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All Journal KALANGWAN PRABANGKARA Ghurnita: Jurnal Seni Karawitan International Journal of Social Service and Research Jurnal Igel: Journal of Dance
I Kt. Suteja
Institut Seni Indonesia Denpasar
Arts Humanities Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Ki Mantri Tutuan dalam Bentuk Karya Tari Inovatif Rupiani, Ni Wayan; Suteja, I Ketut; Wimba Ruspawati, Ida Ayu
Kalangwan : Jurnal Seni Pertunjukan Vol 3 No 2 (2017): Desember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (247.62 KB) | DOI: 10.31091/kalangwan.v3i2.237

Abstract

Bali merupakan pulau Dewata yang banyak memiliki kisah atau legenda maupun silsilah kawitan atau garis keturunan laki-laki (purusa). Legendatersebut masih diyakini dan disakralkan, seperti yang tersimpan di Desa Gunaksa Kecamatan Dawan Kabupaten Klungkung, yaitu sebuah Prasasti Ujara Kanda yang menjelaskan tentang kisah Ki Mantri Tutuan dan seketurunannya. Ki Mantri Tutuan berasal dari keturunan Raja Kelingga Jawa Timur yang bernama Dalem Mangori, mempunyai anak bernama Pangeran Satriawangsa menjalani hukumn dan kutukandi tanah Bali bernama Pura Bukit Buluh di Desa Gunaksa Kecamatan Dawan Kabupaten Klungkung. Berdasarkan fenomena di atas diciptakanlah sebuah karya tari inovatif yang berjudul Ki Mantri Tutuan. Adapun alasannya adalah ingin menggali nilai-nilai keyakinan yang bersifat religious dan erat hubungannya dengan alam gaib, serta memperoleh pengetahuan tentang sejarah,etika,moral dan sopan santun terhadap orang yang pantas dihormati, dan ingin mensosialisasikan terhadap keturunan Ki Mantri Tutuan melalui sajian dalam bentuk karya tari inovatif. Prinsip-prinsip angripta sesolahan dipilih untuk proses penciptaan karya tari Ki Mantri Tutuan dan dalam perwujudannya menggunakan teori transpormasi yang merupakan suatu proses pemindahan kisah dari aslinya menjadi karya seni tari yang bersifat inovatif.Ki MatriTutuan dalam bentuk karya tari inovatif adalah sebuah karya tari kekinian, yang berorientasi pada standar tari Bali yaitu agem, tandang, tangkis dan tangkep dikemas menjadi karya baru yang menyesuaikan dengan perkembangan jaman.Bali is the island of God who has many stories or legends or genealogy of kawitan or lineage of men (purusa). The legend is still believed and sacred, as it is stored in Gunaksa Village Dawan Sub-district Klungkung, which is an Inscription Ujara Kanda that explains the story of Ki Mantri Tutuan and seketurunnya. Ki Mantri Tutuan derived from the descendants of King Kelingga East Java named Dalem Mangori, have a son named Prince Satriawangsa undergoing law and curse of the land of Bali named Pura Bukit Buluh in Gunaksa Village Dawan District Klungkung Regency. Based on the above phenomenon was created an innovative dance work titled Ki Mantri Tutuan. As for the reason is to explore religious values of beliefs and closely related to the occult, as well as gain knowledge of history, ethics, morals and manners towards people who deserve respect, and want to disseminate to the descendants of Ki Mantri Tutuan through the presentation in the form of works Innovative dance. The principles of angriptasesolahan were chosen for the process of creating the dance of Ki Mantri Tutuan and in its manifestation using the theory of transpormation which is a process of moving the story from the original into a dance artwork that is innovative.Ki MatriTutuan in the form of innovative dance work is a work of dance, On the Balinese dance standard that is agem, away, tangkis and tangkep packed into new work that adapts to the development of the era.
