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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 Panggung Jurnal Igel: Journal of Dance Panggung
Kustiyanti, Dyah
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Jejak Karawitan dalam Kakawin Sumanasantaka Hendra Santosa; Dyah Kustiyanti; I Komang Sudirga
PANGGUNG Vol 28 No 1 (2018): Kontestasi Tradisi: Seni dalam Visualisasi Estetik, Naskah, dan Pertunjukan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v28i1.272

Abstract

ABSTRACT Kakawin Sumanasantaka (Death Because Sumanasa Flowers) is one of sources in searching musical terms from about 22 manuscripts in early Old Javanese literature. This article is part of the research entitled "Tracing The Karawitan Trail in an Ancient Java Script: Studies of Its Forms, Functions and Meanings". The study is intended to clarify the forms and functions of musical instruments during the East Java period around the 10th century. This study uses a historical method, following the stages of heuristics, criticism, interpretation, and historiography. At the heuristical stage, kakawin Sumanasantaka written by Worsley, P., S. Supomo, M. Fletchert dan T.H. Hunter was found. In 2014, it was also found a work entitled Kakawin Sumanasantaka, Mati Karena Bunga Sumanasa Karya Mpu Monaguna: Kajian Sebuah Puisi Epik Jawa Kuno. A critical analysis of the texts is applied internally through a direct translation and then followed by the historiography process. Forms and functions of musical instruments in Kakawin Sumanasantaka cannot be separated from the functions of musical instruments in the Old Java period, as a means of Javanese ceremonies and accompaniments of secular activities.Keywords: form, function, karawitan, kakawin, Sumanasantaka ABSTRAK Kakawin Sumanasantaka (Mati Karena Bunga Sumanasa) merupakan salah satu sumber penelusuran jejak istilah karawitan dari sekitar 22 naskah kesusastraan berbahasa Jawa Kuno awal. Tulisan ini merupakan bagian dari hasil penelitian yang berjudul “Melacak Jejak Karawitan dalam Naskah Jawa Kuno: Kajian Bentuk, fungsi, dan Makna”. Pembahasan ini dimaksudkan untuk memperjelas bentuk dan fungsi instrumen musik pada masa periode Jawa Timur sekitar abad ke-10. Penelitian ini menggunakan metode sejarah yaitu, melalui tahapan heuristik, kritik, interpretasi, dan historiografi. Pada tahap heuristik ditemukan sebuah kakawin Sumanasantaka yaitu karya Worsley, P., S. Supomo, M. Fletchert dan T.H. Hunter. Tahun 2014, ditemukan juga tulisan berjudul Kakawin Sumanasantaka, Mati Karena Bunga Sumanasa Karya Mpu Monaguna: Kajian Sebuah Puisi Epik Jawa Kuno. Kritik dilakukan secara internal melalui terjemahan secara langsung sebagai fakta yang berbicara, dan yang terakhir adalah tahap historiografi. Bentuk dan fungsi instrumen karawitan dalam Kakawin Sumanasantaka  tidak terlepas dari fungsi instrumen musik pada masa Jawa Kuna yaitu sebagai sarana upacara dan sebagai pengiring kegiatan sekuler.Kata kunci: bentuk, fungsi, karawitan, kakawin, Sumanasantaka
Dwaya Rupa Penggambaran Dua Karakter Dalam Satu Tokoh Wiwin Sari Putri, Ni Komang; kustiyanti, dyah; Ayu Desiari, Made
Jurnal IGEL : Journal Of Dance Vol 4 No 2 (2024): Jurnal IGEL Vol 4 No 2 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i2.3253

Abstract

This article discusses the creation of a new creative dance work that originates from the Panji Semirang story, the search for Galuh Candra Kirana when she disguised herself as Panji Semirang to look for her lost lover. The idea for this dance work is motivated by the phenomenon that exists around that when someone wants to be what other people want in order to be liked or respected by other people, they often forget their own identity. The purpose of creating a dance work. These are: (1) Inviting people to develop their creativity and improve their abilities in the art of dance, to create an original creative work through the processing and development of movement; (2) Become a source of reference for new works that will be created in the future; (3) To contribute to the progress and brilliance of dance creation in collaboration with the Wayan Geria Foundation. The process or stages of creation that are followed include: (1) Ngarencana, (2) Nuasen, (3) Makalin, (4) Nelesin, and (5) Ngebah. This work is realized in the form of a new dance creation consisting of seven female dancers depicting the characters Galuh Candra Kirana and Panji Semirang. The structure of this work is divided into three parts, namely beginning, content, and ending. The dance accompaniment used in this work is Gamelan Selonding with the addition of several instruments such as drums, flute, gentorag, cengceng ricik, and gong. This dance uses modified Balinese dance make-up and a semi-contemporary style fashion concept. The results of the dance creation process were performed at the Natya Mandala Building, Indonesian Institute of the Arts, Denpasar.
Karya Tari Kontemporer Butterfly Hug Tanalepy, Nada Lunetta Laura; Padmini, Tjok. Istri Putra; Kustiyanti, dyah
Jurnal IGEL : Journal Of Dance Vol 4 No 2 (2024): Jurnal IGEL Vol 4 No 2 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i2.3377

