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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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Bentuk Penyajian Balatindak dalam Prosesi Pakanggi Umat di Kecamatan Bangkurung Kabupaten Banggai Laut Wida H. Saisali; Nurlia Djafar; Riana Diah Sitharesmi
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.v5i1.8372

Abstract

Balatindak is a traditional art that has existed since the time of the Banggai Kingdom. In its development, Balatindak presented in the regions, and each region has its own characteristics in its performance. In Banggai Laut Regency, Bangkurung District, Balatindak is performed upon the arrival of visiting distinguished guests, and on Eid al-Fitr. In Lantibung village, Balatindak is not only entertainment but also as part of the pakanggi umat ceremony carried out by the community. This study aims to describe the form of Balatindak presentation in the process of implementing pakanggi umat. This study uses a descriptive qualitative research method. In collecting data, researchers conducted interviews, and observations of the implementation of pakanggi umat, as well as documenting it in the form of photos and videos. The results of the study found that Balatindak was performed four during the pakanggi umat. The first was at the beginning of the procession performed by two men (talapu), then in the middle was presented by several male and female talapu. The costumes worn by male talakus are daily clothes consisting of long or short-sleeved shirts, black trousers, and white headbands. Meanwhile, female talapu wear long-sleeved shirts, sarongs, scarves, and white head coverings. The Balatindak is unique with movements dominated by rapid foot stomping, and both arms play props depicting machetes and shields. Balatindak is accompanied by batong music. The venue is the Bangkurung traditional house called Kusali. The Balatindak performed in this tradition classified as a ritual performing art.
Revitalisasi Tari Mosau’ Bolaang Mongonow Melalui Penciptaan Tari Sinungkudan Fahrurozy Ambaru Harun; Riana Diah Sitharesmi; Nurlia Djafar
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.v5i1.8383

Abstract

This research aimed to revitalize Mosau' Dance, a nearly extinct traditional dance from Bolaang Mongondow, through the creation of a new work entitled Sinungkudan Dance. Mosau' Dance is a celebratory dance of post-war warriors whose existence is currently fading in the Bolaang Mongondow region due to a lack of regeneration and the influence of modernization. This research employed a descriptive qualitative approach with a focus on choreographic analysis. The revitalization process was carried out through four stages: exploration, reconstruction, reinterpretation, and reactualization. The results indicate that revitalization through the creation of Sinungkudan Dance successfully provided a "new breath" for the local tradition of Bolaang Mongondow. Choreographically. Sinungkudan Dance consisted of eight movement variations, combining three original Mosau' movement motifs (such as joyful leaps) with five newly created movements that depicted narratives of warrior life (Bogani), ranging from weapon sharpening and physical training to the atmosphere of warfare. The choreographic structure was supported by nine symbolic floor patterns, the use of the tungkudon (spear) as a prop, and digital musical accompaniment that blended traditional rhythms with modern instruments such as the flute and snare drum. In conclusion, through more visually and kinetically attractive innovations, the values of leadership and resilience embodied in Mosau' Dance were able to be transmitted to younger generations as a proud cultural identity for the people of Bolaang Mongondow.
ANALISIS STRUKTUR GERAK TARI GIOMU DI SANGGAR MOGUSATO KABUPATEN BOLAANG MONGONDOW UTARA Riski Mokodompit; Riana Diah Sitharesmi; Nurlia Djafar; Rahmawati Ohi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026 Published
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.40484

Abstract

Traditional dance plays a crucial role as a medium for cultural expression, representing the values, identity, and social structure of its supporting communities. However, academic studies often lack a clear gap between theoretical understanding and actual performance practices. In the context of the Giomu Dance, a court dance of the Kaidipang community in North Bolaang Mongondow Regency, previous research has tended to be descriptive-historical and has not yet explored its movement structure in depth as practiced by cultural performers. This study aims to systematically analyze the movement structure of the Giomu Dance by examining movement vocabulary, spatial design, and performance dynamics. The study employed a descriptive qualitative approach, with data collection techniques including performance observations, in-depth interviews with cultural figures and dancers at the Mogusato Studio, and visual documentation. The results indicate that the movement structure of the Giomu Dance is composed of five main vocabulary elements interconnected through planned transitions and repetitions, four floor patterns that establish dramatic relationships between female and male dancers, and movement dynamics that emphasize gentleness, order, and resilience. These findings reveal that the movement structure of the Giomu Dance represents the values of unity, honor, and nobility of Kaidipang women, rooted in the local historical and socio-cultural context. This study concludes that the Giomu Dance functions not only as a welcoming performance art but also as a medium for articulating cultural identity that remains relevant and sustainable in the lives of the people of North Bolaang Mongondow today.
ANALISIS KOREOGRAFIS SAMRAH DI PONDOK PESANTREN AL-KHAIRAAT BUNTULIA KABUPATEN POHUWATO Fingki Yaningsi Ruiba; Riana Diah Sitharesmi; Trubus Semiaji
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026 Publish
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.41946

