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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Catharsis Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Lentera Catharsis
Umul Aiman
Universitas Islam Kebangsaan Indonesia
Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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Rabbani Wahed Dance in Sanggar Seulanga Bireuen : "Religious" Values Study Aiman, Umul; Hartono, Hartono; Syakir, Syakir
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24318

Abstract

Rabbani Wahed Dance is a traditional dance that grows and develops in Samalanga, Bireuen, Aceh. The Rabbani Wahed dance was inspired by Meugrob's movements and poetry which is originated from the practice of the Tarekat Shammaniyah. This dance serves as a media for preaching Islam and contains the value of religious character. This study aims to find out the religious values that contained in Rabbani Wahed dance. In addition, Qualitative method is used in this research. The location of the study was conducted at the Seulanga studio, Sangso village, Samalanga, Bireuen. Data collection techniques are carried out by observation, interviews, and documentation. Data validation techniques use the source triangulation. Moreover, the data analysis techniques are carried out by data reduction, data presentation and data verification. The results of the study concluded that the religious value of Rabbani Wahed dance contained in the poem, including the verse of Saleum that explains about mutual respect, Bismillah illustrates about the goodness, Salatullah talks about praise of the Prophet and obedience to Allah, Attahiyatoen explains about obedience to parents, Allah Rabbani explains the faith to Allah, Sultan Maujuddoen says about the power of Allah, Din Awai Din illustrates about knowing of Allah and the verse of Allahu explains about the majesty of Allah.
PELESTARIAN KESENIAN MOP-MOP DI KABUPATEN ACEH UTARA Umul Aiman
Imaji Vol 15, No 1 (2017): IMAJI APRIL
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (576.659 KB) | DOI: 10.21831/imaji.v15i1.14818

Abstract

AbstrakMop-Mop dalam bahasa Aceh yang berarti mengunyah, seni pertunjukan ini dikatakan Mop-Mop karena tingkah laku pemainnya yang lucu ketika berakting dengan mulut monyong kedepan seperti orang mengunyah makanan. Kesenian Mop- Mop diangkat dari keseharian masyarakat dalam berumah tangga, yang terkadang sering terdapat perselisihan antara suami istri. Penelitian ini mengkaji faktor-faktor yang menghambat pelestarian kesenian Mop-Mop dan Upaya-upaya yang dilakukan dalam melestarikan kesenian Mop-Mop. Penelitian ini merupakan penelitian lapangan yang pengambilan datanya melalui obrservasi langsung dan wawancara mendalam dari informan-informan kunci. Hasil Penelitian menyimpulkan bahwa adapun faktor-faktor penghambat dalam melestarikan kesenian Mop-Mop diantaranya yaitu (1) faktor ekonomi (2) faktor usia, (3) faktor jarak, (4) faktor kurangnya undangan untuk mengisi acara-acara hiburan, (5) faktor kurangnya perhatian dari pemerintah, (6) faktor kurangnya apresiasi masyarakat terhadap kesenian Mop-Mop, (7) faktor agama, (8) faktor kurangnya pengetahuan generasi muda terhadap kesenian Mop-Mop. Oleh karena itu, diperlukan beberapa upaya atau langkah nyata dari masyarakat khususnya pemerintah agar kesenian ini bisa tetap lestari di tengah-tengah arus modernisasi dan globalisasi seperti sekarang, diantaranya: (1) pemerintah memberikan perhatian lebih kepada kesenian Mop-Mop, (2) masyarakat khususnya generasi muda mempunyai kesadaran (berpartisipasi) dalam melestarikan kesenian Mop-Mop, (3) sanggar Meurak Jeumpa Aceh beserta pemerintah untuk bisa melengkapi dan memperbanyak buku-buku tentang kesenian Mop-Mop, (4) seniman Mop-Mop senantiasa mengajak anak-anak disekitar lingkungan para seniman untuk berpartisipasi dalam latihan Mop-Mop. Mop-Mop adalah bagian dari kekayaan kesenian di Aceh. Seharusnya memperoleh ruang perhatian untuk direvitalisasi, kesenian Mop-Mop sekarang sudah sangat langka dan perlu perhatian khusus agar kesenian ini tetap diakui keberadaannya. Kata kunci: Pelestarian, kesenian Mop-Mop MOP-MOP ART CONSERVATION IN THE DISTRICT NORTH ACEHAbstractMop-Mop in Aceh language which means chewing, is a funny performing arts as the players perform amusing shapes of mouth like chewing food while acting. It comes from daily marriage life which reflect common domestic argumentation. This study examines the factors that inhibit the preservation of Mop-Mop art and the efforts in preserving it. This study is categorized as field research and the data were gained through direct observation and in-depth interviews with the key informants. The result of this study concludes that the inhibiting factors in preserving Mop-Mop art are: (1) economic factor (2) age factor, (3) distance factor, (4) lack of invitation to perform the Mop-Mop art, (5) lack of attention from the government, (6) less public appreciation of Mop-Mop art, (7) religious factors, (8) factors of youth’s lack of knowledge on Mop-Mop art. Therefore, it takes some concrete efforts or steps from the public, especially the government so that this art can be sustainable in the midst of the current modernization and globalization, such as: (1) the government gives more attention to the art of Mop-Mop, (2) the community Especially the young generation have awareness (participate) in preserving Mop-Mop art, (3) Meurak Jeumpa Aceh studio and government to be able to equip and reproduce books about Mop-Mop art, (4) Mop-Mop artists always invite children Around the environment of artists to participate in Mop-Mop rehearsal. Mop-Mop is a part of the valuable art in Aceh. Since Mop-Mop performing art is very rare, it needs revitalization. Thus, it needs special attention so that this art can exist and recognized.Keywords: preservation, Mop-Mop art
Kreativitas Seniman Mop-Mop di Kabupaten Aceh Utara Umul Aiman
Lentera : Jurnal Ilmiah Sains, Teknologi, Ekonomi, Sosial, dan Budaya Vol 7 No 4 (2023): LENTERA, DESEMBER 2023
Publisher : LPPM Universitas Almuslim

