KEBERADAAN TARI SALAPAN DI KENAGARIAN AIR BANGIS  KECAMATAN SUNGAI BEREMAS KABUPATEN PASAMAN BARAT

Abstract The research aims to reveal and describe the existence of the Salapan dance in enagarian Air Bangis Kecamatan Sungai Beremas Kabupaten Pasaman Barat. This type of research is qualitative research with a descriptive method. This type of research uses primary and secondary data. The main instrument in this research is its own researchers and assisted with supporting instruments such as stationery and cameras. Data collection techniques are conducted by way of library studies, observations, interviews and documentation. The steps for analyzing data are data collection, classifying data, analyzing data, interpreting data and making conclusions. The results showed that the existence of the Salapan dance in the middle of society is no longer exist because this dance is rarely displayed and there is no workshop to defend this dance. The choreographers of the Salapan dance creations have also eliminated the meaning of the tradition of dance by changing the movements and properties of the dance itself. The Salapan dance is no longer displayed at events held by local communities such as weddings, but the Salapan dance is only shown more frequently at the request of Tourism office in West Pasaman and competition events. Keyword: existence of dance Salapan

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KEBERADAAN TARI TAREA-READI KENAGARIAN KOTO GADANG GUGUK KECAMATAN GUNUNG TALANG KABUPATEN SOLOK

Jurnal Sendratasik ◽

10.24036/jsu.v8i1.106519 ◽

2019 ◽

Vol 8 (2) ◽

pp. 25

Author(s):

Sri Wahyuni ◽

Herlinda Mansyur

Keyword(s):

Qualitative Research ◽

Data Collection ◽

Performing Arts ◽

Secondary Data ◽

Primary Data ◽

Data Types ◽

Traditional System ◽

Library Studies ◽

Main Instrument ◽

Descriptive Method

Abstract This article aims to reveal and describe the existence of Tarea-rea dance in Kenagarian Koto Gadang Guguk Kecamatan Gunung Talang Kabupaten Solok. This type of research is qualitative research with a descriptive method. The main instrument of this research is its own research and assisted with supporting instruments such as stationery, cameras and Handycam. Data types use primary data and secondary data. Data collection techniques are conducted by way of library studies, observations and interviews. The steps for analyzing data are data collection, analyzing data, describing data and making conclusions. The results showed that Tarea-rea dance is a art carried by the ancestors of the Guguk people who inherited hereditary with the traditional system. Tarea-rea dance was originally used as a dance at the time of the decline ceremony of rice harvesting. Since 2015 This dance is increasingly popular in the Kenagarian Koto Gadang Guguk as the performing arts. The existence of Tarea-rea dance is still recognized and cultivated by the community and local people also have recognized the existence of the dance in the Kenagarian Koto Gadang Guguk. Keywords: existence, Tarea-Rea dance

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PRESTASI SANGGAR RUMAH GADANG SEBAGAI SEBUAH ORGANISASI SENI PERTUNJUKAN DI NAGARI CUPAK KABUPATEN SOLOK: KAJIAN TERHADAP TATA KELOLA ORGANISASI

Jurnal Sendratasik ◽

10.24036/jsu.v9i1.109525 ◽

2020 ◽

Vol 9 (2) ◽

pp. 47

Author(s):

Della Natasia Gunita Piska ◽

Indrayuda Indrayuda

Keyword(s):

