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Suminto Suminto
Institut Seni Indonesia Denpasar
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The Manifestation of Kuntisraya Story in Ethnic Dyah Kustiyanti; Suminto Suminto; I Wayan Sutirtha
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.v4i1.631

Abstract

The purpose of writing this article is to discover the manifestations of the Kuntisraya story in works of arts in Indonesia. In general, Kuntisraya stories can be found in ancient Javanese literary works. In particular, it turns out that there are works of art, design, and ethnic performing arts in Indonesia that are realized based on the Kuntisraya story. The problems are : 1) What is the form of the manifestation of the Kuntisraya story in works of art and design?; 2) What is the form of the manifestation of the Kuntisraya story in ethnic performing arts?. This research was conducted with qualitative methods. Observations and interviews have been used to obtain primary data. The results of the literature study have been used as secondary data. All data has been analyzed qualitatively using aesthetic and reception theories. The results of the study show that : 1) manifestations of the Kuntisraya story exist in works of art and designs in the form of architectural reliefs of temples; and 2) manifestations of the Kuntisraya story exist in performing arts in the form of sacred performing arts and tourism performing arts.
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.
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 GANDRUNG DI DESA CEMPAGA, KECAMATAN BANJAR, BULELENG Ni Putu Ayu Rika Putri Dewi; Ni Made Arshiniwati; Suminto
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

Abstract

Abstrak Penelitian ini bertujuan untuk dapat memahami keberadaan Tari Gandrung di Desa Cempaga, Kecamatan Banjar, Buleleng. Fakta dilapangan menunjukan bahwa tulisan atau penulisan yang mengkaji tarian ini belum banyak ditemukan, padahal tari ini disajikan secara berkesinambungan dalam konteks upacara oleh masyarakat setempat. Adapun masalah yang yang dikaji adalah bagaimana bentuk dan fungsi Tari Gandrung di Desa Cempaga. Pedengan menggunakan metode kualitatif. Data dikumpulkan melalui observasi, wawancara, studi kepustakaan, dan studi dokumentasi. Data dianalisis dengan menggunakan teori estetika dan teori fungsional yang digabungkan dengan konsep fungsional dari Soedarsono. Hasil penelitian menunjukan bahwa masyarakat Desa Cempaga, Kecamatan Banjar, Buleleng menyajikan Tari Gandrung dalam bentuk tari lepas (tanpa lakon). Hal itu dapat dilihat dari proses penyajiannya, tempat pementasan, tata rias, tata busana, properti, musik pengiring, ragam gerak, struktur tari, dan pola lantai. Hingga kini masyarakat setempat tetap melestarikan tarian tersebut karena tari itu berfungsi sebagai penolak bala, ungkapan rasa syukur warga karena telah memasuki masa panen, ritual, ungkapan pribadi yang sifatnya hiburan, solidaritas, media meditasi, dan media terapi. Kata Kunci: Tari Gandrung, Bentuk, Fungsi
Co-Authors Dyah Kustiyanti Dyah Kustiyanti Gst.Ayu Ketut Suandewi Hani Yustia Ida Ayu Putu Eka Purnama Dewi Ni Made Arshiniwati Ni Putu Ayu Rika Putri Dewi Sutirtha, I Wayan