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INDONESIA
Jurnal Igel: Journal of Dance
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 28023245     DOI : https://doi.org/10.59997/journalofdance
Core Subject : Humanities, Art,
Arts Humanities
Jurnal IGEL : Journal Of Dance memiliki makna kolaboratif berbagai elemen serta usaha kerja keras dalam membangun ilmu pengetahuan, teknologi, dan seni tari secara luas, baik dalam matra lokal, regional, nasional maupun global.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 173 Documents
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Tari Wrrdhining Endek Kusuma, Putu Werdhi; Trisnawati, Trisnawati; Suartini, Ni Wayan
Jurnal IGEL : Journal Of Dance Vol 4 No 1 (2024): Jurnal IGEL Vol 4 No 1 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i1.4199

Abstract

The Wrrdhining Endek dance work is a new dance creation inspired by the development of typical Balinese woven cloth, namely endek cloth, which was developed by the creator with his creativity and imagination. The process of creating this dance work uses the Alma M. Hawkins method whose stages consist of an exploration stage, an improvisation stage, a forming stage and packaged into a new creative dance form danced by six dancers including three male dancers and three female dancers with a duration of 11 minutes 50 seconds. Wrrdhining Endek Dance make-up uses minimalist dance make-up to clarify the character that you want to highlight. By creating the Wrrdhining Endek Dance Work, the creator hopes that all people, especially on the island of Bali, will be proud and be able to take better care of the traditional cloth that we have, namely Endek cloth, because we have endek cloth, we wear it and we are proud. And the creator hopes that in the future the relationship between the creator and the Gumiart Bali Art Studio can remain good and collaborate again.
Tari RESULT Pratama, I Putu Oka Surya; Kasih, Ni Nyoman; Saputra, I Putu Bagus Bang Sada Graha
Jurnal IGEL : Journal Of Dance Vol 4 No 1 (2024): Jurnal IGEL Vol 4 No 1 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i1.4202

Abstract

Result is a contemporary dance work whose idea comes from dice. The creator has an interest in the form of a number game and the clash of dice which results in an uncertain number value, and is poured into the dance work Result. In the method of creating this dance work, the creator found a gambling game method that was applied spontaneously by both dancers and musicians with dice media, the creator wanted to visualize it in a dance work to try or experiment on dice media. Do not forget that the creators also used Jacqueline Smith's dance creation method, called the construction method. The construction method consists of five stages, namely I to V, each of which has a stage in the process of creating a dance work.
Banyu Atirodra: Transformasi Air Dalam Wujud Tari Kekebyaran Gunawan, Kadek Putra Dharma; Sulistyani, Sulistyani; Gunarta, I Wayan Adi
Jurnal IGEL : Journal Of Dance Vol 4 No 1 (2024): Jurnal IGEL Vol 4 No 1 2024
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v4i1.4203

Abstract

Banyu Atirodra Dance is a dance that takes creative sources from the Siat Yeh cultural event in Banjar Teba, Jimbaran, Badung Regency. Siat Yeh can be divided into two words, siat means war and yeh means water. So Siat Yeh is a war that uses water as its weapon. In the creation of the Banyu Atirodra Dance, the creator made the use of water in this tradition as the basic capital and the trigger for choreographic ideas. Banyu means water and Atirodra means terrible, so Banyu Atirodra is the awesomeness of water that is able to provide prosperity as well as bring harm to humans. In the process of its creation, the creators collaborated with the Bumi Bajra Sandhi Foundation in the Merdeka Belajar-Kampus Merdeka program by taking the form of independent study/project learning.The creation of Banyu Atirodra Dance uses the method of creating Angripta Sasolahan (creating dances) by I Kt. Suteja in the book Catur Asrama Pendakian Spiritual Masyarakat Bali Dalam Sebuah Karya Tari. This book describes the five stages of creation, including ngarencana (planning), nuasen (prayer procession), makalin (improvisation), nelesin (formation) and ngebah (premier performance). The Banyu Atirodra dance is a subtle male dance (kekebyaran) performed in groups with the dance structure consisting of four parts that last 11 minutes. The dance music uses Gamelan Gong Kebyar components such as gong, klenong, kajar, kecek, kendang and flutes. Using minimalist (natural) make-up with white nuances, consisting of white trousers, white belt (stagen), don girang and white kancut (lelancingan). The creator hopes that the values contained in this work can be implemented in social life, especially in the use of water which is very crucial for life
Karya Tari Sky Maps Swarsana, I Putu; Suandewi, Gusti Ayu Ketut; Kasih, Ni Nyoman
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.v4i2.3170

