Balinese Dance Research Articles

FORM AND FUNCTION STUDY OF BARIS KEKUPU DANCE IN BANJAR LEBAH, SUMERTA KAJA VILLAGE, DENPASAR CITY

Dance is one of the crucial aspects of the Balinese Hindu community's artistic, cultural, and socio-religious activities. Dance is referred to as the art of movement and contains aesthetic and philosophical values, which can be enjoyed by the dancers and the audience (art lovers) during the performance. In Sumerta Kaja Village, East Denpasar Subdistrict, Denpasar City, there is a Baris Dance whose shape has a speciality, namely the Kekupu Baris Dance. This article aims to describe the beauty of the form and function of Baris Kekupu Dance. The research method used is descriptive qualitative. The results showed that the Baris Kekupu Dance is a traditional Balinese dance created around 1930 by a Balinese kakebyaran artist, I Nyoman Kaler. This dance describes the movements of a group of colourful butterflies who are playing in a beautiful flower garden, happily looking for flower honey. Baris Kekupu dance was popularized by Banjar Lebah dance maestro, Ni Ketut Arini, and until now, its existence is still sustainable and has become an icon of Banjar Lebah. The uniqueness of Baris Kekupu Dance can be seen from its dance movements and costumes, which combine Legong dance movements with Baris dance movements. Furthermore, in terms of dance costumes for body decoration using awiran type costumes (Baris Dance costumes), while for headdresses using gelungan of legong dance (the type of gelungan pepudakan). Baris Kekupu Dance has two primary functions: as a ritual tool in the Dewa Yadnya (a ceremony to Gods/Goddesses) and Pitra Yadnya (ceremonial offerings to ancestors) ceremonies, and as an aesthetic presentation.

The correlation between generalized joint hypermobility and musculoskeletal disorders in female dancers

Background: Bali is a popular tourist destination because of its unique culture. One of its unique features is the Balinese dance, which is used to welcome guests, perform arts, and perform religious ceremonies. Many Balinese dancers experience generalized joint hypermobility (GJH) without realizing it, which may have a negative impact on them, especially if they have a problem of musculoskeletal pain. Methods: This research used an analytical observational design of a cross-sectional study. This study employed the sampling technique of purposive technique with a total sampling method. The inclusion criteria for this study were traditional Balinese dancers living in Denpasar city, female, aged 14-20, and having dancing experience more than 1 year. Exclusion criteria were subjects after surgery for fractures or other musculoskeletal injuries in the upper or lower extremities, subjects with signs of acute inflammation in the joints, and those unwilling to be research subjects. The number of samples was calculated using the lame show formula, and 85 samples were obtained. Data was collected by measuring GJH and musculoskeletal disorders using the Nordic body map questionnaire. Results: Based on the bivariate analysis test with Spearman's rho, p-value = 0.000 (p < 0.05) was obtained for the two independent variables with a correlation coefficient of r = 0.797. Conclusion: Based on the research results, it can be concluded that there is a relationship between GJH and MSDs in the Balinese dancer population in Denpasar City.

Development Of A Pop-Up Book On The Basics Of Pendet Dance For Elementary Schools (Phase A)

Pendet dance is a Balinese dance that contains a variety of basic movements including agem, tandang, tangkis, and tangkep. These movements are introduced early on or at the phase A elementary school level. To develop cognitive understanding, pop up books are used as learning media for the introduction of Pendet dance movements. Because this kind of media has never been available before, it is considered important to provide in schools. Therefore, it is necessary to have interesting learning media applied at SD Negeri Lidah Wetan II Surabaya. The purpose of this study is to describe, 1) the process of developing pop up book of Pendet dance basics as a form of art appreciation education for elementary school (phase A), 2) the feasibility of content components and appearance components of pop up book developed to produce quality books, and 3) user responses about pop up book of Pendet dance basics. Supported by the development method, the pop up book development process uses the Analyze, Design, Development, Implement, Evaluate stages. Validation by media and material experts showed that the content components and appearance of the pop up book were considered very feasible. User trials were conducted to determine student and teacher responses to the pop up book. The percentage of results shows that the pop up book gets a value from media validation of 82.5%, material validation of 92.5%, the first teacher's response of 90%, the second teacher's response of 95% and student responses that show an increase in the answer "yes" from each question asked. Thus, pop up book media can be used as a medium for introducing movement variety for elementary school (phase A) and students interact actively during the learning process through pop up book.

