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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

Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Mathematics Mechanical Engineering Public Health Social Sciences Other

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Makna Tari Pegawai Dalam Pesta Perkawinan Di Kampung Hulu Pasa Malintang Nagari Inderapura Tengah Kecamatan Pancung Soal Kabupaten Pesisir Selatan Febri Susanti; Nerosti Nerosti
SENDRATASIK UNP Vol 9, No 2 (2020)
Publisher : FBS Universitas Negeri Padang

This research aims to reveal and discuss the Meaning of Pegawai Dance in a Marriage Party in the Kampung Hulu Pasa Malintang, Nagari Inderapura Tengah, Pancung Soal, Pesisir Selatan District. This research is a qualitative research using analytical descriptive method. The Main Instrument was the researcher itself with primary and secondary data types. The data collection techniques were literature review, observation, interview and documentation. The object of research was the Pegawai Dance in KampungHuluPasaMalintang, Nagari Inderapura Tengah, Pancung Soal, Pesisir Selatan District. The results of this study indicate that the meaning of Pegawai Dance in a marriage party in the village of Kampung Hulu Pasa Malintang Nagari Inderapura Tengah can be analyzed from three aspects: (1) Bride and groom who stand at the aisle, in their own positions, holding a shawl that forms a swing. The shawl is tied in both thumbs of the bride and the groom. This means that both are ready to tie the relationship as a husband and wife and hope to get a good offspring.(2) Dancers who move (a) LangkahPanjang (long steps)means to see the bride and groom's descendants. (b) SeroangKanan (a right turn)means to seethe swingto keep it not to tilt so the bride is more careful and maintains domestic relations. (c)Seroang Kiri (a left turn) has the same meaning as the right one.(d) Ninjau (a review) meansto keep the position of the swing to be always in the middle so that the bride and groom work together and help each otherin difficulties and happiness as well as complement each other. (3) From the music lyric, it contains parents' prayers for their children so they can live a good marriage life and are blessed by God. Generally, the performance of the Pegawai Dance at a wedding can be seen as a manifestation of life values about responsibility and cooperation in carrying out the household ark, including giving a gala (a title) to the groom to equalize his status with the bride's so that he is respected by the bride family

KOREOGRAFI TARI PIRIANG DANTIANG BALEGO PRODUKSI SANGGAR RUMAH GADANG NAGARI CUPAK, KABUPATEN SOLOK: KAJIAN BENTUK DAN ISI Nia Putri Jelita; Indrayuda Indrayuda; Nerosti Nerosti
SENDRATASIK UNP Vol 7, No 1 (2018)
Publisher : FBS Universitas Negeri Padang

AbstractThis article aimed to explain and describe the choreography of Piriang Dantiang Balego dance in the production of Rumah Gadang Studio, Cupak district, Solok Regency. The type of this research was qualitative using descriptive methods. The object of the research was the Piriang Dantiang Balego dance. The data were obtained through direct observation, interviews, and documentation. Data were analyzed based on the Miles and Huberman approach, in the form of data collection, data reduction, data display, and conclusion drawing. The results of the study showed that the Piriang Dantiang Balego dance was a new creative dance that was done with a choreography approach. In the Piriang Dantiang Balego dance, there were choreographic elements such as forms including motion, top design and floor design, group composition, dancers, costumes, dance accompaniment, and dance property. The choreography contents of Piriang Dantiang Balego dance were ideas or notions and the revealed atmosphere through the expression of dancers and dancers' appreciation.Keywords: Choreography and Piriang Dantiang Balego Dance

