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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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Proses Kreatif Penciptaan Tari Baris Bebek Bingar Bengkala (Bebila) di Desa Bengkala Buleleng Ni Ketut Ayu Pratini Wulandari; Ida Ayu Trisnawati; I Ketut Sutapa
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.v5i1.5655

Abstract

This article is the result of research related to the creative process of creating the Baris Bebek BingarBengkala (Bebila) dance in Bengkala Buleleng Village, which was created by Ida Ayu Trisnawati in 2016 as atraditional Balinese dance in the form of a line specifically created for the deaf-mute or kolok community in thevillage Bengkala. This dance work indirectly breaks the stigma of society that looks down on people with disabilitiesbecause it has managed to get quite good appreciation. Interestingly, the kolok dancers in their performances are notgiven any code or instructions from anyone at all. They danced like normal dancers usually on stage. It is thedrummers who follow every motion accent that comes out of the dancer's body. The method applied in this study is aqualitative method with reference to the Theory of Creativity and The 4P Theory. The research results obtained show thatthe process of creating the Baris Bebila dance work is a process of the body's journey to find specialties in eachindividual regardless of the shortcomings they have. The process of creating the Baris Bebila dance showsthat dance isa universal language for expression and communication. Dance allows people who cannot speak or hear tocommunicate through movement.Keywords: Baris Bebila Dance, Creative Process, Deaf-Mute/ Kolok
Payas Roko Deeng Buleleng di Desa Liligundi Kecamatan Sukasada Kabupaten Buleleng Kadek Rendy Wiradana; Ni Made Arshiniwati; suminto
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.v5i1.5656

Abstract

Buleleng has one of the Payas Deeng called Payas Roko Deeng Buleleng precisely in Liligundi Village,Sukasada District. Payas Roko Deeng Buleleng was originally used during the cremation ceremony or palebon by thepuri community precisely during the palebon of I Gusti Putu Gria. This Payas is used as a symbol of final respect fortheir ancestors and those who perform the deeng are relatives or siblings who have died. They must or are required topresent a pair of Deeng, male and female to help guide the deceased's spirit to heaven. Payas Roko Deeng Buleleng iscurrently being studied with the help of a Partner, namely Uje Mua Bali. Uje Mua Bali is located in Buleleng, using theoffline learning method or direct meetings to learn how to install the head shape and clothing of Payas Roko DeengBuleleng. It is hoped that with this Thesis, it can provide broad information about Payas Roko Deeng Buleleng. PayasRoko Deeng has a payasan form that uses a roll of roko roko on the head, uses songket and men use 2-meter longkancut. This has the meaning that roko-roko is used as a symbol of akasa or upper space and kancut as a symbol ofpertiwi (lower space) or land. The unification of these two elements will help the deceased spirit to harmonize the upperand lower realms. A pair of Deeng is also used as a symbol of purusa and pradana or the difference between men andwomen. Payas Roko Deeng Buleleng is also seen based on the current social strata of society, the economy of societycan be seen through the Payas Deeng that is offered.Keywords: Cremation, Payas Roko, Buleleng Deeng
Penuangan Isu Bipolar Disorder dalam Karya Tari In Between Annisa Shafa Dhiyaliza; Ni Nyoman Kasih; Anak Agung Ketut Oka Adnyana
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.v5i1.5657

Abstract

This written work discusses the creation of a choreography titled "In Between," inspired by the experiences ofindividuals with bipolar disorder, explored through emotional duality and social interactions. Emerging from the searchfor balance amidst surging emotions, this piece also delves into the relationship between social norms and emotions, aswell as the personal reflection of the choreographer on this phenomenon. The performance is designed as a site-specificwork at the Grand Room of ISI Denpasar, utilizing visual elements such as curtains as symbols of the boundarybetween two opposing norms. Furthermore, the movement concept is based on the exploration of dance inspired byeveryday life, accompanied by playback music. Collaboration with the Mulawali Institute partner facilitated theresearch and creation process, resulting in a piece that offers reflective space and addresses the issues and complexitiesof and awareness of mental health.Keywords: Bipolar Disorder, Mental Health, Emotional Duality, Social Norms.
Menari Bersama Marya I Komang Tri Ray Dewantara; Ni Wayan Suartini
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.4885

