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All Journal Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Jurnal Visi Ilmu Pendidikan JOGED Jurnal Pendidikan dan Kajian Seni EDUTEC : Journal of Education And Technology Jurnal Pendidikan dan Penciptaan Seni Dikmas: Jurnal Pendidikan Masyarakat dan Pengabdian Cinematology Journal Anthology of Film and Television Studies Kasta: Jurnal Ilmu Sosial, Agama, Budaya dan Terapan TACET Jurnal Pendidikan dan Kajian Seni Jurnal Seni Tari
Winda Istiandini
Universitas Negeri Malang
Religion Arts Humanities Decision Sciences, Operations Research & Management Education Languange, Linguistic, Communication & Media Mathematics Social Sciences Other

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ANALISIS FUNGSI TARI BUKONG DALAM UPACARA ADAT KEMATIAN DAYAK PESAGUAN DI DESA SERENGKAH KECAMATAN TUMBANG TITI KABUPATEN KETAPANG Apriani, Nadella; Istiandini, Winda; Tindarika, Regaria
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 3 (2023): Maret 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i3.63745

Abstract

The traditional death ceremony in Serengkah village Tumbang Titi district, Ketapang regency has several processes that have existed since ancient times, in this traditional death ceremony there is a dance which is commonly called the Bukong Dance. The general objective of this research is to describe the process of carrying out traditional funeral ceremonies in Serengkah Village, Tumbang Titi District Ketapang Regency. Describe the function of the Bukong dance in the traditional ceremony of death in Serengkah Village, Tumbang Titi District Ketapang Regency. The method used in this study is a descriptive method with a qualitative research form, and an anthropological approach. The data contained in this study are facts regarding the ritual process carried out at the time of the traditional death ceremony owned by the Dayak Pesaguan tribe. The data were analyzed qualitatively with Mr. Napolino, Mr. Alipius, and Mr. Khajri who know clearly about the Bukong dance. The data through the results of observation, interviews, and documentation.
THE MOVEMENT STRUCTURE OF THE AJAAT TEMUAI DATAI DANCE OF DAYAK MUALANG TRIBE IN BELITANG HILIR DISTRICT SEKADAU REGENCY WEST KALIMATAN Berlisia, Melisa; Istiandini, Winda; Tindarika, Regaria
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 1 (2023): Januari 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i1.61839

Abstract

The Ajaat Temuai Datai dance is one of the traditional dances owned by the Dayak Mualang tribe. It is necessary to know the structure of the movements in this dance because there are several changes that occur in the movements that make the Ajaat Temuai Datai dance lose its original movement identity. This study aims to describe the movement structure of the Ajaat Temuai Datai dance of the Dayak Mualang tribe in Belitang Hilir District, Sekadau Regency, West Kalimantan. The method used is a descriptive method with a qualitative research form and a choreographic approach. The technique to test the validity of the data used is the extension of observations and source triangulation. Based on the data analysis, it was concluded that the movement structure of the Ajaat Dance Temuai Datai of the Dayak Mualang Tribe in Belitang Hulu District, Sekadau Regency, West Kalimantan is as follows: there are six variations of motion consisting of Herding Meet, Ngelempai, Ngancau Tikai, Dara Kenyalang, Kesulang Inok, Kesulang Male, and closing with a meeting. The Ajaat Temuai Datai dance consists of 29 moving motifs, 6 moving phrases, 2 moving sentences, and 1 moving cluster, which form a complete movement unit of the Ajaat Temuai Datai dance.
Strategi Kemasan Tari Gayam Karya Nefria Lelyana dalam Mendukung Pelestarian Situs Sendang Gayam Amalia, Lintang Husna; Istiandini, Winda; Wahyuningtyas, Tri
Jurnal Pendidikan dan Penciptaan Seni Vol 5, No 1 (2025): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v5i1.752

Abstract

Madiun City has one site in the center of the city which is called the Sendang Gayam Site. This site has a historical story and there is an air source that is considered to have properties, but its existence is still little known by the wider community. Gayam Dance was created as a work of art that seeks to preserve historical stories and values. This research aims to analyze the Gayam Creation Dance by Nefria Lelyana as an effort to preserve the Sendang Gayam Site in Madiun City using descriptive qualitative methods and collecting data sources through observation, interviews, and documentation. The concept of smooth and firm movements in this dance uses an East Javanese style. Floor patterns use vertical, horizontal, and zig-zag patterns. The number of dancers in this dance is five people. The accompaniment composition uses traditional Javanese musical instruments with pelog tunings. The choice of costumes is dominated by blue as a symbol of the Sendang Gayam Site and the dancers' make-up is simple. Dance props include kendhi, white cloth, blue cloth, and white bag. The location of the dance performance is not always on the site but can be performed at various events. Gayam Creation Dance is a medium for introducing the cultural potential of Madiun City and presenting a strong cultural identity. This dance shows how art can be a bridge between tradition, history, and current needs in efforts to preserve culture
Pengemasan Seni Tradisi Jaranan Turonggo Yakso Di Sanggar Purwo Budoyo Trenggalek Vitaloka, Frenita Aniss; Pratamawati, Endang Wara Suprihatin Dyah; Istiandini, Winda
Jurnal Pendidikan dan Penciptaan Seni Vol 5, No 1 (2025): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v5i1.767

