Article Per Year (5 Year)
p-Index From 2021 - 2026
1.182
P-Index
This Author published in this journals
All Journal Pendas : Jurnah Ilmiah Pendidikan Dasar Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Prosiding Seminar Nasional Ilmu Pendidikan Jurnal Pendidikan dan Sosial Humaniora
Nurlia Djafar
Unknown Affiliation
Arts Humanities Economics, Econometrics & Finance Education Public Health Social Sciences Other

Published : 7 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 7 Documents
Search

 1 
Penanaman Literasi Budaya dan Kreativitas Melalui Pembelajaran Tari Tradisional Di SMP 1 Kabila Bone Sebagai Bentuk Objek Pemajuan Kebudayaan Daerah Kawasan Teluk Tomini Nurlia Djafar; Novianty Djafri
Prosiding Seminar Nasional Ilmu Pendidikan Vol. 1 No. 2 (2024): Desember : Prosiding Seminar Nasional Ilmu Pendidikan
Publisher : Asosiasi Riset Ilmu Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62951/prosemnasipi.v1i2.27

Abstract

Embedding cultural literacy in students requires effective learning with learning media where in learning, teachers can connect learning materials with culture, both national culture and local wisdom in students. Cultural literacy is the ability to understand and behave towards Indonesian culture as a national identity. Cultural literacy refers to a person's ability to understand, analyse and participate in culture effectively. This includes understanding the symbols, norms, values and cultural practices that exist in society. Dance as an art that shows the cultural heritage of a society and is a cultural expression that combines body movement and expression (Puspita Sari, 2022). Traditional dance is a representation of local culture. Learners can gain an understanding of the cultural principles contained in traditional dance movements and expressions by learning them they can feel and appreciate cultural diversity in a broader context. So the right approach is needed to improve cultural literacy in learners, to improve cultural literacy, one of which is by presenting traditional dance in schools.
NILAI ESTETIS TIDI LO BITU’O (STUDI KASUS DI SANGGAR TUMULA GORONTALO) Nazly Friena S. Pakaya; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar; Mimy Astuty Pulukadang
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31132

Abstract

This study was conducted due to the beauty of one of Gorontalo’s traditional art forms. The type of art referred to is tidi, meaning “dance.” Among the eight types of tidi in Gorontalo, Tidi Lo Bitu’o stands out as particularly captivating. This study addresses two main problems: identifying the components of Tidi Lo Bitu’o and examining how its structure conveys aesthetic value. The study employed a qualitative case study approach, focusing on analyzing the dance performances of the Tumula Studio dancers, using Janet Adshead’s theoretical framework as presented in Riana Diah Sitharesmi’s book, alongside A.A.M. Djelantik’s theory of aesthetics. The study aims to describe Tidi Lo Bitu’o’s components and interpret the aesthetic values embodied within its structure. The findings reveal that the components of Tidi Lo Bitu’o include movements, dancers, visual set elements (stage setting, lighting, costumes, facial makeup, hair styling, and props), and aural elements in the form of accompanying music, featuring lyrics sung in the Gorontalo language accompanied by rebana and koloko’o instruments. Regarding aesthetic values based on A.A.M. Djelantik’s framework, three key aspects were identified: unity, demonstrated through the relationship among movements, dancers, visual set, and aural elements; emphasis, found in the opening sequence through the music, dancers with salenthangi props, and the core section where the bitu’o prop is actively used along with the music; and balance or harmony, observed through the blending elements of Tidi Lo Bitu’o and the relationship between the two props used, salenthangi and senthangi.
ANALISIS STRUKTUR GERAK TIDI LO TONGGALO DI KECAMATAN TAPA PROVINSI GORONTALO Nur Aprilia Ismail; Riana Diah Sitharesmi; Rahmawati Ohi; Trubus Semiaji; Nurlia Djafar
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31182