Fotografi Decopauge Keindahan dan Fenomena Subak Bali di Daerah Gianyar dan Bangli SATRIA, CHRISTOFER; UDIANA NINDHIA PEMAYUN, TJOKORDA; SUTEJA, I KETUT
Prabangkara : Jurnal Seni Rupa dan Desain Vol 21 No 2 (2017): Pabangkara
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Penciptaan ini dilatarbelakangi oleh ketetarikan pencipta terhadap keindahan dan fenomena subak diBali khususnya daerah Gianyar dan Bangli. Subak adalah organisasi kemasyarakatan yang mengatursistem pengairan sawah, yang digunakan untuk bercocok tanam padi di Bali. Subak biasanya memilikipura yang dinamakan Pura Uluncarik yang diperuntukan untuk “Dewi Sri” (dewi kemakmuran dan kesuburan). Penciptaan ini difokuskan pada fotografi decopuage keindahan dan fenomena subakBali khususnya daerah Gianyar dan Bangli. Berorientasi dari keindahan dan fenomena subak di Bali, pencipta ingin mengungkapkan ke dalam sebuah karya fotografi decopauge, dengan menggunakandua teknik yang berbeda menjadi satu kesatuan, sehingga kesan foto akan lebih berbeda dan mengikuti tekstur batu yang digunakan. Berdasarkan hal tersebut pencipta menggunakan teori transformasi, untuk perubahan dari karya asli ke-dalam karya baru dan teori semiotika, sebagai pembuatan karya untuk melihat komposisi foto dan tekstur batu yang digunakan. Metode yang digunakan adalah metode observasi dan metode dokumentasi, yang difokuskan didaerah Gianyar dan Bangli. Pencipta berharap dengan adanya perancangan ini, dapat memberikan dampak baik terhadap Subak di Bali terutama daerah Gianyar dan Bangli, dan dapat menjadi media yang menarik untuk memelihara dan menjaga Subak di Bali.This creation is motivated by the creator’s attractiveness of the beauty and phenomenon of subak in Bali, especially the area of Gianyar and Bangli. Subak is a community organization that regulates the irrigation system of paddy fields, which is used to grow rice in Bali. Subak usually has a temple called Uluncarik Temple which is intended for “Dewi Sri” (goddess of prosperity and fertility). This creation is focused on photography decoupage beauty and phenomenon of subak in Bali especially area of Gianyar and Bangli. Oriented from the beauty and phenomenon of subak in Bali, the creators want to express into a photography decopauge work, using two different techniques into one unity, So the impression will be more different photos and follow the texture of the stone used. Based on that the creator used the theory of transformation, for a change from the original work into the new work and the theory of semiotics, as a work to see the composition of photographs and texture of stones used. The method used is the method of observation and method of documentation, which focused on Gianyar and Bangli areas. Creator hopes with this design, can give good impact to subak in Bali especially area of Gianyar and Bangli, and can become an interesting media to maintain and keep subak in Bali.
Calungpangkung: Musik Dari Dan Untuk Alam Muliyadi, I Wayan; Sudirga, I Komang; Suteja, I Kt.
Kalangwan : Jurnal Seni Pertunjukan Vol 4 No 2 (2018): Desember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (146.871 KB) | DOI: 10.31091/kalangwan.v4i2.560

