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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 Pendas : Jurnah Ilmiah Pendidikan Dasar 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 Tsaqofah: Jurnal Penelitian Guru Indonesia 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
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Metode Pengajaran Variatif dalam Pembelajaran Seni Tari sebagai Upaya Meningkatkan Keaktifan Siswa di SMA Negeri 10 Kaur (Pentagon) Febriyentika, Rensi; Astuti , Fuji; Nerosti
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.40429

Abstract

Dance education at the senior high school level plays a strategic role in fostering students’ creativity, self-expression, and aesthetic sensitivity. However, in practice, dance learning often encounters challenges related to low levels of student activeness, both in participating in learning activities and in expressing dance movements. This article aims to describe the implementation of varied teaching methods in dance learning as an effort to enhance student activeness at SMA Negeri 10 Kaur (Pentagon). This study employed a qualitative approach using a descriptive method. Data were collected through observation, interviews, and documentation. The findings indicate that the application of varied teaching methods such as demonstration, drill exercises, discussion, group work, and the use of audiovisual media had a positive impact on increasing student activeness. Students demonstrated higher enthusiasm, greater confidence in participating, and more active engagement throughout the learning process. Therefore, varied teaching methods can be considered an effective instructional strategy for improving student activeness in dance education.
PENGEMBANGAN PEMBELAJARAN SENI TARI BERBASIS TEKNOLOGI DIGITAL BAGI PESERTA DIDIK DI ERA PENDIDIKAN DIGITAL: ANALISIS STUDI LITERATUR Uswatun Hasanah; Fuji Astuti; Nerosti
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 04 (2025): Volume 10 No. 04 Desember 2025 In Process
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i04.40607

Abstract

The development of digital technology has driven changes in dance learning practices, particularly in the use of media and learning strategies that are more adaptive to student characteristics. However, various studies related to digital technology-based dance learning still tend to be fragmented and focus on the use of specific media separately, thus not providing a complete picture of the pedagogical function of technology in dance learning. This article aims to analyze and map various forms of digital technology and their pedagogical functions in the development of dance learning, particularly in the context of elementary education. This research uses the Systematic Literature Review (SLR) method by examining scientific articles relevant to the topic of digital technology-based dance learning. The results of the study indicate that visual digital media plays a role in supporting the understanding of movement structure and details, online learning platforms facilitate learning management and reflection, interactive applications increase engagement and personalization of practice, and social media opens up space for creative expression and collaborative appreciation. The integration of various forms of digital technology shows that dance learning becomes more effective when technology is designed in an integrated manner and aligned with the learning objectives and characteristics of movement-based learning. These findings provide conceptual implications for the development of dance arts learning designs that are more systemic, adaptive to technological developments, and still uphold the values ​​of creativity and aesthetic experiences of students.
LABORATORIUM PEMBELAJARAN SENI TARI:RUANG KOLABORATIF UNTUK PENGEMBANGAN KREATIVITAS DAN PENELITIAN ARTISTIK DI PERGURUAN TINGGI Umrintha, Dinna; Astuti, Fuji; Nerosti
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026 Public
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.40982

Abstract

The dance art learning laboratory is an important facility for developing creativity, research, and innovation in art education at the university level. This facility is not merely a place for physical practice or training; it also serves as a reflective and collaborative space that combines theoretical aspects, research, and artistic exploration. This conceptual study aims to analyze the role, function, and application of dance art learning laboratories in academic settings, particularly in the Master of Arts Education program. This research uses a conceptual approach with a literature review method thru analysis of relevant literature on art pedagogy, creativity, and learning innovation. The analysis results indicate that the dance art laboratory plays an important role in fostering esthetic sensitivity, critical thinking skills, and creativity among graduate students. Thru artistic research, creative reflection, and interdisciplinary collaboration, the dance art learning laboratory serves as the foundation for building an art education ecosystem that is adaptive, dynamic, and contextual. Keywords: learning laboratory, dance art, creativity, art education, higher education
STRATEGI PEMBELAJARAN SENI TARI BERBASIS PRAKTIK SEBAGAI RESPONS TERHADAP TANTANGAN PENDIDIKAN SENI MASA KINI : STUDI LITERATUR Miranda Jamil, Alhani; Astuti, Fuji; Nerosti
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026 Publish
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.41027

