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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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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

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.

PEWARISAN BUDAYA MELALUI TARI KREASI NUSANTARA Pamela Mikaresti; Herlinda Mansyur
Gorga : Jurnal Seni Rupa Vol 11, No 1 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i1.33333

Preserving national culture must start from preserving and maintaining traditional cultures that exist in various regions of the archipelago. The main of national culture is regional culture, it means that preserving national culture must start from preserving regional culture. Preservation of national culture can be done with a system of cultural inheritance through education which can begin with art learning in elementary schools. Art learning in elementary schools can be given by introducing the traditional arts of the archipelago to elementary school’s students as generations of cultural heirs. However, the most common obstacles that have found among elementary school’s teachers are they don’t understand the knowledge and science of art in depth and don’t have the skills to practice art, especially dance, so that art learning in schools is often neglected. To overcome this, there is a need for new innovations that can help teachers in teaching art, especially dance for elementary school’s students by creating Indonesian dance creations that are based on the traditional dances of Bengkulu, namely ‘Kejei’ Dance and ‘Andun’ Dance. The purpose of this study is to preserve the culture of the archipelago by creating dance creations of the archipelago as a form of cultural inheritance in introducing the culture of the archipelago to elementary school’s students. This creation method adopts the approach of Alma M. Hawkins which consists of stages of exploration, improvisation, and composition. The results of the research are the creation of Indonesian dance creations that are based on traditional dances so as to produce new dance creations, namely the ‘Kedun’ Dance and ‘Gegelea Beregam ‘ Dance by developing aspects of motion, floor patterns, dance music accompaniment, makeup and clothing, dancers, duration of performance, and venue. Creating new creation dance, it is hoped.Keywords: cultural inheritage, archipelago creation dance. AbstrakMelestarikan budaya nasional harus dimulai dari menjaga dan memelihara budaya tradisional yang ada diberbagai daerah nusantara. Akar budaya nasional adalah budaya daerah, artinya untuk melestarikan budaya nasional harus dimulai dari melestarikan budaya daerah. Pelestarian budaya nasional dapat dilakukan dengan sistem pewarisan budaya melalui pendidikan yang dapat diawali dengan pembelajaran seni di sekolah dasar. Pembelajaran seni di Sekolah Dasar dapat diberikan dengan mengenalkan seni tradisional nusantara pada anak usia sekolah dasar sebagai generasi pewaris budaya. Tetapi, terdapat kendala yang paling banyak ditemukan di kalangan guru-guru kelas di Sekolah Dasar bahwasanya mereka kurang memahami pengetahuan dan ilmu seni secara mendalam serta tidak memiliki keterampilan dalam berolah seni khususnya seni tari sehingga pembelajaran seni di sekolah pun sering diabaikan. Untuk mengatasi hal tersebut, perlu adanya inovasi baru yang dapat membantu para guru dalam mengajarkan seni khususnya seni tari pada anak usia sekolah dasar dengan cara menciptakan tari kreasi nusantara yang berpijak dari tari tradisional Provinsi Bengkulu yaitu Tari Kejei dan Tari Andun. Tujuan penelitian ini yaitu melestarikan budaya nusantara dengan menciptakan tari kreasi