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Gst.Ayu Ketut Suandewi
Institut Seni Indonesia Denpasar
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Tari Rejang Wastra Di Desa Demulih Kabupaten Bangli Kajian Bentuk Dan Fungsi Suandewi, Gusti Ayu Ketut
Kalangwan : Jurnal Seni Pertunjukan Vol 2 No 2 (2016): Desember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (6105.473 KB) | DOI: 10.31091/kalangwan.v2i2.129

Abstract

Tulisan ini adalah hasil penelitian yang di lakukan di Desa Demulih Kabupaten Bangli. Desa Demulih adalah salah satu desa yang terdapat di Kabupaten Bangli yang kaya akan warisan budaya berupa tari-tarian wali yang jumlahnya kurang lebih 72 tari wali. Tari Rejang adalah sebuah tarian yang memiliki gerak-gerak tari yang sangat sederhana dan lemah gemulai. Tari Rejang Wastra adalah salah satu tari Rejang yang terdapat di Desa Demulih Kecamatan Susut Kabupaten Bangli. Tarian ini berkaitan erat dengan upacara atau Piodalan Karya Ngusaba Gede di Pura Pucak Demulih. Penelitian ini berparadigma tentang budaya secara realitas yg pendekatannya menekankan pada bentuk dan fungsi dari tari rejang dengan menggunakan metode kualitatif.
Proses Penciptaan Karya Tari Kreasi B Aris Tanda I Ketut Sutapa; I Putu Gede Bagus Restu Pratama Wiwaha; Gusti Ayu Ketut Suandewi
Journal on Education Vol 5 No 3 (2023): Journal on Education: Volume 5 Nomor 3 Tahun 2023
Publisher : Departement of Mathematics Education

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Abstract

Baris Tanda is a new dance with the theme of heroism about widyadaras. The sign comes from the word tamanwa which means the first dance of Lord Rudra. The Wa Sign in the Kesiman Traditional Village is interpreted as a Sign, one of the properties of Pengarebongan and Sapuh Agung during the Pangilen ceremony at Pura Agung Petilan. The Baris Tanda dance, which is danced by seven male dancers, represents a combination of the Mantra Puja Dynamics and Mudras contained in the Bratha Natyam book. This dashing dance is presented in the form of a group dance with a smoky composition, rows and circles accompanied by Gamelan Semarandana digital music. This newly created dance was created using the Angripta Sesolahan creation method (creating dances) with the planning, nasen, makalin, nelesin, and grain processes. This dance work was created in the framework of the Merdeka Learning-Independence Campus Program, a collaboration between the Indonesian Art Institute and the Pancer Langit Art Studio.
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.
Tari Satriyeng Bencingah Ni Luh Ria Novitasari; Tjok Istri Putra Padmini; Gusti Ayu Ketut Suandewi
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 | DOI: 10.59997/journalofdance.v1i1.806

Abstract

The Satriyeng Bencingah dance is a new dance creation that elevates the spirit of struggle carried out by Ida I Dewa Ayu Den Bencingah and his female troops using Belida weapons to fight the enemy who attacked the Bangli kingdom in 801 AD. Satriyeng means knight and hate is the name of Ida I Dewa Ayu Den Bencingah. Satriyeng Bencingah's dance creations were inspired by witnessing a sacred heirloom, namely Belida during the Panca Wali Krama ceremony in 2019 at the Kahen Bangli Temple. Belida is a weaving tool that functions as a unifier between one yarn and another.The process of creating a dance created by Satriyeng Bencingah uses the Alma M Hawkin creation method using three stages, namely exploration, improvisation, and forming. The process of creating this creative dance work uses the theory of imagination and aesthetic theory so that the work is able to convey the message desired by the stylist, namely that women are not weak, able to struggle and do not judge things from the outside.The presentation of the work of Satriyeng Bencingah dance is performed by 7 female dancers in a structured manner which is divided into flashback sections describing Belida being functioned as a loom, part one describes the majesty of Ida I Dewa Ayu Den Bencingah, part two describes inner turmoil and part three describes the spirit of struggle and victory with accompanied by Gamelan Gong Kebyar and gerong vocals.Keywords: Satriyeng Bencingah Creative Dance, Belida, Ida I Dewa Ayu Den Bencingah.
KALITUHAYUAN Ni Kadek Tiana Gangga Dewi; Tjokorda Istri Putra Padmini; Gusti Ayu Ketut Suandewi
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.v1i2.863

