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Journal : Widyanatya: Jurnal Pendidikan Agama dan Seni

TARI BARIS KEKUPU DALAM UPACARA MAMUKUR DI BANJAR LEBAH DESA ADAT SUMERTA KAJA DENPASAR I Made Sudarsana; Anak Agung Dwi Dirgantini; Ida Bagus Darmayasa
WIDYANATYA Vol 2 No 01 (2020): WIDYANATYA
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v2i01.630

Abstract

Merefleksikan unsur-unsur kesenian, khususnya seni pertunjukan, dalam ritual keagamaan, seni tari wali atau tari sakral merupakan salah satu unsur yang menunjang rangkaian segala upacara keagamaan yang ada di Bali. Artikel ini membahas salah satu tari sakral atau wali bernama Tari Baris Kekupu yang berada di Banjar Lebah Desa Adat Sumerta Kaja, Denpasar. Berdasarkan hasil penelitian, tarian ini merupakan bagian integral dari kehidupan masyarakat setempat yang selalu terikat dengan peristiwa ritual atau upacara Mamukur. Bentuk Tari Baris Kekupu, ditarikan oleh penari anak-anak perempuan karena didalam Tari Baris Kekupu ini terdapat unsur-unsur Tari Legong, Idenya terinspirasi dari hiasan kupu-kupu pada damar kurung yang dipasang saat upacara Mamukur. Selain itu, secara fungsional tarian ini dapat dipahami memiliki fungsi religius dan fungsi pelestarian budaya.
DRAMATARI GAMBUH GAYA BATUAN I Made Sudarsana
WIDYANATYA Vol 1 No 1 (2019): widyanatya
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v1i1.275

Abstract

ABSTRAK Seni pertunjukan di Bali merupakan khasanah budaya yang sangat terikat dengan keanekaragaman bentuk maupun tujuan. Pulau Bali yang dijuluki sebagai Pulau Dewata, Pulau Khayangan ( Island of Paradise ) memiliki bermacam – macam tarian yang bervariasi bentuknya dan mempunyai hubungan yang erat dengan pelaksanaan upacara agama hindu yang merupakan agama yang paling besar jumlah penganutnya di Bali. Daya tarik Bali adalah kebudayaan yang unik, kehidupan masyarakat dan keindahan alamnya. Kehidupan kebudayaannya adalah menyatunya agama, kebudayaan, adat yang harmonis, cita rasa dan karsa sebagai unsur budi daya manusia yang menonjol mengambil bentuk keagamaan, estetika dan etika. Hal tersebut tercermin lewat seni budaya, solidaritas gotong – royong sebagai rasa kebersamaan. Sebagai sebuah tradisi keberadaan kesenian bali sejalan dengan seluruh aspek kehidupan. Secara terpadu akrab merefleksikan cita – cita masyarakat pendukungnya tidaklah berlebihan jika masyarakat bali menganggap jika kesenian ( seni tari, gamelan maupun wayang ) adalah bagian integral dari kehidupannya yang selalu terikat dengan peristiwa – peristiwa ritual. Agama hindu yang memiliki unsur rasional,ritual, emosional dan kepercayaan sering menjadikan kesenian tersebut sebagai drama ritual menjadi sarana untuk memperkuat kepercayaan serta memformulasikan konsepsi agama dalam kehidupan masyarakat. ABSTRACT Performing art in Bali is a cultural repertoire that is very tied to the diversity of forms and goals. The island of Bali, dubbed the Island of the Gods, Khayangan Island (Island of Paradise) has a variety of dances that vary in shape and have a close relationship with the implementation of Hindu religious ceremonies which are the largest in number in Bali. The attraction of Bali is its unique culture, community life and natural beauty. Its cultural life is the unification of religion, culture, harmonious customs, taste and intention as a prominent element of human cultivation taking the form of religion, aesthetics and ethics. This is reflected through cultural arts, solidarity of mutual cooperation as a sense of togetherness. As a tradition, the existence of Balinese art is in line with all aspects of life. In an integrated manner, reflecting on the ideals of the supporting community is not excessive if the Balinese people consider that art (dance, gamelan and wayang) is an integral part of their lives which is always bound by ritual events. Hinduism which has rational, ritual, emotional and belief elements often makes the art as a ritual drama a means to strengthen trust and formulate religious conceptions in people's lives.
EKSISTENSI TARI BARIS MATI DALAM UPACARA PIODALAN DI PURA DESA ADAT MANTRING TAMPAKSIRING KECAMATAN TAMPAKSIRING, GIANYAR I Made Sudarsana; Komang Dedi Diana; A.A Dwi Dhirgantini
WIDYANATYA Vol 3 No 2 (2021): Widyanatya: Jurnal Pendidikan Agama dan Seni 
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/widyanatya.v3i2.2114

