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Jurnal Sendratasik
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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 820 Documents
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Repertoar Asturias for Orchestra, Suite fur Gitarre Op.19 Koyunbaba, Selayang Pandang, Medley of Blackpink Songs dalam Pertunjukan Solis Gitar Rahmawati Zebua, Trisna; Yusnelli, Yusnelli; Kustilo, Anton
SENDRATASIK UNP Vol 13, No 3 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i3.130219

Abstract

Pertunjukan Solis Gitar Klasik dari berbagai zaman dengan membawakan 4 repertoar yang berbeda bertujuan untuk menyampaikan setiap pesan musikal dari para komposer karya kepada audiens dengan mengutamakan interpretasi karya, tanpa meninggalkan unsur teknik dan unsur musikal lainnya. Metode pertunjukan yang digunakan penyaji adalah melakukan persiapan baik itu dalam penentuan karya maupun proses latihan, hingga tercapainya proses pertunjukan yang dilaksanakan pada hari yang telah ditentukan. Teori yang digunakan dalam pertunjukan ini adalah teori interpretasi dan beberapa etude-etude yang mendukung karya yang dipertunjukan. Adapun hasil dari pertunjukan ini yaitu terlaksananya pertunjukan pada hari yang telah ditentukan dengan membawakan keempat repertoar dari zaman yang berbeda, dimana sesuai dengan kaidah konveksional, baik dari segi interpretasi maupun dari segi rancangan pertunjukan. Melalui pertunjukan ini, penyaji dapat membawakan keempat repertoar sesuai dengan apa yang komposer karya inginkan, serta dapat menyelesaikan studi di Institut Seni Indonesia Padangpanjang dengan hasil yang memuaskan. The performance of Classical Guitar Soloists from various eras by performing 4 different repertoires aims to convey each musical message from the composers to the audience by prioritizing the interpretation of the work, without neglecting technical and other musical elements. The performance method that used by presenter is to make preparations both in determining the work and in the rehearsal process, until the performance process is achieved which will be held on the appointed day. The theory used in this performance is the theory of interpretation and several etudes that support the performance. The result of this performance is that the performance is carried out on the appointed day by presenting four repertoires from different eras, which are in accordance with conventional rules, both in terms of interpretation and in terms of performance design. Through this performance, the presenter can perform the four repertoires according to what the composer of the work wanted, and can complete her studies at the Institut Seni Indonesia Padangpanjang with satisfactory results.
Implementasi Non-Diagetic Sound pada Film “Onde Mande!” untuk Memberikan Efek Dramatik Andri Maijar; Jhori Andela
SENDRATASIK UNP Vol 13, No 2 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i2.129549

Abstract

Penelitian ini mengkaji penggunaan Non-diegetic sound dalam film "Onde Mande!" untuk meningkatkan efek dramatik dan konteks budaya Minangkabau. Film ini disutradarai oleh Paul Agusta dan mengusung genre drama komedi keluarga dengan latar budaya Minangkabau. Tujuan dalam penelitian ini adalah memberikan kontribusi penting dalam memahami peran Non-diegetic sound dalam film sebagai alat naratif yang kuat, khususnya dalam konteks budaya tertentu. Hal ini juga menunjukkan bagaimana elemen audio dapat digunakan secara kreatif untuk memperkaya pengalaman sinematik dan memperkuat identitas budaya dalam film. Metode penelitian yang digunakan adalah pendekatan kualitatif dan metode analisis isi, penelitian ini mengidentifikasi bagaimana elemen suara non-diegetik seperti musik latar, voice-over, dan efek suara digunakan untuk membangun emosi, atmosfer, dan narasi film. Hasil penelitian menunjukkan bahwa penggunaan musik tradisional Minangkabau sebagai musik dominan, serta penataan suara yang mencerminkan idiom budaya setempat, secara efektif memperkuat karakterisasi dan pesan emosional dalam film. Musik ilustrasi yang dipadukan dengan elemen tradisional berhasil menciptakan suasana yang mendalam dan autentik, sehingga meningkatkan keterlibatan emosional penonton. This research examines the use of Non-diegetic sound in the film "Onde Mande!" to enhance the dramatic effect and Minangkabau cultural context. This film was directed by Paul Agusta and carries the family comedy drama genre with a Minangkabau cultural background. The aim of this research is to make an important contribution to understanding the role of Non-diegetic sound in film as a powerful narrative tool, especially in certain cultural contexts. It also shows how audio elements can be used creatively to enrich the cinematic experience and strengthen cultural identity in films. The research method used is a qualitative approach and content analysis method. This research identifies how Non-diegetic sound elements such as background music, voice-over, and sound effects are used to build emotion, atmosphere, and film narrative. The research results show that the use of traditional Minangkabau music as the dominant soundtrack, as well as sound arrangements that reflect local cultural idioms, effectively strengthens the characterization and emotional messages in the film. Illustrative music combined with traditional elements successfully creates an immersive and authentic atmosphere, thereby increasing the audience's emotional involvement.
Analisis Hubungan Melodi Dendang dan Sarunai pada Arak-arakan Babako di Kuranji Rayhan Kurnia; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 13, No 1 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i1.127221

