cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Marzam
Contact Email
jurnal.avantgarde@gmail.com
Phone
+6281267890862
Journal Mail Official
jurnal.avantgarde@gmail.com
Editorial Address
Program Studi Pendidikan Sendratasik Departemen Sendratasik FBS Universitas Negeri Padang Jl. Belibis Air Tawar Barat, Padang, Sumatera Barat, Indonesia
Location
Kota padang,
Sumatera barat
INDONESIA
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 122 Documents
 3   4   5   6   7 
Learning Cultural Arts (Theatre) in Class XI IPS 3 SMA Negeri 1 Lintau Buo Utara Permata Ayunda; Marzam
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.v1i3.68

Abstract

This study aims to determine and describe cultural arts (theater) learning in grade XI Social Studies 3 at SMA Negeri 1 Lintau Buo. The type of research used is qualitative research with a descriptive approach. The research instrument is the researcher himself and is assisted with supporting tools such as stationery and cameras. Data collection techniques include observation, literature study, interview and documentation study. The steps of analyzing data are, data reduction, data presentation, and conclusion. The results showed that the implementation of cultural arts (theater) learning activities in class XI Social Studies 3 SMA Negeri 1 Lintau Buo using the 2013 curriculum was not in accordance with the syllabus and Learning Implementation Plan (RPP) designed by cultural arts (theater) teachers in grade XI IPS 3 at SMA Negeri 1Lintau Buo, thus impacting on the lack of understanding of students about theatrical arts performances in accordance with the techniques and procedures for designing theatrical arts performances. In order to achieve learning objectives and learning outcomes, teachers must pay attention to the syllabus and Learning Implementation Plan (RPP) that has been designed and can be applied to the learning implementation process regarding the performance of theater arts.
Performing Arts Management System of Sanggar V Tunang in Padang City in Organizational Governance and Marketing Hafizatul Ismi; 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.v1i3.70

Abstract

This study aims to explain and describe the Management System of Performing Arts Sanggar V Tunang in Padang City in Organizational Governance and Marketing. This type of research is qualitative research using describing techniques. The researcher is the primary instrument in this study, with the aid of stationery and cameras as supporting tools. Primary data and secondary data are the two types of data used. This study used a variety of methods to collect data, including observations, interviews, documentation, and literature reviews. using data analysis methods, data presentation and drawing conclusions/verification. This result shows that Sanggar V Tunang has a single leadership management system, in its implementation leaders who have been selected and determined have responsibilities when there is an event or not. The management system rests on organizational governance management and marketing management. Sanggar V Tunang uses its organizational governance by selecting 7 leaders (core dancers) who have covered all jobs and each leader has their own responsibilities in a predetermined position. Marketing activities carried out by studio V Tunang are by promoting through social media such as Instagram, Facebook, and TikTok. Sanggar V Tunang also collaborates with several aisles in Padang City. The target of pamasaran at Sanggar V Tunang is wedding events, government events, community events and others.
A Creative Approach to Creating Children's Dance: Fan Dance at Sanggar Galatiak Pitameh, Padang City Adinda Rahmasari Putri; Darmawati
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.v1i3.73

Abstract

This research aims to describe the Creative Approach to Creating Children's Dance: Fan Dance at the Galatiak Pitameh Studio, Padang City. This type of research uses a descriptive method of qualitative research. The object of his research is the Fan dance at the Galatiak Pitameh studio in the city of Padang and is focused on a creative approach to its creation. Data collection techniques are library techniques, observation, interviews, and documentation. The results showed that the creative approach to creating the Sanggar Galatiak Pitameh Fan dance has three stages, (1) The exploration stage, namely the stage that has a sense of sensitivity to objects, by listening to music that has been chosen as accompaniment to the Fan dance. (2) The improvisation stage, namely the power of imagination and thinking power to concentrate on objects, in broader improvisation develops the power of imagination that has been obtained in the exploration process. Carrying out spontaneous movements that arise from self-awareness, using free movements in using a fan as a property, by showing happy facial expressions. At this stage, the results of the search for motion are directly practiced by the dancers, but in the process, the little dancers also have creative power. Of them have a spontaneous response to the motion given so that it is more varied in nature. (3) Formation stage, that is, the climax process of the formation stage which means it has been completed, changing the form of movement from the previous stages, then trying to form the movement into a complete dance movement.
Choreography of Hoyak Baindang Dance in Sanggar Abai Sakato Nagari Abai, Sangir Batang Hari District Maghdalena Tri Jureta; 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.v1i3.76

