Search by property

This page provides a simple browsing interface for finding entities described by a property and a named value. Other available search interfaces include the page property search, and the ask query builder.

List of results

Cerita Perjalanan Luh Ayu Manik Mas Pahlawan Putri Bali + (When walking home after watching ogoh-ogoh … When walking home after watching ogoh-ogoh, Luh Ayu Manik and Putu Nita were surprised to see the young people falling up and running around, and screaming in fear accompanied by asking for help. "Tulung-tulung ..." shouted Wayan. There are people who can walk. the body is tall and made of all kinds of plastic and cork. Instantly Luh Ayu Manik remembered I Wayan's behavior with and I Made who liked to throw away the trash when making ogoh-ogoh into the river this morning.ing ogoh-ogoh into the river this morning.)
Átmanà Shanti (Music Performance) + (Átmanà Shanti is a dance music composition … Átmanà Shanti is a dance music composition, composed by I Wayan Arya Bisma from Pujung Kelod, Sebatu, Gianyar who is currently studying at the Indonesian Art Institute in Denpasar. "Átmanà" means by mind and "Shanti" means peace. In the context of welcoming dance music, "Átmanà Shanti" is defined as "greeted by a peaceful mind". The main idea of this work is the nature of the human mind that are changes over time. This idea then transformed into the processing of changing song patets (gending kecag kecog), as well as the song duration for each part that was uncertain.This musical composition uses the Tri Angga structure, namely: Kawitan, Pengawak and Pengecet, but in each section it is divided into several more sub-sections. In each section there is a gending penyalit or transition, which is a road or bridge to achieve the goal.Music Composition Structure :1. Kawitan (beginning) a. The composition started with pengalian section which is begins with the riyong instrument playing and continues with all the instruments. By playing several types of patets, such as: Pengeter Agung, Sunaren and Selendro Agung.b. In the pepeson section there are two parts, namely: part A and part B, and the composition is A-A-penyalit-B-B. In part A uses the patet Selendro Agung , and in this section there are terompong instruments patterns such as ngembat and nyilih asih, but it played on the riyong instrument. After that continue to the shorter penyalit section, using the patet Sunaren, Tembung and Pengeter Agung.2. Penyalit section is the connecting part between the kawitan and the pengawak section. In this penyalit section using the kebyar pattern with patet Pengeter Agung and at the end there is a modulation to the patet Selendro Alit.3. Pengawak section is a simplification of the Legod Bawa form taken from gending pelegongan. In this section highlighted the flute instrument and also uses patet Selendro Alit and at the end there is a modulation to the Sunaren patet.4. Penyalit, in this penyalit part it is the bridge between the pengawak part and the pengecet. This section uses the form of pengetog compositions, which are developed with an arbitrary count. This section uses patet Sunaren and patet Pengeter Agung.5. Pengecet section is divided into 3 parts, namely: part A, B and pekaad section. Composed with the pattern A-penyalit-B-penyalit-A-peyalit-B-penyalit-pekaad (ending). Part A adopts the nyong-nyong instrument pattern from the Barungan Gamelan Selonding, with a simple melody and uses patet Pengeter Agung, then continues with the penyalit to get to part B which still uses patet Pengeter Agung. This part highlighted the dynamics of the gangsa and kantilan instruments. The riyong, penyacah and calung instruments adorn it with the same gending pattern. Part B uses patet Sunaren, then followed by penyalit that are using patet Sunaren and Tembung. And the ending or pekaad part uses the kebyar pattern with Patet Pengeter Agung and Selendro Alit. And then in the very last part of the composition, there is a Leluangan drums pattern.The musical composition of this welcoming dance is played in the Gamelan Semarandana. Gamelan Semarandana is a combination of Gamelan Gong Kebyar and Gamelan Semar Pagulingan, which was created by I Wayan Beratha in 1987. The use of Semarandana gamelan is because it has a wider range of tones and octaves, making it possible to be more creative and flexible in composing the song. The creation of this dance music composition "Átmanà Shanti" was supported by Sanggar Seni Çudamani and the Sekaa Suling Semeton Nika Manu.ni and the Sekaa Suling Semeton Nika Manu.)

Tabuh Petegak Bebarongan Uyang Uyang + (From afar, the assorted emotions that grow … From afar, the assorted emotions that grow within the body, whether or not they arise willfully, can be enjoyed, observed, absorbed or interpreted in any number of ways by each individual. The composer drew from feelings of despair, confusion, and directionlessness while developing this work.ectionlessness while developing this work.)

