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Karakter Galuh Gaya Jero Ratna dalam Dramatari Arja Lakon Pajang Mataram di Banjar Kebon Singapadu Desiari, Â Made Ayu; Sariada, I Ketut; Ruastiti, Ni Made
Kalangwan : Jurnal Seni Pertunjukan Vol 3 No 1 (2017): Juni
Publisher : Institut Seni Indonesia Denpasar

Arja merupakan salah satu jenis dramatari Bali yang memadukan unsur drama, tari, tembang, dan musik. Di dalam sebuah pementasan dramatari ArjaÂ terdapat tokoh-tokoh yang memiliki karakter tersendiri baik itu karakter keras maupun halus atau manis. Salah satu karakter yang dikaji dalam penelitian ini adalah karakter Galuh gaya Jero Ratna dalam sebuah pertunjukan dramatari Arja dengan Lakon Pajang Mataram yang dipentaskan di Banjar Kebon Singapadu. Kajian tentang Galuh dalam dramatari Arja sangat mendesak dilakukan sebab sampai saat ini belum ada studi yang mendalam tentang tokoh Galuh dalam dramatari Arja khususnya Gaya Jero Ratna. Studi ini merupakan sebuah penelitian kualitatif dengan pendekatan seni pertunjukan. Ada dua rumusan masalah yang dikaji dalam penelitian ini yaitu (1) Bagaimanakah bentuk pertunjukan dramatari Arja Lakon Pajang Mataram di Banjar Kebon Singapadu, Gianyar?; dan (2) Bagaimanakah karakter Galuh Gaya Jero Ratna dalam pertunjukan dramatari Arja Lakon Pajang Mataram tersebut?. Sebagai pisau analisis digunakan tiga buah teori yaitu teori Fungsional-Struktural, teori Estetika, dan teori Semiotika. Data-data dari penelitian ini, baik data primer maupun data sekunder diperoleh melalui observasi, wawancara, dan studi kepustakaan. Seluruh data yang terkumpul dianalisis dan ditulis secara sistematis. Hasil penelitian ini menunjukkan bahwa: (1) bentuk pertunjukan dramatari Arja Lakon Pajang Mataram di Banjar Kebon Singapadu dapat dilihat dari lakon, struktur pertunjukan, tokoh-tokoh, musik iringan, dan tempat pertunjukan. (2) Karakter Galuh Gaya Jero Ratna dalam pertunjukan dramatari Arja Lakon Pajang Mataram adalah sebuah karakter putri manis atau halus. Hal itu dapat ditinjau dari tembang pada igel penglembar dan igel pagunem, gerak tari, dan tata rias busana yang digunakan.

Tari Gandrung di Banjar Suwung Batan Kendal Kelurahan Sesetan Kota Denpasar Juli Artiningsih, Ni Wayan; Sariada, I Ketut; Arshiniwati, Ni Made
Kalangwan : Jurnal Seni Pertunjukan Vol 3 No 2 (2017): Desember
Publisher : Institut Seni Indonesia Denpasar

