scholarly journals PITUNGGUA SEBAGAI KONSEP GERAK TRADISI DALAM TARI BUAI-BUAI DI PERGURUAN SINGO BARANTAI LUBUAK LINTAH PADANG

2020 ◽  
Vol 2 (2) ◽  
pp. 201
Author(s):  
Rosi Afriyani
Keyword(s):  
Qualitative Method ◽  
Aesthetic Theory ◽  
Dance Movement

ABSTRACTBuai-Buai dance originates from Pesisir Selatan in Singo Barantai community, Lubuak Lintah, Padang. Buai-Buai dance is danced with a number of knockers of 2 (two), 4 (four) and so on. This dance is a procession of farmers planting events while adjusting children. This dance is performed at the batagak penghulu, urak balabek, and wedding events in the Pauh Sembilan society. Buai-Buai dance originates from the phenomenon of the story of farmers growing crops. The purpose of this research is to find out in depth about the structure and aesthetics of the Buai-Buai in Singo Barantai College, Lubuak Lintah, Padang. The method used in this study is a qualitative method, and the theory used to dissect the Buai-Buai dance phenomenon is the Djelantik aesthetic theory. in the Buai-Buai dance movement, it contains structures and aesthetics associated with the procession or events of farmers farming in the Pauah Sembilan society. Keywords: Buai-Buai Dance, Batagak Penghulu, Aesthetics and Lubuk Lintah.  ABSTRAKTari Buai-Buai berasal dari Daerah Pesisir Selatan yang berada di Perguruan Singo Barantai Kecamatan Lubuak Lintah, Padang. Tari Buai-Buai ditarikan dengan jumlah penaru 2 (dua), 4 (empat) dan seterusnya. Tari ini merupakan prosesi peristiwa petani bercocok tanam sambil membuaikan anak. tari ini dilakukan pada acara batagak penghulu, urak balabek, hingga acara pernikahan di masyarakat Pauh Sembilan. Tari Buai-Buai berasal dari fenomena kisah petani bercocok tanam. Tujuan dari penelitian ini adalah untuk mengetahui secara mendalam tentang struktur dan estetika tari Buai-Buai di Perguruan Singo Barantai, Lubuak Lintah, Padang. adapun metode yang digunakan dalam penelitian ini adalah metode kualitatif, dan teori yang digunakan untuk membedah fenomena tari Buai-Buai adalah teori estetika Djelantik. dalam gerak tari Buai-Buai, mengandung struktur dan estetika yang terkait dengan prosesi atau peristiwa petani bercocok tanam di masyarakat Pauah Sembilan. Kata Kunci: Tari Buai-Buai, Batagak Penghulu, Estetika dan Lubuk Lintah.

scholarly journals The Analysis of Topeng Sinok Dance in Brebes Regency

2015 ◽  
Vol 15 (1) ◽  
pp. 25
Author(s):  
Dinar Ayu Sintho Rukmi ◽  
Indriyanto
Keyword(s):  
Data Analysis ◽  
Data Collection ◽  
Qualitative Method ◽  
West Java ◽  
Dance Movement ◽  
Collection Process ◽  
Data Collection Process ◽  
Qualitative Descriptive ◽  
Descriptive Approach ◽  
Border Areas

<p>Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and Surakarta style. The dance is basically aiming at showing that women from the border areas of Central and West Java are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This paper purposes to uncover the meaning behind Topeng Sinok dance movement. This study implements qualitative method that uses qualitative descriptive approach. The data collection process was conducted by using observation, documentation, and interview techniques. Further, the data were analysed by using dance data analysis by following the steps of (1) identifying and describing components; (2) understanding; (3) interpreting; and (4) evaluating. The data were then validated by using triangulation.</p>

scholarly journals Chinese Classical Aesthetic in the View of Inter-Subjectivity

2008 ◽  
Vol 2 (2) ◽  
pp. 211
Author(s):  
Zhang Haitao
Keyword(s):  
Qualitative Method ◽  
Traditional Culture ◽  
Aesthetic Theory ◽  
Contemporary China ◽  
Modern Chinese ◽  
Chinese Aesthetics ◽  
Classical Chinese ◽  
Contemporary Chinese ◽  
Dimensions Of Space

