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MENANAMKAN EMPATI, MENUMBUHKAN SELEKSI: KIPRAH GEFNIWATI DALAM MANAJEMEN SANGGAR SENI ALANG BANGKEH PADANGPANJANG Mutia Ulfa; Risnawati Risnawati; Adriana Gusti
Melayu Arts and Performance Journal Vol 5, No 1 (2022): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v5i1.2517

This article discusses the role of the late Gefniwati as a coach at the Alang Bangkeh Studio in Padangpanjang City, from a management point of view. Gefniwati founded Sanggar Alang Bangkeh to be able to gather creativity, talent and interest among the younger generation and direct their energy to positive values. Sanggar Alang Bangkeh has two program plans, namely short-term and long-term. Gefniwati developed the management of Sanggar Alang Bangkeh in four ways, namely planning, organizing, directing, and supervising. The results can be seen from the frequent appearances of Sanggar Alang Bangkeh at important events both within and outside the region. In addition, the collaboration with the Padangpanjang City government has made this studio more developed and has a place in the hearts of the people. The results showed that Gefniwati succeeded in developing good management in managing the Alang Bangkeh Studio, so that the performances presented were always in accordance with the wishes or demands of the community. The key to success lies in the values that have been aspired from the start, namely instilling a sense of empathy for traditional arts, and fostering the ability to select from foreign cultural influences.AbstrakArtikel ini membahas tentang kiprah Mendiang Gefniwatiselaku pembina pada Sanggar Alang Bangkeh di Kota Padangpanjang, dari sudut pandang manajemen. Gefniwati mendirikan Sanggar Alang Bangkeh untuk dapat menghimpun kreatifitas, bakat dan minat kalangan generasi muda dan mengarahkan energi mereka pada nilai-nilai positif. Sanggar Alang Bangkeh memiliki dua perencanaan program yaitu jangkapendek dan jangkapanjang. Gefniwati mengembangkan manajemen Sanggar Alang Bangkeh melalui empat cara, yakni Perencanaan, Pengorganisasian, Pengarahan, dan Pengawasan. Hasilnya dapat dilihat dari seringnya Sanggar Alang Bangkeh tampil pada event-event penting baik dalam maupun luar daerah. Selain itu kerjasama yang dijalankan dengan pemerintah Kota Padangpanjang, menjadikan sanggar ini semakin berkembang dan mendapat tempat dihati masyarakat. Hasil penelitian menunjukkan bahwa Gefniwati berhasil dalam mengembangkan manajemen yang baik dalam mengelola Sanggar Alang Bangkeh, sehingga pertunjukan yang disuguhkan selalu sesuai dengan keinginan atau tuntutan masyarakat. Kunci kesuksesan itu terletak pada nilai yang dicita-citakan sejak awal, yakni menanamkan rasa empati kepada kesenian tradisional, dan menumbuhkan kemampuan seleksi pada pengaruh budaya asing.Kata Kunci: Gefniwati; sanggar seni; Alang Bangkeh; manajemen seni

INDANG TIGO SANDIANG: TRANSPORMASI DARI SISTEM PENDIDIKAN SURAU KE DALAM BENTUK KEMASAN TARI POPULER DI KABUPATEN PADANG PARIAMAN SUMATERA BARAT Surherni Surherni; Risnawati Risnawati; Syahril Anton
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 3 (2018): Seni, Teknologi, dan Masyarakat #3
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

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ABSTRACT The purpose of this study was to develop a performing art IndangTigoSandiangin a package of entertainment dance. Indang is a type of membranophone musical instrument - tambourine; the people of Pariaman called it rapa’i. Tigosandiang (three sides) refers to the formulation of performances come from three sects of Indang in Pariaman community - they call it guguih (cluster). The Guguih refers to: (1) GuguihKulipah (Khalifah) Husein; (2) GuguihKulipah (Khalifah) MakAmuik; and (3) GuguihKulipah (Khalifah) Tan Karim. The package was carried out through the concept of transformation with a touch of choreography and aesthetic values on the dance composition elements. The transformation of the dance development focuses on the elements of motion, including space, time, energy and music. In the element of space, the development covers the move-ment levels,the direction, focus of view, the volume and the pattern of movement. In the element of time, the development carried out is on the tempo and movement dynamics. While in the energy element, the develop-ment refers to the accentuation and quality of movement; the new nuance of music is cultivated in accordance to the artistic needs of dance development. This study uses two research methods, namely qualitative meth-ods and Research & Development (R & D). Qualitative methods in data collection are executed through observation, in-depth interviews, documentation; interpretative analysis is used to reveal the concept of IndangTigoSandiang in Pariaman community. Research & Deployment (R & D) based on qualitative research is carried out through the following stages: (1) product design; (2) design validation (3) design improvements; (4) product trials; (5) product revisions; (6) production. Through the emic approach, the results of this study indicate that IndangTigoSandiang has the potential to be developed to the package of entertainment dance in Pariaman community, West Sumatra.

