosaik Hospitaliti Advance Sustainable Science, Engineering and Technology (ASSET) Harmony Hospitality

I Ketut Sutapa

Politeknik Negeri Bali

Author-ID : 396948

Agriculture, Biological Sciences & Forestry Arts Humanities Astronomy Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Earth & Planetary Sciences Economics, Econometrics & Finance Education Electrical & Electronics Engineering Energy Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Library & Information Science Materials Science & Nanotechnology Mathematics Mechanical Engineering Medicine & Pharmacology Physics Public Health Social Sciences Transportation Other

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Studi Empiris: Hubungan Antara Gaya Kepemimpinan dan Fasilitas Kerja Terhadap Kinerja Karyawan Departemen Kitchen di The Stones Hotel Legian Bali Sudiyani, Gusti Ayu Fera Dewi; Sutapa, I Ketut; Wulandari, Pande Putu
Jurnal Mosaik Hospitaliti Vol. 6 No. 2 (2024): Desember
Publisher : Universitas Triatma Mulya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51713/jmh.2024.6220

This study aims to determine the effect of leadership style and work facilities on employee performance at The Stones Hotel Legian Bali. The data collection techniques used are observation, questionnaires, and interviews. The population used was kitchen department employees at The Stones Hotel Legian Bali, with a sample of 63 respondents. Based on the results of the study, it was found that leadership style has a positive and significant effect on employee performance, work facilities have a positive and significant effect on employee performance, leadership style and work facilities have an influence of 53.3% on employee performance, and work facilities variables have a more dominant influence on employee performance. Therefore, the executive chef in the kitchen department of The Stones Hotel Legian Bali is advised to be wiser in leading his subordinates, so that the work situation can be conducive. The kitchen department at The Stones Hotel Legian Bali is also expected to provide inadequate work facilities, update facilities that are no longer suitable for use, and increase the number of incentives given to employees.

Brand Loyalty Model in Balinese Village as an Art and Cultural Tourism Destination in National Rural Areas, Case Study on Wanagiri Kauh Village, Tabanan Wisnawa, I Made Bayu; Prayogi, Putu Agus; Sutapa, I Ketut
Journal of Business on Hospitality and Tourism Vol. 6 No. 2 (2020): JOURNAL OF BUSINESS ON HOSPITALITY AND TOURISM
Publisher : Institut Pariwisata dan Bisnis Internasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22334/jbhost.v6i2.243

The village is an Indonesian wealth that has the potential to be developed in the tourism sector in realizing prosperity for all Indonesian people. However, there are still many resources in the village that are not well managed. This study aims to: i) identify tourism potential, ii) formulate strategies based on strengths, weaknesses, opportunities and threats, iii) formulate a brand loyalty model in Wanagiri Kauh Tabanan Bali Village in developing tourism as a village in the national rural area, iv) compile a village potential development plan towards rural tourism. The method used is quantitative and qualitative methods. The quantitative method uses Structural Equation Modeling to form a brand loyalty model with antecedents of Brand Image, Brand Awareness, Service Quality, and Customer Satisfaction. The number of samples is 200 tourists who have visited. Meanwhile, the qualitative methods used include SWOT, and in-depth interviews. The results showed that Wanagiri Kauh Village: i) has natural and cultural tourism potential, ii) tourism potential development strategy by presenting uniqueness as the basis for development, iii) brand loyalty model is largely determined by customer satisfaction, brand awareness, service quality and brand image, iv) development planning by managing all resources through the management function by involving the tourism stakeholder Penta helix.

Kajian Permintaan Perjalanan Penumpang dalam Rangka Penyediaan Prasarana Sarana Transportasi Umum di Bali Hermawati, Putu; Aryawan, I G M Oka; Sutapa, I Ketut; Santiana, I Made Anom
Bali Membangun Bali: Jurnal Bappeda Litbang Vol 1 No 3 (2020): December 2020
Publisher : Badan Riset dan Inovasi Daerah Provinsi Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51172/jbmb.v1i3.139

