Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali

2022 ◽  
Vol 21 (2) ◽  
pp. 232-245
Author(s):  
Ni Made Ruastiti ◽  
Anak Agung Indrawan ◽  
I Ketut Sariada
Keyword(s):  
Performing Arts ◽  
Qualitative Method ◽  
Aesthetic Theory ◽  
Functional Theory ◽  
Aesthetic Taste ◽  
New Findings ◽  
Study Results ◽  
The Creation ◽  
Musical Accompaniment ◽  
Research Show

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.

scholarly journals STRUKTUR DRAMATIK PERTUNJUKAN DRAMA KLASIK SANGGAR TEATER MINI LAKON DEWA RUCI KAJIAN BENTUK DAN FUNGSI

WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 51-59
Author(s):  
I Made Rudita ◽  
Ni Luh Putu Wiwin Astari
Keyword(s):  
Character Education ◽  
Performing Arts ◽  
Cultural Transformation ◽  
Aesthetic Theory ◽  
Functional Theory ◽  
Classical Drama ◽  
Dramatic Structure ◽  
Depth Study ◽  
And Function

ABSTRAK   Pada dasarnya nilai pendidikan karakter mempunyai tiga bagian yang saling bekaitan, yaitu pengetahuan moral, penghayatan moral dan perilaku moral. Oleh karena itu seseorang dengan karakter yang baik, mengetahui, menginginkan, dan melakukan yang baik. Ketiganya merupakan syarat untuk menuntun hidup yang bermoral dan membangun kematangan moral. Dalam melakukan pendidikan karakter tidak harus dengan menambah program tersendiri, melainkan bisa melalui transformasi budaya, salah satunya nilai-nilai pendidikan karakter bisa disampaikan melalui seni pertunjukan drama, khususnya pertunjukan drama klasik. Untuk menjawab masalah di atas, dalam hal mengetahui nilai  pendidikan karakter melalui transformasi budaya Bali berupa pertunjukan drama klasik Sanggar Teater Mini, perlu dibuat suatu penelitian mengenai nilai pendidikan karakter dalam pertunjukan drama klasik Sanggar Teater  Mini dengan lakon Dewa Ruci. Penelitian ini berjudul “Struktur Dramatik  Pada Pertunjukan Drama Klasik Sanggar Teater Mini lakon Dewa Ruci”.Kajian  (Bentuk dan Fungsi)” adalah hasil studi yang mendalam struktur dramatik pada pertunjukan drama klasik. Penelitian ini mengangkat dua pokok masalah yaitu : 1) untuk mengetahui dan menganalisis bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci ;  2) untuk mengetahui dan menganalisis fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Secara umum, penelitian ini bertujuan untuk mengetahui keberadaan dan peranan penting dari nilai-nilai pendidikan karakter dalam pertunjukan pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci . Secara khusus, penelitian ini bertujuan untuk menjelaskan bentuk struktur dramatik dan fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Penelitian ini dirancang sebagai penelitian kualitatif dengan menggunakan dua teori : teori estetika dan teori fungsional struktural. Metode-metode pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi dan kepustakaan.Seluruh data diolah menggunakan tehnik deskriptif interpretatif. Hasil dari penelitian ini adalah sebagai berikut ; Bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci  adalah sebagai berikut   : (1) tema, (2) alur,  (3) latar, (4) penokohan, (5) insiden dan (6) amanat. Sedangkan fungsi drama klasik Sanggar Teater Mini lakon Dewa Ruci  adalah sebagai  berikut : (1) fungsi ekonomi,   (2) fungsi hiburan, (3) fungsi promosi  dan (4) fungsi komunikasi.  ABSTRACT Basically, the value of character education has three interrelated parts, namely moral knowledge, moral appreciation and moral behavior. Therefore someone with good character, knows, wants, and does good. All three are conditions for guiding a moral life and building moral maturity. In doing character education does not have to add a separate program, but it can be through cultural transformation, one of which is the values ​​of character education can be conveyed through drama performing arts, especially classical drama performances. To answer the above problem, in terms of knowing the value of character education through the transformation of Balinese culture in the form of a classic Mini Theater studio performance, it is necessary to make a study of the value of character education in the performance of the Sanggar Teater Mini classic drama with Dewa Ruci play. This research entitled "Dramatic Structure of the Classical Drama Performance of Teater Mini lakon Dewa Ruci". Studies (Forms and Functions) "are the results of an in-depth study of the dramatic structure of classical drama performances. This research raises two main issues, namely: 1) to find out and analyze the dramatic structural forms of the Sanggar Teater Mini classical drama performance Dewa Ruci play; 2) to find out and analyze the function of the Sanggar Teater Mini lakon Dewa Ruci performance. In general, this study aims to find out the existence and important role of character education values ​​in the performance of the classic Sanggar Teater Mini lakon Dewa Ruci performance. Specifically, this study aims to explain the dramatic structure and function of the classical drama performances of Sanggar Teater Mini Dewa Ruci play. This research was designed as qualitative research using two theories: aesthetic theory and structural functional theory. Data collection methods used include observation, interviews, documentation and literature. All data are processed using interpretive descriptive techniques. The results of this study are as follows; The form of the dramatic structure of the Sanggar Teater Mini classical drama performances by Dewa Ruci are as follows: (1) theme, (2) plot, (3) background, (4) characterization, (5) incident and (6) mandate. While the function of the classical drama Sanggar Teater Mini lakon Dewa Ruci is as follows: (1) economic function, (2) entertainment function, (3) promotion function and (4) communication function.

