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Gesture: Jurnal Seni Tari

gesture
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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 2 (2013): Oktober 2013" : 9 Documents clear

PERKEMBANGAN TOR-TOR SOMBAH PADA PESTA RONDANG BITTANG DI SIMALUNGUN RISTY YUNING TYAS
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

Development Of Tor-Tor Sombah Rondang Bittang At A Party In Simalungun This research aims to find out how the procedures for the implementation and development of the rondang party bittang tor-tor sombah rondang bittang at a party. In this research, used the theory and understanding of related research topics, such as the theory of change and development of understanding. The time used to discuss about the development of tor-tor sombah rondang party bittang on in Simalungun was conducted for 3 months. The research is in district Sidamanik. As for the sample in this research is a part of the population, i.e. totalling 5. Data collection techniques include observation, interviews, the study of librarianship and documentation, and then in the analysis by qualitative descriptive method. Based on the research that has been done then it can be inferred that the Ordinance implementing the party rondang bittang when handled by Government begins with the activities of mamuhun and maranggir which later continued with the activities of the race, the race's traditional sports namely, marjalekkat, margalah and marlittun and the traditional art of the race, hagualon, taur-taur and urdou-urdou, sordam, tulila, sulim, vocal group, Simalungun, song Copyright race race fashion bridal Simalungun, Goddess, tor-tor usihan, huda-hudaToping-toping and tor-tor sombah. Development of tor-tor sombah can be seen in the prior period in 1953, after 1953, and during the 1980s. now a growing element is in motion the somb Keywords: Development, Tor-Tor Sombah

INTERAKSI SIMBOL TARI SAMPAYO PADA MASYARAKAT PESISIR SIBOLGA MONICA MAULIAN DARI
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

Penelitian ini membahas tentang tari Sampayoyang terdapat pada wilayah Pesisirkota Sibolga yang bertujuan mengetahuitentang keberadaan tari, interaksi simbol dan bentukpenyajiannya. Untukmembahas tujuan penelitian diatas, digunakan teori-teori yang berhubungan dengan topik penelitian, seperti teori tari, pengertian keberadaan, teori interaksi simbol serta teori bentuk. Waktu yang digunakan dalam penelitian dalam membahas Interaksi Simbol Tari Sampayo Pada Masyarakat Pesisir Kota Sibolga selama 2 bulan yaitu pada awal juli 2014 sampai denganagustus 2014. Tempat lokasi penelitian adalah daerah Pesisirkota Sibolga, Sumatera Utara. Populasi pada penelitian ini adalah 3 orang Lembaga Adat Kesenian Pesisir kota Sibolga, 2Perwakilan Dinas Kebudayaan Pemuda dan Olahraga (BUDPARPORA), 4 orang penari serta 3 orang pemusik Analisis data pada penelitian ini menggunakan deskriptif kualitatif, teknik pengumpulan data dilakukan dengan observasi, studi pustaka, wawancara, dan dokumentasi. Hasil penelitian yang telah dilakukan, interaksi simbol yang terdapat dalam tari Sampayo pada masyarakat Sibolga tergambarkan melalui simbol- simbol gerak yang terdapat pada tarian tersebut salah satunya simbol hormat, dengan membuka kedua tangan sambil membungkukkan badan, menandakan sikap sopan santun menghargai dan menghormati yang ditujukan kepada tuhan yang maha Esa dan sesama manusia. Pola gerak melingkar yang menggambarkan keakraban masyarakat Pesisir, dan sapu tangan turun juga menggambarkan kebersamaan masyarakat Pesisir dalam menjalani kehidupan serta membangun tali silaturahmi. Dari simbol-simbol diatas merupakan bentuk terjadinya interaksi antara penari dengan pengantin, tuhan serta masyarakat melalui gerak tari tersebut yang memiliki pesan yang di tujukan untuk penganti dan masyarakat.Tidak hanya gerak, pantun Sampayo yang dinyanyikan oleh penari yang artinya merupakan bentuk nasehat untuk kedua pengantin dalam menjalani hidup berumah tangga. Alat musik yang digunakan menguatkan nuansa masyarakat Pesisir yang tinggal di pinggiran pantai, tergambarkan dari iringan tari yang diiringi secara langsung yang menggunakan seperangkat alat musik yaitu Gendang Batapik, Biola, Accordion dan Singkadu.Musik yang digunakan adalah musik tradisional PesisirSibolga yaitu musik sikambang. Kata kunci :Tari Sampayo, Masyarakat Pesisir, Interaksi Simbol

