233 Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali Ni Made Ruastiti, Anak Agung Indrawan, I Ketut Sariada Institut Seni Indonesia Denpasar, Indonesia Submitted: 2021-08-20. Revised: 2021-10-06. Accepted: 2021-12-26 Abstract This article aims to discuss the Renteng Dance in Saren Village, Nusa Penida, which is actually the forerunner of the Rejang Renteng Dance performance, which is now widely danced by moth- ers in the context of the dewa yadnya ceremony in Bali. Supposedly, as the forerunner of ceremo- nial dance performances, the Balinese people know the Renteng Dance. However, in reality, this is not the case. Balinese people seem to know more about the Rejang Renteng Dance than the Renteng Dance. (1) What is the form of the Renteng Dance in Saren Village? (2) Why is the Rent- eng Dance the source of the creation of ceremonial dance in Bali? This study uses a qualitative method with research data sources such as Renteng Dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. Aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observa- tion, interviews, and literature review. The study results show that: (1) the community in Saren Village presents Renteng Dance in the form of a freelance dance (without a play). It can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of Renteng Dance is the source of the creation of ceremonial dance in Bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. The new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preserva- tion of the performing arts. Keywords: Renteng Dance, Development Source, Rejang Renteng Dance, Dewa Yadnya Ceremony in Bali How to Cite: Ruastiti, N. M., Indrawan, A. A., & Sariada, I. K. (2021). Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali. Harmonia: Journal of Arts Research And Education, 21(2), 232-245 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 232-245 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.31668 part of the dewa yadnya event at Penataran Temple as an expression of thanks. The Renteng Dance is identical to the Rejang Renteng Dance, which is fast gai- ning popularity as a sacred dance in the dewa yadnya ceremonial events. Other Bali village groups appear to be imitating the popularity of the Rejang Renteng Dance, which evolved from the Renteng Dance. In fact, because it is a ceremonial dance, INTRODUCTION Renteng Dance is a sacred dance per- formed by a group of adult female dancers at Penataran Temple, Saren Village, Nusa Penida, Klungkung, Bali, as part of the dewa yadnya. In ceremonial at Penataran Temp- le, the Renteng Dance is kept by the Saren Villager. Every time in a year, folks from farming families do the Renteng Dance as Corresponding author: E-mail: maderuastiti@isi-dps.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 21 (2) (2021): 232-245234 the form and method of presentation must be tailored to the local community’s cere- monial customs. In actuality, several new ceremonial dances have emerged that are identical in structure and movement to the Renteng Dance in Saren Village, Nusa Pe- nida. Rejang Renteng is known as a dance with a variety of movements, levels, floor patterns, dimensions, and directions that have been adapted to the positive and ne- gative aspects of the location of the perfor- mance in the main mandala in the context of the ceremony at the temple. Linggih and Sudarsana (2020) show that the Rejang Ren- teng Dance in Bali is a ceremonial dance that represents an nymph. Rejang Renteng Dance is presented with circular choreo- graphy, building the meaning of holiness (siwam), truth (satyam) and beauty (sunda- ram). Wahyuni and Mahendra Putra (2020) emphasized that the Rejang Renteng Dance in Bali is a form of excitement for religious expression. Muneroni (2019), Astari & Su- giarta (2020) stated that the Rejang Renteng Dance is increasingly becoming a fashion in dewa yadnya ceremonies in Bali. Ironically, many Balinese People, es- pecially the Rejang Renteng Dancers, do not know the point of origin of the Rejang Ren- teng Dance in Bali. As the source of the cre- ation of the Rejang Renteng Dance, which is becoming increasingly popular in Bali, the Renteng Dance can be said to be under- developed. The ceremonial dances in the context of the dewa yadnya, who suffered the same fate, are the Rejang Lilit Dance, the Rejang Kuning Dance, the Rejang Sari Dance, and the Rejang Pakuluh Dance. The Rejang Lilit Dance has the same function as the Renteng Dance in Saren Village. Rejang Lilit dance is a ceremonial dance performed by female dancers with a dominant performance choreography, walking in long convoys resembling a rope wrapped around pelinggih-pelinggih (sacred temple buildings, where the gods reside). One similarity between the Renteng Dance and the Rejang Kuning Dance is that they are both danced by female dancers. Rejang Kuning is a ceremonial dance per- formed by female dancers in yellow-yel- low costumes or clothing as a symbol of holiness for traditional ceremonies. In the context of the Dewa Yadnya, the Renteng Dance and the Rejang Sari Dan- ce are central offering dances (wali). The Rejang Sari Dance is described by Maha Dewi and Agustina (2021) as a ceremo- nial dance at the Sumerta Village Temple by the people of Banjar Pande. This dance ceremony is performed with thick makeup and a headdress of gemitir flowers, using kamen wali, yellow scarf, angkin prada to make ngider buana and successful in tradi- tional ceremonies. Renteng Dance and Rejang Pakuluh Dance are known as ceremonial dances that can be performed by female dancers wearing white clothes. The Rejang Pakuluh Dance is described by Mawan and Mas (2016) as a ceremonial dance performed by a group of women dressed in white and yellow and accompanied by various kinds of flowers as headdresses in a series of dewa yadnya ceremonies. In addition to the Rejang Dance as a ceremonial dance, there are also many ot- her ceremonial dances in Bali. The Baline- se, predominantly Hindu, have many cere- monial dances (Ruastiti, 2019, 17–29). This