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Gita Kinanthi Purnama Asri Adinda
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INDONESIA
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 5 Documents
 1 
Search results for , issue "Vol 1 No 2 (2021)" : 5 Documents clear
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
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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