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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 351 Documents
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Proses Garap Karya Tari Laskar Rimung Rencong Hasanatul Dhahra; Hartanto; Slamet MD
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.73679

Abstract

This study aims to analyze the choreographic articulation and the formation of the dramatic structure in the dance piece "Laskar Rimung Rencong" through the integration of movement elements, music, as well as rencong (traditional dagger) and sampur (scarf) props as a form of representation of female warriors. The research methodology employs a qualitative method with an artistic research approach, following the dance creation steps outlined by Srihadi. This new creation dance is inspired by the bravery of Inong Balee—a warrior army of widows formed during the Aceh Sultanate under the leadership of Admiral Keumalahayati. The findings show that "Laskar Rimung Rencong" is performed by three female dancers, combining developed traditional Acehnese movements with traditional Surakarta-style dance, while utilizing rencong props and scarves integrated into the veil (kerudung). The performance is divided into three scenes symbolizing grief, awakening, training, and ultimate victory of the Acehnese female army. Through this work, the author represents historical values while providing motivation for women to become independent and courageous individuals.
Bentuk Pertunjukan dan Struktur Gerak Color Guard dalam ‘Story of Benteng Speelwijk’ oleh Speelwijk Drum Corps Shinta Ratu Pamungkas; Alis Triena Permanasari; Dadang Dwi Septiyan
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.73708

Abstract

This study aims to analyze the performance form and the movement structure of the color guard in Story of Benteng Speelwijk by Speelwijk Drum Corps. It employs a descriptive qualitative method, with data collected through direct observation of the performance, documentation study of audiovisual recordings, and in-depth interviews. The findings show that the performance form is integrated through seven main elements: the local Banten historical theme, movement, accompanying music, floor design (display), props, costumes, and make-up. The movement structure of the color guard is organized hierarchically into three main parts: (1) an opening section using the caping (traditional conical hat) as a prop, representing the daily life of the Banten community; (2) a core section that develops progressively from flag movement (song 1), through rifle movement and double flag movement (song 2), to a variety of props in song 3, namely ribbon bracelets, dance fans, flag movement, and silat movement, which portray the dynamics of conflict leading to the climax; and (3) a closing section featuring the raising of a giant flag and synchronized flag movement as a symbol of victory. The findings confirm that the color guard functions not only as a visual element but also as a medium of narrative representation that reinforces the dramatic flow of the performance.
Tari Gambyong Langen Kusumo Mangkunegaran dalam Perspektif Teori Bentuk Agnes Kusnul Hidayah; Supriyanto Supriyanto
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.74185

Abstract

This study aims to analyze the form of the Gambyong Langen Kusumo Mangkunegaran dance. The Gambyong Langen Kusumo Mangkunegaran dance was created in 1989 by Tarwo Sumosutardjo and Suyati Rono Suripto. The problem in this study is how the form of the gambyong dance. To answer this problem, the theory of from written by Slamet MD is used, which explains that form consists of movement, accompaniment, makeup and costumes, floor patterns, and the performance venue. The method used is a qualitative research type with a choreographic approach. Data collection techniques include observation, interviews, and literature studies. The results of this study can be seen from the movements consisting of various three main elements including kebaran, sekaran and joints or connectors. The rhythm in the Gambyong Langen Kusumo Mangkunegaran dance uses ladrang pangkur laras pélog pathet barang which consists of four irama that’s irama pathetan, irama lancar, irama tanggung, and irama dadi. The makeup used is corrective makeup, and costumes consist of a kemben, jarik, and sampur. The accessories include cunduk jungkal, cunduk mentul, penetep, earrings, bracelets, and necklaces. Furthermore, the floor patterns in this dance consist of circular, straight, and curved lines, thus dacilitating flexible interaction between the dancers and their currounding environment.
Perubahan Penyajian Tari Kretek: Kajian Adaptasi Bentuk dalam Perkembangan Tari Kreasi di Kabupaten Kudus Firda Nadila; Marfi Netri Elyadi; Katarina Indah Sulastuti; Hadawiyah Endah Utami
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.74467

