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All Journal E-Journal Of Cultural Studies Harmonia: Journal of Research and Education Jurnal Kajian Bali MUDRA Jurnal Seni Budaya KALANGWAN Segara Widya: Jurnal Penelitian Seni International Journal of Interreligious and Intercultural Studies International Journal of Supply Chain Management Humaniora Abdi Dosen : Jurnal Pengabdian Pada Masyarakat International Journal of Social Science Journal of Aesthetics, Creativity and Art Management Jurnal IGEL : Journal Of Dance
Ni Made Ruastiti
Department Of Dance, Faculty Of Arts, Indonesia Institute Of The Arts Denpasar, Indonesia
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Education Engineering Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Medicine & Pharmacology Public Health Social Sciences Transportation Other

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Bali Diaspora di Jayapura: Makna Pura Agung Surya Bhuvana dalam Membangun Kerukunan di Tanah Papua I Wayan Rai S; I Gusti Made Sunartha; Ida Ayu Made Purnamaningsih; Ni Made Ruastiti; Yunus Wafom
Jurnal Kajian Bali (Journal of Bali Studies) Vol 10 No 1 (2020): BALI DIASPORA
Publisher : Pusat Kajian Bali Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (440.824 KB) | DOI: 10.24843/JKB.2020.v10.i01.p01

Abstract

The purpose of this study is to look for the meanings of the Balinese temple Pura Agung Surya Bhuvana in Jayapura in building harmony in the land of Papua. The life of Jayapura people is identical with the frequent riots. It looks different from the life of the Balinese diaspora around the temple Surya Bhuvana which marked by inter-religious harmony. The study focused on two issues: Why do non-Hindus in Jayapura often visit the Pura Agung Surya Bhuvana? How do they understand the temple Surya Bhuvana in this global era? This is a qualitative research and data were collected through observation, interview, FGD, and document study techniques. Data were analyzed with religious theory, symbol theory, and structural-functional theory. The results showed that the hospitality of the Balinese diaspora who manages the temple makes non-Hindus community feel welcome to visit the temple. The Balinese diaspora community in Jayapura interpreted Pura Agung Surya Bhuvana as a place of worship, a meeting place for people of different faiths, a place of art, a place to strengthen multi-cultural life and as a medium to strengthen national integration.Keywords: Bali diaspora, Pura Agung Surya Bhuvana, the harmony of religious life, the global era.
Bentuk dan Makna Pertunjukan Tari Renteng di Desa Saren, Nusa Penida, Klungkung, Bali Ni Made Ruastiti; Anak Agung Indrawan; Ketut Sariada
Jurnal Kajian Bali (Journal of Bali Studies) Vol 11 No 1 (2021): Volume 11 No. 1. April 2021
Publisher : Pusat Kajian Bali Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (570.266 KB) | DOI: 10.24843/JKB.2021.v11.i01.p10

Abstract

This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance without stories. This can be seen from the presentation, choreography, and the music accompanying the performance. Renteng dance is accompanied by Balinese gamelan Balaganjur music with a specific movement dance performance structure. Saren community members support this dance because it has meaning as an expression of faith, social concern, and the interest in ecological preservation.
The Meaning of Rejang Pingit Dance Performance at Geriana Kangin Village, Karangasem, Bali in the Global Era Ni Made Ruastiti
Humaniora Vol. 9 No. 3 (2018): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v9i3.4726

Abstract

This research was compiled from the research results that aimed to understand the meaning of Rejang Pingit dance performance in the global era. This research was conducted because of the imbalance between assumptions and reality in real life. The people who lived in the global era should be more interesting with beautiful performances that were simply performed. However, the fact was different. Although Rejang Pingit dance was very simple, people of Geriana Kangin village preserved it. The question was what was the form of the Rejang Pingit dance performance, what was the meaning contained in the performance? This research used the qualitative method. The data sources of this research were Pingit Rejang dance performance, related informants, journals, and previous research results. All data that had been collected were analyzed using aesthetic theory, religious theory, and the theory of power relations. The results show that Rejang Pingit dance is performed in the form of dance off (with no play). It can be seen from the way of presentation, choreography, performance structure, dressing, makeup, and musical accompaniment of the performance. People of Geriana Kangin village continue to preserve Rejang Pingit dance because it is considered to have the meaning of aesthetic, religious, social, and cultural. Their belief in the myth of the essence of life that undergoes the Rejang Pingit dance is so strong so that they still preserve the dance up to now. 
The Meaning of Pura Agung Surya Bhuvana on the Religious Lives in Jayapura in The Global Era I Wayan Rai S; I Gusti Made Sunartha; Ida Ayu Made Purnamaningsih; Ni Made Ruastiti; Yunus Wafom
Humaniora Vol. 11 No. 1 (2020): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v11i1.6222