Purpose: To develop a more comprehensive transportation policy in Bali, this research needs to be conducted. Research methods: Data collection is done by conducting questionnaire-based surveys. Findings: The internal distribution trips shows the highest trip production from Denpasar and Kuta, about 24.93% and 11.75%, while the largest trip attraction are also to Denpasar and Kuta, which are 13.76% and 16.73% of the total number of people trips per day. The distribution of external trips shows that most people going in and out of Bali are through Ngurah Rai Airport and Gilimanuk Port. The modal selection shows that the most used are 85.40% motorcycle, 10.27% car, 3.60% trucks and 0.73% public transportation. The forecasts of trip generation and attraction have growth rates of 5.812%/year. Implications: It needs anticipated to develop new alternative modes based on technology from Denpasar to all districts, such as Train/LRT/ART and ferry transportation, which was agreed by 83.56% and 89.33% of the people.

Tari Sengidyan Marsan, Sebuah Sajian Karya Tari Adalah Karakter Bukan Gender: Tari Sengidyan Marsan Ramadhani, Deta Cahya; Sulistyani, Sulistyani; Sutapa, I Ketut
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Tari Sengidyan Marsan merupakan karya tari yang bersumber dari sejarah tari Gandrung, serta terinspirasi terhadap pertunjukan tari Gandrung Banyuwangi dan tari kreasi baru Gandrung Marsan. Penata melihat terdapat kesamaan antara sumber garap tersebut dengan karakter diri penata, serta kemampuan dalam menarikan tari putri. Penggabungan ide cerita dan karakter serta kemampuan penata akan dituangkan dalam wujud tari. Tujuan penciptaan karya tari ini yakni ingin mewujudkan kesetaraan gender dan menepis anggapan penari putra yang menarikan tari putri dianggap kurang sopan, melecehkan kodrat dan sebagainya. Karena yang disajikan dalam sebuah karya tari adalah karakter bukan gender. Karya tari ini mengusung kemampuan sosok Marsan menjadi penari Gandrung yang menghibur sekaligus menyamar sebagai spionase untuk melawan Kompeni Belanda. Penciptaan tari Sengidyan Marsan menggunakan metode penciptaan Alma M. Hawkins yang diterjemahkan oleh Y Sumandiyo Hadi, yang terdiri dari tiga tahapan yaitu: tahap penjajagan (exploration) tahap ini melakukan penentuan penari, penentuan tata busana dan rias, penentuan komposer,penentuan lighting dan crew serta tempat latihan; tahap penuangan (improvisation), yakni melakukan penuangan dan percobaan gerak; dan tahap pembentukan (forming) ialah melakukan tahap pembentukan serta penyempurnaan karya seperti menyamakan gerak dan menyamakan ekspresi. Karya tari Sengidyan Marsan adalah karya tari kelompok yang ditarikan oleh lima orang penari laki-laki dengan struktur tari dibagi menjadi tiga bagian. Karya tari Sengidyan Marsan berbentuk kreasi baru dengan tema kepahlawanan yang menggunakan gerak tari kerakyatan. Karya ini diiringi dengan gamelan Banyuwangi yang direkam, kemudian di kombinasikan dengan menggunakan Musical Instrument Digital Interface (MIDI) dan berdurasi waktu kurang lebih 12 menit.Kata Kunci: Sengidyan Marsan, Gandrung Banyuwangi, Gender, Kreasi Baru.

Tari Aku Kumara, Sebuah Refleksi Diri Peduli Anak Hartana, I Nyoman Kharisma Aditya; Budiarsa, I Wayan; Sutapa, I Ketut
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

The creation of this Aku Kumara dance work started from reading a piece of literature namely Anoman Seri Cerita Anak dan Remaja, specifically the story of Anoman's childhood when he ate the sun. This makes the stylists want to create a contemporary dance piece in the form of a large group by interpreting the children's I-ness (selfishness) with curiosity to try to reach the light like the sun. This dance uses several sources of information, namely written sources, discography, filmography, interviews, and direct observations. The theories used are the theory of imagination and aesthetics. Related to the theory of creation, namely using the theory by Alma M. Hawkins consisting of the stages of exploration, improvitation, and forming.Aku Kumara is a contemporary dance piece in the form of a large group of eight male dancers who interpret children's behavior with curiosity and determination to seek the light. The dance structure consists of the beginning, the content, and the end with the movement approaching children and getting inspiration from Balinese dance standards that have been re-explored into new forms. This dance work is accompanied by the FL Studio 2020 software application with Balinese-Modern nuances. The make-up used is a theatrical type of make-up that is fantasized and adapted to the children's character with a casual dress with the concept of jumpsuits and a highlighter green T-shirt. Aku Kumara's dance work was staged on the concept of a proscenium stage at the Gedung Natya Mandala ISI Denpasar.Keywords: Aku Kumara, children, contemporary, creation

