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Tari Kreasi Laku + (“Laku”: the active behaviors of a person; … “Laku”: the active behaviors of a person; direction indicative of demand. It also describes the aura of availability. This is a new piece composed as a welcome dance embodying the idea of behavioral changes. The movements simultaneously follow and depart from the musical sensibilities, but unlike traditional “penyambutan” dances which tend to be in compact motion, within Lelaku, dynamic and asymmetrical movements become normal. As the popularity of travel becomes normalized, how do the behaviors of humans change? How do we welcome people that seem to be intruding our space? Does humanity change in in tandem with what resources are available? The answer lies within the juxtaposition of co-motion.ies within the juxtaposition of co-motion.)

Sumanasa Jayantaka + (This piece tells about death, which is always next to us. It's the final gate, but it is also a door to a new life.)

Baleganjur Benen Mua + (Baleganjur Benen Mua is a “re-fusion” (Wal … Baleganjur Benen Mua is a “re-fusion” (Wallach, 2018) of “Fix Your Face” by the DIllinger Escape Plan, for Gamelan Baleganjur. Arranged and re-conceptualized by Putu Tangkas Adi Hiranmayena for Denver, Colorado’s Gamelan Tunas Mekar, this piece uses idioms from both traditional and contemporary baleganjur sensibilities. It premiered at the 2018 “Sounding Out the State of Indonesian Music” conference at Cornell University in Ithaca, NY. Hiranmayena’s intention in creating this piece is to critique the state of global gamelan musics and question the value attribution of Balinese peoples’ identities.tribution of Balinese peoples’ identities.)
Barong Brutuk + (Barong Brutuk is the embodiment of Bhatara … Barong Brutuk is the embodiment of Bhatara Ratu Pancaring Jagat in Trunyan village of which there are 21 people. The faces of the barongs resemble primitive masked faces with large white or brown eyes and are thought to be relics of pre-Hindu culture. Barong Brutuk is danced by male dancers taken from members of the truna sekaa in Trunyan village. Before dancing the sacred barongs, the cadets must go through a process of sacralization for 42 days. They lived in the vicinity of Bhatara Datonta and every day was tasked with cleaning the temple grounds and learning an ancient song called Kidung. During the sacralization process, the cadets were forbidden to have contact with the women in their village.Another activity carried out during the purification process is collecting banana leaves from Pinggan village which are used as clothing for the Brutuk dance. The banana leaves are dried and then knitted with peeled rope (banana tree) into a kind of skirt that will be used by Brutuk dancers. Each dancer uses two or three sets of clothing made of banana leaves, some of which are hung around the waist and partly on the shoulders, under the neck. Brutuk dancers use panties which are also made from banana tree rope.The Barong Brutuk performance is staged at noon just as the Odalan Day begins at Ratu Pancering Jagat Temple. Usually the Brutuk ceremony lasts for 3 days in a row starting at 12.00 noon and ending around 17.00 pm. The Brutuk dancers wear dried banana leaves and headdresses made of coconut leaves; One serves as King Brutuk, one functions as the Queen, one functions as Patih, one serves as the Queen's older brother, and the rest are regular members. The Brutuk dance illustrates the concept of a dichotomy in the life of the Trunyan community, namely two groups of people, men and women.The Brutuk ceremony begins with the appearance of member-level embodiments. They circled the temple walls three times each while waving whips to the audience participating in the ceremony. The audience attending the ceremony began to approach the Brutuk dancers to pick up the loose banana leaves which they would use as a means of fertility. The spectators who managed to get the banana leaves from Brutuk's clothes would keep them at home and then spread them out in the rice fields when they started planting rice. They expect a successful harvest.The last stage of the ritual performance begins in the evening, led by a pemangku (holy man), the women bring new offerings to be presented to the King and Queen Brutuk. When the offerings have been offered, the King and Queen dance together, while the other Brutuks and the audience just watch. A pair of Kings and Queens dance an ancient move, which imitates the behavior of a wild partridge. The King as keker (rooster) and the Queen dances as kiuh (hen). There are many wild partridges in the area around Trunyan. They pop their heads, swoop, peck and move their hips, claw at the ground and make sudden attacks on each other while flapping their wings. Movements such as cock fighting or flying. At the time of sandya kala, the dancers walk down to Lake Batur. Brutuk men with red masks, take a position by lining up behind the King, while masked dancers women line up opposite them, behind the Queen. The love dance of the King and Queen continued for about half an hour, while the male and female Brutuks continued to line up. Only the Patih and the brother of the Queen Brutuk remained active, they continuously whipped their whips at the audience.The dance of the King and Queen Brutuk ends with the movement of the Queen flying and crossing a line marked with a banner. All Brutuk then cheered when the King flew trying to pounce on the Queen. The King immediately caught him and embraced the Queen. At that moment the youths who became Brutuk, cheered in unison, as they ran into the water and threw themselves. There they stripped the remnants of the banana leaves that became their clothes, swam and had fun unwinding. Their costumes were left afloat, while their masks were picked up by older members of the tribe who descended to the shore of the lake to provide assistance. After that the dancers and the audience separated for dinner after all the celebratory activities were over. all the celebratory activities were over.)
