Article Per Year (5 Year)
p-Index From 2021 - 2026
5.412
P-Index
This Author published in this journals
All Journal E-Journal Of Cultural Studies PRASI: Jurnal Bahasa, Seni, dan Pengajarannya 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 ARMADA : Jurnal Penelitian Multidisiplin Kartala Visual Studies Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Riset Rumpun Ilmu Pendidikan (JURRIPEN) Cendikia Pendidikan EMAS: Jurnal Ekonomi, Manajemen dan Bisnis Pensi: Jurnal Ilmiah Pendidikan Seni Global Art Creativity Conference
Ida Ayu Trisnawati
Institut Seni Indonesia Bali
Religion Aerospace Engineering Agriculture, Biological Sciences & Forestry Arts Humanities Astronomy Automotive Engineering Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Dentistry Earth & Planetary Sciences Economics, Econometrics & Finance Education Electrical & Electronics Engineering Energy Engineering Environmental Science Health Professions Immunology & microbiology Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Mechanical Engineering Medicine & Pharmacology Neuroscience Nursing Physics Public Health Social Sciences Transportation Veterinary Other

Published : 44 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 44 Documents
Search

 1   2   3   4   5 
TARI AMERTA SRI BUMI: REPRESENTASI UPACARA PERANG TIPAT DALAM MERDEKA BELAJAR-KAMPUS MERDEKA BERSAMA SANGGAR SENI PANCER LANGIIT Apriyani, Ni Kadek Ary; Trisnawati, Ida Ayu; Adnyana, A.A Ketut Oka
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 | Full PDF (486.847 KB) | 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 Yulianti, Ni Luh Putu Erika; Trisnawati, Ida Ayu; 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

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

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.
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
THE CONTRIBUTION OF DIGITAL TECHNOLOGY TO ART STUDIO BUSINESS IN JAKARTA Budiastomo, Denta Mandra Pradipta; Trisnawati, Ida Ayu; Arshiniwati, Ni Made; Sudarta, I Gusti Putu
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.571

Abstract

By leveraging technology, empowering people, encouraging innovation, and strengthening organizations, art studios can increase competitiveness while maintaining the relevance of arts and culture in modern society. To develop a business, the combination of technology usually consists of knowledge and physical equipment. Technoware (T), Humanware (H), Infoware (I), and Orgaware (O) are four basic components of development that interact dynamically in the development process. The purpose of this study is to analyze the contribution of digital technology through various digital media to art studio businesses in Jakarta in arts and cultural activities. This research uses quantitative methods, data sources are determined through a purposive sampling technique. Data were collected by direct observation, interviews, Focus Group Discussions, document reviews, and literature studies. The results of this study show the coefficient value of the contribution of digital technology for each technological component of the art studio business for the welfare of artists.
Karya Tari : BHRANTACITTA Harischandra, Ida Bagus Yodhie; Trisnawati, Ida Ayu; Suteja, I Kt.
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31044

Abstract

Karya tari Bhrantacitta berangkat dari refleksi mendalam terhadap fase Grahasta Asrama dalam tradisi Hindu Bali, khususnya pengalaman seorang wanita yang berada di ambang perubahan status kehidupan. Inspirasi penciptaan muncul dari dua dimensi utama: (1) faktor internal, berupa gejolak rasa yang dialami wanita menjelang pernikahan; (2) faktor eksternal, berupa prosesi sakral Mekala-kalaan sebagai bagian dari prosesi pernikahan adat Bali. Karya ini hadir karena kebutuhan untuk mengungkap ulang makna spiritual dan kultural dari pernikahan yang berangkat dari urgensi untuk menghadirkan kembali kesadaran kolektif tentang nilai spiritual dan transformatif dari pernikahan adat Bali. Proses penciptaan karya ini menggunakan metode Urip Manga, yang terdiri dari lima tahapan: ngawit, ngekeb, madewasa ayu, mejauman, dan ngungkab lawang. Metode ini dikembangkan melalui pendekatan site specific berbasis realitas virtual. Konsep ini menghadirkan perpaduan antara ruang, tubuh, dan ilusi peristiwa, di mana unsur-unsur pertunjukan menggambarkan pengalaman-pengalaman spiritual yang berakar pada realitas budaya. Koreografi menempati dan berinteraksi dengan ruang, menciptakan dimensi visual yang merepresentasikan makna dari tiap tahapan ritual pernikahan. Hasil penciptaan karya ini menunjukkan proses kreativitas yang berkembang dari eksplorasi rasa dan pengalaman budaya, pembentukan wujud dan struktur tari yang berakar dari simbolisme ritual, serta penyampaian pesan bahwa pernikahan bukan semata perayaan sosial, tetapi sebuah laku hidup yang menuntut pemahaman, penghormatan, dan kesiapan batin. Melalui Bhrantacitta, karya ini menjadi pengingat bahwasannya pernikahan merupakan fase paling suci dalam kehidupan, yang menyatukan dua insan sekaligus menuntun mereka menapaki jalan spiritual melalui rangkaian prosesi penuh makna, seperti tahapan Mekala-kalaan.
Resilience of Jakarta’s Performing Arts Studios: A THIO Analysis of Digital Technology in the Creative Ekonomi Denta Mandra Pradipta Budiastomo; Ida Ayu Trisnawati; I Gusti Putu Sudarta; Ni Made Arshiniwati
Dinasti International Journal of Education Management And Social Science Vol. 6 No. 6 (2025): Dinasti International Journal of Education Management and Social Science (Augus
Publisher : Dinasti Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38035/dijemss.v6i6.4980

