350-Article Text-1851-1-10-20230430

Asian Journal of Management Entrepreneurship and Social Science
ISSN: 2808 7399

https://ajmesc.com/index.php/ajmesc Volume 03 Issue 02
Body Exercise Techniques for Blind Children :

A New Design of Basic Balinese Dancing Techniques
for Special Categories
Ni Wayan Mudiasih1, Tudhy Putri Apyutea Kandiraras2, Ni Made Pande Suari3
1,2,3Institut Seni Indonesia (ISI) Denpasar, Denpasar, Bali
Coresponding author-cmail: *wyn.mudiasih@gmail.com
abstract
The purpose of this study was to find a new design for basic Balinese dance techniques
for blind children. So far, the basic techniques of Balinese dance are difficult for blind children
to learn. In this regard, a new design for the basic technique of Balinese dance has emerged for
beginners in a special category. The problems are: 1) how to form a new draught of basic
Balinese dance techniques for blind children?; 2) what are the benefits of the new design of
basic Balinese dance techniques in a special category for blind children?. This new design of
basic Balinese dance techniques for blind children was researched using the R&D method. All
data was obtained through field studies and literature studies on blind children. All data were
analysed qualitatively using aesthetic theory and deconstruction theory from the perspective
of art studies. The design of basic Balinese dance techniques for beginners for this special
category was constructed after basic research was completed with the help of deconstruction
theory. The results of the study show that : 1) the new design of the basic techniques of Balinese
dancing for beginners is a body exercise technique for blind children; and 2) the benefits of the
new design of the basic Balinese dancing techniques can train breathing, balance, and flexibility
of joint muscles to strengthen stamina, memory, and movement power of blind children in
Balinese dancing.
Keywords : New Design, Basic Techniques of Balinese Dancing, Exercise, Blind

