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TANDIK: Jurnal Seni dan Pendidikan Seni
Published by Sekolah Tinggi Keguruan dan Ilmu Pendidikan PGRI Banjarmasin
ISSN : -     EISSN : eISSN279     DOI : -
Core Subject : Education, Art,
Arts Education
TANDIK : Jurnal Seni dan Pendidikan Seni merupakan jurnal ilmiah yang dikelola oleh Program Studi Pendidikan Seni Tari STKIP PGRI Banjarmasin dengan e-ISSN 2797-6378. Jurnal ini berfokus pada tulisan/artikel hasil penelitian dan pemikiran yang setara penelitian(termasuk hasil penciptaan seni) dengan kajian seni dan pendidikan seni. Cakupan didalamnya berhubungan dengan seni pertunjukan yang meliputi seni tari, seni musik, serta seni drama.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 29 Documents
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PEMBELAJARAN SENI PERTUNJUKKAN ANAK USIA DINI DI MASA PANDEMI DENGAN LOCAL GENIUS Priyo Dwi Wibowo
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 1 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (293.153 KB) | DOI: 10.33654/tdk.v1i1.1231

Abstract

Pendidikan anak usia dini penting bagi sebuah generasi bangsa. Ini adalah masa potensial dalam pertumbuhan anak untuk mendapatkan pengalaman eksplorasi semua aspek baik motorik maupun psikomotorik. Penelitian ini bertujuan untuk mendeskripsikan cara menghasilkan desain pembelajaran seni pertunjukan di sekolah taman kanak-kanak dengan memanfaatkan sumber pengetahuan keunggulan budaya lokal Surabaya Jawa Timur dengan konsep terintegrasi belajar. Penelitian ini menggunakan penelitian fenomenologi kualitatif. Hasilnya menunjukkan bahwa selama pandemi siswa masih dapat mempelajari seni pertunjukan dengan menggunakan media online (video call WhatsApp) agar siswa lebih kreatif dan menemukan gerakan terbaru dengan bantuan orang tua di rumah.
PEMANFAATAN MEDIA FITNES SEBAGAI VARIASI METODIK DALAM PENGEMBANGAN PEMBELAJARAN OLAH TUBUH Rinto Widyarto Rinto; Ni Wayan Mudiasih; Ni Wayan Iriani
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 1 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (355.264 KB) | DOI: 10.33654/tdk.v1i1.1234

Abstract

Abstrak: Program Studi Pendidikan Seni Pertunjukan, FSP-ISI Denpasar sebagai prodi baru berupaya mengem-bangkan pembelajaran yang unggul dan berkualitas. Mata kuliah olah tubuh sebagai salah satu kajian metode pengembangan yang memerlukan latihan gerak tubuh dengan pola gerak yang bersifat bebas. Pelatihan olah tubuh untuk meningkatkan kelenturan tubuh, memaksimalkan jarak jangkau persendian, menanamkan rasa estetika dan sensitifitas gerak, dan juga menambah kekuatan bagi peningkatan stamina tubuh. Pembelajaran olah tubuh ini memanfatkan media fitness dengan mengembangkan metode yang belum pernah dilakukan sebe-lumnya. Pengembangan metode pembelajarannya tetap mengacu metode konvensional. Kajian ini difokuskan pada pemilihan materi teknik gerak atraksi dan yoga dengan pemanfaatan media fitness, selanjutnya dilakukan penulisan istilah gerak olah tubuh, serta langkah pengimplementasiannya. Tujuan dan target penelitian ini untuk menghasilkan “produk teknik gerak” dalam pembelajaran olah tubuh dengan variasi metodik melalui media fitness. Variasi metodik disesuaikan dengan potensi dan media fitness yang diperlukan agar pembelajaran lebih fungsional, kemudian akan dikembangkan secara berkelanjutan. Penelitian ini dengan pendekatan kualitatif, yang lebih menekankan pada ”metode variatif”. Metode pengumpulan data melalui observasi partisipasi, wawancara, dan pelatihan yang terfokus pada mahasiswa. Hasil penelitian ini berupa deskripsi yang menjadi bahan terapan dasar bagi pembelajaran mata kuliah olah tubuh guna memberikan berkontribusi pada mata kuliah praktek tari yang lainnya.Kata Kunci: Pembelajaran, olah tubuh, metodik, dan fitnessAbstract: The Performing Arts Education Study Program, FSP-ISI Denpasar as a new study program seeks to develop superior and quality learning. The body exercise course is one of the studies of development methods that requires exercise in body movements with free movement patterns. Exercise training to increase flexibility, maximize range of joints, instill aesthetic sense and sensitivity to movement, and also increase strength for increased stamina. This learning exercise utilizes fitness media by developing methods that have never been done before. The development of learning methods still refers to conventional methods. This study is focused on selecting materials for attraction and yoga techniques using fitness media, then writing the terms of body movements, as well as the steps for their implementation. The purpose and target of this research is to produce a "movement technique product" in learning body sports with methodical variations through fitness media. Methodic variations are adjusted to the potential and fitness media needed so that learning is more functional, then it will be developed on an ongoing basis. This study uses a qualitative approach, which emphasizes more on "varied methods". Methods of data collection through participatory observation, interviews, and training focused on students. The results of this study are in the form of descriptions which are the basic applied materials for learning body sports in order to contribute to other dance practice courses.Keywords: Learning, olah tubuh, method, and fitness.
PEMBELAJARAN PROSES MENCIPTA TARI BAGI GURU MGMP SENI BUDAYA DI TINGKAT SMA DI KOTA DENPASAR Ni Wayan Mudiasih; Ni Wayan Iriani; Rinto Widyarto
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 2 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (437.265 KB) | DOI: 10.33654/tdk.v1i2.1236

