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All Journal MUDRA Jurnal Seni Budaya Panggung Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni GETER : Jurnal Seni Drama, Tari dan Musik International Journal of Social Science Jurnal Igel: Journal of Dance Panggung
Sudibya, I Gusti Ngurah
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Medicine & Pharmacology Public Health Social Sciences Other

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Fungsi dan Peran Api dalam Seni dan Kehidupan Masyarakat Bali Sudibya, I Gusti Ngurah; Sukerta, Pande Made; Kusumo, Sardono Waluyo; Supriyanto, Eko
PANGGUNG Vol 28, No 2 (2018): Dinamika Keilmuan Seni Budaya dalam Inovasi Bentuk dan Fungsi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v28i2.520

Abstract

ABSTRACTFire is made up of three elements, such as: heat, combustible materials and oxygen. Fire has heat and light. Fire is used in real life in various human life from cooking, to marriage and to burning dead bodies. Fire is available in space, on earth, and in oneself. Symbolically the fire is employed as a symbol of spirit, a sanctification, a destruction, enlightenment, heating temperatures, fire of romance, and fire of revenge. Overheated is possible when one ignores norms, ethics, and rules. Library studies, interviews, observations, and experiments are the methods used in this compilation. Fire both as symbol and text, functioned according to the capacity / role of each, both in and outside themselves, the use of it must be controlled for the harmony of the macrocosms and microcosms, when is the right time is to use small, medium and large fire, because all of them is important.Keywords: function, fire, symbol, harmonic.ABSTRAKApi terbentuk dari tiga elemen yakni, panas, bahan mudah terbakar dan oksigen. Api memiliki panas dan cahaya. Api digunakan dalam kehidupan manusia dari memasak, penerangan, perkawinan sampai pembakaran jenazah. Api terletak di angkasa, di bumi, dalam diri. Api dijadikan simbol semangat, penyucian, peleburan, pencerahan, api asmara, api dendam. Terjadi over heated/panas berlebih yang tidak lagi mengindahkan norma, etika, aturan. Studi kepustakaan, wawancara, observasi, dan percobaan merupakan metode yang digunakan dalam penyusunan ini. Seyogyanya api baik sebagai simbol maupun teks, difungsikan sesuai kapasitas/perannya masing-masing, baik dalam diri maupun diluar diri, semua itu harus dikendalikan penggunaannya, agar keharmonisan bhuana alit dan bhuana agung dapat terwujud, kapan menggunakan api kecil, sedang maupun besar, karena semuanya penting.Kata kunci : fungsi, api, simbol, harmonis.
THE EXISTENCE OF TEJAKULA WAYANG WONG DANCE DRAMA, A CULTURAL HERITAGE FOR PRESERVATION, DELAMINATION, AND TOURISM ATTRACTION Een Herdiani; I Gusti Ngurah Sudibya; Endang Caturwati; Sri Rochana W; Suzen HR Lumbuan Tobing; Muhammad Mughni Munggaran
International Journal of Social Science Vol. 1 No. 5: February 2022
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v1i5.1304

Abstract

The various extent of publications by Tejakula Wayang Wong (literally Human Wayang) indicates the conservation efforts of art observers who jointly maintain this tremendous cultural heritage conforming to their respective capacities.Pengempon residents perform this art performance as sincere and earnest offerings to the Almighty for the abundance of His Blessings. In Bali, there are types of Wayang Wong, e.g., Wayang Wong Parwa and Wayang Wong Ramayana. The Wayang Wong Parwato the play from the epic Mahabharata, while Wayang Wong Ramayana took the play from the epic Ramayana. The emergence of the Wayang Wong dance-drama in Bali is estimated when Balinese artistic life experienced its peak of glory during the reign of Dalem Watu Renggong. It is estimated that artists such as I Dewa Batan from Bunutin Village (Bangli) brought the Parwa dance around the XVII- XVIII centuries, and I Gusti Ngurah Made Jelantik from Blahbatuh Village (Gianyar) brought the Gambuh Dance.These two artists create Wayang Wong's performance art in Tejakula Village. How can this Wayang Wong drama dance still exist and even become a tourism attraction? What are the residents doing to maintain this cultural heritage?These questions become the trigger to find out the answers through interviews, watching live performances, and literature studies to find references as supporting data for this article. Community participation in the owners is the main determining factor for the sustainability of this Wayang Wong dance drama. The district and provincial governments' customs, attention, and motivationtrigger the growth of new awareness for the millennial generation to love their own culture.People's dedication is very high and no doubt because their offerings are not measured financially, but the satisfaction for being able to pray and their own pride because their family witnesses it, children, wives, grandchildren and even very possibly by their own parents. Wayang Wong is regarded as intangible cultural heritage is the correct and precise act to appreciate and motivate its sustainability.
Representasi Budidaya Rumput Laut Dan Kain Rangrang Dalam Tari Gulma Penida Ni Made Arshiniwati; I Wayan Mudra; Ni Luh Sustiawati; I Gusti Ngurah Sudibya; Yanti Heriyawati
Mudra Jurnal Seni Budaya Vol 36 No 2 (2021): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i2.1475