Tari Bhairawapaksa, Interpretasi Sosok Mpu Barang Artha, Kadek Karunia; Sutapa, I Ketut; Gunarta, I Wayan Adi
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Bhairawa is a force (group) who worships Durga as the supreme goddess in practice. Bhairawa is one of the most influential sects for Balinese people both in terms of spiritual practice and history. One of the stories related to the teachings of bhairawa and is well known to this day is the story of Mpu Barang. In the book Kajian Naskah Lontar Siwagama, Mpu Barang is described as a powerful Budha priest who can feed wandering spirits by eating his rough body until it runs out, the magic that Mpu Barang has is Bhairawapaksa. Mpu Barang's magic made the stylists interested in creating contemporary dances with horror nuances by using the theory of imagination so that they can freely interpret the cannibalism of the Mpu Barang character. In the process of realizing this dance work using the creation method proposed by Alma M. Hawkins, which consists of 3 stages, namely exploration, improvisation, and formation.This dance work, the stylist gives the title Bhairawapaksa Bhairawapaksa is a contemporary dance that is danced by 7 core dancers as a representation of Sapta Kanda Pat and Sapta Angga and uses 5 additional dancers. The structure of the Bhairawapaksa dance consists of 4 parts that describe the magical, calm, disgusting, and religious atmosphere. The message to be conveyed in this work is not to judge something only from the outside, but to look inside. Keywords: Bhairawapaksa, Horor, Kanibal Mpu Barang, and Contemporary

ABURU SATA Karyana, I Made Dendi Dwi; Sutapa, I Ketut; Suartini, Ni Wayan
Jurnal IGEL : Journal Of Dance Vol 3 No 1 (2023): Terbitan Kesatu Bulan Juni tahun 2023
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v3i1.2377

The Aburu Sata dance is a contemporary dance work that takes the theme of mulat sarira which is inspired by the Balinese folklore of an animal hunter to fulfill his needs, named Lubdaka. The creator is interested in elevating lubdaka’s emotional traits which include feelings of ambition, restlessness and regret. This dance piece is danced by six male dancers with almost the same body posture. The purpose of the creation of this dance work is to criticize the reality in today’s life throught Lubdaka’s story as a source of inspiration, that many people forget their identity and purpose in life because they are still heavily influenced by the Sad Ripu nature eithin themselves. The method of creation used in creating this dance work is using the Alma M. Hawkins method wich includes exploration, improvisation,forming, because this method is easier for creators to unsderstand to use as a method of creating art. This dance work uses minimalist make up and clothing including udeng, ¾ length pants, shirt, belt, rempel sesaputan, kamen kancut, bracelets, anklets. It is hoped that this dance work will become a performing art that can be enjoyed by people of all groups and can understand that Balinese folkore is not only a story or a night tale, but a story that contains meaning and moral values that are a reflection for us to improve ourselves so that wecan live to be better. Keywords: Aburu Sata, Emotional nature, Dance work

Karya Tari Aci Dehe Ni Made Eka Sanisca Dewi; Ida Ayu Wimba Ruspawati; I Ketut Sutapa
Jurnal IGEL : Journal Of Dance Vol 3 No 2 (2023)
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

