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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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Keberadaan Tari Tarea-Readi Kenagarian Koto Gadang Guguk Kecamatan Gunung Talang Kabupaten Solok Sri Wahyuni; Herlinda Mansyur
SENDRATASIK UNP Vol 8, No 2 (2019)
Publisher : FBS Universitas Negeri Padang

This article aims to reveal and describe the existence of Tarea-rea dance in Kenagarian Koto Gadang Guguk Kecamatan Gunung Talang Kabupaten Solok. This type of research is qualitative research with a descriptive method. The main instrument of this research is its own research and assisted with supporting instruments such as stationery, cameras and Handycam. Data types use primary data and secondary data. Data collection techniques are conducted by way of library studies, observations and interviews. The steps for analyzing data are data collection, analyzing data, describing data and making conclusions. The results showed that Tarea-rea dance is a art carried by the ancestors of the Guguk people who inherited hereditary with the traditional system. Tarea-rea dance was originally used as a dance at the time of the decline ceremony of rice harvesting. Since 2015 This dance is increasingly popular in the Kenagarian Koto Gadang Guguk as the performing arts. The existence of Tarea-rea dance is still recognized and cultivated by the community and local people also have recognized the existence of the dance in the Kenagarian Koto Gadang Guguk.

MANTEL BUMI Gusti Maharani; Herlinda Mansyur; Susmiarti Susmiarti
SENDRATASIK UNP Vol 2, No 2 (2013): Seri B
Publisher : FBS Universitas Negeri Padang

Abstract This article aims at revealing the image and reflection of a dance work entitled "Mantel Bumi" (earth’s crust). This dance tells about human’s greediness in exploiting the environment, which causes disasters to the human themselves. It causes global warming, resulting natural disasters and damaging human environment. Mantle or crust here is referred to the heat, the result of the environment destruction makes the earth is getting hotter for humans. This dance works with choreographic approached refers to Jacqueline Smith and La Meri, mixed in a dance work. The ending of the dance conveys the message that human greediness become a boomerang for the man himself.

BENTUK PENYAJIAN TARI SAPUTANGAN DALAM BEDINDANG PADA ACARA BIMBANG ADAT DI KOTA MANNA KABUPATEN BENGKULU SELATAN Riska Fitriani; Darmawati Darmawati; Herlinda Mansyur
SENDRATASIK UNP Vol 3, No 1 (2014): Seri A
Publisher : FBS Universitas Negeri Padang

ABSTRACT This article aimed at figuring out and describing the performance form of the Saputangan dance in Bedindang at the ceremony of Bimbang Adat at Kota Manna Kabupaten Bengkulu Selatan. The design of the research was descriptive qualitative research. The object of the research was the Saputangan dance in Bedindang at the ceremony of Bimbang Adat at Kota Manna Kabupaten Bengkulu Selatan. Data were obtained from the library study, observation, interview, and documentation. From the data analysis, it was found that the function of the Saputangan dance in the ceremony was as an entertainment and the performance form of the dance was dramatic. The performance of the dance included the components of series of movements, the floor design, the dancer, the music, make up and costumes, properties, the time and the place of performance. Kata Kunci : Bentuk Penyajian, Tari Saputangan, Bedindang, Bimbang Adat, Kota Manna

Koreografi Tari Piring Hoyak Badarai Di Sanggar Sarai Sarumpun Di Kota Padang Tri Rafika Sari; Herlinda Mansyur
SENDRATASIK UNP Vol 9, No 2 (2020)
Publisher : FBS Universitas Negeri Padang

