Garuda - Garba Rujukan Digital

Choreography of Hoyak Baindang Dance in Sanggar Abai Sakato Nagari Abai, Sangir Batang Hari District Maghdalena Tri Jureta; 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.v1i3.76

This study aims to reveal and describe the results of the presentation of Hoyak Baindang Dance Choreography art at the Abai Sakato Art Studio in Nagari Abai, Sangir Batang Hari District by using qualitative research which proposes a descriptive method. To collect research data, observations, interviews and documentation must be carried out. The object of this research is the Hoyak Baindang Dance and this research shows how the dance movements have Minang Malay movements which are firm and also contain Malay elements. The movement that comes to mind in the choreography's imagination is also stimulated by the expression and enthusiasm produced by the choreography. In the movement there is also music and also the spirit of the dancers in bringing the atmosphere that is in the Hoyak Baindang dance, the property in this dance also uses a small tambourine which is played by the dancers, and still follows Islamic law "Adat Ba Sandi Syarak, Syarak Ba Sandi Kitabullah”.

Sakato Plate Dance Choreography at Nagari Abai Almadina Putri; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.104

The purpose of this study was to describe and analyze the Choreography of Sakato Plate Dance in Nagari Abai. The object of research studied was Sakato Plate Dance in Abai Sakato Art Studio, Nagari Abai. Stationery is used to record information or data obtained from sources and information related to Sakato Plate Dance. Photo Camera to take pictures of the form of motion and everything related to Sakato Plate Dance. Audio Recorder, this tool is used to record information about dance history, background, dance music and other information from informants and sources about Piring Sakato Dance. Primary data, namely data obtained from the main source, namely the choreographer of Sakato Plate Dance. Secondary data, which is supporting research data obtained through data that has been collected or the results of relevant research, then the data is also obtained from documentation owned by the Sakato Plate Dance choreographer in the form of photos, video recordings and others. The analysis steps taken are, the data is selected as needed and related to the problem posed, namely about the Sakato Plate Dance Choreography then arranged systematically and descriptively. The energy aspect used in this Sakato Plate Dance is that there is slow, medium, and strong energy this aspect aims to beautify the Sakato Plate Dance. As for the interaction that occurs in the Sakato Plate Dance, the property used in this Sakato Plate Dance is a plate with a plate size of 5. The clothes used in the Sakato Plate Dance are costumes that have been created so that dancers are easy to make movements and are not disturbed when holding plates.

Preservation of Salapan Dance in Rabi Jonggor Kenagarian, Gunung Tuleh District, West Pasaman Regency Dona Indriani; 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.v2i2.130

This study aims to reveal and describe the efforts to preserve Salapan Dance in Kenagarian Rabi Jonggor Gunung Tuleh District, West Pasaman Regency. The type of research is qualitative with descriptive methods. The research instrument is the researcher himself, with the help of supporting tools such as stationery, a camera, and a flash drive. Data collection techniques were carried out by means of literature study, observation, interviews, and documentation. The steps of data analysis are data collection, data reduction, and data conclusion. The results showed that the Salapan Dance preservation efforts collaborated with Sangar Tari Paraman Saiyo and the people of Kenagarian Rabi Jonggor, Gunung Tuleh District, West Pasaman Regency. Salapan dance training in the studio has increased the number of performers, and the dance coaching is going well. So now Salapan Dance has a successor generation to maintain the existence of Salapan Dance. This Salapan dance has a positive impact and can be accepted by the community because many of the dance performers are community members. The impact learned in this Salapan Dance is that those who previously did not understand dance can now dance a dance that is taught, namely Salapan Dance.

Form of Tabot Dance Presentation at Sanggar Lawang Budaya, Bengkulu City, Bengkulu Province Meika; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.137

