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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 7 Documents

Search results for , issue "Vol 4, No 1 (2015): April 2015" : 7 Documents clear

FAMADOGO OMO DANCE FOR US IN CEREMONY ENTERED A NEW HOME IN THE COMMUNITY NIAS Sri Rahayu
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

This study discusses forms of dance in the ceremony Omo Famadogo entering new homes in the community nias. The purpose of this study was to describe the form of dance ceremony Omo Famadogo entering new homes in Nias people. Theoretical foundation used in this research is the theory Sumandiyo Hadi and Suzan K. Langer with dance forms in complete unity. The population in this study is the dance Famadogo masyaraat Omo on Nias, artists, traditional leaders and dancers who know about dance Famadogo Omo, the sample in this study is the cultural figures and artists who know about art Famadogo Omo. Data collected by field work method that includes several steps, namely interviews, direct observation, documentation and literature study. The method used in this research is descriptive qualitative method. Based on the results of research conducted, that form of dance ceremony Omo Famadogo entering new houses on Nias community is a dance that test the strength and endurance on the building of new houses have been completed in the wake. This dance is a unified whole where this raw dance consists of nine varieties, which includes variation, repetition, movement, sequence, comparison, climax.

BENTUK PENYAJIAN TARI INEN MAYAK PUKES PADA MASYARAKAT GAYO ACEH TENGAH Magfirah Fitri
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

This research is a study on the form of presentation of dance Inen Mayak Puke in the Gayo people of Aceh Tengah. In the study researchers used the theories related to research topics such as definition of dance theory form of presentation, the mithod used to discuss the form of presentation of dance Inen Mayak Pukes in the Gayo people of Aceh Tengah. Is a qualitative descriptive method. The population in this study as well as sample, including traditional leaders, artists and dancers. Data collection techniques include literature studies, interviews, observation and documentation. Based on research carried out can be understood that the inen mayak pukes dance is a dance that describes the journey of the story kekeberen (story hereditary) inen mayak. This dance was created in 1960-an bye Mr. Ibrahim Kadir. In the presentation of this dance has an opening stages, namely motion intro entry, later stage of the contents of the range of motion bergegure, karu, semiang, bersedeh ate, mayo ku gue, mujadi atu, uwes and motion of the over. At any atmosphere in the dance accompanied by music as a conduit akat atmosphere and poetry as a determinant of motion. Thn to analyze the form of dance presentation of dance Inen Mayak Pukes will discuss all of the elements contained therein include, motion, accompaniment, clothing, makeup, properties, patterns and stage floor.

LANDEK DALAM UPACARA ERDEMU BAYU KAJIAN TERHADAP BENTUK DALAM SISTEM SOSIAL PADA MASYARAKAT KARO Risda Octavia Barus
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

Tujuan dari penelitian ini untuk mendeskripsikan sistem kekerabatan pada upacara Erdemu bayu pada masyarakat Karo, struktur upacara Erdemu bayu pada masyarakat Karo, serta bentuk penyajian landek sesuai sistem kekerabatan pada upacara Erdemu Bayu pada masyarakat Karo. Untuk menjawab tujuan penelitian diatas digunakan teori yang berkaitan dengannya yaitu, mengenai teori bentuk penyajian, teori sistem, teori struktur. Penulis mengambil lokasi penelitian di Desa Hulu Kampung Tujuh Kecamatan Pancurbatu, Kabupaten Deli Serdang sejak bulan Mei 2015 sampai Juli 2015 dengan sampel tokoh adat dan salah satu masyarakat Karo setempat. Dalam penelitian kualitatif ini peneliti melakukan prosedur penentuan informasi, yaitu menentukan informasi yang tahu dan terlibat dalam upacara Erdemu Bayu tersebut. Metode dalam penelitian ini merupakan metode deskriptif kualitatif dan dengan tehnik pengumpulan data melalui wawancara dengan Bapak Krisman Barus, observasi lapangan, dokumentasi, studi pustaka dan yang terakhir adalah tehnik analisis data. Hasil penelitian menunjukkan bahwa sistem kekerabaran pada upacara erdemu bayu pada masyarakat Karo dikenal sebagai sangkep geluh yang didalamnya terdapat rakut sitelu, tutur siwaluh, dan perkade-kaden 11+1. Struktur upacara erdemu bayu pada masyarakat Karo dimulai dengan Sebelum upacara, saat upacara dan setelah upacara. Landek dalam upacara erdemu bayu terdapat pada saat upacar erdemu bayu. Bentuk penyajian landek sesuai sistem kekerabatan pada masyarakat Karo yang dimulai dengan landek sukut/senina, landek kalimbubu, dan landek anak beru. Seluruhnya bersangkutan dengan sistem kemasyarakatan pada masyarakat Karo.

