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All Journal Kolaboratif E-Journal Home Economic and Tourism Jurnal Pendidikan Teknologi dan Kejuruan Jurnal Sendratasik Gorga : Jurnal Seni Rupa Jurnal Ilmiah Universitas Batanghari Jambi Jurnal Penelitian Pendidikan IPA (JPPIPA) SELAPARANG: Jurnal Pengabdian Masyarakat Berkemajuan IRJE (Indonesian Research Journal in Education) JURNAL PENDIDIKAN TAMBUSAI Jurnal Basicedu Jurnal Ilmiah Pendidikan dan Pembelajaran Journal of Educational Research and Evaluation Jurnal Sosiologi Agama International Journal of Educational Dynamics (IJEDS) JPGI (Jurnal Penelitian Guru Indonesia) Jurnal Pendidikan dan Keluarga Jurnal Manajemen Perhotelan dan Pariwisata Suluah Bendang: Jurnal Ilmiah Pengabdian Kepada Masyarakat Ranah Seni: Jurnal Seni dan Desain Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) Humantech : Jurnal Ilmiah Multidisiplin Indonesia Indo-MathEdu Intellectuals Journal Jurnal Basicedu Langgam International Journal of Social Science Education, Art and Culture Jurnal Pengabdian Masyarakat dan Riset Pendidikan Journal of Authentic Research The Indonesian Journal of Computer Science TRJ (Tourism Research Journal) Jurnal Ilmiah Pariwisata
Agusti Efi
Universitas Neger Padang
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Earth & Planetary Sciences Economics, Econometrics & Finance Education Electrical & Electronics Engineering Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Mathematics Medicine & Pharmacology Nursing Physics Public Health Social Sciences Other

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Symbols and Values in the Traditional Wedding Ceremony Baralek Kosik in Sungai Aur District, West Pasaman Regency, West Sumatra Province Syafitri, Yesi; Efi, Agusti
LANGGAM: International Journal of Social Science Education, Art and Culture Vol 1 No 3 (2022): LANGGAM: International Journal of Social Science Education, Art and Culture (Sept
Publisher : Master Program of Social Science Education of Universitas Negeri Padang, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (264.321 KB) | DOI: 10.24036/langgam.v1i03.11

Abstract

The traditional wedding Baralek is the result of the culture and traditions of the people in Sungai Aur District, West Pasaman Regency, West Sumatra Province. This study aimed to explain the Baralek Adat Kosik in Sungai Aur District. Baralek Adat Kosik is one of the traditional weddings prevailing in Nagari Sungai Aur. This study used a qualitative method. Research data were collected from several informants, such as ninik mamak, puti adat, and community leaders. This research was focused on: the procession of the ceremony Baralek Adat Kosik, the traditional symbols in the Baralek Adat Kosik as a means of cultural activity in the ceremony Baralek Adat Kosik in Nagari Sungai Aur, and the values ​​contained in the ceremony Baralek Adat Kosik in Nagari Sungai Aur. The findings of this study were that the procession of Baralek Adat Kosik in Sungai Aur District had a series of processions of Duduk Ninik Mamak, Koun-Koun, Bokayu, slaughter Kambiang, Bokureh Cooking, Monyambut Marapulai, Baarak Tamat Kaji, Tamat Kaji, Baarak Gadang, and Monutup Olek. In the traditional ceremony Baralek Kosik, there are several traditional symbols, namely, Kambiang, Marawa, Carano, Tabie, Bokayu, Manyirak Bareh dan Kunyit, Caranobaki, Anak Daro and Marapulai’s Umbrella, Khatam Al-Quran, Dike-e, Nasi Sojamba Kunyik, and Ayam Panggang Soikuo. These traditional symbols contain sacred values, religious values, moral values, entertainment values, and social values. All this is summarized in the procession Baralek, custom symbols, and values contained in Baralek Kosik custom.
The Implementation Of The Randai Dance At Sman 1 Basa Ampek Balai Kecamatan Basa Ampek Balai, Pesisir Selatan Regency Zulmayelti, Zulmayelti; Yahya, Yahya; Efi, Agusti
LANGGAM: International Journal of Social Science Education, Art and Culture Vol 1 No 1 (2022): LANGGAM: International Journal of Social Science Education, Art and Culture (Marc
Publisher : Master Program of Social Science Education of Universitas Negeri Padang, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (185.271 KB) | DOI: 10.24036/langgam.v1i01.18

