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All Journal Jurnal Sendratasik Gorga : Jurnal Seni Rupa Gondang: Jurnal Seni dan Budaya JURNAL PENDIDIKAN TAMBUSAI These proceedings represent the work of researchers participating in The International Conference on Elementary Education (ICEE) which is being hosted by the Elementary Education Study Programme School of Postgraduate Studies, Universitas Pendidikan MASALIQ: Jurnal Pendidikan dan Sains Student Scientific Creativity Journal Jurnal Multidisiplin West Science Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, Dan Sosial Humaniora Dharma Acariya Nusantara: Jurnal Pendidikan, Bahasa dan Budaya Filosofi: Publikasi Ilmu Komunikasi, Desain, Seni Budaya Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Imajinasi: Jurnal Ilmu Pengetahuan, Seni, dan Teknologi

Herlinda Mansyur

Prodi Pendidikan Tari, Universitas Negeri Padang

Author-ID : 2728499

Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Mathematics Social Sciences Other

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STRUKTUR GERAK TARI PIRIANG DI KAMPUANG LUBUAK KUMPAI KECAMATAN BAYANG KABUPATEN PESISIR SELATAN Reza Septiana; Afifah Asriati Afifah Asriati; Herlinda Mansyur
SENDRATASIK UNP Vol 6, No 1 (2017)
Publisher : FBS Universitas Negeri Padang

ABSTRAKPenelitian ini bertujuan untuk menganalisis dan mendeskripsikan struktur gerak tari Piriang di Kampuang Lubuak Kumpai Kecamatan Bayang Kabupaten Pesisir Selatan. Jenis penelitian ini adalah penelitian kualitatif dengan menggunakan metode analisis konten atau analisis isi. Objek penelitian ini adalah tari Piriang di Kampuang Lubuak Kumpai Kecamatan Bayang Kabupaten Pesisir Selatan. Teknik pengumpulan data dilakukan melalui Studi kepustakaan, observasi, wawancara dan dokumentasi. Sedangkan instrumen penelitian yaitu peneliti sendiri dan menggunakan alat bantu untuk mencatat dan mengumpulkan data yaitu menggunakan alat-alat tulis, kamera foto, handy-cam, tape recorder atau hp. Analisis data dilakukan dengan berpedoman pada langkah-langkah yang dikemukakan oleh Sugiyono, yaitu pengumpulan data, reduksi data, penyajian data dan penarikan kesimpulan.Hasil penelitian menunjukkan bahwa tata hubungan hirarkis tari Piriang ini disusun dari beberapa komponen penyusun, mulai dari komponen terkecil hingga terbesar. Satuan komponen terkecil dimulai dari elemen kinetik, kietik membentuk motif, kemudian motif membentuk bagian dan bagian membentuk gerak tari keseluruhan. Elemen kinetik berjumlah 504 kinetik, namun ada beberapa elemen kinetik yang dilakukan berulang-ulang berjumlah 472 elemen, dan terdapat 32 macam elemen yang disebut dengan elemen pokok. Elemen motif berjumlah 64 motif, namun di dalam elemen motif ini terdapat pengulangan berjumlah 15 motif yang dilakukan berulang-ulang, sedangkan menurut macamnya motif pada tari Piriang ini memiliki 33 macam elemen motif. Selanjutnya elemen bagian yang berjumlah 21 bagian, juga terdapat 3 bagian yang dilakukan berulang-ulang dan menjadi 18 macam bagian, hingga akhirnya menjadi gerak tari keseluruhan yang dinamakan tari Piriang. Dapat disimpulkan bahwa tata hubungan pada tari Piriang ini merupakan tata hubungan Paradigmatis.dimana dijelaskan bahwa tata hubungan Paradigmatis merupakan tata hubungan yang dapat dipertukarkan atau saling menggantikan.