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

Abstrak Karya Tari Aci Dehe terinspirasi dari Tari Rejang Lilit di Dusun Peninjoan, Desa Golong, Kecamatan Narmada, Lombok Barat. Tari ini mengambil bagian rasa bahagia, ceria, dan tulus iklas yang muncul saat prosesi ritual Tari Rejang Lilit, kemudian dituangkan ke dalam karya dengan bentuk kreasi yang memiliki tiga struktur yakni, pepeson, pengawak, dan pengecet. Metode penciptaan dalam mewujudkan karya tari ini adalah metode Angripta Sesolahan yang dikemukakan oleh I Kt Suteja. Metode tersebut meliputi Ngerencana, Nuasen, Makalin, Nelesin, dan Ngebah. Ngarencana merupakan tahap awal merancang seluruh kebutuhan karya seperti konsep, pemilihan composer, pemilihan penari, dan rancangan kegiatan karya. Nuasen merupakan tahap ritual untuk memohon kelancaran selama proses karya. Makalin merupakan tahap ekplorasi gerak dan pemilihan material seperti tempat latihan. Nelesin merupakan tahap pembentukan karya dengan menggabungkan hasil eksplorasi gerak sehingga menghasilkan motif gerak pada Tari Aci Dehe. Ngebah merupakan tahap pementasan perdana karya Tari Aci Dehe yang dipentaskan untuk mendapatkan evaluasi dan mengadakan perubahan-perubahan pada karya. Tari Aci Dehe menggunakan 6 orang penari wanita dengan iringan musik digital FL Studio, dan pementasan dilakukan secara langsung di Gedung Natya Mandala ISI Denpasar. Kata kunci : Aci Dehe, kreasi, Tari Rejang Lilit.

PENCIPTAAN KARYA TARI "TANOH LADO" Yoga, Ni Made Galuh Citra; Sutapa, I Ketut; 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.v4i1.3241

TANOH LADO merupakan karya seni tari kontemporer yang bersumber dari keresahan terhadap kemunduran pertanian tanaman lada di Lampung Pulau Sumatera, menggambarkan pembawaan tentang kehidupan petani lada. Ide karya ini dilatarbelakangi dengan fenomena sosial yaitu hubungan pertanian. Proses atau tahapan penciptaan yang dilalui meliputi: (1) Ngawirasa (inspirasi), (2) Ngawacak (eksplorasi), (3) Ngarencana (konsepsi) (4) Ngawangun (eksekusi), (5) Ngebah (produksi). Karya ini diwujudkan dalam bentuk tari kontemporer yang terdiri dari lima orang penari putri dengan menggambarkan karakter masing-masing yaitu petani dan hama. Struktur karya ini dibagi menjadi tiga bagian yaitu awal, isi, dan akhir. Iringan tari yang digunakan pada karya ini menggunakan instrument media aplikasi MIDI (Musical Insturment Digital Interface)dengan menggabungkan musik kontemporer dan tambahan musik–musik ciri khas Lampung sebagai pembawa suasana tempat. Tari “TANOH LADO” ini menggunakan tata rias minimalis untuk karakter petani menciptakan kesan sederhana dan alami, sesuai dengan kehidupan sehari-hari petani lada di Lampung dan menggunakantata busana yang sederhana yaitu atasan kemben dengan motif Tapis Lampung, penggunaan kain Tapis Lampung pada atasan kemben menunjukkan upaya untuk menonjolkan ciri khas budaya Lampung dalam kostum tari. Hasil dari proses penciptaan tari “TANOH LADO” dipentaskan di Gedung Natya Mandala Institut SeniIndonesia Denpasar.

Analisis Kepuasan Wisatawan di Kaamala Resort Ubud Susila, I Made Gede Darma; Nugraha, I Wayan; Sutapa, I Ketut
Journal of Hospitality Accommodation Management (JHAM) Vol. 3 No. 2 (2024): Journal of Hospitality Accommodation Management (JHAM)
Publisher : Program Studi Manajemen Divisi Kamar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52352/jham.v3i2.1501

Tourists’ response to expected services constitutes their satisfaction. If the outcome exceeds their expectations, tourists feel satisfied; conversely, they may not. The purpose of this research is to examine how service quality and facilities influence tourist satisfaction, identify key factors affecting it, and analyze the extent of their impact. The study population consists of tourists staying at Kaamala Resort Ubud. The sample, comprising 200 respondents, was selected using non-probabilistic accidental sampling. Data were collected through observation, questionnaires, interviews, and literature review. Quantitative descriptive analysis and multiple linear regression analysis were employed for data analysis. The research results indicate that service quality and facilities partially influence tourist satisfaction. Moreover, both factors have a positive simultaneous impact on tourist satisfaction. One variable, as indicated by the coefficient of determination test, significantly influences tourist satisfaction, accounting for 59%. Hotel management is advised to enhance customer satisfaction by prioritizing service quality and the availability of facilities.