Tari Manuk Rawa + (At first, the Manuk Rawa Dance was part of … At first, the Manuk Rawa Dance was part of the Mahabharata Bale Gala-Gala Ballet. The work itself is a work made by the Mahabharata or Ramayana ballet group from the province of Bali and has been shown at the Bali Arts Festival in 1980.As time goes by, the dance is increasingly developing into a free dance that is no longer part of the ballet. The artists and dancers also began to modify this dance movement to be more interesting by combining several movements from dances typical of the Sundanese and Javanese regions.Manuk Rawa dance has a unique philosophical meaning. This dance describes the behavior of manuk or in Indonesian means birds that live and fly around areas full of water or swamps.The story of this bird is taken from the story of Wana Parwa from the Mahabharata Epic, and is famous for its luxurious and distinctive storytelling style. Manuk in the story is illustrated as a cheerful and fun animal. Because of the cheerful nature of the dance, this dance is then more often danced by a group of children or young women.Its movements imitate the movements of birds flying, and jumping in the swamp. This dance also has a distinctive movement of the neck, the dancer will move the neck like nodding, imitating the movement of a bird's head. The dancer's leg movements are also very agile, jumping here and there with an expression full of firm eye movements.This dance costume is also characterized, the dancer will wear a kind of cloth in the form of a wing that is installed around the dancer's shoulder. The costumes also wear bright colors and headdresses or called gelungan in the shape of a bird's head. Until now this dance is still often performed at various events and competitions.formed at various events and competitions.)
Buru + (Buru is a contemporary dance work by artis … Buru is a contemporary dance work by artists Dewa Ayu Eka Putri and I Putu Tangkas Adi Hiranmayena, both of whom created an experimental duo team known as ghOstMiSt. Buru is one of their works in 2021, this work is inspired by the novel of the legendary Indonesian writer Pramoedya Ananta Toer in the Tetralogy Pulau Buru. Although in this dance work the focus is more on feelings of isolation, the ability to fight and survive the feelings of anxiety, fear and death, when political prisoners are exiled on Buru Island.tical prisoners are exiled on Buru Island.)
Tabuh Petegak Bebarongan Uyang Uyang +
Gamelan Gong Kebyar + (Gong kebyar is a Balinese gamelan bar with … Gong kebyar is a Balinese gamelan bar with a five-tone pelog that creates a musical expression with a nuance of kebyar. Gong kebyar presents “tabuh-tabuh kekebyaran” in the form of a composition that plays all the gamelan instruments simultaneously in polythmic, dynamic and harmonious accents. Musically, the Gamelan Gong Kebyar according to Sugiartha (2008: 51), is a traditional Balinese orchestra that has a strong temperament (coarse sounding ensamble). The harmonious construction that creates the unity of the Gong Kebyar gamelan is dominated by percussion instruments, plus several wind and string instruments. As a gamelan that serves to present pategak (instrumental) repertoire, accompany various types of dances and is used as a learning medium, Gong Kebyar has been known and became popular so quickly and is able to inspire the enthusiasm of Balinese gamelan lovers who have spread to almost various parts of the world.Gong Kebyar which was predicted emerging in 1915 has been known by Bali people, even now every banjar and village in Bali has Gong Kebyar that functions as various need such as performing art for both entertainment and ritual presentation. I Wayan Rai (2008: 7-8) mentions that in Bali there have been recorded no less than 1,600 barung gamelan Gong Kebyar, of course this number is increasing over time. Some of these gamelan belong to the banjar, village, formal institutions, and individuals. This number is added to the large number of Gamelan Gong Kebyar groups scattered in various cities in Indonesia and abroad.Abroad, Gong Kebyar was initially known via literature and records. One of the records was produced by Odeon and Beka who has recorded the gending-gending (the songs) Gong Kebyar, such as Kebyar Ding Sempati in Belaluan (Badung). In 1931 Sekaa Gong Kebyar Peliatan was performing in the contect of Colonial Exposition in Paris. The visit was continued in 1952 – 1953 to USA. These two tours were strengthening the existence of gamelan Gong Kebyar in the world. Until nowadays, Gong Kebyar always becomes a medium of diplomacy of Indonesian culture. Arts group and gamelan Gong Kebyar are sent and employed in the embassy of other nation, that strengthen the bilateral relation between Indonesia and other countries around the world. Gamelan Gong Kebyar has been developing so rapidly and having appreciation until nowadays, because Gong Kebyar is a simple ensemble and has high flexibility. The presentation of Gong Kebyar gives an unlimited space for the players (such as sekaa gong : kids, women, adolescence, mixed adolescence, adult including werdha/old men) to have creativeness, and can give an attractive touch with more alive and dynamic performance. The quantity of the instruments in one barungan for the gamelan Gong Kebyar is not all the same. Gong Kebyar with the most complete instrument is called the Gong Kebyar Barungan Jangkep (Barungan Ageng) which consists of 21 types of tools, each of which has its own name and specific function for its barungan, namely:1. One tungguh trompong, with 10 pencon 2. One tungguh