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Gesture: Jurnal Seni Tari
Published by Universitas Negeri Medan
ISSN : 23015799     EISSN : 25992864     DOI : https://doi.org/10.24114/senitari.v11i1
Core Subject : Humanities, Education, Art,
Arts Humanities Education
Jurnal Gesture Seni Tari ini memuat tentang penulisan ilmiah dan penelitian seni tari tradisi dan tari non tradisi di Nusantara, hingga menyinggung persoalan-persoalan yang terkait dengan perkembangan pendidikan seni tari pada abad ini. Sebagai Jurnal Seni yang hadir ditengah-tengah lembaga Prodi Pendidikan Seni Tari; dalam hal ini jurnal gesture akan selalu konsisten untuk berupaya menampung segala bentuk karya tulis ilmiah yang berkaitan dengan bidang (Pengajaran, Pengkajian, Penyajian, Penciptaan, dan Pengelolaan) di Pendidikan Tari FBS Unimed.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 204 Documents
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RANGSANG AUDITIF DALAM PEMBELAJARAN TARI UNTUK MENINGKATKAN KREATIVITAS SISWA MADRASAH TSANAWIYAH SWASTA MESRA PEMATANG SIANTAR Riska Nindia; Yusnizar Heniwati
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 | DOI: 10.24114/senitari.v8i2.18735

Abstract

 ABSTRACT   The problem in this study is the lack of students' creativity in making Toba Batak creation dance and knowledge about dance. Students are told to just make a dance without the rules, formats or references in making dance creations when compiling the tools to be done by students. This study aims to improve the creativity of students by making auditive stimuli as a medium for learning, so that students are encouraged to make Toba Batak Creations dance by making Sihutur Sanggul music an auditive stimulus and as a personality shaper. This research uses Smith's theory. The research method used is a quantitative method, with a sample of class VII-2 as many as 25 students consisting of 11 male students and 14 female students. Based on the results of the study, it was found that, with the energetic, dynamic Sihutur Sanggul music genre and rhythm in Sihutur Sanggul's music, the music was always changing, making the students encouraged and arousing a sense of desire to create dance movements. Before conducting this research, the researcher gave a pre test to find out the ability of the students, so that the average value of the class was 69. Furthermore, the researcher gave a post test and obtained a class average of 85. From the calculation of the hypothesis test performed, it was obtained thitung = 1.42 at the real level α = 0.05 and ttable = 1.6552, meaning tcount> t table (1.42> 1.6552). meaning that there is a very significant increase. Thus it can be concluded that by conducting auditive stimuli can improve the creativity of students in dance subjects in class VIII-2 Madrasah Tsanawiyah Private Mesra Pematang Siantar.  Keywords: Rangang Auditive, Creativity, Learning Outcomes 
FAMADOGO OMO DANCE FOR US IN CEREMONY ENTERED A NEW HOME IN THE COMMUNITY NIAS Sri Rahayu
Gesture: Jurnal Seni Tari Vol 4, No 1 (2015): April 2015
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (348.665 KB) | DOI: 10.24114/senitari.v4i1.2633

Abstract

This study discusses forms of dance in the ceremony Omo Famadogo entering new homes in the community nias. The purpose of this study was to describe the form of dance ceremony Omo Famadogo entering new homes in Nias people. Theoretical foundation used in this research is the theory Sumandiyo Hadi and Suzan K. Langer with dance forms in complete unity. The population in this study is the dance Famadogo masyaraat Omo on Nias, artists, traditional leaders and dancers who know about dance Famadogo Omo, the sample in this study is the cultural figures and artists who know about art Famadogo Omo. Data collected by field work method that includes several steps, namely interviews, direct observation, documentation and literature study. The method used in this research is descriptive qualitative method. Based on the results of research conducted, that form of dance ceremony Omo Famadogo entering new houses on Nias community is a dance that test the strength and endurance on the building of new houses have been completed in the wake. This dance is a unified whole where this raw dance consists of nine varieties, which includes variation, repetition, movement, sequence, comparison, climax.
NILAI PENDIDIKAN KARAKTER DALAM TARI MESEKAT PADA MASYARAKAT ALAS DI KABUPATEN ACEH TENGGARA HILZHA - FEBRINA
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 (1121.307 KB) | DOI: 10.24114/senitari.v10i2.28878