is because local residents almost always perform dances at every ceremony held. Dance is one of the performing arts media, ranging from traditional performing arts to contemporary performing arts, both sacred and profane. Besides sacred dance, there are so many types of performing arts in Bali. Based on its function, Balinese People clas- sify their performing arts into wali, bebali, and balih-balihan. Wali art can be called a sacred performing art that must be perfor- med in a series of dewa yadnya ceremonies such as the Rejang Dance, Sang Hyang Dan- ce, and Baris dance. Gambuh and Wayang are classified as bebali arts, namely sacred performing arts that can be performed in a series of traditional ceremonies. Meanw- hile, profane balih-balihan arts and staged for entertainment include Joged, Bondres, Ruastiti, et al., Renteng Dance in Saren Village, Nusa Penida as Source of Inspiration for the 235 Janger, Arja, and Drama Gong. Research on Balinese dance has been carried out by many foreign and Indone- sian researchers, including Arini (2014), Arshiniwati (2017), Beaman (2017), Coast & Attenborough (2012), Dibia (2011; 2017), Djelantik (2015), Slattum ( 2012), Gi (2018), Bandem (2014), Herbst (2012), Magowan & Wrazen (2013), Mantjika (2015), Merkle (2012), Sukaryana et al. (2013), Kringel- bach and Skinner (2014), Rusmini et al. (2011), Subrata (2014), Stepputat (2021), Cohen (2011), Suandi (2018), Supartama et al. (2015), Kusuma (2015) and Zurbuchen (2014). However, based on the results of searches that have been carried out so far, no one has researched the Renteng Dance in Saren Village, Nusa Penida, as a sour- ce of inspiration for the creation of the ce- remonial dance. It is like Rejang Renteng Dance, which is now rife and popularly danced by women in the context of the Dewa Yadnya ceremony in Bali. Based on the observations and lite- rature studies mentioned above, no one has studied the existence of the Renteng Dance, which is the forerunner of the Re- jang Renteng Dance and has inspired many Balinese People to create new ceremonial dances in Bali. The questions are: 1) What is the form of the Renteng Dance in Saren Village? 2) Why is the Renteng dance a source of inspiration for the creation of ce- remonial dances in Bali? Both problems were solved using a qualitative approach. The hope of revea- ling the results of this study is to find out the form of the Renteng Dance performan- ce and identify the characteristics of the Renteng Dance performance, which is the forerunner to the development of ceremo- nial dances in Bali. METHODS This research was compiled based on the phenomenon of Renteng dance. This article was completed based on the use of qualitative methods. The qualitative met- hod is a method to find the truth based on qualitative data (Kumar, 2019). The pri- mary data sources of this research are the performances of the Renteng Dance itself, dancers, musicians, religious leaders, and the composer of Penataran Temple, Nusa Penida. The informants were selected using a purposive sampling technique. Purposive sampling is a method of deter- mining informants that was planned from the beginning of the study based on cer- tain qualifications (Cresswell and Cres- well, 2018). The addition of informants was done by using the snowball samp- ling technique. The level of saturation in snowball sampling becomes a determinant during the data search process (Berg and Lune, 2018). The secondary data sources of this research are in the form of photos, videos, and research journals that have been pro- duced by previous researchers and were collected through library research. Secon- dary data in qualitative research can be collected through a review of the literature (Kumar, 2019). Primary data has been successfully collected through observation, interviews, and Focus Group Discussion (FGD). Ob- servation is known as a careful observation technique that is useful in recording visual data (Berg and Lune, 2018). The observa- tions in this study were operationalized in conjunction with interviews and FGDs in Saren village, Klungkung, Bali. Primary data from informants was successfully col- lected through an interview process with the help of an interview guide. As a data collection technique, interviews are useful in collecting descriptive data from infor- mants (Cresswell and Cresswell, 2018). All the informants in this study were actors and temple administrators in Saren villa- ge who were willing to provide the most relevant information. The qualitative data was then cross-checked by presenting all informants in the FGD. FGD in qualitative research can be done by having a dialogue with several informants at once (Cress- well, 2021). All data collected through ob- servation, interview, literature study, and FGD techniques were then elaborated with secondary data with the help of theoretical Harmonia: Journal of Arts Research and Education 21 (2) (2021): 232-245236 review. All the data that has been collected has been analyzed using aesthetic theory and structural-functional theory. In that context, the validity of the data in this ar- ticle has also gone through the processes of data reduction, data display, and data verification before being concluded. Miles et al. (2020) emphasized that the data col- lection phase through data reduction, data display, and qualitative data verification is necessary for qualitative analysis before determining conclusions. RESULTS AND DISCUSSION Renteng Dance Performance Forms The aesthetic value of a work of art can represent a unity of awareness about the beauty of form and ideology (Hogh- Olesen, 2019; Ruastiti, 2011). As a sacred dance, the aesthetics of Renteng Dance are ideologically very relevant in implemen- ting Siwam and maintaining the sanctity of temples through traditional ceremonial activities. This dance tends to be easy to do and can even look good when performed by dancers who have not been able to ap- preciate Traditional Balinese Dance, have good dancing skills, and have a very simp- le