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All Journal JOGED Journal of Urban Society´s Arts IJCAS (International Journal of Creative and Arts Studies) Pendas : Jurnah Ilmiah Pendidikan Dasar Ideas: Jurnal Pendidikan, Sosial dan Budaya Jurnal Pendidikan dan Pembelajaran Indonesia (JPPI) Research Review: Jurnal Ilmiah Multidisiplin Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) International Journal of Science and Environment Jurnal Cerano Seni: Pengkajian dan Penciptaan Seni Pertunjukan Jurnal Riset Ilmiah Journal of Community Services on Multidisciplinary Sciences IPSSJ Jurnal Pendidikan dan Sosial Humaniora Jurnal Ilmu Bahasa, Sastra, dan Budaya (BASADYA)
Riana Diah Sitharesmi
Universitas Negeri Gorontalo
Agriculture, Biological Sciences & Forestry Arts Humanities Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Chemistry Computer Science & IT Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Physics Public Health Social Sciences Other

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PEMBELAJARAN TEKNIK DASAR PEMERANAN OLAH SUARA DALAM SENI TEATER MENGGUNAKAN STRATEGI PROJECT BASED LEARNING PADA SISWA KELAS IX DI SMP NEGERI 1 BIAU Endah, Endah Nur Fauziyyah; Semiaji, Trubus; Pulukadang, Mimy A.; Karlan, La Ode; Sitharesmi, Riana Diah
SINERGI : Jurnal Riset Ilmiah Vol. 2 No. 6 (2025): SINERGI : Jurnal Riset Ilmiah, Juni 2025
Publisher : Lembaga Pendidikan dan Penelitian Manggala Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62335/sinergi.v2i6.1303

Abstract

This study aims to explore the process of teaching voice acting techniques in theater art through the Project-Based Learning strategy for Class IX students at SMP Negeri 1 Biau.The study employed a qualitative approach with a descriptive method. Data collection techniques include observation,interview,and documentation. The findings indicate that implementing the “Teaching Basic Voice Acting Techniques in Theater Art Using Project-Based Learning Strategy for Class IX Students at SMP Negeri 1 Biau”was successful,achieving a success rate of 83.3%. The researcher concluded that the study was successful based on two considerations: first,both student groups could perform the theater scripts,although one group was less optimal;second,several students achieved good or Dere-than-satisfactory results,with satisfactory performance scores.Using the ffroiceeBased Learning strategy proved effective in the implementation of teaghoge mie,ciieluding the design and execution of performances.  
PEMBELAJARAN TARI KREASI MOLABOT MENGGUNAKAN MODEL INKUIRI TERBIMBING PADA SISWA KELAS IX-A MTSN 2 BANGGAI Lumalaga, Khusnul; Djafar, Nurlia; Samiaji, Trubus; Sitharesmi, Riana Diah; Ohi, Rahmawati
SINERGI : Jurnal Riset Ilmiah Vol. 2 No. 6 (2025): SINERGI : Jurnal Riset Ilmiah, Juni 2025
Publisher : Lembaga Pendidikan dan Penelitian Manggala Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62335/sinergi.v2i6.1316

Abstract

This research is based on problems that occur in the dance learning process in class IX A MTSN 2 Banggai. In this case, in accordance with the 2013 curriculum, the basic competency in creative dance material in class IX is that students are expected to be able to understand and demonstrate creative dance movements based on the supporting elements of dance. However, in dance learning in class IX-A the teacher only assigns students to note down the material in the textbook, whereas in learning to demonstrate creative dances the teacher can provide examples of dances originating from their own region, namely the Molabot dance creations, which can be taught to student. Given these problems, researchers used the Guided Inquiry model as an alternative to help teachers in the learning process. The aim of this research is to describe the learning process using the Guided Inquiry Model for grade 9 students with dance material created by Molabot at MTSN 2 Banggai. Based on the results of Molabot's creative dance learning using the Guided Inquiry model, it shows that of all class IX A MTSN 2 Banggai students, totaling 17 students, there were 8 students who got a grade of A (Very Good), 6 students who got a grade of B (Good), and 3 students who students who get a grade of C (Adequate). So the average student score was 80.58 and the percentage result was 82% and met the criteria B (Good). In the practical evaluation carried out per group, there were 2 groups and each received a grade of B (Good).  
NILAI ESTETIS TIDI LO BITU’O (STUDI KASUS DI SANGGAR TUMULA GORONTALO) Nazly Friena S. Pakaya; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar; Mimy Astuty Pulukadang
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31132

