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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Journal of Urban SocietyÂ´s Arts Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang JURNAL PENDIDIKAN TAMBUSAI International Journal of Elementary Education Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni International Conference on Languages and Arts Journal of Community Service Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Cendikia: Jurnal Pendidikan dan Pengajaran Cermat : Jurnal Cendekiawan dan Riset Multidisiplin Akademik Terintegrasi

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Universitas Negeri Padang

Author-ID : 1138412

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Bentuk Penyajian Tari Cecah Inai Dalam Pesta Perkawinan Di Kecamatan Rengat Kabupaten Indragiri Hulu Provinsi Riau Roni Apriyanto; Nerosti Nerosti
SENDRATASIK UNP Vol 9, No 2 (2020)
Publisher : FBS Universitas Negeri Padang

This study aims to describe and express the form of presentation of the Cecah Inai dance in a marriage party in Rengat District, Indragiri Hulu Regency, Riau Province. This research is a qualitative research with descriptive analytical methods. The object of the research is the Cecah Inai Dance in Rengat District, Indragiri Hulu Regency, Riau Province, which was focused on the form of presentation. Data collection techniques were done through literature review observations, interviews and documentation. The data were analyzedby using triangulation techniques which compare observational data and interview data as well as documentation data.The results of the study generally showed that the Cecah Inai Dance was performed in pairs, which could be displayed on the proscenium stage and an open area. It lasted for five minutes. The form of presentation of the Cecah Inai Dance at a wedding in Rengat Subdistrict, Indragiri Hulu District, Riau Province is in the form of pure representation. The elements of this dance presentation form are as follows: (1) Opening and closing greetings, Picking Motion, Grinding Motion, Splitting Motion, and Sowing or Spreading Motion. (2) The floor pattern of Cecah Inai Dance uses a pattern of straight lines or horizontal lines. (3) The accompanying music of Cecah Inai Dance consists of: accordion, gebane, and gong or mp3 recorded music.(4) The makeup used is beautiful and dashing makeup. The Dancers wear the BelangeTelok and Songket clothes as well as Peji or Tanjak for male dancers while female dancers wear Baju Kurung and Songket clothes and head accessories such as bun. (5) In addition, the Cecah Inai dance uses some properties such as turmeric rice, nail polish, fresh flour, and trays which are danced from the beginning to the end of the dance.

Analisis Gerak Dan Karakter Tari Kain Di Pauah V Kecamatan Pauah Kota Padang Mila Septiana Putri; Nerosti Nerosti
SENDRATASIK UNP Vol 9, No 4 (2020)
Publisher : FBS Universitas Negeri Padang

This study aims to analyze the variety of movements and characters of Kain Dance in Pauh V, Pauh district, Padang city. This isa qualitative research using a descriptive analysis method. The object of the research wasKain Dance in Pauh V, Pauh district, Padang city.This research focused on the analysis of movements and characters. The data were collected through observation, interview, and documentation. The data analysis was conducted in the form of description, and the data were validated by using triangulation technique by comparing the observation data to the data from interview and documentation. The results of the study generally show that Kain dance is a traditional art performed in batagak gala event in Pauh V, Pauh district, Padang City. Kain dance is danced by 2 men, who face to face perform eight kinds of movements: salam pembuka, sambah, gantuang sabalah, rantak tigo, malapia, mailak, kalatiak, mangepo. The floor pattern of Kain dance is a straight line pattern, and the dancers always face each other from the beginning to the end of the dance.The dominant movement is the silat movement in the form of a defensive attack with the characteristic of Rantak Tigomotion. The analysis found in the movement of Kain Dance can be seen from the elements of motion: energy, space, and time. The quality of strong motions with the use of powerful movement intensity is carried out at a fast tempo.This dance is accompanied by a large volume of movement depicting the character of a man who is dashing and temperament. The temperament character contained in Kain Dance is expressed in the attack and block movements. The music which accompanies Kain Dance is two mancak drums. Kain dance is performed at the groom's house in front of the aisle at night in a day before the wedding party. The dancers wear black shirt, endong pants, deta for a headband, and sasampiang attached to the dancer's waist.