Gandrung merupakan sebuah tari pergaulan yang sejenis dengan tari Joged Bumbung. Tari ini di bawakan oleh penari laki-laki yang berpakaian perempuan. Dari beberapa tari Gandrung yang masih ada salah satunya adalah tari Gandrung di Banjar Suwung Batan Kendal, Kelurahan Sesetan, Kota Denpasar. Penelitian ini dipandang urgen untuk dilakukan karena dari sekian banyak penelitian dan laporan hasil penelitian yang dapat dibaca dan diamati, belum banyak ditemukan kajian ilmiah yang membahas mengenai tari Gandrung yang ada di Banjar Suwung Batan Kendal. Tulisan ini bertujuan untuk melengkapi sebagai referensi bagi kalangan akademik maupun non-akademik dalam rangka mempelajari pertunjukan tari Gandrung di Banjar Suwung Batan Kendal. Penelitian dilakukan dengan menggunakan metode kualitatif dengan pendekatan seni pertunjukan. Ada tiga pokok permasalahan yang dikaji dalam penelitian ini yaitu (1) bagaimana bentuk tari Gandrung di Banjar Suwung Batan Kendal?; (2) bagaimana fungsi tari Gandrung di Banjar Suwung Batan Kendal?; dan (3) bagaimana estetika tari Gandrung di Banjar Suwung Batan Kendal?. Sebagai pisau analisis digunakan tiga teori yaitu teori Bentuk, teori Fungsional-Struktural, dan teori Estetika. Seluruh data penelitian ini, baik data primer maupun data sekunder diperoleh melalui teknik observasi, wawancara, studi kepustakaan, dan studi dokumentasi. Dari hasil kajian diperoleh jawaban seperti berikut. (1) Tari Gandrung di Banjar Suwung Batan Kendal tersebut disajikan dalam bentuk tunggal dan ditarikan oleh seorang penari laki-laki yang belum menginjak dewasa atau mengalami masa akil baliq. Hal itu dapat dilihat dari komponen struktur pertunjukan, gerak tari, penari, tata rias dan busana, musik iringan serta tempat pertunjukannya. (2) Berdasarkan fungsinya, seni pertunjukan Gandrung di Banjar Suwung Batan Kendal memiliki tiga fungsi yaitu berfungsi sebagai seni pertunjukan yang bersifat ritual, hiburan, dan solidaritas. (3) Estetika pada tari Gandrung di Banjar Suwung Batan Kendal, nampak terlihat pada pementasannya yang dapat diamati dari ragam gerak tari, musik iringan, tata rias dan busana yang digunakannya.Gandrung is a social dance similar to Joged Bumbung dance. This dance is performed by male dancers dressed in women. From some Gandrung dance that still exist one of them is Gandrung dance in Banjar Suwung Batan Kendal, Sesetan Village, Denpasar City. This study is considered urgency done because of the many research and research reports that can be read and observed, not yet found a scientific study that discusses the Gandrung dance in Banjar Suwung Batan Kendal. Though writing about the dance is needed to be used as a reference for academic and non-academic in order to learn Gandrung dance performance in Banjar Suwung Batan Kendal. The research was conducted using qualitative method with performance art approach. There are three main issues studied in this research that is (1) how Gandrung dance form in Banjar Suwung Batan Kendal ?; (2) how Gandrung dance function in Banjar Suwung Batan Kendal ?; And (3) how the aesthetics of Gandrung dance in Banjar Suwung Batan Kendal ?. As a blade analysis used three theories namely Form theory, Functional-Structural theory, and theory Aesthetics. All data of this research, both primary and secondary data are obtained through observation technique, interview, literature study, and documentation study. From the results of the study obtained the answer as follows. (1) Gandrung Dance in Banjar Suwung Batan Kendal is presented in singular form and danced by a male dancer who has not stepped on an adult or has a baliq period. It can be seen from the components of the performance structure, dance movements, dancers, makeup and clothing, music accompaniment and place of performances. (2) Based on its function, Gandrung performing arts in Banjar Suwung Batan Kendal has three functions that function as performance art that is ritual, entertainment, and solidarity. (3) Aesthetics in Gandrung dance in Banjar Suwung Batan Kendal, seen in the observable staging of the range of motion of dance, music accompaniment, makeup and clothing that it uses.

I Nyoman Cerita Inovation Figure in Balinese Dance Creation Agus Sujiro Putra, I Kadek; Arya Sugiartha, I Gede; Sariada, I Ketut
Kalangwan : Jurnal Seni Pertunjukan Vol 3 No 2 (2017): Desember
Publisher : Institut Seni Indonesia Denpasar