Abstract

Nusa Penida merupakan kecamatan di dareah pesisir di Kabupaten Klungkung Bali yang banyak dikunjungi wisatawan nasional maupun internasional dan terkenal dengan mata pencahariannya berupa budi daya rumput laut dan kerajinan kain rangrang. Penelitian ini bertujuan menciptakan sebuah tarian yang mengangkat potensi SDA rumput laut dan kerajinan kain rangrang di Desa Nusa Penida Kecamatan Klungkung Kabupaten Klungkung Bali sebagai upaya pengembangan atraksi wisata di desa tersebut. Teknik pengumpulan data dilakukan dengan observasi, wawancara dan dokumentasi. Metode penciptaan tari ini dilakukan melaui tahapan eksplorasi, improvisasi, dan pembentukan. Dalam proses penciptaannya melibatkan publik sebagai penilai untuk penyempurnaan karya yang dilakukan melalui FGD dan pementasan. Hasil penelitian menunjukkan tercipta sebuah tari pesisir yang berdurasi 8.14 menit, diberi judul Tari Gulma Penida. Tarian ini dibawakan oleh 4 orang penari laki-laki dan perempuan sebagai penggambaran petani rumput laut di Desa Nusa Penida. Pada tarian ini ditampilkan kisah keseharian petani rumput laut dalam melakoni aktifitasnya mulai dari bangun pagi, pergi kelaut, menanam, merawat, memanen, dan membawa pulang hasil panennya dan menikmati kegembiraan atas berkah yang dilimpahkan oleh Tuhan Yang Maha Kuasa. Kain rangrang dalam penciptaan tari ini digunakan sebagai kostum untuk menggambarkan potensi sumber daya yang ada di Nusa Penida.
Fungsi dan Peran Api dalam Seni dan Kehidupan Masyarakat Bali I Gusti Ngurah Sudibya; Pande Made Sukerta; Sardono Waluyo Kusumo; Eko Supriyanto
PANGGUNG Vol 28, No 2 (2018): Dinamika Keilmuan Seni Budaya dalam Inovasi Bentuk dan Fungsi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1318.907 KB) | DOI: 10.26742/panggung.v28i2.520

Abstract

ABSTRACTFire is made up of three elements, such as heat, combustible materials and oxygen. A fire has heat and light. Fire is used in real life in various human life from cooking, to marriage and to burning dead bodies. Fire is available in space, on earth, and in oneself. Symbolically the fire is employed as a symbol of spirit, a sanctification, a destruction, enlightenment, heating temperatures, fire of romance, and fire of revenge. Overheated is possible when one ignores norms, ethics, and rules. Library studies, interviews, observations, and experiments are the methods used in this compilation. Fire both as symbol and text, functioned according to the capacity/role of each, both in and outside themselves, the use of it must be controlled for the harmony of the macrocosms and microcosms, when is the right time is to use small, medium and large fire, because all of them is important.Keywords: function, fire, symbol, harmonic.ABSTRAKApi terbentuk dari tiga elemen yakni, panas, bahan mudah terbakar dan oksigen. Api memiliki panas dan cahaya. Api digunakan dalam kehidupan manusia dari memasak, penerangan, perkawinan sampai pembakaran jenazah. Api terletak di angkasa, di bumi, dalam diri. Api dijadikan simbol semangat, penyucian, peleburan, pencerahan, api asmara, api dendam. Terjadi over heated/panas berlebih yang tidak lagi mengindahkan norma, etika, aturan. Studi kepustakaan, wawancara, observasi, dan percobaan merupakan metode yang digunakan dalam penyusunan ini. Seyogyanya api baik sebagai simbol maupun teks, difungsikan sesuai kapasitas/perannya masing-masing, baik dalam diri maupun diluar diri, semua itu harus dikendalikan penggunaannya, agar keharmonisan bhuana alit dan bhuana agung dapat terwujud, kapan menggunakan api kecil, sedang maupun besar, karena semuanya penting.Kata kunci: fungsi, api, simbol, harmonis.
PROJEK PENGUATAN PROFIL PELAJAR PANCASILA (P5) MELALUI PENCIPTAAN KARYA SENI TARI GULMA PENIDA PADA KURIKULUM MERDEKA Sudibya I Gusti Ngurah; Arshiniwati Ni Made; Sustiawati Ni Luh
GETER : Jurnal Seni Drama, Tari dan Musik Vol 5 No 2 (2022): Oktober 2022
Publisher : Jurusan Sendratasik FBS Unesa

