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Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan
Published by Universitas Negeri Padang
ISSN : -     EISSN : 29866546     DOI : https://doi.org/10.24036/ag.v1i1
Core Subject : Humanities, Education, Art,
Arts Humanities Education Other
Avant-garde: The Scientific Journal of Performing Arts Education is published periodically three times a year, namely in February, June and October, is a forum for channeling thoughts and disseminating knowledge in the realm of Performing Arts (drama, dance and music) and learning in the form of research articles, review articles/literature studies, case report articles, and conceptual or policy articles. Editors accept manuscripts that have never been published in other media from researchers, lecturers, students, and performing arts practitioners with the writing requirements as listed on the Author Guidelines page. Manuscript submissions will be evaluated and edited for uniformity in format, terms and other procedures.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 15 Documents
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Search results for , issue "Vol. 2 No. 1 (2024): February" : 15 Documents clear
The Existence of The Dance Piriang Pijak di Ateh Galeh in Nagari Unggan, Sumpur Kudus District, Sijunjung Regency Niken Ayu Astuti; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.72

Abstract

The purpose of this research is to find and explain the existence of Piriang Pijak Dance in Ateh Galeh, which is located in Nagari Unggan, Sumpur Kudus District, Sijunjung Regency. In this case, the researcher used qualitative data as a research tool. Data were collected through literature studies, observation, interviews, and documentation studies. The data analysis technique consisted of the process of organizing, finding patterns, and developing themes that emerged from the data. The analysis was conducted inductively to gain an understanding of the meaning and interpretation of the data. The results showed that Piriang Pijak Dance exists in Ateh Galeh in Nagari Unggan, Sumpur Kudus District, and Sijunjung Regency. The government and the community use it for circumcision events, weddings, niniak mamak events, and other cultural arts festivals. Piriang Pijak dance in Ateh Galeh is a tradition of the Nagari Unggan community in Sumpur Kudus District, Sijunjung Regency, which is recognized for its existence.
The Meaning of Welcoming Dance in Ijab Qabul Procession in Talang Bunut Village, Amen Sub-District Lebong Regency Bengkulu Provision Aninda Nissafitri; Darmawati
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.81

Abstract

The purpose of this study is to describe the Meaning of Welcoming Dance at the Ijab Qabul Procession in Talang Bunut Village, Amen District, Lebong Regency, Bengkulu Province. This type of research is qualitative research with descriptive methods. The researcher's own research instruments and assisted by supporting instruments in the form of writing, cameras or mobile phones, and flash drives. Data collection techniques are carried out through literature studies, observations, interviews, and documentation. The steps in analyzing data include data reduction, data presentation, and conclusions. The results revealed that the Welcoming dance in the ijab qabul procession has the meaning of maintaining the security of the bride and the location of the event from all forms of unwanted disturbances. Textually, the meaning of the Welcome Dance, namely: (1) Preparation movements as a form of readiness to welcome guests. (2) The motion of starting to dance shows the dancer starting to greet guests. (3) The motion of presenting betel as a symbol of the custom of welcoming guests. (4) The gesture of giving a shawl means that the groom has been well received by the bride's family. (5) The motion to pave the way means that the bride's family has received the groom's goodwill. (6) Return to position means ensuring the event location is safe. (7) The gesture of sitting as a salute to welcome guests. (8) The gesture of giving way means giving way to the groom to carry out his good intentions. (9) Jang Pat Petulai silat movement means ensuring the security of the event location. (10) Sowing motion.
Analysis of Pasombahan Kreasi Dance Movements in Bangkinang Sub-District Kampar Regency City, Riau Province Laras Tri Andini; Darmawati
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.82

Abstract

The purpose of this study was to find and describe the Pasombahan Kreasi Dance Motion Analysis in Bangkinang Kota District, Kampar Regency, Riau Province. This type of research is qualitative, using descriptive methods. The instrument in this research is the researcher himself and is assisted by supporting instruments such as stationery, flash discs, and mobile phones. Data collection techniques are done through literature study, observation, interviews, and documentation. The steps in analyzing data include data reduction, data presentation, and conclusion drawing. The results showed that the movements in Pasombahan Dance consisted of four names for various movements, namely sombah, punte tali bowuok, klenjek, and sendeng. But in each part of the movement, there are several more parts with a total of 17 motion motifs, but with different counts. Pasombahan dance analysis is seen from the perspectives of space, time, and energy. The element of space in each Pasombahan dance uses a dominant straight line and a right diagonal line. The dominant volume in Pasombahan Dance is medium and small, facing towards the front and towards the front right diagonal. The level contained in the Pasombahan Dance is medium and high in each motion motif, with the focus of the head towards the front and towards the hand movements. The time aspect of this Pasombahan dance has a slow tempo in the sombah movement, while the rest uses a fast tempo. As for the energy element, the ending increases the intensity.
The Religious Value of Kuda Kepang Dance at The Centre of Wiasa Budaya Dance Rehearsal in Talang Benih Village Nada Cania Haryati; Darmawati
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.83

