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All Journal Gorga : Jurnal Seni Rupa Gesture: Jurnal Seni Tari Journal of Dance and Dance Education Studies
Tifan Muhammad Amirulloh
Universitas Negeri Medan
Arts Humanities Education

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AESTHETICS OF MAKEUP AND COSTUME DESIGN IN THE DANCE "CISONDARI": UNVEILING LOCAL CULTURAL IDENTITY Tifan Muhammad Amirulloh; Saian Badaruddin
Journal of Dance and Dance Education Studies Vol 4, No 2 (2024): October
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/jddes.v4i2.75801

Abstract

This study aims to reveal the values and meanings embedded in the makeup and costume design of the dance piece "Cisondari," choreographed by Tifan Muhammad Amirulloh. Created in 2019, this dance work serves as the choreographer's tribute to the culture of Cisondari Village, incorporating local elements as its main performance components. Makeup and costume design are not merely aesthetic elements but also act as mediums to convey cultural identity and character traits within the dance. This research employs a qualitative descriptive method, using observation, in-depth interviews with the choreographer and costume designer, as well as visual documentation. Data analysis techniques include data reduction, data display, and conclusion drawing to identify the symbolic meanings of the makeup and costumes in this dance. The results show that makeup in the "Cisondari" dance emphasizes bold facial expressions to depict the character's identity and strength, aiming to help the audience understand the dancer's role, even from a distance. The costume design, inspired by the history and unique features of Cisondari Village, highlights visual elements that reflect local wisdom and cultural identity. The combination of makeup and costume in the "Cisondari" dance conveys profound symbolic meaning, illustrating cultural values and enhancing the overall aesthetic of the performance.
SUMATRAN HORNBILL AS AN IDEA FOR CREATING PAINTINGS Lalang Cakra Buana; Muslim Muslim; Azmi Azmi; Khaerul Saleh; Nelson Tarigan; Tifan Muhammad Amirulloh; Sugito Sugito
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

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Abstract

The creation of this work is driven by the author’s profound interest in hornbills, particularly given the alarming rate of their extinction. The author’s objective is to convey the aesthetic significance of this animal to the broader community. The Sumatran hornbill, with its distinctive and striking characteristics, including its large beak, robust claws, and vibrant plumage, serves as the subject matter for this study. Through the meticulous application of acrylic paint on canvas, the author has crafted twelve paintings that meticulously capture the physical attributes of the bird and its natural habitat. Furthermore, these paintings depict the hornbill’s omnivorous lifestyle. The author employs a combination of three distinct techniques: plaque, chiaroscuro, and bravura. These techniques work synergistically to create a dynamic, contrasting, and vivacious portrayal of the hornbill within the paintings. The resulting twelve paintings, each bearing a unique title that reflects the author’s interpretation of the hornbill, provide an in-depth understanding of its physical characteristics, habitat, and behavior. Additionally, these works contribute to the advancement of the art form through the author’s unique perspective and creative expression.
Tari Kinyah Mandau Representasi Kerukunan Suku Dayak di Kalimantan Tengah Aldia Wulandari; Tris Sofia Wartina; Tifan Muhammad Amirulloh
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.72117

Abstract

In the past, Kalimantan Island was known as a difficult-to-access region, especially during the Asang period when headhunting and slavery were common due to conflicts between Dayak tribes. Attacks were generally carried out suddenly, but the Dayak people had a tradition of preparation through the Kinyah Mandau dance, which symbolized readiness, courage, and strength in facing enemies. The tense social conditions continued even during the Dutch colonial period, until finally the Resident of Banjarmasin initiated a large meeting that gave birth to the Tumbang Anoi Peace Conference (May 22–July 24, 1894). Since this historic event, the practice of violence has ceased and the Dayak tribes are committed to living in harmony. The Kinyah Mandau dance remains preserved, but its function has transformed from a war ritual to a cultural performance. In its new form, this dance is not merely entertainment, but a symbol of harmony and a medium for passing on noble values such as courage based on truth, responsible leadership, and social solidarity. Education plays a vital role in transmitting these values to the younger generation, ensuring that the Kinyah Mandau Dance not only survives as a cultural heritage but also becomes a representation of harmony and the collective identity of the Dayak people in Central Kalimantan.
Co-Authors Aldia Wulandari Azmi Azmi Khaerul Saleh Lalang Cakra Buana muslim muslim Nelson Tarigan Saian Badaruddin Sugito Sugito Tris Sofia Wartina