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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 167 Documents
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KOREOGRAFI TARI TANDUAK  PADA SANGGAR SEKAPUR SIRIH DI NAGARI LUBUK TAROK KABUPATEN SIJUNJUNG Yesa, Istifadilla; 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/m08f1937

Abstract

This study aims to describe and analyze the choreography of the Tanduak Dance at the Sekapur Sirih Studio in Lubuk Tarok Village, Sijunjung Regency. Tanduak Dance is a traditional dance that has historical, symbolic, and cultural identity values ​​​​of the local community. The study uses a qualitative approach with a descriptive analytical method. Data was obtained through observation, interviews, literature studies, and documentation. The results of the study indicate that the choreography of the Tanduak Dance consists of aspects of form and content. Form aspects include movement, floor design, upper design, group composition, dancers, costumes, dancers, costumes, properties, and musical accompaniment. The main movement variety consists of Gerak Sambah, Langkah Ampek, Langkah Sepai, and Langkah Kicuah which are dominated by meaningful movements with silat nuances. The floor pattern utilizes straight, curved, and oblique lines with a group formation of seven dancers. Content aspects include ideas about courage and symbolic buffalo fighting, as well as heroic and dynamic nuances. This dance represents the values ​​​​of courage, preparedness, and cultural identity of the Lubuk Tarok Village community.
PERTUNJUKAN KESENIAN TRADISI DALAM ACARA BAKAUA DI NAGARI KOTO TUO KABUPATEN SIJUNJUNG Marshella Saskia Bonita; Wimbrayardi
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/a2r1c492

Abstract

This study aims to describe the forms of performances and arts presented in the series of Bakaua traditional events in Nagari Koto Tuo. The type of research is qualitative with a descriptive analytical method. The research instrument is the researcher themselves, assisted by stationery, a camera and a voice recorder. Data was collected through literature study, observation, interviews and documentation. The steps of data analysis are data collection, data reduction and drawing or verifying conclusions. The results of the study show that Bakaua is a customary tradition that is still maintained as a form of the community's gratitude to Allah SWT for the harvest and to strengthen social togetherness. This tradition is rooted in the life of agrarian communities and is carried out through structured stages, beginning with a deliberation by the niniak mamak, the opening of customs through the pasambahan speech, collective prayers, the delivery of customary advice, and finally the shared meal of bajamba as a symbol of community solidarity. In addition to the customary and religious proceedings, Bakaua is also complemented by elements of traditional arts such as the pasambahan dance, plate dance, silek, randai, accompanied by talempong and gandang music. The presence of these arts shows that Bakaua functions not only as a customary ceremony but also as a medium for cultural preservation and strengthening the identity of the Nagari Koto Tuo community. Thus, the Bakaua tradition holds significant social, cultural, and spiritual values in maintaining the continuity of Minangkabau customs amidst the developments of the times.
PENGARUH PENGGUNAAN METODE PROBLEM BASED LEARNING UNTUK MENINGKATKAN HASIL BELAJAR PADA PEMBELAJARAN SENI MUSIK DI SMA NEGERI 1 LEMBAH MELINTANG PASAMAN BARAT Humaira, Delvia; Sudarman, Yos
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/p290q412

Abstract

This study aims to determine the differences in music learning outcomes between students taught using the Problem Based Learning method and those taught using conventional methods, as well as the differences in the implementation of the Problem Based Learning method on the improvement of music learning outcomes of XI grade students at SMAN 1 Lembah Melintang. The type of research used by the researcher is a quasi-experiment with a pretest post test nonequivalent control group design. The population of this study is the XI grade students of the even semester at SMAN 1 Lembah Melintang, West Pasaman, totaling 60 students, and the sample was taken using purposive sampling. Data was collected through written tests, observations, and documentation. The data analysis techniques in this study include analysis of the learning implementation sheets, normalized gain analysis, prerequisite hypothesis testing, and hypothesis testing. The research results indicate that the implementation of the Problem Based Learning model has a positive and significant effect on students' cognitive learning outcomes and music art skills. Students' cognitive learning outcomes in music art lessons using the Problem Based Learning model are higher compared to those of students who follow lessons using conventional methods. This is evidenced by the results of an independent two-sample t-test, which showed a significant value (Sig. 2-tailed) of less than 0.05, indicating a significant difference between the experimental and control classes. The normalized gain (N-Gain) analysis shows that the improvement in students' learning outcomes in the experimental class falls into the medium to high category, whereas in the control class it falls into the low to medium category. These findings indicate that the application of the Problem Based Learning model is more effective in enhancing the understanding of music concepts compared to conventional teaching methods. Assessment results of music skills show that the average skills of students in the experimental class are higher than in the control class. This demonstrates that learning through the Problem Based Learning model can improve students' vocal skills in terms of mastery of material, expression, and confidence in presenting learning outcomes.
PELAKSANAAN JAM PENGGANTI MATA PELAJARAN SENI BUDAYA MATERI AJAR PENDALAMAN TEKNIK BERNYANYI DI KELAS IX.4 SMP NEGERI 40 PADANG Cahya Ain Ramadhani; Syeilendra
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/x1g2sd04