Abstract

The aim of the research was to be able to understand the meaning of the Pura Agung Surya Bhuvana for the harmony of religious life in Jayapura in the global era. Lately, people’s lives in Jayapura had been highlighted by frequent turmoil. The research problems were (1) why did non-Hindus in Jayapura often visit the Pura Agung Surya Bhuvana? (2) How did they understand the Agung Surya Bhuvana temple in this global era? The research applied a qualitative method. The data source was the life of a multicultural society in the Agung Surya Bhavana temple in the global era. The selected informants included the chairperson of Parisada Hindu Dharma Indonesia Jayapura, chairperson of Parisada Hindu Dharma Indonesia Papua, stakeholders, pengempon, penyungsung, and temple visitors both Hindus and non-Hindus who often come to visit the temple. All data collected through observation techniques, interviews, FGDs, and documentary studies that were analyzed interpretatively using religious theory, symbol theory, and structural-functional theory. The results show that (1) Non-Hindus in Jayapura often visit the Agung Surya Bhuvana temple because Hindus at the temple are very kind, friendly welcoming them, often involved in religious activities at the temple, for sightseeing, for meetings between residents. (2) The people in Jayapura in this global era interpret Agung Surya Bhuvana temple as a place of worship, a meeting place for religious followers, a place of art, a place to strengthen multicultural life (multiculturalism), and as a vehicle to strengthen national integration.
The Inheritance of Saronen Instrument in Sumenep, Madura Ni Made Ruastiti; Rino Ega Vebrian; I Ketut Sariada
Humaniora Vol. 11 No. 3 (2020): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v11i3.6677

Abstract

The research aimed to discuss the position and function of the saronen instrument in Sumenep, Madura. Saronen, as one of the cultural heritage of the Madurese people, was still preserved. The research questions were: (1) what was the position of the saronen instrument in the culture of the Madurese people? (2) How was the strategy for the inheritance of the instrument carried out by the people of Sumenep, Madura? The research was conducted using qualitative methods. The data collection process was carried out through observation, literature study, and interviews with ten informants. Data analysis was carried out in a descriptive qualitative manner using semiotic theory and structural-functional theory. The results show (1) the saronen instrument has an important position in the culture of the Madurese people, including Madurese ethnic identity, as a public relations media, and the branding of Sumenep as a tourist destination in East Java. The saronen instrument, which is originally used as a da'wah medium, has now developed as a musical accompaniment to the activities of the sapi sono and karapan sapi contest and entertainment medium for the Madurese people in celebratory events and government events. (2) The inheritance strategy of the saronen instrument is carried out by the indigenous people through a vertical system, namely an inheritance system through a genetic mechanism passed down from time to time across generations and a horizontal system, namely inheritance through institutions, including educational institutions such as schools and art studios.
The Genealogy of Pura Agung Surya Bhuvana in Jayapura, Papua I Wayan Rai; I Gusti Made Sunartha; Ida Ayu Made Purnamaningsih; Ni Made Ruastiti; Yunus Wafom
International Journal of Interreligious and Intercultural Studies Vol 3 No 2 (2020): Interreligious and Intercultural Studies
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/ijiis.vol3.iss2.2020.1092

