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Indrayuda Indrayuda
Universitas Negeri Padang
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GERAK TARI KREASI LENGGANG SERAWAI: “KAJIAN BENTUK DAN GAYA” Alfhina Wahyu Rahmadaniah; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/nwm9xt69

Abstract

This study aims to reveal the description of the form and movement style of the creative dance Lenggang Serawai. This research uses a qualitative approach with a descriptive method. The research instrument is the researcher themselves, assisted by writing tools and a camera. Data were collected through literature study, observation, interviews, and documentation. The steps to analyse the data are data collection, data reduction, data presentation, and drawing conclusions. The results show that the movements of Lenggang Serawai dance at Afnalya Dance Company can be reviewed from the aspects of form and style, which include the aspect of form such as types of movement, movement structure, the relationship between basic elements of space, time, and energy, as well as the aspect of style including unique movement characteristics and characteristic rhythmic patterns of movement. Based on the observed results, the Lenggang Serawai dance has 7 types of movement and 23 movement structures. The spatial aspects in the movements of the Lenggang Serawai dance include line, volume, direction of facing, and focus of gaze. The lines in this dance are predominantly straight, horizontal, and diagonal. The volumes in this dance are predominantly large and small. The directions of facing in the movements of the Lenggang Serawai dance are predominantly forward, backward, left side, and right side. The levels in the movements of the Lenggang Serawai dance are predominantly medium and high. The gaze focus in the movements of the Lenggang Serawai dance is predominantly forward, downward, towards the hands, towards the properties held, and to the left and right sides. In terms of time, the tempo and rhythm are predominantly medium. Regarding the energy aspect, the intensity in these dance movements is predominantly medium, the pressure in the dance movements is predominantly medium, and the movement quality of the Lenggang Serawai dance is predominantly medium.
GERAK TARI PAYUNG DI SANGGAR IJUAK SAPILIN ENTERTAINMENT:KAJIAN BENTUK DAN STRUKTUR Rahmadani, Fauziah; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/mwqe6634

Abstract

This study aims to describe the Form and Structure of the Payung Dance movements at Sanggar Ijuak Sapilin Entertainment. This research is qualitative with a descriptive method. The main instrument in this study is the researcher themselves, assisted by writing tools, a camera, and a voice recorder. Data is collected through literature review, observation, interviews, and documentation. The steps of data analysis are collecting data, presenting data, condensing data, and drawing conclusions from the data. The results show that the Ijuak Sapilin Payung Dance is a creative dance work that highlights the integration of traditional elements and innovation through the application of harmonious hierarchical and grammatical relationships.The hierarchical relationship in Tari Payung Ijuak Sapilin is apparent through the organized arrangement of movements from basic movements, motifs, phrases, to dance sentences that combine to form a complete dance composition. Each layer of movement is interconnected and functions to support the overall presentation of the dance. Meanwhile, in terms of grammatical relationships, Tari Payung Ijuak Sapilin shows two forms of relationships, namely syntagmatic and paradigmatic relationships. The syntagmatic relationship is seen in the movement motifs, where the sequence of movements is arranged linearly and continuously to form a logical flow. Meanwhile, the paradigmatic relationship appears at the phrase and movement sentence levels, where several parts can be exchanged in position without changing the overall meaning or message of the dance.
PELESTARIAN RANDAI OLEH SANGGAR SALUAK BADETA DAN GENERASI MUDA SINTUAK TOBOH GADANG Putri, Clara; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ddrvwg45

