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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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (264.569 KB) | DOI: 10.59997/journalofdance.v2i1.1575

Abstract

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

Abstract

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

Abstract

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

Abstract

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.
Tanjung Sambuk: Visualisasi Ritual Hindu Dalam Estetika Tari Kontemporer Ida Bagus Yodhie Harischandra; I Ketut Sutapa; Sulistyani
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6070

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AbstrakKarya tari kontemporer di Bali kerap menjadi ruang negosiasi antara tradisi ritual dan inovasi artistik. TanjungSambuk lahir dari inspirasi prosesi pengantin Hindu setelah upacara mekala- kalaan dan sebelum natab mewidi-widana, tepat pada momen intim di bilik pengantin ketika pasangan berbagi rasa bahagia, haru, dan keraguan.Latar belakang ini menegaskan urgensi penelitian, yakni bagaimana ritual sakral dapat direinterpretasi dalambentuk tari kontemporer yang tetap berpijak pada nilai estetika Hindu. Permasalahan utama yang diangkat adalahbagaimana simbolisasi emosi dan ritus pengantin divisualkan melalui medium tari sehingga relevan dengankonteks seni pertunjukan masa kini. Penelitian ini menggunakan metode Angripta Sesolahan (menciptakan tari-tarian), dengan pendekatan kualitatif berbasis praktik artistik. Teori yang digunakan meliputi etnoestetika(Kaeppler), performativitas (Schechner), dan simbolisme ritual (Turner), sehingga analisis mencakup aspek prosespenciptaan, bentuk, serta makna simbolik pertunjukan. Eksperimen artistik diwujudkan melalui koreografiberkelompok (4 penari laki-laki, 4 perempuan) dengan iringan teknologi musik digital (Musical Instrument DigitalInterface [MIDI]) berdurasi 12 menit. Hasil penelitian menunjukkan bahwa Tanjung Sambuk berhasil menghadirkanruang estetis yang memadukan ekspresi emosional pengantin dengan inovasi kontemporer tanpa kehilangan akarritus Hindu. Novelty penelitian ini terletak pada integrasi praktik ritual ke dalam koreografi kontemporer berbasisMIDI, yang sekaligus membuka perspektif baru tentang estetika tari Bali modern sebagai medium transformasinilai religius dan emosional.Kata kunci: Tanjung Sambuk; Ritual Hindu; Estetika Tari; Kontemporer; Etnoestetika.
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

Abstract

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.
Pengaruh Kualitas Pelayanan, Harga, Dan Lokasi Terhadap Kepuasan Pelanggan Di Flame Bar Seminyak Badung Arcana, Kadek; Sutapa, I Ketut; Kartimin, I Wayan
Jurnal Mosaik Hospitaliti Vol. 5 No. 1 (2023): Juni
Publisher : Universitas Triatma Mulya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51713/jmh.2023.518

Abstract

This study aims to determine the effect of service quality, price, location on  customer satisfaction. The population in this study were Flame Bar Seminyak Badung customers with a sample of 100 respondents. The data analysis technique used in this study is multiple linear regression. Based on the results of the study it can be seen that the quality of services has a positive and significant effect on customer satisfaction, price has a significant positive effect on customer satisfaction, location has a positive effect significantly to customer satisfaction, service quality, price, location has a positive and significant effect on customer satisfaction, the magnitude of the influence of service quality, price, location on customer satisfaction is 65.9% and the service quality variable has a more dominant influence on customer satisfaction. Suggestions that can be given by researchers are Flame Bar Seminyak Badung is expected to provide training to employees, make competitive price policies, make signboards or directions that can be seen clearly from a far.
Pengaruh Kualitas Makanan Dan Kualitas Pelayanan Terhadap Kepuasan Pelanggan Di Moka Restoran Pada Astagina Resort Villa And Spa, Legian Bali Hanung, Yuliana Devila; Sutapa, I Ketut; Dewi, Desak Made Purnama
Jurnal Mosaik Hospitaliti Vol. 5 No. 1 (2023): Juni
Publisher : Universitas Triatma Mulya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51713/jmh.2023.519

Abstract

In businesses engaged in the service sector, customer satisfaction is the most important thing to maintain, which will certainly have a very good impact on the business going forward. This is the main background of the research entitled "The Influence of Food Quality and Service Quality on Customer Satisfaction at Moka Restaurant at Astagina Resort Villa and Spa, Legian Bali". The purpose of this study was to determine the partial and simultaneous effect of food quality and service quality on customer satisfaction, to find out how much influence food quality and service quality have on customer satisfaction, and to find out which variables have more influence on customer satisfaction at Moka Restaurant in Astagina Resort Villa and Spa, Legian Bali. This study uses a type of quantitative research, the type of data used is quantitative and qualitative. Data collection techniques used in this study were observation, interviews, documentation and questionnaires. There are 95 samples used in this study. The data analysis technique used in this research is quantitative descriptive analysis with the help of the SPSS tool. The results showed that food quality had a positive effect on customer satisfaction. Service quality has a positive effect on customer satisfaction. Food quality and service quality have a simultaneous effect on customer satisfaction. Suggestions for Moka Restaurant to pay more attention to food quality, maintain service quality and customer satisfaction. And this research is expected to be a literature review in further research.
PROSEDUR PENYIMPANAN BAHAN MAKANAN DI KITCHEN GARDIN BISTRO PATTISSIERA PETITENGET BALI Ida Ayu Karina Putri; Dewa Nyoman Sumardiana,; I Ketut Sutapa
HARMONY HOSPITALITY Vol. 8 No. 2 (2023): Harmony Hospitality
Publisher : Universitas Triatma Mulya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51713/harty.2023.8215