nusantara sebagai bentuk langkah pewarisan budaya dalam mengenalkan budaya nusantara pada anak usia sekolah dasar. Metode penciptaan ini mengadopsi pendekatan Alma M. Hawkins yang terdiri dari tahap eksplorasi, improvisasi, dan komposisi. Hasil penelitian berupa penciptaan tari kreasi nusantara yang berpijak dari tari tradisonal sehingga menghasilkan tari kreasi baru yaitu Tari Kedun dan Tari Gegelea Beregam dengan mengembangkan aspek gerak, pola lantai, iringan musik tari, tata rias dan busana, penari, durasi waktu pertunjukan, dan tempat pertunjukan. Dengan terciptanya tari kreasi baru diharapkan dapat menambah khazanah budaya nusantara yang dapat dimanfaatkan dan diseminasikan untuk meningkatkan kualitas pendidik di sekolah dasar.Kata Kunci: pewarisan budaya, tari kreasi nusantara. Authors: Pamela Mikaresti : Universitas TerbukaHerlinda Mansyur : Universitas Negeri Padang References: Asyhar, Rayandra. (2011). Kreatif Mengembangkan Media Pembelajaran. Jakarta: GP Press.BSNP. (2006). Standar Isi Untuk Satuan Pendidikan Dasar dan Menengah, Standar Kompetensi dan Kompetensi Dasar SD. Jakarta: BSNP.Dewi, Ni Made Lisa Anggara dkk. (2020). Tari Kreasi Cangak Congak. Bengkulu: BK Press.Kurdi, Aserani. (2011). Bahan Diklat Seni Budaya Seni Musik SMK Negeri 1 Tanjung. Tanjung: SMK Negeri 1 Tanjung.Kusumastuti, Eny. (2014). Penerapan Model Pembelajaran Seni Tari Terpadu pada Siswa Sekolah Dasar. Jurnal Mimbar Sekolah Dasar Vol. 1 No. 1. Diakses secara online pada bulan Februari 2021.Lestari, W., & Totok Sumaryanto, F. (2014). Pengembangan Model Pelatihan Apresiasi Senitari Daerah Setempat pada Guru Sekolah Dasar di Kota Semarang. Prosiding Konferensi Ilmiah Tahunan Himpunan Evaluasi Pendidikan Indonesia (HEPI) Tahun 2014.Nurdin, Syafrudin dan Andriantoni. (2016). Kurikulum dan Pembelajaran. Jakarta: Raja Grafindo Persada.Oktovan, R. N., Suryamah, D., & Dwiatmini, S. (2021). Pewarisan Budaya dalam Kesenian Bringbrung di Kelurahan Ledeng, Kecamatan Cidadap Hilir, Kota Bandung. Jurnal Budaya Etnika, 4(2), 114-125.Paluseri, Dais Darmawan dkk. (2017). Penetapan Warisan Budaya Tak Benda Indonesia Tahun 2017. Jakarta: Direktorat Warisan dan Diplomasi Budaya Direktorat Jenderal Kebudayaan Kementerian Pendidikan dan Kebudayaan.Rusman. (2012). Model-Model Pembelajaran: Mengembangkan Profesionalisme Guru. Jakarta: RajaGrafindo Persada.Sapitri, Y. (2016). Aplikasi Motif Tanduk dalam Pengembangan Motif Hias Batik Garutan (Doctoral dissertation, Universitas Pendidikan Indonesia). Sari, M. (2012). Peran Literasi Sains dalam Ekonomi Global. Literasi SAINS, 3(1), 13-13.Susanti, D. (2015). Penerapan Metode Penciptaan Alma Hawkins Dalam Karya Tari Gundah Kancah. Ekspresi Seni: Jurnal Ilmu Pengetahuan Dan Karya Seni, 17(1), 41-56.Syefriani, S. (2016). Tari Kreasi Baru Zapin Seribu Suluk Pada Masyarakat Pasir Pengaraian Kabupaten Rokan Hulu. KOBA, 3(1), 13-13.Tamara, Y. M. C., & Desyandri, D. (2019). Peningkatan Penguasaan Lagu Daerah Nusantara Menggunakan Multimedia Adobe Flash CS6 di Kelas V SDN 05 Air Tawar Barat. e-Journal Pembelajaran Inovasi, Jurnal Ilmiah Pendidikan Dasar, 7(9).Trilling dan Fadel. (2009). 21st Century Skills: Learning for Life in Our Times. Jossey Bass: USA.Wiflihani, W. (2012). Kontribusi Seni Bagi Pendidikan. JUPIIS: Jurnal Pendidikan Ilmu-ilmu Sosial, 4(1).Wulandari, S. (2012). Pelatihan Tari bagi Anak-Anak Sekolah Dasar di Sanggar Dede Nono Rukmana Kabupaten Kuningan (Doctoral dissertation, Universitas Pendidikan Indonesia). Yulianti, I. (2015). Pewarisan Nilai-Nilai Budaya Masyarakat Adat Cikondang Dalam Pembelajaran Sejarah Di Madrasah Aliyah Al-Hijrah. Candrasangkala: Jurnal Pendidikan dan Sejarah, 1(1), 112-133

