Article Per Year (5 Year)
p-Index From 2019 - 2024
1.909
P-Index
This Author published in this journals
All Journal KALANGWAN Syntax Literate : Jurnal Ilmiah Indonesia Jurnal Igel: Journal of Dance Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
I Wayan Budiarsa
Institut Seni Indonesia Denpasar
Arts Humanities Education Environmental Science Law, Crime, Criminology & Criminal Justice

Published : 12 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 12 Documents
Search

 1   2 
Vokal Pertunjukan Drama Tari Gambuh Desa Batuan Gianyar Dalam Cerita "Karya Gunung Pangebel" Budiarsa,  I Wayan
Kalangwan : Jurnal Seni Pertunjukan Vol 3 No 1 (2017): Juni
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (7043.589 KB) | DOI: 10.31091/kalangwan.v3i1.157

Abstract

Vokal  yang terdapat dalam drama tari gambuh merupakan hal penting yang mesti dikuasai oleh semua penari, karena merupakan media penting dalam penyampaian lakon yang dibawakan. Bahasa Kawi sebagai bahasa pengantar dalam seni pertunjukan drama tari klasik di Bali seperti gambuh, calonarang, wayang wong ramayana, wayang wong parwa, topeng, dan lain sebagainya dipelajari oleh para seniman tari melalui teks-teks tertulis , secara lisan, maupun melalui pengalaman pentas senimannya. Untuk mengetahui cerita yang dibawakan dalam suatu pertunjukan gambuh, setidaknya penonton dapat menyimak melalui bagian adegan panyerita, bagian ini biasanya muncul setelah peran-peran utama melakukan tarian ngelembar.  Dalam cerita karya Gunung Pangebel ini cerita disampaikan/ akan kita ketahui pada saat para patih/ bawahan raja antara lain Demang Tumenggung, Rangga, Arya, dan punakawan sedang menghadap sang raja Gegelang.
Tari Ngalebar I Putu Agus Ari Yana Agus Ari Yana; I Kt. Suteja; I Wayan Budiarsa
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 | Full PDF (644.008 KB)

Abstract

The Mabuu - buu tradition is a cultural event, carried out every year in the context of Nyepi in the Panjer Traditional Village, Denpasar. The event has the meaning Nyomya sekala - niskala which means neutralizing, balancing Bhuana Agung and Bhuana Alit. The understanding of Nyomya is controlling oneself through good thoughts, words and deeds. In this day and age, the understanding ofNyomya is often ignored, seen from the behavior of modern society which always vents emotion. Through this phenomenon, the creators are interested in creating dance works that express unrestrained thought fluctuations, which are implemented into contemporary expressions of kerawuhan motion with the title Ngalebar. The process of creating this dance, using the method of Creating Through Dance by Y Sumandiyo Hadi, describes exploration (exploration), improvisation (experimental), and composition (formation). To ensure the creation of this work, using the theory of Imagination whichmeans the formation of motion from the results of images or imagining the meaning of Nyomya, and the theory of Aesthetics ngunda bayu which is the distribution of energy in the body. The theme of thiswork is spiritualization (formation of the soul) danced by seven dancers using the gamelanaccompaniment Gong Gede Saih Pitu in collaboration with the keyboard. Ngalebar Dance is a contemporary dance work depicting human reflection, trying to exercise self-control or introspection to achieve sekala - niskala harmony and to end it returned according to its position.Keywords: Ngalebar, Mabuu - buu, Skala - niskala and Contemporary
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 | Full PDF (146.616 KB)

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; 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 | Full PDF (387.914 KB)

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.
ANALISA GERAK TARI DALAM FILM SEKALA NISKALA I Gusti Ngurah Krisna Yoga; 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 | Full PDF (172.635 KB)

Abstract

Analysis of Dance Movis in Skala Niskala Films 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.
The Visualization of The Story of Panji in The Film of Panji Semirang as The Gambuh Dancer I Wayan Budiarsa
Syntax Literate Jurnal Ilmiah Indonesia
Publisher : Syntax Corporation

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (201.832 KB) | DOI: 10.36418/syntax-literate.v7i11.11341

