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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Journal of Urban Society´s Arts Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang JURNAL PENDIDIKAN TAMBUSAI International Journal of Elementary Education Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni International Conference on Languages and Arts Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan
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Prodi Pendidikan Sendratasik, Universitas Negeri Padang
Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Mathematics Public Health Social Sciences Other

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Tari Galombang di Minangkabau Menuju Industri Pariwisata Adnan, Nerosti
Journal of Urban Societys Arts Vol 13, No 2 (2013): Oktober 2013
Publisher : Institut Seni Indonesia Yogyakarta

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

Abstract

Tari Galombang merupakan tari tradisional Minangkabau yang selaludipersembahkan sebagai tarian penyambutan tamu dalam berbagai upacara adatMinangkabau, seperti penobatan Penghulu (kepala suku), pernikahan, turun mandi,dan alek nagari. Semula ditarikan oleh puluhan laki-laki dengan bergaya pencaksilatyang disebut juga silek galombang. Dalam perkembangannya, Tari Galombangdominan ditarikan oleh perempuan dengan bermacam-macam kreativitas sehinggamemunculkan satu koreografi baru, baik dari aspek penari, gerak, pola lantai, musik,properti, dan kostum serta rias, namun masih tetap menampilkan simbol-simbolestetika adat Minangkabau. Perubahan dari segi teks dan konteksnya merupakandampak pariwisata sejalan dengan teori Maquet (1980) yang mengategorikan duabentuk produksi seni, yaitu art by destination dan art by metamorfosis. Kajian inimembahas kedua konsep tersebut dengan merujuk pada kriteria yang dikemukakanoleh Soedarsono (1994) bahwa produk seni yang sesuai dengan kondisi pariwisataadalah: bentuk miniatur, tiruan, penuh variasi, tidak sakral, dan singkat durasipelaksanaannya. Bentuk tari demikian sekarang berlangsung dalam masyarakatMinangkabau di kota Padang. Galombang Dance in Minangkabau Goes to Tourism Industry. GalombangDance is a traditional dance of Minangkabau which is always offered as a welcome dancein a variety of Minangkabau traditional ceremonies, such as the coronation of headman(chieftain), marriage, turun mandi, and alek nagari. Originally, it was danced bydozens of men with pencak silat style which was also called Silek galombang. During itsdevelopment, the galombang dance is performed by women with a variety of creativitiesperforming a new choreography - both from the dancers, movement, floor patterns,music, properties, and costumes and makeup - but still displays symbols of Minangkabautraditional aesthetics. The changes on text and its context, in terms of the impact oftourism which is in line with the theory of Maquet (1980), categorize the two forms ofart production, such as art by destination and art by metamorphosis. This study discussesboth these concepts by referring to the criteria proposed by Soedarsono (1994) that the artproducts which are tailored for tourism are: miniature, imitation, full of varieties, notsacred, and short duration of its implementation. Thus, these dance forms are taken placerecently in Minangkabau society in Padang
KOREOGRAFI DI MALAYSIA DALAM KONSEP MULTIKULTURAL: KAJIAN KASUS PROGRAM MINOR SENI TARI UPSI Nerosti, Nerosti
Humanus Vol 14, No 1 (2015)
Publisher : Pusat Kajian Humaniora FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (605.612 KB) | DOI: 10.24036/jh.v14i1.5402

Abstract

This study used a descriptive method with qualitative approach by studying the library, (library research), observation, and interviews, as well as using the theory of choreography. The research findings prove THAT seventeen works of Minor Dance students have met the elements of choreography as follows: (a) selecting a theme or idea of arrangements through the initial stimuli, ie stimulus ideas, kinesthetic, auditory and visual. (b) exploration and improvisation, (c) smoothing and composition. Elements of composition has also been described, which include: (1) the structure of arrangements; (2) dancers’ motion and passage; (3) the pattern of the floor; (4) music and lighting; (5) costumes and make-ups.The study also found that the students’ eleven dances have applied the concept of multiculturalism in ethnical and classical themes. Multiculturalism is understood as various ethnic diversity and distinctiveness, reflected in the work of each indibiduals that are limited by the historical and social context, as well as local culture, including ethnic Malay, Minangkabau, Javanese, Sabah and Sarawak, Kelantan, India, and China.Keywords: multiculturalism, dance as Minor Learning, and choreography
UPAYA PELESTARIAN TARI DAMPIENG SALENDANG DI KECAMATAN KOTO XI TARUSAN PESISIR SELATAN Maulidya, Rizki Iasha; Nerosti, Nerosti
SENDRATASIK UNP Vol 8, No 2 (2019): Seri A Desember 2019
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/jsu.v8i2.106688

