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Genggong Dalam Karawitan Bali: Sebuah Kajian Etnomusikologi Indra Sadguna, I Gde Made; Sutirtha, I Wayan
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar Vol 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Hingga saat ini kajian tentang Genggong masih sangat terbatas dan eksistensi Genggong di masyarakat semakin langka dan termarjinalkan akibat pengaruh globalisasi. Oleh karena itu, penelitian tentang Genggong secara lebih mendalam sangat mendesak untuk dilakukan. Penelitian ini merupakan penelitian kualitatif dengan pendekatan tekstual Etnomusikologi. Untuk menjawab permasalahan, digunakan teori organologi dan estetika sebagai pisau bedahnya. Dari observasi serta wawancara yang dilakukan, dapat dijelaskan proses pembuatan Genggong sebagai berikut. Genggong merupakan satu-satunya instrumen dalam karawitan Bali yang terbuat dari pugpug. Untuk membuat sebuah Genggong terdapat beberapa tahapan yang harus dilalui yaitu, membuat bakalan, proses ngerot,dan nyetel suara. Selain itu dijelaskan juga mengenai dekorasi serta cara perawatan instrumen Genggong. Agar seorang musisi mampu memainkan Genggong terdapat beberapa hal yang harus dipahami. Hal-hal tersebut adalah sikap duduk yang baik, teknik membunyikan Genggong yang meliputi teknik mentil, serta cara untuk mencari nada. Perubahan Genggong dari alat musik individu menjadi sebuah ensamble disebabkan karena perubahan konteks musiknya. Dahulu Genggong hanya digunakan sebagai alat musik pribadi, berkembang menjadi sebuah barungan untuk mengiringi sebuah pertunjukan.Until now, studies on Genggong are still very limited. The existence of Genggong is becoming very rare in Bali which is caused by the effect of globalization. Therefore, deep research on Genggong is urgently required. This research is an Ethnomusicology qualitative textual approach. The organology and aesthteics theory are used to solve the problems. Collecting data is done by means of literature studies, interviews, and observation participation. From observations and interviews that have been conducted, the process of making a Genggong are as follows. Genggong is the only musical instrument in Bali made of pugpug. To create a Genggong there are several steps that must be passed, which are, making the bakalan, ngerot process, and tuning the sound. In addition, I also describe the decor as well as how to treat a Genggong. In order for a musician capable of playing Genggong there are some things that must be understood. These things are: a good sitting position, Genggong techniques such as mentil and finding a proper sound. The change of Genggong from an individual instrument into a musical ensemble is caused by the change of the musical context. Genggong formerly was only used as a means of personal music, evolved into a musical ensamble to accompany a performance.

Tari Ipit: Dari Penyakit Kesajian Artistik Fenny Diaristha, Putu; Sutirtha, I Wayan; Widnyana, Kompiang Gede
Kalangwan : Jurnal Seni Pertunjukan Vol 4 No 1 (2018): Juni
Publisher : Institut Seni Indonesia Denpasar

Pada dasarnya IpitÂ bisa dipicu oleh kondisi kurang tidur. Selain itu, stres, depresi, kelelahan di siang hari, bisa menyebabkan seseorang mengalami hal tersebut. Kebiasaan ini biasanya bisa hilang jika kita meningkatkan kualitas dan kuantitas tidur. Pada saat ipit, seseorang melakukan hal-hal layaknya orang yang tengah sadar seperti berjalan, mengeluarkan kata-kata. Makan, bahkan sampai ke kamar kecil. Beranjak dari hal tersebut penata ingin menciptakan karya tari yang mengambil dari fenomena gangguan tidur yang dialami oleh semua kalangan masyarakat. Dalam hal ini penata memakai proses penciptaan dari Alma M Hawkins dalam buku mencipta lewat tari yang diterjemahkan oleh Sumandiyo Hadi yaitu tahap penjajagan (Exploration), tahap percobaan (Improvisation), dan tahap pembentukan(Forming).Â Karya ini terbagi menjadi empat babak dengan durasi pementasan 14 menit. Dalam hal ini penata tidak memakai cerita melainkan pengalaman gangguan tidur yang penata alami serta melihat dan menonton di youtube bagaimana seseorang yang tengah mengalami ganguan tidur ini.Â Essentially, ipit is triggered by a condition of slep deprivation. In additon, stress, depression, fatigue during the day can cause a person to experience it. This habit will disappear ifÂ we improve the quality and quantity of sleep. At the time of ipit, a person does things like a conscious person as walking, issuing words, laughing, eating, and even going to a restroom. Moving from it stylist want create a dance work that takes away from the phenomenon of sleep disorders experienced by all socienties. In this case theÂ stylist use the creation process of Alma M Hawkins in the book created by dance which is translated by Sumandiyo Hadi ie Exploration stage, Improvisation stage, and Fprming stage. This work is divided into four rounds with a duration of staging 14 minutes. In this case the stylist does not use the story but the experience of sleep disorder that the natural stylist and see and watch on youtube how someone who was experiencing sleep disorder is.

