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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 6 Documents
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Search results for , issue "Vol. 4 No. 1 (2026): Februari" : 6 Documents clear
BENTUK PENYAJIAN TARI TANGAN DALAM PESTA PERKAWINANDI KECAMATAN LINGGO SARI BAGANTI  KABUPATEN PESISIR SELATAN Musty, Enjelina; Desfiarni
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/xq2sed62

Abstract

This study aims to describe and analyze the presentation of the Hand Dance in a wedding party in Linggo Sari Baganti District, Pesisir Selatan Regency. This type of research is qualitative research with a descriptive approach. The research instrument is the researcher himself and assisted by stationery and a camera. Data was collected through literature studies, observation, interviews and documentation. Data analysis techniques are data collection, data reduction, data presentation and drawing conclusions. The results of the study show that the presentation of the Hand Dance in a wedding party not only reveals the aesthetic and technical aspects of the dance but also reflects its important role in the social and cultural structure of the Linggo Sari Baganti District, Pesisir Selatan Regency. The Hand Dance movements depict the flexibility and dynamics of the body, with the names of the movements Pasambahan, Pilinkirok Tangan, Kirok Alang Tabang Manjalang Gunuang, to Hentak Gajah Babunyi, which show the symbolic richness and beauty of the dance. This dance is performed by two male dancers, aged 10 to 75. Within the context of wedding ceremonies, the Hand Dance serves as entertainment. The existence and continuity of the Hand Dance demonstrate the importance of preserving traditional arts as a cultural identity passed down from generation to generation and demonstrates that art can adapt and survive in modern society.
ANALISIS GERAK TARI INDANG TAGAKDI JORONG DURIAN TARUANG KECAMATAN SANGIR KABUPATEN SOLOK SELATAN Maulida Khaira Fauzia; Desfiarni
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/g57yky13

Abstract

This study aims to describe and analyse the Indang Tagak Dance Movements in Jorong Durian Taruang, Sangir District, South Solok Regency. This research is qualitative with a descriptive approach method. The research instrument is the researcher themselves, supported by stationery, a camera and a mobile phone. The data used consist of primary and secondary data. Data were collected through literature review, observation, interviews and documentation. The steps for analysing the data are data collection, data reduction, data presentation and drawing conclusions. The results indicate that the analysis of Indang Tagak Dance Movements in Jorong Durian Taruang, Sangir District, South Solok Regency consists of spatial, temporal and energy aspects in which these three elements blend to form distinctive and meaningful movement characteristics. The spatial aspect of this dance is characterised by straight lines, small movement volumes, forward-facing direction, low levels, and focus directed forward and downward. All these elements reflect values of order, simplicity, devotion, and respect, which align with Islamic teachings and Minangkabau culture. Meanwhile, the temporal aspect is seen in the dynamics of changing tempo and rhythm throughout the performance. It begins with a slow tempo that creates a solemn atmosphere, then rises to a fast and spirited pace in the middle section, and slows again at the end as a form of respect for the Prophet Muhammad PBUH. This change in tempo not only enriches the aesthetics of the performance but also reinforces the message of togetherness. Meanwhile, the internal energy aspect in the dance movements shows variations in intensity and pressure adjusted to the verses and rhythm. The gentle and light movements at the beginning and end of the performance depict calmness and immersion, while the strong and firm movements in the middle reflect the collective spirit and unity of the dancers.
BENTUK PERTUNJUKAN RANDAI JALIKDALAM UPACARA PERKAWINAN DI KELURAHAN PADANG SARAI KOTO TANGAH Cindy Eka Putri; Rosalina , Venny
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/myhckm66

