Garuda - Garba Rujukan Digital

Article Per Year (5 Year)

All

Gesture: Jurnal Seni Tari

gesture
Website

Published by Universitas Negeri Medan

ISSN : 23015799 EISSN : 25992864 DOI : https://doi.org/10.24114/senitari.v11i1

Core Subject : Humanities, Education, Art,

Arts Humanities Education

Jurnal Gesture Seni Tari ini memuat tentang penulisan ilmiah dan penelitian seni tari tradisi dan tari non tradisi di Nusantara, hingga menyinggung persoalan-persoalan yang terkait dengan perkembangan pendidikan seni tari pada abad ini. Sebagai Jurnal Seni yang hadir ditengah-tengah lembaga Prodi Pendidikan Seni Tari; dalam hal ini jurnal gesture akan selalu konsisten untuk berupaya menampung segala bentuk karya tulis ilmiah yang berkaitan dengan bidang (Pengajaran, Pengkajian, Penyajian, Penciptaan, dan Pengelolaan) di Pendidikan Tari FBS Unimed.

Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)

Articles 9 Documents

Search results for , issue "Vol 2, No 1 (2013): April 2013" : 9 Documents clear

MAKNA SIMBOLIS GERAK TORTOR DALAHI DAN DABORU DALAM KONTEKS UPACARA PERNIKAHAN PADA MASYARAKAT SIMALUNGUN DI DESA SIPISPIS Dian Lestari Saragih Lestari Saragih
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

The research was filmed in the village of Sipispis sub-district of Serdang Bedagai Regency Sipispis. While the research was carried out in June 2013 to August 2013. The methods used in this study is the method deskriftif with qualitative data, collected through observation, interviews, literature studies and documentation. Based on the results of the study, found the results that a tortor in Simalungun wedding ceremony can be identified based on the movements of dance, the male and female dance called dalahi and daboru tortor. The community was very prominent tortor Simalungun, because tortor serves as a communication medium through movement. Dalahi and daboru in Tortor wedding ceremony Simalungun society has a symbolic meaning so profound, because dalahi and daboru tortor is derived from the results of the thinking of society, based on the Community Customs Simalungun Simalungun.

HUSIP-HUSIP DALAM TORTOR HATA SOPISIK PADA MASYRAKAT BATAK TOBA : KAJIAN INETRAKSI SIMBOLIK Golda S Simarmata Golda Simarmata
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

This study aims to determine how the origins Tortor Hata Sopisik, symbolic interactions contained in Husip Hata - husip in tortor tortor Sopisik and form of presentation Hata Sopisik in Batak Toba society . The population in this study is the Toba Batak society who are in Samosir regency , artists and local traditional leader. The method used is descriptive qualitative . To complete the data in this study , researchers conducted field observations , video , interviews and documentation. The results based on the data collected can be seen that the origin of the creation of Tortor Hata Sopisik was when it was created Gondang Naposo implemented Tortor Hata Sopisik as disclosure media love for the young generation ( Naposo ) Batak Toba . Uniqueness that is characteristic of Tortor Hata Sopisik contained in Husip - husipnya . Husip - husip which means whisper , is a symbolic interaction that has meaning disclosure of his love for the opposite sex among the young generation ( Naposo ) .

BENTUK TARI BAKSA KEMBANG PADA ACARA PENYAMBUTAN TAMU AGUNGDI DESA PASAR LAPAN KECAMATAN AIR PUTIH KABUPATEN BATUBARA Raja Vita Andriani S Vita Andriani
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

Baksa Kembang Dance is a dance that originated from ethnic Banjar in district especially in the village of Coal Lapan. PenelitiaAims to explain the form of dance Baksa Kembang on grand welcoming ceremony in the village Pasar Lapan Air Putih Coal County district . Based on the research that has been done , Baksa Kembang Dance is a dance that was once the Palace of the Sultan of Banjar dance . This dance is one of the ceremonial dances that used to welcome the guests who visited the palace Banjar , but this time a dance reception at the visiting dignitary in government or in the local area who visit the village Pasar Lapan . Baksa Kembang dance forms based on suitability dance with background constituent in society and form of dance based on compliance with the dance theme. Themes that are in dancing Baksa Kembang is about the joy and beauty that is transferred in the form of motion , dance clothes and property . Variety dance Baksa Kembang consists of pambukak , panghurmatan , berpandirnya , duduk basilak and gaya mat . Function dance Baksa Fireworks grand welcoming guests who expressed a sense of beauty in the form the dance moves.

