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All Journal KALANGWAN Syntax Literate: Jurnal Ilmiah Indonesia Jurnal Igel: Journal of Dance Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Pensi: Jurnal Ilmiah Pendidikan Seni Global Art Creativity Conference
I Wayan Budiarsa
Institut Seni Indonesia Denpasar
Arts Humanities Education Environmental Science Law, Crime, Criminology & Criminal Justice Social Sciences Other

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PENERAPAN METODE DRILL PADA PEMBELAJARAN TARI REJANG TERATAI PUTIH DI SMP NEGERI 2 SUSUT BANGLI Mahaswari, I Gusti Ayu Yogi; Budiarsa, I Wayan; Dewi, Ni Made Liza Anggara
PENSI : Jurnal Ilmiah Pendidikan Seni Vol 4 No 2 (2024): Jurnal Ilmiah Pendidikan Seni
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/pensi.v4i2.4519

Abstract

SMP Negeri 2 Susut Bangli adalah sekolah yang keberadaannya diwilayah pedesaan yang didirikan oleh pemerintah pada tahun 1986 yakni tempatnya di Br. Abuan, Ds. Abuan, Kec. Susut, Kab. Bangli, Provinsi Bali. Sejak berdiri tahun 1986 SMP Negeri 2 Susut Bangli terus berupaya membekali siswa dengan kegiatan yang berimbang antara academik skill dan life skill. Selain fokus pada kegiatan akademik, sekolah juga melaksanakan kegiatan non-akademik meliputi kegiatan ekstrakurikuler (Basket, tari Bali, Voli, Pramuka, PMR, Yoga, Silat, dan Atletik). Berdasarkan prestasi tersebut, peneliti tertarik melakukan program MBKM Asistensi Mengajar di SMP Negeri 2 Susut Bangli dengan materi Tari Rejang Teratai Putih. Tujuan diajarkan materi seni tari ini untuk meningkatkan kreativitas siswa dan melestarikan tari wali yang ada di Bali. Seni budaya hidup berdampingan, sehingga seni tari adalah jenis kesenian yang bisa mengungkapkan ekspresi jiwa manusia melalui gerak tubuh yang ritmis dengan diiringi gamelan mampu bersanding dalam kehidupan ritual sehari-hari masyarakat Bali. Proses tahap pengajaran Seni Tari di SMP Negeri 2 Susut Bangli menggunakan 4 (empat) tahapan yaitu : tahap persiapan (preparation), tahap penyampaian (presentation), tahap latihan (practive), dan tahap penampilan (performance). Faktor-faktor yang mempengaruhi proses pembelajaran seni tari teruraian pada bagian studi kasus. Dngan penerapan empat (4) tahapan tersebut peserta didik mampu menguasai tariannya.
Karya Sastra Panji-Malat di Era Global Budiarsa, I Wayan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 5 (2025): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v5i1.638

Abstract

Panji literature, known in Bali as Malat, is a literary work classified as old prose that still exists amidst the onslaught of global culture. This literature has been adapted into various forms of art, including new prose literature in the form of novels. The Balinese people interpret and translate Malat into the Gambuh dance drama, which uses dialogue Kawi and Balinese. This article uses qualitative methods, with data collection involving observation, interviews, documentation, and literature review. The results indicate that Malat literature remains an integral part of Balinese Hindu life, both in the form of vocal art and the performing art "Gambuh," and is inseparable from religious rituals. Even in a global era marked by technological advancement, art derived from Panji/Malat literature remains relevant and serves as a means of uniting the Unitary State of the Republic of Indonesia (NKRI) and can also serve as a reference source for contemporary works.
Tari Ngalebar Yana, I Putu Agus Ari; Suteja, I Kt.; Budiarsa, I Wayan
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 | Full PDF (644.008 KB) | DOI: 10.59997/journalofdance.v1i1.818

