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PENINGKATAN KEMAMPUAN SISWA DALAM PEMBELAJARAN TORTOR NAPOSO NAULI BULUNG MELALUI STRATEGI TEKSTUAL DAN KONTEKSTUAL DI MADRASAH ALIYAH NEGERI SIBUHUAN KABUPATEN PADANG LAWAS Suheni Safitri Hsb; Nurwani Nurwani
Gesture: Jurnal Seni Tari Vol 8, No 1 (2019): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT This study aims to determine the ability of students in learning Tortor Naposo Nauli Bulung by using textual and contextual strategies in the Sibuhuan Madrasah Aliyah Negeri Padang Lawas Regency. The theory used in this research is theory The learning strategy by Rusman as the main theory, for supporting theories is textual use from Nurwani and contextual from Nurhadi. This type of research is quasi-experimental using simple random sampling technique, namely the experimental class using the contextual and contextual strategies in Tortor Naposo Nauli Bulung learning and control classes using conventional learning. The instruments used in this study were two, namely the cognitive ability test in the form of a test essay by using the cognitive domains C1, C2, C3, and C4. Psychomotor ability test which consists of three aspects of assessment, namely wiraga, wirasa, and wirama where each aspect consists of three components. The cognitive abilities of students in the experimental class and control class before using textual and contextual strategies are the same, by using the pre test the average value of the experimental class is 46.9 and the average in the control class is 45.5. After the post test, the ability of students in the experimental class who were treated with textual strategies and contextual learning in Tortor Naposo Nauli Bulung experienced a significant increase compared to the control class. Obtained an increase in student learning outcomes in the experimental class of 39.9 from 46.9 so as to achieve 86.8% completeness and for the control class at 9.8 from 45.5 to 55.3%. Psychomotor abilities of students also experienced improvement in each meeting, where the first meeting reached 61.90%, the second meeting reached 75.20% and the third meeting reached 86.92%. The results showed that there were significant differences using textual and contextual strategies for improving students' abilities in learning Tortor Naposo Nauli Bulung at Sibuhuan State Islamic Senior High School, Padang Lawas District. Keywords: Tortor naposo nauli bulung, bextual, contextual, cognitive, psychomotor, conventional ABSTRAK Penelitian ini bertujuan untuk mengetahui kemampuan siswa dalam pembelajaran Tortor Naposo Nauli Bulungdengan menggunakan strategi tekstual dan kontekstual di Madrasah Aliyah Negeri Sibuhuan Kabupaten Padang Lawas. Teori yang digunakan dalam penelitian ini adalah teori Strategi pembelajaran oleh Rusman sebagai teori utama, untuk teori pendukung digunakan tekstual dari Nurwani dan kontekstual dari Nurhadi. Jenis penelitian adalah quasi eksperiment dengan menggunakan teknik simple random sampling, yaitu kelas eksperimen dengan menggunakan strategi terkstual dan kontekstual pada pembelajaran Tortor Naposo Nauli Bulung dan kelas kontrol dengan menggunakan pembelajaran konvensional. Instrumen yang digunakan dalam penelitian ini ada dua yaitu tes kemampuan kognitif dalam bentuk essay test dengan mengguanakan ranah kognitif C1,C2,C3, dan C4. Tes kemampuan psikomotorik yang terdiri dari tiga aspek penilaian yaitu wiraga, wirasa, dan wirama dimana masing-masing aspek terdiri dari tiga komponen. Kemampuan kognitif siswa pada kelas eksperimen dan kelas kontrol sebelum dilaukan strategi tekstual dan kontekstual adalah sama, dengan menggunakan pre test diperoleh nilai rata-rata kelas eksperimen sebesar 46,9 dan rata-rata pada kelas kontrol sebesar 45,5. Setelah dilakukan post test, kemampuan siswa pada kelas eksperimen yang diberi perlakukan strategi tekstual dan kotekstual pada pembelajaran Tortor Naposo Nauli Bulung mengalami peningkatan yang signifikan dibandingkan dengan kelas kontrol. Diperoleh peningkatan hasil belajar siswa dikelas eksperimen sebesar 39,9 dari 46,9 sehingga mencapai ketuntasan 86,8 % dan untuk kelas kontrol sebesar 9,8 dari 45,5 sehingga menjadi 55,3%. Kemampuan psikomotorik siswa juga mengalami peningktan disetiap pertemuan, dimana pertemuan I mencapai 61,90%, pertemuan II mencapai 75,20% dan pertemuan III mencapai 86,92%. Hasil menunjukkan ada perbedaan yang signifikan dengan menggunakan strategi tekstual dan kontekstual terhadap peningkatan kemampuan siswa dalam pembelajaran Tortor Naposo Nauli Bulung di Madrasah Aliyah Negeri Sibuhuan Kabupaten Padang Lawas. Kata kunci: Tortor naposo nauli bulung, tekstual, kontekstual, kognitif, psikomotorik, konvenssional

