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All Journal Pendas : Jurnah Ilmiah Pendidikan Dasar Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM)
Riana Diah Sitharesmi
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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.
PEMBELAJARAN MUSIK IRINGAN TARI KABELA MELALUI MODEL PEMBELAJARAN DIRECT INSTRUCTION DI KELAS XI IPA 1 SMA NEGERI 2 KOTAMOBAGU Muhammad Rafii Sardi; La Ode Karlan; Mimy A. Pulukadang; Rahmawati Ohi; Riana Diah Sitharesmi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 Terbit
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32963

Abstract

This study aims to analyze the effectiveness of applying the Direct Instruction learning model in teaching musical accompaniment for the Kabela dance at SMA Negeri 2 Kotamobagu. The focus of the research is to determine the extent to which this model can improve students’ skills in playing musical instruments for dance accompaniment and to identify the challenges encountered during the learning process. This research employed a qualitative approach using observation, interviews, and documentation methods. The subjects of the study were students involved in learning musical accompaniment for the dance at the school. The results showed that the implementation of the Direct Instruction model significantly helped students understand and play accompanying musical instruments, such as the flute, tambourine, and gong. Systematic learning through the stages of introduction, material presentation, guided practice, independent practice, and evaluation made it easier for students to understand the rhythm and tempo patterns of the Kabela dance accompaniment. The main challenges found in this study were students’ difficulties in synchronizing tempo in group performances and their lack of prior experience in playing traditional musical instruments. However, these challenges could be minimized through regular practice and intensive guidance from the teacher during the learning process. In conclusion, the study finds that the Direct Instruction learning model is effective in improving students’ skills in playing musical accompaniment for the Kabela dance. This model can serve as an alternative method in music education at schools to enhance students’ understanding and skills in a systematic and structured way.
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.
Bentuk Penyajian Tari Mopotilro dalam Acara HUT PEREDAM di Kecamatan Bolaang Uki Kabupaten Bolaang Mongondow Selatan Nurhikmah Jum'a Laselo; Riana Diah Sitharesmi; La Ode Karlan; Nurlia Djafar; Trubus Semiaji
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : 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.v5i1.8338

Abstract

Mopotilro Dance is a traditional dance originating from South Bolaang Mongondow Regency that functions as a welcoming dance for guests in customary ceremonies. Academically, this dance has not yet been examined in depth. Therefore, this article aims to investigate the Mopotilro Dance from the perspective of its performance structure, particularly as presented at the anniversary celebration of the Persatuan Relawan Muda Molibagu (PEREDAM) community. The research focuses on several aspects of the dance presentation, including: (1) movement, (2) number of dancers, (3) makeup and costume, (4) musical accompaniment, (5) floor patterns, (6) properties used, and (7) performance space. This study employs a qualitative research method with data collection techniques consisting of observation, interviews, and documentation, which are used to describe the data and draw conclusions. The results indicate that the presentation of the Mopotilro Dance at the PEREDAM anniversary event is not found in other occasions. This condition suggests that public understanding of the Mopotilro Dance as part of local cultural heritage remains limited. The lack of academic studies on the performance structure of the Mopotilro Dance is one of the factors contributing to its rare appearance in various events.
Bentuk Penyajian Balatindak dalam Prosesi Pakanggi Umat di Kecamatan Bangkurung Kabupaten Banggai Laut Wida H. Saisali; Nurlia Djafar; Riana Diah Sitharesmi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : 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.v5i1.8372

Abstract

Balatindak is a traditional art that has existed since the time of the Banggai Kingdom. In its development, Balatindak presented in the regions, and each region has its own characteristics in its performance. In Banggai Laut Regency, Bangkurung District, Balatindak is performed upon the arrival of visiting distinguished guests, and on Eid al-Fitr. In Lantibung village, Balatindak is not only entertainment but also as part of the pakanggi umat ceremony carried out by the community. This study aims to describe the form of Balatindak presentation in the process of implementing pakanggi umat. This study uses a descriptive qualitative research method. In collecting data, researchers conducted interviews, and observations of the implementation of pakanggi umat, as well as documenting it in the form of photos and videos. The results of the study found that Balatindak was performed four during the pakanggi umat. The first was at the beginning of the procession performed by two men (talapu), then in the middle was presented by several male and female talapu. The costumes worn by male talakus are daily clothes consisting of long or short-sleeved shirts, black trousers, and white headbands. Meanwhile, female talapu wear long-sleeved shirts, sarongs, scarves, and white head coverings. The Balatindak is unique with movements dominated by rapid foot stomping, and both arms play props depicting machetes and shields. Balatindak is accompanied by batong music. The venue is the Bangkurung traditional house called Kusali. The Balatindak performed in this tradition classified as a ritual performing art.
Revitalisasi Tari Mosau’ Bolaang Mongonow Melalui Penciptaan Tari Sinungkudan Fahrurozy Ambaru Harun; Riana Diah Sitharesmi; Nurlia Djafar
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : 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.v5i1.8383