Abstract

The Mabuu - buu tradition is a cultural event, carried out every year in the context of Nyepi in the Panjer Traditional Village, Denpasar. The event has the meaning Nyomya sekala - niskala which means neutralizing, balancing Bhuana Agung and Bhuana Alit. The understanding of Nyomya is controlling oneself through good thoughts, words and deeds. In this day and age, the understanding ofNyomya is often ignored, seen from the behavior of modern society which always vents emotion. Through this phenomenon, the creators are interested in creating dance works that express unrestrained thought fluctuations, which are implemented into contemporary expressions of kerawuhan motion with the title Ngalebar. The process of creating this dance, using the method of Creating Through Dance by Y Sumandiyo Hadi, describes exploration (exploration), improvisation (experimental), and composition (formation). To ensure the creation of this work, using the theory of Imagination whichmeans the formation of motion from the results of images or imagining the meaning of Nyomya, and the theory of Aesthetics ngunda bayu which is the distribution of energy in the body. The theme of thiswork is spiritualization (formation of the soul) danced by seven dancers using the gamelanaccompaniment Gong Gede Saih Pitu in collaboration with the keyboard. Ngalebar Dance is a contemporary dance work depicting human reflection, trying to exercise self-control or introspection to achieve sekala - niskala harmony and to end it returned according to its position.Keywords: Ngalebar, Mabuu - buu, Skala - niskala and Contemporary
Tari Aku Kumara, Sebuah Refleksi Diri Peduli Anak Hartana, I Nyoman Kharisma Aditya; Budiarsa, I Wayan; Sutapa, I Ketut
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 (146.616 KB) | DOI: 10.59997/journalofdance.v1i2.860

Abstract

The creation of this Aku Kumara dance work started from reading a piece of literature namely Anoman Seri Cerita Anak dan Remaja, specifically the story of Anoman's childhood when he ate the sun. This makes the stylists want to create a contemporary dance piece in the form of a large group by interpreting the children's I-ness (selfishness) with curiosity to try to reach the light like the sun. This dance uses several sources of information, namely written sources, discography, filmography, interviews, and direct observations. The theories used are the theory of imagination and aesthetics. Related to the theory of creation, namely using the theory by Alma M. Hawkins consisting of the stages of exploration, improvitation, and forming.Aku Kumara is a contemporary dance piece in the form of a large group of eight male dancers who interpret children's behavior with curiosity and determination to seek the light. The dance structure consists of the beginning, the content, and the end with the movement approaching children and getting inspiration from Balinese dance standards that have been re-explored into new forms. This dance work is accompanied by the FL Studio 2020 software application with Balinese-Modern nuances. The make-up used is a theatrical type of make-up that is fantasized and adapted to the children's character with a casual dress with the concept of jumpsuits and a highlighter green T-shirt. Aku Kumara's dance work was staged on the concept of a proscenium stage at the Gedung Natya Mandala ISI Denpasar.Keywords: Aku Kumara, children, contemporary, creation
GANDRUNG ANYAR Fajarwati, Ni Nyoman Manik; Yulinis, Yulinis; Budiarsa, I Wayan
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 (387.914 KB) | DOI: 10.59997/journalofdance.v1i2.862

Abstract

The creative of this dance work m tradicomes frosional cultural events, namely Gandrung dance in Banjar Bangun Urip, Batukandik Village, Nusa Penida District, Klungklung Regency, Bali. Gandrung Anyar is a dance work new creations created from development of the Gandrung dance movement pattems in Nusa Penida with an emphasis on an atmosphere of joy. The creation of this dance work uses the theory of imagination which means power to from a picture (image) and aesthetic theory which means beauty. The process of embodying the creative dance approach uses the method creation in the book Mencipta Lewat Tari by Y. Sumandiyo Hadi, translation from the book Creating Through Dance by Alma M. Hawkins with three stage, namely exploration, improvisation and formation. Exploration is a stage of thinking, imagining, and responding by doing creativ resource research, determines arable ideas and themes, conceptual design of arable, selection of dancer, seklection composers and accompaniment players and selection training sites. Improvisation is the stage of pouring the concept of work to dance actors and the probation period, strarting with nuasen. The last stage is the formation the stage of unifying and arranging movement patterns, arable structures, music and formation as a whole.This dance work is packaged in the form of creative dance with tolerance themes. Performed by five female dancers accompanied by gamelan Semara Pegulingan and uses fan properties. The realization of this dance work is expected to make every human being aware of the importance of tolerance who live in doing an activity together in order to get good results and give happines to evyone. Keywords: Gandrung Anyar, kreasi.
ANALISA GERAK TARI DALAM FILM SEKALA NISKALA Yoga, I Gusti Ngurah Krisna; Yulinis, Yulinis; Budiarsa, I Wayan
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 (172.635 KB) | DOI: 10.59997/journalofdance.v2i1.1576

