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All Journal Jurnal Sendratasik Gorga : Jurnal Seni Rupa Jurnal Pendidikan dan Kajian Seni Lekesan: Interdisciplinary Journal of Asia Pacific Arts Jurnal Penelitian Pendidikan IPA (JPPIPA) Premiere Educandum: Jurnal Pendidikan Dasar dan Pembelajaran Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Jurnal Onoma: Pendidikan, Bahasa, dan Sastra Jurnal Pendidikan dan Konseling Jurnal Scientia Wahana Dedikasi : Jurnal PkM Ilmu Kependidikan Journal Of Human And Education (JAHE) Cinematology Journal Anthology of Film and Television Studies Mamangan Social Science Journal SEUNEUBOK LADA: Jurnal ilmu-ilmu Sejarah, Sosial, Budaya dan Kependidikan Innovative: Journal Of Social Science Research
Mega Cantik putri Aditya
Universitas Tanjungpura
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INDEPENDENT CURRICULUM ASSESSMENT: IMPLEMENTATION AND OBSTACLES IN ARTS AND CULTURE SUBJECTS AT SMAIT AL MUMTAZ PONTIANAK Mega Cantik Putri Aditya
Jurnal Scientia Vol. 12 No. 04 (2023): Education, Sosial science and Planning technique, 2023, Edition September-Nov
Publisher : Sean Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58471/scientia.v12i04.2040

Abstract

The aim of this research is to determine the implementation of the independent curriculum assessment at SMAIT Al Mumtaz Pontianak. Curriculum changes affect aspects of learning assessment carried out by educators, both formative and summative. Thus, it cannot be denied that there are still many teachers who do not optimally understand the implementation of assessments, which will have an impact on obstacles to achieving Learning Objectives (TP). Several teachers at SMAIT Al Mumtaz experienced this problem. This research method is descriptive qualitative, the method used aims to find out more deeply with the teacher about the implementation of the assessment, starting from planning, implementation and results. Data collection techniques consist of observation, interviews and documentation studies. The research informants consisted of three teachers and two students. The results of this research are the implementation of diagnostic and non-diagnostic assessments, both formative and summative. The implementation uses rubrics and descriptions to measure TP achievement and provide feedback information for teachers to improve the learning process. The achievement scale is 90-100 and must repeat 80-90. Meanwhile, in summative implementation of PTS and PAS, students are divided into 3 grades, namely 3 levels. These levels consist of ABCD or levels 1,2,3. The obstacles that teachers face are that they still need training in strategies to overcome students' difficulties in achieving TP, and the time constraints required to improve grades. In differentiated learning, teachers continue to guide medium and low students and not all students belonging to the advanced group are confident in providing understanding to students in the medium or low category. Then students spend more money on intracurricular and co-curricular activities to obtain grades. Activities that have been carried out, such as the Arts, Culture and Skills Workshop, are a big activity for the school to showcase students' work, namely producing local content using natural materials and simple used goods into useful items with a touch of the typical cultural identity of the city of Pontianak.
Pemanfaatan Web Bagi Dosen Prodi Pendidikan Seni Pertunjukan Pada Masa Covid 19 Aline Rizky Oktaviari Satrianingsih; Imam Ghozali; Mega Cantik Putri Aditya; Zakarias Aria Widyatama; Mastri Dihita Sagala
Wahana Dedikasi: Jurnal PkM Ilmu Kependidikan Vol. 6 No. 2 (2023): Wahana Dedikasi : Jurnal PkM Ilmu Kependidikan
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/dedikasi.v6i2.13388