Children
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1. INTRODUCTİON
Blind people are people who need special methods as a form of assistance for their
daily problems in walking and learning independently (Triyono et al., 2021). Blind children
are visually impaired children who need special facilities and infrastructure to support their
activities. Constraints in facilities and infrastructure among blind students can disrupt their
learning process (Aziz, 2018; Fauziyah et al., 2021). Obstacles for blind students during
learning can be reduced by strengthening non-verbal communication, such as with the help
of touch (Rubyasih and Nurjaman, 2020).
According to Yurindra (2015), blind students are children who always need
additional means to reduce vision problems and increase hearing sensitivity during learning.
The learning process for blind students, among other things, depends on sound variations
from the vibration of certain tools as an indication of knowledge (Ramadhana, 2021). A cane
is a tool needed by blind people because it has a function as a guide in overcoming problems
with their physical condition while walking and carrying out daily activities (Al Hasan et al.,
2017; Purnomo, 2017). In addition, Omnihara et al. (2019) said that the learning
achievement of blind students was strongly influenced by their social support and self-
confidence. They are motivated to use known instruments and information for talent
development activities to achieve achievements and are emotionally motivated to get
rewards because of social support, such as the amount of family support for their special
needs (Gunawan et al., 2016).
Blind children are children who have special needs in learning dance. They lack the
opportunity to get an overview of dance and have major obstacles in learning dance just by
watching and listening to the dance teacher's instructions. Therefore, only a few of them are
able to dance well. To dance well, sufficient knowledge and mastery of basic dance
techniques are required, as are the basic techniques of traditional Balinese dance.
Traditional Balinese dance performance is an art that has been kept alive for a long
time by the Balinese people. Not only is it beautiful, but it is also full of religious, ethical, and
aesthetic values, heroism, and even love for the motherland and defending the country
(Sustiawati et al., 2017). Elements of Balinese culture are preserved by the community,
including their collectively impressive religious, ethical, and aesthetic values (Pradana et al.,
2016). One of the impressive Balinese dances requires dancers to have the ability to apply
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the basic techniques of Balinese dance movement. Every Balinese dancer is at least familiar
with the motions of agem, tandang, tangkep, and tangkis when dancing in Bali. The
movements of tangkis, tangkep, tandang, and agem need to be supported by the flexibility of
the body and the agility of the feet to optimize the expression of the beauty of the
performance.
Getting to know and practicing the basic techniques of Balinese dance before the
performance is a way to lay the foundation for the beauty of Balinese dance performances.
In general, Balinese dancers who dance beautifully and stunningly have more than enough
practice in basic Balinese dance techniques before they perform Balinese dances. In contrast
to most blind children at the Badung 1 Public Special School (SLB), it is still difficult to
perform the beautiful Balinese dance. Some of them have tried to practice the basic
techniques of Balinese dance formally and on schedule during art extracurricular activities
but still find obstacles in developing dance moves for the performance of Balinese dance.
According to Suharta (2021), the situations and conditions of students in the process of
learning basic art techniques need to be considered for the effectiveness of the performing
arts learning process.
It is interesting to know that having practiced the basic techniques of Balinese dance
movements is something that is mandatory for every novice dancer for formal Balinese
dance performances. Therefore, good Balinese dancing is difficult for blind children,
especially without practicing the basic techniques of Balinese dance movements. As stated
by Karolina et al. (2020), determining the theme of art and the right moment of activity can
reduce distractions in art learning difficulties among the blind, so developing basic
techniques for Balinese dance movements for novice dancers in special categories is a
necessary way to improve performance. Balinese dance from blind children without
compromising the quality standards of Balinese performance. This new technique for the
basis of Balinese dance movements can be an alternative for novice dancers in strengthening
the foundation of Balinese dance choreography as well as helping blind children who are
studying Balinese dance build flexibility, agility and strength proportionally to optimize the
beautiful form of dance movement performance expected in the choreographic structure.
There are so many problems facing blind children in Balinese dance studies, which on this
occasion are focused on : 1) What is the form of a new design for the basic techniques of
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Balinese dance for beginners among blind children?; 2) What are the benefits of the new
design for the basic techniques of Balinese dance in a special category for blind children?.
2. LİTERATURE REVİEW
The study of basic Balinese dance techniques for beginners in special categories like
exercise techniques for blind children is an important part of performing arts and health
studies. Several studies with coping achievements related to art technique problems,
disability problems, and even disability problems as well as art in the realm of art education
show how important exercise techniques are for blind children as beginners in special
categories. As for some of the research results referred to, they are as follows.
Margareth Coldiron says in The Conundrum of Transmitting Embodied Knowledge
for Intellectual Performance: A Case Study (2018) that in order to address physical
challenges in effective dance, appropriate and even new methods are assisted. Several
dances in Asia not only require the ability to move according to the choreography but also to
learn the role, like in a drama. For example, students who study dance routinely continue to
practice until they can effectively demonstrate dance choreography. For maximum
performance, a number of actors have practiced Balinese mask dance techniques to
complement and optimize the performance of Hippolytos' drama in the Greek tradition. In
connection with Physical Exercise Techniques for Blind Children: A New Design of Balinese
Dance Basic Techniques for Beginners for the Special Category, there is a similarity in the
focus of research on Balinese dance. The difference is that The Conundrum of Transmitting
Embodied Knowledge for Intellectual Performance: A Case Study does not discuss Balinese
dance techniques in a special category, while the Physical Exercise Techniques for Blind
Children: A New Design of Basic Balinese Dancing Techniques for Beginners Special Category
for blind children does.
Afifah Hanum and Rohita, in Body Exercise Center Activities to Stimulate Gross Motor
Skills (2020), said that 10 out of 12 children in Al-Azhar 45 Grand Depok City Islamic
Kindergarten were able to independently demonstrate gross motor skills such as hand and
