cover
Article Per Year (5 Year)
All
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
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 336 Documents
 30   31   32   33   34 
Nilai Etika dalam Tortor Hata Sopisik pada Masyarakat Batak Toba di Kabupaten Samosir Simbolon, Sufrianty; Nugrahaningsih, Ruth Hertami Dyah
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.v14i2.69686

Abstract

This research aims to describe the ethical values in Tortor Hata Sopisik among the Batak Toba community in Samosir Regency, using the ethical value theory according to K. Bertens who defines ethics as norms that regulate human behavior. This qualitative research was conducted at Sanggar Seni Sukacita, Ronggurnihuta, Samosir Regency, with a sample consisting of 6 Tortor Hata Sopisik dancers and 2 artists as informants. Data were collected through observation, interviews, and documentation, then analyzed descriptively qualitatively. The research results show that each type of movement in Tortor Hata Sopisik reflects ethical values based on religious norms, morality, politeness, and law. Religious norms are evident in the somba movement, which teaches prioritizing God and adhering to religious rules from an early age. The norms of decency are evident in the hushed movements that convey the heart's content subtly. The norm of politeness is reflected in the prohibition of excessive touching of the opposite sex, respecting women, and maintaining dignity. Legal norms are manifested through rules prohibiting dance partners from having the same clan or being in the dalihan na tolu kinship, in accordance with Batak customs that forbid marriage within the same clan.
ADAPTASI WAYANG TOPENG MALANGAN PADA PROSES KREATIF PENCIPTAAN TARI SEKAR KADIPATEN Iswati, Apriliani; Juwariyah, Anik
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.68617

Abstract

This study presents the creative practice of Eko Ujang in the invention of the Sekar Kadipaten Dance and is intended to find out how the creative process of innovating it from the Wayang Topeng Malangan dance adaptation. The effort is motivated by the development of Malangan creative traditional dance which is based on the Wayang Topeng Malangan art. The main framework reference in this paper is the creative process and results expected. The research method that will be used is a descriptive qualitative method with an ethnochoreology approach. The data collection process uses a semi-structured interview method and combines literature studies. The results of this study describe the creative process of inventing the Sekar Kadipaten Dance which was originated from the process of adaptation and development of dancing work patterns referring to Malangan traditional dance. This research can be used as a critical reflection on the innovation of creative dance works based on Malangan traditional art. This can add to the reference about creative dance art formation that has developed in Malang Regency.
Pengembangan Gerak Tari Tradisional Batak Toba Berdasarkan Elemen Gerak Martozet, Martozet; Nurwani, Nurwani; Heniwaty, Yusnizar; Ekardo, Frisdo
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.69219

Abstract

In creating dance, the creator or choreographer will be faced with creative work in determining the composition of movements that will be arranged based on the choreographic structure. Development can be done in the studio by developing through movement elements. This study uses a qualitative descriptive approach, which focuses on the development of movements based on movement elements, namely energy, space, and time based on four Toba Batak traditional dance motifs, namely Mandenggal, Embas, Somba Situan Natorop, and Padao Mara. This study uses the theory of movement stimuli by La Meri, where there are five stimuli in dance creation and movement theory by Jacqueline Smith, including energy, space, and time. The results of the study explain that the results of the development of movements through movement elements, namely energy, space, and time for the four Toba Batak traditional dance motifs of Mandenggal, Embas, Somba Situan Natorop, and Padao Mara, have produced new forms and colors of movement. The results of the development of these three elements provide a constructive creative experience and the choreographer has succeeded in obtaining various new, even unique, motif forms.
Strategi Pembelajaran Tari Melalui Improvisasi Gerak untuk Meningkatkan Kreativitas Siswa SMAN 2 Blitar Aprilyawati, Allfa Andranica Devya; Hidajat, Robby
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.69894

Abstract

The article describes the dance learning strategy at SMAN 2 Blitar. The researcher used a qualitative case study approach with data collected through observation, interviews, and documentation. The data credibility test applied was source and technique triangulation. Data analysis was carried out through data reduction, data presentation, and conclusion drawing. The research findings describe the application of effective dance learning strategies with movement improvisation material in dance extracurricular activities at SMAN 2 Blitar. Movement improvisation helps provide students with movement experiences, fosters movement awareness, and achieves three of the five levels of creativity, namely expressive, technical, and inventive. The contribution of this research provides and adds to a deeper understanding of the effectiveness of dance learning strategies through improvisation material. It is also hoped that it can contribute to the development of more efficient dance learning in the future.
Teknologi Kinetik Penggunaan Properti Fan pada Komunitas Malang Fire Dance Riza Andini; Hidajat, Robby
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.70557

