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All Journal Batoboh : Jurnal Pengabdian Pada Masyarakat Melayu Arts and Performance Journal Bercadik: Jurnal Pengkajian dan Penciptaan Seni Ulil Albab Jejak digital: Jurnal Ilmiah Multidisiplin
Emri Emri
Institut Seni Indonesia Padangpanjang
Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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“Berpacu dalam Pacuan” : Semangat Kebersamaan Anak Pacu Jalur dalam Perlombaan Pacu Jalur Cici Maiyuliani; Emri Emri
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2022): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/bcdk.v6i1.3726

Abstract

Karya tari berjudul “Berpacu dalam Pacuan “ ini terinspirasi dari budaya Pacu Jalur yang ada di Kabupaten Kuantan Singingi. Pacu jalur merupakan sebuah perlombaan mendayung disungai Batang Kuantan dengan menggunakan jalur tradisional yang menjadi ciri khas daerah Kuantan Singingi yang sampai sekarang masih berkembang. Pengkarya memfokuskan kepada semangat kebersamaan anak pacu jalur dalam perlombaan. Untuk menggarap konsep ini pengkarya mempunyai ide garapan, pengkarya menggunakan tubuh serta properti dayung dan peluit untuk menggambarkan semangat kebersamaan anak pacu jalur. Metode yang digunakan dalam pelahiran karya ini diantaranya, observasi, pengolahan data, studi pustaka, pemilihan pendukung karya, eksplorasi, penataan gerak, improvisasi, dan evaluasi. Dalam karya ini terdiri dari tiga bagian, bagian pertama menggambarkan suasana berlatih dan persiapan anak pacu jalur. Yang terdiri dari gerak gerak berlatih, bagian kedua pengkarya mengolah gerak – gerakan yang dilakukan anak pacu jalur seperti mendayung, menekan dengan kekuatan yang berbeda – beda. Bagian ketiga, menggambarkan suasana kemenangan hasil semangat juang anak pacu jalur dalam perlombaan..
Buhua Sentak : Fenomena Sosial Kehidupan Masyarakat Nagari Muaro Pingai Dalam Penciptaan Karya Tari Frandi Yutra; Emri Emri; Ali Sukri
ULIL ALBAB : Jurnal Ilmiah Multidisiplin Vol. 2 No. 10: September 2023
Publisher : CV. Ulil Albab Corp

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56799/jim.v2i10.2237

Abstract

Karya tari “Buhua Sentak” terinspirasi dari fenomena sosial kehidupan masyarakat di nagari Muaro Pingai. Fenomena yang dimaksud adalah penggunaan alahan oleh sebagian besar masyarakat yang berprofesi sebagai nelayan. Alahan adalah lahan untuk penjaring bilih yang dibangun berdasarkan aliran air sungai ke danau Singkarak. Pembuatan alahan tergantung pada kepemilikan di sekitar Danau. Ada banyak nagari di sekitar danau Singkarak, salah satunya adalah nagari Muaro Pingai, kecamatan, Junjung Sirih, Kabupaten Solok. Fokus dalam penciptaan karya ini terdapat pada masalah dalam proses pembuatan alahan yang sering terjadi. Pembagian air dalam pembuatan alahan inilah yang seringkali menjadi pemicu terjadinya perkelahian antara kaum. Oleh karenanya, Panghulu selalu mengadakan ropok guna menyelesaikan masalah yang terjadi. Penciptaan karya tari “Buhua Sentak” merupakan sebuah upaya melalui proses kreatif untuk menyampaikan permasalahan yang terjadi dalam fenomena masyarakat di nagari Muaro Pingai. pengkarya juga mencoba menghadirkan karakter dari masing-masing niniak mamak yang berselisih dengan menggunakan properti yang dibuat dari bambu. Metode yang digunakan dalam proses penciptaan karya tari “Buhua Sentak” ini adalah kreativitas yang memfokuskan pada karya tari dramatik kontemporer. Terdapat tiga bagian dalam penciptaan ini; pertama, menggambarkan kebersamaan dalam bentuk musyawarah untuk menyampaikan keinginan masing-masing niniak mamak; kedua, menggambarkan sisi chaos dari niniak mamak dalam menyampaikan opini; ketiga, menggambarkan penyelesaian dan pengambilan keputusan oleh penghulu sebagai kepala kaum.
Karya Tari “Limpasan Raso” Interpretasi Makna Air dalam Tradisi Manjujuang Aia pada Konteks Kematian di Nagari Bungo Tanjuang Stefi Amelia Putri; Ali Sukri; Adjuoktoza Rovylendes; Emri Emri
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: 10.63822/8apj1664

