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All Journal Gondang: Jurnal Seni dan Budaya Laga-Laga: Jurnal Seni Pertunjukan Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni DESKOVI : Art and Design Journal Tamumatra : Jurnal Seni Pertunjukan Jurnal Abdidas Bercadik: Jurnal Pengkajian dan Penciptaan Seni Menulis: Jurnal Penelitian Nusantara Jejak digital: Jurnal Ilmiah Multidisiplin
Wardi Metro
Institut Seni Indonesia Padangpanjang
Religion Arts Humanities Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Mathematics Public Health Social Sciences Other

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Interpretasi Sikap “Datuk Maringgih” dalam Novel “Kasih Tak Sampai” pada Karya Tari "Sasau" Windy Avrilia Harlen; Dony Osmond; Wardi Metro; Idun Ariastuti
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 4 (2026): JUNI-JULI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/zexsgp20

Abstract

The dance work "Sasau" is inspired by the character of Datuk Maringgih in Marah Rusli's novel "Siti Nurbaya: Kasih Tak Sampai," which represents a toxic leader. This leadership trait was chosen because it is still highly relevant to contemporary social phenomena. The artist focused on interpreting the leader's arbitrary behavior, which negatively impacts the surrounding environment, and then translated it into a group choreography divided into three moods. The methods used in the creation process included data collection, exploration, improvisation, forming, and evaluation. The performance was performed by seven dancers—four female dancers and three male dancers—with a dramatic style centered on social themes. The musical accompaniment was developed through a combination of traditional Minangkabau instruments and the latest digital audio technology to support the dramatic flow, in line with the artist's concept.
Nan Tak Putuih: Transforming the Meaning of Kapan Salampih Custom into Contemporary Dramatic Dance Inda Fatika Sari; Susas Rita Loravianti; Wardi Metro; Ariefin Alham Jaya Putra
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 28, No 1 (2026): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v28i1.4988

Abstract

Kapan salampih merupakan praktik adat kematian di Nagari Koto Laweh yang menegaskan tanggung jawab moral pihak bako terhadap anak pisang. Artikel ini bertujuan menjelaskan transformasi makna kebersamaan, kepedulian, dan kesinambungan hubungan kekerabatan tersebut ke dalam karya tari Nan Tak Putuih. Metode penciptaan memadukan riset lapangan dan kerja studio. Data diperoleh melalui observasi di Jorong Kandang Diguguak, wawancara dengan tiga informan adat, studi pustaka, dan dokumentasi; sedangkan kerja studio meliputi eksplorasi, improvisasi, pembentukan, serta evaluasi. Hasil penciptaan menunjukkan bahwa makna kapan salampih diterjemahkan melalui struktur dramatik tiga bagian: duka, tanggung jawab adat, dan keikhlasan. Kualitas gerak berat, tertahan, dan stakato pada bagian awal berkembang menjadi tarikan antartubuh pada bagian konflik, lalu berubah menjadi gerak mengalir dan terbuka pada bagian akhir. Kain putih sepanjang sembilan meter menjadi simbol utama tanggung jawab, beban emosional, dan ikatan yang tidak terputus; maknanya diperkuat oleh komposisi kelompok, musik langsung bernuansa Minangkabau, tata ruang berlevel, busana bernada gelap, dan perubahan tata cahaya. Karya ini tidak merekonstruksi prosesi adat secara literal, tetapi melakukan pemadatan simbolik agar nilai sosialnya dapat dialami melalui tubuh dan suasana pertunjukan. Nan Tak Putuih dengan demikian menawarkan model penciptaan tari kontemporer yang berakar pada pengetahuan lokal sekaligus reflektif terhadap keberlanjutan kekerabatan Minangkabau
Estetika Tari Baombai Di Jorong Ganting Kecamatan Sijunjung Vayza Aurel Wiand; A.A.I.A Citrawati; Wardi Metro; Firdaus
Menulis: Jurnal Penelitian Nusantara Vol. 2 No. 8 (2026): Menulis - Agustus
Publisher : PT. Padang Tekno Corp

