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All Journal Gorga : Jurnal Seni Rupa Laga-Laga: Jurnal Seni Pertunjukan Abdi Seni PROPORSI : Jurnal Desain, Multimedia dan Industri Kreatif Melayu Arts and Performance Journal Bercadik: Jurnal Pengkajian dan Penciptaan Seni Jurnal Cerano Seni: Pengkajian dan Penciptaan Seni Pertunjukan Ulil Albab
Susas Rita Loravianti
Institut Seni Indonesia Padangpanjang
Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences

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TARI TAMPURUANG DI SANGGAR KABUPATEN SOLOK SELATAN Fitri, Mira Eka; Erlinda, Erlinda; Loravianti, Susas Rita
Laga-Laga : Jurnal Seni Pertunjukan Vol 7, No 1 (2021): Laga-Laga: Jurnal Seni Pertunjukan
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/lg.v7i1.1502

Abstract

Penelitian ini dilakukan untuk membahas tari Tampuruang di Sanggar Bundo Kanduang Nagari Koto Baru Kabupaten Solok Selatan Provinsi Sumatera Barat dengan fokus kajian tentang kehadiran penari wanita pada tarian tersebut. Metode yang digunakan adalah metode penelitian kualitatif yang bersifat deskriptif analisis. Teori yang dipakai dalam penelitian ini yaitu teori gender oleh Remiswal, dimana gender adalah tipe atau jenis yang merupakan sifat dan perilaku secara sosial dan budaya. Disekitar Sanggar Bundo Kanduang ini terdapat salah satu rumah gadang yaitu Rumah Gadang Koto Piliang yang memiliki semboyan mambasuik dari bumi yang artinya bumi merdeka, dimana dengan bumi merdeka ini wanita di Kawasan Saribu Rumah Gadang khususnya Sanggar Bundo Kanduang diperbolehkan menari sebagai media untuk memperomosikan objek wisata Kawasan Saribu Rumah Gadang.Kata Kunci : Tari Tampuruang, wanita dan sanggar Bundo kanduang
PITUAH PAIKEK: PENCIPTAAN KARYA TARI BERANGKAT DARI RITUS PERALIHAN MALAM BAINAI DI SUMATERA BARAT Cici Wulandari; Susas Rita Loravianti; Novesar Jamarun
Gorga : Jurnal Seni Rupa Vol 10, No 2 (2021): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v10i2.27240

