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

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Bentuk Penyajian Kesenian Randai di Perguruan Tunas Muda Maransi Kelurahan Kurao Pagang Kecamatan Nanggalo Kota Padang Azizah Ilham, Vira; Mansyur, Herlinda
Jurnal Pendidikan Tambusai Vol. 8 No. 3 (2024)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

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Abstract

Penelitian ini bertujuan untuk mengetahui dan mendeskripsikan bentuk penyajian kesenian Randai di Perguruan Tunas Muda Maransi pada Acara Pernikahan di Kelurahan Kurao Pagang, Kecamatan Nanggalo, Kota Padang. Jenis penelitian yang digunakan dalam peneliti ini adalah penelitian kualitatif dengan metode deskriptif analisis. Langkah-langkah menganalisis data adalah pengumpulan data, reduksi data, penyajian data dan penarikan kesimpulan. Kesenian Randai tidak hanya berfungsi sebagai hiburan, tetapi juga sebagai sarana pelestarian budaya dan tradisi Minangkabau. Penyajian Randai dalam konteks Pernikahan mencerminkan kekayaan nilai-nilai budaya, seperti kebersamaan, gotong Royong, dan penghormatan terhadap adat. Pernyajian dalam Kesenian Randai memiliki unsur-unsur seperti Pemain Randai, Galombang, Dendang, Alat Musik, tempat dan waktu, Kostum, dan Penonton. Dalam unsur alat musik, alat musik yang digunakan pada penyajian kesenian Randai yaitu tiga buah talempong, satu buah tasa, dua buah bansi, satu buah sarunai, dan dua buah gandang. Yang menciptakan pengalaman yang menarik bagi para tamu. Kesenian Randai juga menjadi sarana untuk melestarikan warisan budaya Minangkabau, serta meningkatkan kesadaran masyarakat akan pentingnya tradisi.
Pewarisan Kesenian Randai Sabatang Bungo di Kelurahan Kuranji Kecamatan Kuranji Kota Padang Sumatera Barat Magrevi, Vira; Mansyur, Herlinda
Jurnal Pendidikan Tambusai Vol. 8 No. 3 (2024)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

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Abstract

Penelitian ini bertujuan untuk mengungkapkan dan mendeskripsikan Kesenian Randai Sabatang Bungo di Kelurahan Kuranji Kecamatan Kuranji Kota Padang Sumatera Barat. Jenis penelitian ini adalah penelitian kualitatif dengan mengunakan metode deskriptif analisis. Objek penelitian ini adalah Randai Sabatang Bungo, dengan instrumen utama dalam penelitian ini adalah peneliti sendiri dengan melakukan pengamatan secara langsung kelapangan dengan intrumen pendukung seperti; alat tulis dan kamera. Teknik analisis data dalam penelitian ini adalah pengumpulan data, reduksi data, penyajian data, dan terakhir penarikkan kesimpulan. Hasil penelitian ini yaitu menunjukkan bahwasannya pewarisan kesenian Randai Sabatang Bungo di Kelurahan Kuranji Kecamatan Kuranji Kota Padang Sumatera Barat mengalami sistem pewarisan terbuka dalam bentuk pelatihan yang diberikan kepada keluarga maupun masyarakat umum, yang bergabung dalam kesenian Randai Sabatang Bungo. Kegiatan dalam bentuk latihan dengan proses penerimaan muridnya dengan cara datang langsung mendaftar dan menyampaikan niat baik serta bersungguh sungguh untuk menjadi murid di Randai Sabatang Bungo. Randai sabatang bungo didirikan oleh Jabu pada tahun 1980 dan pada tahun 1990 randai ini diwariskan kepada Abin dan Sabai, tahun 2000 randai ini diwariskan kepada Andri Yanti. Pewarisan secara terbuka dilakukan dengan adanya kemauan dan minat seseorang untuk mempelajari dan menjaga kesenian Randai Sabatang Bungo agar tetap lestari.
Home Sweet Home Putri, Chintia Renata; Mansyur, Herlinda
Jurnal Multidisiplin West Science Vol 3 No 02 (2024): Jurnal Multidisiplin West Science
Publisher : Westscience Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58812/jmws.v3i02.1019

