Internalization of Wirasa in the Body Processing

for Role-playing in the Yogyakarta-style Dance

Sarjiwo

Institut Seni Indonesia Yogyakarta

Keywords: Wirasa, dance body processing, Joged Mataram

Abstract: The quality of one’s being a dancer is said to be good if all three of the aspects here termed wiraga, wirama,

and wirasa are able to be internalized in the person of the dancer concerned.

The wirasa aspect that has as its

source Joged Mataram and, therefore, consists of four elements, namely, sawiji (implying concentration),

greged (implying spiritedness), sengguh (implying self-confidence), and ora mingkuh (implying never giving

up)

. The method called mejed, which is for correcting the positioning of body parts by touching is very much

required. Improvement in wirasa quality could not be done instantly. Sincerity is needed in exercises related

to the wiraga and wirama aspects. The reason is that improvement in wirasa quality is highly related to the

process of improvement in quality of both wiraga and wirama. Integrated mastery and application of the

various rules could improve wirasa quality. Improvement in bodily quality is done through three forms of

processing the body, namely, the one using as guide the traditional dance techniques, the one whose purpose

is to improve stamina and elasticity, and the one whose purpose is to improve sensitivity in body and feeling

with the process of exercise in the open in nature.

1 INTRODUCTION

A dancer has a power of captivating spectators when

able to internalize the aspects here termed wiraga,

wirama, and wirasa so that the aspects become

embodied in the dancer’s person. The internalization

is an effort of selecting, unearthing, and mastering

various dance rules and norms in order that they

become inseparable from the dancer’s behavior at

dance time. The internalization of wiraga, wirama,

and wirasa requires a continuous process done not

only independently but also under the guidance of a

competent teacher in order to result in a dancer of

quality. The internalization requires strong dedication

and determination. Non-occurrence of the exercise

process to maintain the dancer’s competence would

result in a lowering of the dancer’s quality. The

reason is that at the time a dancer is dancing as

someone or something else, the dancer is no longer in

the

position of one in the process of becoming

because the position is already of one in finished,

ready, and active condition as subject of action. It

means that, at that time, the dancer is role-playing,

dancing as someone or something else, and is no

longer

one who is conscious of one’s natural

condition for the dancer is already entering

the

territory of artistic expression. Therefore, one who is

a dancer not dancing as oneself is to have the

responsibility of serious role comprehension of the

character that one is dancing as by involving all the

potential in one’s body and spirit.

The improvement of the wiraga aspect which is

technique-related in nature is done by means of

exercises in body processing as effort of exploring the

body in order that each body part could be explored

functionally and esthetically. Body processing

exercises are useful for training of bodily sensitivity

in exploring the body as infinite dance instrument.

The quality of the body is as such if the dancer

concerned is able to do any technique of movement

and able to articulately manifest the dance wish. In

traditional dance, improvement in the quality of the

movement technique aspect is done by means of

exercises based on the basic rules of traditional

movement techniques.

In improving the students’

quality in the dance movement techniques of the

Yogyakarta-style classical dance, some dance studios

give training in dance movement elements of Rengga

Mataya and Tayungan to male dancers while female

dancers are given training in doing the dance named

Sari Tunggal which presents the basic dance

Sarjiwo, .

Internalization of Wirasa in the Body Processing for Role-playing in the Yogyakarta-style Dance.

DOI: 10.5220/0008544600290036

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 29-36

ISBN: 978-989-758-450-3

movements, accompanied with eighteen dance

varieties, for female dancers.

The wirama aspect shows the position of musical

rhythm as accompaniment and frame for the dance in

order that the dancer could feel the rhythm of the

gending (i.e., the traditional Javanese musical

structure), movement, and distance. Mastery of the

gending rhythm is required to enable each dancer to

know whether the rhythm is with slow or fast tempo,

the rhythm of movement being related to the degree

of coordination between one movement and another

and the rhythm of distance being related to the

maintenance of position and condition of body parts

when doing a dance movement. To condition students

in all that, the dance training held at the Yogyakarta

royal palace is always done with the accompaniment

of gamelan music (i.e., traditional Javanese music)

directly played live by those serving the royal house

of Kridha Mardawa at the royal palace. Meanwhile,

dance studios use accompaniment in the form of

played recording. Serious comprehension of the

gamelan rhythm would be beneficial for training in

sensitivity and improving the mastery of the wirama

aspect.

