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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 Bhairawapaksa, Interpretasi Sosok Mpu Barang Artha, Kadek Karunia; Sutapa, I Ketut; Gunarta, I Wayan Adi
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Bhairawa is a force (group) who worships Durga as the supreme goddess in practice. Bhairawa is one of the most influential sects for Balinese people both in terms of spiritual practice and history. One of the stories related to the teachings of bhairawa and is well known to this day is the story of Mpu Barang. In the book Kajian Naskah Lontar Siwagama, Mpu Barang is described as a powerful Budha priest who can feed wandering spirits by eating his rough body until it runs out, the magic that Mpu Barang has is Bhairawapaksa. Mpu Barang's magic made the stylists interested in creating contemporary dances with horror nuances by using the theory of imagination so that they can freely interpret the cannibalism of the Mpu Barang character. In the process of realizing this dance work using the creation method proposed by Alma M. Hawkins, which consists of 3 stages, namely exploration, improvisation, and formation.This dance work, the stylist gives the title Bhairawapaksa Bhairawapaksa is a contemporary dance that is danced by 7 core dancers as a representation of Sapta Kanda Pat and Sapta Angga and uses 5 additional dancers. The structure of the Bhairawapaksa dance consists of 4 parts that describe the magical, calm, disgusting, and religious atmosphere. The message to be conveyed in this work is not to judge something only from the outside, but to look inside. Keywords: Bhairawapaksa, Horor, Kanibal Mpu Barang, and Contemporary

ANALISA GERAK TARI DALAM FILM SEKALA NISKALA Yoga, I Gusti Ngurah Krisna; Yulinis, Yulinis; Budiarsa, I Wayan
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Sekala Niskala tells the story of a twin brotherhood between Tantri and Tantra, who were born and live in a village in Bali. They have a relationship with the unseen and the full moon. Tantri, is a Tantric twin who has to be hospitalized due to a disease that is eating away at his brain abilities. This research was conducted to analyze the variety of dance movements in the film Sekala Niskala. From the above phenomena described, there are problems that exist in this writing, including: How did the creation of dance movements in the film Sekala Niskala originate? How is the analysis of dance movements in the film Sekala Niskala? The research method used is descriptive qualitative research method to solve this research problem. found in field observations, interviews, literature studies, documentation. The theoretical basis used in this study is the aesthetic theory in this study which is used to examine the elements, namely form, weight, and appearance related to the Analysis of Dance Motion in the Sekala Niskala Film which analyzes dance movements. Choreographers try to find inspiration for dances that are associated with nature, the environment, animals, plants, art, culture, and Balinese myths. Which in it like the movement of the chicken character, the butterfly character, the monkey character, the tonya character. Of the four character movements, there are several elements to analyze the movement, namely Material, Energy, Space and Time. Keywords: Dance Movement Analysis, Sekala Niskala.

Tari Kreasi Bebarisan Bala Maya, Sebuah Kisah Prajurit Kupu-kupu Arimbawa, I Wayan Wira; Suteja, I Kt.; Suryani, Ni Nyoman Manik
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Reading a book Kupu Kupu Kuning Yang Terbang Di Selat Lombok, tell about history of struggle the kingdom of Karangasem defeating the Selaparang kingdom Lombok. The victory of the kingdom of Karangasem blessing from yellow butterfly troops which can be seen or invisible, panugrahan (Grace) from Ida Bhatara Alit Sakti at Pura Bukit Karangasem. The meaning of the struggle is very phenomenal, if it is related to the concept sekala and niskala, that is devotion of forefather and human relationship with universe. Oriented from the phenomenon came up with an idea to create a work creation dance with the title Bala Maya in bebarisan creation. In the creation of this dance, using theory image and imagination by Tetdjoworo,H, that is can imagining and manifest in the motive of movement.The process uses the method Mencipta Lewat Tari by Y.Sumadiyo Hadi translation of the book Creating Through Dance by Alma M.Hawkins consists of three step that is, exploration, improvisation, and forming step. Bala Maya is a bebarisan dance creation have a heroism theme, tell about Laskar Karangasem troops which interpreting the yellow butterfly attack Seleparang Lombok Kingdom. Invisible soldier is the character and characteristic of yellow butterfly called Bala Maya. Keywords : Bebarisan dance, Bala Maya, sekala-niskala, creating.