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Abstract

berasal dan tumbuh di kabupaten pidie sejak tahun 50-an, kemudian berkembang ke daerah yang lain terutama ke kabupaten Aceh Utara pada tahun 60-an, Kesenian Mop- Mop diangkat dari keseharian masyarakat dalam berumah tangga, yang terkadang sering terdapat perselisihan antara suami istri. Penelitian ini mengkaji Kreativitas Seniman Mop-Mop Di Kabupaten Aceh Utara. Penelitian ini merupakan penelitian lapangan yang pengambilan datanya melalui obrservasi langsung dan wawancara mendalam dari informan-informan kunci. Hasil Penelitian menyimpulkan bahwa adapun Kreativitas Seniman Mop-Mop berdasarkan tiga dimensi diantaranya yaitu (1) dimensi person yaitu kemampuan atau kecakapan yang dimiliki seniman-seniman mop-mop dalam berbalas pantun secara spontanitas melalui syair-syair melayu, (2) dimensi proses yaitu perubahan atau inovasi pada kesenian mop-mop yang dilakukan oleh seniman dengan menggantikan peran perempuan dengan laki- laki, dan (3) dimensi produk kreatif yaitu kesenian mop-mop merupakan sebuah karya seni hasil kreativitas seniman tradisional Aceh yang menggabungkan beberapa seni di dalamnya yaitu seni tutur, seni tari, dan seni musik. Dengan menggunakan proses kreatif sebagai kriteria kreativitas, maka segala produk yang dihasilkan dari proses itu dianggap sebagai produk kreatif, dan orangnya disebut sebagai orang kreatif
From Ritual to Entertainment: Transformations in Daruet AcehDance in Banda Aceh Basri, Novysa; Alfi Syahrin; Aida Fitri; Novita Hidayani; Umul Aiman; Aris Munandar
Catharsis Vol. 13 No. 2 (2024): November 2024
Publisher : Universitas Negeri Semarang