Bentuk Penyajian Tari Hari Langsung Sebagai Tari Kreasi Masyarakat Kota Pekanbaru Rahayu Febri Armi; Herlinda Mansyur
SENDRATASIK UNP Vol 11, No 2 (2022)
Publisher : FBS Universitas Negeri Padang

This research aims to describe and reveal the form of presentation of Tari Hari Lansung as a Dance Creation of Pekanbaru City Community. This type of research is qualitative using descriptive methods. Research instruments are researchers themselves and are assisted by supporting instruments such as stationery, cameras and mobile phones. This type of data uses 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 collecting data, describing data and inferring data. The results showed that Hari Langsung dance is a creation dance that tells the traditional procession of Riau Malay marriage, although this dance has to do with the traditional procession of marriage, but does not show the marriage in general. This Tari Hari Lansung there are 5 procession, namely arak-arak an, silat, doorstop, reciprocated pantun and side by side. This Tari Hari Lansung is danced in groups with 12 male dancers. The properties used in The Direct Day dance are kompang, turmeric rice, umbrella, uncang, selayar, wedding edit, doorstop cloth. Costume dancers of Hari Langsung Dance using the caged bay brackets, the head uses kopiah given a brooch as an accecoris, and uses malay songket cloth. Musical instruments used are compang, acordion, violin, gambus, long drum and vocals.

Analisis Gerak Tari Piriang Rantak Kudo di Pauh IX Lapau Munggu Kecamatan Kuranji Kota Padang Lapeni Pebria Maibur; Herlinda Mansyur
SENDRATASIK UNP Vol 11, No 3 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v11i3.117651

This research aims to describe and analyze the analysis of Tari Piriang Rantak Kudo movements in Pauh IX Lapau Munggu Kuranji District of Padang City. This type of research is qualitative research with descriptive methods. The object of this research is Tari Piriang Rantak Kudo in Pauh IX Lapau Munggu Kuranji District, Padang City. This research instrument is the researcher himself using stationery and cameras. The types of data used are primary data and secondary data. Data collection techniques include library studies, observations, interviews, and documentation. The steps of this data analysis technique are data collection, data reduction, data presentation, and data verification/conclusion. The results of this study showed that piriang Rantak Kudo dance motion analysis was seen from the aspect of space, elements of time, and energy characteristics. Parts of space have five components, namely line, volume, direction, level, and focus of view. The time aspect has two elements, namely tempo and rhythm. Meanwhile, the power aspect has three components: intensity, pressure, and quality. In the movement piriang Rantak Kudo dance has 9 varieties, namely having 9 movements, namely: 1)the movement of the leader; 2)the movement of the balimau; 3)the movement of bakirok; 4)the movement of sauak sabalah; 5)the movement of ramo-ramo bagaluik; 6)the movement of kirok langkah alai; 7)the movement of langkah alai, 8)the movement of ramo-ramo bagaluik langkah gantuang; 9)closing motion. This aspect of space, time, and energy is essential in motion. Because of the element of space, time, and power, dancers can find out the energy expended in the movement of Tari Piriang Rantak Kudo.

Koreografi Tari Tobo Baombai di Nagari Sijunjung Kecamatan Sijunjung Kabupaten Sijunjung Jupriyanto Jupriyanto; Herlinda Mansyur
SENDRATASIK UNP Vol 12, No 1 (2023)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i1.120296

This study aims to reveal and describe the choreography process of Tobo Baombai Dance in Nagari Sijunjung, Sijunjung District, Sijunjung Regency. This type of research is qualitative with a descriptive method. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. The types of data in this study are primary data and secondary data. Data collection techniques use literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data presentation and drawing conclusions. The results showed that Tobo Baombai Dance is a traditional dance that has simple movements and Tobo Baombai Dance consists of aspects of form and content. The shape aspect consists of motion, floor design, top design, group composition, dancers, costumes, music and props. The content aspect consists of ideas and atmospheres. The idea of the Tobo Baombai dance is a form of activity of the Nagari Sijunjung community in absorbing their rice fields, while the atmosphere arises from the spirit and never give up, for the activities carried out, namely plowing the fields.