leg muscle skills and were balanced with the movements of the large muscles properly. This
shows that the children at the Al-Azhar Islamic Kindergarten, 45 Grand Depok City, have
learned the body exercises for dancing quite well. The Relationship Between Sports Center
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Activities and Stimulating Gross Motor Skills and Exercise Techniques for Blind Children: A
New Design of Basic Balinese Dancing Techniques for Beginners The special category lies in
issues regarding physical exercise techniques. The Physical Exercise Center for Stimulating
Gross Motor Skills does not analyze the problems of blind children, while Blind Children's
Body Exercise Techniques: A New Design of Balinese Dancing Basic Techniques for
Beginners The Special Category analyzes the problems faced by blind children when learning
Bali dance.
Hasan, through Body Exercise in Cultural Arts Practices in Grade 3 Elementary School
Students (2018), states that correct body exercise techniques can clarify the art forms of
movement in dance and drama performances. Students in Grade 3 who are studying the arts
of drama and dance always start with body exercises as a form of warm-up to increase their
readiness to carry out dance movements in earnest. The Relevance of Body Exercise in
Cultural Arts Practices in Grade 3 Elementary School Students with Physical Exercise
Techniques for Blind Children: A New Design of Basic Balinese Dancing Techniques for
Beginners The Special Category is on the similarity of children's physical problems in dance
practice. Body Exercise in Cultural Arts Practices for Grade 3 Elementary School Students
does not discuss the benefits of dance techniques for blind children, while Body Exercise
Techniques for Blind Children: A New Design Basic Balinese Dancing Technique for
Beginners Special Category discusses the benefits of Balinese dance techniques as a special
category for blind children.
Imogen Aujla shows in Opening Pathways to Training for Young Disabled Dancers: An
Action Research Approach (2021) that special dance training for children with disabilities
has increased their chances of being able to dance. So far, they have been formally involved
in the process of learning dance, but they admit that they still encounter many obstacles in
learning dance. Relevance of Opening Pathways to Training for Young Disabled Dancers: An
Action Research Approach with Physical Exercise Techniques for Blind Children: A New
Design of Basic Balinese Dancing Techniques for Beginners The Special Category is on the
issue of special dance training for children with disabilities. However, the Opening Pathways
to Training for Young Disabled Dancers: An Action Research Approach does not discuss
Balinese dance, while the Body Exercise Techniques for Blind Children: A New Design of
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Basic Balinese Dancing Techniques for Beginners The Special Category discusses Balinese
dance.
Marsha Saxton writes in Hard Bodies: Exploring Historical and Cultural Factors in
Disabled People's Participation in Exercise; Applying Critical Disability Theory (2016) that
there are persons with disabilities who participate in Olympic sports. Many of them were
eliminated due to physical problems, but some of them enjoyed this sporting event as
recreation. Relationship of Hard Bodies: Exploring Historical and Cultural Factors in
Disabled People's Participation in Exercise; Applying Critical Disability Theory with Exercise
Techniques for Blind Children: A New Design of Basic Balinese Dancing Techniques for
Beginners The special category lies in the problem of people with disabilities. However, Hard
Bodies: Exploring Historical and Cultural Factors in Disabled People's Participation in
Exercise; Applying Critical Disability Theory does not discuss Balinese dance, while Exercise
Techniques for Blind Children: A New Design of Basic Balinese Dance Techniques for
Beginners The Special Category discusses Balinese dance.
3. RESEARCH METHOD
This new design of basic Balinese dance techniques for blind children was researched
using the R&D method. The R&D method is a research method that aims to produce new
products (Bock, 2020). The operational R&D method is supported by a constructivist
approach. During basic research at the Badung 1 Public Special School (SLB), the type of
primary data was qualitative data obtained through participatory observation. The
informants consisted of blind children at the Badung 1 Public Special School (SLB). The
informants were selected based on the snowball sampling technique. Snowball sampling
refers to the process of selecting data providers based on previous informants' instructions
until they meet data saturation (Berg & Lune, 2018). Snowball sampling was carried out after
witnessing the difficulties of Badung 1 SLB State teachers in teaching Balinese dance to blind
children. Snowball sampling was continued during field studies regarding the obstacles blind
children had in learning Balinese dance at Badung 1 Public School (SLB) to find a new model
of basic Balinese dance techniques. This new model of basic Balinese dance techniques was
then tried to be realized through experimental studies at the Reneng studio to produce new
motion variants, which were summarized in a basic Balinese dance technique design,
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especially for blind children. In the experimental study, the variant of the basic technique of
Balinese dance is the choreography component of traditional Balinese dance, which is tested,
selected, and modified to control the stability of the dance movement for better
understanding by blind children. As a result, a basic Balinese dance technique was
developed, especially for blind children. This special construction of the basic techniques of
Balinese dance for blind children cannot be separated from the data collected during the
basic research. All data was obtained through field studies and literature studies on blind
children. All data were analyzed qualitatively using aesthetic theory and deconstruction
theory from the perspective of art studies. All data has been verified based on methods and
theories from the perspective of art studies.
4. RESULT
Through the research process on Basic Balinese Dancing Techniques and Obstacles
for Blind Children in Balinese Dancing, a design for blind children's body exercise technique
has been found as a basic dance technique for a special category and its benefits. The findings
in our research results can be presented as follows.
4.1 Exercise Techniques for Blind Children: A New Design for Special Category
Beginners
The new design of the basic steps of Balinese dance for beginners is based on how
blind children dance and how researchers can make new Balinese dance material. This new
design was formed after a trial of basic Balinese dancing techniques at Reneng Studio based
on complaints from blind children at the Badung 1 State Special School (SLB), Bali. Based on
the complaints of the blind children, a sports technique was selected that was most relevant
to the needs of the blind children to be tested at Reneng Studio. Based on the trials, it can be
concluded that the new design arrangement is in the form of a Balinese dance body exercise
technique specifically for blind children. The 10 variants of body exercise techniques in the
design of the basic Balinese dance techniques specifically for blind children are as follows.
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Photo 1. The Sila Rotating Movement