scholarly journals Jaipongan: Genre Tari Generasi Ketiga dalam Perkembangan Seni Pertunjukan Tari Sunda

2013 ◽  
Vol 14 (1) ◽  
Author(s):  
Lalan Ramlan
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Qualitative Method ◽  
Simple Structure ◽  
Phenomenological Approach ◽  
Cultural Background ◽  
Community Life ◽  
New Creation ◽  
The Creation ◽  
Aesthetic Concepts

ABSTRAK Seni pertunjukan tari Sunda hingga saat ini telah diisi dengan tiga genre tari yang diciptakan oleh tiga tokoh pembaharu tari Sunda, yaitu Rd. Sambas Wirakusumah yang menciptakan genre tari Keurseus sekitar tahun 1920- an, Rd. Tjetje Somantri yang menciptakan genre tari Kreasi Baru sekitar tahun 1950-an, dan Gugum Gumbira Tirasondjaya yang menciptakan genre tari Jaipongan pada awal tahun 1980-an. Ketiga genre tari tersebut memiliki citra estetiknya sendiri-sendiri sesuai latar budaya generasinya masing-masing. Genre tari Jaipongan yang kini sudah lebih dari 30 tahun belum tergantikan di dalamnya menunjukkan nilai-nilai yang mengakar dalam kehidupan masyarakat Sunda. Untuk mengekplanasi berbagai aspek penting yang melengkapi pembentukan sebuah genre tari ini digunakan metode kualitatif dengan pendekatan fenomenologi. Berdasarkan penelitian disimpulkan bahwa genre tari Jaipongan dibentuk oleh konsep dasar etika dan estetik egaliter dengan menghasilkan struktur koreografi yang simpel dan fl eksibel yang terdiri dari empat ragam gerak, yaitu bukaan, pencugan, nibakeun, dan mincid. Kata kunci: Gugum Gunbira, genre tari, dan Jaipongan  ABSTRACT Jaipongan: The Genre of Third Dancing Generation in the Development of Sundanese Dance Performing Arts. Sundanese dancing performance art recently has been fi lled with three dancing genres created by three prominent reformers of Sundanese dances, namely Rd. Sambas Wirakusumah who created the dance genre of Keurseus around 1920, Rd. Tjetje Somantri who created the dance genre of Kreasi Baru (New Creation) 1950s, and Gugum Gumbira Tirasondjaya who created the dance genre of Jaipongan in the early 1980s. The three genres of the dances have their own aesthetic image based on their cultural background respectively. The Jaipongan dance genre which now has been more than 30 years and not yet been changed shows the values rooted in Sundanese community life. To explain various important aspects which complete the creation of a dance genre it applies qualitative method employing a phenomenological approach. Based on the research, it is concluded that Jaipongan dance genre is shaped by ethical and aesthetic concepts of egalitarian policies to produce a simple structure and fl exible choreography of four modes of motion, i.e. aperture, pencugan, nibakeun, and mincid. Keywords: Gugum Gunbira, dance genres, and jaipongan