Abstract

This study aims to examine practice-based dance learning strategies as a response to contemporary challenges in arts education. As an integral component of arts education, dance learning requires direct engagement through bodily experience, exploration, and reflective processes. However, current educational practices tend to prioritize theoretical approaches, which often limit students’ active participation in learning. This research employed a qualitative descriptive approach using a qualitative literature review method. Data were collected from national and international scholarly sources, including peer-reviewed journal articles, academic books, and educational policy documents published between 2020 and 2025. The data were analyzed thematically to identify key challenges, conceptual patterns, and pedagogical strategies related to practice-based dance learning. The findings indicate that practice-based learning strategies play a crucial role in addressing contemporary challenges in arts education by enhancing student engagement, creativity, and aesthetic experience. Furthermore, such strategies contribute to strengthening cultural awareness and contextualized learning. The study concludes that practice-based dance learning offers significant theoretical and practical contributions to the development of contemporary arts education and provides a relevant pedagogical framework for educators in designing meaningful and experience-oriented dance learning processes.
INTEGRASI NILAI FILOSOFIS BUDAYA LOKAL DALAM PENGEMBANGAN MODEL PEMBELAJARAN TARI UNTUK MENINGKATKAN APRESIASI SENI SISWA Mahfud Tohari; Astuti, Fuji; Nerosti
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026 Publish
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.41127

Abstract

The primary objective of this research is to analyze the incorporation of local philosophical principles into the creation of dance education frameworks aimed at elevating students' aesthetic awareness. Conventional dance instruction frequently prioritizes physical technique, often neglecting the intrinsic spiritual meanings of the art form. Utilizing a qualitative descriptive design centered on a literature review, this investigation synthesized data from various academic journals and policy reports published between 2020 and 2025. The results demonstrate that embedding local wisdom enables students to transition from mere mimicry to a profound comprehension of artistic intent. Consequently, the study suggests that reinforcing philosophical foundations in dance pedagogy is vital for sustaining cultural pertinence and spiritual integrity within modern education.
Nilai-Nilai Kearifan Lokal Melalui Tari Galombang Gaya Sasaran: Studi Sasaran Sebagai Sarana Pendidikan Kultural Nerosti, Nerosti
Dance and Theatre Review Vol 2, No 1: May 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1124.834 KB) | DOI: 10.24821/dtr.v2i1.3298

Abstract

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 DAN FUNGSI TARI KEJEI DALAM UPACARA PERKAWINAN DI KELURAHAN TALANG ULU  KABUPATEN REJANG LEBONG Putri Sari Rezaki; Nerosti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 2 (2026): June (in press)
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/bt6s7d12

Abstract

This study aims to describe and analyze the Structure and Function of the Kejei Dance in Wedding Ceremonies in Talang Ulu Village, Rejang Lebong Regency. This type of research is qualitative research with a descriptive analytical method. Data was collected through direct observation of the Kejei Dance performance in wedding ceremonies, structured and unstructured interviews with relevant informants, as well as documentation studies. The main research instrument is the researcher themselves, assisted by supporting tools such as cameras and writing instruments. This study aims to describe and analyze the structure and function of the Kejei Dance in wedding ceremonies in Talang Ulu Village, Rejang Lebong Regency. The focus of this study is to examine the relationship between movement structure and its function in wedding ceremonies. The research results indicate that the structure of the Kejei Dance performance consists of several important elements, namely the ceremonial actors, the structure of movement presentation, floor patterns, costumes, makeup, props (penei table), and accompanying music. The sequence of presentation begins with a welcoming dance performed by 5 female dancers, followed by Rejang-style silat by 2 male dancers accompanied by 2 guards behind the dancers, serving to welcome the arrival of the bride and groom and as a customary form of reception for the bride and groom entering the ceremonial arena. Next, the event continues with duduk nyambei, which functions as a joint deliberation and reflects the social values of the Rejang community, such as harmony and togetherness, before entering the core ritual of the Kejei Dance, where the bride and groom join the line of dancers so that the total number of dancers becomes odd. The movements of the Kejei Dance include the sambah menari movement, the bederap salah pinggang movement, the metik jari movement, the patah dayung movement, the sambah penyudo movement, and the mendayung movement.
ANALISIS GAYA TARI GANDAI SILAUT PESISIR SELATAN Naurah Rania Husni; Nerosti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 2 (2026): June (in press)
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/6w1dj118

Abstract

This study aims to describe and analyze the dance style of Gandai Dance in Silaut District, Pesisir Selatan Regency. The research employs a qualitative approach with a descriptive method. Data was collected through observation, interviews, literature study, and documentation. Data analysis was conducted using the interactive model of Miles and Huberman, which includes data collection, data reduction, and data presentation. The results show that Gandai Dance has a performance structure consisting of opening, core, and closing sections, with six main movement variations forming structured movement motifs. The dance style is characterized by simple, rhythmic, and communicative movements with an emphasis on interaction between dancers, reflecting values of togetherness and politeness. In terms of movement dimensions, the dance utilizes one-, two-, and three-dimensional space, indicating varying levels of movement complexity. The elements of action and effort demonstrate a combination of light and strong energy, creating balanced movement dynamics. Supporting elements such as costume, floor patterns, and musical accompaniment including edab, sunai, and bapambak vocals further strengthen the character and identity of the dance. Overall, Gandai Dance functions not only as entertainment but also as a medium for preserving cultural values within the community.
Perkembangan Fungsi Tari Ilau di Nagari Sumani Kecamatan X Koto Singkarak Kabupaten Solok Yenti, Nanda Afri; Nerosti, Nerosti
TSAQOFAH Vol 5 No 5 (2025): SEPTEMBER
Publisher : Lembaga Yasin AlSys

