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All Journal Jurnal Ilmiah Al-Syir'ah Pendas : Jurnah Ilmiah Pendidikan Dasar Jurnal Abdidas Indonesian Journal of Education (INJOE) Journal International Journal of Teaching and Learning (INJOTEL) IPSSJ
Trubus Semiaji
Universitas Negeri Gorontalo
Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Public Health Social Sciences Other

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Journal : Pendas : Jurnah Ilmiah Pendidikan Dasar

 1 
ANALISIS STRUKTUR GERAK TIDI LO TONGGALO DI KECAMATAN TAPA PROVINSI GORONTALO Nur Aprilia Ismail; Riana Diah Sitharesmi; Rahmawati Ohi; Trubus Semiaji; Nurlia Djafar
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 In Process
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31182

Abstract

Tidi Lo Tonggalo is one of several types of Tidi, where Tidi means “dance” and Tonggalo means “support”. Thus, Tidi Lo Tonggalo symbolizes how a woman acts as a pillar in the family, society, and religion, emphasizing that if she falters, so too will what she supports. Tidi Lo Tonggalo possesses a beautiful movement structure, rich with values and meanings. Analyzing its movement structure helps facilitate an accurate and clear interpretation of the dance. This qualitative descriptive study employs data collection through observation, interview, and documentation. The qualitative data analysis was continuous and iterative, involving data reduction, data display, and conclusion drawing or verification, representing the research’s success indicators. The study was conducted in Tapa Sub-district, Gorontalo Province. This dance is performed by five women and serves an entertainment function. The analysis findings of Tidi Lo Tonggalo’s movement structure are based on its compositional elements: vocabulary, spatial design, and dynamics. There are 32 movement vocabularies or poses in Tidi Lo Tonggalo, with transitional movements and repetitions on the right and left sides of the body in each sequence. The dance features nine spatial designs or floor patterns, some similar but incorporating different movements. Additionally, its dynamics are marked by changes in tempo in the musical accompaniment. Despite the tempo changes, the dancers maintain the softness of their movements throughout the performance.
BENTUK PENYAJIAN TARI REJANG RENTENG PADA PIODALAN DI PURA PADMASANA DESA LABONU KECAMATAN BASIDONDO KABUPATEN TOLITOLI Ni Komang Vica Sari; Trubus Semiaji; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 Build
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32553

Abstract

The Rejang Renteng Dance is a sacred dance performed by married women and is prohibited for children or unmarried women. Rejang Renteng is performed during the Piodalan ceremony at Pura Padmasana, Labonu Village, symbolizing a dance to guide the deities descending to Earth. This research aims to explain the presentation form of the Rejang Renteng Dance and the changes that have occurred in its presentation, which in turn influence the perfection of the Piodalan ceremony at Pura Padmasana, Labonu Village. This is particularly relevant because the Rejang Renteng Dance at Pura Padmasana Labonu Village shows slight variations in its textual aspects. The research employs a qualitative method. Data collection techniques include observation, interviews, and direct documentation of the dance presentation through videos, photographs, and recordings. The results indicate that the presentation form of the Rejang Renteng Dance at the Piodalan in Pura Padmasana, Labonu Village, can be observed through several aspects: the dance movements consist of three types of movements; the floor patterns consist of two types of patterns; the dancer’s makeup is simple, wearing white kebaya blouses and yellow kamen (traditional clothes). The property used is a yellow sash, and the accompanying music is Gong Kebyar. The number of dancers totals 14. The performance venue is located in the Jaba Mandala area of the temple.
Co-Authors Abdurohim Eka Sartika La Ode Karlan Mimy A. Pulukadang Mohammad Yanuar Nurfazhri Bilondatu Ni Komang Vica Sari Nur Aprilia Ismail Nur Moh. Kasim Nur Mohamad Kasim Nurlia Djafar Rahamawati Ohi Rahmawati Ohi Riana Diah Sitharesmi Salam Sri Nanang Meiske Kamba Sri Rahayu Pudjiastuti