Abstract

Pura Agung Surya Bhuvana in Jayapura is the eastern part of Padma Buana temple. Its establishment was initiated by Balinese Hindus and has become the center of Balinese Hindu socio-cultural activities and an important icon of Jayapura. This article discusses the establishment of Pura Agung Surya Bhuvana from the beginning and its development into the center of Balinese Hindus’ social and cultural-religious activities in Jayapura of Papua. This article based on qualitative research, in which all data was collected through observation, document studies, interviews, and FGD with several members of the pengempon (the temple’s servants) as informants and observers of Papuan culture. Data analyzed descriptively by applying symbol theory and structural-functional theory. The results showed that Hindus established the Pura Agung Surya Bhuvana at Jayapura in 1962. Before, the Hindus of Papua, whose dominantly Balinese migrant, carried out religious activities at Matra’s house. I Made Matra was a civil servant at the Papua Province government office. Over time, the number of Hindus who migrate to the city of Jayapura continues to increase. Therefore in 1979, Hindu leaders in Jayapura built the Pura Agung Surya Bhuvana for the needs of Hindus. Pura Agung Surya Bhuvana was built on Skyline hill in 1982 and it was inaugurated in 1990. In 2012, the Pura Agung Surya Bhuvana was renovated to be more majestic than before, and later on became a center of Hindu worship, the center of Balinese socio-cultural activities, arts center, Hindu religious education centers, and tourist attractions in Papua.
The Supply Chain Management in Financial Institution for Increasing the Productivity and Community Income in Pakraman Village, Bali Putu Dyatmikawati; Ni Made Ruastiti
International Journal of Supply Chain Management Vol 9, No 1 (2020): International Journal of Supply Chain Management (IJSCM)
Publisher : International Journal of Supply Chain Management

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (211.52 KB)

Abstract

Abstract- This study aims to determine and understand village financial institutions about community-owned loan businesses that are managed based on adat in the Pakraman village of Bali. The method used in the study is a qualitative method that is supported by quantitative methods. To complete and support the data, it is done by studying literature, interviewing, observing, documenting, and studying literature. The results showed that the existence of the Village Financial Institution in the development of the Pakraman village in Bali has been able to uncover the increase in operations in mobilizing community funds into productive funds to increase community income, support the physical development of the village (Balinese temple) and spiritual life in order to achieve peace in rural communities in Bali.
IMITATING THE EMANCIPATION OF HINDU FEMALE CHARACTERS IN BALINESE WAYANG LEGENDS Gede Yoga Kharisma Pradana; Ni Made Ruastiti
International Journal of Social Science Vol. 1 No. 5: February 2022
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v1i5.1307

Abstract

The purpose of this study was to analyze the role of Hindu women based on the legends of the wayang performance. Many post-colonial Balinese Hindu women began to leave their culture. To be more empowered, they do not have to leave their culture. They are still relevant as role models, like Dewi Anjani, Srikandi, and Dewi Kunti's struggle in the legends. The issues are as follows: (1) What is the image of Dewi Anjani, Srikandi, and Dewi Kunti's struggle? What can be learned from the three Hindu female figures in the legends? All the data was collected through documentation, observation, and interviews with informants in Denpasar. Qualitative-interpretative descriptive analysis is supported by applying symbol, hegemony, and deconstruction theory. The results show that Dewi Anjani is a female character who is able to fight for her rights equal to her two brothers. Srikandi is a female character who is able to fight on par with the leader of the knights on the battlefield. Meanwhile, Dewi Kunti was able to show a firm attitude during the Pandawa conflict. The images of the three figures are role models for the reconstruction of post-colonial Balinese Hindu women in responding to the challenges of globalization.
Designing The Elderly Janger Dance Model In Tonja Village Denpasar Ni Made Ruastiti
Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v31i3.58