The purpose of this study is to reveal and describe the form of Tabot Dance Performance in Bengkulu City. This type of research is qualitative research with descriptive methods. This research instrument is the researcher himself and supported by cameras, photos and interviews. Data collection techniques are carried out through literature studies, observation, interviews and documentation. The stages of data analysis are data collection, data description, and data inference. The results showed that the form of presentation of Tabot Dance in Sanggar Lawang Budaya Kota Bengkulu, Bengkulu Province, it was concluded that the presentation of Tabot Dance consists of several supporting elements, including 1) dance movements, 2) floor design, 3) music design, 4) dancers, 5) makeup and costumes, 6) property and 7) performance venue. Tabot Dance consists of several types of movements, namely Sambah movement, Ground Ambition movement, Penja Sitting motion, Menjara / Bearun movement, Meradai movement, Arak Penja movement, Arak Turban movement, Gam movement, Arak Gedang movement and Tabot Tebuang movement. The floor design of Tabot Dance uses straight lines and curved lines. Changes in floor design are made according to the number and movement of the Tabot dance dancers. The musical instruments used to accompany the Tabot Dance are doll, tassa, kulintang, flute, boyah, cymbals, canned. Tabot dance is danced by 7 dancers who start with 3 dancers while 4 dancers enter in the middle of the dance. The makeup used is character makeup while the costumes used in Tabot Dance dancers are wearing clothes, pants, vests, headband turbans, hats, belts, hand bears, foot bears. The properties used in the Tabot Dance are coki-coki, fingers, turban and tabot. Tabot Dance performance is held outdoors using an open stage.

Motion Analysis of Tor-tor Naposo Nauli Bulung in Muaratais II Village, Angkola Muaratais Sub-District South Tapanuli District Hasibuan, Sindi Melani; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.139

The purpose of this study is to describe and analyze the Tor-tor Naposo Nauli Bulung dance in Muaratai II Village, Muaratais II Village, Angkola Muaratais District, South Tapanul Administrative Region from the point of view of space, time and energy. This type of research is qualitative research conducted using descriptive methods, the research instrument is the researcher himself and supports stationery, mobile phones and flash drives. This type of research uses primary data and secondary data. Data collection techniques are carried out through literature studies, observation, interviews and documentation. The stages of data analysis are data collection, data description, data analysis, and data inference. The aspect of the space for Tor-tor Naposo Nauli Bulung Dance is 7 types of motion that have elements of line, volume, facing direction, level, vision vokus. The dominant circular line, which is found in the motion of markusors, mangidos, manartcons ritoop, and singgang. Its volume consists of large and small. The dominant facing direction forward. The level of motion consists of high, medium, and low. As well as the focus of view focuses on the direction of the fingers. The aspect of time consists of 2 elements, namely: tempo and rhythm. The dominant tempo uses a slow tempo. The dominant rhythm is slow. There are 3 kinds of power aspects, namely: intensity, pressure, quality. The element of intensity predominates is weak intensity. This dance has no stress or accent because the movement flows gently following the code of the accompaniment music.

Home Sweet Home Putri, Chintia Renata; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.142

The creation of Home Sweet Home dance works aims to express feelings or expressions in the form of motion so as to realize creative dance works and can express ideas inspired by the life of the stylist as a girl. This Home Sweet Home dance work is inspired by the phenomenon of the dance director's own family life. Describe how a girl who has a single parent or single parent feels. Home Sweet Home is a term nowadays that means my house, my palace, which tells about how bitter sweet life is in the family of stewards. Every family has its own problems, one of which is that a husband leaves his family and imposes all the dependents and problems on a wife, so that a mother bears a lot of burden in the family. A child who feels and witnesses his own family conflicts certainly has mixed and confused feelings. So from the child's feelings, it is raised into a work that is conveyed through motion media. The work of HOME SWEET HOME is a dramatic dance whose symbolic performance form is representative realized through movement, decoration, makeup, clothing, lighting and reinforced with music.

Self-Development of Dance at SMAN 1 Coastal Realm South Coastal District Suci, Suci Silvia Ningsih; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.143

This study aims to reveal and describe the process of implementing dance self-development at SMAN 1 Ranah Pesisir Kabupaten Pesisir Selatan. This type of research is qualitative research with descriptive methods of analysis. The research instrument is the researcher himself and is assisted by supporting tools such as stationery and cameras. Data were collected through observation techniques, interviews, literature studies, and documentation. The analyzing steps are carried out through data collection, data reduction, data presentation and data verification. The results showed that the self-development of dance at SMAN 1 Ranah Pesisir Kabupaten Pesisir Selatan was carried out through the planning, implementation and evaluation stages. Planning is carried out through collaboration between the Principal, Student Representatives and Guidance teachers so that self-development can be carried out conducively. The implementation of dance self-development activities is carried out outside school class hours. Evaluations are conducted by principals, student representatives, coaches/trainers conducted in midterm exams. In its implementation, the self-development of dance has been going well. Supporting factors in the implementation of dance self-development are (availability of facilities and infrastructure as support in dance self-development activities. While the inhibiting factor in this dance self-development activity is the absence of student dance bases so that students are slow to understand the movements given. However, these inhibiting factors can be overcome by the coach with the drill practice method, which is an exercise by repeating the movements given so that students can do the movements and make groups so that they can learn with their friends.