Abstract

Abstract This study aims to describe the efforts to preserve Dampieng Salendang dance in Koto XI Tarusan district. This type of research was qualitative that produced descriptive analytical data. These types of data used both primary and secondary data. The main instrument in this study was the researcher and it was assisted by using supporting instruments such as stationery, photo camera and video camera. Techniques ofdata collection were carried out bytaking literature study, involved observation, interviews and documentation. Techniques of data analysiswere done by collecting, describing and making data conclusions. The result shows that theDampieng Salendang dance is a traditional dance that is only performed on a wedding party for the descendants of the princesses in Koto XI Tarusan district. Its development is halted along with the extinction of the royal system in Indonesia. So, an effort is made to preserve theSalendang Dampieng dance. The efforts that have been made in this study are: (1) Training and (2)Dance Performance of Dampieng Salendangin Nagari Nanggalo, Koto XI Tarusan district. The steps for conducting the training are: (a) Making an agreement with the owner of Dance or daughter of Puteri Darna. (b) Arranging the movements of theDampieng Salendang dancein the form of welcoming marapulai, (c) Training of theDance at the Dampieng Pucuak SalendangRabuang Studio. Meanwhile, theDampieng Salendang danceis Performed at the Nagari Nanggalo community wedding party in Koto XI Tarusan district on August 18, 2019. The conclusion of the study proves that theDampieng Salendang dancecan now be accepted by the community in the form of preservation which is carried out in the form of training and performances, which can be displayed and used for a community wedding party event generally in the Koto XI Tarusan district eventhough they are not the descendants of Raja Tarusan.  Keywords: Conservation effort,dance Dampieng Salendang, Puti-puti descendant, Koto XI Tarusan
TINJAUAN KOREOGRAFI TARI SELENDANG DULANG DI SANGGAR ANGGAR NAN TUJUAH KECAMATAN KOTO XI TARUSAN PESISIR SELATAN Rahayu, Ella Saimedita; Nerosti, Nerosti
SENDRATASIK UNP Vol 8, No 2 (2019): Seri A Desember 2019
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/jsu.v8i2.106706

Abstract

Abstract This study aims to analyze the Selendang Dulang Dance Choreography in Sanggar Anggar Nan Tujuah, Koto XI Tarusan District, Pesisir Selatan Regency. This type of studywas qualitative with using analytical descriptive methods. The main instrument was the researcher and is was assisted by using supporting instruments such as stationery and camera. The data used in this study wasprimary and secondary data. Techniques ofdata collection were carried out by taking literature study, observation, interview and documentation. Techniques of data analysis were done by collecting, describing and making data conclusions. The result shows that the dance arrangement performed by choreographer Ramadhani is very clear both in terms of motion, floor design, top design, group composition, dancers, music, property and costume. The aspect of space with a large volume with the name of the motion are Manaiakan Padi Kaunggua, Bajalan di Ateh Pamatang, Mambantiang Kain. On a small volume there is the motion names likeMangirai Kain, Mangayak Padi, Buai Buai, Anak Main, Manokang Padi. Arah is facing forward on the motion ofSerak Baniah, Buai Buai, anak main, Manjulang padi, Manokang Padi.Rotating motion there is the name ofAlang Babega, Puta Alang Babega. Themiddle level is contained on the motion AlangBabega, Dayuang SuokKida, Puta AlangBabega, Maragang kain, Rantak Cupu Manampi padi, Lenggang Karaia, MangipehPadi, Scatter Baniah.Thehigh level is found in the movements of Alang Babega, Manaiakan Padi, Kaunggak, Buai Buai Manjulang Padi.Meanwhile, the low level of Dayuang Suok Kida, Mangirai Kain, Mangayak Padi. In aspects of time there are tempo and rhythm that are found in the movement ofDayuang Suok Kida, Puta Alang Babega, Maragang Kain, Mambantiang Kain.Theslow tempo is found in the movements of Alang Babega and Sembah Penutup. Thehigh rhythm, there are names of Rantak Cupu, Manampi Padi,Lenggang Karaia, Manaiakan Kaunggua padi, Baniah Serak, Buai Buai, Anak Main, Manjulang Padi, Manokang Padi. The Selendang Dulang dance floor design consists of curved straight lines, straight lines that form triangles, zig zags, rhombus, and diagonal lines. The curved line floor design forms a full circle and half circle. Overall choreography, especially in energetic dance movements with maximum use of space and energy, through delayed design with shawl and dulang property, is very harmonious accompanied by the gandang tambua and tasa musical instruments that play an important role in the Selendang Dulang Dance choreography.Keywords: Choreography, Selendang Dulang Dance, Sanggar Anggar Nan Tujuah, Koto XI Tarusan District
BENTUK GARAPAN TARI PIRING LAMPU TOGOK KREASI SANGGAR LUBUAK NAN TIGO KOTA SOLOK Izaty, Rahmi; Nerosti, Nerosti
SENDRATASIK UNP Vol 8, No 1 (2019): Seri C. September 2019
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/jsu.v8i1.105420

