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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 321 Documents

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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.

PENERAPAN METODE MUSICAL FEELING DALAM BELAJAR TARI ZAPIN MELAYU DI SANGGAR TARI TAMORA 88 Putri Utami; Tuti Rahayu; Iskandar Muda
Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018
Publisher : Universitas Negeri Medan

Abstract − The thing that becomes the background of this research is the difficulty often faced dancers in a move that suits the taste of music, mainly on the acquisition of a sense of musicality (wirama) and appreciation (wirasa). The purpose of this study is to describe the mastery wiraga, wirama, and wirasa dancers, and how the application of mastery of musical feeling in studying dance and musical influence of feeling on the process of learning dance dance Zapin Melayu disanggar Tamora 88. The theory used in this research is the theory Musical Feeling (Carl.E.Seashore 1938: 2). This study aims to determine how the application of a person's sense of musicality while studying dance Zapin Melayu namely Tari Zapin dance disanggar Dedeng Missing Moon Tamora 88. The population in this study is the dance studio Tamora 88, of this population is taken Tamora 88 dancers from the studio. This research method is qualitative. Implementation of qualitative methods can not be separated in the data collection is done with obsesrvasi, literature, documentation. This study discusses the application of methods Musical Feeling in learning Malay Zapin dance at the dance studio dancers Tamora 88 to facilitate the mastery wiraga, wirama and wirasa. The results of this research is the mastery wiraga, wirasa, wirama dancers and the implementation of a method of musical feeling in learning dance Zapin Dedeng Missed the Moon by the dance studio Tamora 88, whose application greatly affect the quality of the dancers dance studio, especially in the sense of music appreciation and rote, both in the process of learning dance as well as the overall results of the dance. Keywords: Musical feeling, Dancing Dedeng Missing Moon, Tamora

STUDI KOMPARATIF TARI INE ACEH TAMIANG DENGAN TARI INAI SERDANG BEDAGAI (Suci Ramadayani) Suci Ramadayani
Gesture: Jurnal Seni Tari Vol 1, No 1 (2012): April 2012
Publisher : Universitas Negeri Medan

Tari Ine dan tari Inai merupakan tari rakyat yang mengalami pencampuran etnis antara Melayu dan Minangkabau. Tata cara penyajian tari Ine ditarikan oleh empat orang wanita yang masing-masing memegang piring, sedangkan tari Inai ditarikan oleh dua orang laki-laki yang masing-masing memegang rumah inai. Waktu penyajian tari Ine dilakukan malam hari setelah akad nikah dan dilaksanakan satu malam dirumah pengantin wanita. Sedangkan tari Inai dilakukan malam hari dan diadakan pada malam berinai besar. Ragam gerak tari Ine berjumlah 4 dan tari Inai berjumlah 12 ragam gerak. Masing-masing ragam mempunyai nama yang diambil dari kehidupan sehari-hari masyarakat. Alat musik yang digunakan dalam tari Ine terdiri dari gendang tangkah, piul (Biola), dan akordion, sedangkan alat musik yang digunakan pada tari Inai adalah gendang seramah, serunai, tawak-tawak, gong dan calempong. Busana yang digunakan pada tari Ine terdiri dari baju gunting cina, celana panjang, kain songket, selempang. Sedangkan tari Inai terdiri dari baju kecak musang, celana panjang, sesamping dan destar. Kata Kunci: Studi Komparatif, Tari Inai Aceh, Tari Inai Serdang Bedagai