performance structure compared to Tra- ditional Balinese Dance. The Renteng dance in Saren Villa- ge is the main sacred dance, as is the wali dance, a traditional Balinese dance that is staged in the activities of the dewa yadnya. The Renteng Dance in Saren Village has never been positioned as a bebali dance like Gambuh and Wayang to complete the series of offering ceremonies at the temple. Thus, Renteng Dance has never been posi- tioned like the Joged, Bondres, Janger, Arja, and Drama Gong as public entertainment spectacles. Based on the traditional cere- monial tradition in the village of Saren, the position and elements of the beauty of the Renteng Dance so far have emphasized the characteristics of the Balinese Dance form, which is classified as a wali dance. The meaning of beauty depends on the characteristics of the shape (Manns, 2015; Ruastiti et al., 2018a). The charac- teristic form of Renteng Dance is a perfor- mance that has the characteristics of being strung together in a long line. The Renteng Dance is a ceremonial dance performed by a group of adult female dancers at Pena- taran Temple, Saren Village, Nusa Penida, Klungkung, Bali for the purposes of the dewa yadnya ceremony. For the blessing of fertility in Saren Village, the Renteng Dance is presented by the local people as an expression of their gratitude. The Ren- teng Dance is performed at the Penataran Temple in Saren Village, Nusa Penida, Klungkung, Bali, a sacred site where the Renteng Dance is performed in the context of traditional ceremonies. As part of the dewa yadnya ceremony at Penataran Temple, the Renteng Dance is performed by an odd number of adult female dancers to the accompaniment of Gamelan Balaganjur music. As a ceremo- nial dance, the Renteng Dance, which is presented in the context of a ceremony, looks less beautiful to the general audien- ce (Indrawan et al., 2021). However, in the 1980s, the Bali Provincial Culture Service arranged the choreography into a ceremo- nial dance with a standard presentation concept, no longer improvised based on traditional artistic aesthetics. As a result, the range of movements of the Renteng Dance is very small. Performed repeated- ly with balanced compositions on the right and left, accompanied by Gamelan Balagan- jur music with a steady tempo so that dan- cers could easily follow it. Although the Balaganjur Game- lan accompanies the Renteng dance, the characteristics of the Renteng Dance as a Traditional Balinese Dance are straightfor- ward. This can be seen from the rhythm (wirama), movement skills (wiraga), and appreciation of taste (wirasa), which are relatively small. The range of movements of the Renteng Dance is very small. The typical movements in the Renteng Dance consist of ngelikas, nguler, and ngaed mo- vements, which are often performed re- peatedly with a balanced composition on the right and left positions within a cer- tain tempo. The movement of ngelikas is Ruastiti, et al., Renteng Dance in Saren Village, Nusa Penida as Source of Inspiration for the 237 accompanied by body swaying and silent movements while stretching out arms or walking. The gulping movement is often accompanied by a straight left-hand mo- vement in a groggy position. The ngaed movement is often performed before or af- ter the right and left body swaying move- ments that follow the tempo of the gamelan music. The three variants of the movement are arranged into a movement pattern that is carried out repeatedly from the begin- ning to the end of the dance. The Traditional Renteng Dance per- formance seemed able to entertain the people of Saren Village who witnessed the performance at Penataran Temple, Nusa Penida, Klungkung, Bali. The spirit of the dancers in dancing shows that their reli- gious emotions are very strong in respon- ding to the atmosphere of the dewa yadnya ceremony. An enthusiastic audience, sup- porters of Penataran Temple, Nusa Peni- da, were no less enthusiastic in preparing for and watching the show until the end. The dewa yadnya ceremony at Penataran Temple has provided an opportunity for its followers, especially the Renteng Dan- cers. Their creativity and passion for dan- cing seemed to be welcome when asked to perform the Renteng Dance. On the ot- her hand, the appearance of the Renteng Dancers at Penataran Temple seemed to change the atmosphere of the ritual cere- mony. This happy phenomenon seems to have had a distinct impression on the local people since the Renteng Dance was crea- ted. The beauty of Renteng Dance can be seen from the impression and value of the dance itself. “Beautiful impression” means artistic value. Dance as a work of art has an aesthetic value, meaning that the work is beautiful (Fontanesi and DeSouza, 2021). Beauty in art is a value in Renteng Dance that can satisfy the desires of the audien- ce. The term “value” is generally used to give meaning to the price or excellence of Renteng Dance as a result of artistic creati- vity in Saren Village, Nusa Penida, Klung- kung, Bali. Aesthetics is a unified form of relationship that exists between conscio- us beings who appreciate beauty. Thus, the aesthetics of the Renteng Dance are not part of the quality or event, but how the audience understands the beauty that emanates from the Renteng Dance perfor- mance is another question. The beauty of Renteng Dance refers to its taste and cul- tural heritage. The aesthetics of this dance can be observed through wirama, wiraga, wirasa, and supporting elements. The simplicity, balance, and harmo- ny of the concept of presenting Renteng Dance make people fall in love with this ceremonial dance. In general, they stated that the performance of Renteng Dan- ce displays beauty and pleasure for both the dancers and the audience. The arran- gement of various movements that are danced with symmetrical compositions repeatedly can make them calm. Further- more, the balanced relationship between the constituent elements makes ceremo- nial dance compositions radiate harmony (Lyas, 2014; Rai S. et al., 2020; Rai