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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Harmonia: Journal of Research and Education Journal of Urban SocietyÂ´s Arts JURNAL PENDIDIKAN TAMBUSAI International Journal of Elementary Education Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Gesture: Jurnal Seni Tari Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain

Desfiarni Desfiarni

Universitas Negeri Padang

Author-ID : 2727774

Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Mathematics Public Health Social Sciences Other

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FAKTOR PENGHAMBAT PERKEMBANGAN TARI ZAPIN MELAYU DI KOTA BATAM Ajrina Rosada Harma; Desfiarni Desfiarni; Susmiarti Susmiarti
SENDRATASIK UNP Vol 6, No 2 (2017)
Publisher : FBS Universitas Negeri Padang

AbstractThis research is classified into qualitative study which was conducted by using descriptive method. The primary has been gotten from the sources by observasing and interviewing them. The secondary data has been gotten from the documented data, documents and books, which are relevant with the research. After the data was collected, the researcher analysed the data by using data reduction, the presentation of data, and verification and conclusion. Based on the research findings, it was found that the factors impeding the development of “Zapin Melayu” Dance were derived from both the internal and external factors. The internal factor is closely related to the community in which the dance is developed. The rapid change of information nowadays has brought people to a new culture. Thus, the gradually leave behind what they used to value as “tradition” and embrace modernity. People are not so much into learning the traditional dances anymore such as the Melayu Zapin dane. The external factors are related to the infiltration of the foreign cultures that increasingly push aside the local ones.Keywords: Obstacle Factor, Development, Dance Zapin Melayu

PELATIHAN PENGEMBANGAN DIRI SENI TARI DI SMA NEGERI 1 BATANG ANAI Aziza Safitri M; Zora Iriani; Desfiarni Desfiarni
SENDRATASIK UNP Vol 7, No 2 (2018)
Publisher : FBS Universitas Negeri Padang

AbstractThis research aimed to reveal and describe the training of self-development dance arts at SMA N 1 Batang Anai. The type of this research was qualitative research with descriptive method analysis. The research object was female students of SMA N 1 Batang Anai at grade XI IPS 1, XI IPS 2, XI IPS 3, XI IPS 4 and XI IPS 5 in even semester (January-June) academic year 2017/2018 who joined self-development. The instrument used in this research was the researcher itself. The types of data in this study were the primary and secondary data. The technique of data collection was done by documents study, observation, interview, and documentation. The result of the research showed that the training of self-development in the dance arts ran well. Although the students’ interest in dancing was very low which only 12 from 21 students who registered. Those 12 female students who attended the training had a good ability in dance since they practiced dance, they focused and were serious. Moreover, they were also able to perform Pasambahan dance and performed it on school event namely Art Performance in SMA N 2 Batang Anai that was held on Saturday, 30th June 2018. Keywords: Training, Self-Improvement, Dance

ENDONG BALAPAK Fitri Wahyuni; Desfiarni Desfiarni; Herlinda Mansyur
SENDRATASIK UNP Vol 2, No 2 (2013): Seri A
Publisher : FBS Universitas Negeri Padang

Abstract This article aims at explaining and describing a dance artwork entitled Endong Balapak. This dance was derived from a tradition dance “Randai Salapan” in the area Gunuang Padang Panjang. This Randai Salapan dance uses large trousers and the trousers are beaten by hand, resulting in a unique sound. These trousers are called galambuak or galembong and also often called as Endong. On the other, Balapak, is the sound effect produced by Randai players when they beat their Endong. The Endong Balapak dance is an actualization of dancers’ aesthetic play in techniques and richness of motive in playing sound and movement in beating Endong. Thus, the aesthetic value appears intrinsically from Endong Balapak dance. The sources reproduction is Randai Salapan, with the object traditional artwork, and the type of dance is pure with non representative performance. Keywords: Endong Balapak, Randai Salapan and Creative Dance

Tinjauan Koreografi Tari Ngayun Nuci Di Semurup Kecamatan Air Hangat Kabupaten Kerinci Provinsi Jambi Ayu Lestari; Darmawati Darmawati; Desfiarni Desfiarni
SENDRATASIK UNP Vol 8, No 3 (2019)
Publisher : FBS Universitas Negeri Padang