Abstract

This study aims to reveal and describe the results of the presentation of Hoyak Baindang Dance Choreography art at the Abai Sakato Art Studio in Nagari Abai, Sangir Batang Hari District by using qualitative research which proposes a descriptive method. To collect research data, observations, interviews and documentation must be carried out. The object of this research is the Hoyak Baindang Dance and this research shows how the dance movements have Minang Malay movements which are firm and also contain Malay elements. The movement that comes to mind in the choreography's imagination is also stimulated by the expression and enthusiasm produced by the choreography. In the movement there is also music and also the spirit of the dancers in bringing the atmosphere that is in the Hoyak Baindang dance, the property in this dance also uses a small tambourine which is played by the dancers, and still follows Islamic law "Adat Ba Sandi Syarak, Syarak Ba Sandi Kitabullah”.
Perceptions of Male Students in Learning the Art of Dance at SMA Pembangunan Laboratorium UNP Rizka Janarsi; 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.v1i3.80

Abstract

The purpose of this study was to determine the perception of male students about dance learning at UNP Laboratory Development High School. This type of research is qualitative research using descriptive methods. The researcher himself is an instrument that carries out the process of planning, implementing, collecting data and communicating research results. Data were collected through observation, interviews, literature studies and documentation. Data analysis is carried out starting from data collection, data reduction, then data presentation then finalization and verification. The results proved that the understanding of male students of UNP Laboratory Development High School about dance learning is quite low, there are weaknesses that need to be improved, namely student interest in learning dance, teachers must pay more attention to the methods used and provide understanding to students, especially male students that male students can dance.
The Existence of The Dance Piriang Pijak di Ateh Galeh in Nagari Unggan, Sumpur Kudus District, Sijunjung Regency Niken Ayu Astuti; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.72

Abstract

The purpose of this research is to find and explain the existence of Piriang Pijak Dance in Ateh Galeh, which is located in Nagari Unggan, Sumpur Kudus District, Sijunjung Regency. In this case, the researcher used qualitative data as a research tool. Data were collected through literature studies, observation, interviews, and documentation studies. The data analysis technique consisted of the process of organizing, finding patterns, and developing themes that emerged from the data. The analysis was conducted inductively to gain an understanding of the meaning and interpretation of the data. The results showed that Piriang Pijak Dance exists in Ateh Galeh in Nagari Unggan, Sumpur Kudus District, and Sijunjung Regency. The government and the community use it for circumcision events, weddings, niniak mamak events, and other cultural arts festivals. Piriang Pijak dance in Ateh Galeh is a tradition of the Nagari Unggan community in Sumpur Kudus District, Sijunjung Regency, which is recognized for its existence.
The Meaning of Welcoming Dance in Ijab Qabul Procession in Talang Bunut Village, Amen Sub-District Lebong Regency Bengkulu Provision Aninda Nissafitri; Darmawati
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.81

Abstract

The purpose of this study is to describe the Meaning of Welcoming Dance at the Ijab Qabul Procession in Talang Bunut Village, Amen District, Lebong Regency, Bengkulu Province. This type of research is qualitative research with descriptive methods. The researcher's own research instruments and assisted by supporting instruments in the form of writing, cameras or mobile phones, and flash drives. Data collection techniques are carried out through literature studies, observations, interviews, and documentation. The steps in analyzing data include data reduction, data presentation, and conclusions. The results revealed that the Welcoming dance in the ijab qabul procession has the meaning of maintaining the security of the bride and the location of the event from all forms of unwanted disturbances. Textually, the meaning of the Welcome Dance, namely: (1) Preparation movements as a form of readiness to welcome guests. (2) The motion of starting to dance shows the dancer starting to greet guests. (3) The motion of presenting betel as a symbol of the custom of welcoming guests. (4) The gesture of giving a shawl means that the groom has been well received by the bride's family. (5) The motion to pave the way means that the bride's family has received the groom's goodwill. (6) Return to position means ensuring the event location is safe. (7) The gesture of sitting as a salute to welcome guests. (8) The gesture of giving way means giving way to the groom to carry out his good intentions. (9) Jang Pat Petulai silat movement means ensuring the security of the event location. (10) Sowing motion.
Analysis of Pasombahan Kreasi Dance Movements in Bangkinang Sub-District Kampar Regency City, Riau Province Laras Tri Andini; Darmawati
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.82

