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All Journal JUPIIS: Jurnal Pendidikan Ilmu-ilmu Sosial Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Panggung Yupa: Historical Studies Journal Gondang: Jurnal Seni dan Budaya Abdimas Talenta : Jurnal Pengabdian Kepada Masyarakat International Journal of Cultural and Art Studies (IJCAS) Jurnal Darma Agung Jurnal Media Informatika Journal of Education Research Jurnal Mebang Siwayang Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, dan Antropologi Innovative: Journal Of Social Science Research
Mauly Purba, Mauly
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Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Public Health Social Sciences Other

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Proses Pembelajaran Paduan Suara di Lembaga Sanggar Melodious Magnificent Ensemble Siallagan, Ruth Melody Misbow; Purba, Mauly
Journal of Education Research Vol. 5 No. 3 (2024)
Publisher : Perkumpulan Pengelola Jurnal PAUD Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37985/jer.v5i3.1159

Abstract

Pendidikan musik bagi anak sangatlah perlu, karena manfaat pendidikan musik bagi anak merupakan bagian yang sangat menunjang dalam rangka mengisi proses kehidupan di masa depan. Tujuan penelitian ini adalah untuk menganalisis proses pembelajaran paduan suara di Lembaga Sanggar Melodius Magnificnet . Penelitian ini adalah penelitian kualitatif dengan teknik pengumpulan data wawancara, dokumentasi dan observasi. Berdasarkan hasil pembahasan dan penelitian tentang pembelajaran paduan suara untuk anak-anak di Sanggar Melodious Magnificent  dapat disimpulkan sebagai berikut. Pembelajaran paduan suara  untuk  anak-anak  di  Sanggar Melodious Magnificent  menggunakan  metode  pembelajaran demonstrasi  dan  metode  pembelajaran  latihan.  Proses  pembelajaran  vokal untuk  anak-anak  berlangsung  selama  tiga  jam  setiap  satu  kali  pertemuan  di  hari Minggu. Sanggar Melodious Magnificent  ini sudah berjalan hampir satu tahun, dan sudah banyak sekali anak-anak yang dilahirkan karyanya. Salah satu program pembelajaran paduan suara di Sanggar Melodious Magnificent Esamble adalah Paduan suara.
Pendidikan Budaya pada Pertunjukan Silat sebagai Atraksi pada Pesta Pernikahan Masyarakat Minangkabau di Kota Medan Andika, Riki; Purba, Mauly
Journal of Education Research Vol. 5 No. 3 (2024)
Publisher : Perkumpulan Pengelola Jurnal PAUD Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37985/jer.v5i3.1160

Abstract

Tujuan penelitian ini adalah untuk mengetahui dan menganalisis pendidikan budaya pada pertunjukan silat sebagai atraksi pada pesta pernikahan masyarakat Minangkabau di Kota Medan. Penelitian ini merupakan jenis penelitian kualitatif dengan melakukan pengamatan terhadap gejala-gejala kesenian, khususnya mengenai seni tradisi dan kreativitas dalam kebudayaan masyarakat Minangkabau dengan menggunakan pendekatan Hermeneutik dan studi literatur. Hermeneutik mempersyaratkan suatu aktivitas konstan dari interpretasi antara bagian keseluruhan yang merupakan suatu proses tanpa awal dan juga tanpa akhir. Hasilnya bahwa salah satu tradisi pernikahan adat terkaya di Indonesia, masyarakat Minang dalam upacara pernikahan adat di Padang menandai serangkaian prosesi dengan kesan dan makna yang dalam. Sebelum akad nikah, prosesi prapernikahan dilalui dengan cermat dan penuh hikmat. Tradisi dimulai dengan Maresek, dengan keluarga perempuan datang ke kediaman keluarga laki-laki untuk menjajaki calon mempelai pria.  Tahap Manimang atau Batimbang Tando menyusul sebagai penanda persetujuan dan penukaran tanda-tanda berharga yang menjadi pengikat pinangan. Pertunjukan ini masih melekat dengan budaya Minangkabau yang selalu tersaji dalam setiap acara pesta pernikahan. Makna dari pertunjukan ini adalah menyetujui kedatangan dari mempelai pria kepada pihak mempelai wanita.
STUDI FOLKLORE EKSISTENSI SENI PERTUNJUKAN JARAN KEPANG “PATI KENANGA LIMA PANDAWA” MEDAN MARELAN Andika, Riki; Purba, Mauly
SIWAYANG Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, dan Antropologi Vol. 2 No. 3 (2023)
Publisher : Penerbit Lafadz Jaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/siwayang.v2i3.1637