Wirasa is the aspect related to the dancer’s ability

in expressing the role character whom the dancer is

dancing as. The learning of the wirasa aspect has all

this time still not yet had a method which is integrated

in the process of dance learning. The dance learning

process has tended to focus on matters that have the

nature of being related to technique and form.

Moreover, the teacher has seldom been one involved

in dance performances so that the transformation of

dance learning has not sufficiently entered the wirasa

aspect. Besides, many training activities at dance

studios have not yet been oriented to wirasa training,

either.

In the past, to attain the wirasa quality, dancers

use various ways often referred to as laku. The reason

is that the dance teacher of the past did not always

teach various matters concerning wirasa clearly to

their students. The student had to seek it by

themselves in various ways or laku. The efforts made

by the students would at one time be shown to their

teacher. There were many kinds of laku or act that a

student had to creatively seek. The art studied as state

of expression is very rarely presented in a state of

description or a state of analysis. There are many

instances of lack in clarity that arise and surely cause

considerable doubt in selecting the values offered by

the teacher (Widaryanto, 2015). Likewise, to become

dancers of quality, dancers in Bali do various laku to

get taksu. The word taksu is well known among the

people of Bali. In its first sense, taksu is a sacred

power originating in God that could be obtained

through a ritual ceremony and spiritual work. In its

second sense, taksu is a material object known fully

as sanggah taksu, which is a place for worship with

certain physical structure and form (Dibia, 2012).

Some problems could happen to the quality of

being a dancer in a performance when, for example,

the dancer does not apply the rules that should be

obeyed concerning dance techniques. Obedience in

applying rules of the techniques of movement (as part

of the wiraga

aspect) would make the muscle system

conditioned to having a body attitude (or deg) ready

for movement making. In addition, the maintenance

of deg would exert influence on the quality of the

technique of movement that could lead to wirasa

quality. These various matters are highly related to

the quality of serious role comprehension in relation

with wirasa as manifestation of the dancer’s self-

integration with the role being played. The learning

having the nature of being technique-related (as part

of the wiraga and wirama aspects) has already been

considerably conducted but teachers of the classical

dance of the Yogyakarta style do not all already

enable an understanding that their pupils could do of

the wirasa aspect according to Kawruh Joged

Mataram, a writing concerning knowledge of how to

do the Mataram-style dance. The reason is that their

understanding is still limited to the mastery which is

cognitive in nature or restricted to understanding it as

science.

2 NATURE OF WIRASA IN THE

DANCE

The research concerned here was to investigate

human experience in the essentials of awareness and

the experience of dance experts, dance empus (or

‘masters’), dance teachers, choreographers, dance

directors, and dancers. The research was focused on

subjective human experiences and their

interpretations. With that reasoning as basis, the

research, as one type of qualitative research, used the

phenomenological approach. The research data were

collected by applying several ways in order that the

data obtained could be in fitting with the research

problem and the research objective. The data were

collected by means of observation, interview, and

documentary study.

Wirasa in the dance is an important aspect related

to serious comprehension and good character

expression in role playing. A dance becomes alive

due to being very much influenced by the dancer’s

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

ability in expressing the character of the role being

played. Substantially, every dancer should be able to

express whatever role is played with all the ability of

the body and spirit. When a dancer moves steadily

with full serious comprehension, a strong burst of

energy or dynamism would radiate in the dancer’s

self. The energy and the feeling brought about and

focused through the dance movement are also

experienced by the spectators as aesthetic emotion

(Marianto, 2012). The interaction in aesthetic

emotion between the dancer and the spectators could

happen if the dancer has a body with the quality of a

good dance instrument, a good expression ability, and

sensitivity of feeling for good serious comprehension

of character. It is not enough for art to only be a matter

of correct material and technique presentation for it

should also be presented with feeling (Astuti in

Zuchdi, 2011). Deep and emotion-filled serious

comprehension in artistic expression, hopefully, gets

the spectators’ sympathy and empathy. Therefore,

skills in technique and expression ability are, for a

dancer, matters of importance to always be

given

continuous study and practice sessions. Having high

skill in technique without being accompanied with

expression ability makes one dance without power.

So sensitivity is required to feel each movement

activity done in order to integrate it with the

expression. The ability to express the dance desire is

very much related to serious comprehension which

involves feeling.