Abstract

This study aims to find the relationship between dendang and sarunai in the procession of babako in Kuranji. The purpose of this study is to find the relationship between dendang and sarunai in the procession of babako in Kuranji. The benefits obtained in this study is to add insight to the researchers themselves, in addition to the results of this study can be used as material for appreciation of folk music in the educational environment or society. And as a source of information and documentation in the field of government about the change and sustainability of local culture, and for the motivation of Tourism Development in the field of traditional arts that can be performed for tourists.The results of the study relationship between dendang and sarunai very tied to the performance of talempong pacik. In the song / Dendang Racun Dunia, Baburu Babi and Singgalang apparently dendang only follow the form of the show that exists in sarunai and rhythmic patterns that exist in the form of performance tasa, tambua, talempong. Dendang and sarunai only contribute to the content of the performance dendang and sarunai not dendang and sarunai apart from the tempo in the rhythm show but still tied and dendang do not have to follow the performance in tasa, tambua, talempong.
Estetika Komoditas pada Opera Batak Si Mardan Ilham Rifandi; Susandro Susandro; Ikhsan Satria Irianto
SENDRATASIK UNP Vol 12, No 4 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i4.126093

Abstract

Globalization affects every line of human cultural life, including theatre arts. As an important subsystem in culture, art is a manifestation of the complexity of human culture which is embedded coherently in its cultural identity. The city of Medan is a city with relatively dynamic theater development which has various groups with various theater genres. This tendency also gives rise to a tendency to use traditional culture as the basic material for creating theatrical works, for example, the Bandar Peran group. This group staged the work "Opera Batak Si Mardan" which involved the charm of Batak Toba and Malay culture simultaneously. In this research, it was found that the Bandar Peran group used a dual orientation imagination in its creation process and the traditional idiom used led to postmodern aesthetic tendencies. This research uses qualitative research methods to understand in depth the conditions and phenomena in the field. Apart from that, this article is also intended as a form of inventive criticism so that the content of the article uses the critical framework explained by Benny Yohanes.Globalisasi mempengaruhi setiap lini kehidupan kebudayaan manusia, termasuk seni teater. Sebagai subsistem penting dalam kebudayaan, seni merupakan wujud kompleksitas kebudayaan manusia yang tertanam secara koheren dalam identitas budayanya. Kota Medan merupakan kota dengan perkembangan teater yang relatif dinamis yang mempunyai berbagai kelompok dengan genre teater yang beragam. Kecenderungan tersebut juga memunculkan kecenderungan untuk menggunakan budaya tradisional sebagai bahan dasar penciptaan karya teater, misalnya kelompok Bandar Peran. Kelompok ini mementaskan karya “Opera Batak Si Mardan” yang melibatkan budaya Batak Toba dan Melayu secara bersamaan. Maka dalam artikel ini ditemukan hasil bahwa kelompok yang menggunakan imajinasi orientasi ganda dalam proses penciptaannya dan idiom tradisional yang digunakan mengarah pada kecenderungan estetika postmodern. Penelitian ini menggunakan metode penelitian kualitatif untuk memahami secara mendalam kondisi dan fenomena di lapangan. Selain itu, artikel ini juga ditujukan sebagai bentuk kritik inventif agar isi artikel menggunakan kerangka kritis yang dijelaskan oleh Benny Yohanes.
Bentuk Musik Rapa’i Tuha sebagai Sarana Komunikasi Seni dalam Masyarakat di Kabupaten Aceh Besar Kembang Ayu Agustya; Asifa Askhan
SENDRATASIK UNP Vol 13, No 2 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i2.129839