Abstract

Sekala Niskala tells the story of a twin brotherhood between Tantri and Tantra, who were born and live in a village in Bali. They have a relationship with the unseen and the full moon. Tantri, is a Tantric twin who has to be hospitalized due to a disease that is eating away at his brain abilities. This research was conducted to analyze the variety of dance movements in the film Sekala Niskala. From the above phenomena described, there are problems that exist in this writing, including: How did the creation of dance movements in the film Sekala Niskala originate? How is the analysis of dance movements in the film Sekala Niskala? The research method used is descriptive qualitative research method to solve this research problem. found in field observations, interviews, literature studies, documentation. The theoretical basis used in this study is the aesthetic theory in this study which is used to examine the elements, namely form, weight, and appearance related to the Analysis of Dance Motion in the Sekala Niskala Film which analyzes dance movements. Choreographers try to find inspiration for dances that are associated with nature, the environment, animals, plants, art, culture, and Balinese myths. Which in it like the movement of the chicken character, the butterfly character, the monkey character, the tonya character. Of the four character movements, there are several elements to analyze the movement, namely Material, Energy, Space and Time. Keywords: Dance Movement Analysis, Sekala Niskala.
PENGEMBANGAN VIDEO PEMBELAJARAN TARI BARIS TUNGGAL GAYA I NYOMAN CERITA DI SANGGAR SENI TEDUNG AGUNG, DESA UBUD, KABUPATEN GIANYAR Bisma, I Dewa Gede Oka; Budiarsa, I Wayan; Putra, I Gede Gunadi
PENSI : Jurnal Ilmiah Pendidikan Seni Vol 2 No 1 (2022): Pensi: Jurnal Ilmiah Pendidikan Seni - Juni 2022
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/pensi.v2i1.1710

Abstract

Proses penelitian ini diawali dengan need assessmet yaitu menidentifikasi persoalan-persoalan terkait dengan pembelajaran tari Baris Tunggal gaya I Nyoman Cerita di Sanggar Seni Tedung Agung, Desa Ubud, Kabupaten Gianyar. Hasil need assessment menunjukkan bahwa guru belum menggunakan media pembelajaran berupa video pembelajaran dalam penyampaian materi. Tari Baris Tuggal ini merupakan salah satu tari klasik yang perlu diperhatikan dan dilestarikan. Tari Baris Tunggal gaya I Nyoman Cerita sangat unik dan menarik karena memiliki beberapa ciri khas gerakan, seperti: (tayog sengkok, angsel nyerere, angsel nyogroh, angsel keled, angsel nyaup lamak, angsel ngijig, angsel ngejer gelungan dan angsel tayung), dan merupakan tari dasar yang sangat sesuai diajarkan sebagai dasar awal belajar tari Bali putra bagi anak-anak yang masih pemula. Maka dari itu peneliti tertarik untuk mengembangkan produk berupa materi tari Baris Tunggal gaya I Nyoman Cerita dilengkapi dengan Video Pembelajaran. Jenis penelitian ini adalah penelitian pengembangan (research and development) melalui beberapa tahapan yaitu: penentuan model pengembangan, prosedur pengembangan dan uji coba produk. Data yang dihasilkan berupa data kuantitatif dianalisis dengan menggunakan penyekoran, sedangkan data kualitatif diperoleh berupa komentar dan saran. Hasil penelitian adalah (1) proses pembuatan video pembelajaran tari Baris Tunggal gaya I Nyoman Cerita dilakukan dengan menganalisis tari Baris Tunggal gaya I Nyoman Cerita pada aspek sejarah tari, ragam gerak, struktur dan pola lantai, tata rias dan busana serta bentuk tari secara keseluruhan yang dikemas dalam DVD. (2) Uji ahli isi, uji ahli media pembelajaran, dan uji guru tari terhadap video pembelajaran tari Baris Tunggal gaya I Nyoman Cerita. Hasil validasi dari uji ahli isi diperoleh total skor 24 dengan persentase 100%. Dari uji media pembelajaran diperoleh total skor 19 dengan persentase 95%. Sedangkan hasil dari uji guru tari diperoleh total skor 31 dengan persentase 96,87%, ini berarti produk yang dikembangkan masuk kedalam kategori sangat layak dan tidak perlu direvisi. (3) Validasi uji coba perorangan dan uji coba kelompok kecil dilakukan pada peserta didik dari Sanggar Seni Tedung Agung, Desa Ubud, Kabupaten Gianyar, menunjukkan bahwa video pembelajaran tari Baris Tunggal gaya I Nyoman Cerita dalam kategori sangat layak dan tidak perlu direvisi.
PENGEMBANGAN VIDEO PEMBELAJARAN TEKNIK DASAR BERMAIN REYONG GONG KEBYAR DI SMP NEGERI 5 MENGWI, KABUPATEN BADUNG Dadri, Made Asta Sidhi; Budiarsa, I Wayan; Putra, I Wayan Diana
PENSI : Jurnal Ilmiah Pendidikan Seni Vol 2 No 2 (2022): Pensi: Jurnal Ilmiah Pendidikan Seni - September 2022
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/pensi.v2i2.1818

