Arjuna Tapa: a new creation dance

Arjuna Tapa New Creation Dance is a new creation inspired by Arjuna Tapa's story. It is about the sending of Arjuna by Yudhisthira to meditate to Mount Indrakila in the hope of obtaining a powerful weapon, which can be used in the face of a major war against the Kauravas. In the hermitage Arjuna received many temptations such as the temptation of a number of angels from heaven, the temptation of the big pig incarnate Momosimuka, and the temptation of the hunter Kirata. But all the temptations can be overcome properly and finally because of Arjuna's determination, Lord Shiva gave Pasupati's Arrow as a gift that would later be able to destroy his enemies. This dance is performed by seven male dancers, carrying arrows. These seven dancers in certain scenes will be divided into two characters, namely five male characters who play the five pandavas, namely Yudistira, Bima, Arjuna, Nakula, and Sahadewa. While the other two dancers play female characters as Dewi Kunti and Dewi Drupadi. The creation process went through the stages of exploration, experimentation, and formation. The structure of the work consists of four parts, namely pepeson, pengawak, pengecet, and pekaad. The dance moves refer to the line dance movements. This dance is accompanied by a gamelan gong that lasts 12 minutes. The message conveyed in Arjuna Tapa New Creative Dance is that a true warrior will succeed in doing his job well and smoothly if he can overcome all the obstacles and temptations he faces in achieving his goals. Keywords: Arjuna Tapa, dance, new creation danc

Arjuna Tapa: a new creation dance

Arjuna Tapa New Creation Dance is a new creation inspired by Arjuna Tapa's story. It is about the sending of Arjuna by Yudhisthira to meditate to Mount Indrakila in the hope of obtaining a powerful weapon, which can be used in the face of a major war against the Kauravas. In the hermitage Arjuna received many temptations such as the temptation of a number of angels from heaven, the temptation of the big pig incarnate Momosimuka, and the temptation of the hunter Kirata. But all the temptations can be overcome properly and finally because of Arjuna's determination, Lord Shiva gave Pasupati's Arrow as a gift that would later be able to destroy his enemies. This dance is performed by seven male dancers, carrying arrows. These seven dancers in certain scenes will be divided into two characters, namely five male characters who play the five pandavas, namely Yudistira, Bima, Arjuna, Nakula, and Sahadewa. While the other two dancers play female characters as Dewi Kunti and Dewi Drupadi. The creation process went through the stages of exploration, experimentation, and formation. The structure of the work consists of four parts, namely pepeson, pengawak, pengecet, and pekaad. The dance moves refer to the line dance movements. This dance is accompanied by a gamelan gong that lasts 12 minutes. The message conveyed in Arjuna Tapa New Creative Dance is that a true warrior will succeed in doing his job well and smoothly if he can overcome all the obstacles and temptations he faces in achieving his goals. Keywords: Arjuna Tapa, dance, new creation danc

