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All Journal Panggung Gondang: Jurnal Seni dan Budaya Gesture: Jurnal Seni Tari
Martozet, Martozet
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Arts Humanities Education

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Koreografi Pardomuhon Daging Nang Tondi: Dari Ritual Manguras Tao ke Bentuk Seni Pertunjukan Martozet, Martozet; -, Nurwani; Shafii, Hardy; Heniwaty, Yusnizar
PANGGUNG Vol 34 No 2 (2024): Estetika, Budaya Material, dan Komodifikasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v34i2.2803

Abstract

Penelitian ini bertujuan untuk menciptakan koreografi garapan baru dengan tajuk Pardomuhon Daging Nang Tondi, yang berakar pada budaya Batak Toba dengan menggunakan teori penciptaan kostruktif oleh Jacqueline Smith. Pada teori konstruktif bukan saja konsentrasi pada elemen konstruksi antara lain motif, pengulangan, variasi dan kontras, klimaks dan penonjolan, proporsi dan imbangan, transisi, pengembangan logis, dan kesatuan. Tetapi proses dalam penciptaan seperti tahapan eksplorasi, improvisasi, komposisi, dan evaluasi, merupakan tahapan penting dalam mencipta yang memiliki hubungkait yang sangat erat dengan elemen konstruksi itu sendiri. Konsentrasi koreografer akan berada dalam pemikiran yang sangat kuat, bagaimana membentuk motif gerak menjadi baik sesuai dengan struktur garapan yang telah dibentuk. Sehingga makna dan pesan yang ingin disampaikan dapat dapat ditangkap oleh penonton sebagai penikmat. Motode yang digunakan dalam penelitian penciptaan ini adalah metode kualitatif dengan cara penggumpulan data melalui studi literatur, studi lapangan, dokumentasi, dan wawancara. Pembentukan koreografi Pardomuhon Daging Nang Tondi secara bertahap sesuai teori konstruksi yang menghasilkan ide-ide kreatif dan menghantar koreografer pada alur penciptaan yang terstruktur. Secara estetis koreografi Pardomuhon Daging Nang Tondimencitrakan tentang kehidupan masyarakat Batak Toba yang meminta permohonan kepada Tuhan sebagai pencipta untuk mendapatkan keselamatan, keberkahan dan perlindungan yang diekspresikan oleh tujuh orang penari. Pardomuhon Daging Nang Tondi merupakan koreografi inovasi baru dari tradisi Batak Toba dan menjadi sebauah apresiasi baru bagi masyarakat pecinta seni. Kata Kunci : 1) Pardomuhon Daging Nang Tondi, 2). Folklor, 3). Sigale-gale, 4). Koreografi
Presentation of Tortor Bejan at Traditional Ceremonies of the Batak Toba Community Martozet, Martozet; Tari, Eszter; Adlin, Dilinar; Octaviani, Tania Rizqy; Maysuri, Liza
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.72155

Abstract

Tortor Bejan is an activity performed in the traditional death ceremony known as Mambejan or Patortorhon Parangin. In this ritual, the deceased is symbolically brought to life in order to commemorate their life. This tradition was formerly performed once every five years and lasted for forty days. However, over time, Tortor Bejan is now performed only once a year and lasts for a single night. This study focuses on the presentation form of Tortor Bejan. The analysis employs Soedarsono’s theory of presentation, which defines dance presentation as the overall manner of performance, encompassing the main elements of a dance. The findings indicate that Tortor Mambejan is a ritual dance that symbolically revives ancestral spirits through a statue as a form of respect for ancestral contributions. Before the performance of Tortor Bejan, Tortor Mangaraksa Desa Nawalu is first performed by a male dancer. During the Bejan ritual, one highly respected ancestor is selected. If the ancestor passed away under the condition of Saur Matua, the Bejan statue must not be made of wood but from the ancestor’s bones. The dance is called Tortor Bejan because, during the performance, ancestral spirits are symbolically revived through a “kailit” statue known as Bejan. The performance of Tortor Bejan uses costumes made of Batak Toba ulos fabric with traditional makeup and is accompanied by Gondang Suling Ni Happang Na Opat and Gondang Sahala Raja.
Pengembangan Gerak Tari Tradisional Batak Toba Berdasarkan Elemen Gerak Martozet, Martozet; Nurwani, Nurwani; Heniwaty, Yusnizar; Ekardo, Frisdo
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.69219

Abstract

In creating dance, the creator or choreographer will be faced with creative work in determining the composition of movements that will be arranged based on the choreographic structure. Development can be done in the studio by developing through movement elements. This study uses a qualitative descriptive approach, which focuses on the development of movements based on movement elements, namely energy, space, and time based on four Toba Batak traditional dance motifs, namely Mandenggal, Embas, Somba Situan Natorop, and Padao Mara. This study uses the theory of movement stimuli by La Meri, where there are five stimuli in dance creation and movement theory by Jacqueline Smith, including energy, space, and time. The results of the study explain that the results of the development of movements through movement elements, namely energy, space, and time for the four Toba Batak traditional dance motifs of Mandenggal, Embas, Somba Situan Natorop, and Padao Mara, have produced new forms and colors of movement. The results of the development of these three elements provide a constructive creative experience and the choreographer has succeeded in obtaining various new, even unique, motif forms.
Nilai Estetika Tatak Moccak pada Masyarakat Pakpak Dairi Simanjuntak, Ester Natalia; Martozet, Martozet; Rahmah, Sitti
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.73279

Abstract

Tatak Moccak, the traditional dance of the Pakpak tribe in North Sumatra, combines dance and martial arts inspired by tiger movements. This research aims to explore the aesthetic values contained in the movements, musical accompaniment, traditional costumes, and the welcoming procession. With a descriptive qualitative approach, data were obtained through observation, interviews, and documentation from sources as well as Tatak Moccak dancers in Hutarakyat Village. The research results show that the aesthetic value of Tatak Moccak is manifested in the harmony of dance movements such as persentabien, bunga-bunga, mundur mi podi, toyong, and santah, which have symbolic meanings. Additionally, the accompaniment of traditional music creates beauty through rhythms and melodies that harmonize with the dance movements, while traditional attire, such as oles eket takal and baju merapi-api, adds visual appeal. Tatak Moccak also plays an important role in traditional ceremonies and welcoming rituals as a symbol of the cultural identity of the Pakpak tribe. However, the lack of recognition among the younger generation poses a challenge in preserving this dance. Therefore, educational and cultural promotion efforts are key to ensuring the sustainability of Tatak Moccak in the future.
Co-Authors Adlin, Dilinar Ekardo, Frisdo Manalu, Hendra Aryadi Maysuri, Liza Nurwani - Nurwani Nurwani, Nurwani Octaviani, Tania Rizqy Shafii, Hardy Simanjuntak, Ester Natalia Sitti Rahmah Tari, Eszter Yusnizar Heniwaty, Yusnizar