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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 14 Documents

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Search results for , issue "Vol 3, No 2 (2014): Oktober 2014" : 14 Documents clear

BENTUK PERTUNJUKAN TORTOR SOMBAH PANISUMBAH PADA MASYARAKAT SIMALUNGUN lusiana rusadi
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

The aim of this study is to determine how the origins and the performance forms in Tortor Somboh Panisumbah in Simalungun society. The teoritical backgrounds used in this study are the theories related to topic of discussion, the method used in this experiment is a qualitatie descriptive method, the data are collected though both field observation and interviewing with some people. The sample in this study is artist, dancer, and people who understand about Tortor Sombah Panisumbah. The result of this study shows that Tortor Sombah Panisumbah is a usual ritual treatment performed by simalungun society. It’s usually done in Parsimangotan. This dance is performed by man in a certain move that has continuity between movement and music tempo, the costume worn by dancer is the traditional costume in Simalungun which is long black shirt, hiou clothes, gotong hat. The accompanying music is haro-haro, gual parahot, rambing-rambing, gual batara guruh simbolon . The traditional music instruments in Tortor Sombah Panisumbah are gondrang, ogung ,sarunei. There is no specific pattern on this dance , it’s based on the performance need. Keyword: Tortor Sombah Panisumbah

INTERAKSI SIMBOL TORTOR NAMORA PULE DALAM UPACARA HORJA GODANG HAROAN BORU PADA MASYARAKAT ANGKOLA DI KOTA PADANGSIDIMPUAN SHEILA ROISYAH
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

This study discusses about Tortor Namora Pule in Angkola Society in Padangsidimpuan which aims to determine the structure of the presentation and interaction symbols. To examine the research purposes above, the writer uses theories related to research topics, such as the understanding of Tortor, the ceremonial sense, the theory of symbolic interaction, the structural and systems theory. This research’s been done for two months started from early December to Februari, 2015. The research location takes place in Padangsidempuan, North Sumatera.The population in this study is two people from the City Art Institute of Indigenous Padangsidimpuan, two wedding couple who performed manortor, five musicians, and one indigenous elder.The data analysis in this study uses descriptive qualitative data collection techniques which are done by observation, library research, interviews, and documentation. The results denote that the structure of Tortor Namora Pule presentation consists of several stages such as: Towards Galanggang Panortoran, Taking position, Makkobar, Manortor, Manogu, Manjalang, back to Galanggang and Mardalan. Interaction symbols contained in Tortor Namora Pule are illustrated through kinship system contained within the overall existing Tortor on Horja Godang Haroan Boru.Kinship system Dalihan Na Tolu binds between overall Tortor against Tortor Namora Pule. That attachment generates the interaction Tortor Namora Pule to the overall Tortor and spectators.Symbol interaction is also visible on the symbol of somba adat motion meaning of worship, an interaction of symbols that have meaning as a form of homage to the King Namora Pule, parents and spectators. Symbols manartar and old mangido interpreted as giving and receiving between the groom with the bride.Face to face-floor pattern on both families showed close interaction to Namora Pule. Musical accompaniment used also shows interaction to Namora pule, parents, relatives and spectators.Poem contains about the history of life, advice, hope and prayer that poured into Onang-Onang poetry, poetry is always addressed to Namora Pule. Keywords: Tortor Namora Pule, Angkola Society, Interaction Symbol.

BENTUK TOR-TOR BALANGSAHUA PADA MASYARAKAT DESA TANAH JAWA DI KABUPATEN SIMALUNGUN dhiba inanta lubis
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

The aim of this research is describing the form of Tor-tor Balangsahua dance at Javanese society in Simalungun.Theoretical foundation which is used in this research is theories related with the topic such as forming and dance element theories.The method used in this research is descriptive qualitative method. The collecting of data is done by field observing and interviewing to some informants to get data about Tor-Tor Balangsahua dance in Simalungun. The samples in this research are the man dancers an musicians in Tor-tor Balangsahua Dance.This research shows that, the form of Tor-tor Balangsahua dance related with movements like grasshopper act which is only for entertaining Simalungun society. Tor-tor Balangsahua dance has theme usihan or the dance which imitate animals movement. The movement in Tor-tor Balangsahua dance has four motives those are respectful move or sombah, flying move, move like grasshopper, and man dancers move. Musical accompaniment used is Haro-haro, and musical instruments are Ogung, Sarunei, and Gondrang. Making up used in Tor-tor Balangsahua dance is focused on man dancers. The costumes used by man dancers are Head cover or Destar, shawl on shoulder or Suri-suri, fabric from waist to toe or Hiou. Tor-tor Balangsahua dance uses proscenium stage. Keyword : Tor-tor Balangsahua.

