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All Journal Wahana Didaktika Prosiding Universitas PGRI Palembang Jurnal Sitakara PROSIDING SEMINAR NASIONAL PROGRAM PASCASARJANA Journal of Education, Humaniora and Social Sciences (JEHSS) Tamumatra : Jurnal Seni Pertunjukan GETER : Jurnal Seni Drama, Tari dan Musik Didaktik : Jurnal Ilmiah PGSD STKIP Subang Wahana Dedikasi : Jurnal PkM Ilmu Kependidikan Jurnal Pendidikan dan Penciptaan Seni QOSIM: Jurnal Pendidikan, Sosial & Humaniora Journal of Innovative and Creativity
Rochayati, Rully
Program Studi Pendidikan Sendratasik Universitas PGRI Palembang
Religion Arts Humanities Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Mathematics Public Health Social Sciences Other

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Struktur Dramatik Tari Wanka di Sanggar Sastra Mataya Banyuasin Muhammad Alfaruqi; Rully Rochayati; Silo Siswanto
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 6, No 1 (2023): Journal of Education, Humaniora and Social Sciences (JEHSS), August
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jehss.v6i1.1813

Abstract

Wanka dance is a new dance creation that was displayed at the blessing of the St. Maria Vianney, Pangkalpinang Diocese. This work is a visualization of the journey of contract laborers from China to Bangka to mine tin. This writing aims to describe the dramatic structure contained in Wanka’s dance work. Dramatic structure is an important part of a dance work. The existence of a dramatic stucture will make a dance work more interesting. The overlow of emotions to be conveyed can be presented in stages starting from the beginning, development, to the climax, then ending with completion so that the audience can also feel and be amazed by the dance work. This writing uses qualitative methods. The data in this writing were collected using observation, interview, and documentation methods, than processed and the results were written descriptively. The result of this writing is a description of the Wanka dance which is divided into four dance scences. Scence 1 is the beginning, scene 2 and scene 3 are the development of the conflict, scene 4 is the climax (peak of the conflict), and endes with a resolution.
Struktur Tari Lacak Apung Di SMA Negeri 9 Palembang: Struktur Tari Lacak Apung Di SMA Negeri 9 Palembang Gabrela Malika Casta; Rully Rochayati; Dedy Firmansyah
Journal of Innovative and Creativity Vol. 5 No. 2 (2025)
Publisher : Fakultas Ilmu Pendidikan Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/joecy.v5i2.1602

Abstract

Tari Lacak Apung merupakan salah satu tari kreasi berasal dari daerah Sumatera Selatan yang terinspirasi dari kehidupan masyarakat di rumah apung Sungai Musi. Secara etimologis, nama tarian ini berasal dari kata "lacak" yang berarti ”mencari” atau “melacak”, dan "apung" yang merujuk “mengapung” atau “di atas air”. Tarian ini lahir dari pengamatan kehidupan masyarakat rumah apung di Sungai Musi, yang menjadi jantung budaya dan ekonomi Palembang. Sebagai tari kreasi baru, proses penciptaannya melibatkan eksplorasi gerak, musik, dan kostum yang terinspirasi langsung dari aktivitas warga sungai, seperti mendayung, memancing, dan interaksi sosial di atas air. Metode penelitian yang digunakan adalah metode deskriptif kualitatif, teknik pengumpulan data yaitu melalui observasi, wawancara, dan dokuinentasi kemudian dianalisis dengan teknik analisis data observasi, teknik analisis data wawancara, dan teknik analisis data dokumentasi. Hasil penelitian menunjukan bahwa tari lacak apung memiliki 3 struktur, yakni : Struktur awal, Struktur tengah, Struktur akhir. Jumlah penari yakni 5 orang penari perempuan dan memiliki 20 ragam gerak yang di bentuk dalam tiga adegan mulai dari awal, konfik, serta berakhirnya tarian. Keywords: Struktur tari lacak apung
Pembelajaran Tari Tor-Tor dalam Kegiatan Ekstrakurikuler di SMP PGRI 11 Palembang Revsi Vhissca Damayanti; Rully Rochayati; Muhsin Ilhaq
Jurnal QOSIM : Jurnal Pendidikan, Sosial & Humaniora Vol 4 No 3 (2026): 2026
Publisher : Yayasan pendidikan dzurriyatul Quran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61104/jq.v4i3.7457