Abstract

Limpasan Raso is a contemporary dance work inspired by the Manjujuang Aia tradition in the context of death rituals in Nagari Bungo Tanjung, Tanah Datar Regency, West Sumatra. This tradition is carried out by women who carry water on their heads to the mourning house for the ritual bathing of the deceased. Beyond its practical function, the tradition embodies symbolic meanings of purification, farewell, empathy, and social solidarity toward bereaved families. This dance work aims to interpret water as a symbol of purification and release through a contemporary dance performance with a cultural theme and an abstract form. The creative process consists of exploration, improvisation, and composition stages. Exploration was conducted through observation of the Manjujuang Aia tradition, literature review, and internalization of the cultural values embedded within the practice. The findings were then developed through movement improvisation and organized into a complete choreographic composition. The work is performed by nine female dancers representing the women of the nagari who participate in the tradition. The performance utilizes a wooden barrel measuring 2 meters in diameter and 90 centimeters in height, along with plastic buckets as symbolic properties representing the Manjujuang Aia tradition. The musical accompaniment uses sequenced music and is presented in an outdoor setting. Everyday makeup and black dresses are used to symbolize simplicity, mourning, and the close connection between the tradition and community life. Through Limpasan Raso, the choreographer expresses the overflow of emotions that emerge in the experience of death, including grief, acceptance, and social support that flow throughout the community. Water is presented as a symbolic medium representing purification, release, and human interconnectedness in confronting loss. This work is expected to serve as a means of appreciating local cultural values while contributing to the preservation of the Manjujuang Aia tradition as an important element of Minangkabau cultural identity.
Ciluah : Interpretasi dari Fenomena Silang Peran Gender Laki-Laki Feminim dan Perempuan Maskulin Celsa Novia Biwis; Oktavianus Oktavianus; Emri Emri; Fattahul Anugraha
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/q5dxkz53

Abstract

Karya tari Ciluah terinspirasi dari fenomena sosial di Nagari Mandiangin, Kabupaten Pasaman Barat, yang memperlihatkan pergeseran dan perpaduan sifat maskulin dan feminim dalam kehidupan masyarakat. Karya ini mengangkat dua tokoh dengan karakter yang bertolak belakang, yaitu laki-laki berkarakter feminin yang bekerja sebagai biduan orgen dengan penampilan dan ekspresi yang lembut, serta perempuan maskulin seperti Ibu Maria yang mencari lokan di sungai untuk membantu perekonomian keluarga. Aktivitas yang penuh risiko dan tuntutan hidup membentuk keberanian, ketangguhan, dan disiplin pada sosok perempuan tersebut. Fenomena tersebut kemudian diinterpretasikan ke dalam karya tari bertema sosial dengan tipe garap abstrak. Melalui eksplorasi gerak, ekspresi, dan suasana pertunjukan, Ciluah menggambarkan keberanian, kelembutan, perjuangan, serta kompleksitas peran gender yang terbentuk oleh lingkungan, pekerjaan, dan kondisi kehidupan masyarakat. Karya ini disusun dalam tiga struktur garap suasana dan telah dipentaskan di Gedung Pertunjukan Hoeridjah Adam, Institut Seni Indonesia Padangpanjang.
Nan Ka Sanang Realitas dari Peristiwa Tolak Bala dalam Tradisi Basapa di Taeh Bukik di Kabupaten Lima Puluh Kota Sonya Prima Putri; Emri Emri; Wahida Wahyuni; Oktavianus Oktavianus
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/sr5qhy70

Abstract

The Nan Ka Sanang dance is inspired by the Basapa tradition in Taeh Bukik, Lima Puluh Kota Regency, a tradition of praying during the month of Syafar as a way to ward off disaster and seek inner peace. This work depicts the reality of the tolak bala event in the basapa tradition, namely the spiritual journey of humans who come bringing disaster, anxiety, and hope, toward a point of purity through prayer and drawing closer to God. This work is danced by eight dancers accompanied by techno music. The methods used in creating this dance work are exploration, improvisation, and formation. The movements are developments of movements found in the basapa activity, namely sitting, walking, standing, and praying. This work uses a tray as a prop, symbolizing togetherness towards a common goal. This work is created with a religious theme and a pure style, consisting of three lines. It was performed at the Huriah Adam Performance Hall, Indonesian Institute of the Arts, Padangpanjang.
Karya Tari di Antara Pijak Patah Interpretasi Filosofi Bajanjang Naiak Batanggo Turun Putry Wulandari; Yan Stevenson; Emri Emri; Ariefin Alham Jaya Putra
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: 10.63822/01f88669