Abstract

The existence of Baris Dance in Bali always gives a nuance that reflects local wisdom. In particular, the Baris Mati dance which is located in the Mantring Traditional Village and is also a guardian dance which is believed to be a dance to ward off reinforcements and Pamuput at the Piodalan Ceremony at the Desa Temple, the Mantring tradition of Tampaksiring, Gianyar. So based on this description, the problem of this research is focused on revealing and explaining the existence of the Baris Mati Dance in the piodalan ceremony at the Mantring Traditional Village Temple. With further problems can be formulated in the form of questions as follows: How is 1).existence, 2).form and function of the Baris Mati Dance at the Piodalan Ceremony of the Mantring Traditional Village Temple? This study was designed with a qualitative approach and then with a qualitative descriptive technique. Data analysis includes Data Reduction, Data Presentation, Conclusions, using Structural Functional theory, Aesthetic Theory, Religious Theory, Behavioristic Theory.The results of data analysis show the conclusion: Baris Mati Dance in the Mantring Traditional Village, Tampaksiring has four structures that are interrelated and support each other including: motion, composition, clothing, and accompaniment and have four functions, namely: Guardian Function, Religious Function, Social Function and Function Culture.
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.
TARI JOGED BUMBUNG PINGIT DALAM UPACARA PIODALAN DI PURA DALEM SASIH, BANJAR SASIH DESA ADAT PANJER, KECAMATAN DENPASAR SELATAN (NILAI-NILAI PENDIDIKAN SENI TARI KEAGAMAAN HINDU) I Putu Gede Jatma Dhika; I Made Sudarsana; I Wayan Sukadana
WIDYANATYA Vol 4 No 1 (2022): Widyanatya: Jurnal Pendidikan Agama dan Seni 
Publisher : UNHI PRESS

