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Jurnal IGEL : Journal Of Dance
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 28083245     DOI : https://doi.org/10.1212/1
Core Subject : Art, Social,
Arts Social Sciences
Artikel-artikel yang diterbitkan dalam Jurnal IGEL : Journal Of Dance tersedia sebagai akses terbuka untuk tujuan pendidikan, penelitian, kepustakaan, dan pengembangan masyarakat. Dewan editor Jurnal IGEL : Journal Of Dance tidak bertanggung jawab atas berbagai tindakan pelanggaran hak cipta ataupun pelanggaran lainnya yang dapat merugikan kredibilitas Jurnal IGEL : Journal Of Dance ataupun masyarakat secara luas.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 49 Documents
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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 Sengidyan Marsan, Sebuah Sajian Karya Tari Adalah Karakter Bukan Gender: Tari Sengidyan Marsan Deta Cahya Ramadhani; Sulistyani; I Ketut
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

Tari Sengidyan Marsan merupakan karya tari yang bersumber dari sejarah tari Gandrung, serta terinspirasi terhadap pertunjukan tari Gandrung Banyuwangi dan tari kreasi baru Gandrung Marsan. Penata melihat terdapat kesamaan antara sumber garap tersebut dengan karakter diri penata, serta kemampuan dalam menarikan tari putri. Penggabungan ide cerita dan karakter serta kemampuan penata akan dituangkan dalam wujud tari. Tujuan penciptaan karya tari ini yakni ingin mewujudkan kesetaraan gender dan menepis anggapan penari putra yang menarikan tari putri dianggap kurang sopan, melecehkan kodrat dan sebagainya. Karena yang disajikan dalam sebuah karya tari adalah karakter bukan gender. Karya tari ini mengusung kemampuan sosok Marsan menjadi penari Gandrung yang menghibur sekaligus menyamar sebagai spionase untuk melawan Kompeni Belanda. Penciptaan tari Sengidyan Marsan menggunakan metode penciptaan Alma M. Hawkins yang diterjemahkan oleh Y Sumandiyo Hadi, yang terdiri dari tiga tahapan yaitu: tahap penjajagan (exploration) tahap ini melakukan penentuan penari, penentuan tata busana dan rias, penentuan komposer,penentuan lighting dan crew serta tempat latihan; tahap penuangan (improvisation), yakni melakukan penuangan dan percobaan gerak; dan tahap pembentukan (forming) ialah melakukan tahap pembentukan serta penyempurnaan karya seperti menyamakan gerak dan menyamakan ekspresi. Karya tari Sengidyan Marsan adalah karya tari kelompok yang ditarikan oleh lima orang penari laki-laki dengan struktur tari dibagi menjadi tiga bagian. Karya tari Sengidyan Marsan berbentuk kreasi baru dengan tema kepahlawanan yang menggunakan gerak tari kerakyatan. Karya ini diiringi dengan gamelan Banyuwangi yang direkam, kemudian di kombinasikan dengan menggunakan Musical Instrument Digital Interface (MIDI) dan berdurasi waktu kurang lebih 12 menit.Kata Kunci: Sengidyan Marsan, Gandrung Banyuwangi, Gender, Kreasi Baru.
Bentuk Tari Dedari Dalam Tradisi Makenak-Kenakan Di Pura Desa, Desa Penatahan, Penebel, Tabanan Hani Yustia; Dyah Kustiyanti; Suminto
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 Makenak-kenakan tradition is a symbol of offering, joy, and embodiment as an expression of geatitude to Ida Sang Hyang Widhi Wasa for being given an abundance of produce, avoiding disasters, and hoping to avoid disease outbreaks. This dress-up tradition is carried outby prasayang Ida Batara (a group of sutri penyungsung) the Penatahan tradisional village temple using a series of ritual processes that are carried out with a sincere sense of sincerity. The Dedari dance has certain meaningful symbols. Symbols are a major component of culture. Everything that humans see and experience can be translated into symbols that we can all understand. The Dedari dance is danced by seven dancers who are alive niskala symbolizes the seven widyadari who came down from heaven. Dedari dance is a sacred dance that is performed in the Dewa Yadnya ceremony in Penatahan village. The Dedari dance is one of the dances in the Makenak-kenakan tradition which is sacred in the village of Penatahan, Penebel, Tabanan. This dance is accompanied by gamelan Gong Kebyar. Talking about the problem of form, it is explained about the structure, the dancers of the Dadari dance, the various movements of the Dedari dance, make up, and fashion, accompaniment music, and the Dedari dance performance place, as well as the Dedari dance symbol. Dedari dance research is composed of several theories and qualitative research methods. The theory used in this research is aesthetic and functional theory. The researcher dug up information from several community leaders and residents of the Penatahan village which was then described back toin writing. Key words : Makenak-kenakan tradition, Dedari dance, Form.
Legong Kreasi Mahisamanggala Ni Putu Leslyani; Ni Made Arshiniwati; A.A.Ayu Mayun Artati
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