FILSAFAT TARI DALAM KEBUDAYAAN BALI

Balinese dance is an ethnic Balinese dance that is imbued with Balinese Hindu cultural values, as an embodiment of Balinese cultural character. The characteristics of Balinese culture are socio-religious which contains its own philosophy which can be categorized as sacred art and profane art. With the categories sacred and profane, Balinese dance is classified into wali, bebali and balih-balihan arts. As a sacred art, Balinese dance is a treat of beauty to the forces of nature, and as a profane art, it is a treat of beauty to society. This article aims to understand the philosophy of dance in relation to Balinese culture which is based on Hindu religious teachings. The problem that is the main subject of the study to explain this goal is, what is meant by Balinese dance, and what is its relationship with Balinese culture. The study of the problems above is based on the results of observations of Balinese dance which were analyzed using the approach of art philosophy and aesthetic theory which is divided into morphological aesthetics and psychological aesthetics. The results of this study show that Balinese dance contains a philosophy of life that is imbued with the teachings of Balinese Hinduism in realizing truth and purity aesthetically

Discovery in the Pramesti Ulangun Dance: A Possibility for Innovation in the Form of Balinese Dance Creations

Discovery in the Pramesti Ulangun Dance: A Possibility for Innovation in the Form of Balinese Dance Creations

SAKRALISASI TARI REJANG PADA SABA MALUNIN DI DESA PEDAWA

Sacred art as a form of art is a complement to the implementation of religious ceremonies, one of which is dance, where dance is an art that in the process of its realization uses graceful body movements created according to the needs of the religious ritual activity being carried out. The rejang dance in Pedawa Village is included in one of the Balinese dance classifications, namely the guardian dance, because the rejang dance is used to accompany the yadnya ceremony. The Rejang Dance is a dance that is sacred to the people of Pedawa Village because it is believed that the Rejang Dance is a form of offering and welcoming the Bhatara-Bhatari who descend during the Saba Malunin ceremony in Pedawa Village. The focus of the discussion in this article is to describe the sacredization of the Rejang Dance on Saba Malunin in Pedawa Village. This research is important to carry out in order to explain and examine in more depth the sacralization of the Rejang Dance on the Saba Malunin of Pedawa Village as a local wisdom of the people of Pedawa Village which is one of the characteristics of the village. The location of this research is in Pedawa Village, Banjar District, Buleleng Regency. This research is a qualitative research that uses the Theory of Religion approach with the type of data in the form of qualitative data. The informant determination technique uses purposive sampling technique. Data analysis techniques include data reduction, data presentation and drawing conclusions. The results of this study indicate that the selection system for Rejang Dance dancers in Pedawa Village is inseparable from the village daa system. This sacralization process can be seen when the daa selection is carried out through a pepunggan procession.
 Keywords: Sacred Art, Sacralization, Rejang Dance

Baris Sesandaran Dance as a Medium in Developing Character Education

Purpose: Sesandaran Baris Dance was created as a medium for developing character education.
 Research method: The creation method involves three stages, namely exploration, improvisation and forming which are still based on the basic elements of Balinese dance such as agem, tandang, tangkis, dan tangkep. The structure of the work consists of pepeson, pengawit, pengawak, pengecet, and pekaad. Furthermore, the study is descriptive qualitative in order to explain that the Baris Sesandaran dance is able to show as a medium for developing character education.
 Results and discussion: Baris Sesandaran Dance, a new creation inspired by the art of Barong Landung from Banjar Kaliungu Kelod Denpasar which has been stored for 17 years. This dance has a religious theme, puts more emphasis on the expression of will, performed by 8 male dancers carrying incense props, dancing while interspersed with singing songs together and shouting at each other as an identity in the Barong Landung art. This reciprocal song is called Sesandaran. Implications: The Baris Sesandaran dance is able to show as a vehicle for developing character education and as the development of the Barong Landung art in the form of a creational dance so that it can be passed on to the next generation.abstracts in English.

Mahardika Dance Creation Process

This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.