TORTOR PARSIARABU PADA UPACARA HORJA BIUS DI DESA TOMOK KECAMATAN SIMANINDO KABUPATEN SAMOSIR: KAJIAN SEMIOTIKA Anggi Pratiwi Sinaga
Gesture: Jurnal Seni Tari Vol 9, No 1 (2020): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT This study examines the semiotics contained in the Parsiarabu Tortor in Tomok Village, Samosir Regency. The purpose of this study is to explore the meaning contained in Tortor Parsiarabu and the interpretation of the meaning seen. To discuss the research objectives above, use theories related to the research. The theoretical foundation in this study uses the Semiotics theory of signs, markers and markers by Ferdinan De Saurrsure and the theory of forms concerning motion and clothing by Humardani. The location and time of the study was carried out in Tomok Village and the time of the research was two months, the population and sample were the community and members of the Parsaulian GPSB Studio (Generation of Art and Culture Lovers). The author conducts data collection techniques including library research, field observations, interviews with resource persons, and completes the data by taking photo documentation. This research uses descriptive qualitative. The results of the study are based on data that has been collected that Tortor Parsiarabu has 6 main motives namely Siubeon, Marsomba, Mambukka Roha, Patoru Diri, Papunguhon, Mangandungi. Clothing used in this Parsiarabu tortor is Ulos Sibolang, Ulos Bittang Maratur, Ulos Suri-suri Ganjang. The semiotics contained in the Parsiarabu tortor are poured through the sign that is in the form of motion that is seen in the serving, the signer which is seen from the main range of motion in the Parsiarabu tortor, and the signfied is the meaning contained in the motion Parsiarabu tortor, it can be interpreted that the meaning of this whole dance is respecting God, respecting the high position or government, respecting fellow human beings, staying humble and not arrogant, respecting others, uniting the hearts of fellow people so that there is no envy and revenge . Keywords: Semiotics, signs, markers, markers, Parsiarabu tortor ABSTRAKPenelitian ini mengkaji tentang semiotika yang terdapat dalam Tortor Parsiarabu di desa Tomok Kabupaten Samosir. Tujuan penelitian ini untuk mengupas makna yang terdapat dalam Tortor Parsiarabu dan interpretasi makna yang dilihat. Untuk membahas tujuan penelitian di atas menggunakan teori-teori yang berhubungan dengan penelitian tersebut. Landasan teoritis dalam penelitian ini menggunakan teori Semiotika mengenai tanda, penanda, dan petanda oleh Ferdinan De Saurrsure dan Teori bentuk mengenai gerak dan busana oleh Humardani. Lokasi dan waktu penelitian ini dilaksanakan di Desa Tomok dan waktu penelitian nya selama dua bulan, populasi dan sampel adalah masyarakat dan anggota sanggar Parsaulian GPSB (Generasi Pecinta Seni Budaya). Penulis melakukan teknik pengumpulan data meliputi studi pustaka, observasi lapangan, wawancara dengan narasumber, dan melengkapi data dengan mengambil foto dokumentasi. Penelitian ini menggunakan deskriptif kualitatif. Hasil penelitian berdasarkan data yang telah terkumpul bahwa Tortor Parsiarabu memiliki 6 motif utama yaitu Siubeon, Marsomba, Mambukka Roha, Patoru Diri, Papunguhon, Mangandungi. Busana yang digunakan dalam tortor Parsiarabu ini yaitu Ulos Sibolang, Ulos Bittang Maratur, Ulos Suri-suri Ganjang. Adapun semiotika yang terdapat dalam tortor Parsiarabu dituangkan melalui tanda (sign) yang terdapat pada bentuk gerak yang terlihat pada penyajianya, penanda (signfer) yang dilihat dari ragam gerak utama yang ada pada tortor Parsiarabu, dan petanda (signfied) merupakan makna yang terdapat pada gerak tortor Parsiarabu, maka dapat diinterpretasikan bahwa makna dari keseluruhan tarian ini yaitu menghormat kepada Tuhan, menghormati yang berkedudukan tinggi atau pemerintah, menghormati sesama manusia, tetap rendah hati dan tidak sombong, menghargai orang lain, menyatukan hati sesama masyarakat agar tidak ada iri hati dan dendam. Kata Kunci : Semiotika, tanda, penanda, petanda, tortor Parsiarabu

BENTUK PERTUNJUKAN KESENIAN LINTAU PADA MASYARAKAT DELI SERDANG sandra juliana samosir
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

The aim of this study is to describe the history of Lintau’s art and art formin Deli Serdang society. Theoretical frameworks used in this study are theories related to the topic of discussion, such as the theory of forms, the meaning in history, as well as the conceptual framework as a translation of the concerns expressed in it.The method that’s used in this study is descriptive qualitative method. Collecting data was done by field observations, documentation, data collection and interviews. As for the sample in this study is an artist ,performer of Lintau, and the people who know about Linta’s art.The result of this study indicates that the Lintau’s art is a martial art, based on the history that Silat Lintau taken by Sheikh Batu Mandi, from village Lintau Minangkabau specifically in Tanah Datar.Silat (Silek) of Lintau is a technique or a martial art, owned by the people, that have been passed through generation. Silat Lintau was formerly performed only in the palace by certain people, due to the stages before and after learning and performing it. Currently Silat Lintau hasn’t prioritized those stages, and has become a folk performances, known as Lintau Art. The form of Lintau’s Art performance composed of a wide-range of motion which consists of opening respectful posture, stance consists of four (4) types of punches and evasive, four (4) types of punches, which stems from mashed, simbor, tetak, and beak. Furthermore, the last step of the board and respectful cover. Keywords: Pertunjukan Kesenian Lintau.

