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All Journal Journal on Education Randwick International of Social Science Journal Jurnal Igel: Journal of Dance
Anak Agung Ketut Oka Adnyana
Institut Seni Indonesia Denpasar
Arts Humanities Education Social Sciences

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Makna Tari Baris Dadap dan Tari Baris Panah di Desa Kertha Mandala, Kecamatan Abang, Kabupaten Karangasem Anak Agung Ayu Mayun Artati; Ni Luh Putu Nila Yuliantini; Anak Agung Oka Adnyana
Journal on Education Vol 5 No 3 (2023): Journal on Education: Volume 5 Nomor 3 Tahun 2023
Publisher : Departement of Mathematics Education

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

Abstract

This study aims to be able to understand and explain the existence of the Baris Dadap Dance and the Baris Arrow Dance in Kerta Mandala Village. This research was conducted using qualitative methods. The data sources for this research were the performance of the Baris Dadap Dance and the Baris Panah Dance itself, the elders, the administrators of the Maksan Ngis Temple, community leaders, the Maksan Ngis Temple community, Kerta Mandala Village, who were selected based on purposive sampling and snowball techniques. All data that has been collected through observation, interviews, and literature studies is analyzed using structural-functional theory and religious theory. The results showed that the Baris Dadap Dance and the Baris Panah Dance which are performed every six months, to be precise at every Tumpek Kuningan at Maksan Ngis Temple, Kerta Mandala Village, are ceremonial dances. This can be seen from the process of presentation, the variety of movements, the structure of the performance, the fashion make-up, and the musical accompaniment of the performance. Until now, the people of Kerta Mandala Village continue to preserve these two sacred dances because these dances function as ceremonial dances which are presented at every piodalan ceremony of Ida Meraga Taksu Baris Dadap and Baris Panah in Kerta Mandala Village. Apart from functioning as ceremonial dances, the two ceremonial dances are preserved because they function as binders of social relations for the local community.
Ni Ketut Arini: A Bali Performing Arts Maestro Gusti Ayu Ketut Suandewi; Sulistyani Sulistyani; Anak Agung Ketut Oka Adnyana; Tjokorda Istri Putra Padmini
Randwick International of Social Science Journal Vol. 4 No. 1 (2023): RISS Journal, January
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i1.640

Abstract

Ni Ketut Arini, who is popularly called Mrs. Arini, is a maestro of Balinese performing arts. This article will discuss the maestro's progress, who is known as a multi-talented artist with a long history of preserving this regional performing arts. In Bali, there are many performing arts artists. However, of the many artists referred to, it seems that not many have track records throughout Mrs. Arini's career. The questions: how is Mrs. Arini's progress in preserving traditional Balinese performing arts?. This research was conducted using the life history method. The data sources for this research were Mrs. Ni Ketut Arini herself, her colleagues, her students at Sanggar Warini and related communities who were selected based on purposive sampling and snowball. All data collected through observation, interviews, and literature studies were analyzed using Bourdieu's theory of aesthetics and social action theory. The results of the study show that Ni Ketut Arini is an artist who graduated from the Indonesian Art College (STSI) in Denpasar, and most of her life has been dedicated to the preservation of Balinese performing arts. Since the age of 14, Ni Ketut Arini has mastered Balinese traditional dance. Her skill in dancing traditional Balinese dance has made Ibu Arini have many students and become a role model for artists in Bali. Mrs. Arini is known for consistently preserving traditional Balinese dance. Through the Warini Studio that she cares for, Mrs. Arini continues to strive to care for, maintain, and develop this Balinese performing art to attract Balinese cultural tourism.
Ki Mina Ayung I Ketut Ari Susana; I Kt. Suteja; Anak Agung Ketut Oka Adnyana
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.v2i2.1876