Tari Legong Kreasi Mahisamanggala adalah tari yang ditarikan oleh enam orang penari putri, yang terinspirasi dari ritual Kebo Dongol di Desa Adat Kapal, Kecamatan Mengwi, Kabupaten Badung. Tari ini hanya mengangkat inti sari dari ritual Kebo Dongol sebagai ide garapan yang terdiri dari penari yang menarikan sesajen, bentuk sesajen yang menyerupai kerbau, pertemuan sesajen Kebo Dongol dan Pedang Sudamala serta adanya megarang-garangan sesajen. Berorientasi dari pemikiran tersebut, maka terciptalah hasil penciptaan berjudul Mahisamanggala. Mahisamanggala merupakan istilah lain untuk menjelaskan Ritual Kebo Dongol. Tari Legong Kreasi Mahisamanggala tercipta menggunakan prinsipprinsip metode angripta sesolahan yang terdiri dari Ngarencana yaitu proses awal penjelajahan sumber yang mendukung penciptaan, Nuasen merupakan upacara ritual yang dilakukan sebelum berproses, Makalin merupakan proses pemilihan materi yang mengandung terciptanya karya tari, Nelesin yaitupenggabungan untuk menentukan bentuk ciptaan dan Ngebah merupakan pementasan pertama dari sebuah hasil karya tari. Penggarapan Tari Legong Kreasi Mahisamanggala dikemas dalam lima struktur terdiri dari pepeson, pengawak, pengetog, pengecet, pekaad. Secara keseluruhan, karya tari Legong Kreasi Mahisamanggala digarap tidak bercerita, namun disajikan secara dramatik dengan menggunakan mode penyajian simbolik. Tujuan dari penciptaan tari Legong Kreasi Mahisamanggala adalah untuk memperkenalkan kepada masyarakat, bahwa ritual Kebo Dongol memiliki nilai-nilai filosofi dan estetika yang tinggi, sekaligus melestarikan kesenian dengan memuat budaya lokal.Kata Kunci : Ritual Kebo Dongol, Penciptaan, Legong Kreasi Mahisamanggala.
Tari Satriyeng Bencingah Ni Luh Ria Novitasari; Tjok Istri Putra Padmini; Gst.Ayu Ketut Suandewi
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 Satriyeng Bencingah dance is a new dance creation that elevates the spirit of struggle carried out by Ida I Dewa Ayu Den Bencingah and his female troops using Belida weapons to fight the enemy who attacked the Bangli kingdom in 801 AD. Satriyeng means knight and hate is the name of Ida I Dewa Ayu Den Bencingah. Satriyeng Bencingah's dance creations were inspired by witnessing a sacred heirloom, namely Belida during the Panca Wali Krama ceremony in 2019 at the Kahen Bangli Temple. Belida is a weaving tool that functions as a unifier between one yarn and another.The process of creating a dance created by Satriyeng Bencingah uses the Alma M Hawkin creation method using three stages, namely exploration, improvisation, and forming. The process of creating this creative dance work uses the theory of imagination and aesthetic theory so that the work is able to convey the message desired by the stylist, namely that women are not weak, able to struggle and do not judge things from the outside.The presentation of the work of Satriyeng Bencingah dance is performed by 7 female dancers in a structured manner which is divided into flashback sections describing Belida being functioned as a loom, part one describes the majesty of Ida I Dewa Ayu Den Bencingah, part two describes inner turmoil and part three describes the spirit of struggle and victory with accompanied by Gamelan Gong Kebyar and gerong vocals.Keywords: Satriyeng Bencingah Creative Dance, Belida, Ida I Dewa Ayu Den Bencingah.
Tari Kreasi Ngelinyar Ni Luh Putu Eka Wahyuningsih; Ni Made Arshiniwati; A.A.Ayu Mayun Artati
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 creative source of this dance work comes from the creator's personal experience by seeing firsthand how the character Liku dances on stage in such a unique and eccentric style and has had several opportunities to support the dance test at ISI Denpasar. The experience gave the creator an idea to create a dance work that shows how bright female characters is klinyar. The word klinyar has meanings, namely nglinyar which means lively and maklinyaran which means flirty, with a special view of girls. The process of realizing it into a dance work using the method of creation by applying the principles of angripta-sesolahan, among others: ngarencana (exploration), nuasen (ceremony before the improvisation process), makalin (improvisation), nelesin (forming), and ngebah (first performance). This dance work is packaged in the form of creative dance, with the theme of social life, which is danced by six female dancers. The selection of dancers is adjusted to the creator's body posture. The accompaniment music uses the Semara Pagulingan barungan combined with the strains of the gerong sound to make the musical atmosphere more memorable. The realization of this dance work is expected to provide awareness on how to judge someone not only from the outside, but it is better if we also know how the character is inside.Keyword : character, Liku, klinyar, creation.
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
Proses Kreatif Penciptaan Tari Wong Peken oleh Jasmine Okubo Ni Komang Ananda Gayatri; Dyah Kustiyanti; I Gusti Ngurah Sudibya
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