Abstract

Kelompok etnis masyarakat berupaya untuk menjaga dan melestarikan kesenian dan kebudayaan yang mereka miliki dengan cara menerapkanya dalam kehidupan sehari-hari. Hal ini juga terlihat pada kesenian tradisional masyarakat Aceh yang identik dengan hal yang berhubungan dengan ibadah atau praktik ritual yaitu musik Rapa’i Tuha Aceh. Metode penelitian yang digunakan adalah kualitatif dengan desain penelitian studi kasus melalui pendekatan interdisiplin yaitu pendekatan pendidikan seni dan pendekatan komunikasi. Hasil penelitian menunjukkan sebagai berikut: pertama, Bentuk musik Rapa’i Tuha terdiri dari irama, tempo dan dinamika serta syair lagu dalam musik kerakyatan. Dalam komunikasi seni terdapat beberapa komponen yaitu komunikator (Syeh), Komunikan (masyarakat), media dan umpan balik. Ethnic groups try to preserve and preserve their arts and culture by applying them in their daily lives. This is also seen in the traditional arts of the Acehnese people which are synonymous with matters relating to worship or ritual practices, namely Aceh's Rapa'i music. The research method used is qualitative with a case study research design through an interdisciplinary approach namely the communication approach. Results of the study show the following: first, the form of Rapa'i Tuha music consists of rhythm, tempo and dynamics and song lyrics in popular music. Rapa 'i Tuha music song is delivered using art communication so that it seems more interesting. In art communication there are several components, namely communicators (Syeh), Communists (community), media and feedback 
Bentuk Pertunjukan Tambua Tansa dalam Mengiringi Takbiran di Nagari Maninjau Kabupaten Agam Sumatera Barat Berliana Nurlita Santi; Murniati Murniati; Yusnelli Yusnelli
SENDRATASIK UNP Vol 13, No 1 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i1.127407

Abstract

Tambua Tansa is a beating instrument originating from Minangkabau, a traditional music performance that combines two musical instruments Gandang Tambua and Gandang Tansa performed on a raft or rakik. Rakik is the name for a boat made from an arrangement of bamboo pieces that are decorated as beautifully as possible using Led lights or torches. The purpose of this study was to investigate the form of Tambua Tansa performance in accompanying Takbiran in Nagari Maninjau, West Sumatra Regency. The method used in this study is to use qualitative methods using a descriptive analysis approach. The theories used in this study are structure theory and form theory. The results of this study found that the form of Tambua Tansa performance is the unique processing of Tambua Tansa motifs and rhythms which are played with changing tempos and dynamics, played in groups on rafts or rakik with takbir shouts that illustrate the spirit and enthusiasm of the Maninjau community in welcoming the night of Takbiran.
Analisis Gerak Tari Sentak Baindang di Sanggar Tuah Sakato Kecamatan Pauh Kota Padang Alya Putri; Herlinda Mansyur
SENDRATASIK UNP Vol 12, No 4 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i4.121450

