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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 183 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
Segulung Era, Sepetak Lahan Kadek Agung Arya Krisna Kusmawa; Ida Ayu Wimba Ruspawati; I Ketut Sutapa
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.4942

Abstract

Work of Dance The 'Segulung Era, Sepetak Lahan' A Written Report and Presentation For Choreography Major Indonesian Institute of the Arts Denpasar Independent Study Program/Project 2025 By: Kadek Agung Arya Krisna Kusmawa This research focuses on the creation of a contemporary dance work titled "Segulung Era, Sepetak Lahan", which addresses social and cultural issues related to the shrinking agricultural land in Bali, particularly concerning the Sukawati Tobacco. The phenomenon of land contraction is driven by modernization and the development of the tourism sector, which leads to the conversion of agricultural land into commercial areas. This dance work aims to raise public awareness about the importance of preserving local agricultural culture and maintaining traditional cultural heritage amidst the forces of modernization. The creative process of this dance work utilizes the Collaborative Creation Method developed by Teater Garasi Yogyakarta, which includes stages of Locating the Question, Sourcework, Improvisation, Codification, Composition, and Presentation. Through this work, the author seeks to encourage the younger generation to revisit and preserve local agricultural culture, particularly the Mako Sukawati tobacco, which is increasingly eroded by globalization. Keywords: Sukawati Tobacco, Land Shrinking, Modernization, and Cultural Preservation.
Tari Laku Lekuk I Komang Aswinka Krisnanda; Anak Agung Ayu Mayun Artati; Ida Ayu Wayan Arya Satyani
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.5031

Abstract

Laku Lekuk is a new dance work in the form of kakebyar inspired by I Nyoman Gunarsa's painting entitled Kebyar Dancer which depicts the dynamics and beauty of Balinese dance. Based on the inspiration from this painting, the creation of this dance work aims to connect elements of fine art which include scratch painting designs with elements of traditional dance. This dance explores the relationship between body movements and strokes in Gunarsa's paintings, combining traditional and contemporary elements. The theme of this dance work is body curves, with an emphasis on body exploration as the main element with a non-dramatic presentation concept The method used in the process of creating this dance work is angripta-processan by I Kt. Suteja in his book entitled Catur Asrama; The Spiritual Climbing of Balinese People in a Dance Work. These methods include: Ngarencana, Nuasen, Makalin, Nelesin, Ngebah, Presentation (technical evaluation). The Laku Lekuk dance work involves 8 dancers and consists of three acts that reflect the interpretation of the painting and the dancer's freedom in processing body movements. This dance has 3 structures, namely round 1 (papeson), round 2 (pangawak), and round 3 (pangecet, pangipuk, pakaad). This work is accompanied by digital music or MIDI (Musical Instrument Digital Interface), with a duration of 10 minutes. This work was performed on the proscenium stage of the Natya Mandala Building, ISI Denpasar. It is hoped that this work can enrich appreciation of art, inspire the younger generation to preserve Indonesian culture, and open up space for the development of creativity in various forms of art. Keywords: Kebyar Dancer Painting, Scratches, Kakebyaran, Laku Lekuk
Tari Joged Bumbung Klasik Banjar Betngandang Desa Adat Intaran Desa Sanur Kauh Denpasar Komang Jesha Adi Tangkas; Gusti Ayu Ketut Suandewi; Kompiang Gede Widnyana
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.6498