Abstract

The COVID-19 pandemic had a major impact on the world of education in Indonesia. Face-to-face learning has become something that cannot have been done because everyone has shifted to online learning. This caused the learning process to stop because several things needed to be prepared both internally and externally. Lecturers are teaching staff in the academic environment who must be prepared to face the pandemic, so that students will not experience delays in the lecture process. Utilizing the WEB using E-Learning can be utilized optimally in online learning unconditionally. The Performing Arts Education Study Program collaborates with the UNTAN E-Learning Team to gived outreach and training to lecturers and teaching staff. This socialization and training is carried out in 5 steps consisting of; 1) Lecture; 2) Questions and Answers; 3) Demonstration; 4) Practice; and5) Mentoring. The implementation of this activity has an impact on increasing the understanding and application of the web by lecturers at the Performing Arts Education Study Program, FKIP, Tanjungpura University. This can be seen from the activeness of lecturers who upload material and activities in UNTAN E-Learning according to the courses to be implemented
Pelatihan Penciptaan Tari Anak Bagi Guru Seni Budaya SD Dan SMP di Kabupaten Kayong Utara Dwi Oktariani; Ismunandar Ismunandar; Regaria Tindarika; Mega Cantik Putri Aditya; Aline Rizky Oktaviari; Imma Fretisari; Imam Ghozali; Nurmila Sari Djau; Yudhistira Oscar Olendo; Zakarias Aria Widyatama P; Asfar Munir; Christianly Y; Egi Putri Grandena; Mastri Dihita Sagala; Deplo Supoyo
Wahana Dedikasi: Jurnal PkM Ilmu Kependidikan Vol. 6 No. 2 (2023): Wahana Dedikasi : Jurnal PkM Ilmu Kependidikan
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/dedikasi.v6i2.13576

Abstract

Pelatihan penciptaan tari anak bagi guru seni budaya SD dan SMP di Kabupaten Kayong Utara menjadi hal yang penting mengingat kurangnya pelatihan penciptaan tari anak khususnya dalam pembelajaran seni budaya. Tari anak menjadi hal yang sangat penting untuk dikuasai oleh para guru seni budaya, karena mengingat sifat dan kemampuan anak dalam bergerak akan memiliki perbedaan dikarenakan perkembangan kemampuan motorik kasar dan halusnya. Metode pelaksanaan PKM memiliki tahapan-tahapan yaitu persiapan dengan berkoordinasi dengan mitra, tahap pelaksanaan menyampaikan materi tari anak, tahap mempraktikan tari anak, dan tahap pendemonstrasian peserta akan hasil ciptaan tarinya. . Hasil yang diperoleh dalam PKM ini yaitu peserta memiliki kemampuan dalam menciptakan tari anak. Meningkatkan wawasan peserta didik mengenai elemen-elemen komposisi taru, tahap eksplorasi,improvisasi, evaluasi gerak hingga menjadikan 1 karya tari yang utuh guna dijadikan referensi menari kedepannya. Pelatihan penciptaan tari anak bagi guru SD dan SMP di Kayong Utara sebagai program Pengabdian Kepada Masyarakat Universitas Tanjungpura membuahkan hasil kerjasama antar pelaksana dan mitra.
The effectiveness of animated video on social science learning outcomes and activeness in elementary school students Luhur Wicaksono; Dafid Ginting; Muhammad Rijal Fadli; Jems Sopacua; Iwan Ramadhan; Mega Cantik Putri Aditya
Premiere Educandum : Jurnal Pendidikan Dasar dan Pembelajaran Vol. 13 No. 1 (2023)
Publisher : Universitas PGRI Madiun

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25273/pe.v13i1.16291

Abstract

Animated video learning media is a tool that can be used in various learning models to improve the quality of learning. However, there are still many social studies teachers who have not utilized animated videos in social studies learning to increase student activity and learning outcomes. The purpose of this research is to analyze the effectiveness of animated videos on the activity and social studies learning outcomes of elementary school students. The method used is a descriptive quantitative approach with an experimental design. The sampling technique used purposive sampling with a sample of 42 students and 1 teacher. Data collection techniques through questionnaires in the form of pre-test and post-test statements with a Likert scale of 5 to assess student activity and learning outcomes. Data analysis used a paired sample t-test to determine whether there was an influence between the two variables assisted by the SPSS Version 26 program. The results showed that the use of animated videos in social studies learning was stated to be effective so that learning activities took place optimally and were able to improve activeness and student learning outcomes.
MAKNA PROPERTI TARI TUPENG NATUNA KABUPATEN NATUNA Saridin Saridin; Dwi Oktariani; Mega Cantik Putri Aditya
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.56508

