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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Harmonia: Journal of Research and Education Journal of Urban Society´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
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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The Existence of Sekapur Sirih Dance in Sungai Pinang Village, Hulu Kuantan Sub-District, Kuantan Singingi District Hayatun Ridha; Desfiarni
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.101

Abstract

This study aims to describe the existence of Sekapur Sirih Dance in Sungai Pinang Village, Hulu Kuantan District, Kuantan Singingi Regency. This type of research is qualitative research with descriptive methods. The instrument in this research is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data collection techniques are done by means of literature study, observation, interviews and documentation. The steps of analysing data are data reduction and data display. The results showed that the existence of Sekapur Sirih Dance in Sungai Pinang Village experienced ups and downs in its activity in 2004 and also the years after that caused by the lack of funding from Sungai Pinang Village and local government to carry out the Pacu Jalur Culture, therefore the Pacu Jalur Culture was transferred to a district closer to Hulu Kuantan District, namely Kuantan Mudik District. And also caused by the entry of the times and new technology. In 2014 Sekapur Sirih Dance revived because it was asked by the Head of Sungai Pinang Village to perform at the opening of the Pacu Jalur Culture. Factors that influence the ebb and flow of Sekapur Sirih Dance are due to the lack of funding available and also due to the entry of the times and IPTEK. The effort to see the existence of Sekapur Sirih Dance in Sungai Pinang Village aims to inform the community that the ups and downs of Sekapur Sirih Dance occur due to several things. So that from what has happened the community can change their mindset to jointly revive and preserve Sekapur Sirih Dance as a Tradition Dance in Sungai Pinang Village.
Analisis Gerak Silek Pauh Di Perguruan Silaturrahmi Kelurahan Kalumbuk Kecamatan Kuranji Kota Padang Roja’atul Khoiriyah; Desfiarni Desfiarni
Jurnal Kajian dan Penelitian Umum Vol. 1 No. 5 (2023): Oktober : Jurnal Kajian dan Penelitian Umum
Publisher : Institut Nalanda

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47861/jkpu-nalanda.v1i5.441

Abstract

The purpose of this study is to describe and analyze the Silek Pauh movement in Kalumbuk Village Friendship College, Padang City, Kuranji District from the perspective of space, time and energy. This research uses qualitative research with descriptive and analytical methods. This research instrument is the researcher himself and is assisted by supporting devices such as stationery, cameras and mobile phones. Daat is collected through literature study, observation, interviews and documentation. The stages of data analysis are data collection, data reduction, data modeling and data collection. The results showed that Silek Pauh has motion analysis based on space, time and energy. This can be seen in the well-constructed movements. Pauh's smooth motion mostly forms curved lines in relation to space, meaning a light, dynamic, and powerful figure. In the time aspect, Silek Pauh's movements follow the musical accompaniment played by the musician. The aspect of Silek Pauh's movement time in the results of this study is more dominant using the tempo being carried out by the martial artist. In the power aspect, it uses a lot of and medium power because the movement uses the attraction of fights between attackers and detractors using the property of a cleaver (knife).
Peranan Silek Moncak dalam Acara Manjalang Niniak Mamak di Nagari Muaro Paiti Kecamatan Kapur IX Selsi Efrima Yuni; Desfiarni Desfiarni
Jurnal Kajian dan Penelitian Umum Vol. 1 No. 5 (2023): Oktober : Jurnal Kajian dan Penelitian Umum
Publisher : Institut Nalanda

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47861/jkpu-nalanda.v1i5.443

Abstract

This study aims to describe and analyze the role of Silek Moncak in the Manjalang Niniak Mamak event in Nagai Muaro Paiti, Kapur IX District, Fifty Cities Regency. This type of research is qualitative research using descriptive methods of analysis. Research instruments are researchers themselves and are assisted by supporting instruments such as stationery and cameras. The data in this study used primary data and secondary data. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, describing data and inferring data. The results showed that the Manjalang Niniak Mamak event in Nagari Muaro Paiti Kec. Kapur IX Kab. Fifty Cities is an event that grows and develops in society from the past until now. The Manjalang Niniak Mamak event is an event that is held once a year, which is 3 days after Eid al-Fitr with the aim of strengthening the relationship between Niniak Mamak and kamanakan. Silek Moncak's performance in welcoming the Eid al-Fitr celebration at Nagari Muaro Paiti. At the event of approaching ninik mamak Silek Moncak, one of the arts that is always displayed because the role of Silek Moncak in the Manjalang Niniak Mamak event has an important role, because in the Manjalang Niniak Mamak Silek Moncak event reflects the behavior of the Nagari Muaro Paiti community who maintain a close relationship, between kamanakan and ninik mamak and fellow communities through the introduction of Silek Moncak. Silek Moncak also reflects the strength, politeness, and behavior of the community (togetherness, mutual respect and honesty) in Nagari Muaro Paiti. Silek Moncak is played by two men, namely Dubalang, the age for those who play Silek Moncak is not determined because the Dubalang of each tribe is of different age.
Management of Performing Arts Sanggar Sarai Sarumpun in the Performing Arts Industry in the City Of Padang Mustika, Rilla; Desfiarni
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 1 (2023): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (841.168 KB) | DOI: 10.24036/ag.v1i1.1