Abstract

Kalituhayuan means beatiful. It derives from the word listuayu, thus it is defined as beauty. The dance describes Ni Pollok who is a legong dancer and a painting model of Le Mayure. The creator’s interest in the process of creating Kalituhayuan dance is driven from enviromental factors, in which the creator has been involved in dancing and beome a muse for balinese make up artist.The process of creating the Kalituhayuan dance refers to the method of creating a dance work called angripta sesolahan. This method consists of 5 principle stages, namely ngerencana, nuasen, makalin, nelesin, and ngebah. In structuring this dance work, the creator also collects data from library sources, discography sources and also information sources. Kalituhavuan is a new creation dance that is danced by six female dancers which their body postures resembling the creator. The make-up used is minimalistic stage make-up, and the clothes used are white, brown and red. This work uses the hand fan as a property, which is a characteristic of Legong dance and is shaped like a brush. The dance is accompanied by Gamelan Semara Pagulingan and uses gerong vocals to add the atmosphere in every part. Keywords: Kalituhayuan, Ni Pollok, Model and Legong
TARI KREASI SAGUNG WAH I Gusti Ayu Agung Adi Sartika Dewi; Ni Made Arshiniwati; Gusti Ayu Ketut Suandewi
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.v1i2.864

Abstract

Sagung Wah's dance was inspired by the heroic story of Sagung Ayu Wah as a young woman who fought against the invading forces who wanted to rule her kingdom, the Kingdom of Tabanan. The story of Sagung Wah's struggle is also written in the Chronicle of Arya Tabanan and Queen of Tabanan. The heroic story of Sagung Ayu Wah was then poured into the form of dance creations. Kreasi baru dance is a type of dance that has been given a directed pattern that has been developed and refined so that it can create a new movement pattern. The creator chooses dance movements that are created but still based on traditional motion patterns in order to gain freedom in moving and imagination.The method that the creator used in working on this dance work is alma M. Hawkins creation method consisting of exploration, improvisation, and forming stage. The three methods were successfully applied in working on this work with dance supporters. The purpose of the creation of this dance creation is to commemorate the story and services of a Sagung Wah in defending the tabanan kingdom as well as a form of appreciation as a woman of Tabanan region.Sagung Wah dance created by eight dancers consists of five female dancers and three male dancers. Makeup on this film uses soft makeup but still sharpens the eyes to fit the concept of clothing used. The dress of this work combines the colors between white which has a sacred meaning and the colors gold and black will look magnificent and authoritative. The dance creations of Sagung Wah are packaged in five structures, namely, flashback, papeson, pangawak, pangecet, pasiat, and panyuwud. The 12-minute directed is accompanied by Semara Pegulingan gamelan.Keywords: Sagung Wah, Tabanan Kingdom, Dance Creations, Creatio.
Tari Telek Nyandar Ati Sebuah Inspirasi dari Tapel Ni Swarni I Dewa Ayu Galuh Intan Rakasiwi; Gusti Ayu Ketut Suandewi; Kompyang Gede Widnyana
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.v2i1.1600