STUDI KOMPARATIF: TARI LAWEUT PADA MASYARAKAT PIDIE DAN LHOKSEUMAWE PUTRI SINAL SURBAKTI
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/senitari.v2i2.1440

This research aims to know comparison of the Laweut dancePidie and Lhokseumawe. The sample in this study was a dancer and artist who knew a lot about Laweutdance and art Aceh, located in Pidie and Lhokseumawe. Location of the research conducted in the districts of PidiesubdistrictSigli and the city of LhokseumawesubdistrictLilawangsa, precisely in PusakaNanggroePidie dance studio and Lhokseumawe in GentaSeuramoedance studio. Time in this research were conducted from July to August. The method used in this research is descriptive qualitative method, which gives a picture, description, information, about a situation that is going on based on the facts. Data was collected through field observations, interviews with several speakers who are competent to problem the study and recording (video and audio-visual). After research it can be seen from the comparison of Laweut dancePidie and Lhokseumawe. Similarities and differences that exist of the form of presentation, especially of motion. Motion is in Pidie dominant on finger picking motion (ketrepjaroe) and the dominant motion from Lhokseumawe area is clap hands, his verse also have many differences. Structural equation lies only in the round Laweut dance, saleuem, likok, saman, kisah, and extracts or lanie. Knowing how the origins of Laweutdance influx of Pidie which is the beginning of the Laweutdance created and grown up to Lhokseumawe. The development of Laweutdance Pidie to Lhokseumawe because people who migrate or seek new life to Lhokseumawe bring all the traditions or culture then develop in Lhokseumawearea and adapt in the area and eventually bring a new form of dance that is seen that this isLhokseumawe’sLaweut that will distinguish the area through the development of the original motion, poetry, pattern, costumes and so on. Keywords:Laweut Dance, Pidie and Lhokseumawe Society, Comparative Study Laweut Dance

PENGARUH MUSIK SIHUTUR SANGGUL PADA PENCIPTAAN TARI KREASI DAERAH BATAK TOBA DI KOTA MEDAN DESI PURNAMA SARI
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

The Influence Of Sihutur On The Creation Of Bun Music Dance Creations The Batak Toba In Medan The purpose of this research is to discuss about the Toba Batak music arrangement Sihutur Bun which is a trend among artists of dance are used as accompaniment in music creation dance creations area as a result of the creativity of artists dance in dance class Nusindo, SMK Raksana 2, Prodi Dance UNIMED and Siti Hajar's Education Foundation. To discuss this research uses theories that relate to such topics as understanding the science of influence, sets the dance (choreography) and creativity in the creation of dance. The method used is the method of qualitative, with a population of deskriftif at the same time as the sample of interviewees, composer, choreographer. Data collection techniques include the study of librarianship, observation, interview and documentation. The results of this research are: i. Sihutur Bun created musical arrangements Hendry Perangin Wind is divided into 3 parts namely: part 1. As a carrier of melody is a musical instrument Taganing, part 2. Sulim and Hasapi instruments for melodies, part 3. Sarune Bolon instrument, used as a carrier of melody. The musical arrangement was later utilized by individual choreographers to create works in accordance with his creativity, arranged by: 1. contents, 2. the plots of arable Form, and 3. The technique, which is performed with improvisation, exploration and forming. The influence of Sihutur Bun music inspired to dance artists in creating new dance creations. II. the creativity of each choreographer me Keywords: music

KARAKTERISTIK TARI MELAYU PADA MASYARAKAT MELAYU DI KOTA MEDAN RIZA TARI UTARI
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