Abstract

ABSTRACT - Meusekat dance is one of the dances in Southeast Aceh Regency, specifically the Alas community, which is staged as an entertainment dance for them. Meusekat dance provides many lessons for the community in living their lives which can be observed from the dance composition, musical accompaniment, floor patterns that are part of their appearance. Based on this, this research was conducted to see the value of character education in the lives of the Alas people. The analysis uses Asmani's theory (2011: 36-40) which suggests 5 values of character education, namely 1) the value of character education in relationships with God, 2) the value of character education in relationships with oneself, 3) the value of character education in relationships with others, 4) the value of education. character of the relationship with the natural surroundings/environment, and 5) the value of character education in relation to nationality. Of these five values, four values are used except the value of character education in relation to the natural environment/environment. The samples in this study were community leaders and dancers from the Bekhudihe studio. Data collection techniques using qualitative analysis. From the results of this study, there are values of character education seen from dance elements ranging from motion, poetry and clothing according to the Meusekat dance which refers to each character education value in the Alas community in Southeast Aceh Regency.Keyword:Value, Character Education, Mesekat Dance   ABSTRAK - Tari Meusekat merupakan salah satu tari yang ada di Kabupaten Aceh Tenggara, tepatnya pada masyarakat Alas, yang dipentaskan sebagai tari hiburan bagi mereka. Tari Meusekat memberikan banyak pelajaran-pelajaran bagi masyarakat dalam menjalani kehidupannya yang dapat diamati dari susunan tarian, iringan musik, pola lantai yang menjadi bagian dari penampilannya. Berdasarkan hal tersebut penelitian ini dilakukan untuk melihat Nilai pendidikan karakter yang ada didalamnya dalam kehidupan masyarakat Alas. Analisis menggunakan teori Asmani (2011: 36-40) yang mengemukakan 5 nilai pendidikan karakter yaitu 1) nilai pendidikan karakter hubungan dengan Tuhan, 2) nilai pendidikan karakter hubungan dengan diri sendiri, 3) nilai pendidikan karakter hubungan dengan sesama, 4) nilai pendidikan karakter hubungan dengan alam sekitar/lingkungan, dan 5) nilai pendidikan karakter hubungan dengan kebangsaan. Dari kelima nilai ini, digunakan empat nilai kecuali nilai Pendidikan karakter hubungan dengan alam sekitar/lingkungan. Sampel dalam penelitian ini adalah tokoh masyarakat dan penari sanggar Bekhudihe. Teknik pengumpulan data menggunakan analisis kualitatif. Dari hasil penelitian ini terdapat nilai pendidikan karakter yang dilihat dari elemen tari mulai dari gerak, syair dan busana sesuai pada tari Meusekat yang mengacu kepada masing-masing nilai pendidikan karakter pada masyarakat Alas di Kabupaten Aceh Tenggara. Kata Kunci : Nilai, Pendidikan Karakter, TariMesekat 
TORTOR HUSIP-HUSIP DALAM UPACARA KEMATIAN SAURMATUA PADA MASYARAKAT BATAK TOBA KAJIAN KOMUNIKASI NON VERBAL Yuli M Sidabutar
Gesture: Jurnal Seni Tari Vol 6, No 1 (2017): April 2017
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (595.138 KB) | DOI: 10.24114/senitari.v6i1.5700