Abstract

Karya musik Calung Pangkung merupakan karya musik yang memanfaatkan alam khususnya pangkung sebagai sumber penciptaan karya. Pertunjukan dilakukan secara berpindah-pindah mulai dari bagian atas pangkung sampai pada bagian bawah. Hasil penciptaan karya Calung Pangkung merupakan karya seni musik lingkungan yang terlahir dari ekplorasi fenomena yang terjadi pada alam, khususnya pangkung. Pembentukan karya ini pencipta menggunakan pendekatan kontemporer dengan menggunakan benda-benda yang ada di sekitar areal pangkung sebagai instrumen atau media ungkap dalam karya. Karya musik Calung Pangkung secara struktur dibagi menjadi empat bagian, yaitu bakti raga, mabraya, adharma, dan santhi swara. Bagian bakti raga menggambarkan bakti manusia terhadap alam, bagian mabraya merupakan wujud dari keharmonisan alam dan manusia, bagian adharma menggambarkan keserakahan manusia terhadap alam, serta bagian santhi swara sebagai wujud suara perdamaian yang hening dan tenang. Karya musik Calung Pangkung secara langsung dipentaskan di areal pangkung Gua Peteng Desa Darmasaba, Kecamatan Abiansemal, Kabupaten Badung.Calung Pangkung’s musical work is a musical work that utilizes nature, especially the lap as a work. Performances are carried out in a move starting from the top of the pangkung to the bottom. The result of the work of Calung Pangkung is a musical work of art that was born from the exploration of phenomena that occur in nature, especially the lap. The supervisor of this work uses a contemporary approach using objects that are around the lap area as instruments or express media in the work. Calung Pangkung’s musical works generally become four parts, namely bakti raga, mabraya, adharma, and santhi swara. The bakti raga part of human devotion to nature, part of the mabraya is a manifestation of the harmony of nature and people, the part of natural adharma of human greed towards nature, and the part of santhi swara as a peaceful and calm form of peace. Calung Pangkung’s musical work was directly staged in the pangkung Gua Peteng area of Darmasaba Village, Abiansemal District, Badung Regency. 
Kole Nak Nusa Dalam Film Pendek Aryadi, I Gusti Made; Suteja, I Kt; Suardina, I Nyoman
Prabangkara : Jurnal Seni Rupa dan Desain Vol 22 No 2 (2018): Desember
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Nusa Penida memiliki dialek yang beragam yang merupakan sebuah keunikan yang tak ternilai harganya. Namun, bagaimana dialek tersebut dapat menjadi kebanggaan bila di sisi lain keunikan dialek tersebut dijadikan guyonan atau bahkan menjadi bahan pem-bully-an. Berdasarkan uraian di atas, muncul ketertarikan penggarap untuk menciptakan karya seni dalam bentuk film pendek berjudul “Kole Nak Nusa”. Karya ini mencoba menjawab pertanyaan (1) nilai kebangsaan apakah yang diangkat, (2) teknis dan bentuk pengggarapan, serta (3) apa makna film yang dapat disampaikan. Tujuan penciptaan karya film ini adalah menciptakan karya seni berdasarkan atas fenomena yang terjadi di masyarakat, khususnya terkait dengan perbedaan dialek antar daerah di Bali. Karya Film pendek “Kole Nak Nusa” mengangkat nilai kebangsaan yang bangga akan identitas diri bangsa. Proses penggarapan Karya Film pendek “Kole Nak Nusa” dimulai dari (1) mencari dan menemukan fenomena di Nusa Penida, (2) melakukan riset dan mengumpulkan bukti-bukti visual, (3) proses mengkhayal dan berimajinasi, dan bereksplorasi, (4) proses kreatif penciptaan karya, dan (5) estimasi karya. Karya Film pendek “Kole Nak Nusa” digarap dengan teknis visual neorealis dan dalam bentuk film pendek berdurasi 20 menit. Makna atau pesan yang disampaikan melalui film pendek “Kole Nak Nusa” adalah mencintai kebudayaan bangsa sendiri tanpa harus malu dikritik oleh oranglain.
AMERTHA SANJIWANI Ni Putu Ayu Aneska Rastini Dewi; I Kt. Suteja; Ni Wayan Suartini
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

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Abstract

Purana Pura Luhur Tirta Mas Manik Muncar tells the story of the sacrifice of Ida Ratu Ayu Mas Membah who is willing to change her form from beautiful to old grandmother. The meaning of this story is symbolic of water which has an important role in human life. The phenomenon of this story is very unique and aesthetically raised into a creative dance work, because in the story water flows from upstream to downstream or from clean to dirty things. Departing from this, then created a dance work entitled Amertha Sanjiwani. The process of creating Amertha Sanjiwani's dance works, using the creation method of Creating Through Dance by Y. Sumandiyo Hadi, includes assessment, experimentation and formation. To clarify the results of this creation, transformation theory is used, namely transferring the essence of the Puranas story into a dance work, as well as interpreting the values contained in the story. Amertha Sanjiwani's dance work is a creative dance work that interprets the philosophy of holy water of faith-affirming life, and is implemented in the form of a goddess' sacrifice by changing her form from a beautiful goddess to an old grandmother in order to carry out a good mission.Keywords: Amertha Sanjiwani, water, sacrifice
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

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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
Bagaimana Seniman Bali Berkreatifitas Pada Ajang PKB 2021 Dalam Situasi Covid ? Ni Komang Sri Wahyuni; I Kt. Suteja
Jurnal IGEL : Journal Of Dance Vol 1 No 1 (2021): Terbitan Pertama Bulan Juni
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

