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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 12 Documents

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Search results for , issue "Vol 5, No 2 (2016): Oktober 2016" : 12 Documents clear

STRUKTUR TATAK MAMURO PADA MASYARAKAT PAKPAK DI KABUPATEN PAKPAK BHARAT Morris Kembaren
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

This study discusses, Structure mamuro community in Pakpak Bharat Pakpak. The population in this study isin the Village Peoples Pakpak Pardomuan District of Bharat Pakpak kingdom, artist, custom dean or figures,and dancers who know the neighbor dance tradition Pakpak especially Tatak MamuroTheoretical foundation used in this research is the theory of the structure of Martin and Pesover in the bookAnya Peterson Royce, judging from the shape and morphology of dance.Data analysis techniques used in this research is descriptive qualitative, are interpreted and formulated betweenthe data with each other data so that data is accurate and carefully, in accordance with the form of datacollected through interviews, observation, documentation and literature study.Based on the results of research conducted, then Mamoru There is a dance that illustrates how the fields thatrepel birds to be harvested rice is not eaten by birds. It is known that farming for society Pakpak is onelivelihood to survive. Mamuro Tatak structure has the form of four varieties (1) pulling the rope (kinarik tinali)(2) establish new rice bind (a new page ipencer italy) (3) hunting (merburu) (4) applause (applause). The musicused in Tatak Mamuro is Pantar Cross with the instruments used are: gung, kalondang, lobat, harp, andclothing dipake in Tatak Mamuro is customary fashion Pakpak Dairi and using catapults property. In thestructure of Tatak Mamuro there are three stages: The first stage is a salutation (njuah-juah), the second stageis the content that describes repel birds (Mamuro), and the third stage is as regards cover. Tatak this Mamuroordinary dipagelarkan as a means of entertainment on society Pakpak people party or (Njuah-juah).

BENTUK TARI TROEN U LAOT PADA MASYARAKAT PIDIE KABUPATEN ACEH PIDIE Ike Wilda Yusni
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

Penelitian ini merupakan kajian mengenai. Bentuk Tari Troen U Laot pada masyarakatPidie Kabupaten Aceh Pidie. Tujuan penelitian adalah untuk mendiskripsikan BentukTari Troen U Laot pada masyarakat Pidie Kabupaten Aceh Pidie.Teori yang digunakan dalam penelitian ini adalah teori Bentuk dari Murgianto yangmemuat tentang gerak, Teori ini menjadi acuan untuk untuk mengupas permasalahanyang ada dalam tari Troen U Laot.Waktu yang digunakan dalam penelitian untuk membahas Troen U Laot dilakukan sejakJanuari 2016 sampai Maret 2016.Tempat penelitian dilakukan di Kecamatan SimpangTiga Kabupaten Pidie.Populasi pada penelitian ini sekaligus menjadi sampel penelitianyaitu tokoh adat, seniman, dan penari adat. Teknik Pengumpulan data meliputi studi kepustakaan,wawancara , observasi dan dokumentasi.Berdasarkan hasil penelitian bahwa sebagian besar mata pencaharian masyarakat Pidieadalah nelayan.Dari kegiatan nelayan tersebut maka diciptakan Tari Troen U Laot.DalamTroen ULaot terkandung bentuk gerak batiniah tari ini mencerminkan kehidupan paranelayan yang membutuhkan perlengkapan jala untuk menjalankan aktivitasnya. Sedangbentuk lahiriah diwujudkan lewat ragam-ragam gerak yang tersusun, meliputi ragamgerak :Ayoen jaroe,poh jaroe ukeh, poh jaroe unen, poh jaroe uwie, syukor, poh jaroeyub, peuget jarring, teumirong bak jaring

BENTUK TARI MANOE PUCOK PADA MASYARAKAT BLANGPIDIE ACEH BARAT DAYA Novinta Sari
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

Based on research that has been done, the history of dance ManoePucokderived from malelang-madion story taken from the story of dance Pho.Where they were executed as a result of slander prime minister, where thegrief of a mother loses her daughter forever. Based on this story, danceManoePucok no longer tells of the sadness of a mother on her daughter diedas a result of execution. But this ManoePucok dance tell the sadness of amother, who lost her daughter to remove the bachelor married to happiness.This form of dance is twofold, form the internal structure and externalstructure forms. We can see the internal form of grief a mother take off herdaughter into a new life, through internal forms of dance ManoePucok, themother expressed her sorrow to remove the bachelor. External shape seenfrom the motion that the entrance motion, shalawat motion, Trontajakmanoemotion, taking water motion, flush head motion, TrontajakManoe motion, themotion of hair shampoo and body motion flush. There are six forms the floorpattern, the pattern of two lines up, a triangle pattern, the pattern of v, thepattern of the two row, and a half-circle pattern. Accompaniment, fashion,and makeup, which have meaning ManoePucok dance performances.ManoePucok dance is performed before the consent granted do

BENTUK KOREOGRAFI TORTOR ILAH MARDIDONG DI KABUPATEN SIMALUNGUN Kheliana Kheliana
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