Abstract

The Natuna Tupeng Dance is a traditional folk dance that grows and develops in Kelanga Village, North East Bunguran District, Natuna Regency, however there has been no writing about the meaning of the properties used by dancers. This research aims to determine the form, meaning and function that need to be revealed from the unique properties of the Natuna Tupeng Dance. The research method is descriptive qualitative with an ethnochoreology and semiotic approach to obtain data results regarding the meaning of property in the Tupeng Natuna dance. Data collection techniques include observation, interviews and documentation. The data validity testing technique used is extended observation and source triangulation. Based on the analysis of the data obtained, the results show that the properties of the Natuna Tupeng Dance contain meaning and messages to be conveyed to the audience. The properties of the Tupeng Natuna Dance include masks in the shape of human faces, men, women, animal faces such as beqok, plates and scarves. The mask in the shape of a human face depicts the young people of the Kelanga Village community in the Bedung forest, the mask in the shape of a beqok face depicts a monkey. The meaning of the three forms of masks is to depict the harmony of life between humans and animals, which can mean that living creatures need and interact with each other. The plate property symbolizes a form of gratitude to God, because he has provided sufficient sustenance to the people in the village. The shawl's properties symbolize the natural beauty that exists in the Bedung forest. The meanings of all the properties of the Natuna Tupeng Dance are interconnected with each other and are related to the daily lives of the people in Kelanga Village, North East Bunguran District, Natuna Regency.Keywords: Meaning, Properties, Tupeng Natuna DanceAbstrakTari Tupeng Natuna merupakan salah satu tari tradisional rakyat yang tumbuh dan berkembang di Desa Kelanga Kecamatan Bunguran Timur Laut Kabupaten Natuna, namun belum ada tulisan mengenai makna properti yang digunakan oleh penari. Penelitian ini bertujuan untuk mengetahui bentuk, makna, dan fungsi yang perlu diungkap dari keunikan properti Tari Tupeng Natuna. Metode penelitian berupa deskriptif kualitatif dengan pendekatan etnokoreologi dan semiotika guna mendapatkan hasil data mengenai makna properti dalam tari Tupeng Natuna. Teknik pengumpulan data berupa observasi, wawancara, dan dokumentasi. Teknik penguji keabsahan data yang digunakan adalah perpanjangan pengamatan dan triangulasi sumber. Berdasarkan analisis data diperoleh hasil bahwa properti Tari Tupeng Natuna terdapat makna dan pesan yang ingin disampaikan kepada penonton. Properti Tari Tupeng Natuna berupa topeng yang berbentuk wajah manusia laki-laki, perempuan, wajah binatang seperti beqok, piring, dan selendang. Topeng yang berbentuk wajah manusia menggambarkan muda mudi masyarakat Desa Kelanga yang berada di dalam hutan Bedung, topeng berbentuk wajah beqok yang menggambarkan seekor monyet. Makna dari ketiga bentuk topeng itu adalah menggambarkan keserasian hidup antara manusia dan binatang yang dapat bermakna bahwa makhluk hitup itu saling membutuhkan dan saling berinteraksi. Properti piring menyimbolkan bentuk rasa syukur kepada Tuhan, karena telah memberikan rezeki yang cukup kepada masyarakat di Desa tersebut. Properti selendang melambangkan keindahan alam yang berda di dalam hutan Bedung.  