(Document : Mudiasih, 2023)
The Sila Rotating movement begins with the standing process, counting (1 x 8), sitting
cross-legged, bringing the soles of the feet together, and holding the toes with both hands.
This is followed by the movement of laying the body to the left until the body is upright again,
then laying the body to the right until the body is upright again.
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Photo 2. The Pong-Pongan Street movement

Pong-Pongan Street Movement This movement uses a total count (3x8). First of all,
stand straight up. Count (1x8) feet shoulder-width apart, body lowered slowly, both heels
lifted, and body leaning forward and looking straight ahead simultaneously. Both hands are
inserted into the legs so that they touch or hold the back of the ankles. Walk slowly forward
on the count of eight, keeping your feet on tiptoes and your gaze forward. Then on the next
(1x8) count, slowly both hands with the feet still on tiptoe touch the floor, the heels touch
the floor, and the feet begin to close together and return to the starting position.
Photo 3. Peeking Movement

The peeking movement is done by opening the legs with a count (2x8). Followed by
the process of bending the body down and the position of the head touching the floor with a
count of (1 x 8) which is done simultaneously. Then the peek move is maintained for (2x8).
After that, the head and body are lifted simultaneously with the same count, namely (1x8),
followed by the leg position being closed to return to its original position with the count
(2x8). This movement is performed four times and held for an eight-count.
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Photo 4. Trecet movement

The trecet is moved 3x8 times. On the first (1x8) count, the initial position of the body
is standing straight, then slowly opening both feet shoulder-width apart on the fourth count.
Then on the fifth, sixth, and seventh counts both hands are opened, then on the eighth count
both hands are clenched and are in front of the chest, the right hand is on the inside, and the
left hand is on the outside, in front of the heel of the foot raised, so the feet become tiptoe.
On the second (1x8) count, the foot has been stamped in the same position. On the count of
eight, stop stomping. On the third (1x8) count, counting 1-4, the heel is lowered to touch the
floor; on the next count, the leg is closed and returns to its starting position.
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Photo 5. The Half Kayang Movement

