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KONSEP ESTETIS TORTOR DALAM UPACARA MARHAJABUAN PADA MASYARAKAT SIMALUNGUN Ruth Hertami Dyah Nugrahaningsih
BAHAS Vol 30, No 2 (2019): BAHAS
Publisher : BAHAS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/bhs.v30i2.17169

Abstract

Abstrak Tari pada suku Simalungun disebut tortor. Pelaksanaan berbagai upacara adat pada suku ini selalu menyertakan tortor sebagai media.Salah satunya adalah pada upacara marhajabuan (perkawinan).Sistem kekerabatan yang disebut tolu sahundulan menjadi penentu jalannya upacara marhajabuan.Peran-peran di dalamnya seperti tondong, sanina dan boru menjalankan acara adat dengan menari. Tulisan ini menguraikan nilai estetis pada tortor yang digunakan oleh pihak-pihak tersebut dengan menjelaskan nilai kewibawaan, kesetiaan, keagungan, keluhuran dan kebijakan yang melahirkan rasa estetis atau keindahan yang meliputi rasaa) halus, b) suci, c) dalam, d) sentosa, e) sebagai pedoman, f) berwibawa, g) berdikari, h) berbudi yang halus, dan i) hidup dengan lingkungan orang lain.  Kata kunci: konsep estetis, tortor, marhajabuan (perkawinan).
PENULISAN CATATAN TARI (DANCE SCRIPT) TARI WIRA PERTIWI UNTUK MENINGKATKAN KOMPETENSI MAHASISWA DALAM PEMBELAJARAN TARI NUSANTARA III RHD. Nugrahaningsih
BAHAS Vol 28, No 4 (2017): BAHAS
Publisher : BAHAS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/bhs.v28i4.10088

Abstract

 Tari Wira Pertiwi merupakan tari kreasi baru dari etnis Jawa yang termasuk dalam materi mata kuliah Tari Nusantara III di Program Studi Pendidikan Tari, Fakultas Bahasa dan Seni.  Penulisan catatan tari (dance script) sebagai media pembelajaran tari ini untuk meningkatkan  kompetensi mahasiswa Program Studi Pendidikan Tari, merupakan hal penting, karena melaluinya, mahasiswa akan semakin terbantu dalam penguasaan materi tari, terutama bentuk gerak dan nama gerak. Penggunan catatan tari yang berisi cara melakukan teknik gerak per-hitungan ini dapat dimanfaatkan mahasiswa untuk meningkatkan kompetensinya. Dengan metode observasi, serta penulisan uraian gerak tari yang dilengkapi dengan instruksi cara melakukan dan gambar gerak, tulisan ini menjelaskan bagaimana urutan lengkap tari Wira Pertiwi yang disampaikan sebagai materi pembelajaran dalam mata kuliah Tari Nusantara III.
PENERAPAN MODEL PEMBELAJARAN NHT (NUMBERED HEADS TOGETHER) UNTUK MENINGKATKAN HASIL BELAJAR SISWA KELAS X PADA MATERI TORTOR NAPOSO NAULI BULUNG DI SMA NEGERI 1 RANTAU UTARA Mira - Khairuni; RHD - Nugrahaningsih; Inggit - Prastiawan
Gesture: Jurnal Seni Tari Vol 10, No 2 (2021): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (888.705 KB) | DOI: 10.24114/senitari.v10i2.28844

