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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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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.
Rekonstruksi tari Penasar, wijil, dan Topeng Tua dalam Dramatari Topeng Panca di Desa Adat Batur Kintamani, Bangli Suanditha, Kadek Rai; Suteja, I Ketut; Negara, I Gede Oka Surya
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.v4i2.3392

Abstract

Topeng Panca is a traditional dance form, and it is one of the mask performances performed by five dancers, each assuming different characters or roles: Topeng Keras, Topeng Tua, Topeng Dalem Arsa Wijaya, Topeng Penasar, and Topeng Sidakarya. The village of Batur was chosen as the partner by the author for the Merda Belajar – Kampus Merdeka (MBKM) program, specifically the Thematic Community Service Learning (KKNT). The reconstruction process of the Topeng Panca dance in the Batur village employed the Demonstration learning method, which involves presenting the material through demonstration or using movement media, making it easier for students to comprehend the presented content. The author's hope in reconstructing the Topeng Panca dance is to revitalize the art of Topeng dance, particularly in the endangered context of the Adat Batur village. In the future, during ceremonial events like odalan or Yandya ceremonies in the Batur village, the dancers can perform the Topeng Panca dance to enhance the flow of the Yandya ceremony in the village.  
Sapta nayaka putra pradnyana, I made bramastya; Sulistyani, Sulistyani; Sutirtha, I Wayan
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.v4i2.3397

Abstract

Karya tari bebarisan sapta nayaka merupakan karya tari tradisi yang mengambil jenre bebarisan, karya tari ini berdurasi 12 menit 5 detik. Karya tari bebarisan sapta nayaka terinspirasi dari salah satu prosesi upacara yang ada didesa Semanik yaitu upacara neduh ayu yang didalamnya terdapat tari baris sumbu sebagai salah satu prosesi upacara neduh ayu. Dari tari baris sumbu inilah pencipta terinspirasi untuk menjadikan sebuah karya tari yang baru, dengan mengangkat nilai-nilai spirit atau kekuatan dari tari baris sumbu itu sendiri. Karya tari bebarisan sapta nayaka menjadi media ungkap proses ketubuhan pencipta dari beberapa tahun yang lalu hingga saat ini, karya tari ini berangkat dari gerak nengkleng sebagai identitas spesifik dan unik lalu dikembangkan dan dikemas berdasarkan kreatifitas penata sehingga mendapatkan sesuatu bentuk yanbg baru tanpa meninggalkan spritit dari tari baris sumbu itu sendiri.
Bala Ghora Wira yasa, I Made Wira yasa; I Gede Oka Surya Negara; Made Ayu Desiari
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.4846

Abstract

Bala Ghora The Bala Ghora dance is a new dance work inspired by Balinese cultural forms which cannot be separated from the traditional and religious activities of the Batulantang Traditional Village community. This dance has a religious function related to the majabajero ceremony at Kayangan Jagat Kancing Gumi Temple. As a work of art, the creation of the Bala Ghora Dance aims to fulfill the graduation requirements for undergraduate students at ISI Denpasar, Dance Study Program in 2024, as well as contributing to the development of the essence of Baris dance as a form of cultural heritage through the creation of creative dances that are modified according to creativity and imagination. The process of creating this dance uses the method of I Wayan Dibia in his book Panca Sthiti Ngawi Sani which includes five stages, namely; the inspiration stage (ngawirasa), the exploration stage (ngawacak), the conception stage (ngaplan), the execution stage (ngawangun), and the evaluation/ngebah stage (maedeng). The results of the creation of the Bala Ghora Dance are characterized by dynamic movement characteristics but combined with movement elements inspired by sacred rituals. Some of the movement motifs used are the first movement, lifting the left leg with the hand holding the kakereb, which is precisely above the head or crown of the head. Meanwhile, the motif of the second movement is the nengkleng movement by carrying a belocong property or (kecombrang tree trunk). The dance structure consists of eight male dancers. The composition of the Baris Babuang dance creation emphasizes the magical touch of dance, making it unique in strengthening humans' relationship with the universe. Keywords: Baris Babuang, Majabajero, Bala Ghora Dance
Legong Krincing Suara Ni Kadek Intan Pramudita Dewi; I Wayan Sutirtha; I Putu Bagus Bang Sada Graha Saputra
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5020