Abstract

This study aims to describe and analyze the changes in the form of Kretek Dance in Kudus Regency. Kretek Dance is a creative dance that has developed in Kudus Regency and has undergone changes in its presentation as a result of changing times. This research focuses on two main issues: (1) the form of Kretek Dance in Kudus Regency and (2) the changes that occur in the form of Kretek Dance. This study applies a descriptive qualitative method with data collection techniques including observation, interviews, literature studies, and documentation. The results indicate that the changes in Kretek Dance are a form of adaptation to maintain its existence and increase its appeal as a contemporary performance while preserving local cultural values and its original meaning. These changes are influenced by both internal factors originating from within the dance itself and external factors from the surrounding environment. The most significant changes are found in several elements of the dance presentation, including the number of dancers, floor patterns, movements, costumes, and properties.
Bentuk Tari dan Penyajian Karakter Tari Topeng Tunggal Betawi di Sanggar Setia Warga Jakarta Timur Sekar Gading Auriel Dwivanti; Marfi Netri Elyadi; Eko Supendi; Katarina Indah Sulastuti
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.74525

Abstract

This research which aims to describe the dance form and character presentation of Betawi Single Mask Dance at Sanggar Seta Warga, East Jakarta. This research employed qualitative approach with descriptive data analysis. The research was conducted on Jalan Dukuh, Kramat Jati, East Jakarta, from December 4, 2022, to November 10, 2024. Data were collected throught observation, interviews, and documentation, then analyzed using the interactive model developed by Miles, Huberman, and Saldaña. The informants consisted of Sabar Bokir as a primary source, Kartini Kisam as a dancer, Sofwan as a suportng source. The findings indicate that the form of Betawi Single Mask Dance comprises several elements, including movements, dancers, makeup, props, floor patterns, and performance venue, which together form a unified performance. Character presentation reveals differences in movement quality among the three mask: the Panji Mask is characterized by smooth, gentle, and graceful movements; the Samba Mask by agile lively, and cheerful movements; and the Jingga Mask by bold, strong, and caurageous movements. These character differences are expressed throught the elements of movement material, energy, time and space. Thus, character in Betawi Single Mask Dance is convyed not only throught the physical appearance of the masks but also throught the dancers movement qualities
Kajian Skenografi Digital Berbasis Budaya Agraris Jawa pada Maket 3D Pertunjukan Tari Kolosal Gambyong Karya Inggit Prastiawan Rendina Pradipta; Frisdo Ekardo
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.74704

Abstract

This study aims to analyze digital scenography based on Javanese agrarian culture in a three-dimensional (3D) model of the “Tari Kolosal Gambyong” performance by Inggit Prastiawan, with a focus on video as a strategy for artistic pre-visualization in public spaces. The study employs a qualitative descriptive method using a case study approach. The perspective of digital scenography is utilized to analyze the relationship between spatial composition, visual elements, cultural ornamentation, and the representation of the performance landscape. Data were collected through interviews with Inggit Prastiawan, audio-visual documentation in the form of videos and 3D model images, as well as a review of relevant literature. The analysis focused on artistic forms, Javanese cultural visual idioms, artistic ornamentation, and the role of video in presenting performance space designs. The findings indicate that 3D model visualization videos present stage compositions, the placement of artistic elements, cultural ornamentation, and variations in daytime and nighttime atmospheres. These representations allow the artistic design to be comprehensively examined before it is physically realized. This study highlights the potential of 3D model visualization videos as a digital scenography design strategy that bridges the representation of Javanese agrarian culture with the artistic needs of performances in public spaces.
Makna Tekstual dalam Simbol Seni Landek Pengalo-ngalo pada Tradisi Pernikahan Masyarakat Karo Fadilla Cindy Ulia Rizky; Nurwani Nurwani
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.76544

Abstract

This study aims to describe the presentation form and meaning of Landek Pengalo-ngalo in the traditional wedding ceremonies of the Karo community in Sukajulu Village, Barusjahe District. Landek Pengalo-ngalo is a traditional cultural practice performed by the Karo community to convey specific intentions and messages. It is one of the welcoming dances performed as part of Karo traditional wedding ceremonies, in which movements serve as symbolic expressions of respect and honor toward invited guests. This study employed a descriptive qualitative research method. Data were collected through observation, interviews, and documentation. The informants included traditional leaders, brides and grooms, anak beru, sukut, kalimbubu, and community members knowledgeable about Landek Pengalo-ngalo. The findings reveal that the presentation form of Landek Pengalo-ngalo encompasses several elements, including dance movements, floor patterns, makeup and costumes, musical accompaniment, performance settings, and presentation stages consisting of the opening, main performance, and closing. The meanings embedded in Landek Pengalo-ngalo reflect the values of respect, togetherness, kinship, gratitude, as well as hopes and prayers for the newlyweds to build a harmonious, prosperous, and blessed married life in accordance with Karo cultural values.
Pembelajaran Gerak Braindance Berbasis Etnopedagogi Lampung melalui Model Mnemonik untuk Meningkatkan Kemampuan Kognitif pada Anak Tunagrahita Fitri Daryanti; Susi Wendhaningsih; Dwi Tiya Juwita
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.76694