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.)
Tari Kreasi Dadu + (Dadu Kreasi Dance was created by I Nyoman … Dadu Kreasi Dance was created by I Nyoman Cerita in 2015 and performed by Gamelan Wanita Sanggar Seni udamani as the Gianyar Regency Ambassador at the 37th Bali Arts Festival.This dance tells about the legendary dice game taken from the story of the Mahabharata. Duryodhana, masterminded by his uncle Patih Sangkuni, managed to hold a dice game with the Pandavas. This gambling game was filled with the cunning and ingenuity of Arya Shakuni, and King Yudhisthira responded by risking his younger siblings, the country and all his wealth even his wife Dewi Drupadi. In the end everything was won by Duryodhana and Yudhisthira in his regret of losing everything.Dewi Drupadi who was made a bet without her knowledge, then humiliated and almost stripped in public. But with Krisna's help, Drupadi was not able to be stripped naked, Drupadi in her anger then cursed everyone present in the game, Drupadi sued the ego, power, greed of men who too often abuse women's dignity.f men who too often abuse women's dignity.)
When I open my door + (Dewa Alit's latest album is called "when i … Dewa Alit's latest album is called "when i OPEN MY DOOR".This album includes three of Dewa Alit's non-gamelan compositions including "Open My Door" played by Ensemble Modern. "Ngejuk Memedi" by Gamelan Salukat is also in this album.https://www.dewaalitsalukat.com/is album. https://www.dewaalitsalukat.com/)
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.)
Tari Pendet Peliatan + (Pendet Peliatan is a welcoming dance adapt … Pendet Peliatan is a welcoming dance adapted from the pependetan ritual dance which was developed into a welcome dance. A dance that tells about a pair of bumblebee (male and female) who are making love in a flower garden. According to the dancers, this dance began to be developed around the 1960s and is often performed in front of state guests at the Tampaksiring Presidential Palace at the invitation of President Soekarno. In addition, this Pendet Dance is also often performed in welcoming guests at Puri Peliatan and Puri Kaleran. Basically the movement of the Pendet Peliatan Dance has a condong dance movement and the pengawak of Legong Lasem Peliatan, so Pendet Peliatan is the basis for starting Peliatan style dances. basis for starting Peliatan style dances.)
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.)
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.)
Satya Brasta + (Satya Bharasta is a tari kreasi (composed … Satya Bharasta is a tari kreasi (composed and choreographed by the renowned I Nyoman Cerita) for six male dancers. This dance portrays the battle between Karna, the viceroy of Awangga and ally of the Kurawa; and Gatotkaca, the flying son of the Pandawa brother Bima of the Mahabharata. Due to unusual circumstances surrounding Gatotkaca's birth, it was foretold that he would die by a special arrow called Konta Wijayakusuma, which Karna possesses. The dance features a rather ingenious formation of Karna's chariot, complete with wheels (via rotating temple umbrellas or pajeng) and a bucking horse. The dance ended with the death of Gatot Kaca by Konta Wijayakusuma.death of Gatot Kaca by Konta Wijayakusuma.)
Tari Sekar Jepun + (Sekar Jepun dance is a dance icon from Bad … Sekar Jepun dance is a dance icon from Badung Regency, Bali. The Japanese Sekar dance was composed by Ida Ayu Wimba Ruspawati, SST., M.Sn and the musical composition was composed by I Wayan Widia, S.Skar. Sekar Jepun dance tells about the beauty of Jepun or frangipani flowers with various shades of colors and shapes.The Jepun flower is one type of flower that is very important for the Balinese because it is widely used as a means of ceremonies and as a means of prayer for Hindus. Jepun flowers have a fragrant aroma and have a variety of colors, ranging from white, red, purple and yellow. In Bali this tree can be found in every Balinese house, often decorating the streets of villages and cities. In Badung Regency itself, Jepun trees are very easy to find along the road, when this tree blooms the beauty of this area will appear, that is the reason Sekar Jepun is made the mascot of Badung Regency.epun is made the mascot of Badung Regency.)
