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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
 1   2 
Search results for , issue "Vol. 3 No. 2 (2025): June" : 15 Documents clear
BENTUK PENYAJIAN TARI GALOMBANG KATO SEPAKAT DALAM ACARA ALEK BABAKODI KOTO TANGAH KOTA PADANG SUMATERA BARAT Aisyah Mail Nexsi; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/m2m3q120

Abstract

This research aims to identify and describe the Presentation Form of the Galombang Kato Sepakat Dance in the Alek Babako event in Koto Tangah, Padang City, West Sumatra. This type of research is qualitative with a descriptive approach. The research instruments include the researcher themselves, supported by writing tools and a camera. Data was collected through literature study, observation, interviews, and documentation. The steps for analysing the data are data collection, data reduction, data processing, and drawing conclusions. The results of the research show that the form of the Presentation of the Galombang Kato Sepakat Dance in the Alek Babako event consists of movements, dancers, floor design, makeup and costumes, props, music, and the performance venue. The Tari Galombang Kato Sepakat has 4 types of movements which are: Gerak Sambah, Gerak Tari, Gerak Perkelahian, and Gerak Damai. The floor pattern consists of horizontal and vertical lines with various facing directions. Tari Galombang Kato Sepakat is performed by 8 dancers, 4 waiting dancers and 4 approaching dancers, with a duration of around 4 minutes and 14 seconds. The accompanying music for this dance uses traditional musical instruments from the Koto Tangah area, namely, pupuik batang padi, gandang duo, giriang-giriang, and talempong pacik. Tari Galombang Kato Sepakat employs props made from rattan sticks which are adorned with two-colour oil paper, as well as using a very sharp genuine German knife. The costumes used are black silek costumes with an additional songket cloth at the waist and deta cloth on the dancers' heads. The dancers in this performance do not wear makeup as they portray either a man or an aide.
BENTUK PENYAJIAN TARI GALOMBANG PRODUKSI SANGGAR RAJO BATUAHDALAM PESTA PERKAWINAN DI KOTA PAYAKUMBUH Eliska, Putri; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/q6y6xw42

Abstract

This research aims to describe and reveal the presentation form of the Galombang Dance produced by the Rajo Batuah Studio at wedding celebrations in Payakumbuh City. This type of research is qualitative with an analytical descriptive method. The research instruments are the researcher themselves, assisted by writing tools and a camera. Data was collected through literature studies, observations, interviews, and documentation. The steps for data analysis include data collection, data reduction, data presentation, and conclusion drawing. The research findings indicate that the form of presentation of the Galombang Dance produced by the Rajo Batuah Studio at wedding celebrations in Payakumbuh City consists of movement, dancers, floor patterns, makeup and costumes, properties, music, and performance locations. The Wave Dance Movements in silat consist of 10 types of movements: the sambah pambukak movement, the mambukak langkah movement, the tusuak sampiang movement, the malangkah ka balakang movement, the gajah maram movement, the ayun sampiang movement, the sauak movement, the langkah kiri kanan movement, the tusuak puta movement, and the tusuak layang movement. Furthermore, there are 15 types of movements for female dancers: the maayun ateh bawah movement, the lapiak jarami movement, the dorong sampiang puta movement, the mayilamg ateh movement, the tusuak ateh movement, the ambiak silang movement, the mambukak langkah movement, the ayun puta movement, the transisi movement, the manyonsong movement, the manyonsong puta movement, the ambiak puta movement, the manyonsong movement, the manyonsong puta movement, and the ambiak puta movement. The Galombang Dance is performed by 2 martial artists, 5 dancers and 1 person carrying the carano. The floor pattern in this dance forms a horizontal line, with the carano positioned in the middle at the back row. The dancers wear costumes and makeup that vary according to the needs of the performance. For the female dancers, the costumes and makeup are adapted to the Minangkabau traditional attire, namely the baju kurung paired with the kodek or songket cloth, and complemented with accessories. The costume designer for the male musicians in Sanggar Rajo Batuah also aligns their outfits with those of the dancers and martial artists in the Galombang Dance. The accompanying music used in this performance includes talempong, tasa, floor, bansi, hit – hat, and bass. Each musical instrument is played by one musician. The Galombang Dance is performed outside the wedding venue of the newlyweds.
BENTUK PENYAJIAN TARI PIRIANG HOYAK BADARAI DI SANGGAR MINANG MAIMBAU KECAMATAN LUBUK SIKAPING KABUPATEN PASAMAN Shindy Mutiara Dewi; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/vvmzhj63