In contemporary China, the theory of intersubjectivity causes great significance to the construction of modern Chinese aesthetic theory but this kind of transverse dimensions of space on the outside of the transplantation of theory gave rise to some bad effects to traditional culture and classical Chinese aesthetics. Article presents a qualitative method. Its purpose to conduct research on intersubjectiveness spirit of Chinese aesthetics and literature from the dimensions of the longitudinal time. The discussion will also cause a vital significance to the building of contemporary Chinese aesthetics in this direction.

scholarly journals PERUBAHAN TARI GANDAI PADA MASYARAKAT MUKOMUKO PROVINSI BENGKULU

2019 ◽  
Vol 8 (2) ◽  
pp. 291
Author(s):  
Marfinetri Elyadi ◽  
Lora Gustia Ningsih
Keyword(s):  
Data Collection ◽  
Qualitative Method ◽  
Animal Movement ◽  
Musical Instrument ◽  
Dance Movement ◽  
Traditional Dance

AbstrakTari gandai merupakan sebuah tari tradisi yang ada di Mukomuko provinsi Bengkulu. Tari ini berasal dari cerita rakyat Malin Deman dan Puti Bungsu, Malin Deman merupakan manusia bumi dan Puti Bungsu merupakan manusia langit. Tari ini awalnya ditarian untuk menghibur Puti Bungsu yang berpisah dengan Malin Deman. Tari ini di tarian oleh beberapa penari perempuan secara berpasang-pasangan. Gerakan tari Gandai di ambil dari gerakan satwa yang mengambarkan kekecewaan  malin deman yang ditinggal oleh Puti Bungsu. Pada saat ini tarian ini sudah berubah menjadi tari untuk hiburan dalam acara-acara perkawinan ataupun acara pesta rakyat di Kabupaten Mukomuko. Tari ini memiliki Sembilan gerak  sesuai dengan lobang pada serunai gandai. Serunai gandai merupakan alat musik  pengiring dalam tarian gandai. pada saat ini tari gandai sudah mengalami perubahan, baik dari segi bentuk tari maupun dari segi fungsi. Tujuan penelitian ini adalah untuk mengungkap bagaimana perubahan tari Gandai pada masyarakat Mukomuko Provinsi Bengkulu metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati tari Gandai tradisi dan kreasi.Kata Kunci: tari gandai, perubahan, Mukomuko.AbstractGandai dance is a traditional dance in mukomuko, Bengkulu province. This dance comes from the folklore Malin Deman and Puti Bungsu, Malin Deman is an earth man and the youngest Puti Bungsu is a celestial man. This dance was originaly danced to entertain Puti Bungsu who parted ways with Malin Deman. This dance is danced by several female dancers in pairs. The Gandai dance movement was taken from the animal movement which depicted the disappointment of Malin Deman who was left by the youngest Puti. At this time the dance has turned into a dance for entertainment in weddings or folk parties in Mukomuko District. This dance has nine movements inaccordance with the hole in yhe smart alley. The clever grun is a musical instrument accompaniment in smart dance. At this time the smart dance has undergone changes, both in terms of dance form and in terms of dance form and in terms of function. The purpose of this study was to reveal how the change of smart dance in the Bengkulu Province Mukomuko community method used was a qualitative method, data collection was carried out through observation and observing the traditional dance of tradition and creation.  Keywords: gandai’s dance, change, Mukomuko. 

scholarly journals The Meaning of Rejang Pingit Dance Performance at Geriana Kangin Village, Karangasem, Bali in the Global Era

