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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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Students' Perception of Blended Learning in Cultural Arts Lesson at SMA Pertiwi 1 Padang Nindi Aulia Safira; Indrayuda
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.125

Abstract

The purpose of this study was to determine students' perceptions of blended learning in dance subjects at SMA Pertiwi 1 Padang. The type of research is qualitative with a descriptive method. The research instrument is the researcher himself, assisted by supporting instruments such as stationery and cameras. The data used are primary and secondary data. The data collection techniques were carried out through observation, interviews, literature study, and documentation. The steps for analyzing data in this study are data reduction, data presentation, and conclusion drawing. The results showed that students' perceptions of blended learning in dance lessons were "not good."  In cultural arts lessons in blended learning at SMA Pertiwi 1 Padang, it shows that students prefer face-to-face learning, even though the time allocation is reduced to 2x30 minutes. This is because cultural arts (dance) lessons have more practice than theory. It can be seen from the evaluation indicators in dance learning at SMA Pertiwi 1 Padang in class XI IPS. Students prefer direct or face-to-face learning rather than online learning because cultural arts subjects require more practice than theory. Therefore, learning the blended learning model makes student motivation decrease, so that learning achievement in cultural arts (dance) subjects is less achieved. Students underestimate the learning of cultural arts (dance).
Inheritance of Benten Dance in Laban Kenagarian Salido Village Subdistrict IV Jurai Pesisir Selatan District Putri Septia Maharani; Nerosti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.126

Abstract

This study aims to describe and discuss the Benten Dance Inheritance System in Laban Village, Salido Kanagarian, IV Jurai District, Pesisir Selatan Regency. The type of research used is qualitative with an analytical-descriptive method. The research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. The data in this study used primary and secondary data. Data collection techniques are carried out by means of literature study, observation, interviews, and documentation. The steps of analyzing data are data reduction, presenting data, and drawing conclusions. The results showed that the form of inheritance of Benten Dance in Kampung Laban Kanagarian Salido District IV Jurai South Pesisir Regency uses a closed and open inheritance system. The closed inheritance system is carried out by passing on to descendants who have blood relations with the inheritors of Benten dance only. The open inheritance system is carried out by teaching directly to the community either individually or in groups who want to learn benten dance, but must fulfill several predetermined conditions. The weakness of the closed system is that the inheritors of this dance will decrease so that in the long run it could be that this Benten dance will disappear or become extinct. Open inheritance is carried out so that this dance can be preserved in the community and people who learn this Benten Dance really get knowledge and can benefit themselves and others. With the changes that occur in the Benten Dance inheritance system from a closed inheritance system to an open inheritance system, this Benten Dance can still have heirs and can be learned by anyone, both people in Laban Village and people outside Laban Village.
Application of the Kirkpatrick 4-Level Evaluation Model in Learning Cultural Arts (dance) at Xavier Catholic High School During the Covid-19 Pandemic Sri Sinta Lufianti Bago; Fuji Astuti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.127

Abstract

This research aims to assess and describe the application of the Kirkpatrick 4-level evaluation model in learning cultural arts (dance) at Xaverius Catholic High School Padang during the COVID-19 pandemic. This type of research is an experimental study using the Kirkpatrick 4-level evaluation model. The population in this study were all XII grade students at Xaverius Catholic High School Padang, totaling 36 students. The data instrument used in this research is a questionnaire. This study uses the Kirkpatrick 4-Level Evaluation Model, in which each level has a way or technique for data collection. The data were analyzed using the percentage formula. The results of Level 1 research reaction with a questionnaire instrument with the acquisition of the average experimental class XII-IS (88.75) very good/satisfying category and the XII-MIA control class (85) very good/satisfying category Level 2 Learning: The results of the pre-test carried out by the experimental class XII-IS (72.25) category are quite good; the control class XII-MIA (76.25) category is good. Level 3 Attitude / Behavior (Behaviour) Experimental class XII-IS (62.5) good category, control class XII-MIA (92.5) very good category. Level 4 results: psychomotor skills owned by students from the experimental class XII-IS (76.87) are in the good category; control class XII-MIA (90.93) is in the very good category.
The Creative Process of Choreographing Galombang Dance by Citra Kembara Studio Padang City Kasi Amanda; Susmiarti
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.128

