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All Journal Jurnal Bahasa, Sastra, dan Budaya Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora (KAGANGA) Jurnal Pakarena Jurnal Sibermas (Sinergi Pemberdayaan Masyarakat) International Journal of Educational Research and Social Sciences (IJERSC) Jurnal Pendidikan dan Pembelajaran Indonesia (JPPI) TEACHING : Jurnal Inovasi Keguruan dan Ilmu Pendidikan International Journal of Science and Environment Jurnal Cerano Seni: Pengkajian dan Penciptaan Seni Pertunjukan PPSDP International Journal of Education Jurnal Pengabdian Sosial Jurnal Riset Ilmiah Jurnal Pendidikan dan Sosial Humaniora Jurnal Ilmu Bahasa, Sastra, dan Budaya (BASADYA)
Nurlia Djafar
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PENERAPAN MODEL PROJECT BASED LEARNING DALAM PEMBELAJARAN TARI KREASI MOPOTIRLO DI KELAS IX B MTS NEGERI 1 BOLAANG MONGONDOW SELATAN Deisi Natalia Rukban; Rahmawati Ohi; Mimy Astuty Pulukadang; Nurlia Djafar; Riana Diah Sitaresmi
TEACHING : Jurnal Inovasi Keguruan dan Ilmu Pendidikan Vol. 6 No. 2 (2026)
Publisher : Pusat Pengembangan Pendidikan dan Penelitian Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51878/teaching.v6i2.12416

Abstract

Dance learning requires instructional models that actively engage students in the learning process to develop knowledge, skills, and appreciation of local culture. Preliminary observations at MTs Negeri 1 Bolaang Mongondow Selatan indicated that student participation in Mopotirlo Creative Dance learning was still limited because instruction tended to be teacher-centered. This study aimed to describe the implementation of the Project Based Learning (PjBL) model in Mopotirlo Creative Dance learning, examine students’ learning outcomes, and identify supporting factors and challenges encountered during the learning process. The study employed a descriptive quantitative method supported by qualitative data. The participants were 15 students of Class IX B at MTs Negeri 1 Bolaang Mongondow Selatan. Data were collected through observations, interviews, documentation, knowledge tests, and dance performance assessments. Quantitative data were analyzed using descriptive statistics, while qualitative data were analyzed through data reduction, data presentation, and conclusion drawing. The findings revealed that PjBL was implemented through six stages: essential questioning, project planning, scheduling, project monitoring, product testing, and evaluation of learning experiences. The students achieved an average score of 79.58, with a learning mastery rate of 80%. Supporting factors included students’ enthusiasm, group collaboration, and teacher guidance, while the main challenges involved memorizing dance movements, synchronizing movements with rhythm and counts, and demonstrating appropriate expressions. The study concludes that Project Based Learning effectively enhances student engagement and supports positive learning outcomes in Mopotirlo Creative Dance learning. ABSTRAK Pembelajaran seni tari memerlukan model pembelajaran yang mampu melibatkan siswa secara aktif agar pengetahuan, keterampilan, dan apresiasi budaya dapat berkembang secara optimal. Hasil observasi awal di MTs Negeri 1 Bolaang Mongondow Selatan menunjukkan bahwa keterlibatan siswa dalam pembelajaran Tari Kreasi Mopotirlo masih rendah karena proses pembelajaran cenderung berpusat pada guru. Penelitian ini bertujuan untuk mendeskripsikan penerapan model Project Based Learning (PjBL) dalam pembelajaran Tari Kreasi Mopotirlo, mendeskripsikan hasil belajar siswa, serta mengidentifikasi faktor pendukung dan kendala yang muncul selama proses pembelajaran. Penelitian menggunakan metode deskriptif kuantitatif dengan dukungan data kualitatif. Subjek penelitian terdiri atas 15 siswa kelas IX B MTs Negeri 1 Bolaang Mongondow Selatan. Data dikumpulkan melalui observasi, wawancara, dokumentasi, tes pengetahuan, dan penilaian praktik tari. Analisis data kuantitatif dilakukan menggunakan statistik deskriptif, sedangkan data kualitatif dianalisis melalui reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa penerapan Project Based Learning dilaksanakan melalui enam tahapan, yaitu essential questioning, project planning, scheduling, project monitoring, product testing, dan evaluation of learning experiences. Nilai rata-rata hasil belajar siswa mencapai 79,58 dengan persentase ketuntasan sebesar 80%. Faktor pendukung pembelajaran meliputi antusiasme siswa, kerja sama kelompok, dan pendampingan guru, sedangkan kendala yang ditemukan berupa kesulitan menghafal gerak, menyesuaikan hitungan, dan menampilkan ekspresi tari. Temuan penelitian menunjukkan bahwa model Project Based Learning mampu meningkatkan keterlibatan siswa dan mendukung pencapaian hasil belajar yang baik pada pembelajaran Tari Kreasi Mopotirlo.
Analysis of Dance Movement Structure Kabela At the Mokosambe Studio, Mopait Village Mery Aprillia Damopilii; Riana Diah Sitharesmi; Nurlia Djafar; meryaprilliadamopolii@gmail.com; Trubus Semiaji
International Journal of Science and Environment (IJSE) Vol. 6 No. 2 (2026): May 2026
Publisher : CV. Inara in Colaboration with www.stie-sampit.ac.id