This study aims to describe and explain the choreography of Piring Hoyak Badarai dance at Sarai Sarumpun Studio in Padang city. This is a qualitative research using descriptive method. The object of research was the Piring Hoyak Badarai dance. The instrument in this study was the researcher it self and was assisted by a voice recorder and several videos, a cell phone camera, and writing instruments. The data used were primary and secondary data. The data were got through collecting data, selecting important data, compiling data selected, and analyzing data using interpretation technique with careful consideration. The results of this study indicate that Piring Hoyak Badarai dance is a creative dance originating from a traditional pattern movement which is developed into a creative dance shown as entertainment. In addition, this dance emerges from choreographed ideas, but it considers the norms and rules existing in the society. For instance, female dancers do not dance male dance movements because there are ethics in moving as well as ethics in dressing. The Piring Hoyak Badarai dance functions as an entertainment and develops the artistic potential of choreographers. The Piring Hoyak Badarai dance with a theme manifested from traditional materials whose atmosphere is joyful has 33 kinds of movements and 5 dancers. The body lines contained in the Piring Hoyak Badarai dance are dominant to straight lines, the level is medium, the time is medium and fast, the upper design is angular,the floor pattern is straight and curved lines, andit is in the form of group dance developed by using dance composition knowledge by its choreographers.

GAYA TARI PASOMBAHAN KREASI DI KECAMATAN BANGKINANG KOTA KABUPATEN KAMPAR PROVINSI RIAU Meizul Ofriananda; Herlinda Mansyur; Indrayuda Indrayuda
SENDRATASIK UNP Vol 5, No 2 (2016)
Publisher : FBS Universitas Negeri Padang

Abstract This research aims to find out and describe the styles of the Pasombahan Kreasi* dance at Bangkinang Kota Municipality Kampar Regency Riau Province. The design of the research was qualitative by using the descriptive method which included observation, interview, and documentation. First, the researcher did the observation and interview various sources of information. Later, he examined the documents about related data and information in the field. The research was done at Bangkinang Kota Municipality Kampar Regency Riau Province.The result of analysis shows that there are four styles in the Pasombahan* dance. First, the hands, feet, and head are dominantly in motion for each move and the body moves along with the motion of the hands or feet. They can be seen in the moves of sepok*, ulu limpiong*, gletek*, klenjek*, punte tali bowuok*, elo somba*, and sombah*. Second, the moves dominantly go to the front direction such as in the moves of sepok, punte tali bowuok, elo somba and sombah. The moves, later, go along with the body like in the moves of ulu limpiong, gletek, and klenjek. Third, the rhythm of the dance is in count of 1×8 such as in the moves of sepok, ulu limpiong, gletek, klenjek, punte tali bowuok, and elo somba. Meanwhile, the rhythm in the move of sombah is in the count of 2×8. Four, the quality of the moves in the dance is determined by space, time, and power. The space in the moves of sepok, klenjek, elo sombah, and sombah is a direct and big space. Meanwhile, the space in the moves of ulu limpiong, gletek, and punte tali bowuok is an indirect and big space. In term of time, it is done continuously in the moves of sepok, ulu limpiong, and klenjek while it is done suddenly in the moves of gletek, punte tali bowuok, and sombah. In the move of elo sombah, it is done directly. Finally, in term of power, the moves of sepok and gletek are done in big power while the moves of ulu lipiong, klenjek, punte tali bowuok, elo somba, and sombah are done in light power. Those results show that the styles in the Pasombahan dance are the combination of Minangkabau martial art dance and Bangkinang-Malay version.Keywords: Style. Dance. Pasombahan. Creation

FUNGSI SILEK DALAM UPACARA MANJALANG NINIK MAMAK DI KENAGARIAN SIALANG KECAMATAN KAPUR IX KABUPATEN 50 KOTA Lhaxmi Nuari; Herlinda Mansyur; Susmiarti Susmiarti
SENDRATASIK UNP Vol 3, No 2 (2014): Seri B
Publisher : FBS Universitas Negeri Padang

Abstract This article aimed to describe the function of Silek in ManjalangNinik Mamak ceremony in Sialang, Kapur IX,50 Kota,West Sumatera. This was a qualitative research that was used descriptive method. The object of the research was Silek. The data was collected through observation, interview and documentation. The data was analyzed by classifying the collected data which was match with the conceptual. The result of the research revealed that Silek had a function as a main of traditional ceremony and entertainment. As a main of traditional ceremony, Silek was done before Ninik Mamak entering the ceremony place. On the other hand, Silek also was enjoyed by pesilat and the audients. Kata kunci: fungsi, silek, upacara adat.