Sanghyang Dedari Dance in Geriana Kauh Village, North Duda, Karangasem as the Creation of Painting Works

Sang Hyang Dedari is a traditional Balinese dance which is interpreted as a ceremonial dance to ask for safety Sang Hyang Dedari is a traditional Balinese dance which and repel reinforcements for the local community. The Sanghyang Dedari dance in Geriana Kauh Village has its own uniqueness, especially in the clothing and attributes used, in the clothing section the yellow and white clothing is used which symbolizes purity and safety or prosperity, which distinguishes Sanghyang in Geriana Village from the Sanghyang in place, namely in terms of the bun or crown, in Geriana Kauh Village they still use natural products as crowns, namely grapefruit peels and flowers such as sandat, cempaka, ratna, gumitir, and jepun flowers, which are arranged in such a way as to resemble a bun. Sanghyang Dedari's performance was performed at the catus pate or crossroad, in the center of the village. Sanghyang Dedari is danced by 2 to 7 child dancers who are underage, not yet mature or mature, these dancers or pengayah have the opportunity to sing for up to 3 terms, after a re-election is held. Sanghyang dedari is accompanied by songs, songs, songs. When dancing, the dancers will follow the strains of the gending being chanted, in the middle of that there is what is called the lilit-linting procession, in which the dancers will climb a bamboo stick and dance to the strains of the gending, this lilit-linting is shaped like a cross or tapak dara, which is also display a safety sign. In this independent project, the author shows the process and sequence of the Sanghyang Dedari dance, from the beginning to the end of the Sanghyang Dedari dance in Geriana Kauh Village, Duda Karangasem Strait.

Lexicons in Ajisaka Dance

Ajisaka dance is a traditional Balinese dance that has lexicons and their cultural meaning. The ones who practice and perform the dance do not know about the lexicons of the dance. It can cause language death because the native speaker does not maintain their language. This study aimed to find out the lexicons and their cultural meaning related to Ajisaka dance movements. The setting of this study was conducted in Buleleng regency. It was designed in the form of a qualitative method using an ecolinguistic approach. The data were obtained through observation and interview techniques. The results of the study show that the lexicons are classified into eye movements (two lexicons), neck movements (two lexicons), body movements (four lexicons), hand movements (eight lexicons), finger movements (four lexicons), and leg movements (eight lexicons) and the cultural meaning of the lexicons of movements refers to the firmness, obedience to responsibility, authority, majesty, intelligence and agility, the subtlety of mind and soul, and the strong principles of the king and his soldiers. The results of this study can be used as teaching material for the dance teacher to teach lexicons and their cultural meaning to their students and introduce it to foreigners who want to learn this dance. Specifically, this study can help maintain a local language and lead to avoiding language death. Keywords: ecolinguistic; lexicons; cultural meaning; Balinese dance; Ajisaka dance

An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village

This research aims to find out the lexicons and the cultural meaning in the costumes of the Baris Gede dance. Baris Gede dance is a traditional Balinese dance that tells about warriors fighting on the battlefield. Costumes are an important component in the Baris Gede dance because the costumes used represent the contents of the dance. This research used qualitative research with interviews and observation as the method to obtain the data. The researcher found 14 lexicons in the costumes; head costume (1 lexicon) that is gelungan, neck costume (1 lexicon) which is badong/bapang, hand costume (1 lexicon) which is gelang kana, upper body costume (7 lexicons) which are awiran, oncer, lamak, kwace selem, tali semayut, keris, and urangka and lower body costume (4 lexicons) that are stewel, jaler putih, kancut putih, and sabuk. The cultural meaning relates to the soldiers on the battlefield. Warriors are depicted as dashing and brave figures represented through the Baris Gede dance costume.

Gending Aesthetics in Janger Menyali Dance in Sawan District, Buleleng Regency

Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.

Oleg Tamulilingan with Badung Style as the Primadona in the Performance Arts of Bali Tourism

The Oleg Tamulilingan dance is a traditional Balinese dance with the theme of romance, which depicts the romance of male and female beetles, danced in pairs by a male and female dancer. Researchers have extensively discussed the popularity of the Oleg Tamulilingan Dance. But, no one has disclosed the Badung Style in Oleg Tamulilingan Dance has remained the primadonna of the Bali tourism industry. The question is: what is the structure of the Badung version of the Oleg Tamulilingan dance?; What is the origin of the Badung-style Oleg Tamulilingan dance?. This research was conducted using qualitative methods. The data sources for this study were: Oleg Tamulilingan with Badung Style Dance, dancers, musicians, dance teachers, artists, humanists, experts, and related communities who were selected based on purposive sampling and snowball techniques. All data that has been collected through observation, interviews, and literature studies was analyzed qualitatively. The results of the research show that the Badung Style in Oleg Tamulilingan Dance is performed in the form of a loose dance depicting a male and female beetle making out in a flower garden. This can be seen from the way it is presented, the makeup and clothing, as well as the musical accompaniment used. The structures used in the Oleg Tamulilingan with Badung Style performance are pepeson, pengawak, and pengecet. The emergence of the Badung Style in Oleg Tamulilingan dance was caused by internal and external factors. The internal factor of the Oleg Tamulilingan Dance is the talent of the first dancer, Gusti Ketut Raka Astuti, who teaches his students. The external factor is the development of tourism, which provides an opportunity for the development of the Badung Style in Oleg Tamulilingan Dance and has implications for the enrichment of the presentation model of the Oleg Tamulilingan Dance.

