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Rejang Dewa Di Desa Sidetapa, Banjar, Buleleng, Bali (Keunikan Dan Fungsi) Trisnawati, Ida Ayu
Kalangwan : Jurnal Seni Pertunjukan Vol 2 No 1 (2016): Juni
Publisher : Institut Seni Indonesia Denpasar

Penelitian ini adalah penelitian kualitatif dengan tujuan mendapatkan uraian diskriptif analisis tentang Nilai estetis tari Rejang Dewa pada masyarakat Desa Sidetapa, Banjar, Buleleng, Bali. Hasil penelitian munjukkan bahwa Sejarah awal dari rejang dewa di desa pakraman Sidetapa tidak bisa dilepaskan dari sejarah perkembangan desa ini, yang mana desa ini sudah ada sejak tahun 785 saka atau 883 Masehi yang diperkirakan setelah kedatangan Maha Resi Markandya ke Bali dengan mendirikan Pura Besakih di lereng Gunung Agung. Tari rejang dewa ini adalah tari sakral yang dipersembabkan kepada Taksu (Ida Sang Hyang Widhi) yang ada di Pura Desa Sidetapa. Keunikan yang menjadi ciri khas dari tari rejang dewa Sidetapa yang membedakan dari tari rejang umumnya bisa dilihat dari beberapa aspek yaitu penari, pakaian dan aksesoris yang dipakai, tabuh dan gerakan penarinya, waktu dan tempat pementasan tari rejang dewa ini. Dari segi fungsi dan maknanya, fungsi tari rejang dewa bagi masyarakat Sidetapa bisa dilihat dalam beberapa aspek yaitu religius sebagai persembaban kepada Tuhan Yang Maba Esa, pelestarian kebudayaan dan adat Bali agar tetap ajeg, fungsi sosial sebagai pengikat antar masyarakat di desa ini, dan fungsi edukasi atau pendidikan seni dan juga etika bagi generasi muda di desa Sidetapa.

Identifikasi Kesenian Etnis Sasak, Etnis Bali Dan Seni Akulturasi Di Kota Mataram Trisnawati, Ida Ayu; Ardika, I Gusti Lanang Oka; Kariasa, I Nyoman
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar Vol 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Penelitian ini merupakan penelitian yang bertujuan untuk mengidentifikasi kesenian etnis Sasak, Etnis Bali dan seni akulturasi di Kota Mataram. Hasil identifikasi selanjutnya dikemas dalam bentuk DVD Seni Pertunjukan dengan tema yaitu Untaian Mutiara Gumi Sasak. Cerita dalam DVD dibalut dengan kisah Dewi Rengganis yang nantinya memunculkan potensi seni dan etnis di Kota Mataram sehingga bisa menjadi tujuan wisata dunia. Hasil penelitian menunjukan bahwa kehidupan masyarakat Kota Mataram cukup harmonis walaupun terdiri dari berbagai etnis seperti etnis Sasak sebagai penduduk asli, etnis Bali, Jawa, Melayu dan sebagainya yang merupakan penduduk pendatang. Keharomisan ini terbukti dari adanya pemahaman tentang keberadaan kotanya yang pluralisme, kemudian di praktekan dalam kehidupan yang toleransi sehingga menciptakan suatu kehidupan rukun yang menjadi modal masyarakat dalam mengembangkan diri. Situasi yang harmonis ini menarik sehingga diwujudkan dalam sebuah seni kolaborasi dengan tema Untaian Mutiara Gumi Sasak yang berceritakan tentang keberagaman seni budaya di Kota Mataram yang hidup harmonis. Cerita ini di balut dalam kisah Dewi Rengganis yang merupakn cerita asli suku Sasak. Hasil seni kolaborasi ini diharapkan menjadi salah satu nilai jual sekaligus produk wisata alternatif yang bisa membantu mewujudkan kota Mataram menjadi salah satu tujuan wisata dunia.This research is intended to identify the arts of Sasak ethnic, Bali ethnic and the arts acculturation in Mataram city. Next the results of identification is packed in performing arts DVDs in theme Untaian Mutiara Gumi Sasak (The Pearl Strands World Of Sasak). The DVD tells the story of Dewi Rengganis which later raises the potential of art and ethnicity in Mataram so it became a world tourism destination. The research shows that the society life of Mataram city quite harmonious although consists of different ethnicities such as ethnic Sasak as a native, Bali, Java, or Malay ethnic and many others which is a resident immigrants. The harmony proven by the notion of the existance of pluralism in the city, then practiced into a tolerance life thus creating a along well life which became the community asset to develop themselves. This harmonious situation is very interesting so that manifested in an art collaborations with theme Untaian Mutiara Gumi Sasak which tells about the art and culture diversity in Mataram city who lives in harmony. This story is made from the story of Dewi Rengganis which is the original story of Sasak tribe. The results of this collaborative art expected to become one of the selling points as well as an alternative tourism product which be able helped the materialize of Mataram city became one of the world's tourist destination.