Qualitative Research ◽

Performing Arts ◽

Secondary Data ◽

Primary Data ◽

Data Types ◽

Data Presentation ◽

Video Cameras ◽

Library Studies ◽

Main Instrument ◽

Descriptive Method

This research aims to describe and explain the governance of the organization of Rumah Gadang Dance Art in managing the order well to be able to achieve achievement both national and international so that it remains exist and survive to date. This type of research is qualitative research with a descriptive method. The main instrument in this research is its own researchers and assisted with supporting instruments such as notebooks, note taking tools, video cameras, photo cameras, and tape recorders. The data types in this study are primary data and secondary data. Data collection techniques are conducted by way of library studies, observation, interviews, documentation. The steps for analyzing data are data reduction, data presentation and withdrawal of conclusions. The results showed that the governance of the organization run by Sanggar Rumah Gadang can run well so that it produces good achievements. The research is included in a line organization (a form of organization where direct authority delegation is vertically and completely from leadership to its subordinates). The advantage of the line organization, all decisions can be resolved directly because in a particular situation the leader becomes one of the main targets in problem solving. Disadvantages of the line organization, if there is an issue or problem can not be resolved quickly because the leader is not in place. Thus the governance of the line Oganisasi to solve the problem or problems in the workshop, the head of the workshop became the first person to complete and resolve the issue.Keywords: achievement, Rumah Gadang, performing Arts

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PELAKSANAAN KEGIATAN PENGEMBANGAN DIRI SENI TARI DI SMP-SDI SILUNGKANG

Jurnal Sendratasik ◽

10.24036/jsu.v7i3.103306 ◽

2019 ◽

Vol 8 (3) ◽

pp. 71

Author(s):

Deliziani Deliziani ◽

Fuji Astuti ◽

Nerosti Nerosti

Keyword(s):

Qualitative Research ◽

Information Technology ◽

Data Collection ◽

Secondary Data ◽

Primary Data ◽

Self Development ◽

Library Studies ◽

Communication And Information Technology

AbstractThis study aims to describe the implementation of dance development activities in SMP-SDI Silungkang. The type of research is qualitative research by usingdescriptive method of analysis. The objects in this study were 23 students consisting of grade VII and grade VIII at SMP-SDI Silungkang. The instrument used in this study was the researchers themselves and supported by observation, documentation and interviews. The types of data in this researcher were primary data and secondary data. In data collection used secondary techniques. The technique of data collection was done by means of library studies, observation, interviews and documentation. The results of the study showed that the implementation of the dance development activities in SMP-SDI Silungkang ran well. Although, self-development activities in coaching were assisted by the teachers of Communication and Information Technology (ICT). However, the results can be achievedwell. This was also supported by thestudents’ interest to improve their self-development of dance in the school.Keywords: Implementation, Self Development, Dance

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PELAKSANAAN PEMBELAJARAN SENI BUDAYA KELAS XII MIPA 2 SMA NEGERI 1 KOTA SAWAHLUNTO

Jurnal Sendratasik ◽

10.24036/jsu.v7i3.103401 ◽

2019 ◽

Vol 8 (3) ◽

pp. 22

Author(s):

Wedi Juanda ◽

Irdhan Epria Darma Putra

Keyword(s):

Qualitative Research ◽

Data Collection ◽

Contemporary Music ◽

Learning By Doing ◽

Cultural Learning ◽

Music Learning ◽

Art And Culture ◽

Music Class ◽

Main Instrument ◽

Descriptive Method

AbstractThis article aims to describe the implementation of learning art and culture (contemporary music) class XII of MIPA 2 SMA Negeri 1 Sawahlunto. This type of research is qualitative research using descriptive method. The main instrument in this study is the researchers themselves and assisted with assisted with observation, interviews, and documentation and study of the literature. The technique of data collection is done by way of observation, interview, documentation and study of the literature. Techniques in analyzing the data is carried out by means of the data processing directly after the field. The results showed that teachers design a simpler contemporary music learning to teach in order to be digested by students given that the study of contemporary music is not a little. In the performance of contemporary music learning, learning that implemented teacher different to what has been written into the draft implementation of learning (RPP). Still found some weaknesses against the methods and strategies that teachers use against learning. Teachers should increase the motivation of students to more focused in the art and cultural learning by doing approach individuals and groups. Facilities and infrastructure provided the school is still minimal, resulting in learning not to be implemented properly.Keywords: implementation and study of art and culture