Sekar Jepun + (Sekar Jepun is a piece of pure music. Afte … Sekar Jepun is a piece of pure music. After theorchestra has entered, the reong twice commences animprovisation. After this, the gangsa ensembledecorates the melody announced by the flute.Sekar Jepun is a fairly recent composition. Theinterpretation by the gong kebyar of Peliatan isespecially notable for the extreme precision of theattacks and the wide range of nuances.the attacks and the wide range of nuances.)
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.)
Tabuh Kebyar Perak + (Tabuh Kebyar Perak is one of the extraordi … Tabuh Kebyar Perak is one of the extraordinary musical compositions by Balinese gamelan maestro I Wayan Gandera (late) from Peliatan Village, Ubud. This percussion symbolizes a silver flash of light that echoes in the universe. The dynamic melodies and chorus of music make this piece of music timeless and still one of the most interesting musical compositions to learn and perform.musical compositions to learn and perform.)
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.)
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.)
Legong Markandeya Lango + (The dance created by one of the young choreographers from Ubud, Gede Agus Krisna Dwipayana or more familiarly called Gede Krisna, tells of the spiritual journey of Rsi Markandeya to Bali.)
Legong Keraton Lasem + (The name Legong comes from the Balinese la … The name Legong comes from the Balinese language, Leg (flexible movement) and gong (gamelan) which blend into Legong which means flexible movements accompanied by gamelan.The Legong Keraton dance emerged around the early 19th century AD. This dance emerged from the idea of a King Sukawati named I Dewa Agung Made Karna.Initially this dance is sacred. This dance is only performed in temples to accompany Hindu religious ceremonies. In 1928, the King allowed this dance to be performed outside the palace for the people to enjoy.In 1931 this dance began to be displayed widely to support tourism. Many hotels in Bali stage this dance to entertain tourists.One of the palaces that owns and maintains the Legong Keraton dance is Puri Agung Peliatan. This palace used to often perform the Legong Keraton dance on certain occasions, such as Hindu religious ceremonies.A Legong Keraton performance always carries historical stories. One of the most popular stories is Lasem, which tells the love story of Prabu Lasem to Princess Rankesari.The dancer who appeared first was the Condong (emban) who wore a dominant red costume. Then followed by two Legong dancers who wore green costumes.In the story of Prabu Lasem, which is based on the Panji/Malat story, the two Legongs play Prabu Lasem and Princess Langkesari, respectively.The Legong Keraton Dance was designated as an intangible world cultural heritage by The United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2015. The Legong Keraton Dance is one of nine Balinese dances that received similar awards in addition to the Barong Ket Dance, Rejang Dance, Dance Joged Bumbung, Wayang Wong Dance Drama, Gambuh Dance Drama, Sidha Karya Mask, Ceremonial Bari Dance and Sang Hyang Dedari Danceial Bari Dance and Sang Hyang Dedari Dance)
Sumanasa Jayantaka +
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.)
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.)
Wiranjaya + (Wiranjaya dance was created by I Putu Sumi … Wiranjaya dance was created by I Putu Sumiasa, an artist from West Bali in 1957. Wiranjaya dance is an androgynous/bebancihan dance created as a competitor to Truna Jaya dance. Before 1965 this dance was called Kebyar Buleleng Dauh Njung, the beginning of this dance was created because the artist Pan Wandres had already created Kebyar Buleleng Dangin Njung, namely Terunajaya. These two works are a form of competition by two great Buleleng artists.But after 1965, this dance was developed again by Putu Sumiasa and renamed Wiranjaya. The Wiranjaya dance tells the story of two sons of Pandu, Nakula and Sahadewa from the epic Mahabharata who are learning archery at the Pasraman led by Bhagawan Tamba Petra.The development of Wiranjaya dance is very rapid because this dance is very energetic with beautiful dynamic movements that make dancers or art lovers really appreciate Wiranjaya dance. lovers really appreciate Wiranjaya dance.)