Abstract

This study aims to analyze the Randai art preservation strategy by Sanggar Saluak Badeta and the involvement of the younger generation in Nagari Sintuak Toboh Gadang in facing the challenges of modernization. Using a descriptive qualitative approach, data were collected through observation, in-depth interviews, and documentation, which were then analyzed through the stages of data reduction, data presentation, and conclusion drawing. The results of the study revealed that Sanggar Saluak Badeta plays a central role in maintaining the existence of Randai through regular training programs, performances in traditional ceremonies, and intensive coaching for the younger generation who now play an active role as artists and organizational activists. The preservation strategy implemented includes adaptive performance innovation without reducing the value of originality, cross-sectoral collaboration with cultural institutions, and optimization of digital technology for documentation and promotion. It is concluded that the success of Randai preservation in this region is the result of collective synergy between art institutions, the active participation of the younger generation, and the support of the local community who have a high awareness of the sustainability of Minangkabau cultural heritage.
IDEOLOGI BUDAYA MASYARAKAT TUNGKAL ILIR DALAM MOTIF BATIK TANJUNG JABUNG BARAT Yenni Rahmah; Agustina Agustina; Fuji Astuti; Indrayuda Indrayuda; Elida Elida
Jurnal Intelek Dan Cendikiawan Nusantara Vol. 2 No. 6 (2025): Desember 2025 - Januari 2026
Publisher : PT. Intelek Cendikiawan Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Batik merupakan warisan budaya Indonesia yang tidak hanya memiliki nilai estetika, tetapi juga mengandung makna ideologis yang merepresentasikan pandangan hidup masyarakat pendukungnya. Batik Tanjung Jabung Barat, khususnya yang berkembang di wilayah Tungkal Ilir, menampilkan motif-motif yang berakar pada nilai religius, adat istiadat Melayu, serta relasi harmonis antara manusia dan alam. Penelitian ini bertujuan untuk mendeskripsikan bentuk motif Batik Tanjung Jabung Barat serta menganalisis nilai-nilai ideologi budaya masyarakat Tungkal Ilir yang terkandung di dalamnya. Penelitian menggunakan pendekatan kualitatif deskriptif dengan teknik pengumpulan data berupa observasi, wawancara dengan perajin batik dan tokoh budaya, serta studi dokumentasi dan literatur. Hasil penelitian menunjukkan bahwa motif-motif seperti Rehal dan Tunjuk Ngaji, Hutan Mangrove, dan Biota Laut merupakan representasi ideologi budaya Melayu yang menekankan religiusitas, kearifan ekologis, kerja keras, dan harmoni sosial. Batik Tanjung Jabung Barat berfungsi tidak hanya sebagai produk seni dan ekonomi kreatif, tetapi juga sebagai media pewarisan nilai ideologis dan identitas budaya masyarakat Tungkal Ilir di tengah arus modernisasi.
Co-Authors Abdullah, Nagoor Meeara Afiatri Gelurena Afifah Asriati Agustina Agustina Agustina Ahmad Damhuri Aksara, Anggi Al-Syurgawi, Dahlia Alfhina Wahyu Rahmadaniah Amellia, Marisa Angge Pratiwi Vitri Anugrah Prima Insani Ardipal Ardipal Ariep Bijaksana Aysah Nur Rahma Ayu Nara Sati Aziz, Nur Azizah Abdul Bunga Lovesky Bunga Maharani Bunga Naselia Chelina Dewi Dara Ardilla Darmawati Darmawati Darmawati Darmawati Dede Putri Perdani Della Natasia Gunita Piska Dendi Chairi Desfiarni Desfiarni Dewi Fiolinda Dibba Gazwami Diye Chania Dwi Witri Anggraini Efriyanti, Dian Rahma Eke Febrianti Elida elida elida Ella Miftah Aulia Endang Nuryani Esy Maestro Eva Pauziah Fadhila Saktia Feby Try Rahmanda Fingki Novi Arsita Fitrah Hayati Fitri, Levina Frisilia Yulisianti Fuby Candani Fuji Astuti Fuji Astuti Geby Citra Arifin Gitmiwati Gitmiwati Gusnia hadi, Harisnal Hafizatul Ismi Hana Shilfia Iraqi Handayani, Bella Fitri Hasanuddin WS Helfira Helfira Hendri Yusuf Herlinda Mansyur Hestilia, Wina Hidayatunnisa Hidayatunnisa Husna Febri Andika Putri I Made Sukartha Idol Fatria Ildiea Fitri Indah Novita Sari Indri Mayangsari Intan Milanda Intan Sani Ashari Junita Fitri Kassim, Rezian-na Muhammed Lanifa, Rani Lidya Indrawati Liza Azoni Lola Murnianti Maidilla Siska Putri Mardiana - Marzam Marzam Marzam Marzam Maya Endah Rahayu Meisa Adila Meizul Ofriananda Mia Fahmiati Miftahul Rizka Mohd. Effindi Samsudin Muhammad Afif Nashiwa Natania Salsabilla Nawai, Nasru Syazwan Nela Majesti Nerosti Nia Putri Jelita Nia Rahmadani Niken Ayu Astuti Nindi Aulia Safira Ningsih, Lisa Wahyu Nor, Mohad Anizu Mohd Novelis, Puput Nurhana Nurhana Nurul Annisa Syafwan Nurul Intan Pratiwi Oktania, Rahma Pebrina Sapitri Poppy Lisafri Yolanda Prihan Pangemba Puti Aryanti Soleha Putri Amriana Putri Aulia Rahmawati Putri Novrialni Putri Yunengsih Putri, Clara Quinta Dianda Voneline Radisma Suziyanti Rahim, Mohamad Rahizam Abdul Rahmadani, Fauziah Rahmat Adriyanto Rahmat Hidayat Rahmi Ul Fadhilah Raju Gunawan Rama Dona E Rana Arisma Valeves Rani, Destia Ranti Lestari Ratih Riau Khasanah Raudhatul Fadillah Regia Amelia Putri Resha Gustina Putri Reza Trinanda Rini Suardi Rita Syofyan Rizka Annisa Rizka Janarsi Rizki Kurniaty Samsuddin, Mohd Effindi Samsudin, Hazim Sandika Sadema, Ayu Sari, Maya Novita Sari, Nurima Sevi Sovia Shamsuddin, Mohd Effindi Bin Shapie, Muhamad Nizam Mohamad Shinta Jayanti Silvani, Shindy Siti Aisyah Jasmin SITI KHODIJAH Sri Muryenti Suci Okta Rahmadani Susi Evanita Susi Evanita Susmiarti Syafitri, Mahdalena Syahrel Syahrel Syofyan, Rita Tiara Virginia Aulia Tulus Handra Kadir Tuttriana Tuttriana Ukie Winaranti Vincent Parnabas Virginia Aulia, Tiara Viska Nanggita Vuja Syafrianti Alhidayah Wahyuni, Irfi Sri Widya Novitri Wilya Aryana Putri Wina Hestilia Wina Hestilia Windi Novrianti Yeni Yeni Yenni Rahmah Yoni Sesilia Yos Sudarman Yosi Dwi Zulniati Yusman, Ahmad Fauzan Zora Iriani Zul Asri Zul Fahmi