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Telaah Karakterisasi Tari Randai Ilau di Nagari Saningbakar Sumatera Barat (Characteristic Review of Randai llau Dance in Nagari Saningbakar, West Sumatera) Daryusti, -
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v6i3.812

Tulisan ini mengungkapkan dan mengkaji karakterisasi Tari Randai Ilau dalambudaya masyarakat Nagari Saningbakar Sumatera Barat. Hal yang menarik pada TariRandai Ilau ialah karakterisasi tari ini sampai saat sekarang tidak terjadiperubahan karakter. Walaupun tari tersebut telah diperlajari di Perguruan Tinggidan pada masyarakat lainnya. Karakterisasi Tari Randai Ilau dapat dilihat dari segiruang, waktu, tenaga, dan busana. Karakter ruang yang dimiliki tari ini bervolumebesar. Karakter waktu menggunakan rampak simultan yaitu gerak sama dalamwaktu yang sama. Tenaga yang dimiliki Tari Randai Ilau yaitu intensitas geraknyasedang. Busana yang dikenakan secara visual memiliki busana flowing, decoration,historical form, dan attribut. Maka dengan itu Tari Randai Ilau dapat dikatakanmemiliki karakter pria gagah yang bersifat maskulin dan jantan.Kata kunci: Karakterisasi, Tari Randai Ilau, Sumatera Barat

Telaah Karakterisasi Tari Randai Ilau di Nagari Saningbakar Sumatera Barat (Characteristic Review of Randai llau Dance in Nagari Saningbakar, West Sumatera) Daryusti, -
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v6i3.812

Tulisan ini mengungkapkan dan mengkaji karakterisasi Tari Randai Ilau dalambudaya masyarakat Nagari Saningbakar Sumatera Barat. Hal yang menarik pada TariRandai Ilau ialah karakterisasi tari ini sampai saat sekarang tidak terjadiperubahan karakter. Walaupun tari tersebut telah diperlajari di Perguruan Tinggidan pada masyarakat lainnya. Karakterisasi Tari Randai Ilau dapat dilihat dari segiruang, waktu, tenaga, dan busana. Karakter ruang yang dimiliki tari ini bervolumebesar. Karakter waktu menggunakan rampak simultan yaitu gerak sama dalamwaktu yang sama. Tenaga yang dimiliki Tari Randai Ilau yaitu intensitas geraknyasedang. Busana yang dikenakan secara visual memiliki busana flowing, decoration,historical form, dan attribut. Maka dengan itu Tari Randai Ilau dapat dikatakanmemiliki karakter pria gagah yang bersifat maskulin dan jantan.Kata kunci: Karakterisasi, Tari Randai Ilau, Sumatera Barat

EAGLE DANCE AS CULTURAL IDENTITY IN THE ISOLATING TRIBAL COMMUNITY CHANGES, IN PEMATANG KABAU VILLAGE, AIR HITAM DISTRICT, SAROLANGUN REGENCY, JAMBI PROVINCE Purnama, Sri; Dibia, I Wayan; Suastika, I Made; -, Daryusti
E-Journal of Cultural Studies Vol. 4, No. 2 Juli 2010
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (28.624 KB)

This dissertation discusses the Eagles dance as the identity of dance incultural change in isolated tribal community (SAD), in the village of PematangKabau, Air HItam District, Sarolangun Regency, Jambi Province. CentralGovernment through the Ministry of Social Affairs moved SAD out of the jungleand then settling on a permanent area and this activity has been carried out since1973. Furthermore, the settlement resulted in a fairly fundamental change, notonly in style and environment of SAD, but more important to the identity markersand self-identity of SAD.People of SAD who had been settled, strive to keep eagle dance even bymaking some changes as far as not to break out the essential elements of the Eagledance in order to avoid a total loss of identity and their self-identity in the newneighborhoods, This study aims to see how art, in this case Eagle dance, can be amarker of identity that attaches to the SAD after they settle outside the forest. Toachieve these objectives there are three main problems which will be soughtanswers in this study, namely: (1) What does the Eagles dance of SAD in thevillage of Pematang Kabau looks like?; (2) how is the status of the Eagles dancefor SAD in the village of Pematang Kabau; and (3) how is the impact andmeaning of Eagles dance towards the SAD changes?The study with the perspective of cultural studies designing as thisqualitative research is used to solve the three problems mentioned above by usingseveral concepts, theories and techniques of data collection. Concepts are referredto Eagle dance, cultural identity, change, and isolated tribal community. Thetheory used is the identity theory, the theory of semiotics, hegemony theory, andtheory of deconstruction. Data collection techniques include participantobservation, depth interviews, and study of literature / documentation. The datacollected is processed in a descriptive analytical and subsequently presented in theform of narrative, tables, and visual illustrations.The results indicate that there had been changes towards the Eagles dancein SAD which had settled in Kabau Pematang village, although the use of holy spells as a musical accompaniment and distinctive gestures symbolic of this danceis still maintained. In residential SAD, Eagle dance is treated as a cultural groupidentity, and the regeneration of the dancers began to be conducted. The impact ofthis treatment which is carried out by citizens of SAD making the Eagles dancebecomes sustainable dance despite the new of its socio-cultural functions. ForSAD in residential areas, Eagle dance means as a symbol of cultural expression,equality, and welfare. The main meaning of Eagles dance, who built fromtradition and cultural power of SAD, becomes a representation of communitygroups concerned, in the midst of pressure, domination and influence of themajority culture.