Abstract

This study explores the application of kinetic technology through the use of fan properties in the Malang Fire Dance Community in Malang City. The purpose of this research is to analyze how body movement energy is applied in fire dance performances and how the integration between the body, space, and props creates performance aesthetics. This study employs a qualitative method with a phenomenological approach, in which the researcher was directly involved in observation, interviews, and documentation in the field. Data analysis was carried out using Laban Movement Analysis (LMA) theory, which consists of four main components: Body, Effort, Shape, and Space. The results show that the fan functions as the main medium to visualize kinetic energy through coordinated body movements, balanced use of force and timing, aesthetic fire visual forms, and the dancers’ spatial awareness within the performance space. Kinetic technology in fire dance serves not only to produce visual beauty but also as a synergy between science (motion energy) and art (body expression), resulting in performances that are safe, dynamic, and aesthetically engaging.
Makna Tanda dalam Struktur Fragmen Tari Topeng Sekartaji Karya S. Ngaliman: Kajian Semiotika Fredinand de Soussure Cahyasari, Indah; Paimin, Paimin
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.71097

Abstract

This study aims to analyze the meaning of sign structures in the dance fragment Topeng Sekartaji by S. Ngaliman using Ferdinand de Saussure’s semiotic approach. This research is motivated by the limited interpretative readings of dance works. Although Topeng Sekartaji is frequently performed in various events, the understanding of its structural meaning has not been widely explored; thus, the symbolic meanings constructed through elements such as movement, mask, character, music, and costume are not yet fully interpreted. The focus of this study lies in examining the relationship between the signifier and the signified as manifested through choreographic elements. This study employs a qualitative case study method with a non-participatory observation technique using documentation from the UPT Audio Visual ISI Surakarta YouTube channel, recorded during a performance on January 17, 2019, in the event “Mengenang Gendhon Humardani & Agus Tasman. ”The findings reveal that the Topeng Sekartaji dance fragment serves as a symbolic representation of the emotional relationship between Sekartaji, Panji, and Klana. Panji signifies wisdom, patience, and gentleness, whereas Klana represents anger, ambition, and aggression. Sekartaji symbolizes the ideal Javanese woman, characterized by grace, patience, and devotion. The denotative meaning of this dance reflects a love triangle narrative, while its connotative meaning embodies Javanese philosophical values concerning loyalty, honor, and the duality of good and evil.
Metode Injeksi pada Teknik Menari Sanggar Tari Swardance Pandanwangi Kabupaten Malang Sholichin, Divva Marchanda Adiha; Rahayuningtyas, Wida
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.71114

Abstract

This study presents the creative practice of Eko Ujang in the invention of the Sekar Kadipaten Dance and is intended to find out how the creative process of innovating it from the Wayang Topeng Malangan dance adaptation. The effort is motivated by the development of Malangan creative traditional dance which is based on the Wayang Topeng Malangan art. The main framework reference in this paper is the creative process and results expected. The research method that will be used is a descriptive qualitative method with an ethnochoreology approach. The data collection process uses a semi-structured interview method and combines literature studies. The results of this study describe the creative process of inventing the Sekar Kadipaten Dance which was originated from the process of adaptation and development of dancing work patterns referring to Malangan traditional dance. This research can be used as a critical reflection on the innovation of creative dance works based on Malangan traditional art. This can add to the reference about creative dance art formation that has developed in Malang Regency.
Prosedur dan Pencapaian Kompetensi untuk Dancer pada Komunitas Baby Badazz Kota Malang Oktanita, Tharisa; Hidajat, Robby
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.71737

Abstract

This study examines the development of modern dance in Indonesia, particularly hip-hop, which attracts young people to explore their creativity through communities like Baby Badazz in Malang City. The purpose of this study is to describe the procedures and competency achievements of dancers in the Baby Badazz Community in Malang City. The method used is a qualitative approach with descriptive methods, involving participatory observation, in-depth interviews, and documentation at the research location. The results show that the training procedures include skill development stages (warm-up, basic movements, dance material), demonstration and drill methods, and evaluation through videos. Competency achievements are reflected in movement skills that include movement techniques, body coordination, and expression, which encourage personal growth and community sustainability. This study provides guidance for other communities to improve the quality of female dancers in hip-hop dance.
Bentuk Penyajian Tari Gambyongan Srampat Tayub di Desa Jimbe Kecamatan Kademangan Kabupaten Blitar Dwiwahyuni, Isti; Zandra, Rully Aprilia
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.71861