Abstract

This study aims to explain and describe the Performing Arts Management System at Sanggar Sarai Sarumpun in the Performing Arts Industry in Padang City. This type of research is qualitative research using a descriptive method. The research instrument is the author himself and is assisted by supporting instruments such as writing instruments and cameras. This type of data uses primary data and secondary data. Data collection techniques were carried out through library research, observation, interviews and documentation. Data analysis is done by collecting data, describing the data and concluding the data. From the results obtained, the management of the Sarai Sarumpun Studio has a plan by making programs that will be carried out and will be implemented, with the preparation of equipment and exercises. Organizing has been done by making a line-shaped management structure. Organizing also determines the duties and authorities of the board. Mobilization is done by carrying out the provision of motivation, and guidance and moving on to the set goals. Internal supervision is carried out directly or indirectly, then external supervision is carried out by evaluating activities. Sanggar Sarai Sarumpun also has a production house consisting of dances, music, night bainai, babako. Marketing management from Sarai Sarumpun also keeps up with the times. Sanggar Sarai Sarumpun has been registered with the Tourism Office and is collaborating with the agency. The management of the organization chosen by Sanggar Sarai Sarumpun shows democratic management.
Manajemen Seni Pertunjukan di Sanggar Gastarana Kelurahan Garegeh Kecamatan Mandiangin Koto Selayan Kota Bukittinggi Sumatera Barat Aprilia, Adinda; Desfiarni, Desfiarni
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 2 (2023): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (309.894 KB) | DOI: 10.24036/ag.v1i2.22

Abstract

Tujuan dari penelitian ini adalah untuk mendeskripsikan manajemen seni pertunjukan Sanggar Gastarana di Desa Garegeh, Kecamatan Koto Selayan Mandiag, Kota Bukittinggi, Sumatera Barat. Jenis penelitian ini adalah penelitian kualitatif dengan menggunakan metode deskriptif. Alat penelitian adalah peneliti sendiri dan dibantu dengan alat bantu seperti pulpen, kamera dan perekam. Data primer dan data sekunder digunakan dalam bahan penelitian ini. Teknik pengumpulan data dilakukan dengan studi literatur, observasi dan wawancara. Tahapan analisis data adalah reduksi data, deskripsi data, dan inferensi data. Hasil penelitian menunjukkan bahwa manajemen sanggar Gastarana terdiri dari perencanaan, pengorganisasian, pergerakan dan pengawasan. Perencanaan dilakukan dengan beberapa program kerja, antara lain: rogram kerja jangka panjang, program kerja jangka pendek dan program kerja adat Gatarana. Proses organisasi mencakup rangkaian kegiatan yang berbeda, dimulai dengan orientasi pada tujuan yang dapat dicapai dan diakhiri dengan kerangka kerja organisasi yang dilengkapi dengan metode dan teknik operasional, kekuatan, personel, dan peralatan yang diperlukan. Pergerakkan yang dilakukan pimpinan sanggar Gastarana adalah dengan cara memberikan pengarahan kepada semua anggota sanggar dengan melaksanakan kegiatan yang sudah direncanakan dan diorganisasikan oleh sanggar Gastarana. Pengawasan langsung dilakukan oleh pimpinan sanggar Gastarana dan berkoordinasi dengan kepengurusan sanggar yang terlibat.
Tari Melayu Sarumpun di Sanggar Sarai Sarumpun Kota Padang: Tinjauan Koreografi Salsabilla Faiqaersya; Desfiarni Desfiarni
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 5 (2024): September : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v1i5.312