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59435/menulis.v2i8.1465

Abstract

Penelitian ini membahas estetika Tari Baombai di Jorong Ganting Kecamatan Sijunjung, Sumatera Barat. Tari Baombai merupakan tari tradisional yang terinspirasi dari aktivitas masyarakat dalam mengolah sawah secara bergotong royong yang disebut Batobo. Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis estetika Tari Baombai. Metode yang digunakan adalah metode kualitatif dengan pendekatan deskriptif melalui observasi, wawancara, dokumentasi dan studi pustaka. Penelitian ini menggunakan teori estetika A.A.M Djelantik tentang wujud, isi dan penyajian serta teori Susanne K. Langer tentang simbol dan makna sebagai teori pendukung. Hasil penelitian menunjukkan bahwa nilai estetika Tari Baombai terlihat pada ragam gerak mancangkua, malunyah dan mananam padi. Musik internal berupa dendang pantun serta penggunaan properti cangkul yang menjadi simbol aktivitas masyarakat petani. Tari Baombai mengandung nilai kebersamaan, gotong royong dan kehidupan sosial masyarakat Jorong Ganting yang diwujudkan melalui bentuk penyajian tari secara harmonis.
Tari Lembaran Persegi: Makna Filosofi Maindang Manampih Bareh Disisiahan Atah Ciek-Ciek Reza Maulidil Akbar; Rasmida Rasmida; Donny Osmond; Wardi Metro
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 1 (2026): JANUARI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/80zyg274

Abstract

The dance work "Square Sheet" is inspired by the meaning of the Minangkabau proverb, namely maindang manampih bareh disisahan or ciek-ciek, which means the importance of full awareness of what is done and the impact caused, aware of choices and decisions. Based on this meaning, the author is interested in making that meaning as a source of inspiration for the dance work entitled "Square Sheet". This interest is based on the author seeing that at this time the public is no longer choosing leaders with a decent track record but the public attaches more importance to closeness and wealth. Related to that, the worker focuses on the issue of full awareness of the decisions made and the impact caused, through the body's physical, mental, and emotional response. To realize the dance work, the author chose the piriang koto sani dance as a foothold in the preparation of the work. The worker interprets into the form of group choreography which is worked in three grooves of atmosphere. The theories used in this work are social construction theory and choreography theory. The method used is the method written by Alma M. Hawkins in the book choreography of form, technique, and content of Sumandiyo Hadi's translated work is field observation data collection, data processing, literature study, exploration, improvisation, formation and evaluation. This work is performed by two female dancers and four male dancers, the music is used to strengthen the atmosphere that the worker is based on from the music from the traditional Minangkabau which is worked by the composer according to the concept of the work. Other than that, of course, it cannot be separated from the nine elements of the tar composition. This work has been displayed at the Boestanoel Arifin Adam Auditorium of the Indonesian Padangpanjang Art Institute on January 15, 2026.
Penciptaan Karya Tari Layantara: Representasi Interaksi Sosial yang Terputus dalam Era Digital Rahmat Fajar Ramadhan; Wardi Metro; Idun Ariastuti; Dony Osmond
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 1 (2026): JANUARI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/xn4ztz65

Abstract

Layantara is a dance work that represents the social phenomenon of increasingly fragmented human interaction due to the pervasive influence of digital technology. The creation is driven by concerns over how human connections are gradually replaced by virtual relationships that are passive, shallow, and disconnected from physical presence. This work focuses on the experience of individuals who appear connected digitally, yet remain emotionally and socially distant. The choreography adopts a symbolic approach using transparent plastic as a metaphor for the thin but impenetrable boundaries that separate individuals from genuine interaction. The three-part structure of the piece interprets layers of interaction: beginning with passive contact, moving through disorientation and distancing, and culminating in an intense physical effort to reconnect, revealing the illusion within digital proximity. Layantara invites the audience into a reflective space, encouraging awareness and critical thought regarding the forms of connection that shape modern life, and the essential value of physical presence in social relationships.  
Co-Authors A.A.I.A Citrawati Adjuoktoza Rovylendes Ahmad Bahrudin Anisa Rabdina Ariefin Alham Jaya Putra Bambang Wijaksana Donny Osmond Dony Osmond Fattahul Anugraha Firdaus Hendratno Een Idun Ariastuti Idun Ariastuti Inda Fatika Sari Okta Dia Putri Oktavianus Oktavianus Rahmah Nadiati Nami Rahmat Elfi Julianto Rahmat Fajar Ramadhan Rasmida Rasmida Reza Maulidil Akbar Riswani Riswani Sherli Novalinda Susas Rita Loravianti Taufik Akbar Vayza Aurel Wiand Windy Avrilia Harlen Yan Stevenson