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All Journal E-Journal Of Cultural Studies JOGED PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts KALANGWAN Segara Widya: Jurnal Penelitian Seni Panggung Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang JURNAL TATA KELOLA SENI Humaniora Pantun: Jurnal Ilmiah Seni Budaya Randwick International of Social Science Journal Ghurnita: Jurnal Seni Karawitan Center of Knowledge Journal of Aesthetics, Creativity and Art Management Jurnal Igel: Journal of Dance Jurnal Riset Rumpun Ilmu Bahasa (JURRIBAH) Pariwisata Budaya: Jurnal Ilmiah Pariwisata Agama dan Budaya Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Panggung Global Art Creativity Conference
I Ketut Sariada, I Ketut
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Bentuk Tari Renteng di Dusun Saren I, Nusa Penida, Klungkung Anak Agung Gde Agung Indrawan Indrawan; I Ketut Sariada; Ni Made Arshiniwati
Mudra Jurnal Seni Budaya Vol 36 No 1 (2021): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i1.1129

Abstract

Tari Renteng yang terdapat di Dusun Saren I, Nusa Penida, Klungkung adalah tarian sakral yang dibawakan oleh sekelompok orang dengan gerak, busana, dan iringan musik yang sangat sederhana. Tarian ini memiliki keunikan tersendiri yaitu bentuknya yang sederhana dan ditarikan secara berulang-ulang, terdapat prosesi ritual yang harus dilakukan oleh penari sebelum dipentaskan, memiliki keterkaitan dengan Pura Penataran Ped. Tujuan penelitian ini adalah untuk mendeskripsikan tari Renteng secara umum, dan khususnya memahami tarian ini melalui bentuknya. Metode yang digunakan dalam penelitian ini adalah kualitatif, dengan teknik pengumpulan data berupa observasi, wawancara, dan dokumentasi. Teori yang diterapkan adalah teori bentuk bermakna. Hasil penelitian menunjukkan bahwa bentuk tari Renteng di Dusun Saren I, Nusa Penida, Klungkung dapat dilihat dari gerak tari, struktur pertunjukan, dan elemen-elemen pertunjukannya. Kesimpulannya adalah bentuk tari Renteng di Dusun Saren I, Nusa Penida, Klungkung adalah tarian sakral yang ditarikan secara massal oleh sekelopok wanita dewasa berjumlah ganjil. Terdiri dari tiga gerak pokok yaitu ngelikas, nguler, dan mentang. Struktur pertunjukannya meliputi bagian awal, tengah, dan akhir. Tempat pentas yang digunakan yaitu pentas arena. Penarinya adalah wanita yang sudah menikah, berasal dari Dusun Saren I, dan menjadi penari atas keinginannya sendiri. Terdapat sesajen yang digunakan untuk mendak renteng. Rias yang digunakan adalah rias natural, sedangkan busananya yakni pakaian adat persembahyangan yang menjadi busana tari, dan diiringi dengan gamelan rerentengan.
A Dance Work Representing Ida Bagus Blangsinga’s Life Journey (The Maestro of Kebyar Duduk Dance in Blangsinga Style) Ida Ayu Triana Titania Manuaba; I Wayan Dibia; I Ketut Sariada
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (238.258 KB) | DOI: 10.31091/jacam.v1i1.1594

Abstract

This work aims to represent the figure of Ida Bagus Blangsinga, a master of the Kebyar Duduk dance in Blangsinga style. The method of creation used in this work uses the creation method which includes assessment, experimentation, and formation. This method is easily understood by the stylist to express and visualize several scenes in the work. The form of the chosen work is a new creation dance, because it provides space for development according to the wishes of the stylist. This work is danced by six female dancers and one male dancer using soft make-up and fashion that supports each part of the work. This work uses the fan and reverberation properties. This dance is made as a contribution to the development of Balinese dance especially to the new generation.
Arjuna Tapa: A new creation dance I Ketut Sariada; I Gede Oka Surya Negara; I Gede Mawan
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (843.678 KB) | DOI: 10.31091/jacam.v1i2.1832