Abstract

This study was conducted due to the beauty of one of Gorontalo’s traditional art forms. The type of art referred to is tidi, meaning “dance.” Among the eight types of tidi in Gorontalo, Tidi Lo Bitu’o stands out as particularly captivating. This study addresses two main problems: identifying the components of Tidi Lo Bitu’o and examining how its structure conveys aesthetic value. The study employed a qualitative case study approach, focusing on analyzing the dance performances of the Tumula Studio dancers, using Janet Adshead’s theoretical framework as presented in Riana Diah Sitharesmi’s book, alongside A.A.M. Djelantik’s theory of aesthetics. The study aims to describe Tidi Lo Bitu’o’s components and interpret the aesthetic values embodied within its structure. The findings reveal that the components of Tidi Lo Bitu’o include movements, dancers, visual set elements (stage setting, lighting, costumes, facial makeup, hair styling, and props), and aural elements in the form of accompanying music, featuring lyrics sung in the Gorontalo language accompanied by rebana and koloko’o instruments. Regarding aesthetic values based on A.A.M. Djelantik’s framework, three key aspects were identified: unity, demonstrated through the relationship among movements, dancers, visual set, and aural elements; emphasis, found in the opening sequence through the music, dancers with salenthangi props, and the core section where the bitu’o prop is actively used along with the music; and balance or harmony, observed through the blending elements of Tidi Lo Bitu’o and the relationship between the two props used, salenthangi and senthangi.
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
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 CAKALELE PADA PENOBATAN KEPALA DUSUN SUKU BURU DI PROVINSI MALUKU Nur Rahmatia; Riana Diah Sitharesmi; Mimy A. Pulukadang; Nurlia Djafar; La Ode Karlan
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32278

Abstract

The Cakalele dance is a traditional war dance originating from Maluku Province. In the inauguration ceremony of the village head, the Cakalele dance is performed as the fourth sequence in the traditional ritual procession. In the Buru tribal language, the village head is called “Kepala Soa.” This study aims to explain the process of the Kepala Soa’s inauguration and to describe the presentation form of the Buru Tribe’s Cakalele dance during this event in Maluku Province. The Cakalele performed at the inauguration ceremony is classified as a ritual dance. This study employed a qualitative descriptive method. Data collection techniques included observation, interviews, and direct observation of the presentation form of the Cakalele dance during the Kepala Soa’s inauguration, which was documented through photographs and video recordings. The analysis results show that the Cakalele dance is performed by two male dancers who must meet specific requirements: they must be members of the Buru tribe, married, have previously performed the Cakalele dance, and be physically and mentally healthy. The costume worn consists of a “lenso” (scarf), a plain black shirt and pants, and a red cloth (merat). The Cakalele dance comprises three primary movement motifs and is accompanied by the traditional Tifa drum. The main property in the dance is the Pattimura sword. The performance takes place in the front yard of the Oki Baru Village Office.
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.
PEMBELAJARAN MUSIK IRINGAN TARI KABELA MELALUI MODEL PEMBELAJARAN DIRECT INSTRUCTION DI KELAS XI IPA 1 SMA NEGERI 2 KOTAMOBAGU Muhammad Rafii Sardi; La Ode Karlan; Mimy A. Pulukadang; Rahmawati Ohi; Riana Diah Sitharesmi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 Terbit
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32963

Abstract

This study aims to analyze the effectiveness of applying the Direct Instruction learning model in teaching musical accompaniment for the Kabela dance at SMA Negeri 2 Kotamobagu. The focus of the research is to determine the extent to which this model can improve students’ skills in playing musical instruments for dance accompaniment and to identify the challenges encountered during the learning process. This research employed a qualitative approach using observation, interviews, and documentation methods. The subjects of the study were students involved in learning musical accompaniment for the dance at the school. The results showed that the implementation of the Direct Instruction model significantly helped students understand and play accompanying musical instruments, such as the flute, tambourine, and gong. Systematic learning through the stages of introduction, material presentation, guided practice, independent practice, and evaluation made it easier for students to understand the rhythm and tempo patterns of the Kabela dance accompaniment. The main challenges found in this study were students’ difficulties in synchronizing tempo in group performances and their lack of prior experience in playing traditional musical instruments. However, these challenges could be minimized through regular practice and intensive guidance from the teacher during the learning process. In conclusion, the study finds that the Direct Instruction learning model is effective in improving students’ skills in playing musical accompaniment for the Kabela dance. This model can serve as an alternative method in music education at schools to enhance students’ understanding and skills in a systematic and structured way.
Bentuk Penyajian Tarian Kuntau Pada Acara Pernikahan Di Desa Bajo Kecamatan Tilamuta Kabupaten Boalemo Inarsha Mezak, Fayza; Diah Sitharesmi, Riana; Semiaji, Trubus
Jurnal Cerano Seni : Pengkajian dan Penciptaan Seni Pertunjukan Vol 4 No 2 (2025): Jurnal Cerano Seni: Pengkajian dan Penciptaan Seni Pertunjukan (Desember 2025)
Publisher : Universitas Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22437/jcs.v4i2.45054

