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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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SPIRIT RINDI I Kadek Oka Mahendra; I.A.Wimba Ruspawati; A.A.Ayu Mayun Artati
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.v1i2.868

Abstract

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 Putu Angga Pratama; I Ketut Sariada; I Nyoman Cerita
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.v1i2.869

Abstract

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 Ni Made Krisna Dwi Yanti; Tjok Istri Putra Padmini; I Gede Oka Surya Negara
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.v1i2.870

Abstract

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
JAYA ANGGADA Anak Agung Gede Angga Mahputra; I Ketut Sariada; I Gede Oka Surya Negara
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1572

Abstract

JAYA ANGGADA Creative sources of Jaya Anggada dance works inspired by Anggada, a very agile and nimble character, one of the ape troops of the Ramayana story. During the Great War of Alengka, Anggada shows his heroism on the battlefield, Anggada had to fight Indrajit face-to-face, Indrajit is the crown prince of Alengka, the son of Dewi Tari, who is also his own cousin. Upon his victory, for his service, Anggada awarded “Jaya” which means victorious. Therefore, he is commonly known as Jaya Anggada. The Jaya Anggada dance is created through a process of creation using the Alma. M. Hawkins’ creation method which consists of exploration, improvisation, and forming stages. The cultivation of the Jaya Anggada dance is manifested in the form of structures, namely pengawit, batel, papeson, pengawak, and pengecet. The message to be conveyed from Jaya Anggada dance works is to reshape some unique and quality movements. Key Words : Anggada, Jaya Anggada, Creation
Tari Bhairawapaksa, Interpretasi Sosok Mpu Barang Kadek Karunia Artha; I Ketut Sutapa; I Wayan Adi Gunarta
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1575

Abstract

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 I Gusti Ngurah Krisna Yoga; Yulinis Yulinis; I Wayan Budiarsa
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1576

Abstract

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 I Wayan Wira Arimbawa; I Kt. Suteja; Ni Nyoman Manik Suryani
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1577

Abstract

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 Putu Parama Kesawa Ananda Putra; I Gusti Ngurah Sudibya; Ida Ayu Wayan Arya Satyani
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1579

Abstract

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 Pande Ketut Ayu Windasari; Sulistyani Sulistyani; Ni Wayan Suartini
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1599

Abstract

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 I Dewa Ayu Galuh Intan Rakasiwi; Gusti Ayu Ketut Suandewi; Kompyang Gede Widnyana
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/journalofdance.v2i1.1600

Abstract

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

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