Makna dari keseluruh properti Tari Tupeng Natuna saling berhubungan satu sama lain dan mempunyai keterkaitan dengan kehidupan sehari-hari masyarakat di Desa Kelanga Kecamatan Bunguran Timur Laut Kabupaten Natuna.Kata Kunci: Makna, Properti, Tari Tupeng Natuna Authors:Saridin : Universitas TanjungpuraDwi Oktariani : Universitas TanjungpuraMega Cantik Putri Aditya : Universitas Tanjungpura ReferencesAnwar, A. (2020), œMakna Topeng Perempuan. Hasil Wawancara Pribadi:  5 Februari 2024, Universitas Tanjungpura.Ardiani, A., & Fitriani, N. (2023). Motif dan Makna Motif Tenun Ulos Batak Angkola di Kabupaten Tapanuli Selatan. Gorga: Jurnal Seni Rupa, 12(2).Budihardini, S. S., Tindarika, R., & Aditya, M. C. P. (2022). SEJARAH TARI TOPENG NATUNA DESA TANJUNG KECAMATAN BUNGURAN TIMUR LAUT KABUPATEN NATUNA. Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK), 12(2), 665-673.Darmawan, D. (2024), œAsal Mula Bentuk Tari Tupeng Natuna. Hasil Wawancara Pribadi:  13 Februari 2024, Universitas Tanjungpura.Istiandini, W., Tindarika, R., & Sulissusiawan, A. (2022). Makna Simbol Properti Gong pada Tari Tradisional Ngeruai Kenemiak Dayak Kantu. Jurnal Seni Tari, 11(2), 179-187.Kistanto, N. H. (2015). Tentang konsep kebudayaan. Sabda: Jurnal Kajian Kebudayaan, 10(2).Liliweri, A. (2019). Pengantar studi kebudayaan. Nusamedia.Mariana, D., Dwi, O., & Ismunandar, I. (2023). Manajemen Organisasi Sanggar Seni Kesumba di Kabupaten Mempawah. Gorga: Jurnal Seni Rupa, 12(2).Oktariani, D. (2023). Tari Jepin Langkah Simpang Budaya Melayu. Pontianak: Cv. LakeishaOktariani, D. (2024). Peran Sanggar Seni Kesumba Dalam Melestarikan Kesenian Tradisional Melayu. Jurnal Ilmiah Rinjani 12(1), 15-24.Pujiana, P., & Novrita, S. (2023). Transformasi Bentuk Alam Menjadi Motif Batik di Kecamatan Enam Lingkung Kabupaten Padang Pariaman. Gorga : Jurnal Seni Rupa, 12(2).Purnamawati, S., Adriani, A., & Novrita, S. Z. (2016). Studi Tentang Batik Basurek di Kota Bengkulu Provinsi Bengkulu. Journal of Home Economics and Tourism, 11(1), 1“12.Suhendra, R., Fretisari, I., & Muniir, A. (2019. MAKNA SIMBOL PROPERTI TARI SELODANG MAYANG DI PULAU PEDALAMAN KABUPATEN MEMPAWAH. Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK), 8(3).Swathy, I. D. A. I., Joni, I. D. A. S., & Suryawati, I. G. A. A. (2020). Makna Simbol Komunikasi Dalam Tari Topeng Sidakarya. Jurnal Ilmiah Mahasiswa Ilmu Komunikasi Medium, 1(1), 38-45.Varadibtya, S. D., Ismunandar, I., & Istiandini, W. (2022). MAKNA PROPERTI TARI JEPIN TALI BINTANG DI DESA KALIMAS KECAMATAN SUNGAI KAKAP KABUPATEN KUBU RAYA. Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK), 11(6), 365-375.
Perkembangan Penyajian Tari Raddat Alon-Alon di Desa Matang Danau Kecamatan Paloh Kabupaten Sambas Milda; Ismunandar; Mega Cantik Putri Aditya
SEUNEUBOK LADA: Jurnal ilmu-ilmu Sejarah, Sosial, Budaya dan Pendidikan Vol 12 No 2 (2025): JURNAL SEUNEUBOK LADA
Publisher : Program Studi Pendidikan Sejarah - Universitas Samudra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33059/jsnbl.v12i2.12825