Abstract

This study aims to get an overview of the process of implementing the Randai Dance at SMA Negeri 1 Basa Ampek Balai, Pesisir Selatan Regency. Using a qualitative approach as a research method. The analysis used is descriptive analysis with a logical, empirical approach as evidence to justify the researcher's belief or vice versa to build an analysis or conclusion. The researcher obtained the data as the main instrument through an interview with key informants, field notes, recording devices, and cameras. The research location is SMA Negeri 1 Basa Ampek Balai, Pesisir Selatan Regency. In contrast, research informants, in this case, vary based on the accuracy of the selection of key informants who master the problem with the snowball sampling technique. The results showed that the organizational communication process at SMA Negeri 1 Basa Ampek Balai Pesisir Selatan Regency was understood by various kinds of reasoning, ranging from complex understanding to superficial understanding. Organizational communication here seems to have many obstacles to the effect on the implementation of the Randai Dance.
Kepemimpinan, Motivasi Kerja, dan Kompensasi sebagai Pilar Utama Kinerja Karyawan di Bumiminang Hotel Padang: Indonesia Yetti, Silvia; Efi, Agusti; Faridah, Anni; Idris
JURNAL MANAJEMEN PENDIDIKAN DAN ILMU SOSIAL Vol. 6 No. 2 (2025): Jurnal Manajemen Pendidikan dan Ilmu Sosial (Februari - Maret 2025)
Publisher : Dinasti Review

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38035/jmpis.v6i2.4331

Abstract

Kinerja karyawan merupakan faktor kunci dalam keberhasilan suatu organisasi, khususnya di industri perhotelan yang sangat bergantung pada kualitas layanan. Namun, masih terdapat permasalahan terkait efektivitas kepemimpinan, tingkat motivasi kerja, dan sistem kompensasi yang diterapkan, yang dapat memengaruhi produktivitas karyawan. Penelitian ini mengidentifikasi kesenjangan dalam pemahaman mengenai bagaimana ketiga faktor tersebut berinteraksi dalam meningkatkan kinerja karyawan di industri perhotelan, khususnya di Bumiminang Hotel Padang. Penelitian ini berfokus pada pertanyaan utama: bagaimana hubungan antara kepemimpinan, motivasi kerja, dan kompensasi dalam meningkatkan kinerja karyawan. Tujuan penelitian ini adalah untuk menganalisis hubungan sinergis antara ketiga faktor tersebut guna meningkatkan efektivitas kerja karyawan. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Data dikumpulkan melalui wawancara mendalam dengan tujuh narasumber yang terdiri dari karyawan hotel di berbagai posisi, kemudian dianalisis menggunakan metode analisis tematik. Hasil penelitian menunjukkan bahwa kepemimpinan transformasional memiliki pengaruh positif terhadap motivasi kerja, baik intrinsik maupun ekstrinsik, yang pada akhirnya meningkatkan kinerja karyawan. Selain itu, sistem kompensasi yang adil dan transparan berperan penting dalam meningkatkan kepuasan kerja dan loyalitas karyawan. Berdasarkan temuan ini, direkomendasikan agar manajemen hotel mengadopsi gaya kepemimpinan yang memberdayakan, menciptakan lingkungan kerja yang positif, serta menjaga keseimbangan kompensasi yang sesuai dengan kontribusi karyawan. Dengan demikian, Bumiminang Hotel Padang dapat meningkatkan daya saingnya dan memberikan layanan berkualitas kepada tamu.
PEWARNAAN ALAM DENGAN BIJI KESUMBA DAN DAUN KETAPANG: STUDI KASUS DI KABUPATEN BUNGO Ami Zola; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 11 No. 1 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i1.32195