Bentuk Penyajian Tari Pisau Dua Pada Acara Bimbang Adat Di Desa Sendawar Bengkulu Syinta Triagnesti; Herlinda Mansyur
SENDRATASIK UNP Vol 10, No 3 (2021)
Publisher : FBS Universitas Negeri Padang

This study aims to describe the Form of Presentation of Pisau Dua Dance At The Bimbang Adat (Wedding) Event in Sendawar Village, Semidang Alas Maras District, Seluma Regency, Bengkulu Province. Qualitative research type using a descriptive method of analysis. The data type uses primary data and secondary data. The main instrument used is the researcher himself and assisted with supporting instruments such as stationery, handy cam, and photo cameras. Data collection techniques are conducted by means of literature studies, observations, interviews, and documentation. The steps of analyzing data are collecting data, describing data, and concluding data. The results showed that the Pisau Dua Dance was performed at the Bimbang Adat (wedding) event in Sendawar Village, Semidang Alas Maras Subdistrict, Seluma Regency, Bengkulu Province is one of the traditional dances with a form of representational symbolic presentation and serves as entertainment. Pisau Dua dance consists of 6 varieties of motion, 2 dancers are all male, music (serunai and redap), makeup and costumes (no make-up) costumes (shirts, basic pants, peci/headgear, and half-masted fabric), property (2 pairs of knife two branches) and staging place (in front of pelaminan).

TARI PASAMBAHAN KARYA SYOFYANI : STUDI KASUS GAYA GERAK TARI Tiara Virginia Aulia; Indrayuda Indrayuda; Herlinda Mansyur
SENDRATASIK UNP Vol 4, No 1 (2015)
Publisher : FBS Universitas Negeri Padang

Abstract This article airms to reveal the movement form of Pasambahan dance creation of Syofyani. Syofyani Pasambahan dance is a dance that often featured or displayed in various events, both at the local, and national and international. Type of the research refers to a qualitative research with descriptive method. Object of the research is Syofyani Pasambahan dance. Research instruments is author it self, data collected from literature study, interview, observation, and documentation. Data analyzed with Miles and Huberman model approach. Result of research found that the movement form of Pasambahan dance by Syofyani has uniqueness which combining the dance form of Minangkabau and Melayu. Part of appearance and form of movement form of Pasambahan dance by Syofyani consists of (1) posture, dorninant thing in this dance always shows pitunggu and standing position from dancers. Attitude motion shows the attitude in accordance with the rules of agility and elegance. (2) technique, shows the movement that comes from pencak silat and the art of silat. Specification or characteristic from movernent of Pasambahan dance by Syofyani lies on agility and elegance of art of silat and siganjua lalai’s move. Dance character more lyrical and flowing in a more staccato flow. Keywords : form, Pasambahan’s dance, and creation of Syofyani.

BENTUK PENYAJIAN TARI MANDULANG AMEH DALAM UPACARA PENYAMBUTAN TAMU DI KANAGARIAN PALANGKI KECAMATAN IV NAGARI KABUPATEN SIJUNJUNG Fara Tiurma Andrina; Herlinda Mansyur; Susmiarti Susmiarti
SENDRATASIK UNP Vol 1, No 1 (2012): Seri B
Publisher : FBS Universitas Negeri Padang

This research uses qualitative research (1) aims to describe the form of Representation of Mandulang Ameh Dance in Kanagarian Palangki IV District Villages Sijunjung District. (2) The method used is descriptive analysis which the techniques to collect the data are: interviews, direct recording, literature, observation, transcription. (3) The result of this research obtained the form of Representation of Mandulang Ameh Dance that starting from preparation day before the event, such as fittings and rehearsal event in the building. The day of event in the building before the appearance there are the preparations are: put on make up the face and dress dancer, dance ready to be displayed to the dance. . Mandulang Ameh in there Hour Ceremony dance moves ranging from berhela – hela manunggu masin (bersantai – santai menungu mesin),sambah(sembah), mancaliak hari (melihat hari), manjampuik urang rumah(pulang menjemput orang rumah),pai katambang (pergi ketambang), maambiak kasiak(mengambil pasir), manggali kasiak (menggali pasir), mamisah ameh jo kasiak(memisahkan emas dan pasir), mambarasiahan ameh (membersihkan emas),mancaliak ameh(melihat emas),basanang dapek ameh(bersenang dapat emas),mangumpuan ameh(mengumpulkan emas),manuai (menuai),pesta dan pulang. Dance Mandulang Ameh in Welcoming Ceremony serves as entertainment as guests and arts events in the day - a great day. Ameh Mandulang dance danced by eight dancers with three male dancers - male and five female dancers, the costumes are simple dancers wearing traditional Minangkabau. Ameh Mandulang dance floor wearing a simple pattern such as triangles, straight lines are also circular, instrument used is talempong and Tambua also a pendendang and Tambua also a pendendang and can be displayed in the halls and open field.Key Word : bentuk penyajian, mandulang ameh, palangki,sijunjung