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

Abstract

The Joged Bumbung Pingit dance is one of the types used as the object of research because it has some uniqueness and is a sacred dance, danced during the Piodalan ceremony at Dalem Sasih Temple, Banjar Sasih Panjer Traditional Village, South Denpasar District. This Joged Bumbung Pingit dance is a hereditary heritage and is preserved by the people of Banjar Sasih, Panjer Traditional Village.This research was conducted to answer the formulation of the problem which consists of : (1) What is the form of the Joged Bumbung Pingit Dance in the Piodalan Ceremony at Dalem Sasih Temple, Banjar Sasih Panjer Traditional Village, South Denpasar District ? (2) What is the function of the Joged Bumbung Pingit Dance in the Piodalan Ceremony at Dalem Sasih Temple, Banjar Sasih Panjer Traditional Village, South Denpasar District ? (3) What Hindu Religious Dance Educational Values are contained in the Joged Bumbung Pingit dance in thePiodalan Ceremony at Dalem Sasih Temple, Banjar Sasih Panjer Traditional Village, South Denpasar District? The theories used to dissect the problems in this research are Aesthetic Theory, Structural Functional Theory, and Value Theory. This research is in the form of a qualitative design. Data were collected using observation techniques, interview techniques, document studies, literature studies, after the data were collected, the data were analyzed using qualitative descriptive methods. After further research using the techniques and analyzes mentioned above, the results obtained are as follows: (1) The form of performances are, such as : a) Dancers of Joged Bumbung Pingit. b) Variety of Movement, c) Structure of Joged Bumbung Pingit Dance, d) Makeup and Clothing, e) Ritual Procession of Joged Bumbung Pingit Dance, f) Musical accompaniment of Joged Bumbung Pingit Dance, g) Place for performing Joged Bumbung Pingit Dance. (2) Functions of Joged Bumbung Pingit Dance, namely : a) Religious functions, b) Social functions. (3) The values contained in the Joged Bumbung Pingit Dance in the Piodalan Ceremony at Dalem Sasih Temple, Banjar Sasih Panjer Traditional Village, South Denpasar District are : a) Sacred Values, b) Ethical Values, c) Aesthetic Values, d) Cultural Preservation Values. ABSTRAK Tari Joged Bumbung Pingit merupakan salah satu jenis yang dijadikan objek penelitian karena memiliki beberapa keunikan dan merupakan tarian sakral ditarikan pada saat upacara Piodalan di Pura Dalem Sasih, Banjar Sasih Desa Adat Panjer, Kecamtan Denpasar Selatan. Tari Joged Bumbung Pingit ini merupakan warisan turun-temurun dan dilestarikan oleh masyarakat Banjar Sasih Desa Adat Panjer. Penelitian ini dilaksanakan untuk menjawab rumusan masalah yang terdiri dari : (1) Bagaimana bentuk Tari Joged Bumbung Pingit dalam Upacara Piodalan di Pura Dalem Sasih,Banjar Sasih Desa Adat Panjer, Kecamatan Denpasar Selatan ? (2) Bagaimanakah Fungsi Tari Joged Bumbung Pingit dalam Upacara Piodalan di Pura Dalem Sasih, Banjar Sasih Desa Adat Panjer, Kecamatan Denpasar Selatan ? (3) Nilai-nilai Pendidikan Seni Tari Keagamaan Hindu apa sajakah yang terkandung dalam tari Joged Bumbung Pingit dalam Upacara Piodalan di Pura Dalem Sasih, Banjar Sasih Desa Adat Panjer, Kecamatan Denpasar Selatan ? Adaupun teori yang digunakan untuk membedah permasalahan pada penelitian ini ada Teori Estetika, Teori Fungsional Struktural, Teori Nilai. Penelitian ini berbentuk rancangan kualitatif. Data dikumpulkan dengan menggunakan teknik observasi, teknik wawancara, studi dokumen, studi kepustakaan, setelah data terkumpul, data di analisis dengan menggunakan metode Deskriptif Kualitatif. Setelah adanya penelitian lebih lanjut denga menggunakan teknik dan analisis yang disebut diatas, diperoleh hasil penelitian yaitu sebagai berikut : (1) Bentuk pementasan seperti : a) Penari Joged Bumbung Pingit. b) Ragam Gerak, c) Struktur Tari Joged Bumbung Pingit, d) Tata rias dan Busana, e) Prosesi Ritual TariJoged Bumbung Pingit, f) Musik iringan Tari Joged Bumbung Pingit, g) Tempat pementasan Tari Joged Bumbung Pingit. (2) Fungsi Tari Joged Bumbung Pingit yaitu : a) Fungsi Relegius, b) Fungsi Sosial. (3) Nilai-nilai yang terkandung dalam Tari Joged Bumbung Pingit dalam Upacra Piodaln di Pura Dalem Sasih, Banjar Sasih Desa Adat Panjer, Kecamatan Denpasar Selatan adalah : a) Nilai Sakral, b) Nilai Etika, c) Nilai Estetika, d) Nilai Pelestarian Budaya.