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Abstract

The Bali Arts festival ini 2021 is starting to rise again in a different form, the 43rd PKB as a forum for artists’ creativity was held virtually, due to the fluctuating covid-19 pandemic in Bali. The creativity produced by the artists is focused and contextual in translating the PKB theme “Purna Jiwa, Prananing Wana Kerthi” or “Plenary Soul, the breath of life. Staging is done virtually and only a few are done offline with the implementation of health protocols. The phenomenon of covid-19 is very motivating for innovation and the spirit of Balinese artists, this can be seen from the appearance of the works which on averageare very interesting. There are 2 (two) interesting works to discuss, namely, the Kreasi Kekebyaran Mimba neem creation dance from the Denpasar city ambassador and the Classical Arja Perfomance from the Singapadu Suara Kanti, Gianyar. The method used in this research is to use qualitative research methods which emphasize more on the quality side of the entity under study. Using qualitative research methods to make it easier to criticize things that exist in the Kreasi Kekebyaran Mimba neem dance performance and gthe Classical Arja Performance both in terms of technique, form, uniqueness and taste, as well as interpreting the values contained in the work. The Kreasi Kekebyaran Mimba neem dance depicts the balance of masculine and feminine symbols in one dancer’s character, this concept is inspired by the Intaran leaf and the Ardhanareswari concept. Classical Arja performance from the Suara Kanti Studio with the title “Taru Urip” which tells the story of matchmaking through the Urip dance given by Galuh Daha which was later won by Prabhu Jenggala, Raden Dharma Sentana. Keywords: PKB, Covid, Kreatifitas, Seniman
Tari Kreasi Bebarisan Bala Maya, Sebuah Kisah Prajurit Kupu-kupu I Wayan Wira Arimbawa; I Kt. Suteja; Ni Nyoman Manik Suryani
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

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Abstract

Bala Maya's Creative Dance, A Story of a Butterfly Warrior Reading a book Kupu Kupu Kuning Yang Terbang Di Selat Lombok, tell about history of struggle the kingdom of Karangasem defeating the Selaparang kingdom Lombok. The victory of the kingdom of Karangasem blessing from yellow butterfly troops which can be seen or invisible, panugrahan (Grace) from Ida Bhatara Alit Sakti at Pura Bukit Karangasem. The meaning of the struggle is very phenomenal, if it is related to the concept sekala and niskala, that is devotion of forefather and human relationship with universe. Oriented from the phenomenon came up with an idea to create a work creation dance with the title Bala Maya in bebarisan creation. In the creation of this dance, using theory image and imagination by Tetdjoworo,H, that is can imagining and manifest in the motive of movement.The process uses the method Mencipta Lewat Tari by Y.Sumadiyo Hadi translation of the book Creating Through Dance by Alma M.Hawkins consists of three step that is, exploration, improvisation, and forming step. Bala Maya is a bebarisan dance creation have a heroism theme, tell about Laskar Karangasem troops which interpreting the yellow butterfly attack Seleparang Lombok Kingdom. Invisible soldier is the character and characteristic of yellow butterfly called Bala Maya. Keywords : Bebarisan dance, Bala Maya, sekala-niskala, creating.
Ki Mina Ayung I Ketut Ari Susana; I Kt. Suteja; Anak Agung Ketut Oka Adnyana
Jurnal IGEL : Journal Of Dance Vol 2 No 2 (2022): Terbitan Kedua Bulan November tahun 2022
Publisher : UPT Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar

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Abstract

Sumber kreatif berasal dari Purana Bendesa Gerih, Kecamatan Abiansemal, Badung. DalamPurana Bendesa Gerih terdapat kisah tentang Ki Jagul Tua, merupakan raja wongsamar dengan wujud ikan jeleg putih (ikan gabus putih), yang memiliki kesaktian bernama mustika maniksekecapatausinonim dari kepala ikan jeleg putih yang dapat memenuhi segala keinginan. Ki Jagul Tua yang hidup di Sungai Ayung memiliki makna bagi kehidupan manusia untuk melestarikan keberadaan sungai beserta isinya.Berarti kaitan Purana Bendesa Gerih dengan sungai ayung tujuannya melestarikan keberadaan sungai, namun pada kehidupan sekarang ini, sungai ayung banyak yang membuang sampah sembarangan, meracuni ikan, dan pencemaran limbah pabrik. Fenomena alam ini perlu mendapat perhatian dari kehidupan masyarakat jaman sekarang, karena sungai merupakan sumber kehidupan bagi semua makhluk yang memerlukan air. Maka dari itu, pencipta berkeinginan untuk menuangkan inspirasi tersebut ke dalam sebuah karya tari kontemporer berjudul Ki Mina Ayung. Pada proses penciptaan karya ini penata bekerjasama dengan mitra kerja Sanggar Seni Pancer Langiit dalam program Merdeka Belajar-Kampus Merdeka, dengan mengambil bentuk pembelajaran studi/proyek independen. Penciptaan karya Ki Mina Ayung menggunakan metode Anggripta Sasolahan yang terdiri dari ngarancana(eksplorasi), nuasen(upacar mengawali penciptaan), makalin(improvisasi), nelesin (pembentukan), dan ngebah(pertunjukan perdana untuk evaluasi karya).Teori yang digunakan dalam penciptaan ini adalah teori Imaji dan Imajinasi yang menunjang daya imajinasi penata dalam memunculkan gambaran mental seputar konsep karya. Karya Tari Ki Mina Ayung adalah karya tari berbentuk kontemporer yang ditarikan oleh tujuh orang penari. Tari ini dikemas secara dramatik dan menggunakan gerak-gerak simbolik sebagai implementasi imajinasi penata. Tata rias yang digunakan adalah tata rias fantasi dengan tata busana yang dikembangkan. Harapan penata dengan terciptanya karya ini adalah dapat mengenalkan kisah lokal tradisi kemasyarakat, guna meningkatkan kreativitas berkarya lewat kisah-kisah lokal. Kata kunci : Ki Jagul Tua, Purana Bendesa Gerih, Kontemporer, Proses Penciptaan
Jenar: A New Music Creation | Jenar: Sebuah Musik Kreasi Baru I Wayan Aditya Febriana; I Kt. Suteja
GHURNITA: Jurnal Seni Karawitan Vol 2 No 3 (2022): September
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

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Abstract

Tagetes flower is one among the flowers whose existences are preserved, particularly on Bali Island. It functions as an ornamental plant and Hinduism ceremonies and ritual items. The yellow color of Tagetes flowers represents the God Mahadewa, the ruler of the west, especially for Hindu people to prepare the offering. There are several meanings contained about the yellow color from Tagetes flower, both etymologically and philosophically. In old Javanese (Kawi), the yellow color is well-known as Jenar. Departing from the meaning of yellow color in Tagetes flower, a new percussion creation was created, entitled Jenar. The idea of this work was inspired by the importance of yellow color in Tagetes flower, implemented into a percussion creation by using Gamelan Gong Kebyar. This percussion creation uses a method proposed by Alma M. Hawkins, namely the exploration, the improvisation, and the forming. This creation of work concept guided by a Balinese concept of Tri Angga: kawitan, pengawak, pengecet, combined with conservative patterns that well-developed both through the song’s structure and the playing technique, with an arrangement of musical elements such as tone, rhythm, dynamics, melody, tempo, and harmony. This percussion creation occurs 10 minutes duration within 29 supports including the composer. Jenar percussion creation was perfomed at Natya Mandala stage, Institut Seni Indonesia (ISI) Denpasar.
Co-Authors Anak Agung Ketut Oka Adnyana Aryadi, I Gusti Made christofer satria I Ketut Ari Susana I Ketut Ari Susana I Komang Sudirga I Putu Agus Ari Yana I Putu Agus Ari Yana Agus Ari Yana I Wayan Aditya Febriana I Wayan Budiarsa I Wayan Wira Arimbawa I Wayan Wira Arimbawa Ida Ayu Wimba Ruspawati, Ida Ayu Muliyadi, I Wayan Ni Komang Ari Andayani Ni Komang Sri Wahyuni ., Ni Komang Sri Wahyuni Ni Nyoman Manik Suryani Ni Putu Ayu Aneska Rastini Dewi Ni Wayan Rupiani, Ni Wayan Ni Wayan Suartini Ni Wayan Suartini SUARDINA, I NYOMAN UDIANA NINDHIA PEMAYUN, TJOKORDA Widnyana, Kompiang Gede