TOR-TOR SIRINTAK HOTANG PADA MASYARAKAT SIMALUNGUN KAJIAN TERHADAP KONSEP KOREOGRAFI Irma Botorani Gultom Botorani Gultom
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

Hotang sirintak Tor-tor dance is a dance that originated from the movement area Simelungun looking for rattan to describe the activities of the forest . The purpose of the research is to discuss the composition of range of motion tor-tor sirintak Hotang , background preparation tor-tor sirintak hotangberdasarkan Batak Simelungun philosophy and application tor - tor koreografitor sirintak Hotang based accompaniment patterns . Theories used in conjunction with a research topic that is understanding sirintak Hotang tor-tor , choreography theory , philosophy Batak Simelungun and accompaniment patterns . Time is used to discuss research on tor - tor sirintak Hotang on the study of the concept of choreography Simelungun done for 2 month, at the end of June 2013 to August 2013. Research site is in District Simalungun Kingdom . The population in this study is a community that knows Simelungun tor-tor sirintak Hotang , artists and dancers , the sample in this study is a part of the population , the artists and dancers who know about tor - tor sirintak Hotang . Data collection techniques include observation , interviews , library research and documentation , which are then analyzed with descriptive qualitative method . Based on the research that has been done, the concept of choreography Tor-tor dance sirintak Hotang which contains noble values habonaron do bona philosophy Simelungun Society. Tor-tor sirintak Hotang has external music accompaniment, the music that was born from the outside of the human body or the use of musical instruments which means it is the accompaniment of dance accompanied by live musicians using a set of musical instruments namely gonrang sipitu-pitu, sarunei, ogung and mongmongan. The music used is the traditional music that is imbou manubung Simelungun .

KARAKTERISTIK TARI RABBANI WAHED PADA MASYARAKAT ACEH KECAMATAN SAMALANGA KABUPATEN BIREUN Rika Restella Rika Restela
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

This study discusses the shape and characteristics of the Dance Rabbani Wahed. This form of dance seen from the origin, round, movement, poetry, and fashion in dance. Then to look at the characteristics of the Dance Rabbani Wahed can be seen from the role, nature and character contained in the movement, round, and poetry. Theoretical foundation used in this study is the theory and the theory of characteristic shape. In theory there are characteristics of role theory, the theory of the nature and character of the theory. The method used in this research is descriptive qualitative method, interpreted and formulated between the data with other data so that the data is accurate and thorough. Data collection techniques include library research, observation, interview and documentation. Based on the results of research conducted, it can be seen that the characteristic has three parts, namely the role, nature and character. There is a notch on the role (status): Syech, aneuk syahi and dancers. In addition, there is a function that is to teach monotheism and religion so that people always have fear of Allah SWT. On the nature of the views contained compactness of motion, round and chant poems. Then the character of the dance Rabbani Wahed which human perseverance in surrender to God.

LANDEK DALAM UPACARA ADAT NGAMPEKEN TULAN-TULAN KAJIAN INTERAKSI SIMBOLIK PADA MASYARAKAT KARO DI DESA RUMAMIS KECAMATAN BARUS JAHE KABUPATEN KARO Nadra Akbar Manalu Akbar Manalu
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