Abstract

Joged Bumbung is a social dance traditionally performed at the end of the harvest season as a form of entertainment. This art form exists in almost every region of Bali, with variations unique to each locality. In Sanur Village, Denpasar, the dance is known as Joged Bumbung Betngandang, a cultural heritage that has been preserved and transmitted across generations. The Banjar Betngandang Joged Bumbung embodies pregina taksu and features a sacred roll (roll), serving as a testament to its enduring presence in the community. This study employs a qualitative approach to explore three research questions: (1) the historical emergence of Joged Bumbung in Banjar Betngandang, (2) the structural and stylistic form of the dance, and (3) its cultural and social functions. The study applies aesthetic and functional theoretical frameworks. The aesthetic approach analyzes local expressions of beauty in dance movements, costumes, music, and other artistic elements, while the functional approach examines the roles and significance of the performance within the community. The findings indicate that the Joged Bumbung Betngandang is a prominent dance tradition in South Bali, with origins dating back to the 1960s. The dance typically involves four to six performers, maintains the traditional Joged movements and Gamelan music, and preserves the original songs. Functionally, the dance serves as a medium for cultural preservation, entertainment, and educational purposes. The emergence of Joged Bumbung Betngandang is linked to the penglingsir of Banjar Betngandang, who possessed pregina taksu, marking the beginning of this dance tradition. The sacred roll is performed every fifth Full Moon during piodalan, reinforcing its cultural and spiritual significance. Keywords: Joged Bumbung, dance form, function.
Penciptaan Tari Maskot Manyigirang Di Desa Jinengdalem, Kec. Buleleng, Kab. Buleleng Luh Silvi Apriliani; I Gede Oka Surya Negara; I Putu Bagus Bang Sada Graha Saputra
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.6511

Abstract

Penciptaan Tari Maskot Manyigirang di Desa Jinengdalem sebagai luaran hasil kuliah kerja nyata tematik (KKNT). Karya ini dilatarbelakangi oleh kehidupan masyarakat agraris Desa Jinengdalem yang masih kuat mempertahankan tradisi manyi (panen padi) sebagai simbol kerja, kebersamaan, dan rasa syukur. Tujuan penciptaan tari ini adalah menghadirkan sebuah tari maskot yang mampu merepresentasikan identitas budaya desa serta menumbuhkan rasa kebanggaan masyarakat terhadap kearifan lokal yang dimiliki. Metode penciptaan yang digunakan adalah metode angripte sesolahan, diantaranya tahap ngarancana, nuasen, makalin, nelesin, dan ngebah. Hasil penciptaan berupa Tari Maskot Manyigirang, yaitu karya tari kreasi berbasis tradisi Bali yang menampilkan karakter ceria, energik, dan komunikatif melalui gerak-gerak yang terinspirasi dari aktivitas pertanian namun diolah menjadi bentuk tarian yang indah dan artistik. Karya ini diharapkan dapat berfungsi sebagai simbol identitas Desa Jinengdalem serta menjadi media pendukung kegiatan budaya dan promosi desa.
Makna Simbolis Tari Kembang Ura Dalam Tradisi Topeng Sidakarya: Kajian Etnoestetika Dewa Ayu Galih Mas Narapadi Galih; Ni Made Ruastiti; Kompiang Gede Widnyana
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.6522

Abstract

Kembang Ura Dance is a newly created dance work that emerges from the reinterpretation of the flower-scattering ritual found in the Sidakarya Mask performance, an essential ritual practice within the Balinese Hindu ceremonial system. In the context of contemporary performing arts, the transformation of ritual actions into aesthetic forms often entails the risk of meaning reduction and the profanation of sacred symbols. This condition generates an urgency to examine how ritual values can be translated into choreographic works without losing their cultural and spiritual depth. This study aims to reveal the symbolic meanings of Kembang Ura Dance through an ethno-aesthetic perspective, focusing on its performance structure, the process of transforming the flower-scattering tradition, and the symbolic meanings embedded in its artistic elements. The research addresses three main questions: how the aesthetic structure of Kembang Ura Dance is constructed, how the flower-scattering tradition is transformed into a creative dance form, and what symbolic meanings are articulated within the cultural context of Sidakarya. Employing a qualitative method with ethno-aesthetic and ethnochoreological approaches, data were collected through performance observation, in-depth interviews, and documentation studies. The analysis is supported by ethno-aesthetic theory, ritual theory, and symbolic perspectives in performance studies. The findings indicate that Kembang Ura Dance does not merely represent aesthetic movement but also articulates symbols of purification, universal compassion, and ritual blessing through its choreographic structure, vintage-inspired costume design, and its symbolic relationship with the Sidakarya Mask as the ritual completer of yadnya. The novelty of this study lies in positioning Kembang Ura Dance as a model of ritual-based creative dance that maintains a balance between modern aesthetics and the continuity of sacred values, while offering a critical reading of the role of creative dance within contemporary Balinese cultural dynamics. Keywords: Kembang Ura Dance; symbolic meaning; ethno-aesthetics; flower-scattering tradition; Sidakarya Mask.
Tari Samsaya Citta: Sebuah Transformasi Konsep Keraguan Perempuan Pasca Pernikahan Menjadi Kesadaran Dalam Bentuk Karya Tari Kontemporer Ni Nyoman Wina Kristina Dewi; Anak Agung Ketut Oka Adnyana; Ni Komang Sri Wahyuni
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.6532

