Article Per Year (5 Year)
p-Index From 2020 - 2025
8.285
P-Index
This Author published in this journals
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
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

Published : 107 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 107 Documents
Search

 5   6   7   8   9 
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (240.309 KB) | DOI: 10.24036/jsu.v9i1.109603

Abstract

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

Abstract

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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (420.309 KB) | DOI: 10.24036/jsu.v9i1.109566

Abstract

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

Abstract

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.
Bentuk Penyajian Tari Lemea Di Sanggar Dulang Mas Pada Acara AMAN Di Desa Lubuk Kembang Auliannisa Ramadhani; Herlinda Mansyur
Jurnal Kajian dan Penelitian Umum Vol. 1 No. 5 (2023): Oktober : Jurnal Kajian dan Penelitian Umum
Publisher : Sekolah Tinggi Agama Buddha Nalanda

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47861/jkpu-nalanda.v1i5.429

Abstract

This study aims to describe the form of presentation of the Lemea Dance at the Dulang Mas Studio at the Alliance of Indigenous Peoples of the Archipelago in Lubuk Kembang Village, North Curup District, Rejang Lebong Regency. This type of research is qualitative using descriptive analysis method. The key research instruments were the researchers themselves and assisted by data collection equipment such as stationery, interview guides, photo cameras and video cameras. The data in this study uses primary data and secondary data. Data collection techniques were carried out by means of literature study, observation, interviews and documentation. The steps to analyze the data are data reduction, data presentation and data verification. The results showed that the form of presentation of the Lemea dance at Dulang Mas Studio at the Archipelago Indigenous Peoples Alliance event at Lubuk Kembang Village, North Curup District, Rejang Lebong Regency was a creative dance with a representational form of presentation and functioned as entertainment. The elements in the presentation of the Lemea Dance consist of 5 dance movements, 6 female dancers, musical accompaniment (Accordion, Gong, Tamtam, Redap, Kulintang, Tamborin, Toktok and Cymbals), clothing styles (belts, outerwear and cloth belts) and the addition of head accessories (buns, orange flowers, cempako flowers, and yellow scarves tied in a bun) and other accessories (bracelets, coin necklaces and earrings), make-up using beautiful makeup, props (Sauk, Kerontong, Taleng Cakik , Dapar, Knife and Gerigik), and the performance venue for this Lemea Dance is displayed in an open field in front of the main stage.
Yeni Eliza's Weaving Dance Choreography at the Sari Bunian Art Studio, Andaleh Baruh Bukik District, Tanah Datar District Aqilla, Qorri; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.31

Abstract

This article aims to describe and analyze Yeni Eliza's Weaving Dance Choreography at Sari Bunian Art Studio in Tanah Datar Regency. The type of research used is qualitative research with descriptive methods. The research instrument is the researcher himself by using tools such as stationery and recording devices. The types of data are primary data and secondary data, which are collected through literature study, observation, interviews, and documentation study. Data analysis was carried out with the steps of data collection, data reduction, data presentation and conclusion drawing. The results showed that the process of Yeni Eliza's Tenun Dance Choreography was started from idea discovery, exploration, improvisation, and composition. Weaving dance choreography has form and aspect aspects, where the form aspect is divided into motion, floor design, top design, group composition, dancers, music, costumes and properties. The content aspect consists of ideas and atmosphere. It can be concluded that Tenun Dance has choreographic planning based on facts because Tenun Dance begins with a new idea with traditional movements and then formed into new movements.
The Form of Presentation of Sempaya Dance in Gamad Art at A Wedding Party in Ujung Padang Village Laily Wulan Rahmawati; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.32

Abstract

This study aims to describe the presentation form of Sempaya Dance in Gamad Art at the Marriage Party in Ujung Padang Village, Kota Mukomuko District, Mukomuko Regency. This type of research is qualitative with descriptive analysis method. The instrument used is the researcher himself by using tools such as cellphones, digital cameras and stationery. Data collection techniques are done by means of literature study, observation, interviews, documentation. The steps of analyzing data are data collection, data reduction, data presentation and conclusion drawing. The results showed that Sempaya Dance is one of the traditional dances that becomes an icon and culture in Mukomuko Regency with a representational symbolic presentation form and functions as a means of custom and entertainment. The elements of the Sempaya Dance presentation form are as follows: (1) Consists of Opening Movement, Core Movement, Closing Movement, (2) Using 4 floor designs: horizontal, large circle, small circle, and square, (3) Traditional music ketipuang (drum), Kecaping (harp), (4) Makeup (beautiful) costumes of kebaya clothes, skirts and veils (5) Dancers must be even cannot be odd because this dance is in pairs, (6) Dance property is handkerchief (7) Place of performance in front of the aisle and can also be on stage.
Performance of Tobo Basampuak Dance by the Sinar Tampalo Arts Study in Nagari Padang Laweh, Koto VII District, Sijunjung Regency Dona Evrie; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.66

