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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 14 Documents
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Search results for , issue "Vol. 2 No. 3 (2024): October" : 14 Documents clear
"Tu Teh Ro" Fauza, Fauza Abdillah; Syeilendra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.131

Abstract

This artwork aims to introduce to the wider community that Bacenang Art exists in Nagari Sinuruik, Talamau District, West Pasaman Regency. In the preparation of the work "Tu Teh Ro" is lifted from a pattern that exists in the art of bacenang, because this cenang is the core of an art. The author tries to apply the activities that existed at the time of bacenang art and mixed traditional art with a combination of modern instruments in the performance of the work. Tu Teh Ro's work is a complete work with a presentation of the development of the cenang rytem pattern which is worked in such a way that it is made into a new compositional form. This bacenang art is part of traditional arts that grow and develop in the Minangkabau community, especially in Sinuruik, Talamau District, West Pasaman Regency. The idea of developing rhythmic patterns that are developed into a form of new musical composition work that is mixed or collaborated with modern musical approaches. This artwork uses the method of improvising funk style music. By developing a rhythmic pattern and using improvisational methods, this approach will be worked into a form of musical composition with a new presentation.
Pangaranto Sailaon as an Expression in Karaya Music Gabriella; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Although Batak socio-cultural changes in overseas can be distinguished, they are difficult to separate. Change, social refers more to changes in structure, while cultural change is more oriented towards changes in the thinking system of the community. Given that human life is shrouded in culture, culture itself is created and developed in social life. Therefore, cultural change is not something that needs to be mourned or prevented. Cultural change must be observed in terms of meeting the needs of the Batak community itself, so cultural change will always take place, along with social changes themselves. From the idea of composite cultivation the author does not talk about the course of events about Batak culture assimilating with other cultures, because each ethnicity has its own identity and characteristics, but provides one of the offers in sound language to express the expression of "emotions" of Batak people in a new environment, where Batak people meet the needs of life about a form of togetherness, tolerance, mutual assistance and mutual respect. Fundamentally, the author assumes that responding to the above phenomenon with sound events, ideally can be elaborated through the embryo of Batak tradition music and ethnic music in the Batak community.
REJUNG BEGADISAN Kurniawan, Rahmad; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.136

Abstract

The purpose of creating works of art is that the artist creates new musical compositions that originate from phenomena that occur in girl culture. Rejung Begadisan's work focuses on cultivating the phenomenon of the Serawai community into sound cultivation in bringing out the atmosphere, emotions and cultural values. Creativity in the cultivation of this work uses several stages, namely: exploration, improvisation, and composition. The preparation process is carried out by applying the preparation and cultivation of elements expressed through the creativity of musical composition. In the presentation of rejung begadisan interprets moral messages such as "good when getting, sad because you have to let go" as a benchmark in the work of rejung begadisan. This artwork is in the form of a musical composition inspired by the tradition of begadisan where the artist interprets it into a form of musical composition that adopts rejung art as a musical idiom.
Form of Tabot Dance Presentation at Sanggar Lawang Budaya, Bengkulu City, Bengkulu Province Meika; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.137