Abstract

Sky Maps is a contemporary dance work inspired by constellations. A constellation is a collection of stars connected into a pattern in the sky. In addition to predicting luck, the uses of constellations include, among others, as a sign for planting time, and also used as navigation or directions for fishermen at sea. Constellations can also be used to determine the cardinal directions in each direction east, south, west, north have their own constellations. The constellations consist of the Scorpio constellation, the Kite constellation, the hunter constellation, and the thunder constellation. This work focuses on the shape of each constellation transformed into dance movements according to the imagination of the stylist with his creativity. The process of creating Sky Maps uses the method of Alma M. Hawkins in her book Creating Through Dance translated by Y. Sumandiyo Hadi into the book Creating Through Dance, which mentions three important stages in the formation of dance works, namely, the exploration stage, the experimental stage (improvisation), and the forming stage. The Sky Maps dance work is danced by eight male dancers who are packaged into a contemporary dance form with a duration of approximately 14 minutes. The Sky Maps dance work uses MIDI (Musical Instrument Digital Interface) music in which there are several electronic music instruments to support the atmosphere in this dance work. This work uses fantasy makeup with clothing that uses a white jumpsuit (strait full body) with a combination of navy blue and uses reflective strips (scothlite) which are arranged in such a way in one dancer's outfit. The effect of the reflector strip (scothlite) itself reflects light when illuminated and will emit light when in the dark. Besides having a uniqueness that lies in the idea and concept, another uniqueness also lies in the movement called Nyiku Lintang.
Tari Kreasi Wija Prakerti -, Ni Kadek Deviani; Wimba Ruspawati, Ida Ayu; Oka Adnyana, A.A. Ketut
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.v4i2.3177

Abstract

The Wija Prakerti Dance is a new dance creation inspired by the story of therejang slahsah dance, namely the sacred rejang dance which is intended as a formof gratitude for the rice plant. The Wija Prakerti Dance tells the story of rice farmerswho are active in the rice fields. The Wija Prakerti Dance was created as a thankyou to the farmers. paddy.In the creation process, the creator collaborated with Sanggar Warini in theindependent campus learning program by taking independent studyprograms/projects. The creation of the Wija Prakerti Dance uses the AngriptaSasolahan creation method (creating dances) by I Kt. Suteja in the book CaturDormitory, the Spiritual Climbing of Balinese People in a Dance Work. The bookexplains the five stages of creation, namely planning, nuasen, makalin, nelesin, andngebah.The Wija Prakerti dance is a creative dance performed as a group with adance structure, namely pepeson, pengawak, pecet, pekaad, which lasts 11minutes. The creator hopes that the values contained in this work can conveygratitude to rice plants and gratitude to rice farmers.
Karya Tari Ngarepat: Sumber ide dan konsep Rejang Kapat di Desa Timbrah, Kabupaten Karangasem. Dipasatyadewi, Ni Luh; Sariada, I Ketut; Satyani, Ida Ayu Wayan Arya
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.v4i2.3209