Abstract

The dance work Di Antara Pijak Patah is grounded in the Minangkabau philosophy of Bajanjang Naiak Batanggo Turun, a life principle that emphasizes order, process, and ethical conduct in social life. This philosophy has long served as a foundation for shaping social etiquette within Minangkabau society, particularly in intergenerational relationships, both within the family and in broader social contexts. However, alongside rapid social change and technological advancement, these values have gradually shifted, especially among younger generations who tend to prioritize speed and instant achievement over meaningful processes. This condition has contributed to a decline in ethical awareness, manners, and mutual respect in everyday social interactions. These circumstances form the basis for the creation of this dance work as a medium of reflection and social critique on contemporary social realities. Di Antara Pijak Patah is realized as an abstract contemporary dance with a social theme. The creative process involves several stages, including data collection, observation, exploration, improvisation, structuring, and evaluation. Movement development focuses on the exploration of space, time, and energy, combined with symbolic bodily expressions and the use of a ladder as a prop to represent the moral journey of the younger generation. This metaphor illustrates the rise and fall of ethical values and the fragility of moral foundations when social norms are neglected. The work is performed by four female dancers and accompanied by live music, which serves to enhance the dramatic atmosphere and reinforce the overall structure of the performance. Through Di Antara Pijak Patah, the choreographer seeks to convey a moral message regarding the importance of social etiquette, respect for process, and ethical awareness as fundamental aspects of social life. This work is expected to function as a space for reflection for younger generations while also contributing to the development of contemporary dance creation rooted in local cultural values.  
Karya Tari  Nan Tingga Merepresentasikan Ketidakterimaan Dan Keikhlasan Terhadap Kematian Dalam Tradisi Ba Ilau Azzahra Putri; Kurniadi Ilham; Emri Emri; 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/ww41y622

Abstract

The dance work Nan Tingga is inspired by the social phenomenon of the Ba Ilau tradition. This interest is based on the sadness of a mother over the loss of her child who died abroad, the focus of the problem that became the idea to represent is about the unacceptance and sincerity of death. This work is worked on in two streams of work on the atmosphere with cultural themes and dramatic types, the method that the artist uses is referring to the book written by Prof. Dr. Y. Sumandiyo Hadi, namely the book on the basic aspects of group choreography. To strengthen the atmosphere in this work, the artist uses live and internal music that is appropriate to the work that the artist is working on. The dancers who support this work consist of six female dancers, of course the selection of dancers by the artist is adjusted to the character, good techniques are also able to apply the ideas and ideas of the work in revealing the problems that the artist wants. This dance work is entitled Nan Tingga, worked on in the form of Traditional dance and has been performed at the Boestanul Arifin Adam Auditorium on January 14, 2026
Pelatihan Randai di Nagari Sungai Pua sebagai Upaya Pelestarian Seni Tradisional di Era Revolusi Industri 4.0 Emri Emri; Susas Rita Loravianti; Wenhendri Wenhendri
Batoboh Vol 10, No 2 (2025): BATOBOH: JURNAL PENGABDIAN PADA MASYARAKAT
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/bt.v10i2.6123

