Claim Missing Document
Check
Articles

Found 7 Documents
Search

Simbol Tri Murti dalam Payas Agung Pengantin Bali Dewi, Ida Ayu Gede Prayitna
Sanjiwani: Jurnal Filsafat Vol 9, No 1 (2018)
Publisher : IHDN Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/sjf.v9i1.1611

Abstract

Balinese fashion and dress is one part of Balinese culture with elements of art that have existed in antiquity. The kings of Bali of his day have introduced a distinctive dress culture in their respective regions of power. Some types of Balinese have similarities and differences in forms such as Payas Agung Karangasem, Buleleng, Tabanan, and Badung. Payas Agung The Bali Bridal used to be a dress for the King and queen, but over time now Payas Agung Bridal Bali is used for the wedding of Balinese people in general. The emergence of new make-up artists has made a positive impact in the development of Makeup in Bali, but a study that can be used as a guideline for the tradition of makeup and the value of philosophy is not lost and well preserved. This research is a qualitative type with the theory of symbols, aesthetic theory and religious theory. The research  techniques  are conducted by observation and interviews, document studies. The results obtained are Cempaka flowers and kenanga is a symbol of Tri Murti in Payas Agung Bridal Bali is placed on the head decoration, where this section is the most purified as the embodiment of offerings to Ida Sang Hyang widhi Wasa. The value contained and the influence of this symbol on the bride is as a form of beauty and Taksu.
KONSEP TRI ANGGA DALAM BELAJAR TEKNIK TARI BALI Ida Ayu Gede Prayitna Dewi; I Kadek Satria
WIDYANATYA Vol 2 No 01 (2020): WIDYANATYA
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v2i01.625

Abstract

Salah satu konsep keagamaan Hindu yang relevan dengan Teknik Tari Bali adalah konsep Tri Angga, dimana konsep ini merupakan konsep yang ada dalam pembagian tubuh manusia dengan istilah utama angga, madya angga, dan nista angga. Ketika konsep ini masuk di dalam Teknik Tari Bali, maka dapat dipahami bahwa konsep ini mampu memberikan pemahaman yang lebih terhadap pembagian tubuh saat mempelajari perbendaharaan gerak yang ada dalam teknik tari Bali. Pembagian tubuh ini mampu memudahkan pembelajaran dengan mengklasifikasikan gerak-gerak sesuai dengan pembagian tubuh (angga) penari. Utamaning angga merupakan bagian utama dalam tubuh yang dalam estetika Hindu dikaitkan dengan bagian yang paling disucikan adalah bagian kepala. Madyaning Angga merupakan bagian kedua dalam pembagian tubuh di antaranya bagian torso atau badan, dari bahu hingga pinggul. Dalam bagian ini terdapat banyak perbendaharaan gerak yang ada, beberapa contohnya adalah gerakan ngejat pala, ngeseh, ngelo, nyeleog, dan lainnya. Nistaning angga adalah bagian terakhir dari pembagian ini yang terdapat pada bagian bawah pinggul dan kaki.
PEMENTASAN ARJA VIRTUAL DI TENGAH PANDEMI OLEH KKB RRI DENPASAR Ida Ayu Gede Prayitna Dewi; Anak Agung Dwi Dirgantini; Komang Agus Triadi Kiswara
VIDYA WERTTA : Media Komunikasi Universitas Hindu Indonesia Vol 4 No 2 (2021): Vidya Wertta: Media Komunikasi Universitas Hindu Indonesia
Publisher : FAKULTAS ILMU AGAMA DAN KEBUDAYAAN

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Di tengah pandemi covid, para seniman di Bali semakin mengintensifkan penggunaan media virtual dalam pementasan. Salah satunya adalah Drama tari arja yang merupakan bentuk kesenian tradisional. Sebagai bentuk kesenian tradisional yang telah memiliki pakem yang kuat, mulai mengalami distorsi dalam pementasanya terlebih ketika disajikan dalam media virtual perubahan tersebut cenderung menghilangkan esensi-esensi yang terkandung dalam drama tari arja. Ditengah goncangan perubahan tersebut sekeha Arja yang tergabung dalam kekuarga kesenian Bali (KKB) RRI Denpasar masih eksis dalam pementasan yag mempertahankan drama tari arja tersebut. Demikian pula halnya ketika disajikan dalam media virtual, sehingga dipandang penting untuk mengkaji tentang kebertahanan sekeha tersebut dalam melestarikan seni drama tari Arja. Pengkajian ini penting dilakukan sebagai sebuah acuan dalam konsep pelestarian kesenian budaya.
KECAK RAMAYANA DAN BALLET RAMAYANA WAKIL UNHI DI PENTAS INTERNATIONAL “KUMBH MELLA” TRIVANI, ALLAHABAD, ULTRA PARADESH INDIA UTARA Ida Ayu Gde Yadnyawati; I Nyoman Winyana; I Wayan Sukadana; I Made Sugiarta; I Wayan Sudiarsa; I Made Sudarsana; Pande Gde Eka Mardiana; Ida Bagus Putu Darmayasa; I Ketut Gede Rudita; I Luh Putu Wiwin Astari; Ida Ayu Prayitna Dewi; I Gusti Ayu Suasthi; Cokorda Putra
JURNAL SEWAKA BHAKTI Vol 3 No 2 (2019): Sewaka Bhakti
Publisher : UNHI Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1646.429 KB) | DOI: 10.32795/jsb.v3i1.520