reyong,with 12 pencon 3. A pair of giying, with 10 keys4. Two pairs of pemade, with 10 keys 5. Two pairs of kantilan, with10 keys 6. A pair of kenyur, with 7 keys 7. A pair of calung, with 5 keys 8. A pair of jegogan, with 5 keys 9. A pair of kendang cedugan 10. A pair of kendang gupekan 11. A pair of kendang krumpungan 12. One kajar 13. One kempur 14. One bende 15. One kemong 16. One kempli 17. A pair of gong lanang-wadon 18. One pangkon cengceng gecek 19. Eight cakep (pairs) cengceng kopyak20. Two small suling and eight big suling21. One rebab Musically gamelan Gong Kebyar uses pelog lima nada /pelog with five tones, the same as the pelog system with five tones in other types of gamelan , such as gamelan Gong Gede, Gong Kebyar and Palegongan, with the sequence of tones as follows : nding, ndong, ndeng, ndung, and ndang. In addition, in the Balinese gamelan tuning system there is the term ngumbang-ngisep. Ngumbang-ngisep are two equal tones, intentionally made into a slight different frequency. If these two tones pangumbang and pangisep played together at the same time, they will produce sound wave which is asthetically one of the form of beauty in karawitan Bali. In Gong Kebyar, there is also a concept of balance which is oriented towards "dualism" of good and bad or which includes similarities and differences. This concept can be seen in the themes of Balinese art, which mostly depart from this dualism, so that strong norms and ethics emerge and become part of art performances. The concept of a two-dimensional balance can produce symmetrical shapes that are at the same time asymmetrical or a harmonious and disharmonic braid which is commonly known as Rwa Bhineda. In the concept of rwa bhineda, there is also a spirit of togetherness, the existence of interrelation and competition to create interaction and competition. Balance in the second dimension is one of the basic concepts in Balinese music, including the gamelan Gong Kebyar.This is reflected in the traditional Gong Kebyar instruments made in pairs; lanang - wadon or male female, this term is used in the naming of the drums and gongs.The tuning system ngumbang – ngisep ; the same tones with different frequency, the lower tone is called ngumbang and a slight higher tone is called ngisep. The elements of tones or sounds combination have been identical in Balinese traditional music, almost all types of Balinese gamelan have playing basics varied terms, such as : kotekan, cecandetan, tetorekan and ubit-ubitan. The playing technique kotekan ; uses sangsih (off-beat), polos (on-beat). These are the symbol of balance elements which are not always parallel, but in a competitive interaction. In general, it can be observed that the structure the Gong Kebyar repertoire consists of three main parts , namely: kawitan, pangawak and pangecet. Kawitan is supposed to be the head, pangawak is body, and pangecet is the legs. These parts are portioned out equally, in which the rwa bhineda system is always in it in order to produce harmony in each part or harmony among parts. Conceptually, these two elements become dualism that is always reflected in artistic activities in Bali. reflected in artistic activities in Bali.)
Wayang Tantri + (Indonesian performer and puppet master (da … Indonesian performer and puppet master (dalang) of Balinese wayang parwa shadow puppetry. I Wayan Wija was born in Sukawati (Gianyar, Bali), the village with the most puppeteers (dalang) per capita in Bali. Wija is the son of puppet master I Wayan Gombloh, with whom he studied from age eleven. At thirteen he gave his first performance.Though a traditionally trained artist, Wija is also one of the most innovative performers. He created in l982 wayang tantri, a form of shadow puppet play that tells animal fables inset in a Sheherazade-like framework: Lady Tantri preserves her life by telling her stories to a misogynistic king. Wija popularized this little known story after a l980 presentation of it at the Bali arts academy and created new puppets with multiple joints allowing subtle, realistic movement. (Tigers scratch their haunches and deer leap with grace). In l997, the island-wide Bali Arts Festival featured a competition of Tantri wayang. Until now, Wayang Tantri is still very popular, because of its humorous story and the extraordinary ability of the puppeteer Wija in conveying the advice of Tantri stories.Wija’s collaborative work with western artists includes experiments with Lee Breuer of Mabou Mimes (see United States of America) and Larry Reed of Shadowlight Theatre in San Francisco (with whom he created Wayang Listrik/Electric Shadows in l998, and other work using a large screen, projections, and a mixture of shadow dancers wearing mask-headdresses and puppets). With composer Evan Ziporyn of Boston, Wija created Shadow Bang (2001 and 2004). In 2011, he was artist in residence at the Asian Art Museum of San Francisco. I Wayan Wija collaborated with Australian composer Paul Grabowsky and director Nigel Jamieson on the concept for the production, The Theft of Sita (1998-2000), based on the Ramayana. These international puppet experiments have involved Wija’s students at ISI Denpasar (Institut Seni Indonesia, Indonesian Institute of the Arts, Denpasar Bali branch) where he sometimes teaches and insure his legacy of innovation is inherited by the coming generation of Balinese puppeteers.Most of I Wayan Wija’s performances are solo wayang for traditional ceremonies, but this openness to extension of the Balinese tradition is an important hallmark of his work.tion is an important hallmark of his work.)
