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Jurnal Igel: Journal of Dance

igel
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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 Aku Kumara, Sebuah Refleksi Diri Peduli Anak Hartana, I Nyoman Kharisma Aditya; Budiarsa, I Wayan; Sutapa, I Ketut
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

The creation of this Aku Kumara dance work started from reading a piece of literature namely Anoman Seri Cerita Anak dan Remaja, specifically the story of Anoman's childhood when he ate the sun. This makes the stylists want to create a contemporary dance piece in the form of a large group by interpreting the children's I-ness (selfishness) with curiosity to try to reach the light like the sun. This dance uses several sources of information, namely written sources, discography, filmography, interviews, and direct observations. The theories used are the theory of imagination and aesthetics. Related to the theory of creation, namely using the theory by Alma M. Hawkins consisting of the stages of exploration, improvitation, and forming.Aku Kumara is a contemporary dance piece in the form of a large group of eight male dancers who interpret children's behavior with curiosity and determination to seek the light. The dance structure consists of the beginning, the content, and the end with the movement approaching children and getting inspiration from Balinese dance standards that have been re-explored into new forms. This dance work is accompanied by the FL Studio 2020 software application with Balinese-Modern nuances. The make-up used is a theatrical type of make-up that is fantasized and adapted to the children's character with a casual dress with the concept of jumpsuits and a highlighter green T-shirt. Aku Kumara's dance work was staged on the concept of a proscenium stage at the Gedung Natya Mandala ISI Denpasar.Keywords: Aku Kumara, children, contemporary, creation

GANDRUNG ANYAR Fajarwati, Ni Nyoman Manik; Yulinis, Yulinis; Budiarsa, I Wayan
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

The creative of this dance work m tradicomes frosional cultural events, namely Gandrung dance in Banjar Bangun Urip, Batukandik Village, Nusa Penida District, Klungklung Regency, Bali. Gandrung Anyar is a dance work new creations created from development of the Gandrung dance movement pattems in Nusa Penida with an emphasis on an atmosphere of joy. The creation of this dance work uses the theory of imagination which means power to from a picture (image) and aesthetic theory which means beauty. The process of embodying the creative dance approach uses the method creation in the book Mencipta Lewat Tari by Y. Sumandiyo Hadi, translation from the book Creating Through Dance by Alma M. Hawkins with three stage, namely exploration, improvisation and formation. Exploration is a stage of thinking, imagining, and responding by doing creativ resource research, determines arable ideas and themes, conceptual design of arable, selection of dancer, seklection composers and accompaniment players and selection training sites. Improvisation is the stage of pouring the concept of work to dance actors and the probation period, strarting with nuasen. The last stage is the formation the stage of unifying and arranging movement patterns, arable structures, music and formation as a whole.This dance work is packaged in the form of creative dance with tolerance themes. Performed by five female dancers accompanied by gamelan Semara Pegulingan and uses fan properties. The realization of this dance work is expected to make every human being aware of the importance of tolerance who live in doing an activity together in order to get good results and give happines to evyone. Keywords: Gandrung Anyar, kreasi.

KALITUHAYUAN Dewi, Ni Kadek Tiana Gangga; Padmini, Tjokorda Istri Putra; Suandewi, Gusti Ayu Ketut
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Kalituhayuan means beatiful. It derives from the word listuayu, thus it is defined as beauty. The dance describes Ni Pollok who is a legong dancer and a painting model of Le Mayure. The creator’s interest in the process of creating Kalituhayuan dance is driven from enviromental factors, in which the creator has been involved in dancing and beome a muse for balinese make up artist.The process of creating the Kalituhayuan dance refers to the method of creating a dance work called angripta sesolahan. This method consists of 5 principle stages, namely ngerencana, nuasen, makalin, nelesin, and ngebah. In structuring this dance work, the creator also collects data from library sources, discography sources and also information sources. Kalituhavuan is a new creation dance that is danced by six female dancers which their body postures resembling the creator. The make-up used is minimalistic stage make-up, and the clothes used are white, brown and red. This work uses the hand fan as a property, which is a characteristic of Legong dance and is shaped like a brush. The dance is accompanied by Gamelan Semara Pagulingan and uses gerong vocals to add the atmosphere in every part. Keywords: Kalituhayuan, Ni Pollok, Model and Legong

