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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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ABURU SATA Karyana, I Made Dendi Dwi; Sutapa, I Ketut; Suartini, Ni Wayan
Jurnal IGEL : Journal Of Dance Vol 3 No 1 (2023): Terbitan Kesatu Bulan Juni tahun 2023
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v3i1.2377

Abstract

The Aburu Sata dance is a contemporary dance work that takes the theme of mulat sarira which is inspired by the Balinese folklore of an animal hunter to fulfill his needs, named Lubdaka. The creator is interested in elevating lubdaka’s emotional traits which include feelings of ambition, restlessness and regret. This dance piece is danced by six male dancers with almost the same body posture. The purpose of the creation of this dance work is to criticize the reality in today’s life throught Lubdaka’s story as a source of inspiration, that many people forget their identity and purpose in life because they are still heavily influenced by the Sad Ripu nature eithin themselves. The method of creation used in creating this dance work is using the Alma M. Hawkins method wich includes exploration, improvisation,forming, because this method is easier for creators to unsderstand to use as a method of creating art. This dance work uses minimalist make up and clothing including udeng, ¾ length pants, shirt, belt, rempel sesaputan, kamen kancut, bracelets, anklets. It is hoped that this dance work will become a performing art that can be enjoyed by people of all groups and can understand that Balinese folkore is not only a story or a night tale, but a story that contains meaning and moral values that are a reflection for us to improve ourselves so that wecan live to be better.   Keywords: Aburu Sata, Emotional nature, Dance work
Proses Kreatif Tari Eling Bhumi Di Sanggar Pancer Langit Desa Kapal Kabupaten Badung Andayani, Ni Komang Ari; Suteja, I Kt.; Widnyana, Kompiang Gede
Jurnal IGEL : Journal Of Dance Vol 3 No 1 (2023): Terbitan Kesatu Bulan Juni tahun 2023
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v3i1.2380

Abstract

Tujuan penciptaan berjudul Proses kreatif tari Eling Bhumi di Sanggar Pancer Langit adalah untuk kreatifitas karya tari kontemporer. Sanggar Pancer Langiit merupakan salah satu sanggar yang terletak di Desa Kapal Kabupaten Badung, yang juga memiliki makna sebagai pusat atau sumber dari segala kekuatan dan langit/lelangit yang berarti leluhur simbol pelindung yang abadi. Metode yang digunakan dalam penelitian ini yaitu menggunakan metode kualitatif, karena data yang diperoleh berupa wawancara yang kemudian hasil dari wawancara tersebut dideskripsikan melalui tulisan dengan kalimat yang detail serta menggunakan teknik dokumentasi dan teknik studi pustaka. Tari kontemporer Eling Bhumi menggambarkan atau menanggapi fenomena pandemi Covid-19 yang sedang melanda dunia saat ini, fenomena ini juga membuat segala sektor kehidupan menjadi terdampak. Konsep garap Eling Bhumi ini mencoba untuk mengolah secara kreatif beberapa unsur gerak tubuh dalam tari dan musik serta mengolahnya dengan memadukan aspek visual permainan properti lontar sehingga menjadi karya seni yang utuh.   Kata Kunci: Proses Kreatif, Tari Eling Bhumi, Pancer Langiit
Estetika Tari Lango Dewi di Pura Beji Langon Yulianti, Ni Luh Putu Erika; Trisnawati, Ida Ayu; Sulistyani, Sulistyani
Jurnal IGEL : Journal Of Dance Vol 3 No 1 (2023): Terbitan Kesatu Bulan Juni tahun 2023
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v3i1.2382