Abstract

AbstractThis study aims to describe and analyze the forms of creation of Tari Piring Lampu Togok at Lubuak Nan Tigo Studio.This type of research was qualitative research with descriptive analytical methods. The main instruments in this study were the researchers themselves and assisted with supporting instruments including stationery, photo cameras and video cameras. The type of data used primary data and secondary data. Data collection techniques were carried out by means of library studies, observation, interviews and documentation. The steps in analyzing data were collecting the data, analyzing data, describing data and makingconclusions.The results of the study showed that the Tari Piring Lampu Togok was a creative dance by Lubuak Nan Tigo studio, arranged based on the dance movements of the traditional Tari Lampu Togok. The creation of the dance production resulteda quality form of work, including: (1) Motion, consists of: (a) opening motions are anta lampu,puta duduak, tagak itiak, duduak maagah piriang, pitungguang ayun piriang, then (b) core movements are ramo-ramo bagaluik, tupai bagaluik, tusuak muko balakang, usuak bawah ateh, simpia tagak, ayun rang mudo, tusuak mangayun, tupai bagaluik jantan, lenggok basamo, tusuak baganti, piriang manabeh tagak, piriang manabeh duduak, langkah puta ramo-ramo, tusuak sasampiang, simpia duduak, ayun ampek panjuru, next (c) the closing motion isputa habih. (2) Varied floor patterns, namely diagonal, triangle, letter V, letter W, circle and horizontal. (3) Accompanying music uses a musical instrument called tambua, talempong, canang, tasa, bansi, sarunai. (4) male dancers weartaluak balango, galembong pants, deta wrapped in batik cloth andsongket Silungkang and  the costumes for female dancers wear baju kurung, pants, songketSilungkang, and tanduak wrapped in songket. (5) Female dancers wear beautiful makeup and male dancers wear foundation and powder only. (6) Dancer consists of 6 people;3 female dancers and 3 male dancers.Dancers are able to express their movements by maintaining balance and compactness swiftly so that Lampu Togok stands firmly on the headduring the performance. (7) Property is Lampu Togokitself which used to be a light for the community. The lights are turned on using kerosene.The balance ofTari Piring Lampu Togoksymbolizes caution in facing opponents and living life. The compactness of the Tari Piring Lampu Togok symbolizes the community and togetherness in living life. Keyword: Solok, Lubuak Nan Tigo Studio, Tari Piring Lampu Togok, Form of Creation.
BIOGRAFI MADALI SYA’BAN SEBAGAI TOKOH TARI DI BENGKULU SELATAN Cindhy Pospita Wati; Afifah Asriati; Nerosti Nerosti
SENDRATASIK UNP Vol 7, No 3 (2018)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (527.431 KB) | DOI: 10.24036/jsu.v6i2.10258

Abstract

Abstract The research was distributed by Madali Sha'baan as a dance that already work in introducing dance from South Bengkulu. This research aims to disclose and describe the biography in the course of artistic activity as a dance of Sha'baan Madali in South Bengkulu. This type of research is qualitative research with a diakronis approach and method of history (historical). The object of the study is as a character through Madali dance in South Bengkulu. The research instrument was its own researchers and supporting instruments such as assisted with photo camera, digital camera, stationery and audio conversation tool. The type of data in this study is the primary data and secondary data. Engineering data collection done by the study of librarianship, observation/observation, interview and documentation. Processing of data is carried out by means of an interactive analysis. The results showed that the character is a choreographer of Sha'baan Madali acknowledged. Its action in the archives starting from 1994 to the present and has earned an award from the Government of the province of Bengkulu as choreographed dance in 2008. He was born by the family of the artist's background, but with his creativity he is capable of working in the world of dance in South Bengkulu. Dance works that are already created by Madali Sha'baan can be distinguished into two forms of paper, namely: (1) traditional dance. (2) Dance creations. Works on motion of Sha'baan Madali tradition Dance Andun and based on the phenomena of society South Bengkulu. With both categories works Madali Sha'baan have managed to introduce the arts of the South Sumatra especially the art of dance to the public. Keywords: biography, Madali Shya'ban, Character Dance
Tari Rentak Kudo Dari Ritual Panen Ke Hiburan Di Desa Tanjung Sungai Penuh Yedes Ratmi; Nerosti Nerosti
SENDRATASIK UNP Vol 10, No 3 (2021)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (786.949 KB) | DOI: 10.24036/js.v10i3.114480