Transformasi Ritual Siat Sampian Dalam Tari Anggruwat Bumi Rani Franciska, Ni Luh Putu; Trisnawati, Ida Ayu; Suartini, Ni Wayan
Kalangwan : Jurnal Seni Pertunjukan Vol 4 No 1 (2018): Juni
Publisher : Institut Seni Indonesia Denpasar

Ritual dewasa ini banyak mengalami perkembangan baik digunakan sebagai pengobatan maupun pedoman hidup, namun banyak pula yang tetap menjadikan ritual sebagai sarana upacara untuk membersihkan segala sesuatu hal yang buruk menjadi suci. Sama halnya dengan tradisi siat sampian yang sekaligus merupakan ritual di Pura Samuantiga. Asumsi masyarakat khusunya di daerah setempat percaya bahwa ritual ini merupakan media pengobatan secara niskala, sejak berpuluh tahun lamanya kepercayaan terus dijadikan sebagai pedoman hidup oleh masyarakatnya, sehingga banyak pengkaji yang berusaha menelurusi jejak tentang ritual ini, apa penyebab dan siapa yang mengutarakan hal tersebut, apakah argumen tersebut benar atau tidak. Dengan adanya bukti bahwa ritual ini merupakan sebuah peninggalan sejak masa kekuasaan Raja Warmadewa. Sehingga pertanyaan yang muncul dapat dipertanggung jawabkan dan dijadikan sebuah pembelajaran. Kembali pada Pertunjukan tari yang erat berkaitan dengan ritual dimana pertunjukan sebagai pelengkap upacara dan sering kali pertunjukan bersumber dari ritual itu sendiri. Salah satu contoh adalah tari Angruwat Bumi yang merupakan karya tari yang mendapatkan inspirasi dari siat sampian yang di dalamnya mengupas tentang perjalanan ritual yang dilakukan pada saat berlangsungnya upacara di Pura Samuantiga diformuasikan dengan mengaplikasikan teori Cipta Seni oleh I Nyoman Sedana dengan menggunakan empat kerangka mencipta seni yaitu sumber cipta seni, sastra cipta seni, komposisi cipta seni, produk cipta seni. Bentuk dari karya adalah kreasi baru yang ditarikan oleh tujuh orang penari putri dan menggunakan empat bagian sebagai struktur dimana karya tari ini merupakan bentuk persembahan dimana kita terlahir untuk tuhan dan mati untuk tuhan, hanya saja tari ini terealisasikan dengan penyeimbangan keburukan dan kebaikan dan fungsi sendiri sebagai wujud bakti terhadap Ida Sang Hyang Widhi Wasa.Todayâ€™s rituals have undergone many improvements both used as a treatment and life guide, but many still mantain as a ritual for the ceremonial means to clean up everything that is bad becomes scared. So with this tradition which is also a ritual in the temple. The assumption of the community, especially in the local area, believe that this ritual is a non-standard treatment medium. Since decades ago faith as has continued to serve as a guideline for life by its poeple, so many reviewers are trying to trace the ritual, what burden and ready to express it, whether the argument is true or not. With the evidence that this ritual is a legacy of the regin of the king of Warmadewa. So that question that appear can be justified and to be learning. Returning to dance performance that are closely related to the rituals of the performing performance are as a complement to the ceremony and are often sourched from the ritual itself. One example is the Angruwat Bumi dance which is dance work that get inspiration for the siat sampian in which peeled about the ritual journey that was done during the ceremony at the Samuantiga temple formulated with apply theory create of art by I Nyoman Sedana with to use four framework to create of art there are, the source to create of art, the literature to create of art, the composition to create of art, the product to create of art. The form of the creation is the new dance who to use seven girls dancers and used four part as structure where this creation is form of the offerings who we were born for god and die for god, only this creation is realized with balance of the kind and of the ugliness and than that function own as the form devotion the Ida Sang Hyang Widhi Wasa

