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Aditya, Mega Cantik Putri
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Anthropological Study of the Rejang Dewa Dance in Sedahan Jaya Village, Sukadana District, North Kayong Regency Septiani, Dwi; Aditya, Mega Cantik Putri; Satrianingsih, Aline Rizky Oktaviari
Jurnal Pendidikan Sosiologi dan Humaniora Vol 15, No 1 (2024): Edisi April 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/j-psh.v15i1.77666

Abstract

This research was conducted to understand the Anthropological Study of the Rejang Dewa Dance in Sedahan Jaya Village, Sukadana District, North Kayong Regency. The method used was descriptive method with a qualitative research design. The approach employed was anthropological and ethnographic approach. Data sources were obtained through informants knowledgeable about the anthropological study of the Rejang Dewa Dance in Sedahan Jaya Village, Sukadana District, North Kayong Regency. The research data consisted of anthropological studies of the Rejang Dewa Dance and the distinctive characteristics of the Rejang Dewa Dance. Data collection techniques included interview techniques, observation techniques, and documentation techniques. Data validity testing techniques used triangulation and extended observation. The results of the study are: (1) the anthropological study of the Rejang Dewa Dance in Sedahan Jaya Village originated from the transmigration of Hindu-Balinese communities due to the eruption of Mount Agung in 1963. (2) the distinctive characteristic of the Rejang Dewa Dance in Sedahan Jaya Village, Sukadana District, North Kayong Regency is that the dancers are females who are still pure or have not yet menstruated and can only be performed in the temple.
The Choreographic Concept of Hasta Sawanda in the "Jepin Laba-laba Dance" of Mempawah Malay Cultural Tradition Aditya, Mega Cantik Putri
Jurnal Pendidikan Sosiologi dan Humaniora Vol 15, No 1 (2024): Edisi April 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/j-psh.v15i1.77389

Abstract

The classification of dance in Indonesia has many kinds, ranging from the form of dance, the origin of the formation of dance to the function of dance in social life. In addition, choreographic concepts related to dance attitudes have also emerged from researchers and traditional dance practitioners, one of which is the concept of hasta sawanda. The concept of hasta sawanda includes pacak, pancat, caterpillar, lulut, luwes, wiled, wirama, and gending. Malay tradition has one of the dances, Jepin Laba-laba Dance, which requires cohesiveness and complexity in the use of its properties. Jepin Laba-laba dance is inspired by spiders making their nests but this dance does not have a story (non-literary), the spider animal is only a reference and reference for making its movements. Descriptive method and data presentation in this study aims to describe the concept of hasta sawanda in Jepin Laba-laba Dance. The results of the analysis can be concluded and found that, there are elements of dance presentation that are directly related to the concept of hasta sawanda. Awareness of the attitude and also the process of exploring a dance is very influential on the appearance of dancers when on stage.
Kesenian Tari Orang-Orang Bertopeng: Memperkuat Relasi Sosial dan Warisan Melayu Kalimantan Barat Aditya, Mega Cantik Putri; Ramadhan, Iwan
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.
PENERAPAN P5: KOLABORASI PELAJARAN ILMU SOSIAL EKONOMI SAINS DAN SENI BUDAYA PADA KURIKULUM MERDEKA Aditya, Mega Cantik Putri
Academy of Education Journal Vol. 14 No. 2 (2023): Academy of Education Journal
Publisher : Fakultas Keguruan dan Ilmu Pendidikan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47200/aoej.v14i2.1851

Abstract

The purpose of this study was to find out the implementation of the independent curriculum for one of the private high schools in Pontianak City. The implementation of the independent curriculum at SMAS Kemala Bhayangkari builds the character and competence of students through strengthening the Pancasila student profile project (P5). The P5 embodiment collaborates Economics and Cultural Arts lessons in phase E (grade 10). The qualitative research method is descriptive type. Data collection techniques are observation, interviews and documentation. The results in this research are the application of the independent curriculum at SMAS Kemala Bhayangkari only in the lowest grade level, namely grade 10. The implementation of the independent curriculum was very different before its implementation, where the learning process of the independent curriculum dominantly used project activities by students. SMAS Kemala Bhayangkari only uses 3 projects, including Unity in Diversity, Entrepreneurship and Building Soul and Body. Each project has outcomes in the form of knowledge and creative work or practice. The implementation of the project has an impact on schools, teachers and students. The impact is that students are more active, teachers are more innovative and schools are always ready to conduct training and upgrade teacher knowledge.
Revitalisasi Tari Radat Selimut Putih: menjembatani Pendidikan Karakter dan pemahaman Budaya Lokal melalui manajemen Seni Pertunjukan Aditya, Mega Cantik Putri
Academy of Education Journal Vol. 15 No. 1 (2024): Academy of Education Journal
Publisher : Fakultas Keguruan dan Ilmu Pendidikan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47200/aoej.v15i1.2193