Kenapa Legong JAPATWAN + (Japatwan's 'Why Legong' dance is the work … Japatwan's 'Why Legong' dance is the work of an extraordinary Balinese female choreographer Ida Ayu Wayan Arya Satyani. This work was created as a manifestation of his admiration for the creation of the Legong dance, both for the complexity of the technique or for the timelessness of the Legong dance. Japatwan dance is also a way for Dayu Ani to contemplate the process of creation that she has gone through. As well as a way to objectify her dream to exploring the body. The extent to which body exploration can be carried out, how the body respects its body and soul, navigates emotion or responds to shackles, questions about tradition or modern, ignores male or female gender, because dancing is not about gender, but is soul. The soul that appears through the body, whether he is male or female, to bring out the true character.Japatwan was inspired by the Japatwan text geguritan which tells the adventures of Gagak Turas and Japatwan when following Ratnaningrat to Shiva Loka, Japatwan also describes the essence of literature in human life. Knowledge (jnana) that should be embodied in order to always meet good karma. The beginning of the story of the journey was the loss of Japatwan who was left by Ratnaningrat, his beloved wife "sakeng ngredani". Ratnaningrat is a grace from Dewa Indra who apparently was sent to test Japatwan's intelligence in carrying out his abilities and knowledge regarding "the entry and exit of the soul in the body, the path to kamoksan (liberation)".In a matter of seven days after the joyous period of marriage, Ratnaningrat returned to Indraloka, supposedly to ‘ngayah ngelegong’. In the gaguritan chant, and the nuances of palegongan drum music, hopefully this simple dance gets the beauty of the story that has been poured by the writers in gaguritan texts. poured by the writers in gaguritan texts.)
Legong Pawisik + (Legong Pawisik was created by choreographe … Legong Pawisik was created by choreographer I Nyoman Cerita and composer I Dewa Putu Berata in Sanggar Seni Çudamani. Pawisik is a sign that the universe whispers to humans about the past, present and future. Pawisik provides an opportunity for humans to understand the natural surroundings. A knowledge that if deeply understood will make humans realize that they are only a small part of the universe. That everything is bound and intertwined with one another.is bound and intertwined with one another.)
Pendet Swastiastu + (Pendet Swastiastu dance is a special welco … Pendet Swastiastu dance is a special welcome dance with jegog music, a unique bamboo orchestra from Jembrana, West Bali, created by Deniek G. Sukarya for Sanggar Seni Sukarya. Composer: Deniek G. Sukarya, choreographers: Putu Adi Arianto and Wayan Sumindra. The dance is choreographed in 2 parts: the first part as the welcoming dance to greet important guests at the gate of the ceremonial hall, and the second part, performed on stage to welcome guests with graceful dance and singing to welcome and wish them all well.singing to welcome and wish them all well.)
SU3LIM + (SU3LIM (read: sublime) is a musical compos … SU3LIM (read: sublime) is a musical composition by I Putu Swaryandana Ichi Oka, a musician and composer from Banjar Pande, Sayan, Ubud, Gianyar. Currently Ryan (composer's nickname) is pursuing a Master's degree at the Indonesian Art Institute, Denpasar.SU3LIM takes the meaning of the word 'sublimes' which indicates the meaning of change. In terms of musical composition, composer refers to a change in the perspective on the function and aesthetics of Balinese gamelan instruments. In addition, the word SU3LIM in this musical composition consists of two syllables "Sub" and "lim" which stands for Subdivision Five which dominates the dimensions in this musical work. The use of the number 3 instead of the letter "B" in the word SU3LIM, is a sign that there are 3 functions of gamelan instruments used in this musical composition, namely; Jegog as a melodic line marker; Ugal as a marker (controller) gending; Gangsa as isen isen, which is worked into a single unit in its function of playing song patterns that have been arranged in a systematic and structured manner.ged in a systematic and structured manner.)
Sandaran Lelangit + (Sandaran Lelangit is an instrumental piece … Sandaran Lelangit is an instrumental piece that is inspired by the classical style music of Banjar Intaran, Sanur. Sandaran is another name for Telek, a manifestation of God in the form of a mask that is performed on every odalan, temple ceremony. Literally, Sandaran can be interpreted as a place to lean on, while Lelangit is a term to mention the ancestors worshiped by the Balinese. Sandaran Lelangit has the meaning of a place for the ancestors to 'lean' during the ceremony. In a musical context, this work tries to present a magical and aesthetic atmosphere at the arrival of the ancestors during the ceremony. The strains of classical melodies with the typical ornamentation of the classical Sandaran melody are the main choice. Sandaran Lelangit is a re-interpretation and re-format of classical musical instruments that developed in Sanur, Bali.instruments that developed in Sanur, Bali.)
