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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 10 Documents
 1 
Search results for , issue "Vol 12, No 3 (2023)" : 10 Documents clear
Eksistensi Talempong Kayu di Nagari Durian Gadang Kecamatan Sijunjung Kabupaten Sijunjung Sri Aprillia Nura; Asril Asril; Yurnalis Yurnalis
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.124699

Abstract

This research examines the existence of Talempong Kayu in Nagari Durian Gadang, Sijunjung District, Sijunjung Regency. Talempong Kayu is one of the traditional music in Nagari Durian Gadang. Initially, Talempong Kayu was performed using one instrument, namely a set of wooden talempongs consisting of five blades. The function of Talempong Kayu is to entertain yourself when you are tired from work or during your spare time. Along with the times, Talempong Kayu has developed and does not only use one instrument, but has added accompaniment instruments such as two drums, a gong and a bottle. The function of Talempong Kayu has also developed, such as entertainment events, the appointment of traditional titles, events commemorating the anniversary of Sijunjung Regency, entertainment at weddings, as well as events to welcome guests of government agencies. The purpose of this study was to describe the existence and form of presentation and function of Talempong Kayu in Nagari Durian Gadang, Sijunjung District, Sijunjung Regency. This study uses qualitative research methods with data collection techniques by observation, documentation, and field interviews to obtain research results according to the context that is descriptive. The results of this study explain that the existence of Talempong Kayu traditional music in Nagari Durian Gadang has experienced developments both in terms of tools and in terms of its use in society.
Mengungkap Peran Ilustrasi Musik dalam Membangun Mood, Nuansa, dan Suasana pada Film ‘Tonggak Tuo’ Indra Syukma
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.124793

Abstract

Musical illustration plays a crucial role in establishing the mood, nuances, and atmosphere in films. This study delves into two main aspects: 1) how directors and composers apply mood, nuances, and atmosphere through musical illustration in various scenes, and 2) the significance of musical illustration in the film "Tonggak Tuo." The researcher employs a qualitative descriptive research method, presenting data in both textual and graphical forms. The primary focus of this study revolves around the role of music illustration in films as a builder of mood, nuances, and atmosphere, as per Himawan Pratista's film music illustration theory. Data collection methods encompass document review, interviews, and literature review. Analytically, this research directly observes the content of "Tonggak Tuo" to investigate the role of music illustration, employing content analysis and interpretative techniques. The results affirm that musical illustrations play a pivotal role in constructing the mood, nuances, and atmosphere within the film "Tonggak Tuo."
Koreografi Tari Piriang Indang Nan Badantiang Sanggar V Tunang Kecamatan Naggalo Kota Padang
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.121563

Abstract

This study aims to reveal describe and analyze the choreography of Piriang Indang Nan Badantiang Dance in Sanggar V Tunang, Nanggalo District, Padang City. This research using qualitative methods is research that uses a naturalistic approach. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. The data in this study used primary data and secondary data. Data collection techniques are carried out using literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data presentation and conclusion. The results showed that cultivation is certainly inseparable from the creative process of wanting to develop a new motion and paying attention to the exploration of motion. After discovering the idea of the Indang Nan Badanting Piriang Dance the choreographer contemplates in a sound or term the vernacular in a dance that is often performed can become a dance title. The motion created by the choreographer comes from the existing motion and is redeveloped to be more widespread and different even though the performance performs the same or repetitive movements, but can be distinguished in the composition and cultivation. This Indang Nan Badantiang Piriang Dance has a dominant element of space having straight and curved lines, low and medium levels, front and side facing directions, medium and large volumes, and front and side view focus. According to the choreographer, the creation of the Piriang Badantiang Indang Dance was also inspired by the existing Piriang Dance movements but redeveloped so that they are not the same. 
Bentuk Penyajian Tari Jepin Laba-Laba di Desa Penibung Kecamatan Mempawah Hilir Kabupaten Mempawah Ramadhan Kasyful Kalam; Dwi Oktariani; Mega Cantik Purti Aditya
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.124999