Penelitian ini bertujuan untuk mendeskripsikan karakteristik tari Melayu di Kota Medan dengan melihat gerak, busana, musik serta nilai etika dan estetikanya. Teori-teori yang digunakan sesuai topik penelitian seperti, teori karakteristik, teori bentuk, teori gerak, teori etika dan estetika. Analisis data pada penelitian ini menggunakan deskriptif kualitatif dan analilis deskriptif, teknik pengumpulan data dilakukan dengan observasi, studi pustaka, wawancara, dokumentasi dan studi pustaka. Lokasi penelitian adalah sanggar tari Sri Indera Ratu, Medan. Berdasarkan penelitian yang dilakukan, karakteristik tari Melayu yang ada di Istana atau Kota Medan gerakan lebih halus dan tertutup, kemudian ketika menari torso badan tegak, tekukan kaki yang lebih sedikit, dan ketika melenggang dalam tari 9 rangkaian ciptaan almarhum Sauti dilakukan lenggang dengan satu tangan. Secara umum busana yang digunakan selalu jenis baju kurung, kain utuh (tidak kain kebaya), rias pada rambut selalu disasak tinggi kebelakang, dan menggunakan aksesoris dikepala. Musik dalam tari Melayu di Istana tidak memiliki ciri yang berbeda dengan musik Melayu yang ada dikalangan rakyat, begitu juga dengan alat musik yang digunakan, tidak ada yang berbeda dari alat musik Melayu yang digunakan pada umumnya. Etika dalam tari Melayu yang mengikat berdasarkan agama Islam, menjadikan nilai estetika tari itu menjadi lebih indah. .Kata Kunci: Karakteristik Tari Melayu di Kota Medan

MAKNA TEKS TORTOR ILAH BOLON DALAM UPACARA RONDANG BITTANG DI HUTA I PANAMBEAN NAGORI NANGGAR BAYU KECAMATAN BOSAR MALIGAS KABUPATEN SIMALUNGUN BAWAH AFNI DAYANTI NASUTION
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

Tortor Ilah Bolon merupakan tarian yang bersal dari daerah Simalungun.Tortor ini berada dalam upacara Rondang Bittang (URB) dan diperingati pada malam 14,.15, 16 pada malam Rondang Bittang. Tortor Ilah Bolon menggambarkan tentang seorang gadis yang telah dipingit (sudah dilamar) bersedih dimalam Rondang Bittang dikarenakan tidak dapat bermain-main lagi dengan teman-temannya dimalam tersebut. Tortor Ilah Bolon diiringi dengan syair lagu yang dilantunkan langsung oleh para penarinya sebagai tempo dari gerak Tortor tersebut. Teori-teori yang digunakan dalam penuangan hasil penelitian serta teori pendukung yang berhubungan dengan topik penelitian yaitu pengertian makna teks pada Tortor Ilah Bolon, teori hermenautika, teori bentuk, teori fungsi. Waktu penelitian yang digunakan untuk membahas tentang Makna Teks Tortor Ilah Bolon Dalam Upacara Rondang Bittang Di Huta I Nagori Nanggar Bayu Kecamatan Bosar Maligas Kabupaten Simalungun Bawah dilakukan selama 2 bulan, yaitu pada bulan Juli 2014 sampai bulan September 2014.Tempat penelitian adalah di Kecamatan Bosar Maligas Kabupaten Simalungun Bawah. Populasi pada penelitian ini adalah 2 orang seniman dan 2 orang penari. Sampel pada penelitian ini adalah bagian dari populasi, yaitu 2 orang seniman dan 2 orang penari yang mengerti dan memahami serta berkecimpung pada Tortor Ilah Bolon.Teknik pengumpulan data meliputi observasi, wawancara, studi kepustakaan dan dokumentasi, yang kemudian di analisis dengan metode deskriptif kualitatif. Berdasarkan penelitian yang telah dilakukan Makna Teks Tortor Ilah Bolon yaitu tarian ini mengandung nilai leluhur habonaron Do Bona filosofi masyarakat Simalungun.Tortor Ilah Bolon dilihat dari teks dan kontekstual. Teks pada Tortor ini dilihat dari bentuk yag tergambarkan dari simbol-simbol yang diaplikasikan oleh koreogarfer kepada penikmat seni sebagai media komunikasi. Sedangkan kontekstual dilihat dari keberadaan Tortor tersebut pada masyarakat Simalungun.Tortorini memiliki syair yang dilantunkan sebagai penganti musik (musik internal) dalam tarian. Syairnya merupakan ungkapan hati seorang gadis yang bersedih pada saat malam Rondang Bittang. Syair Ilah Bolon terdiri dari tiga syair, dan setiap syair terdiri dari dua kalimat serta memiliki senandung. Kalimat dalam syair pertama merupakan sampiran dan kalimat kedua merupakan isi. keseluruhan syair Ilah Bolon dapat di tafsirkan makna teksnya secara tekstual dan kontekstual. Kata kunci : Tortor Ilah Bolon, Simalungun Bawah, Makna Teks Tortor Ilah Bolon

KESENIAN SIKAMBANG: PRESPEKTIF MULTIKULTURAL SEBAGAI IDENTITAS BUDAYA PESISIR SIBOLGA RUWAIDA RUWA IDA
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