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

Abstract

Tujuan penelitian ini adalah untuk memberikan referensi Projek Penguatan Profil Pelajar Pancasila (P5) melalui penciptaan karya seni Tari Gulma Penida pada sekolah yang menyelenggarakan program pendidikan Kurikulum Merdeka. Penelitian ini merupakan penelitian deskriptif dengan mengkaji berbagai sumber untuk memperoleh makna yang mendalam untuk menjawab suatu permasalahan terkini. Hasil penelitian ini menemukan bahwa proses penciptaan karya seni Tari Gulma Penida melalui metode penciptaan Alma Hawkins dengan tahap (1) eksplorasi, (2) improvisasi, serta (3) pembentukan, ini dapat digunakan guru sebagai sumber belajar untuk memfasilitasi, membimbing, maupun memotivasi proyek penciptaan karya seni Tari Nusantara peserta didik. Proses penciptaan Tari Gulma Penida dalam mengeksplorasi kearifan lokal masyarakat Nusa Penida sesuai dengan tema Kearifan Lokal pada Kurikulum Merdeka. Kearifan lokal tersebut merupakan kebiasaan masyarakat dalam budidaya rumput laut serta teknik tenun kain rangrang sebagai kerajinan yang diwariskan secara turun temurun. Tari Gulma Penida mengungkap kemampuan masyarakat Nusa Penida dalam meningkatkan nilai tanaman yang dianggap tidak bermanfaat atau gulma menjadi tanaman yang dapat memenuhi kebutuhan hidup masyarakat. Pemanfaatan proses penciptaan Tari Gulma Penida sebagai sumber belajar projek penciptaan karya seni Tari Nusantara dapat mengembangkan Profil Pelajar Pancasila pada enam dimensi yakni (1) Beriman, bertakwa kepada Tuhan Yang Maha Esa, dan berakhlak mulia; (2) Berkebinekaan global; (3) Bergotong-royong; (4) Mandiri; (5) Bernalar kritis; serta (6) Kreatif.
Empowerment of Ratu Kinasih Studio as a Media for Introducing Gulma Penida Dance for Tourists in Lembongan Village Nusa Penida Klungkung I Gusti Ngurah Sudibya; Ni Made Arshiniwati; Ni Luh Sustiawati
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.2270

Abstract

The empowerment of the Ratu Kinasih studio through the Gulma Penida dance training is expected to be able to enrich the types of dance that previously existed in Nusa Penida and can also be presented as entertainment to tourists visiting Nusa Penida. The benefit of this program is that it can channel creativity; increase knowledge and skills of dance art; promote more interesting traditional dances with meaningful movements from the potential of local wisdom that has never been published; and be an attraction for foreign and local tourists. Empowerment of the Gulma Penida dance was carried out in Lembongan Village, a coastal area with the local wisdom of cultivating seaweed that has been practiced for a long time. Besides that, Nusa Penida is also known for its woven cloth crafts made by residents in Karang Ampel Village. The two potentials in Nusa Penida, namely the potential for seaweed farming and the craft of woven cloth, have been used as a source of ideas in the creation of the Gulma Penida dance. The implementation of this empowerment was carried out from April to August 2022. The empowerment program participants totaled 12 people. From this empowerment program, the result shows that students are skilled at dancing the Gulma Penida dance and can promote the Gulma Penida dance.
Identification of Motivation and Self-Actualization Dance Studio Students I Gusti Ngurah Sudibya; Gatut Rubiono; Ida Ayu Wayan Arya Satyani; Nurida Finahari; Ida Made Dwipayana
Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Vol 24, No 1 (2023)
Publisher : Fakultas Bahasa dan Seni UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/komposisi.v24i1.113818

Abstract

Student’s motivation in participating in dance lessons in a dance studio can determine the success of the learning process. This study aims to identify the motivation and self-actualization of dance studio students. Research respondents are 220 dance studio students from Denpasar and Buleleng Bali. The research was conducted using a questionnaire distributed through the google form application. The questionnaire consists of 8 question items with predetermined answer choices. The results of the study indicate that hobbies are the main reason for students to choose dance. The self-actualization of students is shown to be sufficient for them to be involved in dance performances.
Proses Kreatif Penciptaan Tari Wong Peken oleh Jasmine Okubo Ni Komang Ananda Gayatri; Dyah Kustiyanti; I Gusti Ngurah Sudibya
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.819

