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All Journal Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK)

Ismunandar Ismunandar

Program Studi Pendidikan Seni Pertunjukan FKIP Untan Pontianak

Author-ID : 7916525

Decision Sciences, Operations Research & Management Education Languange, Linguistic, Communication & Media Mathematics Other

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FUNGSI MUSIK DALAM RITUAL BALALAK DI DESA MONTERADO KECAMATAN MONTERADO KABUPATEN BENGKAYANG Imanuel Imanuel; Ismunandar Ismunandar; Asfar Munir
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 8, No 9 (2019): September 2019
Publisher : Universitas Tanjungpura

Abstract This rescarh was based to know presentation and function Balalak music on celebration at Monterado village, Monterado district, Bengkayang district,the purpose of this study was how form presentation and function Balalak music, celebration at Monterado village ,Monterado sub- district, Bengkayang district. This research used was desctripve methodand the research reom used is qualative research. Sources of datain this study some interviewsa and relevan sources about the presentation and funcation Balalak music at Monterado village, Monterado sub district Bengkayang district. Data collection techsuch as observation interviews study literature and documentation. Technique such observation to test the validity of data used was sources triangulation, triangulation techniqueand lengthen observation data analysis techniques in thi study used was inreactive data analysis to include data presentation and deduce. Basd on data analysis it was can to concludemusik on ritual Balalak as rite of passage Balalak the accompanist, communication and entertaimen. From presentation and function Balalak music at Monterado village, Monterado sub-district, Bengkayang district. Is instrument, onstage, makeup, soundsytem and presentation order. These results can applied to the community,in the was Borne. Keywords: Balalak Music Function and Form of Presentation

KAJIAN MUSIKOLOGI RAGAM POLA TABUHAN TRADISIONAL TAR DI KELURAHAN SUNGAI JAWI DALAM KOTA PONTIANAK Angga Khasbullah; Ismunandar Ismunandar; Asfar Muniir
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 8, No 3 (2019): Maret 2019
Publisher : Universitas Tanjungpura

AbstractThe background of this research way there are so many pattern tradisionaltar in Kelurahan Sungai Jawi Dalam Kota Pontianak which is not written yet in the west notation. There is uniqueness in that pattern of traditional percussion instrument whether it is musical aspect in terms of the textual or arts performance aspect in terms of the contextual. The problem of this research is the technique of how to play “tar” and how the pattern of traditional percussion instrument in Pontianak city.The method of this research way descriptive with qualitative method and musicology approach. The resource data of this research way the informant who knows and understandsabout every kind of pattern of traditional percussion instrumentin Kelurahan Sungai Jawi Dalam Kota Pontianak.The data collection technique of this research is observation, interview, and documentations.The result this research way there are twenty pattern of traditional percussion of tar in Kelurahan Sungai JawiDalam Kota Pontianak that is used to escort the art of Hadrah which consist of three stages; they are Gencat, Terosan, and Marade. This research is to describe each of the kind of pattern of traditional percussion which has the design percussion pattern that is shaped by the literal repeating. Keywords: Pattern of Traditional Percussion Instrument, Tar, Hadrah

REVITALISASI TARI MOCAH BUNGA PUKOL TUJOH KECAMATAN SIMPANG DUA KABUPATEN KETAPANG PROVINSI KALIMANTAN BARAT Yosefin Irinia Dita; Ismunandar Ismunandar; Regaria Tindarika
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 10, No 9 (2021): SEPTEMBER 2021
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v10i9.49695

The study was based on the disappearance of the Mocah Bunga Pukol Tujoh dance Subdistrict Simpang Dua District Ketapang West Borneo. The goal is to revitalize the Mocah Bunga Pukol Tujoh dance Kecamatan Simpang Dua Kabupaten Ketapang West Borneo. So that, it’s existence can return to society. Specifically in this reaserch, the problem ia described as reflecting the revitallization of the activities and activities of the revitallization of the Mocah Bunga Pukol Tujoh dance Subdistrict Simpang Dua Diatrict Ketapang Provinces West Borneo.The date-gathering technique in this study is observation, interview and documentation. Verifying data in this study is the use of extensions of observation and source triagulation. The data analysis during data collection. The action of this study was then met by sources known as Sudan, Mardani and Lukas. Then teach to dancer. The result of this reaserch was being able to reteach the Mocah Bunga Pukol Tujoh dance and make a video of dancing Mocah Bunga Pukol Tujoh Subdistrict Simpang Dua District Provices West Borneo.Keywords:Performance Form, Tari Mocah Bunga Pukol Tujoh

ANALISIS MAKNA GERAK TARI RADAT APE NANG DITUMBOK KABUPATEN SAMBAS KALIMANTAN BARAT Budiman Budiman; Ismunandar Ismunandar; Asfar Munir
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 8, No 6 (2019): JUNI 2019
Publisher : Universitas Tanjungpura

AbstractHaving lacked documentation to preserve information related to dance as part of the culture of the Malay in Sambas Regency has been the concern of the researcher. This study aims to analyze the meaning of movements and supporting elements used in the Radat dance titled Ape Nang Ditumbok and to document it into a video and written form. The method used in this study is descriptive analysis in the form of qualitative with the semiotic approach. The data were obtained through observation, interviews, and documentation from the local artists. The data were validated by extended observation and triangulation techniques (source triangulation). Radat dance Ape Nang Ditumbok is a group dance played by 12 women, accompanied by percussion instruments played by men. Ape Nang Ditumbok consists of 5 movements: swinging, pounding and winnowing rice, timang burung, nyiur melambai, and the movement showing sadness or happiness. The movements in this dance come from daily activities such as walking, working, movements representing animals and plants, and human expression. The Raddat dance Ape Nang Ditumbok originally functioned as entertainment in an event held in the royal palace Sambas and the wedding of the nobility. As it develops, the dance is also performed at public weddings, festivals, religious rituals, dance performances, and competitions. This traditional dance was created on the basis of a poem, and later the movements were created. Additionally, the Radat dance Ape Nang Ditumbok can be used as teaching material for teaching and learning theory and practice in the subjects of Cultural Arts and Skills. Keywords : Analysis, dance movement, Radat Dance Ape Nang Ditumbok