Abstract

This article aims to describe and analyze the presentation form of Tobo Basampuak Dance from Nagari Padang Laweh, a dance that tells the activities of farmers when going down to the fields until harvest. The type of research is qualitative with a descriptive approach. Data collection techniques are carried out by means of literature study, observation, interviews, and documentation. The research findings show that Tobo Basampuak dance is a new creation dance that has a variety of movements such as, bararak masuk, mamangkua, malunyah, batanam, basiang, drama kobou mangoncah sawah, manyabik, maiyiak, maangin and malapeh panek and bararak keluar. Tobo Basampuak dance consists of 2 male dancers and 6 female dancers, using horizontal and curved floor designs. This dance has a dramatic design because in the middle of the performance there is a dialog by the dancer when the buffalo appears. This dance is accompanied by dendang dodou, as well as talempong, drum, gong, and gandang musical instruments. The costumes of male dancers are taluak balango clothes, galembong pants, sasampiang, and deta, while the female costumes are basiba kurung clothes, songket, and deta bacincin. The properties used consist of hoes, sickles, niru, and kambuik. Some are presented on stage and some in an open field, and are performed every year at the Lansek Manih Festival.
The Form of Presenting the Sonde Dance Dance at The Malay Series Art Studio in Pekanbaru City Sella Oktafira Gea; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.67

Abstract

The purpose of the research is to describe the Presentation Form of Joget Sonde Dance at the Kenduri Riau Event in Anjungan Seni Idrus Tintin Pekanbaru City. This type of research is qualitative and uses the descriptive analysis method. The instrument used is the researcher himself, with support such as stationery, a camera, and a gadget or smartphone. Data collection techniques include literature study, observation, interviews, and documentation. Data analysis was carried out by reducing data, presenting data, and drawing conclusions. The results of the study prove that the Joget Sonde Dance Sanggar Kumpulan Seni Seri Melayu in the Kenduri Riau event at Anjungan Seni Idrus Tintin Pekanbaru City is a creation dance sourced from the traditional Joget Sonde Dance with a non-representational presentation form and only functions as a means of entertainment. The Joget Sonde dance was performed at the Kenduri Riau event on July 17, 2023. The elements of the Joget Sonde Dance presentation form are as follows: (1) Consists of the Sembah Movement, Lenggang Petik Bunga Movement, Melenggang Movement, Pose Movement, Two Elbow Movement, Joget Duck Movement, Jengger Jolo Movement, (2) Using curved and straight line floor patterns totaling 9 patterns; (3) Music accompaniment, namely Gong, Bebano Drum, Violin, and 1 female singer; (4) Dancers totaling 6 female dancers or more; (5) Makeup (beautiful) costumes (kebaya clothes, brooches, long cloth, shawl cloth, cepol bun, rocking flowers, paper flowers, (6) Place of performance on an open stage.
Motion Analysis of Payuang Sarampak Dance in Lindang Urek Studio, Payakumbuh Timur Subdistrict, Payakumbuh City Nurul Fazila Ismail; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.71

Abstract

This study aims to describe and analyze the Payuang Sarampak Dance Movement in Sanggar Lindang Urek, East Payakumbuh District, Payakumbuh City. This type of research is qualitative using descriptive methods. Data were obtained by literature study, observation, interviews and documentation. The object of research is Payuang Sarampak Dance at Sanggar Lindang Urek. The main instrument is the researcher himself and requires tools in collecting data in the field, namely stationery and cellphone cameras. Data analysis techniques are by means of data collection, data reduction, data presentation and data examination. The results showed that Payuang Sarampak Dance in Sanggar Lindang Urek, East Payakumbuh District, Payakumbuh City was arranged by Bambang Irawan and the results found were aspects of space, time and energy of Payuang Sarampak dance. The process of creating Payuang Sarampak dance began with Mr. Bambang Irawan inspired by everyday life, namely the association of Minangkabau youth and women who still uphold customs and religion. This dance has 23 varieties of movements. The costumes used by female dancers are baju kurung, songket, tokah, suntiang, necklace, koteh-koteh, lame, laca and flowers for headdress. While male dancers wear purple loose clothes, black pants, scarves, sides, belts and use headdresses. The musical instruments used are gandang, bass guitar, violin, hi-hat, talempong, bansi, sarunai, accordion and tasa.
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