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51601/ijse.v6i2.633

Abstract

This study aims to describe the movement structure of the kabela dance at the Mokosambe Studio, Mopait Village, Bolaang Mongondow Regency. This study uses a qualitative approach with a descriptive research type. Data collection techniques are carried out through observation, interviews, and documentation. Data sources in this study were obtained from studio managers, cultural figures, dancers, and various documentation related to the kabela dance. The data analysis technique uses grounded theory by analyzing data systematically through identifying and grouping dance movement structures based on the results of field research. The results show that the kabela dance is a traditional dance that functions as a welcoming dance for guests and has cultural values ​​​​of the Bolaang Mongondow community. The movement structure of the kabela dance consists of several types of movements, namely entering the arena, saluting, arranging flowers, glancing to the right and left, surrounding the kabela, kayang, making up, scattering flowers, and closing movements. Each movement has a regular structure and is performed continuously to the accompaniment of traditional music. Kabela dance movements are dominated by soft, regular, and polite movements that reflect an attitude of respect for guests. In addition, the kabela dance is also supported by supporting elements such as female dancers, traditional salu' clothing, kabela props, and traditional musical accompaniment in the form of drums, gongs, and flutes. Based on the results of this study, it can be concluded that the kabela dance has a systematic movement structure and contains aesthetic and cultural values ​​​​of the Bolaang Mongondow community. Therefore, the kabela dance needs to be continuously preserved as one of the regional cultural heritage.
Needs Analysis of Multicultural-Based Character Education in The Nusantara Dance I Course at The Department of Performing Arts Education Nurlia Djafar; Maryam Rahim; Suleman Bouti; Mohamad Zubaidi
International Journal of Science and Environment (IJSE) Vol. 6 No. 1 (2026): February 2026
Publisher : CV. Inara in Colaboration with www.stie-sampit.ac.id

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51601/ijse.v6i1.355

Abstract

This study aims to analyze students’ learning needs and perceptions in the Tari Nusantara 1 course at Universitas Negeri Gorontalo, focusing on the integration of multicultural and character-based education through traditional dance. Using a mixed-methods approach combining quantitative surveys and qualitative interpretation, data were collected from 16 respondents through questionnaires. The findings reveal that all students (100%) demonstrate a strong motivation to understand Indonesia’s cultural richness, develop traditional dance skills, and strengthen their moral and cultural identity. Students perceive dance not merely as artistic performance but as a medium for building self-confidence, discipline, and pride in national heritage. Overall, the study concludes that Tari Nusantara 1 should be designed as a holistic, multicultural learning space that balances cognitive, affective, and psychomotor development. Such an approach fosters character formation, cultural awareness, and professionalism, preparing students as future cultural preservers in the global era.
Molapi Saronde sebagai Pengikat Kekerabatan pada Hui Mopotilandahu di Kecamatan Telaga Jaya Ancul Hangga; Nurlia Djafar; Ode Karlan
Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora Vol. 6 No. 1 (2026): Maret : Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/khatulistiwa.v6i1.10332