Humaniora ◽  
2018 ◽  
Vol 9 (3) ◽  
pp. 321
Author(s):  
Ni Made Ruastiti
Keyword(s):  
Qualitative Method ◽  
Real Life ◽  
Aesthetic Theory ◽  
Dance Performance ◽  
Research Results ◽  
Global Era ◽  
The People ◽  
Religious Theory ◽  
Musical Accompaniment ◽  
Performance Structure

This research was compiled from the research results that aimed to understand the meaning of Rejang Pingit dance performance in the global era. This research was conducted because of the imbalance between assumptions and reality in real life. The people who lived in the global era should be more interesting with beautiful performances that were simply performed. However, the fact was different. Although Rejang Pingit dance was very simple, people of Geriana Kangin village preserved it. The question was what was the form of the Rejang Pingit dance performance, what was the meaning contained in the performance? This research used the qualitative method. The data sources of this research were Pingit Rejang dance performance, related informants, journals, and previous research results. All data that had been collected were analyzed using aesthetic theory, religious theory, and the theory of power relations. The results show that Rejang Pingit dance is performed in the form of dance off (with no play). It can be seen from the way of presentation, choreography, performance structure, dressing, makeup, and musical accompaniment of the performance. People of Geriana Kangin village continue to preserve Rejang Pingit dance because it is considered to have the meaning of aesthetic, religious, social, and cultural. Their belief in the myth of the essence of life that undergoes the Rejang Pingit dance is so strong so that they still preserve the dance up to now. 

Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali

2022 ◽  
Vol 21 (2) ◽  
pp. 232-245
Author(s):  
Ni Made Ruastiti ◽  
Anak Agung Indrawan ◽  
I Ketut Sariada
Keyword(s):  
Performing Arts ◽  
Qualitative Method ◽  
Aesthetic Theory ◽  
Functional Theory ◽  
Aesthetic Taste ◽  
New Findings ◽  
Study Results ◽  
The Creation ◽  
Musical Accompaniment ◽  
Research Show

This article aims to discuss the Renteng Dance in Saren Village, Nusa Penida, which is actually the forerunner of the Rejang Renteng Dance performance, which is now widely danced by mothers in the context of the dewa yadnya ceremony in Bali. Supposedly, as the forerunner of ceremonial dance performances, the Balinese people know the Renteng Dance. However, in reality, this is not the case. Balinese people seem to know more about the Rejang Renteng Dance than the Renteng Dance. (1) What is the form of the Renteng Dance in Saren Village? (2) Why is the Renteng Dance the source of the creation of ceremonial dance in Bali? This study uses a qualitative method with research data sources such as Renteng Dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. Aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observation, interviews, and literature review. The study results show that: (1) the community in Saren Village presents Renteng Dance in the form of a freelance dance (without a play). It can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of Renteng Dance is the source of the creation of ceremonial dance in Bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. The new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts.

scholarly journals Dekonstruksi Estetika dan Makna Musik Gamat di Sawahlunto, Sumatera Barat

2016 ◽  
Vol 16 (1) ◽  
pp. 25-35
Author(s):  
Murniati Murniati
Keyword(s):  
Social Integration ◽  
Qualitative Method ◽  
Artistic Expression ◽  
Aesthetic Theory ◽  
Social Culture ◽  
Research Results ◽  
New Form ◽  
Different Cultures

