Artikel Budaya

Name/Npm : Mohamad Agung Dharmawan / 14611552

Class             : 4 SA01

Ni Ketut Arini, penari asal Denpasar, Bali, ini tidak pernah berhenti menari. Mengajar tari Bali di sanggarnya atau melayani panggilan melatih di luar negeri menjadi keseharian Arini, panggilannya. Oleh karena kesetiaannya pada tari, Arini ingin tetap menjaga dan melestarikan seni tari Bali melalui ratusan anak didiknya sampai kapan pun itu.

Menari, bagi Arini, bagai menyatu dalam jiwanya. Sejak berumur sekitar tiga tahun, dia sudah belajar menari. Jiwa seni dalam tubuh Arini mengalir dari ayahnya, seorang penabuh gamelan. Seringnya dia melihat pementasan tari Bali di puri-puri keraton membuat obsesi Arini pun bertumbuh.

Tahun 1957 dia sudah menjadi penari pilihan untuk upacara Sang Hyang Dedari di Banjar Pande Sumerta Kaja, Denpasar. Pada waktu itu, bisa tampil dalam upacara tersebut menjadi kebanggaan bagi seorang penari.

”Saya bertekad harus menjadi penari. Saya harus serius belajar (menari). Bahkan, saya tidak pernah berhenti belajar menari sampai sekarang,” kata Arini.

Legong menjadi salah satu tarian keahlian Arini. Terbukanya keran pariwisata membuka peluang masyarakat untuk naik ke pentas tari. Alasannya, tarian seperti Legong sebelumnya terbiasa hanya dipentaskan di keraton. Arini kemudian bercerita, banjar-banjar pada masa remajanya ramai menjadi tempat latihan sekaligus pementasan tari-tarian. Turis-turis mancanegara pun sering berdatangan ke banjar untuk menyaksikan tari-tarian yang dipentaskan.

Seiring berjalannya waktu, banjar pun kemudian berkembang menjadi pusat kegiatan adat hingga pementasan tari-tarian untuk pariwisata. Anak-anak dan remaja juga giat dan bersemangat berlatih tari. Kegiatan tari-menari itu kemudian tidak hanya untuk kepentingan pada upacara-upacara adat di pura-pura.

Entah mengapa, lanjut Arini, kegiatan tari-menari serta pementasannya lambat laun menghilang memasuki tahun 1980-an. Pementasan tari-tarian Bali kemudian berpindah ke hotel-hotel serta obyek-obyek wisata. Sesekali pementasan tari masih berlangsung, tetapi biasanya hanya ketika ada upacara. Kondisi tersebut menjadi keprihatinan Arini. Dia khawatir anak-anak muda tidak lagi berminat untuk belajar menari. Banjar-banjar pun terkena imbasnya, dan mulai sepi dari kegiatan tari-menari.

”Beruntung, saya belajar dari guru-guru terbaik di Bali kala itu. Oleh karena itulah, saya ingin terus berbagi ilmu (menari Bali) kepada siapa pun yang mau belajar,” kata Arini dengan serius.

http://travel.kompas.com/read/2015/03/14/103500027/Ni.Ketut.Arini.Kesetiaan.untuk.Tari.Bali

Google Translate

Ni Ketut Arini, a dancer from Denpasar, Bali, this never stopped dancing. Teaching dance performance in his workshop or serving overseas calls train into everyday Arini, vocation. Therefore, loyalty to the dance, Arini wanted to maintain and preserve the art of Balinese dance through hundreds protege until whenever it.

Dancing, for Arini, like fused in his soul. From the age of about three years, he had learned to dance. Arini artistic soul in the body flowing from his father, a gamelan. Often he saw Balinese dance performances in castles palace made Arini obsession is growing.

In 1957 he had become a dancer choice for Sang Hyang Dedari ceremony in Banjar Pande Sumerta Kaja, Denpasar. At that time, the ceremony can be performed in a pride for a dancer.

"I am determined to be a dancer. I have to seriously study (dancing). In fact, I have never stopped learning to dance until now, "said Arini.

Legong dance expertise into one Arini. The opening of the tap community tourism opportunities to rise to the dance scene. The reason, as Legong dance previously used only staged in the palace. Arini later recalled, hamlets in his youth crowded into the gym at the same time dance performances. Foreign tourists are often flock to the banjo to watch dances are staged.

Over time, the banjo was later developed into a center of cultural activities to staging dances for tourism. Children and adolescents are also keen and eager to practice dance. Dance-dance activities were then not only for the benefit of the traditional ceremonies at pretending.

Somehow, further Arini, dance-dance activities as well as the play slowly disappears into the 1980s. Staging of Balinese dances then moved to hotels and tourist resorts. Occasional dance performances still take place, but usually only when there is a ceremony. These conditions concern Arini. He was worried about young children are no longer interested in learning to dance. Hamlets were affected, and began to empty of dance-dance activities.

"Luckily, I learned from the best teachers in Bali at that time. Therefore, I would like to continue to share knowledge (dancing Bali) to anyone who wants to learn, "said Arini seriously.

My Translate

Ni Ketut Arini, a dancer from Denpasar, Bali, this never stopped dancing. Teaching dance performance in his workshop or serving overseas calls train into her daily life, vocation. Therefore, loyalty to dance, Arini wanted to maintain and preserve the art of Balinese dance through hundreds protege until whenever it.

Dancing, for Arini, like fused in her soul. From the age of about three years, she already learned to dance. artistic soul in her body flowing from her father,a gamelan beater. Often she saw Balinese dance performances in castles palace makes her obsession is growing.

In 1957 she already become a dancer choice for Sang Hyang Dedari ceremony in Banjar Pande Sumerta Kaja, Denpasar. At that time, she can be performed in the ceremony be an honor for a dancer.

“I was determined to have to be a dancer. I have to seriously study dance. In fact, I never stopped learn to dance until now,"said Arini.

Lengong became one of the dance her expertise. The opening of the tap tourism community opportunities to rise to the dance scene. The reason, as Legong dance previously used only staged in the palace. then, arini storytelling, hamlets in his youth crowded into the gym at the same time dance performances. Foreign tourists are often flock to banjar for watching dances are staged.

Over time, banjar was later developed into a center of cultural activities to staging dances for tourism. Children and teenagers are also keen and eager to practice dance. Dance activity was then not only for the benefit of the traditional ceremonies at pretending.

Somehow, Arini said, dance activities as well as the play slowly disappears into the 1980s. Balinese dance performances then moved to hotels and tourist resorts. Occasionally dance performances still take place, but usually only when there is a ceremony. These conditions her concern. She worried about young children are no longer interested for study dance. Banjar were affected, and began to empty of dance to dance activities.

"Luckily, I learned from the best teachers in Bali at that time. Therefore, I would like to continue to share knowledge ( Bali Dancing ) to anyone who wants to learn, "said Arini seriously.