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58578/tsaqofah.v5i5.6855

Abstract

This study aims to describe and analyze the evolving function of Tari Ilau in Nagari Sumani, X Koto Singkarak District, Solok Regency. The primary focus is the transformation of Tari Ilau from its original sacred role performed exclusively during traditional wedding ceremonies into a more flexible form of performance featured in various social events, such as welcoming returning migrants, local election campaigns, and the 77th Indonesian Independence Day celebration in 2022. This research employs a qualitative method with a descriptive-analytical approach. Data were collected through observation, interviews, literature review, and documentation. The findings indicate that changes in the function of Tari Ilau have influenced performance elements, including a reduction in the number of movement variations from ten to eight, simplification of floor patterns to a single circular formation, a shift in dancer demographics from those aged over 50 to adolescents aged 16–20, as well as adaptations in music and performance settings based on event contexts. The study concludes that Tari Ilau has undergone a significant transformation from a ritual function to aesthetic and social functions, reflecting the cultural dynamics of the Nagari Sumani community in responding to changing times.
Koreografi Tari Piriang Pijak di Ateh Galeh di Nagari Unggan Kecamatan Sumpur Kudus Kabupaten Sijunjung Adira, Putri Aysiah; Nerosti, Nerosti
TSAQOFAH Vol 5 No 5 (2025): SEPTEMBER
Publisher : Lembaga Yasin AlSys

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58578/tsaqofah.v5i5.6921

Abstract

This study aims to describe and analyze the choreography of Tari Piriang Pijak di Ateh Galeh, a traditional dance developed in Nagari Unggan, Sumpur Kudus District, Sijunjung Regency. The research is grounded in the importance of preserving and documenting traditional dance forms as part of local cultural heritage with distinct aesthetic and philosophical values. A qualitative method with a descriptive-analytical approach was employed, where the researcher served as the primary instrument, supported by writing tools and a camera. Data collection techniques included literature review, observation, interviews, and documentation, with data analysis conducted through the stages of data collection, reduction, and conclusion drawing. The findings indicate that the choreography of Tari Piriang Pijak di Ateh Galeh comprises two main aspects: process and form. The choreographic process includes theme selection, exploration, improvisation, and composition. The dance form features nine movement variations, a zigzag floor pattern, spatial designs including curved, high, low, and flat levels, and synchronized group composition involving three dancers. The properties used include plates, candlenuts, glasses, and long cloths, accompanied by traditional musical instruments such as Talempong, Gendang, and Gong. The makeup emphasizes beauty, and the costumes are modified from traditional baju kurung, songket cloth, and supporting accessories. The accompanying music consists of both external and internal elements that enhance the overall performance atmosphere.
Co-Authors Adira, Putri Aysiah Afifah Asriati Alhit Tamaranti Andini, Shavira Putri Aprilia Putri Amanda Astuti , Fuji Bella Febriza Cindhy Pospita Wati Darmawati Darmawati Delfi Elfiza Deliziani Deliziani Desfiarni Desfiarni Efrianova, Vivi Emeilya Batu Bara Evindo Marsiano Febri Susanti Febriyentika, Rensi Fernanda Putri Firmadanni Liska Fuji Astuti Fuji Astuti Fuji Astuti Hartanti, Rezil Hendra Afriwan Herlinda Mansyur Ikrar Dinata Indah Fajar Wati Indah Sari, Winda Indrayuda Indrayuda Izaty, Rahmi Laela Kurniaty Ilyas Leri Yano Wardana M Lufi Fakhri Mahfud Tohari Maulidya, Rizki Iasha Maysa Nurfiana Meirita Hardina Sari Meri Rhama Nelly Mila Septiana Putri Miranda Jamil, Alhani Muhammad Afif Naurah Rania Husni Nia Putri Jelita Ninda Levia Nurhasanah, Ananda Nurjanah, Ila Ana Putri Sari Rezaki Putri Septia Maharani Rahayu, Ella Saimedita Rahmi Izaty Ravena Lutiyasa Roni Apriyanto Salsa Kodratilla Sisi Ranita Yahya Sitinur Fazura Sri Intan Puspita Rifa Suci Ramada Jayanti Sucy Zulmaiza Susmiarti Syarah, Sisri Uchi Isra Windy Umrintha, Dinna Uswatun Hasanah USWATUN HASANAH Vivi Andriani Windi Kartika Surya Yedes Ratmi Yenti, Nanda Afri Yuliasma Yuliasma Zora Iriani