Abstract

Tidi Lo Tonggalo is one of several types of Tidi, where Tidi means “dance” and Tonggalo means “support”. Thus, Tidi Lo Tonggalo symbolizes how a woman acts as a pillar in the family, society, and religion, emphasizing that if she falters, so too will what she supports. Tidi Lo Tonggalo possesses a beautiful movement structure, rich with values and meanings. Analyzing its movement structure helps facilitate an accurate and clear interpretation of the dance. This qualitative descriptive study employs data collection through observation, interview, and documentation. The qualitative data analysis was continuous and iterative, involving data reduction, data display, and conclusion drawing or verification, representing the research’s success indicators. The study was conducted in Tapa Sub-district, Gorontalo Province. This dance is performed by five women and serves an entertainment function. The analysis findings of Tidi Lo Tonggalo’s movement structure are based on its compositional elements: vocabulary, spatial design, and dynamics. There are 32 movement vocabularies or poses in Tidi Lo Tonggalo, with transitional movements and repetitions on the right and left sides of the body in each sequence. The dance features nine spatial designs or floor patterns, some similar but incorporating different movements. Additionally, its dynamics are marked by changes in tempo in the musical accompaniment. Despite the tempo changes, the dancers maintain the softness of their movements throughout the performance.
BENTUK PENYAJIAN TARI CAKALELE PADA PENOBATAN KEPALA DUSUN SUKU BURU DI PROVINSI MALUKU Nur Rahmatia; Riana Diah Sitharesmi; Mimy A. Pulukadang; Nurlia Djafar; La Ode Karlan
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32278

Abstract

The Cakalele dance is a traditional war dance originating from Maluku Province. In the inauguration ceremony of the village head, the Cakalele dance is performed as the fourth sequence in the traditional ritual procession. In the Buru tribal language, the village head is called “Kepala Soa.” This study aims to explain the process of the Kepala Soa’s inauguration and to describe the presentation form of the Buru Tribe’s Cakalele dance during this event in Maluku Province. The Cakalele performed at the inauguration ceremony is classified as a ritual dance. This study employed a qualitative descriptive method. Data collection techniques included observation, interviews, and direct observation of the presentation form of the Cakalele dance during the Kepala Soa’s inauguration, which was documented through photographs and video recordings. The analysis results show that the Cakalele dance is performed by two male dancers who must meet specific requirements: they must be members of the Buru tribe, married, have previously performed the Cakalele dance, and be physically and mentally healthy. The costume worn consists of a “lenso” (scarf), a plain black shirt and pants, and a red cloth (merat). The Cakalele dance comprises three primary movement motifs and is accompanied by the traditional Tifa drum. The main property in the dance is the Pattimura sword. The performance takes place in the front yard of the Oki Baru Village Office.
BENTUK PENYAJIAN TARI REJANG RENTENG PADA PIODALAN DI PURA PADMASANA DESA LABONU KECAMATAN BASIDONDO KABUPATEN TOLITOLI Ni Komang Vica Sari; Trubus Semiaji; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 Build
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32553

Abstract

The Rejang Renteng Dance is a sacred dance performed by married women and is prohibited for children or unmarried women. Rejang Renteng is performed during the Piodalan ceremony at Pura Padmasana, Labonu Village, symbolizing a dance to guide the deities descending to Earth. This research aims to explain the presentation form of the Rejang Renteng Dance and the changes that have occurred in its presentation, which in turn influence the perfection of the Piodalan ceremony at Pura Padmasana, Labonu Village. This is particularly relevant because the Rejang Renteng Dance at Pura Padmasana Labonu Village shows slight variations in its textual aspects. The research employs a qualitative method. Data collection techniques include observation, interviews, and direct documentation of the dance presentation through videos, photographs, and recordings. The results indicate that the presentation form of the Rejang Renteng Dance at the Piodalan in Pura Padmasana, Labonu Village, can be observed through several aspects: the dance movements consist of three types of movements; the floor patterns consist of two types of patterns; the dancer’s makeup is simple, wearing white kebaya blouses and yellow kamen (traditional clothes). The property used is a yellow sash, and the accompanying music is Gong Kebyar. The number of dancers totals 14. The performance venue is located in the Jaba Mandala area of the temple.
Tari Longgo Mayuru dalam Konteks Sejarah dan Kehidupan Sosial Masyarakat Molingkapoto Fadilla Anggraini Botutihe; Nurlia Djafar; Mimy Astuti Pulukadang; Rahmawati Ohi; Riana Diah Sitharesmi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 2 (2025): Oktober: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i2.8093

