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All Journal Jurnal Seni Makalangan Journal Publicuho
Ni Putu Ratna Dewi Gayatri
Institut Seni Indonesia Bali
Arts Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Environmental Science Languange, Linguistic, Communication & Media Social Sciences

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PERAN SANGGAR SENI RWA BHINEDA BAGI PENYANDANG DISABILITAS SENSORIK NETRA DI KOTA DENPASAR Ni Putu Ratna Dewi Gayatri
Journal Publicuho Vol. 8 No. 3 (2025): August - October - Journal Publicuho
Publisher : Halu Oleo University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35817/publicuho.v8i3.935

Abstract

This paper focuses on the role of the Sanggar Rwa Bhineda art community as a social agent that provides an inclusive and adaptive space for people with visual impairments (Penyandang Disabilitas Sensorik Netra-PDSN).  People with visual impairments are often considered to have limitations that make it difficult for them to carry out their daily activities, including participating in social and cultural spaces. In reality, PDSN who are members of the Rwa Bhineda art community can master traditional Balinese arts and participate in various community activities. Using social capital theory, social inclusion theory, and structural functionalism, this study examines the background of the community's establishment, its role as an inclusive agent, and its impact on PDSN in social and cultural aspects. The analysis was conducted using a qualitative approach focused on understanding and describing in depth the role of the Rwa Bhineda studio as a social agent that provides an inclusive space for PDSN. Data collection was carried out using interviews, observations, and documentation, supported by relevant literature and references. The analysis was conducted qualitatively through interviews, observation, documentation, and literature review. The research findings indicate that PDSN participation is driven by an interest in preserving traditional arts, while the studio not only serves as a platform for artistic expression but also strengthens the social, cultural, and economic roles of people with disabilities in Denpasar City
FUNGSI DAN MAKNA DAUN GIRANG DALAM TARI BALI Ni Nyoman Ayu Kunti Aryani; Ni Putu Ratna Dewi Gayatri
Jurnal Seni Makalangan Vol. 13 No. 1 (2026): "Penciptaan Tari dan Produksi Pengetahuan Berbasis Riset"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

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Abstract

Daun girang (Leea indica) merupakan tumbuhan yang hingga kini masih digunakan dalam seni pertunjukan Bali, khususnya tari Bali. Daun ini umumnya ditempatkan pada bagian telinga, rambut, dan gelungan (hiasan kepala) penari sebagai bagian dari busana tari. Meskipun telah menjadi bagian dari tradisi kepenarian Bali, kajian mengenai fungsi dan maknanya masih relatif terbatas. Melalui pendekatan kualitatif dan kajian pustaka, artikel ini mengkaji fungsi dan makna daun girang dalam tari Bali. Data utama diperoleh melalui wawancara mendalan dengan informan, yang merupakan seorang budayawan, seniman, dan akademisi Bali, yakni I Gede Anom Ranuara, S.Pd., S.Sn., M.Si, M.Ag. Hasil penelitian menunjukkan bahwa daun girang memiliki fungsi estetis sebagai pelengkap tata busana serta fungsi identitas budaya. Daun girang juga mengandung makna simbolik yang berkaitan dengan kata girang yang dalam Bahasa Bali berarti senang atau gembira, yang melambangkan harapan akan semangat, keceriaan, dan rasa percaya diri penari, sehingga dapat tampil secara optimal. Keberlanjutan penggunaannya menunjukkan adanya proses transmisi budaya yang diwariskan secara turun-temurun dalam masyarakat Bali. ABSTRACT Leea indica (locally known as daun girang) is a plant commonly used in Balinese permorming arts, particularly in Balinese dance. It is typically placed on the ears, hair, and headdress (gelungan) as a part of the dancers costume. Although it has long been an integral part of the Balinese dance tradition, research on its functions and meanings is relatively limited. Through a qualitative approach and literature studies, this article axplores the functions and meanings of daun girang in Balinese dance. Data were collected through interviews, document reviews, and documentation. The primary data were obtained from an in-depth interview with Balinese cultural figure, artist, and academic I Gede Anom Ranuara, S.Pd., S.Sn., M.Si., M.Ag. The result of this study shows that daun girang serves both aesthetic and cultural functions as a costume element and a marker of Balinese dance tradition. Associated with the word girang (happy or cheerful), it symbolizes joy, enthusiasm, and self-confidence. Its continued use reflects the ongoing transmission of cultural values across generations.
Co-Authors Ni Nyoman Ayu Kunti Aryani