Abstract

This research is about natural coloring in batik with kesumba seeds and ketapang leaves at Rumah Warna Dedaunan, Bungo Regency, which only uses natural dyes as batik dyes. Although the use of synthetic materials is widely used by batik craftsmen because of the easy and practical use process, Rumah Warna Dedaunan still maintains natural coloring as batik dyes. In addition, natural coloring is also friendly to the environment so that it can reduce pollution, especially in water. The purpose of this study was to describe how to make extracts of natural colors with kesumba seeds and ketapang leaves, natural coloring techniques with kesumba seeds and ketapang leaves, and the color produced by natural coloring of kesumba seeds and ketapang leaves at Rumah Warna Dedaunan, Bungo Regency. This research method is a qualitative descriptive method. The type of data is in the form of primary data and secondary data. The informants of this research are the leaders as well as owners and craftsmen at Rumah Warna Dedaunan. Data collection techniques through observation, interviews, and documentation. The data analysis technique was carried out by using interactive model analysis techniques related to the subject matter of data collection, data reduction, data presentation, and drawing conclusions. The results of this study are natural coloring with extracts of kesumba seeds and leaves of Ketapang, among others: 1) making extracts of kesumba seeds and leaves of ketapang first preparing the tools and materials, kneading the seeds of kesumba, cutting the leaves of ketapang into small pieces, then looking for, left overnight, rediscovered, filtered, and carried away, 2) dyeing technique by dipping cloth, soaked with laundry soap, dyed with alum for two nights then dyeing with extract and then dyeing with whiting and tunjung locks, 3) the color of the Kesumba seeds are brown in color, Ketapang leaves produce a light yellow color, using lime fixation produces a dark yellow color and tunjung leaves produce a yellow color. Thus, natural dyeing with kesumba seed extract and ketapang leaves can be used in batik coloring.Keywords: coloring, coriander seeds, ketapang leaves. AbstrakPenelitian ini adalah tentang pewarnaan alam pada batik dengan biji kesumba dan daun ketapang di Rumah Warna Dedaunan Kabupaten Bungo yang hanya menggunakan pewarnaan alam saja sebagai pewarna batik. Meskipun penggunaan bahan sintentis ramai digunakan oleh pengrajin batik dikarenakan proses penggunaan yang mudah dan praktis, Rumah Warna Dedaunan tetap mempertahan pewarnaan alam sebagai pewarna batik. Selain itu pewarnaan alam juga ramah terhadap lingkungan sehingga dapat mengurangi pencemaran terutama pada air. Tujuan dari penelitian ini adalah untuk mendeskripsikan cara pembuatan ekstrak warna alam dengan biji kesumba dan daun