Abstract

Penelitian ini bertujuan untuk mendeskripsikan pelaksanaan pembelajaran Tari Tor-Tor dalam kegiatan ekstrakurikuler seni tari di SMP PGRI 11 Palembang. Penelitian menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Teknik pengumpulan data meliputi observasi, wawancara, dan dokumentasi. Subjek penelitian adalah guru/pelatih ekstrakurikuler dan 41 peserta didik yang mengikuti kegiatan ekstrakurikuler Tari Tor-Tor. Penelitian dilaksanakan sebanyak empat kali pertemuan, yaitu pada tanggal 18 Oktober 2025 serta 11, 18, dan 25 April 2026. Hasil penelitian menunjukkan bahwa pembelajaran Tari Tor-Tor dalam kegiatan ekstrakurikuler mencakup tiga tahapan utama. Pertama, perencanaan: guru mempersiapkan materi gerak Tari Tor-Tor, musik pengiring, speaker, ruang latihan yang kondusif, serta jadwal pertemuan secara berkala. Kedua, pelaksanaan: pembelajaran dilaksanakan melalui kegiatan awal (apersepsi, olah tubuh, motivasi), kegiatan inti (demonstrasi gerak dan latihan berulang dalam kelompok kecil), dan kegiatan akhir (evaluasi dan pemberian tugas). Guru menggunakan metode demonstrasi dan latihan berulang sebagai strategi utama. Ketiga, evaluasi: penilaian dilakukan melalui pengamatan langsung terhadap proses latihan dan pengambilan nilai pada pertemuan keempat berdasarkan aspek wiraga (penguasaan gerak), wirama (kesesuaian dengan irama musik), dan wirasa (ekspresi dan penghayatan). Hasil penilaian menunjukkan seluruh peserta didik (41 siswa) berhasil mencapai predikat A dengan rentang nilai 80–100. Pembelajaran Tari Tor-Tor juga memberikan dampak positif terhadap pembentukan karakter peserta didik, meliputi kedisiplinan, rasa percaya diri, kemampuan kerja sama, dan kecintaan terhadap budaya tradisional
PROSES PEMBELAJARAN TARI PEGI MANTANG MENGGUNAKAN AUDIO VISUAL DI KELAS VII A SMPN 3 TUNGKAL ILIR Diana Nurlailatul Masruroh; Dedy Firmansyah; Rully Rochayati
TAMUMATRA Vol 8 No 1 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i1.30164

Abstract

This study discusses how the Pegi Mantang dance learning process uses audio-visual media in class VII A of SMPN 3 Tungkal Ilir. This study aims to determine and describe the Pegi Mantang dance learning process using audio-visual media. This study uses a descriptive qualitative approach. Data collection techniques include observation, interviews, and documentation. Data analysis techniques include data reduction, data presentation, and conclusion drawing. The results of the study on Pegi Mantang dance learning using audio-visual media in the learning process include introductory activities, core activities, and closing activities. Before conducting learning activities, teachers had three stages, namely planning, implementation, and evaluation. Before teachers conducted learning in the classroom, they made lesson plans so that learning in the classroom would run according to the planned objectives. Teachers had teaching modules and ATP as guidelines for teaching, which contained the learning flow and learning objectives compiled by the teachers. Before starting the lesson, the teacher prepares audio-visual media such as a laptop connected to a projector, a projector to display images or dance videos, and speakers for sound amplification. This study found that students learn more effectively when using audio-visual media because they can directly see the dance lessons, which are interesting. By using audio-visual media, students can understand the material more easily and become more skilled and motivated.
PENERAPAN MODEL PROBLEM BASED LEARNING DALAM PEMBELAJARAN IPAS MATERI PERBEDAAN GEOGRAFIS NEGARA-NEGARA DI DUNIA PADA SISWA KELAS VI SD NEGERI 21 PALEMBANG Marsya Dwi Fazila; Nabilah Nurulhidayah; Peli Selvina; Adellia; Muhammad Arya Pradipta; Shintya Wulandari; Muhammad Subhi; Mario Rizkian Pratama Putra; Rully Rochayati
Didaktik : Jurnal Ilmiah PGSD STKIP Subang Vol. 12 No. 02 (2026): Volume 12 No. 2, Juni 2026 Publish
Publisher : STKIP Subang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36989/didaktik.v12i02.15155

Abstract

Penelitian ini bertujuan untuk mendeskripsikan penerapan model Problem Based Learning dalam pembelajaran IPAS materi perbedaan geografis negara-negara di dunia pada siswa kelas VI SD Negeri 21 Palembang serta mengetahui aktivitas dan pemahaman peserta didik setelah diterapkannya model pembelajaran tersebut. Penelitian ini menggunakan metode deskriptif kualitatif dengan subjek penelitian siswa kelas VI.B SD Negeri 21 Palembang yang berjumlah 23 peserta didik. Teknik pengumpulan data dilakukan melalui observasi, dokumentasi, dan evaluasi pembelajaran. Penerapan model Problem Based Learning dilaksanakan melalui beberapa tahapan, yaitu mengorientasikan peserta didik pada permasalahan, mengorganisasikan peserta didik ke dalam kelompok belajar, membimbing proses penyelidikan, mempresentasikan hasil diskusi, serta melakukan evaluasi pembelajaran. Hasil penelitian menunjukkan bahwa penerapan model Problem Based Learning mampu meningkatkan aktivitas belajar peserta didik dalam proses pembelajaran IPAS. Peserta didik menjadi lebih aktif dalam berdiskusi, bertanya, menyampaikan pendapat, serta bekerja sama dalam kelompok. Selain itu, penerapan model Problem Based Learning juga membantu meningkatkan pemahaman peserta didik terhadap materi perbedaan geografis negara-negara di dunia karena peserta didik terlibat secara langsung dalam proses pemecahan masalah yang berkaitan dengan situasi nyata. Dengan demikian, model Problem Based Learning dapat menciptakan pembelajaran yang lebih aktif, bermakna, dan berpusat pada peserta didik.
Tata Rias, Tata Busana, dan Properti Tari Turak Dewa di Sanggar Sastra Mataya Banyuasin Adinda Setia Cahyani; Rully Rochayati; Auzy Madona Adoma
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 9, No 1 (2026): Journal of Education, Humaniora and Social Sciences (JEHSS), August
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jehss.v9i1.3129