Abstract

This research purposed to describe the development of the presentation of the Raddat Alon-Alon Dance in Matang Danau Village. The method in this study is descriptive qualitative with an ethnochoreology approach. Data collection techniques used are observation, interview and documentation techniques. The results of this study indicate that the development of the presentation of the Raddat Alon-Alon Dance consists of several aspects, namely floor design, make-up, costume, and performance venue. The floor design which was initially horizontal has developed into a variety. Natural make-up has developed into a more complex one by emphasizing lines and sharpening facial expressions. The costume initially only used baju kurung and bannang ammas cloth and used a bun, then developed by adding the use of lotus, sash, and flower and earring accessories. The performance venue used to be in an open field in the form of an arena, then developed into a stage in the form of a proscenium. The results of the analysis show that the Raddat Alon-Alon Dance is still preserved so that it has developed in the dance. Keywords: Performance Development, Raddat Alon-Alon Dance, Matang Danau Village
ASA ESA: A DANCE PERFORMANCE REPRESENTING THE TRIDATU SYMBOL IN BALINESE HINDU COSMOLOGY Prabhawita, Gita; Miftakhul Hauna; Mega Cantik Putri Aditya
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 8 No. 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v8i2.3520

Abstract

Asa Esa is a Balinese contemporary dance performance inspired by the sacred Tridatu thread, a symbolic element deeply rooted in Balinese Hindu society. The Tridatu symbolizes the Tri Murti in Balinese Hindu cosmology, representing the unity of three principal deities. This study aims to analyze how the symbolism of the Tridatu is manifested through choreography, music, visual design, and collaborative elements, thereby bridging spiritual values with contemporary artistic expression. The creative process follows Alma M. Hawkins’ method of exploration, improvisation, and performance. Data were collected through literature review, interviews, and observations of Balinese Hindu religious practices. The movement vocabulary combines traditional Balinese dance with contemporary techniques, while the use of lighting, costume, and visual design emphasize the symbolic essence of the Tridatu. The work originates from the exploration of intertwined threads that gradually unravel, evoking multiple layers of spiritual interpretation. Asa Esa represents the belief in spiritual unification embodied in the Tridatu. The findings reveal that the work synthesis of tradition and innovation, conveying symbolic meaning through movement, music, makeup, and stage design, while maintaining both aesthetic and spiritual harmony. The implications highlight the potential of performing arts as a medium for cultural preservation, philosophical reflection, and spiritual communication grounded in local wisdom.
Nilai Maskulinitas dalam Simbolisme Gerak Jepin Cangkah Pedang: Ekspresi Identitas Lelaki Melayu Pontianak Imma Fretisari; Deni Slamet; Peri Rakhmadi; Nurbaiti, Nurbaiti; Mega Cantik Putri Aditya
Jurnal Onoma: Pendidikan, Bahasa, dan Sastra Vol. 12 No. 1 (2026): Penulis pada Edisi ini Terdiri dari Enam (6) Negara: Indonesia, Malaysia, Chin
Publisher : Universitas Cokroaminoto Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30605/onoma.v12i1.7697

Abstract

Penelitian ini membahas nilai-nilai maskulinitas dalam Jepin Cangkah Pedang sebagai representasi identitas lelaki Melayu Pontianak. Kajian ini berangkat dari fenomena pergeseran makna maskulinitas akibat modernisasi dan globalisasi budaya yang menimbulkan stereotip terhadap peran laki-laki dalam seni tari. Penelitian bertujuan untuk menganalisis simbolisme gerak dalam Jepin Cangkah Pedang serta memahami bagaimana nilai-nilai maskulinitas diwujudkan dan dipertahankan dalam konteks sosial budaya masyarakat Melayu. Metode penelitian menggunakan pendekatan deskriptif kualitatif melalui observasi, wawancara, dan studi dokumentasi terhadap pencipta, penggiat seni, serta akademisi. Hasil penelitian menunjukkan bahwa Jepin Cangkah Pedang memanifestasikan nilai maskulinitas melalui keseimbangan antara kekuatan dan kendali diri yang terepresentasi dalam gerak berpola silat dan penggunaan properti pedang serta cangkah. Tarian ini memuat lima nilai utama: keberanian, kehormatan, kendali diri, kepemimpinan, dan kebijaksanaan. Kelima nilai tersebut menegaskan peran lelaki Melayu sebagai penjaga marwah, pelindung komunitas, dan penegak etika sosial. Melalui struktur gerak yang terukur, disiplin tubuh, dan koordinasi ritmis, tarian ini berfungsi sebagai media pendidikan budaya yang menanamkan tanggung jawab moral dan kesadaran sosial. Secara kultural, Jepin Cangkah Pedang berperan sebagai ruang resistensi terhadap pergeseran nilai gender modern sekaligus sarana pelestarian identitas maskulin Melayu Pontianak. Tarian ini memperlihatkan bahwa kelelakian bukan ekspresi kekuasaan, tetapi wujud keseimbangan antara tenaga, kebijaksanaan, dan kehormatan dalam menjalankan tanggung jawab sosial dan budaya.
Integrating Sandur Madura as a Cultural Context in Science Education: An Ethnographic Study on Migration and Acculturation in West Kalimantan Mega Cantik Putri Aditya; Aline Rizky Oktaviari Satrianingsih; Regaria Tindarika
Jurnal Penelitian Pendidikan IPA Vol 11 No 5 (2025): May
Publisher : Postgraduate, University of Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29303/jppipa.v11i5.11023