This article aims to describe and explain about the reviews of Dance Choreography Ngayun Nuci in Semurup Sub Regency of Kerinci Hagat Water Jambi province. This type of research is a qualitative descriptive methods. The object of research is the dance Nuci Ngayun. Instrument in this study is the researchers themselves and assisted by mobile phone camera, voice recorder, and stationery. Types of data using primary data and secondary data. Engineering data collection done by the study of librarianship, observation, interviews, and documentation. Technique of data analysis by collecting data, selecting data that is considered important, compiling data that has already been selected, analyzed data with interpretation techniques. The results of this research show that dance Ngayun Nuci is a dance creation which is the development of a tradition of Nuci Ngayun dance serves as the entertainment and aims to preserve traditional arts in Semurup. Dance Dance-shaped Nuci Ngayun group that developed the science of dance composition by koreografernya. Nuci Ngayun dance Creations rendered with planning the choreography for pementasannya. And also this dance movement is fixed at typical dance tradition.

Pelestarian Kesenian Randai di Sanggar Minang Saiyo Desa Sijantang Kota Sawahlunto Megawati Marrita Putri; Desfiarni Desfiarni; Darmawati Darmawati
SENDRATASIK UNP Vol 4, No 1 (2015)
Publisher : FBS Universitas Negeri Padang

Abstract This study aimed to describe the preservation is done by Studio Minang Saiyo Village Sijantang Sawahlunto which is still used and exist in Sawahlunto. The research is a qualitative study using descriptive methods. Data collected through observation, interview, and literature study. The object of this study is Randai art studio located in the village of Minang Saiyo Sijantang Sawahlunto. These results indicate that the preservation of traditional arts in studio Minang Randai Saiyo has happened the development of the number of users, the expansion of the region and increase the number of actors performances. From 2001 until now the art Randai role in the wedding ceremony and reception guests who come to Sawahlunto. Users arts Randai Sijantang not only villagers but people outside the village Sijantang and Government Sawahlunto. Studio Minang Saiyo has expanded regions show, that as many as 8 regions consisting of Padang Gantiang border area Talawi Downstream with stone cage, Timpeh, Labuah Long, Kajai border area Lunto east to the village Sapan, Sindudua Village Guguak Sarai, Village Napar, Village Lumindai and the village of Tanah Datar Atar. Expansion of the area show performed by Studio Minang Saiyo began in 2014, the expansion pertujukan region can attract the connoisseurs of art and the growing number of actors in the arts Randai. Art displays Randai outside of Sijantang based on the desires of the Minang Studio Saiyo and demand from regions outside the village Sijantang to entertain the people and at the same time preserving Randai Arts in the village Sijantang. Keywords: Wildlife, art, randai, studio Minang Saiyo.

Rangsang Awal sebagai Motivasi dalam Pembelajaran Koreografi di Jurusan Pendidikan Sendratasik Desfiarni Desfiarni
Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Vol 10, No 2 (2009)
Publisher : Fakultas Bahasa dan Seni UNP

The creation of works of choreography requires a creative work process and time of development, ranging from initial stimulation until the dance composition. The stimulation of dance begins with stimulation of ideas, visual stimulation, stimulation of audio, kinesthetic stimulation, ad touch stimulation. The creation of dance associated with the creative process requires sufficient time. Choreographers are not just stringing-chain motion, but to develop ideas, creative power train in expressing movement, abstracting ideas at this stage of cultivation, improving the knowledge of understanding, and providing a variety in the creative process. Exploration activities undertaken are not yielding a form of dance, but rather motivating and stimulating the creation of a new movement through stages of composition that would be a form of dance. The appearance of creative ideas requires natural objects as the inspirations for choreographers Key word: Keyword: First stimulus, choreography, dance, choreographer, motivation.