Abstract

This study aims to describe and analyze the makeup, costumes, and props used in the Turak Dewa Dance developed at Sanggar Sastra Mataya, Banyuasin. The study employed a qualitative method with a descriptive approach. Data were collected through observation, semi-structured interviews, and documentation involving the studio leader, choreographer, and dancer as research informants. Data validity was established through source and technique triangulation, while data were analyzed through data reduction, data display, and conclusion drawing. The findings show that the makeup used in the Turak Dewa Dance is corrective makeup that functions to emphasize facial features, clarify expressions, and support the representation of strong female characters in accordance with the dance's theme of struggle. The costumes consist of head, body, and lower-body components, including the gunungan, flowers, gandik, kembang urai, earrings, kalung susun tigo, baju kurung, bracelets, pending, selendang samir, and batik fabric with songket motifs. The use of green, red, and gold colors, together with songket motifs, strengthens the visual identity and cultural representation of South Sumatra. The dance prop is made of wood and designed to resemble bamboo, functioning as a symbolic representation of turak and supporting the dance movements, particularly the Ngetok Turak Dewa movement. The use of wood represents a technical adaptation intended to reduce the risk of bamboo breaking during performances. These findings indicate that makeup, costumes, and props function not only as aesthetic supporting elements but also as components that construct the character, visual identity, and symbolic meaning of the Turak Dewa Dance as a newly choreographed dance work rooted in tradition. This study contributes documentation of the visual elements of the Turak Dewa Dance that can serve as a reference for further performing arts research and dance education.
Desain Tata Rias dan Tata Busana Tari Waktu Agung sebagai Representasi Karakter Dewi Mahakali di Sanggar Sastra Mataya, Banyuasin Tri Mulya Meiriani; Rully Rochayati; Muhsin Ilhaq
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 9, No 1 (2026): Journal of Education, Humaniora and Social Sciences (JEHSS), August
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jehss.v9i1.3131

Abstract

The Waktu Agung dance is inspired by the goddess Mahakali, who represents female strength. This study describes the make-up and costume design of the Waktu Agung dance, including form, color, symbolic meaning, and their relation to the character of the goddess Mahakali, as well as the distinctive asymmetrical costume design. Data were collected from the choreographer, make-up artist, and costume designer of Sanggar Sastra Mataya through observation, interviews, and documentation, analyzed interactively through data reduction, data display, and conclusion drawing/verification. The results show that the make-up combines corrective and character make-up with defined eye and eyebrow lines, and a predominance of blue and black applied to the face, hands, and feet of the dancers, representing the symbol of Shunya (boundless emptiness) and the evil-destroying power associated with the goddess Mahakali. The costume combines a Dodot with songket motifs and Palembang Jumputan fabric in red, yellow, and black, featuring an asymmetrical design that deliberately creates a dynamic, assertive impression, distinguishing it from most traditional dance costumes that tend toward symmetrical composition. These findings confirm that the make-up and costume function not merely as aesthetic elements but as visual media that fully represent the character of the goddess Mahakali.
Co-Authors Adellia Adinda Setia Cahyani Auzy Madona Adoma Dewi Purwaningsari Diana Nurlailatul Masruroh Elisya Haqkiki ELVANDARI, EFITA Firmansyah, Dedy Gabrela Malika Casta HERA, TRENY Liza Murnivianty Mainur Mainur Mario Rizkian Pratama Putra Marsya Dwi Fazila Muhammad Alfaruqi Muhammad Arya Pradipta Muhammad Subhi muhsin ilhaq Nabilah Nurulhidayah Naomi Diah B S Nita Maelatul Hasanah Nurdin Nurdin Peli Selvina Retno Dwi Utari Putri Revsi Vhissca Damayanti Rhana Zakira Rio Eka Putra Shintya Wulandari Silo Siswanto Sri Hastuti Heldani Tri Mulya Meiriani Utami, Sonia Anisah