Abstract

This study aims to find out how non-verbal communication of Tortor Husip-husip in Batak Toba society. The population in this study are some of the traditional leaders Batak Toba society in Simanindo district, some of the artists who know about Tortor Husip-husip and the actors (citizens) who are involved as performer Tortor-husip Husip. The sample is also customary prominent figure, artists, and actors involved in Tortor Husip-husip. The method is used descriptive qualitative method. To complete the data in this study, the research conducted field observations, video, interviews and also documentation. The results of the data collected can be seen in non-verbal communication of Tortor Husip-husip in Batak Toba society, which is not only as a dance performed in ceremonies of death Batak Toba, but also can serve as a medium of communication and symbolic systems. The uniqueness and characteristic of this tortor are gotten in Husip-husip which has meaning how expressing of whispering, hopeful and prayers to those who have Saurmatua. As a medium of non-verbal communication can be seen from the gesture. The dancers are not only get dance as usual, but there are non-verbal messages will be conveyed through by gesture in Tortor Husip-Husip. The form of non-verbal communication in Tortor Husip-husip is symbolized by keep nodding head with body position leaning forward and whispering with a corpse. Gondang Bolon  as the traditional music is used in this ceremonial celebrating. It contains sarune, taganing, gordang, ogung and hesek. The Non-verbal messages will be submitted to each community must be respecting to parents. And the Tortor Husip-husip is one of final tribute and delivering of the prayer, hope, gratitude and apology to the parents who have saurmatua.
PENYUSUNAN LEMBAR KERJA SISWA (STUDENT WORK SHEET) UNTUK PEMBELAJARAN TARI PETERI BENSU TINGKAT SMP KELAS VII DI TAKENGON Shera Utari; Irwansyah Irwansyah
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 (316.834 KB) | DOI: 10.24114/senitari.v8i1.13302

Abstract

ABSTRACT  This study aimed to develop a Student Work Sheet in learning Peteri Bensu dance for the seventh grade in Takengon. This study used the theory of Asra and Sumiati (2016: 171). For this reason, it took 3 stages in its preparation, namely: the planning stage, the implementation phase and the evaluation phase. The method used in this study was a qualitative method. The results of the study were in the form of a Student Work Sheet for VII grade in Peteri Bensu dance lessons. The preparation of this sheet was compiled based on the first semester of grade VII syllabus. The objective of this research was to produce Peteri Bensu Student Work Sheet which has been tested for its feasibility by material experts and media experts which meant it can be used by students as a guide for doing certain work that can enhance and strengthen the learning outcomes of Peteri Bensu dance material. The results of the average percentage by the experts in completing the evaluation sheet reached a value of 98.76% which was included in the category of very feasible to be used. Keywords: Preparation of Student Work Sheet, Peteri Bensu dance.     ABSTRAK            Penelitian ini bertujuan menyusun Lembar Kerja Siswa (Student Work Sheet) untuk pembelajaran tari Peteri Bensu tingkat SMP kelas VII di Takengon dengan menggunakan teori Asra dan Sumiati (2016: 171). Dalam penyusunannya dibutuhkan 3 tahapan yaitu: tahap perencanaan, tahap pelaksanaan dan tahap evaluasi. Metode yang digunakan pada penelitian ini adalah metode kualitatif. Hasil penelitian berupa produk Lembar Kerja Siswa (Student Work Sheet) pembelajaran tari Peteri Bensu tingkat SMP kelas VII. Penyusunan lembaran ini disusun berdasarkan silabus seni tari kelas VII semester satu. Ketercapaian penelitian menghasilkan Lembar Kerja Siswa (Student Work Sheet) tari Peteri Bensu yang telah diuji kelayakannya oleh ahli materi dan ahli media sehingga dapat digunakan oleh siswa sebagai panduan untuk mengerjakan pekerjaan tertentu mengenai materi tari Peteri Bensu. Hasil persentase rata-rata oleh para ahli dalam mengisi lembar evaluasi penilaian mencapai nilai 98,76% yang termasuk kedalam kategori sangat layak digunakan di lapangan. Kata Kunci : Penyusunan Lembar Kerja Siswa, tari Peteri Bensu.
HUSIP-HUSIP DALAM TORTOR HATA SOPISIK PADA MASYRAKAT BATAK TOBA : KAJIAN INETRAKSI SIMBOLIK Golda S Simarmata Golda Simarmata
Gesture: Jurnal Seni Tari Vol 2, No 1 (2013): April 2013
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (65.892 KB) | DOI: 10.24114/senitari.v2i1.886