Abstract

ABSTRACT Lango Dewi dance, inspired by a group of nymphs who came to Beji Langon to take Toya Amertha. Beji Langon, also known as Pancoran Dedari, is located in Kapal Village, Mengwi, Badung. Beji Langon Temple is a temple that serves as the location of Ida Bhatara's purification which is located at the Kahyangan Temple in the Three Traditional Ship Villages, namely Pura Desa, Pura Puseh and Pura Dalem. The manifestation of Ida Sang Hyang Widhi who is worshiped at Beji Langon Temple is Dewi Gangga, as the Goddess of water who is in charge of purifying this universe. Goddess Gangga is worshiped at Beji Langon Temple because at this temple a statue of the goddess was found sitting in the middle of the main pool of Beji Langon Temple. Thus, this Beji temple functions as a place of purification and cleansing on a scale and no basis). Beji Langon Temple is one of the relics of an old site in Badung that has recorded traces of water civilization in the Badung area. On this occasion the researcher took the MBKM policy for the Research or Research program with the object of research being the Lango Dewi Dance. The purpose of this study was to analyze the aesthetics contained in the Lango Dewi Dance. The method used in this research is qualitative method. The research method includes observation, interviews, literature study, and documentation. The function and meaning can be seen, the primary and secondary functions of the Lango Dewi Dance and the meaning to society and the Lango Dewi Dance studio. Keywords: Lango Dewi, Beji Langon Temple, Form, Aesthetics, Meaning and Function.
AMERTHA SANJIWANI Ni Putu Ayu Aneska Rastini Dewi; I Kt. Suteja; Ni Wayan Suartini
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.798

Abstract

Purana Pura Luhur Tirta Mas Manik Muncar tells the story of the sacrifice of Ida Ratu Ayu Mas Membah who is willing to change her form from beautiful to old grandmother. The meaning of this story is symbolic of water which has an important role in human life. The phenomenon of this story is very unique and aesthetically raised into a creative dance work, because in the story water flows from upstream to downstream or from clean to dirty things. Departing from this, then created a dance work entitled Amertha Sanjiwani. The process of creating Amertha Sanjiwani's dance works, using the creation method of Creating Through Dance by Y. Sumandiyo Hadi, includes assessment, experimentation and formation. To clarify the results of this creation, transformation theory is used, namely transferring the essence of the Puranas story into a dance work, as well as interpreting the values contained in the story. Amertha Sanjiwani's dance work is a creative dance work that interprets the philosophy of holy water of faith-affirming life, and is implemented in the form of a goddess' sacrifice by changing her form from a beautiful goddess to an old grandmother in order to carry out a good mission.Keywords: Amertha Sanjiwani, water, sacrifice
Tari Sengidyan Marsan, Sebuah Sajian Karya Tari Adalah Karakter Bukan Gender: Tari Sengidyan Marsan Deta Cahya Ramadhani; Sulistyani Sulistyani; I Ketut Sutapa
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.799

Abstract

Tari Sengidyan Marsan merupakan karya tari yang bersumber dari sejarah tari Gandrung, serta terinspirasi terhadap pertunjukan tari Gandrung Banyuwangi dan tari kreasi baru Gandrung Marsan. Penata melihat terdapat kesamaan antara sumber garap tersebut dengan karakter diri penata, serta kemampuan dalam menarikan tari putri. Penggabungan ide cerita dan karakter serta kemampuan penata akan dituangkan dalam wujud tari. Tujuan penciptaan karya tari ini yakni ingin mewujudkan kesetaraan gender dan menepis anggapan penari putra yang menarikan tari putri dianggap kurang sopan, melecehkan kodrat dan sebagainya. Karena yang disajikan dalam sebuah karya tari adalah karakter bukan gender. Karya tari ini mengusung kemampuan sosok Marsan menjadi penari Gandrung yang menghibur sekaligus menyamar sebagai spionase untuk melawan Kompeni Belanda. Penciptaan tari Sengidyan Marsan menggunakan metode penciptaan Alma M. Hawkins yang diterjemahkan oleh Y Sumandiyo Hadi, yang terdiri dari tiga tahapan yaitu: tahap penjajagan (exploration) tahap ini melakukan penentuan penari, penentuan tata busana dan rias, penentuan komposer,penentuan lighting dan crew serta tempat latihan; tahap penuangan (improvisation), yakni melakukan penuangan dan percobaan gerak; dan tahap pembentukan (forming) ialah melakukan tahap pembentukan serta penyempurnaan karya seperti menyamakan gerak dan menyamakan ekspresi. Karya tari Sengidyan Marsan adalah karya tari kelompok yang ditarikan oleh lima orang penari laki-laki dengan struktur tari dibagi menjadi tiga bagian. Karya tari Sengidyan Marsan berbentuk kreasi baru dengan tema kepahlawanan yang menggunakan gerak tari kerakyatan. Karya ini diiringi dengan gamelan Banyuwangi yang direkam, kemudian di kombinasikan dengan menggunakan Musical Instrument Digital Interface (MIDI) dan berdurasi waktu kurang lebih 12 menit.Kata Kunci: Sengidyan Marsan, Gandrung Banyuwangi, Gender, Kreasi Baru.
Bentuk Tari Dedari Dalam Tradisi Makenak-Kenakan Di Pura Desa, Desa Penatahan, Penebel, Tabanan Hani Yustia; Dyah Kustiyanti; Suminto Suminto
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.800