Abstract

The development of information, communication and technology, as the indicator of the modern era, has much been used by man to satisfy his daily needs. The digital technology, as one of the media, can be easily accessed anytime. The visualization of the story of Panji in the film entitled Panji Semirang as the Gambuh Dancer is the production of a film produced as the result of the collaboration between the Ministry Education and Culture through Balai Pelestarian Nilai Budaya (BPNB) of Bali Province and the Sanggar Seni Satrya Lelana, Batuan, Gianyar with the platform that Indonesiana is one of the creations using the digital technology. The visual audio record, which is commonly presented in the form of the classic performing art, has been transformed to the digital technological domain. The story presented is the time when Galuh Daha and her servant disguises as the Gambuh dancer “Panji Semirang” when the wedding ceremony is organized for Panji and Galuh Ajeng. This strategy can make Panji aware that he is bewitched by Galuh Ajeng. Love is used as the theme of the film; in its dialogues the main characters speak the Old Javanese language and the servants spleak the Balinese language. The actor wears the traditional makeup and clothing. The pictures were taken at the area of Puseh Temple (a cultural heritage), Batuan Village, Gianyar, and at a traditional house located at Negara Village, Batuan, Gianyar. Satires and the other figurative expressions both in the Balinese language and Old Javanese language, as the verbal languages used by the characters, are used to express affirmation, comparison, contrast and allusion.
TIRTA-RAKTA-SASTRA: SIMBOLISME AIR DALAM DIALOG DRAMATARI GAMBUH GAYA BATUAN GIANYAR I Wayan Budiarsa
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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

Abstract

Air sebagai elemen penting dalam kehidupan umat manusia diagungkan sebagai bagian dari prosesi ritual maupun profan. Konteks ritual, air “tirtha, petirthan” adalah elemen penting disetiap upacara keagamaan, sedangkan air dalam konteks profan elemen penting untuk kebutuhan hidup. Seni pertunjukan Dramatari Bali memiliki berbagai macam unsur yang membangunnya, salah satunya adalah unsur dialog. Gambuh sebagai bentuk dramatari tertua di Bali menggunakan dialog Bahasa Kawi dan Bahasa Bali, baik yang disampaikan melalui maucap-ucap maupun tetandakan. Dialog-dialog mengandung makna simbolis tertentu sesuai lakon, teks dan konteksnya, seperti simbolisme air dalam dialog pertunjukan Gambuh Batuan Gianyar. Kajian simbolisme air dalam dialog “maucap-ucap dan tetandakan” Gambuh Batuan menerapkan pendekatan kualitatif yakni dengan mendeskripsikan teks dialognya agar dipahami arti dan maknanya kemudian dapat dijadikan sumber refrensi pada mata kuliah dramaturgi oleh mahasiswa maupun peneliti berikutnya.
Tari Ngalebar I Putu Agus Ari Yana; I Kt. Suteja; I Wayan Budiarsa
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.v1i1.818

Abstract

The Mabuu - buu tradition is a cultural event, carried out every year in the context of Nyepi in the Panjer Traditional Village, Denpasar. The event has the meaning Nyomya sekala - niskala which means neutralizing, balancing Bhuana Agung and Bhuana Alit. The understanding of Nyomya is controlling oneself through good thoughts, words and deeds. In this day and age, the understanding ofNyomya is often ignored, seen from the behavior of modern society which always vents emotion. Through this phenomenon, the creators are interested in creating dance works that express unrestrained thought fluctuations, which are implemented into contemporary expressions of kerawuhan motion with the title Ngalebar. The process of creating this dance, using the method of Creating Through Dance by Y Sumandiyo Hadi, describes exploration (exploration), improvisation (experimental), and composition (formation). To ensure the creation of this work, using the theory of Imagination whichmeans the formation of motion from the results of images or imagining the meaning of Nyomya, and the theory of Aesthetics ngunda bayu which is the distribution of energy in the body. The theme of thiswork is spiritualization (formation of the soul) danced by seven dancers using the gamelanaccompaniment Gong Gede Saih Pitu in collaboration with the keyboard. Ngalebar Dance is a contemporary dance work depicting human reflection, trying to exercise self-control or introspection to achieve sekala - niskala harmony and to end it returned according to its position.Keywords: Ngalebar, Mabuu - buu, Skala - niskala and Contemporary
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.
Co-Authors I Gusti Ngurah Krisna Yoga I Gusti Ngurah Krisna Yoga I Ketut Sutapa I Ketut Sutapa I Kt. Suteja I Nyoman Kharisma Aditya Hartana I Nyoman Kharisma Aditya Hartana I Putu Agus Ari Yana I Putu Agus Ari Yana Agus Ari Yana Ida Ayu Wimba Ruspawati, Ida Ayu Kadek Ayu Mira Subandi Ni Nyoman Manik Fajarwati Ni Nyoman Manik Fajarwati Yulinis - Yulinis Yulinis