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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Journal of Urban Society´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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Kreativitas Gerak Tari dalam Randai Intan Sari Pada Sanggar Seni Minang Maimbau di Nagari Koto Baru Kecamatan X Koto Kabupaten Tanah Datar Sri Intan Puspita Rifa; Nerosti Nerosti
Jurnal Pendidikan Tambusai Vol. 7 No. 1 (2023): April 2023
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (436.684 KB)

Abstract

Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis Kreativitas Gerak Tari Dalam Randai Intan Sari Pada Sanggar Seni Minang Maimbau Di Nagari Koto Baru Kecamatan X Koto Kabupaten Tanah Datar. Jenis penelitian ini adalah penelitian kualitatif dengan menggunakan metode deskriptif. Instrumen penelitian ini adalah peneliti sendiri dan dibantu dengan instrumen pendukung seperti alat tulis dan hanphone. Data dalam penelitian ini menggunakan data primer dan data sekunder. Teknik pengumpulan data dilakukan dengan cara studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah mengumpulkan data, mendeskripsikan data dan menyimulkan data. Hasil penelitian menunjukkan bahwa kreativitas gerak tari dalam Randai Intan Sari pada Sanggar Seni Minang Maimbau di Nagari Koto Baru terdiri dari kelancaran (fluency), kelenturan (flexibility), keaslian (originality), elaborasi (elaboration) dan kepekaan (sensitivity). Kelancaran Randai Intan Sari harus mengutamakan stamina, tenaga, kekuatan penari karena pada Randai ini memiliki banyak gerak cepat yang harus dimainkan oleh penari. Kelenturan Randai Intan Sari memperhatikan kondisi pinggang, kondisi kudo-kudo, tangannya semua memiliki ketentuan, upaya yang dilakukan agar kelenturan terjaga adalah sricing untuk tangan, pinggang putar kiri dan kanan selama beberapa menit. Keaslian Randai Intan Sari tidak lepas dari unsur silek seperti sambah, kreativitas yang dilakukan pada aspek keaslian adalah Randai tersebut asli gerakan yuang diciptakan dari sangar Tari Intan Sari. Elaborasi Randai Intan Sari adalah kolaborasi Randai tradisional dan modern yang mana gerakannya adalah Sipak Alang Katabang dan gerakan ini dilakukan elaborasi dengan sikap hewan terbang dan hinggap ke dahan tayu dan dielaborasikan dengan tari. Kepekaan Randai Intan Sari dilihat dari unsur pemain dimana disini ada “ Goreh”, goreh ini adalah sebagai pemimpin, kreativitas dari aspek kepekaan adalah hentakan kaki mengiringi suaro sehingga dapat membentyuk kulit elang terbang.
Bentuk Penyajian Tari Galombang Sanggar Umbuik Mudo dalam Pesta Perkawinan di Nagari Sungai Asam, Kabupaten Padang Pariaman Aprilia Putri Amanda; Nerosti Nerosti
SENDRATASIK UNP Vol 12, No 1 (2023)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i1.121220

Abstract

This study aims to describe and analyze the form of presentation of the Galombang Dance at Sanggar Umbuik Mudo at a wedding party and to reveal the form and sequence of the entire presentation of the Galombang Dance at a wedding party. This type of qualitative research uses a descriptive analytical method. While the main instrument is the researcher himself and requires tools in collecting data in the field, namely in the form of stationery and photo cameras. Data collection techniques in the form of literature, observation, interviews and documentation. The data analysis technique is by collecting data, describing the data and concluding the data. The results showed that the Galombang dance at the Umbuik Mudo Studio was a creative dance danced by 6 dancers, consisting of 1 male and 4 female dancers and 1 carano carrier. The movements of the male dancers consist of 6 movements, while the movements of the female dancers consist of 16 movements. The two-row floor pattern stretches backwards with two performances, that is, after the carano presenter offers betel nut to the guest of honour, the dancers continue the dance with a faster tempo. The costume for the female dancers is to wear a creations brackets shirt, salempang, songket skirt and the head wears a lenggek duo horn and uses accessories, namely lace, yellow net cloth, talepon earring, suntiang limo finger and kaban necklace and gold cakiak necklace. The accompanying music used in this performance is gandang, tambua, bass guitar, bansi, jimbe and talempong.
Tari Piriang Lenggang Manatiang di Sanggar Anjuang Siriah Kota Padang: Tinjauan Koreografi Leri Yano Wardana; Nerosti Nerosti
SENDRATASIK UNP Vol 12, No 4 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i4.121562

