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Rejang Di Pura Balang Tamak, Warisan Budaya Desa Nongan Satyani, Ida Ayu Wayan Arya; Gunarta, I Wayan Adi
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar Vol 6 No 1 (2018): Maret
Publisher : Institut Seni Indonesia Denpasar

Masyarakat Desa Nongan, Kabupaten Karangasem meyakini bahwa Rejang di Pura Balang Tamak di desa mereka adalah warisan Pan Balang Tamak, figur licik dan lihai dalam cerita rakyat Bali. Keberadaan Rejang ini hampir punah, meninggalkan jejak berupa serobong/gelungan (hiasan kepala) dihiasi buah-buahan seadanya. Harapan masyarakat untuk merekontruksi Rejang di Pura Balang Tamak, mendorong peneliti untuk melakukan penelusuran terhadap ingatan masyarakat yang hampir tertimbun bersama reruntuhan Pura Balang Tamak sejak peristiwa gejor atau gejer Bali 1917. Berdasarkan hal tersebut di atas, penelitian ini bertujuan untuk memetakan keterhubungan ide-ide yang membangun Rejang di Pura Balang Tamak, yaitu: ide tentang Rejang, ide tentang Pura Balang Tamak, ide tentang mitos Pan Balang Tamak, dan ide tentang Desa Nongan. Metoda penelitian yang digunakan adalah deskriptif kualitatif. Pengumpulan data dilakukan melalui observasi, wawancara, studi kepustakaan, dan dokumentasi. Data yang terkumpul kemudian dianalisa, dideskripsikan, disusun dan disimpulkan. Hasil penelitian yang didapat bahwa Rejang di Pura Balang Tamak adalah Rejang Pala, merupakan salah satu sarana ritual Usaba Pala (perayaan sebagai ungkapan rasa syukur terhadap kelimpahan hasil subak abian/tegal).Â The villagers of Nongan believe that the rejang dance in Balang Tamak temple is the inheritance of Pan Balang Tamak, a cunning and shrewd figure in Balinese folklore. The existence of this dance is almost extinct, leaving only a trace of serobong/gelungan â€“ a head decoration â€“ of some fruits. The peopleâ€™s expectation to reconstruct Rejang dance at Pura Balang Tamak has encouraged the researchers to trace the recollections of peopleâ€™s memory of the dance which are almost buried with the ruins of Pura Balang Tamak since the Bali earthquake in 1917or it was called gejer Bali. Based on the background above, this research aims to map the connections of ideas that build Rejang dance in Pura Balang Tamak, that is: the idea of Rejang, the idea of Pura Balang Tamak, the idea of Pan Balang Tamak myth, and the idea of Nongan Village. The research methodology used in this writing is descriptive qualitative. The data of the research is collection trhough observations, interviews, literature study, and documentations. The data collection is then analyzed, described, compiled and summarized. The findings obtained that Rejang dance in Pura Balang Tamak is Rejang Pala. This Rejang is one of the means of ritual Usaba Pala (a celebration to express gratitude towards the abundance of subak abian/farm harvest)

Rejang Di Pura Balang Tamak, Warisan Budaya Desa Nongan Ida Ayu Wayan Arya Satyani; I Wayan Adi Gunarta
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 6 No. 1 (2018): Maret
Publisher : Institut Seni Indonesia Denpasar

