Pendet Memendak Dance in Kerambitan Village, Tabanan, Bali
DOI:
https://doi.org/10.18533/journal.v8i6.1652Keywords:
form, function, Pendet Memendak Dance, Dewa Yadnya Ceremony at Saren Gong Temple in Kerambitan Village, Tabanan, Bali.Abstract
The purpose of this study is to find out and understand Pendet Memendak Dance in Kerambitan Village, Tabanan, Bali. This research is carried out dur to the imbalance between assumptions and reality that occurs in the field. Advanced and modern societies usually prefer dances which are beautiful and presented in a modern way. However, the reality shows a different thing. Although Pendet Memendak Dance is very simple and traditional, the people in Kerambitan Village stil preserve it. This fact raises two questions: (1) How is the form of the Pendet Memendak Dance? (2) What is the function of this dance for the local community?
This study utilizes a qualitative method. The data sources of this research are Pendet Memendak Dance, related informants, and the results of the previous research. All data collected by observation, interview, and library study techniques are analyzed using aesthetic theory, religious theory, symbol theory, and structural functional theory.
The results of the study showed that: (1) Pendet Mendendak Dance in Banjar Tengah, Kerambitan, Tabanan is performed in the form of a free dance (without any play or characters). It can be seen from the way of performing, choreography, makeup and clothing, and the music; (2) Pendet Memendak Dance is still preserved by the people in Kerambitan Village because it has a function as a means of ceremonies, a binder of social solidarity, and one of efforts to preserve the art and culture of the community in the village.
References
Bandem, I Made 1996. Etnologi Tari Bali.Yoyakarta: Kanisius
Bandem, I Made dan Fredik Eugene deBoer. 2004.Kaja dan Kelod Tarian Bali dalam Transisi, terjemahan I Made Marlowe Makaradhawa Bandem. Yogyakarta: Institut Seni Indonesia (ISI) Yogyakarta.
Bandem, I Made. 1983.Ensiklopedi Tari Bali. Denpasar: Akademi Seni Tari (ASTI).
Brown, A.R. Radcliffe. 1980.Struktur Dan Fungsi Dalam Masyarakat Primitif. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementrian Pelajaran Malaysia.
Cassirer, Ernst. (terj. Alois A. Nugroho). 1987. Manusia dan Kebudayaan: Sebuah Essai Tentang Manusia. Jakarta: PT. Gramedia.
Cundamani. 1987. Pengantar Agama Hindu Untuk Perguruan Tinggi. Jakarta: Yayasan Wisma Karma Jakarta.
deSaussure, Ferdinand. 1996. A Course in General Linguistics. New York: McGraw Hill.
Dhavamony, Mariasusai. 1973. Phenomenology of Religion (Fenomenologi Agama). 1995. Roma: Gregorian University Press.
Dibia, I Wayan. 2013.Puspasari Seni Tari Bali. Denpasar: Institut Seni Indonesia Denpasar.
Dibia, I Wayan. 1999. Selayang pandang; Seni Pertunjukan Bali. Bandung: Masyarakat Seni Pertunjukan Indonesia..
Djelantik, A.A.M. 1992. Estetika Sebuah Pengantar. Bandung: MSPI arti. line
Djelantik, A.A.M. 1999. Estetika Sebuah Pengantar. Bandung: Masyarakat Seni Pertunjukan Indonesia.
Dojosantosa. 1986. Unsur Religius Dalam Sastra Jawa. Semarang: Aneka Ilmu.
Donder, I Ketut. 2005. Esensi Bunyi: Dalam Prosesi Ritual Hindu. Surabaya: Paramita.
Eliade, Mercea. 2002. Sakral dan Profan, terjemahan Nurwanto dari The Sacred and the Profane. Jogjakarta: Fajar Pustaka Baru.
Endraswara, Suwardi. 2003. Metode Penelitian Kebudayaan. Yogyakarta: Gadjah Mada University Press.
Hendropuspito O.C.,D. 1983. Sosiologi Agama. Yogyakarta: Kanisius.
Humardani 1979/80. Dasar-dasar Estetika.Sub Proyek ASKI/IKI.
Karangasem”, SebuahSkripsi. Universitas Hindu Indonesia.
Kari, I Wayan. 1985. ”Tari Pendet Memendak di Pura Puseh Desa Ulakan Kabupaten
Koentjaraningrat. 1998. Pengantar Antropologi Jilid II. Jakarta: PT. Rineka Cipta.
Koentjaraningrat.1987. Sejarah Teori Antropologi (I). Jakarta: UI Press.
Kusmayati, A.M. Hermien. 1990. Makna Tari dalam Upacara di Indonesia. Yogyakarta: ISI Yogyakarta.
Linton, Raph 1984. The Study of Man : An Introduction, New York Applenton Century Company.
MoleongLexy J. 2008.Metode Penelitian Kualitatif. Bandung: PT Remaja Rosdakarya.
Palmer, Richard E. 2005. Hermeneutik Teori Baru Mengenai Interprestasi. Yogyakarta: Pustaka Pelajar.
Patilima, Hamid. 2005. TeknikPenelitianKualitatif. Bandung CV Alfabeta.
Peursen, Van. 1988. Strategi Kebudayaan. Yogyakarta: Kanisius.
Poloma, Margaret M. 1984. Sosiologi Kontemporer. Jakarta: CV. Rajawali.
Putra, Gusti Darma. 2013.”Sejarah Perkembangan Agama Hindu di Bali”,12 Mei (http//wwwgustidarmaputra.blogspot.com/2012/05).
Sanderson, Stephen K. 1993. Sosiologi Makro: Sebuah Pendekatan Terhadap Realitas Sosial. Jakarta: Rajawali Press.
Sugiyono.2010. Metode Penelitian Kuantitatif dan Kualitatif.Bandung: Alfabeta.
Suhardika, Ida Bagus D. 2010. ”Kearifan Lokal Pendidikan Keagamaan Masyarakat dan Implementasinya pada Pasraman Praja Winangun di Kecamatan Kediri Kabupaten Tabanan”. Dalam Tesis. Universitas Hindu Indonesia.
Sumadi, Suryabrata. 2003.Metodologi Penelitian. Jakarta: PT Raja Grafindo Persada.
Sutrisno, Mudji (ed). 2005. Teori-teori Kebudayaan.Yogyakarta: Kanisius.
The Liang Gie. 1997. Filsafat Keindahan. Yogyakarta: Pubib.
The Liang Gie.1996.Garis-garis Besar Estetik (Filsafat Keindahan). Yogyakarta: Karya
Turner, B. S. 1992. Max Weber : From History to Modernity. London : Routledge.
Yudabakti, I Made,& Wayan Watra. 2007.Filsafat Seni Sakral dalam Kebudayaan Bali. Surabaya: Penerbit Paramita Surabaya.
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- 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 acknowledgement of its initial publication in this journal.
- 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).