Abstract

ABSTRACT “MENARI BERSAMA MARYA” I Komang Tri Ray Dewantara mangtriray@gmail.com This article discusses the creation of a dance work based on research through an archival dance approach titled "Dancing with Marya." The creation of the "Dancing with Marya" work was motivated by the choreographer's artistic practice of examining the archives of the Kebyar Duduk dance to question the distance and changes between the Kebyar Duduk movements recorded in the archives and those performed and taught today. "Dancing with Marya" employs a methodology or creative framework developed collaboratively with Teater Garasi, which follows a linear process encompassing several stages: locating the questions, source works, improvisation, codification, composition, and presentation. This project enables the choreographer to revisit the shifts in the construction of the dance and the dancer's body in Kebyar Duduk from its initial creation to its current form, through an exploration of the genealogy/history of the dance and a physiological identification of I Ketut Marya's body. By observing Marya from the perspective of Kebyar Duduk dancers today, this project explores the possibilities offered by the dance archive while acknowledging the limitations of archives in fully recreating the bodily and dance events of the past, due to the ephemeral nature of dance. The performance is presented in a square space, creating an intimate distance between the dancer and the audience, with visual projections of the archival materials serving as artistic support. Keywords: archive, Kebyar Duduk, I Ketut Marya, genealogy, physiological, ephemeral
Pilahing Watu Ni Komang Vivi Larasati; Gusti Ayu Ketut Suandewi; I Putu Bagus Bang Sada Graha Saputra
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.5034

Abstract

Pilahing Watu The Pilahing Watu Dance Work takes its creative source from a story in Beraban Village. About a village woman who was born or emerged from a split stone in Banjar Batu Gang or Batugaing. The story is raised with the theme of women, implementing female characters who have gentle, graceful, tough and majestic traits. The arranger collaborates with partners, namely the Pancer Langiit Art Studio in the process of realizing the Pilahing Watu Dance Work, starting from selecting movements to selecting music. The process of forming the Pilahing Watu Dance work uses an approach from I Kt. Suteja, namely Angripta sesolahan or creating dances. The Angripta sesolahan method consists of the stages of Ngarencana, Nuasen, Makalin, Nelesin, Ngebah and Presentation. The Pilahing Watu Dance Work uses six female dancers, using music from Swarapala which is also under the auspices of the Pancer Langiit Art Studio using the Gong Gede Saih Pitu Gamelan. It is hoped that this work can be enjoyed by many people, especially in Beraban Village, where the story originates. Keywords : Pilahing Watu, Split Stone, Beraban Village.
KEDALIH Ni Komang Putriana Agustini; Anak Agung Ketut Oka Adnyana; Ni Nyoman Kasih
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6065

Abstract

Abstract Kedalih is accusation or slander, Rangdaning Jero Agung was accused of killing her husband and slandered by the local community for having black magic so that Randaning Jero Agung's patience ran out, and she meditated at Pura Dalem Blanjong to ask for supernatural powers. And was given supernatural powers, namely Legu Gondong which made the local community restless because of the plague in the form of Legu (mosquitoes). The meaning of "Kedalih" is accusation or slander, so "Kedalih" is a new creative dance work danced by 7 dancers depicting the accusation of Rangdaning Jero Agung who killed her husband so that she became angry, and begged at Pura Dalam Blanjong Sanur to be given supernatural powers, namely Legu Gondong. The Kedalih dance work uses the method of I Kt. Suteja, namely Angripta Sesolahan which consists of the stages of ngarencana, nuasen, makalin, nelesin, and ngebah. The Kedalih work has 3 structural parts accompanied by LIVE Gambelan Semarandana. The makeup used is modified Balinese dance makeup with nuances of clothing taken from the colors White and Black. To realize the Kedalih dance work, the creator chose the partner of the Manubada Art Community, an art community engaged in the field of dance performing arts located in Singapadu Village, Br. Apuan Singapadu. Keywords : Kedalih, Wabah, Nyamuk
Tolu Dance in The Senggighilang Art Studio, Bailang Village, Bunaken District, Manado City Apriliani Marsella Debora Moray; Kompiang Gede Widyana; Suminto
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6066