Abstract

: Arjuna Tapa New Creation Dance is a new creation inspired by Arjuna Tapa's story. It is about the sending of Arjuna by Yudhisthira to meditate to Mount Indrakila in the hope of obtaining a powerful weapon, which can be used in the face of a major war against the Kauravas. In the hermitage Arjuna received many temptations such as the temptation of a number of angels from heaven, the temptation of the big pig incarnate Momosimuka, and the temptation of the hunter Kirata. But all the temptations can be overcome properly and finally because of Arjuna's determination, Lord Shiva gave Pasupati's Arrow as a gift that would later be able to destroy his enemies. This dance is performed by seven male dancers, carrying arrows. These seven dancers in certain scenes will be divided into two characters, namely five male characters who play the five pandavas, namely Yudistira, Bima, Arjuna, Nakula, and Sahadewa. While the other two dancers play female characters as Dewi Kunti and Dewi Drupadi. The creation process went through the stages of exploration, experimentation, and formation. The structure of the work consists of four parts, namely pepeson, pengawak, pengecet, and pekaad. The dance moves refer to the line dance movements. This dance is accompanied by a gamelan gong that lasts 12 minutes. The message conveyed in Arjuna Tapa New Creative Dance is that a true warrior will succeed in doing his job well and smoothly if he can overcome all the obstacles and temptations he faces in achieving his goals.
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.
Oleg Tamulilingan with Badung Style as the Primadona in the Performance Arts of Bali Tourism Ni Luh Ria Novitasari; Ni Made Ruastiti; I Ketut Sariada
Randwick International of Social Science Journal Vol. 4 No. 2 (2023): RISS Journal, April
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i2.658

Abstract

The Oleg Tamulilingan dance is a traditional Balinese dance with the theme of romance, which depicts the romance of male and female beetles, danced in pairs by a male and female dancer. Researchers have extensively discussed the popularity of the Oleg Tamulilingan Dance. But, no one has disclosed the Badung Style in Oleg Tamulilingan Dance has remained the primadonna of the Bali tourism industry. The question is: what is the structure of the Badung version of the Oleg Tamulilingan dance?; What is the origin of the Badung-style Oleg Tamulilingan dance?. This research was conducted using qualitative methods. The data sources for this study were: Oleg Tamulilingan with Badung Style Dance, dancers, musicians, dance teachers, artists, humanists, experts, and related communities who were selected based on purposive sampling and snowball techniques. All data that has been collected through observation, interviews, and literature studies was analyzed qualitatively. The results of the research show that the Badung Style in Oleg Tamulilingan Dance is performed in the form of a loose dance depicting a male and female beetle making out in a flower garden. This can be seen from the way it is presented, the makeup and clothing, as well as the musical accompaniment used. The structures used in the Oleg Tamulilingan with Badung Style performance are pepeson, pengawak, and pengecet. The emergence of the Badung Style in Oleg Tamulilingan dance was caused by internal and external factors. The internal factor of the Oleg Tamulilingan Dance is the talent of the first dancer, Gusti Ketut Raka Astuti, who teaches his students. The external factor is the development of tourism, which provides an opportunity for the development of the Badung Style in Oleg Tamulilingan Dance and has implications for the enrichment of the presentation model of the Oleg Tamulilingan Dance.
PENGGABUNGAN DUA GENRE TARI KE DALAM BENTUK KAKEBYARAN Putu Angga Pratama; I Ketut Sariada; I Nyoman Cerita
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.v1i2.869

Abstract

Kebyar Jang is a dance creation originating from Truna Jaya Dance and Rejang Sacred Lanang Dance. The two dance genres have different characteristics and movement patterns, then the creators combine them to produce a new dance creation using a theme of spirit combination. The purpose of the creation of the Kebyar Jang dance is to preserve and introduce the arts in the Buleleng area, especially dance.This dance creation uses the angripta-sasolahan method by I Kt. Suteja with stages: ngarencana, nuasen, makalin, nelesin and ngebah. Ngarencana is done by observing, thinking, and imagining the creative resources used. Nuasen is a ritual ceremony before improvising the movement by performing prayers followed by all the dancers. Makalin is done by selecting the supporting the elements of creation and improvising the motion. Nelesin is a stage of formation which is done by summarizing the results of improvised motion that have been obtained. Ngebah is the first stage of the performance to find out the form of creation and get the results of the evaluation. Using the theory of imagination, symbols and aesthetics to assist in the creation process.This dance creation is packaged in the form of the kakebyaran dance which is danced by 6 male dancers using a fan property. Using makeup and clothing a combination of the rejang dance and the kakebyaran dance. Accompanied by the gamelan Semarandhana that can support the atmosphere of each structure that is displayed.Keywords: Kebyar Jang, Kakebyaran Dance, Truna Jaya Dance, Rejang Sacred Lanang Dance.
JAYA ANGGADA Anak Agung Gede Angga Mahputra; I Ketut Sariada; I Gede Oka Surya Negara
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.v2i1.1572