Abstract

Pituah Paikek's work is a dance work that departs from the Malam Bainai culture in West Sumatra. The idea of creation focuses on the philosophical meaning of the henna on the bride's nails. The formulation of the creation of Piuah Paikek's work is how to interpret the meaning and symbols of the bride's bainai nails into a dance work. The purpose of this dance work is to present the experience of the Bainai Night rite of passage into a contemporary dance form with a dramatic type. The creation methods used include: research, exploration, improvisation, formation and evaluation. The creation of this Pituah Paikek dance work produces a dance work that has three parts, namely: the first part is a symbolic representation of the Bainai activity, the second part is a symbolic representation of the meaning of the finger and the third part is an affirmation of each value of the Bainai finger.Keywords: pituah paikek, malam baianai, contemporary. AbstrakKarya Pituah Paikek adalah karya tari yang berangkat dari budaya Malam Bainai di Sumatera Barat. Ide penciptaan berfokus kepada makna filosofis dari inai di kuku calon pengantin wanita. Rumusan penciptaan dari karya Piuah Paikek ini adalah bagaimana menginterpretasikan makna dan simbol dari kuku bainai calon pengantin wanita menjadi sebuah karya tari. Tujuan dari karya tari ini adalah menampilkan pengalaman dari ritus peralihan Malam Bainai ke dalam bentuk tari kontemporer dengan tipe dramatik. Metode penciptaan yang digunakan, antara lain: riset, eksplorasi, improvisasi, pembentukan dan evaluasi. Penciptaan karya tari Pituah Paikek ini menghasilkan karya tari yang memiliki tiga bagian, yaitu: bagian pertama sebagai representasi simbolis dari aktivitas bainai, bagian kedua adalah representasi simbolis dari makna jari dan bagian ketiga adalah penegasan setiap nilai dari jari bainai.Kata Kunci: pituah paikek, malam bainai, kontemporer. Authors:Cici Wulandari : Institut Seni Indonesia PadangpanjangSusas Rita Loravianti : Institut Seni Indonesia PadangpanjangNovesar Jamarun : Institut Seni Indonesia Padangpanjang References:Alma M. Hawkins. (2003). Bergerak Menurut Kata Hati: Metoda Baru dalam menciptakan Tari (Terj. Iwayan Dibia). Indonesia: Masyarakat Seni Pertunjukan Indonesia (MSPI).Devi, Cintya. (2019). "Malam Bainai". Hasil Wawancara Pribadi: 23 Agustus 2019, Padang.Hadi, Sutrisno. (2007). Statistik 2. Yogyakarta: Andi Offset.Kurniawan. (2001). Semiologi Roland Barthes. Magelang: Yayasan Indonesia Tera.Lawranta, Gangga. (2021). "Malam Bainai". Hasil Dokumentasi Pribadi: 31 Juli 2021, Padangpanjang.Mak Katik. (2021). "Malam Bainai". Hasil Wawancara Pribadi: 18 Februari 2021, Padang.Oktora, D. R., Amsia, T., & Syaiful, M. (2017). Tradisi Malam Bainai pada Acara Perkawinan Adat Padang Pariaman di Kecamatan Rajabasa Kota Bandar Lampung. PESAGI (Jurnal Pendidikan dan Penelitian Sejarah), 5(7).Supriyanto, Eko. (2018). Ikat Kait Impulsif Sarira: Gagasan yang Mewujud Era 1990-2010. Yogyakarta: Penerbit Garudhawaca.Sylvia, S., Syahrel, S., & Marzam, M. (2014). Struktur Penyajian Malam Bainai pada Pesta Perkawinan di Kota Padang. Jurnal Sendratasik, 3(3), 71-78.Yudiaryani, dkk. (2017). Karya Cipta Seni Pertunjukan. Yogyakarta: JB Puplisher Bekerjasama Dengan Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta.Zaimiati. (2019). "Malam Bainai". Hasil Wawancara Pribadi: 23 Agustus 2019, Padang.
BAKAWUAH: SEBUAH KARYA SENI YANG BERANGKAT DARI TRADISI MAKAN BAKAWUAH DI NAGARI ANDALEH BARUAH BUKIT KEDALAM WUJUD KARYA TARI Endang Wahyuni; Susasrita Loravianti; Martion Martion
Gorga : Jurnal Seni Rupa Vol 7, No 2 (2018): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v7i2.11002

Abstract

AbstrakKarya tari yang berjudul “Bakawuah” merupakan sebuah karya seni yang berangkat dari tradisi Makan Bakawuah yang terdapat di daerah nagari Andaleh Baruah Bukit. Tradisi Makan Bakawuah merupakan ungkapan rasa syukur kepada allah SWT. Makan Bakawuah dilakukan Setelah musim panen padi berakhir, masyarakat  setempat merayakan masa panen dengan makan bersama yang di sebut dengan makan Bakawuah yang bertujuan untuk menjaga kebersamaan serta sebagai pusat informasi pertanian. Tetapi, pada zaman sekarang makan Bakawuah yang dilakukan oleh masyarakat Jorong Andaleh sudah mulai memudar yang berpengaruh pada interaksi masyarakat satu sama lain. Semua ini terjadi karena perkembangan teknologi yang berdampak terhadap kelangsungan hidup masyarakat yang tidak lagi bekerja dengan cara bersama-sama. Adanya pengaruh teknologi mesin bajak sawah memberikan dampak terhadap dunia pertanian sehingga interaksi sesama mereka mulai berkurang. Metode penggarapan dilakukan pengumpulan data-data yang terkait dengan ide dan garapan, riset lapangan, wawancara, serta membaca buku-buku yang terkait dengan tradisi makan bakawuah. Kemudian dilanjutkan dengan proses penciptaan antara lain persiapan awal turun kelapangan, eksplorasi, improvisasi, komposisi/pembentukan, evaluasi serta persiapan pertunjukan. Untuk melahirkan dalam sebuah koreografi, pengkarya menggunakan tema non literer yang menggambarkan kehidupan dan perjuangan yang menggunakan tipe dramatic. Kata Kunci: koreografi tari, makan bakawuah, budaya, teknologi AbstractThe dance entitled "Bakawuah" is a work of art that departs from the tradition of makan bakawuah that can be found in the area of Nagari Andaleh Baruah Bukit. The tradition of makan bakawuah is an expression of gratitude to Allah SWT. After the rice harvest season ends the local community celebrates the harvest by eating together, called makan bakawuah, which aims to maintain togetherness and functions as the centre for agricultural information. However, nowadays the makan bakawuah tradition that is performed by the people of. Jorong Andaleh has begun to fade, affecting interaction of the community with each other. All of this has happened because of technological developments that have had an impact on the survival of people who no longer work in a communal way. Rice paddy plow machines and technology has had an impact on the world of agriculture, so much so that interaction between the farmers and community has began to diminish. The methods used to collect data included, collecting data relating to the ideas and work, field research, interviews, and reading books related to the tradition of makan bakawuah. This was then proceed by the creative processes, including the initial preparation of the fieldwork, exploration, improvisation, composition, performance evaluation and preparation. To create this choreography, the artist used non-literary themes that describe life and struggles of the dramatic tupe. Keywords: dance choreography, makan bakawuah, culture, technology  
TITIK MERAH: KARYA SENI YANG TERINSPIRASI DARI SEBUAH FILM THE FLU YANG DIVISUALKAN KEDALAM WUJUD KARYA TARI Hernando Saputra; Susas Rita Loravianti; Ediwar Ediwar
Gorga : Jurnal Seni Rupa Vol 7, No 2 (2018): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v7i2.11057