Abstract

This research aims to explore the impact of the revitalization of traditional performing arts, especially the Radat Selimut Putih Dance, in an educational context. The performing arts revitalization process not only plays a role in preserving cultural heritage, but also has significant implications in developing character education and understanding of local culture among students. Using a qualitative approach and descriptive methods, this research involved interviews with performing arts revitalization activists and analysis of the performance management process resulting from the revitalization of the Radat Selimut Putih Dance in Serumpun Village. The research results show that the revitalization of traditional performing arts can be an effective means of character education. Through performing arts practice, students can develop values ​​such as cooperation, discipline, perseverance, and a sense of responsibility. In addition, revitalizing the performing arts also provides opportunities for students to understand and maintain their local culture, which can be integrated into the curriculum to enrich students' learning experiences. Thus, this research highlights the importance of integrating traditional performing arts into educational curricula as a significant step in enriching students' learning experiences and strengthening their connection with local culture. It is hoped that the results of this research can contribute to the development of character education and cultural understanding in the educational environment.
Pelatihan Evaluasi Pembelajaran Seni Berbasis Website bagi Mahasiswa Prodi Pendidikan Seni Pertunjukan FKIP Universitas Tanjungpura Sagala, Mastri Dihita; Ghozali, Imam; Putra, Zakarias Aria Widyatama; Satrianingsih, Aline Rizky Oktaviary; Aditya, Mega Cantik Putri
Jurnal Peduli Masyarakat Vol 5 No 3 (2023): Jurnal Peduli Masyarakat: September 2023
Publisher : Global Health Science Group

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37287/jpm.v5i3.2354

Abstract

Pelatihan ini merupakan hasil dari kegiatan Pengabdian Kepada Masyarakat (PKM) yang dilaksanakan oleh dosen kepada mahasiswa Program Studi Pendidikan Seni Pertunjukan Universitas Pendidikan. Kegiatan tersebut berupa pelatihan dalam penggunaan website Learning Management System yang dimiliki oleh Universitas Tanjungpura. Pelatihan ini merupakan deskripsi yang menjabarkan bagaimana persiapan, proses dah umpan balik terhadap pelatihan evaluasi pembelajaran seni yang dilaksanakan pada PKM. Sumber data diperoleh dari penyebaran angket, pelaksanaan pelatihan, survey kepuaasan serta dokumentasi dan studi literatur. Hasil dari pelatihan ini adalah mahasiswa yang mampu mengoperasikan website sebagai media untuk mengevaluasi pembelajaran seni baik secara teori maupun praktik. Melalui evaluasi berbasis website tersebut, mahasiswa dilatih kemandirian dan kedisiplinan dalam mengumpulkan penugasan karena fitur timer yang terdapat pada website Learning Management System tersebut. Selain itu juga, kreativitas mahasiswa dalam berkarya semakin baik dan pola piker yang kritis dalam mengemas hasil karya seni yang akan dievaluasi, serta keterampilan menggunakan teknologi guna menjawab tantangan dunia pendidikan modern.
Social Values in the Tandak Sambas Dance in Sambas Regency West Borneo Aditya, Mega Cantik Putri; Ismunandar, Ismunandar; Muniir, Asfar
Jurnal Pendidikan Sosiologi dan Humaniora Vol 15, No 2 (2024): Edisi Oktober 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/j-psh.v15i2.87249

Abstract

One of the cultures owned by the Malay tribe is customs, beliefs and arts that are carried out as entertainment. Tandak Sambas dance is a traditional dance that functions as entertainment typical of the Malay tribe which still maintains its authenticity. It is necessary to make protection efforts carried out by the state to avoid violations of the Sambas Tandak dance from cultural claims by other countries. The creator of the Sambas Tandak dance movement or choreography of the dance has also not been registered as copyright. Tandak Tambas dance is included in the form of traditional dance (folk dance). Tandak Sambas dance, functions as a means of performance, here dance is useful for entertaining the wider community. This dance comes from a folk game that is very close to the development of community life from various aspects. One of the values contained in the sustainability of Sambas tandak dance performances is social values. The social values of the Malay indigenous people are reflected in several changes and also the overall performance form. By trying to research this, it is hoped that the social values contained in this dance will not be lost and can still be maintained from generation to generation in the Malay indigenous community, especially in the Sambas Regency area.
SEJARAH TARI TOPENG NATUNA DESA TANJUNG KECAMATAN BUNGURAN TIMUR LAUT KABUPATEN NATUNA Budihardini, Sindy Sri; Tindarika, Regaria; Aditya, Mega Cantik Putri
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 2 (2023): Februari 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i2.63270