The Existence of the Kejei Dance of the Rejang Tribe as an Educational Dance Through the Selupu Rejang Art Community Bunga Naselia; Daryusti Daryusti; Agusti Efi
International Journal of Educational Dynamics Vol 4 No 1 (2021): International Journal of Educational Dynamics (IJEDs)
Publisher : Postgraduate School, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ijeds.v4i1.400

This study analyzes community participation in preserving the existence of the Kejei dance culture of the Rejang tribe through the arts community in the Selupu Rejang sub-district, Rejang Lebong Regency, Bengkulu Province. This research is qualitative. Methods of collecting data using research observations, interview methods, and documentation. The interview technique was carried out in an unstructured manner using interview guidelines. Research data analysis is descriptive. The results of data processing in this study show that efforts to preserve the Kejei dance of the Rejang tribe through the art community in the Selupu Rejang sub-district use three methods, namely protection efforts are an effort to maintain the existence of the Kejei dance so that it does not become extinct by conducting dance training Kejei every week regularly. Development efforts are carried out through the quantity aspect of the dance, namely the development of the number of actors (dancers), the number of users, and the number of regions that receive the Kejei dance. Third, efforts to utilize the Kejei dance as an effort to introduce the Kejei dance to the wider community that the Kejei dance must be maintained.

The Function of the Basuh Lantai Tradition for the Daik Village Community Panca Dwi Kora; Daryusti Daryusti
Gondang: Jurnal Seni dan Budaya Vol 8, No 1 (2024): GONDANG: JURNAL SENI DAN BUDAYA
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i1.47564

Culture is the characteristic identity of any group or community, which is upheld within its boundaries. Culture as a product of human thought records community traditions in various ceremonies such as births, funerals, agricultural rituals and musical performances. One of the ingrained traditions is the Washing the Floor custom in Daik Village, Lingga Regency, Riau Islands Province, which is carried out before giving birth. This qualitative research conducted in Daik Village immersed researchers in the local community, aiming to understand the social significance and evolution of the Basuh Floor tradition. By demonstrating solidarity and actively participating with the locals, the researcher aims to gather accurate information for this study. The results reveal the tradition's connection to animist beliefs and its role in protecting against mystical forces. Despite modernization, the decline of these traditions reflects changing attitudes towards childbirth practices and health care. This study underscores the importance of preserving cultural heritage amidst societal change. Despite its decline, the Basuh Floor tradition remains an integral part of the cultural identity of Daik Lingga Village and the Riau Islands as a whole. It serves as a symbol of cultural continuity and resilience, reminding the community of their heritage and providing a sense of belonging and identity. Additionally, it underscores the importance of understanding and preserving cultural practices, not only for their symbolic value but also for their role in maintaining social cohesion and collective memory.

Community Participation in Conserving The Existence of The Rejang Tribe Kejei Dance Through The Arts Community in Selupu Rejang Bengkulu Bunga Naselia; Daryusti Daryusti
Publikasi Berkala Pendidikan Ilmu Sosial Vol 4, No 2 (2024): PAKIS, September 2024
Publisher : Fakultas Keguruan dan Ilmu Pendidikan, ULM