Abstract

This study aims to analyze the change in the function of Rentak Kudo Dance from harvest rituals to entertainment in Hamparan Rawang Subdistrict, Sungai Penuh City. The analysis focused on Rentak Kudo dance performances in entertainment events at weddings. This type of research is qualitative with descriptive analytical methods. The object of the research is Rentak Kudo Dance in Hamparan Rawang Subdistrict. The main instrument is the researcher himself who assisted with the tool in collecting data in the field in the form of stationery and photo cameras. Data collection techniques in the form of literature studies, observations, interviews and documentation. Data analysis techniques are by collecting data, analyzing data, sorting the appropriate data changes in the function of Rentak Kudo Dance and then describing the appropriate issues discussed. The results of the study that Rentak Kudo Dance used to be displayed at the harvest ritual event in Hamparan Rawang Kota Sungai Penuh, with certain requirements both choose dancers 6 women and 6 men, the floor pattern is only a straight line, and the music pegiring Dance Rentak Kudo used only tambourines only. Dancers are also obliged to perform rituals of flowers, oranges and frankincense. The offering is paired with the body of a dancer. As for the change in the function of Rentak Kudo Dance as entertainment at the wedding in the evening, the performance of Rentak Kudo Dance undergoes a change in mass form with the accompaniment of remix/ DJ music with a single organ. This dance has undergone very different changes that are social and entertainment, which are popular among the local community.
Pelatihan Kegiatan Pengembangan Diri Tari Indang Di SMK Negeri 3 Padang Firmadanni Liska; Nerosti Nerosti; Desfiarni Desfiarni
SENDRATASIK UNP Vol 9, No 4 (2020)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (362.354 KB) | DOI: 10.24036/jsu.v9i1.109538

Abstract

The research aims to describe the process of training self-development activity of Indang Dancein SMK Negeri 3 Padang. This type of research is qualitative research using descriptive methods of analysis. The main instrument in this research is its own researchers and assisted with supporting instruments such as stationery and cameras. Data types use primary data and secondary data. Data collection techniques are conducted by way of library studies, observation and documentation. The steps for analyzing data are data reduction, data model (data display) and withdrawal/conclusion verification. The results showed that the training of the self-development activities of Indang Dance in SMK Negeri 3 Padang goes well, in the implementation of self-development activities Dance Indang students get a variety of experiences, students are also able to establish cooperation and solidarity well. The activity of self-development of Indang Dance in SMK Negeri 3 Padang is implemented by demonstration method, drill, Tekhnik enquiries (group exercises) with an imitation approach. Competence achieved by students in the training of the activities of self-development in the Indang Dance SMK Negeri 3 Padang is good. It can be seen from the number of students who have very good competence is as many as 12 students with a percentage of 75.00%, and 4 students have good competence with a percentage of 25.00%.
ANALISIS KOREOGRAFI TARI INDANG TAPUAK SITUJUAH PADA SANGGAR SENTAK SAIRIANG DI KOTA PARIAMAN Fernanda Putri; Nerosti Nerosti; Herlinda Mansyur
SENDRATASIK UNP Vol 7, No 3 (2018)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (797.746 KB) | DOI: 10.24036/jsu.v6i2.100226