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Abstract

The purpose of this study is to determine the social changes in the function of the Drop Daruet dance. This study uses a qualitative descriptive method, data collection techniques using the stages of observation, interviews and documentation with the aim of examining social changes in the function of the Drop Daruet Dance. This qualitative study can be used to understand social changes in the function of the Drop Daruet Dance. The results of this study indicate that the form of social change in the function of the Drop Daruet dance at the Cut Nyak Dhien Banda Aceh Studio, which was originally a medium of education and a medium of preaching, has changed into a medium of entertainment for dance performances only and the function of previous cultural values ​​has shifted as a meeting of young people but now it is only as a dance performance for entertainment. While the factors that cause social change in the function of the Drop Daruet dance at the Cut Nyak Dhien Banda Aceh Studio are the rapid development of technology in the current era of Globalization, the mindset of society that continues to develop and is critical, and changes in the tastes of the younger generation. Social changes in the function of the Drop Daruet dance, namely as a medium of education and a medium of preaching, have changed into a medium of entertainment and a medium of performance. This has both good and bad impacts on society.
The meaning of the dulang dance movement as a traditional dance in traditional ceremonies in Langkat Regency, North Sumatra, Indonesia Fitri, Aida; Basri, Novysa; Ramdiana , Ramdiana; Aiman, Umul; Saputra , Rudy Juli; Hidayani, Novita; Rahmad , Rizki; Wahyudi , Wahyudi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6581

Abstract

The purpose of this study is to explore the meaning of the Dulang Dance. In this study, the method chosen is a qualitative descriptive method. The data collection process was carried out through observation, conversation, and document recording, aiming to explore the significance of the implied meaning in the Dulang Dance movements. This qualitative research is able to provide insight into the meaning contained in the Dulang Dance in Langkat. The findings of the study revealed that in the sembah movement when greeting the host of the event, each movement has its own symbolic value. Such as the contour of the sembah movement following the direction of the wind, and the low horse stance position that represents stability. In addition, the sitting position is similar to the tahyad prayer, but with the legs more open and not overlapping, expressing deep respect. The gentle movements in the martial art of silat, still contain strength and spirit, while the steps on the plate and the jumps onto the dulang have deep philosophical meanings. All of this symbolizes an expression of gratitude to the Creator, respect for respected individuals, as well as the values ​​of simplicity, humility, and respect for religion. The implication of the greeting to the steps on the stage, Dulang Dance expresses gratitude to Allah SWT while respecting the King or leader. For the future, the young generation can preserve the meaning of Dulang Dance.
Character Values ​​Education Through Tarek Pukat Dance for UNIKI Performing Arts Education Students Basri, Novysa; Miftahul Jannah; Umul Aiman; Rudy Juli Saputra; Novita Hidayani; Rizki Rahmad; Aida Fitri
Catharsis Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i1.24155

Abstract

The purpose of this study was to determine the character value education in the Tarek Pukat dance of UNIKI Performing Arts education. This study uses a qualitative descriptive method, and a case study approach. Data collection techniques use the stages of observation, interviews and document analysis. With the aim of examining the character values ​​contained in the Tarek Pukat Dance. A qualitative approach with a case study design was used to specifically understand character values in educational praxis through the Tarek Pukat Dance. The results of this study indicate that in the Tarek Pukat dance, the character value education that is seen is in the form of religious, responsibility, tolerance, discipline, cooperation values, humility and this is packaged into character value education in the Tarek Pukat Dance, namely religious values ​​that are born in the Tarek Pukat Dance contain strong religious values, such as patience and perseverance, discipline, humility and responsibility. Social values ​​in the Tarek Pukat Dance such as cooperation, mutual cooperation, humility and tolerance. Cultural values ​​that can be taken from the Tarek Pukat Dance symbolize Acehnese cultural values, such as strength and resilience of local culture and love of the homeland. Aesthetic value: Tarek Pukat Dance also symbolizes aesthetic values, such as beauty and art from local culture. Tarek Pukat dancers in UNIKI performing arts education have and are able to implement the religious values ​​of Tarek Pukat Dance used in religious ceremonies, social events, such as weddings and other events. Cultural events such as festivals have aesthetics, such as art performances
Co-Authors Aida Fitri Aida Fitri Alfi Syahrin, Alfi Aris Munandar Hartono Hartono MIFTAHUL JANNAH Novita Hidayani Novysa Basri Rahmad , Rizki Ramdiana , Ramdiana Rizki Rahmad Rudy Juli Saputra Saputra , Rudy Juli syakir syakir Wahyudi , Wahyudi