Speech Delay (Music Performance) + (Speech Delay is a musical composition by a … Speech Delay is a musical composition by a Balinese female composer named Ni Nyoman Srayamurtikanti. Mang Sraya (the composer's nickname), a graduate of the Indonesian Art Institute in Denpasar, who is currently pursuing a Master's degree at the Indonesian Art Institute in Surakarta, has created many creative music works that still adhere to the foundation of traditional music. Speech Delay is a general term that refers to the process of speech and language delay that is incompatible for the child's development. One of Mang Sraya's sisters experienced a speech delay, but despite having speech and language delays, she has a very sharp memory and a strong imagination. This personal experience then inspired Mang Sraya and interpreted it into creative musical composition works.This work uses the ensemble Gender Wayang. The musical work system carried out in this work is based on several impacts that cause and are caused by speech delay associated with the textual work, that are:1. Speech articulation disorders are interpreted by the use of the gender wayang’s mallet handle in this composition work. In general, the gender wayang repertoire does not use the mallet’s handle to hit the blades.2. Receptive (input) and expressive (output) language disorders are interpreted by the relay system or rotating. In general the gender wayang’s musical system is performed simultaneously by all instruments. However, this work uses a rotating system.3. Have a strong imagination interpreted by using many different melodies on each instrument. This is different from the gender wayang repertoire system, which in general has one melody with polos (on beat melody) and sangsih (off beat melody) ornaments.In this work, the composer divides the composition into four parts. Each section represents the textual ideas and concepts that are made, namely:1. In the first part, the composer uses a gender wayang’s mallet handle hips. The initial part starts with Kantilan 1 by hitting several short melodies that are repeated several times. Then the Kantilan 1 player hits a note on the Pemade 1 instrument which is meant to give action to the next player. Player 1 responds by playing several short melodies that are different in response to the action given by the previous player.2. In the second part using a medium tempo. There is a melody division between kantilan and pemade. Kantilan plays 2 notes alternating at a fast pace and different sizes. In between these melodies, pemade provides an accent as a marker or explanation for the melody of the performance. Then proceed with a melody totaling 8 beats with a sequential progression of notes back and forth, each of which has a different tone arrangement. The melodies are played relay or alternately.3. In the third part, the tempo is slower and gradually accelerates. In this section the composers make a melody that is the same as each other by emphasizing the dynamics of each instrument. Then proceed with the imitation of one of the gender wayang repertoires, namely: angkat-angkatan. Gending angkat-angkatan on gender wayang is one type of gender wayang repertoire which is interpreted or often used as a wayang companion when walking towards the battlefield. In this type of gending has 2 different melodies which are played by the right hand and the left hand. The melody on the left hand usually consists of 4 beats that are repeated from beginning to end while the melody on the right hand is more agile and varies in pitch progression. In this case, each instrument has a different melody but is tied to one another or is called polyphony.4. In the fourth part, using a polymmetric technique where each instrument has a different size bar. Kantilan 1 uses the beat 5/4, pemade 1 uses the beat 10/4, kantilan 2 uses the beat ¾ and pemade 2 uses the beat 6/4. In 1 lap, all the instruments will meet on beat 30. Each instrument has a different song sentence but on beat 20, the instruments will be brought together in almost the same rhythm. Then as a closing there is a kebyar with a different tone arrangement between kantilan and pemade.Speech Delay's work has been staged at the Ancient Creative Music festival in 2020. Mang Sraya's other musical works can be heard and watched on her YouTube channel: Sraya Murtikanti. on her YouTube channel: Sraya Murtikanti.)
Sundih + (Sundih is a musical composition by the you … Sundih is a musical composition by the young composer I Putu Swaryandana Ichi Oka or fondly called Ryan. Sundih itself is a dry coconut leaf that is burned, usually used during the procession to deliver the body to the setra (grave). Sundih is interpreted as a street light, so as not to be "Kepetengan/in the dark".This composition is a creative percussion that is worked on with the medium of expressing gamelan semarandana. This is the composer's first creative percussion composition. By interpreting the meaning of the sundih, the composer wanted to make this composition a foothold and light on a long, endless journey.hold and light on a long, endless journey.)