Masyarakat Desa Nongan, Kabupaten Karangasem meyakini bahwa Rejang di Pura Balang Tamak di desa mereka adalah warisan Pan Balang Tamak, figur licik dan lihai dalam cerita rakyat Bali. Keberadaan Rejang ini hampir punah, meninggalkan jejak berupa serobong/gelungan (hiasan kepala) dihiasi buah-buahan seadanya. Harapan masyarakat untuk merekontruksi Rejang di Pura Balang Tamak, mendorong peneliti untuk melakukan penelusuran terhadap ingatan masyarakat yang hampir tertimbun bersama reruntuhan Pura Balang Tamak sejak peristiwa gejor atau gejer Bali 1917. Berdasarkan hal tersebut di atas, penelitian ini bertujuan untuk memetakan keterhubungan ide-ide yang membangun Rejang di Pura Balang Tamak, yaitu: ide tentang Rejang, ide tentang Pura Balang Tamak, ide tentang mitos Pan Balang Tamak, dan ide tentang Desa Nongan. Metoda penelitian yang digunakan adalah deskriptif kualitatif. Pengumpulan data dilakukan melalui observasi, wawancara, studi kepustakaan, dan dokumentasi. Data yang terkumpul kemudian dianalisa, dideskripsikan, disusun dan disimpulkan. Hasil penelitian yang didapat bahwa Rejang di Pura Balang Tamak adalah Rejang Pala, merupakan salah satu sarana ritual Usaba Pala (perayaan sebagai ungkapan rasa syukur terhadap kelimpahan hasil subak abian/tegal).Â The villagers of Nongan believe that the rejang dance in Balang Tamak temple is the inheritance of Pan Balang Tamak, a cunning and shrewd figure in Balinese folklore. The existence of this dance is almost extinct, leaving only a trace of serobong/gelungan â€“ a head decoration â€“ of some fruits. The peopleâ€™s expectation to reconstruct Rejang dance at Pura Balang Tamak has encouraged the researchers to trace the recollections of peopleâ€™s memory of the dance which are almost buried with the ruins of Pura Balang Tamak since the Bali earthquake in 1917or it was called gejer Bali. Based on the background above, this research aims to map the connections of ideas that build Rejang dance in Pura Balang Tamak, that is: the idea of Rejang, the idea of Pura Balang Tamak, the idea of Pan Balang Tamak myth, and the idea of Nongan Village. The research methodology used in this writing is descriptive qualitative. The data of the research is collection trhough observations, interviews, literature study, and documentations. The data collection is then analyzed, described, compiled and summarized. The findings obtained that Rejang dance in Pura Balang Tamak is Rejang Pala. This Rejang is one of the means of ritual Usaba Pala (a celebration to express gratitude towards the abundance of subak abian/farm harvest)

Perancangan Panyacah Awig Rejang Pala dalam Penguatan Ekosistem Tari Rejang Pala Ida Ayu Wayan Arya Satyani; I Wayan Adi Gunarta
Ganaya : Jurnal Ilmu Sosial dan Humaniora Vol 5 No 1 (2022)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/ganaya.v5i1.1546

The Karangasem district has a wealth of rejang rituals spreading throughout several of its sub-districts and handed down through the ages to these days. The community’s constancy in preserving the rejang tradition is a true reflection of the power of written and unwritten set of customary rules (awig-awig). The Rejang Pala from the traditional village of Nongan in the sub-district of Rendang, in the district of Karangasem disappeared in 1917 following the terrifying earthquake that hit Bali on that year. It is therefore imperative that its existence in the village written awig-awig should be restored. The aim of this is to strengthen the dance ecosystem after a reconstructed choreography was successfully made in 2019. Efforts to include the rejang as part of the awig-awig should be preceded by planning the design of the payacah awig, that is, an elaboration of article after article of the awig-awig by means of a research applying a qualitative methodology. Observation should be carried out in several ancient villages where the tradition of rejang has been handed down, complemented with interviews, literature studies and documentation. The data analysis and the compilation of the report should be descriptive. The outcome of the research should include the following elements of the Rejang Pala’s panyacah awig, formulated through: 1) a self-critic of the reconstruction process up to the launching of the dance (makebah); 2) an inquiry into whatever rules pertaining to the planning and design of the Rejang Pala’s panyacah awig in line with the characteristics of the local villages and 3) formulation of the design of the Rejang Pala’s panyacah awig in line with the characteristics of the local villages. Finally, it is hoped that the design of the panyacah awig will result in the revival of the Rejang Pala for the benefit of the culture and the welfare of the custodians of this cultural heritage.