Abstract

his research aims to describe and analyze the choreography of the Piriang Lenggang Manatiang Dance at the Anjuang Siriah Studio, Padang City. This type of research is qualitative research using descriptive analysis methods. The instrument for this research is the researcher himself and is assisted by supporting instruments in the form of writing instruments, books, recording equipment and audio-visual equipment. Data collection techniques were carried out using literature study, observation, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and conclusion. The results of the research show that the choreography process for the Piriang Lenggang Manatiang Dance starts from determining the idea/theme, then exploration, improvisation and composition. The choreography process produces the following form aspects: movement, space design, time design, energy design, top design, dramatic design, floor design, group composition, equipment and music. The movements of the Piriang Lenggang Manatiang Dance are the saayun steps, buai ayun movements, lenggang mantiang movements, manyabiak movements, rampak movements, saayun saangkat movements, Baginjai movements, ayun ma ayun movements, lenggang sway movements. The spatial aspect in the Piriang Lenggang Manatiang Dance uses straight, oblique and curved lines. The group compositions performed by dancers include unison (union), alternating, broken, alternating (canon), and balanced (balance). The Piriang Lenggang Manatiang Dance Costume is a garment that was developed and created by the Baju Kurong. The musical instruments used are Gandang, Bansi, Sarunai, Canang and Talempong Pacik. Meanwhile, the property used is piriang tujuah.
Analisis Tekstual Dan Kontekstual Tari Batobo Di Kanagarian Piobang Kecamatan Payakumbuh Kabupaten 50 Kota Sisi Ranita Yahya; Nerosti Nerosti
Jurnal Kajian dan Penelitian Umum Vol. 1 No. 5 (2023): Oktober : Jurnal Kajian dan Penelitian Umum
Publisher : Institut Nalanda

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47861/jkpu-nalanda.v1i5.452

Abstract

This study aims to describe and analyze the textual and contextual analysis of Batobo Dance in Kanagarian Piobang, Payakumbuh District, 50 City Regency. This type of research is qualitative research with descriptive methods of analysis. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data were collected through literature study, observation, interviews and documentation. The steps of analyzing data are collecting data, describing the data and inferring the data. The results showed that Batobo Dance was analyzed based on textual and contextual analysis. The textual analysis of Batobo Dance is to describe batobo activities clearly and each community has a role in batobo. Male dancers do the work of hoeing the rice fields while female dancers do the movement of catching fish at times on the edge of the rice fields, also do planting movements, to rice manuai. While the contextual analysis of this dance has reflected a compact life in society, the spirit of gotong royong is strongly reflected in the energetic and happy movements of dancers. This activity is driven by niniak mamak, this activity basically aims to foster children and nieces and nephews in achieving unity and unity for common life, especially in cultivating rice fields or fields.
The Function of Persembahan Dance in Malay Weddings in Kampung Besar Seberang Village Nurjanah, Ila Ana; Nerosti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 1 (2023): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (384.125 KB) | DOI: 10.24036/ag.v1i1.9

