Eksistensi Dan Regenerasi Komunal Tari Baris Gede di Desa Adat Umeanyar

Authors

  • I Putu Merta Institut Agama Hindu Negeri Mpu Kuturan
  • Ida Bagus Wika Krishna Institut Agama Hindu Negeri Mpu Kuturan
  • I Nyoman Raka Institut Agama Hindu Negeri Mpu Kuturan

DOI:

https://doi.org/10.37329/ganaya.v9i3.5551

Keywords:

Baris Gede Dance, Ritual Dynamics, Symbolic Structure, Communal Regeneration, Cultural Preservation

Abstract

This research is motivated by the imbalance in the condition of the Baris Gede Dance at the Puseh Temple in Umeanyar Traditional Village. The physical preservation of the dance remains intact, but there is a weakening in the transmission of values ​​and fragmentation of symbolic meaning among the younger generation due to the process of modernization. The research aims to analyze the relationship between performative practices, symbolic structures, and the dynamics of regeneration challenges, and to formulate a model for cultural preservation at the local level. This study analyzes the relationship between performative practices, symbolic structures, the dynamics of regeneration challenges, and to formulate a model for cultural preservation at the local level. The research method used is qualitative with a case study design and an interpretive ethnographic approach, utilizing participant observation, in-depth interviews, and analysis of traditional documents. The results reveal three main findings: first, the formal physical continuity of the dance is very strong due to the support of customary regulations and collective obligations of ngayah; second, there are serious challenges to communal regeneration in the form of time desynchronization due to work mobility, incidental training, and the shallow internalization of the philosophical meaning of movements (nyongkok, matayungan) and local nomenclature. Third, an operational community-based preservation strategy (community-based safeguarding) is needed through the design of a structured training curriculum integrated with digital video tutorials, strengthening customary decisions (perarem), allocating special funding (dana dresta), and aesthetic control over modern cosmetics. In conclusion, the existence of sacred art is not solely measured by the frequency of physical performances, but rather by the effectiveness of the transmission of cultural and spiritual knowledge that adapts to the realities of modern youth in order to maintain the dance's taksu (spiritual power).

References

Bandem, I. M. (1975). The Baris Dance. Ethnomusicology, 19(2), 259-265.

Bourdieu, P. (1977). Outline Of A Theory Of Practice. Cambridge: Cambridge University Press.

Budiarsa, I. W. (2020). Penciptaan Karya Seni Tari Baris Gede Gentorag. Kalangwan: Jurnal Seni Pertunjukan, 6(2), 84-94.

Covarrubias, M. (1999). Island of Bali. Jakarta: Periplus.

Dachlan, R. (2015). Indonesia’s Implementation Of Inventory Obligation Under UNESCO’s Intangible Cultural Heritage Convention: Problems In The Online Inventories. International Journal of Cultural Property, 22(1), 131-151.

Dahlan, M. (2023). Tradisi Ngayah Pada Masyarakat Bali. Jurnal Kajian Sosial Dan Budaya: Tebar Science, 7(3), 112-116.

Dibia, I. W. (1985). Odalan of Hindu Bali: A Social Religious Festival And Theatrical Event. Asian Theatre Journal, 2(1), 61-65.

Dibia, I. W., & Ballinger, R. (2012). Balinese Dance, Drama & Music: A Guide To The Performing Arts Of Bali. North Clarendon: Tuttle Publishing.

Eiseman, F. B. (1989). Bali: Sekala And Niskala-Essays On Religion, Ritual, And Art. North Clarendon: Tuttle Publishing.

Erawati, N. M. P. (2024). Filsafat Tari Dalam Kebudayaan Bali. Widyadari: Jurnal Pendidikan, 25(1), 173-182.

Geertz, C. (1973). The Interpretation Of Cultures. New York: Basic Books.

Hobsbawm, E. J., & Ranger, T. (1983). The Invention Of Tradition. Cambridge: Cambridge University Press.

Jirnaya, I. K., & Paramartha, K. (2018). Pantangan Pemangku Di Desa Les Buleleng Memakai Genta Saat Melaksanakan Upacara Yadnya: Kajian Tuturan. Jurnal TUTUR: Asosiasi Peneliti Bahasa-Bahasa Lokal (APBL), 4(1), 42-50.

Koentjaraningrat, K. (2009). Pengantar Ilmu Antropologi. Jakarta: Rineka Cipta.

Kurin, R. (2004). Safeguarding Intangible Cultural Heritage. Washington: Smithsonian Books.

Kusuma, A. A. M. A. W., & Jazuli, M. (2023). Tari Baris Gede Télék at Pura Dalem Kedewatan Desa Adat Sanur: A Study of Form and Function. Mudra: Jurnal Seni Budaya, 38(3), 301-309.

Negara, I. G. O. S., & Desiari, M. A. (2025). Bala Ghora. Jurnal Igel: Journal Of Dance, 5(1), 81-89.

Picard, M. (1996). Bali: Cultural Tourism And Touristic Culture. Brooklyn: Archipelago.

Setiawan, I. D. A. G., Sukabawa, I. W., & Agung, I. G. A. I. (2026). Komunikasi Simbolik Pada Tradisi Tari Baris Babuang Di Desa Pengotan Kecamatan Bangli, Kabupaten Bangli. Integrative Perspectives of Social and Science Journal, 3(6), 4556-4569.

Turner, V. (1969). The Ritual Process: Structure And Antistructure. Chicago: Aldine.

Vickers, A. (1989). Bali: A Paradise Created. Singapura: Periplus Editions.

Downloads

Published

08-07-2026

How to Cite

Merta, I. P., Wika Krishna, I. B., & Raka, I. N. (2026). Eksistensi Dan Regenerasi Komunal Tari Baris Gede di Desa Adat Umeanyar. Ganaya : Jurnal Ilmu Sosial Dan Humaniora, 9(3), 157–168. https://doi.org/10.37329/ganaya.v9i3.5551

Issue

Vol. 9 No. 3 (2026): Article in Press

Section

Articles

License

Copyright (c) 2026 I Putu Merta, Ida Bagus Wika Krishna, I Nyoman Raka (Author)

Creative Commons License

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

An author who publishes in the Ganaya : Jurnal Ilmu Sosial dan Humaniora agrees to the following terms:

  • Author retains the copyright and grants the journal the right of first publication of the work simultaneously licensed under the Creative Commons Attribution-ShareAlike 4.0 License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal
  • Author is 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 the acknowledgement of its initial publication in this journal.
  • Author is  permitted and encouraged to post his/her  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 the published work (See The Effect of Open Access).

Read more about the Creative Commons Attribution-ShareAlike 4.0 Licence here: https://creativecommons.org/licenses/by-sa/4.0/.