Jurnal Igel : Journal Of Dance

Dwaya Rupa Penggambaran Dua Karakter Dalam Satu Tokoh

2024-08-30T04:37:39+00:00

This article discusses the creation of a new creative dance work that originates from the Panji Semirang story, the search for Galuh Candra Kirana when she disguised herself as Panji Semirang to look for her lost lover. The idea for this dance work is motivated by the phenomenon that exists around that when someone wants to be what other people want in order to be liked or respected by other people, they often forget their own identity. The purpose of creating a dance work. These are: (1) Inviting people to develop their creativity and improve their abilities in the art of dance, to create an original creative work through the processing and development of movement; (2) Become a source of reference for new works that will be created in the future; (3) To contribute to the progress and brilliance of dance creation in collaboration with the Wayan Geria Foundation. The process or stages of creation that are followed include: (1) Ngarencana, (2) Nuasen, (3) Makalin, (4) Nelesin, and (5) Ngebah. This work is realized in the form of a new dance creation consisting of seven female dancers depicting the characters Galuh Candra Kirana and Panji Semirang. The structure of this work is divided into three parts, namely beginning, content, and ending. The dance accompaniment used in this work is Gamelan Selonding with the addition of several instruments such as drums, flute, gentorag, cengceng ricik, and gong. This dance uses modified Balinese dance make-up and a semi-contemporary style fashion concept. The results of the dance creation process were performed at the Natya Mandala Building, Indonesian Institute of the Arts, Denpasar.

Tari Kreasi Wija Prakerti

2024-08-30T04:40:14+00:00

The Wija Prakerti Dance is a new dance creation inspired by the story of the
rejang slahsah dance, namely the sacred rejang dance which is intended as a form
of gratitude for the rice plant. The Wija Prakerti Dance tells the story of rice farmers
who are active in the rice fields. The Wija Prakerti Dance was created as a thank
you to the farmers. paddy.
In the creation process, the creator collaborated with Sanggar Warini in the
independent campus learning program by taking independent study
programs/projects. The creation of the Wija Prakerti Dance uses the Angripta
Sasolahan creation method (creating dances) by I Kt. Suteja in the book Catur
Dormitory, the Spiritual Climbing of Balinese People in a Dance Work. The book
explains the five stages of creation, namely planning, nuasen, makalin, nelesin, and
ngebah.
The Wija Prakerti dance is a creative dance performed as a group with a
dance structure, namely pepeson, pengawak, pecet, pekaad, which lasts 11
minutes. The creator hopes that the values contained in this work can convey
gratitude to rice plants and gratitude to rice farmers.

Sapta nayaka

2024-08-30T04:47:16+00:00

Karya tari bebarisan sapta nayaka merupakan karya tari tradisi yang mengambil jenre bebarisan, karya tari ini berdurasi 12 menit 5 detik. Karya tari bebarisan sapta nayaka terinspirasi dari salah satu prosesi upacara yang ada didesa Semanik yaitu upacara neduh ayu yang didalamnya terdapat tari baris sumbu sebagai salah satu prosesi upacara neduh ayu. Dari tari baris sumbu inilah pencipta terinspirasi untuk menjadikan sebuah karya tari yang baru, dengan mengangkat nilai-nilai spirit atau kekuatan dari tari baris sumbu itu sendiri. Karya tari bebarisan sapta nayaka menjadi media ungkap proses ketubuhan pencipta dari beberapa tahun yang lalu hingga saat ini, karya tari ini berangkat dari gerak nengkleng sebagai identitas spesifik dan unik lalu dikembangkan dan dikemas berdasarkan kreatifitas penata sehingga mendapatkan sesuatu bentuk yanbg baru tanpa meninggalkan spritit dari tari baris sumbu itu sendiri.

Karya Tari Kontemporer Butterfly Hug

2024-08-30T04:49:47+00:00

The contemporary dance named Butterfly Hug is a type of dance study that originated from the creator's fascination with psychology that combined with art of dance. The inspiration behind this dance stems from the butterfly hug psychotherapy method. This dance emphasizes movements that the cross-shaped actions and the essence of embracing and patting, while doing the butterfly hug method. For the pursuit of the Merdeka Belajar – Kampus Merdeka (MBKM) Study/Project Independent program, the creator partnered with the Wayan Geria Foundation (GEOKS). The creation process of this dance adheres to the Alma Hawkins method, progressing through three distinct stages: exploration, improvisation, and forming. Comprising seven female dancers, the group performance spans a duration of 12 minutes. Crafting movements that exude creativity and sensitivity posed challenges in composing a piece that avoids monotony. Through this work, the creator aspires to offer a fresh perspective, especially within the artistic realm, by amalgamating two diverse disciplines to produce a unique artwork.

