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ETIKA DAN ESTETIKA MEUDIKEE ANGGOK DI DAYAH DARUL HUDA DESA BAYI KECAMATAN TANAH LUAS LHOKSUKON KABUPATEN ACEH UTARA Erna Fitriyawati; Iskandar Muda
Gesture: Jurnal Seni Tari Vol 7, No 2 (2018): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT This study discusses the Value of Ethics and Aesthetics Meudikee Anggok In Dayah Darul Huda Bayi Village District Lhoksukon District Luas Aceh. Aims to describe Ethical and Esthetic Value of Meudikee Anggok In Dayah Darul Huda Bayi Village, Lhoksukon Sub-district, Lhokukon District, Aceh. The theory used in this study is the ethical theory of K. Bertens According to K. Bertens The ethical theory according to K. Bertens (1993: 53) that ethics is the conscience (inner life), how to be ethical and good that actually arise from self awareness. Based on the theory of K. Bertens concluded that every human being has experience of the conscience and that experience is the most obvious encounter with morality as a reality, it is difficult to show another experience that is so frankly the ethical dimension of our lives. Hence the experience of the conscience is an appropriate entry point about ethics. Time in use in this study is during (two months), ie from July to September. The location of this research was conducted in Bayi Village, North Aceh District. The population in this study are artists who know about Meudikee Anggok dance, and the sample is Aneuk Dikee (son of Zikir). The research data analysis used is descriptive qualitative, data collecting technique done by obsevasi, literature study, interview, and documentation. Based on the data collected, it can be seen that Meudikee Anggok has been known for a long time. The number of boys who performed Meudikee Anggok at the beginning of choreographer formation was 16 Aneuk Dikee and 4 syeh (radad). Meudikee anggok has ethical values contained in the ethics of movement 1. Respect 2. Saleum. 6. Noble Prophets and 7. Prayers. Aesthetic value that can be observed every movement at 3. Istigfar, 4. Salawat prophets and 5. Qasas. Keywords: Meudikee Anggok Di Dayah darul Huda Deswa Bayi Kecamatan Luas Lhoksukon Kabupaten Aceh Utara,Ethics and Aesthetics.

PENERAPAN METODE MUSICAL FEELING DALAM BELAJAR TARI ZAPIN MELAYU DI SANGGAR TARI TAMORA 88 Putri Utami; Tuti Rahayu; Iskandar Muda
Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018
Publisher : Universitas Negeri Medan

Abstract − The thing that becomes the background of this research is the difficulty often faced dancers in a move that suits the taste of music, mainly on the acquisition of a sense of musicality (wirama) and appreciation (wirasa). The purpose of this study is to describe the mastery wiraga, wirama, and wirasa dancers, and how the application of mastery of musical feeling in studying dance and musical influence of feeling on the process of learning dance dance Zapin Melayu disanggar Tamora 88. The theory used in this research is the theory Musical Feeling (Carl.E.Seashore 1938: 2). This study aims to determine how the application of a person's sense of musicality while studying dance Zapin Melayu namely Tari Zapin dance disanggar Dedeng Missing Moon Tamora 88. The population in this study is the dance studio Tamora 88, of this population is taken Tamora 88 dancers from the studio. This research method is qualitative. Implementation of qualitative methods can not be separated in the data collection is done with obsesrvasi, literature, documentation. This study discusses the application of methods Musical Feeling in learning Malay Zapin dance at the dance studio dancers Tamora 88 to facilitate the mastery wiraga, wirama and wirasa. The results of this research is the mastery wiraga, wirasa, wirama dancers and the implementation of a method of musical feeling in learning dance Zapin Dedeng Missed the Moon by the dance studio Tamora 88, whose application greatly affect the quality of the dancers dance studio, especially in the sense of music appreciation and rote, both in the process of learning dance as well as the overall results of the dance. Keywords: Musical feeling, Dancing Dedeng Missing Moon, Tamora

DIHAR SITARLAK PADA MASYARAKAT SIMALUNGUN : KAJIAN SEMIOTIK Sari Mega Florensia Simanungkalit; Nurwani Nurwani; Iskandar Muda
Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018
Publisher : Universitas Negeri Medan