ketapang, teknik pewarnaan alam dengan biji kesumba dan daun ketapang, dan warna yang dihasilkan dari pewarnaan alam biji kesumba dan daun ketapang di Rumah Warna Dedaunan Kabupaten Bungo. Metode penelitian ini adalah metode deskriptif kualitatif. Jenis data yaitu berupa data primer dan data sekunder. Informan penelitian ini adalah pimpinan sekaligus pemilik dan pengrajin di Rumah Warna Dedaunan. Teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Teknik analisis data dilakukan dengan teknik analisa model interaktif yang berkaitan dengan pokok permasalahan dengan pengumpuan data, reduksi dara, penyajian data, dan penarikan kesimpulan. Hasil penelitian ini yaitu pewarnaan alam dengan ekstrak biji kesumba dan daun Ketapang, antara lain: 1) membuat ekstrak biji kesumba dan daun ketapang yang pertama menyiapkan alat dan bahan, biji kesumba diremas-remas, daun ketapang di potong kecil-kecil, kemudian direbus, didiamkan semalaman, direbus kembali, disaring, dan didinginkan, 2) teknik pewarnaan dengan cara mencelupkan kain, direndam dengan sabun cuci, dicelup dengan tawas selama dua malam kemudian pencelupan dengan ekstrak dan selanjutnya pencelupan dengan pengunci kapur sirih dan tunjung, 3) warna yang dihasilkan dari biji kesumba yaitu  warna oren kecoklatan, daun Ketapang menghasilkan warna kuning muda, menggunakan fixsasi kapur menghasilkan warna kuning tua dan tunjung menghasilkan warna kecoklatan. Dengan demikian, pewarnaan alami dengan ekstrak biji kesumba dan daun ketapang dapat digunakan dalam pewarnaan batik.Kata Kunci:pewarnaan, biji kesumba, daun ketapang. Authors:Ami Zola : Universitas Negeri PadangAgusti Efi : Universitas Negeri Padang References:Eriani, W., & Herry, P. (2017). Pengaruh Waktu Maserasi, Perlakuan Bahan Daun Zat Fiksasi Pada Pembuatan Warna Alami Daun Ketapang (Terminalia Catappa Linn). Skripsi. Surakarta: Universitas Muhammadiyah Surakarta.Purnomo, M. A. J. (2004). Zat Pewarna Alam sebagai Alternatif Zat Warna yang Ramah Lingkungan. Jurnal Seni Rupa STSI Surakarta, 1(2): 57-61.Purwaningsih D. (2013). Pemanfaatan Biji kesumba (BixaOrellana) Sebagai Pewarna Alami Daun Antioksidan (Vitamin C) Untuk Pembuatan Kue Bolu Dari Berbagai Macam Tepung. Surakarta: Universitas Muhamadiah Surakarta.Sunarto. (2008). Teknologi Pencelupan Daun Pengecapan. Jakarta: Direktorat Pembinaan Sekolah Menengah Kejuruan, Departemen Pendidikan Nasional.Susanto, Koko, M. Sn Erwin,&M. Sn Minarsih. (2015). Bentuk, Fungsi daun Makna Motif Batik Bungo di Kecamatan Pelepat Ilir Kabupaten Muara Bungo. Serupa The Journalof Art Education, 3(2).
STUDI TENTANG TEKNIK MENENUN SONGKET RAWANG MENGGUNAKAN ALAT TENUN BUKAN MESIN (ATBM) DI RUMAH TENUN SONGKET RAWANG KABUPATEN AGAM Atika Dwi Putri; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 11 No. 1 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i1.32711