Abstract

The Makenak-kenakan tradition is a symbol of offering, joy, and embodiment as an expression of geatitude to Ida Sang Hyang Widhi Wasa for being given an abundance of produce, avoiding disasters, and hoping to avoid disease outbreaks. This dress-up tradition is carried outby prasayang Ida Batara (a group of sutri penyungsung) the Penatahan tradisional village temple using a series of ritual processes that are carried out with a sincere sense of sincerity. The Dedari dance has certain meaningful symbols. Symbols are a major component of culture. Everything that humans see and experience can be translated into symbols that we can all understand. The Dedari dance is danced by seven dancers who are alive niskala symbolizes the seven widyadari who came down from heaven. Dedari dance is a sacred dance that is performed in the Dewa Yadnya ceremony in Penatahan village. The Dedari dance is one of the dances in the Makenak-kenakan tradition which is sacred in the village of Penatahan, Penebel, Tabanan. This dance is accompanied by gamelan Gong Kebyar. Talking about the problem of form, it is explained about the structure, the dancers of the Dadari dance, the various movements of the Dedari dance, make up, and fashion, accompaniment music, and the Dedari dance performance place, as well as the Dedari dance symbol. Dedari dance research is composed of several theories and qualitative research methods. The theory used in this research is aesthetic and functional theory. The researcher dug up information from several community leaders and residents of the Penatahan village which was then described back toin writing. Key words : Makenak-kenakan tradition, Dedari dance, Form.
Legong Kreasi Mahisamanggala Ni Putu Leslyani; Ni Made Arshiniwati; A.A.Ayu Mayun Artati
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.805

Abstract

Tari Legong Kreasi Mahisamanggala adalah tari yang ditarikan oleh enam orang penari putri, yang terinspirasi dari ritual Kebo Dongol di Desa Adat Kapal, Kecamatan Mengwi, Kabupaten Badung. Tari ini hanya mengangkat inti sari dari ritual Kebo Dongol sebagai ide garapan yang terdiri dari penari yang menarikan sesajen, bentuk sesajen yang menyerupai kerbau, pertemuan sesajen Kebo Dongol dan Pedang Sudamala serta adanya megarang-garangan sesajen. Berorientasi dari pemikiran tersebut, maka terciptalah hasil penciptaan berjudul Mahisamanggala. Mahisamanggala merupakan istilah lain untuk menjelaskan Ritual Kebo Dongol. Tari Legong Kreasi Mahisamanggala tercipta menggunakan prinsipprinsip metode angripta sesolahan yang terdiri dari Ngarencana yaitu proses awal penjelajahan sumber yang mendukung penciptaan, Nuasen merupakan upacara ritual yang dilakukan sebelum berproses, Makalin merupakan proses pemilihan materi yang mengandung terciptanya karya tari, Nelesin yaitupenggabungan untuk menentukan bentuk ciptaan dan Ngebah merupakan pementasan pertama dari sebuah hasil karya tari. Penggarapan Tari Legong Kreasi Mahisamanggala dikemas dalam lima struktur terdiri dari pepeson, pengawak, pengetog, pengecet, pekaad. Secara keseluruhan, karya tari Legong Kreasi Mahisamanggala digarap tidak bercerita, namun disajikan secara dramatik dengan menggunakan mode penyajian simbolik. Tujuan dari penciptaan tari Legong Kreasi Mahisamanggala adalah untuk memperkenalkan kepada masyarakat, bahwa ritual Kebo Dongol memiliki nilai-nilai filosofi dan estetika yang tinggi, sekaligus melestarikan kesenian dengan memuat budaya lokal.Kata Kunci : Ritual Kebo Dongol, Penciptaan, Legong Kreasi Mahisamanggala.
Tari Satriyeng Bencingah Ni Luh Ria Novitasari; Tjok Istri Putra Padmini; Gusti Ayu Ketut Suandewi
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.806

