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Jurnal Sendratasik
Published by Universitas Negeri Padang
ISSN : -     EISSN : 23023201     DOI : 10.24036
Core Subject : Science, Education, Art, Social,
Arts Education Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Social Sciences
Jurnal Sendratasik diterbitkan 4 (empat) kali pada bulan S Maret, Juni, September, dan December denganmemuat artikel / artikel penelitian di bidang musik, tari, dan drama serta pembelajarannya. Memuat teks yang dihasilkan oleh kelompok penyunting, naskah yang digunakan adalah naskah yang lolos dan tidak pernah / tidak akan pindah ke jurnal lain. Jurnal Sendratasik menerima naskah yang memberikan wawasan tentang isu-isu terkini, dan terutama berhubungan dengan studi Seni Pertunjukan dan Pembelajarannya(Seni Drama, Tari dan Musik) dengan menyebar luaskan pengetahuan di bidang-bidang yang muncul dan berkembang. Hasil riset, terdiri dari laporan ilmiah yang meningkatkan pengetahuan tentang seni secara umum, seni pertunjukan, dan pendidikan seni. Baik dalam bentuk artikel yang melaporkan hasil studi penelitian kuantitatif atau kualitatif. Artikel secara konseptual harus relevan untuk memajukan Seni Pertunjukan dan Pembelajarannya, menyajikan teori tentang seni, model, posisi filosofis, dll. Artikel juga dapat mengacu pada teori-teori ataupun materi- materi yang dikembangkan dalam praktik dan pendidikan seni pertunjukan. Bahasa naskah yang dikirimkan dalam bahasa Indonesia. Harus membahas tentang masalah serta kontribusi baru yang signifikan untuk bidang praktik dan pendidikan seni pertunjukan. Artikel dapat berasal dari salah satu bidang berikut: - Drama - Tari - Musik dan / atau Musik Tradisional - dan Pembelajarannya
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 15 Documents
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Search results for , issue "Vol 11, No 1 (2022)" : 15 Documents clear
Koreografi Tari Zapin Bertasbih Pada Sanggar Tasik Malay Art Di Pekanbaru Yose Fernando; Herlinda Mansyur
SENDRATASIK UNP Vol 11, No 1 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (767.841 KB) | DOI: 10.24036/js.v11i1.114207

Abstract

This research aims to analyze Zapin Bertasbih Dance Choreography in Sanggar Tasik Malay Art Pekanbaru. This type of research is qualitative research with descriptive methods of analysis. The research instrument is the researchers own and is assisted by supporting instruments such as stationery and cameras. Primary data types and secondary data. Data collection techniques are carried out by employing library studies, observations, interviews and documentation. The steps to analyze the data are to describe, interpret and draw conclusions. The results showed that Zapin Bertasbih dance choreography performed by choreographer Tri Sisca Noviani is a new dance creation worked with a choreographic approach. Zapin Bertasbih Dance Choreography can be seen in Form and Content. In the form motion, there are 15 kinds of motion, floor patterns in the form of vertical, horizontal, diagonal and zigzag, the composition of groups in the form of simultaneous and split, dancers (6 people), wearing Malay costumes, dance accompaniment by wearing gambus, accordion, flute, darbuka, marwas and tambur, property using tasbih. In content, among them the idea that arises from taking things done by Muslims in performing worship practices to the creator by using tasbih as his property. The atmosphere that appears in Zapin Dance is peaceful, joyful and calm. Therefore, Zapin Bertasbih Dance is worked on with choreographic planning by his stylist. Because Zapin Bertasbih Dance begins with an idea that departs from Zapin Melayu itself where Zapin Melayu underlies the creation of Zapin Bertasbih. The source of Garapan from Zapin Bertasbih is some movements from Zapin Melayu, namely the movement of worship, Middle Dizziness, Broken Chicks and the Movement of Meniti batang. Then worked by the stylist and arranged movements that have been created into a new form of dance. In content, among them the idea that arises from taking things done by Muslims in performing worship practices to the creator by using tasbih as his property.
Perubahan Tari Makan Sirih Ke Tari Persembahan Melayu Riau Di Kota Pekanbaru Provinsi Riau Cut Bunga Maharani Nazlen; Darmawati Darmawati
SENDRATASIK UNP Vol 11, No 1 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (787.204 KB) | DOI: 10.24036/js.v11i1.114094