Abstract

This study aims to describe and analyze the Functions of Persembahan Dance in the Malay Community Wedding Party in Kampung Besar Seberang Village, Rengat District, Indragiri Hulu Regency, Riau Province. The type of research used is qualitative research with analytical descriptive methods. Data collection techniques used are literature study, observation, interviews and documentation. The types of data used are primary data and secondary data. The data analysis technique used is by selecting data, analyzing data, and interpreting and describing the data so as to produce conclusions from what is being studied. The results of the study found that the Persembahan Dance in the Malay community wedding party had 2 dance functions, namely the function of the ceremony and the function of performance or aesthetic presentation. The function of the ceremony, the Persembahan Dance is performed in traditional Malay wedding parties, where this dance is to welcome respected guests, namely a pair of bride and groom sitting side by side in the aisle. The dance ends with the presentation of a betel leaf. Persembahan Dance in traditional Malay weddings today has become a new tradition. Without the Persembahan Dance, the wedding party is not lively. The Persembahan Dance is danced by 5 female dancers with a beautiful, glamorous and majestic impression who prioritizes aesthetics. The Persembahan Dance is deliberately prepared with a varied choreography intended to be shown to the general public to function as a dance performance or an aesthetic presentation.
Inheritance of Benten Dance in Laban Kenagarian Salido Village Subdistrict IV Jurai Pesisir Selatan District Putri Septia Maharani; Nerosti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.126

Abstract

This study aims to describe and discuss the Benten Dance Inheritance System in Laban Village, Salido Kanagarian, IV Jurai District, Pesisir Selatan Regency. The type of research used is qualitative with an analytical-descriptive method. The research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. The data in this study used primary and secondary data. Data collection techniques are carried out by means of literature study, observation, interviews, and documentation. The steps of analyzing data are data reduction, presenting data, and drawing conclusions. The results showed that the form of inheritance of Benten Dance in Kampung Laban Kanagarian Salido District IV Jurai South Pesisir Regency uses a closed and open inheritance system. The closed inheritance system is carried out by passing on to descendants who have blood relations with the inheritors of Benten dance only. The open inheritance system is carried out by teaching directly to the community either individually or in groups who want to learn benten dance, but must fulfill several predetermined conditions. The weakness of the closed system is that the inheritors of this dance will decrease so that in the long run it could be that this Benten dance will disappear or become extinct. Open inheritance is carried out so that this dance can be preserved in the community and people who learn this Benten Dance really get knowledge and can benefit themselves and others. With the changes that occur in the Benten Dance inheritance system from a closed inheritance system to an open inheritance system, this Benten Dance can still have heirs and can be learned by anyone, both people in Laban Village and people outside Laban Village.
PPNB SETARA NANGGALO KOLABORASI AGROWISATA DAN SENI PERTUNJUKAN MENUJU DESTINASI WISATA BARU Vivi Efrianova; Nerosti; Delfi Elfiza; Hendra Afriwan
Journal of Community Service Vol 5 No 2 (2023): JCS, December 2023
Publisher : Ikatan Dosen Menulis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56670/jcs.v5i2.152