Abstract

Sumber kreatif berasal dari Purana Bendesa Gerih, Kecamatan Abiansemal, Badung. DalamPurana Bendesa Gerih terdapat kisah tentang Ki Jagul Tua, merupakan raja wongsamar dengan wujud ikan jeleg putih (ikan gabus putih), yang memiliki kesaktian bernama mustika maniksekecapatausinonim dari kepala ikan jeleg putih yang dapat memenuhi segala keinginan. Ki Jagul Tua yang hidup di Sungai Ayung memiliki makna bagi kehidupan manusia untuk melestarikan keberadaan sungai beserta isinya.Berarti kaitan Purana Bendesa Gerih dengan sungai ayung tujuannya melestarikan keberadaan sungai, namun pada kehidupan sekarang ini, sungai ayung banyak yang membuang sampah sembarangan, meracuni ikan, dan pencemaran limbah pabrik. Fenomena alam ini perlu mendapat perhatian dari kehidupan masyarakat jaman sekarang, karena sungai merupakan sumber kehidupan bagi semua makhluk yang memerlukan air. Maka dari itu, pencipta berkeinginan untuk menuangkan inspirasi tersebut ke dalam sebuah karya tari kontemporer berjudul Ki Mina Ayung. Pada proses penciptaan karya ini penata bekerjasama dengan mitra kerja Sanggar Seni Pancer Langiit dalam program Merdeka Belajar-Kampus Merdeka, dengan mengambil bentuk pembelajaran studi/proyek independen. Penciptaan karya Ki Mina Ayung menggunakan metode Anggripta Sasolahan yang terdiri dari ngarancana(eksplorasi), nuasen(upacar mengawali penciptaan), makalin(improvisasi), nelesin (pembentukan), dan ngebah(pertunjukan perdana untuk evaluasi karya).Teori yang digunakan dalam penciptaan ini adalah teori Imaji dan Imajinasi yang menunjang daya imajinasi penata dalam memunculkan gambaran mental seputar konsep karya. Karya Tari Ki Mina Ayung adalah karya tari berbentuk kontemporer yang ditarikan oleh tujuh orang penari. Tari ini dikemas secara dramatik dan menggunakan gerak-gerak simbolik sebagai implementasi imajinasi penata. Tata rias yang digunakan adalah tata rias fantasi dengan tata busana yang dikembangkan. Harapan penata dengan terciptanya karya ini adalah dapat mengenalkan kisah lokal tradisi kemasyarakat, guna meningkatkan kreativitas berkarya lewat kisah-kisah lokal.   Kata kunci : Ki Jagul Tua, Purana Bendesa Gerih, Kontemporer, Proses Penciptaan
Penuangan Isu Bipolar Disorder dalam Karya Tari In Between Annisa Shafa Dhiyaliza; Ni Nyoman Kasih; Anak Agung Ketut Oka Adnyana
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.v5i1.5657

Abstract

This written work discusses the creation of a choreography titled "In Between," inspired by the experiences ofindividuals with bipolar disorder, explored through emotional duality and social interactions. Emerging from the searchfor balance amidst surging emotions, this piece also delves into the relationship between social norms and emotions, aswell as the personal reflection of the choreographer on this phenomenon. The performance is designed as a site-specificwork at the Grand Room of ISI Denpasar, utilizing visual elements such as curtains as symbols of the boundarybetween two opposing norms. Furthermore, the movement concept is based on the exploration of dance inspired byeveryday life, accompanied by playback music. Collaboration with the Mulawali Institute partner facilitated theresearch and creation process, resulting in a piece that offers reflective space and addresses the issues and complexitiesof and awareness of mental health.Keywords: Bipolar Disorder, Mental Health, Emotional Duality, Social Norms.
KEDALIH Ni Komang Putriana Agustini; Anak Agung Ketut Oka Adnyana; Ni Nyoman Kasih
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6065

Abstract

Abstract Kedalih is accusation or slander, Rangdaning Jero Agung was accused of killing her husband and slandered by the local community for having black magic so that Randaning Jero Agung's patience ran out, and she meditated at Pura Dalem Blanjong to ask for supernatural powers. And was given supernatural powers, namely Legu Gondong which made the local community restless because of the plague in the form of Legu (mosquitoes). The meaning of "Kedalih" is accusation or slander, so "Kedalih" is a new creative dance work danced by 7 dancers depicting the accusation of Rangdaning Jero Agung who killed her husband so that she became angry, and begged at Pura Dalam Blanjong Sanur to be given supernatural powers, namely Legu Gondong. The Kedalih dance work uses the method of I Kt. Suteja, namely Angripta Sesolahan which consists of the stages of ngarencana, nuasen, makalin, nelesin, and ngebah. The Kedalih work has 3 structural parts accompanied by LIVE Gambelan Semarandana. The makeup used is modified Balinese dance makeup with nuances of clothing taken from the colors White and Black. To realize the Kedalih dance work, the creator chose the partner of the Manubada Art Community, an art community engaged in the field of dance performing arts located in Singapadu Village, Br. Apuan Singapadu. Keywords : Kedalih, Wabah, Nyamuk
Co-Authors Anak Agung Ayu Mayun Artati Annisa Shafa Dhiyaliza Gst.Ayu Ketut Suandewi I Ketut Ari Susana I Kt. Suteja Ni Komang Putriana Agustini Ni Luh Putu Nila Yuliantini Ni Nyoman Kasih Sulistyani Sulistyani