Abstract

Many things have altered as a result of the rise of information and communication technology, and society's transition to the digital age. Advances in digital technology have transformed how performing arts studios understand and produce works of art. The purpose of this study is to determine the value of the contribution of performing arts studios in running their businesses, as well as solutions in choosing digital technology in art activities. This research is quantitative; the sample in this study was 30 respondents. This figure was derived from five performing arts enterprises, each representing six areas in DKI Jakarta, together with input from eight experts. The analysis technique used in the research uses THIO (Technology, Human, Information, Organization) analysis and creative economy theory. This study's findings indicate a Technology Contribution Coefficient (TCC) of 0.339 for the use of digital technology in performing arts studios in Jakarta, categorized as a reasonable value. 
Tipologi Visual Batik Betawi : Analisis Negosiasi Artistik Sanggar Batik Betawi Terogong dan Gandaria Jakarta Damar rangga putra; Ida Ayu Trisnawati; I Ketut Sida Arsa; Ida Ayu Kade Sri Sukmadewi
Kartala Virtual Studies Vol 5 No 2 (2026): Juni 2026
Publisher : Universitas Budi Luhur

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36080/kvs.v5i2.348

Abstract

This research aims to analyze the transformation of Batik Betawi visual motifs as a response to Jakarta provincial government policies and urban market dynamics. Utilizing Pierre Bourdieu's social practice theory, this study examines how artisans at Sanggar Terogong and Gandaria navigate artistic negotiations between official government iconography and local collective memory. The research employs a qualitative method through field observations and in-depth interviews. The findings reveal a visual polarization: on one hand, artisans produce popular iconic motifs such as Monas and Ondel-ondel to meet policy legitimacy standards (symbolic capital); on the other hand, they conserve agrarian memories through endemic floral motifs like Mengkudu and Salak Condet as a form of symbolic resistance. The study concludes that the contemporary visual identity of Batik Betawi is the result of a dialectic between top-down policy interventions and bottom-up artisan habitus.
Tari Sandar di Pura Luhur Ulun Swi Desa Adat Seseh, Kecamatan Mengwi, Kabupaten Badung I Putu Ananta Wira Adhyatma; Ida Ayu Trisnawati; I Ketut Sariada
Center of Knowledge : Jurnal Pendidikan Dan Pengabdian Masyarakat Volume 5 Nomor 2 Agustus 2025
Publisher : Pusdikra Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51178/cok.v5i2.2823

Abstract

Tari Sandar merupakan salah satu tari upacara yang dipentaskan dalam rangkaian upacara Dewa Yadnya di Pura Luhur Ulun Swi, Desa Adat Seseh, Kecamatan Mengwi, Kabupaten Badung. Penelitian ini bertujuan untuk memahami Tari Sandar yang ada di Pura Luhur Ulun Swi, Desa Adat Seseh, Kecamatan Mengwi, Kabupaten Badung. Rumusan masalah dalam penelitian ini meliputi: (1) Awal mula Tari Sandar; (2) Bentuk pertunjukan Tari Sandar; (3) Makna yang terkandung dalam pertunjukan Tari Sandar. Teori yang digunakan dalam penelitian ini meliputi teori religi, teori estetika Hindu serta teori semiotika. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan teknik pengumpulan data melalui observasi langsung, wawancara, studi dokumentasi, dan studi kepustakaan. Hasil penelitian menunjukkan bahwa: (1) Kemunculan Tari Sandar ditandai dengan peristiwa tapel Barong Ket dihanyutkan dari wilayah Jimbaran karena dianggap tidak layak, lalu terdampar di pesisir Desa Adat Seseh. Peristiwa tersebut diyakini sebagai pawisik, kemudian tapel itu diabadikan sebagai benda suci di Pura Luhur Ulun Swi, peristiwa tersebut kemudian diyakini sebagai cikal bakal lahirnya Tari Sandar. (2) Bentuk pertunjukan Tari Sandar dapat dikategorikan sebagai dramatari, yang melibatkan beberapa lakon yaitu penari Sandar, Jauk Kembar, Topeng Tua, dan Topeng Telek. (3) Makna yang terkandung dalam Tari Sandar terepresentasi melalui alur pertunjukan tersusun atas dasar penanda dan petanda yang dapat dibaca secara denotatif, konotatif, maupun dalam bentuk mitos. Sebagai kesenian sakral, Tari Sandar menjadi bagian penting dari identitas budaya masyarakat Desa Adat Seseh dan terus dijaga keberlanjutannya melalui siklus upacara dan keterlibatan kolektif warga setempat.
PEMBELAJARAN DASAR TARI BALI BERBASIS STEAM: INOVASI INKLUSIF UNTUK ANAK BERKEBUTUHAN KHUSUS TUNARUNGU Ni Nyoman Tantri Pertiwi; Ida Ayu Trisnawati; I Wayan Budiarsa; Ida Ayu Kade Sri Sukma Dewi
PRASI Vol. 21 No. 02 (2026)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/prasi.v21i02.115549