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20527/pakis.v4i2.12213

This study analyzes (1) community participation in preserving the existence of the Kejei dance culture of the Rejang tribe through the arts community in Selupu Rejang District, Rejang Lebong Regency, Bengkulu Province. (2) factors that support and hinder community participation in preserving the Kejei dance culture of the Rejang tribe through the arts community in Selupu Rejang, Rejang Lebong, Bengkulu. This qualitative research involves collecting data using research observations, interview methods, and documentation. The interview technique was carried out in an unstructured manner using interview guidelines. Research data analysis is descriptive. The results of data processing in this study show that (1) efforts to preserve the Kejei dance of the Rejang tribe through the art community in Selupu Rejang district use three methods, namely: First, protection efforts are an effort to maintain the existence of the Kejei dance so that it does not become extinct by conducting dance training Kejei every week regularly. Second, development efforts are carried out through the quantity aspect of the dance, namely the development of the number of actors (dancers), the number of users, and the number of regions that receive the Kejei dance. Third, efforts to utilize the Kejei dance to introduce the Kejei dance to the broader community that the Kejei dance must be maintained. (2) factors supporting community participation in preserving the existence of the Kejei dance through the sanggar Tiang Bumei Selupu, namely social media that functions as a means of promotion, support from the government of Suban Ayam village and the government of Selupu Rejang district, a well-run studio management system, a strategic studio location, the enthusiasm of members of the sanggar Tiang Bumei Selupu and the support of all levels of society in Selupu Rejang district. The inhibiting factors for community participation in preserving the existence of the Kejei dance through the sanggar Tiang Bumei Selupu are limited infrastructure, funding problems, and the busyness of each member of the sanggar Tiang Bumei Selupu.

Inai Dance and Cultural Identity in Malay Wedding Ceremonies of Teluk Majelis Nurul Annisa Syafwan; Daryusti Daryusti
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.v9i2.68517

The Inai Dance is a traditional dance that is only performed in traditional wedding ceremonies in Teluk Majlis Village for the Malays. This Inai dance is performed during the evening Henai Dance procession, which is held on the night before the wedding day. The Inai dance has been performed by people from the past to the present, so it has become a characteristic in the village of Teluk Majlis. This research uses a qualitative approach, which was carried out in Teluk Majlis village. The informants in this study are traditional leaders, studio leaders, dancers, and community users who hold the Inai dance night ceremony in Teluk Majlis village. Data collection used observation, interview and documentation techniques. The source triangulation technique is a technique used to ensure the validity of this data. To analyze data requires steps such as data collection, data presentation, and drawing conclusions. The result of this study is that the Inai Dance plays an important role as a marker of the existence of the Malay community in the midst of the dynamics of modernization and intercultural interaction. Despite the mixture of ethnicities and social changes, the people of Teluk Majelis Village still strive to maintain this cultural practice as a form of fortitude in their identity and a symbol of cultural unity.

The Representation of Riau Malay Traditional Music in the SUNO AI Application: A Post-Reality Perspective Ridho Fatwandi; Daryusti Daryusti
Gondang: Jurnal Seni dan Budaya Vol. 10 No. 1 (2026): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2026
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/19t13n57

This research aims to examine how traditional Malay music is represented through the Suno AI application and to understand this phenomenon using Jean Baudrillard’s post-reality perspective. The study employs a descriptive qualitative approach with digital experimentation techniques and in-depth interviews. Data were obtained from AI-generated Malay music (zapin, joget, and langgam), which was then compared to original traditional music, supported by the views of informants with expertise in Malay music. The findings indicate that AI is capable of presenting musical similarities at the surface level, such as rhythm, tempo, and the distinctive Malay nuance. However, the music produced tends to lose essential elements such as feeling, spontaneity, social interaction, and cultural meaning. From the post-reality perspective, this condition shows that AI music has entered the stage of simulation and simulacra, where culture is represented as sound signs detached from its original reality. Moreover, AI music can create hyperreality, a form of culture that appears neater and more perfect, but lacks depth of meaning. The presence of AI is not as an agent that changes the way culture is understood and represented in the digital era. AI-generated Malay music becomes a cultural representation that is simulational and has the potential to shift society’s understanding of the authenticity of traditional culture.

The Aesthetics & Ethics of Zapin Siak in Riau Province Ainuddin Ainuddin; Daryusti Daryusti
LANGGAM: International Journal of Social Science Education, Art and Culture Vol 5 No 2 (2026): LANGGAM: International Journal of Social Science Education, Art and Culture (June
Publisher : Master Program of Social Science Education of Universitas Negeri Padang, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/langgam.v5i2.337

This study aims to examine the aesthetic and ethical values in Zapin Siak art in Riau Province. The study uses a qualitative approach with observation, interviews, and documentation techniques on artists and Zapin supporters. The results show that the aesthetic values of Zapin Siak are reflected in the harmony of movement, musical accompaniment, simple costumes, and balanced performance patterns, reflecting the gentle and orderly character of Malay culture. Ethical values are seen in the controlled posture of the dancers, the rules of pairing that maintain modesty, and the lyrics that contain moral and religious messages. Aesthetics and ethics in Zapin Siak are interrelated and form a complete cultural identity. However, modernization has influenced the form of performance and the meaning of cultural values, so preservation efforts are needed through an understanding of cultural meaning, not only through performance.

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