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MAKNA TEKS MEUDIKEE ANGGOK DILIHAT DARI KONSEP BILDUNG DAN SENSUS COMMUNIS MENURUT GADAMER DI DAYAH DARUL HUDA DESA BAYI KECAMATAN TANAH LUAS KABUPATEN ACEH UTARA Putri Kusuma; Dilinar Adlin
Gesture: Jurnal Seni Tari Vol 7, No 2 (2018): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT This study discusses the meaning of the text meudikee anggok seen from the concept bildung and sensus communis gadamer. Aims to describe the meaning of meudikee anggoktext of wisdom seen from the concept of bildung and sensus communis according to gadamer. Theories used are text theory and hermeneutics. Hermeneutics is a theory used to interpret. Seen from the concept of bildung is the form and sensus communis namely the true feeling and common good in society as the owner of the ritual. The time of the research was conducted in july until the mont of september 2017. Place of research in infant village, sub district wide area of nort Aceh regency. Population of artists, public figures and children dzikir which amounted to 180. The research sample is a child dzikir 20 people. Leadershipand tengku amounted to 2 people and geuchik baby village so that the sample amounted to 23 people. Data collection techniques include observation, interview, literature study, documentation and then analyzed by qualitative descriptive method. Based on reasearch that has been done meaning meudikee text seen from the concept of bildung and sensus communis. On the concept of bildung in the form of motion, chanting dzikir and clothing. On the sensus communis concept of community agreement the meaning contained in the motion of whether to surrender, plead, salute, appreciate, sincere, passion, agree, protect, tought ad ask. The meaning contained in chanting dzikir is honor, glorify, pray, begged, apologize, sacrifice, struggle, love, loyalty, ask for blessings and hope. The meaning contained in clothing is clean, holy, strength, death, firmness, decency, cover of aurat. Where the text contained in the concept of the sensus communis can be seen from the deliberation in planning the implementation of activities that contain the meaning of cooperation, cohesivenees and respect. People work together to prepare meunasah and food to be brought to the meunasah. As for its meaning is sincare, give each other, mutual cooperation, happy, spirit and joy. Keyword : Meudikee Anggok, Village baby, Bildung, Sensus Communis.

PENGEMASAN TARI GUEL DALAM BENTUK KARTU POS SEBAGAI MEDIA PEMBELAJARAN Suciati Simah Bengi; Dilinar Adlin
Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018
Publisher : Universitas Negeri Medan

Abstract-This study discusses Guel dance learning media created in the form of postcards. Aims to be able to direct students in identifying, appreciating, and expressing dances of the Gayo area, especially Guel dance. Theories used in the research of packaging theory according to Cahyorini and Rusfian (2011: 28), theory of learning media according to Heinich in Susilana (2016: 06), and graphic media theory according to Susilana and Riyana (2016: 14) Packaging is a theory used for graphic design, in terms of producing the product, and the image media in the form of postcards used to make Guel dance material as a learning medium. The time of the study was conducted from August to October 2017. The research site was at Sanggar Renggali Jalan Merah Mege Hakim Bale Bujang Laut Tawar, Central Aceh District. The population of several artists Gayo and all members of Sanggar Renggali because learning Guel dance is a dance learning materials in schools in Takengon and Samples are 2 people Gayo artists and 2 dancers dance Guel. Data collection techniques include observation, interview, literature study, and documentation, and then analyzed by qualitative descriptive method. Based on research that has been done Guel dance is a tradition dance Gayo community that has been used as learning materials in the schools of Middle Secondary in Central Aceh district. Guel dance which is packed in the form of postcards as a medium of learning with menggunkana first step of planning is preparing the material, determining the location, selection of dancers, and prepare the facilities and infrastructure. The second step of implementation is taking photos, editing process, then the last step is the completion of postcards and final writing. And produces packaging of learning media of Guel dance that is in the form of postcard. Keywords: Packaging, Guel Dance, Postcard Media

“RAPAI” PROPERTY TARI MAHANGGU SEBAGAI POTENSI SENI DALAM INDUSTRI KREATIF Tuti Rahayu; Dilinar Adlin; Iskandar Muda
Gondang: Jurnal Seni dan Budaya Vol 5, No 2 (2021): GONDANG: JURNAL SENI DAN BUDAYA, DESEMBER 2021
Publisher : Universitas Negeri Medan