BUKU: Tari Kreasi Baru Arjuna Tapa

Kata Pengantar Puji syukur kita panjatkan kehadapan Tuhan Yang Maha Esa atas berkat dan rahmat-Nya penyusunan Buku Ajar ini dapat terselesaikan tepat pada waktunya tanpa hambatan atau rintangan yang berarti. Walaupun penulis sadari bahwa Buku Ajar ini masih jauh dari sempurna. Penulisan Buku Ajar ini sebagai pertanggungjawaban untuk memenuhi Pelaksanaan Penelitian dan Penciptaan Seni (P2S) bagi Dosen ISI Denpasar oleh Lembaga Penelitian Pengabdian Kepada Masyarakat dan Pengembangan Pendidikan (LP2MPP) ISI Denpasar. Tujuan Buku Ajar ini dalam rangka meningkatkan kemampuan penciptaan tari yang menempuh Mata Kuliah Koreografi Tari sebagai Mata Kuliah Keilmuan dan Keterampilan (MKK) dengan istilah Koreografi Tari. Dengan adanya Buku Ajar ini diharapkan mahasiswa dapat mengetahui bagaimana membuat atau merancang struktur ataupun alur sehingga menjadi suatu pola gerakan-gerakan tari yang menjadi satu kesatuan tari yang utuh. Secara garis besar, buku ajar ini memberikan pengetahuan secara mendasar tentang Koreografi Tari Kreasi Baru Arjuna Tapa melalui proses penciptaan yaitu penjajagan, percobaan, danpembentukan. Pada kesempatan ini, tidak lupa penyusun meyampaikan rasa terima kasih yang sedalam- dalamnya kepada: 1. Bapak Prof. Dr. I Wayan Adnyana, S.Sn., M.Sn, selaku Rektor Institut Seni Indonesia Denpasar yang telah memberikan kesempatan dalam penulisan buku ajar ini. 2. Bapak Dr. I Komang Arba Wirawan, S.Sn.,M.Si, selaku Ketua LP2MPP Institut Seni Indonesia Denpasar yang telah memberikan kesempatan dan memberikan dana melalui Penelitian dan Penciptaan Seni (P2S) ISI Denpasar. 3. Bapak Dr. I Ketut Garwa, S.Sn.,M.Sn, selaku Dekan Fakultas Seni Pertunjukan yang memberikan peluang dalam kesempatan ini. 4. Rekan-rekan penulis, I Gede Oka Surya Negara, SST.,M.Sn, dan I Gede Mawan, S.Sn.,M.Si, yang telah berjuang keras untuk mengerjakan dan membantu mengkoreksi isi atau materi buku ajar ini. 5. Kepada semua pihak baik dosen, mahasiswa ISI Denpasar yang tak dapat penulis sebutkan satu persatu, yang telah membantu sehingga buku ajar ini bisa terwujud tepat pada waktunya. Mudah-mudahan Buku Ajar ini dapat bermanfaat dan memperlancar bagi proses belajar mengajar di Institut Seni Indonesia Denpasar. Bagi mahasiswa agadapat digunakan sebagai pedoman dalam Koreografi Tari. Untuk itu saran dan kritik demi kesempurnaan Buku Ajar ini sangat kami harapkan. Denpasar, 17 Oktober 2022 Penuli

Tari Kreasi Baru Arjuna Tapa

Tari Kreasi Baru Arjuna Tapa adalah sebuah karya cipta baru yang terinspirasidari ceritra Arjuna Tapa. Mengisahkan tentang diutusnya Arjuna oleh Yudistira untuk bertapa ke gunung Indrakila dengan harapan mendapatkan senjata sakti, yang bisa dipergunakan dalam menghadapi perang besar menghadapi korawa. Dalam pertapaan Arjuna banyak mendapat godaan seperti godaan sejumlah bidadari dari khayangan, godaan dari babi besar jelmaan Momosimuka, dan godaan pemburu Kirata. Namun semua godaan-godaan dapat diatasi dengan baik dan akhirnya karena keteguhan hati Arjuna maka Dewa Shiva menganugrahkan Panah Pasupati sebagai hadiah yang kelak akan dapat menghancurkan musuh-musuhnya. Tarian ini dibawakan oleh tujuh orang penari laki, membawa properti panah. Ketujuh penari ini dalam adegan tertentu dibagi menjadi dua karakter, yaitu lima orang sebagai tokoh laki yang memerankan panca pandawa yaitu Yudistira, Bima, Arjuna, Nakula, dan Sahadewa. Sedangkan dua penari lainnya memerankan tokoh wanita sebagai Dewi Kunti dan Dewi Drupadi .Proses penciptaan melalui tahap penjajagan, percobaan dan pembentukan. Struktur karya terdiri dari empat bagian yaitu pepeson, pengawak, pengecet, dan pekaad. Gerak tarinya mengacu pada gerak-gerak tari baris. Kostum masih berpola pada tata busana tradisi Bali yang dominan mengambil warna kuning emas dan putih untuk menguatkan nuansa agung dan kesucian. Tata rias menggunakan tata rias tradisi Bali. Tarian ini diiringi dengan gamelan gong luang yang berdurasi 12 menit. Pesan yang disampaikan dalam Tari Kreasi Baru Arjuna Tapa adalah keteguhan hati seorang kesatrya sejati akan berhasil dalam melakukan pekerjaannya dengan baik dan lancar apabila dapat melewati segala halangan dan godaan yang dihadapi dalam mencapai tujuannya. Kata kunci : Tari Kreasi Baru, Arjuna Tap