Abstract

JAYA ANGGADA Creative sources of Jaya Anggada dance works inspired by Anggada, a very agile and nimble character, one of the ape troops of the Ramayana story. During the Great War of Alengka, Anggada shows his heroism on the battlefield, Anggada had to fight Indrajit face-to-face, Indrajit is the crown prince of Alengka, the son of Dewi Tari, who is also his own cousin. Upon his victory, for his service, Anggada awarded “Jaya” which means victorious. Therefore, he is commonly known as Jaya Anggada. The Jaya Anggada dance is created through a process of creation using the Alma. M. Hawkins’ creation method which consists of exploration, improvisation, and forming stages. The cultivation of the Jaya Anggada dance is manifested in the form of structures, namely pengawit, batel, papeson, pengawak, and pengecet. The message to be conveyed from Jaya Anggada dance works is to reshape some unique and quality movements. Key Words : Anggada, Jaya Anggada, Creation
Tari Kreasi Ghni Petak I Made Adhi Wiguna; I Ketut Sariada; I Gede Oka Surya Negara
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November 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.v2i2.1878

Abstract

Purana Pura Dalem Ped Nusa Penida mengisahkan tentang kesaktian dan kekuasaan dari seorang raja bernama Dalem Dukut yang memiliki api putih api putih atau Ghni Petak dalam dirinya. Makna dari cerita ini adalah perwujudan nyata dari kesaktian Gnhi Petak yakni berupa wong samar. Fenomena cerita ini sangat unik dan menarik untuk dituangkan ke dalam bentuk tari kreasi baru, karena pada dasarnya seorang pemimpin yang berkuasa seperti Dalem Dukut bukanlah apa-apa tanpa adanya dukungan berupa kekuatan yang besar dari para rencangnya (wong samar). Berangkat dari hal tersebut, maka diciptakanlah tarian kreasi baru berjudul Ghni Petak.Proses penciptaan karya tari Ghni Petak, menggunakan metode penciptaan Mencipta Lewat Tari oleh Y. Sumandiyo Hadi yang menjelaskan tentang penjajagan, percobaan dan pembentukan. Untuk memperkuat dan memperjelas hasil karya ciptaan ini digunakan teori imajinasi, yaitu mengimajinasikan karakter Dalem Dukut dengan kekuatannya yang luar biasa sesuai dengan interpretasi pencipta namun tetap berpedoman pada purana yang digunakan sebagai sumber kreatif. Karya tari. Ghni Petak adalah sebuah karya tari kreasi yang menginterpretasikan tentang kesaktian dari seorang raja bergelar Dalem Dukut yang memiliki kesaktian Ghni Petak atau api putih dalam dirinya dan apabila diwujudkan secara nyata berupa wong samar. Karya tari Ghni Petak ditarikan oleh tujuh orang penari putra dan diiringi dengan perpaduan instrumen Gong Kebyar dan Semara Pagulingan menggunakan style babonangan. Kata kunci : Ghni Petak, kesaktian, wong samar
TARI JEJAK AJI Dewa Made Arta Subawa Udayana; I Ketut Sariada; Kasih Kasih
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.v3i1.2373