Abstract

Penciptaan karya tari Home Sweet Home bertujuan untuk untuk menuangkan perasaan atau ekspresi dalam bentuk gerak sehingga mewujudkan karya tari yang kreatif dan bias mengutarakan ide garapan yang terinspirasi dari kehidupan penata sebagai anak perempuan. Karya tari Home Sweet Home ini terinspirasi dari fenomena kehidupan keluarga penata tari sendiri. Menggambarkan bagaimana perasaan atau batin seorang anak perempuan yang mepunyai ibu seorang single parents atau orang tua tunggal. Home Sweet Home adalah istilah zaman sekarang yang berarti rumahku istanaku yang menceritakan tentang bagaimana manis pahitnya kehidupan yang ada pada keluarga penata. Setiap keluarga mempunyai masalahnya masing-masing, salah satunya adalah seorang suami pergi meninggalkan keluarganya dan membebankan semua tanggungan dan masalah masalah kepada seorang istri, sehingga seorang/ibu menanggung beban yang sangat banyak dalam keluarga. Seorang anak yang merasakan dan menyaksikan sendiri konflik keluarganya tentu mempunyai perasaan yang campur aduk dan bingung. Maka dari perasaan anak tersebutlah diangkat menjadi karya yang disampaikan melalui media gerak. Karya HOME SWEET HOME adalah tari dramatik yang bentuk pertunjukan simbolisnya representatif diwujudkan lewat gerak, dekorasi, tata rias, busana, tata cahaya dan dipertegas dengan musik.
BENTUK PENYAJIAN TARI GALOMBANG KATO SEPAKAT DALAM ACARA ALEK BABAKODI KOTO TANGAH KOTA PADANG SUMATERA BARAT Aisyah Mail Nexsi; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/m2m3q120

Abstract

This research aims to identify and describe the Presentation Form of the Galombang Kato Sepakat Dance in the Alek Babako event in Koto Tangah, Padang City, West Sumatra. This type of research is qualitative with a descriptive approach. The research instruments include the researcher themselves, supported by writing tools and a camera. Data was collected through literature study, observation, interviews, and documentation. The steps for analysing the data are data collection, data reduction, data processing, and drawing conclusions. The results of the research show that the form of the Presentation of the Galombang Kato Sepakat Dance in the Alek Babako event consists of movements, dancers, floor design, makeup and costumes, props, music, and the performance venue. The Tari Galombang Kato Sepakat has 4 types of movements which are: Gerak Sambah, Gerak Tari, Gerak Perkelahian, and Gerak Damai. The floor pattern consists of horizontal and vertical lines with various facing directions. Tari Galombang Kato Sepakat is performed by 8 dancers, 4 waiting dancers and 4 approaching dancers, with a duration of around 4 minutes and 14 seconds. The accompanying music for this dance uses traditional musical instruments from the Koto Tangah area, namely, pupuik batang padi, gandang duo, giriang-giriang, and talempong pacik. Tari Galombang Kato Sepakat employs props made from rattan sticks which are adorned with two-colour oil paper, as well as using a very sharp genuine German knife. The costumes used are black silek costumes with an additional songket cloth at the waist and deta cloth on the dancers' heads. The dancers in this performance do not wear makeup as they portray either a man or an aide.
BENTUK PENYAJIAN TARI GALOMBANG PRODUKSI SANGGAR RAJO BATUAHDALAM PESTA PERKAWINAN DI KOTA PAYAKUMBUH Eliska, Putri; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/q6y6xw42

