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All Journal E-Journal Of Cultural Studies MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni Pendas : Jurnah Ilmiah Pendidikan Dasar GERVASI: Jurnal Pengabdian kepada Masyarakat Dinasti International Journal of Education Management and Social Science JOURNAL SCIENTIFIC OF MANDALIKA (JSM) Jurnal Penelitan Mahasiswa Indonesia Center of Knowledge Gesture: Jurnal Seni Tari Journal of Aesthetics, Creativity and Art Management Jurnal Igel: Journal of Dance Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Riset Rumpun Ilmu Pendidikan (JURRIPEN) Cendikia Pendidikan EMAS Pensi: Jurnal Ilmiah Pendidikan Seni Global Art Creativity Conference
Ida Ayu Trisnawati, Ida Ayu
Institut Seni Indonesia Denpasar
Religion Arts Humanities Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Mathematics Social Sciences Other

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PENGARUH CITRA MEREK, KUALITAS PRODUK DAN PROMOSI TERHADAP KEPUTUSAN PEMBELIAN BEDAK MARCKS DAN VENUS DI APOTEK KIMIA FARMA DENPASAR Ida Ayu Mely Trisnawati M; I Nengah Suardhika; I Gde Yudhi Hendrawan
EMAS Vol. 3 No. 3 (2022): EMAS
Publisher : Program Studi Manajemen Fakultas Ekonomi dan Bisnis Universitas Mahasaraswati Denpasar.

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Abstract

Seiring dengan berkembangnya zaman, kosmetik sudah menjadi kebutuhan dasar dalam menjaga penampilan. Bedak adalah suatu jenis produk kosmetik dekoratif yang berfungsi menutupi kekurangan pada wajah seperti menutupi kulit wajah yang mengilapatau warna kulit yang tidak rata. Tentunya ada beberapa faktor yang mungkin mempengaruhi meningkatnya penjualan Bedak Marcks dan Venus di Apotek Kimia Farma Denpasar. Maka dari itu, peneliti bertujuan untuk mengetahui pengaruh citra merek, kualitas produk dan promosi terhadap keputusan pembelian bedak Marcks dan Venus di Apotek Kimia Farma Denpasar. Penelitian ini dilakukan di Kota Denpasar yang difokuskan ini di lakukan di Apotek Kimia Farma. Metode pengumpulan data melalui penyebaran kuesioner kepada 100 responden yang pernah melakukan transaksi pembelian selama satu tahun terakhir dan berdomisili di Kota Denpasar. Dalam pembagian sampel peneliti mengunakan non probability sampling berupa purposive sampling dengan jumlah 100 responden. Teknik analisis data dalam penelitian ini menggunakan teknik analisis linear berganda yang diolah menggunakan aplikasi IBM SPSS 23.0 for Windows. Hasil analisis menunjukkan bahwa, 1) citra merek berpengaruh positif dan signifikan terhadap keputusan pembelian bedak Marcks dan Venus di Apotek Kimia Farma Denpasar. 2) Kualitas produk berpengaruh positif dan signifikan terhadap keputusan pembelian bedak Marcks dan Venus di Apotek Kimia Farma Denpasar. 3) Promosi berpengaruh positif dan signifikan terhadap keputusan pembelian bedak Marcks dan Venus di Apotek Kimia Farma Denpasar. Hasil ini menjelaskan bahwa naiknya promosi akan berpengaruh dengan meningkatnya keputusan pembelian bedak Marcks dan Venus di Apotek Kimia Farma Denpasar.
Deconstructing The Meaning Of The Representation Of The Sanghyang Gandrung Dance Ida ayu Trisnawati
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 2 (2018): October
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i2.383

Abstract

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.  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 Sanghyang  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 people’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.
Performance Model and the Problems of Packaging Balinese Dance in the New Normal Era Ida Ayu Trisnawati; Sulistyani Sulistyani
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 4 No. 1 (2021): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v4i1.1411

