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All Journal Gorga : Jurnal Seni Rupa Garak Jo Garik : Jurnal Pengkajian dan Penciptaan Seni Jurnal Seni Tari Titian: Jurnal Ilmu Humaniora Melayu Arts and Performance Journal Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Erlinda
Institut Seni Indonesia Padangpanjang
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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ESTETIKA TARI LILIN BEPINGGAN PADA MASYARAKAT KAYU AGUNG KABUPATEN OGAN KOMERING ILIR PROPINSI SUMATERA SELATAN Neni Krisniawati; Erlinda Erlinda; Susas Rita Loravianti
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (144.767 KB) | DOI: 10.26887/bcdk.v3i2.553

Abstract

ABSTRACT Lilin Bepinggan dance is an illustration of happiness originated from Miyah Malaman tradition. This tradition is usually done by the youngsters in Ramadan month especially in Lailatul Qadar night. The boy comes to his lover’s house by bringing the equipments of malaman such as candles, firecrackers, and fireworks. Yusrizal, as an artist and humanist, transforms this tradition into performancing art presented through Lilin Bepinggan dance. This dance has complex and aesthetic elements of dance that are interested to be studied further.The objective of this study is to understand the form and aesthetics of Lilin Bepinggan dance in Kayu Agung City, Ogan Komering Ilir District. This study utilized qualitative method in order to reveal and understand the aesthetics of Lilin Bepinggan dance. The data were obtained from (1) observation, (2) interview, and (3) documentation. The data were then verified and analyzed with the theories of form and aesthetics.The aesthetics element of Tari Lilin Bepinggan can be seen from physical reaction, harmony, and sensitive aspect of comprehension portrayed from the performance of Lilin Bepinggan dance that has been influenced by religious, cultural and social values. Keywords: Lilin Bepinggan dance, Aesthetics, Value, Social, Culture 
MAKNA SIMBOLIS TARI ALANG SUNTIANG BARINGIN DI NAGARI SIMAWANG KABUPATEN TANAH DATAR Misradona Misradona; Erlinda Erlinda; Wilma Sriwulan
Melayu Arts and Performance Journal Vol 2, No 1 (2019): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v2i1.677

Abstract

Tari Alang Suntiang Baringin merupakan salah satu kesenian yang tumbuh dan berkembang di Nagari Simawang, didukung beberapa orang penari dan pengiring music serta di dukung oleh kalangan masyarakat setempat. Gerak tari Alang Suntiang Baringin terinspirasi dari kegiatan masyarakat pada kebiasaanny sehari-hari dan bertani, alat musik pengiring tari Alang Suntiang Baringin yaitu talempong, gendang dan tamborin. Tujuan penelitian ini adalah mengungkapkan makna simbolis dari gerak-gerak yang terdapat pada tari Alang Suntiang Baringin. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati pertunjukan tari Alang Suntiang Baringin, serta dokumentasi atau audio visual, dan juga wawancara dengan pawang dan penari beserta beberapa masyarakat Nagari Simawang. Penelitian ini di analisa dengan teori makna oleh Susanne K. Langer.
TARI TABUT SEBAGAI MANIFESTASI BUDAYA MASYARAKAT KOTA BENGKULU Syielvi Dwi Febrianty; Asril Asril; Erlinda Erlinda
Melayu Arts and Performance Journal Vol 3, No 2 (2020): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v3i2.1335

Abstract

This research aims at discussing Tabut dance as the cultural manifestation of Bengkulu people. Tabut dance is a creation dance sourced from Tabut ritual, namely a ritual sourced from Syiah Islam, but it has grown and developed into the typical culture of Bengkulu people. Various rituals in Tabut were symbolically arranged into a new dance namely Tabut dance. This Tabut dance is perfomed every year in Tabut celebration and several other big events whether it’s inside the Bengkulu city or outside the city. This research is a qualitative research with descriptive and analytical natures. Result achieved in this research is that Tabut dance is the cultural manifestation of Bengkulu people based on the rituals existing on Tabut ritual that is than actualized into a creation dance.Keywords: Tabut dance, Tabut ritual, cultural manifestation, Bengkulu people.AbstrakPenelitian ini bertujuan untuk membahas tari Tabut sebagai manifestasi budaya masyarakat Kota Bengkulu. Tari Tabut merupakan tari kreasi yang bersumber dari ritual Tabut, yaitu suatu ritual yang berasal dari Islam Syiah, tetapi telah tumbuhdan berkembang menjadi budaya khas masyarakat Kota Bengkulu. Berbagai ritusyang ada di dalam Tabut ditata secara simbolik menjadi tarian baru, yaitu tari Tabut. Tari Tabut ini ditampilkan setiap tahunnya dalam perayaan Tabut dan beberapa event besar lainnya baik di dalam maupun di luar Kota Bengkulu. Penelitian ini adalah penelitian kualitatif yang bersifat deskriptif dan analisis. Hasil yang dicapai dalam penelitian ini adalahbahwa tari Tabut merupakan menifestasi budaya masyarakat Kota Bengkulu yangberakar dari ritus-ritus yang ada pada ritual Tabut yang diwujudkan dalam bentuktarian kreasi.Kata Kunci: Tari Tabut, ritual Tabut, manifestasi budaya, masyarakat Kota Bengkulu.
TARI INDANG PADUSI DI KAMPUNG BUDAYA NAGARI JAWI JAWI KABUPATEN SOLOK SUMATERA BARAT: DALAM PERSPEKTIF ETIKA DAN ESTETIKA Yudhitia Wardi; Erlinda Erlinda; Yarlis Yarlis
Garak Jo Garik : Jurnal Pengkajian dan Penciptaan Seni Vol 1, No 2 (2023): Garak Jo Garik : Jurnal Pengkajian dan Penciptaan Seni
Publisher : Garak Jo Garik : Jurnal Pengkajian dan Penciptaan Seni