Abstract

Penelitian ini membahas topik tentang video pembelajaran teknik dasar bermain reyong Gong Kebyar. Materi teknik dasar bermain reyong Gong Kebyar dikemas dalam bentuk DVD yang terdiri dari (1) sejarah Gamelan Gong Kebyar; deskripsi reyong Gong Kebyar; (3) bentuk fisik reyong Gong Kebyar; (4) fungsi reyong Gong Kebyar; (5) teknik dasar bermain reyong Gong Kebyar yang mencakup sikap duduk, cara memegang panggul, teknik nekep, serta teknik dasar pukulan kabelet dan norot. Tujuan penelitian ini yaitu (1) mendeskripsikan proses pembuatan video pembelajaran teknik dasar bermain reyong Gong Kebyar; (2) mendeskripsikan hasil validasi ahli materi (seni karawitan), ahli media, dan guru seni karawitan terhadap video pembelajaran teknik dasar bermain reyong Gong Kebyar; (3) mendeskripsikan hasil uji coba perorangan terhadap video pembelajaran teknik dasar bermain reyong Gong Kebyar; (4) mendeskripsikan hasil uji coba kelompok kecil terhadap video pembelajaran teknik dasar bermain reyong Gong Kebyar. Penelitian ini berpendekatan penelitian pengembangan (research and development). Metode pengumpulan data yang digunakan berupa angket dan wawancara. Data kuantitatif dianalisis dengan penskoran, sedangkan data kualitatif dianalisis dengan komentar dan saran. Penelitian ini menghasilkan (1) video pembelajaran teknik dasar bermain reyong Gong Kebyar; (2) hasil validasi dari uji ahli terhadap video pembelajaran teknik dasar bermain reyong Gong Kebyar masuk dalam kategori sangat layak; (3) hasil tanggapan peserta didik melalui uji coba perorangan terhadap video pembelajaran teknik dasar bermain reyong Gong Kebyar masuk kategori sangat layak; (4) hasil uji coba kelompok kecil terhadap video pembelajaran teknik dasar bermain reyong Gong Kebyar masuk dalam kategori sangat layak.
PENERAPAN METODE DRILL PADA PEMBELAJARAN TARI REJANG TERATAI PUTIH DI SMP NEGERI 2 SUSUT BANGLI Mahaswari, I Gusti Ayu Yogi; Budiarsa, I Wayan; Dewi, Ni Made Liza Anggara
PENSI : Jurnal Ilmiah Pendidikan Seni Vol 4 No 2 (2024): Jurnal Ilmiah Pendidikan Seni
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/pensi.v4i2.4519