Genggong Dalam Karawitan Bali: Sebuah Kajian Etnomusikologi I Gde Made Indra Sadguna; I Wayan Sutirtha
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Hingga saat ini kajian tentang Genggong masih sangat terbatas dan eksistensi Genggong di masyarakat semakin langka dan termarjinalkan akibat pengaruh globalisasi. Oleh karena itu, penelitian tentang Genggong secara lebih mendalam sangat mendesak untuk dilakukan. Penelitian ini merupakan penelitian kualitatif dengan pendekatan tekstual Etnomusikologi. Untuk menjawab permasalahan, digunakan teori organologi dan estetika sebagai pisau bedahnya. Dari observasi serta wawancara yang dilakukan, dapat dijelaskan proses pembuatan Genggong sebagai berikut. Genggong merupakan satu-satunya instrumen dalam karawitan Bali yang terbuat dari pugpug. Untuk membuat sebuah Genggong terdapat beberapa tahapan yang harus dilalui yaitu, membuat bakalan, proses ngerot,dan nyetel suara. Selain itu dijelaskan juga mengenai dekorasi serta cara perawatan instrumen Genggong. Agar seorang musisi mampu memainkan Genggong terdapat beberapa hal yang harus dipahami. Hal-hal tersebut adalah sikap duduk yang baik, teknik membunyikan Genggong yang meliputi teknik mentil, serta cara untuk mencari nada. Perubahan Genggong dari alat musik individu menjadi sebuah ensamble disebabkan karena perubahan konteks musiknya. Dahulu Genggong hanya digunakan sebagai alat musik pribadi, berkembang menjadi sebuah barungan untuk mengiringi sebuah pertunjukan.Until now, studies on Genggong are still very limited. The existence of Genggong is becoming very rare in Bali which is caused by the effect of globalization. Therefore, deep research on Genggong is urgently required. This research is an Ethnomusicology qualitative textual approach. The organology and aesthteics theory are used to solve the problems. Collecting data is done by means of literature studies, interviews, and observation participation. From observations and interviews that have been conducted, the process of making a Genggong are as follows. Genggong is the only musical instrument in Bali made of pugpug. To create a Genggong there are several steps that must be passed, which are, making the bakalan, ngerot process, and tuning the sound. In addition, I also describe the decor as well as how to treat a Genggong. In order for a musician capable of playing Genggong there are some things that must be understood. These things are: a good sitting position, Genggong techniques such as mentil and finding a proper sound. The change of Genggong from an individual instrument into a musical ensemble is caused by the change of the musical context. Genggong formerly was only used as a means of personal music, evolved into a musical ensamble to accompany a performance.

The Manifestation of Kuntisraya Story in Ethnic Dyah Kustiyanti; Suminto Suminto; I Wayan Sutirtha
Randwick International of Social Science Journal Vol. 4 No. 1 (2023): RISS Journal, January
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v4i1.631

The purpose of writing this article is to discover the manifestations of the Kuntisraya story in works of arts in Indonesia. In general, Kuntisraya stories can be found in ancient Javanese literary works. In particular, it turns out that there are works of art, design, and ethnic performing arts in Indonesia that are realized based on the Kuntisraya story. The problems are : 1) What is the form of the manifestation of the Kuntisraya story in works of art and design?; 2) What is the form of the manifestation of the Kuntisraya story in ethnic performing arts?. This research was conducted with qualitative methods. Observations and interviews have been used to obtain primary data. The results of the literature study have been used as secondary data. All data has been analyzed qualitatively using aesthetic and reception theories. The results of the study show that : 1) manifestations of the Kuntisraya story exist in works of art and designs in the form of architectural reliefs of temples; and 2) manifestations of the Kuntisraya story exist in performing arts in the form of sacred performing arts and tourism performing arts.

TARI SAKANAYA CERMINAN MORAL MANUSIA I Wayan Krisna Ananta Kusuma; I Nyoman Cerita; I Wayan Sutirtha
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.v1i2.867

The creative source of the Sakanaya dance work comes from the Sengkuni character who is the antagonist as the source of conflict in the Mahabharata story. His intelligence and abilities make him dissolved into destruction, because he cannot control the six enemies that are within him (Sad Ripu).The creation of this dance work uses the theory of imagination which means the power to form images (images) and the theory of aesthetics which means beauty. The process of realizing it into creative dance works using the creation method in the book Creating Through Dance by Y. Sumandiyo Hadi, a translation of the book Creating Trough Dance by Alma M. Hawkins with stages of exploration, improvisation, and forming. Exploration is thinking, imagining, and responding, by doing research on creative sources, determining ideas and themes for the work, designing the concept of work, selecting dancers, choosing composers and accompaniment players and choosing a place to practice; Improvisation is the process of pouring out the concept of a work to dance performers and has a probationary period; The last stage of forming is the process of uniting and assembling movement patterns, arable structures, music, and formation as a whole.This dance work is packaged in a creative dance work, with the theme of social life. Danced with seven dancers, accompanied by gamelan Semarandhana. The realization of this dance work is expected to awaken every human being that the importance of self-introspection is to maintain integrity or harmony in the lives of fellow human beingsKeywords: Sakanaya, Sengkuni, Sad Ripu, Creative