scholarly journals The Meaning of Rejang Pingit Dance Performance at Geriana Kangin Village, Karangasem, Bali in the Global Era

Humaniora ◽  
2018 ◽  
Vol 9 (3) ◽  
pp. 321
Author(s):  
Ni Made Ruastiti
Keyword(s):  
Qualitative Method ◽  
Real Life ◽  
Aesthetic Theory ◽  
Dance Performance ◽  
Research Results ◽  
Global Era ◽  
The People ◽  
Religious Theory ◽  
Musical Accompaniment ◽  
Performance Structure

This research was compiled from the research results that aimed to understand the meaning of Rejang Pingit dance performance in the global era. This research was conducted because of the imbalance between assumptions and reality in real life. The people who lived in the global era should be more interesting with beautiful performances that were simply performed. However, the fact was different. Although Rejang Pingit dance was very simple, people of Geriana Kangin village preserved it. The question was what was the form of the Rejang Pingit dance performance, what was the meaning contained in the performance? This research used the qualitative method. The data sources of this research were Pingit Rejang dance performance, related informants, journals, and previous research results. All data that had been collected were analyzed using aesthetic theory, religious theory, and the theory of power relations. The results show that Rejang Pingit dance is performed in the form of dance off (with no play). It can be seen from the way of presentation, choreography, performance structure, dressing, makeup, and musical accompaniment of the performance. People of Geriana Kangin village continue to preserve Rejang Pingit dance because it is considered to have the meaning of aesthetic, religious, social, and cultural. Their belief in the myth of the essence of life that undergoes the Rejang Pingit dance is so strong so that they still preserve the dance up to now. 

‘Langen Katresnan’ Video Animasi dengan Tema Ramayana Episode Penculikan Shinta

2014 ◽  
Author(s):  
Ika Yulianti
Keyword(s):  
Performing Arts ◽  
New Work ◽  
Two Dimensional ◽  
The Public ◽  
The Creation

Ramayana story has been widely known in Indonesian society since centuries ago. This story has been disseminated from generation to generation. The story is familiar to the public in the form of this kakawin often staged in the form of performing arts, dramatari, puppet performances, as well as in the form of puppet or sculpture. Ramayana story has a lot of episodes, but in the creation of this animated video work taking Shinta kidnapping episode. This animated video works explored the form of characters and stories, as well as collaborate with dance, heater and musical arts. Kidnapping of Shinta’s story became the basis of the principal narrative in the creation of animated video with the theme of Ramayana episode kidnapping Shinta ‘Langen Katresnan’ which then developed in accordance with the ideas and concepts. It also supports the creation of new work that promotes originality of the work. This animated video works using two-dimensional techniques. This is actually a reference to that puppet animation that was first recognized by earlier ancestors.Keywords: puppet, Ramayana, animation

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Ranti - Rachmawanti
Keyword(s):  
Popular Culture ◽  
Qualitative Method ◽  
Music Industry ◽  
Main Idea ◽  
String Orchestra ◽  
Characteristic Func ◽  
Orchestra Music ◽  
Research Show ◽  
Func Tion

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture. 