Abstract

Pengaruh dan penyebaran Ramayana sebagai sebuah konsep cerita yang bersumber dari sastra Ramayana tidak dipungkiri telah menyebar di Indonesia semenjak Hindu dikenalkan. Ada berbagai sumber yang dapat dijadikan bukti hidupnya cerita Ramayana di dalam kehidupan masyarakat Hindu khususnya. Di Bali sendiri cerita ramayana tidak saja menjadi pergulatan pengamat budaya khususnya sastra-sastra yang seringkali secara eksis digemakan lewat bentuk seni budaya. Kecak merupakan salah satu bentuk karya seni pertunjukan klasik yang mengambil inspirasi dari cerita Ramayana. Sangat beralasan ketertarikan karena menggugah pandangan masyarakat tentang nilai-nilai yang terkandung di dalamnya menjadikan bentuk bentuk garapan semakin menarik. Kecak yang seringkali diasosiasikan dengan kera tampaknya memberikan sentuhan harmoni musikal yang sangat tepat dengan latar budaya Ramayana. Ketokohan yang mengagumkan diperlihatkan oleh Hanoman atau kera berbulu putih yang senantiasa hadir demi menjaga dharma atau kebenaran dianggap menjadi inspirasi di dalam kehidupan masyarakat Hindu di Bali Inspirasi tersebut tampaknya menjadi alasan kuat bagi seorang peneliti India untuk memperlihatkan kepada dunia tentang pengaruh wiracerita yang dianggap berhasil menginspirasi masyarakat dunia.
I GEDE GERUH PRNGUKUH DAN PENGOKOH DRAMATARI GAMBUH DESA PEDUNGAN, KOTA DENPASAR I Nyoman Wahyu Adi Gotama; Ida Ayu Gede Prayitna Dewi
WIDYANATYA Vol 1 No 1 (2019): widyanatya
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v1i1.273

