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Jamilah Jamilah
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FORM OF PRESENTATION OF UMAPOS DANCE IN BALANTAK TRIBAL COMMUNITY Jamilah Jamilah; Heriyati Yatim; Andi Padalia
JURNAL PAKARENA Vol 7, No 1 (2022): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v7i1.33132

Abstract

    This study aims to find out and describe the Form of Presentation of Umapos Dance in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. This research uses a descriptive qualitative approach, focusing on the Form of Umapos Dance Presentation in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. Data are obtained through observation or observation, interviews, and documentation. Data analysis is carried out by reducing the data and inferring the data correctly. The results showed that the form of presentation of Umapos Dance in the Balantak Tribal Community in Luwuk Banggai Regency, Central Sulawesi, namely: Performers or dancers, Movements, dance accompaniment music, Floor patterns, makeup and clothing, property, and performance venues. This Umapos dance performance in ancient times was a series of Sumoili and Ummusulen dances for the repellent of danger to lower the seawater. Although these three dances are a series, they can still be performed separately or stand-alone. The later development of this dance was not only performed for rituals as well as for welcoming guests. 
NARRATIVE DECORATIVE MOTIVES ON TORAJA TRADITIONAL CARVING Sofyan Salam; Saleh Husain; Tangsi Tangsi; Jamilah Jamilah
JURNAL PAKARENA Vol 7, No 1 (2022): Jan-Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v7i1.33007

Abstract

This study aims to explain the format and techniques of non-sacred narrative carving in Toraja. This research is classified as a qualitative research carried out in the field, namely in Tana Toraja and North Toraja. Data sources (1) artifacts in the form of non-decorative motifs of Toraja carving, both found in Toraja and elsewhere; (2) human data sources, namely Toraja sculptors and Toraja community leaders; and (3) documents that are documents containing descriptions, drawings or photographs of non-sacred decorative motifs of Toraja carving. Data collection techniques used were observation, interviews, and documentation. The collected data was analyzed with an interactive analysis model from Miles and Huberman. The results showed that: (1) The format of narrative carving art which is non-sacred in Toraja is (a) the format of a single scene narrative, (b) the panoramic narrative format, (c) the format of the narrative silmultanate. (2) The technique of depicting narrative carving art in Toraja, namely: (a) a realistic depiction technique, (b) the technique of presenting space there are two ways: presenting two-dimensional and three-dimensional space, and (c) the technique of composing elements (composition) which applied is symmetrical composition, asymmetric, rhythm, protrusion of object, and unity.
Co-Authors A. Padalia Heriyati Yatim Muhammad Saleh Husain Sofyan Salam Tangsi Tangsi