Abstract

Program Pengembangan Nagari Binaan (PPNB) ini mengkolaborasi 2 bidang yaitu Agrowisata Jeruk dengan Seni Pertunjukan. Kolaborasi ini dilakukan untuk menciptakan destinasi wisata baru di Nagari Setara Nanggalo. Nagari ini sejak dimekarkan pada Tahun 2011 merupakan penyangga destinasi wisata terpadu Mandeh dengan potensi Agrowisata Jeruk. Seiring dengan kehidupan agraris, di Nagari ini terhimpun kesenian tradisional, maka kesenian tersebut dibina sehingga dapat menyangga ekonomi di era industri ini. PPNB yang sudah dilakukan pada Tahun 2023 dengan mitra yaitu: (1) Kelompok Ibu-ibu PKK yang berprofesi sebagai petani. Hasil dari pelaksanaan PPNB yaitu Kelompok Ibu-ibu PKK yang berprofesi sebagai petani mampu menjahit bordir selendang Koto Gadang, Kelompok Ibu-ibu PKK yang berprofesi sebagai petani mampu mempertunjukkan Qasidah Rebana hasil pelatihan PPNB dan juara II pada lomba Qasidah Rebana se Kabupaten Pesisir Selatan pada tanggal 30 Agustus 2023 (2) Kelompok bapak-bapak petani jeruk mampu membuat pot bunga yang terbuat dari handuk bekas. (3) Karang Taruna mampu membangkitkan kembali kesenian tradisional Randai dan Tari, mempertunjukkannya pada pesta perkawinan yang mempunyai nilai jual, telah digunakan oleh masyarakat setempat. Metode yang digunakan adalah Participatory Rural Appraisal (PRA) guna memfasilitasi warga dalam mengembangkan beberapa kegiatan yang bernilai ekonomi untuk mewujudkan destinasi wisata baru. Rencana luaran yang ditargetkan: publish pada jurnal of community service sinta 5, video kegiatan, artikel media eletronik. Peningkatan keberdayaan mitra sesuai permasalahan yang dihadapi merujuk pada RPJM Nagari Setara Nanggalo yang disusun dalam RPJMD tahun 2021-2026 Pemkab Pesisir Selatan, mengunggulkan sektor pariwisata sebagai sumber perekonomian masyarakat. Program yang diajukan ini merupakan salah satu pencapaian dari tujuan strategi Universitas Negeri Padang yang dirumuskan dalam Renstra UNP Tahun 2020-2024, yaitu menghasilkan Pengabdian Kepada Masyarakat yang berkualitas, dapat membantu pemerintah untuk memecahkan persoalan kemasyarakatan.
Tinjauan Koreografi Tari Dulang di Sanggar Seni Dara Jingga Nagari Empat Koto Kecamatan Pulau Punjung Kabupaten Dharmasraya Nurhasanah, Ananda; Nerosti, Nerosti
Cendikia: Jurnal Pendidikan dan Pengajaran Vol. 2 No. 11 (2024): Cendikia: Jurnal Pendidikan dan Pengajaran
Publisher : Cendikia: Jurnal Pendidikan dan Pengajaran

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Penelitian ini bertujuan untuk mendeskripsikan Koreografi Tari Dulang di Sanggar Seni Dara Jingga Nagari Empat Koto Kecamatan Pulau Punjung Kabupaten Dharmasraya. Jenis penelitian kualitatif dengan menggunakan metode deskriptif analitis. Intrument penelitian ini adalah peneliti sendiri dan dibantu dengan instrument pendukung alat tulis dan kamera. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah pengumpulan data, reduksi data, penyajian data dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa bentuk koreografi Tari Dulang terdiri dari 3 bagian, yaitu bagian awal, inti, dan ending. Bagian awal, menggambarkan aktifitas masyarakat yang bersuka cita menuju ke pesisiran Sungai Batang Hari dengan memainkan properti Dulang. Bagian inti, menggambarkan suasana kebersamaan masyarakat bergotong royong dalam proses mencari emas di Sungai Batang Hari. Bagian ending, menggambarkan suasana gembira mendapatkan beberapa emas, dengan suasana yang bahagia. Tari ini ditarikan oleh 6 orang penari perempuan, dengan 31 ragam gerak. Selain itu memiliki Desain Lantai yang bervariasi dan desain kelompok yang digarap dinamis. Desain Dramatik yang ada didalam Tari Dulang adalah menggunakan desain dramatik kerucut tunggal, karena pada tari dulang pencapaiannya berawal dari pelan dan pada akhirnya semakin cepat pada akhir tari. Gerak tari dikembangkan dengan pola gerak tari tradisi minangkabau seperti simpia, gelek, pitunggua dan kudo-kudo. Tarian ini dilengkapi dengan unsur pendukung kostum, alat musik tradisi seperti talempong, gendang dol, keyboard, gitar bass, dan drum set. Tata rias yang digunakan adalah tata rias cantik. Sedangkan properti yang digunakan adalah Dulang atau“Je” oleh masyarakat di Dharmasraya. Secara keseluruhan Koreografi Tari Dulang menggambarkan suasana yang bergembira dalam bekerjasama untuk mencari emas di sepanjang pesisiran Sungai Batang Hari.
Dance Learning Model Using Stories in Elementary Schools Yuliasma; Nerosti; Afifah Asriati; Desfiarni
International Journal of Elementary Education Vol 7 No 1 (2023): February
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/ijee.v7i1.57710

