cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Marzam
Contact Email
jurnal.avantgarde@gmail.com
Phone
+6281267890862
Journal Mail Official
jurnal.avantgarde@gmail.com
Editorial Address
Program Studi Pendidikan Sendratasik Departemen Sendratasik FBS Universitas Negeri Padang Jl. Belibis Air Tawar Barat, Padang, Sumatera Barat, Indonesia
Location
Kota padang,
Sumatera barat
INDONESIA
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
 1   2 
Search results for , issue "Vol. 3 No. 1 (2025): Februari" : 14 Documents clear
BENTUK PENYAJIAN SILEK PANGIAN DALAM ACARA BAKAUA ADAT (BAKATOMPAT)DI NAGARI SUNGAI LANSEK KECAMATAN KAMANG BARU KABUPATEN SIJUNJUNG Yendi Putri, Shakila; Kadir, Tulus Handra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/wagr0x79

Abstract

This research aims to describe and unveil the presentation of Silek Pangian in the Bakau Adat (Bakatompat) event in Nagari Sungai Lansek, Kamang Baru District, Sijunjung Regency. This type of research is qualitative with a descriptive approach. The research instrument is the researcher themselves, assisted by supporting instruments such as writing materials and a camera. Data was collected through literature study, observation, interviews, and documentation. The steps in data analysis include data collection, data classification, data description, and data conclusion. The research results show that the form of Silek Pangian presentation in the Bakaua Adat (Bakatompat) event in Nagari Sungai Lansek, Kamang Baru District, Sijunjung Regency includes movement, accompanying music, floor patterns, makeup and costumes, and the time and place of the performance. The movement of Silek Pangian resembles a prayer, with greetings, four-step motions, slicing movements, thrusting actions, punching movements, upward strikes, locking movements, and closing actions. In the Silek Pangian performance, traditional Minangkabau instruments such as the talempong pacik (canang), gandang tambuah, and krincing are used as accompaniment, along with a layout of straight and circular patterns that depict the interaction between the martial artist and opponent. The Silek Pangian performance also features traditional Minangkabau attire comprising a black kurung shirt, side cloth, galembong, and peci, and is held outdoors in the evening. This performance is not merely entertainment but also a medium for education and the transmission of cultural values and identity to the younger generation, embodying strong spiritual, social, and cultural significance
BENTUK PERTUNJUKAN MUSIK PANCARAGAMDALAM ARAK-ARAKAN PENGANTEN DI KECAMATAN PAUH KOTA PADANG Nisa, Hafiza Nurul; Wimbrayadi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/4qkxt912

Abstract

This research aims to describe the form of the pancaragam music performance in the wedding procession in Pauh sub-district, Padang City. The type of research used is qualitative with a descriptive method. The instruments for this research are the research themselves, supported by additional instruments such as writing tools and a camera. Data is collected through literature studies, observation, interviews, and documentation. The steps for analysing the data are collecting data, identifying data, clarifying data, describing data, and concluding data. The results of the research show that the form of the Pancaragam music performance in Pauh sub-district is flexible and does not have a fixed song structure. The performance is adjusted to the rhythm of the procession, consisting of an introduction, main theme, and transitions of songs that change spontaneously according to the mood or requests of the audience. The music played is repetitive in nature, using main instruments such as saxophone, trumpet, trombone, baritone, and drums as the main accompaniment for the procession. The style of the music ensemble performance demonstrates a distinctive musical hybridity, which is the fusion of Minangkabau traditional music, popular music such as dangdut and modern pop, as well as Western music elements. This style is reflected in the techniques of playing instruments, improvisation during performances, and the interaction between players and the audience which creates a dynamic and festive atmosphere. The music ensemble not only serves as entertainment in traditional ceremonies but also acts as a symbolic medium to strengthen social relationships within the Pauh community, as well as reinforce local cultural identity amid the influences of global culture.
KAJIAN BENTUK DAN KOMPOSISI GERAK TARI IYO-IYO  DI MASYARAKAT TANJUNG PAUH MUDIK  KABUPATEN KERINCI Oktania, Rahma; Indrayuda, Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/jtd39y67

