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Studi Laban Tari Jogi Wibowo, Denny Eko; Silalahi, Mega Lestari; Sagala, Jayanti M
Jurnal Seni Tari Vol 8 No 2 (2019): Kajian Tekstual dan Kontekstual Tari Nusantara
Publisher : Department of Drama, Dance, and Music Education

Bentuk penyajian tari umumnya dipahami sebagai hal praktis yang dilakukan secara fisikal, sehingga penyajiannya dalam bentuk tertulis tak banyak dilakukan. Bentuk pencatatan yang lazim digunakan dalam bidang tari yakni notasi Laban yang dilengkapi dengan metode analisis Laban. Notasi Laban dalam bidang tari berguna sebagai metode pendokumentasian yang universal. Tari Jogi di Batam pada mulanya disajikan hanya oleh penari perempuan, sedangkan kini perkembangannya dilakukan dengan menambahkan penari laki-laki dalam pola tari berpasangan. Gerak pokok tari Jogi terdiri dari tujuh motif gerak, yang dilakukan dalam pola lantai maju, mundur, bergerak naik dan turun dalam posisi tidak berpindah tempat. Ketujuh motif gerak dasar tersebut menjadi dasar dari tari Jogi yang berkembang di Batam hingga saat ini. Tujuan penelitian ini ialah mendokumentasikan motif gerak pokok tari Jogi dengan notasi Laban dan mengkaji kualitas geraknya melalui aspek tenaga (effort) dan wujud (shape). Metode penelitian yang digunakan ialah kualitatif, dengan cara mengumpulkan data terkait koreografi tari Jogi di Batam. Hasil dari penelitian ini dapat dimanfaatkan sebagai referensi tentang tari Jogi di Batam dalam bentuk notasi gerak dan analisis kualitas geraknya melalui studi Laban.

EKSISTENSI PEREMPUAN DALAM OPERA BATAK: STUDI KASUS ZULKAIDAH HARAHAP Jayanti Mandasari Sagala
Jurnal Kawistara Vol 7, No 1 (2017)
Publisher : Universitas Gadjah Mada

The art, that is identical with the domination of masculinity or masculine art that happens the Batak Opera musically, cannot be separated with the concept constructed by the patriarchal ideology in the communal. This fact had been challenged by the existence of a woman. Formerly Batak Opera was more masculine art musically, after the existence of Zulkaidah Harahap, Batak Opera now has different path. This study purposes to examine attentively the existence and the importance of Zulkaidah Harahap as a woman in the performing art of Batak Opera in the Batak Toba. This study had been done in two months in Tiga Dolok and Pematang Siantar, North Sumatera, the place where Batak Opera and Zulkaidah Harahap came from. This study uses feminist perspective. It is used to see the women’s problems in the performing art of Batak Opera through the case study and individual life history of a prominent firgure from woman’s tradition of Zulkaidah Harahap with using historical reconstruction method and interview. In this case, the existence of women is seen as a ‘creativity’ in traditional art perspective which is put forward by the theory of George Herzog in his writings “The creativity of tradition music artist”. The other perspective used ini this article is existentialist feminist perspective by Simone de Beauvoir’s theory “The process of women transcendence”. The existence of Zulkaidah Harahap is very important in Batak Opera which is defined as a ‘creativity’ in the performing art of Batak Toba. The creativity of Zulkaidah Harahap in the performing art of Batak Opera can be seen in two things: first, as the one and only woman leader ever to lead a Batak Opera group, second, as the first woman of parmusik (musician) who can play musical instruments to become parmusik which is parallel to men. Through her deeds, she had proved that women, as well as men, are exist for themselves and the self who have the right to be seen as a cultural subject. Through Zulkaidah Harahap, now it is not taboo for Batak women to be parmusik and can be seen in art as subject.

