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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 13 Documents
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Search results for , issue "Vol. 3 No. 3 (2025): October" : 13 Documents clear
BENTUK PENYAJIAN TARI GALOMBANG SANGGAR PITUAH BUNDODI KOTA PAYAKUMBUH Anggraini , Hasnah; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/42etf622

Abstract

This study aims to reveal, describe and analyse the Presentation Form of the Galombang Dance by Sanggar Pituah Bundo in Payakumbuh City at wedding celebrations. This type of research uses a qualitative approach with a descriptive analytical method. The main research instrument is the researcher themselves, who assisted with stationery, a camera and a mobile phone. Data collection techniques include literature study, observation, interviews, and documentation. Data analysis was conducted through data collection, data reduction, data presentation, drawing conclusions, and verification. The results of the study show that the Galombang Dance by Sanggar Pituah Bundo is a creative dance performed as a guest welcoming dance at wedding celebrations. The presentation form consists of 7 elements: movement, costume, music, dancers, props, dance type, and synopsis.  The Galombang Dance movements are based on silat movements that have been modified and varied by the choreographer (Hendri) and consist of 6 main movements, namely the sambah pambuka movement, the panyambuik movement, the manyongsong movement, the pangaba movement, the manyongsong basamo movement, and the maarak ka palaminan movement. The costumes worn are characteristic of Minangkabau traditional attire, such as deta, teluk balango shirt, sisampiang, waist belt, and sarawa for the dancers, spear bearers, and flag bearers. The carano bearer wears the penghulu attire, consisting of bakaruik deta, loose black shirt, sisampiang, cawek, salempang, and sarawa gadang. The musicians wear harimau deta, sisampiang, and demang shirt. The music accompanying the Galombang Dance is performed by four men consisting of talempong pacik, gandang tambua, bansi, and pupuik serunai. The Galombang Dance dancers are eight men. The props used to complement the Galombang Dance performance are carried by four men and consist of carano, gubalo spears, and flag umbrellas. This type of dance is a pure type of dance whose presentation is non-representative.
BENTUK PENYAJIAN TARI RENTAK BULIAN PADA ACARA PESTA PERKAWINANDI KECAMATAN BUKIT RAYA KOTA PEKANBARU PROVINSI RIAU Lusi Febri Andesti; Desfiarini
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/v8endf57

Abstract

This research aims to reveal and describe the presentation of the Rentak Bulian dance at wedding celebrations in the Bukit Raya district of Pekanbaru City, Riau Province. The type of research is qualitative with a descriptive analytical method. The research instruments are the researcher themselves, assisted with writing tools and a camera. Data were collected through literature study, observation, interviews, and documentation. The steps for analysing the data are data collection, data reduction, data presentation, and drawing conclusions. The research results indicate that the Rentak Bulian dance at wedding celebrations in the Bukit Raya district is a new creation dance developed from healing rituals into an entertainment medium presented at wedding events, with its presentation consisting of movement, floor design, music design, dancers, props, and costumes. Gerak Tari Rentak Bulian features 7 types of movements, consisting of the Worship Movement, the Stomp Movement, the Shake Bud Movement, the Bow Movement, the Lime Mixing Movement, the Lime Sprinkling Movement, and the Four Corners Movement. The floor pattern of the Rentak Bulian Dance employs straight lines and circles. The musical instruments used to accompany the Rentak Bulian Dance include the flute, gong, tambourine, long drum, and clapper. The dancers of the Rentak Bulian Dance consist of 7 performers, including 2 strong male dancers and 5 pure and clean female dancers who have reached maturity. The properties used in the performance of the Rentak Bulian Dance are Mayang Pinang, which symbolises grandeur, a sense of responsibility, and the fortification of the elephants. Meanwhile, male costumes feature gomoh shirts, gomoh trousers, gomoh belts, gomoh headbands, and ankle janglers, while female costumes consist of kumantan blouses, kumantan skirts, pandan medical ornaments, and ankle janglers. The Rentak Bulian Dance has evolved from the sacred ritual of Bulean into a performing art. Despite undergoing transformation, this dance retains the ritual elements and the beliefs of the Bukit Raya community in supernatural powers.
DAMPAK PELAKSANAAN EKSTRAKURIKULER SENI TARI  DI SMP NEGERI 20 PADANG Putri, Adinda; Yuliasma
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/175yt943