Abstract

The purpose of this study was to find and describe the Pasombahan Kreasi Dance Motion Analysis in Bangkinang Kota District, Kampar Regency, Riau Province. This type of research is qualitative, using descriptive methods. The instrument in this research is the researcher himself and is assisted by supporting instruments such as stationery, flash discs, and mobile phones. Data collection techniques are done through literature study, observation, interviews, and documentation. The steps in analyzing data include data reduction, data presentation, and conclusion drawing. The results showed that the movements in Pasombahan Dance consisted of four names for various movements, namely sombah, punte tali bowuok, klenjek, and sendeng. But in each part of the movement, there are several more parts with a total of 17 motion motifs, but with different counts. Pasombahan dance analysis is seen from the perspectives of space, time, and energy. The element of space in each Pasombahan dance uses a dominant straight line and a right diagonal line. The dominant volume in Pasombahan Dance is medium and small, facing towards the front and towards the front right diagonal. The level contained in the Pasombahan Dance is medium and high in each motion motif, with the focus of the head towards the front and towards the hand movements. The time aspect of this Pasombahan dance has a slow tempo in the sombah movement, while the rest uses a fast tempo. As for the energy element, the ending increases the intensity.
The Religious Value of Kuda Kepang Dance at The Centre of Wiasa Budaya Dance Rehearsal in Talang Benih Village Nada Cania Haryati; Darmawati
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.83

Abstract

This article aims to reveal the Religious Values of the Kuda Kepang Dance at the Center for Wiasa Budaya Dance (PGTWB) in the Talang Benih sub-district, Kab. Lebong Rejang. This type of research is a qualitative research with a descriptive approach. This research was conducted at the Center for Wiasa Budaya Dance Center in the Talang Benih Village. The main instrument in this study was the researchers themselves who were assisted with stationery, gadgets, cameras. Data collection was carried out through literature, observation, interviews, and documentation. Data analysis was carried out using qualitative techniques. The steps include: Data description, data reduction, and conclusion drawing. The results of the research show that the Kuda Kepang dance at the Wiasa Budaya Dance Center contains religious values. The religious value in the Kuda Kepang Center for Cultural Wiasa Dance can be seen in its origin, presentation and supporting elements. Such as dancers, costumes, musical accompaniment, props and venues. In this art, religious values that support people's beliefs can be seen when dancers experience trance and perform attractions beyond human capabilities, such as eating glass, eating roses, and eating living blood. It can be concluded that the Kuda Kepang dance at the Center for Wiasa Budaya Dance contains a very high religious value.
Character Formation of Anak Sasian in Silek Pauh at Singo Barantai Lubuk Lintah, Kuranji District, Padang City Syafitri, Mahdalena; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 1 (2024): February
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i1.85

Abstract

This study aims to describe and discuss the Character Formation of Sasian Children in Silek Pauh at the Singo Barantai Lubuk Lintah College, Kuranji District, Padang City. This research method uses a type of qualitative research with a descriptive analysis approach. The main instrument in this study was the researcher himself who was assisted with supporting tools such as cellphones, stationery and cameras. Types of data using primary data and secondary data. The informants in this study were silek teachers and sasian children. Data collection techniques were carried out by means of literature study, observation, interviews and documentation. Techniques for analyzing data use steps in the form of data collection, data reduction, data presentation and verification/conclusion. The results of this study reveal that the formation of the character of the sasian children in silek pauh at Singo Banantai college is through a training method and process in which the teacher/trainer explains the relationship between philosophy and adap in the basilek and the relationship between the attitude of motion and the philosophy of silek movement, in addition, the process of forming the character of the sasian child starting from the process of arrival of the children until the completion of training. From the training process there are several characters that must be instilled in Sasian children, namely fair, honest, polite and civilized, sporty, tough and courageous, responsible and respectful. With the formation of the character of Sasian children, they can form generations that are useful for both the family environment, society and the country.

Page 5 of 13 | Total Record : 122

 3   4   5   6   7 

Filter by Year

2023 2025


Reset
Filter By Issues
All Issue Vol. 3 No. 2 (2025): June Vol. 3 No. 1 (2025): Februari Vol. 2 No. 3 (2024): October Vol. 2 No. 2 (2024): June Vol. 2 No. 1 (2024): February Vol. 1 No. 3 (2023): October Vol. 1 No. 2 (2023): June Vol. 1 No. 1 (2023): February