Abstract

ABSTRACT - The problem in this study is about the NHT (Numbered Heads Together) Model and its Effect on the learning outcomes of grade X students on the Naposo Nauli Bulung Tortor material in SMA Negeri 1 Rantau Utara. The purpose of this study is to improve student learning outcomes in learning Dance by applying the NHT (Numbered Heads Together) learning model on the Naposo Nauli Tortor material based on KD 3.2, namely understanding the shape, type, and aesthetic value in a variety of traditional dance movements.The theory used in this research is Istarani theory (2017: 12), namely NHT (Numbered heads together) is a series of delivery of material using groups as a forum to unite students' perceptions/thoughts on questions raised or asked by the teacher, which will then be held responsible by students according with a teacher request number from each group. This type of research is a quasi experiment using the t test formula. The sample in this study consisted of one class determined by random sampling technique, namely class X MIA 1 of SMA Negeri 1 Rantau Utara. The instrument used in this study was an objective test consisting of 20 multiple choice questions. Pretest results using conventional learning models obtained an average of 64,5, while the posttest results using the NHT (Numbered heads together) learning model obtained an average value of 80,16. These results indicate a significant increase in student learning outcomes through the implementation of the NHT (Numbered heads together) learning model tcount> ttable ie 41,21> 1,67. Thus the research hypothesis (Ha) is accepted. Keyword: Student learning outcomes, Tortor Naposo Nauli Bulung, NHT (Numbered heads together).   ABSTRAK - Masalah dalam penelitian ini adalah tentang Model NHT (Numbered Heads Together) dan Pengaruhnya Terhadap hasil belajar siswa kelas x pada materi Tortor Naposo Nauli Bulung di SMA Negeri 1 Rantau Utara. Tujuan penelitian ini  untuk meningkatkan hasil belajar siswa dalam pembelajaran Seni Tari dengan menerapkan model pembelajaran NHT (Numbered Heads Together) pada materi Tortor Naposo Nauli berdasarkan KD 3.2 yaitu memahami bentuk, jenis, dan nilai estetis dalam ragam gerak tari tradisi. Teori yang digunakan dalam penelitian adalah teori Istarani (2017:12) yaitu NHT (Numbered heads together) merupakan rangkaian penyampaian materi dengan menggunakan kelompok sebagai wadah dalam menyatukan persepsi/ pikiran siswa terhadap pertanyaan yang dilontarkan atau diajukan guru, yang kemudian akan dipertanggungjawabkan oleh siswa sesuai dengan nomor permintaan guru dari masing-masing kelompok. Jenis penelitian adalah quasi eksperimen dengan mengggunakan rumus uji t. Sampel pada penelitian terdiri dari satu kelas yang ditentukan dengan teknik random sampling yaitu kelas X MIA 1 SMA Negeri 1 Rantau Utara. Instrumen yang digunakan dalam penelitian ini adalah tes objektif yang terdiri dari 20 soal pilihan berganda (multipel Choise).  Hasil pretest dengan menggunakan model pembelajaran konvensional diperoleh rata-rata 64,5, sedangkan hasil postest dengan menggunakan model pembelajaran NHT (Numbered heads together) diperoleh nilai rata-rata 80,16. Hasil ini menunjukkan adanya peningkatan yang signifikan terhadap hasil belajar siswa melalui penerapkan model pembelajaran NHT (Numbered heads together) thitung > ttabel yaitu 41,21 > 1,67. Dengan demikian hipotesis penelitian (Ha) diterima. Kata Kunci: Hasil Belajar Siswa, Tortor Naposo Nauli Bulung, NHT (Numbered heads together).
TARI INAI PADA MASYARAKAT MELAYU DELISERDANG KAJIAN NILAI MORAL Tifani Rizka Putri; RHD Nugrahaningsih
Gesture: Jurnal Seni Tari Vol 9, No 1 (2020): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (481.115 KB) | DOI: 10.24114/senitari.v9i1.17964

Abstract

ABSTRAKNilai moral sesuai ajaran adat, agama dan filosofis dalam tari Inai  menegaskan bahwa masyarakat Melayu menjunjung tinggi sikap hati-hati, menghormati, menghargai, dan ramah tamah yang dilakukan terhadap semua orang tanpa membedakan usia, status sosial, suku dan agama. Nilai moral ini juga dideskripsikan melalui seluruh ragam gerak tari Inai yang menegaskan bahwa Tuhan (Allah) adalah yang di utamakan dalam menjalani hidup, dan yang terkandung dalam gerak tari Inai mengekspresikan bahwa dalam menjalankan adat tetap mengutamakan agama.Artinya bahwa pelaksanaan adat harus seiring dengan pelaksanaan ajaran agama. Kata Kunci: Tari Inai, Nilai Moral
BENTUK KOREOGRAFI MEUDIKEE ANGGOK DI DAYAH DARUL HUDA DESA BAYI KECAMATAN TANAH LUAS LHOKSUKON KABUPATEN ACEH UTARA Ovi Wulandary; Rhd Nugrahaningsih; Sitti Rahmah
Gesture: Jurnal Seni Tari Vol 7, No 1 (2018): April 2018
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (41.996 KB) | DOI: 10.24114/senitari.v7i1.11904