Abstract

This study aims to explain the adaptation patterns of dance in the new normal era to maintain the existence of art and prevented Covid-19 terviews, and observations of various art performances in the new normal era. Furthermore, the data were analyzed with interactive analysis and presented critically with analysis assisted by the socio-cultural theory and art. Research results show that Covid-19 has changed various orders of human life, including dance. Dance performances must follow health protocols to prevent the spread of Covid-19, as a result, there is an adaptation from aesthetics to health. This then led to the staging of the Covid-19 model using various preventative equipment such as masks, face shields, keeping your distance, wearing hand slopes, limiting the number of spectators, and virtual performances. All done by the artist to be able to keep performing arts, but also not neglecting the safety of the dancers, musicians, and the audience. Even though it is realized that using various Covid-19 prevention equipment has caused the aesthetic level of art to decrease. Also, artists experience various problems such as discomfort when performing, the problem of uneven technology facilities, the cost of providing expensive equipment, many artists do not have sufficient knowledge of digital art. Even so, artists are still trying to adapt to be accepted by the wider community in the new normal era.
TARI AMERTA SRI BUMI: REPRESENTASI UPACARA PERANG TIPAT DALAM MERDEKA BELAJAR-KAMPUS MERDEKA BERSAMA SANGGAR SENI PANCER LANGIIT Ni Kadek Ary Apriyani; Ida Ayu Trisnawati; A.A Ketut Oka Adnyana
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.v2i1.1603

Abstract

This article is the result of research from the Amerta Sri Bumi Dance: Representation of the Tipat War Ceremony as a new dance creation symbolized as Purusa and Pradana as well as the depiction of Dewi Sri as the Goddess of fertility.This research focuses on the creative process and the form of the Amerta Sri Bumi Dance presentation. This research was structured based on postmodern theory, creativetheoryand the theory of group choreography elements by using qualitative research methods through interview techniques, literature study techniques and documentation techniques.Data analysis has shown that Amerta Sri Bumi Dance is either a welcome dance or an inspired creation of cultural attractions which are the hay hairier and more commonly known as the tipat wars and pillows that are in the Kapal village, Badung distric. By means of the concept of interpreting tipat and the pillows that lifted the essence by bringing together the two symbolic elements of the source of affluence, Purusa and Pradana, fertility, described as goddess Sri.The method employed in the creation of Amerta Sri Bumi dance is the langon method stemming from lontar Purwadigama that states that there are three concepts such as (1) concepts control called ungon, (2) concepts reinforcement called ingon, (3) concepts the mastery called angon.The Amerta Sri Bumi dance uses seven dancers, namely three women symbolized as Pradana, three men symbolized as Purusa. Then one woman as the character of Dewi Sri who wears a magnificent sling.
Estetika Tari Lango Dewi di Pura Beji Langon Ni Luh Putu Erika Yulianti; Ida Ayu Trisnawati; Sulistyani Sulistyani
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.v3i1.2382

Abstract

ABSTRACT Lango Dewi dance, inspired by a group of nymphs who came to Beji Langon to take Toya Amertha. Beji Langon, also known as Pancoran Dedari, is located in Kapal Village, Mengwi, Badung. Beji Langon Temple is a temple that serves as the location of Ida Bhatara's purification which is located at the Kahyangan Temple in the Three Traditional Ship Villages, namely Pura Desa, Pura Puseh and Pura Dalem. The manifestation of Ida Sang Hyang Widhi who is worshiped at Beji Langon Temple is Dewi Gangga, as the Goddess of water who is in charge of purifying this universe. Goddess Gangga is worshiped at Beji Langon Temple because at this temple a statue of the goddess was found sitting in the middle of the main pool of Beji Langon Temple. Thus, this Beji temple functions as a place of purification and cleansing on a scale and no basis). Beji Langon Temple is one of the relics of an old site in Badung that has recorded traces of water civilization in the Badung area. On this occasion the researcher took the MBKM policy for the Research or Research program with the object of research being the Lango Dewi Dance. The purpose of this study was to analyze the aesthetics contained in the Lango Dewi Dance. The method used in this research is qualitative method. The research method includes observation, interviews, literature study, and documentation. The function and meaning can be seen, the primary and secondary functions of the Lango Dewi Dance and the meaning to society and the Lango Dewi Dance studio. Keywords: Lango Dewi, Beji Langon Temple, Form, Aesthetics, Meaning and Function.
Tari Teruna Goak, dari Tradisi Permainan Magoak-goakan ke Tari Kontemporer Nyoman Arya Baratha; Ida Ayu Trisnawati; I Wayan Sutirtha
Jurnal IGEL : Journal Of Dance Vol 3 No 2 (2023)
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