TARI KREASI SAGUNG WAH Dewi, I Gusti Ayu Agung Adi Sartika; Arshiniwati, Ni Made; Suandewi, Gusti Ayu Ketut
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Sagung Wah's dance was inspired by the heroic story of Sagung Ayu Wah as a young woman who fought against the invading forces who wanted to rule her kingdom, the Kingdom of Tabanan. The story of Sagung Wah's struggle is also written in the Chronicle of Arya Tabanan and Queen of Tabanan. The heroic story of Sagung Ayu Wah was then poured into the form of dance creations. Kreasi baru dance is a type of dance that has been given a directed pattern that has been developed and refined so that it can create a new movement pattern. The creator chooses dance movements that are created but still based on traditional motion patterns in order to gain freedom in moving and imagination.The method that the creator used in working on this dance work is alma M. Hawkins creation method consisting of exploration, improvisation, and forming stage. The three methods were successfully applied in working on this work with dance supporters. The purpose of the creation of this dance creation is to commemorate the story and services of a Sagung Wah in defending the tabanan kingdom as well as a form of appreciation as a woman of Tabanan region.Sagung Wah dance created by eight dancers consists of five female dancers and three male dancers. Makeup on this film uses soft makeup but still sharpens the eyes to fit the concept of clothing used. The dress of this work combines the colors between white which has a sacred meaning and the colors gold and black will look magnificent and authoritative. The dance creations of Sagung Wah are packaged in five structures, namely, flashback, papeson, pangawak, pangecet, pasiat, and panyuwud. The 12-minute directed is accompanied by Semara Pegulingan gamelan.Keywords: Sagung Wah, Tabanan Kingdom, Dance Creations, Creatio.

Tari Kreasi Mapepare Maharani, Putu Devia; Suryani, Ni Nyoman Manik; Ruspawati, Ida Ayu Wimba
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Mapepare is a new dance creation that describes the activities of a group of Tenganan Pegringsingan women who offer Pepare offerings during Ngusaba Kasa in Tenganan Pegringsingan Village. Every ceremonial procession held in Tenganan Pegringsingan Village requires careful preparation, both physically and mentally, because if something unwanted happens in the procession, customary sanctions will be imposed. This applies in the procession of the Pepare offerings, if one of the people in charge of the Pepare offerings accidentally drops one of the elements in the Pepare ceremony, it will be subject to customary sanctions that apply in Tenganan Pegringsingan Village. The method of creation used in the Mapepare dance work is the method of creation by Alma M. Hawkins which includes the exploration, improvisation, and forming stages, so as to give birth to patterns of motion both in physical form, as well as exploration of ideas so that the concept of the work to be worked on appears. Mapepare dance works using the concept of a large group with seven female dancers. The movement patterns used are derived from movements in Balinese dance such as agem, away, badminton, and tangkep which are then redeveloped according to the ideas and themes used. The property used is the Pepare offering which was arranged by the dancers. The accompaniment music used is the Selonding gamelan. The overall duration of the work is 13 minutes, Mapepare dance works are perfomed at the Pelangi Budaya NusantaraStudio, Denpasar.Keywords: Mapepare, mesuunan, customary sanctions