I Nyoman Cerita adalah seniman sekaligus akademisi seni pertunjukan khususnya seni tari di Bali yang berasal dari Banjar Sengguan, Desa Singapadu, Kecamatan Sukawati, Kabupaten Gianyar Bali. Beliau telah mampu membangun sebuah upaya pengembangan kesenian khususnya tari di Bali. Berbagai karya-karya yang hingga kini telah memberikan catatan penting terhadap perkembangan seni tari, I Nyoman Cerita mampu menciptakan karya tari dengan cara Nyeraki. Istilah Nyeraki yaitu serba ada atau serba bisa. Kemampuan nyeraki yang dimaksud disini adalah kemampuan Nyoman Cerita yang dapat menyelesaikan segalanya dengan kemampuan yang serba bisa. Nyoman Cerita mampu menciptakan tabuh (musik iringan tari), mampu menciptakan gerak tari, serta mampu menciptakan konsep kostum. Kemampuan nyeraki sangat jarang dimiliki oleh seniman tari pada umumnya Tujuan dari penelitian ini menghasilkan sebuah karya tulis tentang tokoh I Nyoman Cerita seniman tari asal Gianyar, menghasilkan karya tulis yang mampu digunakan sebagai informasi tentang tokoh inovatif dalam mencipta tari Bali, ada tiga pokok permasalahan yang akan dikaji yaitu bagaimanakah latar belakang kehidupan I Nyoman Cerita, bagaimanakah proses kreatif I Nyoman cerita sebagai tokoh inovatif dalam mencipta Tari Bali, bagaimanakah kontribusi karya I Nyoman Cerita dalam perkembangan seni tari di Bali? teori yang digunakan untuk membedah ketiga latar blakang tersebut yaitu: teori biografi, teori motivasi,teori Estetika. Inovatif karya I Nyoman Cerita yaitu beliau mampu memunculkan ide-ide baru seperti pengolahan properti tari yang dapat digunakan dalam berbagai fungsi. Sebagai contohnya adalah properti pajeng dapat di fungsikan sebagai tombak, roda kereta, dan simbol awan, sedangkan properti kipas dapat digunakan sebagai gada dan kereta kencana kontribusi karya-karya Tari Bali beliu menjadi bahan ajar di sanggar dan sebagai sajian seni pertunjukan pariwisata.Â I Nyoman Cerita is an artist as well as a performing arts academic especially dance art in Bali from Banjar Sengguan, Singapadu Village, Sukawati District, Gianyar Bali Regency. He has been able to build an art development effort, especially dance in Bali. Various works which up to now have provided important notes on the development of dance, I Nyoman Cerita able to create works of dance by Nyeraki way. Nyeraki term is versatile or versatile. The ability of nyreaki is meant here is the ability Nyoman Stories that can solve everything with a versatile ability. Nyoman Story is able to create a tabuh (music dance accompaniment), able to create a dance movement, and able to create the concept of costume. The ability of nyeraki very rarely owned by dance artists in general The purpose of this research produced a paper about the character I Nyoman Story of Gianyar dance artists, produce a paper that can be used as information about innovative figures in creating Balinese dance, there are three subjects that will be studied is how the background of life I Nyoman Cerita, How is the creative process I Nyoman Cerita as an innovative figure in creating Balinese Dance, how the contribution of I Nyoman Ceritaâ€™s work in the development of dance art in Bali? the theory used to dissect the three backgrounds are: biography theory, motivation theory, theory of aesthetics. The innovation of I Nyoman Ceritaâ€™s work is that he is able to create new ideas such as processing dance properties that can be used in various functions. For example, a pajeng property can be used as a spear, train wheel, and cloud symbol, while a fan property can be used as a club and a train.