Abstract

This research aims to reveal and describe the movement analysis of the Sentak  Baindang Dance at Sanggar Tuah Sakato, Pauh District, Padang City. The type of research used is qualitative research with descriptive methods. The instrument for this research is the researcher himself and is assisted by supporting instruments such as writing equipment and a camera. The data in this research uses primary data and secondary data. Data collection techniques were carried out using literature study, observation, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and concluding. The results of the research show that the Sentak Baindang Dance at Sanggar Tuah Sakato is a new dance creation. The Sentak Baindang Dance can be viewed from the aspects of space, time and energy. The Sentak Baindang Dance has 28 kinds of movements. From the aspect of space, it has elements of line, volume, facing direction and focus of view. The lines in this dance are predominantly straight, curved and angular lines. The volumes contained in this dance are predominantly large, medium and small. The facing directions in this dance movement are dominantly front, right and left diagonal, right and left side. The levels contained in the Sentak Baindang Dance movements are dominantly large, medium and small. The focus of view in this dance movement is dominant towards the hands, the property being held, the right and left sides, right and left diagonally. From the time aspect, the dominant tempo and rhythm are medium and fast. Meanwhile, the aspect of energy and intensity in this dance movement is dominantly medium and strong, the pressure in this dance movement is dominantly strong and the quality of the Baindang Sentak Dance movement is dominantly medium and firm.
Kreativitas Pembuatan Lagu Anak Tematik Berbasis Video Interaktif Sebagai Inovasi Pembelajaran Seni Musik di Sekolah Dasar Zakarias Aria Widyatama Putra; Mastri Dihita Sagala
SENDRATASIK UNP Vol 12, No 4 (2023)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i4.125604

Abstract

Creativity can produce a product. The product of creating or making interactive video-based thematic children's songs answers the challenges and civilization regarding learning innovation in Indonesia, especially in the 21st century, which in this case is the research objective. In addition to answering the challenges of interactive videos made can also be a solution to the sense of disinterest of elementary school students in learning materials, especially music. The resulting song is intended for elementary school students in phase A (in the independent curriculum) or in grades 1-3. The method to uncover this research used a descriptive qualitative method with a case study approach. Data analysis uses data collection from primary sources such as full scores of thematic children's songs, interactive videos, inhibition during PGSD music education learning, and interviews with students. Furthermore, the data collected is reduced according to the topic of the article, presented, and sought for red threads or conclusions. Validated results that the process and results of creativity in making thematic children's songs based on interactive videos can be used as an innovation in music learning at the elementary school level.
Koreografi Tari Kureh Saiyo di Sanggar Atok Rumbio Kenagarian Jinang Kampung Pansur Kabupaten Pesisir Selatan Ichanur Safri, Oktry; Mansyur, Herlinda; Rianti, Muthia
SENDRATASIK UNP Vol 13, No 3 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i3.130134