Abstract

This study aims to identify and describe the form of the Randai Jalik performance in wedding ceremonies in Padang Sarai Koto Tangah Sub-district. This research is qualitative with a descriptive approach. The research instrument is the researcher themselves, assisted by supporting instruments such as writing tools and a camera. Data was collected through literature studies, observation, interviews and documentation. The steps for analysing the data are data collection, data reduction, data processing and drawing conclusions. The results show that the form of the Randai Jalik performance in wedding ceremonies in Padang Sarai Koto Tangah Sub-district consists of Randai performers, galombang, songs, music, costumes, audience and the performance venue. Randai Jalik features 17 types of movements, namely: Tapuk Sarumpun Sarampak movement, Balabek movement, Mohon Ampun movement, Siku Tigo Duduak movement, Himbauan movement, Patik movement, Anta Japuik Tabao movement, Sipak Belaan Sambutan attack movement, Jago Jalik movement, Tamparan block movement, Sipak Lapeh movement, Tapuak Galembong inside-out movement, Manuai Padi movement, Mananam Padi movement, Siku Tigo Tagak movement, Sipak Kudo movement, and Sambah movement. Randai Jalik is performed by 4 men and 8 women with a duration of approximately 25 minutes. The accompanying music uses traditional instruments, namely, gandang tambua, talempong, pupuik batang padi, and tasa. The costume used is a black silek costume.
PELESTARIAN RANDAI OLEH SANGGAR SALUAK BADETA DAN GENERASI MUDA SINTUAK TOBOH GADANG Putri, Clara; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ddrvwg45

Abstract

This study aims to analyze the Randai art preservation strategy by Sanggar Saluak Badeta and the involvement of the younger generation in Nagari Sintuak Toboh Gadang in facing the challenges of modernization. Using a descriptive qualitative approach, data were collected through observation, in-depth interviews, and documentation, which were then analyzed through the stages of data reduction, data presentation, and conclusion drawing. The results of the study revealed that Sanggar Saluak Badeta plays a central role in maintaining the existence of Randai through regular training programs, performances in traditional ceremonies, and intensive coaching for the younger generation who now play an active role as artists and organizational activists. The preservation strategy implemented includes adaptive performance innovation without reducing the value of originality, cross-sectoral collaboration with cultural institutions, and optimization of digital technology for documentation and promotion. It is concluded that the success of Randai preservation in this region is the result of collective synergy between art institutions, the active participation of the younger generation, and the support of the local community who have a high awareness of the sustainability of Minangkabau cultural heritage.
PERSEPSI PESERTA DIDIK TERHADAP PEMBELAJARAN SENI BUDAYA (TEATER) DI MAN 2 TANAH DATAR Fachry Setia Nofanto; Titiek Fujita Yusandra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/eprnd215

Abstract

This study aims to identify and describe students' perceptions of cultural arts (theatre) learning at MAN 2 Tanah Datar. This type of research is quantitative descriptive research. The instruments used in this study were questionnaires containing several statements, along with interviews and documentation. The stages of data analysis include data collection, data reduction, data presentation, and drawing conclusions. The results of this study proved that students have a very positive perception of cultural arts (theatre) learning at MAN 2 Tanah Datar. If the learning process is carried out and delivered well by the teacher and can be understood and accepted well by the students, it will also generate a good perception.
ANALISIS STRUKTUR GERAK TARI GALOMBANG DI SANGGAR SENI TUAH SAIYO KOTA PADANG SUMATERA BARAT Septhiani Fransiska Putri; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/6efstq91

Abstract

Galombang Dance is a traditional dance from Minangkabau which is used as a dance to welcome respected guests and has a strong symbolic meaning in the social life of the community. With the development of the times, a creative process has occurred in the development of Galombang Dance in various art venues, one of which is at the Tuah Saiyo Art Studio in Padang City. This study aims to describe and analyze the movement structure of the Galombang Dance at the Tuah Saiyo Art Studio in Padang City, West Sumatra. The method used is a qualitative method with a descriptive analytical approach. Data collection techniques include observation, interviews, and documentation. The analysis of the movement structure was carried out using Ben Suharto's theory, which includes the relationship between basic elements and grammatical hierarchical relationships in movement. The results of the study show that the movement structure of the Galombang Dance at the Tuah Saiyo Art Studio consists of attitudes and movements of the head, body, hands, and feet that are interrelated and form motifs, phrases, sentences, and movement groups.

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