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All Journal Laga-Laga: Jurnal Seni Pertunjukan Melayu Arts and Performance Journal Jejak digital: Jurnal Ilmiah Multidisiplin
Syahril Syahril
Institut Seni Indonesia Padangpanjang
Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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KOMPOSISI TARI DI BAWAH 35°C KLASIFIKASI GEJALA HIPOTERMIA DALAM PENGGARAPAN TARI TUNGGAL KONTEMPORER Dini Indah Putri; Riswani Riswani; Syahril Syahril
Laga-Laga : Jurnal Seni Pertunjukan Vol 8, No 2 (2022): Laga-Laga: Jurnal Seni Pertunjukan
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/lg.v8i2.3108

Abstract

Karya tari ini berjudul Di Bawah 35°C terinspirasi dari sebuah fenomena yang dialami oleh penanjak gunung yaitu hipotermia. Hipotermia adalah keadaan suhu tubuh yang turun di bawah 35°C yang menyebabkan fungsi sistem saraf dan organ tubuh lainnya mengalami gangguan. Gejala yang terjadi pada penderita hipotermia yang menjadi ketertarikan dan fokus pada karya ini. Untuk menggarap konsep menjadi sebuah karya tari maka pengkarya meggunakan salah satu metode untuk penggarapan karya yaitu pengumpulan data atau observasi, pengolahan data, studi pustaka, eksplorasi, penataan gerak, improvisasi, pembentukan dan evaluasi melalui konsep pendekatan inovasi dan interpretasi. Karya Di Bawah 35°C terdapat tiga bagian. yaitu bagian pertama hipotermia dengan klasifikasi ringan dengan gerak bergetar dengan postur mengecil atau menringkuk menggunakan musik iringan suara angin dan piano, bagian dua hipotermia dengan klasifikasi sedang, tubuh kaku, postur tubuh tegang dengan tenaga yang kuat menggunakan musik pengiring suara hujan, petir dan cello, pada bagian tiga yaitu hipotermia dengan klasifikasi berat, kesulitan bernafas, menggunakan gerak-gerak kontrek menggunakan musik iringan suara elektrocardiogram, alunan suara wanita, dan suara angin. Karya ini di pertunjukkan di pentas arena gedung Boestanul Arifin Adam dan menggunakan rias cantik panggung melalui rias korektif dengan kostum jaket bulu berwarna ungu, baju kaos turtleneck berwarna ungu, celana cargo panjang berwarna hitam, sarung tangan berwarna hitam, kaos kaki berwarna hitam mengkilap dan ungu. Kata kunci : Gejala, hipotermia, klasifikasi.
Tradisi Manyanda di Nagari Talang Kabupaten Solok pada Karya Tari "Seratus" dalam Manyaratuih Hari Iffah Zaaidah; Syahril Syahril; Adjuoktoza Rovylendes; Dony Osmond
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/teme8f38

Abstract

The dance work "SERATUS" is inspired by the Manyanda tradition, which has several stages, one of which is the manyaratuih hari (the traditional wedding ceremony). This stage involves a dowry procession performed by both the groom and the bride. In this work, the artist attempts to interpret the dowry procession for both parties, while also depicting the customary penalty of the death of a cat, which the family faces if they fail to follow the Manyanda tradition. The dance work "SERATUS" is realized using props inspired by the dowry forms used in the tradition. The methods used in the creation process include data collection and field observation, exploration, improvisation, forming, and evaluation. This work is performed by eight dancers and supported by eight supporting dancers. The work uses a dramatic style with a social theme, reinforced by the use of live techno music as accompaniment, thus supporting the dramatic flow in line with the artist's concept.
Perkembangan Tari Kuda Kepang sebagai Media Promosi Wisata Budaya di Kabupaten Kepahiang Provinsi Bengkulu Niken Novrianti; Eva Riyanti; Rasmida Rasmida; Syahril Syahril
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/ppyz2993

Abstract

This study aims to determine the development of the Kuda Kepang Dance as a medium for cultural tourism promotion in Kepahiang Regency, Bengkulu Province. This research employs a qualitative method with a descriptive analysis approach. The results indicate that the Kuda Kepang dance was introduced to Kepahiang Regency in the 1930s through the Javanese transmigration program during the Dutch colonial era. Since 2023, the dance has undergone significant development led by choreographer Eigmal, who implemented creative reconstructions and innovations across movement elements, musical accompaniment, dancers, makeup, costumes, properties, floor patterns, and performance venues. Despite these modern modifications to suit contemporary entertainment and aesthetic demands, the Kuda Kepang dance preserves its core values and traditional roots. Furthermore, the dance effectively serves as a promotional tool for regional cultural tourism in collaboration with Kepahiang's natural tourism potential, while simultaneously fulfilling social, entertainment, cultural identity, and economic functions for the local community.
Penciptaan Karya Seni “Aku Bukan Aku” Intepretasi Fenomena People Pleaser dari Isu Psikologis Sosial yang Dialami Individu Anggi Safandri Ova; Syahril Syahril; 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/r3f7ff28

Abstract

The dance work "Aku Bukan Aku" is inspired by a people pleaser phenomenon as a psychological and social issue that is often experienced by individuals, especially the younger generation, in their daily lives. People pleaser refers to a person's tendency to always prioritize the interests, feelings, and expectations of others over their own needs, in order to gain social acceptance, avoid conflict, and maintain the image as a "good" person. This attitude can slowly cause inner pressure, emotional exhaustion, loss of identity, and identity crisis. The phenomenon is then translated into works of art as a form of reflection and social criticism through the medium of body expression. The body is positioned as an experience space that records the psychological burden, excessive obedience, and inner conflict experienced by individual people pleaser.
Reinterpretation of Minangkabau Boys’ Merantau Culture in Dance Creation Fattahul Anugraha; Ariefin Alham Jaya Putra; Syahril Syahril; Zulfikar Rizki Ananda; Suaida Suaida
Melayu Arts and Performance Journal Vol 9, No 1 (2026): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v9i1.6304

Abstract

This article discusses the creation process of the dance work Budaya Merantau, which originates from the socio-cultural phenomenon of migration in Minangkabau society. The study focuses on how the surau, as a space for religious education, customary learning, martial arts practice, and character formation among Minangkabau boys, is reinterpreted as a conceptual foundation for dance creation. The main issue addressed is how migration patterns expressed in Minangkabau proverbs and oral philosophy can be transformed into a choreographic method. This study employs a research-based creation method involving observation, interviews, literature review, documentation, data analysis, movement exploration, exploration of space-time-energy, property experimentation, rehearsal, and performance. The creation process reveals that the pattern of merantau can be structured into three dramatic parts: the encouragement to migrate, the ability to socialize and adapt in a new environment, and the longing for the homeland. These structures are embodied through movements derived from Minangkabau pencak silat, everyday gestures, shifting floor patterns, the use of sarong and white fabric, Minangkabau musical idioms, and religious expressions associated with the memory of the surau. The article argues that merantau can be understood not only as social mobility but also as a creative method for producing contemporary dance based on tradition.
Co-Authors Adjuoktoza Rovylendes Anggi Safandri Ova Ariefin Alham Jaya Putra Dini Indah Putri Dony Osmond Eva Riyanti Fattahul Anugraha Idun Ariastuti Iffah Zaaidah Niken Novrianti Rasmida Rasmida Riswani Riswani Suaida Suaida Zulfikar Rizki Ananda