Abstract

AbstrakKarya tari yang berjudul “Titik Merah”  merupakan karya tari yang terinspirasi dari film yang berjudul The Flu Produksi Servis In Hongkong By October Picture Limited. The Flu merupakan sebuah film yang menceritakan proses penyebaran penyakit flu burung disebuah kota yang bernama Bundang.Pengkarya terinspirasi setelah menonton film The Flu, sebab film ini memberi pemahaman bahwa kesehatan adalah faktor yang sangat penting dalam kehidupan manusia. Flu burung adalah salah satu penyakit yang menular yang disebabkan oleh unggas yang sangat berbahaya hingga bisa mengancam nyawa manuisa dalam waktu yang singkat. Penyebaran virus bisa melalui makanan, sentuhan, minuman, air ludah, dan virus bisa dimatikan dalam suhu yang tinggi.Metode penggarapan dilakukan mulai dari menonton berulang kali film yang menjadi sumber insprirasi, wawancara, serta membaca buku-buku yang bersangkutan dengan oenyakit virus flu burung. Kemudian dilanjutkan dengan proses penciptaan antara lain persiapan awal, eksplorasi, improvisasi, komposisi/pembentukan, evaluasi serta persiapan pertunjukan. Untuk melahirkan dalam sebuah koreografi, pengkarya menggunakan tema kehidupan yang menggunakantipeabstrak.           Kata Kunci:koreografi tari, virus flu burung, kesehatan. AbstractThe dance work entitled “ Titik Merah” is a dance creation inspired from a film entitled “ The Flu” produced by Servis In Hongkong By October Picture Limited. The Flu is a film that tells the process of the spread  of bird flu disease in a  city named Bundang. The choreographer was inspired after watching this film, because it provides an understanding that health is a very important factor in human life. Bird Flu is which one of the infectious diseases caused by very dangerous poultry that can threaten the human life in a short time. The cause of the virus can be through by food, touch, drink, saliva , and the viruses can be killed through high temperatures. The method of cultivation starts from watching repeatedly the film that became the source if inspiration, interview, and read the books concerned with this disease. Then continuing or produced with thecreation process such as initial preparation, exploration, improvisation, composition or formation, evaluation and preparation of the show. To give birth in this choreography, the choreographer uses a life theme that uses an abstract type. Keywords:dance choreography, bird flu virus, health.
GURIAH LIMPAPEH Intania Ananda Jonisa; Susas Rita Loravianti; Rasmida Rasmida
Gorga : Jurnal Seni Rupa Vol 7, No 2 (2018): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v7i2.11351