Abstract

This study aims to describe the impact of dance training implementation on extracurricular activities at SMPN 20 Padang. This type of research is qualitative with a descriptive analytical approach. The main instrument in this study is the researcher themselves, assisted by stationery, a camera and a voice recorder. Data were collected through observation, literature review, interviews and documentation. The steps for analysing the data are data collection, data reduction, data presentation and drawing conclusions. The results of the study indicate that creative dance training at SMPN 20 Padang not only serves as a medium for developing artistic talent but also as a means of character education. In its implementation, the training focused on developing discipline, evident from the increased attendance and engagement of students from one session to the next. This discipline relates not only to punctuality but also encompasses diligence, perseverance, and the attitude of students during activities. The training also integrated group work as a form of cooperative learning, which is beneficial in honing students' social skills, such as communication, teamwork, leadership, and individual responsibility within the group. Although there were challenges in ensuring equal participation among members, the activity remained effective in fostering a sense of togetherness and solidarity. Healthy competition between groups also stimulates student motivation and enhances the quality of the training process.
FAKTOR PENYEBAB KURANGNYA KETERAMPILAN SISWA DALAM BERNYANYI UNISONODI SMP NEGERI 11 PADANG Geby Citra Arifin; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/bzrpqf32

Abstract

This study aims to reveal the factors causing students' lack of skills in singing in unison at SMP Negeri 11 Padang. The type of research used is a qualitative method with a descriptive approach. The instrument for this research is the researcher themselves, assisted by writing tools and a camera. Data is collected through literature study, observation, interviews and documentation. The steps in analysing the data are data collection, data identification, data classification, data clarification and data description. The research results indicate that the lack of students' skills in singing in unison at SMP Negeri 11 Padang is caused by several main factors, namely the lack of teacher stimulation, lack of interest and motivation, lack of discipline, and lack of guided practice. Regarding the lack of teacher stimulation, music teachers have not provided varied and innovative learning stimuli, so students are less actively engaged in the unison singing process. As for the lack of students' interest and motivation, some students show a lack of enthusiasm towards unison singing lessons. Regarding the lack of student discipline, students' discipline during practice and learning has not been optimal. Finally, concerning the lack of guided practice, students rarely have the opportunity for structured practice under the direct supervision of a teacher. These factors influence each other and directly affect the low quality of students' unison singing results. Therefore, improving unison singing skills requires enhancements in teaching methods, learning motivation, discipline development, and the provision of guided practice.
GERAK TARI KREASI LENGGANG SERAWAI: “KAJIAN BENTUK DAN GAYA” Alfhina Wahyu Rahmadaniah; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/nwm9xt69

Abstract

This study aims to reveal the description of the form and movement style of the creative dance Lenggang Serawai. This research uses a qualitative approach with a descriptive method. The research instrument is the researcher themselves, assisted by writing tools and a camera. Data were collected through literature study, observation, interviews, and documentation. The steps to analyse the data are data collection, data reduction, data presentation, and drawing conclusions. The results show that the movements of Lenggang Serawai dance at Afnalya Dance Company can be reviewed from the aspects of form and style, which include the aspect of form such as types of movement, movement structure, the relationship between basic elements of space, time, and energy, as well as the aspect of style including unique movement characteristics and characteristic rhythmic patterns of movement. Based on the observed results, the Lenggang Serawai dance has 7 types of movement and 23 movement structures. The spatial aspects in the movements of the Lenggang Serawai dance include line, volume, direction of facing, and focus of gaze. The lines in this dance are predominantly straight, horizontal, and diagonal. The volumes in this dance are predominantly large and small. The directions of facing in the movements of the Lenggang Serawai dance are predominantly forward, backward, left side, and right side. The levels in the movements of the Lenggang Serawai dance are predominantly medium and high. The gaze focus in the movements of the Lenggang Serawai dance is predominantly forward, downward, towards the hands, towards the properties held, and to the left and right sides. In terms of time, the tempo and rhythm are predominantly medium. Regarding the energy aspect, the intensity in these dance movements is predominantly medium, the pressure in the dance movements is predominantly medium, and the movement quality of the Lenggang Serawai dance is predominantly medium.
GERAK TARI PAYUNG DI SANGGAR IJUAK SAPILIN ENTERTAINMENT:KAJIAN BENTUK DAN STRUKTUR Rahmadani, Fauziah; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/mwqe6634