Feeling is the core, essence, or nature of

something (Marianto, 2017). The gladness,

upsetness, sadness, happiness, satisfaction,

disappointment, courage, fear, fury, hate, love, and so

on could only be felt through a process of

accumulation until it causes one

to weep because of

sadness, laugh because of happiness, and so on. The

perception concerning feeling and the importance of

feeling, concerning what the relation between feeling

and thought is like, and concerning the principle of

sensing feeling in the world of artistic creation needs

to be understood well. The understanding concerning

the reciprocal relation of the aspects could enrich

vision and creative power (Marianto, 2017). The

principle of sensing feeling in art is a continuous

effort to cause to grow and develop feeling as an

important aspect in art. One requires sensitivity in

interacting with various situations in order to be able

to feel life events that could support activities of

artistic expression.

Ki Ageng Suryamentaram’s view recommending

that human individuals could prove their own raos (or

‘feeling’) themselves by means of experiencing or

practicing (Sugiarto, 2015). Acquiring knowledge by

means of thinking is very much different from

acquiring it through feeling (or by sensing).

Knowledge of Type 1 is acquired without or

preceding experience because the acquisition only

requires the power of the ratio that runs very logically

while knowledge of Type 2 should be acquired

through experiences via the senses because they

should be able to be felt by the body, which is

physical in nature (Sugiarto, 2015).

Ngelmu iku

kelakone kanthi laku. is a Javanese saying more or

less agreeing that knowledge is acquired through

experience. In the dance world, in relation with the

dancer’s ability in expressing a character role,

experience in doing various character roles is very

much required. The more varied the roles carried, the

richer the experience in exploring various character.

The process of character exploration is an activity for

getting comprehensive information of the character

that the dancer is playing as. Getting an intact form of

information of the character role would enable a

dancer to become one with the role being played. The

ability to internalize a role into oneself would open

the way to the occurrence of active interaction

between the object being observed and the subject

doing the observing.

Empathy is required in enjoying a dance

performance in order that continuous interaction

occurs as long as the performance is in progress. The

reason is that the dance world is an art for one

moment which could not be repeated with exactly the

same movement and expression. A dance movement

is a string of events in situations and conditions

occurring in space, time, and energy woven into one

unity. The situations and conditions in space, time,

and energy would exert influence on the output of the

dancer’s expression. Therefore, it is hoped that

dancers could pour out all their physical and mental

ability to do their job as dancer. Meanwhile, it is

hoped that the spectators continuously attend to the

performance process. The reason is that, to get the

sense or feeling (which is the core or essence) of art,

the observer should be willing to feel and experience

and not to merely analyze critically. Taksu should be

approached with empathy and felt in a synesthetic

way with the senses fully allowed to be active. It is

done in order that spectators could weave feeling to

get the meaning in the performance that they are

watching.

The effort to enable the body and the spirit

become media of expression in the dance is not

necessarily limited to a specific type of role character.

The choreographer and dancer Sardono W. Kusumo

has undergone not only serious comprehension of the

movement technique in relation with one character

Internalization of Wirasa in the Body Processing for Role-playing in the Yogyakarta-style Dance

(as in the character specialization that occurred in the

process of dance education at the royal palace in the

past) but also the tracing of various characters

(Widaryanto, 2015). A dancer who is experienced in

playing the role of various kinds of characters would

become increasingly richer and riper in seriously

comprehending a role. It is in line with the demand

that a dancer is to be a totality of body and spirit in

being able to play the assigned role as an intact whole.

The dancer is to be able to make himself or herself

become another self (Sarjiwo, 2004). The dancer’s

self is to be in the totality of the character being

played. Only then the ability of the body as

instrument in the dance would be ready for use in

playing any role. There is a demand that one who is a

dancer, with the totality of one’s body and soul, is to

be able to perform well the role of the character that

one is dancing as. In that case, all the potential in

one’s possession is to be poured for the role that one

plays. The dancer should comprehend and be really

aware of the details and various qualities of

movement and the understanding of the feeling of

movement (Prabowo, 2015). For that purpose,

abilities concerning various technique-related matters

and abilities in matters of character expression are

required. The union of the spirit with the body or with

feeling becomes one of the determinants of dance

quality. Many dance presentations fail to hypnotize

their spectators because they are performed by

dancers that are not yet able to unify their body and

spirit. One who is skilled in body processing but

insufficiently able to give soul and vibrations of life

to the movements done on stage would only present

soulless or lifeless movements (Dibia, 2013). The

unification process requires continuous efforts or

exercises and sincere willingness is needed in

undergoing the process fully responsibly. Therefore,

substantially, wirasa in the dance is required in order

to give the strength of life power to the dance. The

life power could hopefully give spiritual food to those

who accept it. Therefore, the body as instrument and

the spirit as power of expression in the dance should

be emptied to be refilled with whatever character

whose role is played. Dance masters often refer to it

by mentioning the concept of kothong nanging kebak,

the Javanese term meaning ‘empty but filled full’.