Abstract

Children with intellectual disabilities generally face challenges in understanding and recalling complex movement sequences due to limitations in cognitive capacity and working memory. This study aimed to analyze the learning of Lampung ethnopedagogy-based “BrainDance” movements using a mnemonic model among children with intellectual disabilities at SLB PKK Lampung Province. The study involved 10 children with intellectual disabilities. The results demonstrated that the children were able to perform BrainDance movements independently after being assisted by verbal cues using everyday terms familiar to them and movement codes; this enabled them to memorize the names of movement variations as labels and execute each taught movement. This strategy facilitated the association between words and the required physical movements. The findings indicate that a mnemonic model combining Lampung ethnopedagogy-based words (labels) with visual movement cues (codes) strengthens the dual-coding process and alleviates the working memory load for children with intellectual disabilities, making it easier for them to understand, recall, and independently imitate movements.
Intervensi Koreografi Berbasis Teknologi pada Pencak Silat Tradisi untuk Meningkatkan Daya Saing dalam Festival Pencak Silat Seni Indrayuda Indrayuda; Juanda Putra; Hendra Afriwan; Alrizka Hairi Dilfa
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.76844

Abstract

Traditional pencak silat is a cultural heritage of Indonesian and Malay communities that embodies aesthetic and artistic values and is performed on various occasions, including traditional rituals, community entertainment, and cultural arts festivals. However, one of the major challenges in pencak silat performances is the lack of effective and artistic choreographic structures, which often results in less dynamic performances and limited competitiveness at various festival levels. This conceptual article proposes a Technology-Based Choreographic Intervention that combines modern choreographic principles with digital movement analysis to enhance the artistic quality of traditional pencak silat performances at cultural festivals. The primary approach employed is Hybrid Choreographic Intervention, a method that integrates the exploration of traditional pencak silat movements with digital simulations through Motion Analysis and Digital Simulation. The article draws upon theoretical perspectives on cultural heritage, choreography, digital performing arts, hybrid intervention, cultural competitiveness, and the digital generation to strengthen its conceptual framework. Through this intervention, traditional pencak silat is expected not only to be preserved as an important form of intangible cultural heritage but also to become more adaptive, innovative, and competitive within the evolving landscape of contemporary performing arts in the digital era.
Penerapan Model Pembelajaran Project Based Learning untuk Meningkatkan Hasil Belajar Tari Saman pada Siswa Kelas XI SMA Mamiyai Al-Ittihadiyah Medan Virliza Syahwa Putri Sofiandy; Dilinar Adlin; Inggit Prastiawan
Gesture: Jurnal Seni Tari Vol. 15 No. 2 (2026): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i2.77080

Abstract

This study aims to apply the Project Based Learning model to improve the learning outcomes of Saman Dance among class XI students of SMA Mamiyai Al-Ittihadiyah Medan, based on KD 3.1 “concepts, techniques, and procedures” in the 2013 curriculum. The sample was determined using the Purposive Sampling method through a quantitative descriptive approach, using a 20-question pretest-posttest given to 28 class XI IPA students, with observation, documentation, and literature study as data collection techniques. The study was conducted in 6 meetings to produce a presentation project analyzing Saman Dance. The pretest, given before the Project Based Learning model was used, had an average score of 41, while the posttest after its application had an average score of 86. The t-test shows that t-count = 27.192 > t-table = 1.703 (df = 27, α = 0.05), so Ho is rejected and Ha is accepted. Therefore, applying the Project Based Learning model improves Saman Dance learning outcomes among class XI students of SMA Mamiyai Al-Ittihadiyah Medan.

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