TARI TAN BENTAN DI KANAGARIAN SANIANG BAKA KABUPATEN SOLOK Meirita Hardina Sari; Nerosti Nerosti; Darmawati Darmawati
SENDRATASIK UNP Vol 7, No 2 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract This article aimed to describe the form of Tan Bentan Dance in the community of Kanagarian Saniang Baka in Solok Regency. The object of this research was Tan Bentan Dance at Kanagarian Saniang Baka Solok Regency. The techniques of data collefction were conducted by literature study, observation and interviews. Then, there were several steps in analyzing the data, they were grouping data, analyzing data, describing data and making reports. The results of the study showed that Tan Bentan dance was one of the arts and cultures that were still developing in Kanagarian Saniang Baka, Solok Regency. There had been no change in the motion of Tan Bentan Dance from the past to the present and there were many repetitions in each stage. Previously, Puti Bungsu figure was played by men, and now the role of Puti Bungsu was played by women. The floor patterns of Tan Bentan Dance were circles as well as on Randai. Meanwhile, in the third and fifth round there was a slight change in floor pattern. The most floor pattern of Tan Bentan dance was circular. The number of Tan Bentan dancers was three people and one musician, with the characters of Cindua Mato, Lembang Jayo and Puti Bungsu. However, it could be seen from Tan Bentan's Dance that was performed at Marzuki Ismail Park Jakarta that the Puti Bungsu figure was played by male dancer and female dancer that had the creation of dance performances. Keywords: Tan Bentan Dance

Tiga Gaya Tari Rantak Kudo Berpotensi Sebagai Sajian Pariwisata Di Kawasan Mandeh Dan Sekitarnya Nerosti - Adnan
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2162

This article is part of the research (2017) to analyze the style of Pesisir Selatan dance in textual and contextual. The study focuses on the style of dance Rantak Kudo from Nagari Painan Timur, Laban, and Bayang. Textual analysis includes (a) Attitude of the body; (b) Transition type of motion; (c) the dimensions of motion; (d) Active moving parts of the body; And (e) Action and effort. Contextual analysis includes the geographical areas of dance, customs, and community life structures. Descriptive evaluative method by comparing the three areas of dance development, namely Rantak Kudo dance of Talaok (Bayang), Rantak Kudo dance of Painan Timur, and Rantak Kudo dance of Laban. The discovery found that Rantak Kudo dance of Talaok there is a tendency to make a humble movement to the earth, jerking feet rigidly to the ground closely related to the livelihood of the dominant community farming both fields and fields. Rantak Kudo dance of Painan Timur is more varied with patterned motion arrangement leads to artistic, expressing patterns of life and ways of thinking of a developing society. Rantak Kudo dance of Laban, with its close influence of the dance development area of the coast as well as the friendly and intimate style and attitudes of the people, is highly visible in the flexible or non-rigid motion style.

The Creative Industry Based on the Customary and Cultural Tourism: Art Performance Activities through Bina Nagari in Gurun Panjang, Pesisir Selatan Nerosti - Nerosti
Journal of Urban Society's Arts Vol 7, No 2 (2020): October 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v7i2.4504