Abstract

This study aims to describe the Form and Structure of the Payung Dance movements at Sanggar Ijuak Sapilin Entertainment. This research is qualitative with a descriptive method. The main instrument in this study is the researcher themselves, assisted by writing tools, a camera, and a voice recorder. Data is collected through literature review, observation, interviews, and documentation. The steps of data analysis are collecting data, presenting data, condensing data, and drawing conclusions from the data. The results show that the Ijuak Sapilin Payung Dance is a creative dance work that highlights the integration of traditional elements and innovation through the application of harmonious hierarchical and grammatical relationships.The hierarchical relationship in Tari Payung Ijuak Sapilin is apparent through the organized arrangement of movements from basic movements, motifs, phrases, to dance sentences that combine to form a complete dance composition. Each layer of movement is interconnected and functions to support the overall presentation of the dance. Meanwhile, in terms of grammatical relationships, Tari Payung Ijuak Sapilin shows two forms of relationships, namely syntagmatic and paradigmatic relationships. The syntagmatic relationship is seen in the movement motifs, where the sequence of movements is arranged linearly and continuously to form a logical flow. Meanwhile, the paradigmatic relationship appears at the phrase and movement sentence levels, where several parts can be exchanged in position without changing the overall meaning or message of the dance.
KESENIAN MANORTOR PADA TRADISI MANJONGJONG ADATDI NAGARI PEMATANG PANJANG KECAMATAN KOTO BALINGKAKABUPATEN PASAMAN BARAT Halida, Neni; Hakim, Uswatul
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/q643b548

Abstract

This study aims to identify the differences in the implementation of the Manjongjong Adat tradition between the descendants of kings and ordinary people, examine the requirements for performing Manortor art in this tradition during wedding ceremonies, and understand the functions contained in Manortor art as part of the Mandailing customary tradition. This research is qualitative with a descriptive analytical method. The research instrument is the researcher themselves, supported by writing tools and a camera. Data collection techniques include literature review, observation, interviews, and documentation. The steps for data analysis are data collection, data reduction, data presentation, and drawing conclusions. Research results indicate that the Manortor Art in the Manjonong Custom Tradition in Nagari Pamatang Panjang, Koto Balingka District, West Pasaman Regency is the Manortor Tradition in the Manjongjong Custom procession at Mandailing community weddings in Jorong Aek Nabirong, which is a cultural heritage rich in spiritual, social, and symbolic values within a preserved customary structure. Manortor is not merely a traditional dance, but a cultural communication medium to honour ancestors, affirm social structure, and implement customary law. The Manjongjong Tradition marks the official enforcement of customs, distinguishing the status of royal descendants and ordinary people through symbols such as the raising of customary flags and the presentation of a goat. The Manortor procession is carried out in stages, reflecting social hierarchy: starting from Tortor Raja, Tortor Suhut, Tortor Naposo Nauli Bulung, to Tortor Pengantin. The main functions of Manortor include: (1) ritual function as a form of spiritual respect, (2). The Manortor procession is carried out gradually, reflecting the social hierarchy: starting from Tortor Raja, Tortor Suhut, Tortor Naposo Nauli Bulung, to Tortor Pengantin. The main functions of Manortor include: (1) a ritual function as a form of spiritual respect, (2) an entertainment function that strengthens social bonds, and (3) a spectacle function as a medium for education and the preservation of Mandailing cultural identity. Thus, Manortor not only reinforces traditional values but also maintains cultural continuity amidst the tide of modernisation.
MANAJEMEN ARDIMAN DALAM PENGELOLAAN SANGGAR TARI SAIYO SAKATODI KOTA PADANG Andina, Alya; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/av913678