S., 2020a; Ruastiti, 2017). Artwork has the nature of beauty that can be seen from its unity, diversity, and intensity (Pradana, 2012; Pradana, 2018; Pradana, 2018a; Rai S. et al., 2019; Ru- astiti et al., 2018; Pradana and Pantiyasa, 2018; Pradana, 2017; Pradana and Pratiwi, 2020a). Likewise, suppose you pay atten- tion to the presentation of Renteng Dan- ce. In that case, it shows that ceremonial dance performances show beauty through the unity, diversity, and intensity of dance movements carried out in a balanced way. The Renteng Dance in Saren Village, Nusa Penida, Bali has a unified composition of motion elements that build it. The inten- sity in the emphasis on form, characteris- tics, and serenity of expression has given the impression that the audience has been waiting for (Meenakshi, 2021). The hallmark of the Renteng Dance performance lies in the simplicity of the clothes, the make-up of the costumes, and the manner of presentation, especially the dance movements that have received a touch of aesthetics through the elements of the accompanying music. The movements Harmonia: Journal of Arts Research and Education 21 (2) (2021): 232-245238 of ngelikas, nguler, and ngaed, as the ty- pical movements in the Renteng Dance show, seem to have been built according to the people’s aesthetic tastes of Saren vil- lage by enlivening a variety of transitional movements that are commonly known in Traditional Balinese Dances. It is such as wriggling head movements, stretching movements of the hands, and movements of both hands rotating simultaneously. To- gether, move both hands parallel between the left and right sides and move the right foot forward, parallel to the left big toe. As one of the sacred dances in the context of the dewa yadnya ceremony, the uniqueness of the Renteng Dance can be seen in the very thin makeup of the dancers and the ngelikas, nguler, and ngaed movements that the dancers often perform repetitively and simply. Unity is a primary requirement bet- ween one element to create harmony (Pra- dana and Pratiwi, 2020; Atmaja et al., 2019; Dharmika et al., 2020; Dyatmikawati and Ruastiti, 2020). Therefore, it can be under- stood that in an art object, there is harmo- ny between the elements that build it, con- necting them into a single unit. This can be seen in the structure of the Renteng Dance movement, which includes walking, sta- tionary, and transition movements. Units of dance movement include walking, stationary and transitional move- ments, which are patterns of motion that are intertwined and carried out consistent- ly over and over again to build a one-unit relationship. This strong relationship is needed to create wholeness and harmony. Unity is cohesion, consistency, wholeness, which is the main weight of the composi- tion (Pradana 2017a; Pradana, 2019). Har- mony between parts is arranged into an interwoven unit (Klevan, 2018; Arniati et al., 2020). Harmony is a relationship bet- ween an element and other elements in a composition (Swandi et al., 2020). Unity in the various movements of the Renteng Dance is achieved through the intertwi- ning of one element of motion with other elements of motion. The arrangement is intertwined singly and consistently, over and over again, so as to create harmony. The achievement of harmony in the struc- ture of the Renteng Dance performance is obtained through the unity of a single mo- vement structure and a variety of elements that are danced repeatedly. The structural differences in the elements of the Renteng Dance movement can be conveyed as fol- lows: ngelikas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, nge- likas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, ngelikas, nguler, stret- ching out hands, intensively continues to be repeated until the ceremony is over. Intensity emphasizes aesthetic or ar- tistic effects on an object that occurs at the level of form and expression. As for the intensity of form, Renteng Dance in Saren Village is formed by three kinds of dance movements. The top design is the design on the floor from the audience’s direction that is painted on the space above the floor (Ife, 2021; Gallery, 2019). In general, audiences like quality per- formances. The quality of the performing arts is built on the meaning of motion and the form of choreography. The horizontal and flat design does not accentuate the ex- travagant choreography. But artistically, both designs give emphasis through the outstretched hand movement at the end of the movement pattern. A dancer confronts another dancer. The top three designs are designs that give artistic prominence and emphasis so that they become the center- piece of the Renteng Dance characteris- tic. Highlights or emphasis can become accents or characteristics of the artwork through rhythm changes (Pradana, 2021; Ruastiti, 2016). Based on the description above, Renteng Dance performances’ cha- racteristics lie in the simplicity of the pre- sentation method, range of motion, fashi- on make-up, and musical accompaniment. Renteng Dance as a Source of Inspiration Culture can be a source of collective satisfaction (Tejayadi et al., 2019; Zawadz- ka et al., 2016; Ruastiti and Pradana, 2020). Saren Village is one of the villages located Ruastiti, et al., Renteng Dance in Saren Village, Nusa Penida as Source of Inspiration for the 239 in Klungkung Regency, the eastern part of the island of Bali, which is predominantly Hindu and has Balinese Culture. The reli- gious life of the Saren Villager is a reflec- tion of Balinese Culture in general. This is similar to Balinese People in general, who always carry out ritual ceremonies before carrying out a certain series of ceremonies accompanied by performing arts perfor- mances as an expression of gratitude to God (Rusmini et al., 2011; Nor and Step- putat, 2019; Pradana et al., 2016; Prada- na, 2018b; Dharmika and Pradana, 2020). When they carry out social, political, en- tertainment, and tourism activities, they always ask for permission and instructions from