APANG ARUU (SEBUAH KONTRADIKTIF PEMAKNAAN IDENTITAS TELINGA PANJANG PADA MASYARAKAT SUKU DAYAK KAYAAN MENDALAAM) Maria Nyeti Nopitasari; Imma Fretisari; Ismunandar Ismunandar
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 9, No 4 (2020): April 2020
Publisher : Universitas Tanjungpura

AbstractThe creation of dance “Apang Aruu” was inspired from Telinga Panjang tradition in Kayaan Mendalaam, Kapus Hulu regency. This tradition as identity of Apo Kayan ethnic such as Bahau, Kenyah and Kayaan. “Apang Aruu” was symbolized as the differences of human being and monkey, statue, gender and also the beauty symbol of dayaknesse women in Kayaan Mandalaam. As the time goes by, Telinga Panjang tradition gradually extinct because of belief, education and lifestyle in modern era. “Apang Aruu" applies method and creation stage in dance work that involves exploration, data processing, implementation, evaluation and revision. This presentation creates the aesthetics of dance performances in terms of its movement and musical accompaniment, thus it is not just a spectacle for the audiences, but it will become an artwork whose musical accompaniment is appealing and captivating to be heard by audiences. Moreover, this work combines diverse and distinctive choreography. This work is not merely entertainment work, but there is innovation in developing a regional dance and it also contains educational aspects and moral messages offered. Thus, this work is expected to be a reference or resource in the development of dance in West Kalimantan. Keywords: Apang Aruu, Telinga Panjang Tradition, Method and Creation Stage

BENTUK PENYAJIAN MUSIK IRINGAN TARI NGAJAT LESUNG DI DESA SELUAS KECAMATAN SELUAS KABUPATEN BENGKAYANG Surina Yunita; Ismunandar Ismunandar; Chiristianly Silaban
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 8, No 9 (2019): September 2019
Publisher : Universitas Tanjungpura

AbstractThe background of this research wasdescribe the form of accompaniment music of Ngajat Lesung dance in Seluas village, Seluas sub-district Bengkayang regency. The problem of this research were how was the form ofaccompaniment music of Ngajat Lesung dance in Seluas village Seluas sub-district Bengkayang regency, how to desaign the implementation of research results the form ofaccompaniment musicof Ngajat Lesung dance in Seluas village Seluas sub-district Bengkayang regency in the world of educatioan. The method used in this research was descriptive method with qualitative form and uses an ethnomusicology approach. The source of data in this research wasKarsono, Utandi, and Simon. The data in this research were obtained through the interview, observation, and documentation result about the form accompaniment music Ngajat Lesung dance. The data collectingtechniques in this research were the form of observation, interview, and documentation techniques.Validity check of data in the form of extention of observation and triangulation. The result of this research were music instrument, player, stage arrangement, makeup, fashion, sound arrangement, lighting arrangement, formation, and the order of performance. The result of this research can be implemented in learning art and culture, junior high school level in the 2013 curiculum. Keywords:Dayak community in Bengkayang regency, Ngajat Lesung, The form ofaccompaniment music.

BENTUK PENYAJIAN TARI JEPIN SELENDANG DI KELURAHAN SIANTAN HILIR KECAMATAN PONTIANAK UTARA Andina Silvana; Ismunandar Ismunandar; Regaria Tindarika
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 9, No 11 (2020): November : 2020
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v9i11.43426

AbstractThis research was motivated by the researcher's desire to examine the The Performance Form of Tari Jepin Selendang on Kelurahan Siantan Hilir Kecamatan Pontianak Utara and to document a complete data and information of Tari Jepin Selendang in the form of writing as well as pictures and videos, This study used a descriptive method in a qualitative form and uses a choreographic approach. Based on the results of research, The Performance Form of Tari Jepin Selendang, the dance movement consisted of a variety of opening movements, namely jepin empat-empat steps, the variety of content movements, namely gerak anyam masuk, gerak raddat and gerak buka anyam and the variety of closing movements was the jepin empat-empat. The floor designs were straight and curved. The musical instruments used were Accordions, Beruas, Tambourines, Gambus, Violins and Tawak. The group designs are unison, alternate and canon groups. Makeup used realistic makeup and the clothes used are baju kurung, Malay patterned fabric, lotus and the accessories used were lipat pandan bun, kembang goyang and earrings. The property was a colorful shawl. The theme is non-literary. Multiple cone dramatic design and the dynamics of motion, tempo and level. Keywords: Performance Form, Tari Jepin Selendang

Co-Authors Andina Silvana Angga Khasbullah Asfar Muniir Asfar Munir Budiman Budiman Chiristianly Silaban Ega Elpasa Euis Januarsi Hermansyah Hermansyah Imanuel Imanuel Imma Fretisari Maria Nyeti Nopitasari Marsianus Roji Midya Yulika Octaviandri Octaviandri Pankarius Gagas Saputra Regaria Tindarika Riny Martha Surina Yunita Vrinka Vizura Winda Istiandini Yosefin Irinia Dita Yusika Linda

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