Deconstructing The Meaning Of The Representation Of The Sanghyang Gandrung Dance Trisnawati, Ida ayu
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 1 No 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

This present study explores Sanghyang Gandrung Dance performed at Sidatapa Village, Banjar District, Buleleng, Bali. The qualitative approach was employed to implement the critical ethnography of the existence of Sanghyang Gandrung Dance.Â The study focuses on the identification of the existence of Sanghyang Gandrung Dance and on the description of the form of its performance and meaning as the dance performed at Sidatapa Village, Banjar District, Buleleng, Bali. The result of the study shows that when SanghyangÂ Gandung Dance was created and how it has been developed cannot be definitely described; however, its existence at Sidatapa Village cannot be separated from the local peopleâ€™s belief. It was created and has been performed as an attempt to ward off misfortune. It was created and performed to avoid disaster or epidemic locally referred to as mrana, whereas Gandrung Dance was created and performed to be offered to Gods for the abundant agricultural yield. It has usually been performed before Sanghyang Dance is performed. The ceremonial procession during which they are performed is initiated with several traditional activities, starting from a notification which is made for the local people to get involved in the event when cockfighting is held. Then, the procession, which lasts for 42 days (the Balinese calendar-based one month and seven days), is held. They are performed at night from 7.00 to 10 p.m. Indonesia Central Time. The procession starts with Gandrung Dance, which is performed with 9 dancing movements, and then Sanghyang Dance, which is performed with 11 dancing movements. After lasting for 42 days, the procession is closed with a rite locally referred to as tegen-tegenan procession in which agricultural products are carried by those involved in the procession. Sanghyang Gandrung Dance has religious, social and educational functions. The local people perform it to express their thanks to God, ethics and aesthetics, and to ward off misfortune.

POLITICS OF POWER IN MARGINALIZATION OF SASAK GANDRUNG PERFORMING ART IN LOMBOK Trisnawati, Ida Ayu; Suarka, I Nyoman; Parimartha, I Gde; Sugiartha, I Gede Arya
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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

A change is occurring to the Sasak gandrung performing art performed at Dasan Tereng Village, Narmada District, West Lombok District, West Nuasa Tenggara. The development of the understanding of Islam among the Sasak ethnic people has widely affected the development of such a performing art. The marginalization of the Sasak gandrung performing art cannot be separated from the limited protection given by the government, the strengthening of the religious fundamentalism, and the decrease in the supporting community’s self-confidence. This present study is intended to identify one of the three phenomena of the marginalization of the gandrung Sasak performing art, especially the strengthening of the religious fundamentalism of the waktu lima Islam. The data were collected through observation, interview, and documents which are related to the gandrung Sasak. The data were analyzed qualitatively using the Theory of Social Practice proposed by Pierre Bourdieu. The results of the study show that the strengthening of the religious fundamentalism of waktu lima Islam caused the wetu telu Muslims to convert into waktu lima Muslims. The consequence is that the gandrung Sasak performing art, inherited from generation to generation, has gradually become marginalized. It has not been included in the list of the performing art in West Lombok Regency. The strengthening of the religious fundalism cannot be separated from the wetu telu Islamic teaching which is not in accordance with the waktu lima Islamic teaching, which is based on Al-Quran and Hadist. Such a gandrung performing art is believed to be not in accordance with Al-Quran and Hadist which are believed by the waktu lima Muslims.