Bentuk Pertunjukan Tari Mancak Padang Dalam Upacara Urak Balabek Di Nagari Pauh IX Kota Padang Vivi Andriani; Nerosti Nerosti
SENDRATASIK UNP Vol 10, No 2 (2021)
Publisher : FBS Universitas Negeri Padang

This study aims to describe the form of Mancak Padang Dance Performance in Urak Balabek Ceremony at Pauh IX Village, Kuranji District, Padang City.This research belongs to a qualitative research using analytical descriptive method. The object of research was Mancak Padang Dance in Pauh IX Village, Kuranji District, West Sumatra Province. It is focused on the form of performance. The data were collected through literature review, observation, interview, and documentation. The data analysis was conducted by using triangulation technique which compared the observation result data with the data from interview and documentation. The results of the study generally show that Mancak Padang Dance in Urak Balabek ceremony in Pauh IX Village, Kuranji District, is a village party in the context of adopting sasian to become aguru tuo and give the title. Urak Balabek ceremony is a procession of crowning someone to lift his sword. This ceremony must be attended by boys. It is to indicate that the boy is mature enough to carry on the inheritance from the previous to the present generation. This activity begins by slaughtering a buffalo. The role of women is also needed to prepare for the banquet. The first night is the government ceremonial opening andalek ceremony.Next, galanggang opening which is opened by the head of pandeka with mancak padang. It is continued by Mancak Padang dance by the kids. After that, the guru tuo perform Mancak Padang dance, and it is closedby guru gadang. Mancak Padang dance movement originates from silat divided into three: kuda-kuda, balabekandgelek. Mancak Padang dance is accompanied by external music in the form of drums.Costumes wornare black silatclothes and a sarungin the waist. Mancak Padang dance in Urak Balabek Ceremony must be preserved from generation to generation. This is due to the fact thatthe dance is one of the traditional and cultural traditions as well as local wisdom owned by the community of Pauh IX Village, Kuranji District, West Sumatra Province.

Makna Tari Kejai Dalam Upacara Pesta Perkawinan Di Desa Topos Kecamatan Topos Kabupaten Lebong Provinsi Bengkulu Suci Ramada Jayanti; Desfiarni Desfiarni; Nerosti Nerosti
SENDRATASIK UNP Vol 8, No 4 (2019)
Publisher : FBS Universitas Negeri Padang

This article aims to describe and analyze the meaning of the Kejai Dance in a wedding Party in the Rejang society of Lebong Regency in Bengkulu Province. The type of this study was qualitative. The instruments used in collecting data were stationery, cameras, cellphone and handycam. The types of data in this study were primary and secondary data. The techniques of data collection were done by means of literature studies, observations and interviews. The steps in analyzing data were done by doing data reduction, data model (data display), withdrawal or verification conclusions. The results of the study indicate that the Rejang society of Lebong regency in Bengkulu Province has the Kejai Dance which has a social meaning matchmaking at a wedding party. The meaning is expressed in the movements of the Kejai dance as follows: (1) Sambah movement gives the sense of gratitude to Allah SWT so that it is given a smooth and straightforward work all that is to be done. (2) awal movement to begins the dance has the meaning that the society is always slow to do a job and always think first to make a decision. (3) Siap movement to get acquainted has good attitude and has good procedures. (4) Memberi dan menerima movement has the meaning that this society always receives whatever the results of the business they get in the form of gratitude. (5) Patah dayung movement has the meaning the society has a stand in every action and their hard work. (6) Sambah penutup movement has the meaning that every work that is done is always runs well and keeps returning to take care of it well whatever the results. Each movement has very deep meaning so that those show that the Kejai Dance includes life and social values in matchmaking betweenlackey and maid in the society of the Topos Village. The equipments (properties and costumes) give meaning to that society always has polite attitude and polite in dressing. The floor patterns mean that a married life is very simple but still solid and secure. The music instrument gives the meaning that the life of the Rejang area is also very simple. The Kejai Dance performance in a wedding party has an overall meaning which is the value of people's lives, responsibility and mutual respect as a binder of solidarity to strengthen the relationship among people.

