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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 106 Documents
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The Role of Cadiak Tau Pandai in Randai Hiliran Gumanti District Solok Regency Wiranda Putri, Septia; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.48

Abstract

Cadiak Tau Pandai's role in Randai, Hiliran Gumanti District, and Solok Regency This study set out to identify the function of cadiak tau pandai in randai in the Hiliran Gumanti District of the Solok Regency. An approach known as the descriptive-qualitative one was used to perform this study. Through a review of the literature, observation, interviews, and documentation, data for this study was gathered. Reduction, presentation, and verification are the steps in data analysis. Finding out the components of randai and Cadiak Tau Pandai's function in randai in the Hiliran Gumanti District, Solok Regency, is the goal of this data verification. The outcomes demonstrated the role played by Cadiak Tau Pandai in Randai in the Solok Regency's Hiliran Gumanti District. This cadiak tau pandai serves as a stand-in for all male positions. These roles are filled by regular individuals, not by the offspring of officials. Additionally, the actors in this role are passed down from generation to generation. It takes one to four weeks, or a month, for them to rehearse. They are known as multipurpose characters. They can not only be characters in the Randai story but also drummers, comedians, and MC.
Form of Accompaniment Music for H.B.T. Lion Dance Group in Padang City Zikri Insanillahia, Shuccy; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.54

Abstract

This investigation tries to identify the kind of Lion Dance music composition used by the H.B.T. Group in Padang. This kind of research uses content analysis techniques and is qualitative. The researcher is the primary research tool, with aid from other tools like office supplies and cell phones. Observations, interviews, documentation, and literature studies are all used as data collecting approaches. Data analysis involves gathering data, describing data, and drawing conclusions from data. The findings demonstrated that the beat pattern of the lion dance music game is distinct.  11 different repertoires of percussion-based lion dance music exist. However, when all of the repertoires are combined, there are parallels that make lion dance music look like a cohesive whole. This occurs as a result of some repertoires using the same punch motive. Basically, a motif is the combining of multiple notes to produce a specific punch pattern. This makes it necessary to conduct a more thorough analysis of each lion dance music repertoire in order to identify the primary themes and themes that are frequently employed in lion dance performances. It turns out that the 1/8 note motif, which exploits the pace of the lion dance playing style on the 1/16 note, is the most prevalent rhythm pattern motif among the 11 that are performed. Only the voyage of those lion dance types is used in the 1/8 note. In a way, the lion dance's speed is represented by the note 1/16.
The Form of Presentation of Kejai Nyambei Dance at The Wedding in Kampung Jawa Village, North Lebong District Lebong Regency, Bengkulu Province Sarah Rahmawani; Susmiarti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.57

Abstract

This study aims to find and describe how the Presentation of Kejai Nyambei Dance at a Wedding Party in Kampung Jawa Village, North Lebong District, Lebong Regency, Bengkulu Province. The type of research is qualitative research using descriptive methods. The instruments used are researchers themselves assisted by supporting instruments such as stationery, cameras, mobile phones, flash drives. The data type uses primary data and secondary data. Data collection techniques are carried out by means of literature studies, observations, interviews, and documentation. The steps in analyzing data are data collection, data reduction, data presentation, and conclusions.  The results showed that the Kejai Nyambei Dance at the wedding party on May 6, 2023 at 10:30 WIB in Kampung Jawa Village, North Lebong District, Lebong Regency, Bengkulu Province, is a sacred traditional dance with a non-representational form, it is believed that this dance is used as a ritual for the safety of the bride and groom in running the household. The elements of the presentation form of Kejai Nyambei Dance are: (1) Consists of the initial sambei sambah movement, the movement of starting the dance, the movement of being ready to get acquainted, the movement of giving and receiving, the motion of breaking the paddle, the circular motion, the motion of the final sambei sambah, the closing motion, (2) The floor pattern uses a floor pattern of two horizontal straight lines with several different facing directions, (3) This dance music uses three traditional musical instruments, namely kulintang,  dap, and gong, (4) Makeup female dancers use beautiful makeup and male dancers do not use any makeup, (5) The costumes used by male dancers use black belango bay clothes, black basic pants, culau, flower brooches, tapis, songket shawls. Female dancers wear red bludru brackets, songket cloth, lotus, net hijab, bun, belt, necklace, bracelet, earrings, flower edit, gold flower, kote-kote, jurai-jurai, round-round, (6) Dancers in pairs with a total of 14 people 7 male dancers and 7 female dancers, (7) The property performed is a long batik cloth, (8) Performed in the arena on the morning when the wedding reception begins with a dance performance duration of 16 minutes 15 seconds.
Zapin Songket Dance Choreography at The Bina Tasik Studio, Pangkalan Kerinci District Diye Chania; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.58