Abstract

This research aims to describe and describe the creative process of choreographing Galombang dance in Citra Kembara Studio in Padang City. This research uses descriptive method of qualitative research. The object of research is Galombang dance in Sanggar Citra Kembara Kota Padang and focused on the creative process of its choreography. Data collection is done through literature study, observation, interviews and documentation.  With the results of interviews and documentation can determine data analysis by using triangulation techniques that the results of observations can be compared. The results of the research as a whole illustrate that Galombang dance is performed in groups, with 11 dancers (4 men, 7 women), where the function of Galombang dance is to welcome guests and is performed in an open field. Galombang dance is danced by teenage and adult dancers ranging in age from 18-30 years. The creative process of choreographing Galombang dance at Citra Kembara Studio in Padang City is formed from the following stages:  (1) Exploration Stage, (2) Improvisation Stage, (3) Formation Stage. The description and description of this Galombang Dance of Citra Kembara Studio are; (1) Galombang dance form consists of ideas, dancers, and movements, (2) Galombang dance parts consist of the beginning, middle, and end parts, (3) The names of Galombang dance movements are Gerak Sambah I, opening movements, sambah II movements, welcome movements, thank you movements, creation movements, and siriah serving movements, (4) Musical Instruments used bansi, drums, sarunai, tasa, and talempong, (5) Makeup used beautiful makeup for women natural makeup for men. Galombang dance costumes for women use baju kurung, songket skirt, ikat pingang, and shawl, while for men black silat clothes, black pants, sideways. Head makeup for women: sunting, bamboo skewers, bun caps, lame, laca, flowers, necklaces. Men only wear destar. The property used in Galombang dance is Carano.
The Effect of the1Use of Audio-Visual Media on Learning Outcomes of Cultural Arts (Dance) Class XI Students at SMA Negeri 9 Padang Muthia Annisa; Yuliasma
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.129

Abstract

The purpose of this study was to see and describe the influence of the use of audio-visual media on the academic achievement of grade 11 Cultural Arts (Dance) students of SMA Negeri 9 Padang. This type of research is experimental research. The population of this study is all students of SMA Negeri 9 Padang class XI science and social studies for the 2021/2022 academic year who are active in Semester 2 (up to) with a sample of 72 people from XI IPA3 and XI IPA5. The instrument in this study is in the form of an objective written test. Primary data and secondary data were used in this research material. Data collection techniques include tests (pre-test and post-test), observation and documentation. The material is analyzed using comparative test techniques to obtain average learning outcomes according to the T-test formula. The results of the study illustrate that during the same semester at SMA Negeri 9 Padang, the use of audiovisual media in dance education had a significant influence on the academic achievement of students in the field of cultural arts. It can be seen from hypothesis testing with a significance value of 0.000 and alpha (confidence level) of 0.05. From the average learning outcomes of the experimental class of 87.36 while the average learning outcomes of the reference class were 77.77. Then the difference between the experimental class and the control class is 9.95. The t-test value was calculated > ttabel (6.203>-1.799). So it can be concluded that the average difference between students who use audiovisual media and traditional media is 9.95 and the t test is (6,203>-1,799).
Preservation of Salapan Dance in Rabi Jonggor Kenagarian, Gunung Tuleh District, West Pasaman Regency Dona Indriani; Herlinda Mansyur
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.130

Abstract

This study aims to reveal and describe the efforts to preserve Salapan Dance in Kenagarian Rabi Jonggor Gunung Tuleh District, West Pasaman Regency. The type of research is qualitative with descriptive methods. The research instrument is the researcher himself, with the help of supporting tools such as stationery, a camera, and a flash drive. Data collection techniques were carried out by means of literature study, observation, interviews, and documentation. The steps of data analysis are data collection, data reduction, and data conclusion. The results showed that the Salapan Dance preservation efforts collaborated with Sangar Tari Paraman Saiyo and the people of Kenagarian Rabi Jonggor, Gunung Tuleh District, West Pasaman Regency. Salapan dance training in the studio has increased the number of performers, and the dance coaching is going well. So now Salapan Dance has a successor generation to maintain the existence of Salapan Dance. This Salapan dance has a positive impact and can be accepted by the community because many of the dance performers are community members. The impact learned in this Salapan Dance is that those who previously did not understand dance can now dance a dance that is taught, namely Salapan Dance.
"Tu Teh Ro" Fauza, Fauza Abdillah; Syeilendra
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.131

