The creative process of creating dance accompaniment gendhing Murdanata Dedarining Aringgit: the mascot dance of Nagasepaha Village in Buleleng Regency, Bali

Authors

  • I Nyoman Kariasa Institut Seni Indonesia Denpasar, Bali
  • Wardizal Wardizal Institut Seni Indonesia Denpasar, Bali
  • Hendra Santosa Institut Seni Indonesia Denpasar, Bali https://orcid.org/0000-0002-6286-4387

DOI:

https://doi.org/10.33153/dewaruci.v18i2.4904

Keywords:

Gendhing dance accompaniment, Murdanata Dedarining Aringgit dance, Creative process, Balinese karawitan concepts, Cultural representation

Abstract

The Gendhing accompaniment for Murdanata Dedarining Aringgit is a newly composed musical piece designed to accompany the Murdanata Dedarining Aringgit dance, which serves as the mascot dance of Nagasepaha village in Buleleng Regency, Bali. Data for creating this piece were gathered through literature studies, observations, interviews, and discography (recordings). The primary question guiding this creation was: 'What is the creative process involved in composing the accompaniment for the Murdanata Dedarining Aringgit dance?' The creative process involved three stages: exploration, improvisation, and formation. The key findings of this creation include: (1) The Gendhing accompaniment for Murdanata Dedarining Aringgit is a novel composition rooted in Balinese karawitan musical concepts, (2) The structural framework of the Gendhing utilizes the Tri Angga concept, comprising Kawitan, Pengawak, and Pengecet, and (3) Both the Gendhing and the Murdanata Dedarining Aringgit dance emerged from a collective desire to establish a new musical language that fulfills the community's evolving cultural needs. This creation underscores the inseparable unity between the Gendhing accompaniment and the Murdanata Dedarining Aringgit dance, thus serving as a cultural representation of the people of Nagasepaha village in Buleleng Regency, Bali.

Downloads

Download data is not yet available.

References

I. G. A. Sugiartha, “Balinese dance and music in relation to hinduism,” SPAFA J., vol. 2, pp. 1–17, Jan. 2018, doi: 10.26721/spafajournal.v2i0.564.

W. Sinti and A. E. Sanger, “Gamelan Manikasanti : One Ensemble, Many Musics,” Asian Music, vol. 37, no. 2, pp. 34–57, 2006, doi: 10.1353/amu.2007.0011.

P. Tamara, G. R. L. L. Simatupang, G. Gustami, and I. W. Senen, “Preservation strategy through implementation of Hindu aesthetics on Balinese Pejaten pottery in Indonesia,” Int. J. Vis. Perform. Arts, vol. 3, no. 2, pp. 71–84, Dec. 2021, doi: 10.31763/viperarts.v3i2.421.

K. Foley, “Creating Bhumi for Sanggar Çudamani, Bali,” Asian Theatr. J., vol. 37, no. 2, pp. 490–508, 2020, doi: 10.1353/atj.2020.0038.

A. Mabingo, “Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda,” Res. Stud. Music Educ., vol. 42, no. 2, pp. 231–247, Jul. 2020, doi: 10.1177/1321103X19843202.

M. M. Hood, “Gamelan Gong Gede : Negotiating Musical Diversity in Bali’s Highlands,” Musicol. Aust., vol. 32, no. 1, pp. 69–93, Jul. 2010, doi: 10.1080/08145851003794000.

S. Davies, “Balinese Aesthetics,” J. Aesthet. Art Crit., vol. 65, no. 1, pp. 21–29, Jan. 2007, doi: 10.1111/j.1540-594X.2007.00234.x.

P. H. Mason, “Tapping the Plate or Hitting the Bottle: Sound and Movement in Self-accompanied and Musician-accompanied Dance,” Ethnomusicol. Forum, vol. 23, no. 2, pp. 208–228, May 2014, doi: 10.1080/17411912.2014.926632.