Abstract

Immigration by Madurese natives in West Java was carried out due to economic and geographical factors and supported by an independent, dynamic, and courageous nature. This economic factor is indicated by the still high poverty rate in East Java and the high level of competition in getting jobs. Migration is an option for Madurese people to find sources of life that are starting to be limited; one of the migration destinations is in West Kalimantan. Many Madurese people migrate to West Kalimantan because they already have relatives there and have opportunities to improve their economy. This migration certainly affects the culture of the community, where Madura has a culture that must be maintained by its people even though they are outside the Madura area; the goal is to preserve and maintain the culture. Sandur is one of the Madurese cultures in the form of a theatre performance that integrates music, dance, and acrobatic silat movements. Education is one of the keys to preserving Madurese culture for immigrant communities in West Kalimantan. The method used is a qualitative ethnographic approach through observation and structured in-depth interviews to understand the dynamics and interactions of the Madurese ethnic group with local ethnic groups. The results of the study show that the Sandur performing arts not only function as entertainment, but also as a means of social education that conveys moral and ethical values, a bridge of acculturation. The process of enculturation and acculturation creates cultural harmony that enriches the identities of both parties, marked by the modernization of Sandur in its performances to adapt to local culture in West Kalimantan. The existence of a curriculum that supports Sandur culture can support students' sense of pride and active participation so that students will have awareness and participate in preserving Sandur culture. These findings support the integration of local cultural values into science education, fostering both scientific literacy and cultural identity among students.
Kesenian Tari Orang-Orang Bertopeng: Memperkuat Relasi Sosial dan Warisan Melayu Kalimantan Barat Mega Cantik Putri Aditya; Iwan Ramadhan
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 8 No. 1 (2024): April
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v8i1.31808