This article is the result of research into the creative process of creating Wong Peken dance as a contemporary dance that was specifically created for the deaf. This research is focused on how the creativity process is carried out by Jasmine Okubo as the choreographer. Indirectly, this dance breaks the stigma of the people who underestimate the deaf because it has managed to get a fairly good appreciation. Interestingly, Jasmine Okubo has no background or experience in BISINDO communication. The method applied in this research is a qualitative method with reference to the Theory of Creativity. The results obtained indicate that the process of creating Wong Peken dance is a process of the body's journey to find the specialties in each individual regardless of their imperfections. The process of creating Wong Peken dance shows that dance is a universal language for expression and communication. Dance allows people who cannot speak to communicate through movements.Keywords : Wong Peken Dance, creative process, deaf.
Tari Jaran Endut, dari Cerita Rakyat ke Tari Kontemporer Putu Gita Rahayu Putriandini; I Gusti Ngurah Sudibya; Ida Ayu Wayan Arya Satyani
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

Jaran Endut Dance is a contemporary dance originating from the folklore of West Nusa Tenggara. Raising the history of the formation of Dusun Endut from the privilege of a horse. The idea of working on this work is the spirit of Jaran Endut in his long journey of helping the people of Pejarakan. The theme used is toughness. Toughness is manifested in the agility, dexterity, sharpness, and speed of the horse in moving. The creator felt challenged to bring an animal character; horse, into the human body. Visualizing the character of a horse requires agile body movements, expression and character deepening, so that the characteristics of the Jaran Endut dance can be conveyed. In addition, "silence" in Jaran Endut's work requires strong energy and physical strength so that the message can be conveyed properly. Humans do have to work hard, but silence is also important in order to choose the next step. The stages of manufacture use the Alma, M. Hawkins creation method, namely the exploration, improvisation, and forming. The structure of the dance work consists of sections 1, 2, and 3, with the form of a large group consisting of eight dancers who have close to compact body postures, thus showing the impression of moving. Accompanied by dance music in the form of MIDI by combining traditional and digital music so that the uniqueness of Jaran Endut I dance music appears. After this process has been running for 1 year, finally this work can be realized with the title of Jaran Endut (Motionless Horse)Keywords: Jaran Endut, Horse Character, Toughness
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

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