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All Journal Journal of Aesthetics, Creativity and Art Management Jurnal Igel: Journal of Dance
Ketut Tara Listiawan
Institut Seni Indonesia Denpasar
Arts Humanities

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Gending Aesthetics in Janger Menyali Dance in Sawan District, Buleleng Regency Ketut Tara Listiawan; Ni Luh Sustiawati; I Ketut Sariada
Journal of Aesthetics, Creativity and Art Management Vol. 2 No. 1 (2023): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/jacam.v2i1.2322

Abstract

Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.
Rupaning Vrihannala Ketut Tara Listiawan; Ni Made Ruastiti; Ni Wayan Suartini
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.v1i2.866

Abstract

Rupaning Vrihannala Is A New Dance Creation Based On The Mahabharata In The Story Of Wirataparwa. This Work Is Presented In The Form Of A Duet Dance, By Two Male And Female Dancers, And Is Presented In The Form Of A Freelance Dance With A Performance Structure : Pengawit, Pengawak, Pengecet And Pakaad. This New Dance Creation, Which Was Developed Based On Local Balinese Wisdom, Shows The Love Story Of Arjuna And Dewi Utari During The Panca Pandawa Disguise In The Wirata Kingdom.The Purpose Of This Dance Work Is To Visualize The Truth Values Contained In The Mahabrata Epic, Especially Related To The Wisdom Of Arjuna As A Dance Teacher In The Kingdom Of Wirata. The Admiration For The Wise, Handsome, Good Archery, And Romantic Arjuna Has Inspired The Creation Of This New Dance Creation. The Romance Between Arjuna And Dewi Utari Is Accompanied By Gamelan Gong Kebyar, Supported By Gerong Vocals. This New Dance Creation Was Created Using The Method Of Creating Works Of Art, Which Was Carried Out In Stages, Namely Ngerencana, Nuasen, And Ngebah. All Data That Has Been Collected Through Observation, Interviews, And Literature Studies Were Analyzed Using Art Creation Theory, Symbol Theory, And Imagination Theory. The Process Of Creating This Dance Work Resulted In A New Creation Dance, Rupaning Vrihannala, About The Romance Of Arjuna And Dewi Utari When They Were Disguised As Dance Teachers In The Wirata Kingdom. To Support The Characterizations, Balinese Fashion Make-Up Is Used As A Characteristic, A Symbol Of Local Culture.Keywords: Rupaning Vrihannala, Proses Penciptaan, Struktur Pertunjukan, Tari Kreasi Baru.
Co-Authors I Ketut Sariada, I Ketut Ni Luh Sustiawati Ni Made Ruastiti Ni Wayan Suartini