Abstract

This research aims to describe and document the presentation of the Jepin Spider Dance. The researcher's interest was motivated by knowing the dance performance from start to finish. This research uses descriptive methods, qualitative research forms, and a choreographic approach. The data collection techniques used are observation, interviews and documentation techniques. The technique for testing the validity of the data used is extended observation and source triangulation. Based on data analysis, it can be concluded that the form of presentation of the Jepin Spider Dance, the Jepin Spider Dance is an entertainment dance that is performed at Khataman qur'an, circumcision, wedding and robo-robo events. The movement motif in the Jepin Spider Dance uses a single-step movement motif. There are two types of movement, namely the one-go type and the two-return type. This style is divided into initial, middle and final movements. This variety forms a connective pattern resembling a spider's nest. Each change of movement is marked by a tahto or tahtim movement. The Jepin Spider Dance Costume uses a clothes bracket and a telok belanga. Using realistic make-up from the dancer's real face. The musical accompaniment to the Jepin Spider Dance instrument uses Arabic poetry, meaning praise to the Prophet Muhammad. The instruments use the Gambus or Selodang and Beruas musical instruments. This dance uses rope properties which are played by nine dancers.
Fungsi Upacara Adat Tentobus pada Suku Dayak Pesaguan di Kecamatan Tumbang Titi Kalimantan Barat Aline Rizky Oktaviari Satrianingsih; Regaria Tindarika; Mega Cantik Purti Aditya; Fernandus Deo Decapriyo
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.123664

Abstract

The Tentobus traditional ceremony procession is usually carried out by the Dayak Pesaguan ethnic in West Kalimantan Province. The Pesaguan Dayak ethnic is close to nature and often carries out activities by working together. They respect the norms and rules that are still attached, so that the activities they carry out for survival are accompanied by rituals as expressions of gratitude and requests for permission. Based on believed folklore, the traditions and rituals passed down from ancestors are related to the culture brought by the Majapahit era and are part of the civilization of the Dayak Pesaguan tribe in Tumbang Titi District, Ketapang Regency. This research is descriptive qualitative research with an anthropological approach. Researchers conducted interviews and documentation studies. Data collection through interviews with sources and literature study. The credibility test was carried out by extending observations and data triangulation. The results of this research state that the Tentobus Traditional Ceremony aims to cleanse oneself and reject evil as well as cleanse oneself from mistakes in the past year, the old year, and the following year. The Tentobus Traditional Ceremony process is carried out sequentially with different procession sequences. Overall, each procession boils down to expressions of gratitude and protection.
Bentuk Penyajian Tari Pilanuk di Kecamatan Sungai Ambawang Kabupaten Kubu Raya Kalimantan Barat Desi Susilawati; Regaria Tindarika; Dwi Oktariani
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.124848

Abstract

The background of this research is because of the researcher's concern about the authenticity of the Pilanuk Dance performance, which in the future will experience changes. Therefore the researcher describes and documents the Pilanuk Dance in the form of videos, writings, pictures. This study uses descriptive methods, qualitative research forms, ethnochoreological approaches and choreographic approaches. Data collection techniques in the form of observation techniques, interview techniques, and documentation techniques. The technique to test the validity of the data used is the extension of observations and source triangulation. Based on the data analysis, it was concluded that the form of presentation of the Pilanuk Dance has a movement structure, namely the opening movement, the core movement which consists of agile footsteps and closing movements. The number of dancers must be even, namely 8 and so on. This dance can be danced by both men and women. The floor pattern is in the form of straight lines, circles and plus signs which are interpreted as the direction of the compass. drum). The costumes used by female dancers are traditional Dayak Kanayant clothes, skirts, shawls, headbands, roof tiles, obi/belts, necklaces, earrings, rinyuakng leaves. For male costumes, they use loincloths, scarves, headbands, tiles, necklaces, rinyuakng leaves, obi/belt. The facial makeup used by dancers is natural makeup. The place for the performance uses an open stage or the hall of a traditional house.
Pertunjukan Tari Piring Kumun Sebagai Representasi Sosiologi Gender dan Upaya Pelestarian Adat Budaya Kerinci Monita Precillia
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.124845