The aim of this writing is to descript the presentation of landek, to descript the symbolic interaction, and to descript landek symbol in Ngampeken Tulan-tulan tradition ceremony of Karo society.the research was carried out for 3 months, from june 2013 to august 2013. the place of research is in rumanis village barus jahe subdistrict Karo regency. Ngampeken tulan tulan tradition ceremony is raise bone, a tradition ceremony that still doing by karo society for give the last respect to parents who had died or built Geriten (monument or special building to saving cranium) landek in ngampeken tulan tulan ceremony have a part to deliver meaning in the process of traditon ceremony with a simple dancing and to deliver family's sorrow to be patient and not to deep in sadness. there is symbolic interaction in ngampeken tulan tulan tradition ceremony that shown on dancing (landek) in family of karo society named rakut sitelu. rakut sitelu have duty and responsibility based on tradition. landek symbol as a deliver meaning in ngampeken tulan tulan tradition ceremony. where sukut, kalimbubu, anak beru is dancing followed music and lyrics (pengapul) from perkolong-kolong

PENARI PENCENG PADA PESTA GENDANG GURO-GURO ARON DALAM ACARA KERJA TAHUN DI DESA KETAREN KABUPATEN KARO: KAJIAN NILAI AN NORMA ADAT Lilis Wuri Handayani Wuri Handayani
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

Penceng dancers presented to tie enthusiasts visitors from outside the village in order to enliven the proceedings the time the dancers dance Penceng lot of motion that can invite negative thoughts in people who witnessed it.This study aimed to describe the existence of a corner dancers Penceng customary values and norms prevailing in society Karo. To discuss the research objectives above ,use the theories related to the research topic,such as the sense of presence,understanding of customary norms and understanding of indigenous values. Time spent in research in discussing Penceng Dancers at the Guro - guro Aron Drum for 3 months.The place is the location of the study area Ketaren Village Kabanjahe Karo.Data analysis in this study uses descriptive kuliatatif ,techniques of data collection by,interviews ,documentation. Based on the research that has been done.In the whole dance Karo to move the legs,waist and around the eyes ,normally not allowed according to the norms of customs Karo.Penari Penceng originally presented to increase the number of existing aron nande the village now has the function of developing a broader ,binding enthusiasts to visitors from outside the village in order to enliven the proceedings.

TEKNIK DAN GAYA TARI MANDUDA PADA MASYARAKAT SIMALUNGUN ATAS DAN MASYARAKAT SIMALUNGUN BAWAH Nurul Aprila Putri Aprilia Putri
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

This study uses the theories that relate to topics such as the theory of style,sense Habonaron Do Bona,dance technique and dance MandudA.Time understanding of research conducted for 3 months in June 2013 to August 2013.Locationi Simelungun research conducted in the Upper Subdistrict Sidamanik whereas in Simelungun Under the Airport District.The method used is descriptive qualitative method,the population in this study as well as a sample of speakers,dancers,cultural figures and artists who know the techniques and styles of dance in society Simelungun Manduda Up and Bottom.Techniques library study includes data collection,observation interviews and documentation.Based on the research conducted,it is described that the technique is basically the same Manduda dance,both in Simelungun Upper and Lower.There are four dominant motion technique on the dance Manduda ondok,herbang,manerser and eot.Manduda dance there are 15 wide,wide differences in dance movements Manduda Simelungun Upper and Lower Simelungun ie the range to 10.Geographical location affect differences in dance styles of dance Manduda. Do Habonaron values Bona on Manduda dance in public Simelungun Upper and Lower are the same people.

ESTETIKA DAN ETIKA TARI GUEL PADA MASYARAKAT GAYO KABUPATEN ACEH TENGAH Saadah Saadah Saadah
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

This study aims to determine the aesthetics , ethics , presentation form , motion , fashion , music accompaniment, lyrics dance Guel in Central Aceh district of Gayo society. In the discussion of this study , used theories who related research topics , such as the form of presentation of theory , aesthetic theory and the theory of ethics . Time is used to discuss research on the public Guel Dance Central Aceh Gayo conducted for 3 months ie from June to early August 2013 . Where the research is in the district of Central Aceh district Bebesen . The population in this study is the Gayo , Guel Dance Artists , Artists music, society as a party organizer , dance Guel, Guel the actors dance dance dancers and musicians and connoisseurs of dance Guel Guel . Data was collected by the method of field work which includes several aspects , namely : Literature study , observation , interviews, and documentation , and then were analyzed by descriptive qualitative method . Based on research conducted in the District Bebesen Central Aceh district . Guel Dance originated from Central Aceh and Gayo society is a traditional dance , this dance is not known who the creator , when it was created and where it was created . Guel Dance is a dance reception at the marriage ceremony Gayo society . Guel dance presentation ceremony held at the Mah Bai . The purpose of this dance is to include a reception in honor of the groom's entourage who came with his family and relatives . Guel dancers dance number consists of 1-4 male dancers and female dancers 6-10 . This dance contains elements of aesthetics ( beauty ) which can be seen in motion , clothing , musical , and dance accompanist poem Guel . Guel dance aesthetic is not only observed in terms of beauty , but also observed in terms of quality contained in the Guel dance . In addition there are also ethical aesthetics in dance Guel , we can see in motion , clothing and dance accompanist poem Guel , all have appropriate rules and norms of Islamic Sharia laws in force at the Gayo people in Central Aceh district .