Abstract

This research aims to describe and reveal the form of presentation of the Piriang Hoyak Badarai Dance at the Minang Maimbau Studio, Lubuk Sikaping District, Pasaman Regency. This type of research is qualitative research with descriptive methods. The object of the research is the Piriang Hoyak Badarai Dance at the Minang Maimbau Studio, Lubuk Sikaping District, Pasaman Regency. The research location is Nagari Durian Tinggi, Lubuk Sikaping District, Pasaman Regency. The research instrument is the researcher himself. Data collection techniques using literature study, observation and interviews. Data analysis techniques by collecting data, reducing data, presenting data and drawing data conclusions. The general research results show that the Piriang Hoyak Badarai Dance at the wedding party on June 2 2025, 14.30 in Nagari Durian Tinggi, Lubuk Sikaping District, Pasaman Regency is one of the creative dances. The Piriang Hoyak Badarai dance is a dance that does not tell a story or is non-representational, that is, a dance that does not depict anything. The elements of the presentation form of the Piriang Hoyak Badarai Dance are: (1) Consisting of the gelek movement, rotating stab movement, latak movement, rotating sauak movement, hidang movement, puta lapan movement, circular movement, piriang stomping movement, basilang movement, glass attraction, fire attraction and swinging movement, (2) There are 5 dancers, 4 female dancers and 1 male dancer, (3) The floor design uses a zig-zag floor design and floor design. circles and horizontal line patterns. (4) This dance music uses 4 musical instruments, namely talempong set 1, jimbe, tansa and tambua, (5) The make-up worn by female dancers is beautiful make-up with clothes using kuruang, black sarawa kabasaran and songket behind as well as other accessories and the clothes worn by male dancers are black sarawa kabasaran and songket sasampiang with heads wearing deta, (6) Props use plates, glass and fire, (7) The performance venue is the yard of the house, the exact location of the party. in front of the aisle with a duration of 12 minutes.
DAMPAK PSIKOLOGIS IBU SURI DALAM KONFLIK DRAMATISPADA NASKAH LAKON “ROH” KARYA WISRAN HADI Puti Aryanti Soleha; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/66hkrf76

Abstract

This study examines the psychological impact of the character Mother Suri in the play ROH by Wisran Hadi through a psychoanalytic approach based on Sigmund Freud. The focus of the research is on the dramatic conflicts that affect the psychological condition of the main character. The method used is descriptive qualitative with content analysis techniques applied to the script text. The research results indicate six psychological impacts experienced by Mrs. Suri: (1) excessive anxiety about Suri's existence, (2) repression of past trauma, (3) projection of negative emotions onto others, (4) rationalisation of irrational actions, (5) sublimation of emotional energy through artistic expression, and (6) regression to childish behaviour. This emotional instability is triggered by the conflict between traditional beliefs and modern reality, as well as socio-cultural pressures. The findings reveal how internal conflicts (Id-Ego-Superego) shape the psychological dynamics of the character. This research contributes to the understanding of psychological characterisation in literature as well as the importance of mental health in society. The uniqueness of the research lies in the in-depth analysis of Mrs. Suri's character as a case study of individual inability to confront reality.
EKSISTENSI SANGGAR SARAI SARUMPUNDALAM MENGEMBANGKAN SENI TARI TRADISIONAL Morezky, Elsa; Ayuthia Mayang Sari
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/7tds1v27