Abstract

This research aims to describe and analyse the form and composition of the Iyo-Iyo dance in the community of Tanjung Pauh Mudik. This study is qualitative research with a descriptive method. The instruments for this research are the researcher themselves, assisted by supporting instruments such as writing tools, audio-visual media, and a camera. Data were collected through literature study, observation, interviews, and documentation. The steps for analysing the data include data collection, data reduction, data presentation, and data verification. The results of the research indicate that the form of the Iyo-Iyo dance in the community of Tanjung Pauh Mudik, Kerinci Regency, consists of space, time, and energy, while the movement composition of the Iyo-Iyo dance includes motif, phrase, sentence, and cluster. The spatial aspect of the Iyo-Iyo dance is limited yet meaningful, where simple floor patterns such as straight lines or semi-circular formations are used to create order and symbolise balance within the customary social structure. The temporal aspect of the Iyo-Iyo dance moves at a moderate to fast tempo, with a repetitive rhythmic pattern that aligns with traditional accompanying musical instruments, thus creating a meditative atmosphere filled with cultural awareness. The energy aspect of the Iyo-Iyo dance uses moderate energy that is conveyed gently and controlled. The movement composition of the Iyo-Iyo dance consists of three parts: the opening, the core, and the closing. The opening part features gestures of respect and welcoming, the core part conveys the essential values or messages of the customs, and the closing part marks the end of the performed rite. This arrangement not only clarifies the structure of the performance, but also demonstrates the narrative continuity that has been maintained from generation to generation. It can be concluded that the form and arrangement of the Iyo-Iyo dance movements are a true reflection of the social, spiritual, and aesthetic values that thrive within the indigenous community of Kerinci. The profound lyrical movements and the dominance of hand usage make this dance not only visually beautiful but also culturally meaningful. Therefore, the Iyo-Iyo dance deserves to be preserved and continually introduced to the younger generation as part of the cultural heritage that enriches the identity of the Indonesian nation.
MANAJEMEN SANGGAR SENI BU'DEWI PRODUCTIONDI KABUPATEN PADANG PARIAMAN Aulia, Hia; Syeilendra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/y267yk84

Abstract

This research aims to describe the organisational management at Sanggar Seni Bu'dewi Production, which has four functions: planning, organising, mobilising, and monitoring, located in Nagari Sicincin, Padang Pariaman Regency. This study uses qualitative descriptive methods with data collection techniques including observation, interviews, and documentation. The results indicate that the organisational management of Sanggar Seni Bu'Dewi Production encompasses four main functions: planning, organising, mobilising, and monitoring. Planning is carried out through deliberation by the leaders and management, organisation is shown through a clear organisational structure, mobilisation is done through motivation and regular training, and supervision is conducted directly by the leaders. This structured and collaborative management plays a crucial role in maintaining the existence of the studio, enhancing the productivity of artistic works, and strengthening the role of the studio as a centre for the preservation of local culture.
NILAI-NILAI BUDAYA PADA TRADISI ACARA POTANG BALIMAU  MASYARAKAT MELAYU DI KECAMATAN UJUNGBATU Rupiana; Wimbrayadi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/1s95gq53

Abstract

This research aims to describe the values contained in the Balimau Potang traditional event in the Malay community of Ujung Batu District. This type of research is qualitative with a descriptive analytic method. The instruments for this research are the researcher themselves, supported by writing tools, a flash drive and a camera. Data collection techniques include literature study, observation, interviews, and documentation. The steps in data analysis are data collection, data reduction, and drawing conclusions. The research results show that the Balimau Potang tradition in Ujung Batu District contains various important values that reflect the richness of culture and the social life of the community. The cultural values of the Balimau Potang event tradition are a blend of spiritual, ethical, moral, norms, and customs. The spiritual values in this tradition foster a spirit of self-purification in the lead-up to Ramadan. Balimau reflects a symbol of repentance and inner and outer cleansing that strengthens the relationship between humans and God. Moral and ethical values teach the importance of maintaining good behaviour, courtesy, especially when gathering together for religious and cultural activities. The social normative values of balimau reinforce the community's adherence to religious and social norms, such as dressing modestly, respecting elders and community leaders, and maintaining order during events. The values of togetherness and mutual cooperation in the potang balimau event illustrate the solidarity of the community through collective participation in preparing the event, both physically and spiritually, reflecting local wisdom and the spirit of unity. The values of customs in this tradition embody the preservation of local culture that is passed down through generations. Cultural values are reflected in the implementation of professions, the use of regional languages, performing arts, and the active role of cultural figures (ninic mamak).
PELAKSANAAN PEMBELAJARAN SENI BUDAYA MATERI MUSIK TRADISIONAL(TALEMPONG PACIK) PADA KELAS X TBSM DI SMK MUHAMMADIYAH 1 PADANG Carel Oriza Satifa Balqis; Tulus Handra Kadir
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/scjm3g47