Abstract

The Elderly ./anger Dance (EJD) is a type of performing that particularly designed for elderly people, initially from its choreography, costume and makeup, or even its musical accompaniment. This performing is significantly created as those elderly people are offered a performing art model that is not suitable to their physical condition.Several problems arose during its process of creation, choreography, and the tempo, costume makeup, duration and their condition while performing the dance. It results to their disinterest on art participation. Therefore, this research is aimed at solving the problem on the improper of the art-performing model for those elderly people. This research is conducted in Tonja village, Denpasar by considering the adequateness of number and art potential of this area.The designing ofthis performing model is carried out through applying the participatory-implemented method. It focuses on the cooperation between researchers and the related parties started from socialization-planned model, implementation model until the trial model.Based on the whole stages of designing model on EJD, it is produced outputs as follows: EJD Model, activities report, article, lesson module, and HKI. Through this dance creation, those elderly are passionate again to participate on art. Simultaneously, it will affect their health quality improvement through art activity.Keywords: Performing- model design, Choreography, Outlook/make up and costume, musical accompaniment, Elderly Janger Dance (EJD)
Membongkar Makna Pertunjukan Tari Sang Hyang Dedari Di Puri Saren Agung Ubud, Bali Pada Era Global Ni Made Ruastiti
Mudra Jurnal Seni Budaya Vol 32 No 2 (2017): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i2.105

Abstract

Tujuan penelitian ini dilakukan untuk memahami makna Tari Sang Hyang Dedari yang kini sering disajikan dalam konteks pariwisata di Puri Saren Agung Ubud, Bali. Padahal Tari Sang Hyang Dedari merupakan sebuah tari upacara untuk memohon keselamatan bagi masyarakat setempat. Sebagai sebuah tari upacara, Tari Sang Hyang Dedari semestinya hanya disajikan di pura dalam konteks upacara saja. Namun kenyataannya di Puri Saren Agung Ubud berbeda. Untuk itu, penelitian yang berlokasi di Puri Saren Agung Ubud ini akan mengkaji permasalahan tentang:(1) mengapa Puri Saren Agung Ubud menyajikan Tari Sang Hyang Dedari dalam konteks pariwisata?;(2) bagaimana mereka menyajikan?; dan(3) bagaimana Puri Saren Agung Ubud memaknai Tari Sang Hyang Dedari tersebut?.Penelitian ini dilakukan dengan menggunakan metode penelitian kualitatif dalam perspektif cultural studies yang dianalisis dengan teori dekonstruksi, teori estetika postmodern, teori praktik, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukan bahwa:(1) Puri Saren Agung Ubud menyajikan Tari Sang Hyang Dedari dalam konteks pariwisata karena dilatari adanya peluang pasar yakni berkembangnya industri pariwisata di Ubud serta adanya potensi kesenian masyarakat yang memadai untuk menampilkan seni pertunjukan pariwisata;(2) Puri Saren Agung Ubud menyajikan Tari Sang Hyang Dedari untuk pariwisata dalam bentuk tari kreasi baru pelegongan yang konsep penciptaannya merupakan pengembangan bentuk estetika pertunjukan Tari Sang Hyang Dedari untuk upacara;(3) Puri Saren Agung Ubud memaknai pertunjukan Tari Sang Hyang Dedari dalam konteks pariwisata terebut sebagai sebuah kreativitas seni, produk pariwisata bernilai ekonomi, sebagai pengikat relasi sosial masyarakat yang berimplikasi pada pelestarian seni pertunjukan tradisional di daerah tersebut pada era global.
Co-Authors Anak Agung Ayu Mayun Artati Anak Agung Bagus Wirawan Anak Agung Indrawan Anak Agung Ngurah Anom Kumbara Desiari,  Made Ayu Edi Sedyawati Gede Yoga Kharisma Pradana I Gde Parimartha I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Made Sunartha I Gusti Ngurah Seramasara, I Gusti Ngurah I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Sariada, I Ketut I Ketut Suda I Made Suastika I Nyoman Suarka I Nyoman Sudiana I Wayan Rai I Wayan Suharta, I Wayan Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Ida Ayu Made Purnamaningsih Indrawan, Anak Agung Ketut Novia Apsari Ketut Tara Listiawan Komang Ojas Govardhana MS Prof. Dr. I Wayan Rai . Ni Nyoman Kasih Ni Nyoman Manik Suryani Ni Putu Ari Sidiastini Ni Wayan Parmi Ni Wayan Suartini Putu Dyan Ratna, Putu Putu Dyatmikawati Rahmawati, Ni Nyoman Rino Ega Vebrian Yunus Wafom Yunus Wafom