G. M. R. Pratama, R. S. I. Wayan, and I. K. Sudirga, “The Philosophy Meaning Experimental Music Works ‘Dreadlocks,’” Randwick Int. Soc. Sci. J., vol. 4, no. 3, pp. 533–545, Jul. 2023, doi: 10.47175/rissj.v4i3.659.

M. Stephen, “The Dasaksara and Yoga in Bali,” J. Hindu Stud., vol. 7, no. 2, pp. 179–216, Aug. 2014, doi: 10.1093/jhs/hiu023.

I. K. Ardana, “Representasi Konsep Patet dalam Tradisi Garap Gamelan Bali,” Resital J. Seni Pertunjuk. (Journal Perform. Arts), vol. 21, no. 1, pp. 11–27, 2020, doi: https://doi.org/10.24821/resital.v21i1.4213.

I. K. Sariada, I. G. O. S. Negara, and I. G. Mawan, “Arjuna Tapa: A new creation dance,” J. Aesthetics, Creat. Art Manag., vol. 1, no. 2, pp. 131–154, Oct. 2022, doi: 10.59997/jacam.v1i2.1832.

I. G. A. K. B. Kepakisan and I. K. Sudhana, “Pancer: A Music Interpretation of the Chronicle of Panjer | Pancer: Sebuah Musik Interpretasi Babad Panjer,” Ghurnita J. Seni Karawitan, vol. 3, no. 1, pp. 36–44, Mar. 2023, doi: 10.59997/jurnalsenikarawitan.v3i1.1117.

E. D. Mahira, B. Soemardiono, and E. B. Santoso, “Cultural Tradition as a Local Context for Sustainable of Urban Identity in Gianyar City Case Study,” Pertanika J. Soc. Sci. Humanit., vol. 31, no. 1, pp. 283–301, Mar. 2023, doi: 10.47836/pjssh.31.1.15.

S. P. Walton, “Aesthetic and Spiritual Correlations in Javanese Gamelan Music,” J. Aesthet. Art Crit., vol. 65, no. 1, pp. 31–41, Jan. 2007, doi: 10.1111/j.1540-594X.2007.00235.x.

I. Komang Sudirga, “Innovation and Change in Approaches to Balinese Gamelan Composition,” Malaysian J. Music, vol. 9, pp. 42–54, 2020, doi: 10.37134/mjm.vol9.4.2020.

I. M. D. Rustika Manik, I. N. Sudiana, and N. P. Hartini, “Wira Chandra New Music Creation | Musik Kreasi Baru Wira Chandra,” GHURNITA J. Seni Karawitan, vol. 1, no. 3, p. 204, Jul. 2023, doi: 10.59997/jurnalsenikarawitan.v1i3.383.

R. W. Rama and W. -, “Music Composition Magringsing | Komposisi Tabuh ‘Magringsing,’” GHURNITA J. Seni Karawitan, vol. 1, no. 4, pp. 299–306, Jul. 2023, doi: 10.59997/jurnalsenikarawitan.v1i4.463.

G. D. Redford, “Aesthetic and Ergonomic Considerations,” in Mechanical Engineering Design, London: Macmillan Education UK, 1966, pp. 109–124. doi: 10.1007/978-1-349-81756-6_6

R. K. Schutt, H. M. Blalock, and T. C. Wagenaar, “Goals and Means for Research Methods Courses,” Teach. Sociol., vol. 11, no. 3, pp. 235–258, Apr. 1984, doi: 10.2307/1318304.

D. S. Blumenfeld-Jones, “The Artistic Process and Arts-Based Research,” Qual. Inq., vol. 22, no. 5, pp. 322–333, Jun. 2016, doi: 10.1177/1077800415620212.

I. G. Gunadi Putra, I. G. Mawan, and I. B. Wijna Bratanatyam, “Motivation for Creating the Baris Nadewa Creation Dance in the New Normal Era,” Lekesan Interdiscip. J. Asia Pacific Arts, vol. 5, no. 2, pp. 127–136, Nov. 2022, doi: 10.31091/lekesan.v5i2.2156.