Abstract

AbstrakKarya tari yang berjudul “Guriah Limpapeh” terinspirasi dari kehidupan sosial perempuan Minangkabau yang pengkarya amati di sekeliling pengkarya bersikap dan bertingkah laku tidak sesuai dengan etika idealnya perempuan Minangkabau. Dalam aplikasinya menginterpretasikan bergesernya nilai dan etika perempuan hari ini dan mengungkap nilai yang relevan dengan adat dan budaya Minangkabau. Dalam konsep gerak sebagai media utama tari pengkarya mengembangkan gerak yang relevan dengan konsep garapan, selain itu diperkuat dengan menggunakan drum sebagai properti dan setting. Karya ini digarap dalam tiga bahagian yakni pada bagian pertama menginterpretasikan tentang kehidupan dan aktivitas masyarakat di Kecamatan Matur, bahagian kedua menggambarkan perubahan memori pada dahulu dan zaman sekarang, kemudian bahagian ketiga menginterpretasikan bagaimana pola tingkah laku perempuan yang dalam adat Minangkabau yang disebut Simarewan dan Mambang Tali Awan yang menjadi konflik dalam garapan, sedangkan bagian endingnya adalah mengekspresikan idealnya perempuan Minangkabau yang disebut dengan Parampuan. Karya ini diperkuat dengan musik untuk memperkuat suasana, demikian juga elemen-elemen dan artistik lainnya untuk penampilannya memilih ruang terbuka atau outdoor. Kata Kunci: interpretasi, perempuan, adat MinangkabauAbstractThis work of dance entitled  as "Guriah Limpapeh" which is inspired from the social life of Minangkabau women, that the observed around the worker’s attitude and behaved not in accordance with the ideal ethics of Minangkabau women. In its application interpet the shifting values and ethics of women today and reveal values relevant to the customs and culture of Minangkabau. In the concept of motion as the main medium of the dance the developer develops a motion that is relevant to the concept of arable, besides being strengthened by using drums as property and settings. This work is worked on in three parts, namely in the first part of interpreting the life and activities of the community in the mature sub-district, the second part describes the change of memory in the past and present, then the third part interprets how the female behavior patterns in the Minangkabau tradition called simarewan and mambang tali awan  which becomes conflict in claim while the final part is expressing ideally the Minangkabau women who is called parampuan. This work is strengthened by music to strengthen the atmosphere, as well as other artistic and elements for his appearance in choosing open space or outdoor.Keywords: interpretation, women, adat Minangkabau.
BUDAYA PINGIT DALAM TARI “PEREMPUAN DALAM BATAS” Prasika Dwi Nugra; Susas Rita Loravianti; Syaiful Erman
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (120.777 KB) | DOI: 10.26887/bcdk.v3i2.543

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ABSTRACT “Perempuan Dalam Batas” Dance is an imaginative expression of anxiety about the condition of women in Indonesia. This dance work is inspired by the interpretation of seclusion cultural phenomenon in Palembang, South Sumatera called pingit. Women in the time of Sultanate of Palembang Darussalam were secluded and equipped with skill to weave in order to acquire a partner/couple of the nobility later on. Women during the colonial era were secluded in pangkeng hidden from the invaders. Pingit is a form of protection arranged by the women’s parents with a specific purpose at different times. That protective imaginary space then becomes the starting point of this work creation by focusing on women as the object of seclusion and impact occurred from the presence of the space. Fundamentally, the idea of protection in seclusion is to protect the women nevertheless, the way of doing the protection results on negative effects toward the women themselves. The negative effects of seclusion ultimately result on limited movement/expression and social space for women in their life. Method of creation applied in this work was observation (exploration of data, interview, and documentation), data analysis, creation process (contemplation, exploration of movement, formation), preparation, performance, and evaluation. This work is divided into 4 (four) parts namely 1) The interpretation of women in seclusion during the era of Palembang Darussalam Sultanate and the era of colonization; 2) The interpretation of seclusion as the cause of women’s limited movement and social space; 3) The interpretation of the uprising as the response of secluded women; 4) The interpretation of women who are unable to get off of the seclusion issue. Keywords: Pingit culture, Women, Choreography.
KOREOGRAFI IMBAUAN LASUANG Nova Astira; Martion Martion; Susas Rita Loravianti
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 1 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (122.266 KB) | DOI: 10.26887/bcdk.v4i1.558

Abstract

ABSTRACT The dance of “Imbauan Lasuang” is inspired by the social phenomena of Padang Laweh people that comes from alu ketentong combined with the phenomenon of local culture. Previously in Padang Laweh people, alu ketentong functioned as an exclamation in the village in order to communicate cultural events that will be done in society. Communication is the requirement for the occurrence of social interaction but recently, means of communication by using alu ketentong is started to be forgotten and ignored. The influence of high technological improvement results on the lack of social interaction among people. Therefore there is a boundary wall in direct communication that leads to westernized lifestyle with its system of individual life. This phenomenon then becomes the inspiration for creating this choreography materialized through Minangkabau local idioms such as silat movements. Keywords: Alu ketentong, communication, Padang Laweh 
ESTETIKA TARI LILIN BEPINGGAN PADA MASYARAKAT KAYU AGUNG KABUPATEN OGAN KOMERING ILIR PROPINSI SUMATERA SELATAN Neni Krisniawati; Erlinda Erlinda; Susas Rita Loravianti
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (144.767 KB) | DOI: 10.26887/bcdk.v3i2.553

