Article Per Year (5 Year)
p-Index From 2021 - 2026
4.614
P-Index
This Author published in this journals
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

Published : 36 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 36 Documents
Search

 1   2   3   4 
Learning Sign Language through Bisindo-based Choreographic Process Riana Diah Sitharesmi
Research Review: Jurnal Ilmiah Multidisiplin Vol. 4 No. 2 (2025): Research Review: Jurnal Ilmiah Multidisiplin (Agustus 2025 - Januari 2026)
Publisher : Transbahasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54923/researchreview.v4i2.301

Abstract

Creating dance requires movements vocabularies as well as the proficiency of choreographic technique.  The significant forms intent to present some visual codes or signs for the spectators to capture the hidden messages. Contemporary dance vocabularies can be obtained by elaborating visual codes that exist in everyday life, including codes used by the Deaf for communication.  Contemporary choreography using Bisindo is used as a medium for dance students to learn sign language, as part of their contribution to inclusivity at Gorontalo. This research implicates a qualitative phenomenological perspective on studio work that involve an artistic-based research as method in analysing the process of dance creation.  Referring to Hadley, Humphrey, Smith, and Lavender in organizing contemporary dance repertoires in the context of the Deaf – Hearing intersection, this research integrates the basic elements of Bisindo as prime movement vocabularies. The research completed the artistic process, but has not reach the choreographic construction to integrate the Deaf with her Hearing mates. The results of the research are a dance movement vocabulary based on Bisindo, an inclusive arts learning model, and a contemporary dance repertoire. The choreography process and a dance piece entitled ‘Tanda Tanda Berkata’ provide an artistic medium for dance students to learn basic sign language, thus it also bridge the communication gap with deaf friends.
Analysis of Dance Movement Structure Kabela At the Mokosambe Studio, Mopait Village Mery Aprillia Damopilii; Riana Diah Sitharesmi; Nurlia Djafar; meryaprilliadamopolii@gmail.com; Trubus Semiaji
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.v6i2.633

Abstract

This study aims to describe the movement structure of the kabela dance at the Mokosambe Studio, Mopait Village, Bolaang Mongondow Regency. This study uses a qualitative approach with a descriptive research type. Data collection techniques are carried out through observation, interviews, and documentation. Data sources in this study were obtained from studio managers, cultural figures, dancers, and various documentation related to the kabela dance. The data analysis technique uses grounded theory by analyzing data systematically through identifying and grouping dance movement structures based on the results of field research. The results show that the kabela dance is a traditional dance that functions as a welcoming dance for guests and has cultural values ​​​​of the Bolaang Mongondow community. The movement structure of the kabela dance consists of several types of movements, namely entering the arena, saluting, arranging flowers, glancing to the right and left, surrounding the kabela, kayang, making up, scattering flowers, and closing movements. Each movement has a regular structure and is performed continuously to the accompaniment of traditional music. Kabela dance movements are dominated by soft, regular, and polite movements that reflect an attitude of respect for guests. In addition, the kabela dance is also supported by supporting elements such as female dancers, traditional salu' clothing, kabela props, and traditional musical accompaniment in the form of drums, gongs, and flutes. Based on the results of this study, it can be concluded that the kabela dance has a systematic movement structure and contains aesthetic and cultural values ​​​​of the Bolaang Mongondow community. Therefore, the kabela dance needs to be continuously preserved as one of the regional cultural heritage.
PELATIHAN MANAJEMEN SANGGAR SENI  DI SMAN 1 SUWAWA BONE BOLANGO Riana Diah Sitharesmi
Journal of Community Services on Multidisciplinary Sciences Vol. 4 No. 1 (2026): Journal of Community Services on Multidisciplinary Sciences
Publisher : Journal of Community Services on Multidisciplinary Sciences

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

 An Art centre in school is currently an informal unit that is much needed, especially to strengthen artistic skills for high school students. The establishment of an art centre at SMAN 1 Suwawa, Bone Bolango Regency, will also be able to accommodate the school's preparation for participating in the annual FLS3N agenda. To help the school in preparing the establishment of an art centre, we provided brief training and mentoring on art management for students at SMAN 1 Suwawa. The training was carried out through a participatory workshop method on management to prepare the art's organisational structure, and staging drama, dance, and music to provide the initial repertoire of the centre. The training was integrated with performing arts activities in commemorating the anniversary of SMAN 1 Suwawa. The results obtained from this program are the basic knowledge and skills of the participants of how to manage an art centre at school, and a complete repertoire of creative dance, choir, and monologue as a respective initial capita
PEMBELAJARAN TEATER TUNGGAL (MONOLOG) DALAM KEGIATAN EKSTRAKURIKULER DI SMK NEGERI 1 BULANGO SELATAN MENGGUNAKAN METODE “ROLE PLAYING” Alifah Aulia Shabrina Jusuf; La Ode Karlan; Mimy Astuty Pulukadang; Riana Diah Sitharesmi; Trubus Semiaji
SINERGI : Jurnal Riset Ilmiah Vol. 3 No. 1 (2026): SINERGI : Jurnal Riset Ilmiah, January 2026
Publisher : Lembaga Pendidikan dan Penelitian Manggala Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62335/sinergi.v3i1.2203