Abstract

Higher education in Indonesia aims to produce quality graduates through the Merdeka Belajar Kampus Merdeka program, but the implementation of this program still faces a number of challenges, especially in the lack of dance literacy, especially in North Sulawesi. This study aims to analyze the elements and symbolic meanings contained in the Tolu dance performance: Our Appreciation for You at the Senggighilang Art Studio. This study uses a qualitative descriptive approach, with aesthetic theory and semiotic theory dance literacy, especially in North Sulawesi. This study aims to analyze the elements and symbolic meanings containedin the Tolu dance performance: Our Appreciation for You at the Senggighilang Art Studio. This study uses a qualitativedescriptive approach, with aesthetic theory and semiotic theory.The data collection process goes through the stages of observation, interviews, documentation and data
Tanjung Sambuk: Visualisasi Ritual Hindu Dalam Estetika Tari Kontemporer Ida Bagus Yodhie Harischandra; I Ketut Sutapa; Sulistyani
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6070

Abstract

AbstrakKarya tari kontemporer di Bali kerap menjadi ruang negosiasi antara tradisi ritual dan inovasi artistik. TanjungSambuk lahir dari inspirasi prosesi pengantin Hindu setelah upacara mekala- kalaan dan sebelum natab mewidi-widana, tepat pada momen intim di bilik pengantin ketika pasangan berbagi rasa bahagia, haru, dan keraguan.Latar belakang ini menegaskan urgensi penelitian, yakni bagaimana ritual sakral dapat direinterpretasi dalambentuk tari kontemporer yang tetap berpijak pada nilai estetika Hindu. Permasalahan utama yang diangkat adalahbagaimana simbolisasi emosi dan ritus pengantin divisualkan melalui medium tari sehingga relevan dengankonteks seni pertunjukan masa kini. Penelitian ini menggunakan metode Angripta Sesolahan (menciptakan tari-tarian), dengan pendekatan kualitatif berbasis praktik artistik. Teori yang digunakan meliputi etnoestetika(Kaeppler), performativitas (Schechner), dan simbolisme ritual (Turner), sehingga analisis mencakup aspek prosespenciptaan, bentuk, serta makna simbolik pertunjukan. Eksperimen artistik diwujudkan melalui koreografiberkelompok (4 penari laki-laki, 4 perempuan) dengan iringan teknologi musik digital (Musical Instrument DigitalInterface [MIDI]) berdurasi 12 menit. Hasil penelitian menunjukkan bahwa Tanjung Sambuk berhasil menghadirkanruang estetis yang memadukan ekspresi emosional pengantin dengan inovasi kontemporer tanpa kehilangan akarritus Hindu. Novelty penelitian ini terletak pada integrasi praktik ritual ke dalam koreografi kontemporer berbasisMIDI, yang sekaligus membuka perspektif baru tentang estetika tari Bali modern sebagai medium transformasinilai religius dan emosional.Kata kunci: Tanjung Sambuk; Ritual Hindu; Estetika Tari; Kontemporer; Etnoestetika.
TARI LEGONG NGELAWANG DI DESA APUAN, KECAMATAN SUSUT, KABUPATEN BANGLI Luh Risa Melliani; Ni Made Arshiniwati; Kompiang Gede Widnyana
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6071