Identifikasi Kesenian Etnis Sasak, Etnis Bali Dan Seni Akulturasi Di Kota Mataram Ida Ayu Trisnawati; I Gusti Lanang Oka Ardika; I Nyoman Kariasa
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Penelitian ini merupakan penelitian yang bertujuan untuk mengidentifikasi kesenian etnis Sasak, Etnis Bali dan seni akulturasi di Kota Mataram. Hasil identifikasi selanjutnya dikemas dalam bentuk DVD Seni Pertunjukan dengan tema yaitu Untaian Mutiara Gumi Sasak. Cerita dalam DVD dibalut dengan kisah Dewi Rengganis yang nantinya memunculkan potensi seni dan etnis di Kota Mataram sehingga bisa menjadi tujuan wisata dunia. Hasil penelitian menunjukan bahwa kehidupan masyarakat Kota Mataram cukup harmonis walaupun terdiri dari berbagai etnis seperti etnis Sasak sebagai penduduk asli, etnis Bali, Jawa, Melayu dan sebagainya yang merupakan penduduk pendatang. Keharomisan ini terbukti dari adanya pemahaman tentang keberadaan kotanya yang pluralisme, kemudian di praktekan dalam kehidupan yang toleransi sehingga menciptakan suatu kehidupan rukun yang menjadi modal masyarakat dalam mengembangkan diri. Situasi yang harmonis ini menarik sehingga diwujudkan dalam sebuah seni kolaborasi dengan tema Untaian Mutiara Gumi Sasak yang berceritakan tentang keberagaman seni budaya di Kota Mataram yang hidup harmonis. Cerita ini di balut dalam kisah Dewi Rengganis yang merupakn cerita asli suku Sasak. Hasil seni kolaborasi ini diharapkan menjadi salah satu nilai jual sekaligus produk wisata alternatif yang bisa membantu mewujudkan kota Mataram menjadi salah satu tujuan wisata dunia.This research is intended to identify the arts of Sasak ethnic, Bali ethnic and the arts acculturation in Mataram city. Next the results of identification is packed in performing arts DVDs in theme Untaian Mutiara Gumi Sasak (The Pearl Strands World Of Sasak). The DVD tells the story of Dewi Rengganis which later raises the potential of art and ethnicity in Mataram so it became a world tourism destination. The research shows that the society life of Mataram city quite harmonious although consists of different ethnicities such as ethnic Sasak as a native, Bali, Java, or Malay ethnic and many others which is a resident immigrants. The harmony proven by the notion of the existance of pluralism in the city, then practiced into a tolerance life thus creating a along well life which became the community asset to develop themselves. This harmonious situation is very interesting so that manifested in an art collaborations with theme Untaian Mutiara Gumi Sasak which tells about the art and culture diversity in Mataram city who lives in harmony. This story is made from the story of Dewi Rengganis which is the original story of Sasak tribe. The results of this collaborative art expected to become one of the selling points as well as an alternative tourism product which be able helped the materialize of Mataram city became one of the world's tourist destination.

Pembinaan Tari Puspa Arum dan Pelatihan Tata Rias Tari Bagi Penari Kolok di Desa Bengkala Kubutambahan Buleleng Bali Ida Ayu Trisnawati; Sulistyani Sulistyani; Gede Basuyoga Prabhawita
GERVASI: Jurnal Pengabdian kepada Masyarakat Vol 6, No 1 (2022): GERVASI: Jurnal Pengabdian Kepada Masyarakat
Publisher : LPPM IKIP PGRI Pontianak