TARI TELU SERANGKAI PADA MASYARAKAT KARO “KAJIAN TERHADAP GAYA TARI” Dina Sungam Br Ginting; Dilinar - Adlin
Gesture: Jurnal Seni Tari Vol 10, No 1 (2021): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT-This study aims to describe the dance styles contained in the Telu Serangkai Dance in the Karo community. The theoretical basis used in this research is the theory presented by Allan Lomax in Anya Peterson Royce (2007: 171) which states that there are four factors that shape dance styles as a crystallization of daily activity patterns that are very prominent and important in the supporting community, namely body attitude (boddy attitudes), type of transition, number of active body parts, form and effort (effort-shape). The research method used is a qualitative method. This research was conducted for 3 months in Laudah Village, Padang Mas District. The research sample consisted of artists, traditional leaders, and dancers of the Telu Serangkai dance. Data collection techniques are carried out through observation, interviews, documentation, and literature study. The results showed that the style in the Telu Serangkai dance related to body posture has the power to maintain togetherness, kinship, in life. Through motionless footwork, it shows that the Karo people have a firm attitude in being not easily influenced and consistent in making decisions. The dance style is related to the type of transition, it can be interpreted that the Karo people are always responsive to changing conditions, so that they can adapt to the environment, but are not affected and wisely in responding to changing environments. The dance style is related to the number of active body parts, having different active body parts in each of the various movements of the Telu Serangkai dance showing that the Karo people are people who are actually active in carrying out activities in their daily lives. The dance style is related to form and effort, which is where the Karo community is a dynamic society. Meanwhile, the use of time that is owned by each type of motion shows that the Karo community is a stable society in doing business in their daily lives.Keywords: Dance Style, Telu Serangkai Dance ABSTRAK-Penelitian ini bertujuan mendeskripsikan gaya tari yang terdapat dalam Tari Telu Serangkai pada masyarakat Karo. Landasan teori yang digunakan dalam penelitian ini adalah teori yang disampaikan oleh Allan Lomax dalam Anya Peterson Royce (2007:171) yang menyatakan bahwa ada empat faktor yang membentuk gaya tari sebagai kristalisasi dari pola aktivitas setiap hari yang sangat menonjol dan penting dalam masyarakat pendukungnya, yaitu sikap tubuh (boddy attitudes), tipe transisi (Type of transition), jumlah bagian tubuh yang aktif (number of active body part), bentuk dan usaha (effort-shape). Metode penelitian yang digunakan adalah metode kualitatif. Penelitian ini dilakukan selama 3 bulan di desa Laudah Kecamatan Padang Mas. Sampel penelitian terdiri dari seniman, tokoh adat, dan penari tari Telu Serangkai. Teknik pengumpulan data dilakukan melalui observasi, wawancara, dokumentasi, dan studi kepustakaan. Hasil penelitian menunjukkan bahwa gaya dalam tari Telu Serangkai yang terkait sikap tubuh, memiliki kekuatan untuk menjaga kebersamaan, kekerabatan, dalam kehidupannya. Melalui gerak kaki yang tidak banyak bergerak, menunjukkan bahwa masyarakat Karo memiliki keteguhan dalam sikap tidak mudah dipengaruhi dan konsisten pada keputusan. Gaya tari terkait tipe transisi, dapat diartikan bahwa masyarakat Karo selalu tanggap terhadap kondisi yang berubah, agar dapat menyesuaikan diri dengan lingkungan, namun tidak terpengaruh dan bijaksana menyikapi lingkungan yang berubah. Gaya tari terkait jumlah bagian tubuh yang aktif, memiliki perbedaan bagian tubuh yang aktif pada setiap ragam gerak tari Telu Serangkai menunjukkan bahwa masyarakat Karo adalah masyarakat yang justru aktif melakukan aktivitas di kehidupannya sehari-hari. Gaya tari terkait bentuk dan usaha, yang dimana masyarakat Karo adalah masyarakat yang dinamis. Sedangkan penggunaan waktu yang dimiliki setiap ragam gerak menunjukkan bahwa masyarakat Karo adalah masyarakat yang stabil dalam berusaha di kehidupannya sehari-hari. Kata Kunci : Gaya Tari, Tari Telu Serangkai