the temple so that the work carried out can run smoothly. Therefore, there are many dance ceremonies, both on a large and small scale socially, in Bali. The success of traditional leaders in Saren Village in managing the Renteng Dance performance at Penataran Temple, Nusa Penida, has encouraged the sekaa, or other communities in Bali, to create similar dances in their respective regions. Accor- ding to local village elders, villagers feel they have an obligation to carry out the harvest ceremony when successful. In the legend of the history of the village, it is sta- ted that the harvest is abundant and sus- tainably after their ancestors created and performed the Renteng Dance at Penata- ran Temple. The residents of Saren Village are known to have a traditional heritage of carrying out worship ceremonies for Ratu Gede Sakti, who is believed to have lived at Penataran Temple, Saren Village, Nusa Pe- nida, Klungkung, Bali. They firmly believe that their success in living as farmers so far is due to the intervention of Ratu Gede Sak- ti. Therefore, the Renteng Dance is perfor- med by the local people as an expression of gratitude for the abundant harvest and their peaceful life in Saren Village. The community’s belief that has been imprinted is that every citizen who offers dance during the ceremony will get a bles- sing (Muneroni, 2019; Brown, 2014). By becoming dancers in the context of cere- monies, they feel they can be closer to the source of life. On the other hand, Sacred art contains and offers miracles (Feeser, 2019; Muneroni, 2019). The opportunity to appear in the context of traditional ce- remonies is considered a blessing for their families. The blessings they receive have an impact on increasing Hindu belief, lo- yalty, and social integrity. The busyness of mothers who struggle with household chores and professional activities every day in public spaces does not make them absent from the staging moments in the context of the ceremony. The development of the Rejang Renteng Dance as a develop- ment of the Renteng Dance can make them feel relieved. The Rejang Renteng Dance performance, which was presented in the context of the dewa yadnya ceremony, was considered to have positively impacted the success of the ceremony. Of course, in order to understand the things that make many people inter- ested in using Renteng Dance as a model for developing their ceremonial dance per- formances, the basic elements that make up the basic elements of art include form, appearance, weight or content, and appe- arance. Form contains two basic elements, namely form and structure. Weight has three aspects, namely atmosphere, ide- as, and messages (Janis, 2018). While the presentation has three elements, namely talent, skills, and media, used to display a work of art in a moment (Earl, 2012). The relevance of practice to the con- text and cultural capital can result in cul- tural actualization (Pradana and Parwati, 2017; Pradana and Pratiwi, 2020; Pradana and Pantiyasa, 2018; Dharmika and Prada- na, 2021). Renteng Dance, as an actualiza- tion of the artistic potential of mothers, is considered a cultural element that is rele- vant to be preserved. Through the medium of Renteng Dance performances, mothers can gather, chat, and learn dance. This me- ans that, apart from expressing their po- tential in the art of dancing, the Renteng Dancers can still offer devotion to Ratu Gede Sakti. The term “Renteng” for the people of Saren Village is interpreted as “parent.” Harmonia: Journal of Arts Research and Education 21 (2) (2021): 232-245240 Physically, they were around forty years old. In the kawi language dictionary, Ren- teng is defined as a strand or a line (Mahar- si, 2012). Meanwhile, in the Big Indonesian Dictionary, the term “Renteng” is defined as a strand or chain (Indonesian Language Development and Development Agency, 2017). Based on this understanding, it can be understood that the Renteng Dance is a performance that is performed by being strung together to form a long line. This dance, which is owned by the people of Saren Village, Nusa Penida, has been preserved for generations as a cere- monial dance since the farmers’ harvests were abundant and social harmony was established in the Saren Villager. Institutional sustainability shows a functional unity that has been built from the harmony of various components of micro functions that have been structu- rally committed (Atmaja et al., 2020; Kalu, 2019; Calhoun, 2012). The function of the Renteng Dance in the traditional structure of the dewa yadnya ceremony at Penataran Temple seems to have implications for the achievement of better social welfare. Ama- zened by the form of the Renteng Dance. The Renteng Dance performance in Saren Village, Nusa Penida, Klungkung, Bali involves women as dancers who are judged according to the context of the ce- remony. Even monopause women who usually just sit and do work that supports ceremonies in the public sector, in this case, can still actualize themselves to ap- pear as conformist dancers. In general, old women who have even entered menopau- se are considered inappropriate to Baline- se Dances. However, their actualization as dancers through the Renteng Dance seems conformist and free from social discrimi- nation among the Saren Indigenous peop- le. The emergence of the Rejang Renteng dance, which is easy to imitate ideologi- cally, is able to become a vehicle for aest- hetically self-actualizing old women. In Traditional Balinese Culture, older women are more required to take care of the do- mestic sector, such as taking care of hous- ehold chores, caring for family members, and supporting the interests of traditional ceremonies. Traditionally, the Renteng Dance is performed in the context of the dewa yad- nya ceremony. In addition to the women who volunteered of their own accord to participate in ngayah, the women were also chosen by the organizers of the Penataran temple in Saren Village. All of this is reali- zed by the simplicity of the variety of