Tinjauan Estetika Tari Piriang Jorong Limau Sundai Pasir Talang Solok Selatan Desfiarni .
Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Vol 13, No 2 (2012)
Publisher : Fakultas Bahasa dan Seni UNP

This article aims to explain about the aesthetic value in performance structure of traditional piriang dance from Jorong Limau Sundai Pasir Talang, Kabupaten Solok Selatan. This dance is played especially by female dancers. This research is quantitative research which applies descriptive method. The object of this research is the performance structure of traditional piriang dance from Jorong Limau Sundai Pasir Talang Kabupaten Solok Selatan. The key instrument of this research is the researcher herself. The data are colected by using direct observation, interview, literature study and documentation. Furthermore, the data are analyzed by using ethnography method. Based on result of this research, piriang dance has traditional aesthetics from local culture values of Jorong Limau society. The aesthetic value of piriang dance can be found in motion structure, costume, floor design, music design, dance technique, and expression of the female dancers who are 45 until 48 years old. The aesthetic value of piriang dance from Jorong Limau is related to culture value which becomes the basic of life to Jorong Limau Sundai society. Keywords: Piriang dance Jorong Limau Sundai, aesthetic value, dance performance

Estetika Tari Piriang di Ateh Kaco Karya Syofyani Pada Sanggar Syofyani Kota Padang Suci Adela Rosyadi; Desfiarni Desfiarni
SENDRATASIK UNP Vol 11, No 2 (2022)
Publisher : FBS Universitas Negeri Padang

This study aims to reveal and describe the aesthetic value of the Piriang Dance at Ateh Kaco by Syofyani at the Syofyani Studio, Padang City. This type of research is qualitative research using a descriptive method. The main instrument in this study is the researcher himself and is assisted by supporting instruments such as writing instruments, photo cameras and audio conversion tools. This type of data uses primary data and secondary data. Data collection techniques were carried out employing library research, observation, interviews and documentation. The steps to analyze the data are data reduction, data display, and conclusion verification. The results showed that the form in terms of shape and arrangement of the main elements (motion) consisted of the name of the motion and the description of the motion. From the shape of the supporting elements, the shape and arrangement are that the floor pattern is formed by the formation of dancers. Broadly speaking, there are two-floor patterns, namely straight line patterns such as trapezoid, vertical, and horizontal, and curved lines such as making a circle. This dance is usually danced by nine dancers, namely four male dancers and four female dancers, plus one dancer to steps on the kaco. Weight in dance consists of atmosphere, ideas or ideas, and like. Three elements play a role in performing arts, namely talent, skills, and means of media.

Analisis Gerak Tari Rangguk Desa Seberang Kecamatan Pesisir Bukit Kota Sungai Penuh Niken Audia Ulfa; Desfiarni Desfiarni
SENDRATASIK UNP Vol 11, No 4 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v11i4.118262

This study aims to describe and analyze the motions of the Rangguk Dance in terms of the aspects of space, time, and energy. This type of research is qualitative research with a descriptive analysis method. Data collection techniques were carried out through literature studies, observations or observations, interviews, and documentation. The steps to analyze the data are data collection, data reduction, data presentation, and drawing conclusions. The study's results show that the motion of the Rangguk Dance in Seberang Village can be viewed from space, time, and energy. In the spatial aspect of the Rangguk dance, there are ten horizontal lines, six curved lines, and two diagonal lines, so the horizontal lines are dominant, which means that the Rangguk dance has a calm and balanced impression. The volume of the movement of the Rangguk Dance is 14 large volumes and four small volumes, so the dominant volume is the large volume which means it describes enthusiasm. The facing direction in the Rangguk Dance movement is 13 forward and three right diagonals, so the dominant facing direction is towards the front. Meanwhile, the focus of view is on the dominant activity of the Rangguk Dance going forward. The time aspect of the Rangguk Dance is more dominant in the medium tempo with a repetitive rhythm from beginning to end (repetitive) according to the drum accompaniment and the rhymes sung. In the energy aspect of the Rangguk Dance movement, in terms of intensity, there is a lot of integrity in each dance movement which is carried out repeatedly from start to finish, while the dominant pressure is many. Some movements have accents, then the quality that appears is also dominantly strong so that the Ragguk Dance seems enthusiastic and embodies the direction that makes the Rangguk Dance come alive.