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ABSTRACT Lilin Bepinggan dance is an illustration of happiness originated from Miyah Malaman tradition. This tradition is usually done by the youngsters in Ramadan month especially in Lailatul Qadar night. The boy comes to his lover’s house by bringing the equipments of malaman such as candles, firecrackers, and fireworks. Yusrizal, as an artist and humanist, transforms this tradition into performancing art presented through Lilin Bepinggan dance. This dance has complex and aesthetic elements of dance that are interested to be studied further.The objective of this study is to understand the form and aesthetics of Lilin Bepinggan dance in Kayu Agung City, Ogan Komering Ilir District. This study utilized qualitative method in order to reveal and understand the aesthetics of Lilin Bepinggan dance. The data were obtained from (1) observation, (2) interview, and (3) documentation. The data were then verified and analyzed with the theories of form and aesthetics.The aesthetics element of Tari Lilin Bepinggan can be seen from physical reaction, harmony, and sensitive aspect of comprehension portrayed from the performance of Lilin Bepinggan dance that has been influenced by religious, cultural and social values. Keywords: Lilin Bepinggan dance, Aesthetics, Value, Social, Culture 
KOREOGRAFI MARAJUIK ASA: INTERPRETASI ATAS TARI PIRING DEBUS ANDALEH, TANAH DATAR Yeni Eliza; Rasmida Rasmida; Susas Rita Loravianti
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 2 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (179.006 KB) | DOI: 10.26887/bcdk.v4i2.565

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ABSTRACT Women have an important role in rumah gadang. Meanwhile, men generally live in surau to learn Qur’an and study traditional arts. The tradition shifts because of the influence of current development that results on traditional arts are no longer inherited to the young generation. In this writing, it is described the method of work creation started from the stages of contemplation, observation, data collection, interview, elaboration, synthesis, realization, until completion in the form of artwork performance. Therefore, the objective of this work creation is achieved namely traditional art particularly Piring Debus dance becomes popular and people feel that traditional art belongs to them. Keywords: Revitalization, Art, Tradition
TRADISI MALAMANG DALAM PROSESI ACARA MAULID NABI SAW DI PARIAMAN Siska Aprisia; Susas Rita Loravianti; Febri Yulika
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 1 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (107.802 KB) | DOI: 10.26887/bcdk.v3i1.536

Abstract

ABSTRACT Malamang rite is an artwork inspired from the cultural phenomenon in Pariaman. That cultural phenomenon is the ritual of prophet Muhammad’s mauled ceremony, that is always conducted routinely particularly in surau. The sequence of that ritual consists of salawaik dulang, badikiah, baretong, arak-arakan (procession), and bajambua. One of traditions that cannot be forgotten is malamang. The phenomenon occurred in Pariaman society is then processed into art creative concept that uses parts of that ritual symbolically. Salawaik dulang, badikiah, baretong, arak-arakan (procession), and bajambua become the basis of creation by taking only the certain parts. From that art creative concept, it’s then born the dance of malamang rite in the form of the performance of Indonesian modern dance. Meanings resulted from the dance performance of this malamang rite comprise of several things namely: (1) social status; (2) self-respect; (3) people’s economy; and (4) inner conflict. All those meanings are present symbolically or directly in the artwork.
Co-Authors Aprisia, Siska Astira, Nova Cica Junia Cici Wulandari Dede Pramayoza Desipriani Desipriani Desvita Sary Dila Agnisya Ediwar Ediwar Eduard Zebua Eliza, Yeni Emri, Emri Endang Wahyuni Erlinda Erlinda Erlinda Erman, Syaiful Febri Yulika Fitri, Mira Eka Hernando Saputra Intania Ananda Jonisa Krisniawati, Neni Lovia Tri Yuliani Martion Martion Martion Martion Munaf Yuniarti Neni Krisniawati Nova Astira Novesar Jamarun Nugra, Prasika Dwi Nursyirwan Nursyirwan Prasika Dewi Nugra Rani Hermita Rasmida Rasmida Rasmida Rasmida Sari, Santi Purnama Silva Yusalim Siska Aprisia Suaida Suaida Suprianingsih Suprianingsih Syafwandi Syafwandi Syafwandi Syafwandi Syafwandi Syafwandi Syaiful Erman Wahida Wahyuni Yeni Eliza Zainal Warhat Zulfikar Rizki Ananda