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All Journal Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Jurnal Invensi (Jurnal Penciptaan dan Pengkajian Seni) Jurnal Seni Tari
Widyanarto Widyanarto
Universitas Universal
Arts Humanities Education

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Metode Revitalisasi Koreografi Gubang di Jemaja, Kepulauan Anambas, Kepulauan Riau Widyanarto Widyanarto; Denny Eko Wibowo; Siguti A. Sianipar
INVENSI (Jurnal Penciptaan dan Pengkajian Seni) Vol 5, No 1 (2020): Juni 2020
Publisher : Program Pascasarjana Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (770.809 KB) | DOI: 10.24821/invensi.v1i1.3498

Abstract

ABSTRAKGubang merupakan tarian tradisional yang ada di Desa Jemaja, Kabupaten Anambas, Pulau Letung. Tarian Gubang menurut masyarakat setempat dipercaya secara turun-temurun sebagai tarian bunian. Bentuk penyajian tarinya khas dengan menggunakan topeng. Pertunjukan tari Gubang biasanya dipertontonkan pada hari-hari tertentu, seperti acara pesta perkawinan, perayaan hari kemerdekaan, atau acara pentas seni, dan pesta kebudayaan daerah di waktu malam hari. Tarian ini kini mengalami penurunan eksistensi, berkaitan dengan berkurangnya acara-acara yang memerlukan sajian Gubang. Kondisi ini mendorong upaya penggalian, pembentukan, dan evaluasi melalui aspek koreografi sehingga eksistensi tari Gubang masih terpelihara tanpa mengurangi esensi dari pertunjukannya. Proses revitalisasi pada tari Gubang di Pulau Letung, Jemaja, Kepulauan Anambas, memanfaatkan metode kualitatif dengan tujuan untuk mendapatkan bentuk koreografi baru. Hasil revitalisasi terwujud dalam penggarapan pola lantai dan tata busana yang baru. Koreografi tari tersebut kemudian akan mendorong minat serta bentuk tindakan pelestarian yang lain.ABSTRACT Gubang is a traditional dance that appearance in Jemaja village, Anambas region, Letung island. According to the community, Gubang dance trusted as a bunian dance. The mode of representation of this dance used the masks. Gubang dance usually only performed at the night on certain days, such as wedding party, a celebration of the independent day, and culture celebration. This dance has a decrease in existence related to reduced events that need Gubang to performed. This condition encourages some effort to study, composing, and evaluating in the choreography aspects, to maintain the existence of Gubang without reducing the essence of performance. The process of revitalizing in Gubang dance in Jemaja used qualitative method intended to re-compose choreography. The result of this action is arranging in the new floor design and costume design. After that, the revitalize method can motivate the community interest for another preserve activities.
Analisis Bentuk Penyajian Kesenian Dikir Kepri Bermadah Oleh Sanggar Saidina Ali, Pulau Lengkang Feriyansyah Feriyansyah; Widyanarto Widyanarto
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 2: November 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v5i2.9535

Abstract

Analysis of the Art Presentation Dikir Kepri Bermadah by Saidina Ali Studio, Lengkang Island. Dikir Kepri art is an art that is formed from the reforms carried out on Western dikir art. This renewal was carried out by the Saidina Ali studio as the pioneer of the reform. The reforms carried out refer to the form of this art itself. This renewal was carried out to avoid cultural plagiarism because the basis for the birth of this art came from Malaysian art with the same form. the object under study. With stages consisting of literature study, interviews, and direct observation of the object being studied. The form of presentation of Dikir Bermadah can be analyzed from various aspects, namely: 1. analysis of dancers 2. analysis of songs and poetry 3. analysis of accompaniment music 4. symbolic analysis 5. analysis composition 6. analysis of fashion and property This research was conducted on Lengkang island with the Saidina Ali studio as the primary data source. With the guidance of Mr. Mizan, S.pd as a resource person, the learning process of the research object went smoothly. The form of presentation of the Dikir Kepri Bermadah and the difference with the Western Dikir can be seen clearly from various aspects in the form of presentation.Keywords: Thoughts of Mercy, Renewal, Form of Presentation
Symbolic Study- Representation in Nyongsong Dance Widyanarto Widyanarto; Febrianti Febrianti; Mega Lestari Silalahi
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.v12i2.75430

Abstract

Nyongsong dance tells of the activities of clove harvesting farmers in the Anambas Islands. Harvesting cloves includes climbing, picking, crushing, and drying cloves. This research is qualitative. The data collection technique was carried out by researchers through participatory observation, and the data analysis stage used qualitative descriptive methods. The presentation of the Nyongsong dance consists of three rounds, act 1 presents the farmers climbing and picking cloves symbolized by up and down movements exploring the clove tree setprop, act 2 presents the activity of crushing cloves symbolized by female dancers exploring the movement of ukel and exploring the properties of the jute sack by male dancers, and in act 3, the activity of farmers drying cloves is presented, symbolized by seven dancers exploring brown cloth together. This Nyongsong dance used corrective makeup with brown and green clothes. The props used in this dance are inspired by the tools farmers use when harvesting cloves, such as bags, winnowing, and burlap sacks. Danced by seven dancers, including two male dancers and five female dancers. The accompanying music is created life using Malay musical instruments such as selondang, serunai, violin, mong, gong, bebano, darbuka, flute, multiped percussion, and sequencer. This research aims to examine the Nyongsong dance from the perspective of representational symbols as enriching knowledge about the study of choreography through symbols and representations.
Co-Authors A. Sianipar, Siguti Febrianti Febrianti Mega Lestari Silalahi Sugeng, Santoso Wibowo, Denny Eko