Program Kemitraan Masyarakat Banjar Dinas Bongan Gede, Desa Bongan dan SMK Saraswati 3 Tabanan di Kecamatan Tabanan, Kabupaten Tabanan, Provinsi Bali Made Indra Sadguna, I Gde; Sariada, I Ketut
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar Vol 6 No 2 (2018): November
Publisher : Institut Seni Indonesia Denpasar

Masyarakat Bali dan kesenian merupakan hal yang tak terpisahkan dan saling terkait. Kesenian menempati ruang yang penting, khususnya dalam konteks ritual keagamaan. Dalam pelaksanaan upacara di Bali, dikatakan tidak akan lengkap dan selesai tanpa hadirnya kesenian, khususnya seni tari dan karawitan. Kini dengan perkembangan globalisasi dan teknologi, peminat kesenian dari generasi muda mulai mengalami penurunan. Hal tersebut dikarenakan gaya pola hidup yang berubah mengikuti sinetron di televisi, penggunaan media sosial dan internet yang berlebihan, serta adanya anggapan bahwa seni tari dan karwaitan adalah hal yang kuno. Dari hal tersebut, timbul kekhawatiran akan semakin terpinggirkannya kesenian Bali. Oleh sebab itu, perlu dilakukan usaha-usaha pelestarian kesenian, salah satunya lewat Program Kemitraan Masyarakat (PKM). Dalam kegiatan PKM ini terdapat dua mitra, yaitu Banjar Bongan Gede sebagai Mitra I dan SMK Saraswati 3 Tabanan sebagai Mitra II. Kedua mitra mengalami permasalahan yang sama, yaitu rendahnya animo anak-anak dan siswa yang mempelajari seni tari dan karawitan. Dari pertemuan dengan kedua mitra, ditemukan tiga masalah utama yaitu kurangnya animo dalam belajar berkesenian, yang berakibat pada kurangnya teknik tari dan karawitan, serta kurangnya referensi tari-tarian kreasi baru. Untuk mengatasi permasalahan tersebut akan ditawarkan solusi dengan melakukan presentasi seni yang interaktif dan menarik, workshop peningkatan teknik tari dan karawitan, serta pengajaran tari Selat Segara sebagai salah satu tari kreasi baru. Sasaran peserta PKM untuk mitra I adalah anak-anak berusia 12-15 tahun serta siswa-siswi yang memilih ekstrakurikuler tari dan tabuh untuk mitra II. Melalui solusi yang ditawarkan, didapatkan hasil meningkatnya animo anak-anak serta siswa dalam mempelajari kesenian, adanya peningkatan teknik tari dan karawitan, serta mampu menguasai tari Selat Segara dengan baik. Hasil dari pembinaan PKM ini didokumentasikan dalam bentuk DVD.Â Arts and society are two inseparable factors in the Balinese life. The existence of art plays a vital role, especially in the religious context. Ceremonies are not complete without the presence of art, especially karawitan (traditional Balinese music) and dance. Now, in the era of technology and globalization, younger generation are experiencing a decline in arts. This is due to the lifestyle patterns that change following soap operas on television, excessive use of social media and the internet, and the assumption that dance and music are old school. From this, concerns arise about the increasingly marginalized Balinese arts. To preserve the arts, there should be efforts to be done, one is through the Program Kemitraan Masyarakat (PKM). In this PKM activity there were two partners, namely Banjar Dinas Bongan Gede Banjar Partner I and SMK 3 Saraswati Tabanan as Partner II. Both partners experienced the same problems, namely the low interest in children and students studying dance and music. From meetings with the two partners, three main problems were found, namely the lack of interest in learning art, which resulted in a lack of dance and karawitan techniques, as well as a lack of reference to new dances. To overcome these problems, a solution will be offered by conducting interactive and interesting art presentations, dance and karawitan techniques improvement workshops, and teaching Selat Segara dance as one of the new dance creation. The target of PKM participants for partner I is children aged 12-15 years and students who choose dance and karawitan extracurricular for partner II. Through the solutions offered, the results are the increasing of interest of children and students in learning art, the improvement of dance and karawitan techniques, and being able to perform the Selat Segara dance. The results of this PKM are documented on DVD.Â

COMMODIFICATION OF TEKTEKAN CALONGARANG AT BATURITI, KERAMBITAN, TABANAN Sariada, I Ketut; Wirawan, AA Bagus; Kumbara, Anak Agung Ngurah Anom; Ruastiti, Ni Made
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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