Abstract

The purpose of this study is to examine the performance of Sarumpon Malay dance at the Sarumpon Serai Sanggar in Padang city. The type of qualitative research is the descriptive method of analysis. The research tool is an independent researcher, assisted by supporting devices such as cameras, notebooks, and mobile phones. Data were collected through literature studies, observations, interviews and literature. The function of data analysis includes interpretation, interpretation, and conclusion drawing. The results of the study show that the Sarumpun Malay Dance Choreography carried out by choreographer Randi Rivandika is a new dance creation that is worked on with a choreographic approach. The choreography of the Sarumpun Malay Dance can be seen from the choreography process and the form of choreography. The choreography process includes exploration, improvisation, and composition. The atmosphere that appears in the Sarumpun Malay Dance is joyful. The choreography of this dance is as follows: (1) The movements of female dancers consist of Awal Masuk motion, Putar kanan motion, Pose motion, Ayun Berputar motion, Bukak Selendang motion, Melenggang Selendang motion, Putar Step motion, Malenggang Berpandang motion, Berpandang motion, Step Berbalas motion, Petik Kanan Kiri motion, Ayun Salendang motion, Lenggang Pola S motion, Pose Duduk motion, Maambiak Salendang motion, Lenggang Putar Berbalas motion, Lenggang Bergoyang motion, Selendang Bergoyang motion, Putar Bahu motion, Pose Terakhir motion. The movements of the male dancer consist of Awal motion, Menyambut motion, Tangan Maayun motion, Manusuak Silang motion, Malenggang Step motion, Lenggang Berpandang motion, Langkah Silang motion, Lenggang Pola S motion, Step Berpasangan motion, Lenggang Sauk motion, Lenggang Patiak motion, Step Lingkaran motion, Putar Bahu motion, Pose Akhir motion,(2) Vertical, horizontal and diagonal Floor Patterns. (3) using the composition of large groups. (4) The musical instruments used are tambua, accordion, talempong, bansi, and bass. (5) The property used is a scarf. (6) The costume used is a Malay costume creation and the makeup used for the female dancer is beautiful makeup.
Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West Sumatra Asriati, Afifah; Shafii, AS Hardy; Yuliasma, Yuliasma; Putra, Irdhan Epria Darma; Desfiarni, Desfiarni
Harmonia: Journal of Arts Research and Education Vol 24, No 1 (2024): June 2024
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.v24i1.39447

Abstract

This article aims to expose the revitalization of Siriah Gadang cultural values in Galombang dance performed in Guguak village, Pariangan, Tanah Datar Regency, West Sumatra. Siriah Gadang is almost extinct because it is very rarely used. It is a cultural object with the same function as Carano, which is currently used for Galombang dance performances. To achieve this goal, qualitative research was used through observation, documentation, in-depth interviews, and Focus Group Discussion (FGD) techniques. The data obtained were analyzed using the Miles and Haberman model. It was found that the cultural values in Siriah Gadang are customary values, ethical values, social values, religious values, and leadership values reflected in the philosophy of the Minangkabau people “adaik basandi syarak, syarak basandi Kitabullah.”
Dance Learning Model Using Stories in Elementary Schools Yuliasma; Nerosti; Afifah Asriati; Desfiarni
International Journal of Elementary Education Vol 7 No 1 (2023): February
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/ijee.v7i1.57710

Abstract

Dance learning in elementary schools is starting to be neglected, there are even schools that don't teach dance, especially in the form of practice. This is because the teacher has difficulty choosing a dance learning model that is systematic and easy to use. The purpose of this study was to analyses the validity, practicality and effectiveness of the TAGUNTA learning model (Dance using Stories) in Elementary Schools. This research is a type of development research (Research and Development). Following the product development steps proposed by Borg & Gall. Research data collection techniques and instruments in the form of qualitative and quantitative data consisting of preliminary study data, validity test, practicality test and product effectiveness test. To see the feasibility of the model, validity tests were carried out by four experts, practicality tests by teachers and students and effectiveness tests through student learning outcomes tests. The results of this study indicate that the TAGUNTA Learning Model in Elementary Schools that the researchers developed has been tested to be able to overcome the problems of learning dance in elementary schools. The feasibility of the TAGUNTA learning model is evidenced by the results of the validity test with an overall average score in the very valid category, a practicality test with an overall average score in the practical category, and an effectiveness test with an overall average score in the category very effective. Thus, it can be concluded that the TAGUNTA Learning Model that the researchers developed is valid, practical, effective, and appropriate for use in teaching dance in elementary schools.
Indang Tagak Dance as a Medium For Proselytizing Islam in South Solok Mayang Sari, Ayuthia; Desfiarni, Desfiarni; Armez Hidayat, Hengki; Astuti, Fuji; Abdullah, Arohiyah
Journal of Urban Society's Arts Vol 12, No 1 (2025): April 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v12i1.11343