Pewarisan Silek Pauh Di Perguruan Silaturahmi Di Kelurahan Kalumbuk Kecamatan Kuranji Kota Padang Uchi Isra Windy; Nerosti Nerosti
SENDRATASIK UNP Vol 9, No 1 (2020)
Publisher : FBS Universitas Negeri Padang

This research aims to describe and discuss the inheritance of Silek Pauh at the University of Kalumbuk subdistrict, Kuranji, Padang. The method used in this study is a qualitative deskritif method. Research instruments are self-researcher and assisted by supporting instruments such as stationary cameras. The data types in this study are primary data and secondary data. Data collection techniques are conducted by way of library studies, observation, interviews, documentation. The steps for analyzing data are data collection, describing data and making inferences. The results showed that the inheritance of Silaturahmi in this college was an open devolution system. But still rigid due to some things, among them the trainer currently has not found a candidate who is intact and able to learn the Silek Pauh. The function of Silek Pauh in addition to martial arts and performance art, Silek Pauh is also used as a means of communication and associating among Pauh people. This seems to be seen in the practice activities Pauh Silek Many students come to Pauh Silaturahmi in this college from several villages outside the village Kalumbuk. Currently, the college has remained a sociable event between youth Kalumbuak. The process of student rektrument at the college is very easy, by coming directly and convey the goodwill to be a student in the College of Hospitality, and will be able to follow every process that is at the time of practice.

TARI PIRIANG BATOGHANG DI NAGARI KOTO BARU KECAMATAN KOTO BARU KABUPATEN DHARMASRAYA DITINJAU DARI ASPEK KOREOGRAFI Indah Fajar Wati; Herlinda Mansyur; Nerosti Nerosti
SENDRATASIK UNP Vol 7, No 1 (2018)
Publisher : FBS Universitas Negeri Padang

AbstractThis article aims to reveal and describe the choreography of Piriang Batoghang dance in the dance class of Kajang Lako, Nagari Koto Baru Dharmasraya regency. This research was qualitative research with descriptive method. The object of this research was Piriang Batoghang dance in the dance class of Kajang Lako, Nagari Koto Baru, Dharmasraya regency. The instrument in this study was the researcher itself, and the types of data were primary and secondary data. The technique of data collection was done by documents study, observation, interview and documentation. The results showed that the form of the choreography of Piriang Batoghang dance was in the form of group choreography pattern and it used composition of large groups. This was a kind of dance that prioritized cooperation and raised the idea of Koto Baru’s community who generally work as farmers and solid when they work. Piriang Batoghang dance used floor patterns, the design of straight and curved lines. Piriang Batoghang dance has 10 top designs namely flat, within, vertical, horizontal, contrast, pure, static, straight, curved, and angles designs. The dance costumes were inspired from daily costume of society who goes to rice fields to harvest rice which have been modified. Keywords: Piriang Batoghang Dance

STRUKTUR UPACARA DAN FUNGSI PERTUNJUKAN TARI ASYEIK DALAM PENGOBATAN DI DUSUN EMPIH KECAMATAN SUNGAI BUNGKAL KOTA SUNGAI PENUH Bella Febriza; Nerosti Nerosti; Zora Iriani
SENDRATASIK UNP Vol 7, No 1 (2018)
Publisher : FBS Universitas Negeri Padang

AbstractThis Article was aimped to describe and analyze of ceremonial structure and function of Asyeik dance on treatmen in Dusun Empih Kecamatan Sungai Bungkal Kota Sungai Penuh. Type of this study was qualitative with descriptive method. Instrument in this study was the researcher. Type of data were both primary and secondary. Technique of collecting data were done by using library research, observation, interview, documentation and data analysis. Result of this study showed that performance of Asyeik dance on treatmen could be seen the relationship between it’s part namely mintak aroh, mulua kejea, manggoa atau nyerau, merancoah limao, tango nitai, nyembuah, penampilan tari asyeik, masoak bumoi, mageh hulu balea makoa. The performance of this had dominant elements where each other has symbiotic relationship. The elements were a dancer, bilan salih, motion, floor pattern, custom and music. Asyeik dance was used as a tool of treatmen ritual in Dusun Empih Kecamatan Sungai Bungkal Kota Sungai Penuh to healed the society who suffered an extreme pain which could not be healed by medical treatmen. If the sufferer did not heal sooner, then this dance would be held as a medium of treatmen. Keywords: Structure, Ceremony and Function, Performance of Asyeik Dance

Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu Windi Kartika Surya; Nerosti Nerosti
SENDRATASIK UNP Vol 10, No 4 (2021)
Publisher : FBS Universitas Negeri Padang

This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and women by bachelors; (2) and most of the Andun Dance by many dancers have been married. Andun dancers are mostly men and women performing separately. There is a periodization of Andun dance through 2 periods, namely: (1) periodization of 2003-2015, Andun Lelawanan Dance exists more than most Andun Dances, according to the purpose of the dance presented is to seek love; (2) Periodically from 2015 to present, Andun Dance is the most widely available. In 2019, the choreography in the Andun Dance was developed which was contested. Dancers in costume from the perspective of the Andun Dance competition, where the female dancers use modern borkat kebaya, songket cloth as a skirt, and a scarf. While the clothes are boy dancer/koko, coat, trousers, gloves, and a skullcap.