PENGEMASAN MATERI PEMBELAJARAN TOR-TOR SOMBAH SIMALUNGUN BERBASIS WEB BASED LEARNING UNTUK SISWA/SISWI SEKOLAH MENENGAH PERTAMA Weni - Widiarti; Nurwani - Nurwani
Gesture: Jurnal Seni Tari Vol 8, No 2 (2019): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACTThis study aims to describe the steps for packaging Tor-Tor Sombah learning material based on Web Based Learning for junior high school students. The theory used to discuss this research is using the theory of Dewi Salma Prawiradilaga (2016: 2) which reveals that Web Based Learning is a learning process that uses the potential of global networks or the internet for easy access to learning. The method used in this study is a qualitative method. The population is students of SMP Negeri 13 Medan while the research sample is students of class VII of SMP Negeri 13 Medan. Data collection techniques are carried out by observation, interviews, documentation, literature study, research instruments that use questionnaires to test the feasibility of media experts and the feasibility test of material experts and data analysis techniques. These data are then analyzed by qualitative descriptive methods. The results of this study were to produce learning material products for the delivery of KD 3 in the form of history, roles and functions, the meaning of motion, musical accompaniment, fashion torah and learning videos for KD 4 delivery in the form of details and motion techniques, tutorials and videos complete tor-tor sombah which can be seen through the website www.tortorsombah.com. Keywords: Packaging Learning Materials, Tor-Tor Sombah, Web Based Learning ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan langkah-langkah pengemasan materi pembelajaran Tor-Tor Sombah berbasis Web Based Learning untuk siswa/siswi Sekolah Menengah Pertama. Teori yang digunakan untuk membahas penelitian ini yaitu menggunakan teori dari Dewi Salma Prawiradilaga (2016:2) yang mengungkapkan bahwa Web Based Learning adalah proses belajar yang menggunakan potensi jaringan global atau internet untuk kemudahan akses belajar. Metode yang digunakan pada penelitian ini adalah metode kualitatif. Populasinya adalah siswa-siswi SMP Negeri 13 Medan sedangkan sampel penelitiannya adalah siswa-siswi kelas VII SMP Negeri 13 Medan. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, dokumentasi, studi kepustakaan, instrument penelitian yang menggunakan angket untuk uji kelayakan ahli media dan uji kelayakan ahli materi dan teknik analisis data. Data-data ini kemudian dianalisis dengan metode deskriptif kualitatif. Hasil penelitian dalam penelitian ini adalah menghasilkan produk materi pembelajaran untuk penyampaian KD 3 yang berupa sejarah, peran dan fungsi, makna gerak, iringan musik, busana tor-tor sombah dan video pembelajaran untuk penyampian KD 4 yang berupa detail dan teknik gerak, tutorial dan video lengkap tor-tor sombah yang dapat di lihat melalui website www.tortorsombah.com. Kata kunci : Pengemasan Materi Pembelajaran, Tor-Tor Sombah, Web Based Learning