The half kayang movement begins with the body standing upright. Slowly and
simultaneously with the count (1x8), the position of the body and head is stretched or arched
backwards until you can see the part behind it straight with the head position in the half
kayang position. After that, the position of the body and head are lifted simultaneously back
to the starting position with a count (1x8). This movement is performed four times and held
for an eight-count.
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Photo. 6. Genjot Movement

The genjot movement is carried out by opening the leg position with a count (1 x 8).
Then proceed with facing the position of the body towards the right or left side with a count
(1 x 8) and slowly lowering the body position with the head of the body looking up like a
little kayak and continuing with the genjot movement as much as (2x3). After that, the body
position returns to the start, slowly standing with a count (1 x 8) performed simultaneously
with the closing leg movement. This movement is repeated four times, once on the right and
once on the left.
Photo 7. The Kayang Bersimpuh Movement

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This kayang bersimpuh Movement uses a total count (4x8). First, the body stands
straight and the hands are attached to the thighs counting (1 x 8), the body is lowered slowly
until the body is kneeling and the feet are in the flexed position. On the count (1x8), the
buttocks are slightly lifted and the body lies back until both hands touch the ankles. Maintain
this movement for the (1x8) count. On the count (1x4), the body and both hands have been
lifted up and returned to the kneeling position. Then, on the count (5x8), the body is slowly
lifted and returned to its initial position until the hands stick back to the sides of the thighs.
Photo. 8. Plywood Roll Movement

The plywood bolster movement begins with the position of the body sleeping on the
stomach, the soles of the feet pointing and the position of the hands straight, touching the
floor. Counts 1-2: body position turned to supine with the feet and hands still touching the
floor. Then count 3–4 and the body is rolled back to the starting position.
For the open-close movement, start with an upright body position. This movement
uses a count (1 x 8) followed by opening the right leg first with the position of the left hand
touching the corner of the right foot at the bottom and the right hand straight up. After that,
proceed with the movement to close the leg and continue with the movement to open the
left leg with the position of the right hand touching the corner of the lower left leg and the
left hand straight up. This movement can be done repeatedly by opening and closing the legs
as desired. This movement is carried out 8 times with a count process (1x8)
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Photo 9. Movement of the Tornado

The Tornado Movement uses a count (1x8) with a need for 5–6 participants. First,
each participant stands in an alternating position, holds hands, and then slowly rotates. On
the count of five, the two people on the edge are lifted by their partner, where the right foot
rests on the waist of the closest partner and the left leg is lifted while stretching the left hand.
4.2 Benefits of the New Design of Basic Techniques of Balinese Dancing, Special
Category for Blind Children at State Special School (SLB) 1, Badung
The novelty element of the potential solutive design structure (Pradana and Parwati,
2017; Pradana, 2019). It is hoped that the new design of the basic techniques of Balinese
dancing can reduce the problems of blind children in learning agem, tandang, tangkis and
tangkep. Variants of special physical exercise techniques for blind children can certainly be
a new choice that can motivate blind children and dance teachers to improve the
achievement of the Balinese dance learning process in special schools (SLB). The new design
in the form of exercise techniques for beginners, especially for blind children, has the benefit
of strengthening the foundation of the choreographic movement techniques needed in
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Balinese dancing. The movement technique formula developed in the form of this special
exercise technique has been proven to be able to train breathing, train joint muscle flexibility,
train memory, train the strength of motion needed to maintain stamina and balance the
strength of the movements needed in presenting the choreographic composition of Balinese
dance performances well. Specifically, the benefits of each exercise technique in this new
design for beginners, specifically for blind children, can be seen in the following matrix.
No. Nama Teknik Olah Tubuh Manfaat