This article provides information about the Community Service Program of the Assisted Nagari (PPNB) or Mitra Village, which also became the results of research in the Bayang District in 2016. The urgency of the study in Nagari Gurun Panjang Barat, which has been experiencing Nagari’s expansion for three years, is challenging to find a solution to improve the community’s economy. Even though the Nagari is a buffer for marine tourism destinations in the Mandeh tourist area, Carocok Painan Beach, and Sago Beach, it had not yet found a strategic solution that should be made. The solution is offered by completing the guided Nagari based on culture and tourism into a creative industry. The answer is to empower PKK (Family Welfare Program) groups of adult female and adolescents to be given skills with implementation methods, namely applying active learning strategies between instructors and community members in theory and practice. From the results of the training: (1) The groups of PKK are proficient and skilled at reading the Pasambahan pantun to welcome the bride and groom; (2) PKK female groups are adept at creating traditional clothing using takuluak that have been made by themselves and make-up that can be used for conventional marriage ceremonies and alek nagari; and (3) Youths have become proficient at playing Randai and established the Randai Padi Sarumpun Group, which was formed due to the implementation of PPNB. The training program was also complemented by religion and customs training to change the community’s attitudes and mindset into a civilized and cultured nation. The formation of positive behavior can lead people to creative industries and open themselves to receiving tourists who come to visit. Automatically, the training held can create welfare and employment for the community. Menuju Industri Kreatif Berbasis Wisata Adat dan Budaya: Bina Nagari Melalui Kegiatan Pentas Seni di Gurun Panjang, Pesisir Selatan. Artikel ini memberikan informasi tentang Program Pengabdian Masyarakat Nagari Binaan (Program Pengabdian Nagari Binaan/PPNB) atau Desa Mitra yang mewujudkan hilirisasi hasil penelitian di Kecamatan Bayang tahun 2016. Urgensinya Nagari Gurun Panjang Barat yang sudah tiga tahun pemekaran Nagari, belum mampu mencari solusi untuk meningkatkan perekonomian masyarakat. Padahal Nagari tersebut merupakan penyangga destinasi wisata bahari kawasan wisata Mandeh, Pantai Carocok Painan, dan Pantai Sago. Faktor keterbelakangan pola berpikir, kecederaan tingkah laku dan kemiskinan, terutama para ibu dan remaja sangat memerlukan pembinaan. Mengatasi permasalahan tersebut ditawarkan solusi dengan menjadikan Nagari Binaan berbasis wisata beradat dan berbudaya menuju industri kreatif. Solusi yang ditawarkan adalah memberdayakan ibu-ibu PKK dan remaja untuk diberikan keterampilan dengan metode pelaksanaan, yaitu penerapan strategi pembelajaran aktif antara instruktur dan anggota masyarakat dalam bentuk pelatihan berupa teori dan praktik. Dari hasil pelatihan: (1) ibu-ibu PKK mahir dan terampil membaca pantun pasambahan untuk menyambut pengantin; (2) ibu-ibu PKK mahir mengkreasikan memakai busana adat dengan memakai takuluak yang telah dibuat sendiri, serta tata rias yang dapat dimanfaatkan untuk upacara adat perkawinan dan alek nagari; dan (3) para pemuda telah mahir memainkan randai dan mendirikan Kelompok Randai Padi Sarumpun yang terbentuk dari hasil pelaksanaan PPNB. Pelatihan juga dilengkapi dengan ceramah agama dan adat istiadat sehingga dapat mengubah sikap dan pola pikir masyarakat menjadi bangsa yang beradab dan berbudaya. Pembentukan perilaku yang positif dapat mengantarkan masyarakat menuju industri kreatif dan membuka diri untuk menerima wisatawan yang datang berkunjung. Secara otomatis pelatihan yang diadakan dapat menciptakan kesejahteraan dan lapangan pekerjaan bagi masyarakat.

COREOGRAPHY IN MALAYSIA IN MULTICULTURAL CONCEPT: CASE STUDY PROGRAM MINOR ARTS DANCE UPSI Nerosti Nerosti
Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Vol 15, No 2 (2014)
Publisher : Fakultas Bahasa dan Seni UNP