Pengembangan Diri Seni Tari Di SMAN 1 Ranah Pesisir Kabupaten Pesisir Selatan Suci Silvia Ningsih; Herlinda Mansyur
Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya Vol. 1 No. 1 (2024): Februari : Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/filosofi.v1i1.47

This study aims to reveal and describe the process of implementing dance self-development at SMAN 1 Ranah Pesisir Kabupaten Pesisir Selatan. This type of research is qualitative research with descriptive methods of analysis. The research instrument is the researcher himself and is assisted by supporting tools such as stationery and cameras. Data were collected through observation techniques, interviews, literature studies, and documentation. The analyzing steps are carried out through data collection, data reduction, data presentation and data verification. The results showed that the self-development of dance at SMAN 1 Ranah Pesisir Kabupaten Pesisir Selatan was carried out through the planning, implementation and evaluation stages. Planning is carried out through collaboration between the Principal, Student Representatives and Guidance teachers so that self-development can be carried out conducively. The implementation of dance self-development activities is carried out outside school class hours. Evaluations are conducted by principals, student representatives, coaches/trainers conducted in midterm exams. In its implementation, the self-development of dance has been going well. Supporting factors in the implementation of dance self-development are (availability of facilities and infrastructure as support in dance self-development activities. While the inhibiting factor in this dance self-development activity is the absence of student dance bases so that students are slow to understand the movements given. However, these inhibiting factors can be overcome by the coach with the drill practice method, which is an exercise by repeating the movements given so that students can do the movements and make groups so that they can learn with their friends.

Koreografi Tari Kipas Pada Sanggar Seni Mutiara Minang di Kota Padang Sumatera Barat Ayuning Dwi Kusrini; Herlinda Mansyur
Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya Vol. 1 No. 1 (2024): Februari : Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/filosofi.v1i1.76

This study aims to reveal and describe the Fan Dance Choreography at the Minang Pearl Art Studio in Padang City, West Sumatra. This type of research is qualitative research with a descriptive method. The instruments in this study are the researchers themselves and are assisted by supporting instruments such as stationery, cameras and audio recorders. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The steps of analyzing data are data reduction and data presentation. The results showed that the creation of a dance work is inseparable from the creative process starting from idea discovery, exploration, improvisation, and composition. After finding ideas and ideas from the fan dance, then the dance director contemplated the dance image to be made. Exploration looks for gestures that describe a girl who is strong, firm, but still gentle in behavior as described how gadih minang is. The improvisation stage carried out by dance directors in Fan dance is an experiment with the form of movement obtained from dancers and a variety of movements that are new but developed according to the creativity of dance directors and themes. The improvisation stage is accompanied by an evaluation stage to select and evaluate movements and is adjusted to the theme. In the composition stage, the dance director combines all the various movements obtained from the exploration and improvisation process into a complete dance.

Analisis Gerak Tor-Tor Naposo Nauli Bulung di Desa Muaratais II Kecamatan Angkola Muaratais Kabupaten Tapanuli Selatan Sindi Melani Hasibuan; Herlinda Mansyur
Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya Vol. 1 No. 1 (2024): Februari : Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/filosofi.v1i1.79

The purpose of this study is to describe and analyze the Tor-tor Naposo Nauli Bulung dance in Muaratai II Village, Muaratais II Village, Angkola Muaratais District, South Tapanul Administrative Region from the point of view of space, time and energy. This type of research is qualitative research conducted using descriptive methods, the research instrument is the researcher himself and supports stationery, mobile phones and flash drives. This type of research uses primary data and secondary data. Data collection techniques are carried out through literature studies, observation, interviews and documentation. The stages of data analysis are data collection, data description, data analysis, and data inference. The aspect of the space for Tor-tor Naposo Nauli Bulung Dance is 7 types of motion that have elements of line, volume, facing direction, level, vision vokus. The dominant circular line, which is found in the motion of markusors, mangidos, manartcons ritoop, and singgang. Its volume consists of large and small. The dominant facing direction forward. The level of motion consists of high, medium, and low. As well as the focus of view focuses on the direction of the fingers. The aspect of time consists of 2 elements, namely: tempo and rhythm. The dominant tempo uses a slow tempo. The dominant rhythm is slow. There are 3 kinds of power aspects, namely: intensity, pressure, quality. The element of intensity predominates is weak intensity. This dance has no stress or accent because the movement flows gently following the code of the accompaniment music.

Title

Found 107 Documents
Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title Search

Found 107 Documents Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title

Found 107 Documents
Search