Abstract

The reason the researcher chose Sanggar Purwo Budoyo is because the studio has packaged the traditional art of Jaranan Turonggo Yakso in Dongko District, Trenggalek Regency. The purpose of this study is to describe the Jaranan Turonggo Yakso Packaging Process by Sanggar Purwo Budoyo. The research method uses descriptive qualitative with data collection through interviews, observations, and documentation studies. Data verification uses source triangulation and technique triangulation. The results of this study, namely the first discussion through pre-packaging concerning the initial design to the end of activities in a production, the second discussion is packaging regarding shooting and editing activities, in the packaging process it is very complicated, the third stage is post-packaging which goes through the stages of the shooting results carried out for (editing) is a final process of production. Conclusions are made systematically to ensure good and attractive product quality. This stage includes content preparation, label and cover creation, labeling, cover installation, quality control, to final packaging. Suggestions for using more attractive label and cover designs, reflecting the identity of local arts and culture, with striking yet aesthetic color and font elements, add interesting information such as a short description of Jaranan Turonggo Yakso or a short profile of the studio.
ANALISIS MAKNA SIMBOL PROPERTI TARI SELODANG MAYANG DI KERATON KESULTANAN KADRIYAH PONTIANAK Opsinar *, Melda; Istiandini, Winda
TACET Jurnal Pendidikan dan Kajian Seni Vol 4, No 1 (2025): April 2025
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/tacet.v4i1.92808

Abstract

Penelitian ini di latar belakangi oleh keinginan peneliti untuk mendeskripsikan analisis makna simbol properti tari Selodang Mayang. Tari Selodang Mayang merupakan tarian tradisional Keraton. Properti yang terdapat pada tari Selodang Mayang berupa selendang dan mayang atau tandan pinang. Hal ini didasari oleh keingintahuan peneliti mengenai makna simbol yang terkandung dalam properti tari ini. Oleh karena itu, penelitian ini bertujuan untuk mengetahui dan menganalisis makna simbol pada properti tari Selodang Mayang. Menggunakan metode penelitian deskriptif analisis dalam bentuk penelitian kualitatif dan menggunakan teori Sugiyono serta dibantu dengan pendekatan antropologi dan semiotika. Setelah melakukan observasi, wawancara, dan dokumentasi, diperoleh kesimpulan bahwa makna simbol properti tari Selodang Mayang berdasarkan bahan, cara penggunaan, bentuk, dan warna yaitu melambangkan kesopanan, keindahan, perlindungan, penyucian diri bagi calon pengantin. Pada makna simbol properti tari juga memiliki makna harapan dan doa bagi kedua mempelai yang akan menempuh hidup baru. Ada harapan agar selalu selamat dari marabahaya dan harapan agar segala permasalahan yang datang dapat diselesaikan bersama. Properti tari Selodang Mayang merupakan simbol kemegahan Keraton dan identitas budaya melayu, karena pemilihan properti tari tidak lepas dari penggunaan aslinya di masyarakat sekitar Keraton.
ANALISIS MAKNA GERAK TARI BAKONCONG SUKU DAYAK SALAKO KECAMATAN SAJINGAN BESAR KABUPATEN SAMBAS Janita, Angen Dea; Istiandini, Winda; Tindarika, Regaria
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 1 (2023): Januari 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i1.61326

Abstract

This research is motivated by the interest of researchers about the Bakoncong dance movement. The uniqueness of this dancers is that the dancers are moved to dance by the spirit of an angel. In Bakoncong dance, there is Bajahatn movement, Ngalambe Rajaki and Jentera. Bakoncong dance is a medium for delivering prayers to Jubata which has a deep meaning, related to the life of the Salako Dayak community. The purpose of this study is to describe and analyze the meaning of the Bakoncong dance movements. The research uses descriptive analysis method, qualitative research form, ethnochoreology and semiotics research approaches, research data sources from observations, interviews, and documentation of resource persons in Felicia Conen, Ucel Benidikta and Epensius. The tecnique of testing the validity of the research data uses triangulation of sources and extension of observations, then the data analysis techniques is to describe and analyze the meaning of Bakoncong dance movements. The results of the data analysis of this study indicate that the movement of the Bakoncong dance contains the meaning of prayers that are said by the Salako Dayak community given to Jubata so that hopes and wishes prayers can be fulfilled.
The Development of Creative Dance Based Anti Bullying Educational Media to Foster Children's Empathic Imagination in the Laboratory Kindergarten of Universitas Negeri Malang Winda Istiandini; Wida Rahayuningtyas; Ari Wibowo Kurniawan
Jurnal Seni Tari Vol. 14 No. 2 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/qn8q0g08