Abstract

Dance learning in elementary schools is starting to be neglected, there are even schools that don't teach dance, especially in the form of practice. This is because the teacher has difficulty choosing a dance learning model that is systematic and easy to use. The purpose of this study was to analyses the validity, practicality and effectiveness of the TAGUNTA learning model (Dance using Stories) in Elementary Schools. This research is a type of development research (Research and Development). Following the product development steps proposed by Borg & Gall. Research data collection techniques and instruments in the form of qualitative and quantitative data consisting of preliminary study data, validity test, practicality test and product effectiveness test. To see the feasibility of the model, validity tests were carried out by four experts, practicality tests by teachers and students and effectiveness tests through student learning outcomes tests. The results of this study indicate that the TAGUNTA Learning Model in Elementary Schools that the researchers developed has been tested to be able to overcome the problems of learning dance in elementary schools. The feasibility of the TAGUNTA learning model is evidenced by the results of the validity test with an overall average score in the very valid category, a practicality test with an overall average score in the practical category, and an effectiveness test with an overall average score in the category very effective. Thus, it can be concluded that the TAGUNTA Learning Model that the researchers developed is valid, practical, effective, and appropriate for use in teaching dance in elementary schools.
Koreografi Tari Bangau Di Kampung Laban Kenagarian Salido Kecamatan Iv Jurai Kabupaten Pesisir Selatan Kodratilla, Salsa; Nerosti, Nerosti
Cermat : Jurnal Cendekiawan dan Riset Multidisiplin Akademik Terintegrasi Vol. 1 No. 2 (2025): Mei-Agustus ("Spesial Issue")
Publisher : SMA Negeri 1 Bangkinang Kota

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/cermat.v1i2.64

Abstract

Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis Koreografi Tari Bangau Di Kampung Laban Kenagarian Salido Kecamatan IV Jurai Kabupaten Pesisir Selatan. Jenis penelitian ini adalah penelitian kualitatif dengan metode deskriptif analitis. Instrumen penelitian dalah peneliti sendiri dan dibantu dengan alat tulis dan kamera. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah pengumpulan data, reduksi data dam menyimpulkan data. Hasil penelitian menemukan koreografi Tari Bangau dari 2 aspek yaitu proses dan bentuk. Proses koreografi meliputi tema/ide, eksplorasi, improvisasi dan komposisi. Aspek bentuk, meliputi elemen gerak, desain lantai, desain dramatik, komposisi kelompok, penari, kostum dan tata rias, dan musik. Gerak terdiri dari 12 ragam gerak, yaitu sambah, transisi, tabang, malenggok tabang, inggok, maliek makanan, mencotok, malambuik makanan, makan, manyisisak bulu, bakajaran dan terakhir ditutup dengan gerak sambah. Desain lantai, terdapat 4 pola yaitu: berbanjar, bersaf, menyilang/diagonal dan lingkaran. Desain dramatik ini dibagi ke dalam tiga bagian utama yiatu awal, klimaks dan akhir dalam Tari Bangau menerapkan pola kerucut tunggal, yaitu struktur alur yang dimulai dari suasana yang tenang, kemudian perlahan membangun ketegangan menuju puncak klimaks, dan akhirnya kembali mereda ke suasana yang damai di akhir pertunjukan. Komposisi kelompok Tari Bangau adalah komposisi kecil atau tari duet, karena ditarikan oleh 2 orang penari saja. Kedua penari selalu melakukan gerak serempak. Penari Tari Bangau terdiri 2 orang, 1orang laki-laki dan 1 orang perempuan. Kostum, penari laki – laki dan perempuan sama bentuknya, yaitu baju taluak balango (baju silek) dan celana galembong, sesampiang, ikek pinggang dan deta batiek. Perempuan memakai make up sederhana. Musik pengiring tari adalah talempong pacik, gandang sarunai dan pupuik katopong.
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 Indah Sari, Winda 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