Abstract

This study aims to explore the Implementation of Monologue Learning in Extracurricular activities as an effort to overcome lost learning, experienced by students due to the COVID-19 pandemic. Lost learning is a condition in which students lose the opportunity to learn optimally due to disruptions in the face-to-face learning process that occurs during the pandemic. Bold learning implemented during the pandemic is often unable to accommodate the differentiated needs of students, especially at SMK Negeri 1 Bulango Selatan School. Because of this, researchers are interested in conducting research at the school. This study uses the Role Playing method, because this method is Flexible, and can encourage students to be more active through role simulations that are close to Real Situations. This study uses a qualitative approach, the data in this study were collected through observation, documentation, interviews and assessment instruments. The population in this study were students in grades X, XI, XII who actively participated in the Theater Extracurricular. The sample of this study was 15 people, divided into 3 Participants and 12 as observers. The results of the study were; from 3 participants, they had performed quite varied performances. And 12 students as observers, 8 people observed carefully and 4 people were not serious and needed to be improved.
PEMBELAJARAN MATERI GERAK TARI TRADISIONAL MELALUI METODE DEMONSTRASI DI KELAS VIIISMP NEGERI 1 KABILA BONE Safina Fitra Amalia Ohi; Riana Diah Sitharesmi; Rahmawati Ohi
SINERGI : Jurnal Riset Ilmiah Vol. 3 No. 3 (2026): SINERGI : Jurnal Riset Ilmiah, Maret 2026
Publisher : Lembaga Pendidikan dan Penelitian Manggala Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62335/sinergi.v3i3.2436

Abstract

This study aims to describe the learning process of traditional dance movement material, particularly the Tidi Lo O’Ayabu dance, through the demonstration method among Grade VIII students of SMP Negeri 1 Kabila Bone. The background of this study is the ineffectiveness of previous dance learning processes that relied solely on audio-visual media, resulting in many students experiencing difficulties in applying practical material and failing to achieve the Minimum Mastery Criteria (KKM). This study employed a descriptive qualitative approach. Data were collected through direct observation, unstructured interviews with the school principal, cultural arts teachers, and students, as well as documentation. The research subjects consisted of all Grade VIII students of SMP Negeri 1 Kabila Bone. The learning steps were organized into nine meetings, including theory delivery, visual observation, and direct practice through the demonstration method in which the teacher acted as a model. The results showed that the implementation of the demonstration method significantly improved students’ psychomotor skills, cognitive understanding, and affective attitudes. Students became more enthusiastic, were able to understand complex movement details more easily, and were capable of performing the Tidi Lo O’Ayabu dance in groups with assessment categories ranging from “Good” to “Very Good.” Through this method, students not only memorized movements but also understood their philosophical meanings and contributed to the preservation of Gorontalo’s local cultural heritage.
Bentuk Penyajian Tidi Lo Tabongo pada Acara Pagelaran Seni Budaya di Kecamatan Tapa Srisusanti Mayang; Nurlia Djafar; Riana Diah Sitharesmi; Iaode Karlan; Mimy Astuty Pulukadang
Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora Vol. 6 No. 1 (2026): Maret : Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/khatulistiwa.v6i1.10341

Abstract

Tidi Lo Tabongo is one of the classical dances included among the eight types of Tidi. Tidi Lo Tabongo means a warding-off dance or a dance to be cautious of something; however, it is not ritualistic and is commonly performed at the bridal procession of Gorontalo princesses by men from outside Gorontalo or during guest welcoming events. This study aims to describe the performance form of Tidi Lo Tabongo in the Tapa District of Gorontalo using Janet Adshead’s theory as presented in Riana Diah Sitharesmi’s book and A.A.M. Djelantik’s aesthetics theory. The purpose of the research is to identify and describe the performance form and components of Tidi Lo Tabongo Gorontalo. This study employs a qualitative approach with a descriptive nature as the basis for information processing. Data collection began with initial observations, followed by interviews with informants and direct review of Tidi Lo Tabongo performances. All observation results were recorded and compiled in visual documentation, including images and audiovisual recordings. The analysis shows that Tidi Lo Tabongo is performed by four Gorontalo female dancers wearing traditional Galenggo attire, featuring four main movement variations and eight floor patterns, accompanied by Tidi Lo Tabongo songs and Rebana musical instruments. The dance symbolizes vigilance and strives to create a sense of comfort for visiting guests, representing Gorontalo culture, particularly the personality of Gorontalo women in fostering safety, comfort, and harmony, while remaining free from negative influences.
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