Abstract

The background of this research is there are two versions that tell about the history of Topeng Natuna Dance which is a traditional dance in Tanjung village, Bunguran Timur Laut Sub-district. This research aims to describe the history of Topeng Natuna Dance, Bunguran Timur Laut Sub-district, Natuna Regency. This research used descriptive qualitative method and it also used historical approach. The techniques of data collection used in this research is interview technique and documentation study technique. Based on the result of this study, the history of Topeng Natuna Dance is close to the first version, namely, Topeng Natuna Dance is original from Tanjung Village, Bunguran Timur Laut Sub-district, Natuna Regency. Based on the mythology, this dance existed before there was religion in society. The mask was used because a group of Topeng Natuna Dance were ashamed of being ordinary people who were invited by the King to come to his residence. This was to treat her daugher who was sick and she needed an entertaiment. Therefore, the dance group came to entertain the princess. Based on the mythology, this dance is become an entertaiment for Natuna citizen. Topeng Natuna Dance has three kinds of movements, such as, hand movement and the movement which use plate and shawl. The various movements and properties that used are an important of the historical mythology, because it is believed can help the princess to wake up from her fainting.
ANALISIS BENTUK GERAK TARI HADRAH DI SANGGAR JAYA RAYA KOTA RANAI KABUPATEN NATUNA KEPULAUAN RIAU Fitri, Rosa Elisa; Ismunandar, Ismunandar; Aditya, Mega Cantik Putri
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 13, No 6 (2024): Juni, 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v13i6.73265

Abstract

This study aims to provide a comprehensive description and analysis of the Hadrah dance movement in Sanggar Jaya Raya, Ranai, Natuna Regency, Riau archipelago using textual information, photos, and videos. The issue arises from the manner in which the movements and components of the Hadrah dance are executed in Sanggar Jaya Raya in Ranai. This study employs the descriptive qualitative method, in addition to utilizing semiotic and ethnochoreological methodologies. The methods employed for data collection are observation, interviews, and documentation. Extended observation and triangulation are methods used to evaluate the accuracy of data. According to the data analysis, it can be inferred that the Hadrah dance style in Sanggar Jaya serves as a hospitable dance for esteemed guests or as an introductory dance during an event. Sanggar Jaya Raya offers a Hadrah dance variation that comprises an initial greeting movement, followed by a sequence of "bunga silet ukel" movements leading to "bercocok tanam" movements, and concludes with a closing greeting movement. This dance showcases an equal number of female and male dancers, with both even and odd numbers. The floor features a horizontal pattern. The researcher anticipates that the results of this study will be highly beneficial to readers, offering profound insights into the analysis of the Hadrah dance movement, and serving as a reliable and precise reference.
BENTUK PENYAJIAN TARI PERSEMBAHAN MELAYU DI KOTA RANAI KABUPATEN NATUNA KEPULAUAN RIAU Sephia, Nur Malika; Ismunandar, Ismunandar; Aditya, Mega Cantik Putri
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 2 (2023): Februari 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i2.62221

Abstract

This study aims to describe and document the form of the presentation of Persembahan Dance in Ranai City, Natuna Regency, Riau Archipelago in the form of writing, pictures, and videos. The background of the research is the problem of how the form of Persembahan Melayu Dance. This study used descriptive method with qualitative research and choreographic approach. The technique of data collection used in this research are observation techniques, interview techniques, and documentation studies. The data validation testing used are the extension of observations and triangulation source. Based on the data analysis, it can be concluded that the form of Persembahan Melayu Dance is as follows: Persembahan Melayu Dance is a welcoming dance for guests of honor or opening dance at various events. There are 11 movements of Persembahan Melayu Dance which are initial movement, the variety of junjung tepak to the variety of opening greeting, the middle movement, the variety of meracik pinang to the variety of sari beni, and the final movement, the variety of close greeting. This dance is only danced by the female dancer and it must be an odd number, also there are six floor patterns. Musical instruments used are drum, violin, accordion, and it do not use vocal. The make-up used is realist make-up. The make-up used is realist make-up, the clothes used are clothes for brackets, skirts, tapeh cloth, obi, sebai and use andam head accessories, crowns, Malay editing, jurai, tudung mantu, and bun. Also, this dance uses tepak sirih as the property.
Co-Authors Ahadi Sulissusiawan ALINE RIZKY OKTAVIARI SATRIANINGSIH Asfar Muniir, Asfar Audina, Sovi Budihardini, Sindy Sri Dewantara, Jagad Aditya Dewi, Della Aprilya Djau, Nurmila Sari Dwi Oktariani Dwi Septiani Finsen, Finsen Fitri, Rosa Elisa Gew, Dorotea Rebika Grandena, Egi Putri Haris Firmansyah Imam Ghozali Imma Fretisari Imran Imran Ismunandar Iwan Ramadhan Mastri Dihita Sagala Muhammad Agus Hardiansyah Putri, Marta Yana Regaria Tindarika Rianto, Ridho Romadoni, Muhammad Saridin, Saridin Satrianingsih, Aline rizky Sephia, Nur Malika Silaban, Chiristianly Yerry Trisnawati Trisnawati Wahyuni, Sinta Seri Yudhistira Oscar Olendo Zakarias Aria Widyatama Putra