This research explains about the Sikambang arts in Sibolga coastal area, and aims to recognize the multicultural aspect that is implemented as cultural identity of Sibolga coastal society. To support the research analysis, the writer mainly uses the theory of Salad Bolw. Specifically, she (the writer) applies Acculturation Theory and Adaptation as supporting theory, and also Dusek’s theory of Identity. The obtaining-data process of this research was conducted from July until the end of August 2014. Its samples include some cultural figures and artists who have deep comprehension on Sikambang arts in Sibolga coastal. The research data was collected through field-work method which consists of several aspects: observation, interview, library research, and documentation. Subsequently, she analyses it by using a descriptive qualitative method. The result of this research is, Sibolga coastal society is heterogeneous that consists of various tribes such as Minangkabau and Malay. The multicultural process is manifested from trading activities that in a long-term make an impact to cultural acculturation, like the wedding processions which performing Sikambang arts by every Muslim ethnic in Sibolga coastal. Sikambang arts acculturation can also be seen in Randai dance, originating from Minangkabau. Another example is Kapri dance, originating from Melayu. Those dances reflect the sense of respect and sense of belonging, as well as becoming cultural identity of Sibolga coastal society. Keyword: Artistry of Sikambang, Multikultural, Identity

TARI KESUME GAYO PADA MASYARAKAT GAYO KABUPATEN ACEH TENGAH TINJAUAN TERHADAP BENTUK WAHYU DESIANA SYAHZUAR
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

Dance Kesume Gayo In Aceh Tengah Regency Gayo Community Review Of The Forms. Thesis The purpose of this research is to discuss about the history and form of the dance Kesume Gayo. The theoretical basis is used to discuss the research is using the theories related to topics such as the origins of the theory, and the theory of forms. The research carried out for 2 months i.e. may 2014 until July 2014. The location of the research done in the area of Central Aceh Regency of Takengon. The methods used to discuss the form of the dance Kesume qualitative descriptive method using Gayo. The population in this research as well as a sample of interviewees, officials of the Department of culture of Central Aceh Regency, and artists who know about the shape of the dance Kesume Gayo. Data collection techniques include the study of librarianship, observation, interview and documentation. Based on the results of the research done then it can deduce the outline that the origins of the dance Kesume Gayo in Aceh Tengah Regency Gayo Society, created by Alm.A.R. Moese and YusRetno in 1961 and was performed at the Court of the State in the 1970s and 1980s. In addition ever performed on the PKA in 1988. Creation Dance Kesume Gayo inspired from bersawah's activities until the rice harvest. As for the arrangement and form of the dance Kesume Gayo refers to the relationship of interplay between the elements that are used namely motion, themes, musical accompaniment, tata clothing, tat arias, property and staging areas. As for the form of the dance Kesume Gayo Keywords : Dance, Dance Structure

TARI SARAMA BABIAT TINJAUAN TERHADAP BENTUK CHIKA KARTIKA PUTRI
Gesture: Jurnal Seni Tari Vol 2, No 2 (2013): Oktober 2013
Publisher : Universitas Negeri Medan

Sarama Babiat Review Of The Dance Form. The purpose of this research is to discuss about the origin of the story, the content and form of the dance Sarama Babiat. To discuss this research uses theories that deal with topics such as the theory of forms, dance theory, theories of choreography, dance Babiat Sarama sense, understanding its origins and understanding acoustics. The research carried out for 2 months that is December 2013 until February 2014. The location of the research done at the Art Group Kulabu Pakantan Mountain Tapsel Madina-Medan. The methods used to discuss Babiat Sarama dance forms using qualitative descriptive method. The population in this research as well as a sample of interviewees, dancers, cultural figures and artists community know about the shape of the dance Sarama Babiat. Data collection techniques include the study of librarianship, observation, interview and documentation. Based on the research conducted, parsable forms of dance that consisted of 3 Babiat Sarama scene that should buffet, namely marsantabi, manombak and bala, manulak. Movement in the dance movements are Babiat Sarama spontaneity or improvisation, but bound by the 3 scene. Babiat Sarama dance in every scene has different properties. The nature of marsantabi is polite. The nature of the sacred is bala manulak whereas the nature of manombak is angry. Marsantabi scene wouldn't have a background member of respect to their ancestors. The scene has a background bala manulak Keywords: Dance, Dance Forms Babiat Sarama

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Home Page

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Editorial Team

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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

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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