Abstract

Tari Orang-orang Bertopeng memainkan peran penting dalam upacara pernikahan serta mempererat ikatan sosial di masyarakat. Tujuan penelitian ini adalah untuk mendalami peran dan fungsi Kesenian Tari Orang-orang Bertopeng dalam memperkuat relasi sosial, memelihara warisan budaya Melayu, serta memahami dinamika hubungan sosial. Kesenian Tari Orang-orang Bertopeng di Desa Mega Timur, Kalimantan Barat, mencerminkan kekayaan warisan budaya Melayu dan memainkan peran penting dalam upacara pernikahan. Dalam perspektif sosiologis, pertunjukan ini menjadi landasan untuk memahami dinamika hubungan sosial di masyarakat. Tarian ini tidak hanya berfungsi sebagai hiburan semata, tetapi juga sebagai medium yang mempererat ikatan antarindividu dan kelompok. Di antara anggota kesenian, terbentuk keakraban melalui kerjasama dan koordinasi, menciptakan norma dan nilai bersama yang menguatkan struktur sosial kelompok. Hubungan dengan masyarakat sekitar juga menjadi penting, di mana interaksi antara penampil dan penonton menciptakan respons positif dan memperkaya pengalaman bersama. Metode penelitian yang digunakan adalah metode deskriptif kualitatif dengan teknik pengumpulan data berupa observasi partisipatif, wawancara, studi pustaka, dan dokumentasi. Hasil penelitian menunjukkan bahwa Tari Orang-orang Bertopeng bukan hanya sebagai hiburan, melainkan juga sebagai representasi hubungan sosial yang kompleks dalam masyarakat sehari-hari. Tarian ini mencerminkan dinamika relasi sosial dalam masyarakat dan memperkuat hubungan sosial antara berbagai pihak yang terlibat dalam pertunjukan tari ini. Seni pertunjukan juga memainkan peran penting dalam membentuk, memelihara, dan memperluas jaringan sosial di tengah masyarakat.  Interaksi antara penampil dan penonton dalam pertunjukan Tari Orang-orang Bertopeng menciptakan respons positif dan memperkaya pengalaman bersama. Kesenian Tari Orang-orang Bertopeng memainkan peran vital dalam memperkuat hubungan sosial dan memelihara warisan budaya Melayu. Pertunjukan tarian ini tidak hanya sebagai hiburan, tetapi juga sebagai representasi dinamika relasi sosial dalam masyarakat sehari-hari. Seni pertunjukan menjadi sarana penting dalam memperluas jaringan sosial dan memahami keanekaragaman budaya.   The Masked People Dance plays a significant role in wedding ceremonies and strengthens social bonds within the community. This research aims to delve into the role and function of the Masked People Dance in reinforcing social relations, preserving Malay cultural heritage, and understanding social relationship dynamics. The Masked People Dance in Desa Mega Timur, West Kalimantan, reflects the richness of Malay cultural heritage and plays a crucial role in wedding ceremonies. From a sociological perspective, this performance serves as a foundation for understanding the dynamics of social relationships within the community. The dance not only serves as entertainment but also as a medium for strengthening bonds among individuals and groups. Among the members of the art, camaraderie is formed through cooperation and coordination, creating shared norms and values that strengthen the social structure of the group. Interaction with the surrounding community is also important, where interaction between performers and audiences creates positive responses and enriches shared experiences. The research method used is qualitative descriptive method with data collection techniques including participatory observation, interviews, literature studies, and documentation. The research findings indicate that the Masked People Dance is not only for entertainment but also a representation of complex social relationships in everyday life. This dance reflects the dynamics of social relations in society and strengthens social relationships among various parties involved in the dance performance. Performing arts also play a crucial role in shaping, preserving, and expanding social networks within the community. Interaction between performers and audiences in the Masked People Dance performance creates positive responses and enriches shared experiences. The Masked People Dance art plays a vital role in strengthening social relationships and preserving Malay cultural heritage. The dance performance is not just for entertainment but also a representation of the dynamics of social relations in daily life. Performing arts serve as an important means of expanding social networks and understanding cultural diversity.
Co-Authors Abda Abda ALINE RIZKY OKTAVIARI SATRIANINGSIH Amanda Ristriana Pattisinai Asfar Munir Christianly Y Dafid Ginting Deni Slamet Deplo Supoyo Dwi Oktariani Fadli, Muhammad Rijal Fernandus Deo Decapriyo Firmansyah, Haris Grandena, Egi Putri Imam Ghozali Imma Fretisari Imran Imran Ismunandar Ismunandar Ismunandar Iwan Ramadhan Jems Sopacua Kadek Shanti Gitaswari Prabhawita, Kadek Luhur Wicaksono Mastri Dihita Sagala Miftakhul Hauna Milda Muhammad Agus Hardiansyah Mukhamad Zulianto Nurmila Sari Djau Peri Rakhmadi Ramadhan Kasyful Kalam Regaria Tindarika Saridin Saridin Winda Istiandini Yudhistira Oscar Olendo Zakarias Aria Widyatama Zakarias Aria Widyatama P Zakarias Aria Widyatama Putra