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All Journal Journal on Education Jurnal Igel: Journal of Dance
Dyah Kustiyanti
Institut Seni Indonesia Denpasar
Arts Humanities Education

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Bentuk dan Fungsi Tari Telek Melampahan di Nusa Lembongan Ni Nyoman Kasih; Luh Risa Melliani; Dyah Kustiyanti
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

Telek Melampahan Dance is one of the sacred dances originating from Lembongan Village. This dance was created by Alm. I Wayan Rawit because of a pawesik from relatives in Nusa Lembongan. This dance is danced every 6 months during Kuningan Day. This research that focuses on the Telek Melampahan Dance in Lembongan Village has 2 problems with the main study, namely (1) How does the Telek Melampahan Dance form in Nusa Lembongan, (2) How does the Telek Melampahan Dance function in Nusa Lembongan. The theory used to dissect the two problems is the aesthetic theory by Djelantik and the functional theory by Soedarsono and Sumandiyo Hadi. This research is a qualitative descriptive study in terms of performing arts studies using interview data collection techniques, observation, documentation and literature study. The results of this study indicate that this dance is different from the Telek Dance in general. The Telek Melampahan Dance is inspired by the Telek Jumpai Dance in Klungkung. The performance takes the story from the Lontar Nandha tattwa with an even number of Telek dancers, 2 jauk dancers and 5 dancers of Pura Dalem figures (Barong, Rarung, Baka, and Sang Hyang Baerawi). Judging from the variety of movements and clothing used, it is still very simple. The place where it is performed is also different from the Telek Dance in general which is danced in temples, but this dance is danced at Catus Pata in Lembongan Village. This dance was created with a function as a ritual means of repelling reinforcements. Before this dance is performed, stakeholders will offer offerings in the form of segehan, pejati and pemmbleh at Catus Pata, Lembongan Village. In addition, this dance can also be said as a means of communication to build solidarity for the people of Lembongan Village.
Bentuk Tari Dedari Dalam Tradisi Makenak-Kenakan Di Pura Desa, Desa Penatahan, Penebel, Tabanan Hani Yustia; Dyah Kustiyanti; Suminto Suminto
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.v1i1.800

Abstract

The Makenak-kenakan tradition is a symbol of offering, joy, and embodiment as an expression of geatitude to Ida Sang Hyang Widhi Wasa for being given an abundance of produce, avoiding disasters, and hoping to avoid disease outbreaks. This dress-up tradition is carried outby prasayang Ida Batara (a group of sutri penyungsung) the Penatahan tradisional village temple using a series of ritual processes that are carried out with a sincere sense of sincerity. The Dedari dance has certain meaningful symbols. Symbols are a major component of culture. Everything that humans see and experience can be translated into symbols that we can all understand. The Dedari dance is danced by seven dancers who are alive niskala symbolizes the seven widyadari who came down from heaven. Dedari dance is a sacred dance that is performed in the Dewa Yadnya ceremony in Penatahan village. The Dedari dance is one of the dances in the Makenak-kenakan tradition which is sacred in the village of Penatahan, Penebel, Tabanan. This dance is accompanied by gamelan Gong Kebyar. Talking about the problem of form, it is explained about the structure, the dancers of the Dadari dance, the various movements of the Dedari dance, make up, and fashion, accompaniment music, and the Dedari dance performance place, as well as the Dedari dance symbol. Dedari dance research is composed of several theories and qualitative research methods. The theory used in this research is aesthetic and functional theory. The researcher dug up information from several community leaders and residents of the Penatahan village which was then described back toin writing. Key words : Makenak-kenakan tradition, Dedari dance, Form.
Proses Kreatif Penciptaan Tari Wong Peken oleh Jasmine Okubo Ni Komang Ananda Gayatri; Dyah Kustiyanti; I Gusti Ngurah Sudibya
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.v1i1.819

