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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 144 Documents
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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.
TEKNIK VOKAL PADA GAYA DENDANG MINANGKABAU DALAM LAGU “GABAK DILANGIK HUJAN TAK TURUN” MISRAMOLAI Agit Anriani; Robby Ferdian
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: 10.24036/5gah2x63

Abstract

This study aims to identify and analyze vocal techniques in the Minangkabau dendang style as performed in the song Gabak di Langik Hujan Tak Turun, sung by Misramolai, a legendary Minangkabau singer. This song was chosen as the object of study because it is considered to employ vocal techniques that differ from those found in popular music genres such as Indonesian pop, Minang pop, and dangdut. The research employs a qualitative descriptive method with a field study approach. Data collection techniques include video observation, direct interviews with Misramolai, literature review, and documentation. The findings show that Misramolai uses chest breathing techniques as an adaptation to the tempo and short lyrical phrases of the song, as well as focusing vocal resonance in the throat cavity to produce a distinct vocal character. Intonation is maintained through gradual training to ensure pitch stability despite melodic fluctuations, while articulation is executed with clear vocal delivery to preserve the clarity of the lyrics’ meaning. Additionally, typical dendang Minang techniques such as garinyiak (pangka, tangah, ujuang) and gadiiek are consistently applied, demonstrating both technical skill and deep emotional expression.
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.

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