Transformasi dan Transisi Opera Batak Studi Kasus Tilhang Serindo dan Plot Jayanti Mandasari Sagala; Yohanes Tanaka Pangihutan Manalu
Jurnal Kajian Seni Vol 8, No 1 (2021): Jurnal Kajian Seni Vol 8 No 1 November 2021
Publisher : Universitas Gadjah Mada

Opera Batak yang terlahir dari masyarakat Batak Toba mengalami mati suri sejak tahun 1980-an, setelah melalui perjuangan masa kolonial hingga masa kemerdekaan NKRI. Hingga pada awal abad ke-21 sekitar tahun 2000-an Opera Batak muncul kembali dengan penamaan, struktur dan makna pertunjukan berbeda. Kehadiran PLOt sebagai wujud tranformasi Opera Batak dari TIlhang Serindo, dipahami melalui teori transformasi-transisi Svašek, dengan pendeskripsian Opera Batak Klasik dan Transisi. Penelitian kualitatif dengan pendekatan studi kasus di lakukan untuk pendeskripsian sejarah-naratif (Droysen) eksistensi kedua kelompok yang berasal dari Pematang Siantar Sumatera Utara, dengan melakukan metode rekonstruksi historis, field research dan wawancara. Transformasi Opera Batak adalah peristiwa transisi objek tradisi melalui ‘pengayaan’ yang berasal dari dalam tradisi atau perubahan endogen, yakni subjek kultural sebagai pelaku (pewaris), di lokasi sama dengan ruang waktu berbeda. Pengayaan sebagai hasil transisi terjadi berupa (akibat) perubahan visi (nilai) dan konsep (wujud) dalam struktur Opera Batak, yang menghasilkan identitas, nilai dan pemaknaan baru. Arti penting eksistensi Tilhang Serindo dalam Opera Batak Klasik adalah sebagai seni hiburan profan pengusung identitas kultural batak sentris abad ke-20. Sedangkan kehadiran PLOT sebagai seni representatif adalah upaya suatu entitas etnis untuk menghidupkan kembali dan melanjutkan visi Opera Batak Klasik, melalui ‘pengayaan’ seni tradisi lisan abad ke-21 dan di definisikan sebagai Opera Batak Transisi.

EKSISTENSI PEREMPUAN DALAM OPERA BATAK: STUDI KASUS ZULKAIDAH HARAHAP Jayanti Mandasari Sagala
Jurnal Kawistara Vol 7, No 1 (2017)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.13121

The art, that is identical with the domination of masculinity or masculine art that happens the Batak Opera musically, cannot be separated with the concept constructed by the patriarchal ideology in the communal. This fact had been challenged by the existence of a woman. Formerly Batak Opera was more masculine art musically, after the existence of Zulkaidah Harahap, Batak Opera now has different path. This study purposes to examine attentively the existence and the importance of Zulkaidah Harahap as a woman in the performing art of Batak Opera in the Batak Toba. This study had been done in two months in Tiga Dolok and Pematang Siantar, North Sumatera, the place where Batak Opera and Zulkaidah Harahap came from. This study uses feminist perspective. It is used to see the women’s problems in the performing art of Batak Opera through the case study and individual life history of a prominent firgure from woman’s tradition of Zulkaidah Harahap with using historical reconstruction method and interview. In this case, the existence of women is seen as a ‘creativity’ in traditional art perspective which is put forward by the theory of George Herzog in his writings “The creativity of tradition music artist”. The other perspective used ini this article is existentialist feminist perspective by Simone de Beauvoir’s theory “The process of women transcendence”. The existence of Zulkaidah Harahap is very important in Batak Opera which is defined as a ‘creativity’ in the performing art of Batak Toba. The creativity of Zulkaidah Harahap in the performing art of Batak Opera can be seen in two things: first, as the one and only woman leader ever to lead a Batak Opera group, second, as the first woman of parmusik (musician) who can play musical instruments to become parmusik which is parallel to men. Through her deeds, she had proved that women, as well as men, are exist for themselves and the self who have the right to be seen as a cultural subject. Through Zulkaidah Harahap, now it is not taboo for Batak women to be parmusik and can be seen in art as subject.

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