Abstract−This study examines the semiotics contained in diharsitarlak in Simalungun society. The goal is to explore the meaning contained in the sararar and interpretation of meaning seen through the theory of semiotics. Sitarlak is a martial arts that comes from Simalungun who became the performing arts for the community that is as a welcome dance for accompanied by music and using a special outfit. The theory used relates to the research topic of Suzanna K. Langer theory which discusses the motion and the theory of semiotic de Saurrsure to express the meaning. The research time used to discuss the semiotics was held in Simalungun society was done for 2 months ie end of August until October 2017. The research place was SanggarTortor Elak-elak in Kelurahan Sirpang Dalig Raya, Raya Subdistrict, Simalungun Regency. Population in this research is artist as well as adat character, sambual (pemusik), pandihar (people who bersilat) who understand about diharsitarlak. Data collection techniques include literature study, observation, interview and documentation, and then analysis with qualitative descriptive method. Based on the research conducted, the form of diharsitarlak is a series of silat movements consisting of 7 main motifs yaitu sombah, throw boxing worship, marsimbur, mangindo (top level), mangindo (lower level), lakkasitolu-tolu and cover worship. Clothing that is used in the sitarlakdihar is long shirt and trousers (black, red, and mixture of black, white, red), yeast pane, suri-suri, and gotong salalu. The accompaniment of music on the sitarlakdihar gondrang haro-day, parahot, and gual porang. As for the semiotics contained in the scarred sitarlak poured through the sign (sign) seen from the form of motion in the series of presentation, marker (signifier) is a form of motion as the main motive in the diharsitarlak, and signified (signified) is the meaning contained in diharsitarlak. So it can be interpreted the overall meaning in the absolute sarar is the actualization of life of the people of Simalungun in various conditions, such as giving thanks to God, facing temptation, being polite and humble, respecting and appreciating others. Keywords: semiotics, signs, signifer, signified, diharsitarlak

NILAI RELIGIUS TARI HANGGU PADA MASYARAKAT NIAS DI DESA TORELOTO NIAS UTARA Lihar Marandra; Iskandar Muda
Gesture: Jurnal Seni Tari Vol 8, No 1 (2019): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

ABSTRACT This study aims to describe the content of religious values found in Hanggu dance in the community of Toreloto village, Lahewa sub-district, North Nias. The theories used in this study include Text theory by Nurwani and Gadamer Hermeneutics theory. This study uses a descriptive qualitative approach. Descriptive aims to describe or describe. Qualitative methods consist of three methods of data collection: 1) observation, 2) interviews, 3) utilization of written documents, and interviews. This research produced knowledge about the existence of Islamic cultural backgrounds that developed in the Nias islands, precisely in Toreloto Village, Lahewa sub-district, North Nias. Hanggu dance is an art that builds Islamic principles or values. This can be seen in the elements that exist in the Hanggu dance, namely, motion (religious value of human-god relations in the motion of greetings and religious values of human-human relations), music (religious values of human-god relations and religious values of human-human relations) , themes (religious values of human-god relations), clothing (religious values of human relations and religious values of human-human relations), property (religious values of human-god relations) and floor patterns (religious values of human relations). The religious value intended in this discussion is a learning process in people's lives where an art can create a harmonious relationship between creatures and the creator and among fellow humans. Keyword : Religious Value, Hanggu Dance, Gadamer Hermeneutics. ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan kandungan nilai religius yang terdapat dalam tari Hanggu pada masyarakat desa Toreloto, kecamatan Lahewa, Nias Utara. Teori-teori yang digunakan dalam penelitian ini meliputi teori Teks oleh Nurwani dan teori Hermeneutika Gadamer. Penelitian ini menggunakan pendekatan kualitatif yang bersifat deskriptif. Deskriptif bertujuan untuk menggambarkan atau menguraikan. Metode kualitatif terdiri dari tiga cara pengumpulan data : 1)observasi, 2)wawancara, 3)pemanfaatan dokumen tertulis, dan hasil wawancara. Penelitian ini menghasilkan ilmu pengetahuan mengenai eksistensi tari berlatar belakang kebudayaan Islam yang berkembang di kepulauan Nias, tepatnnya di Desa Toreloto, kecamatan Lahewa, Nias Utara. Tari Hanggu merupakan kesenian yang membangun prinsip ataupun nilai-nilai Islami. Hal ini terlihat dalam element-element yang ada pada tari Hanggu yaitu, gerak (Nilai religius hubungan manusia-tuhan pada gerak salam dan nilai religius hubungan manusi-manusia), musik (nilai religius hubungan manusia-tuhan dan nilai religius hubungan manusia-manusia), tema (nilai religius hubungan manusia-tuhan), busana (nilai religius hubungan manusi-tuhan dan nilai religius hubungan manusia-manusia), property (nilai religius hubungan manusia-tuhan) dan pola lantai (nilai religius hubungan manusi-tuhan). Nilai religius yang dimaksudkan dalam pembahasan ini adalah suatu proses pembelajaran dalam kehidupan masyarakat dimana suatu kesenian dapat menciptakan hubungan yang harmonis antara makhluk dengan sang pencipta dan antar sesama manusia. Kata kunci : Nilai Religius, Tari Hanggu , Hermeneutika Gadamer.

