Article Per Year (5 Year)
p-Index From 2020 - 2025
1.383
P-Index
This Author published in this journals
All Journal Catharsis Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora (KAGANGA) Jurnal Review Pendidikan dan Pengajaran (JRPP) Abdi Masyarakat Tamumatra : Jurnal Seni Pertunjukan Visual Heritage: Jurnal Kreasi Seni dan Budaya Tambuleng: Jurnal Pendidikan Seni Drama, Tari, dan Musik
Astuti, Andi Arie
Unknown Affiliation
Arts Humanities Economics, Econometrics & Finance Education Energy Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

Published : 10 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 10 Documents
Search

 1 
Kamase-Mase Value In The Pa’bitte Passapu Dance Performance of Kajang Ethnic Group of Bulukumba Regency, South Sulawesi Astuti, Andi Arie; Hartono, Hartono; Cahyono, Agus
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31391

Abstract

The Pa’bitte Passapu dance is one of the artistic heritages of the Kajangethnic group which is not well known yet by other people. The Kajangethnic group is anethnic group which is obedient to the content of pasang or a message called tallasa kamase-mase or simple life. Based on this background, the researcher focuses the research on the performance process and the kamase-mase value on the Passapu Pa’bitte dance performance. This study aims to analyze and describe the performance process and the kamase-mase value on the Passapu Pa’bitte dance. The method used in this study is qualitative with an interdisciplinary approach. Data collection techniques used are observation, interview, and document study. The validity technique used is triangulation, and the data analysis is done by reducing data, presenting data and drawing conclusions to obtain research data. The results of the study performance that the kamase-mase value in the Pa'bittePassapu dance performance still follows the rules in pasang (message), namely tallasa kamase-mase (simple life) contained in the clothing of dancers and musicians, the property of dancers and musicians, and the performance process the dance itself. The implication of this Pa’bitte Passapu Dance research for the Kajangethnic group is to preserve the Pa’bitte Passapu dance as an entertainment dance that still holds the rules that apply to the Kajang ethnic group.
Kamase-Mase Value In The Pa’bitte Passapu Dance Performance of Kajang Ethnic Group of Bulukumba Regency, South Sulawesi Astuti, Andi Arie; Hartono, Hartono; Cahyono, Agus
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31391

Abstract

The Pa’bitte Passapu dance is one of the artistic heritages of the Kajangethnic group which is not well known yet by other people. The Kajangethnic group is anethnic group which is obedient to the content of pasang or a message called tallasa kamase-mase or simple life. Based on this background, the researcher focuses the research on the performance process and the kamase-mase value on the Passapu Pa’bitte dance performance. This study aims to analyze and describe the performance process and the kamase-mase value on the Passapu Pa’bitte dance. The method used in this study is qualitative with an interdisciplinary approach. Data collection techniques used are observation, interview, and document study. The validity technique used is triangulation, and the data analysis is done by reducing data, presenting data and drawing conclusions to obtain research data. The results of the study performance that the kamase-mase value in the Pa'bittePassapu dance performance still follows the rules in pasang (message), namely tallasa kamase-mase (simple life) contained in the clothing of dancers and musicians, the property of dancers and musicians, and the performance process the dance itself. The implication of this Pa’bitte Passapu Dance research for the Kajangethnic group is to preserve the Pa’bitte Passapu dance as an entertainment dance that still holds the rules that apply to the Kajang ethnic group.
STRATEGI MUSIK TRADISI DAYAK: REPOSISI MUSIK TRADISIONAL DALAM MENINGKATKAN EKSISTENSI BERKESENIAN GENERASI MILENIAL Muhammad Ahsin Maulana; Andi Arie Astuti; Hendro T.G Samosir; Yuliati Eka Asi
Jurnal Review Pendidikan dan Pengajaran Vol. 7 No. 1 (2024): Volume 7 No 1 Tahun 2024
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jrpp.v7i1.25572