PELAKSANAAN EKSTRAKURIKULER SENI TARI DI SMA INSTITUT NASIONAL SJAFE’I (INS) KAYUTANAM Alhit Tamaranti; Zora Iriani; Nerosti Nerosti
SENDRATASIK UNP Vol 7, No 1 (2018)
Publisher : FBS Universitas Negeri Padang

AbstractThis study was aimped to analyze and describe the extracurricular implementation of dance art activity in SMA INS Kayutanam. Type of this study was qualitative with analytical descriptive method. The study object was implementation of dance art activity in SMA INS Kayutanam which were done by 5 students of class IX. Type of data in this study were both primary and secondary, and it used instrument namely the researcher. Technique of data collection was using library research. Observation, interview and documentation. Result of this study showed that the extracurricular implementation of dance art in SMA INS Kayutanam at class XI which was held as much as six times of meeting with using expositoric and Heuristic Strategy were able to improve students motion technique. In the first, second and third meeting, teachers combined both teachers model expositoric and students model expositoric. In the fourth, fifth and the last meeting, teachers Heuristic strategy with combined three models namely pure model, guided model, dan modifed model. With the strategies, teachers were able to manage the extracurricular implementation of dance art well and grew capability of students motion technique in dancing. Keywords: Extracurricular, Expositoric Strategy, Heuristic Strategy

Gairah Diujung Syahadat M Lufi Fakhri; Nerosti Nerosti
SENDRATASIK UNP Vol 9, No 4 (2020)
Publisher : FBS Universitas Negeri Padang

The creation of the dance called "Gairah Diujung Syahadat" aims to create creative dance work by expressing ideas which originated from life problems of a young person who converted his belief because he wanted to marry a Minangkabau woman. This dance work entitled "Gairah Diujung Shahadat" belongs to dramatic dance. The presentation form in the dance work "Gairah Diujung Syahadat" is symbolic representational. The dance work "Gairah Diujung Syahadat" is inspired by the social phenomena of life where a young man met a woman in a night life and wanted to marry her. The young man struggleduntil he converted his belief andsaid the creed. After this young man got the women, he did not dothe obligations in his creed. Everyone judged him so that he realized that he could not joke the belief, and he had to return to the right path. The dance work "Gairah Diujung Syahadat" focuses on an incident or event. It is an interpretive expression of the struggle of a young man, but the young man does not consider the impact of his actions for goodness in terms of belief. The work is manifested through movement, stage setting, make-up, costume, lighting, and is emphasized by music.

Co-Authors Afifah Asriati Alhit Tamaranti Aprilia Putri Amanda Bella Febriza Cindhy Pospita Wati Darmawati Darmawati Delfi Elfiza Deliziani Deliziani Desfiarni Desfiarni Efrianova, Vivi Emeilya Batu Bara Evindo Marsiano Febri Susanti Fernanda Putri Firmadanni Liska Fuji Astuti Hendra Afriwan Herlinda Mansyur Ikrar Dinata Indah Fajar Wati Indrayuda Indrayuda Izaty, Rahmi Kodratilla, Salsa Laela Kurniaty Ilyas Leri Yano Wardana M Lufi Fakhri Maulidya, Rizki Iasha Maysa Nurfiana Meirita Hardina Sari Meri Rhama Nelly Mila Septiana Putri Muhammad Afif Nia Putri Jelita Ninda Levia Nurhasanah, Ananda Nurjanah, Ila Ana Putri Septia Maharani Rahayu, Ella Saimedita Rahmi Izaty Ravena Lutiyasa Roni Apriyanto Sisi Ranita Yahya Sitinur Fazura Sri Intan Puspita Rifa Suci Ramada Jayanti Sucy Zulmaiza Susmiarti Uchi Isra Windy Vivi Andriani Windi Kartika Surya Yedes Ratmi Yuliasma Yuliasma Zora Iriani

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