Abstract

SMP Negeri 2 Susut Bangli adalah sekolah yang keberadaannya diwilayah pedesaan yang didirikan oleh pemerintah pada tahun 1986 yakni tempatnya di Br. Abuan, Ds. Abuan, Kec. Susut, Kab. Bangli, Provinsi Bali. Sejak berdiri tahun 1986 SMP Negeri 2 Susut Bangli terus berupaya membekali siswa dengan kegiatan yang berimbang antara academik skill dan life skill. Selain fokus pada kegiatan akademik, sekolah juga melaksanakan kegiatan non-akademik meliputi kegiatan ekstrakurikuler (Basket, tari Bali, Voli, Pramuka, PMR, Yoga, Silat, dan Atletik). Berdasarkan prestasi tersebut, peneliti tertarik melakukan program MBKM Asistensi Mengajar di SMP Negeri 2 Susut Bangli dengan materi Tari Rejang Teratai Putih. Tujuan diajarkan materi seni tari ini untuk meningkatkan kreativitas siswa dan melestarikan tari wali yang ada di Bali. Seni budaya hidup berdampingan, sehingga seni tari adalah jenis kesenian yang bisa mengungkapkan ekspresi jiwa manusia melalui gerak tubuh yang ritmis dengan diiringi gamelan mampu bersanding dalam kehidupan ritual sehari-hari masyarakat Bali. Proses tahap pengajaran Seni Tari di SMP Negeri 2 Susut Bangli menggunakan 4 (empat) tahapan yaitu : tahap persiapan (preparation), tahap penyampaian (presentation), tahap latihan (practive), dan tahap penampilan (performance). Faktor-faktor yang mempengaruhi proses pembelajaran seni tari teruraian pada bagian studi kasus. Dngan penerapan empat (4) tahapan tersebut peserta didik mampu menguasai tariannya.
OPTIMIZATION OF DANCE EDUCATION THROUGH CREATIVE MEDIA: INTEGRATION OF TEXT, VIDEO, AND AUDIOVISUALS IN THE EDUCATIONAL PROCESS Budiarsa, I Wayan; Utamia, Dewa Gede Satya Adi Maha; Sari, Ni Wayan Arma Yonika
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.482

Abstract

This research is motivated by the need to enhance the effectiveness of dance education, which often faces challenges in conveying movement concepts in a visual and comprehensive manner. The aim of this study is to optimise dance learning through the integration of creative media, including text, video, and audiovisual elements within the educational process. The method employed is qualitative research with a descriptive approach, wherein data are collected through observations, interviews, and document analysis at dance education institutions. The findings indicate that the integration of creative media not only boosts student motivation and engagement in the learning process but also enriches their understanding of dance techniques and aesthetics. Furthermore, audiovisual media have proven effective in clarifying movement representation and strengthening the skill evaluation process. This research recommends the use of creative media as an innovative strategy in dance education in the era of disruption.
Co-Authors Bisma, I Dewa Gede Oka Dadri, Made Asta Sidhi Fajarwati, Ni Nyoman Manik Hartana, I Nyoman Kharisma Aditya I Gede Gunadi Putra I Gusti Ngurah Krisna Yoga I Ketut Sutapa I Ketut Sutapa I Kt. Suteja I Nyoman Kharisma Aditya Hartana I Putu Agus Ari Yana I Wayan Diana Putra . Ida Ayu Wimba Ruspawati, Ida Ayu Kadek Ayu Mira Subandi Liza Anggara Dewi, Ni Made Mahaswari, I Gusti Ayu Yogi Ni Nyoman Manik Fajarwati Ruspawati, I.A Wimba Sari, Ni Wayan Arma Yonika Subandi, Kadek Ayu Mira Suteja, I Kt. Utamia, Dewa Gede Satya Adi Maha Yana, I Putu Agus Ari Yoga, I Gusti Ngurah Krisna Yulinis -