2.1 Quality of Wirasa in Dance

A Balinese dance artist named I Wayan Geria

emphasizes that students should be active to catch up

with their teacher’s mastery of knowledge and artistic

ability could not be learned by just being taught.

Students should train themselves in digging up the

ability from within themselves independently. The

teacher has more the role of giving guidance in

solving problems related to techniques that include

sensing, the body, and eye work (Rahayuning, 2010).

Geria’s statement above has been to his students

because the background of his becoming a famous

dance artist in Bali has been based on the results of

his being a student of art teachers that are esteemed

and superior in Bali. Such independent exercising is

related to the phenomenon that teachers in the past

never gave instructions clearly and plainly. Such

behavior is felt to become important because the

students are then to seek by themselves, to explore

their own body without reserve, and to later find and

interpret various social constructs and body

constructs for themselves (Widaryanto, 2015). The

independently-done seeking process would result in a

style and feeling of movement that, hopefully, could

nyalira (i.e., become embodied)

The wirasa aspect with Kawruh Joged Mataram,

a writing concerning knowledge of how to do the

Mataram-style dance, as its source consists of four

elements expressed as follows, (1) sawiji (implying

concentration), (2) greged (implying spiritedness),

(3) sengguh (implying self-confidence), and (4) ora

mingkuh (implying never giving up) (Dewan Ahli

Yayasan Siswo Among Beksa, 1981). Sawiji implies

concentration on the ability to unite all will by

exerting all power of the spirit and the mind towards

clear thought and doing it continuously

(Suryobrongto, 1982). Greged implies spirit, which

encourages determination to chase one’s hope and

realize it by working hard. Sengguh implies self-

confidence, which, according to Javanese ethics,

should be based on ngesthi pribadi, which means not

putting in front one’s ego and not being conceited.

Ora mingkuh implies never giving up, which is an

exptression of the responsible attitude. In this case, it

leans more towards the idea that one should have the

nature of being teteg (meaning ‘steady’), tatag

(meaning ‘looking forward’), and jejeg (meaning

‘firm’) in opinion (Sunaryadi, 2013). These four sub-

aspects could be understood only if one has made an

exploration to attain that quality. In dance education,

the sub-aspects sawiji, greged, sengguh, and ora

mingkuh are regarded as belonging to the scientific

domain. Because then the aspect concerned is

considered such a domain, it has not come yet to the

process of internalization into the learning process.

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

2.2 Concept of Kothong Nanging Kebak

in Role-playing

The expression kothong nanging kebak is a term said

by the teacher to the students to make them able to

empty themselves as person being a subject and then

able to integrate themselves with the character role

played. In order to be able to play a role accurately

and meticulously, the spirit should be kothong

(meaning ‘empty’) ananging kebak (meaning ‘but

full’).

Briefly, the words could be interpreted to mean

that if a dancer is not yet able to empty his or her spirit

from all personal traits like quickly becoming

satisfied, not sufficiently having a sense of

responsibility because of already feeling able, being

fond of being praised, and so on, he or she would

surely be unable to fill his or her spirit with the

character demanded by the role that he or she plays.

One who is dancing should empty one’s spirit and

fully fill it with the character whose role one plays

(Suryobrongto in Wibowo, 1981). Kothong implies

an attitude of self-surrender which places the body

and the spirit as media of expression which are

dikebaki (meaning ‘filled full’) with the role which

has become one with the body and the spirit.

Kothong nanging kebak is a Javanese saying that

is possibly not unfamiliar to art practitioners as what

is used to describe oneself’s willingness to become

another self. It is to imply that one, when being a

dancer, should provide and prepare the self in the

totality of oneself to be filled by another self so that

the other self fully filled the totality within oneself.