Abstract

This article aims to reveal the Religious Values of the Kuda Kepang Dance at the Center for Wiasa Budaya Dance (PGTWB) in the Talang Benih sub-district, Kab. Lebong Rejang. This type of research is a qualitative research with a descriptive approach. This research was conducted at the Center for Wiasa Budaya Dance Center in the Talang Benih Village. The main instrument in this study was the researchers themselves who were assisted with stationery, gadgets, cameras. Data collection was carried out through literature, observation, interviews, and documentation. Data analysis was carried out using qualitative techniques. The steps include: Data description, data reduction, and conclusion drawing. The results of the research show that the Kuda Kepang dance at the Wiasa Budaya Dance Center contains religious values. The religious value in the Kuda Kepang Center for Cultural Wiasa Dance can be seen in its origin, presentation and supporting elements. Such as dancers, costumes, musical accompaniment, props and venues. In this art, religious values that support people's beliefs can be seen when dancers experience trance and perform attractions beyond human capabilities, such as eating glass, eating roses, and eating living blood. It can be concluded that the Kuda Kepang dance at the Center for Wiasa Budaya Dance contains a very high religious value.
Character Formation of Anak Sasian in Silek Pauh at Singo Barantai Lubuk Lintah, Kuranji District, Padang City Syafitri, Mahdalena; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.85

Abstract

This study aims to describe and discuss the Character Formation of Sasian Children in Silek Pauh at the Singo Barantai Lubuk Lintah College, Kuranji District, Padang City. This research method uses a type of qualitative research with a descriptive analysis approach. The main instrument in this study was the researcher himself who was assisted with supporting tools such as cellphones, stationery and cameras. Types of data using primary data and secondary data. The informants in this study were silek teachers and sasian children. Data collection techniques were carried out by means of literature study, observation, interviews and documentation. Techniques for analyzing data use steps in the form of data collection, data reduction, data presentation and verification/conclusion. The results of this study reveal that the formation of the character of the sasian children in silek pauh at Singo Banantai college is through a training method and process in which the teacher/trainer explains the relationship between philosophy and adap in the basilek and the relationship between the attitude of motion and the philosophy of silek movement, in addition, the process of forming the character of the sasian child starting from the process of arrival of the children until the completion of training. From the training process there are several characters that must be instilled in Sasian children, namely fair, honest, polite and civilized, sporty, tough and courageous, responsible and respectful. With the formation of the character of Sasian children, they can form generations that are useful for both the family environment, society and the country.
Emaze App as an Assistive Tool in Cultural Arts Learning Muhamad Fadli; Darmawati
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.87

Abstract

The purpose of this study was to test the use of the Emaze application as a tool in learning Cultural Arts (Dance) at SMK Pariwisata Aisyiyah West Sumatra. This research adopts a quantitative approach with a Pre-Experimental Design design. Researchers themselves act as research instruments, supported by tools such as cameras and indicator sheets. The study population consisted of 11 grade X students at SMK Pariwisata Aisyiyah West Sumatra. Research samples were selected using the group or cluster sampling method. Data was collected through dance creativity tests, observation, and interviews. The data analysis steps include the stages of data clarification, data description, and drawing conclusions. The results indicate that the use of the Emaze application has a positive effect on increasing the creativity of dance movements in grade X students of SMK Tourism Aisyiyah West Sumatra. This resulted in increased achievement in Cultural Arts learning. Student learning creativity is also increased thanks to the use of 2D to 3D visual features from the Emaze application. This effectiveness is evident from the results of student practice examinations that achieve satisfactory results and are in accordance with the learning objectives as stated in the teaching module. The teacher also appreciated the use of the Emaze application as a tool in learning Cultural Arts (Dance) and showed interest in better understanding its use and integrating it through discussion methods in teaching.
Aspect of Movement in Art Performance of Tupai Janjang as A Cultural Heritage of The People of Palembayan Gusnia; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.92

Abstract

The purpose of this study was to explain and describe the Existence of Motion in the Squirrel Janjang Art Performance as a Cultural Heritage of the Palebayan Community This research uses a qualitative research type with a descriptive method. This summary provides a brief overview of the research methods, research objects, instruments, data types, data collection techniques, and data analysis techniques used in research on Janjang Tupai Art as a Cultural Heritage of the Palebayan Market Community which needs to be revitalized. From the story of Tupai Janjang, Tuak Ampek worked on it to become an art called Janjang Squirrel Art. Tupai Janjang art is a form of storytelling tradition in which a storyteller plays all the characters in the story while moving and singing. This performance is unique from Minangkabau traditional art, because there is no other form of performance where only one storyteller plays all the characters. Tuak Ampek took this story as a script, then turned it into an art called the Janjang Squirrel Art. In the Tupai Janjang art, one person plays all the characters in the story while moving and singing, whereas in randai, each character is played by a different actor. d. However, in its current form, two or three actors can take turns bringing this feeling to life with movement and singing that fits the story. The movement in the Tupai Janjang Art performance is based on the traditional movement of silat flowers called balabek. The revitalization efforts carried out by Osra Hayadi include data collection and the involvement of new generations in this art. The Existence of Motion in Tupai Janjang Art In performing the Tupai Janjang Art, there are many uses of traditional movements. In Seni Tupai Janjang, the actor will move according to the content of the story he is singing. In the Tupai Janjang Art performance, only accompanied by saluang, then the actors will sing while moving.
The Form of Presentation of Ngadu Tanduk Dance in Siulak Panjang Village, Siulak District, Kerinci Regency, Jambi Afrilia, Eza; Asriati, Afifah
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.94