dan- ce movements. The simplicity of this dance is also seen in the structure of the perfor- mance and other elements of art, as shown in the Figure 1. Figure 1. Renteng Dance (Source : Indrawan, 2020) Based on the picture of the presenta- tion above, it can be seen that the Renteng Dance, as the forerunner of ceremonial dances such as the Rejang Renteng dance, has a simpler appearance. Sunardi (2017) said that a simple dance is a type of dance that has a har- monious form of motion. The harmony of movement, along with the musical accom- paniment and the make-up of the clothes presented, is stated on the basis of religion. This is what makes the people in Saren Vil- lage, Nusa Penida, not dare to leave this Renteng Dance. The success of the people of Saren Village, Nusa Penida, in creating and preserving the Renteng Dance has inspired other communities in Bali. In the midst of the industrial-based art revolution in Bali, it turns out that the- re are many new ceremonial dances that have a presentation similar to the Renteng Dance. Some of the new ceremonial dances inspired by the Renteng Dance are the Re- jang Gede Dance, the Rejang Takilan Dance, Ruastiti, et al., Renteng Dance in Saren Village, Nusa Penida as Source of Inspiration for the 241 the Yellow Rejang Dance, the Rejang Ren- teng Dance, the Rejang Sari Dance, the Re- jang Dedari Dance, and the Rejang Pakuluh Dance. The Renteng Dance as part of the ceremonial offering is a manifestation of the application of divine values, namely siwam. This can be seen from before the performance began in a series of activities that began with offerings on each side and in the middle of the staging area. All of this is believed to function as a form of appeal to Ratu Gede Sakti. As Brown (2014) stated, belief plays a role in every practice of re- ligious ceremonies and acts of worship. Therefore, it can be understood that the Renteng Dance is a parameter for the crea- tion of new ceremonial arts in Bali because it is in accordance with their faith and aest- hetic taste as well as their needs in carrying out traditional ceremonies. However, this Renteng Dance is most popular among the people of Saren, Nusa Penida because it is most in accordance with customs and faith and is always needed to implement the dewa yadnya at Penataran Temple, Nusa Penida, Bali. CONCLUSION Renteng Dance is presented in the form of a free dance by the inhabitants of Saren Village, Nusa Penida, according to the description above (without a play). It can be seen in the way the performance is presented, the framework of the show, the clothing make-up, and the musical accom- paniment. Renteng Dance is the source of Cere- monial Dance in Bali, due to the originality of the display structure components that are easy to imitate and in harmony with the aesthetic tastes and religion of the Ba- linese People. The novelty of this research is that every performing art that will be displayed in its form and way of presentation must be arranged to make it more interesting to watch. The level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the per- forming arts. ACKNOWLEDGEMENT The completion of this research was due to the assistance of various parties. For this reason, we from the research team ex- press our gratitude, especially to the Mi- nistry of Education and Culture, Research, Technology, and Higher Education, which has funded this national research since the beginning until the establishment of this journal. Thanks are also expressed to the Chancellor of ISI Denpasar along with his staff, resource persons, colleagues, and the community who own the Penataran Temp- le in Saren Village, Nusa Penida who have assisted this research from start to finish. REFERENCES Arini, A.A.A.K. (2014). Legong Peliatan : The Pioneer of Balinese Dance Promo- tion. Denpasar : Swasta Nulus. Arniati, I.A.K., G.M.W. Atmaja, & G.Y.K. Pradana. (2020). Moral and Religious Values in The Geguritan Dharma Prawerti Song in Bali. International Journal of Innovation, Creativity and Change, 12(1), 432-446. Arshiniwati, N.M. (2017). Sakralisasi Tari Andir : Wujud, Ideologi dan Maknanya bagi Masyarakat Desa Tista, Kerambi- tan, Tabanan. Denpasar : ISI Denpas- ar Press. Astari, N.L.W., M. Sugiarta. (2020). Rejang Renteng Bentuk Kesetaraan Gender Dalam Ruang Seni Sakral Di Kota Denpasar. Widya Wertta, 3(2), 18-25. Atmaja, G.M.W., I.A.K. Arniati, & G.Y.K. Pradana. (2019). Implications of The Enactment of Law Number 6 of 2014 on The Position of Villages in Bali, Indonesia. Asia Life Sciences, 28(2), 295-310. Atmaja, G.M.W., I.A.K. Arniati, & G.Y.K. Pradana. (2020). Bhineka Tunggal Ika as a Source Politics & Identity of Indonesian Culture in The Forma- tion of Law. Cultura. International Journal of Philosophy of Culture & Axi- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 232-245242 ology, 17(2), 57-72. Badan Pengembangan dan Pembinaan Ba- hasa Indonesia. (2017). Kamus Besar Bahasa Indonesia. Jakarta : Kementri- an Pendidikan dan Kebudayaan. Bandem, N.S. (2014). Barong Kuntisraya : Ikon Seni Pertunjukan Bali Kontempo- rer. Denpasar : BP Stikom Bali. Beaman, P.L. (2017). World Dance Culture: From Ritual to Spectacle. London: Tay- lor and Francis. Berg, B.L., H. Lune. (2018). Qualitative Re- search Methods For The Social Sciences. Boston: Pearson. Brown, A. (2014). Civic Ceremony and Reli- gion in Medieval Bruges c. 1300-1520. Cambridge: Cambridge University Press. Calhoun, C.J. (2012). Classical Sociological Theory. Oxford: Willey-Blackwell. Coast, J., R. Attenborough. (2012). Dancing Out of Bali. New York: Tuttle Pub. Cohen, M.I. (2011). Performing Otherness: Java and Bali on International Stages 1905-1952. New York: Palgrave Mac- millan. Cresswell, J. (2021). Educational Research: Planning, Conducting and Evaluating Quantitative and Qualitative Research. United Kingdom: Pearson Education Limited. Cresswell, J.W., J.D. Cresswell. (2018). Re- search Design: Qualitative, Quantita- tive and Mix Methods Approaches. Cal- ifornia: Sage