Tari Bayu Sutha Karya Anak Agung Anom Putra Nayunda Nayunda; Anak Agung Ayu Mayun Artati; I Wayan Sutirtha
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.v2i1.1602

Bayu Sutha Dance by Anak Agung Anom Putra The title of this study is Tari Bayu Sutha Karya Anak Agung Anom Putra. The purpose of this study is to find out the beginning of the creation, form and function of Bayu Sutha dance, to measure how far the author's ability to research or study a dance work, and provide information related to the beginning of the creation, shape and function of Bayu Sutha dance. In this study qualitative methods are used, to obtain complete data. The stages of data collection in this study, namely observation, interview, literature study, documentation study. The overall results of the data are processed and analyzed neatly and structured in order to get good results and appropriate conclusions from the research. Bayu Sutha dance is a dance creation that is danced singleally, created by Anak Agung Anom Putra. The dance was created as a request from the organizers of the International Gamelan Festival Amsterdam (IGFA) in the 100th anniversary event of the Tropen Museum Amsterdam on 9-11 September 2010. This Bayu Sutha dance tells the story of Hanoman's mercurial youth and has a sincere heart. Hanoman is the protagonist in the Ramayana story. Anak Agung Anom Putra was also inspired by his name "Anom", therefore a dance was created that depicted the character of Hanoman. In general Hanoman dance is displayed in ramayana sendratari. However, it is different from Bayu Sutha dance that is danced single-handedly. Accompaniment music in Bayu Sutha dance using the semarandhana gong. Keywords: bayu sutha, creation dance, Ramayana.

REPRESENTASI SPIRIT HYANG PERTIWI DALAM TARI LEGONG KREASI MAHA WIDYA Ni Komang Ayu Dita Lestari; Ni Nyoman Manik Suryani; I Wayan Sutirtha
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.v3i1.2374

The Legong Kreasi Maha Widya is a dance perfomed by five female dancers, inspired by the power or stronger of Mother Earth. The Maha Widya Kreasi Legong Dance was created by Anak Agung Mas Sudarningsih S.Sn., M.Pd who is a one of the active artists at the Pancer Langit Art Studio. Merdeka Learning program, studying Merdeka campus which is located at the Pancer Langiit Art Studio, students carry out research using descriptive analytical methods using a qualitative approach, which refers to the layout creative process and of performance through the Spirit Hyang Pertiwi contained in Maha Widya's Legong Dance. The results of data analysis show that the essence of the Representation of Spirit Hyang Pertiwi by Maha Widya's Legong Kreasi dance is not explained, but is otomatic presented with dramatic using a symbolic presentation mode.Oriented from this thought, The legong kreasi maha widya Dance was created using the principles of the Langon method sourced from Lontar Purwadigama which mention that there are concepts. three concepts such as (1) the concept of controller called is Ungon, (2) the concept of reinforcement called is Ingon, (3 ) the concept of mastery which is called Angon.Layout of Kreasi maha widya dance of Legong Dance consists of four structures consisting of we called Pepeson, Pengawak, Pengecet and pekaad.The purpose of the research Legong Kreasi Maha Widya dance is introduce to the public, for the position of Maha Widya's Legong Kreasi dance is inseparable from an innovation and creative idea that is owned as a inspiration artist to transform his ideas inspired by Nature which is a source of knowledge and strength for the universe, everything will certainly return to where we stand, namely Mother Earth. Key words : Mother Earth, Creative Process, The Legong Kreasi Maha Widya

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

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.

Unpacking the Form and Structure of Jaya Baya Music Composition in JES Gamelan Fusion I Putu Riangga Budi Pramana; Hendra Santosa; I Saptono; I Gede Yudarta; I Wayan Sutirtha
Gondang: Jurnal Seni dan Budaya Vol 7, No 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.49581

This paper aims to reveal the structure and form of Jaya Baya music composition by I Nyoman Windha in JES Gamelan Fusion. Jaya Baya's Music Composition in JES Gamelan Fusion is the result of a rearrangement of the same title worked on with the Sekar Jaya Gamelan Group using Angklung gamelan in 2002 by taking the idea of revealing the meaning of the Bom Bali I Tragedy. This research uses qualitative descriptive research methods, with musicological approach procedures, to analyze the form and structure of the Composition of Musik Jaya Baya in JES Gamelan Fusion. This music turnover is in the style of fusion music, by combining the values of Bali characteristics with Western music values presented by JGF (Jes Gamelan Fusion). It turns out that in her composition, Windha is still thick with Balinese karawitan practices, where various elements of music, the practice of music playing techniques, ornamentation, and even the structure of the music are still Balinese style. Two types of gamelan as the basic foundation of music fusion, namely Jegog gamelan and Semar Pagulingan Saih Pitu gamelan, have certainly given rise to sound color perspectives and instrumentation techniques as a creative force for composition creation. Windha has also made hybrid music in a fusion style which turned out to be an alternative to combining Western and Eastern music (Nusantara).

Mahardika Dance Creation Process I Wayan Sutirtha; Hendra Santosa; Tudhy Putri Apyutea Kandiraras
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.72022

This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.

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