TINJAUAN KOREOGRAFI TARI SAMBUT SEBIDUK SEHALUAN DI MARTAPURA KABUPATEN OKU TIMUR SUMATERA SELATAN Rahmi Ul Fadhilah; Indrayuda Indrayuda; Herlinda Mansyur
SENDRATASIK UNP Vol 7, No 3 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract This article aimed to describe the choreography of Sambut Sebiduk Sehaluan dance in Martapura, East OKU Regency, South Sumatera.This research was conducted by using descriptive analysis of qualitative design. There were primary and secondary data. The object of the research was Sambut Sebiduk Sehaluan dance in Martapura. The main instrument was the researcher herself and the additional instruments were stationary and camera. The data were collected through library research, observation, interview and documentation. The data were analyzed based on the following theory: data collection, data reduction, interpretation, and making inference. The result showed that the analysis was seen from the form and the content of the dance. The form of the dance included the dancers (5female dancers), movement (15 original motives), floor pattern (straight line and V straight line), top design (dominated by the low-top design), group composition (simultaneously and alternately), music (kulintang tanjung kemala), costume and make-up (baju kurung and red songket of Tanjung Batu; beautiful make-up). The content included: idea of Sambut Sebiduk Sehaluan was created in order to greet special guests visiting Martapura and atmosphere of this dance were happiness, peace and elegance. Keywords: review of Dance choreography, Greet Sebiduk Favors

Co-Authors Afiatri Gelurena Afifah Asriati Almadina Putri Alya Putri Anak Agung Istri Sri Wiadnyani Aqilla, Qorri Ardina Khairunnisa Arif Agustakdir Rahman Arviani, Yohana Aulia R, Rindena Auliannisa Ramadhani Ayuning Dwi Kusrini Chintia Renata Putri Cici Aulia Sari Darmawati Darmawati Darmawati Darmawati David Hernandes Deby Deswariani Dede Putri Perdani Desfiarni Desfiarni Devina Utami 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 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 Indrayuda Indrayuda Izlatul Maulida Jupriyanto Jupriyanto Kamilia Maghfudzah Khairah, Wardhatul Kurnia Hidayati Laily Wulan Rahmawati Lapeni Pebria Maibur Lara Sintia Lativa Andriani Lhaxmi Nuari Maghdalena Tri Jureta Maharani Maharani Meika Meika Meika Meizul Ofriananda Melany, Sandra Mikaresti, Pamela Muhammad Afif Nabila Rahmi Isdiani Nadila, Sagita Dwi Nelvy Ayunda Sari Nerosti Nia Mardiani Ningsih, Lisa Wahyu Niro Mayelza Nur Annisa Nurul Fazila Ismail Pransisko Pransisko Pransisko, Pransisko Putri S Mulyadi Putri, Chintia Renata Rafi Rafi Rafi, Rafi Rahayu Febri Armi Rahma Dianti Rahma Sinta Rahmi Ul Fadhilah Ramadhan, Adrian Rara Febiola Raudatul Hayati Reza Septiana Rianti, Muthia Rifatil Indah Riska Fitriani Risna Dewi 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 Sury Rahmadani Susmiarti Syinta Triagnesti Tiara Virginia Aulia Tiaranti Dwi Pradita Tri Rafika Sari Uthi Sonia Utia, Yuwaffa Veny Apriliyola Yolanda Putri Yose Fernando Yosi Muliana Yuliasma Yuliasma Yundari, Yundari Zora Iriani Zulfika Putri

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