Struktur Pertunjukan Tari Andun dalam Upacara Perkawinan di Desa Tumbuan Kecamatan Lubuk Sandi Kabupaten Seluma Provinsi Bengkulu Dyantika Citra Winanda; Desfiarni Desfiarni
SENDRATASIK UNP Vol 12, No 2 (2023)
Publisher : FBS Padang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i2.121575

The aim of this research is to reveal and describe the structure of the Andun Dance in a wedding ceremony in Tumbuan Village, Lubuk Sandi District, Seluma Regency, Bengkulu Province. This type of research is a qualitative research with descriptive method. The research instrument was the researcher himself and assisted by supporting instruments such as stationery and cameras. The data in this study uses primary data and secondary data. Data collection techniques were carried out by means of literature study, observation, interviews and documentation. The steps to analyze the data are data collection, data presentation and conclusion. The results of the study show that the structure of the Andun Dance performance in the wedding ceremony consists of 3 parts. 1) Opening; i.e. performing bedik (Sarafal Anam). Bedikir at the wedding ceremony has the aim of conveying praise to Allah SWT, praying for the bride and groom to become a sakinah, mawaddah and warohmah family, and entertaining the family and guests with Islamic nuances. 2) Core Section; namely performing the Andun and Berejung dances. The purpose of the Andun Dance in a wedding ceremony is to introduce and socialize between the families of the bride and groom. Andun Dance has 3 types of movements, namely Eagle Movement, Lelayang Movement, and Saluang Ngambat Ulak Movement. Berejung in a wedding party aims to express the dancers' hearts to the bride and groom in the form of congratulations and messages in satirical language through poetry. 3) Cover; namely showing Mencak. The purpose of Mencak in a wedding ceremony is toughness, a man's dexterity in protecting his family.

Co-Authors Abd Rohman Hasan Abdullah, Ardi Abdullah, Arohiyah Afifah Asriati Agestia, Feby Ajrina Rosada Harma Albadri Albadri Andhika Rahmadhanur Aprilia, Adinda ARI FATMAWATI Asih Elida Parastu Attahhiyyah, Febriani Ayu Lestari Ayulia Marentika Aziza Safitri M Darmawati Darmawati Darmawati Darmawati Darmawati Darmawati Diana Diana Dyantika Citra Winanda Elfi Yulianti Erlinda Putri Hasibuan, Rifka Fadhila Saktia Firmadanni Liska Fitri Wahyuni Fuji Astuti Fuji Astuti Geubrina Suci Agustin Gustia Arini E Gustri Wella Hayatun Ridha Herlinda Mansyur Herman, Hanifah Hidayat, Hengki Armez Idawati Syarif Idol Fatria Indrayuda Indrayuda Inessya Lelioritha NS Irdhan Epria Darma Putra Khairah, Wardhatul Kosasih, Ahmad Kumara, M Fadjriansyah Lusi Malani Malani, Lusi Maya Endah Rahayu Mayrani, Wahyu Megawati Marrita Putri Merry Suhesti Morenza, Elva Nia Muhammad Afif Muhammad Trio Idha Murniati Murnianti Mustika, Rilla Nela Eka Fitri Nerosti Nika Suryanti Niken Audia Ulfa Riana Nasmi Ririn Yunita Ririz Dwi Oktaviani Rizka Gasima Putri Roja’atul Khoiriyah Salsabilla Faiqaersya Sari, Ayuthia Mayang Selsi Efrima Yuni Seyra Winna Sari Shafii, AS Hardy Shalsa Bila Ivanka Silviana Silviana Srirahayu Srirahayu Suci Adela Rosyadi Suci Ramada Jayanti Susmiarti Syaputra, Hengky Novri Ukie Winaranti Utari, Aprilia Viola Julia Wulan Permata Sari Wulanda Khairunisa Yolanda Afika Putri Yosi Zullyani Yuliasma Yuliasma Yuni Safitri Zora Iriani

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