Keberagaman budaya masyarakat lokal terlihat dari kekayaan ekspresi seni budaya masyarakat,di antaranya terdapat pada musik gamat. Tulisan ini melihat dekonstruksi estetika dan makna darifenomena perubahan bentuk dan struktur sajian musik gamat di masyarakat. Untuk membahasnyadigunakan teori dekonstruksi dan estetika dengan metode kualitatif. Dekonstruksi estetika musikgamat merupakan bentuk baru dari unsur tradisi dan modern, terdiri atas struktur yang saling terkaitdan membentuk sebuah sistem. Berdasarkan bentuknya, struktur ketradisian musik gamat mengalamipercampuran pada idiom instrumen, tangga nada, struktur permainan dan peran musisi, strukturlagu-lagu, serta konteks dan waktu pertunjukan. Berdasarkan penelitian disimpulkan bahwa estetikakeberagaman terwujud dari rasa saling menerima antarbudaya yang berbeda dalam pertunjukanmusik gamat. Dekonstruksi estetika musik gamat mengandung makna makna pembauran, kreativitasdan ekspresi serta estetika multikultural.Deconstruction of Aesthetics and Meaning of Gamat Music in Sawahlunto, West Sumatra.The variety of local social culture can be seen in the richness of cultural artistic expression, among others is inGamat music. This study deconstructs the aesthetics and meaning of the phenomena of the changes in formand structure toward the presentation of Gamat music in that society. For this purpose the deconstructionaland aesthetic theory are used with qualitative method. The deconstruction of the aesthetics of Gamat musicrepresents a new form from the traditional and modern element. It consists of interrelated structure andforms a system. Seen from its form, the structure of the tradition of Gamat music  undergoes the mixture ofinstrumental idiom, the scale, the structure of performance and the role of musicians, the structure of thepieces as well as the context and time of performance.  From the research results, it may be concluded thatthe aesthetics of diversity is formed from the sense of mutual acceptance towards different cultures in theperformance of Gamat music. The deconstruction of the aesthetics of Gamat music embodies the meanings of social integration, creativity and expresssion, and multicultural aesthetics as well.

scholarly journals KOMUNIKASI SIMBOLIK TARI BARIS DAPDAP DALAM UPACARA PITRA YADNYA (NGABEN) DI BANJAR BEBALI DESA BEREMBENG KECAMATAN SELEMADEG KABUPATEN TABANAN

2018 ◽  
Vol 2 (1) ◽  
pp. 187
Author(s):  
I Gusti Ngurah Minanda Putra ◽  
I Nengah Aryanatha ◽  
I Ketut Wardana Yasa
Keyword(s):  
Symbolic Interactionism ◽  
Qualitative Method ◽  
Research Approach ◽  
Aesthetic Theory ◽  
Dance Performance ◽  
Symbolic Communication ◽  
The People ◽  
The Dead ◽  
Sacred Dance

<p><em>Tari Baris Dapdap is categorized in one of the scared dances. The performance of the scared dance influences the understanding of the society to the symbols related to the sacred dance performance. Symbolic Communication is done to find the same value that exists in the performance of Tari Baris Dapdap.</em></p><p><em>Based on the background of the study, the problem of studies which were conducted in the study are: (1) How is the existance of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? (2) How is the Symbolic Communication that is contained in the performance of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? (3) What is the function of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? In identifying the problem of study, the theory used in this study is aesthetic theory, symbolic interactionism and structural functional. In analyzing the problem of study, the study used some methods, which are: research approach using qualitative method. </em><em> </em></p><p><em>The result of this study are: (1) The existance of Tari Baris Dapdap in Upacara Pitra Yadnya is still being preserved by the villager in Banjar Bebali as the worthy ancestral heritage. The dancer of Tari Baris Dapdap are the adult people with simple make-up, dress and gambelan, yet it is sacred. The dance is performed in the house of the dead (rumah ngaben); (2) Tari Baris Dapdap is the symbol of a sincere devotion of the people in Banjar Bebali; (3) Tari Baris Dapdap in Banjar Bebali is a sacred dance, which is special only for Upacara Pitra Yadnya and has the religious, social and aesthetics functions.</em></p>

scholarly journals Music Accompaniment Of Japin Carita South Kalimantan

2021 ◽  
Vol 10 (1) ◽  
pp. 76-80
Author(s):  
Benny Mahendra ◽  
Noor Cahaya ◽  
Muhammad Najamudin
Keyword(s):  
Qualitative Method ◽  
Data Gathering ◽  
Theory And Practice ◽  
Public Knowledge ◽  
Natural Setting ◽  
Entertainment Media ◽  
Dance Movement ◽  
Media Communication ◽  
Cultural Statistics ◽  
Physical Responses