Abstract

This study aims to understand and describe Ardiman Management in the management of the Saiyo Sakato Dance Studio in Padang City. This type of research is qualitative with a descriptive method. The main instrument in this study is the researcher themselves, assisted by writing tools, a camera and a voice recorder. Data is collected through literature review, observation, interviews and documentation. The steps to analyse the data are data reduction, data presentation and drawing conclusions. The results of the study show that Ardiman's management in managing the Saiyo Sakato Dance Studio in Padang City consists of planning, organising, actuating and controlling. Planning at the Saiyo Sakato Studio includes short-term and long-term programmes, with short-term programme planning involving regular practice, while long-term programmes are carried out over a period of one year and include overall organisational activity plans. The organisation of Sanggar Saiyo Sakato includes the leader, treasurer, secretary and coach. The activities of Sanggar Saiyo Sakato involve providing motivation, setting examples/role models and giving instructions. The supervision of Sanggar Saiyo Sakato includes internal control and external control. Internal control involves all management elements, primarily Mr Ardiman as the leader of the studio, while external control involves parties outside the management structure of Sanggar Saiyo Sakato who have cooperative relationships, such as the tourism office, educational institutions, and other relevant agencies.
MENINGKATKAN HASIL BELAJAR PESERTA DIDIK DENGAN MENGGUNAKAN MEDIA AUDIO VISUAL DALAM PEMBELAJARAN TEATER DI KELAS XI.F3 SMA NEGERI 2 BATANG ANAI Hilda Ismia Putri; Yuliasma
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/f09ng198

Abstract

This study aims to reveal and describe the improvement of student learning outcomes using audio-visual media in theatre learning in class XI.F3 at SMA Negeri 2 Batang Anai. This research is a classroom action research conducted in 2 cycles with stages of planning, implementation, observation and reflection. Data were collected through literature review, observation and documentation. Research instruments consisted of observation sheets and student learning outcome sheets. The data were analysed using percentage formulas. The results showed that the use of audio-visual media in theatre learning was able to significantly improve student learning outcomes. This improvement occurred because audiovisual media helped visualise abstract material, increased students' interest and participation, enhanced contextual understanding and encouraged active and collaborative learning. Student learning activities in cycle I achieved an average score of 56% and increased in cycle II to 85% with a very good category. The results of cognitive test assessments in cycle I showed that only 37% of students achieved the completion score, whereas in cycle II there was an improvement with 92% of students meeting the completion score according to the school's KKTP standard. The improved cognitive test results in cycle II reached 72.8, with 13 out of 20 students (65%) meeting the Minimum Mastery Criterion (KKM) set, which is 70.
MENINGKATKAN HASIL BELAJAR SISWA DALAM PEMBELAJARAN SENI TARIMENGGUNAKAN MODEL KOOPERATIF TIPE STAD DI KELAS VII.3 SMP NEGERI 10 PADANG Atikah Tri Nadella; Yuliasma
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/f54n9y32

Abstract

This study aims to improve student learning outcomes in dance learning using the STAD Cooperative Model in class VII.3 of SMP Negeri 10 Padang. The research used Classroom Action Research (CAR) in two cycles, consisting of planning, implementation, observation, and reflection. Data was collected through observation, documentation, and written tests. Data was analyzed using a percentage formula. The research instrument used was written test questions. Learning outcomes using the STAD model showed improved results. The average student learning completion rate in cycle 1 increased to 90 in cycle 2, with a success rate of 48% in cycle 1 and 87% in cycle 2. The results concluded that dance learning using the Student Teams Achievement Division (STAD) model can improve the learning outcomes of class VIII A students at SMP Negeri 10 Padang. This study recommends that future researchers vary the use of the Student Teams Achievement Division (STAD) learning model in the learning process to further improve students' dance learning outcomes.

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