Abstract

This study aims to analyze the changes in the Riau Makan Sirih Melayu Dance which are focused on changing the form of the dance. This type of research is qualitative research with a descriptive analysis method with the object of research namely Riau Malay dance. The main instrument of this research is the researcher himself making direct observations in the field and assisted by supporting instruments such as; stationery, digital cameras, tape recorders, CD cassettes, and flash drives. Data collection techniques were carried out through literature study, observation, interviews, and documentation. Data analysis techniques are carried out by reducing data, presenting data, and drawing conclusions. The results showed that the change of the Makan Sirih Dance into the Riau Persembahan Melayu Dance consisted of a change in the name and the form of presentation.
Bentuk Penyajian Tari Puti Bungo Api Sanggar Mandugo Ombak Di Kelurahan Ibuh, Kecamatan Payakumbuh Barat Kota Payakumbuh Sucy Zulmaiza; Nerosti Nerosti
SENDRATASIK UNP Vol 11, No 1 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (797.587 KB) | DOI: 10.24036/js.v11i1.114161

Abstract

This study aims to analyze and describe the form of presentation of Puti Bungo Api Dance in the Mandugo Ombak Studio in Ibuh Village, Payakumbuh Barat District, and Payakumbuh City. This type of research is qualitative with a descriptive method. The object of research is Puti Bungo Api Dance, Mandugo Ombak Studio, Ibuh Village, West Payakumbuh District, Payakumbuh City with primary and secondary data types. Data collection techniques were carried out using library research, field observations, interviews, and documentation. All this data can be analyzed and accounted for. From the research conducted, it was found; that uniqueness; some conditions that must be owned by a dancer; the meaning of movement; floor pattern; the musical instrument used; makeup and costumes; property; the time and place of the performance.
Fungsi Musik Kalinong Dalam Kegiatan Memanen Padi Di Rantau Panjang Kelurahan Mampun Kabupaten Merangin Provinsi Jambi Romi Afriansah; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 11, No 1 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (936.186 KB) | DOI: 10.24036/js.v11i1.113977

Abstract

This study aims to determine and describe how the function of Kalinong music in rice harvesting activities in Rantau Panjang, Mampun Village, Merangin Regency, Jambi Province. This type of research is a qualitative research using descriptive analysis method. The research instrument is the researcher himself and uses several tools such as writing instruments and cellphones. Data collection techniques were carried out by means of observation, interviews, literature studies and documentation. The steps in analyzing the data are collecting data, describing the data and concluding the data. The results showed that kalinong music in rice harvesting activities had three functions, namely: (1) the function of emotional expression, (2) the function of aesthetic enjoyment and (3) the function of entertainment. In the rice harvesting activity, kalinong music is played by two women, one as vocals and the other playing kalinong. Kalinong music games are still used by the people in Rantau Panjang in traditional events and traditional activities there, such as silek/silat martial arts and rice harvesting activities accompanied by kalinong music. Kalinong music is also preserved and passed down to their children and grandchildren so that Kalinong music is not lost by the times.
Regenerasi Pemain Musik Kecapi Dalam Kesenian Gamad Di Sanggar Seni Gamad Desa Ujung Padang Kecamatan Kota Mukomuko Fitri Yulia Eka Wulanda; Esy Maestro
SENDRATASIK UNP Vol 11, No 1 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (924.517 KB) | DOI: 10.24036/js.v11i1.114033

Abstract

This study aims to find and describe how the regeneration of kecapi music players carried out at the Gamad Studio, Ujung Padang Village, Mukomuko City District. This type of research is descriptive qualitative. The main instrument in this study is the researcher himself and is assisted by supporting instruments such as stationery and a camera. The type of data used is primary data. Data collection techniques were carried out using literature study, observation, interviews, and documentation. The results showed that the regeneration of lute music players in the Gamad Art Studio, Ujung Padang Village, Mukomuko City District was carried out openly. Regeneration is openly carried out by teaching lute music to family members, the community, and members of the studio. The harp music is the main accompaniment of the Art of Gamad Mukomuko. Gamad's art is packaged in an art package that includes dance, drama, and music performed all night long. The ultimate goal of a harp music training process at Sanggar Gamad, Ujung Padang Village, is to give birth to a new generation that is proficient in playing the kecapi musical instrument.

Page 2 of 2 | Total Record : 15

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