Abstract

This article is the result of research into the creative process of creating Wong Peken dance as a contemporary dance that was specifically created for the deaf. This research is focused on how the creativity process is carried out by Jasmine Okubo as the choreographer. Indirectly, this dance breaks the stigma of the people who underestimate the deaf because it has managed to get a fairly good appreciation. Interestingly, Jasmine Okubo has no background or experience in BISINDO communication. The method applied in this research is a qualitative method with reference to the Theory of Creativity. The results obtained indicate that the process of creating Wong Peken dance is a process of the body's journey to find the specialties in each individual regardless of their imperfections. The process of creating Wong Peken dance shows that dance is a universal language for expression and communication. Dance allows people who cannot speak to communicate through movements.Keywords : Wong Peken Dance, creative process, deaf.
Tari Cakrângga, Mengkaitkan Bentuk Chakrasana Dengan Cakra Manggilingan Ke Tari Kontemporer Ni Komang Sri Wahyuni; Dyah Kustiyanti; Ni Wayan Suartini
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.v2i2.1880

Abstract

Karya Tari Cakrângga merupakan karya tari kontemporer dengan tipe tari studi gerak dan berawal dari pengalaman pribadi pencipta pada tahun 2018. Karya tari ini memfokuskan pada bentuk dari Chakrasana dengan istilah lain disebut dengan kayang, bentuk lengkungan tersebut dikembangkan oleh pencipta dengan kreativitas dan imajinasinya. Terbentuknya karya tari ini dalam kurikulum baru yakni MBKM (Merdeka Belajar-Kampus Merdeka) yang bekerja sama dengan Mitra Bumi Bajra Sandhi. Proses penciptaan karya tari menggunakan metode konstruksi Jacqueline Smith, yang terdiri dari lima metode konstruksi yaitu metode konstruksi I sampai dengan metode konstruksi V, berbentuk karya kelompok berjumlah lima orang penari, yaitu tiga penari pria dan dua penari wanita dengan durasi karya kurang lebih 11 menit. Bentuk gerak pada chakrasana yang merupakan bahan yang dijadikan konsep pada karya tari ini, difokuskan pada bentuk dari lengkungan yang dihasilkan oleh pencipta, merupakan tantangan dalam bereksperimen mengunakan tubuh manusia sebagai medianya. Fleksibelitas, ketuntasan dalam bergerak menjadi basic pada karya ini, sehingga terbentuk suatu karya tari yang bernuansa kebaharuan. Harapan dari pencipta melalui karya ini agar dapat dijadikan inspirasi dan panutan bagi generasi muda di dalam berkesenian.    
Transformasi Lirik Astu Gending Tunjang Grindem Dalam Wujud Karya Tari Kontemporer I Dewa Putu Kresna Riawan; Dyah Kustiyanti; Ida Ayu Wayan Arya Satyani
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.v3i1.2375

Abstract

Karya Tari Sângga merupakan tari kontemporer yang bersumber dari Gending Tunjang Rangda yaitu Gending Tunjang Grindem. Mengangkat arti liriknya yang berjudul Astu, mengandung arti penghormatan kepada Durga sebagai sosok ibu. Ide karya ini adalah Durga sebagai ibunya alam semesta dengan sifat-sifat yang beliau miliki.                 Tema yang digunakan adalah pemuliaan kepada ibu. Digunakannya tema ini sesuai dengan fenomena yang ada saat ini mengenai ibu, banyak ibu yang dilawan oleh anaknya bahkan ditelantarkan oleh anaknya sendiri. Pencipta juga menggunakan ragam gerak Tari Legong Lasem gaya Peliatan, Tari Bapang Gede Joged Pingitan gaya Batuan, dan ciri khas lukisan dari I Gusti Nyoman Lempad yang pencipta gabungkan dan kembangkan untuk menjadi ciri khas visual sosok Durga sebagai ibu alam semesta.                 Karya Tari Sângga didukung oleh dua orang penari putra yang diiringi musik tari penggabungan dari musik Tari Legong dan Gending Tunjang. Pencipta menggunakan tiga tahapan penciptaan oleh Alma M. Hawkins yaitu tahap penjajagan, tahap percobaan, dan tahap pembentukan. Adapun struktur karya tarinya dibagi menjadi bagian satu, dua, dan tiga. Melalui tiga tahapan ini, karya tari ini dapat terwujud dengan judul karya Sângga.   Kata Kunci: Sângga, Durga, Legong, Kontemporer.
Co-Authors Hani Yustia I Dewa Putu Kresna Riawan Luh Risa Melliani Ni Komang Ananda Gayatri Ni Komang Sri Wahyuni ., Ni Komang Sri Wahyuni Ni Nyoman Kasih Ni Wayan Suartini Satyani, Ida Ayu Wayan Arya Sudibya, I Gusti Ngurah Suminto Suminto