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/gjg.v1i2.3756

Abstract

This research title is Female Indang dance in cultural village Nagari Jawi Jawi, Solok Regency, West Sumatra from an ethical and aesthetic perspective. The purpose of this research is to find out about Female Indang dance from an ethical and aesthetic point of view. In this research writing, the writer used a qualitative method that is a description of the analysis, which means all data obtained, both written data and data in the field, are described and then analyzed according to the research problem. The theory that the writer used in this research is the ethical theory proposed by K. Bertens, he stated that ethics can be divided into descriptive ethics and normative ethics and, an aesthetic theory proposed by Dharsono Sony Kartika, he stated that there are five conditions of beauty, namely: unity, harmony, symmetry, balance, and conflict (contras).The beauty of this dance can be seen by its shape and by the value contained in the female Indang dance. Judging from the skill of movement, makeup, and costumes, Dendang (verse) has its own beauty of form and value. Female Indang dance is a dance work sourced from male Indang dance. The presence of female Indang dance experienced pros and cons, especially from Ninik Mamak circles who thought it was unethical for a Baselo woman to dance in public. Along with the times and if women still maintain the provisions, maybe female dancers today can be tolerated.
TARI RENTAK BULIAN SEBAGAI EKSPRESI BUDAYA DAN REFLEKSI KEINDAHAN MASYARAKAT INDRAGIRI HULU PROPINSI RIAU Erlinda Erlinda; Asmaryetti Asmaryetti; Syaiful Erman
Garak Jo Garik : Jurnal Pengkajian dan Penciptaan Seni Vol 1, No 2 (2023): Garak Jo Garik : Jurnal Pengkajian dan Penciptaan Seni
Publisher : Garak Jo Garik : Jurnal Pengkajian dan Penciptaan Seni

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/gjg.v1i2.3743

Abstract

Studies on the dance Rentak Bulian in Riau Community are kinds of discussions aboutfield empirical reality with the problems of dance as a cultural expression among its community. In addition to describing the existence of the dance, this study also analyses the reflection of its beauty by investigating its aspects of movement, musics, costumes, properties, supports, and presentation. Analysis is done descriptively, qualitative, and interpretatively. The dance of Rentak Bulian constitutes a cultural expression of the Malay community of Petalanganan Talang Mamak, Indragiri Hulu, Rengat. Although the ritual of Bulian has transformed into a performance arts, seeing from either its form, function, and meaning, the ritual's magic component must still be staged in order to fulfil its performance demand. Among the rituals are: there must be seven virgin female dancers; the dancers are in their clean period (not in menstruation), there must be a strong male dancer, the dancers are not related in blood, all dancers must acquire consents from the village elders, they must be blessed with sandalwood smoke, musical instruments must be casted, the young bunch of areka nut must be selected, and the fireplace must not be casted any spell.
Ritus ayoa, dalam tari aseak bebuak kerinci Deli Monica Asmara; Erlinda Erlinda; Martion Martion
Titian: Jurnal Ilmu Humaniora Vol. 5 No. 2 (2021): Desember 2021
Publisher : Fakultas Ilmu Budaya, Universitas Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22437/titian.v5i2.14351

Abstract

The dance work entitled "Ritu Ayoa" is a dance work that starts from the Aseak ceremony in the Kerinci community, Jambi Province. This work is done with the format of presenting the results of imagination that provides an alternative creation in the form of dance compositions. Mainly is the form of composition whose cultivation is based on the Aseak ritual event for the treatment that exists in the Kerinci community. The form or structure of the performance of the dance work "Ritu Ayoa" consists of three parts. The first part describes or reveals the activities of the handler with his environment which emphasizes water as a vital thing in life. The second part describes the conflict that occurs in the Aseak ritual in medicine, and the final part reveals the environmental balance that focuses or describes water that must be preserved in life. These three parts become a unified form of choreography in harmony with the musical bonds that are part of strengthening the dance work.
Batin Dance from Ritual to Performing Arts in Liwa Community West Lampung Regency Lampung Province Nur Sintia; Erlinda Erlinda; Surherni Surherni
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.73391

Abstract

Batin dance is an expression of the people's joy in welcoming the sultan's arrival. Batin dance has developed from a ritual function to a performance function. This research aims to determine the development of the function of the batin dance from ritual to performing arts. This research used a descriptive analysis method, and it was guided by facts found during the field research. A historical approach was used to determine the development of a ritual function to a performance function. The research results show that the batin dance has developed from a ritual function to a performance function starting from the props, music, performance venue, and performance time. It can be seen through the batin dance performance at the GSMS event. The development of the batin dance is present in society, but Saibatin still maintains the batin dance in the kingdom as a prominent guest without reducing its sacred value.
Co-Authors Andar Indra Sastra Arzul Jamaan Asmaryetti, Asmaryetti Asril Asril Auliana Mukhti Maghfirah Awerman Awerman Deli Monica Asmara Ediwar Ediwar Irni Oktavia Martion Martion Meri Susanti Mila Susanti Misradona Misradona Neni Krisniawati Nur Sintia Paizal Amri Sri Raudah Basya Suci Rahmadani Surherni Susas Rita Loravianti Syaiful Erman Syaiyidatul Nur Fatimah SYIELVI DWI FEBRIANTY Welia Finoza Wilma Sriwulan Yarlis Yarlis Yesriva Nursyam Yudhitia Wardi