Abstract

The phenomenon of bullying in early childhood, especially among Generation Alpha who have minimal direct interaction, requires creative and interactive educational media to develop empathy. Although dance has proven to be effective in social development, the specific implementation of creative dance as an anti-bullying medium in Indonesia is still very limited. This study aims to develop and test the feasibility (validity and practicality) of creative dance-based anti-bullying educational media to foster empathic imagination in children in KB-TK Lab UM. This research uses a Research and Development (R&D) approach by adopting the ADDIE (Analysis, Design, Development, Implementation, Evaluation) model. The product developed is in the form of a creative dance video with the song "Kita Teman Kita Hebat." The research subjects involved experts (materials, media, early childhood education) and 88 students of the UM Lab Kindergarten. The data was analyzed in a quantitative descriptive percentage. The results of expert validation show that the feasibility of the product is very high with an average of 90.47% (Very Valid). Meanwhile, the field trial recorded a practicality level of 89.85%. Dance art media facilitates children to imagine anti-bullying situations through movement and expression. This encourages the simultaneous development of cognitive and affective aspects of empathy. By dancing and playing, children learn to be aware of the differences in perspectives and feelings of friends, fostering mutual respect and solidarity. This medium is effective for strengthening the empathic imagination, a crucial skill to prevent bullying and support social-emotional development.
The Use of MOOCS in Developing Children's Dance Choreography Through the Stages of Inspiration, Percolation, Preparation, Creation, and Reflection Wida Rahayuningtyas; Mohamad Fitri Bin Mohamad Haris; Ika Wahyu Widyawati; Winda Istiandini; Surasak Jamnongsarn
KASTA : Jurnal Ilmu Sosial, Agama, Budaya dan Terapan Vol. 6 No. 3 (2026): August
Publisher : Lembaga Bale Literasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58218/kasta.v6i3.3304

Abstract

This study investigates the application of Massive Open Online Courses (MOOCs) in children's dance education through the Inspiration, Percolation, Preparation, Creation, and Reflection (IPPCR) framework. The primary objective is to design a MOOC that enhances students' motor skills and creativity while simultaneously improving accessibility to dance education. The research employs a development approach using the ADDIE model. The implementation of the MOOC produced choreography materials for children's dance, which include choreographic sequences, movement compositions, various categories of movement design, and floor patterns. In the first stage, Inspiration, students are encouraged to seek ideas from diverse sources, including visual, auditory, and life experiences. The second stage, Percolation, allows students to reflect on and internalize the collected ideas, giving them time to mature organically without external pressure. The third stage, Preparation, involves planning, during which students organize the steps and techniques required for their artistic projects. In the fourth stage, Creation, students bring their artistic works to realization. The final stage, Reflection, engages students in evaluating both the outcomes of their work and the creative processes they have undertaken
Co-Authors . Bahyudin . Soginem A.A. Ketut Agung Cahyawan W Agus Pratiwi Agus Syahrani Agus Wartiningsih Agustina, Paula Ahadi Sulissusiawan ALINE RIZKY OKTAVIARI SATRIANINGSIH aloysius mering Amalia, Lintang Husna Anesta, Flora Antiwi, Dwitya Apriani, Nadella Asari, Wiwi Asfar Muniir, Asfar Asfar Munir Berlisia, Melisa Deden Ramdani Dewi Novitasari Diansari, Luri Djau, Nurmila Sari Dwi Oktariani eka rahmawati Ela, Leonila Eri Turmudanti, Eri Evin, Stepani Devia FEBRIANTI WULANDARI Ferry, Uray Fertisari, Ima Gresni, Gresni Hastuti, Liza Hawari, Yusran Hendry Jurnawan, Hendry Heni Linarti Henny Sanulita Herdianti, Erni ika wahyu widyawati Imam Ghozali Imelda, Brigita Imma Fretisari ismu nandar Ismunandar Ismunandar . Janita, Angen Dea Julia Julia Kharimah, Siti Kurniawan, Ari Wibowo Luh Putu Ratna Sundari Mantiral, Vincentia Sepriana Maria Fransiska Marselius, Marselius Mega Cantik putri Aditya Mohamad Fitri Bin Mohamad Haris Nahak, Innocentia Marta Abuk Nana Susia Linda Nanda, Gilang Ocktantrio Noriah . Nugroho, Muhammad Arvin Oktavianus, Riksi Opsinar *, Melda Pratamawati, Endang Wara Suprihatin Dyah Puja, Kristianus Rasdiana, . Regaria Tindarika Regaria Tindarika Riri, Linovia Sak Rani Serli, Serli Silaban, Chiristianly Yery Subadrun, . Sumiati Sumiati Surasak Jamnongsarn Syamsul Arifin Timia, Timia Tri Wahyuningtyas, Tri Utami, Risky Utami, Wanda Vawaka, Dinda Elsa Virgina Jannati, Delly Ariska Vitaloka, Frenita Aniss Wardani, Yessica Sisilya Wida Rahayuningtyas yarso, Rizal Yunita, Lili