Abstract

This research aims to unveil the existence of Sanggar Sarai Sarumpun in developing traditional dance. This research is qualitative with a descriptive approach. The research instruments include the researcher themselves, along with writing tools, a camera, and a flash drive. Data were collected through literature studies, observations, interviews, and documentation. The steps for data analysis include data collection, data reduction, data presentation, and conclusion drawing. The research findings indicate that Sanggar Sarai Sarumpun remains active due to its consistent efforts in creating, developing, and showcasing dances rooted in traditional Minangkabau culture into new choreographies that are adapted to contemporary developments. As a result, the performances produced have become more interesting and accessible to the younger generation as well as the wider public. The Sarai Sarumpun studio also demonstrates that success in maintaining existence is not solely determined by the quality of artistic works, but also by the social strategies employed. Through collaboration with the Government, such as the Tourism Office and the Historical Centre, along with involvement in various events with vendors, this studio has succeeded in expanding its network and opening up more opportunities. In addition to being a place for the arts, the Sarai Sarumpun studio also plays a role in the preservation of culture and the formation of character, especially for the younger generation. Support from the community, the Government, and various institutions shows that the Sarai Sarumpun studio not only survives but also thrives and has a significant impact on the preservation of culture in West Sumatra.
IMPLEMENTASI KURIKULUM MERDEKADALAM METODE PEMBELAJARAN SENI BUDAYA (TEATER)DI KELAS X FASE E SMA NEGERI 1 X KOTO KABUPATEN TANAH DATAR Ayu Yolanda Putri; Tulus Handra Kadir
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/42amr320

Abstract

This research aims to describe cultural arts (theatre) learning in class X Phase E at SMA Negeri 1 X Koto. This type of research is qualitative with a descriptive approach. The instruments used are the researchers themselves, assisted by writing tools and a camera. Data was collected through observation, interviews and documentation. Steps for data analysis include data collection, data reduction, data presentation and conclusion drawing. The research results show that Project Based Learning (PBL) is a learning method that emphasises the active involvement of learners through real projects to develop knowledge competencies, skills, and attitudes. However, in practice, the implementation of the PBL method in class X.E.4 faced failure, as the students were unable to carry out PBL properly. The application of the Hands-On Learning method in the Arts and Culture learning, particularly on the Traditional Randai Theatre material in class X.E.4, showed very positive and transformative results. One piece of evidence of the success of this method is the success of the X.E.4 students in presenting the Randai performance on the school art stage. Students not only succeeded in the process but also demonstrated concrete results in the form of creative, cohesive, and high artistic value performances. The Hands-On Learning method has proven to be highly effective in enhancing engagement, understanding, and student motivation. In the context of Cultural Arts education, this method can shift the learning paradigm from passive to active, enjoyable, and meaningful. Not only does it improve academic achievement, but this approach also supports the growth of character, creativity, and social relations among students. Therefore, this method is highly worthy of continued development and sustainable application, particularly in learning that requires contextual and participatory understanding.
KEBERADAAN TARI KUDA LUMPING PAGUYUBAN TURONGGO MUDODI NAGARI KOTO GADANG KABUPATEN DHARMASRAYA Rizka Fatiha Rahmi; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/9jdk2m13

Abstract

Abstract This research aims to uncover and describe the existence of the Kuda Lumping dance of the Turonggo Mudo group in Nagari Koto Gadang, Dharmasraya Regency. This type of research is qualitative with a descriptive analytical method. The research instruments include the researcher themselves, assisted by writing tools and a camera. Data was collected through literature study, observation, interviews, and documentation. The steps for analysing the data are data collection, data reduction, data description, and drawing conclusions. Research results show that the existence of Kuda Lumping dance of the Paguyuban Turonggo Mudo in Nagari Koto Gadang Dharmasraya is still developing and alive within the community life of Nagari Koto Gadang. Until now, Kuda Lumping dance is still performed regularly, especially during the annual celebration of Indonesia's Independence Day. This indicates that the art form not only has a place within the Javanese community but is also accepted and enjoyed by the Minang community as part of local cultural diversity. The Kuda Lumping art in the area serves various functions, including as a means of entertainment, a medium for symbolic communication, an economic driver, and a part of ritual activities. Thus, Kuda Lumping has become an integral part of the socio-cultural life of the Nagari Koto Gadang community.
MANAJEMEN DI SANGGAR AFNALYA DANCE COMPANYDI KOTA MANNA KABUPATEN BENGKULU SELATAN Fitria Nopita Sari; Astuti, Fuji
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/18n8pg63