TRANSFORMASI PANGURASON DARI RITUAL KE SENI PERTUNJUKAN Sivalis Diana Sari Diana Sari; Nurwani Nurwani
Gesture: Jurnal Seni Tari Vol 7, No 2 (2018): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT This study discusses the Transformation of Pangurason Performing Arts Ritual. Describes the presentation of Pangurason tortors in the transformation of saucers to the Batak Toba Society in Samosir, and also describes the transformation of Pangurason tortors in the art of tortor cup performances.The theory used in this research is Ritual theory, Transformation, presentation theory form. The time used in this study is during (two months), which starts from October to December 2016. The location of this study was conducted in Pangururan Government of Samosir Regency. The population in this study were artists who knew about Pangurason and the samples were all actors involved in tortor Pangurason and actors involved in tortor bow transformation, data collection techniques including observation, interview, literature study, and documentation, then analyzed by descriptive method qualitative.Based on the data collected, it can be seen that Pangurason is a cleansing or purification of a place that has been considered sacred, so that the place is far from distress, and not disturbed by evil spirits. Formerly when Pangurason was used because at that time, the place wanted to be disturbed by evil spirits, then sibaso or shaman made a ritual to reject the reinforcements, by making a bowl of water, kaffir lime and banyan leaves.The transformation transforms the form of ritual presentation into the performing arts and uses the media or property of the saucer as an attraction in the tortor cup art show. Keywords: Transformation, Pangurason Ritual, Performing Arts

DIHAR SITARLAK PADA MASYARAKAT SIMALUNGUN : KAJIAN SEMIOTIK Sari Mega Florensia Simanungkalit; Nurwani Nurwani; Iskandar Muda
Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018
Publisher : Universitas Negeri Medan

Abstract−This study examines the semiotics contained in diharsitarlak in Simalungun society. The goal is to explore the meaning contained in the sararar and interpretation of meaning seen through the theory of semiotics. Sitarlak is a martial arts that comes from Simalungun who became the performing arts for the community that is as a welcome dance for accompanied by music and using a special outfit. The theory used relates to the research topic of Suzanna K. Langer theory which discusses the motion and the theory of semiotic de Saurrsure to express the meaning. The research time used to discuss the semiotics was held in Simalungun society was done for 2 months ie end of August until October 2017. The research place was SanggarTortor Elak-elak in Kelurahan Sirpang Dalig Raya, Raya Subdistrict, Simalungun Regency. Population in this research is artist as well as adat character, sambual (pemusik), pandihar (people who bersilat) who understand about diharsitarlak. Data collection techniques include literature study, observation, interview and documentation, and then analysis with qualitative descriptive method. Based on the research conducted, the form of diharsitarlak is a series of silat movements consisting of 7 main motifs yaitu sombah, throw boxing worship, marsimbur, mangindo (top level), mangindo (lower level), lakkasitolu-tolu and cover worship. Clothing that is used in the sitarlakdihar is long shirt and trousers (black, red, and mixture of black, white, red), yeast pane, suri-suri, and gotong salalu. The accompaniment of music on the sitarlakdihar gondrang haro-day, parahot, and gual porang. As for the semiotics contained in the scarred sitarlak poured through the sign (sign) seen from the form of motion in the series of presentation, marker (signifier) is a form of motion as the main motive in the diharsitarlak, and signified (signified) is the meaning contained in diharsitarlak. So it can be interpreted the overall meaning in the absolute sarar is the actualization of life of the people of Simalungun in various conditions, such as giving thanks to God, facing temptation, being polite and humble, respecting and appreciating others. Keywords: semiotics, signs, signifer, signified, diharsitarlak

The Transformation of Karo Traditional Dance Movements in the Form of Modern Choreography of Gegeh Gundala-Gundala Martozet; Nurwani
Britain International of Humanities and Social Sciences (BIoHS) Journal Vol 2 No 3 (2020): Britain International of Humanities and Social Sciences, October
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biohs.v2i3.318

This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith, such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern choreography rooted in new traditional values, such as the theory conveyed by Soedarsono that modern dance is freedom in expressing movement techniques on stage, such as the Gegeh Gundala-Gundala choreography. The method in this research is. While the method of this research uses qualitative methods, describing a narrative study of dance creation including literature study, observation, studio work, and documentation. From the process of creating the Gegeh Gundala-Gundala choreography, a new and unique form was obtained, the result of the creative process of exploration, improvisation, composition, and evaluation. And supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala.