Perpaduan Bali dan Jazz dalam Teknik Jazli, Tari Studi dalam Kontemporer Putra, Putu Parama Kesawa Ananda; Sudibya, I Gusti Ngurah; Satyani, Ida Ayu Wayan Arya
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

The Blend of Bali and Jazz in Jazli Techniques, Dance Studies in Contemporary Jazli's dance work is a contemporary dance whose idea departs from the creator's personal experience. The experience of studying Jazz dance and the love of Balinese dance made the creators want to raise the acculturation of motion as the theme of the work. Through this dance work, the creator wants to convey the creator's pride in Balinese dance which is very flexible, so that it can be combined with Jazz dance originating from the West. This work aims to offer a new artistic creativity at the Indonesian Institute of the Arts Denpasar, especially in the Dance Study Program in completing the final project. The study dance type was chosen to combine Jazz dance techniques and Balinese dance techniques, so as to find new movement techniques. The creator uses Jacqueline Smith's method as the basis for building Jazli dance works. This method is divided into four stages, called the construction method I, II, III, and IV. In addition to the combination of movement techniques, in the process of his work there is also a combination of music and fashion to represent elements of Jazz and Bali. The form of presentation of Jazli dance works is a group of seven dancers, three male dancers and four female dancers. Jazli's movement technique is the result of the discovery in this dance work. Jazli's movement technique is the creator's reflection on the dance techniques he has studied. The creator hopes that Jazli's dance works can be used as inspiration for the younger generation, and Jazli's movement techniques can develop in Bali. Keywords: Contemporary, Experience, Jazli, Acculturation

Tari Dapul Windasari, Pande Ketut Ayu; Sulistyani, Sulistyani; Suartini, Ni Wayan
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Karya Tari Dapul (Dangsil Punggel) merupakan sebuah karya tari yang ditarikan oleh enam orang penari putri dalam bentuk tari kreasi baru dengan tema persembahan yang diiringi oleh gamelan selonding. Tari Dapul menginterprestasikan tentang sarana upacara yang dipersembahkan sebelum digelarnya prosesi Siat Sampian yaitu Banten Dangsil Punggel. Garapan Tari Dapul berpijak pada tari rakyat yang dikembangkan dan dikreasikan sehingga menghasilkan gerak inovatif serta menciptakan gerak baru namun tidak terlepas dari pakem yang ada. Tari Dapul terinspirasi dari Tari Nyutri yang sederhana, mudah dipelajari, namun memiliki estetika yang membuat tarian tersebut menarik. Melalui karya tari ini pencipta ingin memperkenalkan Banten Dangsil Punggel kepada masyarakat luas. Sehingga masyarakat mengetahui bahwa banten tersebut saling berkaitan dengan prosesi Siat Sampian, serta memberikan pemahaman kepada masyarakat agar tetap melestarikan tradisi yang sudah diwariskan khusnya tradisi Siat Sampian. Kata kunci : Tari Kreasi, Banten Dangsil Punggel, Siat Sampian, Sampian Dangsil