Abstract

This study aims to determine the procedures for storing foodstuffs, the obstacles encountered in the procedures for storing foodstuffs and the efforts made to overcome the problems of storing foodstuffs at Kitchen Gardin Bistro Pattissiera. The method of data collection was carried out by conducting observations, interviews, and documentation using qualitative descriptive analysis techniques, namely describing and describing the procedures for storing food ingredients at Kitchen Gardin Bistro Pattissiera. Constraints faced in the Food Storage Procedure at Kitchen Gardin Bistro Pattissiera are the lack of storage space so that overloads often occur, the storage temperature is often damaged, and the first in first out system has not been implemented. Efforts are being made to limit the ordering of goods, implement a first in first out system, and improve the temperature of the storage room. The suggestion is to immediately realize what has been conveyed by the resource person.
Teknik Pengolahan Duck Confit di Hot Kitchen Pada Finns VIP Beach Club Canggu Bali Ni Kadek Indah Rohani; Sutapa, I Ketut; Agung Rai Antara, I Made
HARMONY HOSPITALITY Vol. 9 No. 1 (2024): Harmony Hospitality
Publisher : Universitas Triatma Mulya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51713/harty.2024.9230

Abstract

This study aims to find out the duck confit processing technique, the obstacles faced in the duck confit processing technique and the efforts made to overcome the obstacles in the duck confit processing technique in the hot kitchen at Finns VIP Beach Club Canggu Bali. The data collection method was carried out by conducting observations, interviews, and documentation using qualitative descriptive analysis techniques, namely explaining and describing duck confit processing techniques in the hot kitchen at Finns VIP Beach Club Canggu Bali. The obstacles faced in the duck confit processing technique in the hot kitchen at Finns VIP Beach Club Canggu Bali are in the selection of basic ingredients, especially duck, storing duck confit, cooking time and maintaining the consistency of the dish. The business effort carried out is to use imported duck and use adequate tools such as vacuum machines to store it and convothem to cook duck confit. The results of the study showed that there were obstacles in the processing of duck confit, namely in the cooking process and lack of precision in processing duck confit. The suggestion is to immediately realize what has been conveyed by the speakers.
Co-Authors Adi Prawito Agung Rai Antara, I Made Amrina, Amrina Arcana, Kadek Artha, Kadek Karunia Aryawan, I G M Oka Aslam Aslam, Aslam Bendesa, I Wayan Pariasta Budiadi, I Made Candrawengi, Ni Luh Putu Ika Dahlan Abdullah Decky Cipta Indrashwara Denin Lintang Tuhujati Desak Made Purnama Dewi Deta Cahya Ramadhani Dewa Nyoman Sumardiana, Durrotun N, Ronny Durrotun, Ronny Erna Wiles Fransika Moi 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 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 Nengah Darma Susila I Nengah Darma Susila, I Nengah Darma 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 Suasira I Wayan Suasira I Wayan Sudiasa I Wayan Suparta I Wayan Suweda Ida Ayu Karina Putri Ida Ayu Trisnawati, Ida Ayu Ida Ayu Wimba Ruspawati, Ida Ayu Ida Bagus Wirahaji Ida Bagus Yodhie Harischandra Irwansyah, Defi Islam, Khoirul Ismawati Ismawati Isyoratullatifah Kadek Adi Suryawan Karyana, I Made Dendi Dwi Koespiadi KOMPYANG AYU, NI GUSTI AYU MADE AMBAR Kurniawansyah, Kurniawansyah Kusumayana, I Made Alam Made Sudiarsa Made Sudiarsa Made Sudiarsa Moi, Fransiska Ni Kadek Indah Rohani Ni Ketut Ayu Pratini Wulandari Ni Luh Putu Agustini Karta Ni Made Eka Sanisca Dewi Ni Nyoman Ardani 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 Doddy Heka Ardana Putu Gde Sukarata Putu Hermawati Raditya, Rizky Putra Ramadhani, Deta Cahya Rani Kusumo Wardani Rizal Bahaswan Ronny Durrotun Nasihien, Ronny Durrotun Rudi Setiawan Santiana, I Made Anom Setiawan, Muhammad Ikhsan Suasira, I Wayan Sudiarsa, Made Sudiarta, I Komang Sudiasa, Wayan Sudiyani, Gusti Ayu Fera Dewi Sulistyani Sulistyani Sulistyani Sulistyani Sulistyani Sumetri, Ni Wayan Suminto Suminto Tapayasa, I Made 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