Abstract

Samsaya Citta merupakan karya tari yang mengangkat tema perjalanan batin perempuan dalam memaknai kehidupan setelah memasuki dunia pernikahan, terutama terkait anggapan bahwa pernikahan adalah beban yang menimbulkan ketakutan. Karya ini diciptakan tidak hanya sebagai pertunjukan estetis, tetapi juga sebagai medium refleksi untuk menunjukkan bahwa persepsi negatif tersebut tidak selalu benar dan tidak semua pengalaman orang lain menjadi kenyataan bagi setiap individu. Proses penciptaan karya berlandaskan teori estetika Djelantik serta menggunakan metode penciptaan Langon yang mencakup tahap ungon (penggalian ide), ingon (penguatan konsep melalui riset dan perancangan struktur), dan angon (eksekusi karya secara kolaboratif). Wujud karya disajikan dalam bentuk tari kelompok yang melibatkan delapan penari perempuan, menggambarkan perjalanan dari masa lajang, munculnya isu-isu yang menimbulkan ketakutan terhadap pernikahan, hingga kesadaran bahwa setiap perjalanan hidup bersifat berbeda. Karya ini memadukan koreografi kontemporer, tata rias minimalis bold, tata busana, iringan musik MIDI, serta elemen artistik seperti video projection, lampu tangan, dan lampu lilin elektrik . Pertunjukan dipresentasikan di panggung proscenium Natya Mandala ISI Bali dengan durasi 12 menit. Secara keseluruhan, Samsaya Citta mengusung pesan bahwa seseorang tidak seharusnya takut melangkah hanya karena terpengaruh oleh perkataan orang lain
Api Takep Sebuah Karya Tari Yang Berangkat Dari Ritual Siat Api Di Desa Lodtunduh Ubud Gianyar I Komang Nova Teguh Mahendra; Ida Ayu Trisnawati; I Wayan Sutirtha
Jurnal IGEL : Journal Of Dance Vol 6 No 1 (2026): Jurnal IGEL: Journal Of Dance
Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jijod.v6i1.6547

Abstract

Karya tari Api Takep merupakan karya penciptaan yang terinspirasi dari ritual Siat Api di Desa Lodtunduh, Ubud, Gianyar. Ritual ini mengandung nilai keberanian, kebersamaan, dan energi kolektif masyarakat yang kemudian ditafsirkan ulang ke dalam bentuk karya tari. Penciptaan Api Takep tidak bermaksud merekonstruksi ritual secara langsung, melainkan mengolah makna, simbol, dan pengalaman tubuh masyarakat ke dalam bahasa koreografi. Proses penciptaan karya ini menggunakan metode Panca Sthiti Ngawi Sani yang meliputi tahap ngawirasa, ngawacak, ngarencana, ngawangun, dan ngebah. Gerak tari dikembangkan melalui eksplorasi laku masyarakat dalam Siat Api, seperti mengayun, menyapu, dan melempar sabut kelapa. Karya ini dibawakan oleh tujuh penari putra dengan penggunaan properti sabut kelapa sebagai elemen simbolik utama, serta disusun dalam empat bagian dengan durasi kurang lebih 12 menit. Melalui Api Takep, diharapkan tercipta dialog antara tradisi ritual dan penciptaan tari kontemporer, serta kontribusi terhadap pengembangan seni pertunjukan Bali berbasis nilai budaya. Kata kunci: Api Takep, Siat Api, penciptaan tari

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