Abstract

Samrah is a form of dance-based art that thrives in various Gorontalo communities, including at Al-Khairaat Buntulia Islamic Boarding School. Samrah is a type of religious performance art that combines elements of movement, music, lyrics, and costume to express Islamic values. This study employed a descritive qualitattive approach. Data collection techniques included direct observation at Al-Khairaat Buntulia Islamic Boarding in Pohuwato Regency, interviews with educators,, dancers, and members of the local Arab-descendant community, as well as documentation. The choreographic analysis focused on movement structure, floor petterns, number of dancers, musical accompaniment, costumes, and tthe meanings embedded in the performance. Tthe results showed tthat the Samrah choreography at Al-Khairaat Buntulia Islamic Boarding School is dominated by footwork movements, foot stomping, swinging arm movements, hand clapping, and turning movements. The floor patterns tend to be symmetrical and repetitive, reflecting  the values of ukhuwah islamiyah (Islamic brotherhood) and equality among the dancers. Moreover, the interrelation between movement, music, and lyrics positions Samrah not only as a performing art from but also as an educational medium and a means of implementing Islamic values within the Islamic boarding school environment. This study is expected to contribute to the study of traditional performing arts, particularly in the context of Islamic boarding school education and the preservation of local culture grounded in raligious values.
An Exploratory Diffusion of Metaphorical Gestures-Based Choreography for Sign Language Learning Riana Diah Sitharesmi; La Ode Karlan
Journal of Urban Society's Arts Vol 13, No 1 (2026): April 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v13i1.17469

Abstract

Since the arrival of a deaf student in 2024, the department of Pendidikan Sendratasik Universitas Negeri Gorontalo has continued to strive for appropriate strategies to accommodate inclusive learning. Sign language serves as primary communication tool, which also support other learning accomodations. A problem emerges for the hearing students regarding learning sign language as a new language, amidst the mostly hectic artistic projects of this department. This research presents a strategy to learn sign language within a choreographic project which explores metaphorical gestures. The objective is to introduce Indonesian Sign Language (BISINDO) to dance students through an exploratory diffusion that is passed down from the core group (dense) to the open group (open). The research uses an artistic-based research as a research method within the approach of self-ethnography to allow the process of contemporary dance creation involves ethics of inclusivity. The results show a collaborative dance work entitled “Tanda Tanda Sunyi Bunyi” as an output of exploring metaphorical gestures diffusively, and that through it, the students understand the using of basic BISINDO. The research discusses the kinesthetics exploration as a form of knowledge distinguishes contemporary dance as a style, providing choreographic experience to the dancers (participants) while they also practising and sosializing BISINDO. It concludes that learning BISINDO in an artistic way is an ethical strategy to create inclusive environmet by integrating sign language practice within the art project. In this way, the department can fairly engage its deaf student in both academic activities and artistic culture.
Metode Tutor Sebaya Untuk Pembelajaran Penguasaan Ragam Gerak Tari Monamot Di Gorontalo Winda Mahaputri; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar; Ipong Niaga
Jurnal Ilmu Bahasa, Sastra, dan Budaya Vol. 2 No. 2 (2026): BASADYA - Juli
Publisher : CV. SINAR HOWUHOWU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70134/basadya.v2i2.1575