TORTOR PARSAORAN PADA UPACARA ADAT PERNIKAHAN PARMALIM PADA MASYARAKAT BATAK TOBA DI DESA MARIAH JAMBI KECAMATAN JAWA MARAJA BAH JAMBI TIMURAN KABUPATEN SIMALUNGUN RIRIS GETHA MUNTHE
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

This study aims to determine how the meaning of the symbols on Tortor Parsaoran in Toba Batak society, the structure of the motion contained in Tortor Parsaoran and form of presentation Tortor Parsaoran in Toba Batak society. In the discussion of this writing, used theories of writing-related topics, such as the theory of meaning, symbols theory, the theory of the structure, tortor sense and understanding of traditional ceremonies. The method used is descriptive qualitative. To complete the data in this study, researchers conducted field observations, videos, interviews and documentation. The population in this study is the Toba Batak society who are in Simalungun District of Java Maraja Bah Jambi easterlies, artists and local traditional leaders. The results based on the data collected can be seen that the Toba Batak tribe in ancient times Ugamo Malim embrace trust as a belief system that existed since the ancestors of the Toba Batak society. People who fall into Ugamo called Parugamo Malim Malim (Malim Ugamo followers) or commonly abbreviated with Parmalim said. Tortor Parsaoran in cult ugamo malim (Parmalim) in Toba Batak society means brotherhood, fellowship among communities, range of motion tortor little and goes into a loop. Range of motion consists of six movements of hohom, mangurdot Somba, mangurdot manea, mangurdot mangorai, mangurdot manghorus, Embas, which each movement has a symbolic meaning motion. Tortor structure on Parmalim wedding ceremonies, some of them 1.Tortor initially conducted by the hasuhuton (the organizer of the party), semarga relatives and the bride and groom. 2.Tortor Somba carried by the bride homage to hula, bones and all guests. 3.Tortor mangaliat hula performed by giving thanks to Boru 4.Tortor hasahatan / sitio-tio performed by groups of elders in the village. 5.Tortor Parsaoran done by all the family party. Tortor Parsaoran in the implementation or presentation on Parmalim wedding ceremonies is danced by the whole family arrangements for the party. While the musical accompaniment in the form of gondang Idang tortor-Idang, where gondang the role of tortor which is a musical accompaniment. Keywords: Tortor Parsaoran.

MAKNA SIMBOL TOR-TOR DAGANAK TUBU PADA MASYARAKAT ANGKOLA DI DESA PARSALAKANKECAMATAN ANGKOLA BARAT KABUPATEN TAPANULI SELATAN PUTRI NORMA SARI
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

This research constitute study about symbol meaning Tor torDaganakTubu on Angkola's society at Parsalakan village district West Angkola'sTapanuli southRegency. Tor torDaganakTubu this figure family thanksgiving while welcome childbirth. This Tor tor escort by song poem that is attributed use to good advantage babies.In this observational result is used each theory which supportive theories with observational topic amongst those cognitive meaning, symbol theory, structured theory, savvy Tor tor and custom ceremony savvy.Observational time that is utilized to work through about Tor torDaganakTubuthis up to two months, which is on month of November 2014 until January 2015. Observational place is at Parsalakan village district West Angkola'sTapanuli southRegency.Population on observational it is some bodies society custom chairman Angkola who gets place living at PadangsidempuanCity, custom ceremony promoter, kinsfolk and family as panortor.sample in observational it is 2 custom chairmen some bodies kinsfolk or party promoter families.Data collecting tech covers observation, interview, studi is bibliography and documentation, then analysis by descriptive kualitatifmethod.Base observational result that is done gets to be known that wholly symbol meaning that exists in Tor torDaganakTubuepitomizing thanksgiving form while welcome childbirth.In its movement exists curtsey meaning to God Lord Mighty and respect to fellow being, asking for goodness gives that invocation, and divides blessing,. Despitefully inende(song poem) available too meaning that corresponds withTor- tor. Keyword: Tor torDaganakTubu, Symbol meaning, Angkola's society

KARYA-KARYA TARALAMSYAH SARAGIH SEBAGAI KOREOGRAFER TARI SIMALUNGUN ANTIN LESTARI
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

This research is a study of the choreographic form in Saragih Taralamsyah’s works as Simalungun dance choreographer. The aim of this study is to describe the choreographic form in Saragih Taralamsyah’s works as Simalungun dance choreographer In the discussion of this research, the theories related to the topic of research used are the biographical understanding, the form theory, the identity theory, and the theory of choreography. In conducting this research, the writer uses descriptive qualitative method. The population in this study becomes the sample of the research which is Taralamsyah Saragih’s works. Data collection techniques consist of literature studies, interviews, observation, and documentation. According to the research, it can be concluded that Taralamsyah Saragih is one of the artists from Simalungun. He’s a son of the 40th King Raya who was born in Pematang Raya Simalungun Bolon’s House on August 18th 1918. The form of choreographic dances as Haroan Bolon tortor, Sitalasari tortor, Manduda tortor created by Taralamsyah can be seen from the function, the pattern of cultivation and choreography. Characteristic contained in Saragih Taralamsyah works can also be seen from the side of the theme, movement, music, costumes, pattern of the floor, and the number of dancers. Instruments used in the works of Taralamsyah Saragih are accordion, sulim, flute, keyboards, guitar, piano, cymbals and gondrang sipitu-pitu. Keywords: Choreographic Form, Works, Taralamsyah Saragih.