Abstract

Musik tradisi Dayak adalah musik yang lahir dan berkembang di pulau Kalimantan yang identik dengan kebudayaan khas suku Dayak. Generasi muda saat ini, khususnya generasi milenial mulai meninggalkan musik tradisi Dayak dikarenakan beberapa faktor seperti perkembangan teknologi, pergaulan dengan budaya lain, hingga modernisasi. Generasi milenial lebih tertarik dengan musik-musik modern yang easy listening. Hal ini dapat mengancam kelestarian kebudayaan dan kesenian tradisi, khususnya di bidang seni musik. Oleh karena itu dibutuhkan reposisi musik tradisional untuk meningkatkan eksistensi berkesenian generasi milenial. Metode yang digunakan pada penelitian ini adalah metode kualitatif dan studi pustaka. Sasaran penelitian ini adalah pendiri sanggar Antang Batuah, praktisi, dan akademisi bidang budaya tradisi Dayak. Teknik pengumpulan data menggunakan observasi, wawancara, dan FGD (Focus Group Discussion). Dari hasil observasi, wawancara, dan beberapa FGD yang dilakukan didapati bahwa perlu adanya reposisi musik tradisional berupa penggunaan pattern percussion modern pada aransemen musik tradisi Dayak. Namun tidak semua pattern modern dapat diadaptasi pada musik tradisi Dayak karena pattern yang terlalu rumit, sehingga tidak cocok untuk musik tradisi Dayak yang mayoritas digunakan sebagai musik pengiring tari. Penggunaan pattern percussion modern terbukti membawa suasana baru pada musik tradisi Dayak dan terdengar lebih kekinian sehingga akan dapat menarik minat generasi milenial terhadap musik tradisi Dayak.
Peran Desain dalam Pertunjukan Tumirah (Sang Mucikari) di Prodi Pendidikan Sendratasik Universitas Palangka Raya Muhamad Romadoni; Jimy O Andin; Andi Arie Astuti; Cahyo Wahyu Darmawan
TAMUMATRA Vol 6 No 1 (2023)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v6i1.22769

Abstract

The role of design, as a visual art that most people think there is a dividing line between the art of motion and sound, will certainly be a new picture in understanding the interrelated relationship in the success of a performance. This is the background related to the research on the role of good design in a performance focused on the "Tumirah (Sang Mucikari)" performance performed at the University of Palangka Raya's Drama, Dance, and Music Education Study Program, with the aim of describing and analyzing the problems of the form and the creativity of the stage and the property used. The theory of two-dimensional and three-dimensional designs underlies the role of design in performance. The method used in this research is interpretative qualitative with case study studies. The results show that the role of design in the form of line, field, color, and space elements is inseparable from a performance. Design creativity that reduces some of its elements into imaginary elements and visualizes elements whose representation weight is high is a determining factor in explaining to the audience to be carried away in the atmosphere told in the performance story.
Central Kalimantan Dayak Creative Dance Training as an Effort to Maintain Cultural Existence among Students at SDN 7 Pahandut, Palangka Raya City Astuti, Andi Arie; Mayangsari, Marrisa Aulia; Maulana, Muhammad Ahsin; Samosir, Hendro T.G; Darmawan, Cahyo Wahyu
Abdi Masyarakat Vol 6, No 2 (2024): Abdi Masyarakat
Publisher : Lembaga Penelitian dan Pendidikan (LPP) Mandala

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58258/abdi.v6i2.7514

Abstract

This service activity provides an experience of local culture, especially dance at Central Kalimantan, SDN 7 Pahandut in Central Kalimantan Dayak dance creations. Community service activities provide knowledge about the diversity of dances that exist in Central Kalimantan and increase students' ability to perform Central Kalimantan Dayak creative dance movements. For teachers, it is hoped that this activity will make it easier to determine the material to be taught as well as become a reference in the future learning process. Based on the activities carried out by the PKM Team during these 3 days, several results were obtained, including: Dance training was more popular with female students than male students. This is because students think that dancing is an activity or action that is generally carried out by women. So male students feel embarrassed to dance. In this case, the PKM Team provides training based on student interests and without any coercion on students. The initial training process is an introduction to the types of Central Kalimantan Dayak dance and creative dance that will be taught. This introduction is nailing to the training participants. From the coercion process, the result was that students began to get to know Central Kalimantan Dayak dance. This can be seen from the body movements of students who start to sculpt little by little. The dance demonstration given uses simple movements which are traditional Central Kalimantan Dayak dance movements that are modified and combine several traditional Central Kalimantan Dayak dance movements which are packaged according to elementary school children's dance movements so that they can be easily imitated by students. 
Benang Bintik: Batik Motif Babukung sebagai Pilar Ekonomi Kreatif Lamandau Nawung Asmoro Girindraswari; Muh. Andis Hidayatullah; Andi Arie Astuti; Hendro T.G. Samosir; Marrisa Aulia Mayangsari
Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora Vol. 7 No. 2 (2024): Kaganga: Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora
Publisher : Institut Penelitian Matematika, Komputer, Keperawatan, Pendidikan dan Ekonomi (IPM2KPE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31539/kaganga.v7i2.12707