Abstract

This study aims to describe the process of learning the Monamor Dance through the peer tutoring method in the dance extracurricular program at SMA Negeri 1 Suwawa Timur and to identify the supporting and inhibiting factors. The limited time allocated to dance practice in formal classroom instruction has prompted the use of extracurricular activities as intensive training spaces to preserve local cultural heritage. This study employed a descriptive, qualitative approach with a single-case study design. The participants consisted of 10 female students, of whom two eleventh-grade students acted as tutors due to their higher level of competence, while the remaining eight students served as tutees. Data were collected through direct observation, interviews, questionnaires, and activity documentation. Data validity was ensured through reference materials, source triangulation, and technique triangulation. The findings revealed that the stages of learning through the peer tutoring method included identifying students' initial abilities, selecting tutors, forming groups, practicing movement sequences, adjusting movements to musical accompaniment and props, conducting full rehearsals, and performing in the final presentation. The implementation of this method was found to improve students wiraga (movement technique), wirama (rhythm), and wirasa (expression), while also fostering leadership skills and group collaboration. Supporting factors included students' high motivation, the comfort of practicing with peers, and the availability of facilities such as costumes and props. Meanwhile, inhibiting factors included students' initial reluctance to ask questions, a lack of seriousness due to close peer relationships, tutors" limited experience in providing guidance, and scheduling conflicts regarding the use of practice spaces
Manifesting Bolaang Mongondow Local Wisdom Through the Creation of Sinungkudan Dance Riana Diah Sitharesmi; Trubus Semiaji
IJCAS (International Journal of Creative and Arts Studies) Vol 13, No 1 (2026): June 2026
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v13i1.19618

Abstract

This paper examines the manifestation of Bolaang Mongondow local wisdom in the creation of Sinungkudan dance as a contemporary reconstruction of the traditional Mosau’ dance. The study aims to explore how local cultural values can be revitalised through dance creativity while maintaining their philosophical and aesthetic roots. The research applies a qualitative approach through autoethnography and artistic-based research as research method, positioning the researchers as both cultural participants and artistic collaborators in the creative process. The data were collected through participatory observation, studio practice documentation, interviews, reflective journals, and performance recordings. The findings show that Sinungkudan transforms the movement motifs, symbolic properties, musical elements, and social meanings of Mosau’ into a new choreographic form that remain closely connected to Bolaang Mongondow cultural identity. The local wisdom manifested in the dance includes values of courage, kinship, resilience, collective solidarity, respect for women, and social harmony rooted in the Mogama tradition. Through contemporary presentation strategies familiar to younger generations, Sinungkudan functions not only as an artistic performance but also as a medium for cultural revitalisation and intergenerational transmission of local values. Manifestasi Nilai Lokal Bolaang Mongondow dalam Kreasi Tari Sinungkudan Abstrak Tulisan ini mengkaji manifestasi kearifan lokal Bolaang Mongondow dalam penciptaan tari Sinungkudan sebagai rekonstruksi kontemporer atas tari tradisional Mosau’. Kajian bertujuan untuk mengeksplorasi bagaimana nilai-nilai budaya lokal dapat dihidupkan kembali melalui kreativitas tari dengan tetap mempertahankan akar filosofis dan estetiknya. Penelitian menerapkan pendekatan kualitatif melalui autoetnografi dan penelitian berbasis seni sebagai metode riset, menempatkan para peneliti sebagai partisipan budaya dan kolaborator artistik dalam proses kreatif. Data dikumpulkan melalui observasi partisipatif, dokumentasi praktik studio, wawancara, jurnal reflektif, dan rekaman pertunjukan. Temuan menunjukkan bahwa Sinungkudan mentransformasikan motif gerakan, sifat simbolik, unsur musik, dan makna sosial Mosau’ menjadi bentuk koreografi baru yang tetap terhubung erat dengan identitas budaya Bolaang Mongondow. Kearifan lokal yang termanifestasi dalam tarian tersebut mencakup nilai-nilai keberanian, kekerabatan, ketahanan, solidaritas kolektif, penghormatan terhadap perempuan, dan harmoni sosial yang berakar pada tradisi Mogama. Melalui strategi presentasi kontemporer yang familiar bagi generasi muda, Sinungkudan berfungsi tidak hanya sebagai pertunjukan artistik tetapi juga sebagai media untuk revitalisasi budaya dan transmisi nilai-nilai lokal antar generasi.
Tidi Da'a Learning Through Demonstration Method in Extracurricular Activities in SMA Negeri 1 Telaga Moh ikbal lapanco; Nurlia Djafar; Trubus Semiaji; Riana Diah Sitharesmi; Mimy Astuty Pulukadang
International Journal of Science and Environment (IJSE) Vol. 6 No. 2 (2026): May 2026
Publisher : CV. Inara in Colaboration with www.stie-sampit.ac.id