Abstract

Telek dance is a dance that uses tapel, has a smooth character, is identical to using a fan property. Telek Nyandar Ati dance is a work that was born from research. This dance is inspired by a tapel in the Intaran Traditional Village, Sanur Kauh region, namely Tapel Ni Swarni. This dance has its own peculiarities starting from the beginning of the creation, form, and function of the Telek Nyandar Ati Dance. This study uses a qualitative method with an aesthetic and socio-historical approach. Data obtained through observation, structured interviews and unstructured interviews, and indirectly through literature study, as well as documentation. On this occasion the researcher took the MBKM policy for the Research or Research program with the object of research being the Telek Nyandar Ati Dance, an inspiration from Ni Swarni's tape. Telek Nyandar Ati dance is a work inspired by Ni Swarni's tapel. Ni Swarni's tape is the result of Ida Pedande Made Sideman's imagination of a very beautiful woman who he loves very much, namely Ni Swarni, who is his wife. The Telek Nyandar Ati dance is a group dance danced by six dancers consisting of three telek dancers and three male dancers as pengabih. The Telek Nyandar Ati dance is a work that started with a research. It has the following performance structure: metaki-taki, pamahbah, pengawak, pengecet, and ngewaliang pragina. This dance was originally functioned as an idealistic performance, then along with its journey functioned as an accompaniment dance when sesuhunan at the Dalem Pacekan Penestanan Penestanan Temple napak pertiwi.   Keywords: Ni Swarni, Nyandar Ati, telek
Karya Tari Virtual Njek-njek Ti I Komang Manik Juliartana Yasa; Gusti Ayu Ketut Suandewi; Kompiang Gede Widnyana
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.v2i2.1877

Abstract

Karya tari Njek-njek Ti merupakan sebuah karya tari berwujud kontemporer yang disajikan secara virtual.Penyajian karya tari virtual ini mengkolaborasikan antara teknik pengolahan gerak (koreografi) dan teknikpengambilan gambar (sinematografi). Karya tari ini terinspirasi dari esensi gerak kaki pada permainantradisional Donal Bebek, sehingga pengembangan gerak yang digunakan bersumber dari gerak menyerang danmenghindar yang ada pada permainan Donal Bebek. Pada proses perwujudannya, pencipta menggunakanmetode yang dikemukakan oleh Alma Hawkins. Metode ini meliputi tiga tahapan yaitu tahap penjajagan(eksplorasi), tahap percobaan (improvisasi), dan tahap pembentukan (forming). Tari Njek-njek Ti merupakantari kontemporer yang ditarikan oleh enam orang penari putra dan lima orang penari putri. Karya tari inimenggunakan teknik MIDI pada FL Studio 20 sebagai iringan tari dengan durasi 15 menit. Selanjutnya, tari inimenggunakan kostum bergaya kasual yakni penggunaan baju kaos polos berwarna pastel, celana pendekberbahan tight, dan dilengkapi kaos kaki berwarna hitam. Penciptaan karya tari Njek-njek Ti diharapkan mampumemberikan pemahaman bahwa sebuah karya seni yang berbasis seni dan budaya dapat dikolaborasikan denganpemanfaatan teknologi modern masa kini.Kata kunci: Njek-njek Ti, Donal Bebek, Virtual
Tari Gadung Melati Sebagai Lambang Sanggar Seni Semara Ratih, Ubud, Gianyar Ida Ayu Putu Eka Purnama Dewi; Gusti Ayu Ketut Suandewi; Suminto Suminto
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.v3i1.2379

Abstract

Semara Ratih Art Studio is one of the studios in Ubud, Gianyar Regency. Gadung Melati Dance is a welcoming dance that is a symbol of the Semara Ratih Art Studio. This dance is danced by women who are danced by 6 dancers. The costumes in this dance tend to be yellow and green. The property used in the Gadung Melati Dance is the canang rebong. This dance is accompanied by gamelan semarandana. The method used in the research of Gadung Melati Dance is a qualitative method, with the techniques used in data collection are observation, interviews, documentation, library studies and data analysis. From the results of data analysis and findings in the Gadung Melati Dance field, there are several backgrounds taken from the conditions that exist in plant life. The creation dance entitled Gadung Melati Dance is a welcoming dance inspired by flora/plants. The Gadung Melati dance is the first welcoming dance that uses a Tandak interpreter and in its movement uses a Sisia crew. after this paper was formed because he wanted to convey the message of how to preserve Balinese art.   Keywords:   Gadung Melati, Welcome Dance, Symbols
KAJIAN BENTUK DAN FUNGSI TARI REJANG NYUTRI DESA BEDULU, KECAMATAN BLAHBATUH, KABUPATEN GIANYAR Ida Ayu Ari Dwi Cahyani; Gusti Ayu Ketut Suandewi; Kompiang Gede Widnyana
Jurnal IGEL : Journal Of Dance Vol 3 No 2 (2023)
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v3i1.2880