Abstract

Abstrak: Para guru seni budaya SMAN di Denpasar belum sepenuhnya memahami dan mengetahui tentang penciptaan baik teori dan praktek, sehingga banyak para siswa saat mendapat tugas tersebut harus mencari guru pelatih diluar sekolah dan harus membayarnya. Fenomena ini penting diantisipasi dan dicarikan solusinya, agar eksistensi penciptaan tari dapat dilakukan dengan mudah. Untuk itu perlu pembelajaran kelompok Guru Seni Budaya dalam Musyawarah Guru Mata Pelajaran (MGMP). Hal ini agar dapat mempermudah proses mencipta tari dan mampu memberikan pembelajaran teori dan praktek mencipta tari kreasi baru/kontemporer.Metode dekriptif dan pelaksanaannya menggunakan metode eksperimen imitasi, matematika, karakter dan transisi. Guru seni budaya ini diberikan pembelajaran langsung untuk mencipta tari yang selanjutnya dapat memberikan pembelajaran kepada peserta didik tingkat SMA, agar dapat meningkatkan kemampuan mencipta tari. Pembelajaran ini disambut antusias oleh segenap peserta dan menghasilkan 2 model karya tari kreasi dan kontemporer. Kata Kunci:Pembelajaran, Mencipta, Tari, dan MGMP
HERIYADI HARIS: BIOGRAFI DAN PROSES KREATIF DI SANGGAR PERPEKINDO Khairuz Zulfa; Gita Kinanthi Purnama Asri Adinda; Dewi Rukmini Sulistyawati
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 1 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (656.241 KB) | DOI: 10.33654/tdk.v1i1.1237

Abstract

Abstract: This study aims to (1) describe Heriyadi Haris' life history as a dance artist, (2) describe Heriyadi Haris' creative process as a dance artist at Sanggar PERPEKINDO and (3) describe Heriyadi Haris' works and achievements as a dance artist. used is a qualitative method. Data collection techniques using observation, interviews and documents. The research results obtained are. (1) Heriyadi Haris' journey as a dance artist has been quite unique for 40 years, the change of profession from being an athlete to being a dance artist was due to an interest in art since his childhood, according to him, dance is not limited by age and has a certain beauty that is able to elevate the name of his own region. In 1981 he joined the PERPEKINDO studio, his persistence made himself a dancer to a choreographer and even became the leader of the group in 2003. (2) The character in his creative process is influenced by his communicative, cooperative personality and always involves members of the PERPEKINDO studio. Through 4 stages, namely preparation, incubation, illumination and verification or evaluation. (3). In 2011 he received the Borneo Award as a dance artist in South Kalimantan. The dance works that have been created are always based on local culture, either Banjar or Dayak in South Kalimantan. Around 40 works, of which have received various achievements and are displayed at the regional, national and international levels.
EKSISTENSI TARI DROP DARUET DARI ACEH PIDIE DAN UPAYA PELESTARIAN DI ERA MODERNISASI Sabri Gusmail; Khairul Anwar
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 1 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (459.859 KB) | DOI: 10.33654/tdk.v1i1.1243