scholarly journals The Moderating Effect of Social Innovation in Perspectives of Shared Value Creation in the Educational Sector of Ghana

2018 ◽  
Vol 10 (11) ◽  
pp. 4216 ◽  
Author(s):  
Wenyuan Li ◽  
Mohammed Abubakari Sadick ◽  
Abdul-Aziz Ibn Musah ◽  
Salisu Mustapha
Keyword(s):  
Value Creation ◽  
Social Innovation ◽  
Economic Value ◽  
Social Value ◽  
Survey Study ◽  
Shared Value ◽  
Study Results ◽  
Social Value Creation ◽  
The Creation ◽  
Moderating Role

This paper presents a survey study of how social innovation moderates social and economic value from the perspective of shared value creation. Specifically, the study addresses the following questions: Does economic value lead to social value creation in shared value creation? Does social innovation moderate social and economic value in the creation of shared value? The questions are addressed through an empirical investigation of 250 social enterprise organizations that apply social objectives and a market-based approach to attain social and economic goals in Ghana. The study used SmartPLS software version 3.0 to evaluate the data collected. The results indicated that economic value influences the creation of social value in shared value creation. Study results also revealed that social innovation is a driver of shared value creation via social value in the educational sector of Ghana. However, social innovation could not play a moderating role in economic value to shared value creation.

scholarly journals MANFAAT ALAT PEMBAYARAN MENGGUNAKAN KARTU (APMK) PADA MASYARAKAT KOTA TEGAL

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Maulida Dwi Kartikasari
Keyword(s):  
Qualitative Method ◽  
Cost Effective ◽  
Financial Behavior ◽  
Shopping Center ◽  
Research Use ◽  
Payment Method ◽  
Depth Interview ◽  
Card Payment ◽  
Research Show ◽  
Effective Behavior

This research aims to find out the benefits of using the Card Payment Inatrument in Tegal. This research was conducted in the Tegal by taking 100 respondents to visitors shopping center in Tegal. The respondent despite into two groups, 50 male respondents and 50 female respondents this research use qualitative method. Respondents were randomly selected and the data were collected based on in depth interview results. The results of this research show that the Card Payment Method has a huge benefit for its users. Some societies state. able to bring cost-effective behavior because it can control spending. Of money. However, there are also people who give the perception that APMK is a secure payment instrument because mostly card has a Personal Indentification Number in it. Some of respondents sid that Card Payment Method are able to avoid the crime of counterfeit money  Keywords: Card Payment Instrument, Financial Behavior, Perception, Benefit

scholarly journals Infrastructure Development in Papua: Features and Challenges

2019 ◽  
Vol 3 (3) ◽  
pp. 225
Author(s):  
Fadhli Zul Fauzi ◽  
A. A. Gede Brahmantya Murti ◽  
Laili Alfiati Imamah ◽  
Nimas Hapsari
Keyword(s):  
Qualitative Method ◽  
Development Process ◽  
Regional Government ◽  
Infrastructure Development ◽  
Cultural Issues ◽  
Study Approach ◽  
Study Results ◽  
Weak Coordination ◽  
Government Institution

This article aims to examine the issue of infrastructure development in Papua Province, Indonesia. This article specifically discusses the problems confronted during the process of infrastructure development in Jayapura and the challenges in expanding them. The method used in this study is the qualitative method with a case study approach, wherein the infrastructure development case selected is the Papua Bangkit Stadium and Holtekamp Bridge located in Jayapura. Both infrastructure development cases serve as sample cases that show the extent of infrastructure development impact in Papua, and the issues that were confronted, starting from the development process up to the expansion. The study results indicate that although previous studies have shown positive correlation between development and welfare, in reality, there are several problems occurring in Papua’s infrastructure development. Preparedness of human resources, cultural issues, and weak coordination between every level of regional government institution, these are the main problems in Papua’s infrastructure development. This article is expected to assist in resolving the issues found in Papua’s infrastructure development, and to provide recommendations for resolving those issues.

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