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Merangkai Nusantara Melalui Seni Wadantara Ni Luh Sustiawati; I Gede Oka Surya Negara; Rano Sumarno; Arthur Supardan Nalan
Mudra Jurnal Seni Budaya Vol 35 No 2 (2020): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v35i2.1063

Merangkai Nusantara melalui Seni Wadantara merupakan Penelitian Penugasan dalam bentuk skema Konsorsium Riset Unggulan Peguruan Tinggi (KRU-PT) tahun 2019 s.d tahun 2021. Tujuan penelitian menghasilkan satu model seni pertunjukan yang mengkolaborasikan jenis kesenian dari multi etnis dalam satu kemasan seni pertunjukan wayang, drama, karawitan dan tari Nusantara dalam satu repertoar bernama Seni Wadantara. Dampak positif yang diperoleh adalah penguatan ideologi bangsa dan ekonomi melalui pengembangan seni pertunjukan panggung terkoneksi secara digital untuk memudahkan akses dan mutu pertunjukan. Desain penelitian yang digunakan adalah research and development, sedangkan desain manajemen produksinya melalui tiga tahapan yaitu tahap pra produksi, produksi dan pasca produksi. Dalam proses penciptaan berintikan ekplorasi, improvisasi, pembentukan. Teknik pengumpulan data digunakan wawancara, observasi, dokumentasi, angket, catatan lapangan.Teknik analisis data digunakan analisis kuantitatif dan kualitatif. Data kuantitatif dianalisis dengan menggunakan penyekoran, sedangkan data berupa komentar dan saran dianalisis secara kualitatif. Hasil Penelitian menunjukkan (1) hasil need assessment (a) bangsa Indonesia yang sedang memperkuat persatuan dan kesatuan dalam bingkai negara kesatuan Republik Indonesia memerlukan dukungan untuk kebersamaan yang dilandasi oleh toleransi bermasyarakat yang dapat ditawarkan oleh seni pertunjukan dengan muatan budaya lokal sebagai ungkapan budaya Nusantara; (b) kesenian selalu tumbuh dan berkembang dan memerlukan adanya perubahan dalam memproduksi seni baru bersifat kolaborasi; (c) hadirnya revolusi industri 4.0 menjadi peluang dalam menciptakan seni pertunjukan secara kolaboratif antara tradisi dan kontemporer. (2) Seni pertunjukan Wadantara Satria Nusantara Mahawira dengan struktur tiga babak mengangkat lakon Sumpah Palapa Gajah Mada. (3) Hasil uji efekivitas terhadap produk seni pertunjukan Wadantara Satria Nusantara Mahawira melalui FGD dan Uji Lapangan Terbatas, responden yang berjumlah 50 orang sebagian besar menyatakan sangat baik.

Arjuna Tapa: A new creation dance I Ketut Sariada; I Gede Oka Surya Negara; I Gede Mawan
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

: Arjuna Tapa New Creation Dance is a new creation inspired by Arjuna Tapa's story. It is about the sending of Arjuna by Yudhisthira to meditate to Mount Indrakila in the hope of obtaining a powerful weapon, which can be used in the face of a major war against the Kauravas. In the hermitage Arjuna received many temptations such as the temptation of a number of angels from heaven, the temptation of the big pig incarnate Momosimuka, and the temptation of the hunter Kirata. But all the temptations can be overcome properly and finally because of Arjuna's determination, Lord Shiva gave Pasupati's Arrow as a gift that would later be able to destroy his enemies. This dance is performed by seven male dancers, carrying arrows. These seven dancers in certain scenes will be divided into two characters, namely five male characters who play the five pandavas, namely Yudistira, Bima, Arjuna, Nakula, and Sahadewa. While the other two dancers play female characters as Dewi Kunti and Dewi Drupadi. The creation process went through the stages of exploration, experimentation, and formation. The structure of the work consists of four parts, namely pepeson, pengawak, pengecet, and pekaad. The dance moves refer to the line dance movements. This dance is accompanied by a gamelan gong that lasts 12 minutes. The message conveyed in Arjuna Tapa New Creative Dance is that a true warrior will succeed in doing his job well and smoothly if he can overcome all the obstacles and temptations he faces in achieving his goals.