Abstract

Drop Daruet dance as a legacy of regional cultural events still exists today. The purpose of this study was to determine the existence of the Drop Daruet dance in the modernization era, to determine the efforts to preserve the Drop Daruet dance. The research location is in the Cut Nyak Dhien Meligoe studio, the Governor of Aceh. This type of research is a qualitative research with a case study method. The main data sources were obtained from interviews with informants, while other data sources were obtained from observation and documentation study. Data collection techniques used observation and in-depth interviews with informants (administrators, coaches, dancers, musicians and the community). The analysis technique uses an interactive data analysis model, namely data collection, data reduction, data presentation, and drawing conclusions. The results showed that the Drop Daruet dance is a traditional folk dance that is not widely known by the public and there is little information about the existence of this dance. Drop Daruet dance is defined as an art form that has roots and is felt as its own by the Cut Nyak Dhien Meuligoe studio, the Governor of Aceh or its environment. The efforts made in the management of the dance are only based on the taste of the supporting community which is carried out from time to time and is passed on in a regenerative manner. In its development, this dance becomes an entertaining performance art, but it still keeps messages from the form of dance movements that can be easily understood by the public
NILAI ESTETIKA DALAM TARI LENGGER PUNJEN DI DUSUN GIYANTI DESA KADIPATEN KECAMATAN SELOMERTO KABUPATEN WONOSOBO Haki Wanudya Taranggana
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 1 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (387.957 KB) | DOI: 10.33654/tdk.v1i1.1249

Abstract

This study aims to describe the aesthetic value contained in the Lengger Punjen Dance in Giyanti, Kadipaten, Selomerto, Wonosobo. The description is done by observing the form of presentation related to the elements of choreography in dance. Research method by descriptive qualitative study carried out in mid-February to April 2020. The object of this research is the Lengger Punjen Dance in Giyanti, Kadipaten, Selomerto, Wonosobo, while the research subjects are art activists, maestro lengger, Lengger Punjen dancers and artists who are also grandchildren of the creators of the Lengger Punjen Dance. Data collected by observation, in-depth interviews, and documentation studies. From the data that has been analyzed, conclusions are drawn. In order to obtain valid data, a data validity test was performed by used the source triangulation method. The results of this study are: 1. Lengger Punjen Dance is a dance created to create a new nuance in lengger art and has a function as entertainment, performing arts and ceremonies. 2. The aesthetic value of the Lengger Punjen Dance can be seen from the aesthetic elements which consist of: a form seen in its shape and structure, which is describing family and death and its structure consists of a unified whole and consists of a pure motion structure and meaningful motion, the weight shown in the atmosphere wisdom, ideas inspired by the Bondhan Kendi Dance form and the messages contained namely the message of advice and religious messages, the appearance is shown in the talents and skills that must be routinely trained and the means to support the appearance. 3. The aesthetic value of the Lengger Punjen Dance can be seen from the aesthetic variety which consists of: harmony can be shown through fashion, movement, and property, balance can be shown through motion when punjen (raised on the shoulder), complexity is shown through the attraction of lifting a female dancer (munji) and contrast can be seen very strikingly from the development of hand movements if danced by several pairs of dancers because there is no visible harmony between the dancers.
FUNGSI DAN NILAI PENDIDIKAN DALAM WAYANG GUNG ANGGADA BALIK Dewi Rukmini Sulistyawati; Suwarjiya; Gita Kinanthi Purnama Asri
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 2 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (481.448 KB) | DOI: 10.33654/tdk.v1i2.1433

Abstract

Penelitian ini dilakukan pada grup Wayang Gung Pasopati yang ada di desa Gudang Hirang, Sungai Tabuk, Kalimantan Selatan. Dari beberapa grup Wayang Gung yang ada di Kalimantan Selatan, grup Pasopati relatif masih aktif meskipun sangat jarang tampil dikarenakan sepinya peminat. Grup ini terbentuk pada 04 Maret tahun 1993. Seperti kesenian tradisional di Indonesia yang lain, didalam Wayang Gung mengandung nilai dan memiliki fungsi tersendiri bagi masyarakat. Beberapa waktu yang lalu grup Pasopati mendapat kesempatan untuk tampil di Taman Budaya secara Virtual dengan membawakan cerita Anggada Balik. Hal ini merupakan kesempatan yang sangat baik untuk mengkaji dan menengok kembali fungsi dan nilai-nilai yang terkandung di dalam kesenian tradisional tersebut. Penelitian ini bertujuan untuk mengetahui dan memberikan gambaran secara deskriptif, 1)Fungsi- fungsi dari pertunjukan teater tradisi Wayang Gung di masyarakat. 2) Aspek-aspek pertunjukan teater tradisi Wayang Gung yang mengandung nilai pendidikan. Metode yang digunakan dalam penelitian adalah deskriptif kualitatif. Berdasarkan pengumpulan dan analisis data didapat hasil sebagai berikut, pertunjukan Virtual Wayang Gung Anggada Balik memiliki fungsi sebagai hiburan, media pendidikan, dan estetik. Di dalamnya mengandung nilai pendidikan religius, nilai pendidikan moral, dan nilai pendidikan sosial. Nilai-nilai tersebut terdapat pada dialog dan adegan yang dibawakan. Kata kunci: Wayang Gung, Nilai pendidikan, Fungsi, Anggada Balik, Grup Pasopati
PROSES PENCIPTAAN DAN STRUKTUR TARI UDAR GELUNG Angga Nugraha Saefurridjal; Dindin Rasidin; Ria Dewi Fajaria
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 2 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (600.107 KB) | DOI: 10.33654/tdk.v1i2.1445