Siwa Nataraja Sebagai Landasan Filosofis Dalam Penciptaan Karya Seni Tari

This study aims to describe the vital position of Shiva Nataraja as a source of inspiration in the creation of dance artworks. Referring to the phenomenon that many dance artworks, especially Balinese dances are staged in the implementation of a religious ceremony, it indicates that there is a spiritual aspect that animates a dance, and the cosmic dance of Lord Shiva, known as Shiva Nataraja, is seen as the source of his inspiration. This research was conducted qualitatively with the method of literature study. Data was collected through various literatures which were then analyzed through data collection, condensation, presentation, and data verification. The results of the analysis provide research findings that the philosophy of creating dance artworks originates from the concept of pancakrtya as the five activities of God and consists of srihti, sthiti, samhara, tirabhava and anugraha. These five activities that take place repeatedly lead to the emergence of basic standards in Balinese dance such as agem, tandang, tangkis, tangkep and others.

Lexicons in Cendrawasih Dance at Buleleng

The Cendrawasih dance typical Buleleng is a traditional Balinese dance from Buleleng, Bali. This dance has lexicons that can be found in its dance movements. However the Cendrawasih Dance at Buleleng is not widely known and has almost been forgotten, in addition it has been re-enacted. Furthermore, during dance practice, dancers changed some of the lexicons from Balinese to Indonesian. If these lexicons that use Balinese are rarely used , the language will experience extinction, and Balinese culture will be lost. Documenting and capturing the culture is one way to save it from extinction. This study aims to analyze the lexicons based on movements in Cendrawasih dance at Buleleng, along with the cultural meaning of the lexicons. This study was descriptive qualitative research using an ecolinguistics approach. The data were obtained through observation and interviews. The description of the lexicons that has been obtained was translated into English and then described. After that, lexicons that have cultural meanings will be described. The result found there are 26 lexicons related to the dance movements of Cendrawasih Buleleng. The lexicons are categorized into five types part of body movements, such as three lexicons in head movements, three lexicons in eye movements, nine lexicons in hand movements, nine lexicons in leg movements, and two lexicons in body movements. There are ten lexicons that have cultural meanings.

Legong Keraton in the Perspective of Balinese Artists

Legong Keraton, one of the most influential Balinese dance genres in the growth of dance in Bali, has existed since the end of the nineteenth century. This dance has undergone three eras in Balinese culture, starting from the reign of kings, Dutch colonialism, and post-independence of Indonesia. The objective of this study is to find out how Balinese artists construe the existence of Legong Keraton. As a performing art, Legong appears in multiple layers and requires a multidisciplinary approach. The ethnochoreological approach, considered as a multidisciplinary approach, was implemented to examine objects from various aspects to obtain a complete and comprehensive understanding. The author carried out this qualitative study in procedural systematic manner including literature review, informant determination and interview, field observation, data sorting, and analysis. The results of the study indicate that Legong Keraton acts as a milestone in changing form of Balinese dance as a source of inspiration for the creation of works of art as well as a means of education. Furthermore, as a learning material, Legong Keraton has unique form and transmission method. Balinese artists consider Legong Keraton as a traditional art carrying the identity of Balinese dance that make it deserve to be appreciated and preserved.

Lexicon of Costumes in The Rangda Dance

Balinese culture has many traditions. One of the traditions in Bali is the Balinese dance that exists in Bali. Several dances have a sacred meaning for Balinese people. One of the dances is the Rangda dance. This dance contains many lexicons in the dance's costumes. This study aimed to discover the lexicons that exist in Rangda dance costumes. This study is designed as descriptive qualitative research using the ecolinguistics approach. The data were obtained through observation and interviews with selected informants. The study's result shows that twenty-seven lexicons exist in Rangda dance costumes. The data were categorized into the lexicons in the mask (ten lexicons) and lexicons on the costume (seventeen lexicons). Those lexicons including tapel rangda, terang, kumba, petitis, lidah api, teteh api, jangar api, rambut, jebug, bungan jepun, jaler reringitan, baju reringitan, udeng, badong mute, badong kulit, angkeb baong, tapih, ampok ampok, kuku, basang basang, sabuk, baju pepontangan, jaler pepontangan, semayut, nyonyo. galeng, and kereb.