STUDI KOMPARATIF TARI FALUAYA DI NIAS SELATAN DENGAN TARI FALUAYA DI MEDAN Laurensia Dora Melisa
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

The Research aimed to know how comparison of Faluaya dance in Niasnese with Faluaya dance in Medan. The population of this research are some cuture figure of district Bawömataluo and Simalingkar, artists who know and concerned in the dance. The sample are; culture figure, artist and people who concerned in the dance itself. Descriptive qualitative research was used in this research. To got the data, researcher did field observation, video, interview and documentation. The finding of this research pursuant to gathered data, can know that dance of Faluaya in Niasnese and Medan there are equation as well as difference. Created from victory expression all society of Niasnese of enemy attacking land, groun power of then, conducted with singing and dancing. Society of Nias in Medan, making dance of Faluaya as one of the dance expressing etnical identy of them, by showing how selfregard a seen young man of its responsibility to orderliness of native land. In Nias, dancer of Faluaya tribe sall Nias itself, while in Medan do not be obliged from tribe of Nias. But both this dance use is same property, that is baluse (shield), toho (tombak) and tolögu (sword). Square and cicle represent floor pattern wich is often used n both this dance, however in Medan heve there are addition of of the floor pattern wich adapted for choreographer. By dress black chromatic at vest and interior at exterior. There ara same colour type of vest which commonly use by dancer of Faluaya in Nias, there is which black elementary materials, with colour of ornament red, black and turn yellow and also cloth turn yellow the so-called with göndöra as subordinate, there is also made brown chromatic vest of sea grass an bark. Manner move at dance of Faluaya in Nias have some motion motif an its movement still original and not affect by other ethnical. Square and circle represent floor pattern wich is often used in both this dance, however in Meda have there are addition of often floor pattern which adapted for its choreographer.

MAKNA SIMBOL TARI TELU SERANGKAI PADA MASYARAKAT KARO Siska Ernita Batubara
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

This study discusses the Triad Telu Serangkai dance in the village of Karo Seberaya which aims to determine the meaning of the symbol of dance TeluSerangkai Triad. To discuss the above research purposes used the theory related to the topic ofresearch, such as the theory of meaning from Anderson in FX translation Widaryanto Anya Peterson (2001: 211-212), the theory of the symbol of Sumandiyo Hadi in his Sociology of Dance (2005: 22). Methodology The study presented in this research use descriptive qualitative data collection techniques done with literature study, observation, interviews, documentation. The research was used to discuss the Triad Telu Serangkai dance for two months, from June to August 2015. The research location is the village of the District Seberaya Tigapanah Karo. Based on research that has been done, the symbol of the dance are the Ones Telu Serangkai young romance in the Karo people. The meaning of the symbol of romance is derived from every movement made, namely: the motion of respect, motion sada tan, motion tan erputar, motion tan datas bara, motion ngelegi pudun, motion mulih, the garment worn by the female dancers, namely: hoods, rudang-rudang , Langge-Langge, kebaya, and songket, clothing that is used by the male dancers, namely: headdress-headdress, twisted-twisted, clothing, canoes, and pants, as well as floor pattern, ie forming two rows.

MAKNA SIMBOL TOR-TOR SIMODAK-ODAK PADA MASYARAKAT SIMALUNGUN Reysita Lassari Damanik
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

This research is aimed to know how the form found on Tor-tor Simodak-odak, the symbol meaning of Tor-tor Simodak-odak movement on Simalungunese people is. In the discussion of this research, theories related to the topic of writing was used, such as theory of form, theory of symbol meaning and the meaning of Tor-tor. The method which was used was descriptive qualitative. To complete the data in this research, the researcher conducted a field observation, video, interview and documentation. The population in this research was Simalungunese people who lived in Simalungun Regency, Raya District at Merek Raya village, artists and the local elders. The result of the research based on the data collected, it was known that Tor-tor Simodak-odak was a tor-tor which was created by one of Simalungunese artists, named Taralamsyah Saragih in 1958. In tor-tor Simodak-odak, it had theme about love because it told about the teenagers who were in love. The outer shapes were movements, accompaniments, dresses and make-ups. Tor-torSimodak-odak had seven kinds of movements. The accompaniments of tor-tor Simodak-odak used music instruments such as gonrang, gong, tulila, sarune and arbab. The dresses used for tor-tor Simodak-odak were bulang, suri-suri naboru, kebaya, ragi pane naboru, gotong, ragi pane dalahi, suri-suri dalahi, baju sibirong, salawar ganjang. Tor-tor Simodak-odak which was seen from the symbol meaning, the movements of tor-tor Simodak-odak, it had its own meaning in its kinds. The music accomponiments of tor-tor Simodakodak used gonrang sipitu-pitu music or also called gonrang balon which had quite tempo but described a happy feeling.

BENTUK PENYAJIAN TARI SARAH HADRALMAUT PADA MASYARAKAT MELAYU DI DESA NAGUR KABUPATEN SERDANG BEDAGAI Purnomo S
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

Sarah Hadralmaut dance comes from Hadralmaut society those are right now known as Yemenite. It is exactly in the southern peninsula of Arabic. This dance has its own characteristic in the legs movements; it is almost like Zapindance. The purpose of this research is discussing about the presentation form of Sarah Hadralmaut dance to the Malay society at the NagurBedagai village in district of SerdangBedagai. Based on the result that had been done, it can be known that Sarah Hadralmaut dance is a dance that comes from Hadralmaut area or it can be known as Yemenite - in the southern peninsula of Arabic. This dance is more dominant with the legs movement, while arms movement will adjust with the legs steps. This dance is almost the same with Zapin dance because both of them are comin from the same country that is Yemenite. Sooner or later this dance will be inherited by Malay and become characteristic and identity of Malay . It was used to be danced by men only, but right now women are also allowed to dance.

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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

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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

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