Abstract

Abstract : This dance work was adopted from the art of Ibing Penca Sobrah in one of the oldest universities in Pasundan, namely Panglipur, which is identified with the professor of the university, namely Rd. Hj. Enny Rukmini Sekarningrat. Famous for the role of sobrah (extra hair) which is used as a weapon against the enemy. The words Udar and Gelung come from the Sundanese language, Udar means to let go, gelung means to tie hair in a circle, Udar Gelung means to untie hair. However, in this work, it means the release of Wanoja's pride by an arrogant Jawara. This dance creation theory uses an objective and subjective approach, focusing on the creations of a choreographer expressed by dancers. All of these processes go beyond exploration, composition and evaluation methods. The type of choreography is group, which is divided into three scenes with the number of dancers being six male dancers and one female dancer. The process of creating works is outlined in the concept of working on traditions with a dramatic structure and originating from the typical traditional movements of pencak silat / Ibing Penca. The moral message raised is that everything will always have a reciprocity and what we do is what we get. Keywords: Udar Gelung, ibing pen sobrah, Wanoja
PROSES GARAPAN DAN PERWUJUDAN KARYA TARI TALEQ Budi Iman Gunawan; Kawi; Ria Dewi Fajaria
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 2 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (465.88 KB) | DOI: 10.33654/tdk.v1i2.1449

Abstract

Taleq in the creation of this work has the meaning of Oath. Inspired by the tradition of taking a student's oath to his teacher to follow the rules in Cimande Pencak Silat. The author interprets the event of the violation of one of the oaths made by a student and he bears bad consequences. The working method uses dramatic and traditional elements. Supported by the method of interview, observation, literature study, and documentation. Cultivation process through the stages of exploration, evaluation and composition. Taleq dance is a group dance which is divided into three scenes with four dancers. Based on the movements of pencak silat, Sundanese traditions, and realist movements that have been modified according to the story. Hanjuang leaves as a sacred symbol in the oath is the hallmark of this work. the use of open space as a performance space in the form of a home page that functions as a setting for a pencak silat practice room. Using makeup and clothing that is based on the cultural character of the Sundanese people. Lighting serves as lighting, strengthening the atmosphere and highlighting the dancer's character. Keywords: Taleq, Oath. Pencak Silat, Traditional Martial Arts.
TARI LANGKAH MAMBUNGA: STILISASI GERAK KUNTAU Safana Muzdalifah; Andi Wijaya; Dewi Rukmini Sulistyawati
TANDIK : Jurnal Seni dan Pendidikan Seni Vol 1 No 2 (2021)
Publisher : STKIP PGRI BANJARMASIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (619.673 KB) | DOI: 10.33654/tdk.v1i2.1454

Abstract

Kuntau as a traditional martial art located in Hulu Sungai Selatan is one of the cultures that has noble values. The creation of the Step Mambunga dance was worked on by the Karamunting studio (2018) with inspiration from Kuntau. The purpose of this study is to describe the stylization of the kuntau movement in the Step Mambunga dance and describe the form of its presentation. This study uses a descriptive qualitative approach with data collection techniques interview, observation, literature study, and documentation. The data obtained then went through the stages of analysis and drawing conclusions. The results of this study are that the stylization is carried out based on volume, dimensions, and level, there are 4 kuntau moves and 8 various movements that have been smoothed and arranged into the Mambunga Step dance. This is set in the storyline which is divided into 3 scenes about young people who are learning Kuntau to batamat kuntau as local culture. There were 13 dancers consisting of 10 women and 3 men. The floor designs formed are 17 designs with musical accompaniment that is identical to the sarunai on kuntau but combined with several other musical instruments. Sticks, nyiru, parapins, lawing sakiping (symbol of an arena) and cloth are used as dance properties. The lighting functions as lighting and strengthening the atmosphere in each scene, while the venue for the performance is a procenium stage with a fairly wide size criteria. Keywords: Dance, Langkah Mambunga,Stylization, Kuntau

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