The Reconstruction of Ratok Bawak to Ratok Laher Pangulu Drama: Sentimental Study Nurwani
Britain International of Linguistics Arts and Education (BIoLAE) Journal Vol 1 No 2 (2019): Britain International of Linguistics, Arts and Education - November
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biolae.v1i2.75

This study aims to look at the sentimental values contained in the drama of Ratok Lareh Pangulu dance drama. Rokok Lareh Pangulu is an embodiment of ratok bawak. As a form of reconstructive Ratok Bawak, the substance, character, contents, points and essence of Ratok Lareh Pangulu dance drama are closely related to the sentimental feelings of the wives and the community when they lose Pengulu, as is the case with Ratok Bawak. Sentimentil are things that are involves feelings, feeling subtle, and easily moved. In order to know the sentimental sense in Ratok Lareh Pangulu as a form of transformation of Ratok Bawak, sentimental theory is used according to Cliford Geertz. The research method was conducted using qualitative methods including literature review, observation, interviews, and documentation. Documentation is done by reconstructing the lamenting culture. The creation of works begins with pondering and interpreting, reinterpreting, exploring, improvising and forming. In Ratok Lareh Pangulu drama, there is a sentimental sense born of emotions built from individuals placed together in Ratok Lareh Pangulu. Fear of the risk felt by the mother and wife of Penghulu has to do with mental, scientific, occupational, and material matters. Desperation because losing the closest person is something sad and frightening. Sentimentality also relates to the enjoyment of victory.

The Transformation of Karo Traditional Dance Movement in Modern Choreography Form Gegeh Gundala-Gundala Martozet; Nurwani
Britain International of Linguistics Arts and Education (BIoLAE) Journal Vol 2 No 3 (2020): Britain International of Linguistics, Arts and Education - November
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biolae.v2i3.330

This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern choreography rooted in new traditional values such as the theory conveyed by Soedarsono that modern dance is freedom in expressing movement techniques on stage, such as the Gegeh Gundala-Gundala choreography. The method in this research is. While the method of this research uses qualitative methods, describing a narrative study of dance creation including literature study, observation, studio work, and documentation. From the process of creating the Gegeh Gundala-Gundala choreography, a new and unique form was obtained, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala.

Revitalisasi Identitas Melayu: Studi Penerapan Ragam Hias Tradisonal Melayu pada Bangunan Modern di Kota Medan Zulkifli Zulkifli; Wahyu Tri Atmojo; Gamal Kartono; Nurwani Nurwani
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 3, No 3 (2021): Journal of Education, Humaniora and Social Sciences (JEHSS) April
Publisher : Mahesa Research Center

Etnik Melayu kaya dengan kesenirupaannya, khususnya dalam bentuk ragam hias. Secara tradisi, ragam hias Melayu banyak terungkap melalui arsitekturnya, di samping pada produk pakai lainnya. Yang menarik sekarang adalah adanya trend penerapan ragam hias tradisional Melayu pada bangunan modern di Kota Medan, Indonesia. Artikel ini mengkaji, sejauhmana identitas Melayu kembali menguat di Kota Medan. Selain itu, artikel ini juga mengkaji bagaimana potensi teknis dan estetis yang terkandung dalam karakteristik ragam hias Melayu. Pembahasan dilakukan melalui pendekatan sosiologi seni dan metode visual cultural. Hasil kajian menunjukkan bahwa: 1) Bentuk dan karakteristik ragam hias Melayu yang banyak diterapkan pada bangunan modern di Kota Medan merujuk pada bentuk pucuk rebung, ricih wajid,lebah begantung, terali biola, bidai, dan tampuk pinang; 2) Potensi teknisnya didukung oleh karakteristik ragam hias Melayu yang berbentuk terawang, dan potensi estetisnya terungkap melalui bentuk permukaan yang rata dengan garis motif yang tajam; dan 3) Identitas Melayu melalui penerapan ragam hias terungkap pada bangunan perkantoran, tempat umum, lokasi wisata, dan fasilitas umum.

Sentimental Values in Tor-Tor Parsiarabu in Tomok Toba Samosir Village Martozet Martozet; Nurwani Nurwani
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 2, No 4 (2019): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar

This study aims to uncover the form of tor-tor Parsiarabu as a cultural form of Tomok community's tradition in relation to the sentimentality of the wives left by their husbands. Tor-tor Parsiarabu is an idea of the results of the taste, intention, creativity of the Tomok community in Toba Samosir district for generations. Tor-tor Parsiarabu is closely related to Toba Batak people as the owner of culture, and has always been a support for the survival of the Toba Batak culture itself. Sentimentality is a matter of feeling soft and being easily touched. In order to know the sentimentality in Tor-tor Parsiarabu as a form of the transformation of the rats of the rats, sentimental theory according to Cliford Geertz. The research method is conducted using qualitative methods including literature review, observation, interviews, and documentation. The sentimental form of Tor-tor Parsiarabu seen from motion, music, floor patterns. Sentimentality born of emotions is built from individual widows who are placed collectively. The sentiment that is felt in this tortor is fear of risk, despair, and uncertainty in living life.

