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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 Wong Peken oleh Jasmine Okubo Ni Komang Ananda Gayatri; Dyah Kustiyanti; I Gusti Ngurah Sudibya
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.v1i1.819

Abstract

This article is the result of research into the creative process of creating Wong Peken dance as a contemporary dance that was specifically created for the deaf. This research is focused on how the creativity process is carried out by Jasmine Okubo as the choreographer. Indirectly, this dance breaks the stigma of the people who underestimate the deaf because it has managed to get a fairly good appreciation. Interestingly, Jasmine Okubo has no background or experience in BISINDO communication. The method applied in this research is a qualitative method with reference to the Theory of Creativity. The results obtained indicate that the process of creating Wong Peken dance is a process of the body's journey to find the specialties in each individual regardless of their imperfections. The process of creating Wong Peken dance shows that dance is a universal language for expression and communication. Dance allows people who cannot speak to communicate through movements.Keywords : Wong Peken Dance, creative process, deaf.
Tari Jaran Endut, dari Cerita Rakyat ke Tari Kontemporer Putu Gita Rahayu Putriandini; I Gusti Ngurah Sudibya; Ida Ayu Wayan Arya Satyani
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.v1i1.823

Abstract

Jaran Endut Dance is a contemporary dance originating from the folklore of West Nusa Tenggara. Raising the history of the formation of Dusun Endut from the privilege of a horse. The idea of working on this work is the spirit of Jaran Endut in his long journey of helping the people of Pejarakan. The theme used is toughness. Toughness is manifested in the agility, dexterity, sharpness, and speed of the horse in moving. The creator felt challenged to bring an animal character; horse, into the human body. Visualizing the character of a horse requires agile body movements, expression and character deepening, so that the characteristics of the Jaran Endut dance can be conveyed. In addition, "silence" in Jaran Endut's work requires strong energy and physical strength so that the message can be conveyed properly. Humans do have to work hard, but silence is also important in order to choose the next step. The stages of manufacture use the Alma, M. Hawkins creation method, namely the exploration, improvisation, and forming. The structure of the dance work consists of sections 1, 2, and 3, with the form of a large group consisting of eight dancers who have close to compact body postures, thus showing the impression of moving. Accompanied by dance music in the form of MIDI by combining traditional and digital music so that the uniqueness of Jaran Endut I dance music appears. After this process has been running for 1 year, finally this work can be realized with the title of Jaran Endut (Motionless Horse)Keywords: Jaran Endut, Horse Character, Toughness
Bagaimana Seniman Bali Berkreatifitas Pada Ajang PKB 2021 Dalam Situasi Covid ? Ni Komang Sri Wahyuni; I Kt. Suteja
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.v1i1.833

Abstract

The Bali Arts festival ini 2021 is starting to rise again in a different form, the 43rd PKB as a forum for artists’ creativity was held virtually, due to the fluctuating covid-19 pandemic in Bali. The creativity produced by the artists is focused and contextual in translating the PKB theme “Purna Jiwa, Prananing Wana Kerthi” or “Plenary Soul, the breath of life. Staging is done virtually and only a few are done offline with the implementation of health protocols. The phenomenon of covid-19 is very motivating for innovation and the spirit of Balinese artists, this can be seen from the appearance of the works which on averageare very interesting. There are 2 (two) interesting works to discuss, namely, the Kreasi Kekebyaran Mimba neem creation dance from the Denpasar city ambassador and the Classical Arja Perfomance from the Singapadu Suara Kanti, Gianyar. The method used in this research is to use qualitative research methods which emphasize more on the quality side of the entity under study. Using qualitative research methods to make it easier to criticize things that exist in the Kreasi Kekebyaran Mimba neem dance performance and gthe Classical Arja Performance both in terms of technique, form, uniqueness and taste, as well as interpreting the values contained in the work. The Kreasi Kekebyaran Mimba neem dance depicts the balance of masculine and feminine symbols in one dancer’s character, this concept is inspired by the Intaran leaf and the Ardhanareswari concept. Classical Arja performance from the Suara Kanti Studio with the title “Taru Urip” which tells the story of matchmaking through the Urip dance given by Galuh Daha which was later won by Prabhu Jenggala, Raden Dharma Sentana. Keywords: PKB, Covid, Kreatifitas, Seniman
Tari Aku Kumara, Sebuah Refleksi Diri Peduli Anak I Nyoman Kharisma Aditya Hartana; I Wayan Budiarsa; I Ketut Sutapa
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.860

Abstract

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 Ni Nyoman Manik Fajarwati; Yulinis Yulinis; I Wayan Budiarsa
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.862

Abstract

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 Ni Kadek Tiana Gangga Dewi; Tjokorda Istri Putra Padmini; Gusti Ayu Ketut Suandewi
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.863

Abstract

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 I Gusti Ayu Agung Adi Sartika Dewi; Ni Made Arshiniwati; Gusti Ayu Ketut Suandewi
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.864

Abstract

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 Putu Devia Maharani; Ni Nyoman Manik Suryani; Ida Ayu Wimba Ruspawati
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.865

Abstract

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 Ketut Tara Listiawan; Ni Made Ruastiti; Ni Wayan Suartini
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.866

Abstract

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 I Wayan Krisna Ananta Kusuma; I Nyoman Cerita; I Wayan Sutirtha
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v1i2.867

Abstract

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

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