Tor -tor dance IlahMardidong is growing and developing in Simalungun . Tor- tordance is a tradition that has been rearranged forms of the movement in 1985 by aman named Lina Br Damanik . The purpose of this study is to discuss the tor-torIlahMardidong viewed from the standpoint of choreographic form.The theory used in this research is the theory of Forms choreography Sudarsonowhich contains about : motion , theme , design floors , top design, fashion andmusic . This theory became a reference for peeling the existing problems in thetor- tor god mardidong .When the study to discuss IlahMardidong dance performed during 3 months ,iefrom the beginning of October 2015 through December 2015. The study in thevillage of Huta III Glare Malela . Glare SubdistrictMalela . The population is threepersons namely speakers , traditional leaders , and artists who know about theculture Simalungun . samples in this study were of three persons namely speakers, traditional leaders and artists in Simalungun . Data collection techniquesincluding observation , interviews , literature study and documentation , which isthen analyzed by qualitative descriptive method .Based on research done that tor-tor IlahMardidong have a soft form of motion,tortorIlahMardidong wear internal musical accompaniment is music that is bornout of the human body . Clothing used in this Tortor is yeast pane ,surisuri andheaddress silappei . The themes contained in this dance is the hope of a mother forher child , and the top design contained in this dance is the design in the design,low design and asymmetrical design .

STRUKTUR DIDONG ALO PADA MASYARAKAT GAYO DI KECAMATAN BLANGKEJEREN KABUPATEN GAYO LUES Pilar Kuncoro
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

This study discusses, Structure Didong A lo community in District Blangkejeren Gayo Gayo Lues District. Theoretical foundation used in this study are: the theory of Levi-Strauss as seen from the outer structure and inner structure. Data analysis techniques, used a qualitative description. The population in this study is the Gayo people in Desa Cempa Blangkejeren District of Gayo Lues district, Artist, dean or the Indigenous People, who know the neighbor Dancers dance tradition Gayo especially Didong A lo. Based on the results of research conducted then, Didong A lo is a dance that tells the story of a white elephant sleeping in the area Gumpang. Didong A lo has a very unique shape on the movement of vague prop that movement would seize a bird chicks, sipped movement,and the movement kelileng accompanied by the chanting of poetry bebentuk vocals. A lo seen Didong structure based on the external structure and the structures within. The external structure into three parts, namely the implementation of the arrangement, visually and in audio. While the structure of the views of the whole contained within the outer structure. In the structure of the Didong A lo there are 3 stages: appetizer, contents and cover.

BENTUK PENYAJIAN DAN PROSES PENCIPTAAN TARI NELAYAN KARYA MARTOZET Dastri Sinan Wilis Harahap
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

Tor -tor dance IlahMardidong is growing and developing in Simalungun . Tor- tor dance is atradition that has been rearranged forms of the movement in 1985 by a man named Lina BrDamanik . The purpose of this study is to discuss the tor-tor IlahMardidong viewed from thestandpoint of choreographic form.The theory used in this research is the theory of Forms choreography Sudarsono which containsabout : motion , theme , design floors , top design, fashion and music . This theory became areference for peeling the existing problems in the tor- tor god mardidong .When the study to discuss IlahMardidong dance performed during 3 months ,ie from the beginningof October 2015 through December 2015. The study in the village of Huta III Glare Malela . GlareSubdistrictMalela . The population is three persons namely speakers , traditional leaders , andartists who know about the culture Simalungun . samples in this study were of three personsnamely speakers , traditional leaders and artists in Simalungun . Data collection techniquesincluding observation , interviews , literature study and documentation , which is then analyzed byqualitative descriptive method .Based on research done that tor-tor IlahMardidong have a soft form of motion,tortorIlahMardidong wear internal musical accompaniment is music that is born out of the humanbody . Clothing used in this Tortor is yeast pane ,surisuri and headdress silappei . The themescontained in this dance is the hope of a mother for her child , and the top design contained in thisdance is the design in the design, low design and asymmetrical design

NILAI ESTETIKA TARI DAMPENG PADA MASYARAKAT MUARA PEA DESA BUKIT HARAPAN KABUPATEN ACEH SINGKIL Linda Novali Sihotang
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

Dampeng dance is a dance that tumbuhdanberkembang in Aceh Singkil. Dampengcustomary sudahpadatahun inimerupakantarian 1986. The purpose of this study isto discuss the dampeng dance from the perspective of aesthetic value.The theory used in this research is the aesthetic theory of Dhrasono whichcontains about: motion, fashion poetry and music. This theory is a reference tostrip existing problems in Dampeng dance.When the study to discuss Dampeng dance performed during the three months,from mid-December 2015 to February 2016. The research in the village of BukitHarapan. Subdistrict Gunung Meriah. The population is two persons namelyspeakers and artists, who know about the culture Singkil. Samples are numberedtwo people are a resource and artists in the district of Aceh Singkil.Teknik datacollection include observation, interviews, literature study and documentation.Dampeng aesthetics of the dance are the motions of martial that have governancerules, the satisfaction score and the value of togetherness for the people of AcehSingkil. Having yangtinggi excellent value for people who feel that the danceSingkil Dampeng is partly art and cultural preservation is still there and is stillknown to the public sampek Aceh Singkil. Dance dampeng also has aesthetic infashion is clothing with the colors of firm and soft, the color of clothing also hascharacter. It's all evidence of their love of their culture. Of these colors Singkilcommunity admire and maintain Dampeng dance clothing for use by generationsto always be worn when dancing.