Abstract

This research aims to describe the shape of the loom, the function of the loom, and the technique of weaving using a non-machine loom (ATBM) at the Songket Rawang Weaving House. The research method used is descriptive qualitative. Types of data in the form of primary and secondary data. The informants of this research are the leaders, coaches and craftsmen at the Songket Rawang Weaving House. Data collection techniques in the form of observation, interviews and documentation. Data analysis techniques by means of data collection, data reduction, data presentation, and drawing conclusions. The results showed that the Rawang songket weaving technique using ATBM can store motifs directly without having to make motifs continuously. The technique of storing motifs in ATBM uses a tool called a gun/karok motif. The motifs that have been made can be stored in the motif gun/karok so that the process of making further motifs does not need to be remade, because it is already stored in the motif karok. The process of storing this motif is first stored in the motif sungkit then the motif is temporarily stored in sticks, after all the motifs are formed, they are transferred to the motif karok to be stored. Keywords: songket rawang, weaving technique, ATBM. AbstrakPenelitian ini bertujuanuntuk mendeskripsikan bentuk alat tenun, fungsi alat tenun, dan teknik menenun dengan menggunakan alat tenun bukan mesin (ATBM) di Rumah Tenun Songket Rawang. Metode penelitian yang digunakan adalah deskriptif kualitatif. Jenis data berupa data primer dan sekunder. Informan penelitian ini adalah pimpinan, pembina dan pengrajin di Rumah Tenun Songket Rawang. Teknik pengumpulan data berupa observasi, wawancara dan dokumentasi. Teknik analisis data dengan cara pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian diketahui bahwa teknik menenun songket Rawang dengan menggunakan ATBM dapat menyimpan motif secara langsung tanpa harus membuat motif secara terus menerus. Teknik menyimpan motif pada ATBM menggunakan alat yang disebut dengan gun/karok motif. Motif yang sudah dibuat dapat disimpan pada gun/karok motif sehingga proses pembuatan motif selanjutnya tidak perlu lagi dibuat kembali, karena sudah tersimpan di karok motif. Proses penyimpanan motif ini terlebih dahulu disimpan di sungkit  motif kemudian motif tersebut di simpan sementara di lidi-lidi, setelah semua motif terbentuk baru di pindahkan ke karok motif  untuk disimpan.Kata Kunci:teknik menenun, songket rawang, ATBM.Authors:Atika Dwi Putri : Universitas Negeri PadangAgusti Efi : Universitas Negeri Padang References:Affendi, Y. (1980). Seni Tenun Silungkang dan Sekitarnya. Proyek Media Kebudayaan Jakarta. Jakarta: Direktorat Jenderal Kebudayaan, Departemen Pendidikan dan Kebudayaan.Bart, B., Utama, E., & AZwar, N. (2006). Revitalisasi Songket Lama Minangkabau. Padang: Studio Songket Erika Rianti.Hertis, Sefni. (2001). Studi Tentang Ktiya Songket Di Silungkang. Padang: Jurusan Seni Rupa Fakultas Bahasa Sastra dan Seni Universitas Negeri PadangJuistry, Febriyani. (2013). Kerajina Tenun Songket Minang Saiyo di Nagari Unggan Kabupaten Sijungjung. Padangpanjang: Jurusan Kriya FSRD ISI Padang Panjang.Lubis, S. K., Retnowati, T. H., & Syawalina, S. (2020). Predictive Power of Intellectual Ability Test Score on Students™ Fine Art Learning Outcomes. In 3rd International Conference on Arts and Arts Education (ICAAE 2019) (pp. 41-44). Atlantis Press.Riris, W. Widati. (2002). Perempuan Dalam Usaha Pertenunan Sulawesi Selatan. Jurnal Perempuan edisi, 22.Saputra, H. (2019). Seni dan Budaya Tenun Ikat Nusantara. Res. Gate, 1, 1-15.Yudoseputro, W. (1995). Desain Kerajinan Tekstil. Jakarta: Departemen Pendidikan dan Kebudayaan Direktorat Jenderal Pendidikan Dasar Menengah Direktorat Pendidikan Menengah Kejuruan.
KRITIK SENI DAN FUNGSI MELAKUKAN KRITIK SENI Nofiyanti Nofiyanti; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 11 No. 2 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i2.34618