Tari Rejang Pala Di Desa Nongan, Kecamatan Rendang, Kabupaten Karangasem: Kajian Bentuk Dan Fungsi I Wayan Adi Gunarta; Ida Ayu Wayan Arya Satyani
Mudra Jurnal Seni Budaya Vol 35 No 2 (2020): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v35i2.1049

Sejak beberapa tahun terakhir, Rejang mengalami geliat pertumbuhan yang begitu populer. Di tengah suburnya berbagai bentuk tari kreasi rarejangan, di Desa Nongan terdapat tari Rejang yang telah dua kali mengalami rekonstruksi, tahun 1984 dan 2019. Tahun 2019 desa setempat kembali melakukan rekonstruksi merujuk hasil penelitian berjudul Kontinuitas dan Perubahan Tari Rejang Balang Tamak di Desa Nongan, Kecamatan Rendang, Kabupaten Karangasem, tahun 2017. Penulisan artikel ini bertujuan untuk meneliti bentuk dan fungsi Tari Rejang Pala, pasca rekonstruksi tahun 2019. Landasan teoritis yang digunakan adalah teori estetika dan teori fungsional. Model penelitian yang digunakan ialah penelitian kualitatif. Teknik pengumpulan data melalui observasi, wawancara, studi kepustakaan, dan dokumentasi. Hasil penelitian menunjukkan bahwa, Tari Rejang Pala ialah tarian sakral dalam upacara Usaba Desa, untuk menyambut Ida Betara Dalem pada prosesi memasar di Pura Pesamuhan Agung. Para penarinya dibagi dalam tiga klasifikasi umur, yaitu: (1) anak-anak disebut Rejang Alit; (2) remaja putri disebut Rejang Daha; dan (3) Ibu-Ibu disebut Rejang Lingsir. Fungsi primer Tari Rejang Pala, yakni sebagai sarana ritual, secara tidak langsung juga sebagai sarana hiburan pribadi, dan sebagai presentasi estetis. Fungsi sekundernya, sebagai pengikat solidaritas dan sebagai sarana komunikasi. Keunikan Tari Rejang Pala dapat dilihat pada gelungannya, yaitu dihiasi dengan berbagai macam buah-buahan.

Reka Ulang Koreografi Rejang Pala, Setelah 100 Tahun Menghilang: Sebuah Rekonstruksi Imajinatif Ida Ayu Wayan Arya Satyani; I Wayan Adi Gunarta
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.v36i1.1108

Rekonstruksi Imajinatif merupakan proses reka ulang terhadap koreografi tari yang sudah punah, tetapi masih meninggalkan jejak masa lampau selain jejak koreografinya. Hal ini dialami oleh Rejang Pala di desa Nongan, kecamatan Rendang, kabupaten Karangasem, yang menghilang akibat gejor Bali 1917. Kisahnya terselip dalam mitos Pan Balang Tamak yang diwarisi di desa ini. Jejak lainnya berupa hiasan kepala (serobong), dan sedikit jejak arkeologis yang diyakini oleh masyarakat setempat sebagai peninggalan Pan Balang Tamak. Minimnya sumber informasi untuk merunut jejak sejarah maupun keâ€™asliâ€™an koreografi rejang ini mengantarkan peristiwa rekonstruksinya pada rekonstruksi imajinatif. Apa yang dimaksud dengan rekonstruksi imajinatif?, bagaimana prosesnya?, dan bagaimana hasilnya?, menjadi fokus pembahasan artikel ini. Metoda rekonstruksinya mengkombinasikan metoda sejarah dengan metoda konstruksi tari. Metoda sejarah meliputi heuristik (pengumpulan data), kritik (analisis, eksternal dan internal), interpretasi (analisis dan sintesis), dan historiografi (penyampaian hasil). Sedangkan metoda konstruksi tari menurut Jacqueline Smith, tersusun dalam lima langkah yaitu: konstruksi I bertumpu pada rangsang tari, konstruksi II pada motif dan komposisi, konstruksi III pada komposisi kelompok, konstruksi IV pada pengorganisasian bentuk tari, dan konstruksi V pada keutuhan karya. Pengetahuan metoda konstruksi tari menurut pandangan Smith, terhubung dengan imajinasi dan intuisi, pengetahuan tentang materi gerak, serta pengenalan bentuk melalui pengalaman estetis. Hasil pembahasan diperlukan sebagai refleksi terhadap apa yang telah dilakukan selama rekonstruksi imajinatif sejak 2017 hingga makebah (peluncuran) pada 9 April 2019. Butir-butir refleksi ini kemudian digunakan sebagai dasar untuk menyusun rancangan panyacah awig rejang, sebagai langkah awal penguatan ekosistem Rejang Pala.