Tari Telek Nyandar Ati Sebuah Inspirasi dari Tapel Ni Swarni Rakasiwi, I Dewa Ayu Galuh Intan; Suandewi, Gusti Ayu Ketut; Widnyana, Kompyang Gede
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Telek dance is a dance that uses tapel, has a smooth character, is identical to using a fan property. Telek Nyandar Ati dance is a work that was born from research. This dance is inspired by a tapel in the Intaran Traditional Village, Sanur Kauh region, namely Tapel Ni Swarni. This dance has its own peculiarities starting from the beginning of the creation, form, and function of the Telek Nyandar Ati Dance. This study uses a qualitative method with an aesthetic and socio-historical approach. Data obtained through observation, structured interviews and unstructured interviews, and indirectly through literature study, as well as documentation. On this occasion the researcher took the MBKM policy for the Research or Research program with the object of research being the Telek Nyandar Ati Dance, an inspiration from Ni Swarni's tape. Telek Nyandar Ati dance is a work inspired by Ni Swarni's tapel. Ni Swarni's tape is the result of Ida Pedande Made Sideman's imagination of a very beautiful woman who he loves very much, namely Ni Swarni, who is his wife. The Telek Nyandar Ati dance is a group dance danced by six dancers consisting of three telek dancers and three male dancers as pengabih. The Telek Nyandar Ati dance is a work that started with a research. It has the following performance structure: metaki-taki, pamahbah, pengawak, pengecet, and ngewaliang pragina. This dance was originally functioned as an idealistic performance, then along with its journey functioned as an accompaniment dance when sesuhunan at the Dalem Pacekan Penestanan Penestanan Temple napak pertiwi. Keywords: Ni Swarni, Nyandar Ati, telek

Tari Bayu Sutha Karya Anak Agung Anom Putra Nayunda, Nayunda; Artati, Anak Agung Ayu Mayun; Sutirtha, I Wayan
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Bayu Sutha Dance by Anak Agung Anom Putra The title of this study is Tari Bayu Sutha Karya Anak Agung Anom Putra. The purpose of this study is to find out the beginning of the creation, form and function of Bayu Sutha dance, to measure how far the author's ability to research or study a dance work, and provide information related to the beginning of the creation, shape and function of Bayu Sutha dance. In this study qualitative methods are used, to obtain complete data. The stages of data collection in this study, namely observation, interview, literature study, documentation study. The overall results of the data are processed and analyzed neatly and structured in order to get good results and appropriate conclusions from the research. Bayu Sutha dance is a dance creation that is danced singleally, created by Anak Agung Anom Putra. The dance was created as a request from the organizers of the International Gamelan Festival Amsterdam (IGFA) in the 100th anniversary event of the Tropen Museum Amsterdam on 9-11 September 2010. This Bayu Sutha dance tells the story of Hanoman's mercurial youth and has a sincere heart. Hanoman is the protagonist in the Ramayana story. Anak Agung Anom Putra was also inspired by his name "Anom", therefore a dance was created that depicted the character of Hanoman. In general Hanoman dance is displayed in ramayana sendratari. However, it is different from Bayu Sutha dance that is danced single-handedly. Accompaniment music in Bayu Sutha dance using the semarandhana gong. Keywords: bayu sutha, creation dance, Ramayana.

TARI AMERTA SRI BUMI: REPRESENTASI UPACARA PERANG TIPAT DALAM MERDEKA BELAJAR-KAMPUS MERDEKA BERSAMA SANGGAR SENI PANCER LANGIIT Apriyani, Ni Kadek Ary; Trisnawati, Ida Ayu; Adnyana, A.A Ketut Oka
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

This article is the result of research from the Amerta Sri Bumi Dance: Representation of the Tipat War Ceremony as a new dance creation symbolized as Purusa and Pradana as well as the depiction of Dewi Sri as the Goddess of fertility.This research focuses on the creative process and the form of the Amerta Sri Bumi Dance presentation. This research was structured based on postmodern theory, creativetheoryand the theory of group choreography elements by using qualitative research methods through interview techniques, literature study techniques and documentation techniques.Data analysis has shown that Amerta Sri Bumi Dance is either a welcome dance or an inspired creation of cultural attractions which are the hay hairier and more commonly known as the tipat wars and pillows that are in the Kapal village, Badung distric. By means of the concept of interpreting tipat and the pillows that lifted the essence by bringing together the two symbolic elements of the source of affluence, Purusa and Pradana, fertility, described as goddess Sri.The method employed in the creation of Amerta Sri Bumi dance is the langon method stemming from lontar Purwadigama that states that there are three concepts such as (1) concepts control called ungon, (2) concepts reinforcement called ingon, (3) concepts the mastery called angon.The Amerta Sri Bumi dance uses seven dancers, namely three women symbolized as Pradana, three men symbolized as Purusa. Then one woman as the character of Dewi Sri who wears a magnificent sling.

Pembelajaran Tari Legong Lasem Di Sanggar Tari Warini Cahyanthi, Ni Komang Putri; Arshiniwati, Ni Made; Ardhika, I Gusti Lanang Oka
Jurnal IGEL : Journal Of Dance Vol 2 No 1 (2022): Terbitan Pertama Bulan Juni tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Legong Lasem Dance Lesson at Warini Dance Studio Legong Lasem dance is danced by 3 female dancers including 1 Condong dancer and 2 Legong dancers. Legong Lasem dance tells the love did not reach Prabu Lasem to Princess Rangkesari. Legong Lasem dance prioritiez aesthetic movements, and there are also elements of expression or drama. This studi examines how the Legong Lasem dance learning method is at the Warini Studio, how the Legong Lasem dances enthusiasts are at the Warini Studio, and how are the Legong Lasem dance learning outcomes at the Warini Studio as an effort to increase students understanding of Legong Lasem dance. This study uses a qualitative approach with data collection techniques through observation, interviews, and documentation, uses 2 methods, namely demonstration and imitation. Legong Lasem dance is one of the mandatory materials taught at the Warini dance studio, because this dance is the basis of other dances. The results obtained from this study are able to know the process of learning the Legong Lasem dance in the Warini dance studio as a basis for training dance, thus giving birth to dancers who have strong qualities and techniques due to the will of dancer and the most important thing is the perseverance and patience of a dance maestro, Ms. Arini. Keywords : Legong Lasen dance, method, results

Tari Bidak Isolasi, Sebuah Refleksi Diri Terhadap Kehendak Berkuasa Mahendra, I Gede Adi; Suryani, Ni Nyoman Manik; Gunarta, I Wayan Adi
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Tari Bidak Isolasi adalah sebuah karya tari baru dengan wujud kontemporer yang terinspirasi dari permainan catur. Dalam realitas kehidupan, penata merasakan perilaku banyak orang yang “haus” kekuasaan dikehidupan duniawi dan saling berebut atau beradu, layaknya seperti bidak dalam permainan catur. Tujuan penciptaan karya tari ini adalah untuk mengkomunikasikan pesan bahwa pentingnya suatu pengendalian diri agar tidak terlena terhadap kekuasaan duniawi sehingga pesan pada karya ini diharapkan dapat diterima oleh masyarakat. Tari Bidak Isolasi tercipta melalui proses penciptaan dengan menggunakan metode penciptaan oleh Alma M. Hawkins dengan tiga tahapannya, yaitu tahap eksplorasi, improvisasi, dan pembentukan. Karya tari Bidak Isolasi berbentuk kelompok besar, ditarikan oleh delapan orang penari putra, dengan wujud kontemporer, yang strukturnya terdiri dari bagian satu, bagian dua, dan bagian tiga. Beberapa gerak yang digunakan yaitu gerak dari langkah-langkah bidak yang terdapat pada permaianan catur serta gestur orang bermain catur yang distilirisasikan sesuai kebutuhan koreografi sehingga menjadi wujud baru. Musik karya tari ini digarap menggunakan aplikasi musik FL Studio 2020 bernuansa Bali-Modern. Tata rias yang digunakan yaitu tata rias yang difantasikan disesuaikan dengan konsep estetika karya penata terhadap sebuah obyek permainan catur. Sedangkan tata busana yang digunakan berupa busana baju lengan pendek, celana panjang serta pada badan penari berisikan uang koin dengan tato di bagian hulu hati. Karya Bidak Isolasi dipentaskan secara daring (dalam jaringan) melalui live streming Youtube dengan konsep pemanggungan proscenium. Kata kunci : Bidak Isolasi, Catur, Kekuasaan, Kontemporer

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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

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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

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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