Abstract

This study aims to determine how the origins Tortor Hata Sopisik, symbolic interactions contained in Husip Hata - husip in tortor tortor Sopisik and form of presentation Hata Sopisik in  Batak Toba society . The population in this study is the Toba Batak society who are in Samosir regency , artists and local traditional leader. The method used is descriptive qualitative . To complete the data in this study , researchers conducted field observations , video , interviews and documentation. The results based on the data collected can be seen that the origin of the creation of Tortor Hata Sopisik was when it was created Gondang Naposo implemented Tortor Hata Sopisik as disclosure media love for the young generation ( Naposo ) Batak Toba . Uniqueness that is characteristic of Tortor Hata Sopisik contained in Husip - husipnya . Husip - husip which means whisper , is a symbolic interaction that has meaning disclosure of his love for the opposite sex among the young generation ( Naposo ) .  
NILAI SOSIAL TARI OLANG-OLANG DI DESA DAYUN KECAMATAN PEMBATU DAYUN KABUPATEN SIAK Nindi Arifa
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 (550.449 KB) | DOI: 10.24114/senitari.v9i1.17963

Abstract

ABSTRACKThis study aims to describe the Social Values contained in the Olang-Olang Dance in Dayun Village, Pembatu Dayun District, Siak Regency. The theoretical foundation used is Raven's social value in Setiawan (2017: 90) which explains social value consisting of four parts, namely tolerance, mutual cooperation, cooperation and deliberation as a reference in conducting this research. The method used in this study is a qualitative descriptive method where the data obtained by the author are processed and analyzed carefully. Data collection techniques carried out by observation, interviews, study of literature and documentation. Observations made such as the Olang-Olang dance form, recording the results of interviews and conducting video and photo documentation. Continued to examine each of the social values that exist in the Olang-Olang dance in accordance with the theory used. the results of the preparation and analysis are compiled so as to produce a report in the form of writing or thesis. The results of this study are the social value of tolerance, mutual cooperation, cooperation and deliberation in the Olang-Olang dance. Tolerance in the Olang-Olang dance can be seen from the side of the motion of the opening and closing session. The Sakai Malay community believes that respect among human beings is done to establish unity, strengthen one another, and avoid division. The pattern used is the horizontal straight line pattern shows the relationship between humans, where in the Sakai Malay community has the view and belief that between fellow human beings should be considered equally without discrimination. Mutual cooperation in the open wing movement illustrates the existence of a form of social solidarity among fellow citizens in realizing a goal to be achieved. Keywords: Olang-Olang Dance. Sakai Malay Community     ABSTRAK Penelitian ini bertujuan untuk mendesripsikan Nilai-nilai Sosial yang terkandung dalam Tari Olang-Olang  di Desa Dayun Kecamatan Pembatu Dayun Kabupaten Siak. Landasan teoritis yang digunakan yaitu nilai sosial Raven dalam Setiawan  (2017:90) yang menjelaskan nilai sosial terdiri atas empat bagian yaitu toleransi, gotong royong, kerja sama dan musyawarah dijadikan acuan dalam melakukan penelitian ini. 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 skripsi. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, studi kepustakaan dan dokumentasi. Observasi yang dilakukan seperti bentuk tari Olang-Olang, merekam hasil wawancara dan melakukan dokumentasi video dan foto. Dilanjutkan mengkaji setiap nilai sosial yang ada pada tari Olang-Olang sesuai dengan teori yang digunakan. Hasil penelitian ini yaitu nilai sosial toleransi, gotong royong, kerja sama dan musyawarah pada tari Olang-Olang. Toleransi pada tari Olang-Olang dapat dilihat dari sisi gerak elo sombah pembuka dan elo sombah penutup. Masyarakat Melayu Sakai berpendapat bahwa menghormati antar sesama manusia dilakukan untuk menjalin persatuan, saling menguatkan, dan menghindari perpecahan. Pola yang digunakan yaitu pola garis lurus horizontal menunjukan adanya hubungan sesama manusia, dimana pada masyarakat Melayu Sakai memiliki pandangan dan kepercayaan bahwa antar sesama manusia harus dipandang sama rata tanpa membeda-bedakan. Gotong royong pada gerakan membuka sayap menggambarkan adanya bentuk solidaritas sosial antar sesama masyarakat dalam mewujudkan satu tujuan yang ingin dicapai. Kata Kunci: Tari Olang-Olang. Masyarakat Melayu Sakai
BENTUK TOR-TOR BALANGSAHUA PADA MASYARAKAT DESA TANAH JAWA DI KABUPATEN SIMALUNGUN dhiba inanta lubis
Gesture: Jurnal Seni Tari Vol 3, No 2 (2014): Oktober 2014
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (84.403 KB) | DOI: 10.24114/senitari.v3i2.2229