Abstract

This research aims to determine the factors that encourage the existence of the Pati Kenanga Pandawa Lima jaran kepang performance in Medan Marelan District. The benefit of this research is that it adds to the author's insight in compiling scientific work and it is hoped that this research will continue to maintain the existence of the preservation of Jaran Kepang which is increasingly disappearing as time goes by. The approach used by the author is a qualitative approach. This research uses data collection techniques by observation, in-depth interviews with several informants, namely cultural figures, arts and culture teachers, Jaran Kepang leaders, as well as informants who are involved in Jaran Kepang art performances such as Handlers, Musical Instrument Players, and Dancers. The results of this research show that the Jaran Kepang Pati Kenanga Pandawa Lima Marelan performance is still in demand and appreciated by the local community. Cultural figures consider that the Jaran Kepang Art Performance can be used as entertainment for the local community because it attracts public attention through supernatural attractions.
PERKEMBANGAN PERUBAHAN BUDAYA TARI TOR TOR CAWAN PADA MASYARAKAT BATAK TOBA Melody Misbow Siallagan, Ruth; Maulidia Putri, Sabrina; Purba, Mauly
SIWAYANG Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, dan Antropologi Vol. 2 No. 3 (2023)
Publisher : Penerbit Lafadz Jaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/siwayang.v2i3.1638

Abstract

Tor-Tor Cawan is one of the ritual ceremonies believed in by the Toba Batak people. The function of this dance is considered as a medium for requests (pinta-pinta) to the Gods and ancestral Spirits, as well as news (narboaboa) and the spiritual world regarding healing of disease, prosperity, rejection of evil (epidemics, evil deeds and natural disasters), even the hope of obtaining offspring. The son who is highly desired by the Batak ethnic group as the successor to the clan. This research was conducted to determine the development and changes in the Tor Tor Cawan dance culture in the Toba Batak Community. This research method is qualitative research. The subjects chosen for this research were the dancers of Sanggar TB Silalahi and the owner of Sanggar TB Silalahi. The data collection techniques used were observation and interviews. The conclusion is that originally the tor tor Cup was a sacred dance used in rites of worship and supplication to God, the Gods and Ancestors. In the current phase, changes have occurred in its function as dance performance and entertainment, as well as changes in the pattern of its production and musical accompaniment. The development of using a cup from 1 to 7 was due to the element of performing arts which became the focus where the acrobatics performed by the dancers made the cups used become 7. The tor tor cup dance is no longer used by the Toba people, but as a prophase dance it is widely performed and disseminated.
Organological Study of Canang Kayu in Aceh Singkil Purba, Junaidi; Purba, Mauly; Lubis, Tasnim
International Journal of Culture and Art Studies Vol. 8 No. 2 (2024): International Journal of Culture and Art Studies (IJCAS)
Publisher : Talenta Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32734/ijcas.v8i2.16747

Abstract

This study aimed to describe the organological aspects of making and playing the Canang kayu (wooden canang) instrument. Canang kayu is one of the local musical instruments from Aceh Singkil Regency. It is included as a percussion instrument and classified as an idiophone (a solid musical instrument whose sound comes from the instrument itself). This musical instrument is a form of xylophone (a percussion instrument consisting of a series of wooden blocks placed horizontally and struck with a unique beater). A qualitative method was applied in this study. Data were collected through observation participation, literature studies, and interviews with the Canang kayu makers, Canang kayu players, and staff in Majelis Adat Aceh Singkil (Aceh Singkil Traditional Council). The data source was pictures of Canang kayu and interview recordings with informants. The result of the study showed that the primary raw materials for canning kayu are bamboo and tree wood/Terentang putih tree (local people also call it cupping wood). Terentang putih tree (Campnosperma auriculatum) is a type of tree that grows in swamps. This tree can be found near Aceh Singkil forest. It is pretty difficult to find at present. The material for making Canang kayu should consider the size, tool used, raw material, and the making process. For playing technique, Canang kayu can be played by placing it on feet or a container. The Canang kayu instrument has a strong relationship with maintaining its material and local knowledge of making concepts that seize the cultural values of the Aceh Singkil people. It can be concluded that the making and playing technique is an effort to preserve one of Aceh Singkil's cultural heritages toward the identity and important insights in enriching knowledge about Canang kayu as an Aceh Singkil traditional art.
Njuah-Njuah cultural festival as a counter-hegemonic space for sustaining Pakpak traditional music in Dairi Regency Tobing, Jakob P Cennedy Lumban; Nasution, Ikhwanuddin; Purba, Mauly
International Journal of Culture and Art Studies Vol. 10 No. 1 (2026): International Journal of Culture and Art Studies (IJCAS)
Publisher : Talenta Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32734/ijcas.v10i1.23943