I. W. Sudirana, “Meguru Panggul and Meguru Kuping; The Method of Learning and Teaching Balinese Gamelan,” Lekesan Interdiscip. J. Asia Pacific Arts, vol. 1, no. 1, pp. 39–44, May 2018, doi: 10.31091/lekesan.v1i1.341.

I. N. Sama, Saptono, and H. Santosa, “Raising the Spirit of Sekaha Gong Kebyar Desa Ulian Through the Creation of ‘Sekar Jepun’ Gending,” Lekesan Interdiscip. J. Asia Pacific Arts, vol. 6, no. 2, pp. 95–104, 2023, doi: 10.31091/lekesan.v6i2.2513.

J. Suranto, R. Rustopo, and B. Sunarto, “Taksu and Shackle of the Aesthetic Regimes in the Literation of Laksita Jati Music Yeni Amara,” Int. J. Vis. Perform. Arts, vol. 2, no. 1, pp. 33–41, Jun. 2020, doi: 10.31763/viperarts.v2i1.131.

H. Gardner, “The Development of Sensitivity to Artistic Styles,” J. Aesthet. Art Crit., vol. 29, no. 4, pp. 515–528, Jun. 1971, doi: 10.1111/1540_6245.jaac29.4.0515.

S. Davies, “The origins of Balinese legong,” Bijdr. tot taal-, land- en Volkenkd. / J. Humanit. Soc. Sci. Southeast Asia, vol. 164, no. 2, pp. 194–211, 2008, doi: 10.1163/22134379-90003656.

P. M. Sukerta, I. N. Sukerna, and N. S. Prihatini, “Rwa Bhinneda the aestetics of Balinese traditional music,” Arts and Design Studies, vol. 74. pp. 40–46, 2019.

C. McPhee, “The five-tone gamelan music of Bali,” Music. Q., vol. 35, no. 2, pp. 250–281, Apr. 1949, doi: 10.1093/mq/XXXV.2.250.

E. C. Carterette and R. A. Kendall, “Comparative Music Perception and Cognition,” in The Psychology of Music, Elsevier, 1999, pp. 725–791. doi: 10.1016/B978-012213564-4/50019-6

N. Gray, “Of One Family? Improvisation, Variation, and Composition in Balinese Gendér Wayang,” Ethnomusicology, vol. 54, no. 2, pp. 224–256, Jul. 2010, doi: 10.5406/ethnomusicology.54.2.0224.

H. Santosa, “The Form of Membranophone Musical Instruments in The Early Ancient Javanese Culture Literatures,” Anthropologie, vol. 60, no. 3, 2022, doi: 10.26720/anthro.22.05.16.1.

I. P. D. H. S. Pryatna, “Konsep Musikal Instrumen kendang Dalam Gamelan Gong Kebyar Bali,” Resital J. Seni Pertunjuk., vol. 21, no. 2, pp. 73–84, 2020, doi: 10.24821/resital.v21i2.4220.

A. Bauer, “The other of the exotic: Balinese music as grammatical paradigm in Ligeti’s ‘Galamb borong,’” Music Anal., vol. 27, no. 2–3, pp. 337–372, 2008, doi: 10.1111/j.1468-2249.2009.00277.x.

Downloads

Published

2023-11-03

Issue

Vol. 18 No. 2 (2023)

Section

Articles

License

Authors who publish in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni agree to the following terms:

  1. Authors retain copyright and grant the Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share (copy and redistribute the material in any medium or format) and adapt (remix, transform, and build upon the material) the work for any purpose, even commercially with an acknowledgment of the work's authorship and initial publication in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni.
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).

    Lisensi Creative Commons

    This work is licensed under a Creative Commons Attribution 4.0 International License