Abstract

This study aims to describe the implementation of substitute class hours in Cultural Arts subjects focusing on singing technique enrichment in Grade IX.4 at SMP Negeri 40 Padang. The research employed a qualitative descriptive approach using observation, interviews, and documentation as data collection techniques. The participants included a Cultural Arts teacher and 32 Grade IX.4 students. The findings indicate that substitute class hours serve as an effective means to strengthen students’ understanding of vocal techniques, particularly breathing, articulation, intonation, and musical expression. The use of active learning strategies and formative assessment contributed to increased student engagement, motivation, and vocal performance. Despite challenges such as limited time, student fatigue, and minimal learning media, substitute classes positively supported learning achievement. The study concludes that substitute class hours can function as an effective alternative to ensure continuity in Cultural Arts learning.
KOREOGRAFI TARI BELAYIE KE LUBUK SAKTI DI DESA EMPELU KECAMATAN TANAH SEPENGGAL KABUPATEN BUNGO PROVINSI JAMBI Nadya Putri Kinanti; Asriati, Afifah
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/atq13j40

Abstract

This study aims to reveal and describe the choreography of the Belayie Dance to Lubuk Sakti in Empelu Village, Tanah Sepenggal District, Bungo Regency, Jambi Province. This type of research is qualitative with a descriptive analytical method. The instruments of this study are the researchers themselves, assisted by writing tools and a mobile phone. Data was collected through literature studies, observation, interviews, and documentation. The steps to analyse the data are data collection, data reduction, data presentation, and drawing conclusions. The results of the study show that the choreography process of the Belayie Dance to Lubuk Sakti goes through four main stages: idea generation, exploration, improvisation, and composition. The idea for creating the dance originated from observations of the Belayie ritual, which were then developed through exploration of paddling movements, rain-requesting movements, village community activities, and the atmosphere of rainfall. Improvisation arises spontaneously from the choreographer's imagination regarding the life of the Empelu Village community, while the composition stage is carried out by arranging various movements, floor patterns, dynamics, music, and costumes to form a complete and meaningful performance. The choreography of the Belayie Ke Lubuk Sakti Dance is reviewed through the elements of choreography which include movement, overhead design, floor design, dramatic design, dynamics, group composition, music, and equipment such as makeup, costumes, and props. The movements depict expressions of supplication, togetherness, as well as community ritual activities. The floor patterns and group composition are arranged to display communal unity and the role of the village elders. The dramatic design of the Belayie Ke Lubuk Sakti Dance is a single cone dramatic design. The Belayie Ke Lubuk Sakti Dance uses several group designs including alternating floor designs, simultaneous, and split designs which create interesting movement variations and dynamics. The musical instruments used to accompany the Belayie Ke Lubuk Sakti Dance are wooden Kulintang, Doll, Tambourine, Guitar, Bass, Keyboard, Accordion, Violin, and Drum. The props used in the Belayie Ke Lubuk Sakti Dance include a boat, conical hat, and lantern.
TEKNIK VOKAL DALAM PENYAJIAN TEKSTUR POLIFONI PADA MEDLEY NYANYIAN NUSANTARA OLEH ANDALASWARA CHOIR Intan Putri Pramanandi; Maestro, Esy
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/x5xf8781

Abstract

This study aims to describe the application of vocal techniques in the presentation of polyphonic texture in the Medley Nyanyian Nusantara performed by Andalaswara Choir. This research employed a qualitative descriptive approach with data collected through observation, interviews, and documentation. The results show that the presentation of the work requires mature mastery of vocal techniques, particularly breathing, resonance, articulation, and intonation. These techniques play an important role in shaping choral sonority that is balanced, resonant, and blended across all voice parts. In addition, the complexity of polyphonic texture demands consistency of vocal technique from soprano, alto, tenor, and bass sections, especially when combined with choreography and traditional costumes. With proper vocal technique management and intensive rehearsal, Andalaswara Choir was able to present the Medley Nyanyian Nusantara optimally and harmoniously.
PEMBELAJARAN ANSAMBEL TALEMPONG PACIK MENGGUNAKAN MEDIA AUDIO VISUAL DI KELAS X TBSM SMK MUHAMMADIYAH 1 PADANG Muhamad Aldi Kusuma; Irdhan Epria Darma Putra
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/m2te6e58

Abstract

This study aims to describe the learning process of the Talempong Pacik ensemble using audiovisual media in the X grade of the Motorcycle Business Engineering (TBSM) program at SMK Muhammadiyah 1 Padang. This research uses a qualitative approach with a descriptive method based on educational phenomenology. The research subjects consist of cultural arts teachers and X grade TBSM students, while the research object is focused on the learning process of the Talempong Pacik ensemble. Data collection techniques were carried out through non-participant observation, in-depth interviews, literature studies, and documentation. Data analysis was conducted through the stages of data reduction, data presentation, classification, and drawing conclusions. Research results show that the use of audiovisual media can increase enthusiasm, understanding of Pacik techniques, and rhythm coordination among students in learning the Talempong Pacik ensemble. Audiovisual media play an effective role as a learning model that helps students understand playing techniques independently, especially under conditions of limited time and a limited number of musical instruments. Phenomenologically, students feel comfortable and find it easier to learn because audiovisual media allow for repeated processes of observation, imitation, and internalization of rhythmic patterns. Thus, learning the Talempong Pacik ensemble using audiovisual media can be an effective alternative learning strategy in the context of music education at vocational schools.

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