Abstract

Piring Kumun Dance is one of the traditional arts of the Kumun people. The Piring Kumun Dance is often performed in community activities and traditional activities, the dancers are a mixture of male dancers and female dancers. This research has three objectives namely; First, knowing the form of the motion of the Piring Kumun dance. secondly knowing the traditional and societal views of female dancers, thirdly analyzing the position and existence (social) of women in the Kumun community. This study uses Lev Vygotsky's feminist and sociocultural theory. Sociocultural theory emphasizes the role of social interaction in a person's psychological development. The research method used is a qualitative method with a content analysis approach from Krippendorf, namely a method used to examine symbolic phenomena with the aim of exploring and expressing the observed phenomena which are the content, meaning and essential elements of the performance. On the other hand, this research also uses an ethnographic context, this is done because it has compatibility between the subjects studied, namely art and culture or traditions in a society based on local wisdom.
Nilai Budaya Tradisional Kesenian Gendang Beleq: Studi Etnografi Komunikasi Masyarakat Desa Wanasaba Nusa Tenggara Barat Lalu Muhammad Robby Hakiki; Vani Dias Adiprabowo
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.124435

Abstract

This study discusses the preservation of Gendang Beleq art in Wanasaba Village, East Lombok. Gendang Beleq is a traditional musik art form of the Sasak ethnic group that holds significant cultural value and is used in various traditional ceremonies. However, this art form faces challenges in the age of technology and the younger generation's interest in modern musik. The research employs a qualitative ethnographic communication method with the research location in Wanasaba Village. Data is collected through observation, interviews, and documentation. The research findings indicate that Gendang Beleq has essential artistic, historical, communal, and educational values within Lombok culture. This art form enhances culture, preserves cultural heritage, unites the community, and provides skills and cultural understanding to the younger generation. Despite the challenges, Gendang Beleq continues to evolve with the influence of time. This research provides a deeper understanding of the importance of preserving and developing Gendang Beleq art as a valuable cultural heritage. Preservation efforts enrich local culture and enhance appreciation for traditional arts in society.
Bentuk Penyajian Tari Sewa dalam Acara Pesta Perkawinan di Jorong Gando Nagari Paninggahan Kecamatan Junjung Sirih Kabupaten Solok Arif Agustakdir Rahman; Herlinda Mansyur
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.120544

Abstract

The research aims to reveal and describe the form of presentation of the Sewa Dance in Jorong Gando Nagari Paninggahan, Junjung Sirih District, Solok Regency. This type of research is qualitative research with descriptive methods. The instrument for this research is the researcher himself and is assisted by supporting instruments such as stationery, camera and cellphone. The data in this research uses primary data and secondary data. Data collection techniques were carried out using literature study, observation, interviews, and documentation techniques. The data analysis steps are carried out by collecting data, describing the data and concluding the data. The results of the research show that the presentation of the Sewa Dance in Nagari Paninggahan consists of movement, floor design, dancers, music, make-up and costumes, props, place and contextual performance time at a wedding party. There are 12 types of Sewa dance movements, but at the wedding ceremony, only 5 (five) types of movements are performed. Each of the five types of movements has a name, namely the Ciek Tusuak Siku Step, the Duo Tusuak Gasiang Step, the Tigo Tusuak Dado Step, the Ampek Sambuik jo Rabuik Pisau Step, and the Limo Kepoh Kaki Step.
Organologi dan Fungsi Sape dalam Ritual Panen Raya Dayak Kayan Kalimantan Utara Musa Kiring
SENDRATASIK UNP Vol 12, No 3 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i3.125265

Abstract

This article aims to provide understanding and knowledge to the younger generation about the organology and function of Sape music used in the Dayak Kayan harvest ritual in North Kalimantan. This research uses a qualitative descriptive research method with data collection techniques through observation, interviews and documentation steps. Observations were carried out on the Kayan tribe in Naha Aya Village, Peso Hilir District, Bulungan Regency, North Kalimantan. To analyze the results of this research, the researcher carried out data reduction, then the data was presented in the form of descriptions and images, and finally concluded. The results of the research explain that the organology of the Sape music used in the harvest ritual is Sape with 3 strings and was studied in terms of organology, how to make it and how to play the stringed musical instrument. Apart from that, Sape music has a role and function in the Dayak community's harvest rituals, including: 1) functioning as a medium for religious rituals; 2) functions as an entertainment medium, as a dance accompaniment medium, 3) functions as a communication medium, 4) functions as a self-expression, 5) functions as an economic means, and 6) functions as a symbolic offering. By providing understanding and knowledge to the younger generation regarding the form and function of Sape music in harvest rituals, it is hoped that the younger generation will preserve and preserve traditional Sape music.

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