Abstract

This research aimed to revitalize Mosau' Dance, a nearly extinct traditional dance from Bolaang Mongondow, through the creation of a new work entitled Sinungkudan Dance. Mosau' Dance is a celebratory dance of post-war warriors whose existence is currently fading in the Bolaang Mongondow region due to a lack of regeneration and the influence of modernization. This research employed a descriptive qualitative approach with a focus on choreographic analysis. The revitalization process was carried out through four stages: exploration, reconstruction, reinterpretation, and reactualization. The results indicate that revitalization through the creation of Sinungkudan Dance successfully provided a "new breath" for the local tradition of Bolaang Mongondow. Choreographically. Sinungkudan Dance consisted of eight movement variations, combining three original Mosau' movement motifs (such as joyful leaps) with five newly created movements that depicted narratives of warrior life (Bogani), ranging from weapon sharpening and physical training to the atmosphere of warfare. The choreographic structure was supported by nine symbolic floor patterns, the use of the tungkudon (spear) as a prop, and digital musical accompaniment that blended traditional rhythms with modern instruments such as the flute and snare drum. In conclusion, through more visually and kinetically attractive innovations, the values of leadership and resilience embodied in Mosau' Dance were able to be transmitted to younger generations as a proud cultural identity for the people of Bolaang Mongondow.
ANALISIS STRUKTUR GERAK TARI GIOMU DI SANGGAR MOGUSATO KABUPATEN BOLAANG MONGONDOW UTARA Riski Mokodompit; Riana Diah Sitharesmi; Nurlia Djafar; Rahmawati Ohi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 01 (2026): Volume 11 No. 01 Maret 2026 Published
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i01.40484

Abstract

Traditional dance plays a crucial role as a medium for cultural expression, representing the values, identity, and social structure of its supporting communities. However, academic studies often lack a clear gap between theoretical understanding and actual performance practices. In the context of the Giomu Dance, a court dance of the Kaidipang community in North Bolaang Mongondow Regency, previous research has tended to be descriptive-historical and has not yet explored its movement structure in depth as practiced by cultural performers. This study aims to systematically analyze the movement structure of the Giomu Dance by examining movement vocabulary, spatial design, and performance dynamics. The study employed a descriptive qualitative approach, with data collection techniques including performance observations, in-depth interviews with cultural figures and dancers at the Mogusato Studio, and visual documentation. The results indicate that the movement structure of the Giomu Dance is composed of five main vocabulary elements interconnected through planned transitions and repetitions, four floor patterns that establish dramatic relationships between female and male dancers, and movement dynamics that emphasize gentleness, order, and resilience. These findings reveal that the movement structure of the Giomu Dance represents the values of unity, honor, and nobility of Kaidipang women, rooted in the local historical and socio-cultural context. This study concludes that the Giomu Dance functions not only as a welcoming performance art but also as a medium for articulating cultural identity that remains relevant and sustainable in the lives of the people of North Bolaang Mongondow today.
Co-Authors Fadilla Anggraini Botutihe Fahrurozy Ambaru Harun Fingki Yaningsi Ruiba La Ode Karlan Mimy A. Pulukadang Mimy Astuti Pulukadang Mimy Astuty Pulukadang Muhammad Rafii Sardi Nazly Friena S. Pakaya Ni Komang Vica Sari Nur Aprilia Ismail Nur Rahmatia Nurhikmah Jum'a Laselo Nurlia Djafar Rahmawati Ohi Riski Mokodompit Trubus Semiaji Wida H. Saisali