BENTUK PENYAJIAN TATAK NANDORBIN PADA MASYARAKAT PAKPAK DI KECAMATAN SALAK KABUPATEN PAKPAK BHARAT ROSALYATI ANGGRAINI
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

The research was conducted at the end of November until the end of January 2015. The population and sample includes leaders in the community who know the culture Nandorbin hairline finish in Sub Salak, artists who know about the hairline finish Nandorbin, data collection is done by the method of field work which includes several aspects: observation, interviews, literature study, and documentation. Later in the analysis with qualitative descriptive method. Based on research that has been done, the form of presentation Nandorbin hairline finish on the pull with seven female dancers and one male dancer. There are nine varieties of motion at the beginning of Mertopak Nandorbin hairline finish, Menjengkur, Menjengkur menengen pasangen kamuhun direction, Menjengkur menengen pasangen kambirang direction, Menengen da Beru sideban, Menengen de Beru here select. Clothing on male dancers use of topical perbunga headgear mbacang, pakpak customary black shirt, and black pants. While the clothing worn women's clothing female dancers are called Merapi-fire, hood made of Ulos perdabaitak named saong Tonjong, gloves used is Oles Perdabaitak, and waist straps aluminum. Keywords: Tatak Nandorbin

BENTUK PENYAJIAN PERTUNJUKKAN WAYANG ORANG DI KECAMATAN BATANG KUIS KABUPATEN DELI SERDANG NITA ZURAIDAH
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

This research intent to know about form the presentation demonstrating people puppets in subdistrict of quiz barregency of deli serdangIn this. Research time conduded by during two months, that is July 2014 until September 2014. Research place reside in countryside of quiz bar.. Sampel at the research is two people technique of data collecting is observation, interview, study of bibliography and demonstration and analysis with descriptive method qualitative. To eliminate worn-out and they long its native land, they make the culture that is artistry wayang orang. Form its presentation is theme, manner move the, music accompaniment, arrange the cloth and arrange the beauty. Its theme is bandung bondowoso. Its motion manner is own 4 scene but dance in demonstrating this in scene 1 and scene 2. First scene is concubine and dance the horse lumping. Scene to 2 dance depicting battlefield. Line the opening music is bandung bondowoso. Scene of its 1 music accompaniment is satria, to 2 is loro jonggrang, to 3 satria, to 4 is jingle genie. Cloth weared by that is boro-boro, irak irahan. Arrange the beauty is character of like prabu damarmoyo Keywords:peoplepuppe

BENTUK DAN MAKNA SIMBOL TARI TEMBUT-TEMBUT DALAM UPACARA ADAT NDILO WARI UDAN PADA MASYARAKAT KARO dina mariana siregar
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

This study aimed to describe the shape and meaning of symbols Dance Tembut-Tembut in Wari Udan Ndilo Ceremony At The Village People Seberaya Karo Karo District of Tigapanah main focus of this study is to describe the meaning of Form and Meaning of symbols contained in the dance tembut - tembut on Karo society.This study is a description is to collect data and qualitative information, to explain in detail the meaning of Form and Meaning of the symbols of dance Tembut-Tembut, to collect field data methods, interviews, and field observations. The data obtained in the analysis of qualitative tersebutakan. The process of data analysis in this study began with all the data that was obtained from observations and interviews. This study uses the theory of Function, Form and Meaning of symbols, Tembut-tembut dance in ceremonies held at the village uda ndilo wari Seberaya kecanatan Tigapanah, caused by drought which resulted in plants Karo people become corrupted. Dance tembut - tembut also has a function as a means of entertainment. Dance tembut - tembut been more dominant as a means of entertainment fun.In custom event ndilo wari this udan music acts include the like, Drum Five Sendalanen is comprised of: Sarune (fife, as carriers melody), drum Singindungi, (drum mother, as the carrier rhythmic variation), Singanai Drum (Drum children , as a carrier fixed rhythmic), Gung (Gong, as a determinant of the largest cycle, Penganak (Small Gong, as the smallest cycle carrier). Keywords: Tembut- tembut, Ndilo Wari ceremony Udan

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Sitti Rahmah

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+628126554635

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gesture@unimed.ac.id

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

Location
Kota medan,

Sumatera utara

INDONESIA

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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

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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