Abstract

The purpose of this article is to explore the choreography of Zapin Songket Pangkalan Kerinci District. This qualitative research uses a descriptive approach. The researcher herself, assisted by stationery, a telephone, and recording types, were the research instruments. To collect data, observation, interview, documentation, and literature study were used. Data collection, data reduction, data presentation, and conclusion drawing are the steps used to analyze this research. The results show that the choreographic process of Zapin Songket Dance begins with idea, theme, type, exploration, improvisation, and composition. Then it is divided into categories based on form elements: movement, floor patterns, dynamics, music, costumes, properties, and group composition. There is one choreographic work pattern with the same motion character, based on the work pattern.
Implementation of Cultural Arts Learning at SMA Negeri 3 Padang Gevi Sonia, Citra; Hadi, Harisnal
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.59

Abstract

This study aims to determine and describe the implementation of cultural arts learning at SMA Negeri 3 Padang. The type of research used in this study is qualitative research with a descriptive approach. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and mobile phones. Data collection techniques include observation, interviews, literature studies and documentation. The steps in analyzing data are data collection, identifying data, classifying data, clarifying and inferring data. The results showed that the implementation of Cultural Arts learning at SMA Negeri 3 Padang had been carried out well, but there were several things in its implementation that were not in accordance with the teaching module so that the implementation of learning was still ineffective. In terms of the learning method used, the teacher has used a learning method that is in accordance with the material. However, when the teacher practiced the example of singing a popular Indonesian song, namely Anji's song entitled "Menunggu Kamu", the teacher did not use musical instruments such as guitars or keyboards as accompaniment because the teacher was less able to play musical instruments. In learning, students are very excited to participate in learning to sing popular songs in Indonesian or popular songs in foreign languages even though students are still embarrassed to appear singing in front of the class.
The Use of Demonstration Methods in Learning Cultural Arts (Theater) in Class X E 1 SMA Negeri 7 Padang Vanesa, Abelita Khre; Susmiarti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.60

Abstract

The purpose of this study was to describe the demonstration method in learning arts and culture (theatre) in class X E 1 SMA Negeri 7 Padang. This type of research is qualitative research with descriptive methods. The research tools are the researchers themselves, and tools such as stationery and cameras are very helpful. Primary data and secondary data are used in this research material. Data collection techniques were carried out through literature studies, observations, interviews and documentation. The steps to analyze the data are classifying data, clarifying data, analyzing data, describing data, and concluding data. The results of the research and discussion concluded that the learning methods were appropriate and the results of the students' scores had increased sufficiently. The implementation of cultural arts learning (theatre) with the demonstration method in class X E 1 SMA Negeri 7 Padang has a great influence on student learning and therefore helps to increase the willingness to learn, participation and results of learning arts and culture (theater) in class X E 1. Although there are still students who do not present the results of the monologue in accordance with a predetermined technique.
The Effect of Post-Covid-19 Cultural Arts Learning on Behavior, Especially the Study Habits of Students in Class XII MIPA 1 SMA Negeri 04 Kepahiang Shella Triandani; Tulus Handra Kadir
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.64

Abstract

This study aims to determine and describe the effects of learning arts and culture post-COVID-19 on behavior, especially study habits, in Class XII MIPA 1 SMA Negeri 4 Kepahiang. This type of research is qualitative research with descriptive methods. The research instrument was the researcher herself, assisted by supporting instruments such as writing instruments, observation notes, and cellphone cameras. Data collection techniques carried out by way of literature study, observation, interviews, and documentation the steps for analyzing data are classifying data, clarifying problems, analyzing data, describing data, and concluding data. The results of the study stated that the results of post-covid observations of cultural arts learning had shown a lot of progress, especially in their study habits. By implementing face-to-face learning, it can be said that it has quite an effect on class XII MIPA 1 students. This effect is due to the direct supervision of the teacher within the scope of the school. When learning returns to offline, where students are able to follow the learning process coherently, get good supervision from the teacher, and are more creative in expressing their imagination, As well as direct communication between teachers and students, this helps students better understand the learning material provided by the teacher, and of course, their study habits become regular and vice versa. If learning is not supervised by the teacher, students will be lazy.
Forms of Intra-School Project Harvesting Implementation SMA Negeri 9 Padang Nailathul Fadhila; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.65