Abstract

The development of modernization and globalization has brought significant impacts on changes in social and cultural values within society, including traditional customs that have been passed down from generation to generation. The Gorontalo community, despite undergoing various transformations, continues to preserve several customary traditions, one of which is Molapi Saronde, performed in the Hui Mopotilandahu procession as part of the traditional wedding ceremony. This study aims to examine the role of the Molapi Saronde dance as a means of strengthening kinship ties within the Hui Mopotilandahu procession in Telaga Jaya District, Gorontalo Regency. This research employs a qualitative approach, with data collection techniques including observation, in-depth interviews with traditional leaders and cultural practitioners, and documentation. Data were analyzed through the stages of data reduction, data presentation, and conclusion drawing. The findings indicate that Molapi Saronde functions not only as a form of ritual artistic performance but also plays an important social role in strengthening kinship relationships between the families of the prospective bride and groom. The dance embodies values of togetherness, harmony, religiosity, education, and aesthetics, which are reflected in the involvement of families and the wider community in the customary procession. Molapi Saronde serves as a medium of social interaction that affirms acceptance, solidarity, and harmony between families. The implications of this study emphasize the importance of preserving Molapi Saronde as a local cultural heritage that maintains cultural identity and strengthens social bonds within Gorontalo society amid the dynamics of contemporary change.
Bentuk Penyajian Tidi Lo Tabongo pada Acara Pagelaran Seni Budaya di Kecamatan Tapa Srisusanti Mayang; Nurlia Djafar; Riana Diah Sitharesmi; Iaode Karlan; Mimy Astuty Pulukadang
Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora Vol. 6 No. 1 (2026): Maret : Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/khatulistiwa.v6i1.10341

Abstract

Tidi Lo Tabongo is one of the classical dances included among the eight types of Tidi. Tidi Lo Tabongo means a warding-off dance or a dance to be cautious of something; however, it is not ritualistic and is commonly performed at the bridal procession of Gorontalo princesses by men from outside Gorontalo or during guest welcoming events. This study aims to describe the performance form of Tidi Lo Tabongo in the Tapa District of Gorontalo using Janet Adshead’s theory as presented in Riana Diah Sitharesmi’s book and A.A.M. Djelantik’s aesthetics theory. The purpose of the research is to identify and describe the performance form and components of Tidi Lo Tabongo Gorontalo. This study employs a qualitative approach with a descriptive nature as the basis for information processing. Data collection began with initial observations, followed by interviews with informants and direct review of Tidi Lo Tabongo performances. All observation results were recorded and compiled in visual documentation, including images and audiovisual recordings. The analysis shows that Tidi Lo Tabongo is performed by four Gorontalo female dancers wearing traditional Galenggo attire, featuring four main movement variations and eight floor patterns, accompanied by Tidi Lo Tabongo songs and Rebana musical instruments. The dance symbolizes vigilance and strives to create a sense of comfort for visiting guests, representing Gorontalo culture, particularly the personality of Gorontalo women in fostering safety, comfort, and harmony, while remaining free from negative influences.
Co-Authors Abdul Haris PanaI Amin, Rana Nadia Ancul Hangga Bouti, Suleman Deisi Natalia Rukban Elsje Lousie Sambouw Gilang Pratama Ismail Haris Danial Herman, Nurlia Ipong Niaga La Ode Karlan lasampo, sri astuti Lumalaga, Khusnul Maryam Rahim Maryam Rahim Mery Aprillia Damopilii meryaprilliadamopolii@gmail.com Mimy Astuty Pulukadang Moh ikbal lapanco Mohamad Zubaidi Mois, Lisna Mokodompit, Ismail Mokodompit, Shanaz Nureyka Ayu Novianty Djafri Ohi, Rahmawati Patila, Sartika Potale, Sabina Putri Aulia Rahmawati Ohi Riana Diah Sitaresmi Riana Diah Sitharesmi Samiaji, Trubus Siti Aliyah Hasan Sitti Roskina Mas Srisusanti Mayang Tou, Mikshera Trubus Semiadji Trubus Semiaji Winda Mahaputri Yahya, Mayawi