Abstract

This research aims to describe and reveal the presentation form of the Galombang Dance produced by the Rajo Batuah Studio at wedding celebrations in Payakumbuh City. This type of research is qualitative with an analytical descriptive method. The research instruments are the researcher themselves, assisted by writing tools and a camera. Data was collected through literature studies, observations, interviews, and documentation. The steps for data analysis include data collection, data reduction, data presentation, and conclusion drawing. The research findings indicate that the form of presentation of the Galombang Dance produced by the Rajo Batuah Studio at wedding celebrations in Payakumbuh City consists of movement, dancers, floor patterns, makeup and costumes, properties, music, and performance locations. The Wave Dance Movements in silat consist of 10 types of movements: the sambah pambukak movement, the mambukak langkah movement, the tusuak sampiang movement, the malangkah ka balakang movement, the gajah maram movement, the ayun sampiang movement, the sauak movement, the langkah kiri kanan movement, the tusuak puta movement, and the tusuak layang movement. Furthermore, there are 15 types of movements for female dancers: the maayun ateh bawah movement, the lapiak jarami movement, the dorong sampiang puta movement, the mayilamg ateh movement, the tusuak ateh movement, the ambiak silang movement, the mambukak langkah movement, the ayun puta movement, the transisi movement, the manyonsong movement, the manyonsong puta movement, the ambiak puta movement, the manyonsong movement, the manyonsong puta movement, and the ambiak puta movement. The Galombang Dance is performed by 2 martial artists, 5 dancers and 1 person carrying the carano. The floor pattern in this dance forms a horizontal line, with the carano positioned in the middle at the back row. The dancers wear costumes and makeup that vary according to the needs of the performance. For the female dancers, the costumes and makeup are adapted to the Minangkabau traditional attire, namely the baju kurung paired with the kodek or songket cloth, and complemented with accessories. The costume designer for the male musicians in Sanggar Rajo Batuah also aligns their outfits with those of the dancers and martial artists in the Galombang Dance. The accompanying music used in this performance includes talempong, tasa, floor, bansi, hit – hat, and bass. Each musical instrument is played by one musician. The Galombang Dance is performed outside the wedding venue of the newlyweds.
BENTUK PENYAJIAN TARI PIRIANG HOYAK BADARAI DI SANGGAR MINANG MAIMBAU KECAMATAN LUBUK SIKAPING KABUPATEN PASAMAN Shindy Mutiara Dewi; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/vvmzhj63

Abstract

This research aims to describe and reveal the form of presentation of the Piriang Hoyak Badarai Dance at the Minang Maimbau Studio, Lubuk Sikaping District, Pasaman Regency. This type of research is qualitative research with descriptive methods. The object of the research is the Piriang Hoyak Badarai Dance at the Minang Maimbau Studio, Lubuk Sikaping District, Pasaman Regency. The research location is Nagari Durian Tinggi, Lubuk Sikaping District, Pasaman Regency. The research instrument is the researcher himself. Data collection techniques using literature study, observation and interviews. Data analysis techniques by collecting data, reducing data, presenting data and drawing data conclusions. The general research results show that the Piriang Hoyak Badarai Dance at the wedding party on June 2 2025, 14.30 in Nagari Durian Tinggi, Lubuk Sikaping District, Pasaman Regency is one of the creative dances. The Piriang Hoyak Badarai dance is a dance that does not tell a story or is non-representational, that is, a dance that does not depict anything. The elements of the presentation form of the Piriang Hoyak Badarai Dance are: (1) Consisting of the gelek movement, rotating stab movement, latak movement, rotating sauak movement, hidang movement, puta lapan movement, circular movement, piriang stomping movement, basilang movement, glass attraction, fire attraction and swinging movement, (2) There are 5 dancers, 4 female dancers and 1 male dancer, (3) The floor design uses a zig-zag floor design and floor design. circles and horizontal line patterns. (4) This dance music uses 4 musical instruments, namely talempong set 1, jimbe, tansa and tambua, (5) The make-up worn by female dancers is beautiful make-up with clothes using kuruang, black sarawa kabasaran and songket behind as well as other accessories and the clothes worn by male dancers are black sarawa kabasaran and songket sasampiang with heads wearing deta, (6) Props use plates, glass and fire, (7) The performance venue is the yard of the house, the exact location of the party. in front of the aisle with a duration of 12 minutes.
KEBERADAAN TARI KUDA LUMPING PAGUYUBAN TURONGGO MUDODI NAGARI KOTO GADANG KABUPATEN DHARMASRAYA Rizka Fatiha Rahmi; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/9jdk2m13