Bentuk Penyajian Tari Galombang Pada Acara Pesta Perkawinan Di Jorong Koto Kociak Nagari Tujuah Koto Talago Kecamatan Guguak Kabupaten Limapuluh Kota Rahma Sinta; Herlinda Mansyur
SENDRATASIK UNP Vol 9, No 4 (2020)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

This study aims to describe and reveal the presentation form of Galombang dance at a wedding party in Jorong Koto Kociak Tujuah Koto Talago village, Guguak sub-district, Lima Puluh Kota district. This is a qualitative research using a descriptive analysis method. The object of the research was Galombang dance at a wedding party in Jorong Koto Kociak, Tujuah Koto Talago village, Guguak sub-district, Lima Puluh Kota district and was focused on the form of its presentation. The data were collected through literature review, observation, interview, and documentation. The data analysis was done by using triangulation technique which compared the data from observation to those from interview and documentation data. The results of the study generally show that the Galombang dance is performed in groups by11 dancers. It is performed for eight minutes in front of the bride's house, and it is performed at noon after the procession. Interestingly, the Galombang dance in Jorong Koto Kociak, Tujuah Koto Talag village, is performed by 50 year-old dancers and over (elderly). The presentation form of Galombang Dance at a Wedding Party in Jorong Koto Kociak, Tujuah Koto Talago village, Guguak sub-district, Lima Puluh Kota district is a representational form.The elements of the presentation form of this dance are as follows: (1) The motion of respect, the opening motion, the maagiah kaba motion, the maimbau motion, the basuluah motion, the bagalanggang motion, and silang jentik motion. (2) the Galombang Dance uses a floor pattern of two rows backwards and three carano bearers.(3) The music that accompanies the Galombang dance consists of: bansi, gandang, talempong, and tambourine. (4) The property of Galombang Dance isa carano. (5) The make-up used is pretty makeup. The dancers wear baju kuruang basiba, skirts, scarves, tikuluak kompong and accessories such as necklaces. (6) In addition, the Galombang dance is performed in front of the bride's house.

Bentuk Penyajian Tari Sewa dalam Acara Pesta Perkawinan di Jorong Gando Nagari Paninggahan Kecamatan Junjung Sirih Kabupaten Solok Arif Agustakdir Rahman; Herlinda Mansyur
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.120544

The research aims to reveal and describe the form of presentation of the Sewa Dance in Jorong Gando Nagari Paninggahan, Junjung Sirih District, Solok Regency. This type of research is qualitative research with descriptive methods. The instrument for this research is the researcher himself and is assisted by supporting instruments such as stationery, camera and cellphone. The data in this research uses primary data and secondary data. Data collection techniques were carried out using literature study, observation, interviews, and documentation techniques. The data analysis steps are carried out by collecting data, describing the data and concluding the data. The results of the research show that the presentation of the Sewa Dance in Nagari Paninggahan consists of movement, floor design, dancers, music, make-up and costumes, props, place and contextual performance time at a wedding party. There are 12 types of Sewa dance movements, but at the wedding ceremony, only 5 (five) types of movements are performed. Each of the five types of movements has a name, namely the Ciek Tusuak Siku Step, the Duo Tusuak Gasiang Step, the Tigo Tusuak Dado Step, the Ampek Sambuik jo Rabuik Pisau Step, and the Limo Kepoh Kaki Step.

Koreografi Tari Uraklah Simpuah Di Sanggar Tak Kondai Nagari Pasir Talang Kecamatan Sungai Pagu Kabupaten Solok Selatan Yosi Muliana; Herlinda Mansyur
SENDRATASIK UNP Vol 9, No 4 (2020)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

This is a descriptive qualitative research using a descriptive analysis method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing instruments and cellphones. The data used where primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted through data collection, data reduction, data presentation, and conclusion making. The results of this study show that the Uraklah Simpuah Dance is cultivated from social condition which is not in accordance with the customs in the village. The situation meant isgetting around done by Minangkabau women. In the form aspect, there is a floor design used in Uraklah Simpuah dance. It is a straight floor design which is lined and curved in a circle. It uses large group composition (unison). The music instrument used in this dance is a drum namely gandang tambua. In addition, it uses the distinctive strains of songs to accompany the dance.The costume worn is a basic black velvet shirt paired with songket and a red to orange head cover. This dance also uses metal plates and resins as the sounds. Thus, it is concluded that the Uraklah Simpuah dance is a traditional dance which already has choreographic aspects so that it can be researched using choreography.