Abstract

Tujuan penelitian ini adalah mendeskripsikan ide konsep motif batik berupa visual, warna, ragam hias, pertunjukan dan nilai sejarah Babukung. Peneliti menggunakan metode penelitian kualitatif. Metode yang digunakan termasuk metode kreatif yang terdiri dari beberapa tahap; merumuskan kreasi ide motif Babukung, eksplorasi ide konsep, eksplorasi desain dan teknik, proses kreatif mewujudkan motif benang bintik, hasil kreatif motif benang bintik, termasuk analisis desain, kajian pasar, dan teknik produksi digital printing. Hasil penelitian menunjukkan bahwa penerapan motif Babukung pada benang bintik tidak hanya memperkaya warisan budaya tetapi juga berpotensi meningkatkan daya saing produk lokal di pasar kreatif. Simpulan penelitian ini diharapkan dapat memberikan wawasan bagi pengembangan strategi ekonomi kreatif yang berkelanjutan dan mempromosikan pelestarian budaya di kabupaten Lamandau. Kata kunci: Benang Bintik, Festival Babukung, Lamandau.
Analisis Bentuk Dan Fungsi Tari Miempu Pada Masyarakat Suku Dayak Ma'anyan Desa Dorong Kabupaten Barito Timur Astuti, Andi Arie; Hidayatullah, Muh. Andis; Girindraswari, Nawung Asmoro; Romadoni, Muhamad
Visual Heritage: Jurnal Kreasi Seni dan Budaya Vol 7, No 3 (2025): Visual Heritage: Jurnal Kreasi Seni Dan Budaya
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/vh.v7i3.13714

Abstract

Penelitian ini meneliti tentang tari Miempu yang diciptakan oleh Sesiliani. Tari Miempu merupakan tarian tradisi kreasi yang digarap berdasarkan sebuah upacara ritual yang ada di Desa Dorong Kabupaten Barito Timur Kalimantan Tengah. Upacara ritual Miempu merupakan upacara ritual masyarakat Suku Dayak Maanyan sebagai ritual pengobatan atau penyembuhan yang masih berlangsung sampai saat ini. Tujuan penulisan ini adalah untuk mengetahui fungsi dan elemen-elemen atau unsur-unsur yang ada dalam pertunjukan tari Miempu. Metode penelitian yang digunakan adalah kualitatif dengan menghasilkan data deskriptif. Langkah penelitian yang dilakukan adalah pengumpulan data melalui observasi, wawancara, studi pustaka dan dilanjutkan dengan analisis. Berdasarkan hasil penelitian, fungsi dan elemen-elemen atau unsur-unsur yang ada dalam tari Miempu terdiri dari gerak, musik, desain lantai, properti, tema, tata rias, kostum, tata cahaya dan ruang.
Malihi sebagai Ide Dasar Penciptaan Tari Kreasi Khatarina, Febya; Astuti, Andi Arie; Romadoni, Muhamad
Tambuleng Vol 6 No 1 (2025): Tambuleng: Jurnal Pendidikan Seni Drama, Tari, dan Musik
Publisher : FKIP, Universitas Palangka Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37304/jt.v6i1.20781