Abstract

Abstract − This study discusses the form of choreography meudikee anggok in dayah Darul Huda Bayi Village District Lhoksukon Land Area North Aceh District. Aims to describe the form of choreography meudikee Anggok in one studayah District of North Aceh.The theory used in this research is the theory of Choreography Sal Murgiyanto that choreography is the process of selecting and arranging movements into a dance, in which there is a creative behavior. Composition is part or aspect of creative behavior. The time spent in the study for two months, starting from July to September. The location of this research was conducted in Bayi Village, Tanah Luas Lhoksukon Sub District, North Aceh District. The population in this study are the dayah-dayah (pengajian) in the District Land Luas Lhoksukon District of North Aceh and the sample is Dayah Darul Huda Bayi Village. The research analysis used is descriptive qualitative. Technique of collecting data is done by observation, interview, documentation and literature study. The result of the research based on the data obtained shows that the form of Meudikee Anggok choreography is a form of the dance result from the elements of dance composition that is, motion meudikee Anggok is the motion of dhikr distortion and distillation, has some motive motive and dihat from energy aspect space and time. The design of the floor created is a straight line. The top designs created are pure, flat, curved, painted, contrasting, medium, deep and straight design. The music design follows the rhythm of chanting dhikir in khairat that brought the radat. The dramatic design created by multiple cone. Dynamics according to the chanting dhikrdhikr in khairat that brought the radat. The composition of the group that created the composition of a large group. The theme is Prophet Muhammad SAW. Makeup everyday. Muslim clothing namely peci, koko shirt and sarong. Not using property. The stage or stage stage is open. Tata the light from the sun. Keywords: Choreography Shape, Meu Dike Anggok, Dayah, Bid'ah, Dalail
ANALISIS MAKNA SIMBOL PADA TARI GENDANG BAKA DI DESA LINGGA KECAMATAN SIMPANG EMPAT KABUPATEN KARO Tania Rosani; RHD Nugrahaningsih
Gesture: Jurnal Seni Tari Vol 8, No 1 (2019): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (212.456 KB) | DOI: 10.24114/senitari.v8i1.13254

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ABSTRACT This study is intended to describe the analysis symbolic meaning of motion, property, floor pattem, accompaniment, and costume contained on gendang baka dancing in Desa Lingga Kecamatan Simpang Empat Kabupaten Karo. The theory that is used in this study is Sumandiyono Hadi’s theory (2005:23) contains the meaning of the symbol and Ibrahim (2018:103) contain the meaning analysis. The method of this study is descriptive kualitatif. The population of the study are traditional leaders, dancing, musician, and artist. The sampel of this study are artist, and dancing. The instrument of collecting data are observation, interview, literature study, and documentation. The result of this study show symbolic meaning of the gendang baka that contains four types. The four types of motion lead to the nature or character of the Karo’s community and other communition to the each other, consider things befoure acting, prioritize unity to achieve common goals. Symbolic meaning property and gendang baka dancing is a power that cannot be shaken, to start life wich relief and confort and more closer to God. The symbolic meaning floor pattern of gendang baka dancing keep holding fast togetherness in doing act. Togetherness and compactness create solid unity. Symbolic meaning of musical accompaniment of gendang baka is to intive Karo’s society to see and preserve gendang baka dancing and influence the audience to feel the beauty of gendang baka. symbolic meaning of costume in gendang baka dancing are as chastely, kindness and protection, because the fabric is used white and black who is belive to be able to dispel everthing that is not good. Keyword : Symbolic Meaning, Tari Gendang Baka.  ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan analisis makna simbol dari gerak, properti, pola lantai, iringan musik, dan pakaian yang terdapat pada tari gendang baka di Desa Lingga Kecamatan Simpang Empat Kabupaten Karo. Teori yang digunakan dalam penelitian ini adalah teori Sumandiyono Hadi (2005:23) tentang makna simbol dan Ibrahim (2018:103) tentang pengertian analisis. Metode dari penelitian ini adalah deskriptif kualitatif. Populasi dalam penelitian ini adalah tokoh adat, penari, pemusik, seniman. Sedangkan yang menjadi sampel dalam penelitian ini adalah seniman, dan penari. Teknik pengumpulan data dengan observasi, wawancara, studi kepustakaan, dan dokumentasi. Hasil penelitian menunjukan bahwa makna simbol gerak tari gendang baka terdiri dari empat ragam, keempat ragam gerak ini mengarahkan bagaimana seharusnya sifat atau karakter masyarakat Karo dan masyarakat lainnya untuk saling tolong menolong, mempertimbangkan segala sesuatu hal sebelum bertindak, mengutamakan kesatuan untuk mencapai tujuan bersama, dan tetap berserah memohon kepada Tuhan agar apa yang kita inginkan dapat tercapai. Makna simbol properti dan sesaji tari gendang baka adalah adanya kekuatan yang tidak dapat tergoyahkan, mengawali kehidupan dengan kelegaan dan kenyamanan dapat membuat kehidupan lebih tenang, dan tetap mendekatkan diri kepada Tuhan. Makna simbol pola lantai tari gendang baka adalah tetap memegang teguh kebersamaan dan kekompakan dalam melalukan apapun. Kebersamaan dan kekompakan tersebut menciptakan kesatuan yang kokoh, teguh, dan tidak dapat tergoyahkan. Makna simbol iringan musik tari gendang baka adalah mengajak masyarakat Karo untuk melihat dan melestarikan kesenian tari gendang baka, dan mempengaruhi penikmat pertunjukan agar dapat merasakan keindahan tari gendang baka. Makna simbol dari pakaian pada tari gendang baka adalah kesucian, kebaikan, dan perlindungan, dikarenakan kain yang digunakan berwarna putih dan hitam yang dipercaya dapat menghalau segala yang tidak baik.  Kata Kunci : Makna Simbol, Tari Gendang Baka.
TARI CAMPAK BUNGA PADA MASYARAKAT MELAYU SERDANG KAJIAN ETIKA Maulina - Astari; Rhd - Nugrahaningsih
Gesture: Jurnal Seni Tari Vol 8, No 2 (2019): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (161.653 KB) | DOI: 10.24114/senitari.v8i2.14967