TOTOR SORANGAN DALAM UPACARA PENABALAN RAJA SISINGAMANGARAJA SEBAGAI MEDIA PEMBELAJARAN TRANSFORMATIF Iskandar Muda; Irwansyah Irwansyah; Martozet Martozet
SCHOOL EDUCATION JOURNAL PGSD FIP UNIMED Vol 9, No 3 (2019): SCHOOL EDUCATION JOURNAL PGSD FIP UNIMED
Publisher : Universitas Negeri Medan

The highlight tortor is a dance performed at King Sisingamangaraja's dedication program. This study examines the light tortor with the meaning of community life systems that believe in supernatural forces, and serve as strategies and methods in developing transfomative learning development models. Design development is done by identifying the elements of learning material through the development of interactive audio visual media, to see the transformation, both in terms of form, function and meaning, changing from sacred to profane form, but in the context of the performance cannot ignore the ritual requirements. Data collection methods use observation, interviews, documentation, and data validity. Based on the research results of the Sorangan Tortor Transformation by raising the king's ordination ceremony into the form of performance art. Sorangan tortor occurrence factors are influenced by internal and external factors. The highlight tortor is currently undergoing a transformation from the seventh ceremonial form to the performing arts. Keywords: Transformation, Tortor, King Sisingamangaraja's Inheritance

“RAPAI” PROPERTY TARI MAHANGGU SEBAGAI POTENSI SENI DALAM INDUSTRI KREATIF Tuti Rahayu; Dilinar Adlin; Iskandar Muda
Gondang: Jurnal Seni dan Budaya Vol 5, No 2 (2021): GONDANG: JURNAL SENI DAN BUDAYA, DESEMBER 2021
Publisher : Universitas Negeri Medan

Tujuan dari penelitan ini yaitu mengeksplor kembali tari tradisi Mahanggu yang mengarah pada sebuah produk property yaitu Rapai dari daerah Nias Utara. Dari proses ekplorasi tersebut kemudian muncul hasil pengembangan disain Rapai sebagai property tari dari budaya lokal Nias Sumatera Utara. Pada penelitian ini menggunakan jenis metode penelitian dan pengamatan ( Research And Development atau R&D). Lokasi penelitian ini dilakukan dikota Medan. Teknik pengumpulan data dengan melakukan observasi (pengamatan), wawancara dan dokumentasi. Data yang terkumpul kemudian akan dianalisis melalui paradigma kualitatif dengan menggunakan metode Project Based Reasearch, yang didapatkan dari reduksi data, penyajian dan menarik sebuah kesimpulan. Untuk mencari validitas (keabsahan) dari data yang didapatkan, akan dilakukan dengan model triangulasi sumber dan triangulasi teknik. Hasil pengembangan property tari ini dapat digunakan untuk pertunjukan tari Mahanggu pada event-event lokal, nasional maupun internasional.

Analisis Bentuk Penyajian Tari Mogaele Pada Masyarakat Nias Di Kecamatan Fanayama Kabupaten Nias Selatan Martatini Sumiati Lawolo; Iskandar Muda
Gesture: Jurnal Seni Tari Vol 11, No 2 (2022): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v11i2.36745

Penelitian ini bertutujuan untuk menganalisis bentuk penyajian tari Mogaele di desa Bawonahono Kecamatan Fanayama Kabupaten Nias Selatan dengan menggunakan analisis Komarrudin(2001: 53) sedangkan teori bentuk penyajiannya berpedoman dengan teori menurut Sal Murgiayanto (1983: 19). Pengumpulan data dilakukan dengan teknik observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan adalah teknik analisis kualitatif. Busana yang digunakan laki-laki ialah baru hada, saraewa, öndröra, rompi adat, laeru, dan kalabubu. Sedangkan wanita menggunakan baru, gu’I, stage, ra’i, lembe, saeru dalinga, ni fatö-fatö, dan gala danga. Properti yang digunakan yaitu : toho, baluse, tolögö untuk laki-laki dan bola nafo untuk perempuan. Dengan Musik iringan eksternal göndra, aramba dan faritia, untuk musik internal ialah syair. Dari analisis yang penulis lakukan maka dapat diketahui bahwa setiap komponen dalam tari mogaele saling berhubungan, seperti Afo berhubungan dengan Bola Nafo, syair berhubungan dengan ragam gerak, saraewa berhubungan dengan Ondrora, Tologu berhubungan dengan Ondrora, Stage berhubungan dengan Gu’i.

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