Abstract

This study was motivated by the existence of Longgo Mayuru Dance as a traditional art form of Gorontalo that still maintains its socio-cultural functions and relatively authentic movement structure amid cultural dynamics. This dance not only serves as an aesthetic expression but also as a cultural text that represents the history, customary system, and social identity of the Molingkapoto community. The purpose of this study is to analyse the movement structure of the Longgo Mayuru dance in relation to the historical context and social life of the Molingkapoto community. The study uses a qualitative approach with a descriptive-interpretative design. Data were collected through participatory observation, in-depth interviews with dance performers and traditional leaders, as well as visual and written documentation. Data analysis was carried out by describing the dance movement structure at the level of motifs, phrases, and movement sentences, then interpreted through structural and sociocultural approaches. The results of the study show that the Longgo Mayuru Dance has its roots in traditional martial arts, which underwent historical transformation into a symbolic escort dance. It has a sacred socio-customary function and is composed of a systematic and symbolically meaningful movement structure. The implications of this research emphasise the importance of preserving the Longgo Mayuru dance, not only in terms of its movements, but also in terms of the socio-cultural context and historical values that underpin it as part of the cultural heritage of the Molingkapoto community.
Molapi Saronde sebagai Pengikat Kekerabatan pada Hui Mopotilandahu di Kecamatan Telaga Jaya Hangga, Ancul; Nurlia Djafar; Ode Karlan
Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora Vol. 6 No. 1 (2026): Maret : Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/khatulistiwa.v6i1.10332

Abstract

The development of modernization and globalization has brought significant impacts on changes in social and cultural values within society, including traditional customs that have been passed down from generation to generation. The Gorontalo community, despite undergoing various transformations, continues to preserve several customary traditions, one of which is Molapi Saronde, performed in the Hui Mopotilandahu procession as part of the traditional wedding ceremony. This study aims to examine the role of the Molapi Saronde dance as a means of strengthening kinship ties within the Hui Mopotilandahu procession in Telaga Jaya District, Gorontalo Regency. This research employs a qualitative approach, with data collection techniques including observation, in-depth interviews with traditional leaders and cultural practitioners, and documentation. Data were analyzed through the stages of data reduction, data presentation, and conclusion drawing. The findings indicate that Molapi Saronde functions not only as a form of ritual artistic performance but also plays an important social role in strengthening kinship relationships between the families of the prospective bride and groom. The dance embodies values of togetherness, harmony, religiosity, education, and aesthetics, which are reflected in the involvement of families and the wider community in the customary procession. Molapi Saronde serves as a medium of social interaction that affirms acceptance, solidarity, and harmony between families. The implications of this study emphasize the importance of preserving Molapi Saronde as a local cultural heritage that maintains cultural identity and strengthens social bonds within Gorontalo society amid the dynamics of contemporary change.
Co-Authors Fadilla Anggraini Botutihe Hangga, Ancul La Ode Karlan Mimy A. Pulukadang Mimy Astuti Pulukadang Mimy Astuty Pulukadang Nazly Friena S. Pakaya Ni Komang Vica Sari Novianty Djafri Nur Aprilia Ismail Nur Rahmatia Ode Karlan Rahmawati Ohi Riana Diah Sitharesmi Trubus Semiaji