Abstract

The aim of this research is to uncover the management system run by the Afnalya Dance Company. This research employs a qualitative approach with a descriptive method. The research is located at the Afnalya Dance Company, Manna City. The focus of the research is the management system implemented at the studio. Data collection techniques are conducted through observation, interviews, documentation, and literature studies. Data analysis is carried out through the processes of data reduction, data presentation, and conclusion drawing. The results of the research show that the management of the studio encompasses planning activities in the form of training programmes and performances in both the short and long term. The process of organisation is evident in the clearly formed organisational structure along with detailed division of tasks. Activities are driven through giving direction, motivation, and direct guidance to the members of the group. The supervisory function is carried out through routine evaluations of the discipline and skill development of members. Additionally, the group also implements project management, marketing strategies, and financial management that are conducted simply yet efficiently. In terms of music provision, the group does not yet have internal musicians and still relies on external parties. Overall, the management system of the group prioritises the principles of togetherness and participation, thereby supporting the sustainability and development of the group within the community.
MENINGKATKAN HASIL BELAJAR SENI TARI SISWA MENGGUNAKAN METODE DRILL DI KELAS VIII.3 SMP NEGERI 1 KAPUR IX Miranda Islami Putri; Yuliasma
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/6zmbmf13

Abstract

This study aims to improve the dance learning outcomes of class VIII.3 students of SMP Negeri 1 Kapur IX through the application of the drill method. This study is a Classroom Action Research (CAR) carried out in two cycles, each consisting of planning, action implementation, observation, and reflection. The instruments used include observation sheets and practical skills tests, with data collection through observation, practical tests, and documentation, as well as data analysis using a percentage formula. The results of the study indicate that the drill method is able to improve student activity and learning outcomes. In cycle I, the average percentage of student learning activity was 78.3%, increasing in cycle II to 91.2% with a very good category. Student learning outcomes also showed a significant increase, from an average value of 71.6% in cycle I to 96% in cycle II with a very good category, exceeding the target of 85% and exceeding the Minimum Completion Criteria (KKM) of 80.
PELAKSANAAN PEMBELAJARAN SENI BUDAYA (TARI )KELAS VIII DI MTSN 3 KOTA PADANG Reza Kurnia Putri; Susmiarti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 2 (2025): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/pe4fbc67

Abstract

This research aims to observe and describe the learning of Cultural Arts (dance) for class VIII.2 at MTs N 3 Kota Padang. This type of research is qualitative with a descriptive method. The research instrument is the researcher themselves, assisted by writing tools and a camera. Data was collected through literature review, observation, interviews, and documentation. The steps for analysing data are collecting data, identifying data, classifying data, describing data, and concluding data. The research results indicate that the implementation of Cultural Arts (dance) learning for Class VIII.2 at MTsN 3 Kota Padang is carried out in 3 stages, namely the planning stage, implementation, and evaluation. In terms of lesson planning, it has been prepared by the teacher in accordance with the independent curriculum, and the teacher has developed learning materials such as teaching modules and content tailored to the characteristics of the students. Planning also includes determining learning objectives, material to be taught, methods used, and assessment to be conducted. The implementation of dance art education takes place in three stages, namely the introductory, core, and closing activities. In this activity, the teacher still uses traditional methods such as lecturing, demonstrations, and direct practice that actively involve students. The learning environment is quite conducive although there are still some challenges, such as time limitations, media, and differences in students' abilities to absorb movement material. Evaluation is carried out continuously, covering summative and formative assessments. Teachers assess students' understanding of the dance material, students' attitudes during the learning process, and students' skills in practicing dance movements. Evaluation is done through observation, individual and group assignments, as well as dance performances as a form of practical examination.

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