RADEN AYU PEMECUTAN Ni Made Krisna Dwi Yanti; Tjok Istri Putra Padmini; I Gede Oka Surya Negara
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (237.655 KB)

The work of dance created by Raden Ayu Pemecutan is a dance pulled by seven princess dancers in the form of a new dance and raises the character of a delicate princess by highlighting the ges-the prayer moves that have been developed and reproduced. In raden ayu siti khotijah’s story, this misunderstanding is explained, because at the moment that Raden Ayu Siti Khotijah was carrying out his prayers and was seen by one instructor who thought Raden Ayu Siti Khotijah was practicing the black arts, and then one day he reported directly to king Kyai Anglurah Pemecutan III and ordered him to kill Raden Ayu Siti Khotijah.The application of Raden Ayu Pemecutan inventiveness of cane using concepts of agem, boiler, badminton, and tangle. With a princess’s subtle concept of dance developed and reinfused it into a movement-an innovative move as an identity to the work itself. The resulting musical accompaniment includes a musical accompaniment coupled with a tambourine instrument as well as with a red, white batik and green batik dress as the identity of the strip. It was created through the method of creation in the stages of exploration, improvisation and formation of the method of creation by Alma m. Hawkins. As for some of the theories used in accomplishing this work are like the theory of creative processes, the theory of imagination and aesthetic theory.Through this work gives one a contemplative and an example of keegKey words: dance to creation, princess smooth, Raden Ayu Pemecutan

Tari Kreasi Ghni Petak I Made Adhi Wiguna; I Ketut Sariada; I Gede Oka Surya Negara
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1920.958 KB)

Purana Pura Dalem Ped Nusa Penida mengisahkan tentang kesaktian dan kekuasaan dari seorang raja bernama Dalem Dukut yang memiliki api putih api putih atau Ghni Petak dalam dirinya. Makna dari cerita ini adalah perwujudan nyata dari kesaktian Gnhi Petak yakni berupa wong samar. Fenomena cerita ini sangat unik dan menarik untuk dituangkan ke dalam bentuk tari kreasi baru, karena pada dasarnya seorang pemimpin yang berkuasa seperti Dalem Dukut bukanlah apa-apa tanpa adanya dukungan berupa kekuatan yang besar dari para rencangnya (wong samar). Berangkat dari hal tersebut, maka diciptakanlah tarian kreasi baru berjudul Ghni Petak.Proses penciptaan karya tari Ghni Petak, menggunakan metode penciptaan Mencipta Lewat Tari oleh Y. Sumandiyo Hadi yang menjelaskan tentang penjajagan, percobaan dan pembentukan. Untuk memperkuat dan memperjelas hasil karya ciptaan ini digunakan teori imajinasi, yaitu mengimajinasikan karakter Dalem Dukut dengan kekuatannya yang luar biasa sesuai dengan interpretasi pencipta namun tetap berpedoman pada purana yang digunakan sebagai sumber kreatif. Karya tari. Ghni Petak adalah sebuah karya tari kreasi yang menginterpretasikan tentang kesaktian dari seorang raja bergelar Dalem Dukut yang memiliki kesaktian Ghni Petak atau api putih dalam dirinya dan apabila diwujudkan secara nyata berupa wong samar. Karya tari Ghni Petak ditarikan oleh tujuh orang penari putra dan diiringi dengan perpaduan instrumen Gong Kebyar dan Semara Pagulingan menggunakan style babonangan. Kata kunci : Ghni Petak, kesaktian, wong samar