Abstract

The contemporary dance named Butterfly Hug is a type of dance study that originated from the creator's fascination with psychology that combined with art of dance. The inspiration behind this dance stems from the butterfly hug psychotherapy method. This dance emphasizes movements that the cross-shaped actions and the essence of embracing and patting, while doing the butterfly hug method. For the pursuit of the Merdeka Belajar – Kampus Merdeka (MBKM) Study/Project Independent program, the creator partnered with the Wayan Geria Foundation (GEOKS). The creation process of this dance adheres to the Alma Hawkins method, progressing through three distinct stages: exploration, improvisation, and forming. Comprising seven female dancers, the group performance spans a duration of 12 minutes. Crafting movements that exude creativity and sensitivity posed challenges in composing a piece that avoids monotony. Through this work, the creator aspires to offer a fresh perspective, especially within the artistic realm, by amalgamating two diverse disciplines to produce a unique artwork.
Bentuk Tari Dedari Dalam Tradisi Makenak-Kenakan Di Pura Desa, Desa Penatahan, Penebel, Tabanan Yustia, Hani; Kustiyanti, Dyah; 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 | Full PDF (217.33 KB) | 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.
Proses Kreatif Penciptaan Tari Wong Peken oleh Jasmine Okubo Gayatri, Ni Komang Ananda; Kustiyanti, Dyah; Sudibya, I Gusti Ngurah
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 | Full PDF (356.071 KB) | DOI: 10.59997/journalofdance.v1i1.819

Abstract

This article is the result of research into the creative process of creating Wong Peken dance as a contemporary dance that was specifically created for the deaf. This research is focused on how the creativity process is carried out by Jasmine Okubo as the choreographer. Indirectly, this dance breaks the stigma of the people who underestimate the deaf because it has managed to get a fairly good appreciation. Interestingly, Jasmine Okubo has no background or experience in BISINDO communication. The method applied in this research is a qualitative method with reference to the Theory of Creativity. The results obtained indicate that the process of creating Wong Peken dance is a process of the body's journey to find the specialties in each individual regardless of their imperfections. The process of creating Wong Peken dance shows that dance is a universal language for expression and communication. Dance allows people who cannot speak to communicate through movements.Keywords : Wong Peken Dance, creative process, deaf.
Tari Cakrângga, Mengkaitkan Bentuk Chakrasana Dengan Cakra Manggilingan Ke Tari Kontemporer Wahyuni, Ni Komang Sri; Kustiyanti, Dyah; Suartini, Ni Wayan
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 | Full PDF (1148.535 KB) | DOI: 10.59997/journalofdance.v2i2.1880

Abstract

Karya Tari Cakrângga merupakan karya tari kontemporer dengan tipe tari studi gerak dan berawal dari pengalaman pribadi pencipta pada tahun 2018. Karya tari ini memfokuskan pada bentuk dari Chakrasana dengan istilah lain disebut dengan kayang, bentuk lengkungan tersebut dikembangkan oleh pencipta dengan kreativitas dan imajinasinya. Terbentuknya karya tari ini dalam kurikulum baru yakni MBKM (Merdeka Belajar-Kampus Merdeka) yang bekerja sama dengan Mitra Bumi Bajra Sandhi. Proses penciptaan karya tari menggunakan metode konstruksi Jacqueline Smith, yang terdiri dari lima metode konstruksi yaitu metode konstruksi I sampai dengan metode konstruksi V, berbentuk karya kelompok berjumlah lima orang penari, yaitu tiga penari pria dan dua penari wanita dengan durasi karya kurang lebih 11 menit. Bentuk gerak pada chakrasana yang merupakan bahan yang dijadikan konsep pada karya tari ini, difokuskan pada bentuk dari lengkungan yang dihasilkan oleh pencipta, merupakan tantangan dalam bereksperimen mengunakan tubuh manusia sebagai medianya. Fleksibelitas, ketuntasan dalam bergerak menjadi basic pada karya ini, sehingga terbentuk suatu karya tari yang bernuansa kebaharuan. Harapan dari pencipta melalui karya ini agar dapat dijadikan inspirasi dan panutan bagi generasi muda di dalam berkesenian.    
The Concept of Tri Hita Karana in Kakawin Siwaratrikalpa as a Means to Interpret Life Suminto, Suminto; Kustiyanti, Dyah
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i1.2445

Abstract

  Old Javanese literature, especially Kakawin Siwaratrikalpa, has an essential role among the Hindu community in Bali, not only because of its captivating story elements but also because it is essential for human life as it contains artistic values, religious values, moral teachings (ethics), manners, character education, philosophy, law, and morals. Tri Hita Karana is a concept of balancing the relationship between humans and God, humans and others, and humans and their natural environment to achieve prosperity and harmony in life in the world. Human life has undergone significant changes due to the changing times. The demands of modern life have brought human behavior to problems that need attention. The advancement of science and technology has caused a shift in social values, which has led humans to promiscuity, moral decline, the conflict between religious communities, lifestyle changes, environmental degradation, exploitation of natural resources, and even environmental destruction. This research is qualitative descriptive research by applying the concept of Tri Hita Karana. The source of the data is scientific, meaning that apart from observing texts, researchers are trying to observe and understand empirical phenomena directly in people's lives. The theory used is the theory of Human Relations. The results of the discussion prove that the three parts of the Tri Hita Karana concept are always related and cannot be separated. Humans, as the main actors in life, must continue to seek and strive for a safe, peaceful, and happy life.
Co-Authors Desiari,  Made Ayu Gayatri, Ni Komang Ananda I Komang Sudirga Ni Wayan Suartini Padmini, Tjok. Istri Putra Riawan, I Dewa Putu Kresna Santosa, Hendra Satyani, Ida Ayu Wayan Arya Sudibya, I Gusti Ngurah Suminto Suminto Tanalepy, Nada Lunetta Laura Wahyuni, Ni Komang Sri Wiwin Sari Putri, Ni Komang Yustia, Hani