Abstract

Legong Krincing Suara The Legong Krincing Suara dance is a new Legong dance creation with Gongseng as the creative source of creation. The stylist tries to combine aspects of movement, music, make-up and fashion, namely Legong and Gongseng. The creation of the Legong Krincing Suara dance uses the Panca Sthiti Ngawi Sani creation method created by Prof. Dr. I Wayan Dibia, SST, MA. Which include: Ngawirasa, Ngawacak, Ngaplan, Ngawangun, and Ngebah. This dance is performed in a group using 6 female dancers with a dance structure, part 1 depicts the sound of gongseng like a "voice" that comes from all directions, part 2 describes the sound play produced by gongseng which is combined with legong movements that have been developed, and part 3 depicts small balls moving in the gongseng, giving rise to irregular or irregular sounds. The duration of this work is 10 minutes 33 seconds and uses Musical Instrument Digital Interface (MIDI) accompaniment using Legong gambelan combined with Gongseng Sound. Using general Legong dance make-up and clothing with some modifications to the fan and the addition of Gongseng anklets. Keywords : Legong Dance Krincing Suara, Gongseng, Legong.
Tari Ngibing Ngalegong: Sebuah Ungkapan Rasa Suka Cita, Tulus, dan Ikhlas Ni Kadek Prastya Maharani; Gusti Ayu Ketut Suandewi; I Wayan Adi Gunarta
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5650

Abstract

The dance piece titled Ngibing Ngalegong is inspired by one of the sections of the legong dance originating from the village of Bongan in Tabanan. Ngibing Ngalegong is a creative palegongan dance piece that highlights the ibing-ibingan movements at the end of the Joged Bisama Legong Keraton dance. In this piece, the ibing-ibingan movements are made more structured and feature harmonious paired patterns. Ngibing Ngalegong comes from two words, ngibing and ngalegong. The word ngibing is taken from the final part of the Joged Bisama Legong Keraton dance, namely ibing-ibingan, which is simplified to ngibing. Meanwhile, ngalegong comes from the word legong, to which the choreographer added the prefix nga, meaning packaged into palegongan. In the creation of the Ngibing Ngalegong dance, the method used is based on the Angripta Sasolahan method (creating dances). This creation method includes five important stages: ngarencana (the preparation or planning stage for creating the work), nuasen (the ritual or spiritual stage to begin the creation process), makalin (the selection of materials needed for creation), nelesin (the formation stage to harmonize and perfect the work), and ngebah (the premiere performance of the complete dance work). The Ngibing Ngalegong dance has a social-religious theme. The ngibing interaction can be described as social and religious because the Legong Bisama ngibing is believed to ward off evil. The Ngibing Ngalegong dance is performed in a group using six female dancers. The stage makeup used in the Ngibing Ngalegong dance follows Balinese dance stage makeup, while the costumes are based on the general Legong dance costumes but with more developed designs and shapes, incorporating cream-colored elements. The Ngibing Ngalegong dance uses a Musical Instrument Digital Interface (MIDI) application as its accompanying music, featuring a 12-minute sample of the Semarandhana gamelan. Keywords: Ngibing Ngalegong, Ibing-ibingan, Creative Palegongan
Karya Tari Bangkemaong Ade Pande Chana; I Wayan Sutirtha; Ida Ayu Wayan Arya Satyani
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5651

Abstract

Abstract This study aims to explore and document the creation process of the dance piece Bangkemaong, inspired by the memande tradition and cultural heritage of the Pande community in Bali. Integrating elements such as movement concepts, choreography, costume design, musical accompaniment, and lighting design, this dance work seeks to create a cohesive and meaningful performance. The creation process draws upon the Angripta Sasolahan method proposed by I Kt. Suteja in his book Catur Asrama Pendakian Ritual Masyarakat Bali dalam Sebuah Karya Tari, involving stages of ngarencana (planning), nuasen (spiritual preparation), makalin, nelesin (choreographic development), and ngebah (evaluation and presentation). The ngarencana stage involves ideation and concept planning based on interviews with knowledgeable sources on the Pande tradition. Nuasen serves as spiritual preparation before entering makalin, where spontaneous movements are developed into strong and authoritative choreographic motifs. Musical accompaniment utilizes MIDI technology for rehearsal efficiency and adaptation to artistic needs, with composer Pande Ega contributing his heritage insights. Nelesin includes the adjustment of movements to music and refinement of choreographic motifs for consistency and dancer comfort. Ngebah marks the first performance for evaluation and final adjustments before the official presentation. The structure of Bangkemaong consists of four parts depicting panic, memande activities, fire symbolism, and weapon storage. Descriptions of makeup, costumes, and props reflect the character and identity of the Pande community, emphasizing the color red as a symbol of fire and strength. This research contributes to the development of Balinese dance art and provides deeper insights into the memande tradition and cultural heritage of the Pande community. Keyword: Bangkemaong, Pande, Catur Asrama
Karya Tari Warak Kruron Nyoman Pasek Meisa Gunawan; Anak Agung Ayu Mayun Artati; Kompiang Gede Widnyana
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5652