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31571/gervasi.v6i1.3042

Kegiatan pengabdian kepada masyarakat ini dilatarbelakangi oleh keberadaan masyarakat difabel tuli bisu (Bahasa Bali disebut kolok) di desa Bengkala. Metode yang digunakan dalam pengabdian ini adalah pendampingan Tari Puspa Arum yang terdiri dari penentuan jadwal, pemberian latihan teknis dasar tari dan rias, latihan rutin, pementasan, dan dokumentasi. Hasil kegiatan pengabdian ini adanya tim penari Puspa Arum yang berjumlah enam orang dua orang difabel dan 4 orang putri desa Bengkala. Dari dua keterampilan yang diperoleh diharapkan nantinya penari ini bisa memiliki pekerjaan sampingan yang berdampak ekonomi sebagai penari dan perias tari. Adapun kendala yang dihadapi selama melakukan pengabdian di desa Bengkala yaitu kendala bahasa isyarat, kemudian kebijakan PPKM, keterampilan awal penari dan tata rias yang rendah. Kegiatan pengabdian ini sangat disambut baik oleh masyarakat sasaran dan pemerintah desa Bengkala. Kedepannya diharapkan bisa dilakukan kegiatan serupa yang menyasar masyarakat difabel sehingga kehidupan mereka meningkat secara ekonomi maupun kesejahteraannya.

"Strands of Gumi Sasak Pearls" Harmony-based Tourism Products in Mataram City, West Nusa Tenggara Ida Ayu Trisnawati; I Gusti Lanang Oka Ardika; I Nyoman Kariasa
Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v31i3.44

This research is aimed at identifying the Sasak ethnic art, Balinese ethnic and art acculturation in Mataram. Results ofsubsequent identification is packaged in a DVD for the Performing Arts with the theme of strands of Gumi Sasak pearls. The story in the DVD is wrapped with the story of Dewi Rengganis that will bring the potential of art and ethnicity in Mataram so that it can become a World tourist destinationThe results showed that people's lives of Mataram city are quite harmonious eventhough composed of various ethnic groups such as Sasak as indigenous people, Balinese, Javanese, Malay and so forth that they are migrant population. Harmony is evident from the understanding of the city pluralism, then practiced in the tolerance life that create a harmonious life that becomes public capital to develop themselves. This harmonious situation is so interesting that it is realized in a collaborative art with the theme of strands of Gumi Sasak pearls that tells about the diversity of art and culture in the city of Mataram that lives in harmony. This story is wrapped in the story of Dewi Rengganis that becomes an original story of Sasak tribe. The result ofthis collaborative art is expected to be one ofthe selling points and at once an alternative tourism product that could help realize Mataram city to be one of the Worldâ€˜s tourist destinations.Keywords: pluralism of arts, tourism potential, Mataram City

Jangkang Baris Dance in Sidatapa Village Study on The Meaning And Potential as Tourist Attraction Ida Ayu Trisnawati; Dedi Gusman
Mudra Jurnal Seni Budaya Vol 38 No 3 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i3.2370

This study aims to determine the meaning and potential as a tourist attraction for the Baris Jangkang Dance in Sidatapa village. This dance is very distinctive with the Balinese Aga culture which is different from Balinese culture in general. This research is qualitative in nature starting with determining the location in Sidatapa village. Collecting data using in-depth interviews, observation, and document studies. The results were analyzed using interactive analysis. The results showed that the Baris Jangkang Dance in Sidatapa village was popularly known as the Jangkang dance or war dance. This dance is used as a representation of the warrior spirit of the Sidatapa community in dealing with enemies who disturb the peace of the village. Baris Jangkang dance dancers are divided into two types of dancers, namely truna dancers (never dance) and surudan dancers (already dancing). Its position is divided into prabangsa (leader) and prawira (troop). The first potential could be watching dance and drum practice. The second is by watching live during the show. Third, selling various documentations of the Baris Jangka dance in various forms, such as VCDs, photos, clothes and as souvenirs for Sidatapa.

Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama Ciclia Indraningsih Jeno; Ni Made Arshiniwati; Ida Ayu Trisnawati
Mudra Jurnal Seni Budaya Vol 38 No 4 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i4.2038

Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.

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