Abstract

Abstrak JEJAK AJI, sebuah konsep yang menggambarkan peristiwa pengalaman empiris penata yang berisikan tentang sebuah pembelajaran seorang ayah sebagai sosok guru dijadikan inspirasi terwujudnya garapan. Lahirnya garapan ini didasari atas keinginan penata untuk mengenang sosok ayah yang telah berpulang ke hadapan Tuhan yang dikemas ke dalam penyajian karya seni tari. Pendekatan yang digunakan adalah tari kontemporer dengan tetap mempertahankan aspek lokal jenius sebagai ciri berinovasi, originalitas, dan beridentitas. Garapan ini ditarikan oleh 2 orang penari putra yang diiringi dengan menggunakan instrumen musik MIDI, dengan tetap mempertahankan suasana sesuai tema yang ditentukan yakni kehidupan. Teori penciptaan yang digunakan adalah teori imajinasi yang lebih mengutamakan wilayah tafsir dalam melihat fenomena yang dijadikan objek penciptaan. Terwujudnya garapan ini bertujuan untuk memberikan rangsangan baru dalam berkreativitas baik dari segi konsep, tema, dan sajian garapan. Kata Kunci: JEJAK AJI, Pengalaman, Kehidupan Sosial.
Edukasi Dasar Tari Bali Perempuan oleh Ni Ketut Arini Komang Indah Parasari; I Ketut Sariada; Ni Nyoman Manik Suryani
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 Judul penelitian ini adalah Edukasi Dasar Tari Bali Perempuan oleh Ni Ketut Arini. Tujuan penelitian ini adalah untuk mengetahui cara penerapan edukasi dasar tari Bali perempuan kepada anak-anak di Sanggar Warini. Untuk mendapatkan ilmu tentang edukasi dasar tari Bali perempuan setelah pelaksanaan magang di Sanggar Warini. Ingin membagikan ilmu tentang edukasi dasar tari Bali perempuan di masyarakat. Dalam penelitian ini digunakan metode deskriptif, yaitu memperoleh data secara objektif sehingga mampu mendeskripsikan objek yang diteliti. Selain menggunakan metode deskriptif penulis juga menggunakan pendekatan kualitatif yaitu, menjelaskan dan menganalisis fenomena, peristiwa dengan menuangkannya ke dalam tulisan. Pelaksanaan edukasi dasar tari Bali perempuan oleh Ni Ketut Arini melalui beberapa tahapan sebagai berikut, tahap pertama melakukan gerak-gerak dasar tari Bali perempuan seperti agem, tandang, tangkis dan tangkep. Tahap kedua menarikan jenis tari yang diajarkan seperti Tari Pendet, Tari Panyembrama, Tari Legong Keraton Lasem, Tari Margapati, Tari Puspanjali, Tari Baris Tunggal, Tari Gopala, Tari Wirayuda dan Tari Oleg Tamulilingan. Adapun faktor pendukung edukasi dasar tari Bali perempuan oleh Ni Ketut Arini yaitu peran aktif pendiri Sanggar Warini, adanya interaksi yang baik antara pelatih dengan peserta didik, proses pembelajaran yang berkualitas, sarana dan prasarana yang memadai. Faktor penghambat edukasi dasar tari Bali oleh Ni Ketut Arini yaitu pola perilaku pelatih dengan peserta didik yang terkadang sulit diatur. Kata Kunci : Edukasi, Ilmu, Metode, Pelaksanaan
Co-Authors Adhyatma, I Putu Ananta Wira Anak Agung Bagus Wirawan Anak Agung Gde Agung Indrawan Indrawan Anak Agung Gede Angga Mahputra Anak Agung Indrawan Anak Agung Ngurah Anom Kumbara Bhumi, I Made Bayu Puser Cerita, I Nyoman Desiari,  Made Ayu Devi, Putu Rismayuni Dewa Made Arta Subawa Udayana Dipasatyadewi, Ni Luh I Dewa Ketut Wicaksandita I Gede Adi Sudi Anggara I Gede Arya Sugiartha, I Gede I Gede Mawan I Gede Oka Surya Negara I Kadek Agus Sujiro Putra, I Kadek I Made Adhi Wiguna I Made Rianta I Made Rianta I Made, Rianta I Nyoman Cerita I Nyoman Sedana I Putu Bagus Restu Pratama Wiwaha I Wayan Dibia I Wayan Mudra, I Wayan Ida Ayu Triana Titania Manuaba Ida Ayu Trisnawati, Ida Ayu Indra Sadguna, I Gde Made Indrawan, Anak Agung Kaiway, Yudhi Aji Ristanto Kasih Kasih Kasih, Kasih Ketut Tara Listiawan Komang Indah Parasari Komang Indah Parasari Made Marajaya Made Tiartini Mudarahayu Negara, I Gede Oka Surya Ni Ketut, Dewi Yulianti Ni Luh Ria Novitasari Ni Luh Sustiawati Ni Made Arshiniwati Ni Made Ayu Kesuma Dewi Ni Made Ruastiti Ni Made Ruastiti Ni Nyoman Manik Suryani Ni Wayan Juli Artiningsih, Ni Wayan Ni Wayan Suartini Prastiti, Ni Putu Suci Pratama, Putu Angga Putu Angga Pratama Remawa, Anak Agung Gede Rai Ricky Fernando Rino Ega Vebrian Santosa, Hendra Satyani, Ida Ayu Wayan Arya Syahrian, Alfin Udayana, Dewa Made Arta Subawa Wiguna, I Made Adhi