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Koreografi Tari Toga pada Sanggar Dara Petak Kerajaan Siguntur di Kabupaten Dharmasraya Hartanti, Rezil; 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.v5i5.6985

Abstract

This study is motivated by the importance of choreographic documentation and analysis in the preservation of traditional performing arts, specifically Tari Toga, a dance originating from Sanggar Dara Petak of the Siguntur Kingdom in Dharmasraya Regency. The research aims to provide a comprehensive description of the choreographic elements of Tari Toga, which reflect the historical and philosophical identity of the local community. A qualitative approach with a descriptive-analytical method was employed. The primary research instrument was the researcher, supported by writing tools, a camera, and a flash drive. Data collection techniques included literature review, observation, interviews, and documentation. Data analysis was conducted through the stages of collection, reduction, presentation, and conclusion drawing. The findings reveal that the choreography of Tari Toga comprises elements of movement (space, time, energy), floor patterns, musical accompaniment, props, makeup, and costumes. Spatial design incorporates symmetry, asymmetry, and vertical patterns; temporal design manages long and short durations according to movement character; and energy design emphasizes identity and expressive force. Floor patterns include curves, straight lines, and diagonals, each carrying symbolic meaning. The accompanying music features gong, kenong, momong, gendang, and talempong. Makeup employs a classic beauty style, while costumes consist of baju kurung, headdresses, jewelry, and songket fabric. The study concludes that the choreography of Tari Toga embodies a fusion of aesthetic beauty and cultural values, playing a vital role in preserving local cultural heritage.
Bentuk Penyajian Tari Tor-Tor Naposo Nauli Bulung pada Upacara Perkawinan Mandailing di Sigantang Kecamatan Ranah Batahan Kabupaten Pasaman Barat Syarah, Sisri; 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.v5i5.6990

Abstract

This study is motivated by the importance of preserving traditional performing arts within the context of customary ceremonies, specifically Tari Tor-Tor Naposo Nauli Bulung, which forms part of the wedding rituals of the Mandailing community in Sigantang, Ranah Batahan Subdistrict, West Pasaman Regency. The research aims to describe and analyze the presentation form of this dance within the context of marriage ceremonies. A qualitative approach with a descriptive-analytical method was employed. Primary and secondary data were collected through literature review, observation, interviews, and documentation, and subsequently analyzed through the stages of data collection, description, identification, and reporting. The findings indicate that Tari Tor-Tor Naposo Nauli Bulung consists of eight movement variations, categorized into pure movements, such as jonjong, siamun, siambirang, tujolo, and the opening sequence and meaningful movements like maido tutuhan, symbolizing a prayer for a smooth ceremony, and mijur, marking the formalization of the marriage. The dance employs floor patterns that are horizontal, spiral, and circular. The accompanying music includes gondang, gong, momongan, suling, and tulilla. Dancers wear simple traditional attire, with a formation of five men and five women, and use a traditional selendang as the main prop. The performance takes place in the bride’s courtyard and serves as entertainment, a symbol of unity, a gesture of respect for elders, and a medium for preserving the social and cultural values of the Mandailing people.
Koreografi Tari Bangau Di Kampung Laban Kenagarian Salido Kecamatan Iv Jurai Kabupaten Pesisir Selatan Salsa Kodratilla; 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.
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
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