Jejak Seni Pertunjukan Bali Kuna Dalam Karya Kesusastraan Usana Bali Mayantaka Carita Hendra Santosa; Dyah Kustiyanti; Ida Ayu Wayan Arya Satyani
Mudra Jurnal Seni Budaya Vol 36 No 2 (2021): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i2.1247

Tulisan ini merupakan bagian dari penelitian yang berjudul “Inventarisasi Istilah-istilah Seni Pertunjukan Bali dalam Karya Kesusastraan Jaman Gelgel (1401-1687) dan bertujuan untuk memperlihatkan bagaimana seni pertunjukan pada masa Bali kuno masih bertahan dan berkembang dengan baik pada masa Gelgel, setelah penaklukan Majapahit. Berbagai karya pada masa Raja Waturenggong lahir di Bali, sehingga dapat dikatakan sebagai sebuah masa keemasan bagi seni sastra di Bali. Penelitian ini menggunakan metode sejarah yaitu, yaitu melalui tahapan heuristik, kritik, interpretasi, dan historiografi. Khusus untuk artikel ini karya kesusastraan pada masa Gelgel (1401-1687) dijadikan sebagai sumber primer untuk mengetahui berbagai seni pertunjukan yang lahir pada masa tersebut. Naskah Usana Bali Mayantaka Carita yang diambil dalam buku Karya Sastra Filsafat Kakawin Mayantaka Karya Danghyang Nirartha., karya, I. B. Agastia tahun 2018 terbitan Taman Sastra Wagiswari Dharmasabha karena karya kesusastraan tersebut paling banyak menyuratkan unsur-unsur seni pertunjukan Bali. Metode yang dipergunakan adalah deskripsi analisis dengan interpretasi faktual apa adanya. Berdasarkan Kakawin Usana Bali Mayantaka Carita, dapat ditarik kesimpulan bahwa bahwa pada masa Raja Waturenggong masih terus dipertahankan dan sepertinya terdapat penambahan fungsi serta perubahan istilah terutama pada seni karawitan (instrumen).

Banjuran, Gamelan Prosesi Zaman Bali Kuna Hendra Santosa; Dyah Kustiyanti; Ida Ayu Wayan Arya Satyani
Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i1.1717

This article is part of research entitled "The Evolution of the Balinese Gamelan", which is accompanied by an overview of the changes that occurred after the Gelgel era. This article aims to provide an overview of the Banjuran gamelan form as written in several ancient Balinese inscriptions. Balinese Karawitan experts often associate it with the Balaganjur gamelan, which is now developing in Bali. In order to obtain a comprehensive explanation, this articlewas compiled employing the historical method. The historiography stage in this study was conveyed through the delivery of critical-descriptive analysis. Although the Sukawana A I inscription actually states that Bali's historical era started from 804 AD, the close relationship between Bali and Central Java actually existed around the 7th century, which is proven through various archaeological findings. It certainly opens the suspicion that the Banjuran gamelan image is engraved in the Borobudur Temple’s reliefs. Many asymmetrical shapes of Balinese drums (kendang) are engraved in the reliefs. Furthermore, Balinese drums' shape is also engraved in the Tegawangi Temple’s reliefs in East Java. This form of the Banjuran gamelan is also strengthened by information and data from the Kakawin Nagarakretagama. Gamelan Banjuran is thought to be the forerunner of the development of the Balaganjur gamelan that is currently developing.