Abstract

This research aims to understand and describe how cultural arts learning takes place at SMK Muhammadiyah 1 Padang. This study is qualitative research with a descriptive approach. The research instruments are the researcher themselves, assisted by writing tools and a camera. Data was collected through literature study, observation, interviews, and documentation. The steps in data analysis include collecting data, reducing data, describing data, and concluding data. The research results indicate that the implementation of cultural arts learning on Traditional Music Material (Talempong Pacik) in Class X TBSM at SMK Muhammadiyah 1 Padang consists of three stages: planning, implementation, and evaluation. In the planning stage, the teacher prepares teaching materials in the form of teaching modules that conform to the Merdeka Curriculum Phase E, and establishes learning objectives that are relevant and contextual to the needs of the students and local character. The implementation stage was carried out through three meetings using methods of lectures, question and answer sessions, demonstrations, and drills. The learning process began with an introduction to the theory and history of Talempong Pacik music, followed by training in basic techniques in groups, culminating in group performances as a form of final performance evaluation. During the teaching process, the teacher managed the class and facilitated learning with a flexible approach, including overcoming limitations in musical instruments through rhythmic simulation via body percussion. At the evaluation stage, not all students achieved the expected competencies, and unfortunately, the follow-up in the form of enrichment for students who had reached their goals or remedial for those who had not succeeded had not been systematically implemented. This certainly impacts students' opportunities to improve or optimally develop their learning outcomes.
PENERAPAN TEKNIK POLA RUDIMENTS PADA KELOMPOK DRUMBANDDI SMA NEGERI 01 LEBONG BENGKULU Imam Gozali; Harisnal Hadi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/zj7q9p47

Abstract

This research is motivated by the fact that many members of the drum band at SMAN 01 Lebong are still unable to master basic techniques such as holding the sticks, placing strikes on the membrane, and the dynamics of strikes. This study aims to describe the application of rudiment patterns in the extracurricular drum band group at SMAN 01 Lebong. This type of research is action research with stages of planning, implementation, and evaluation. The population of this study is students involved in the extracurricular activities of the drum band at SMAN 01 Lebong with a sample of 50 people. Data was collected through observation, interviews, and documentation. The steps in data analysis are to collect data, describe data and draw conclusions from data. The research results show that the application of the rudimentary pattern technique using a 4/4 rhythm is very effective for training members of the drum band using single stroke and double stroke techniques. The use of rudimentary pattern techniques for percussion instruments in the SMA Negeri 01 Lebong drum band can provide specific understanding and knowledge regarding the proper way to play percussion instruments.
PERAN TARI GALOMBANG SEBAGAI LEGITIMASI STATUS BAGI MASYARAKAT PENGGUNADI NAGARI TANJUNG BALIK KECAMATAN X KOTO DIATAS KABUPATEN SOLOK Eva Pauziah; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/6gtm6w66

Abstract

This study discusses the role of the Galombang Dance as a symbol of legitimising social status among the community members in Nagari Tanjung Balik, District X Koto Diatas, Solok Regency. The Galombang Dance, as one of the traditional Minangkabau performing arts, has functions that go beyond mere entertainment. It plays an important role in the social structure of the community, particularly during customary events such as weddings and the welcoming of honoured guests, where the use of this dance often reflects the prestige, honour, and social position of the event organisers. This research employs a descriptive qualitative approach using ethnographic methods. Data was obtained through direct observation, in-depth interviews with artists and community leaders, as well as documentation of artistic activities at Sanggar Carano Pusako. Research findings indicate that the Galombang Dance has a strong symbolic meaning in reflecting social and cultural identity, especially for the upper middle class. This dance has also evolved in terms of its presentation, including movement variations, makeup, and costumes, while still maintaining the philosophical values passed down through generations. Thus, the existence of the Galombang Dance not only serves as a means of cultural preservation but also represents a way to reinforce status and identity within the social life of the people of Nagari Tanjung Balik.
PERANAN IBU DALAM KELUARGA PADA NASKAH DRAMA AYAHKU PULANG KARYA USMAR ISMAIL Wewet Monica Fitri; Syeilendra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/rh1shh77

