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Artati, Anak Agung Ayu Mayun
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Journal : Jurnal Igel: Journal of Dance

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MOGO GAPII WINARKO, GALANG BIMA PUTRA WINDURA; Artati, Anak Agung Ayu Mayun; Widnyana, Kompiang Gede
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.v4i2.3385

Abstract

The Mogo Gapii dance work started from a creative idea, namely Bakar Batu. It is necessary to pay attention to the limitations in order to clarify the extent of the ideas being discussed. Bakar Batu is a Papuan tradition in the form of a cooking ritual carried out together by village residents which aims to express gratitude, permission, death, bersilahturahmi (gathering of relatives and relatives, welcoming happiness (birth, traditional marriage, coronation of tribal chief), as well as to gather soldiers who died due to inter-tribal wars. This stone burning tradition is believed to have been going on for hundreds of years and is the oldest tradition in Papua. Stone burning is an original tradition of mountain tribe communities including the Agmungme, Dani, Lani, Damal, Nduga, Moni and Ekari tribes. The way to differentiate the Burning Stone Ceremony after burning between tribes from others is at the beginning of the Burning Stone ceremony itself. If the ceremony begins with men shooting pigs, then dancing together with jumping movements and circular patterns filled with shouts. which is interpreted as encouragement, it means the Stone Burning Ceremony after the tribal war. If at the beginning of Bakar Batu the men do not shoot arrows at the pig but instead immediately slaughter the pig as usual, it means that the Bakar Batu Ceremony is a ceremony such as marriage, birth, thanksgiving after the harvest and so on.
MOGO GAPII WINARKO, GALANG BIMA PUTRA WINDURA; Artati, Anak Agung Ayu Mayun; Widnyana, Kompiang Gede
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.v4i2.3385

Abstract

The Mogo Gapii dance work started from a creative idea, namely Bakar Batu. It is necessary to pay attention to the limitations in order to clarify the extent of the ideas being discussed. Bakar Batu is a Papuan tradition in the form of a cooking ritual carried out together by village residents which aims to express gratitude, permission, death, bersilahturahmi (gathering of relatives and relatives, welcoming happiness (birth, traditional marriage, coronation of tribal chief), as well as to gather soldiers who died due to inter-tribal wars. This stone burning tradition is believed to have been going on for hundreds of years and is the oldest tradition in Papua. Stone burning is an original tradition of mountain tribe communities including the Agmungme, Dani, Lani, Damal, Nduga, Moni and Ekari tribes. The way to differentiate the Burning Stone Ceremony after burning between tribes from others is at the beginning of the Burning Stone ceremony itself. If the ceremony begins with men shooting pigs, then dancing together with jumping movements and circular patterns filled with shouts. which is interpreted as encouragement, it means the Stone Burning Ceremony after the tribal war. If at the beginning of Bakar Batu the men do not shoot arrows at the pig but instead immediately slaughter the pig as usual, it means that the Bakar Batu Ceremony is a ceremony such as marriage, birth, thanksgiving after the harvest and so on.
Tari Bayu Sutha Karya Anak Agung Anom Putra Nayunda, Nayunda; Artati, Anak Agung Ayu Mayun; Sutirtha, I Wayan
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 (202.419 KB) | DOI: 10.59997/journalofdance.v2i1.1602

Abstract

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.
PROSES PENCIPTAAN, BENTUK DAN PESAN TARI GEN DI YAYASAN BUMI BAJRA SANDHI Apsari, Ketut Novia; Ruastiti, Ni Made; Artati, Anak Agung Ayu Mayun
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.v2i2.1887

Abstract

Tujuan penelitian ini dilakukan adalah untuk dapat memahami dan menjelaskan karya seni pertunjukan Tari GEN. Tari GEN ini terinspirasi dari aksara sebagai proses penciptaan. Tari ini memiliki kekhasan dan keunikan sendiri mulai dari awal mula proses penciptaannya, bentuk pertunjukan dan pesan yang disampaikan Tari GEN. Penelitian ini menggunakan metode kualitatif dengan landasan teori estetika dan ikat kait. Data yang diperoleh melalui observasi, wawancara, studi kepustakaan dan dokumentasi. Hasil penelitian ini menunjukkan bahwa ide penciptaan dalam Tari GEN ini berawal dari keinginan pencipta mengangkat aksara sebagai proses penciptaan. Bentuk pertunjukan Tari GEN terdiri dari tiga struktur yakni: (1). Menggambarkan suasana yang magis. (2). Menggambarkan suasana yang ceria. (3). Semua penari melihat bulan sambil menyanyikan lagu Panedeng Masa Kartika. Gerak yang digunakan Tari GEN adalah gerakan yoga asanas, serta menggunakan beberapa gerakan Tari Bali. Pola lantai yang digunakan dalam Tari GEN adalah diagonal, vertikal, horizontal, spiral dan lingkaran yang dibantu menggunakan level tinggi, rendah dan sedang. Riasan pada wajah menggunakan corak berwarna putih ke beberapa penari saja sedangkan penari lainnya tampil tidak memakai riasan wajah atau natural. Busana yang berwarna-warni menjadikan kesan dari anak-anak jelas terlihat. Gending yang dinyanyikan pada tarian berjudul Panedeng Masa Kartika. Alat musik yang digunakan yaitu berupa selonding, riong, ceng-ceng, kendang, suling, kemong/kajar, rebab dan gong dengan digarap menyesuaiakan kebutuhan garapan. Artictic stage dan lighthing design Tari GEN menggunakan layar berlukiskan aksara bali visual art. Pesan pada Tari GEN adalah mengajak seluruh masyarakat khususnya di Bali agar melestarikan bahasa daerah atau aksara Bali.Kata Kunci: Tari GEN, Proses Penciptaan, bentuk, pesan
Co-Authors Apsari, Ketut Novia Nayunda, Nayunda Ni Made Ruastiti Sutirtha, I Wayan Widnyana, Kompiang Gede WINARKO, GALANG BIMA PUTRA WINDURA