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Abstract

Abstrak Tari Teruna Goak adalah sebuah karya ciptaan baru dengan wujud kontemporer yang terinspirasi dari cerita tradisi permainan megoak-goakan. Karya tari ini berbentuk tari kelompok ditarikan oleh tujuh orang penari putra yang menginterpretasikan karakter pasukan Teruna Goak. Tujuan penciptaan karya tari ini adalah ingin menyampaikan pesan agar mampu mempertahankan serta melestarikan tradisi yang sudah ada sejak dulu dan nilai-nilai yang terkandung didalamnya dapat dijadikan tolak ukur untuk berbuat lebih baik. Tari Teruna Goak tercipta melalui proses penciptaan dengan menggunakan metode penciptaan Alma M. Hawkins yaitu eksplorasi, improvisasi, dan forming. Sumber informasi yang digunakan sebagai acuan adalah berupa sumber pustaka, diskografi, wawancara, dan pengamatan langsung. Adapun teori yang digunakan yaitu teori imajinasi, teori simbol, teori penciptaan, dan teori estetika. Hasil penciptaan karya tari ini adalah tari dengan wujud kontemporer berjudul Teruna Goak yang strukturnya terdiri dari bagian ; awal, isi, dan akhir. Beberapa gerak yang digunakan yaitu gerak peniruan dari burung gagak dan ketangkasan teruna tidak terlepas dari tari tradisi yaitu tetap mendapatkan inspirasi dari agem, tandang, tangkep, dan tangkis yang dieksplorasi kembali menjadi wujud baru. Penata menggunakan aplikasi software FL Studio 2020 sebagai media pengiring musik tari. Tata rias yang digunakan yaitu tata rias fantasi untuk mempertegas karakter yang dibawakan, sedangkan busana yang digunakan lebih dominan berwarna hitam yang dipadukan dengan warna merah dan putih. Kata Kunci: Teruna Goak, pasukan, kontemporer, penciptaan.
Kembalikan Baliku Community’s Concept of Janger Semara Ratih Dance and the Interest of Jakarta’s Young Generation Permata, Faizha Dyah; Trisnawati, Ida Ayu; Sustiawati, Ni Luh
Journal of Aesthetics, Creativity and Art Management Vol. 3 No. 1 (2024): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jacam.v3i1.3701

Abstract

This research was conducted to examine the concept of the Janger Semara Ratih dance work which aims to attract the interest of visitors to the Indonesia Kaya Gallery, especially the younger generation. This research was conducted using qualitative methods. This was carried out in an interview process with the Janger Dance choreographer Semara Ratih, founder of the Kembalikan Baliku Community. Apart from that, data can also be obtained from recordings of the Janger Semara Ratih dance, choreographer interviews from several media and supporting books that match the focus of the discussion. The traditional art of Balinese dance is still very popular among the younger generation, especially in the city of Jakarta, Indonesia. There is a dance community in Jakarta, founded three years ago which presents a dance performance entitled Janger Semara Ratih. This dance work has been performed at an annual event namely Indonesian Cultural Heritage and also at regular events at the Indonesia Kaya Gallery. The Janger Semara Ratih dance work was performed by several dancers who are members of the Kembalikan Baliku Community. This performance is presented to attract the interest of the younger generation in Jakarta to help preserve Balinese dance arts by providing story concepts related to the lives of today's young people.
Tari Sesandaran Di Griya Delod Pasar Desa Adat Intaran; Kajian Bentuk, Fungsi Dan Makna. Sidhi, I Putu Gede Serana Asta; Trisnawati, Ida Ayu; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 4 No 1 (2024): Jurnal IGEL Vol 4 No 1 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i1.4196