Tektekan Calonarang is a Calonarang drama dance which is performed for a new model of tourism, and is accompanied with what is referred to gamelan tektekan. In general, the Balinese people disagree that a sacred cultural element is performed for tourism. However, those living at Baturiti Village support the commodified Tektekan Calongarang in which what are referred to as sacred barong and rangda are performed. This has led to many questions as such a performing art contrasts with the Balinese people’s attitude in general. The problems of the present study are formulated as follows: why the people living at Baturiti Village, Kerambitan, Tabanan, support the commodified Tektekan Calongarang using the sacred rangda and barong; what was such a commodification like; what was its implication on those who were involved in it, society, and such a performance itself. This present study is a qualitative one in which a number of related critical theories were used such as the theory of deconstruction proposed Jacques Derrida, the theory of social practice proposed by Pierre Bourdieu, and the theory of power/knowledge proposed by Michael Foucault. The result of the study showed that the commodified Tektekan Calonarang in which the sacred barong and rangda were used was performed in the forms of a procession and the Tektekan Calonarang performance. The market ideology, the developmental ideology, the religious ideology, and the conservation ideology inspired the commodified Tektekan Calonarang which involved the sacred barong and rangda performed for tourism. Such a commodification increased the income of those involving in such a performance and the local people (multiplier effects), the perpetuity of the magical strength of such barong and rangda, the market/tourism interest, and strengthened the local people’s social solidarity. The novelty of the present study was that there was no degradation of sacredness although the sacred rangda and barong were commodified for tourism. The reason is that every time such a performance was performed, a ritual was performed to purify such barong and rangda contextually.

Inventory And Documentation For Bebali Mask Dance Sustiawati, Ni Luh; Sariada, I Ketut
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 3 No 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1100

The objective of this research is to describe the kinds and the function of Bebali mask dances in each regency or municipality in Bali province and the perception of the public about them. This research was conducted in 9 districts / cities in Bali, namely Jembrana, Buleleng, Tabanan, Badung, Denpasar, Gianyar, Klungkung, Bangli and Karangasem, each represented by the two villages that develop the Bebali Mask dance. This research intended to expose a phenomenon, therefore it applies the phenomenological qualitative approach. It was chosen due to the consideration that this research is focused upon action or activity by one or more people related to the making of inventory and documenting the Bebali mask dance in Bali province, by classifying the kinds and functions of Bebali mask dances and by uncovering the perception of the public concerning the Bebali mask dance in the regencies/municipalities in Bali. The result shows that almost all instances of Bebali mask dance, especially the Pajegan variety, is connected with religious rituals, such as the Dewa Yadnya, Resi Yadnya, Pitra Yadnya, Manusa Yadnya, and Bhuta Yadnya. The Bebali mask dance in the province of Bali symbolizes the cycle of human life which can be described as a circle where life rotates naturally. The mask dance contains an ideal of how to live a life, that is to strike a balance between the adoration of the Divine and compassion and duty to fellow men and love of nature, which in Hindu philosophy is called â€œTri Hita Karanaâ€.

Konsep Catur Purusartha Dalam Gerak Tari Rejang Sakral Lanang Di Desa Mayong, Buleleng, Bali I Made, Rianta; Santosa, Hendra; I Ketut, Sariada
Kalangwan : Jurnal Seni Pertunjukan Vol 6 No 1 (2020): Juni
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/kalangwan.v6i1.815