Swasti Prapta + (Swasti Prapta is a dance piece created by … Swasti Prapta is a dance piece created by choreographer Dewa Ayu Eka Putri from Banjar Pengosekan, Mas Village, Ubud with composer I Putu Swaryandana Ichi Oka from Banjar Sayan, Ubud, Gianyar. This dance piece was created in 2018 and was first performed at the Cudamani Festival which is held annually from 2016.Swasti means "peaceful" and prapta means "arrival". The piece is an expression of welcome, and was created to welcome and bring joy to goodness from all directions. The movements are simple, but filled with meaning, a quality one needs as one faces lifes many different experiences. The harmonious and dynamic melodic arrangement indicate our readiness and alertness to receive new experiences. Symmetrical and asymmetrical are side by side, and of course, goodness does not always stem from the positive. Good things and important lessons can come from experiences that are painful and difficult. Swasti Prapta, welcome all experiences.t. Swasti Prapta, welcome all experiences.)
Caru Wara + (Tabuh Caru Wara was composed by composer I … Tabuh Caru Wara was composed by composer I Dewa Ketut Alit from Banjar Pengosekan, Mas Village, Ubud. Dewa Alit was born into a family of artists in Bali. As a composer, he is known to have an "avant garde" approach but still considers traditional values. Dewa Alit is often invited to teach and compose Balinese gamelan abroad, including: Boston, Massachusetts, New York, Munich, Frankfurt, and others. In 2007, Dewa Alit founded Gamelan Salukat and has toured America in 2009 and 2010. Tabuh Caru Wara was created in 2005 which has the meaning of harmonizing the complex dynamics of values, friction, clashes, conflicts, opposite directions, the concept of complementarity and complexity contained in the cycle of days based on the Balinese calendar.le of days based on the Balinese calendar.)
Tabuh Kebyar Ding + (Tabuh Kebyar Ding is an old pre-independen … Tabuh Kebyar Ding is an old pre-independence music creation, which was created around 1925 by musician and composer I Made Regog in Belaluan, Denpasar. This percussion has a very important role historically and has a complex composition, full of dynamics, rich in ornamentation and played at a fast tempo. ornamentation and played at a fast tempo.)
Tabuh Bebarongan Kepahingan + (Tabuh Kepahingan is a musical composition … Tabuh Kepahingan is a musical composition made by Ida Bagus Anom Mandhara Giri (often called Gus Anom) who comes from Kendran Village, Tegallalang. Gus Anom is a graduate of the Institut Hindu Dharma Negeri Denpasar who is very active in artistic activities as a musician and composer. Kepahingan is a combination of the meanings of the words kepah and ingan. Kepahingan means doing something together or also known as gotong royong (mutual cooperation). In Bali, gotong royong has been cultivated in such a way since a long time ago and has become an irreplaceable foundation of life.This bebarogan music work was created in 2014 based on the desire to unite and work together between Daha Truna Kendran and Kepitu to become one unit in the Sekaa Truna Desa Adat Kendran. Musically, this bebarongan work has a simple rhythmic pattern, depicting the sincerity and simplicity of the desire of young people to unite so that the foundation of life of kepahingan or gotong royong (mutual cooperation) can be maintained. The main purpose of cultivating this music is "ngayah" or a sincere offering without ulterior motives. The simple strains of musical melodies that are easy to hear and understand also illustrate how beautiful the sense of unity is in the implementation of the concept of kepahingan.In 2020, tabuh Kepahingan bebarongan was staged again as a reminder to Sekaa Gong Gurnita Sari of their enthusiasm and desire to unite in one organization, Daha Truna Kendran and Kepitu.ganization, Daha Truna Kendran and Kepitu.)
Tabuh Lemayung + (Tabuh Lemayung was created by I Dewa Putu … Tabuh Lemayung was created by I Dewa Putu Berata, a traditional music composer whose abilities are well known globally. Currently he is the chairman of Sanggar Seni Cudamani, a non-profit arts foundation located in Banjar Pengosekan, Mas Village, Ubud which has a mission to preserve, preserve and reconstruct ancient music and dances that are almost forgotten and create many new works of art which are innovative both in the field of Balinese music and dance. Tabuh Lemayung is one of Dewa Berata's works that has received tremendous appreciation from both Balinese and foreign musicians.Lemayung was created by Dewa Berata during the 2004 General Election period. The inspiration for this work stemmed from political parties in the general election attempting to attract people's sympathy. A campaign full of promises and interests confused people, giving birth to the term "Lemayung" which has the meaning of 'uncertain feelings'. Lemayung then poured into the language of music with the parable of "little people" expressed in the weak rhythm and the ruler in a strong rhythm. All forms of differences and promises are transformed into melodies and dynamics of music that are beautiful and pleasant to hear as if to seduce and win the sympathy of the little people. But those who are observant and understanding will not be easily swayed by promises. Lemayung's musical compositions also narrate the spirit of honesty and foresight in choosing the best through out-of-the-box melodies and musical concepts.-of-the-box melodies and musical concepts.)