Abstract

The aim of this research is describing the form of Tor-tor Balangsahua dance at Javanese society in Simalungun.Theoretical foundation which is used in this research is theories related with the topic such as forming and dance element theories.The method used in this research is descriptive qualitative method. The collecting of data is done by field observing and interviewing to some informants to get data about Tor-Tor Balangsahua dance in Simalungun. The samples in this research are the man dancers an musicians in Tor-tor Balangsahua Dance.This research shows that, the form of Tor-tor Balangsahua dance related with movements like grasshopper act which is only for entertaining Simalungun society. Tor-tor Balangsahua dance  has theme usihan or the dance which imitate animals movement. The movement in Tor-tor Balangsahua dance has four motives those are respectful move or sombah, flying move, move like grasshopper, and man dancers move. Musical accompaniment used is Haro-haro, and musical instruments are Ogung, Sarunei, and Gondrang. Making up used in Tor-tor Balangsahua dance is focused on man dancers. The costumes used by man dancers are Head cover or Destar, shawl on shoulder or Suri-suri, fabric from waist to toe or Hiou. Tor-tor Balangsahua dance uses proscenium stage.   Keyword : Tor-tor Balangsahua.
TORTOR PARSIARABU PADA MASYARAKAT BATAK TOBA DI DESA TOMOK KABUPATEN SAMOSIR : KAJIAN SENTIMENTIL DAN NILAI ESTETIKA Ayu - Rahmadani; Nurwani - Nurwan
Gesture: Jurnal Seni Tari Vol 10, No 1 (2021): Gesture: Jurnal Seni Tari
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (996.61 KB) | DOI: 10.24114/senitari.v10i1.24722