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ABSTRACT This study aims to describe how ethics exist in the Campak Bunga dance in the Malay community of Serdang. The theoretical foundation in this paper is used as a guideline in data collection consisting of Malay Serdang people and Ethics which are used as references in conducting this research. The technique of collecting data is done by observation, interview, literature study and documentation. Observations were carried out such as the form of Measles of Flower dance, recording the results of interviews and carrying out video and photo documentation. Continuing to review every ethic that exists in Measles Flower Dance in accordance with the theory used. The method used in this study is a qualitative descriptive method where the data obtained by the author is carefully processed and analyzed. the processed results and analysis are compiled so as to produce reports in the form of writing or thesis. The results of the study show that ethics in dance Flower Measures are seen from moral norms in Measles Dance Flowers are illustrated through motion and clothing. From the side of motion how this dance is performed by starting through the opening greetings and ending it with the closing greetings. In terms of fashion shows that through the long kebaya and sarong worn by princess dancers, as well as bay belanga, songket cloth and cap. The courtesy norm is illustrated by the variety of motion of motion, mercy, sowing of flowers, croaking or saok, cucuk and elak, sweet black. Norms of Religion in all kinds of movements from beginning to end. Keywords: Measles Dance flower, Serdang Malay, Studies Ethics  ABSTRAKPenelitian ini bertujuan untuk mendeskripsikan bagaimana etika yang ada pada tari Campak Bunga pada masyarakat Melayu Serdang. Landasan teoritis dalam artikel ini dijadikan pedoman dalam pengumpulan data terdiri dari masyarakat Melayu Serdang dan Etika yang dijadikan acuan dalam melakukan penelitian ini. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, studi kepustakaan dan dokumentasi. Observasi yang dilakukan seperti bentuk tari Campak Bunga, merekam hasil wawancara dan melakukan dokumentasi video dan foto. Dilanjutkan mengkaji setiap etika yang ada pada Tari Campak Bunga sesuai dengan teori yang digunakan. Metode yang digunakan dalam penelitian ini yaitu metode deskriptif kualitatif dimana data yang diperoleh penulis diolah dan dianalisis dengan teliti. hasil olahan dan analisis tersebut disusun sehingga menghasilkan laporan dalam bentuk tulisan atau artikel jurnal. Hasil penelitian menunjukan bahwa etika pada tari Campak bunga dilihat dari norma susila dalam Tari Campak Bunga tergambar melalui gerak dan busana. Dari sisi gerak bagaimana Tari ini dipertunjukkan dengan memulainya melalui salam pembuka dan mengakhirinya dengan gerak salam penutup. Dari sisi busana menunjukkan bahwa melalui kebaya panjang dan sarung yang dikenakan penari putri, serta teluk belanga, kain songket dan peci. Norma Kesopanan tergambar melalui ragam gerak melenggang, elak, tabur bunga, kuak atau saok, cucuk dan elak, hitam manis. Norma Agama dalam seluruh ragam gerak dari awal hingga akhir. Keywords: Tari Campak Bunga, Melayu Serdang, Kajian Etika
History Analysis, Form of Presentation, and Function Tortor Naposo Nauli Bulung on Batak Mandailing Communities Dilinar Adlin; Ruth Hertami Dyah Nugrahaningsih
Britain International of Linguistics Arts and Education (BIoLAE) Journal Vol 1 No 2 (2019): Britain International of Linguistics, Arts and Education - November
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biolae.v1i2.97