Abstract

Abstract  This article aims to disclose and describe analysis Dance choreography Indang Tapuak Situjuah on Sentak Sairiang Studio. This type of qualitative research is using descriptive motode. The object of this research is to analyze the Dance choreography Indang Tapuak situjuah on Sentak Sairiang in the workshop of Pariaman. The type of data in this study is the primary data and secondary data. The technique of collecting data in this research is the observation, interviews, and documentation. The results showed that the shape of the choreography Dance Indang Tapuak Situjauh using the composition of large groups. In Indang Tapuak Situjuah Dance menggamabrkan quiet, cheerful atmosphere and excitement, Indang Tapuak Situjuah motion consists of 42 motif motion performed by dancers Indang Tapuak Situjuah with Frisky when the dancers play rapa'i the floor patterns and varied as there is in the form of a diagonal straight line, circle, rectangle, triangle, sometimes dancers spread dipentas three people form a triangle on the back in the middle of performances and four dancers line up abreast at the front. So the interaction between dancer and spectator. Contents of the Tapuak Dance in Indang Situjuah, reflects the idea or notion of Indang Tigo Jerong Dance which has three motif motion and choreographers develop it. The lines were crossed by the dancers to form as many as 10 group formation design. Tari Indang Tapuak Situjuah also has 10 top design that is focused upon the design, low, flat, angle, and high contrast. Dance costumes in Indang Tapuak Situjuah is the costume tradition has been dikreasikan in Pariaman, which had dikreasikan in accordance with the needs of Indang Tapauak Situjuah Dance with does not eliminate the costumes typical of the mngambarkan a girl minang. Music and Dance Tapuak Situjuah has the content, instruments played fast tempo, slow and fast, which can convey the mood and expression of Indang Tapuak Dance Situjuah. the instruments used Talempong, Gandang, shehnai and jimbe. Pawpaw and jimbe instrument is very instrumental in menbangkitkan atmosphere in Indang Dance Tapuak Situjuah, with a flow of calm, joyful and settlement. Key words: analysis of Dance choreography, Indang Tapuak Situjuah
BIOGRAFI MADALI SYA’BAN SEBAGAI TOKOH TARI DI BENGKULU SELATAN Cindhy Pospita Wati; Afifah Asriati; Nerosti Nerosti
SENDRATASIK UNP Vol 7, No 3 (2018)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (909.614 KB) | DOI: 10.24036/jsu.v6i2.102730

Abstract

AbstractThe research was distributed by Madali Sha'baan as a dance that already work in introducing dance from South Bengkulu. This research aims to disclose and describe the biography in the course of artistic activity as a dance of Sha'baan Madali in South Bengkulu. This type of research is qualitative research with a diakronis approach and method of history (historical). The object of the study is as a character through Madali dance in South Bengkulu. The research instrument was its own researchers and supporting instruments such as assisted with photo camera, digital camera, stationery and audio conversation tool. The type of data in this study is the primary data and secondary data. Engineering data collection done by the study of librarianship, observation/observation, interview and documentation. Processing of data is carried out by means of an interactive analysis. The results showed that the character is a choreographer of Sha'baan Madali acknowledged. Its action in the archives starting from 1994 to the present and has earned an award from the Government of the province of Bengkulu as choreographed dance in 2008. He was born by the family of the artist's background, but with his creativity he is capable of working in the world of dance in South Bengkulu. Dance works that are already created by Madali Sha'baan can be distinguished into two forms of paper, namely: (1) traditional dance. (2) Dance creations. Works on motion of Sha'baan Madali tradition Dance Andun and based on the phenomena of society South Bengkulu. With both categories works Madali Sha'baan have managed to introduce the arts of the South Sumatra especially the art of dance to the public.Keywords: biography, Madali Shya'ban, Character Dance
Co-Authors Afifah Asriati Alhit Tamaranti Aprilia Putri Amanda Bella Febriza Cindhy Pospita Wati Darmawati Darmawati Deliziani Deliziani Desfiarni Desfiarni Emeilya Batu Bara Evindo Marsiano Febri Susanti Fernanda Putri Firmadanni Liska Fuji Astuti Herlinda Mansyur Ikrar Dinata Ila Ana Nurjanah Indah Fajar Wati Indrayuda Indrayuda Izaty, Rahmi Laela Kurniaty Ilyas M Lufi Fakhri Maulidya, Rizki Iasha Maysa Nurfiana Meirita Hardina Sari Meri Rhama Nelly Mila Septiana Putri Nia Putri Jelita Ninda Levia Rahayu, Ella Saimedita Rahmi Izaty Ravena Lutiyasa Roni Apriyanto Sisi Ranita Yahya Sitinur Fazura Sri Intan Puspita Rifa Suci Ramada Jayanti Sucy Zulmaiza Susmiarti Uchi Isra Windy Vivi Andriani Windi Kartika Surya Yedes Ratmi Yuliasma Yuliasma Zora Iriani