Abstract

Abstrak Bali memiliki bermacam – macam jenis tari rejang khususnya di Kabupaten Gianyar, salah satunya Desa Bedulu. Tari Rejang Nyutri Meayunan di Desa Bedulu, Kecamatan Blahbatuh, Kabupaten Gianyar. Tari Rejang Nyutri Meayunan merupakan salah satu tarian sakral yang berasal dari Desa Bedulu dan ditarikan di Pura Gunung Sari Desa Bedulu setiap satu tahun sekali. Tari ini memiliki keunikan dan daya tarik tersendiri sehingga tarian ini layak untuk dijadikan objek penelitian. Penelitian ini menggunakan metode kualitatif dengan tiga landasan teori yaitu, teori fungsional, teori estetika, dan teori semiotika. Data – data mengenai tari ini diperoleh dengan observasi, wawancara dan dokumentasi. Tari Rejang Nyutri Meayunan merupakan sebuah tari sakral yang berada di Desa Bedulu dan ditarikan di Pura Gunung Sari setiap satu tahun sekali. Tari ini berbentuk tari sakral yang ditarikan secara berkelompok. Tarian ini hanya boleh ditarikan oleh jero permas atau wanita yang telah mengalami proses penyucian secara niskala. Para jero permas menggunakan kebaya putih, kamen hitam, dan selendang hitam saat menari. Kemudian pada bagian kepala, para jero permas menggunakan pusung tagel dan diisi bunga pucuk merah atau bunga berwarna merah. Tari Rejang Nyutri Meayunan memiliki gerak yang sederhana dan diiringi dengan gamelan angklung atau gong gede dengan lelambatan tabuh pisan. Masyarakat setempat memfungsikan tarian ini sebagai tari sakral. Selain itu, masyarakat setempat juga mengaitkan tarian ini dengan perekonomian masyarakat di Desa Bedulu. Adapun beberapa aspek dari Tari Rejang Nyutri Meayunan ini jika diselami memiliki makna keseimbangan. Kata kunci : Tari Rejang Nyutri Meayunan, Bentuk, Fungsi
Co-Authors Anak Agung Ketut Oka Adnyana Cahyani, Ida Ayu Ari Dwi Dewi, I Gusti Ayu Agung Adi Sartika Dewi, Ida Ayu Putu Eka Purnama Dewi, Ni Kadek Tiana Gangga I Dewa Ayu Galuh Intan Rakasiwi I Gusti Ayu Agung Adi Sartika Dewi I Ketut Sutapa I Komang Manik Juliartana Yasa I Putu Bagus Bang Sada Graha Saputra I Putu Gede Bagus Restu Pratama Wiwaha Ida Ayu Ari Dwi Cahyani Ida Ayu Putu Eka Purnama Dewi Kompyang Gede Widnyana Ni Kadek Prastya Maharani Ni Kadek Tiana Gangga Dewi Ni Komang Vivi Larasati Ni Luh Ria Novitasari Ni Made Arshiniwati Ni Nyoman Kasih Novitasari, Ni Luh Ria Padmini, Tjok Istri Putra Padmini, Tjokorda Istri Putra Sulistyani Sulistyani Suminto Suminto Suminto Suminto Swarsana, I Putu Widnyana, Kompiang Gede Widnyana, Kompiang Gede Widnyana, Kompyang Gede Yasa, I Komang Manik Juliartana