Abstract

Art criticism is a process of evaluating and inputting a work of art. The purpose of doing art criticism is to provide improvements to a work of art to make it even better. The method used in this research is descriptive qualitative, where a description of art criticism is carried out and the function of performing art criticism. The initial steps taken to understand how to do art criticism properly and correctly are to understand what art criticism is, knowing the types of art criticism, presenting art criticism, and knowing the function of doing art criticism. This study succeeded in describing how art criticism is, the types of art criticism, the presentation of art criticism, and the function of doing art criticism. By understanding the concept of art criticism, readers will be able to practice in their daily life how to do good and right art criticism. Therefore, it is necessary to have a deeper understanding to become an expert in art criticism. Keywords: art criticism, presentation, function. AbstrakKritik seni merupakan suatu proses penilaian dan masukan terhadap suatu karya seni. Tujuan melakukan kritik seni adalah untuk memberikan perbaikan terhadap suatu karya seni agar menjadi lebih baik lagi. Metode yang digunakan dalam penelitian ini yaitu deskriptif kualitatif, dimana dilakukan pendeskripsian mengenai kritik seni dan fungsi melakukan kritik seni. Tahapan awal yang dilakukan untuk memahami bagaimana melakukan kritik seni yang baik dan benar adalah dengan memahami apa itu kritik seni, mengetahui tipe kritik seni, penyajian kritik seni, dan mengetahui fungsi dari melakukan kritik seni. Penelitian ini berhasil menguraikan bagaimana kritik seni, tipe kritik seni, penyajian kritik seni, dan fungsi dari melakukan kritik seni. Dengan memahami bagaimana konsep kritik seni tersebut, maka pembaca akan dapat mempraktikkan dalam kehidupan sehari-hari bagaimana melakukan kritik seni yang baik dan benar. Oleh karena itu perlu dilakukan pemahaman yang lebih mendalam untuk menjadi seorang yang pakar dalam melakukan kritik seni.Kata Kunci:kritik seni, penyajian, fungsi. Authors:Nofiyanti: Universitas Negeri PadangAgusti Efi: Universitas Negeri Padang References: Dharsono. (2007). Kritik Seni. Bandung: Rekayasa Sains Publishing.Eskak, E. (2013). Mendorong Kreativitas dan Cinta Batik Pada Generasi Muda. Jurnal Dinamika Kerajinan dan Batik, 30(1), 1-10. http://dx.doi.org/10.22322/dkb.v30i1.947Husen, W. R. (2017). Pengembangan Apresiasi Seni Rupa Siswa Sekolah Dasar Melalui Pendekatan Kritik Seni Pedagogik. Jurnal Kajian Penelitian Pendidikan dan Pembelajaran, 2(1), 54-61. https://doi.org/10.35568/naturalistic.v2i1.100Maharani, S. & Martin, B. (2018). Analisis Hubungan Resiliensi Matematik Terhadap Kemampuan Pemecahan Masalah Siswa Pada Materi Lingkaran. Jurnal Pembelajaran Matematika Inovatif, 1(5), 819-826. http://dx.doi.org/10.22460/jpmi.v1i5.p819-826Noor, R. (2017). Sastra Populer dan Masalah Mutu Penelitian Sastra di Perguruan Tinggi. Jurnal NUSA, 12(4), 265-275. https://doi.org/10.14710/nusa.12.4.265-275Nugrahani, F. (2014). Metode Penelitian Kualitatif Dalam Penenlitian Pendidikan Bahasa. Surakarta: Cakra Books.Pratama, E. P., Risvi, P., & Yosef, Y. (2021). Pendekatan Kritik Seni Terhadap Desain Poster Karya Naufan Noordiyanto. Jurnal Besaung, 6(1), 42-50.  http://dx.doi.org/10.36982/jsdb.v6i1.1834Wiflihani, W. (2016). Fungsi Seni Musik Dalam Kehidupan Manusia. Jurnal Antropologi Sosial Dan Budaya, 2(1), 101-107. Http://Jurnal.Unimed.Ac.Id/2012/Index.Php/ Anthropos.Yasmen, E. (2021). Meningkatkan Keterampilan Kritik Seni Peserta Didik Kelas X MIPA 4 Pada Karya Seni Rupa Dua Dimensi Dalam Pelaksanaan Pembelajaran Dari Rumah Sekolah Menengah Atas Negeri 1 Muaro Jambi Tahun Pelajaran 2020/2021. Jurnal Meningkatkan Keterampilan Kritik Seni, 7(2), 203-2018. https://doi.org/10.37286/ojs.v7i2.104 
THE MEANING OF BATIK MOTIFS IN THE TANDO PUSAKO BATIK HOUSE IN MUKOMUKO REGENCY Tiara Husnun Efrashia; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61487

Abstract

The Tando Pusako Batik House in Mukomuko Regency, Bengkulu Province, faces the challenge of public understanding of the motifs and meanings of batik that are still not conveyed. This research aims to describe the meaning of Tando Pusako batik motifs through qualitative methods by collecting data from observations, interviews, and documentation. Data analysis follows the Miles and Huberman model, including collection, reduction, data presentation, and conclusion drawn. The results of this study prove that there are several meanings of batik motifs, including: 1) The Cerano motif in Tando Pusako batik means respect. 2) The mikih fish motif in Tando Pusako batik has a meaning, which reflects gratitude. 3) The Lokan motif in Tando Pusako batik has the meaning of advice to humans that in social life we help each other. 4) The oil palm tree motif in Tando Pusako batik has the meaning of prosperity and abundance of property. 5) The Rafflesia flower motif in Tando Pusako batik has the meaning of earth fertility. 6) The Mangrove Plant motif in Tando Pusako batik has the meaning of perseverance in facing challenges and changes in life. 7) The Basurek motif (Arabic Calligraphy) in Tando Pusako batik has a religious meaning. For further research, research can be carried out on how to transform the source of the idea of Tando Pusako batik motifs which has meaning for Mukomuko district.
THE FORM AND MEANINGS OF IRIAK ANJAI DANCE CLOTHES IN PASAMAN SAIYO ART STUDIO Mia Febria Lestari; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61645