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51601/ijse.v6i2.613

Abstract

This research is motivated by the dominant development of creative dance in dance extracurricular activities at SMA Negeri 1 Telaga. This is evident from the various achievements achieved by students in dance competitions at the district and provincial levels, most of which are oriented towards creative dance. Creative dance is considered more interesting, varied, and in line with current developments, so it is more popular with students than traditional dance. This condition causes traditional dance learning, especially Tidi Da'a, to become less dominant in extracurricular activities. Nevertheless, the school continues to strive to preserve regional culture through traditional dance learning by implementing demonstration methods in the Tidi Da'a learning process. This study aims to describe the Tidi Da'a learning process through demonstration methods in extracurricular activities at SMA Negeri 1 Telaga. The research method used is a descriptive qualitative method. Data collection techniques are carried out through observation, interviews, and documentation. The research subjects consist of dance extracurricular instructors and students who participate in dance extracurricular activities. The results of the study indicate that the Tidi Da'a learning process through the demonstration method is carried out through several stages, namely an introduction to the history and meaning of the dance, a demonstration of movements by the instructor, repeated movement exercises, and evaluation based on the wiraga, wirama, and wirasa aspects. The demonstration method is considered effective because it makes it easier for students to understand and imitate the dance movements directly. In addition, learning Tidi Da'a in extracurricular activities is one of the school's efforts to preserve regional culture amidst the dominant interest of students in creative dance and the influence of digital culture.
Utilization of TikTok in the Cooperative Learning Model on the Material of Creative Dance Characteristics in Class XI-1 of SMA Negeri 1 Tapa Siti Aliyah Hasan; Mimy Astuty Pulukadang; Nurlia Djafar; Rahmawati Ohi; Riana Diah Sitharesmi
International Journal of Science and Environment (IJSE) Vol. 6 No. 2 (2026): May 2026
Publisher : CV. Inara in Colaboration with www.stie-sampit.ac.id

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51601/ijse.v6i2.614

Abstract

This study aims to describe the use of the TikTok application in a cooperative learning model on the characteristics of creative dance in class XI-1 of SMA Negeri 1 Tapa. This study uses a qualitative approach with descriptive methods. The research subjects consisted of Arts and Culture teachers and class XI-1 students of SMA Negeri 1 Tapa. Data collection techniques were carried out through observation, interviews, and documentation. Data analysis was carried out through the stages of data reduction, data presentation, and drawing conclusions. The research results show that the use of the TikTok application in a cooperative learning model has a positive impact on the learning process of students. The use of TikTok videos helps students understand the elements of dance, such as space, time, and energy in a more concrete and engaging manner. Furthermore, the implementation of the cooperative learning model can increase student activity, creativity, cooperation, and self-confidence during the learning process. Students appear more enthusiastic in discussions, dance practices, choreography preparation, and the process of documenting creative dance videos using the TikTok application. Learning that previously tended to be teacher-centered has changed to a more student-centered learning. Based on the results of the study, it can be concluded that the use of the TikTok application in the cooperative learning model is effective in learning the characteristics of creative dance because it is able to create a more active, creative, interactive, and enjoyable learning atmosphere and helps improve students' understanding and skills in learning Arts and Culture.
Kabela for Enriching the Contemporary Concept of Choreography at Gorontalo Riana Diah Sitharesmi; Trubus Semiaji
Research Review: Jurnal Ilmiah Multidisiplin Vol. 2 No. 1 (2023): Research Review: Jurnal Ilmiah Multidisiplin (Februari 2023 - Juli 2023)
Publisher : Transbahasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54923/researchreview.v2i1.36

Abstract

The Kabela is one of traditional dances of Bolaang Mongondow, which reflects the cultural values of North Sulawesi. Behind the ephemeral form and nature, it is necessary to investigate more deeply the rules and essential values, so that the understanding of the meaning of this dance is completely intact for the Gorontalonese as well as the Bolaang Mongondownese. This research is a starting point for mapping dance styles in eastern Indonesia, through strengthening local cultural values in northern Sulawesi in the construction of contemporary choreographic concepts in Gorontalo. The research integrates the ethnographic techniques with methodical experiments in learning process of a non-traditional choreography for the department of Pendidikan Seni Drama, Tari dan Musik at Universitas Negeri Gorontalo. Ethnographic techniques place field research simultaneously with literature studies, to create a qualitative-phenomenological analysis process that considers emic and ethical data. The choreography process adapts Hawkins' exploration model as a guide for realizing experimental works, which also creates an intersubjective understanding discourse process on the Kabela. The results show the Kabela’s presence as symbols of a noble tradition of the Bolaang Mongondownese as well as its structure. The choreographic concepts then intensify the meaning in the production of imaginative and sensory effects, so that the appreciation towards the dance is active and dynamic. This also shows that, it is by understanding others, that the appreciation of one's own is deepened.
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