Abstract

This Ngarepat Dance work comes from rejang kapat in Timbrah Village, Karangasem Regency. One of the aims of the Ngarepat Dance work was created to educate the wider community about the processions or ceremonial rituals carried out by prospective kelihan dahe before becoming kelihan dahe. The kelihan dahe rejang kapat is a symbol of the four dedari, Dewe Dedari Agung, Dewe Dedari Suci, Dewe Dedari Kendran, Dewe Dedari Tohok. So it gets the title Ngarepat. Taken from two words ngarep which means foremost, Utama: he is the father. And Pat which means the word number four which refers to the word kapat which means the fourth Balinese month. To produce maximum work, assistance from supervisors and partners is needed. The partner chosen is Sanggar Paripurna, Sanggar Paripurna can provide shelter and guidance in the process of creating this dance work. The method used in this creation process is Angripta Sesolahan by I Kt. Suteja, in the book there are six methods for creating a work, namely planning, nuasen, makalin, lesin, ngebah and presentation. From this process, a form and form of work is produced, Ngarepat consists of 6 (six) female dancers, the make-up used is minimalist, the dress code uses wastra or cloth with the dominant color white as a symbol of purification and MIDI (musical instrument digital interface) music. . This work also gives rise to several novelties, one of which is the novelty of the movements obtained by the creator, such as the kapat movement, agem ngarepat and ngeyeg. The creator hopes that this work can be useful for the general public.
TARI KREASI BARU LABAONG LABUNTAR KOMPYANG AYU, NI GUSTI AYU MADE AMBAR; Sutapa, I Ketut; Suminto, Suminto
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.v4i2.3237

Abstract

Labaong Labuntar is a new creation of dance art originating from the folklore of Sumbawa, West Nusa Tenggara, depicting the character of two princess characters named Lala Balong and Lala Buntar from the Samawa Kingdom. The idea for this work is motivated by a social phenomenon, namely friendship relationships. The process or stages of creation that are followed include: (1) Ngawirasa (inspiration), (2) Ngawacak (exploration), (3) Ngeplan (conception), (4) Ngawangun (execution), (5) Ngebah (production). This work is realized in the form of a new dance creation consisting of two female dancers depicting their respective characters, namely Lala Balong and Lala Buntar. The structure of this work is divided into three parts, namely beginning, content and end. The dance accompaniment used in this work is Gong Genang with the addition of several instruments such as satong srek, gendang, pelompong, and serune. The "LABAONG LABUNTAR" dance uses minimalist make-up which depicts a princess and the fashion uses traditional Sumbawa costumes which have been modified by the stylist, without reducing the beauty and comfort of the user. The results of the dance creation process "LABAONG LABUNTAR" were performed at the Natya Mandala Building, Indonesian Arts Institute, Denpasar.
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.
Tari Tunjung Biru Pertiwi, Ni Wayan Eka Sri; Arshiniwati, Ni Made; Gunarta, I Wayan Adi
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.v4i2.3373

Abstract

Tunjung Biru is a dance creation that originating from Sang Hyang Dedari in Br. Pujung Kaja, Sebatu, Tegallalang, Gianyar. Tunjung Biru has a beautiful appearance with strong characteristics, creatively expressed in the New Creation Dance with a magical religious theme. The purpose of creating Tunjung Biru is to preserve and also introduce the art in Br. Pujung Kaja, Sebatu, Tegallalang, Gianyar, especially Sang Hyang Dedari. The creation of this dance creation utilizes the angripta-sasolahan method by I Kt. Suteja, involving stages: planning (ngarencana), ritual ceremony (nuasen), selection and improvisation (makalin), formation (nelesin), and first performance (ngebah). Ngerencana involves observation, thinking, and imagination about the creative sources used. Nuasen is a ritual ceremony before improvising movements, including a prayer performed by all dancers. Makalin involves selecting supporting elements and improvising movements. Nelesin is the formation stage, summarizing the obtained improvisations. Ngebah is the first performance to reveal the work and receive feedback. The creation process incorporates the theories of imagination, symbols, and aesthetics. Tunjung Biru is presented as a New Creation Dance performed by 7 female dancers with kekereb properties, minimalistic makeup, and attire inspired by Sang Hyang Dedari in black and white tones. Accompanied by Gamelan Selonding to enhance the atmosphere of each presented structure. The novelty in this work can be seen from the costumes used, the music, to the new movement patterns to get the characteristic movements such as the Nyapuh Movement, the Dedari Tunjung Biru Movement, and the Tenget Movement so that this work becomes beautiful, supported by chanting hymns and lighting which helps the artist to create convey the desired atmosphere.
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.

Page 13 of 18 | Total Record : 173

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