Abstract

AbstrakTari Legong Ngelawang termasuk dalam jenis Tari Legong Keraton yang telah dimodifikasi olehpenciptanya. Nama Legong Ngelawang digunakan karena tarian ini ditarikan dengan cara ngelawang (ditarikanmengelilingi Banjar Bangun Lemah, Desa Apuan). Tarian ini termasuk dalam jenis tari kelompok yang terdiri daritiga penari wanita dan diklasifikasikan ke dalam tari wali. Penelitian yang berfokus pada Tari Legong Ngelawangini memiliki dua masalah dengan kajian utama ada pada bentuk dan fungsi Tari Legong Ngelawang di Desa Apuan,Kecamatan Susut, Kabupaten Bangli. Teori yang digunakan untuk membedah dua permasalahan itu adalah teoriestetika dan teori fungsional. Penelitian ini merupakan penelitian deskriptif kualitatif yang ditinjau dari kajian senipertunjukan dengan menggunakan teknik pengumpulan data wawancara, observasi, studi pustaka, dan dokumentasi.Hasil penelitian menunjukkan bahwa Tari Legong Ngelawang termasuk dalam jenis tari lepas yangditarikan oleh tiga orang penari yang sudah dipilih berdasarkan pawisik dari Sesuhunan Pura Dalem. Strukturpertunjukannya terdiri dari tiga bagian yaitu pepeson, bapang, pengawak dengan ragam gerak sederhana yang terdiridari agem, tandang, tangkis, dan tangkep. Penari menggunakan riasan wajah dan busana yang sangat sederhanadengan menggunakan kipas sebagai properti. Iringan yang digunakan adalah gamelan palegongan yang dibawakanoleh penabuh sekaa Legong dengan jumlah dua puluh orang. Tempat pementasan Tari Legong Ngelawang adalah disetiap gang, dan pertigaan jalan Banjar Bangun Lemah dengan pola lantai yang masih sederhana. Pementasandilaksanakan setelah persembahyangan bersama sampai sore hari pada hari Raya Galungan dan Kuningan. Tarianini memiliki fungsi utama sebagai sarana ritual.Kata Kunci: Tari Legong Ngelawang, Bentuk, Fungsi
TARI KEBYAR TELEK Kadek Indah Cahya Ningsih; Anak Agung Ayu Mayun Artati; I Wayan Adi Gunarta
Jurnal IGEL : Journal Of Dance Vol 5 No 2 (2025): Jurnal IGEL: Journal Of Dance VOL.5 NO.2, Oktober 2025
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v5i2.6072

Abstract

AbstrakTari Kebyar Telek adalah tarian yang mengambil sumber kreatif penciptaan dari kearifan lokal yang terdapat diPura Dalem Penataran Tegal Jaya, Desa Adat Padang Luwih, Dalung, Kecamatan Kuta Utara, Kabupaten Badung. Tarianini mengangkat tentang tradisi Tari Telek di Pura Dalem Penataran yang dahulu pernah ada, namun kini keberadaannyatelah punah. Karya tari ini mentransformasikan spirit tari Telek ke dalam pola garap tari kakebyaran, sehinggamenghasilkan tari Telek kreasi baru dengan bentuk kakebyaran. Kebyar Telek terdiri dari kata Kebyar yang berarti suatubunyi yang muncul menggelegar secara tiba-tiba dan meriah. Dalam konteks tari, Kebyar ialah kreasi baru dalam tari Bali.Sedangakan kata Telek berarti tarian yang menggunakan topeng dengan karakter lembut dan halus dengan hiasan kepalaunik. Tahapan penciptaan Tari Kebyar Telek menggunakan metode penciptaan Angripta Sesolahan (menciptakan tari-tarian)oleh I Kt. Suteja yang memiliki lima tahapan Penciptaan, yaitu ngarencana (merencanakan), nuasen (prosespersembahyangan), makalin (proses improvisasi), nelesin (proses pembentukan), dan ngebah (proses pementasan). TariKebyar Telek adalah sebuah hasil karya cipta baru yang menggunakan pola garap tari kakebyaran dengan karakterbebancihan dan ditarikan secara berkelompok oleh tujuh orang penari putri. Gerak tarian ini menyajikan perpaduandinamika gerak tari Telek yang berkarakter lembut dan lues dengan gerak tari Kebyar yang berkarakter keras, tegas, dandinamis. Struktur tarinya ini terdiri dari dua bagian yang disajikan dalam durasi 13 menit dan musik tarinya menggunakangamelan semarandhana. Tata rias dan busana yang digunakan ialah jenis tata rias tari panggung dan tata busananyamenggunakan motif-motif dan desain kostum bergaya klasik model sesaputan yang dipadukan dengan gaya busanakakebyaran model lelancingan. Kata Kunci: Kebyar Telek, Dalem Penataran, Kakebyaran

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