Abstract

This study aims to describe the presentation of the Kuntau Dance at a wedding in Bajo Village, Tilamuta District, Boalemo Regency. The background of the study is based on the fading tradition of the Kuntau dance which is only danced by three elderly dancers, even though this dance has a meaning of protection and sacred value in traditional processions. The method used is descriptive qualitative with a case study design. Data were collected through participatory observation, in-depth interviews with traditional leaders and Kuntau performers, and photo and video documentation. Data analysis was carried out inductively through data reduction, display, and verification to produce a comprehensive description. The main findings show that the presentation of the Kuntau dance involves two types of movement (step 1 and step 2), modern costume (batik shirt, cloth trousers, cap), natural makeup, linear floor patterns, and traditional musical accompaniment (drums and gongs). The performance begins with an opening greeting, walking to escort the groom's entourage, and ends three meters from the door of the bride's house. The conclusion of the research states that the Kuntau dance is a traditional performing art of the Bajo Tribe which has transformed from sacred martial arts into a cultural attraction at wedding processions and needs to be preserved through training the younger generation, documentation, and development of cultural tourism.
Tari Longgo Mayuru dalam Konteks Sejarah dan Kehidupan Sosial Masyarakat Molingkapoto Fadilla Anggraini Botutihe; Nurlia Djafar; Mimy Astuti Pulukadang; Rahmawati Ohi; Riana Diah Sitharesmi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 2 (2025): Oktober: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i2.8093

Abstract

This study was motivated by the existence of Longgo Mayuru Dance as a traditional art form of Gorontalo that still maintains its socio-cultural functions and relatively authentic movement structure amid cultural dynamics. This dance not only serves as an aesthetic expression but also as a cultural text that represents the history, customary system, and social identity of the Molingkapoto community. The purpose of this study is to analyse the movement structure of the Longgo Mayuru dance in relation to the historical context and social life of the Molingkapoto community. The study uses a qualitative approach with a descriptive-interpretative design. Data were collected through participatory observation, in-depth interviews with dance performers and traditional leaders, as well as visual and written documentation. Data analysis was carried out by describing the dance movement structure at the level of motifs, phrases, and movement sentences, then interpreted through structural and sociocultural approaches. The results of the study show that the Longgo Mayuru Dance has its roots in traditional martial arts, which underwent historical transformation into a symbolic escort dance. It has a sacred socio-customary function and is composed of a systematic and symbolically meaningful movement structure. The implications of this research emphasise the importance of preserving the Longgo Mayuru dance, not only in terms of its movements, but also in terms of the socio-cultural context and historical values that underpin it as part of the cultural heritage of the Molingkapoto community.
Bentuk Penyajian Tari Mopotilro dalam Acara HUT PEREDAM di Kecamatan Bolaang Uki Kabupaten Bolaang Mongondow Selatan Nurhikmah Jum'a Laselo; Riana Diah Sitharesmi; La Ode Karlan; Nurlia Djafar; Trubus Semiaji
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8338

Abstract

Mopotilro Dance is a traditional dance originating from South Bolaang Mongondow Regency that functions as a welcoming dance for guests in customary ceremonies. Academically, this dance has not yet been examined in depth. Therefore, this article aims to investigate the Mopotilro Dance from the perspective of its performance structure, particularly as presented at the anniversary celebration of the Persatuan Relawan Muda Molibagu (PEREDAM) community. The research focuses on several aspects of the dance presentation, including: (1) movement, (2) number of dancers, (3) makeup and costume, (4) musical accompaniment, (5) floor patterns, (6) properties used, and (7) performance space. This study employs a qualitative research method with data collection techniques consisting of observation, interviews, and documentation, which are used to describe the data and draw conclusions. The results indicate that the presentation of the Mopotilro Dance at the PEREDAM anniversary event is not found in other occasions. This condition suggests that public understanding of the Mopotilro Dance as part of local cultural heritage remains limited. The lack of academic studies on the performance structure of the Mopotilro Dance is one of the factors contributing to its rare appearance in various events.
Co-Authors Alifah Aulia Shabrina Jusuf Amin, Rana Nadia Antu, Arwin W. Dajafar, Nurlia Endah, Endah Nur Fauziyyah Fadilla Anggraini Botutihe Fahrurozy Ambaru Harun Fingki Yaningsi Ruiba Inarsha Mezak, Fayza Ipong Niaga La Ode Karlan La Ode Karlan Lapalanti, Safril Lumalaga, Khusnul Mery Aprillia Damopilii meryaprilliadamopolii@gmail.com Mimy Astuty Pulukadang Moh ikbal lapanco Mois, Lisna Muhammad Rafii Sardi Nazly Friena S. Pakaya Ni Komang Vica Sari Nur Aprilia Ismail Nur Rahmatia Nurhikmah Jum'a Laselo Nurlia Djafar Nurlia Djafar Ohi, Rahmawati Patila, Sartika Potale, Sabina Putri Aulia Rahmawati Ohi Riski Mokodompit Safina Fitra Amalia Ohi Samiaji, Trubus Siti Aliyah Hasan Srisusanti Mayang Trubus Semiaji Wida H. Saisali Winda Mahaputri