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Desy Wulan Pita Sari Damanik
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Eksistensi Kesenian Jaranan Gembong Bawono di Sentang Kabupaten Asahan Desy Wulan Pita Sari Damanik
Pixel :Jurnal Ilmiah Komputer Grafis Vol 17 No 1 (2024): Vol 17 No 1 (2024): Jurnal Ilmiah Komputer Grafis
Publisher : UNIVERSITAS STEKOM

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51903/pixel.v17i1.1954

Abstract

Jaranan Gembong Bawono art is a traditional art that developed in Asahan Regency, North Sumatra. The Javanese tribe, which makes up the majority of the population in this district, influences the existence and occurrence of artistic activities. The times have influenced the existence of this traditional art in the Asahan Regency area. Jaranan art is a traditional art that always maintains ancestral values ​​and its main function. To maintain the existence of jaranan art, the Gembong Bawono Association made a change which ensures that this art still exists. This research aims to describe the existence of Jaranan Gembong Bawono art in Kisaran Timur District, Asahan Regency. The approach used in this paper is the existential approach. Soren Kierkagaard divides human existence into three levels, each of which has distinctive characteristics, namely aesthetic existence, (2) ethical existence, (3) religious existence. To deepen the existence of jaranan art, the concept of sociological theory was borrowed. Data collection used interviews, observation and documentation by analyzing the existence of the Gembong Bawono jaranan in Kisaran Timur District, Asahan Regency using descriptive methods, which is qualitative research. The research uses ethnographic methods from James P. Spradley's book. Ethnography consists of research techniques, ethnographic theory, and various kinds of describing culture. With this research, we can find out the existence of Jaranan Gembong Bawono among the people of Kisaran Timur District, Asahan Regency. Then so that it can be transmitted in written form by the next generation. The form of dance movements in this art is dynamic and strong, with the prominent addition of accompaniment which is very influential on the dance. These two components are processed into a unified whole.
MALUNGUNJEI: KOREOGRAFI TERINSPIRASI DARI GERAK TRADISI TARI BATAK SIMALUNGUN Desy Wulan Pita Sari Damanik
Pixel :Jurnal Ilmiah Komputer Grafis Vol. 17 No. 2 (2024): Pixel :Jurnal Ilmiah Komputer Grafis dan Ilmu Komputer
Publisher : UNIVERSITAS STEKOM

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51903/pixel.v17i2.2120

Abstract

The dance work entitled Malungunjei’s is a new work that develops the mangunjei movement motif in one of the Manduda dance motif movements. Malungunje’si comes from one of the names of the Batak Simalungun dance motifs, namely mangunjei. Mangunjei is a movement of both hands crossed in front of the chest and both hands on the left and right sides by turning the palms of the hands. The theme of this dance work is non-literal, because the presentation of this dance work is a development or exploration of the essence of the Mangunjei motif by utilizing intensity, large volume, and wide space for movement. Malungunjei's work is a group choreography consisting of three female dancers and two male dancers, a total of five dancers who will be composed in a large group composition and a small group by paying attention to the arrangement of parts. The costumes in this choreography use hiou material and the choice of colors is more on red, black and white, all three are colors used in every Batak Simalungun traditional activity. The dance music is formatted in MIDI with patterns resulting from the development of the Batak Simalungun gonrang. This work uses the exploration method as an initial part in developing the creativity of the creation process, improvisation to find movements by chance or spontaneously, composition to arrange the movements that have been obtained, and periodic evaluation and correction of the process.
Eksistensi Kesenian Jaranan Gembong Bawono di Sentang Kabupaten Asahan Desy Wulan Pita Sari Damanik
Pixel :Jurnal Ilmiah Komputer Grafis Vol. 17 No. 1 (2024): Pixel :Jurnal Ilmiah Komputer Grafis dan Ilmu Komputer
Publisher : UNIVERSITAS STEKOM

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51903/pixel.v17i1.1954

Abstract

Jaranan Gembong Bawono art is a traditional art that developed in Asahan Regency, North Sumatra. The Javanese tribe, which makes up the majority of the population in this district, influences the existence and occurrence of artistic activities. The times have influenced the existence of this traditional art in the Asahan Regency area. Jaranan art is a traditional art that always maintains ancestral values ​​and its main function. To maintain the existence of jaranan art, the Gembong Bawono Association made a change which ensures that this art still exists. This research aims to describe the existence of Jaranan Gembong Bawono art in Kisaran Timur District, Asahan Regency. The approach used in this paper is the existential approach. Soren Kierkagaard divides human existence into three levels, each of which has distinctive characteristics, namely aesthetic existence, (2) ethical existence, (3) religious existence. To deepen the existence of jaranan art, the concept of sociological theory was borrowed. Data collection used interviews, observation and documentation by analyzing the existence of the Gembong Bawono jaranan in Kisaran Timur District, Asahan Regency using descriptive methods, which is qualitative research. The research uses ethnographic methods from James P. Spradley's book. Ethnography consists of research techniques, ethnographic theory, and various kinds of describing culture. With this research, we can find out the existence of Jaranan Gembong Bawono among the people of Kisaran Timur District, Asahan Regency. Then so that it can be transmitted in written form by the next generation. The form of dance movements in this art is dynamic and strong, with the prominent addition of accompaniment which is very influential on the dance. These two components are processed into a unified whole.
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