Abstract

Abstract This research aims to uncover and describe the existence of the Kuda Lumping dance of the Turonggo Mudo group in Nagari Koto Gadang, Dharmasraya Regency. This type of research is qualitative with a descriptive analytical method. The research instruments include the researcher themselves, assisted by writing tools and a camera. Data was collected through literature study, observation, interviews, and documentation. The steps for analysing the data are data collection, data reduction, data description, and drawing conclusions. Research results show that the existence of Kuda Lumping dance of the Paguyuban Turonggo Mudo in Nagari Koto Gadang Dharmasraya is still developing and alive within the community life of Nagari Koto Gadang. Until now, Kuda Lumping dance is still performed regularly, especially during the annual celebration of Indonesia's Independence Day. This indicates that the art form not only has a place within the Javanese community but is also accepted and enjoyed by the Minang community as part of local cultural diversity. The Kuda Lumping art in the area serves various functions, including as a means of entertainment, a medium for symbolic communication, an economic driver, and a part of ritual activities. Thus, Kuda Lumping has become an integral part of the socio-cultural life of the Nagari Koto Gadang community.
Utilization of Creative Dance Videos Via Youtube as an Innovative Cultural Arts Learning Media in Elementary Schools: Teachers’ Perspectives Mikaresti, Pamela; Sopandi, Agus Tatang; Mansyur, Herlinda; Elizar, Elizar; Susanto, Edy
Journal of Social Work and Science Education Vol. 7 No. 1 (2026): Forthcoming Issue
Publisher : Yayasan Sembilan Pemuda Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52690/jswse.v7i1.1309

Abstract

This study aims to explore the effectiveness of utilizing creative Indonesian traditional dance videos via YouTube as an innovative learning medium in cultural arts education in elementary schools. In addition, it highlights the contribution of audiovisual media in enhancing students’ interest, motivation, and engagement, while also supporting cultural preservation efforts. The research adopts a qualitative approach with Robert K. Yin’s (2009) case study design and employs a descriptive method. Data were collected through two stages of questionnaire surveys (136 teachers in the first stage and 124 teachers in the second stage), in-depth interviews with 18 teachers and prospective teachers selected purposively, and triangulation through thematic analysis, word cloud, and member checking. Strategic analysis was conducted using IFE, EFE, SWOT, and SPACE matrices to formulate strategies for implementing creative dance videos as learning media. The findings reveal that conventional dance learning using printed textbooks resulted in low levels of teacher and student interest and engagement. In contrast, the use of creative dance videos (Kedun Dance, Gegelea Beregam Dance, and Tatagok Dance) significantly increased teacher interest (99.8% interested/very interested), student motivation and engagement (73.4% more active), learning effectiveness (100% reported effective), and teacher creativity (91.9%). The novelty of this research lies in combining a qualitative case study approach with strategic analysis (SWOT and SPACE) to evaluate the use of digital media in cultural arts education. Its main contribution is offering a model for utilizing creative dance videos on YouTube as an innovative tool to enhance the quality of dance learning while strengthening Indonesia’s cultural identity among younger generations.
Co-Authors Afiatri Gelurena Afifah Asriati Aisyah Mail Nexsi 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 edy susanto Elga Pratiwi Rahmadani Eliska, Putri 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 Fatiha Rahmi Rizka Putri Ananda Sella Oktafira Gea Seri Malini Shindy Mutiara Dewi Sindi Melani Hasibuan Sopandi, Agus Tatang 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