Ni Ketut Arini: A Bali Performing Arts Maestro

Ni Ketut Arini, who is popularly called Mrs. Arini, is a maestro of Balinese performing arts. This article will discuss the maestro's progress, who is known as a multi-talented artist with a long history of preserving this regional performing arts. In Bali, there are many performing arts artists. However, of the many artists referred to, it seems that not many have track records throughout Mrs. Arini's career. The questions: how is Mrs. Arini's progress in preserving traditional Balinese performing arts?. This research was conducted using the life history method. The data sources for this research were Mrs. Ni Ketut Arini herself, her colleagues, her students at Sanggar Warini and related communities who were selected based on purposive sampling and snowball. All data collected through observation, interviews, and literature studies were analyzed using Bourdieu's theory of aesthetics and social action theory. The results of the study show that Ni Ketut Arini is an artist who graduated from the Indonesian Art College (STSI) in Denpasar, and most of her life has been dedicated to the preservation of Balinese performing arts. Since the age of 14, Ni Ketut Arini has mastered Balinese traditional dance. Her skill in dancing traditional Balinese dance has made Ibu Arini have many students and become a role model for artists in Bali. Mrs. Arini is known for consistently preserving traditional Balinese dance. Through the Warini Studio that she cares for, Mrs. Arini continues to strive to care for, maintain, and develop this Balinese performing art to attract Balinese cultural tourism.

Analisis Kinerja Sistem Penilaian Lomba Tari Bali Berbasis Mobile

Balinese dance is a type of dance originating from Bali that has existed for a long time and has been passed down from generation to generation by Balinese people. Balinese dance has 3 kinds of categories, namely Wali Dance (sacred), Bebali Dance and Balih-Balihan Dance (Profane). Balinese dances that are sacred are usually performed on certain days or during religious ceremonies, while profane dances are usually performed for entertainment. In Bali, many types of Balinese dances are contested, such as Barong Dance, Jauk Manis Dance, Jauk Keras Dance, Baris Dance and so on. In this study, the design and development of a Balinese dance competition assessment application was carried out which aims to facilitate the performance of the competition organizing committee and the judges during the assessment and recording of the participants' scores after the competition is held and can display the values transparently to the public. Tests show that when the application is run, it gets a value of 312.3999996185303 on the application and a value of 312.4 in the manual assessment process. The dance assessment application and manual assessment have almost the same value with a percentage accuracy of 99.9%.

Penglipuran Village Festival IX 2022: A Cultural Festival at The Cleanest Village in The World

The Vice Regent of Bangli, I Wayan Diar, officially closed The Penglipuran Village Festival IX 2022 on Wednesday evening, 14 December 2022. The closing ceremony of the six days festival was centered at the Penglipuran Village Hall, Bangli. The head of the Bangli Sub-District, the Bangli Regency Tourism and Culture Officer, the Bangli Regency Education and Youth Agency officer, the competition winners, and the local community attended the event. The Penglipuran Village Festival IX 2022 was an event in Penglipuran Tourism Village, Kubu Subdistrict, Bangli Regency. It was a village festival encompassing various activities and competitions, such as cultural parades, exhibitions, Balinese dance competitions, performing arts, talk shows, Megibung, yoga, and other mass activities. Penglipuran residents strongly hold their ancestor’s values to preserve their customs and philosophy of living. For instance, the folk conserves the old bamboo forest north of their village, maintaining the traditional architecture. Penglipuran Village has become one of Indonesia's pioneers of successful tourism villages, even internationally recognized by various tourism organizations. In early 2016, Penglipuran Village in Bali, Giethoorn Villages in the Netherlands, and Mawlynnong Village in India have named the cleanest villages in the world. The successful Penglipuran Village Festival IX was expected to be a trajectory point for tourism recovery after the Covid-19 pandemic. Especially as an epicenter for tourism promotion in Bali and Bangli particularly. With the theme of Resurrecting the spirit of environmental conservation, the organizer looked forward to raising the morale of ecological preservation.