Co-Authors A. A. Ayu Asta Oktaviani Putri Adi Prawito Agung Rai Antara, I Made Arcana, Kadek Artha, Kadek Karunia Aryawan, I G M Oka Bendesa, I Wayan Pariasta Budiadi, I Made Candrawengi, Ni Luh Putu Ika Decky Cipta Indrashwara Denin Lintang Tuhujati Desak Made Purnama Dewi Deta Cahya Ramadhani Dewa Nyoman Sumardiana, Durrotun N, Ronny Erna Wiles Fransika Moi Gede Teguh Prasetya Muttiwijaya Gede Yasada Gusti Ayu Oka Cahya Dewi Hanung, Yuliana Devila Hartana, I Nyoman Kharisma Aditya I G M Oka Aryawan I Gede Fery Surya Tapa I Gede Sastra Wibawa I Gede Sastra Wibawa I Gede Sastra Wibawa I Kadek Andita Putra I Ketut Gede Bendesa I Ketut Mahardika I Ketut Parti I Ketut Suarta I Ketut Widana I Ketut Widana I Ketut Widana I Ketut Widana I Komang Sudiarta I Komang Suta Wijaya I Made Agus Mertha Dana I Made Anom Santiana I Made Anom Santiana I Made Bayu Wisnawa I Made Gede Darma Susila I Made Gita Ariadi I Made Jaya I Made Suardana Kader I Made Sudiarsa I Made Tapa Yasa I Nengah Darma Susila I Nyoman Ardika I Nyoman Indra Kumara I Nyoman Ramia I Nyoman Suardika I Nyoman Sutapa I Nyoman Sutapa I Nyoman Sutarna I P. Alit Suthanaya I Putu Agus Krisnadinata I Putu Arya Setya Dharma I Wayan Budiarsa I Wayan Darya Suparta I Wayan Intara I Wayan Kartimin I Wayan Pugra I Wayan Suasira I Wayan Suasira I Wayan Sudiasa I Wayan Suparta I Wayan Suweda Ida Ayu Karina Putri Ida Ayu Trisnawati Ida Ayu Wimba Ruspawati, Ida Ayu Ida Bagus Wirahaji Ismawati Ismawati Isyoratullatifah Kadek Adi Suryawan Karyana, I Made Dendi Dwi Koespiadi KOMPYANG AYU, NI GUSTI AYU MADE AMBAR Kusumayana, I Made Alam Made Sudiarsa Made Sudiarsa Made Sudiarsa Moi, Fransiska Nadzirah Hj. Zainordin Ni Kadek Indah Rohani Ni Ketut Ayu Pratini Wulandari Ni Luh Putu Agustini Karta Ni Made Eka Sanisca Dewi Ni Nyoman Ardani Ni Putu Ary Yuliadewi Ni Wayan Mekarini Ni Wayan Sadiyani Ni Wayan Suartini Ni Wayan Sumetri Ni Wayan Sumetri Nugraha, I Wayan Nur Alfionita, Firda Bunga Prakasa, I Made Panji Tirta Putu Agus Prayogi Putu Agus Prayogi Putu Gde Sukarata Putu Hermawati Ramadhani, Deta Cahya Rani Kusumo Wardani Santiana, I Made Anom Setiawan, Muhammad Ikhsan Suasira, I Wayan Sudiarsa, Made Sudiasa, Wayan Sudiyani, Gusti Ayu Fera Dewi Sulistyani Sulistyani Sulistyani Sulistyani Sumetri, Ni Wayan Suminto Suminto Tapayasa, I Made Thung Wei Eng Wayan Sudiasa Wibawa, I Gede Sastra Wiraga, I Wayan Wulandari, Pande Putu Yasa, I Made Tapa Yasada, Gede Yoga, Ni Made Galuh Citra Yuliadewi, Ni Putu Ary Yuliana Sukarmawati Zainordin, Nadzirah

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