Abstract

The Sesandaran dance at Griya Delod Pasar is a bebali dance that is sacred to the people and was born in the Intaran Traditional Village. This Sesandaran Dance is the same as the Telek Dance which uses a white tapel or mask and has a subtle character. Of course, the Sesandaran Dance which is located at Griya Delod Pasar is created with its own characteristics and identity. These characteristics exist at the beginning, the form of the dance. This Sesandaran Dance Research uses a qualitative research method with a descriptive qualitative approach. The research data was obtained through several stages, namely observation, structured and unstructured interviews, and indirectly through library research and documentation studies. The final task of the independent learning program in the dance study program this time the researcher chose the object of the Sesandaran Dance at Griya Delod Pasar as the object of research.ance, the function and meaning of the dance. The research results obtained that the Sesandaran Dance at Griya Delod Pasar is a group dance danced by ten dancers. The ten dancers are divided into four lean dancers, four jauk omang dancers, one telek dancer “Ni Swarni” and one jauk lingsir or Gore dancer. The Sesandaran dance at Griya Delod Pasar is built with eight dance structures, namely: Pepeson/Bebarisan, crewman, Pepeson Telek “Ni Swarni”, Pengecet, Pepeson Jauk Omang, Pepeson Gore/Jauk Lingsir, Pesiat and Pekaad. This dance has a function as an accompaniment to sacred performances or opening during the procession of mepajar or Ida Sesuhunan napak pertiwi. This Sesandaran dance contains four meanings, namely, religious meaning, creative meaning, aesthetic meaning and identity meaning
GELUNGAN PANJI DALAM KULTUR BALI, SEBUAH KAJIAN HERMENEUTIK ANTROPOLOGIS Satyani, Ida Ayu Wayan Arya; Trisnawati, Ida Ayu; Sudarta, I Gusti Putu; Sudirana, I Wayan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Gelungan Panji adalah hiasan kepala tokoh Panji dalam seni pertunjukan dramatari Gambuh. Dibandingkan dengan bagian busana lainnya, gelungan Panji mendapat perlakuan istimewa dari masyarakat pemiliknya. Dihormati sebagai sungsungan, bergelar Ratu Panji atau Batara Panji Landung Shakti, ada juga cerita gelungan Panji niskala. Meski demikian, kajian mendalam mengenai gelungan Panji belum ditemukan. Tujuan penelitian ini, untuk menginterpretasi makna gelungan Panji melalui bahasan: Apa itu gelungan Panji? Mengapa mendapat perlakuan istimewa? Bagaimana bentuk, struktur, dan makna gelungan Panji? Penelitian ini menggunakan metoda interpretasi dalam teori hermeneutika antropologis menurut Clifford Geertz. Terdapat empat langkah operasional dalam metoda ini, yaitu: 1) menentukan objek (teks) dan komunitas etnis (penulis teksnya), 2) melakukan studi etnografi, 3) menuliskan, merefleksikan, memahami struktur makna, 4) pelukisan mendalam, menemukan struktur makna yang khas. Hasil penelitian bahwa keyakinan masyarakat Bali terhadap prinsip hulu teben; satyam-siwam-sundharam; dan taksu mengejawantah dalam perilaku memuliakan gelungan Panji. Desain gelungan Panji tersusun oleh sepuluh elemen utama yang mencerminkan keutamaan Panji. Panji merupakan karakter idaman masyarakat Nusantara dengan keutamaan fisik, mental, maupun spiritual sebagai seorang bangsawan. Bangsawan di era kini hendaknya dimaknai sebagai setiap individu yang mampu memenuhi tantangan zaman, berguna bagi setiap mahluk, memiliki kecerdasan spiritual serta kerendahhatian sebagaimana citra Panji.
Media Pendidikan Karakter Pada Pembelajaran Seni Karawitan di Kerobokan Diantara, I Putu Arya; Trisnawati, Ida Ayu; Arshiniwati, Ni Made
Jurnal Penelitian Mahasiswa Indonesia Vol. 4 No. 4 (2024): November
Publisher : STKIP AGAMA HINDU SINGARAJA