Abstract

The purpose of this study is to reveal and describe the form of Tabot Dance Performance in Bengkulu City. This type of research is qualitative research with descriptive methods. This research instrument is the researcher himself and supported by cameras, photos and interviews. Data collection techniques are carried out through literature studies, observation, interviews and documentation. The stages of data analysis are data collection, data description, and data inference.  The results showed that the form of presentation of Tabot Dance in Sanggar Lawang Budaya Kota Bengkulu, Bengkulu Province, it was concluded that the presentation of Tabot Dance consists of several supporting elements, including 1) dance movements, 2) floor design, 3) music design, 4) dancers, 5) makeup and costumes, 6) property and 7) performance venue. Tabot Dance consists of several types of movements, namely Sambah movement, Ground Ambition movement, Penja Sitting motion, Menjara / Bearun movement, Meradai movement, Arak Penja movement, Arak Turban movement, Gam movement, Arak Gedang movement and Tabot Tebuang movement.  The floor design of Tabot Dance uses straight lines and curved lines. Changes in floor design are made according to the number and movement of the Tabot dance dancers.  The musical instruments used to accompany the Tabot Dance are doll, tassa, kulintang, flute, boyah, cymbals, canned. Tabot dance is danced by 7 dancers who start with 3 dancers while 4 dancers enter in the middle of the dance. The makeup used is character makeup while the costumes used in Tabot Dance dancers are wearing clothes, pants, vests, headband turbans, hats, belts, hand bears, foot bears. The properties used in the Tabot Dance are coki-coki, fingers, turban and tabot. Tabot Dance performance is held outdoors using an open stage.
Motion Analysis of Tor-tor Naposo Nauli Bulung in Muaratais II Village, Angkola Muaratais Sub-District South Tapanuli District Hasibuan, Sindi Melani; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.139

Abstract

The purpose of this study is to describe and analyze the Tor-tor Naposo Nauli Bulung dance in Muaratai II Village, Muaratais II Village, Angkola Muaratais District, South Tapanul Administrative Region from the point of view of space, time and energy. This type of research is qualitative research conducted using descriptive methods, the research instrument is the researcher himself and supports stationery, mobile phones and flash drives. This type of research uses primary data and secondary data. Data collection techniques are carried out through literature studies, observation, interviews and documentation. The stages of data analysis are data collection, data description, data analysis, and data inference. The aspect of the space for Tor-tor Naposo Nauli Bulung Dance is 7 types of motion that have elements of line, volume, facing direction, level, vision vokus. The dominant circular line, which is found in the motion of markusors, mangidos, manartcons ritoop, and singgang. Its volume consists of large and small. The dominant facing direction forward. The level of motion consists of high, medium, and low. As well as the focus of view focuses on the direction of the fingers. The aspect of time consists of 2 elements, namely: tempo and rhythm. The dominant tempo uses a slow tempo. The dominant rhythm is slow. There are 3 kinds of power aspects, namely: intensity, pressure, quality. The element of intensity predominates is weak intensity. This dance has no stress or accent because the movement flows gently following the code of the accompaniment music.
Home Sweet Home Putri, Chintia Renata; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.142

Abstract

The creation of Home Sweet Home dance works aims to express feelings or expressions in the form of motion so as to realize creative dance works and can express ideas inspired by the life of the stylist as a girl. This Home Sweet Home dance work is inspired by the phenomenon of the dance director's own family life. Describe how a girl who has a single parent or single parent feels. Home Sweet Home is a term nowadays that means my house, my palace, which tells about how bitter sweet life is in the family of stewards. Every family has its own problems, one of which is that a husband leaves his family and imposes all the dependents and problems on a wife, so that a mother bears a lot of burden in the family. A child who feels and witnesses his own family conflicts certainly has mixed and confused feelings. So from the child's feelings, it is raised into a work that is conveyed through motion media. The work of HOME SWEET HOME is a dramatic dance whose symbolic performance form is representative realized through movement, decoration, makeup, clothing, lighting and reinforced with music.
Self-Development of Dance at SMAN 1 Coastal Realm South Coastal District Suci, Suci Silvia Ningsih; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.143