Abstract

Kegiatan pengabdian kepada masyarakat ini dilaksanakan sebagai bentuk implementasi peran Institut Seni Indonesia Padangpanjang dalam pemberdayaan masyarakat, khususnya di bidang seni dan budaya. Nagari Sungai Pua, Kabupaten Agam, dipilih sebagai lokasi pelaksanaan karena memiliki potensi kuat dalam seni tradisional Randai, namun menghadapi tantangan serius berupa menurunnya minat generasi muda serta terbatasnya metode pembelajaran yang adaptif di era Revolusi Industri 4.0 dan 5.0. Pelatihan yang diberikan difokuskan pada peningkatan kemampuan teknis Randai yang mencakup gerak silat, dendang, musik pengiring, dan narasi, sekaligus memperkenalkan pendekatan pembelajaran modern melalui media digital, video tutorial, dan dokumentasi pertunjukan. Peserta pelatihan berasal dari berbagai unsur masyarakat dan kelompok seni lokal. Hasil kegiatan menunjukkan adanya peningkatan pengetahuan, keterampilan, dan motivasi peserta dalam mempelajari unsur-unsur Randai. Selain itu, pelatihan ini berhasil membuka ruang regenerasi pemain Randai muda serta mendorong terbentuknya kelompok seni baru yang lebih adaptif terhadap perkembangan teknologi. Kegiatan ini tidak hanya memperkuat pelestarian seni tradisional Randai, tetapi juga menegaskan peran perguruan tinggi dalam mendukung pengembangan budaya lokal berbasis kearifan lokal dan inovasi digital.
Colossal Dance Sawah Solok: Heritage in the Heart of the City: Artistic Creation Based on Agrarian Activities and Food Security Emri Emri; Susas Rita Loravianti; M Halim
Melayu Arts and Performance Journal Vol 8, No 1 (2025): 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.v8i1.4710

Abstract

This study examines the creation of the colossal dance Sawah Solok: Heritage in the Heart of the City as an artistic response to agrarian life and food security in Solok City, West Sumatra. Employing a practice-based research approach, the study positions dance creation as a form of cultural knowledge production rooted in local agricultural practices. The research aims to analyze how agrarian activities—such as rice cultivation, field maintenance, and harvest traditions—are transformed into choreographic structures that articulate social values, collective memory, and cultural resilience. Data were generated through field observations in urban rice fields, interviews with farmers and cultural actors, documentation of the creative process, and reflective analysis by the choreographer. The creative process follows Alma M. Hawkins’ stages of exploration, improvisation, and formation, enabling embodied experiences of agrarian labor to be translated into movement vocabulary, spatial design, and performance structure. The findings reveal that food security is represented not merely as an economic issue, but as a cultural and ethical commitment embedded in communal cooperation and adat values. This study contributes to contemporary dance discourse by demonstrating how agrarian practices and food security narratives can be integrated into colossal dance performances situated in public space.
Representation of Gender Roles in the Choreography of Rantak Nagari Parampuan within Minangkabau Matrilineal Society Emri Emri; Susas Rita Loravianti; M Halim
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.v9i1.4708

Abstract

This practice-led study examines the choreography Rantak Nagari Parampuan, presented at the 2024 Alek Mandeh Festival in the Sijunjung Traditional Village, as an artistic articulation of changing gender roles within Minangkabau matrilineal society. Previous discussions of Minangkabau women frequently emphasize normative status, customary authority, and the ideal figure of Bundo Kanduang, while fewer studies explain how contemporary choreography transforms tensions between domestic, cultural, professional, and public responsibilities into embodied performance. The study aims to identify the creative process, performance structure, and cultural meanings through which the work negotiates those multiple roles. Data were derived from field observation, discussions with local community members, rehearsal documentation, choreographic notes, and reflective evaluation of the performance process. The creation process followed the stages of exploration, improvisation, formation, and evaluation adapted from Alma M. Hawkins. The findings show that the work is organized into six dramaturgical sections: religious and moral education, domestic labor, social interaction, participation in communal activities, contemporary female identity, and the adaptive position of men in a matrilineal kinship system. Movement, vocal sound, musical accompaniment, and ensemble composition construct the idea of rantak as grounding, awareness, balance, and resilience. The work does not merely celebrate women’s customary position; it stages negotiation between inherited cultural obligations and contemporary social mobility. This study contributes to dance creation research by demonstrating how matrilineal values can function as both thematic material and a dramaturgical framework. Its novelty lies in reading the choreography as a relational representation of women and men rather than as a singular glorification of the Bundo Kanduang figure.
Co-Authors Adjuoktoza Rovylendes Ali Sukri Ariefin Alham Jaya Putra Azzahra Putri Celsa Novia Biwis Cici Maiyuliani Dony Osmond Fattahul Anugraha Frandi Yutra Kurniadi Ilham M Halim Oktavianus Oktavianus Putry Wulandari Sonya Prima Putri Stefi Amelia Putri Susas Rita Loravianti Wahida Wahyuni Wenhendri, Wenhendri Yan Stevenson