Analisis Gerak Tari Sentak Baindang di Sanggar Tuah Sakato Kecamatan Pauh Kota Padang Alya Putri; Herlinda Mansyur
SENDRATASIK UNP Vol 12, No 4 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i4.121450

This research aims to reveal and describe the movement analysis of the Sentak Baindang Dance at Sanggar Tuah Sakato, Pauh District, Padang City. The type of research used is qualitative research with descriptive methods. The instrument for this research is the researcher himself and is assisted by supporting instruments such as writing equipment and a camera. The data in this research uses primary data and secondary data. Data collection techniques were carried out using literature study, observation, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and concluding. The results of the research show that the Sentak Baindang Dance at Sanggar Tuah Sakato is a new dance creation. The Sentak Baindang Dance can be viewed from the aspects of space, time and energy. The Sentak Baindang Dance has 28 kinds of movements. From the aspect of space, it has elements of line, volume, facing direction and focus of view. The lines in this dance are predominantly straight, curved and angular lines. The volumes contained in this dance are predominantly large, medium and small. The facing directions in this dance movement are dominantly front, right and left diagonal, right and left side. The levels contained in the Sentak Baindang Dance movements are dominantly large, medium and small. The focus of view in this dance movement is dominant towards the hands, the property being held, the right and left sides, right and left diagonally. From the time aspect, the dominant tempo and rhythm are medium and fast. Meanwhile, the aspect of energy and intensity in this dance movement is dominantly medium and strong, the pressure in this dance movement is dominantly strong and the quality of the Baindang Sentak Dance movement is dominantly medium and firm.

Koreografi Tari Kureh Saiyo di Sanggar Atok Rumbio Kenagarian Jinang Kampung Pansur Kabupaten Pesisir Selatan Ichanur Safri, Oktry; Mansyur, Herlinda; Rianti, Muthia
SENDRATASIK UNP Vol 13, No 3 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i3.130134

Penelitian ini bertujuan untuk menggambarkan dan menganalisis hasil seni Koreografi Tari Kureh Saiyo di Sanggar Atok Rumbio, Kenagarian Jinang Kampung Pansur, Kecamatan Koto XI Tarusan, Kabupaten Pesisir Selatan. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan deskriptif. Peneliti sendiri menjadi instrumen utama, didukung dengan alat tulis, kamera foto, dan perekam suara. Data yang dikumpulkan terdiri dari data primer dan sekunder, dengan teknik pengumpulan data melalui studi pustaka, observasi, wawancara terarah dan tidak terarah, serta dokumentasi. Hasil penelitian menunjukkan bahwa Tari Kureh Saiyo merupakan inovasi baru dari Tari Kain Tradisional, menggambarkan kehidupan masyarakat Pesisir Selatan yang harmonis dengan alam dan penuh kearifan lokal. Proses koreografi Tari Kureh Saiyo meliputi ide/tema dan suasana. Koreografer menciptakan bentuk tari yang melibatkan gerak, desain ruang, desain waktu, desain tenaga, desain lantai, komposisi kelompok, perlengkapan, dan iringan tari. Gerakan dalam Tari Kureh Saiyo terinspirasi dari Tari Kain di Pesisir Selatan, dengan pengembangan dua gerak dasar dari Tari Kain dan Tari Rantak menjadi karya Tari Kreasi baru. Iringan tari mencakup dendang, gandang, bansi, talempong, dan maracas. Kostum penari dimodifikasi agar memudahkan gerakan, menggunakan bahan satin, sarawa, kain songket, deta batik, serta aksesoris seperti subang talepon dan kalung cakiak. Properti yang digunakan adalah kain panjang.This study aims to describe and analyze the results of the Kureh Saiyo Dance Choreography at Sanggar Atok Rumbio, Kenagarian Jinang, Kampung Pansur, Koto XI Tarusan District, South Coast Regency. The method used in this study is a qualitative method with a descriptive approach. The researcher himself became the main instrument, supported by stationery, photo cameras, and voice recorders. The data collected consisted of primary and secondary data, with collection techniques through literature studies, observations, directed and undirected interviews, and documentation. The results of the study show that the Kureh Saiyo Dance is a new innovation of the Traditional Cloth Dance, depicting the life of the southern coastal community that is in harmony with nature and full of local wisdom. The choreography process of the Kureh Saiyo Dance includes ideas/themes and atmospheres. Choreographers create dance forms that involve movement, space design, time design, power design, floor design, group composition, equipment, and dance accompaniment. The movements in the Kureh Saiyo Dance are inspired by the Kain Dance on the south coast, with the development of the two basic movements of the Kain Dance and the Rantak Dance into a new Creation Dance work. Dance accompaniment includes dendang, gandang, bansi, talempong, and maracas. The dancers' costumes were modified to facilitate movement, using satin materials, sarawa, songket fabric, batik deta, as well as accessories such as subang talepon and cakiak necklaces. The property used is long fabric.