Abstract

This study aims to reveal and describe the process of implementing dance self-development at SMAN 1 Ranah Pesisir Kabupaten Pesisir Selatan. This type of research is qualitative research with descriptive methods of analysis. The research instrument is the researcher himself and is assisted by supporting tools such as stationery and cameras. Data were collected through observation techniques, interviews, literature studies, and documentation. The analyzing steps are carried out through data collection, data reduction, data presentation and data verification.  The results showed that the self-development of dance at SMAN 1 Ranah Pesisir Kabupaten Pesisir Selatan was carried out through the planning, implementation and evaluation stages. Planning is carried out through collaboration between the Principal, Student Representatives and Guidance teachers so that self-development can be carried out conducively. The implementation of dance self-development activities is carried out outside school class hours. Evaluations are conducted by principals, student representatives, coaches/trainers conducted in midterm exams. In its implementation, the self-development of dance has been going well. Supporting factors in the implementation of dance self-development are (availability of facilities and infrastructure as support in dance self-development activities. While the inhibiting factor in this dance self-development activity is the absence of student dance bases so that students are slow to understand the movements given. However, these inhibiting factors can be overcome by the coach with the drill practice method, which is an exercise by repeating the movements given so that students can do the movements and make groups so that they can learn with their friends.
Cultural Arts Learning at Senior High School 7 Tanjung Jabung Barat Zarizdu, Depi; Harisnal Hadi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.147

Abstract

This study aims to determine and describe the Learning of Cultural Arts (Tari) at the State High School 7 Tanjung Jabung West. The type of research used in this research is qualitative using the descriptive method. The subject of this study was Cultural Arts and students in the XI IPS-A State High School 7 Tanjung Jabung West. While the object in this study is Cultural Arts Learning for students of XII IPS-A at the State Senior High School 7 Tanjung Jabung Barat. The types used in this study are primary data and secondary data. Research instruments in this study were its own researchers or human instruments assisted by some tools to collect data, including stationery and notebooks and ynag cameras are useful to take gamber. Data collection techniques in this study are observations, interviews, documentation and literature studies.Based on the results of the research and discussion, it is concluded that the learning process is quite satisfying by RPP, designed and the results of students’ grades are quite satisfying. However, students feel monotonous learning for teaching methods only by preaching methods, students tend to understand materials independently and worksheets of students, so that they need to be given innovation when given media such as watching learning videos to increase students’ learning motivations to be more effective and attractive.
Function Of Kuda Lumping Art in The community Of Sungai Merah Village, Pelawan District, Sarolangun Regency, Jambi Province Harefa, Oktaviani syahputri; Esy Maestro
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.148

Abstract

This research aims to find out the function of lumping horse art in the community of Sungai Merah Village, Pelawan Sub-district, Sarolangun Regency, Jambi Province. The type of research used is qualitative research using qualitative descriptive methods. Data sources are the head of Sungai Merah Village, elders of the lumping horse art group, members of the lumping horse art and the people of Sungai Merah Village. The research location is in Sungai Merah Village, Pelawan District, Sarolangun Regency. The data collection techniques used are literature study techniques, observation techniques, interview techniques and documentation techniques. Data analysis techniques used are data reduction, data presentation and conclusion drawing. The function theory used is Allan P. Meriam's function theory. The results showed that the elements of kuda lumping art consist of actors, movements, musical instruments, costumes, makeup and properties. The structure of the show consists of opening, core, and closing. the functions in the art of lumping horse in Sungai Merah Village are: function of emotional expression, function of aesthetic pleasure, function of entertainment, function of communication, function of physical reaction, function of contribution to the sustainability and stability of culture, function of community integration.
Teachers' Efforts to Increase Students' Creativity in Mixed Ensembles in Class X SMAN 3 Padangpanjang Zikri, Afriza Aidil; Syeilendra, Syeilendra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.140

Abstract

The purpose of this study is to describe the teacher's efforts in increasing student creativity in class X mixed material of Science 1 SMAN 3 Padangpanjang. This type of research uses qualitative research using descriptive methods. The stage of application of cultural arts learning consists of 2 learnings, namely. 45 minutes per hour. Which is divided into three activities consisting of 15 minutes of opening or opening activities, 60 minutes of core activities and 15 minutes of closing or closing activities. Learning went well. However, when applied in the classroom, researchers observed a difference, namely the lack of student discipline in the implementation of learning, causing some students not to understand the previously completed learning until the teacher had to explain. prior learning so that students really understand the whole mix.

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