Abstract

This study aims to describe and analyze the role of mothers in maintaining emotional, social, and moral balance in the family as depicted in the drama script Ayahku Pulang by Usmar Ismail. The mother character in this drama shows determination, patience, and wisdom in facing family conflicts due to the departure and return of her husband who has long left home. This type of qualitative research with a descriptive analysis approach, the theories used are the social role theory of Soerjono Soekanto and the family psychology theory of Singgih D. Gunarsa. The data collection technique is by literature study and documentation, while the data analysis technique is by the researcher reading the drama script Ayahku Pulang by Usmar Ismail repeatedly, carefully, and critically, the researcher marks parts of the text, such as dialogue or narrative that contains the role of mothers in the family, grouping data based on relevant themes, according to each role, the data is entered into a data collection format in the form of a table that helps researchers in compiling data systematically, then compiling the results of the analysis into a narrative that answers the formulation of the research problem. The research data was obtained from excerpts of dialogue and narrative in the drama script, which were analyzed based on indicators of the mother's role in maintaining family balance: emotional, social, and moral. The results show that the mother plays a crucial role as a caregiver who calms children in emotional situations, as a mediator in maintaining social relations between father and child, and as a guardian of moral values ​​within the family. This role reflects the mother's role as the center of family resilience, remaining strong amidst conflict and the absence of a father figure. These findings emphasize that literary works, particularly drama, can reflect family values ​​relevant to the realities of society. The mother character in this script represents a strong, wise woman who plays a significant role in maintaining family unity.
STRATEGI PEMBELAJARAN SENI TARI PERSEMBAHAN  MELAYU RIAU DI SMAN 4 PEKAN BARU Nikmatuz Zuhro Aminin; Syeilendra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 1 (2025): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/p5dmye15

Abstract

This research aims to provide an in-depth description of the learning strategies for Riau Malay Dance Performance applied by cultural arts teachers at SMAN 4 Pekanbaru, particularly in the XI Medical 3 class. This type of research is qualitative with a descriptive approach. Data collection techniques were conducted through literature study, observation, interviews, and documentation. The main instrument in this research is the researcher themselves, assisted by observation sheets, writing tools, and visual documentation devices. Data analysis was carried out by collecting data, identifying data, clarifying data, describing data, elaborating data, and drawing conclusions. The research results show that the learning strategies used by the teachers include three main stages: planning, implementation, and evaluation/assessment. At the planning stage, teachers prepare teaching modules based on the Independent Curriculum that is oriented towards learning objectives, methods, and media that align with the characteristics of the students. At the implementation stage, the teacher employs direct learning strategies with a student-centred approach, while combining several methods which begin with lectures, question and answer sessions, demonstrations, using imitation strategies demonstrated by the teacher based on the theory from the teaching material, so that students can learn dance movements progressively and contextually. In the learning process, the teacher facilitates students with supporting media such as dance videos, accompanying music, student worksheets, whiteboards, and props. The assessment is carried out diagnostically to draw out basic knowledge about the teaching material and formatively to see the achievement of learning objectives, covering aspects of movement techniques, expression, cohesion, and understanding the meaning of dance. As a follow-up, the teacher assigns students who have not reached the learning outcomes the task of creating a video of their practice of the Offering Dance.

Page 1 of 2 | Total Record : 14

 1   2 

Filter by Year

2025 2025


Reset
Filter By Issues
All Issue Vol. 4 No. 1 (2026): Februari Vol. 3 No. 3 (2025): October Vol. 3 No. 2 (2025): June Vol. 3 No. 1 (2025): Februari Vol. 2 No. 3 (2024): October Vol. 2 No. 2 (2024): June Vol. 2 No. 1 (2024): February Vol. 1 No. 3 (2023): October Vol. 1 No. 2 (2023): June Vol. 1 No. 1 (2023): February