Abstract

One form of art is dance, dance has many types. Is one of Pasaman Regency there is Iriak Anjai dance. Along with the socio-cultural development of the user community, users increasingly do not understand their traditional arts, one of which is the Iriak Anjai dance. Therefore, the author has examined and described the components of the Iriak Anjai dance, namely its properties in the form of dance clothes in terms of the form and meaning of the Iriak Anjai dance. The method used in this research is qualitative method. This research was conducted at Pasaman Saiyo Art Studio Nagari Lundar, Panti District, Pasaman Regency. The types of data are primary data and secondary data. Data collection techniques are observation, interviews and documentation, the instrument in this research is the research himself. The data analysis technique used in data collection is the data reduction model, data presentation, and conclusion drawing. To get data validity is done trough triangulation. The results of this study found that the Iriak Anjai dance outfit at the Pasaman Saiyo Art Studio consists of absolute clothing, namely baju kurung with a design that is not too loose and pants. The complements are hood, sasamping and belt. The accessories are subang telpon and necklace. This Iriak Anjai dance suit has a function as a symbol and a meaning as the gratitude and happiness of the farmer for having obtained a satisfactory harvest.
STUDY ON THE MOTIVES PERAHU BAGANDUANG IN BATIK KUANSING BATIK NAGORI BUSINESS Ridawati Azzahra; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62066

Abstract

The Batik Perahu Baganduang motif originates from the Perahu Baganduang Tradition, a cultural practice in Kuantan Singingi Regency. Despite its growing popularity, many people are unaware of its cultural roots due to a lack of understanding. This research aims to contribute to the knowledge and appreciation of the motif, its sources of inspiration, and the symbols and meanings it carries, focusing on its application in the Kuansing Batik Nagori Batik Business. Using a qualitative approach, the research gathers primary and secondary data through observation, interviews, and documentation. The analysis follows a process of data reduction, presentation, and conclusion drawing. The findings reveal that: 1) The Batik Perahu Baganduang motif is designed to resemble the Perahu Baganduang, a boat paraded by the Lubuk Jambi community. This boat consists of two or three boats combined into one using bamboo, decorated with various colorful traditional symbols. 2) The transformation of the motif is rooted in the Perahu Baganduang Tradition itself, combined with motifs from Kuansing Batik Nagori and traditional Riau Malay designs. 3) The symbols embedded in the Batik Perahu Baganduang motif carry deep cultural significance: the Boat symbolizes unity, the Dome represents religiosity, the Buffalo Horn signifies strength, the Ani-ani symbolizes prosperity, the Gourds represent unity, the Cerano symbolizes respect, the Umbrella signifies protection, and the Colorful Cloth and Marowagh represent the indigenous community.This research provides valuable insights into the rich cultural heritage behind the Batik Perahu Baganduang motif, enhancing its appreciation and understanding within the broader community.
IMPLEMENTATION OF BATIK COLOURING USING JENGKOL PEELS EXTRACT AT RANG MINANG BATIK HOUSE IN PADANG PANJANG CITY Indah Wulandari; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62157