TORTOR MARTONUN PADA MASYARAKAT SIMALUNGUN: KAJIAN SIMBOL DAN MAKNA Mellya Friska Gurusinga; Nurwani Nurwani
Gesture: Jurnal Seni Tari Vol 11, No 2 (2022): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gest.v11i2.35317

Abstract - This study aims to determine the symbols and meanings contained in tortor martonun in the Simalungun community. The theoretical basis used is Anya Peterson Royce's theory of symbols. The research method used is a qualitative descriptive method with a population consisting of dancers of the Sultan Agung Foundation, resource persons / traditional leaders, and the Simalungun people who know about Simalungun culture and the research samples are resource persons / traditional leaders, dancers of the Sultan Angung Foundation. Data collection techniques were carried out in two ways, namely, written data collection techniques and field data collection techniques. Written data collection techniques in the form of literature study by reading books, journals and theses, field data collection techniques in the form of observations, interviews, and documentation. The musical accompaniment symbol in the martonun tortor is seen by reading the scores which consist of musical instruments in the form of gondrang sidua-dua, ogung, serunei, and mongmongan. The meaning of movement contained in tortor martonun, which means discipline and patience in doing a job from beginning to end, in order to get the desired result, the meaning in tortor martonun clothing is to show the majesty and authority of Simalungun women in doing a job, while the meaning of musical accompaniment is in tortor. Keywords: Symbol, Meaning, Tortor Martoun. Abstrak -Penelitian ini bertujuan untuk mengetahui simbol dan makna yang terdapat dalam tortor martonun pada masyarakat Simalungun.Landasan teori yang digunakan adalah teori simbol Anya Peterson Royce, dan teori makna Anya Peterson Royce yang dijadikan acuan dalam penelitian ini. Metode penelitian yang digunakan ialah metode deskriptif kualitatif dengan jumlah populasi terdiri penari sanggar Yayasan Sultan Agung, narasumber/tokoh adat, dan masyarakat Simalungun yang mengetahui tentang kebudayaan Simalungun dan sampel penelitian yaitu narasumber/tokoh adat, penari Yayasan Sultan Angung. Teknik pengumpulan data dilakukan dengan dua cara yaitu, teknik pengumpulan data tertulis dan teknik pengumpulan data lapangan. Teknik pengumpulan data tertulis berupa studi pustaka dengan cara membaca buku-buku, jurnal-jurnal serta skripsi-skripsi, teknik pngumpulan data lapangan berupa observasi, wawancara, dan dokumentasi, Hasil penelitian ini adalah tortor martonun pada masyarakat Simalungun: kajian simbol dan makna. Simbol dan makna dalam tortor martonun dilihat dari gerak, busana, dan iringan musik. Simbol gerak yang terdapat dalam tortor martonun ini menyimbolkan bagaimana proses bertenun, dimulai dari proses mengumpulkan kapas, proses membentuk kapas menjadi benang, sampai proses menenun benang menjadi ulos, Simbol busana dalam tortor martonun memakai pakaian marabit datas yang terdiri dari bulang sulapei, suri-suri, dan ulos hatirongga. Simbol iringan musik dalam tortor martonun dilihat dengan membaca partitur yang terdiri dari alat-alat musik berupa gondrang sidua-dua, ogung, serunei, dan mongmongan. Makna gerak yang terdapat dalam tortor martonun yaitu bermakna kedisplinan dan kesabaran dalam melakukan suatu pekerjaan dari awal hingga akhir, agar mendapat hasil yang diinginkan, makna dalam busana tortor martonun yaitu memperlihatkan keagungan dan kewibawaan perempuan Simalungun dalam melakukan suatu pekerjaan, sedangkan makna iringan musik dalam tortor martonun adalah menyampaikan suasana yang tenang, damai saat melakukan proses bertenun. Kata kunci: Simbol, Makna, TortorMartonun.

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