MAKNA GERAK TORTOR MANGONDAS DALAM UPACARA KEMATIAN SAUR MATUA PADA MASYARAKAT BATAK TOBA DI KABUPATEN SAMOSIR Rinda Turnip
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

Tortor Mangondas is an expression of sorrow that was created to meet the needsof indigenous meaningful honor the dead (and of the spirit / tondi man and tondithe first death) and is a communication between the real world and the other world(deceased) for application of this world can be given to the fathers and good luck /blessing of them can be given to people who live mainly heirs.This study aims tofind out what the meaning contained in Tortor Mangondas in Toba Batak society.The theoretical foundation of this research uses one theory, the theory of meaningand understanding tortor mangondas and death ceremonies.Location and time the research was conducted in Samosir and time for twomonths, the sample population figures there are some dancers and artists as wellas traditional leaders. The author conducted field observations, with videocapture, documentation, and conduct interviews with sources, as well as completethe data through research at the Village Siopat bill SamosirThe results based on the data that has been collected can be seen that TortorMangondas never appears solely as a form of dance in any society. But themotion-motion can still be explained the meaning of each movement performed.Tortor Mangondas created because someone who has died Saur matua not have achance to talk to the family to deliver the parting words and all expressions heartscontent. The social value as a society Batak Toba Mate Saur Matua wherebyTortor Mangondashasuhutan held with the objective of respect for parents and atthe same time submit a request to Mulajadi Nabolon prayer.

PERANAN DAN BENTUK TORTOR PADA PEMENTASAN OPERA BATAK DI PUSAT LATIHAN OPERA BATAK PLOt)PEMATANG SIANTAR Devi Lasroha Sinaga
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

This study aims to determine the form of presentation of operas Batak, to describe a way of presenting opera Batak, to describe the form of presentation tortor, and to know the role tortor in staging opera Batak. The theoretical foundation of this research rests on several theories studied, namely the theory of presenting opera Batak, tortor presentation shape theory and theory of the role, with the conceptual framework as a translation problem contained therein. This research was conducted in the street Bah Bolon Kiri (Lorong IV) No. 96 Siantar, in December 2015 to February 2016. The method in this research use descriptive qualitative research methods. The population in this study were 1 informants who are knowledgeable about dance (tortor) in staging opera Batak, 1 director, 1 music player, and the first person who joins the cast in the opera Batak, the number of samples to be studied amounted to 4 people. Data collected through observation, interviews, documentation, and literature study. The results of this study indicate that the form of presentation of opera Batak has important elements, namely: a play (drama), dialog, music (gondang), song (ende) and dance (tortor). Tortor the form of presentation of operas Batak presented three times, at the beginning, middle and end of the scene. Tortor role in staging opera Batak serve to embellish what is dictated by the script becomes symbolic, ensuring variation in the opera aesthetics, strengthening the scene / act story, become entertainment and become transition between scenes

BENTUK PENYAJIAN TORTOR PADA GONDANG NAPOSO DI KECAMATAN PANGURURAN KABUPATEN SAMOSIR Marta Sinaga
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

This study aims to determine how the form of presentationTortor in Gondang Naposo in District Pangururan Samosirregency. The theoretical foundation of this researchsubscribes to the theory that were examined, the theory ofpresenting the conceptual framework as a translation problemcontained therein.This research is a qualitative descriptivestudy. Data collected by field observations, with videocapture, documentation, and conduct interviews with sources,as well as complete the data through research in the area ofthe District Pangururan Samosir by making artists and localtraditional leaders as the population in the research.Theresults based on the data that has been collected can be seenthat Tortor in Gondang Naposo a means to buildrelationships of young generation and maturation spirit ofindependence and often the scene of the discovery of a matewho follow the customs of Batak Toba. Gondang naposoevent held for two days and started before parnakkok nimataniari (sunrise). The first day of the three materials areimplemented; martonggo raja (inviting parents to participatein the event), ulaon na hohom (only sound gondang) and oldmambuat ni gondang (hasuhutan invoke blessings on MulaJadi Na Bolon). The second day gondangnaposoimplementation. In Godang naposo tortor there are seventortor, namely; tortor mula-mula, tortor somba, tortormangaliat, tortor sibunga jambu, tortor hatasopisik, tortorsimonang-Monang, tortor hasahatan sitio-tio.

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Contact Name
Sitti Rahmah

Contact Email
gesture@unimed.ac.id

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+628126554635

Journal Mail Official
gesture@unimed.ac.id

Editorial Address
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