Tari Tani + (Tari Tani Bali (Farming Dance) is created … Tari Tani Bali (Farming Dance) is created by I Wayan Beratha in 1957. This dance emerges along with the Tari Tenun (Weaving Dance) and Tari Nelayan (Fishing Dance) in the era of 1950s. Tani dance showing the everyday life of Balinese, particularly the work or activities of farmer in Bali.Tani dance usually performed in groups by male and female dancers. The movements in this dance depict the activities of farmers from preparing the land, plant the seeds, up to take care of their plants. This dance is indeed present a beautiful and elegant movements.During the era of the 1960s, the three dances (tani / farming, weaving, and fishing) emerged due to the influence of socialism and become a standard at that time. Then in 1965, the political situation is unstable and the third this dance immediately lost favor.After all, these three dances remain a distinct marker of a crucial time in Indonesia's modern history and today are performed simply for their aesthetic purposes.Costumes and makeup plays an important role in the performing arts. The harmony and beauty of color will further enhance the look of the dance during performances.Male. In Tani (farming dance), male dancers using costumes such as: headdress (udeng), badong, tutup dada, sabuk stagen, gelang kana, ampok-ampok and kamen (sarong) with prada motif.Female. While the female dancers use "Lelunakan" or head-cloth at the top. Lelunakan is the development of "tengkuluk", in the form of shawl by decorative motifs.On the top, lelunakan shawl wraps the hair, is formed in such a way, adorned with gonjer (golden flowers), sandat flowers and red flowers.On the bottom, female dancers use tapih, kamen (sarong), and sabuk stagen bandaged from the waist to the chest. On the outside is wrapped by colored scarf with decorative motifs of prada.red scarf with decorative motifs of prada.)
Tari Oleg Tamulilingan Ngisep Sari + (The Tamulilingan Ngisep Sari is a duet da … The Tamulilingan Ngisep Sari is a duet dance created by I Ketut Mario in 1952 in Peliatan Village. He is a Balinese dance maestro who is famous for his extraordinary dance work. Mario invited I Wayan Sukra, a percussionist from Marga Village, Tabanan to compose his musical accompaniment. In addition, three percussion experts from Gong Peliatan were also involved in working on the music, namely Gusti Kompyang, A.A Gde Mandera, and I Wayan Lebah.The interdependence of life inspires this dance where the beauty of the flower attracts the bee to collect nectar and in return pollinate the flowers. The relationship is completely symbiotic each nurturing the other in a gentle cycle filled with love and care. This rarely performed version has its home in the Peliatan region of Bali. Taught to Sanggar Çudamani in 2015 by the original dancer of the piece late Ni Gusti Ayu Raka Rasmi who, in her 70s, is still a stunning performer and dedicated teacher. stunning performer and dedicated teacher.)
Rangrang + (The composition of Rangrang was created b … The composition of Rangrang was created by composer I Dewa Putu Rai from Banjar Pengosekan, Mas, Ubud. The word rangrang refers to that which is intertwined or knit together, just as we are interwoven with one another and the universe around us. Balinese gamelan often starts with a section called a peng-rangrang, a flowing abstraction of the core melody, 'benang merah' or ‘red thread’ that -weaves through the fabric of the composition. The piece is inspired by and a tribute to master composers of our ancestors, such as the late Wayan Lotring (master of dance, musician and composer of Gamelan Bali), and the belief that each sound, each note has a sacred resonance, each pattern an intrinsic beauty. Beauty and inspiration is brought together in a way that is rooted in those heirlooms of artistry that we have inherited and is joyfully relevant to the young generations of today.elevant to the young generations of today.)
NGOLAH LELUU KADADOSANG PIRANTI SANE MABUAT ANGGEN NGARDI JAGAT INDONESIA BERSIH SAKING SAMPAH + (The video and this work were made in SMP D … The video and this work were made in SMP Dwijendra Denpasar on September 20, 2021, involved 3 people, namely Satya, Kirana, and Ayu. From the video and the work that we made, we recycled organic and inorganic waste and also revived the Balinese economy by making handicrafts from waste that had a sale value. As we know Bali being a tourism island, the lack of community initiatives to reduce and recycle the use of organic and inorganic waste, can lead to the accumulation of waste. By recycling organic and inorganic waste into handicrafts that are more useful and have a selling value, it will simultaneously preserve nature, especially Bali.aneously preserve nature, especially Bali.)
Garbha + (This work was created in 2020 as part of t … This work was created in 2020 as part of the Ubud Performing Arts festival by two young artists, Dewa Ayu Eka Putri and Ni Nyoman Srayamurtikanti.Garba was the beginning of the creation of life. A space where a micro universe is formed. The womb of women is none other than Brahman himself, the Creator of the universe.This work is dedicated to all the wombs of the universe. And to all the great women in the world.. And to all the great women in the world.)