Abstract

This study aims to describe in depth and comprehensively the three main components of the presentation form of the Gambyongan Srampat Tayub Dance in Jimbe Village, namely the theme, costume, and make-up, considering the decreasing number of artists who master the structure of the dance and the lack of regeneration. This study uses observation, interview, and documentation data collection techniques, using Jazuli's theory on the form of presentation. The results of the study indicate that the theme of the Gambyongan Srampat Tayub Dance is derived from four elements, namely comments on life (expressions of joy and harmony), folklore (legends of colonial history and the Jimbe locality), the history of a figure (Ibu Sukarmi), and literary works (traditional songs with moral meaning). The costume forms the curves of the body and has aesthetic meaning. Meanwhile, the make-up does not use character make-up but rather beautiful make-up. This study contributes to filling the gap in the study of the theme of the Gambyong Srampat Tayub dance and provides a comprehensive understanding that has urgency for efforts to preserve local culture among the younger generation.
Tari Kinyah Mandau Representasi Kerukunan Suku Dayak di Kalimantan Tengah Wulandari, Aldia; Wartina, Tris Sofia; Amirulloh, Tifan Muhammad
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.72117

Abstract

In the past, Kalimantan Island was known as a difficult-to-access region, especially during the Asang period when headhunting and slavery were common due to conflicts between Dayak tribes. Attacks were generally carried out suddenly, but the Dayak people had a tradition of preparation through the Kinyah Mandau dance, which symbolized readiness, courage, and strength in facing enemies. The tense social conditions continued even during the Dutch colonial period, until finally the Resident of Banjarmasin initiated a large meeting that gave birth to the Tumbang Anoi Peace Conference (May 22–July 24, 1894). Since this historic event, the practice of violence has ceased and the Dayak tribes are committed to living in harmony. The Kinyah Mandau dance remains preserved, but its function has transformed from a war ritual to a cultural performance. In its new form, this dance is not merely entertainment, but a symbol of harmony and a medium for passing on noble values such as courage based on truth, responsible leadership, and social solidarity. Education plays a vital role in transmitting these values to the younger generation, ensuring that the Kinyah Mandau Dance not only survives as a cultural heritage but also becomes a representation of harmony and the collective identity of the Dayak people in Central Kalimantan.

Page 33 of 34 | Total Record : 336

 30   31   32   33   34 

Filter by Year

2012 2026


Reset
Filter By Issues
All Issue Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April) Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October) Vol. 14 No. 1 (2025): Gesture: Jurnal Seni Tari (April) Vol. 14 No. 1 (2025): Gesture: Jurnal Seni Tari Vol. 13 No. 2 (2024): Gesture: Jurnal Seni Tari Vol. 13 No. 2 (2024): Gesture: Jurnal Seni Tari (October) Vol. 13 No. 1 (2024): Gesture: Jurnal Seni Tari Vol. 13 No. 1 (2024): Gesture: Jurnal Seni Tari (April) Vol 12, No 2 (2023): Gesture: Jurnal Seni Tari Vol. 12 No. 2 (2023): Gesture: Jurnal Seni Tari (October) Vol. 12 No. 2 (2023): Gesture: Jurnal Seni Tari Vol 12, No 1 (2023): Gesture: Jurnal Seni Tari Vol. 12 No. 1 (2023): Gesture: Jurnal Seni Tari (April) Vol 11, No 2 (2022): Gesture: Jurnal Seni Tari Vol. 11 No. 2 (2022): Gesture: Jurnal Seni Tari (October) Vol 11, No 1 (2022): Gesture: Jurnal Seni Tari Vol. 11 No. 1 (2022): Gesture: Jurnal Seni Tari (April) Vol 10, No 2 (2021): Gesture: Jurnal Seni Tari Vol 10, No 1 (2021): Gesture: Jurnal Seni Tari Vol 9, No 2 (2020): Gesture: Jurnal Seni Tari Vol 9, No 1 (2020): Gesture: Jurnal Seni Tari Vol 8, No 2 (2019): Gesture: Jurnal Seni Tari Vol 8, No 1 (2019): Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018 Vol 7, No 2 (2018): Gesture: Jurnal Seni Tari Vol 6, No 2 (2017): Oktober 2017 Vol 6, No 1 (2017): April 2017 Vol 5, No 2 (2016): Oktober 2016 Vol 5, No 1 (2016): April 2016 Vol 4, No 1 (2015): April 2015 Vol 3, No 2 (2014): Oktober 2014 Vol 3, No 1 (2014): April 2014 Vol 2, No 2 (2013): Oktober 2013 Vol 2, No 1 (2013): April 2013 Vol 1, No 1 (2012): April 2012 More Issue