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.

Dismantle Rules of Lighting In Dance Creation Herlinda Mansyur
Gondang: Jurnal Seni dan Budaya Vol 6, No 2 (2022): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2022
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v6i2.42539

This research aims to provide a new discourse to the younger generation about the world of creating dance works. The field of development dance work creation has resulted in new discoveries ranging from creation methodologies to movement techniques that require dancers to improve fast. A choreographer must investigate every dance element that has been "considered" as a support in a dance performance, in addition to the body. These elements include music, clothing, make-up, lighting and artistic performances. The author, a choreographer, has created a lighting system for composing and staging the dance works he creates, one of which uses light from ultraviolet lamps, which can provide a different visual impact than the use of spotlights in dance performances. This research was internal research because this approach was a reconstruction of the author's thoughts on the lighting exploration process in every work process. The development of lighting in the staging of dance works should provide creative discourse for young choreographers in their work. So that young choreographers do not rely exclusively on exercise to create new movements. The stages of exploration involved in processing lighting vary significantly from the process of exploring the body. Lighting exploration focuses on using ultraviolet light on objects that are presentations of ideas and creative ideas. As a result, the author's development of elements that are "considered" supporters in a dance performance was presented in several dance works. Combining body techniques with ultraviolet-ray-irradiated objects takes dance performances to a new level.

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.

PELESTARIAN TARI GALOMBANG DUO BALEH MELALUI PENCIPTAAN TARI TATAGOK Pamela Mikaresti; Herlinda Mansyur; Elizar Elizar
Gorga : Jurnal Seni Rupa Vol 12, No 1 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i1.43258

The existence of the "Galombang Duo Baleh" Dance among the young generation of cultural heirs in Nagari Pitalah is in an alarming condition. It is clear that the lack of interest of the younger generation in learning and preserving the "Galombang Duo Baleh" Dance is because many other interesting things can be played from home without having to gather at the Sasaran. It is evident that Sasaran has begun to be abandoned as a forum for learning various things including silat and the "Galombang Duo Baleh" Dance as games and entertainment for village children in the past. The reasons mentioned above are inseparable from developments in science, technology and art. It is evident that the younger generation prefers online games which are accessed from their respective devices, watching entertainment from YouTube, to being busy in establishing social relations through social media such as TikTok, Instagram, Twitter, Facebook and other social media because they are more interesting. To overcome this, it is necessary to have a new innovationÂ that can attract the interest of the younger generation in learning traditional dance so that it continues to live and develop in the life of the people who inherit it. The dance creation method uses the theory of the stages of creating dance works referring to Alma M Hawkins' theory of motion exploration, motion improvisation, motion composition and motion evaluation. The result of the creation of the development of the "Galombang Duo Baleh" Dance is the "Tatagok" Dance. "Tatagok" dance is a newly created dance that develops the basic movements of the "Galombang Duo Baleh" dance. Learning the "Tatagok" Dance means participating in learning the basics of the "Galombang Duo Baleh" Dance, because the movements of the "Tatagok" Dance come from the basic movements of the "Galombang Duo Baleh" Dance which are packaged in a new form by considering the knowledge of dance composition to make it look more attractive.Kata Kunci: preservation, traditional dance, creation dance.Â AbstrakEksistensi Tari Galombang Duo Baleh diantara generasi muda pewaris budaya di Nagari Pitalah berada dalam kondisi mengkhawatirkan. Terlihat jelas bahwa kurangnya minat generasi muda untuk mempelajari dan melestarikan Tari Galombang Duo Baleh karena banyak hal menarik lainnya bisa dimainkan dari rumah tanpa harus berkumpul di Sasaran. Terbukti bahwa Sasaran sudah mulai ditinggalkan sebagai wadah mempelajari berbagai hal termasuk silat danÂ gerak Tari Galombang Duo Baleh sebagai permainan dan hiburan anak nagari dahulunya. Penyebab hal yang disebutkan di atas tidak terlepas dari perkembangan ilmu pengetahuan, teknologi dan seni, terbukti bahwa generasi muda lebih menyukai permainan online yang diakses dari gawai masing-masing, menonton hiburan dari Youtube, hingga sibuk dalam menjalin hubungan sosial melalui media sosial seperti TikTok, Instagram, Twitter, Facebook dan media sosial lainnya karena lebih menarik. Untuk mengatasi hal demikian, maka perlu adanya sebuah inovasi baru yang bisa menarik minat generasi muda dalam mempelajari tari tradisional agar tetap hidup dan berkembang dalam kehidupan masyarakat pewarisnya. Metode penciptaan tari menggunakan teori Tahapan penciptaan karya tari merujuk teori Alma M Hawkins adalah eksplorasi gerak, improvisasi gerak, komposisi gerak dan evaluasi gerak, Hasil penciptaan pengembangan Tari Galombang Duo Baleh adalah Tari Tatagok. Tari Tatagok adalah tari kreasi baru pengembangan gerak dasar Tari Galombang Duo Baleh. Mempelajari Tari Tatagok, berarti ikut mempelajari pakem-pakem Tari Galombang Duo Baleh, sebab gerakan Tari Tatagok berasal dari gerak dasar Galombang Duo Baleh yang dikemas dalam bentuk baru dengan mempertimbangkan ilmu komposisi tari agar terlihat lebih menarik.Â Authors:Pamela Mikaresti : Universitas TerbukaHerlinda Mansyur : Universitas Negeri PadangElizar : Institut Seni Indonesia PadangpanjangÂ References:Dewi, F. S. P. (2022). Konsep Perkembangan KognitifÂ Anak Usia Sekolah Dasar dalam Implementasi Pembelajaran Menurut Teori Jeas Piaget (Telaah Buku Teori Perkembangan Kognitif Jean Peaget). Lampung: UIN Raden Intan Lampung.Hajizar, H. (2022). â€œPewarisan Tariâ€. HasilÂ Wawancara Pribadi: 23 April 2022, Padangpanjang.Hidayat, R. (2022). â€œPewarisan Tariâ€. HasilÂ Wawancara Pribadi: 24 April 2022, Padangpanjang.Mikaresti, P., Mikaris, Y., & Tamara, C. (2020). Symbolic Meaning of Dance with Masks Peopleâ€™s Life from Muaro/Jambi District. InÂ Proceeding International Conference on Malay IdentityÂ (Vol. 1, pp. 162-174).Mikaresti, P., & Mansyur, H. (2022, April). Creating an Indonesian Archipelago Creation Dance for Elementary School-Aged Children. InÂ International Conference on Elementary EducationÂ (Vol. 4, No. 1, pp. 542-552).Przybylski, A. K., & Weinstein, N. (2017). A Large-Scale Test of the Goldilocks Hypothesis: Quantifying the Relations Between Digital-Screen Use and the Mental Well-Being of Adolescents.Â Psychological Science,Â 28(2), 204-215.Ramlan, P. M., Bahar, M., & Gunawan, I. (2018). Tari Skin Sebagai Identitas Kehidupan Masyarakat Kabupaten Merangin.Â Titian: Jurnal Ilmu Humaniora,Â 2(02), 253-268.Suharto, B. (1985). Komposisi Tari Sebuah PetunjukÂ Praktis. Yogyakarya: Ikalasti.Susanti, M., Erlinda, E., & Sastra, A. I. (2016). Estetika Main Bungo dalam Penyajian Galombang Duobaleh di Nagari Pitalah Kabupaten Tanah Datar.Â Bercadik: Jurnal Pengkajian dan Penciptaan Seni,Â 4(1), 13-28.Hadi, Y. S. (2014). Koreografi: Bentuk, Teknik, Isi. Yogyakarta: Cipta Media.Â Â