Publications. Dharmika, I.B., G.Y.K. Pradana, N.M. Ru- astiti. (2020). Forest Conservation with the Basis of Customary Village and Religion Rules in Bali. Interna- tional Journal of Advanced Science and Technology, 29(8), 571-579. Dharmika, I.B., G.Y.K. Pradana. (2020). The Meaning of The Sutri Dance in Dewa Yadnya in a Digital Era to The People of Pakraman Lebih Village, Gianyar Bali. International Journal of Innovation, Creativity and Change, 14(5), 647-665. Dharmika, I.B., G.Y.K. Pradana. (2021). The Meaning of Rebo Buntung For Pring- gabaya Villager, East Lombok Dur- ing The Covid-19 Pandemic. Quali- tative Report, 26(9), 2911-2923. DOI : https://doi.org/10.46743/2160- 3715/2021.4769 Dibia, I W. (2011). Balinese Dance, Drama and Music. Clarendon: Tuttle, En- field. Dibia, I W. (2017). Legong, Kecak, Barong : Tiga Berlian Seni Pertunjukan Wisata Bali. Denpasar : ISI Denpasar Press. Djelantik, A.B.T. (2015). Tari Legong : Dari Kajian Lontar ke Panggung Masa Kini. Denpasar : Dinas Kebudayaan Kota Denpasar. Dyatmikawati, P., N.M. Ruastiti. (2020). The Supply Chain Management in Financial Institutions for Increasing the Productivity and Community Income in Pakraman Village, Bali. International Journal of Supply Chain Management, 9(1), 656-663. Earl, D. (2021). LMMS: A Complete Guide to Dance Music Production Beginners Guide. Birmingham: Packt Publish- ing. Feeser, A. (2019). Neighbours and Faith in Community: Artist Jimmie Dur- ham’s Neopolitan Presepi. Religion and The Arts, 23(5), 516-536. Fontanesi, C., & J.X.L. DeSouza. (2021). Beauty that Moves: Dance for Par- kinsons Effects on Affect, Self-Effi- cacy, Gait Symmetry, and Dual Task Performance. Frontiers in Psychology, 11(1), 1-18. Gallery, J. T. (2019). Art & Design. Oak Park, Illinois: Toomey & Co. Auctioneers. Gi, W.T.P. (2018). Between Heaven and Earth: Sacred and Ritual Dance in Bali. Zoetermeer: Nyukwha. Herbst, E. (2012). Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theater. Middletown: Wesleyan Uni- versity Press. Hogh-Olesen, H. (2019). The Aesthetic Ani- mal. New York: Oxford University Press. Ife, F. (2021). Maroon Choreography. Dur- ham: Duke University Press. Indrawan, A.A.G.A., I K. Sariada, N.M. Ar- shiniwati. (2021). Bentuk Tari Rent- https://doi.org/10.46743/2160-3715/2021.4769 https://doi.org/10.46743/2160-3715/2021.4769 Ruastiti, et al., Renteng Dance in Saren Village, Nusa Penida as Source of Inspiration for the 243 eng di Dusun Saren I, Nusa Penida, Klungkung. Mudra Jurnal Seni Buda- ya, 36(1), 46-54. Janis, J. E. (2018). Essentials of Aesthetic Sur- gery. New York: Theamie. Kalu, N. K. (2019). A Functional Theory of Government, Law and Institutions. Lanham: Maryland Lexington Books. Klevan, A. (2018). Aesthetic Evaluation and Film. Manchester: Manchester Uni- versity Press. Kringelbach, H.N., J. Skinner. (2014). Danc- ing Cultures: Globalization, Tourism and Identity in the Anthropology of Dance. New York: Berghan Books. Kumar, R. (2019). Research Methodology: A Step-By-Step Guide For Beginners. London: Thousand Oak. Kusuma, P.S. (2015). Cupak Tanah : Enam Naskah Drama. Singaraja : Mahima. Linggih, I N., I K. Sudarsana. (2020). The Dynamic Rejang Renteng Dance in Bali as an Intangible Cultural Heri- tage of The World. Space and Culture India 2020, 7(4), 45-58. Lyas, C. (2014). Aesthetics. Pennsylvania: UCL Press. Magowan, F., L.J. Wrazen. (2013). Perform- ing Gender, Place and Emotions in Mu- sic: Global Perspectives. Suffolk: Boy- dell and Brewer. Maharsi. (2012). Jawa Kawi Indonesia. Yog- yakarta : Pura Pustaka. Maha Dewi, N. M. A. Agustina. (2021). Eksistensi Seni Pertunjukan Tari Rejang Sari di Desa Sumerta Keca- matan Denpasar Timur. Widyanatya, 3(2), 11-24. Manns, J. W. (2015). Aesthetics. Abingdon, Oxon: Routledge. Mantjika, J. (2015). Bali, 1964 to 2009: The Shadows That Dance in and Out of My Memory. Denpasar: Saritaksu. Mawan, I G., I. B. N. Mas. (2016). Iringan Tari Rejang Pakuluh (Laporan Pen- ciptaan Karya Seni). Denpasar : ISI Denpasar. Meenakshi. (2021). Drawing In The Art Of Contemporary Painters (In Spe- cial Context Of Kg Subramanian, J Swaminathan, A Ramachandran, Parmanand Goyal). Oshkosh: Journal of Visual and Performing Arts Funda- mentals of Art, 2(1), 33–39. Merkle, M. (2012). Bali-Magical Dances. Ber- lin: Epubli. Miles, Matthew B., A.M. Huberman, J. Sal- dana. (2020). Qualitative Data Analy- sis: A Methods Source Book. Los Ange- les: Sage. Muneroni, S. (2019). Jesuit History, The- atre and Spirituality. Religion and The Arts, 23(3), 273-292. Nor, M.A.M., K. Stepputat. (2019). Sound- ing the Dance, Moving the Music: Choreomusicological Perspectives on Maritime Southeast Maritime Southeast Asian Performing Arts. New York: Taylor and Francois Group. Pradana, G.Y.K. (2012). Diskursus Fenom- ena Hamil di Luar Nikah dalam Per- tunjukan Wayang Joblar. Electronic Journal of Cultural Studies, 1(2), 11-27. Pradana, G.Y.K. (2017). Deconstruction Powers of Relations Behind The Shadow Puppet Performance For Tourism in Ubud Village, Bali. In The International Proceeding of Build- ing Collaboration and Networking in Globalized World. Denpasar: UNUD Press. Pradana, G.Y.K. (2017a). Filsafat Ilmu Pari- wisata. Denpasar : STPBI. Pradana, G.Y.K. (2018). Implications of Commodified Parwa Shadow Pup- pet Performance For Tourism in Ubud, Bali. Journal of Business on Hos- pitality and Tourism, 4(1), 70-79. DOI: http://dx.doi.org/10.22334/jbhost. v4i1.103.g111. Pradana, G.Y.K. (2018a). Innovation in Cenk Blonk Performance: A Strategy of Em- powering Local Language Through Bali- nese Shadow Puppet. Paper Presented in The 1st International Conference on Local Language, Udayana Uni- versity, Denpasar, February 23-24, 2018. Pradana, G.Y.K. (2019). Sosiologi Pariwisata. Denpasar : STPBI Press. Pradana, G.Y.K. (2021). Corona in Pupuh Ginada Dasar: A Cultural Response to http://dx.doi.org/10.22334/jbhost.v4i1.103.g111 http://dx.doi.org/10.22334/jbhost.v4i1.103.g111 Harmonia: Journal of Arts Research and Education 21 (2) (2021): 232-245244 Crisis Situations Due To Corona Virus