MANYAKOK CERIA SEBAGAI BENTUK PEMODERNAN TARI TRADISIONAL “MANYAKOK” KEMBALI KE KUANSING KABUPATEN SINGINGI RIAU Idun Ariastuti; Risnawati Risnawati; Yarlis Yarlis
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 3 (2018): Seni, Teknologi, dan Masyarakat #3
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

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ABSTRACT Research and discussion that has been carried out in the first year said that the researchers and artists or the community supporting the dance Manyakokhave agreed to modernize it by developing the traditional danceManyakok, without losing the values contained in it in accordance to its aimto be a tourist performing art. In the second stage, the development produces a new dance compositionManyakok and returned to the supporting community through aPacuJalur tourism program. To achieve the objectives of this study, the method used is qualitative and R & D; it is also possible to use quantitative methods using a scientific approach, namely observation, literary study, field studies, modernization / development and marketing (case studies). Besides, to find out the effectiveness of the new model / form of dance composition, it needs to be tested. The test was conducted in the form of a pre-performance held on Friday, August 3, 2018 at 20.30 WIB, at the Adam ISI Huriah Building, Padangpanjang. After the pre-performance, it is followed by an open discussion. The result can be concluded that the new form of Manyakok dance composition was agreed to be entitled” Manyakok Ceria” dance. Alhamdulillah the results were very satisfying, even previously, it is planned to appear on the nightly arts event.After being shown at the pre-show, the observers from Pangean including the Regent plan to perform it at the PacuJalur. On Wednesday 29 August 2018, a new form of Manyakok dance compositions (Manyakok Ceria dance) is returned to the supporting community through performances at opening events and arts night events on the cultural program Pacu Jalur. The activity is in accordance to the objectives of the second phase of the research, namely to restore the new product of traditional dance composition of Manyakok to the community as well as an effort to preserve the traditional dance and improve the economy of the community.

PEMODERNAN DALAM BENTUK PENGEMBANGAN TARI TRADISI MANYAKOK SEBAGAI UPAYA PELESTARIANNYA DALAM BUDAYA PACU JALUR PADA MASYARAKAT PANGEAN KABUPATEN SINGINGI RIAU Idun Ariastuti; Risnawati; Nirwana Murni
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 2 (2017): Seni, Teknologi, dan Masyarakat #2
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

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Pemodernan tari tradisi Manyakok yang terinspirasi dari kehidupan Masyarakat Pangean Kabupaten Kuantan Singingi Riau dalam menangkap ikan (Manyakok), dilakukan sebagai upaya untuk melestarikan kembali tari tersebut yang sudah hampir ditinggalkan oleh masyarakat pendukungnya. Bentuk pemodernan yang dilakukan dengan cara mengembangkan tari Manyakok sesuai dengan ilmu komposisi tari, baik dari dari segi kuantitas maupun dari segi kualitas. Pengembangan dari segi kuantitas atau jumlah, yaitu pengembangan menuju kepada peregenerasian pelaku atau jumlah tari dengan cara mewariskan atau mengajarkan tari tersebut kepada orang lain, sehingga secara kuantitas orang yang menguasai tarian tersebut menjadi lebih banyak atau berkembang. Pengembangan dari segi kualitas, pengembangan yang dilakukan terhadap unsur-unsur pendukukng tari seperti, gerak, rias busana, musik, pola lantai, laighting dan sebagainya. Pemodernan tari Manyakok dalam bentuk pengembangan menghasilkan produk baru karya komposisi tari Manyakok sesuai dengan perkembangan saat ini. Produk baru karya komposisi tari tersesebut dikembalikan kepada masyarakat pada tahap selanjutnya melalui program budaya Pacu Jalur, agar tari Manyakok hidup dan berkembang kembali sesuai dengan perkembangan zaman.

KREATIVITAS SEBAGAI UPAYA MENINGKATKAN KUALITAS DAN MELESTARIKAN TARI ADOK PADA MASYARAKAT SOLOK SUMATERA BARAT Yarlis; Risnawati; Adjuoktoza Rovylendes
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 1 (2016): Seni, Teknologi, dan Masyarakat #1
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

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the accompaniment of traditional ceremony. Nowadays, this dance is less desirable by people development by conducting creativity or more interesting innovation by developing aspects found in dance composition knowledge. General purpose of this research is improving Adok dance quality by applying dance composition knowledge that results on new product and then this new product is given back to society through tourism program. Method used in achieving this research purpose is qualitative and R&D methods, by using four chosen scientific approach namely: (1) Observation, (2) Library research, (3) Development, by applying R&D method (4) Experimental study and marketing, as effort to promote and preserve traditional art so it through tourism program. This research is scheduled in three stages. First stage is conducted in 2016 by doing observation, searching literature and collecting data related to Adok dance. Second one is conducted in 2017 by doing creativity in form and technique development/innovation according to choreography aspects so that new product of Adok dance is born. Third stage is conducted in 2018 in which the new product of Adok dance is given back to its supporting society through tourism program. This research result can be used by local government, particularly tourism office of Solok city, as teaching material in the subjects of Dance Knowledge, Performing Arts, Dance History, and Traditional Dance in the Faculty of Performing Arts, Dance Department, Indonesia Art Institute of Padangpanjang, West Sumatra.

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