1. Sila Rotating Movement strengthening the foundation of the balance of the
power of dance movements.
2. Pong-pongan walking strengthening the foundation of the balance of the
movement power of dance movements.
3. Peek Movement maintain the balance of the foundation of the
strength of dance movements, train memory.
4. Trecet movement tightens the thigh muscles, strengthens the
foundation of leg agility.
5. Half Kayang Movement maintain the balance of dance movement power
and stamina.
6. Genjot Movement strengthening the foundation of motion strength
and flexibility of joint muscles, training memory.
7. The Kayang Bersimpuh maintaining the foundation of joint muscle
Movement flexibility and stamina, training memory.
8. Plywood Roll Movement training memory and reducing tension on the
basis of dance movements through breathing
control.
9. Open-Close Movement increase the flexibility of the joint muscles and
maintain the strength of the dance movement.
10. Tornado Movement maintaining stamina and flexibility of joint
muscles, strengthening the basis of the balance of
the strength of dance movements.
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Based on the matrix above, it can be seen that the kayang bersimpuh technique on its knees
and the open and close technique can be used to train the joint muscles to be more flexible.
The plywood rolling technique can be used to help prevent and relieve muscle tension
caused by dance movements. To maintain stamina when performing dance movements, we
can train them by implementing the half-rich technique, the kayang bersimpuh technique,
and the tornado technique. Stamina for Balinese dancing can also be maintained through
breathing exercises such as the plywood rolling technique. Tightening the thigh muscles can
contribute to an increase in leg agility foundation strength when dancing Balinese, which can
be trained by applying the trecet technique. The basis for the balance of power in performing
dance movements can be built by implementing the rotating sila technique, the pong-pongan
technique, and the open and close technique. The basic strength of dance movements can
also be strengthened through practice using the plywood rolling technique. Thus, mistakes
in Balinese dancing can be prevented, among other things, by training memory, as in the
peeking technique, the kayang bersimpuh technique, the genjot technique, and the plywood
rolling technique.
5. DISCUSSION
The quality of art is based on the beauty of the characteristic motifs of valuable and
amazing or phenomenal art form elements (Pradana, 2012; Pradana, 2018; Pradana and
Pratiwi, 2020; Pradana and Ruastiti, 2021). Dancer's body exercise is a basic dance
movement exercise that has a big influence on the quality of the dance movement. According
to Murgianto (2002), the quality of movement in dancing can be built and fought for by
dancers in stages and continuously, starting with training muscles and dance movements.
The flexibility of the muscle movements that support the variants of dance movements can
strengthen the expressive impression of a performing arts performance (Sorell, 1993). The
expressive impression will be even more prominent when the dancer does not only live up
to the role of dance but is also supported by a trained physical performance (Murgiyanto,
1983). In the study of traditional Balinese dance, exercising the body is a form of physical
exercise that, if done continuously, can have an impact on strengthening the expressive
impression of the quality of the Balinese dance performance displayed. Quality Balinese
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dance performances can be understood not only due to the magic of taksu and the dancers'
memorization of dance moves but also due to the process of staging preparation plans in the
form of sufficient body exercises.
In operations, it takes a rational approach that is general and interpersonal like a
technique (Menezes, 1986:28). According to Mudiasih et al. (2022), creeping movements,
roll and backroll, duck walking, seesaw, kayang bersimpuh, bending with straight legs, rolling
rocks, tiptoe spinning, buttocks walking, rolling on the back, kayang kneeling, bicycle dipper,
throwing feet, kayang in front of the chest, cartwheels, cartwheels on the thighs, propeller
down, full spin on the bottom, komodo walking, wall push, shoulder split, tiger jump, straight
leg hovering style, straight leg hovering style and frog style can be used as a deep body
exercise technique in the framework of strengthening Balinese dance movements. Apart
from that, the precepts of spinning, pouncing, peeking, trecet, half-kayang, genjot, kayang on
knees, rolling plywood, opening and closing, and tornadoes can also be used as body
exercises. After testing, it was found that the movements of the tornado, opening and closing,
rolling plywood, kayang bersimpuh, genjot, half kayang, trecet, peeking, pong-pongan, and
rotating sila movement are relevant as body techniques for beginners of Balinese dance,
especially for blind children. Based on literature studies, field studies, and experimental
results, a new design for beginners in Balinese dance can be developed for a special category
that includes a variety of motion techniques such as tornado movements, plywood rolling,
opening and closing, genjot, kayang bersimpuh, peeking, half kayang, trecet, pong-pongan,
and rotating sila turning for body exercises.
According to Santoso (1986), routine body exercises can be beneficial for the balance
of head-body-foot movements, the flexibility needed in the agility of dance movements, as
well as clarity of expression and firmness in the strength of dance movements, where these
problems cannot be separated from the dancer's stamina, which is more than enough.
Through exercise, organs such as muscles can be formed to be more alert to support
movement activities, which can provide more support for improving the quality of dance
moves and even seizing opportunities for achievement in dance competitions. Exercise can
be useful in training the dancers' flexibility, stamina, and balance of motion. Useful
contributions need to be built through cooperation agreements and fought for to reach a
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consensus on harmony and maximum practice performance for shared expectations