Tari Jaran Endut, dari Cerita Rakyat ke Tari Kontemporer Putu Gita Rahayu Putriandini; I Gusti Ngurah Sudibya; Ida Ayu Wayan Arya Satyani
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 (294.715 KB)

Jaran Endut Dance is a contemporary dance originating from the folklore of West Nusa Tenggara. Raising the history of the formation of Dusun Endut from the privilege of a horse. The idea of working on this work is the spirit of Jaran Endut in his long journey of helping the people of Pejarakan. The theme used is toughness. Toughness is manifested in the agility, dexterity, sharpness, and speed of the horse in moving. The creator felt challenged to bring an animal character; horse, into the human body. Visualizing the character of a horse requires agile body movements, expression and character deepening, so that the characteristics of the Jaran Endut dance can be conveyed. In addition, "silence" in Jaran Endut's work requires strong energy and physical strength so that the message can be conveyed properly. Humans do have to work hard, but silence is also important in order to choose the next step. The stages of manufacture use the Alma, M. Hawkins creation method, namely the exploration, improvisation, and forming. The structure of the dance work consists of sections 1, 2, and 3, with the form of a large group consisting of eight dancers who have close to compact body postures, thus showing the impression of moving. Accompanied by dance music in the form of MIDI by combining traditional and digital music so that the uniqueness of Jaran Endut I dance music appears. After this process has been running for 1 year, finally this work can be realized with the title of Jaran Endut (Motionless Horse)Keywords: Jaran Endut, Horse Character, Toughness

Perpaduan Bali dan Jazz dalam Teknik Jazli, Tari Studi dalam Kontemporer Putu Parama Kesawa Ananda Putra; I Gusti Ngurah Sudibya; Ida Ayu Wayan Arya Satyani
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 (293.235 KB)

The Blend of Bali and Jazz in Jazli Techniques, Dance Studies in Contemporary Jazli's dance work is a contemporary dance whose idea departs from the creator's personal experience. The experience of studying Jazz dance and the love of Balinese dance made the creators want to raise the acculturation of motion as the theme of the work. Through this dance work, the creator wants to convey the creator's pride in Balinese dance which is very flexible, so that it can be combined with Jazz dance originating from the West. This work aims to offer a new artistic creativity at the Indonesian Institute of the Arts Denpasar, especially in the Dance Study Program in completing the final project. The study dance type was chosen to combine Jazz dance techniques and Balinese dance techniques, so as to find new movement techniques. The creator uses Jacqueline Smith's method as the basis for building Jazli dance works. This method is divided into four stages, called the construction method I, II, III, and IV. In addition to the combination of movement techniques, in the process of his work there is also a combination of music and fashion to represent elements of Jazz and Bali. The form of presentation of Jazli dance works is a group of seven dancers, three male dancers and four female dancers. Jazli's movement technique is the result of the discovery in this dance work. Jazli's movement technique is the creator's reflection on the dance techniques he has studied. The creator hopes that Jazli's dance works can be used as inspiration for the younger generation, and Jazli's movement techniques can develop in Bali. Keywords: Contemporary, Experience, Jazli, Acculturation

Identification of Motivation and Self-Actualization Dance Studio Students I Gusti Ngurah Sudibya; Gatut Rubiono; Ida Ayu Wayan Arya Satyani; Nurida Finahari; Ida Made Dwipayana
Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Vol 24, No 1 (2023)
Publisher : Fakultas Bahasa dan Seni UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/komposisi.v24i1.113818

Student’s motivation in participating in dance lessons in a dance studio can determine the success of the learning process. This study aims to identify the motivation and self-actualization of dance studio students. Research respondents are 220 dance studio students from Denpasar and Buleleng Bali. The research was conducted using a questionnaire distributed through the google form application. The questionnaire consists of 8 question items with predetermined answer choices. The results of the study indicate that hobbies are the main reason for students to choose dance. The self-actualization of students is shown to be sufficient for them to be involved in dance performances.

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