Abstract

The preservation of Dayak Ngaju culture in Central Kalimantan is a strategic effort to protect ancestral heritage from the erosion caused by modernization and globalization. The Dayak Ngaju culture is rich in traditional ceremonies, dance arts, traditional music, local language, and indigenous values that reflect a harmonious relationship between humans, nature, and spirituality. The creation of the Malihi dance aims to preserve these cultural values through a tradition-based performing arts approach. The method used in the creative process is an artistic creation method, which includes stages of exploration, design, and realization. The creation of the Malihi dance seeks to preserve Dayak Ngaju culture through an innovative and creative performing arts approach. This work highlights the richness of local culture through traditional movement patterns, costumes, and music, which are then combined with contemporary dance elements to remain relevant in today’s performing arts context. The Malihi dance functions not only as a medium of artistic expression but also as a communicative means of cultural preservation and a way to introduce Dayak Ngaju values to broader audiences. For the creator, this work also serves as a means of personal development, academic fulfillment, and a strategic contribution to safeguarding cultural heritage that deserves support and appreciation.
Turak Ngurah Ocin sebagai Ide Dasar Penciptaan Tari Kreasi Beny Olala, Numeri; Astuti, Andi Arie; Grindraswari, Nawung Asmoro
Tambuleng Vol 6 No 1 (2025): Tambuleng: Jurnal Pendidikan Seni Drama, Tari, dan Musik
Publisher : FKIP, Universitas Palangka Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37304/jt.v6i1.20782

Abstract

Turak Ngurah Ocin is a dance creation that aims to preserve and introduce the culture of the Dayak Ngaju Ot Danum community through the representation of traditional women's activities in fishing using fishing gear such as buwu and takalak. The dance creation method used in this work includes three stages, namely exploration, improvisation, and forming. The exploration stage is carried out by collecting data through observations and interviews to develop dance concepts. In the improvisation stage, the stylist tries various possibilities of movement based on experiences and emotions related to traditional activities. Furthermore, in the forming stage, the improvised movements are arranged into a complete and meaningful dance composition. The result of this process is a 12-minute dance performance that emphasizes aesthetic, educational and local cultural values. This performance is a medium of artistic expression as well as a means of preserving Dayak culture for the younger generation. Recommendations from this work are the importance of applying structured creation methods and exploring local culture as inspiration in the development of performing arts.
Laowomaru: Kisah Samson Dari Pulau Nias sebagai Inspirasi Penciptaan Tari Kontemporer Hulu, Ijes Jenifes; Astuti, Andi Arie; Mayangsari, Marrisa Aulia
Tambuleng Vol 6 No 1 (2025): Tambuleng: Jurnal Pendidikan Seni Drama, Tari, dan Musik
Publisher : FKIP, Universitas Palangka Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37304/jt.v6i1.20790

Abstract

The creation of the dance artwork raises the Laowomaru dance because the author wants to reintroduce the legendary story of the Nias tribe, so that the existing cultural values will not be lost. This work also conveys messages and motivation to the audience. Therefore, the author created a new contemporary dance piece to enable free movement with creativity according to the author’s abilities. The method used in this dance work employs Hawkins' creation theory, which is known in the context of art to emphasize that art creation involves several main stages, namely: Exploration, Improvisation, and Formation. The Laowomaru dance project: The Story of Samson from Nias Island aims to create a contemporary dance that visualizes the character of Laowomaru and introduces the legend to the younger generation while still being grounded in tradition. This dance benefits cultural preservation, introduces the Nias warrior figure, and serves as inspiration for other choreographers. The work was developed through the stages of exploration, improvisation, and formation based on Hawkins' dance creation theory, and analyzed using La Meri’s theory. There are 10 dancers from the students and university students of Palangka Raya. This dance uses 52 floor patterns, digital music with a duration of 12 minutes and 17 seconds, as well as costumes and makeup that reflect the cultural identity of Nias.
Co-Authors Agus Cahyono Beny Olala, Numeri Cahyo Wahyu Darmawan Darmawan, Cahyo Wahyu Girindraswari, Nawung Asmoro Grindraswari, Nawung Asmoro Hartono Hartono Hidayatullah, Muh. Andis Hulu, Ijes Jenifes Jimy O Andin Khatarina, Febya Marrisa Aulia Mayangsari Mayangsari, Marrisa Aulia Muh. Andis Hidayatullah Muhamad Romadoni Muhammad Ahsin Maulana, Muhammad Ahsin Nawung Asmoro Girindraswari Samosir, Hendro T.G Yuliati Eka Asi