Abstract

This article is the result of research into the creative process of creating Wong Peken dance as a contemporary dance that was specifically created for the deaf. This research is focused on how the creativity process is carried out by Jasmine Okubo as the choreographer. Indirectly, this dance breaks the stigma of the people who underestimate the deaf because it has managed to get a fairly good appreciation. Interestingly, Jasmine Okubo has no background or experience in BISINDO communication. The method applied in this research is a qualitative method with reference to the Theory of Creativity. The results obtained indicate that the process of creating Wong Peken dance is a process of the body's journey to find the specialties in each individual regardless of their imperfections. The process of creating Wong Peken dance shows that dance is a universal language for expression and communication. Dance allows people who cannot speak to communicate through movements.Keywords : Wong Peken Dance, creative process, deaf.
Tari Jaran Endut, dari Cerita Rakyat ke Tari Kontemporer Putu Gita Rahayu Putriandini; I Gusti Ngurah Sudibya; Ida Ayu Wayan Arya Satyani
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.823

Abstract

Jaran Endut Dance is a contemporary dance originating from the folklore of West Nusa Tenggara. Raising the history of the formation of Dusun Endut from the privilege of a horse. The idea of working on this work is the spirit of Jaran Endut in his long journey of helping the people of Pejarakan. The theme used is toughness. Toughness is manifested in the agility, dexterity, sharpness, and speed of the horse in moving. The creator felt challenged to bring an animal character; horse, into the human body. Visualizing the character of a horse requires agile body movements, expression and character deepening, so that the characteristics of the Jaran Endut dance can be conveyed. In addition, "silence" in Jaran Endut's work requires strong energy and physical strength so that the message can be conveyed properly. Humans do have to work hard, but silence is also important in order to choose the next step. The stages of manufacture use the Alma, M. Hawkins creation method, namely the exploration, improvisation, and forming. The structure of the dance work consists of sections 1, 2, and 3, with the form of a large group consisting of eight dancers who have close to compact body postures, thus showing the impression of moving. Accompanied by dance music in the form of MIDI by combining traditional and digital music so that the uniqueness of Jaran Endut I dance music appears. After this process has been running for 1 year, finally this work can be realized with the title of Jaran Endut (Motionless Horse)Keywords: Jaran Endut, Horse Character, Toughness
Perpaduan Bali dan Jazz dalam Teknik Jazli, Tari Studi dalam Kontemporer Putu Parama Kesawa Ananda Putra; I Gusti Ngurah Sudibya; Ida Ayu Wayan Arya Satyani
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 | DOI: 10.59997/journalofdance.v2i1.1579

Abstract

The Blend of Bali and Jazz in Jazli Techniques, Dance Studies in Contemporary Jazli's dance work is a contemporary dance whose idea departs from the creator's personal experience. The experience of studying Jazz dance and the love of Balinese dance made the creators want to raise the acculturation of motion as the theme of the work. Through this dance work, the creator wants to convey the creator's pride in Balinese dance which is very flexible, so that it can be combined with Jazz dance originating from the West. This work aims to offer a new artistic creativity at the Indonesian Institute of the Arts Denpasar, especially in the Dance Study Program in completing the final project. The study dance type was chosen to combine Jazz dance techniques and Balinese dance techniques, so as to find new movement techniques. The creator uses Jacqueline Smith's method as the basis for building Jazli dance works. This method is divided into four stages, called the construction method I, II, III, and IV. In addition to the combination of movement techniques, in the process of his work there is also a combination of music and fashion to represent elements of Jazz and Bali. The form of presentation of Jazli dance works is a group of seven dancers, three male dancers and four female dancers. Jazli's movement technique is the result of the discovery in this dance work. Jazli's movement technique is the creator's reflection on the dance techniques he has studied. The creator hopes that Jazli's dance works can be used as inspiration for the younger generation, and Jazli's movement techniques can develop in Bali. Keywords: Contemporary, Experience, Jazli, Acculturation
Co-Authors Dyah Kustiyanti Een Herdiani Eko Supriyanto Eko Supriyanto Endang Caturwati Gatut Rubiono I Kadek Adi Gunawan I Wayan Gede Artha Saputra I Wayan Gede Artha Saputra I Wayan Mudra, I Wayan Ida Made Dwipayana Kusumo, Sardono Waluyo Muhammad Mughni Munggaran Ni Komang Ananda Gayatri Ni Luh Sustiawati Ni Made Arshiniwati Nurida Finahari Pande Made Sukerta Pande Made Sukerta, Pande Made Putu Gita Rahayu Putriandini Putu Parama Kesawa Ananda Putra Sardono Waluyo Kusumo Satyani, Ida Ayu Wayan Arya Sri Rochana W Sulistyani Sulistyani Suzen HR Lumbuan Tobing Yanti Heriyawati