Wadantara: Refleksi Multikultur dan Kearifan Lokal Ni Luh Sustiawati; I Gede Oka Surya Negara; Rano Sumarno; Arthur Supardan Nalan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 1 (2021): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Ide digarapnya karya seni pertunjukan Wadantara (Wayang, Drama, Karawitan, Tari Nusantara) untuk memperkuat persatuan dan kesatuan dalam bingkai NKRI memerlukan dukungan untuk kebersamaan yang dilandasi oleh toleransi bermasyarakat. Seni pertunjukan yang sarat dengan muatan budaya lokal dapat memberikan sumbangsih dengan mengupayakan kedayaan nilai kelokalan (indigenous), dapat mempertebal penghargaan masyarakat terhadap kebhinekaan budaya Nusantara, dan menjadi kepanjangan norma serta nilai yang diharapkan oleh masyarakat dalam menjaga kebersamaan dan harmoni bermasyarakat. Penelitian ini berpendekatan research and development. Produksinya melalui tahap pra produksi, produksi, pasca produksi, dan digunakan konsep Hibriditas dalam membuka wacana mengenalkan bentuk produksi seni kolaborasi yang menggabungkan secara bersama-sama potensi berbagai etnik (Chris Barker). Pengumpulan data melalui wawancara, observasi, dokumentasi, angket, dan datanya dianalisis secara kuantitatif dan kualitatif. Penelitian ini mengangkat lakon Sumpah Palapa Gajah Mada diiringi musik tradisi dipadukan dengan mutimedia, narasi dan vokal. Hasil uji efektivitas produk menunjukkan seni pertunjukan Wadantara sangat bagus, sangat menarik karena memberikan kesan dan pesan persatuan Nusantara dan kaya dengan inovasi yaitu perpaduan antara seni tradisi dan kontemporer didukung musik digital dan multimedia.

RADEN AYU PEMECUTAN Ni Made Krisna Dwi Yanti; Tjok Istri Putra Padmini; I Gede Oka Surya Negara
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.870

The work of dance created by Raden Ayu Pemecutan is a dance pulled by seven princess dancers in the form of a new dance and raises the character of a delicate princess by highlighting the ges-the prayer moves that have been developed and reproduced. In raden ayu siti khotijah’s story, this misunderstanding is explained, because at the moment that Raden Ayu Siti Khotijah was carrying out his prayers and was seen by one instructor who thought Raden Ayu Siti Khotijah was practicing the black arts, and then one day he reported directly to king Kyai Anglurah Pemecutan III and ordered him to kill Raden Ayu Siti Khotijah.The application of Raden Ayu Pemecutan inventiveness of cane using concepts of agem, boiler, badminton, and tangle. With a princess’s subtle concept of dance developed and reinfused it into a movement-an innovative move as an identity to the work itself. The resulting musical accompaniment includes a musical accompaniment coupled with a tambourine instrument as well as with a red, white batik and green batik dress as the identity of the strip. It was created through the method of creation in the stages of exploration, improvisation and formation of the method of creation by Alma m. Hawkins. As for some of the theories used in accomplishing this work are like the theory of creative processes, the theory of imagination and aesthetic theory.Through this work gives one a contemplative and an example of keegKey words: dance to creation, princess smooth, Raden Ayu Pemecutan

JAYA ANGGADA Anak Agung Gede Angga Mahputra; I Ketut Sariada; I Gede Oka Surya Negara
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.v2i1.1572

JAYA ANGGADA Creative sources of Jaya Anggada dance works inspired by Anggada, a very agile and nimble character, one of the ape troops of the Ramayana story. During the Great War of Alengka, Anggada shows his heroism on the battlefield, Anggada had to fight Indrajit face-to-face, Indrajit is the crown prince of Alengka, the son of Dewi Tari, who is also his own cousin. Upon his victory, for his service, Anggada awarded “Jaya” which means victorious. Therefore, he is commonly known as Jaya Anggada. The Jaya Anggada dance is created through a process of creation using the Alma. M. Hawkins’ creation method which consists of exploration, improvisation, and forming stages. The cultivation of the Jaya Anggada dance is manifested in the form of structures, namely pengawit, batel, papeson, pengawak, and pengecet. The message to be conveyed from Jaya Anggada dance works is to reshape some unique and quality movements. Key Words : Anggada, Jaya Anggada, Creation

Tari Kreasi Ghni Petak I Made Adhi Wiguna; I Ketut Sariada; I Gede Oka Surya Negara
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November 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.v2i2.1878