This research was conducted due to the lack of public knowledge about the music accompaniment of Japin Carita from South Kalimantan. This research focused more on the theory and practice of music science regarding the music accompaniment of this local South Kalimantan theater. This research used naturalistic qualitative method because it was held in natural conditions (natural setting), this method is also called the ethnographic method. Data gathering techniques include; observation, interview, documentation. Data analysis techniques include data reduction, data presentation, and verification. Japin Carita is a traditional theater art from South Kalimantan which is derived from the art of Japin, a dance that originates from Arab. The word Japin in Arabic originating from the word zafin which means fast footwork, and just like the definition Japin dance movement is indeed prioritizing foot movements. The structure of musical forms that can be used as music accompaniment to Japin Carita are; Gasim, Takzim, Rawis, Melagu, Nyanyian, and Tahtim. Japin music in Japin Carita theater is not only for the opening music, but also when the actors enter and leave the stage, and for the closing music. Music illustrations depicting the atmosphere of a place or the mood of an actor, whether sad, afraid, anxious, happy and so on must also follow the rhythm of Japin music. Japin Carita musical instruments consist of baboons, gongs, violins, keprak, and gambus. The function of Japin music accompaniment includes entertainment media, communication media, symbolic tribute, physical responses, continuity media, cultural statistics, and atmosphere proponent of the Japin Carita play/ script.

scholarly journals PENDIDIKAN KARAKTER DALAM TARI MANDUDA PADA MASYARAKAT SIMALUNGUN

2017 ◽  
Vol 6 (1) ◽  
pp. 33
Author(s):  
Sylvia Purnama Sari
Keyword(s):  
Character Education ◽  
Qualitative Method ◽  
Social Care ◽  
Descriptive Analysis ◽  
Dance Education ◽  
The State ◽  
Dance Movement ◽  
Research Instrument ◽  
Theory Of Education ◽  
Qualitative Descriptive

This study aimed to describe Character Education In Dance Manduda the Community Simalungun. The research was conducted in June until the month of August 2016, this study uses theories that relate to topics such as the theory of education and character, understanding the value of character education, the meaning and understanding of dance movement Manduda. This study uses a qualitative method. The object of this research is Manduda dance.Data were obtained by the researchers themselves as a research instrument by using observation, interview, and documentation. Data were analyzed using qualitative descriptive analysis to describe the state of the object in the field. The location of this research was conducted in District Pematang Raya.The results showed Manduda dance is a dance that describes the excitement and joy in harvest rice Simalungun society. Dance education Manduda contains characters that include the value religus, honesty, tolerance, discipline, hard work, creative, independent, democratic, national spirit, patriotism, friendship / communicative, peace-loving, caring environment, social care and responsibility.

scholarly journals Silat as the Source and Identity of the Minangkabau Ethnic Dance

2019 ◽  
Vol 19 (1) ◽  
pp. 71-83
Author(s):  
Afifah Asriati ◽  
Ahmad Kosasih ◽  
Desfiarni Desfiarni
Keyword(s):  
Focus Group ◽  
Cultural Values ◽  
Focus Group Discussion ◽  
Martial Arts ◽  
Qualitative Method ◽  
Group Discussion ◽  
Dance Movement ◽  
Traditional Dance ◽  
Dance Movements ◽  
West Sumatra

This article is intended to get the concept of Minangkabau dance movement in the context of ethnic philosophical values. Today, ninik-mamak, cadiak pandai, and alim ulama in West Sumatra develop ideas about Minangkabau philosophy in all aspects of life. How this idea is reflected in dance movements? To answer this question, a qualitative method is used by taking six samples of popular Minangkabau traditional dance. The data were collected using Focus Group Discussion, observation, and interviews to confirm previous findings. Through the triangulation technique, it is expected to obtain credible data and be analyzed using the models of Miles and Haberman. The results of this study indicate that the basic movements of Minangkabau dance are silat movements. The martial arts movement is the basis of movement used by many traditional dances in Minangkabau. Every district has its unique cultural values and identities and these values are manifested in dance created by dance activists.

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