Abstract

This article aims to analyze the presentation of the Ngadu Horn Dance in Siulak Panjang Village, Siulak District, Kerinci District, Jambi. The type of research used in this study is qualitative research with descriptive methods. The research instrument used in this study was the researcher himself who was assisted by supporting instruments such as stationery, cameras and flash drives. Data collection techniques were carried out by means of literature study, observation, interviews and documentation. Stages of data analysis in the form of data collection, data reduction, data presentation and concluding data. Based on the results of the study, it can be concluded that the presentation of the Ngadu Tanduk Dance in Siulak Panjang Village, Siulak District, Kerinci Regency, Jambi, was held at a wedding reception. This dance is presented to welcome the bride and groom. The form of presentation of the motion includes Representational. The movements consist of worshiping movements, buffalo movements looking for opponents and horn horning movements. The Ngadu Tanduk dance is danced by 2 men, wearing black and gold clothes, Teluk Belango clothes, trousers, songket, belts and laca. The musical instruments used are Dap (tambourine), gong, gong reed, and nyaro (vocals). The presentation of the Ngadu Horn Dance uses a horn property made of bamboo slats measuring about 2 meters which resembles a buffalo horn with a framework wrapped in black, red, yellow and white cloth. The presentation of the Ngadu Tanduk Dance is carried out in an open courtyard with the dancers facing the bride and groom.
Implementation of Student Dance Self-Development at SMP Negeri 7 Padang Anjelina Utari; Marzam
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.99

Abstract

The purpose of this study is to learn more about and describe how dance self-development is being implemented at SMP Negeri 7 Padang. It uses a descriptive method with a qualitative research approach. The researcher serves as the main data collecting tool, assisted by equipment like cameras and office supplies. In this study, both primary and secondary data were gathered through observation, interviews, documentation, and a review of the literature. Data collection, data reduction, data presentation, and conclusion-making are all parts of the data analysis process. The results show that SMP Negeri 7 Padang's approach for dance self-development activities is well-coordinated, adhering to the plans and programs specified by the supervisor. This coordination aligns with the goals of the program and takes into account elements like timing and scheduling. Dance self-development activities have been successfully carried out at SMP Negeri 7 Padang, with students making every effort to stick to the schedule and the allocated location. Nevertheless, there have been issues with insufficient infrastructure and facilities. Every month, notably on Wednesdays from 7:00 AM to 07:40 AM, routine performances presented as part of the dancing self-development activities take place. Students can use these performances as a platform to demonstrate how their exercises have progressed and to build their self-confidence when performing in front of an audience.
The Existence of Sekapur Sirih Dance in Sungai Pinang Village, Hulu Kuantan Sub-District, Kuantan Singingi District Hayatun Ridha; Desfiarni
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.101

Abstract

This study aims to describe the existence of Sekapur Sirih Dance in Sungai Pinang Village, Hulu Kuantan District, Kuantan Singingi Regency. This type of research is qualitative research with descriptive methods. The instrument in this research is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data collection techniques are done by means of literature study, observation, interviews and documentation. The steps of analysing data are data reduction and data display. The results showed that the existence of Sekapur Sirih Dance in Sungai Pinang Village experienced ups and downs in its activity in 2004 and also the years after that caused by the lack of funding from Sungai Pinang Village and local government to carry out the Pacu Jalur Culture, therefore the Pacu Jalur Culture was transferred to a district closer to Hulu Kuantan District, namely Kuantan Mudik District. And also caused by the entry of the times and new technology. In 2014 Sekapur Sirih Dance revived because it was asked by the Head of Sungai Pinang Village to perform at the opening of the Pacu Jalur Culture. Factors that influence the ebb and flow of Sekapur Sirih Dance are due to the lack of funding available and also due to the entry of the times and IPTEK. The effort to see the existence of Sekapur Sirih Dance in Sungai Pinang Village aims to inform the community that the ups and downs of Sekapur Sirih Dance occur due to several things. So that from what has happened the community can change their mindset to jointly revive and preserve Sekapur Sirih Dance as a Tradition Dance in Sungai Pinang Village.

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