Co-Authors Afiatri Gelurena Afifah Asriati Almadina Putri Alya Putri Anak Agung Istri Sri Wiadnyani Apriliyola, Veny Aqilla, Qorri Arif Agustakdir Rahman Arviani, Yohana Aulia R, Rindena Auliannisa Ramadhani Ayunda Sari, Nelvy Ayuning Dwi Kusrini Azizah Ilham, Vira Chintia Renata Putri Cici Aulia Sari Darmawati Darmawati Darmawati Darmawati David Hernandes Deby Deswariani Dede Putri Perdani Desfiarni Desfiarni Devina Utami Dewi, Risna Dina Mutiatul Khairat Dona Evrie Dona Indriani Elga Pratiwi Rahmadani Elizar Elizar Elizar Elizar, Elizar Endang Nuryani Etika junita Fadhilah Amalia Hasanah Fani Putri Anggraini Fara Tiurma Andrina Febiola, Rara Fernanda Putri Fitri Latifah Fitri Wahyuni Fittry, Hasanah Fuji Astuti Fuji Astuti Gemala Dewi Gusti Maharani Haryono Haryono Hasibuan, Sindi Melani Ichanur Safri, Oktry Indah Fajar Wati Indah Septiani Indah, Rifatil Indrayuda Indrayuda Izlatul Maulida Jupriyanto Jupriyanto Kamilia Maghfudzah Khairah, Wardhatul Khairunnisa, Ardina Kurnia Hidayati Laily Wulan Rahmawati Lapeni Pebria Maibur Lara Sintia Lativa Andriani Lhaxmi Nuari Maghdalena Tri Jureta Magrevi, Vira Maharani Maharani Meika Meika Meika Meizul Ofriananda Melany, Sandra Mikaresti, Pamela Muhammad Afif Nadila, Sagita Dwi Nerosti Nia Mardiani Ningsih, Lisa Wahyu Niro Mayelza Nur Annisa Nurul Fazila Ismail Pransisko Pransisko Pransisko, Pransisko Putri Oktavia, Dwi Putri S Mulyadi Putri, Chintia Renata Rafi Rafi Rafi, Rafi Rahayu Febri Armi Rahma Dianti, Rahma Rahma Sinta Rahmadani, Sury Rahmi Isdiani, Nabila Rahmi Ul Fadhilah Rahmi, Mutia Ramadhan, Adrian Raudatul Hayati Reza Septiana Rianti, Muthia Riska Fitriani Rizka Putri Ananda Sella Oktafira Gea Seri Malini Sindi Melani Hasibuan Soraya , Atika Sri Wahyuni Suci Silvia Ningsih Suci Wahyuni Sukhma Suci, Suci Silvia Ningsih Susmiarti Syinta Triagnesti Tiara Virginia Aulia Tiaranti Dwi Pradita Tri Rafika Sari Uthi Sonia Utia, Yuwaffa Wahyu Nelda, Aulya Yolanda Putri Yose Fernando Yosi Muliana Yuliasma Yuliasma Yundari, Yundari Zora Iriani Zulfika Putri

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