That statement is quite relevant with the need to

condition behavior before role playing into the

behavior of the character in the role played.

Therefore, the concept of kothong nanging kebak is a

way to enter the space of character totality. The effort

to enter the space, according to Kawruh Joged

Mataram consisting of the components termed sawiji,

greged, sengguh, and ora mingkuh, could be used as

foundation in ngebaki (meaning ‘filling fully’) the

body and spirit already ngothong (meaning

‘becoming empty’). Thus, a process of the

crystallization of the Mataram-style dance in the form

of self-discipline as physical and mental self-mastery

and a state of kepanjingan (meaning ‘being

possessed, obsessed, or taken control of’) would

occur (Suryobrongto in Dewan Ahli Yayasan Siswo

Among Beksa, 1981). The self-mastery is based upon

an awareness of the self-ability of one as human

subject. The awareness is required to prevent loss of

control when kepanjingan by the character of the role

played occurs. It is unlike the jathilan dancer who is

ndadi (meaning ‘in a trance’); such a dancer is said to

be under the control of some energy form outside the

dancer’s self-consciousness

A dancer as actor should be able to integrate

oneself into the role played. In the integration

process, awareness is required to make the body

willing to perform the role played. Grotowski calls

the process via negative, which implies returning to

Point Zero. Via negative is a technique of going into

a trance and making a unification of all the actor’s

psychic dan physical power. Further, Schechner has

a concept concerning improving human behavior

called restoration of behavior, stating as follows:

Restored behavior is the key process of every kind of

performing, in everday life, in healing, in ritual, in play, and

in the arts. Restored behavior is "out there", separate from

"me." To put it in personal terms, restored behavior is "me”

behaving “as if I were someone else," or “as I am told to

do," or" as I have learned." Even if I feel myself wholly to

be myself, acting independently, only a little investigating

reveals that the units of behavior that comprise "me" were

not invented by "me." Or, quite the opposite, I may

experience being "beside myself," “not myself” or "taken

over" as in trance

(2002: 28). These statements make

one realize that when dancing, a dancer should be

able to fuse and become one with the role being

played and all the dancer potential is exerted to the

optimum for the role.

3 WIRASA IN THE BODY

PROCESSING

In the process of dance education at the Yogyakarta

royal palace, there is insufficient active interaction

between the students and pemucal (or the teacher).

There are seats for pemucals gathered into one group

and there are seats for the students gathered into

another group and such grouping of the seats creates

a distance separating the two different groups of

people from each other and causing insufficient

interaction to occur between them. Though spatially

the seats are still physically in the same place but

freedom in interacting could not sufficiently occur.

However, active relation occurs during the training or

exercise process, in which each teacher concerned

directly corrects any defect in students’ body attitudes

(or deg), techniques of movement, and obedience to

prescribed rules. In the dance training, the correction

process is called mejed and it is a method of

correcting body attitudes by holding, moving,

pressing, or doing something else with the hand to the

body part which is incorrectly or not sufficiently

correctly positioned. The mejed method is applied on

the Yogyakarta dance learning process.

Internalization of Wirasa in the Body Processing for Role-playing in the Yogyakarta-style Dance

By means of the mejed method of directly making

the hand touch the dancer’s body to correct the

incorrect or insufficiently correct body attitudes,

students hopefully could directly sense the feeling of

the corrected movement. Thus, errors would not be

repeated. Male dancers who are bare-chested during

training give teacher more ease in correcting and

fixing students’ defects. However, bare-chested

exercises as those done when exercising at the royal

palace are not done outside the palace. Exercises

outside the palace (e.g., at dance studios) are

generally done with male dancers wearing an

undershirt. In addition, they do not put on wraparound

batik cloth, unlike male dancers training at the palace.

Exercise in body processing as means of

improving the quality of the body as dance instrument

is a process which is action-filled in nature. The body

processing is done for the purpose of making students

of the university level or lower have the body quality

enabling the body to become an instrument for

expression in a dance. From results of

observation, it

is found that there are three models of body

processing differing in objective and process

characteristics. Of the first model is the body

processing based on traditional dance movements, of

the second model is the body processing oriented to

the purpose of improvement in stamina and elasticity,

and of the third model is the body processing whose

purpose is to improve bodily sensitivity and

sensitivity to feeling

At the royal palace of Yogyakarta, the exercise in

body improvement (as part of the wiraga aspect) for

male dancers is based on the exercise called

Tayungan while that for female dancers is based on

the exercise called Sari Tunggal. Tayungan is the

exercise of the basic or initial level for male dancer

candidates. In Tayungan, students are taught the

technique of walking and varieties of dance

movements which exist in the Yogyakarta classical

dance. The male dance movements which are already

character-oriented give students freedom in going in

depth, in which the movement varieties are done

repeatedly. Students could repeat the same variety or

differing varieties, depending on their wish

concerning what variety of dance movement that they

would like to deepen themselves in. Male dance

movement varieties of both the alus (meaning

‘gentle’) nature and the gagah (meaning ‘heroic’)