Koreografi Tari Talam Sapinggan Di Sanggar Lindang Urek Kecamatan Payakumbuh Timur Rizka Putri Ananda; Herlinda Mansyur
Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, dan Sosial Humaniora Vol. 1 No. 4 (2023): November: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, dan Sosial Humaniora
Publisher : Universitas Palangka Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59024/atmosfer.v1i4.319

This study aims to explain and describe the Choreography of Talam Sapinggan Dance at Sanggar Lindang Urek, East Payakumbuh District, Payakumbuh City. This research is qualitative research with descriptive method. The instrument of this study is the researcher himself. Data were collected using literature studies, observations, interviews and documentation. The steps of analyzing data are data reduction, data presentation, and conclusion drawing. Sanggar Lindang Urek creates Talam Sapinggan dance to function as a performance art and entertainment. Aspects of Talam Sapinggan dance form are movement, floor design, top design, group composition, dancers, dance accompaniment and costumes. The content aspect is the idea and atmosphere. Talam Sapinggan dance has 32 types of movements. Floor Design consists of 4 designs including: Triangle, Pentagon, Circle, and Trapezoid. Top Design consists of flat, deep, vertical, horizontal, medium, high, low, curved, contrast, low and angular. The design form of large composition groups is as follows: (1) unison or synchronous, (2) alternate or alternating intervals, (3) broken or split, (4) balanced, (5) canon or alternate. The number of dancers in the Talam Sapinggan dance consists of 7 people. The musical accompaniment uses Minang tradition music created, including: gandang tasa, talempong, gandang tambua, saluang, bansi, thamburin, and assisted by vocal dendang. Costumes already use a form of creation.

Home Sweet Home Chintia Renata Putri; Herlinda Mansyur
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

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.

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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