Abstract

The use of synthetic dyes in the batik industry, considered practical and efficient, has had negative impacts on health and the environment. This study aims to explore the production and application of natural dye extracts from jengkol (Archidendron pauciflorum) peels as an alternative dye in the batik dyeing process at Rumah Batik Rang Minang. A descriptive qualitative approach was used, with data collection methods including documentation, interviews, and observation. The study results show that the jengkol peel extract is produced through a boiling process and applied to batik fabric using the dipping technique. The dyeing process involves soaking the fabric in jengkol peel extract and repeating the dipping to ensure color durability. The use of this extract produces a distinctive and long-lasting color, offering an eco-friendly solution for the batik industry.
Co-Authors ADRIANI ADRIANI Agus Irianto Agustina Agustina Agustina Agustina Agustina Agustina Aidil Dewi Angriani Ambiyar, Ambiyar Ami Zola Anggun Yodansi Anni Faridah Apri Marlina Aprianti, Viki Ardipal Ardipal Astari Ayuni Atika Dwi Putri Aulia Annisa Fitri Aulia, Tiara Ayu Puspita Sari Azzahra, Ridawati Budiwirman Budiwirman Budiwirman Budiwirman, Budiwirman Budiwirman, Budiwirman Bunga Naselia DARMANSYAH . Daryusti Daryusti - Derisa Derisa Desmaleni, Rahayu Dian Eka Oktavia Efrashia, Tiara Husnun Elida elida elida Elpalina, Srimutia Elsa Pitaloka Erianjoni Erianjoni Ernawati Ernawati Ezriani, Ezriani Fadhillah, Fadhillah Fauziah, Qori Febrina, Suci Ferdian, Feri Fitri, Aulia Annisa Fitrisia, Azmi Freddy Antara Friyatmi Friyatmi Gita Noveri Eza Gusrini, Esi Gustina Gustina Hadiastuti, Hadiastuti Handri Arni Happytri, Leony Harmawan, Violintikha HARYONO Hurahmi, Intah Mifta Ida Ayu Putu Sri Widnyani Idha, Muhammad Trio Idris Ilham Zamil Indah Wulandari Indah Wulandari Joel Franky Situmeang Kasman Rukun Khairani, Kiki Kiki Khairani Lasmi, Ami Lasmi, Lasmi Lestari, Mia Febria Lorenzo, Naufal Lufri Lufri Maharani, Anjelina Mansyera Pratama, Vischa Mariana Heristian Mariana Heristian Marna, Jean Elikal Martin, Yona Mayang Yulasna Mega Kencana Meifitriadi Meifitriadi Mia Febria Lestari Mitra Lusiana Muhammad Agus Muljanto Muhammad Ridho Muharika Dewi Mutia, Gabila Heira Nita Sahara Nofiyanti Nofiyanti Nofiyanti Nofiyanti, Nofiyanti Novrita, Sri Zulfia Nur Amelia Sari Nur Amelia Sari Nurhizrah Gistituati Nurul Inayah Hutasuhut Oktaviani, Melsa Puji Hujria Suci Putra, Gilang Oritaliano Putri, Atika Dwi Putri, Yuzia Eka Rahman, Doni Rahmi, Fathiah Rahmiati . Rendi Rezki Reni Fitria Reska Mayefis Retno Desti Dwi Rezki Datmi Rezki, Rendi Ridawati Azzahra Ririn Amaliah Putri Sarah Rizal Arifin Lubis Rochanawati, Ida Roni Sarwani Ruth Meliani Tatubeket Safrina, Nova Sarah, Ririn Amaliah Putri sari, Mutia Selvia Frety Yunia Enjelina Setiawati, Erlin Shaheed Fikar Sofrina Zulida Fatma SYAFITRI, YESI Syafrizal Syafrizal Tiara Aulia Tiara Husnun Efrashia Umaroh, Aufa Vinna Aulya Wahyu Eka Saputra Wakhinuddin Wakhinuddin Wati, Lulu Fajar Weni Nelmira Yadona, Putri Yahya Yahya Yazel Aze, Hazevi Atila Yeni Elviza Febrianti Yenni Idrus Yetti, Silvia Yona Martin Yudistira, Sukma Yulasna, Mayang Yulia Aryati Yuliana Dewi Yuliana Yuliana Yuliarma, Yuliarma Yumielda , Vivi Destri Yunus, Rona Rahayu Yusman, Ahmad Fauzan Yusmerita Yusmerita Yusmerita Zamil, Ilham Zola, Ami Zulmayelti, Zulmayelti