nature already lean towards certain role characters.

However, their deepening themselves in the

movement varieties is sometimes not accompanied

with awareness of in-depth character study. They

deepen themselves more in the aspect of the

movement techniques. The reason is their ignorance

of the relation between a dance movement variety that

they do with the role character associated with the

variety.

Female students do their exercise of the initial

level using as material what is called Sari Tunggal,

which is a choreography constructed of female dance

movement varieties. While male dance movement

varieties are already directed towards certain

characters, the female ones are not specifically for

certain characters. The female dance movement

varieties could be used for different types of female

character called luruh, lanyap, and mbranyak and in

both Srimpi and Bedaya dance performances.

Because female dance movement varieties are not

specifically for

certain role characters, in the exercise

process the teacher makes corrections on the

movement technique performed. Therefore, the

teacher’s role when using the mejed method is quite

important in enabling students to feel the

movement

being done.

Figure 1: Female Pemucal or teacher correcting a

student’s body position and stance with mejed in an

exercise session at Yogyakarta palace

Figure 2: Male pemucal or teacher correcting students’

body position and stance by applying mejed on the incorrect

or insufficiently correct body part in an exercise session at

Yogyakarta palce

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

In the process of dance learning, the body

processing to exercise bodily sensitivity could be

done both indoors in a closed room or studio and

outdoors in the open space by directly interacting

with nature. The exercise process in the latter case is

emphasized more on each individual’s sensitivity in

interacting with nature. In the interaction, sensitivity

of the senses is required to become the basis in doing

movement activities. In the exercise process, patience

and keikhlasan are needed to enable the movement

process to be based on stimuli from outside oneself.

The ability to feel the stimuli from outside oneself

would become the basis in making a movement. That

responsive ability would give a chance to acquire a

way of moving which differs from person to person.

Thus, the individuals would differ in making a

movement. Such body processing would lead each

individual to serious comprehension of the feeling of

a movement. Further, the enjoyment of feeling the

touch from nature could be used as means of

improving the quality of wirasa in a dance.

Figure 3: Process of exploration to exercise bodily

sensitivity whose purpose is improving sensitivity to

feeling

4 CONCLUSIONS

The process of improvement in quality of the wiraga

and wirama aspects has been already considerably

made by referring to rules that have been

standardized. However, the wirasa aspect according

to the Mataram-style dance principles of sawiji,

greged, sengguh, and ora mingkuh as its sub-aspects

has not yet been integrated into the learning process

conducted. The reason is that the understanding

facilitated has been limited to cognitive-natured

mastery or restricted to scientific understanding. With

the various matters previously discussed used as

basis, it is considered that the process of internalizing

the wirasa aspect into role-playing in the dance art is

required to improve the quality of being a dancer.

In the world of dance education, improvement in

wirasa quality is methodologically not yet part of the

learning process conducted. The wirasa aspect as an

inseparable part of a dance ought to be part of the

learning material. Dance education is oriented more

to the technique and form aspects. Moreover, not all

dance teachers already have adequate role-playing

experience. Such experience is quite helpful in

enabling understanding of the wirasa aspect. Because

not every teacher knows the science related to the

matter, most of the students do not know it, either.

Therefore, not many dancers understand the said

aspect. The process of wirasa knowledge transfer

from the teacher to the student happens if the student

is active in asking the teacher questions. With that as

factual basis, it becomes quite necessary and urgent

to conduct research on the quality of the wirasa aspect

in the dance in order to be able to reveal the aspect

more comprehensively.

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Dibia, I. 2012. Taksu dalam Seni dan Kehidupan Bali.

Denpasar: Bali Mangsi.

Dibia, I. 2013. Puspasari Seni Tari Bali. Denpasar: UPT

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ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities