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Gesture: Jurnal Seni Tari
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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Estetika Tari Betangas pada Sanggar Sultan Nata di Kabupaten Sintang Provinsi Kalimantan Barat Fauziah, Rizka; Widyastutieningrum, Sri Rochana; Dewi, Maharani Luthvinda
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67462

Abstract

The purpose of this study was to analyze the aesthetic value of Betangas dance at Sanggar Sultan Nata in Sintang Regency. Betangas dance is a new creative dance created by Musliyadi in 2014. Betangas dance uses basic Malay dance movements. This study is a qualitative study with an ethnochoreology approach and descriptive analysis method. Data collection techniques: observation, interviews, and literature studies. The aesthetic value in Betangas dance can be seen in the elements of movement, dance music, floor patterns, costume makeup and properties. The dance movements are inspired by the movements during the Betangas ceremony, the music uses Malay music, uses corrective makeup and costumes based on the Sintang Malay traditional dress, the properties used are woven pandan leaf mats and sarongs or tapeh. The aesthetics of Betangas dance are related to the life value of the Malay community, especially in Sintang Regency.
Revitalisasi Motif Batik Reog Ponorogo dalam Karya Tari Batik Ponoragan Annursyah, Hasbi; Aminudin, Aminudin; Wibowo, Anggono Kusumo
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67512

Abstract

This study investigates the revitalization of Reog Ponorogo batik motifs through the creation of a contemporary dance performance entitled Tari Batik Ponoragan. The research aims to reinterpret the symbolic meanings and philosophical values embedded in Reog Ponorogo batik motifs into choreographic language and visual presentation. A qualitative approach was employed, incorporating participant-led and practice-led methods that actively engaged local batik artisans and dancers in the creative process. Data were obtained through participatory observation, in-depth interviews, and documentation, and analyzed thematically. The results demonstrate that this revitalization effort successfully integrates cultural symbolism with expressive and innovative choreography, resulting in an authentic work of art. Beyond artistic espression this dance also serves an educational medium and a means of reinforcing cultural identity sustainability. Collaborative, inclusive, and practice-bassed approaches are proven to be effective strategies for preserving and developing cultural heritage in respons to contemporary social changes.
Peran Tirang Community dalam Pengembangan Eksistensi Wayang Orang Ngesti Pandowo di Kota Semarang Nimah, Wieke Putri Ainun; Kusumastuti, Eny
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67628

Abstract

This research aims to examine the role of Tirang Community in revitalizing the existence of Wayang Orang Ngesti Pandowo, a traditional performing arts group based in Semarang City. Employing a qualitative method with a phenomenological approach, the study focuses on the lived experiences, meanings, and dynamics within the collaboration between the two artistic entities. Data were collected through observation, in-depth interviews, and documentation of the collaborative processes. The findings reveal that the collaboration stemmed from concerns over the declining popularity and internal disintegration of Ngesti Pandowo, including the decreasing audience, lack of innovation, and weak managerial structure. Since the formal partnership began in 2022, Tirang Community has played a strategic role in training, restructuring performance management, and introducing creative concepts such as Wayang Orang On the Street. This collaboration has significantly increased audience engagement, rekindled the artistic spirit of Ngesti Pandowo members, and strengthened their cultural presence within the urban community. The study affirms that cross-community collaboration can serve as an effective strategy in revitalizing traditional performing arts through adaptive and participatory values.
Garap Gerak Tari Ronggeng Paser di Kabupaten Paser Kalimantan Timur Wulandari, Andrea; MD, Slamet; Maharani Lutvinda Dewi
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67781

Abstract

The research aims to analyze and describe the form and movement of the Ronggeng Paser dance. Answering the problem of dance forms using the concept of Slamet MD that choreography is known as a dance form that cannot be separated from elements. To answer the problem of motion work using Slamet MD work theory, the concept of solah-ebrah, solah is movement and ebrah is form. The method used is a qualitative research type. Data collection techniques include observation, interviews, and literature studies. The results of the study show that the form concists of elements that are arranged in the Ronggeng Paser dance, including movement, dancers, make-up, costume, floor patterns, dance music and performance venue. And work on the movement by looking at the trajectory, dynamics, volume, tempo that forms the main movement pattern, alternating movements, and variation movements so that a variety of movements are created that have character as an element in the formation of dance that is placed according to the character called estra.
Upaya Pengembangan Bakat Seni Tari melalui Kegiatan Ekstrakurikuler Tari di SD Negeri 10 Banda Aceh Rheka Putri Meliza; Julia, Putry; Aswita, Dian
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67812

Abstract

This study aims to identify efforts to develop dance talent through extracurricular activities at SD Negeri 10 Banda Aceh. The background of this study is based on various obstacles such as the absence of special practice days and schedules, limited supervising teachers, inadequate facilities, and minimal school budget to support dance activities. This study uses a qualitative method with a descriptive approach. Data collection techniques include observation, interviews, and documentation. The subjects in the study consisted of the principal, one art teacher, and five students who have talent in dance. The study was conducted in the even semester of the 2024/2025 academic year. The results of the study indicate that the development of dance talent in this school has not been optimal. However, the principal has made efforts to provide a forum for art activities, while teachers play a role in providing motivation and opening up space for student exploration. Students show high enthusiasm, are able to express themselves, and begin to be confident in appearing in public. Therefore, further support is needed in the form of policies, facilities, and competent mentors so that extracurricular dance activities can run optimally and sustainably.
Kreativitas Nyoman Mulyawan dalam Tari Bala di Kabupaten Lampung Tengah Handayani, Ketut Putri; Pramutomo, R.M.; Dewi, Maharani Lutvinda
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67813

Abstract

This research reveals the Creativity of Nyoman Mulyawan as the creator of Bala Dance in Central Lampung Regency. Bala dance is one of the works created by Nyoman Mulyawan by collaborating Lampung dance and Balinese dance. The purpose of this research is to reveal the problems: (1) How is the Form of Bala Dance in Central Lampung Regency? (2) How is Nyoman Mulyawan's Creativity in Bala Dance in Central Lampung Regency? The theoretical basis used is the theory of form and choreography in the book Basic Aspects of Group Choreography. This research uses a qualitative method using a choreographic approach. This research stage uses data collection by means of observation, interviews, and literature study. Then all the data is put together and then analyzed, aiming to find out the creativity of bala dance and the results of this research will be described as descriptive text. The results showed that the form of bala dance is a group dance that describes the warrior. In bala dance there are elements that include dance movements, dance music, dance themes, dance makeup, dance clothes, dance types, number of dancers, and dance properties. This creativity is shown from the choreographer, starting from the creation process until the formation of the bala dance.
Sejarah Perkembangan Reog Sepuh di Paguyuban Singo Gaplok Kabupaten Ponorogo Apriyanto, Sendi Iman; Wibowo, Anggono Kusumo
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67907

Abstract

 This research examines the development of Reog Sepuh in Bedingin Village, Sambit District, Ponorogo Regency as a form of cultural heritage that has evolved within the dynamics of social changes. The research focuses on the transformation of performance structure, philosophical values, and preservation efforts carried out by its supporting community. This research employs a qualitative approach with ethnographic methods, participatory observation, in-depth interviews, and document study. The results show that Reog Sepuh Bedingin has uniqueness in terms of performance structure, movement patterns, and ritual functions that are still maintained to this day. Despite facing the challenges of modernization and shifting interests of the younger generation, Reog Sepuh Bedingin persists through regeneration efforts, creative innovations that still respect traditional standards, and support from local government and community. This research emphasizes the importance of balance between preserving authentic values and contextual adaptation to ensure the sustainability of traditional arts in the modern era.
Pengemasan Materi Ajar Tari Gobuk melalui Aplikasi Youtube untuk Siswa Sekolah Menengah Atas Putri, Didra Amira; Heniwaty, Yusnizar
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.69521

Abstract

This study aims to describe the steps of Gobuk Dance packaging as teaching material through the Youtube application to display uploads containing Gobuk Dance in accordance with the Merdeka Curriculum, Phase E Learning Outcomes, namely: "Students are able to show and identify the meaning of creative dance according to the basic and supporting elements of dance works based on personal perspectives". The research location was carried out at the Yusda Arts Institute, Tanjung Tiram District, Batubara Regency in May-July 2024. A sample of 6 dancers. Data collection techniques were carried out by observation, interviews, documentation and validation tests. The research methodology uses ADDIE development. The results of the study explain the meaning of dance based on the main elements and supporting elements of the Gobuk Dance uploaded via the Youtube Application with a total duration of 16.00 minutes. This teaching material has passed the material feasibility test getting an average score of 4.7 and the media feasibility test getting an average score of 4.6 where from the score obtained this product is said to be worthy to be used as teaching material in learning activities for Senior High Schools.
Kajian Etnokoreologi Tari Krincing Jagat di Sanggar Seni Way Talatah Subang Maryani, Dian; Narawati, Tati; Badaruddin, Saian
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.69562

Abstract

Krincing Jagat Dance is a new form of creative dance inspired by the traditional art of Sisingaan from Subang, West Java. This dance was created by Sigit Febrianto at Sanggar Waytalatah Subang as an effort to preserve local culture with an innovative touch to remain relevant amidst the development of the times. This study aims to describe the text and context of Krincing JagatDance through ethnochoreology studies. Textually, Krincing Jagat Dance combines elements of movement, music, and dance properties such as krincing (small bells) to form a dynamic and expressive dance composition. There are 22 movements that can be divided into 3 parts of movement composition, namely gesture, locomotor and pure movement. This study uses an Ethnochoreology approach which is used as a Grand theory, using a descriptive analysis method and using a qualitative paradigm. Data were obtained through direct observation at the Waytalatah Art Studio, interviews with the dance creators, and documentation of the Krincing JagatDance. The results of the study indicate that the Krincing JagatDance not only maintains the aesthetic values ​​of the Sisingaan tradition, but also brings a new spirit through freer and rhythmic choreography, without leaving behind local identity.
Citra Perempuan Sunda pada Tari Karawitan Istri Cantika, Anindyajati; Narawati, Tati; Badaruddin , Saian
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.69563

Abstract

This study aims to describe the image of Sundanese women as portrayed in the Tari Karawitan Istri (Women’s Karawitan Dance), a choreographic work by R. Sambas Wirakoesoemah in 1925. Tari Karawitan Istri is one of the classical Sundanese dances that has survived to this day, serving as a reflection of cultural values and the image of Sundanese women in its time. A qualitative research paradigm was employed using an ethnokoreological approach, applying stages such as dance structuralization, description, categorization, analysis, textual and contextual synthesis, and interpretation. Data were collected through observation, interviews, literature review, and documentation studies. Data analysis was conducted using triangulation to obtain a more accurate understanding of the dance. Textual findings reveal that the choreography of Tari Karawitan Istri consists of sixteen basic movement patterns, two locomotion movements, sixteen pure movements, and three gestures. The movements are characterized by lightness, slowness, and precision, which signify calmness, carefulness, and self control qualities that reflect the ideal character of Sundanese women as gentle and civilized figures. Contextually, this dance illustrates the image of Sundanese women during that era, who embodied refined behavior and upheld politeness as a core cultural value. The dance affirms that Sundanese women are not weak figures, but rather play a central role as educators and preservers of cultural values for future generations.

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