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Abstract

This research aims to discuss the importance of character education for Sekehe Gong Taman Satya Budaya Kerobokan Kelod through the media of Gong Kebyar gamelan training. The data collection methods used were observation, literature study, documentation study and interviews where data collection was carried out by observation and interviews in the field. The analysis used is qualitative analysis. This research uses factors that influence the level of success in character education and is linked to the Gong Kebyar gamelan learning method. This is very significant considering that character education is an effort to embody the Sekehe Gong Taman Satya Budaya Kerobokan Kelod which is based on the reality of the problems in this research such as the decline in the quality of youth's attractiveness in participating in musical arts due to digital technology. By optimizing character education for youth at Sekehe Gong Taman Satya Budaya Kerobokan Kelod through the application of musical art teaching methods, especially Gong Kebyar, youth are expected to be able to increase good knowledge (moral knowing), good feelings (moral feeling) and good behavior (moral action). Theoretically, the results of this research are expected to contribute to the community of Banjar Taman Kerobokan Kelod so that it can help in increasing the intelligence of students and can be applied in both formal and informal learning processes, so that the aim of character education through art can provide material to students, so that they can also realize it significantly.
Co-Authors A.A Ketut Oka Adnyana Adhyatma, I Putu Ananta Wira Adnyana, A.A Ketut Oka Apriyani, Ni Kadek Ary Ardika, I Gusti Lanang Oka Budiastomo, Denta Mandra Pradipta Ciclia Indraningsih Jeno Dedi Gusman Dewi, Ida Ayu Chandra Diantara, I Putu Arya Fauziah Shahab Gede Basuyoga Prabhawita Harischandra, Ida Bagus Yodhie I Gde Parimartha I Gde Yudhi Hendrawan I Gede Arya Sugiartha, I Gede Arya I Gusti Lanang Oka Ardika I Gusti Lanang Oka Ardika I Ketut Sariada, I Ketut I Ketut Sutapa I Komang Rio Saputra Dinata I Nengah Suardhika I Nyoman Kariasa, I Nyoman I Nyoman Suarka I Wayan Adi Gunarta I Wayan Adnyana Ida Ayu Chandra Dewi Ni Kadek Ary Apriyani Ni Kadek Ayu Devy Yanti Ni Ketut Ayu Pratini Wulandari Ni Luh Putu Erika Yulianti Ni Luh Sustiawati Ni Made Arshiniwati Ni Putu Laras Purnamasari Ni Wayan Ratih Wahyuriani Ni Wayan Suartini Nyoman Arya Baratha Nyoman Arya Baratha Oka, Ni Putu Putri Ditha Sumaridewi Permata, Faizha Dyah Rani Franciska, Ni Luh Putu Satyani, Ida Ayu Wayan Arya Sidhi, I Putu Gede Serana Asta Suari, Ni Made Pande Sudarta, I Gusti Putu Sudirana, I Wayan Sulistyani Sulistyani Sulistyani Sulistyani Sulistyani Sulistyani Suteja, I Kt. Sutirtha, I Wayan Wahyuriani, Ni Wayan Ratih Wayan Karja Widnyana, Kompiang Gede Yanti, Ni Kadek Ayu Devy Yulianti, Ni Luh Putu Erika