KOREOGRAFI DI MALAYSIA DALAM KONSEP MULTIKULTURAL: KAJIAN KES PROGRAM MINOR SENI TARI UPSIAbstractThis writing is the result of my research entitled “Analisis Deskriptif Koreografi Pelajar Minor Seni Tari UPSI: Kajian Kes Tiga Produksi Tari 2008 – 2011”. The aim of the research is to answer the question: To what extend the dance work by Minor Dance Art students which was presented in Art Dance Production fulfills the coreography elements, by using descriptive analysis method from primary and secondary data. By using qualitative approach which involved library research, observation, interview and by using coreography theory, the research result proves that seventeen Minor Art Dance students’ dance works has been fulfilled the coreography elements. The elements are (a). The choice of theme or idea of work with the early stimulus, that is the stimulation of idea and concept, cinestetic, auditive, and visual. (b). Exploration and improvitation (c). Smoothing and composition. The composition elements has also been described, which include (1). The structure of the work (2). The body movement of the dancer (3). Th floor pattern (4). Music and lighting (5). Costum and make up, lighting. The research also found that eleven of students’ dance works has applied the multicultural concept which has ethnic and classic themes. The multicultural which is viewed as various of uniqueness and the diversity of the cultural ethnic, reflected by each work that is limited by historical context, social, and the origin culture, that includes Melayu ethnic, Minangkabau, Java, Sabah and Serawak, Kelantan, Hindia, and Chinese. Those eleven dances are Andai Randai, San Kipas, Iras, Ngayau, Tatoo Gendup Berpantang, Gawai Batu, Sekar Wangi, Kondattam, Sense of Beauty, Cinta Za’yu dan Jepit.Keywords: Multicultural, Minor Dance, CoreographyAbstrakTulisan ini merupakan hasil penelitian saya yang berjudul "Analisis Deskriptif Koreografi Pelajar Minor Seni Tari UPSI: Kajian Kes Tiga Produksi Tari 2008 - 2011". Tujuan dari penelitian ini adalah untuk menjawab pertanyaan: Untuk memperluas tarian para siswa Seni Tari Minor yang dipresentasikan dalam Art Dance Production memenuhi elemen-elemen inti, dengan menggunakan metode analisis deskriptif dari data primer dan data sekunder. Dengan menggunakan pendekatan kualitatif yang melibatkan penelitian kepustakaan, observasi, wawancara dan dengan menggunakan teori inti, hasil penelitian membuktikan bahwa tujuh belas karya tari tari Seni Tunggal telah memenuhi unsur-unsur inti. Unsur-unsurnya adalah (a). Pilihan tema atau ide kerja dengan stimulus awal, yaitu stimulasi ide dan konsep, cinestetic, auditive, dan visual. (B). Eksplorasi dan peningkatan (c). Smoothing dan komposisi. Unsur komposisi juga telah dijelaskan, yang meliputi (1). Struktur pekerjaan (2). Gerakan tubuh para penari (3). Pola lantai (4). Musik dan pencahayaan (5). Costum dan make up, lighting. Penelitian ini juga menemukan bahwa sebelas karya tari siswa telah menerapkan konsep multikultural yang memiliki tema etnik dan klasik. Multikultural yang dipandang beragam keunikan dan keragaman etnik budaya, tercermin dari setiap karya yang dibatasi oleh konteks sejarah, sosial, dan budaya asal, yaitu etnis Melayu, Minangkabau, jawa, sabah dan Serawak, Kelantan, Hindia, dan Cina. Sebelas tarian tersebut adalah Andai Randai, San Kipas, Iras, Ngayau, Tatoo Gendup Berpantang, Gawai Batu, Sekar Wangi, Kondattam, Rasa Kecantikan, Cinta Za'yu dan Jepit.Kata kunci: Multikultural, Tari Kecil, koreografi

CHARACTER BUILDING THROUGH TRADITIONAL DANCE AS DEVELOPING IDENTITY BELONGINGS: A STUDY OF INDONESIA-MALAYSIA Nerosti Adnan
International Conference on Languages and Arts Proceeding of the 3rd ISLA 2014
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (816.938 KB)

The tittle above shows that if a person learns a traditional dance of a specific community, they unconsciously learn about the culture and the moral values of the community too, which is beneficial to them. According to Hughes (2009), the learning process of traditional dance covers four different learning’s ethics: (1) discipline; (2) courtesy and respect; (3) socialize and not arrogant; (4) consistency and confidence. This four ethics can be analyzed in an integrated manner on the textual and contextual of a traditional dance. Among other things: dancing is actually a skill capability that will not be achieved without strong discipline to practice continuously. Salam hormatin the form of squat’s motion, both hands brought together in front of the chest or in the direction of the guest (organized into ten fingers) as initiating a traditional dance. This act is actually to educate the polite nature and mutual respect toward each other. Empirically, dance can be used as a medium of learning in the intimate and socialize formations. The beauty of dance itself can be achieved with simultaneous movement or uniform. Every motion that made by the whole body is the vision of the intellectual character’s build, discipline, art and spiritual, creative and fear of God. So that, the process that must be undertaken in learning a dance is not just memorizing the movement of the dance as a text, but the dancers need to keep planting the values of it in their life. It is importance as it helps to led the process of personality’s formation which is guide to responsibility and sharing to achieve the goal to always be independent and have their own true identity. Keywords: Character’s Development, Traditional Dance, Dance Lessons, True Identity

Bentuk Penyajian Tari Iyo-iyo Pada Upacara Pengangkatan Gelar Depati Ninik Mamak Di Desa Tanjung Pauh Mudik, Kerinci Ravena Lutiyasa; Nerosti Nerosti
SENDRATASIK UNP Vol 11, No 2 (2022)
Publisher : FBS Universitas Negeri Padang