Rupaning Vrihannala Listiawan, Ketut Tara; Ruastiti, Ni Made; Suartini, Ni Wayan
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Rupaning Vrihannala Is A New Dance Creation Based On The Mahabharata In The Story Of Wirataparwa. This Work Is Presented In The Form Of A Duet Dance, By Two Male And Female Dancers, And Is Presented In The Form Of A Freelance Dance With A Performance Structure : Pengawit, Pengawak, Pengecet And Pakaad. This New Dance Creation, Which Was Developed Based On Local Balinese Wisdom, Shows The Love Story Of Arjuna And Dewi Utari During The Panca Pandawa Disguise In The Wirata Kingdom.The Purpose Of This Dance Work Is To Visualize The Truth Values Contained In The Mahabrata Epic, Especially Related To The Wisdom Of Arjuna As A Dance Teacher In The Kingdom Of Wirata. The Admiration For The Wise, Handsome, Good Archery, And Romantic Arjuna Has Inspired The Creation Of This New Dance Creation. The Romance Between Arjuna And Dewi Utari Is Accompanied By Gamelan Gong Kebyar, Supported By Gerong Vocals. This New Dance Creation Was Created Using The Method Of Creating Works Of Art, Which Was Carried Out In Stages, Namely Ngerencana, Nuasen, And Ngebah. All Data That Has Been Collected Through Observation, Interviews, And Literature Studies Were Analyzed Using Art Creation Theory, Symbol Theory, And Imagination Theory. The Process Of Creating This Dance Work Resulted In A New Creation Dance, Rupaning Vrihannala, About The Romance Of Arjuna And Dewi Utari When They Were Disguised As Dance Teachers In The Wirata Kingdom. To Support The Characterizations, Balinese Fashion Make-Up Is Used As A Characteristic, A Symbol Of Local Culture.Keywords: Rupaning Vrihannala, Proses Penciptaan, Struktur Pertunjukan, Tari Kreasi Baru.

TARI SAKANAYA CERMINAN MORAL MANUSIA Kusuma, I Wayan Krisna Ananta; Cerita, I Nyoman; Sutirtha, I Wayan
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

The creative source of the Sakanaya dance work comes from the Sengkuni character who is the antagonist as the source of conflict in the Mahabharata story. His intelligence and abilities make him dissolved into destruction, because he cannot control the six enemies that are within him (Sad Ripu).The creation of this dance work uses the theory of imagination which means the power to form images (images) and the theory of aesthetics which means beauty. The process of realizing it into creative dance works using the creation method in the book Creating Through Dance by Y. Sumandiyo Hadi, a translation of the book Creating Trough Dance by Alma M. Hawkins with stages of exploration, improvisation, and forming. Exploration is thinking, imagining, and responding, by doing research on creative sources, determining ideas and themes for the work, designing the concept of work, selecting dancers, choosing composers and accompaniment players and choosing a place to practice; Improvisation is the process of pouring out the concept of a work to dance performers and has a probationary period; The last stage of forming is the process of uniting and assembling movement patterns, arable structures, music, and formation as a whole.This dance work is packaged in a creative dance work, with the theme of social life. Danced with seven dancers, accompanied by gamelan Semarandhana. The realization of this dance work is expected to awaken every human being that the importance of self-introspection is to maintain integrity or harmony in the lives of fellow human beingsKeywords: Sakanaya, Sengkuni, Sad Ripu, Creative

SPIRIT RINDI Mahendra, I Kadek Oka; Ruspawati, I.A.Wimba; Artati, A.A.Ayu Mayun
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Spirit Rindi dance is a legong dance in the form of a new creation that is danced by six male dancers which inspired from spirit of I Wayan Rindi in legong dance which play a role as figure condong. I Wayan Rindi comes from Banjar Lebah, Sumerta Village, Denpasar City. I Wayan Rindi is a legong dance which acting character legong other that he also as great teacher and educate their students with very good until become a good dancer. The purpose of the Spirit Rindi dance is to introduce the condong dance style I Wayan Rindi's to general public and to preserving classical arts, especially the legong dance.The dance work of Spirit Rindi was created through methode creation from Alma. M. Hawkins with tittle book Creating Through Dance which translated by Y. Sumandiyo Hadi tittled “Mencipta Lewat Tari”. In this methode consists from three step, that this step exploration, step experimental, step forming. Beside use methode also use theory of creation, among other theory aesthetics, theory transformation and than theory motivation. Spirit Rindi dance is divided becomes five structures, that this pepeson, pengawak, pengecet, pengetog, pekaad. Spirit Rindi dance accompanied by gamelan palegongan. The costumes used are red and brown, red which means the power of spirit and brown as a color sweet.Keyword: legong, creation, Spirit Rindi