MOGO GAPII

2024-08-30T05:24:19+00:00

The Mogo Gapii dance work started from a creative idea, namely Bakar Batu. It is necessary to pay attention to the limitations in order to clarify the extent of the ideas being discussed. Bakar Batu is a Papuan tradition in the form of a cooking ritual carried out together by village residents which aims to express gratitude, permission, death, bersilahturahmi (gathering of relatives and relatives, welcoming happiness (birth, traditional marriage, coronation of tribal chief), as well as to gather soldiers who died due to inter-tribal wars. This stone burning tradition is believed to have been going on for hundreds of years and is the oldest tradition in Papua. Stone burning is an original tradition of mountain tribe communities including the Agmungme, Dani, Lani, Damal, Nduga, Moni and Ekari tribes. The way to differentiate the Burning Stone Ceremony after burning between tribes from others is at the beginning of the Burning Stone ceremony itself. If the ceremony begins with men shooting pigs, then dancing together with jumping movements and circular patterns filled with shouts. which is interpreted as encouragement, it means the Stone Burning Ceremony after the tribal war. If at the beginning of Bakar Batu the men do not shoot arrows at the pig but instead immediately slaughter the pig as usual, it means that the Bakar Batu Ceremony is a ceremony such as marriage, birth, thanksgiving after the harvest and so on.

Karya Tari Ngarepat: Sumber ide dan konsep Rejang Kapat di Desa Timbrah, Kabupaten Karangasem.

2024-08-30T05:29:22+00:00

This Ngarepat Dance work comes from rejang kapat in Timbrah Village, Karangasem Regency. One of the aims of the Ngarepat Dance work was created to educate the wider community about the processions or ceremonial rituals carried out by prospective kelihan dahe before becoming kelihan dahe. The kelihan dahe rejang kapat is a symbol of the four dedari, Dewe Dedari Agung, Dewe Dedari Suci, Dewe Dedari Kendran, Dewe Dedari Tohok. So it gets the title Ngarepat. Taken from two words ngarep which means foremost, Utama: he is the father. And Pat which means the word number four which refers to the word kapat which means the fourth Balinese month. To produce maximum work, assistance from supervisors and partners is needed. The partner chosen is Sanggar Paripurna, Sanggar Paripurna can provide shelter and guidance in the process of creating this dance work. The method used in this creation process is Angripta Sesolahan by I Kt. Suteja, in the book there are six methods for creating a work, namely planning, nuasen, makalin, lesin, ngebah and presentation. From this process, a form and form of work is produced, Ngarepat consists of 6 (six) female dancers, the make-up used is minimalist, the dress code uses wastra or cloth with the dominant color white as a symbol of purification and MIDI (musical instrument digital interface) music. . This work also gives rise to several novelties, one of which is the novelty of the movements obtained by the creator, such as the kapat movement, agem ngarepat and ngeyeg. The creator hopes that this work can be useful for the general public.

Karya Tari Sky Maps

2024-08-30T05:31:21+00:00

Sky Maps is a contemporary dance work inspired by constellations. A constellation is a collection of stars connected into a pattern in the sky. In addition to predicting luck, the uses of constellations include, among others, as a sign for planting time, and also used as navigation or directions for fishermen at sea. Constellations can also be used to determine the cardinal directions in each direction east, south, west, north have their own constellations. The constellations consist of the Scorpio constellation, the Kite constellation, the hunter constellation, and the thunder constellation. This work focuses on the shape of each constellation transformed into dance movements according to the imagination of the stylist with his creativity.

The process of creating Sky Maps uses the method of Alma M. Hawkins in her book Creating Through Dance translated by Y. Sumandiyo Hadi into the book Creating Through Dance, which mentions three important stages in the formation of dance works, namely, the exploration stage, the experimental stage (improvisation), and the forming stage.

The Sky Maps dance work is danced by eight male dancers who are packaged into a contemporary dance form with a duration of approximately 14 minutes. The Sky Maps dance work uses MIDI (Musical Instrument Digital Interface) music in which there are several electronic music instruments to support the atmosphere in this dance work. This work uses fantasy makeup with clothing that uses a white jumpsuit (strait full body) with a combination of navy blue and uses reflective strips (scothlite) which are arranged in such a way in one dancer's outfit. The effect of the reflector strip (scothlite) itself reflects light when illuminated and will emit light when in the dark. Besides having a uniqueness that lies in the idea and concept, another uniqueness also lies in the movement called Nyiku Lintang.