Penelitian ini bertujuan untuk membedah Tari Rejang Sakral Lanang di Desa Mayong, Kecamatan Seririt, Kabupaten Buleleng dari konsep gerak tarinya. Tari Rejang Sakral Lanang di Desa Mayong pada gerak tarinya berkonsepkan catur purusartha di dalamnya yang dapat dilihat dari empat gerakan pokok dalam tarian yang diulang dari awal hingga akhir tarian. Tujuan dari penelitian ini adalah mengetahui konsep catur purusartha dalam gerak Tari Rejang Sakral Lanang di Desa Mayong. Metode penelitian yang dipergunakan adalah penelitian kualitattif dengan teknik pengumpulan data melalui observasi terus terang, metode wawancara dan studi kepustakaan. Berdasarkan analisis data yang dilakukan, diperoleh hasil bahwa gerakan yang terdapat di dalam Tari Rejang Sakral Lanang di Desa Mayong berbeda dengan Tari Rejang pada umumnya karena gerak-gerak yang terdapat dalam Tari Rejang Sakral Lanang di Desa Mayong hanya terdiri dari empat gerakan yang selalu dipergunakan secara berulang-ulang dari awal tarian hingga akhir tarian, sehingga struktur gerak Tari Rejang Sakral Lanang di Desa Mayong menggunakan struktur tunggal di dalamnya dan gerakan Tari Rejang Sakral Lanang di Desa Mayong memiliki konsep catur purusartha di dalam gerakannya. Konsep inilah yang membedakan gerak Tari Rejang Sakral Lanang dengan Tari Rejang pada umumnya. Penelitian gerak Tari Rejang Sakral Lanang menggunakan teori semiotika berdasarkan pendapat Ferdinand de Saussure yaitu penanda dan petanda. Adapun empat gerakan yang terdapat dalam tarian meliputi: agem, nengkleng, nindak dan nutup sebagai penanda dan petanda adalah bagian-bagian dari konsep catur purusartha yang terdiri dari dharma, artha, kama dan moksa.

Estetika Film Animasi 2D â€œ Bawang dan Kesunaâ€ Sudi Anggara, I Gede Adi; Mudra, I Wayan; Sariada, I Ketut
PANTUN Vol 3, No 1 (2018): Estetika Budaya Urban
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v3i1.879

2D Animation flm of Bali folktale â€œBawang and Kesunaâ€ tells about two sisters, Bawang and Kesuna. Bawang is a girl who is lazy, jealousy, and sly. Meanwhile, Kesuna is a kind, calm, honest, and hardworking girl. The folktale is from Sengkidu village, Karangasem. The paper is aimed to reveal the aesthetics of 2D â€œBawang and Kesunaâ€ flm approached by Djelantik Aesthetic theory. It discusses the form and structure, the mood, idea and message, as well as the presentation. The study applies qualitative method. The data are collected from interview and documentation of related literatures. The result shows that the form comprises illustration, typography, and colour, meanwhile the structure applies flm structure, namely shot, scene, and sequence. The mood shares village atmosphere giving traditional impression shown from the accessories of costumes and buildings. The film is full of moral messages useful for children character education.Keywords: Aesthetics, 2D Animation Film, Balinese Folktale, Bawang and Kesuna

Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali Ruastiti, Ni Made; Indrawan, Anak Agung; Sariada, I Ketut
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v21i2.32199

This article aims to discuss the Renteng Dance in Saren Village, Nusa Penida, which is actually the forerunner of the Rejang Renteng Dance performance, which is now widely danced by mothers in the context of the dewa yadnya ceremony in Bali. Supposedly, as the forerunner of ceremonial dance performances, the Balinese people know the Renteng Dance. However, in reality, this is not the case. Balinese people seem to know more about the Rejang Renteng Dance than the Renteng Dance. (1) What is the form of the Renteng Dance in Saren Village? (2) Why is the Renteng Dance the source of the creation of ceremonial dance in Bali? This study uses a qualitative method with research data sources such as Renteng Dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. Aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observation, interviews, and literature review. The study results show that: (1) the community in Saren Village presents Renteng Dance in the form of a freelance dance (without a play). It can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of Renteng Dance is the source of the creation of ceremonial dance in Bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. The new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts.