(Pradana, 2021; Pradana, 2022; Pradana, 2022a).
Exercise is known as a way to improve the performance of traditional Balinese dance
techniques when learning how to dance. The importance of maintaining balance, strength of
expression, and flexibility of motion for the quality of Balinese dance performances means
that body exercise is one of the formal requirements in a series of lessons on traditional
Balinese dance. This new design of basic Balinese dance techniques for this special category
can be a new choice in strengthening and preparing to learn Balinese dance.
The design of the basic techniques of Balinese dancing in the form of special category
exercise techniques can be useful in alleviating the problems of blind children at the State
Special School (SLB) 1, Badung, in learning Balinese dance in connection with the
revitalization of the foundation of balance and strength of Balinese dance movements. In
order to build a good choreography for Balinese performances, the types of special body
movements in this new design for beginner Balinese dancers can train strength of
movement, train memory, train flexibility of joint muscles, and train the breathing needed to
maintain stamina, clarify expression, and have strength, foundation of dance movement:
balance. Considering that this new design was constructed based on a study of the
constraints of blind children at SLB Negeri 1, Badung, it is hoped that this variant of special
body exercise techniques for beginners in this special category can motivate blind children
who cannot yet dance Balinese while studying at school. extraordinary (SLB) Negeri 1,
Badung. This new construction for a series of basic Balinese dance techniques has also gone
through a different phase in order to ensure that the output is new but supports the totality
of the choreographic structure of traditional Balinese dance. It is hoped that this new design
will also be useful for dance teachers at SLB Negeri 1, Badung.
6. Conclusion
The results of the study show that: 1) the new design of the basic techniques of
Balinese dancing for beginners is a body exercise technique for blind children; and 2) the
benefits of the new design of the basic Balinese dancing techniques can train breathing,
balance, and flexibility of joint muscles to strengthen stamina, memory, and movement
power of blind children in Balinese dancing.
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Asian Journal of Management Entrepreneurship and Social Science

ISSN: 2808 7399

Body Exercise Techniques for Blind Children :

Ni Wayan Mudiasih1, Tudhy Putri Apyutea Kandiraras2, Ni Made Pande Suari3

1,2,3Institut Seni Indonesia (ISI) Denpasar, Denpasar, Bali

Coresponding author-cmail: *wyn.mudiasih@gmail.com

Keywords : New Design, Basic Techniques of Balinese Dancing, Exercise, Blind

Photo 1. The Sila Rotating Movement

Photo 2. The Pong-Pongan Street movement

Photo 3. Peeking Movement

Photo 4. Trecet movement

Photo 5. The Half Kayang Movement

Photo. 6. Genjot Movement

Photo 7. The Kayang Bersimpuh Movement

Photo. 8. Plywood Roll Movement

Photo 9. Movement of the Tornado

No. Nama Teknik Olah Tubuh Manfaat

consensus on harmony and maximum practice performance for shared expectations

Pertunjukan Wayang Joblar. Electronic Journal of Cultural Studies, 1(2): 11-27.

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