Abstract

Penelitian ini bertujuan untuk menggambarkan dan menganalisis hasil seni Koreografi Tari Kureh Saiyo di Sanggar Atok Rumbio, Kenagarian Jinang Kampung Pansur, Kecamatan Koto XI Tarusan, Kabupaten Pesisir Selatan. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan deskriptif. Peneliti sendiri menjadi instrumen utama, didukung dengan alat tulis, kamera foto, dan perekam suara. Data yang dikumpulkan terdiri dari data primer dan sekunder, dengan teknik pengumpulan data melalui studi pustaka, observasi, wawancara terarah dan tidak terarah, serta dokumentasi. Hasil penelitian menunjukkan bahwa Tari Kureh Saiyo merupakan inovasi baru dari Tari Kain Tradisional, menggambarkan kehidupan masyarakat Pesisir Selatan yang harmonis dengan alam dan penuh kearifan lokal. Proses koreografi Tari Kureh Saiyo meliputi ide/tema dan suasana. Koreografer menciptakan bentuk tari yang melibatkan gerak, desain ruang, desain waktu, desain tenaga, desain lantai, komposisi kelompok, perlengkapan, dan iringan tari. Gerakan dalam Tari Kureh Saiyo terinspirasi dari Tari Kain di Pesisir Selatan, dengan pengembangan dua gerak dasar dari Tari Kain dan Tari Rantak menjadi karya Tari Kreasi baru. Iringan tari mencakup dendang, gandang, bansi, talempong, dan maracas. Kostum penari dimodifikasi agar memudahkan gerakan, menggunakan bahan satin, sarawa, kain songket, deta batik, serta aksesoris seperti subang talepon dan kalung cakiak. Properti yang digunakan adalah kain panjang.This study aims to describe and analyze the results of the Kureh Saiyo Dance Choreography at Sanggar Atok Rumbio, Kenagarian Jinang, Kampung Pansur, Koto XI Tarusan District, South Coast Regency. The method used in this study is a qualitative method with a descriptive approach. The researcher himself became the main instrument, supported by stationery, photo cameras, and voice recorders. The data collected consisted of primary and secondary data, with collection techniques through literature studies, observations, directed and undirected interviews, and documentation. The results of the study show that the Kureh Saiyo Dance is a new innovation of the Traditional Cloth Dance, depicting the life of the southern coastal community that is in harmony with nature and full of local wisdom. The choreography process of the Kureh Saiyo Dance includes ideas/themes and atmospheres. Choreographers create dance forms that involve movement, space design, time design, power design, floor design, group composition, equipment, and dance accompaniment. The movements in the Kureh Saiyo Dance are inspired by the Kain Dance on the south coast, with the development of the two basic movements of the Kain Dance and the Rantak Dance into a new Creation Dance work. Dance accompaniment includes dendang, gandang, bansi, talempong, and maracas. The dancers' costumes were modified to facilitate movement, using satin materials, sarawa, songket fabric, batik deta, as well as accessories such as subang talepon and cakiak necklaces. The property used is long fabric.
Peran Folklor dalam Pembentukan dan Pemeliharaan Identitas Budaya Masyarakat Kumun Debai: Sebuah Analisis Etnografis Monita Precillia
SENDRATASIK UNP Vol 13, No 2 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i2.129217

Abstract

Penelitian ini bertujuan untuk mengkaji peran Folklor dalam pembentukan dan pemeliharaan identitas budaya masyarakat Kumun Debai melalui sebuah analisis etnografis. Masyarakat Kumun Debai memiliki kekayaan budaya lokal yang dilestarikan melalui berbagai bentuk Folklor seperti petatah-petitih, cerita rakyat, nyanyian, dan upacara adat. Studi ini menemukan bahwa Folklor menjadi peran sentral dalam mengikat anggota masyarakat dalam satu kesatuan identitas budaya, menjadi wadah ekspresi budaya, serta sarana transmisi pengetahuan dan nilai-nilai lokal dari satu generasi ke generasi berikutnya. Analisis etnografis mengungkapkan komitmen dan kesadaran masyarakat Kumun Debai yang kuat untuk melestarikan warisan budaya mereka. Dengan menggunakan pendekatan kualitatif dan metode pengumpulan data melalui observasi partisipatif, wawancara mendalam, dan studi dokumentasi, penelitian ini menyimpulkan bahwa Folklor merupakan kekuatan perekat yang fundamental bagi pembentukan dan pemeliharaan identitas budaya unik masyarakat Kumun Debai. Tulisan ini menyajikan perspektif baru tentang peran penting Folklor dalam mempertahankan keragaman budaya lokal di tengah arus globalisasi. This research aims to examine the role of Folklore in the formation and maintenance of cultural identity in the Kumun Debai community through an ethnographic analysis. The Kumun Debai community possesses a rich cultural heritage preserved through various forms of Folklore such as proverbs, folktales, songs, and traditional ceremonies. This study finds that Folklore plays a central role in unifying community members under a cohesive cultural identity, serving as a medium for cultural expression and a means for transmitting local knowledge and values from one generation to the next. The ethnographic analysis reveals the strong commitment and awareness of the Kumun Debai community in preserving their cultural heritage. Utilizing a qualitative approach and data collection methods including participant observation, in-depth interviews, and document analysis, this research concludes that Folklore is a fundamental cohesive force in the formation and maintenance of the unique cultural identity of the Kumun Debai community. This paper presents a new perspective on the critical role of Folklore in sustaining local cultural diversity amidst the forces of globalization.

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