Page 1 of 1 | Total Record : 9

Filter by Year

2013 2013

Filter By Issues

All Issue Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October) Vol. 14 No. 1 (2025): Gesture: Jurnal Seni Tari Vol. 14 No. 1 (2025): Gesture: Jurnal Seni Tari (April) Vol. 13 No. 2 (2024): Gesture: Jurnal Seni Tari Vol. 13 No. 2 (2024): Gesture: Jurnal Seni Tari (October) Vol. 13 No. 1 (2024): Gesture: Jurnal Seni Tari Vol. 13 No. 1 (2024): Gesture: Jurnal Seni Tari (April) Vol 12, No 2 (2023): Gesture: Jurnal Seni Tari Vol. 12 No. 2 (2023): Gesture: Jurnal Seni Tari (October) Vol. 12 No. 2 (2023): Gesture: Jurnal Seni Tari Vol 12, No 1 (2023): Gesture: Jurnal Seni Tari Vol. 12 No. 1 (2023): Gesture: Jurnal Seni Tari (April) Vol 11, No 2 (2022): Gesture: Jurnal Seni Tari Vol. 11 No. 2 (2022): Gesture: Jurnal Seni Tari (October) Vol 11, No 1 (2022): Gesture: Jurnal Seni Tari Vol. 11 No. 1 (2022): Gesture: Jurnal Seni Tari (April) Vol 10, No 2 (2021): Gesture: Jurnal Seni Tari Vol 10, No 1 (2021): Gesture: Jurnal Seni Tari Vol 9, No 2 (2020): Gesture: Jurnal Seni Tari Vol 9, No 1 (2020): Gesture: Jurnal Seni Tari Vol 8, No 2 (2019): Gesture: Jurnal Seni Tari Vol 8, No 1 (2019): Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018 Vol 7, No 2 (2018): Gesture: Jurnal Seni Tari Vol 6, No 2 (2017): Oktober 2017 Vol 6, No 1 (2017): April 2017 Vol 5, No 2 (2016): Oktober 2016 Vol 5, No 1 (2016): April 2016 Vol 4, No 1 (2015): April 2015 Vol 3, No 2 (2014): Oktober 2014 Vol 3, No 1 (2014): April 2014 Vol 2, No 2 (2013): Oktober 2013 Vol 2, No 1 (2013): April 2013 Vol 1, No 1 (2012): April 2012 More Issue

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name
Sitti Rahmah

Contact Email
gesture@unimed.ac.id

Phone
+628126554635

Journal Mail Official
gesture@unimed.ac.id

Editorial Address
Jl. Willem Iskandar, Ps. V, Medan Estate.

Location
Kota medan,

Sumatera utara

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Sitti Rahmah

Contact Email gesture@unimed.ac.id

Phone +628126554635

Journal Mail Official gesture@unimed.ac.id

Editorial Address Jl. Willem Iskandar, Ps. V, Medan Estate.

Location Kota medan, Sumatera utara INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Sitti Rahmah

Contact Email
gesture@unimed.ac.id

Phone
+628126554635

Journal Mail Official
gesture@unimed.ac.id

Editorial Address
Jl. Willem Iskandar, Ps. V, Medan Estate.

Location
Kota medan,

Sumatera utara

INDONESIA