Case Report of a Successful Delivery in a 29-Year-Old Female with History of Purandare Hysteropexy Surgery

BACKGROUND: Pelvic organ prolapse (POP) generally does not contribute to mortality but can worsen the quality of life, because it can cause abnormal bladder, gastrointestinal system, and sexual function disorders which indirectly cause psychosocial stress and emotional disorders such as depression, isolation, and anxiety. The main purpose of surgical action in young women with POP is to reduce complaints such as fecal and urinary incontinence and also sexual disorders, restore normal anatomy structures, prevent recurrence POP, and maintain the ability of pregnancy, labor, and normal menstrual function. Purandare hysteropexy surgery is one of the conservative surgical procedures for POP in productive women with few operative complication, shorter operating time, and minimal bleeding. At present, there is no literature of pregnant women with the mode of delivery that is effective in patients with history of purandare hysteropexy surgery. This case aims to report delivery in patient with a history of purandare hysteropexy surgery. Pregnancy can be maintained up to gestational term age, healthy baby, and no adhesion during surgery. CASE REPORT: A 29-year-old woman in full-term gestational age of her second pregnancy with a history of purandare hysteropexy surgery 1 year ago. During antenatal care patient, an evaluation of fascia sheath with ultrasonography was performed. The method of delivery was through cesarean section. During surgery, there was no intra-abdominal adhesion, the fascia sheath is well-maintained, and lower segment of uterine is covered by anterior fascia sheath. The operation outcome was a healthy baby boy, weighted 2900 g, body length 49 cm with good Apgar score. CONCLUSION: Purandare hysteropexy surgery is one of the conservative surgical management for conservative treatment of uterovaginal prolapse in women of reproductive age group who wish to retain their capacity for childbearing. Pregnancy up to term gestational age, during cesarean section, surgery seen no intra-abdominal adhesion, all sides of fascia sheath are well-maintained and the outcome was a baby with healthy condition

Management Comprehensive Multidisciplinary of Malignant Ovarian Germ Cell Tumors and Feto - Maternal Outcome: A Case Series Report and Literature Review

BACKGROUND: Malignant Ovarian Germ Cell Tumors (MOGCT) most commonly occur in young women in the reproductive age group. Timely antenatal diagnosis and treatment of the tumour to enhance maternal and perinatal outcomes are the main challenges confronting the obstetrician and the gyne-oncologist. CASE PRESENTATION: Here we present three cases of pregnancy complicated with MOGCTs. The first case (immature teratoma) was complicated by maternal psychological symptoms consistent with stress and histopathological examination confirmed the diagnosis of premature ovarian failure (POF). The second case (dysgerminoma) preterm labour occurred as an obstetric complication, but the baby was born in good condition without IUGR. The third case (yolk sac tumour) treated with docetaxel (brexel)-carboplatin chemotherapy administration there was no maternal or fetal complication. At the end of the pregnancy and delivery, complete surgical staging and cytoreduction were performed, and no metastases were found. CONCLUSION: Optimal management strategies centre on a multi-disciplinary comprehensive team approach is critical resulting in better outcomes for the mother and the baby by avoiding complications

Matriks metalloproteinase pada ketuban pecah dini

Ketuban pecah dini (KPD) merupakan salah satu komplikasi kehamilan dan msalah penting dalam obstetri berkaitan dengan meningkatnya morbiditas dan mortalitas ibu dan perinatal.x, 71 hlm.: 23 c