Abstract

The Satriyeng Bencingah dance is a new dance creation that elevates the spirit of struggle carried out by Ida I Dewa Ayu Den Bencingah and his female troops using Belida weapons to fight the enemy who attacked the Bangli kingdom in 801 AD. Satriyeng means knight and hate is the name of Ida I Dewa Ayu Den Bencingah. Satriyeng Bencingah's dance creations were inspired by witnessing a sacred heirloom, namely Belida during the Panca Wali Krama ceremony in 2019 at the Kahen Bangli Temple. Belida is a weaving tool that functions as a unifier between one yarn and another.The process of creating a dance created by Satriyeng Bencingah uses the Alma M Hawkin creation method using three stages, namely exploration, improvisation, and forming. The process of creating this creative dance work uses the theory of imagination and aesthetic theory so that the work is able to convey the message desired by the stylist, namely that women are not weak, able to struggle and do not judge things from the outside.The presentation of the work of Satriyeng Bencingah dance is performed by 7 female dancers in a structured manner which is divided into flashback sections describing Belida being functioned as a loom, part one describes the majesty of Ida I Dewa Ayu Den Bencingah, part two describes inner turmoil and part three describes the spirit of struggle and victory with accompanied by Gamelan Gong Kebyar and gerong vocals.Keywords: Satriyeng Bencingah Creative Dance, Belida, Ida I Dewa Ayu Den Bencingah.
Tari Kreasi Ngelinyar Ni Luh Putu Eka Wahyuningsih; Ni Made Arshiniwati; A.A.Ayu Mayun Artati
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.817

Abstract

The creative source of this dance work comes from the creator's personal experience by seeing firsthand how the character Liku dances on stage in such a unique and eccentric style and has had several opportunities to support the dance test at ISI Denpasar. The experience gave the creator an idea to create a dance work that shows how bright female characters is klinyar. The word klinyar has meanings, namely nglinyar which means lively and maklinyaran which means flirty, with a special view of girls. The process of realizing it into a dance work using the method of creation by applying the principles of angripta-sesolahan, among others: ngarencana (exploration), nuasen (ceremony before the improvisation process), makalin (improvisation), nelesin (forming), and ngebah (first performance). This dance work is packaged in the form of creative dance, with the theme of social life, which is danced by six female dancers. The selection of dancers is adjusted to the creator's body posture. The accompaniment music uses the Semara Pagulingan barungan combined with the strains of the gerong sound to make the musical atmosphere more memorable. The realization of this dance work is expected to provide awareness on how to judge someone not only from the outside, but it is better if we also know how the character is inside.Keyword : character, Liku, klinyar, creation.
Tari Ngalebar I Putu Agus Ari Yana; I Kt. Suteja; I Wayan Budiarsa
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i1.818

Abstract

The Mabuu - buu tradition is a cultural event, carried out every year in the context of Nyepi in the Panjer Traditional Village, Denpasar. The event has the meaning Nyomya sekala - niskala which means neutralizing, balancing Bhuana Agung and Bhuana Alit. The understanding of Nyomya is controlling oneself through good thoughts, words and deeds. In this day and age, the understanding ofNyomya is often ignored, seen from the behavior of modern society which always vents emotion. Through this phenomenon, the creators are interested in creating dance works that express unrestrained thought fluctuations, which are implemented into contemporary expressions of kerawuhan motion with the title Ngalebar. The process of creating this dance, using the method of Creating Through Dance by Y Sumandiyo Hadi, describes exploration (exploration), improvisation (experimental), and composition (formation). To ensure the creation of this work, using the theory of Imagination whichmeans the formation of motion from the results of images or imagining the meaning of Nyomya, and the theory of Aesthetics ngunda bayu which is the distribution of energy in the body. The theme of thiswork is spiritualization (formation of the soul) danced by seven dancers using the gamelanaccompaniment Gong Gede Saih Pitu in collaboration with the keyboard. Ngalebar Dance is a contemporary dance work depicting human reflection, trying to exercise self-control or introspection to achieve sekala - niskala harmony and to end it returned according to its position.Keywords: Ngalebar, Mabuu - buu, Skala - niskala and Contemporary

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