Program Kemitraan Masyarakat Banjar Dinas Bongan Gede, Desa Bongan dan SMK Saraswati 3 Tabanan di Kecamatan Tabanan, Kabupaten Tabanan, Provinsi Bali I Gde Made Indra Sadguna; I Ketut Sariada
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 6 No. 2 (2018): November
Publisher : Institut Seni Indonesia Denpasar

Masyarakat Bali dan kesenian merupakan hal yang tak terpisahkan dan saling terkait. Kesenian menempati ruang yang penting, khususnya dalam konteks ritual keagamaan. Dalam pelaksanaan upacara di Bali, dikatakan tidak akan lengkap dan selesai tanpa hadirnya kesenian, khususnya seni tari dan karawitan. Kini dengan perkembangan globalisasi dan teknologi, peminat kesenian dari generasi muda mulai mengalami penurunan. Hal tersebut dikarenakan gaya pola hidup yang berubah mengikuti sinetron di televisi, penggunaan media sosial dan internet yang berlebihan, serta adanya anggapan bahwa seni tari dan karwaitan adalah hal yang kuno. Dari hal tersebut, timbul kekhawatiran akan semakin terpinggirkannya kesenian Bali. Oleh sebab itu, perlu dilakukan usaha-usaha pelestarian kesenian, salah satunya lewat Program Kemitraan Masyarakat (PKM). Dalam kegiatan PKM ini terdapat dua mitra, yaitu Banjar Bongan Gede sebagai Mitra I dan SMK Saraswati 3 Tabanan sebagai Mitra II. Kedua mitra mengalami permasalahan yang sama, yaitu rendahnya animo anak-anak dan siswa yang mempelajari seni tari dan karawitan. Dari pertemuan dengan kedua mitra, ditemukan tiga masalah utama yaitu kurangnya animo dalam belajar berkesenian, yang berakibat pada kurangnya teknik tari dan karawitan, serta kurangnya referensi tari-tarian kreasi baru. Untuk mengatasi permasalahan tersebut akan ditawarkan solusi dengan melakukan presentasi seni yang interaktif dan menarik, workshop peningkatan teknik tari dan karawitan, serta pengajaran tari Selat Segara sebagai salah satu tari kreasi baru. Sasaran peserta PKM untuk mitra I adalah anak-anak berusia 12-15 tahun serta siswa-siswi yang memilih ekstrakurikuler tari dan tabuh untuk mitra II. Melalui solusi yang ditawarkan, didapatkan hasil meningkatnya animo anak-anak serta siswa dalam mempelajari kesenian, adanya peningkatan teknik tari dan karawitan, serta mampu menguasai tari Selat Segara dengan baik. Hasil dari pembinaan PKM ini didokumentasikan dalam bentuk DVD.Â Arts and society are two inseparable factors in the Balinese life. The existence of art plays a vital role, especially in the religious context. Ceremonies are not complete without the presence of art, especially karawitan (traditional Balinese music) and dance. Now, in the era of technology and globalization, younger generation are experiencing a decline in arts. This is due to the lifestyle patterns that change following soap operas on television, excessive use of social media and the internet, and the assumption that dance and music are old school. From this, concerns arise about the increasingly marginalized Balinese arts. To preserve the arts, there should be efforts to be done, one is through the Program Kemitraan Masyarakat (PKM). In this PKM activity there were two partners, namely Banjar Dinas Bongan Gede Banjar Partner I and SMK 3 Saraswati Tabanan as Partner II. Both partners experienced the same problems, namely the low interest in children and students studying dance and music. From meetings with the two partners, three main problems were found, namely the lack of interest in learning art, which resulted in a lack of dance and karawitan techniques, as well as a lack of reference to new dances. To overcome these problems, a solution will be offered by conducting interactive and interesting art presentations, dance and karawitan techniques improvement workshops, and teaching Selat Segara dance as one of the new dance creation. The target of PKM participants for partner I is children aged 12-15 years and students who choose dance and karawitan extracurricular for partner II. Through the solutions offered, the results are the increasing of interest of children and students in learning art, the improvement of dance and karawitan techniques, and being able to perform the Selat Segara dance. The results of this PKM are documented on DVD.Â

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