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Tortor Naposo Nauli Bulung is one of North Sumatra's local dance content, originating from the Mandailing Batak. As a traditional dance, this tortor has binding rules, sourced from the Dalihan Na Tolu kinship system, which illustrates the roles in it such as kahanggi, Mora, and boru children, so that the various movements contain traditional rules and norms that apply and must be obeyed when adhered to to dance it. This article discusses the history, form of presentation, and function of tortors. Theories used to explore history are the progressive-linear theory according to Ibn Khaldun, Djelantik's opinion for the form of presentation, and the theory of function according to Shay. The research method is descriptive qualitative. The results of the study conveyed Tortor Naposo Nauli Bulung became a medium for socializing. This tortor was performed by young people with six or three pairs of dancers. The floor pattern used was only two shapes, namely the horizontal line pattern and the triangle shape. The group of dancers in the front are called 'na gakspi' or 'na isembar', while the group in the back is called 'pangayapi' or 'panyembar'. The basic motions of the Naposo Nauli Bulung tortor are: a) Manyomba tu Raja, b) Markusor (spinning), and c) Singgang (squatting). Naposo Nauli Bulung Tortor contains four functions, namely: as a reflection and legitimacy of the social order, as a vehicle for secular rite expression, dance as social entertainment or recreational activities, and dance as a reflection of aesthetic values.
Manduda Dance in Simalungun Community Dancing Style in a Contextual Perspective Ruth Hertami Dyah Nugrahaningsih
Budapest International Research and Critics in Linguistics and Education (BirLE) Journal Vol 3, No 1 (2020): Budapest International Research and Critics in Linguistics and Education, Februa
Publisher : BIRCU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birle.v3i1.768

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This study aims to explain: 1) the relationship of body attitude in Manduda Dance with the activities of the Simalungun community; 2) the relationship between the type of transition in Manduda dance and the activities of Simalungun community; 3) the relationship between the number of active body part in Manduda dance and the patterns of daily activities of Simalungun community; 4) the relationship between business forms and the patterns of study is the formulation of dance style in Manduda dance on Simalungun community in a contextual perspective. The research method used is a qualitative-anthropological approach, specifically called choreometrics, which is to analyze the relationship between dance movements including body attitude, type of transition, the number of active body part, and the forms of business with patterns of daily community activities. Observation, documentation, and interview techniques were used to collect data and then the triangulation data analysis process was carried out to obtain the credibility of the data. The results of this study found that both viewed from body attitude, type of transition, the number of active body part, as well as the forms of effort contained in Manduda dance, were very closely related to the patterns of daily activities of Simalungun community patterned with paddy harvesting agricultural activities.
Terang Bulan Dance in Karo Society Aesthetic Analysis Ruth Hertami Dyah Nugrahaningsih; Dilinar Adlin; Inggit Prastiawan
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 3, No 4 (2020): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v3i4.1361

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Terang Bulan dance is one of the regional creations which is traditionally used by the Karo people in North Sumatra Province. The title of the dance follows the title of the song used as a dance accompaniment song. This dance presents a dramatic effect through the form and variety of movements that are in harmony with the accompanying song. The explanation of the aesthetic value contained in this dance is based on the concept and technique of movement or how to perform the movements which are divided into four parts. The whole movement expresses the aesthetic value content that is manifested in caution, calmness, which emphasizes courtesy in every move.