Abstract

This study aims to determine and describe the form of intra-school project harvesting implementation of SMA Negeri 9 Padang. This study used qualitative research descriptive approach. The researcher's own research instruments and assisted by supporting instruments in the form of stationery and mobile phones. Data collection techniques include observation, interviews, literature studies and documentation. Data is analyzed by collecting data, identifying data, classifying data, clarifying and inferring data. The results showed that the form of implementation of the intra-school project harvest of SMA Negri 9 Padang had been carried out well, but there were several things in the implementation before carrying out the project the principal gave more briefing on what exactly the harvest of this project was, many of these teachers were still confused about the implementation of this project harvest because it was still called a new curriculum. Debriefing for this new curriculum must be provided so that teachers and students can provide their creativity.
Performance of Tobo Basampuak Dance by the Sinar Tampalo Arts Study in Nagari Padang Laweh, Koto VII District, Sijunjung Regency Dona Evrie; Mansyur, Herlinda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.66

Abstract

This article aims to describe and analyze the presentation form of Tobo Basampuak Dance from Nagari Padang Laweh, a dance that tells the activities of farmers when going down to the fields until harvest. The type of research is qualitative with a descriptive approach. Data collection techniques are carried out by means of literature study, observation, interviews, and documentation. The research findings show that Tobo Basampuak dance is a new creation dance that has a variety of movements such as, bararak masuk, mamangkua, malunyah, batanam, basiang, drama kobou mangoncah sawah, manyabik, maiyiak, maangin and malapeh panek and bararak keluar. Tobo Basampuak dance consists of 2 male dancers and 6 female dancers, using horizontal and curved floor designs. This dance has a dramatic design because in the middle of the performance there is a dialog by the dancer when the buffalo appears. This dance is accompanied by dendang dodou, as well as talempong, drum, gong, and gandang musical instruments. The costumes of male dancers are taluak balango clothes, galembong pants, sasampiang, and deta, while the female costumes are basiba kurung clothes, songket, and deta bacincin. The properties used consist of hoes, sickles, niru, and kambuik. Some are presented on stage and some in an open field, and are performed every year at the Lansek Manih Festival.
The Form of Presenting the Sonde Dance Dance at The Malay Series Art Studio in Pekanbaru City Sella Oktafira Gea; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.67

Abstract

The purpose of the research is to describe the Presentation Form of Joget Sonde Dance at the Kenduri Riau Event in Anjungan Seni Idrus Tintin Pekanbaru City. This type of research is qualitative and uses the descriptive analysis method. The instrument used is the researcher himself, with support such as stationery, a camera, and a gadget or smartphone. Data collection techniques include literature study, observation, interviews, and documentation. Data analysis was carried out by reducing data, presenting data, and drawing conclusions. The results of the study prove that the Joget Sonde Dance Sanggar Kumpulan Seni Seri Melayu in the Kenduri Riau event at Anjungan Seni Idrus Tintin Pekanbaru City is a creation dance sourced from the traditional Joget Sonde Dance with a non-representational presentation form and only functions as a means of entertainment. The Joget Sonde dance was performed at the Kenduri Riau event on July 17, 2023. The elements of the Joget Sonde Dance presentation form are as follows: (1) Consists of the Sembah Movement, Lenggang Petik Bunga Movement, Melenggang Movement, Pose Movement, Two Elbow Movement, Joget Duck Movement, Jengger Jolo Movement, (2) Using curved and straight line floor patterns totaling 9 patterns; (3) Music accompaniment, namely Gong, Bebano Drum, Violin, and 1 female singer; (4) Dancers totaling 6 female dancers or more; (5) Makeup (beautiful) costumes (kebaya clothes, brooches, long cloth, shawl cloth, cepol bun, rocking flowers, paper flowers, (6) Place of performance on an open stage.

Page 4 of 11 | Total Record : 106

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