Ni Luh N Jeylita Paramacitha, I Nengah Mariasa, Trisakti Trisakti, Warih Handayaningrum , Eko Wahyuni Rahayu

THE FORM OF BALINESE PUSPANJALI DANCE THROUGH AN AESTHETIC APPROACH

Introduction

The form of balinese puspanjali dance through an aesthetic approach . Discover the aesthetic form of Balinese Puspanjali dance, analyzing its movements & presentation through Satyam, Sivam, Sundaram theory. This qualitative study enhances understanding of its cultural beauty.

Abstract

Dance is a form of expression that reflects human interaction with the environment and culture as a ritual or entertainment art. One of them, Puspanjali Balinese dance is categorized as an entertainment dance in the form of a new creation dance (Balih-balihan Dance). This research examines the aesthetics of the Puspanjali dance form which refers to the aesthetic theory of Satyam, Sivam, Sundaram. The methodology used is descriptive qualitative by conducting observations, interviews with Balinese dance experts and literature studies. The analysis shows that Puspanjali dance movements are performed repetitively consisting of Agem (Agem right and left), Tangkis (Ngegol, Ngegol Nyemak Saput, Angsel, Ngeseh, Jalan swinging hand ukel, Jalan swinging holding saput), Tangkep (Ngliyer, Seledet). This variety of motion refers to pure motion that only shows aesthetics without meaning. This research concludes that the aesthetics of Puspanjali dance form can be seen through the concept of satyam which categorizes Puspanjali dance presentation as Balih-Balihan dance and the concept of sundaram refers to the beauty of Puspanjali dance form. Through the aesthetic approach, this research increases the understanding of Puspanjali dance form.

Review

The paper "THE FORM OF BALINESE PUSPANJALI DANCE THROUGH AN AESTHETIC APPROACH" undertakes an exploration of the aesthetic qualities inherent in the Puspanjali Balinese dance form. Categorizing Puspanjali as a new creation or entertainment dance (Balih-balihan), the research employs a descriptive qualitative methodology, drawing on observations, expert interviews, and literature reviews. Its primary objective is to analyze the dance's aesthetics through the lens of Satyam, Sivam, and Sundaram theory. The study identifies key repetitive movements such as Agem, Tangkis, and Tangkep, asserting these as 'pure motion' primarily focused on aesthetic display rather than explicit meaning. A notable strength of this work lies in its detailed description of specific Puspanjali dance movements, providing valuable insights into its choreographic elements. The application of the Satyam and Sundaram concepts successfully situates Puspanjali within the Balih-Balihan category and highlights its formal beauty, respectively, thereby contributing to a better understanding of this particular Balinese dance. However, a significant omission concerns the role of 'Sivam' from the initially stated tripartite theoretical framework (Satyam, Sivam, Sundaram). While 'Satyam' and 'Sundaram' are clearly applied in the conclusion, the absence of 'Sivam's' discussion or application leaves a gap in the completeness of the proposed aesthetic approach. Furthermore, the assertion that the dance's movements are "pure motion that only shows aesthetics without meaning" could benefit from further nuanced discussion, as even seemingly abstract aesthetic forms often carry embedded cultural or emotional connotations, or convey meaning implicitly rather than explicitly. Overall, this paper offers a concise and focused examination of Puspanjali dance aesthetics, successfully cataloging its movement vocabulary and applying specific aesthetic principles. While the methodological approach is sound for its qualitative nature, addressing the aforementioned theoretical inconsistency regarding 'Sivam' and expanding on the concept of 'meaning' in dance would significantly strengthen its theoretical contribution. Despite these points, the research provides a useful descriptive account and contributes to the scholarly understanding of Balinese dance forms, particularly for those interested in the evolution and aesthetic analysis of new creation dances. Further research could explore the historical evolution of Puspanjali within the Balinese dance repertoire or delve deeper into the audience reception of its 'pure aesthetic' quality.

Full Text

Comments

You need to be logged in to post a comment.