Abstract

Penelitian ini dilatarbelakangi oleh kebutuhan pengembangan model pembelajaran seni yang inklusif bagi peserta didik tunarungu, khususnya dalam pembelajaran dasar tari Bali. Meskipun kebijakan pendidikan inklusif di Indonesia telah berkembang, implementasinya masih menghadapi tantangan, terutama terkait keterbatasan media pembelajaran yang adaptif. Penelitian ini bertujuan untuk menganalisis penerapan pembelajaran dasar tari Bali berbasis pendekatan STEAM (Science, Technology, Engineering, Arts, and Mathematics) dengan memanfaatkan buku Seni Tari Bali dalam Alunan Sunyi sebagai media utama pembelajaran. Penelitian menggunakan pendekatan kualitatif dengan desain fenomenologi transendental Edmund Husserl. Data diperoleh melalui observasi partisipatif, wawancara mendalam, dan dokumentasi untuk menggali proses pembelajaran, pengalaman, serta makna yang dirasakan oleh peserta didik tunarungu dan guru selama pembelajaran berlangsung. Hasil penelitian menunjukkan bahwa penerapan pembelajaran berbasis STEAM dengan dukungan media visual mampu meningkatkan keterlibatan, kemandirian, serta kreativitas peserta didik tunarungu dalam proses pembelajaran tari. Pembelajaran menjadi lebih terstruktur, interaktif, dan kontekstual, serta mampu mengakomodasi keterbatasan akses auditori melalui pendekatan visual dan kinestetik. Selain itu, integrasi nilai-nilai kearifan lokal Bali memperkuat pemahaman peserta didik terhadap makna gerak tari, tidak hanya secara teknis tetapi juga secara budaya. Penelitian ini memberikan kontribusi dalam pengembangan model pembelajaran seni berbasis STEAM yang inklusif dan berbasis kearifan lokal Bali, serta dapat menjadi referensi dalam pengembangan pembelajaran seni bagi peserta didik berkebutuhan khusus.
Co-Authors A.A Ketut Oka Adnyana Adnyana, A.A Ketut Oka Apriyani, Ni Kadek Ary Ardika, I Gusti Lanang Oka Budiastomo, Denta Mandra Pradipta Ciclia Indraningsih Jeno Damar rangga putra Dedi Gusman Denta Mandra Pradipta Budiastomo Dewi, Ida Ayu Chandra Diantara, I Putu Arya Fauziah Shahab Gede Basuyoga Prabhawita Harischandra, Ida Bagus Yodhie I Dewa Made Indra Kumara Jaya 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 Gusti Ngurah Agung Manik Pranawa I Gusti Putu Sudarta I Ketut Sariada I Ketut Sida Arsa I Ketut Sutapa I Komang Nova Teguh Mahendra I Komang Rio Saputra Dinata I Nengah Suardhika I Nyoman Kariasa, I Nyoman I Nyoman Suarka I Putu Ananta Wira Adhyatma I Wayan Adi Gunarta I Wayan Adnyana I Wayan Budiarsa I Wayan Sutirtha Ida Ayu Chandra Dewi Ida Ayu Kade Sri Sukma Dewi Ida Ayu Kade Sri Sukmadewi 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 Nyoman Tantri Pertiwi 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 Sudirana, I Wayan Sulistyani Sulistyani Sulistyani Sulistyani Sulistyani Sulistyani Suteja, I Kt. Sutirtha, I Wayan Tantra, Putu Feby Eka Kawi Wahyuriani, Ni Wayan Ratih Wayan Karja Widnyana, Kompiang Gede Yanti, Ni Kadek Ayu Devy Yulianti, Ni Luh Putu Erika