Tujuan dari penelitan ini yaitu mengeksplor kembali tari tradisi Mahanggu yang mengarah pada sebuah produk property yaitu Rapai dari daerah Nias Utara. Dari proses ekplorasi tersebut kemudian muncul hasil pengembangan disain Rapai sebagai property tari dari budaya lokal Nias Sumatera Utara. Pada penelitian ini menggunakan jenis metode penelitian dan pengamatan ( Research And Development atau R&D). Lokasi penelitian ini dilakukan dikota Medan. Teknik pengumpulan data dengan melakukan observasi (pengamatan), wawancara dan dokumentasi. Data yang terkumpul kemudian akan dianalisis melalui paradigma kualitatif dengan menggunakan metode Project Based Reasearch, yang didapatkan dari reduksi data, penyajian dan menarik sebuah kesimpulan. Untuk mencari validitas (keabsahan) dari data yang didapatkan, akan dilakukan dengan model triangulasi sumber dan triangulasi teknik. Hasil pengembangan property tari ini dapat digunakan untuk pertunjukan tari Mahanggu pada event-event lokal, nasional maupun internasional.

TARI MENDULANG EMAS DALAM BENTUK AUDIO VISUAL MELALUI APLIKASI YOUTUBE UNTUK SISWA KELAS X SEKOLAH MENENGAH ATAS Aulia Miranda; Dilinar Adlin
Gesture: Jurnal Seni Tari Vol. 13 No. 2 (2024): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v13i2.64633

Penelitian ini bertujuan untuk mendeskripsikan tahapan dalam pengemasan materi pembelajaran Tari Mendulang Emas dalam bentuk audio visual untuk Siswa kelas X Sekolah Menengah Atas. Teori yang digunakan dalam penelitian ini adalah teori tentang pengemasan dari Tjiptono (2010:106) Pengemasan merupakan proses yang berkaitan dengan perancangan dan pembuatan wadah atau pembungkusan suatu produk. Pengemasan tari Mendulang emas pada analisis data menggunakan instrumen validasi materi dan validasi media yang dilakukan oleh validator ahli materi dan validator ahli media untuk menilai kelayakan produk. Hasil dari uji kelayakan ahli materi mendapatkan skor 5 dan hasil uji kelayakan ahli media mendapatkan skor 4,43 maka dapat disimpulkan berdasarkan teknik analisis data yang ditunjukkan bahwa skor hasil uji kelayakan yang dilakukan oleh ahli materi dan ahli media tersebut masuk dalam kategori kualitas sangat baik. Penelitian ini menghasilkan produk pembelajaran tari Mendulang Emas dalam bentuk audio visual melalui aplikasi Youtube yang dapat digunakan sebagai media pembelajaran tari bagi Sekolah Menengah Atas lainnya untuk kebutuhan bahan ajar guru. Penilaian dari hasil validasi oleh dua validator bahwa materi tari Mendulang Emas dalam bentuk audio visual melalui aplikasi Youtube ini layak diuji cobakan kelapangan untuk bahan ajar guru dalam pembelajaran tari bagi siswa kelas X Sekolah Menengah Atas.

Presentation of Tortor Bejan at Traditional Ceremonies of the Batak Toba Community Martozet Martozet; Eszter Tari; Dilinar Adlin; Tania Rizqy Octaviani; Liza Maysuri
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.72155

Tortor Bejan is an activity performed in the traditional death ceremony known as Mambejan or Patortorhon Parangin. In this ritual, the deceased is symbolically brought to life in order to commemorate their life. This tradition was formerly performed once every five years and lasted for forty days. However, over time, Tortor Bejan is now performed only once a year and lasts for a single night. This study focuses on the presentation form of Tortor Bejan. The analysis employs Soedarsono’s theory of presentation, which defines dance presentation as the overall manner of performance, encompassing the main elements of a dance. The findings indicate that Tortor Mambejan is a ritual dance that symbolically revives ancestral spirits through a statue as a form of respect for ancestral contributions. Before the performance of Tortor Bejan, Tortor Mangaraksa Desa Nawalu is first performed by a male dancer. During the Bejan ritual, one highly respected ancestor is selected. If the ancestor passed away under the condition of Saur Matua, the Bejan statue must not be made of wood but from the ancestor’s bones. The dance is called Tortor Bejan because, during the performance, ancestral spirits are symbolically revived through a “kailit” statue known as Bejan. The performance of Tortor Bejan uses costumes made of Batak Toba ulos fabric with traditional makeup and is accompanied by Gondang Suling Ni Happang Na Opat and Gondang Sahala Raja.

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