Abstract

This artwork aims to introduce to the wider community that Bacenang Art exists in Nagari Sinuruik, Talamau District, West Pasaman Regency. In the preparation of the work "Tu Teh Ro" is lifted from a pattern that exists in the art of bacenang, because this cenang is the core of an art. The author tries to apply the activities that existed at the time of bacenang art and mixed traditional art with a combination of modern instruments in the performance of the work. Tu Teh Ro's work is a complete work with a presentation of the development of the cenang rytem pattern which is worked in such a way that it is made into a new compositional form. This bacenang art is part of traditional arts that grow and develop in the Minangkabau community, especially in Sinuruik, Talamau District, West Pasaman Regency. The idea of developing rhythmic patterns that are developed into a form of new musical composition work that is mixed or collaborated with modern musical approaches. This artwork uses the method of improvising funk style music. By developing a rhythmic pattern and using improvisational methods, this approach will be worked into a form of musical composition with a new presentation.
Pangaranto Sailaon as an Expression in Karaya Music Gabriella; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Although Batak socio-cultural changes in overseas can be distinguished, they are difficult to separate. Change, social refers more to changes in structure, while cultural change is more oriented towards changes in the thinking system of the community. Given that human life is shrouded in culture, culture itself is created and developed in social life. Therefore, cultural change is not something that needs to be mourned or prevented. Cultural change must be observed in terms of meeting the needs of the Batak community itself, so cultural change will always take place, along with social changes themselves. From the idea of composite cultivation the author does not talk about the course of events about Batak culture assimilating with other cultures, because each ethnicity has its own identity and characteristics, but provides one of the offers in sound language to express the expression of "emotions" of Batak people in a new environment, where Batak people meet the needs of life about a form of togetherness, tolerance, mutual assistance and mutual respect. Fundamentally, the author assumes that responding to the above phenomenon with sound events, ideally can be elaborated through the embryo of Batak tradition music and ethnic music in the Batak community.
Classic Performing Arts Supply Chain Modeling in Covid 19 Protocol to Support D.I Yogyakarta Cultural Tourism Using Soft System Methodology Indrayana, Masrul
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.135

Abstract

The performing arts are a unique and complex industry. To enjoy performing arts products, a customer must come to the rooms where the performance takes place. Performance products can be categorized as service products that do not have a physical form. Every performing arts performance always involves many works of art with a high level of coordination. The flow of materials and information (supply chain) moves very quickly within the limitations of space and time. Because the success of performing arts is influenced by many factors and actors, a performing arts manager must be able to manage the performing arts supply chain well.The Corona Virus Disease 19 (Covid-19) pandemic which has hit almost all corners of the world has formed new patterns of human behavior in working and interacting. Likewise, organizing and enjoying performing arts will look different compared to before the Covid-19 outbreak. The implementation of health protocols is needed to minimize the spread of the virus which has infected more than 13.2 billion people throughout the world.The performing arts supply chain policy model in the Covid-19 protocol to support cultural tourism in D.I Yogyakarta can be implemented by following the Joint Decree Guidelines of the Minister of Education and the Minister of Tourism and Economy dated 02 July 2020. Each actor must pay attention to the technical guidelines for preventing and controlling corona virus disease 2019. Each actor guarantees the hygiene of their respective performing arts equipment. Each actor maintains the form and duration of physical contact and pays attention to health protocols in activities throughout the performing arts supply chain. The performing arts model during the pandemic is realized in regulations that are in accordance with the technical guidelines for preventing and controlling the 2019 corona virus disease.
REJUNG BEGADISAN Kurniawan, Rahmad; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.136

Abstract

The purpose of creating works of art is that the artist creates new musical compositions that originate from phenomena that occur in girl culture. Rejung Begadisan's work focuses on cultivating the phenomenon of the Serawai community into sound cultivation in bringing out the atmosphere, emotions and cultural values. Creativity in the cultivation of this work uses several stages, namely: exploration, improvisation, and composition. The preparation process is carried out by applying the preparation and cultivation of elements expressed through the creativity of musical composition. In the presentation of rejung begadisan interprets moral messages such as "good when getting, sad because you have to let go" as a benchmark in the work of rejung begadisan. This artwork is in the form of a musical composition inspired by the tradition of begadisan where the artist interprets it into a form of musical composition that adopts rejung art as a musical idiom.

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