Article Per Year (5 Year)
p-Index From 2021 - 2026
2.87
P-Index
This Author published in this journals
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
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Medicine & Pharmacology Public Health Social Sciences Transportation Other

Published : 16 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 16 Documents
Search

 1   2 
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.  
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

Abstract

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
Baris Sesandaran Dance as a Medium in Developing Character Education Negara, I Gede Oka Surya; Wahyuni, Ni Komang Sri; Sustiawati, Ni Luh
Bali Membangun Bali: Jurnal Bappeda Litbang Vol 4 No 3 (2023): SettingsVol 4 No 2 (2023): Desember 2023
Publisher : Badan Riset dan Inovasi Daerah Provinsi Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51172/jbmb.v4i3.304

Abstract

Purpose: Sesandaran Baris Dance was created as a medium for developing character education. Research method: The creation method involves three stages, namely exploration, improvisation and forming which are still based on the basic elements of Balinese dance such as agem, tandang, tangkis, dan tangkep. The structure of the work consists of pepeson, pengawit, pengawak, pengecet, and pekaad. Furthermore, the study is descriptive qualitative in order to explain that the Baris Sesandaran dance is able to show as a medium for developing character education. Results and discussion: Baris Sesandaran Dance, a new creation inspired by the art of Barong Landung from Banjar Kaliungu Kelod Denpasar which has been stored for 17 years. This dance has a religious theme, puts more emphasis on the expression of will, performed by 8 male dancers carrying incense props, dancing while interspersed with singing songs together and shouting at each other as an identity in the Barong Landung art. This reciprocal song is called Sesandaran. Implications: The Baris Sesandaran dance is able to show as a vehicle for developing character education and as the development of the Barong Landung art in the form of a creational dance so that it can be passed on to the next generation.abstracts in English.
RADEN AYU PEMECUTAN Yanti, Ni Made Krisna Dwi; Padmini, Tjok Istri Putra; Negara, I Gede Oka Surya
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) | 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
Tari Kreasi Ghni Petak Wiguna, I Made Adhi; Sariada, I Ketut; Negara, I Gede Oka Surya
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) | 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
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.
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