Abstract

Warak Kruron Dance is a new dance work inspired by the phenomenon of abortion and a cleansing process. The creator drew on these creative sources to produce a unified concept for the dance work. The creation of the Warak Kruron dance piece aims to educate the public about the importance of understanding the consequences of one's actions. Additionally, the creator incorporates several key aspects of choreography into the purification ritual as a symbolic vessel for a ceremony. The Warak Kruron dance piece was created using Alma M. Hawkins' creation method, which consists of three stages: exploration, improvisation, and formation. This dance piece is performed by nine male dancers and one female dancer, with a contemporary form consisting of three parts: part one, part two, and part three. The music for this dance piece uses MIDI (Musical Instrument Digital Interface) with a musical method (quadrasonic) equivalent to what is now called 4.0 surround sound, using four audio channels with speakers placed at the four corners of the listening space. This system allows for the reproduction of sound signals that are (entirely or partially) independent of one another. Quadraphonic surround sound with four channels can be used to recreate the highly realistic effects of a three-dimensional live concert experience at home. It can also enhance the listener's experience beyond the limitations of conventional two-channel stereo sound. Quadraphonic audio was the earliest consumer product in surround sound. Since its introduction to the public in the early 1970s, thousands of quadraphonic recordings have been produced. The makeup in the Warak Kruron dance piece uses minimalist makeup tailored to the concept of the production, and the costume design features a brown strait endek shirt, a kimono, harem pants, a sleeveless shirt, a kemben, and tile pants. Keyword: Warak Kruron, Aborsi, Prosesi, Contemporary
Tari Kreasi Penyandar, Transformasi Tahapan Yang Dilalui Penari Sandar di Pura Dalem Padonan Desa Pererenan I Putu Ananta Wira Adhyatma; Sulistyani; Ni Wayan Suartini
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5653

Abstract

AbstractThe dance piece titled Penyandar is a new creative work. This dance piece draws inspiration from the personalexperiences of the choreographer during her time as a Pregina Telek/Sandar at Pura Dalem Padonan in the village ofPererenan. This work transforms the stages undergone by the Pregina Telek/Sandar. Penyandar comes from the wordSandar, which is another term for Tari Telek, which then received the prefix “Pe-” referring to the performer of theTelek/Sandar dance itself. This dance has a religious theme and is performed in groups using seven male dancers. Themethod used is the Angripta Sesolahan creation method (creating dances), which involves planning, conceptualizing,designing, refining, and finalizing. The accompanying music for the Sandar dance uses the Musical Instrument DigitalInterface (MIDI) application as its medium, utilizing samples from the Semara Pegulingan Saih Pitu gamelan ensemble,which lasts 11 minutes.Keywords: Penyandar, religion, New creation.
Tari Kreasi Pramada Yuwati Ni Made Rahma Chelsia Dewi; I Kt. Suteja; Ni Komang Sri Wahyuni
Jurnal IGEL : Journal Of Dance Vol 5 No 1 (2025): Jurnal IGEL Vol 5 No 1 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i1.5654

Abstract

Pramada Yuwati’s dance work was inspired by a book entitled Mahabharata written by Nyoman S. Pendit. In the storyof Dewi Kunti, when she was a teenager, she was given a gift by Rsi Durwasa in the form of a spell, which could bringthe desired god when she recited the spell and at the same time get a child from the god she brought. Out of curiosity,Dewi Kunti wanted to try the spell without thinking about the consequences of pregnancy. The story proves that DewiKunti was negligent from taking responsibility for the consequences of her actions.This phenomenon is rife in theassociation of teenagers today. This prompted the creator to create a creative dance work entitled Pramada Yuwati. Thecreation of Pramada Yuwati's dance works uses the Angripta Sasolahan method (creating dances) which consists ofNgerencana, Nuasen, Makalin, Nelesin, and Ngebah. Ngarencana is the initial process of exploring an idea that iscontemplated intensely. Nuasen means the stage of carrying out a ritual ceremony to ask for the blessing of GodAlmighty so that all processes of creating dance works run smoothly. Makalin, the stage of selecting materials thatsupport the creation of Pramada Yuwati's dance works, such as choosing a place to practice and improvisingmovements. Nelesin is the formation of works by summarizing the results of motion improvisation to produce motionmotifs. Ngebah, the premiere performance of a complete dance work that aims to get an evaluation and make importantchanges in the work. Pramada Yuwati's Creative Dance is a dance work that tells the story of a teenager's negligence,which results in disaster for his life. Using 6 (six) dancers, the semarandhana gamelan as the dance music instrument,and performed on the Natya Mandala Stage, the Indonesian Art Institute, Denpasar.Keywords: Pramada Yuwati, Negligence, Creation

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