Tari Tunjung Biru

2024-08-30T05:47:15+00:00

Tunjung Biru is a dance creation that originating from Sang Hyang Dedari in Br. Pujung Kaja, Sebatu, Tegallalang, Gianyar. Tunjung Biru has a beautiful appearance with strong characteristics, creatively expressed in the New Creation Dance with a magical religious theme. The purpose of creating Tunjung Biru is to preserve and also introduce the art in Br. Pujung Kaja, Sebatu, Tegallalang, Gianyar, especially Sang Hyang Dedari. The creation of this dance creation utilizes the angripta-sasolahan method by I Kt. Suteja, involving stages: planning (ngarencana), ritual ceremony (nuasen), selection and improvisation (makalin), formation (nelesin), and first performance (ngebah). Ngerencana involves observation, thinking, and imagination about the creative sources used. Nuasen is a ritual ceremony before improvising movements, including a prayer performed by all dancers. Makalin involves selecting supporting elements and improvising movements. Nelesin is the formation stage, summarizing the obtained improvisations. Ngebah is the first performance to reveal the work and receive feedback. The creation process incorporates the theories of imagination, symbols, and aesthetics. Tunjung Biru is presented as a New Creation Dance performed by 7 female dancers with kekereb properties, minimalistic makeup, and attire inspired by Sang Hyang Dedari in black and white tones. Accompanied by Gamelan Selonding to enhance the atmosphere of each presented structure. The novelty in this work can be seen from the costumes used, the music, to the new movement patterns to get the characteristic movements such as the Nyapuh Movement, the Dedari Tunjung Biru Movement, and the Tenget Movement so that this work becomes beautiful, supported by chanting hymns and lighting which helps the artist to create convey the desired atmosphere.

Rekonstruksi tari Penasar, wijil, dan Topeng Tua dalam Dramatari Topeng Panca di Desa Adat Batur Kintamani, Bangli

2024-08-30T09:02:49+00:00

Topeng Panca is a traditional dance form, and it is one of the mask performances performed by five dancers, each assuming different characters or roles: Topeng Keras, Topeng Tua, Topeng Dalem Arsa Wijaya, Topeng Penasar, and Topeng Sidakarya. The village of Batur was chosen as the partner by the author for the Merda Belajar – Kampus Merdeka (MBKM) program, specifically the Thematic Community Service Learning (KKNT). The reconstruction process of the Topeng Panca dance in the Batur village employed the Demonstration learning method, which involves presenting the material through demonstration or using movement media, making it easier for students to comprehend the presented content. The author's hope in reconstructing the Topeng Panca dance is to revitalize the art of Topeng dance, particularly in the endangered context of the Adat Batur village. In the future, during ceremonial events like odalan or Yandya ceremonies in the Batur village, the dancers can perform the Topeng Panca dance to enhance the flow of the Yandya ceremony in the village.

TARI KREASI BARU LABAONG LABUNTAR

2024-08-30T06:16:12+00:00

Labaong Labuntar is a new creation of dance art originating from the folklore of Sumbawa, West Nusa Tenggara,

depicting the character of two princess characters named Lala Balong and Lala Buntar from the Samawa Kingdom. The

idea for this work is motivated by a social phenomenon, namely friendship relationships. The process or stages of creation

that are followed include: (1) Ngawirasa (inspiration), (2) Ngawacak (exploration), (3) Ngeplan (conception), (4)

Ngawangun (execution), (5) Ngebah (production). This work is realized in the form of a new dance creation consisting

of two female dancers depicting their respective characters, namely Lala Balong and Lala Buntar. The structure of this

work is divided into three parts, namely beginning, content and end. The dance accompaniment used in this work is Gong

Genang with the addition of several instruments such as satong srek, gendang, pelompong, and serune. The "LABAONG

LABUNTAR" dance uses minimalist make-up which depicts a princess and the fashion uses traditional Sumbawa

costumes which have been modified by the stylist, without reducing the beauty and comfort of the user. The results of the

dance creation process "LABAONG LABUNTAR" were performed at the Natya Mandala Building, Indonesian Arts

Institute, Denpasar.