Abstract

This study examines the shrinking cultural space of Pakpak traditional music in Dairi Regency, North Sumatra, where Batak Toba musical aesthetics increasingly dominate ritual, religious, and public cultural events. Although the Pakpak community possesses a rich musical tradition, particularly the Genderang Sisibah ensemble, these forms are gradually displaced within everyday communal practices. This research aims to analyze how the Njuah-Njuah Cultural Festival functions as a cultural arena that supports the sustainability and visibility of Pakpak traditional music. The study employs a qualitative ethnographic approach involving participant observation, in-depth interviews with cultural actors and musicians, and analysis of institutional and cultural documents. Fieldwork was conducted across several communal contexts, including family rituals, church activities, school events, entertainment markets, and the Njuah-Njuah Cultural Festival. The findings reveal that the dominance of Batak Toba music is not merely a matter of aesthetic preference but is closely tied to structural factors such as institutional influence, symbolic legitimacy, and the broader availability of Batak Toba musicians in the local entertainment economy. Despite these pressures, the Njuah-Njuah Cultural Festival provides an important public platform where Pakpak musical traditions regain visibility and cultural authority. The study contributes theoretically by demonstrating how cultural festivals can serve as counter-hegemonic arenas that facilitate the transmission, negotiation, and continuity of indigenous musical traditions in contemporary socio-cultural contexts.
The meaning of the oral tradition Penganjak Kuda Sitajur in the accompaniment of kulcapi within the Karo community Sinulingga, Ramanta; Purba, Mauly; Ginting, Pulumun Peterus
International Journal of Culture and Art Studies Vol. 10 No. 1 (2026): International Journal of Culture and Art Studies (IJCAS)
Publisher : Talenta Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32734/ijcas.v10i1.24508

Abstract

The study examines the oral tradition of "Penganjak Kuda Sitajur," prevalent in the Karo community, focusing on the semiotics of narrative and the role of the kulcapi, a musical instrument, as a supporting medium in storytelling. This tradition reflects the cultural, social, and religious values of the Karo community through the heroic tales of the Sitajur character, narrated musically. Using a qualitative approach with ethnographic methods, the research relies on primary data from interviews, observations, and field documentation. The semiotic theories of Jacques Derrida and Roland Barthes are employed to decode denotative, connotative, and mythical meanings conveyed in this tradition. Meanwhile, Derrida’s theory will reveal a deeper meaning, or what is known as the theory of deconstruction, regarding the story of the Sitajur horse. The findings reveal that "Penganjak Kuda Sitajur" is not merely an oral narrative but a cultural expression imbued with values of character education and local wisdom. The kulcapi plays a vital role in enhancing emotional depth and narrative structure, making this tradition unique among oral traditions. The study highlights that despite changes in form and medium, the essence and moral messages of the tradition remain preserved and continuously revitalized by the Karo society.
Co-Authors Agus Priyatno, Agus Asmyta Surbakti Bebas Sembiring, Bebas Dardanila, Dardanila Elisa Elisa Erwin Purba Evawany Y Aritonang Ginting, Pulumun B Gulo, Hubari Heniwati, Yusnizar Ishbir Mujahid Adha Jafar, Fadlin Junita Batubara LUBIS, TASNIM Manalu, Samuel MH Maulidia Putri, Sabrina Melody Misbow Siallagan, Ruth Nababan, Jojo Paniroi Pane, Sastra Gunawan Pangaribuan, Ezra Susilawaty Panggabean, Sondang P Prihatin Lumbanraja Pulumun Peterus Ginting Purba, Junaidi Rajes Ikhlas Rosaguna, Rajes Ikhlas Ricky Nelson Riki Andika Sarah Patumona Manalu Sebayang, Vanesia A Siallagan, Ruth Melody Misbow Simanjuntak, Fransiska Sinaga, Mario Yosua Sinulingga, Ramanta Sitorus, Christina Harianti Situmorang, Victor Martin Tama Lucky Tarigan, Kumalo Tobing, Jakob P Cennedy Lumban Torang Naiborhu Vannesia Waruwu, Happy Majesty Yuliana Simamora, Elfrida