Tabuh Wak Jayati + (Wak Jayati was created by composer I Dewa … Wak Jayati was created by composer I Dewa Putu Rai from Pengosekan Village, Ubud. Wak Jayati comes from the ancient Javanese language Wak which means voice or sound and Jayati means women's victory. This percussion is inspired by the strength, determination and beauty of women. This musical composition aims to describe the deeper meaning of women, as creators, leaders, and protectors.men, as creators, leaders, and protectors.)
Koreografi Pose (COVID19 Dalam Teologi Hindu) + (Wanting to show another way to enjoy dance … Wanting to show another way to enjoy dance, this piece was created specifically in the Art of Photography. Featuring choreographed poses that tell the story of COVID19 in Hindu theology.Pose choreography is a photo illustration or visual depiction of a piece of writing using a photographic technique that emphasizes the relationship between the object of the photo and the text.In Hindu theology, there is no hatred of Hyang Widhi. No curses. There is a cycle. The cycle of seasons, the cycle of flowering to fruiting, the cycle that makes life and the universe move. Hyang Widhi regulates all cycles and cosmic order through the intelligence behind the motion of this universe, called rta. Rta is the "highest consciousness" that regulates the heartbeat of the universe, the breath of humans, animals, photosynthesis of plants, until the emergence of viruses and all kinds of germs that are present as part of the completeness of the universe.This work was first conceived by an academic dance artist named Ni Km. Ayu Anantha Putri S.SN., M.Sn who deliberately creates dance works that are enjoyed through photo collages telling stories. One person who has succeeded in realizing this work in the form of a photographic work is an academic photographer named Adhitya Pratama S.Tr.Sn, the sharp and at first glance like paintings are made to give a more artistic impression and prioritize color sharpness. This work does not only contain moving photo collages but is also accompanied by musical accompaniment which was created directly by an academic musician named Komang Srayamurtikanti S.Sn. Hopefully this work will get positive appreciation from performing arts lovers and be able to provide a new spectacle that is entertaining and inspiring.This work was performed by 18 women with professional dancer backgrounds. This work was made directly 1 day during the shooting process only. There is no cost for costumes, only using typical Indonesian batik cloth, batik shawls and black scarves that each dancer already has. The shooting location is at Puri Painting Ubud, Gianyar, Bali. There is no training process, considering that Covid19 has severely restricted community activities. This work was initiated 1 month before the shooting process. The dancers who have supported this work have undergone a self-quarantine process from the end of March to June 2020, so the health of the dancers is of utmost priority.alth of the dancers is of utmost priority.)
Wayang Sapuh Leger + (Wayang Sapuh Leger is a ritual with a shad … Wayang Sapuh Leger is a ritual with a shadow puppet show that aims to cleanse or purify a person.In Bali until now it is believed that children born in the wuku Wayang must perform a cleansing ceremony called Sapuh Leger. This is intended to avoid being chased by Kala and not being afflicted with disaster.It is said that two sons of Bhatara Shiva or Bhatara Guru have the same otonan, which is both born at Wuku Wayang. They are both named Bhatara Kala and Sang Hyang Rare Kumara. Long before Rare Kumara was born, Lord Shiva had given permission to Bhatara Kala to catch or prey on creatures who have the same otonan as him.Because his own brother had the same otonan, Bhatara Kala asked Lord Shiva for permission to eat Rare Kumara. However, Kala was asked to wait for his brother to grow up. Because Shiva was afraid of his son being eaten, Rare Kumara was cursed so that he never grew up.After feeling that his brother has grown up, Kala meets Rare Kumara and intends to eat him. However, on the orders of Lord Shiva, Rare Kumara was asked to run towards the Kertanegara Kingdom.Knowing his brother ran away, Kala chased after him. He smelled Rare Kumara's footprints and followed him and saw his little brother running. After hiding in several places, namely thick bamboo reeds, behind firewood, and a fireplace, Rare Kumara arrived at Kertanegara.Kertanegara was attacked by Bhatara Kala, and Rare Kumara ran until late at night when he arrived at the puppet show. The puppeteer Rare Kumara was asked to hide in the gamelan gender resonator.So hungry, Kala came to the puppet show and ate the offerings. Seeing this, the puppeteer reprimanded Kala to return the offerings he had eaten. Being cornered, Kala is in debt to the puppeteer and to the puppeteer, he casts a magical spell. The spell enables the dalang to free all living beings from defilements.The dalang then offered offerings as a substitute for the child born to Tumpek Wayang, so that Rare Kumara was safe. Rare Kumara was brought back to heaven by Lord Shiva.That is the brief story behind the implementation of Sapuh Leger on children born as Wuku Wayang. This story is taken from the Lontar Kidung Sapuh Leger. taken from the Lontar Kidung Sapuh Leger.)