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Riana Diah Sitharesmi
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Journal : Pendas : Jurnah Ilmiah Pendidikan Dasar

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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 In Process
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 In Process
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 In Process
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.
Co-Authors La Ode Karlan Mimy A. Pulukadang Mimy Astuty Pulukadang Muhammad Rafii Sardi Nazly Friena S. Pakaya Ni Komang Vica Sari Nur Aprilia Ismail Nur Rahmatia Nurlia Djafar Rahmawati Ohi Trubus Semiaji