Abstract

This research will explain about Indang Tagak Dance which has a function as a medium for da’wah in South Solok Regency, West Sumatra. This can be seen from the costumes used in the performance, the venue, the poems sung in the dance to the floor patterns displayed by the Indang Tagak dancers. This research uses two types of research combined by researchers, namely observation and descriptive analysis. The observation method is a direct action taken by the researcher to witness the Indang Tagak dance performance directly. The purpose of this method is to obtain data directly to know the history of the dance from the source. The descriptive analysis method is a method used by researchers to explain and analyze the data that has been obtained, so that it can describe in detail the existence of Indang Tagak dance as a medium of preaching in Islamic teachings. The results showed that Indang Tagak dance is a dance that also functions as a preaching medium for Islamic teachings in South Solok. This can be seen from several aspects of the dance which also explain the existence of religious elements in the form of clothing, dancer movements, place and time of performance as well as music and poetry in the Indang Tagak Traditional Dance. Tari Tradisional Indang Tagak sebagai Media Dakwah Agama Islam di Solok Selatan. Penelitian ini menjelaskan Tari Indang Tagak yang memiliki fungsi sebagai media dakwah di Kabupaten Solok Selatan, Sumatera Barat. Hal tersebut terlihat dari kostum yang digunakan dalam pertunjukan, tempat pertunjukan, syair yang dinyanyikan dalam tarian tersebut, hingga pola lantai yang ditampilkan oleh para penari Indang Tagak. Penelitian ini menggunakan dua jenis penelitian yang digabungkan oleh peneliti, yaitu observasi dan deskriptif analisis. Metode observasi merupakan tindakan langsung yang dilakukan oleh peneliti untuk menyaksikan langsung pertunjukan Tari Indang Tagak. Tujuan dari metode ini adalah untuk memperoleh data secara langsung hingga mengetahui sejarah tari tersebut dari narasumber. Sementara itu, metode deskriptif analisis merupakan metode yang digunakan oleh peneliti untuk menjelaskan dan menganalisis data yang sudah didapatkan, sehingga dapat menguraikan secara terperinci dalam melihat keberadaan tari Indang Tagak sebagai media dakwah dalam ajaran agama Islam. Hasil penelitian menunjukkan bahwa tari Indang Tagak merupakan tari yang juga berfungsi sebagai media dakwah untuk ajaran agama Islam di Solok Selatan. Hal tersebut terlihat dari beberapa aspek dalam tari yang juga menjelaskan adanya unsur religi yang ada berupa busana, gerakan penari, tempat dan waktu pertunjukan, serta musik dan syair yang ada di dalam Tari Tradisional Indang Tagak.
Tari Suluah Bendang Dalam Nagari di Sanggar Pituah Bundo Kota Payakumbuh : Kajian Koreografi Utari, Aprilia; Desfiarni, Desfiarni
Jurnal Pendidikan Tambusai Vol. 8 No. 1 (2024): April 2024
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jptam.v8i1.13699

Abstract

Penelitian ini bertujuan untuk mendeskripsikan Kajian Koreografi Tari Suluah Bendang dalam Nagari di Sanggar Pituah Bundo Kota Payakumbuh. Jenis penelitian ini adalah penelitian kualitatif dengan metode deskriptif. Instrumen penelitian ini adalah peneliti sendiri dan dibantu dengan instrumen pendukung seperti alat tulis dan kamera. Teknik pengumpulan data dilakukan melalui studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah pengumpulan data, reduksi data, penyajian data dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa tari Suluah Bendang Dalam Nagari merupakan tari kreasi yang menggunakan pendekatan koreografi yang dilihat dari aspek bentuk dan isi. Aspek Bentuk tari Suluah Bendang Dalam Nagari adalah gerak, desain lantai, desain atas, komposisi kelompok, penari, iringan tari dan kostum. Aspek isi terdiri dari ide dan suasana. Ide tari Suluah Bendang Dalam Nagari terinspirasi dari aktifitas masyarakat khususnya daerah Payakumbuh Barat kelurahan Parik Rantang. Sedangkan suasana menggambarkan semangat dan menegangkan yang muncul disaat penari laki-laki melakukan gerakan silek/cakak dengan gerakan yang tajam dan pasti. Pada ending tari tampak suasana yang gembira dalam kekompakkan penari laki-laki dan perempuan saat memegang Suluah masing-masing sehingga sangat memperlihatkan suasana kehidupan masyarakat sesuai adanya.
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