Purana Pura Dalem Ped Nusa Penida mengisahkan tentang kesaktian dan kekuasaan dari seorang raja bernama Dalem Dukut yang memiliki api putih api putih atau Ghni Petak dalam dirinya. Makna dari cerita ini adalah perwujudan nyata dari kesaktian Gnhi Petak yakni berupa wong samar. Fenomena cerita ini sangat unik dan menarik untuk dituangkan ke dalam bentuk tari kreasi baru, karena pada dasarnya seorang pemimpin yang berkuasa seperti Dalem Dukut bukanlah apa-apa tanpa adanya dukungan berupa kekuatan yang besar dari para rencangnya (wong samar). Berangkat dari hal tersebut, maka diciptakanlah tarian kreasi baru berjudul Ghni Petak.Proses penciptaan karya tari Ghni Petak, menggunakan metode penciptaan Mencipta Lewat Tari oleh Y. Sumandiyo Hadi yang menjelaskan tentang penjajagan, percobaan dan pembentukan. Untuk memperkuat dan memperjelas hasil karya ciptaan ini digunakan teori imajinasi, yaitu mengimajinasikan karakter Dalem Dukut dengan kekuatannya yang luar biasa sesuai dengan interpretasi pencipta namun tetap berpedoman pada purana yang digunakan sebagai sumber kreatif. Karya tari. Ghni Petak adalah sebuah karya tari kreasi yang menginterpretasikan tentang kesaktian dari seorang raja bergelar Dalem Dukut yang memiliki kesaktian Ghni Petak atau api putih dalam dirinya dan apabila diwujudkan secara nyata berupa wong samar. Karya tari Ghni Petak ditarikan oleh tujuh orang penari putra dan diiringi dengan perpaduan instrumen Gong Kebyar dan Semara Pagulingan menggunakan style babonangan. Kata kunci : Ghni Petak, kesaktian, wong samar

TARI JELAH ESENSI GERAK BARIS CINA DALAM BENTUK KONTEMPORER I Gede Coki Indrajaya; I Gede Oka Surya Negara; Ni Komang Sri Wahyuni
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.v3i1.2372

Through the Independent Learning–Independent Campus policy, which was implemented by the Minister of Education and Culture (Mendikbud), students chose to work with Geoks partners in Singapadu Village, Gianyar Regency. In this paper, the focus is on the Independent Study learning method where this writing leads to the activities of students who have a passion for realizing great works that will be displayed, and of course works that come from innovative ideas. The Renon tradition has a sacred dance, namely the Chinese Baris Dance. This sacred dance is also an intangible world cultural heritage. This Chinese Baris Dance consists of two groups of dancers, one group wearing black clothes, one group wearing white clothes, which symbolizes the battles of the I Renggan and I Renggin groups with different beliefs (good and evil). Each of these groups consists of 9 dancers where each group has a leader who is often referred to as a pengater. The process of creating this dance work, using the method of Hawkins (2003) in his book entitled Creating through the Dance, reveals the process of creating a dance in 3 stages, namely: Exploration, improvisation and Forming. This JELAH dance is a contemporary dance that depicts the symbol of the readiness of soldiers who want to fight in war. Keywords: chinese line dance, spiritual, contemporary

Bala Ghora Wira yasa, I Made Wira yasa; I Gede Oka Surya Negara; Made Ayu Desiari
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.4846

Bala Ghora The Bala Ghora dance is a new dance work inspired by Balinese cultural forms which cannot be separated from the traditional and religious activities of the Batulantang Traditional Village community. This dance has a religious function related to the majabajero ceremony at Kayangan Jagat Kancing Gumi Temple. As a work of art, the creation of the Bala Ghora Dance aims to fulfill the graduation requirements for undergraduate students at ISI Denpasar, Dance Study Program in 2024, as well as contributing to the development of the essence of Baris dance as a form of cultural heritage through the creation of creative dances that are modified according to creativity and imagination. The process of creating this dance uses the method of I Wayan Dibia in his book Panca Sthiti Ngawi Sani which includes five stages, namely; the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngaplan), the execution stage (ngawangun), and the evaluation/ngebah stage (maedeng). The results of the creation of the Bala Ghora Dance are characterized by dynamic movement characteristics but combined with movement elements inspired by sacred rituals. Some of the movement motifs used are the first movement, lifting the left leg with the hand holding the kakereb, which is precisely above the head or crown of the head. Meanwhile, the motif of the second movement is the nengkleng movement by carrying a belocong property or (kecombrang tree trunk). The dance structure consists of eight male dancers. The composition of the Baris Babuang dance creation emphasizes the magical touch of dance, making it unique in strengthening humans' relationship with the universe. Keywords: Baris Babuang, Majabajero, Bala Ghora Dance

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