This research aims to find out and describe the Form of Presentation of Iyo-iyo Dance at the depati Ninik Mamak title appointment event in Tanjung Pauh Mudik Village of West Kerinci Lake District, Kerinci Regency. This type of research is qualitative research with descriptive analytical methods. These research instruments are researchers themselves and are assisted by supporting instruments such as stationery, notebooks and cameras. This type of data uses primary data and secondary data. Data collection techniques are carried out by means of library studies, observations, interviews and documentation. The steps of analyzing data are collecting data, describing data and inferring data. The results of this study showed that the form of presentation of Iyo-iyo Dance at the Depati Ninik Mamak Title Ceremony began with a speech from the host, a speech from a ceremony as well as the delivery of hajat, followed by an offering from the butino child, followed by the pick-up of Mangku Depati, customary parno (religious greeting), followed by prayer and Jeddah, and the last performance of Iyo-iyo Dance. Iyo-iyo dance consists of 2 movements, and is only danced by female dancers who have something to do with Depati Ninik mamak, the butino son of Depati Ninik Mamak with a number of dancers of 15-30 people. Iyo-iyo dance uses internal music, which is the music of the dendang derived from the poet's voice, and this dance uses frankincense to spurt dancers who are believed to summon the spirits of ancient ancestors. The function of Iyo-iyo Dance at the Depati Ninik Mamak Title Appointment Ceremony is as entertainment for the people who witnessed it and as a form of respect to Depati who was appointed his title.

Nilai-Nilai Kearifan Lokal Melalui Tari Galombang Gaya Sasaran: Studi Sasaran Sebagai Sarana Pendidikan Kultural Nerosti Nerosti
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 1 (2019): May 2019
Publisher : Institut Seni Indonesia Yogyakarta

This article aims to discuss the issue of Minangkabau local wisdom manifested in Galombang dance activities in the context of the target style. The existence of pencak silat targets is very meaningful for Minangkabau men because the target is not only a means of physical endurance training but also a basis for cultural education for Minangkabau people. Thus, the problem that will be expressed in this article is about the importance of the target for men in Minangkabau as a means of educating local wisdom, by expressing the implementation of local wisdom values through the target-style Galombang dance, and also explaining the extent to which values of the local wisdom is manifested in today’s Galombang dance performances. Sasaran and Galombang dance are two things that are interconnected in building the values of local wisdom in Minangkabau. This cultural activity has been started since the past when the royal system ruled in Minangkabau. In turn, the target as a forum for cultural education that contains local wisdom values becomes the place to produce Galombang dance, so that the values of local wisdom are manifested in the target-style Galombang dance.Keywords: local wisdom values; Sasaran; Sasaran Style of Galombang dance

Struktur Indang Tigo Sandiang di Kecamatan Patamuan Kabupaten Padang Pariaman Sitinur Fazura; Nerosti Nerosti
SENDRATASIK UNP Vol 11, No 4 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v11i4.118425

This study aims to describe and analyze the structure of Tigo Sandiang's Indang in Patamuan District, Padang Pariaman Regency. This type of qualitative research using descriptive analytical method. Instruments in the researcher's own research using supporting instruments such as writing equipment, photo cameras, and mobile phones. The types of data used are primary data and secondary data. Data collection techniques used are literature studies, observation, interviews, and documentation. Data analysis techniques are carried out by collecting data, reducing data, displaying data, and drawing conclusions/verification. The results of this study indicate that the structure of Indang Tigo Sandiang consists of 3 Indang groups, namely Indang in Patamuan District, VII Koto Sungai Sarik, and Lubuk Alung. Each group performed alternately at different times but still in a triangular formation. The third group of Indang discussed the theme of overseas people returning home together after the outbreak of the covid 19 virus. The distinctive feature of Indang Tigo Sandiang is singing while moving, with the same six patterns of movement in the three Indang groups and has twelve kinds of movements in Patamuan and Subdistricts. LubukAlung. However, there are eleven kinds of motion in District VII Koto Sungai Sarik, because the motion in Indang Tigo Sandiang is determined by one of the attractors, namely the artisan or the person who transfers the motion, in which the movement can be reversed. Each group has dance elements, namely movement, creator, top design, dramatic design, group composition, theme, music, fashion make-up and props. Based on these dance elements, it can be seen that these elements are interrelated and related to each other.

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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