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

TRANSFORMASI PANGURASON DARI RITUAL KE SENI PERTUNJUKAN Sivalis Diana Sari Diana Sari; Nurwani Nurwani
Gesture: Jurnal Seni Tari Vol 7, No 2 (2018): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT This study discusses the Transformation of Pangurason Performing Arts Ritual. Describes the presentation of Pangurason tortors in the transformation of saucers to the Batak Toba Society in Samosir, and also describes the transformation of Pangurason tortors in the art of tortor cup performances.The theory used in this research is Ritual theory, Transformation, presentation theory form. The time used in this study is during (two months), which starts from October to December 2016. The location of this study was conducted in Pangururan Government of Samosir Regency. The population in this study were artists who knew about Pangurason and the samples were all actors involved in tortor Pangurason and actors involved in tortor bow transformation, data collection techniques including observation, interview, literature study, and documentation, then analyzed by descriptive method qualitative.Based on the data collected, it can be seen that Pangurason is a cleansing or purification of a place that has been considered sacred, so that the place is far from distress, and not disturbed by evil spirits. Formerly when Pangurason was used because at that time, the place wanted to be disturbed by evil spirits, then sibaso or shaman made a ritual to reject the reinforcements, by making a bowl of water, kaffir lime and banyan leaves.The transformation transforms the form of ritual presentation into the performing arts and uses the media or property of the saucer as an attraction in the tortor cup art show. Keywords: Transformation, Pangurason Ritual, Performing Arts

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

PENGEMASAN PEMBELAJARAN TATAK TINTOA SER-SER DALAM MEDIA PEMBELAJARAN POWERPOINT STAND ALONE UNTUK SISWA KELAS X SMA DI MEDAN Desy Tiarani Hasibuan; Ruth Hertami Diahningsih
Gesture: Jurnal Seni Tari Vol 9, No 2 (2020): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT The purpose of this study is to pack the tatak tintoa ser-ser study in the powerpoint learning media alone for the high school x students in Medan. The basis for the theory that followed the study is the Klimchuk and Krasovec (2006:33) and Rudi susilana and Cepi riyana (2017:100) that explains the stages or procedures in making powerpoint stand alone. Data-collection techniques are done by observation, interviews, literature studies and documentation. The method used is qualitative descriptive where the data obtained and analyzed and analyzed, data processing products are systematically constructed in code. The research process is done in four steps, which is: the first step of identifying the program is making sure the selected programs are right, the PowerPoint programs. The second stage of gathering supporting materials like material, photos, and also the video Tatak Tintoa Ser-Ser. The third step in the process of media learning based on accumulated material. The final phase of the program's review with the introduction of material worthiness and media worthiness test, revision, then ready to be used. This product gains the net result of a 92.5% valuation score in the materials and gets the net result of an 82.2% grade in media. The overall results of the sifting test are 87.5% score which means Tatak Tintoa Ser-Ser study in the powerpoint field alone for an x-class high school student on the Medan is worthy of use Keyword: Tatak Tintoa Ser-Ser, Power Point Stand Alone ABSTRAK Penelitian ini bertujuan untuk mengemas pembelajaran Tatak Tintoa Ser-Ser dalam media pembelajaran Powerpoint Stand Alone untuk siswa kelas X Sekolah Menengah Atas di Medan. Landasan teori yang dijadikan pedoman pada penelitian ini adalah teori Kliminchuk dan Krasovec (2006: 33) beserta Rudi Susilana dan Cepi Riyana (2017: 100) yang menjelaskan bagaimana tahapan atau prosedur dalam pembuatan PowerPoint Stand Alone. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, studi kepustakaan, dan dokumentasi. Metode yang digunakan yakni deskriptif kualitatif dimana data yang diperoleh kemudian diolah dan dianalisis dengan teliti, hasil pengolahan data disusun secara sistematis dalam bentuk skripsi. Proses penelitian dilakukan dalam empat tahapan yakni: tahapan pertama identifikasi program yaitu memastikan program yang dipilih sudah tepat, program yang digunakan Powerpoint. Tahapan kedua mengumpulkan bahan pendukung seperti materi, foto, dan juga video Tatak Tintoa Ser-Ser. Tahap ketiga proses pengerjaan media pembelajaran sesuai materi yang sudah dikumpulkan. Tahap terakhir Review program dengan dilakukannya uji kelayakan materi dan uji kelayakan media, revisi, kemudian siap digunakan. Dalam produk ini memperoleh hasil uji kelayakan dengan skor 92,5 % pada ahli materi dan memperoleh hasil uji kelayakan dengan skor 82,2% pada ahli media. Hasil keseluruhan uji kelayakan mendapatkan skor 87,5% yang berarti pengemasan pembelajaran Tatak Tintoa Ser-Ser dalam media pembelajaran Powerpoint Stand Alone untuk siswa kelas X Sekolah Menengah Atas di Medan sangat layak digunakan. Kata Kunci: Tatak Tintoa Ser-Ser, PowerPoint Stand Alone

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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