Abstract

ABSTRAK Penelitian ini mengangkat topik tentang biografi I Gede Geruh serta kontribusinya terhadap kesenian gambuh di Desa Pedungan, Kecamatan Denpasar Selatan, Kota Denpasar. Keterlibatan I Gede Geruh dalam dramatari gambuh di Pedungan tidak hanya sebagai seorang penari, melainkan sebagai seorang guru atau pelatih dramatari gambuh dan juga sebagai pengurus dalam sekaa gambuh di Pedungan. Semua ini menunjukkan kebesaran peran dan totalnya keterlibatan I Gede Geruh dalam dramatari gambuh di Pedungan sebagai pengukuh dan pengokoh. Kata pengukuh digunakan untuk memposisikan I Gede Geruh sebagai seorang tokoh yang mempunyai peran penting agar nilai-nilai estetik Gambuh Pedungan tidak sampai berubah. Pengokoh digunakan untuk memposisikan Geruh sebagai seorang figur yang ibarat pilar yang mampu membuat kesenian Gambuh Pedungan tetap eksis ditengah-tengah perubahan nilai sosial dan budaya Bali. Kata pengokoh dimaknai sebagai seorang tokoh yang ibarat tiyang penyangga untuk menjaga “bangunan” sekaa gambuh ini jangan sampai roboh. Kehadiran seniman ini memiliki dampak yang cukup luas terhadap kehidupan kesenian, aktivitas upacara agama dan pembangunan sosial dan budaya di Desa Pedungan ABSTRACT This study raised the subject of the biography I Gede Geruh and its contribution to the gambuh arts in the Pedungan village. In Bali, only a few villages having gambuh art . One village is famous for its gambuh art is Pedungan Village, District of South Denpasar , Denpasar . Historically, Gambuh Pedungan a palace of art which is closely related to Puri and Puri Satria acceleration. It gets protection of the authorities in both the castle. The amount of attention to the gambuh art king at that time led to Gambuh Pedungan grows and flourishes and bears gambuh dancers reliable. One of the gambuh dancers is very famous I Gede Geruh (deceased), a very large contribution to the preservation, development and sustainability Gambuh Pedungan . In his youth he was able to portray all the characters in the pegambuhan art. This research uses qualitative and quantitative data that is widely used in research methods, social sciences and humanities. Source of data used mostly acquired through observation, interviews, literature data and documentation. As analysis, research using biographical theory as the main theory and motivation theory, semiotic theory and aesthetic theory as the supporting theory. This study was also accompanied by the application of some concepts, approaches and frameworks references.Through the application of the theory of biography can be concluded that involvement in Gede Geruh in Pedungan dance drama not only as a dancer, but as a teacher or coach of dance drama gambuh and also as a board member in sekaa gambuh in Pedungan . This shows the greatness of all roles and their total involvement in dance drama of Gede Geruh in Pedungan as people who staunchly and leader. The word is used to position peple who staunchly I Gede Geruh as a character who has an important role that aesthetic values ​​Gambuh Pedungan not to change. Leader used to position Geruh as a figure like a pillar that is able to make art Gambuh Pedungan still exist in the midst of changes in social values ​​and culture. Said leader interpreted as a figures like pillar buffer to keep “building " is not to sekaa gambuh collapsed. The presences of these artists have a wide impact on the lives of art, ritual activity and social and cultural development in the Pedungan Village
AKTUALISASI TRADISI MEBUUG-BUUGAN SEBAGAI BENTENG BUDAYA DI DESA ADAT KEDONGANAN, KECAMATAN KUTA, KABUPATEN BADUNG I Made Sudarsana; Ida Ayu Gede Prayitna Dewi
WIDYANATYA Vol 1 No 2 (2019): WIDYANATYA
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v1i2.493

Abstract

The existence of traditional arts, has now become an image of regional culture and is able to have a dynamic impact on the community. The tradition that develops, and is grounded in an area certainly through a long journey process so that it becomes a system of habits that is carried out continuously. The formation of a similar perspective and associated with local mythology, is the initial foundation for an initiator and local genius to formulate his perspective in the traditional space. This shows that the role of tradition today, can be used as a barometer of wealth that has high investment in an area. The phenomenon of the emergence of tradition that has been marginalized for its existence, nowadays it is as if it will become a gem of high value and the emergence of the reconstruction of lost traditions. Particularly in the Adong Village of Kedonganan, Kuta District of Badung Regency, the Mebuug - buugan tradition has been reconstructed since 2014 ago. This tradition, which is left behind almost 60 years, is a game tradition using mud / buug in mangroves. The continuity of this tradition is able to elevate the local wisdom contained in it, especially in the Traditional Village of Kedonganan. Many philosophical contents and social values ​​can be implemented through this Mebuug buugan traditional media. The application of the Tri Hita Karana concept in the Mebuug Buugan tradition is very relevant to the efforts of the community to maintain a harmonious relationship or social interaction of the people and the ecology of the natural environment of the Mangrove.
SIMBOL TRI MURTI DALAM PAYAS AGUNG PENGANTIN BALI Ida Ayu Gede Prayitna Dewi
Sanjiwani: Jurnal Filsafat Vol 9 No 1 (2018)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (971.161 KB)

Abstract

Balinese fashion and dress is one part of Balinese culture with elements of art that have existed in antiquity. The kings of Bali of his day have introduced a distinctive dress culture in their respective regions of power. Some types of Balinese have similarities and differences in forms such as Payas Agung Karangasem, Buleleng, Tabanan, and Badung. Payas Agung The Bali Bridal used to be a dress for the King and queen, but over time now Payas Agung Bridal Bali is used for the wedding of Balinese people in general. The emergence of new make-up artists has made a positive impact in the development of Makeup in Bali, but a study that can be used as a guideline for the tradition of makeup and the value of philosophy is not lost and well preserved. This research is a qualitative type with the theory of symbols, aesthetic theory and religious theory. The research techniques are conducted by observation and interviews, document studies. The results obtained are Cempaka flowers and kenanga is a symbol of Tri Murti in Payas Agung Bridal Bali is placed on the head decoration, where this section is the most purified as the embodiment of offerings to Ida Sang Hyang widhi Wasa. The value contained and the influence of this symbol on the bride is as a form of beauty and Taksu.