Pandemic. Paper Presented in The 5th International Conference on Climate Change: Climate Actions Toward Sustainable Development Goals (MDGs), IOP Conference Series: Earth and Environmental Science Vol. 724, Sebelas Maret University, Surakarta, September 24-25, 2021. Pradana, G.Y.K., I N. Suarka, A.A.B. Wi- rawan, I N. Dhana. (2016). Religious Ideology of The Tradition of The Makotek in The Era of Globalization. Electronic Journal of Cultural Studies, 9(1), 6-10. Pradana, G.Y.K., I W. Pantiyasa. (2018). Makotek As Tourist Attraction in Munggu Village. Paper Presented in The 2nd International Conference on Tourism, Gastronomy and Tourist Destination (ICTGTD), Trisakti In- stitution of Tourism, Jakarta, March 8-9, 2018. Pradana, G.Y.K., K.S.M. Parwati. (2017). Local-Wisdom-Based Spa Tourism in Ubud Village of Bali, Indonesia. Russian Journal of Agricultural and So- cio-Economic Sciences, 8(68), 188-196. Pradana, G.Y.K., K.T. Pratiwi A. (2020). Balinese Traditional Homestay in a Sustainable Tourism Entering Mil- lennial Era. Journal of Xi’an Universi- ty of Architecture & Technology, 12(3), 4208-4217. Pradana, G.Y.K., K.T. Pratiwi A. (2020a). Hasil Pengelolaan Homestay Bercor- ak Budaya Tradisional Bali Ditengah Pengaruh Perkembangan Trend Mil- lennial di Sektor Pariwisata. Jurnal Ilmiah Hospitality Management, 11(1), 1-12. Pradana, G.Y.K. (2018b). The Meaning of Ma- kotek Tradition at The Munggu Village on The Global Era. Paper Presented in The International Bali Hinduism, Tradition and Interreligious Studies, Indonesia University of Hinduism, Denpasar, March 10, 2018. Rai S., I W., I G.P. Sunartha, I A.M. Purna- maningsih, N.M. Ruastiti, Y. Wafom. (2020). The Meaning Of Pura Agung Surya Bhuvana (PASB) In The Reli- gious Life In Jayapura In The Global Era. Humaniora, 11(1), 57-67. Rai S., I W., I G.P. Sunartha, I A.M. Purna- maningsih, N.M. Ruastiti, Y. Wafom. (2020a). Bali Diaspora di Jayapura : Makna Pura Agung Surya Bhuvana Dalam Membangun Kerukunan di Tanah Papua. Jurnal Kajian Bali, 10(1), 1-24. Rai S., I W., I M.I. Sadguna, I G.A.J. Sad- guna, G.Y.K. Pradana. (2019). Tifa From The Land of Papua: Text and Context. Asia Life Sciences, 28(2), 335- 354. Ruastiti, N. M., N. W. Parmi, N. N. M. Suryani, I N. Sudiana. (2018). Dave- dan Show di Amphi Theatre Nusa Dua Bali. MUDRA, Jurnal Seni Bu- daya, 33(2), 118-127. Ruastiti, Ni Made, Gede Yoga Kharisma Pradana. (2020). The Ideology Be- hind Sesandaran Dance Show in Bali. Journal of Sociology and Social Anthropology, 11(2), 78-85. Ruastiti, Ni Made, I Komang Sudirga, I Gede Yudarta. (2019). Education Values in Wayang Wong Innovative Arts ‘Cupu Manik Astagina’. Journal of Arts & Humanities, 8(9), 87-100. Ruastiti, Ni Made, I Komang Sudirga, I Gede Yudarta. (2020). Aesthetic Performance of Wayang Wong Mil- lennial. International Journal of Inno- vation, Creativity and Change, 13(7), 678-692. Ruastiti, Ni Made, I Komang Sudirga, I Gede Yudarta. (2020a). Model of Innovative Wayang Wong for Mil- lenial Generation to Meet 4.0 Indus- trial Revolution Era in Bali. Journal of Environmental Treatment Techniques, 3(8), 999-1004. Ruastiti, Ni Made. (2011). The Concept Of Local Genius In Balinese Performing Arts. Mudra Jurnal Seni Budaya, 26(3), 241-245. Ruastiti, Ni Made. (2016). Tek Tok Dance A Balinese Performing Art-Based Tourist Attraction. International Jour- nal of Scientific Research and Manage- Ruastiti, et al., Renteng Dance in Saren Village, Nusa Penida as Source of Inspiration for the 245 ment, 1(1), 59-63. Ruastiti, Ni Made. (2017). Essence Of Re- jang Lilit Performing Arts In Mun- deh Traditional Village, Tabanan, Bali In Global Era. Russian Journal of Agricultural and Socio-Economic Sci- ences, 6(5), 139-147. Ruastiti, Ni Made. (2018). The Meaning of Rejang Pingit Dance Performance at Geriana Kangin Village Karangasem Bali in The Global Era. Humaniora, 9(3), 321-335. Ruastiti, Ni Made. (2019). Deconstruct- ing Ideologies Behind Rodat Dance in Kepaon Village, Bali, Indonesia in The Global Era. Asia Life Sciences, 28(1), 17-29. Rusmini, O., R. Amboyo, T.M. Hunter, L. Noszlopy. (2011). Earth Dance. Jakar- ta : Lontar Foundation. Ruspawati, Ida Ayu Wimba, Ni Made Ru- astiti. (2019). The Meaning Of The Performance Of Rejang Tegak Dance For The People Of Busungbiu Vil- lage, Buleleng, Bali In The Global Era. Asia Life Sciences, 28(2), 255-280. Slattum, J. (2012). Balinese Mask: Spirits of an Ancient Drama. Boston: Tuttle Pub. Stepputat, K. (2021). The Kecak and Cultural Tourism on Bali. Rochester: Univer- sity of Rochester Press. Suandi, I N. (2018). Kamus Seni Tari Bali. Denpasar : Balai Bahasa Bali. Subrata, I.W. (2014). Komodifikasi Tari Bar- ong. Surabaya : Paramita. Sukaryana, I N., I.A.M. Purwiati, N.L.Partami, I.M. Budiasa, N.P.E. Negari. (2013). Makudang-Kudang Drama Bali. Denpasar : Balai Bahasa Provinsi Bali. Sunardi, C. (2017). Stunning Males and Pow- erful Females: Gender and Tradition in East Javanese Dancer. Urbana: Uni- versity of Illinois Press. Supartama, I G.M.B., I G.A.Ranuara, I G.K.R. Suparta. (2015). Baris Wayang. Denpasar : Dinas Kebudayaan Kota Denpasar. Swandi, I W., A. P. W., G.Y.K. Pradana, I N. Suarka. (2020). The Digital Comic Tantri Kamandaka: A Discovery For National Character Education. Inter- national Journal of Innovation, Creativ- ity and Change, 13(3), 718-732. Tejayadi, I P.W., I N. Laba, G.Y.K. Pradana. (2019). The Effect of Organizational Culture on Employee Satisfaction in Mercure Resort Sanur Bali Hotel. The International Journal of Green Tourism Research and Applications, 1(1), 63-72. Wahyuni, I.A.K. Surya, A.A.N.M. Putra. (2020). Uniformisasi Pementasan Tari Rejang Renteng Dan Semangat Perempuan Melestarikan Seni Buda- ya. Vidya Wertta, 3(1), 63-70. Zawadzka, A.M., N.K. Berezska, M. Niezi- obetska. (2016). Self-Esteem, Readi- ness for Self-Improvement and Life Satisfaction in Indian and Polish Fe- male Students. Pollish Psychological Bulletin, 47(2), 179-185. Zurbuchen, M.S. (2014). The Language of Balinese Shadow Theater. Princeton: Princeton University Press.