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All Journal Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya Jurnal Bali Membangun Bali Journal of Aesthetics, Creativity and Art Management Jurnal Igel: Journal of Dance Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
I Gede Oka Surya Negara
Institut Seni Indonesia Denpasar
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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

Abstract

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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (843.678 KB) | DOI: 10.31091/jacam.v1i2.1832

Abstract

: 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.
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

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

Abstract

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

Abstract

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

Abstract

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

Abstract

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

Abstract

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
Rekonstruksi tari Penasar, wijil, dan Topeng Tua dalam Dramatari Topeng Panca di Desa Adat Batur Kintamani, Bangli Suanditha, Kadek Rai; Suteja, I Ketut; Negara, I Gede Oka Surya
Jurnal IGEL : Journal Of Dance Vol 4 No 2 (2024): Jurnal IGEL Vol 4 No 2 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i2.3392

Abstract

Topeng Panca is a traditional dance form, and it is one of the mask performances performed by five dancers, each assuming different characters or roles: Topeng Keras, Topeng Tua, Topeng Dalem Arsa Wijaya, Topeng Penasar, and Topeng Sidakarya. The village of Batur was chosen as the partner by the author for the Merda Belajar – Kampus Merdeka (MBKM) program, specifically the Thematic Community Service Learning (KKNT). The reconstruction process of the Topeng Panca dance in the Batur village employed the Demonstration learning method, which involves presenting the material through demonstration or using movement media, making it easier for students to comprehend the presented content. The author's hope in reconstructing the Topeng Panca dance is to revitalize the art of Topeng dance, particularly in the endangered context of the Adat Batur village. In the future, during ceremonial events like odalan or Yandya ceremonies in the Batur village, the dancers can perform the Topeng Panca dance to enhance the flow of the Yandya ceremony in the village.  
Representasi Kekuatan Dewa Brahma, Wisnu, dan Iswara melalui Penciptaan Tari Kreasi Solah Sura Dewi, Kadek Diah Mutiara; Negara, I Gede Oka Surya; Sutirtha, I Wayan
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.v4i1.3757

Abstract

Tulisan ini membahas mengenai penciptaan sebuah karya seni tari kreasi baru yang bersumber dari Lontar Tutur Barong Swari, menggambarkan pembawaan 3 tokoh yang bersumber dari Dewa Brahma, Wisnu, dan Iswara dalam perwujudannya yakni sebagai penari Telek, Topeng Bang, dan Barong Swari. Ide karya tari ini dilatarbelakangi oleh fenomena minimnya karya tradisi yang dikembangkan oleh para seniman khususnya seniman muda serta “Gender Issue” yang ada di lingkungan mitra studi. Tujuan dari penciptaan karya tari Solah Sura ini adalah: (1) Mengajak masyarakat untuk menumbuhkembangkan daya kreatifitas dan meningkatkan kemampuan diri dalam seni tari, untuk menciptakan sebuah karya kreatif yang original melalui pengolahan maupun pengembangan gerak.; (2) Menjadi sumber refrensi untuk karya-karya baru yang akan diciptakan dikemudian hari; (3) Untuk berkontribusi terhadap kemajuan dan kecemerlangan cipta tari yang bekerja sama dengan Sanggar Seni Taksu Murti Kemanisan. Proses atau tahapan penciptaan yang dilalui meliputi: (1) Ngarencana, (2) Nuasen, (3) Makalin, (4) Nelesin, dan (5) Ngebah. Karya ini diwujudkan dalam bentuk tari kreasi baru yang terdiri dari tiga orang penari putri dengan fokus menggambarkan karakter dari Dewa Brahma, Wisnu, dan Iswara. Struktur karya ini dibagi menjadi tiga bagian yaitu awal, isi dan akhir. Iringan tari yang digunakan pada karya ini adalah Gamelan Selonding dengan penambahan beberapa instrumen seperti kendang, suling, gentorag, cengceng ricik, dan gong. Tari Solah Sura ini menggunakan tata rias tari Bali modifikasi dan konsep tata busana yang terinsiprasi dari Lukisan Wayang Kamasan. Hasil dari proses penciptaan tari solah Sura dipentaskan di Gedung Natya Mandala Institut Seni Indonesia Denpasar.
Evaluation of the Management of Performing Arts Creation Learning Sustiawati, Ni Luh; Negara, I Gede Oka Surya; Sumarno, Rano; Nalan, Arthur Supardan
Harmonia: Journal of Arts Research and Education Vol 23, No 1 (2023): June 2023
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v23i1.43486

Abstract

The purpose of this study is to evaluate the learning management in the creation of performing arts at the Performing Arts Education Study Program at ISI Denpasar. The evaluation results of the learning management in the performing arts creation can be used as input for improving the learning management related to performing arts courses, which in turn can enhance students’ competence in the field of performing arts. The learning of performing arts creation is directed towards the development of nationalism among the next generation towards the cultural heritage of the nation in the field of arts. The research design used is an evaluative research design with the CIPP model. The research subjects consist of program managers, lecturers of the performing arts creation course, and students who have taken or are currently taking the performing arts creation course. Data collection is done using questionnaires, observations, and interviews. The data is analyzed using quantitative descriptive analysis. The research findings indicate that: (1) the quality of the Context Aspect of the learning management in the Performing Arts Education at ISI Denpasar is classified as good; (2) the quality of the Input Aspect of the learning management in the Performing Arts Education at ISI Denpasar is classified as fairly good; (3) the quality of the Process Aspect of the learning management in the Performing Arts Education at ISI Denpasar is classified as not good or poor; and (4) the quality of the Product Aspect of learning management in the Performing Arts Education at ISI Denpasar is classified as fairly good improved; (2) maximizing the use of technology in the learning process; (3) facilitating collaborative learning among students from different study programs or universities.
Co-Authors Anak Agung Gede Angga Mahputra Arthur Supardan Nalan Desiari,  Made Ayu Dewi, Kadek Diah Mutiara I Gede Coki Indrajaya I Gede Mawan I Ketut Sariada, I Ketut I Kt. Suteja I Made Adhi Wiguna Indrajaya, I Gede Coki Ni Komang Sri Wahyuni ., Ni Komang Sri Wahyuni Ni Luh Sustiawati Ni Made Krisna Dwi Yanti Padmini, Tjok Istri Putra Rano Sumarno Suanditha, Kadek Rai Sutirtha, I Wayan Tjok Istri Putra Padmini Wahyuni, Ni Komang Sri Wiguna, I Made Adhi Wira yasa, I Made Wira yasa Yanti, Ni Made Krisna Dwi