PENGGABUNGAN DUA GENRE TARI KE DALAM BENTUK KAKEBYARAN Pratama, Putu Angga; Sariada, I Ketut; Cerita, I Nyoman
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Kebyar Jang is a dance creation originating from Truna Jaya Dance and Rejang Sacred Lanang Dance. The two dance genres have different characteristics and movement patterns, then the creators combine them to produce a new dance creation using a theme of spirit combination. The purpose of the creation of the Kebyar Jang dance is to preserve and introduce the arts in the Buleleng area, especially dance.This dance creation uses the angripta-sasolahan method by I Kt. Suteja with stages: ngarencana, nuasen, makalin, nelesin and ngebah. Ngarencana is done by observing, thinking, and imagining the creative resources used. Nuasen is a ritual ceremony before improvising the movement by performing prayers followed by all the dancers. Makalin is done by selecting the supporting the elements of creation and improvising the motion. Nelesin is a stage of formation which is done by summarizing the results of improvised motion that have been obtained. Ngebah is the first stage of the performance to find out the form of creation and get the results of the evaluation. Using the theory of imagination, symbols and aesthetics to assist in the creation process.This dance creation is packaged in the form of the kakebyaran dance which is danced by 6 male dancers using a fan property. Using makeup and clothing a combination of the rejang dance and the kakebyaran dance. Accompanied by the gamelan Semarandhana that can support the atmosphere of each structure that is displayed.Keywords: Kebyar Jang, Kakebyaran Dance, Truna Jaya Dance, Rejang Sacred Lanang Dance.

RADEN AYU PEMECUTAN Yanti, Ni Made Krisna Dwi; Padmini, Tjok Istri Putra; Negara, I Gede Oka Surya
Jurnal IGEL : Journal Of Dance Vol 1 No 2 (2021): Terbitan Kedua Bulan Oktober tahun 2021
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

The work of dance created by Raden Ayu Pemecutan is a dance pulled by seven princess dancers in the form of a new dance and raises the character of a delicate princess by highlighting the ges-the prayer moves that have been developed and reproduced. In raden ayu siti khotijah’s story, this misunderstanding is explained, because at the moment that Raden Ayu Siti Khotijah was carrying out his prayers and was seen by one instructor who thought Raden Ayu Siti Khotijah was practicing the black arts, and then one day he reported directly to king Kyai Anglurah Pemecutan III and ordered him to kill Raden Ayu Siti Khotijah.The application of Raden Ayu Pemecutan inventiveness of cane using concepts of agem, boiler, badminton, and tangle. With a princess’s subtle concept of dance developed and reinfused it into a movement-an innovative move as an identity to the work itself. The resulting musical accompaniment includes a musical accompaniment coupled with a tambourine instrument as well as with a red, white batik and green batik dress as the identity of the strip. It was created through the method of creation in the stages of exploration, improvisation and formation of the method of creation by Alma m. Hawkins. As for some of the theories used in accomplishing this work are like the theory of creative processes, the theory of imagination and aesthetic theory.Through this work gives one a contemplative and an example of keegKey words: dance to creation, princess smooth, Raden Ayu Pemecutan

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I Putu Udiyana Wasista

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+628123970292

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igel_journal@isi-dps.ac.id

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Jalan Nusa Indah, Banjar Abiankapas Tengah, Denpasar, Bali, 80235

Location
Kota denpasar,

Bali

INDONESIA

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name I Putu Udiyana Wasista

Contact Email udiyanawasista@isi-dps.ac.id

Phone +628123970292

Journal Mail Official igel_journal@isi-dps.ac.id

Editorial Address Jalan Nusa Indah, Banjar Abiankapas Tengah, Denpasar, Bali, 80235

Location Kota denpasar, Bali INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
I Putu Udiyana Wasista

Contact Email
udiyanawasista@isi-dps.ac.id

Phone
+628123970292

Journal Mail Official
igel_journal@isi-dps.ac.id

Editorial Address
Jalan Nusa Indah, Banjar Abiankapas Tengah, Denpasar, Bali, 80235

Location
Kota denpasar,

Bali

INDONESIA