Abstract

ABSTRACT-This study produced information about the existence of a Batak cultural background that developed in Samosir district, precisely in Tomok Village. TortorParsiarabu is an art that builds principles or sentimental and aesthetic values in the local area. This can be seen in the elements that exist in Parsiarabu'sTortor, namely, the theme (the sentimental value felt by widows when left behind by their husbands, giving rise to aesthetic value), motion (the sentiment felt by widows when left by their husbands, giving rise aesthetic value), clothing (the sentimental value felt by widows when left behind by their husbands, giving rise to aesthetic value), property (the sentimental value felt by widows when left behind by their husbands, giving rise to aesthetic value), and music (the sentimental value the widows felt when they were left to die by their husbands, giving rise to aesthetic value). The Sentimental value intended in this discussion is the feeling that a wife feels when left by her husband, this feeling is stated in ParsiarabuTortor, this dance has elements that help and then are arranged so that it will provide an aesthetic experience to the audience. Keywords:Sentimental Value, Aesthetic Value, TortorParsiarabu. ABSTRAK–Penelitian ini menghasilkan informasi mengenai eksistensi tari berlatar belakang kebudayaan Batak yang berkembang di Kabupaten Samosir, tepatnya di Desa Tomok. Tortor Parsiarabu merupakan kesenian yang membangun prinsip ataupun nilai-nilai sentimentil dan estetika pada daerah setempat. Hal ini terlihat dalam elemen-elemen yang ada pada Tortor Parsiarabu yaitu, tema (nilai sentimentil yang dirasakan para janda ketika ditinggal mati oleh suami, sehingga menimbulkan nilai estetika), gerak (nilai sentimentil yang dirasakan para janda ketika ditinggal mati oleh suami, sehingga menimbulkan nilai estetika), busana (nilai sentimentil yang dirasakan para janda ketika ditinggal mati oleh suami, sehingga menimbulkan nilai estetika), properti (nilai sentimentil yang dirasakan para janda ketika ditinggal mati oleh suami, sehingga menimbulkan nilai estetika), dan musik (nilai sentimentil yang dirasakan para janda ketika ditinggal mati oleh suami, sehingga menimbulkan nilai estetika). Nilai Sentimentil yang dimaksudkan dalam pembahasan ini adalah perasaan yang dirasakan seorang istri ketika ditinggal mati oleh suaminya, perasaan ini tertuang pada Tortor Parsiarabu, tarian ini memiliki elemen-elemen yang membantu dan kemudian tersusun sehingga akan memberikan pengalaman estetika kepada penonton. Kata kunci:Nilai Sentimentil, Nilai Estetika, Tortor Parsiarabu.
BENTUK TARI TROEN U LAOT PADA MASYARAKAT PIDIE KABUPATEN ACEH PIDIE Ike Wilda Yusni
Gesture: Jurnal Seni Tari Vol 5, No 2 (2016): Oktober 2016
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (386.067 KB) | DOI: 10.24114/senitari.v5i2.3862

Abstract

Penelitian ini merupakan kajian mengenai. Bentuk Tari Troen U Laot pada masyarakatPidie Kabupaten Aceh Pidie. Tujuan penelitian adalah untuk mendiskripsikan BentukTari Troen U Laot pada masyarakat Pidie Kabupaten Aceh Pidie.Teori yang digunakan dalam penelitian ini adalah teori Bentuk dari Murgianto yangmemuat tentang gerak, Teori ini menjadi acuan untuk untuk mengupas permasalahanyang ada dalam tari Troen U Laot.Waktu yang digunakan dalam penelitian untuk membahas Troen U Laot dilakukan sejakJanuari 2016 sampai Maret 2016.Tempat penelitian dilakukan di Kecamatan SimpangTiga Kabupaten Pidie.Populasi pada penelitian ini sekaligus menjadi sampel penelitianyaitu tokoh adat, seniman, dan penari adat. Teknik Pengumpulan data meliputi studi kepustakaan,wawancara , observasi dan dokumentasi.Berdasarkan hasil penelitian bahwa sebagian besar mata pencaharian masyarakat Pidieadalah nelayan.Dari kegiatan nelayan tersebut maka diciptakan Tari Troen U Laot.DalamTroen ULaot terkandung bentuk gerak batiniah tari ini mencerminkan kehidupan paranelayan yang membutuhkan perlengkapan jala untuk menjalankan aktivitasnya. Sedangbentuk lahiriah diwujudkan lewat ragam-ragam gerak yang tersusun, meliputi ragamgerak :Ayoen jaroe,poh jaroe ukeh, poh jaroe unen, poh jaroe uwie, syukor, poh jaroeyub, peuget jarring, teumirong bak jaring

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