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MAKNA TARI KAIN DALAM UPACARA PERKAWINAN MASYARAKAT PAUH V KECAMATAN PAUH KOTA PADANG SUMATERA BARAT

Jurnal Sendratasik ◽

10.24036/jsu.v9i1.109534 ◽

2020 ◽

Vol 9 (4) ◽

pp. 1

Author(s):

Vhellani Harza Dena ◽

Darmawati Darmawati

Keyword(s):

Qualitative Research ◽

Data Analysis ◽

Secondary Data ◽

Literature Study ◽

Marriage Ceremony ◽

Traditional Dance ◽

Wedding Ceremony ◽

Main Instrument ◽

Descriptive Method

This study aims to describe and analyze the meaning of Kain dance in marriage ceremony at Pauh V, Pauah district, Padang city. This is a qualitative research using a descriptive method. The object of this research was Kain dance in Pauh V community, Pauh district, Padang city. The data used in this study were primary and secondary data. The main instrument was the researcher itself and was assisted by supporting instruments such as writing instruments, cameras, and cellphones. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted by reducing the data, displaying the data, and making conclusions. The results show that Kain dance is a traditional dance which is a manifestation of the values of Pauh V community in a marriage ceremony. The instructions are given by niniak mamak (headmen) and bako (fathers’ family) as people who are responsible. This is depicted in a dance by dancers who invite the bride and groom to dance as a form of learning.Kain dance depicts a man who is married and is recognized as an adult who must have dexterity, strength, and vigilance in facing challenges in life's journey. This dance is performed in a marriage ceremony during the malakek an gala (giving a title). However, over the time, Kain dance may be performedat religious events in Pauh V Community, Pauh District.Keywords : meaning, cloth dance, wedding ceremony

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BENTUK GARAPAN TARI PIRING LAMPU TOGOK KREASI SANGGAR LUBUAK NAN TIGO KOTA SOLOK

Jurnal Sendratasik ◽

10.24036/jsu.v8i1.106420 ◽

2019 ◽

Vol 8 (1) ◽

pp. 53

Author(s):

Rahmi Izaty ◽

Nerosti Nerosti

Keyword(s):

Qualitative Research ◽

Data Collection ◽

Secondary Data ◽

Musical Instrument ◽

Primary Data ◽

Creative Dance ◽

Video Cameras ◽

Dance Movements ◽

Library Studies ◽

Male Dancers

Abstract This study aims to describe and analyze the forms of creation of Tari Piring Lampu Togok at Lubuak Nan Tigo Studio. This type of research was qualitative research with descriptive analytical methods. The main instruments in this study were the researchers themselves and assisted with supporting instruments including stationery, photo cameras and video cameras. The type of data used primary data and secondary data. Data collection techniques were carried out by means of library studies, observation, interviews and documentation. The steps in analyzing data were collecting the data, analyzing data, describing data and makingconclusions. The results of the study showed that the Tari Piring Lampu Togok was a creative dance by Lubuak Nan Tigo studio, arranged based on the dance movements of the traditional Tari Lampu Togok. The creation of the dance production resulteda quality form of work, including: (1) Motion, consists of: (a) opening motions are anta lampu,puta duduak, tagak itiak, duduak maagah piriang, pitungguang ayun piriang, then (b) core movements are ramo-ramo bagaluik, tupai bagaluik, tusuak muko balakang, usuak bawah ateh, simpia tagak, ayun rang mudo, tusuak mangayun, tupai bagaluik jantan, lenggok basamo, tusuak baganti, piriang manabeh tagak, piriang manabeh duduak, langkah puta ramo-ramo, tusuak sasampiang, simpia duduak, ayun ampek panjuru, next (c) the closing motion isputa habih. (2) Varied floor patterns, namely diagonal, triangle, letter V, letter W, circle and horizontal. (3) Accompanying music uses a musical instrument called tambua, talempong, canang, tasa, bansi, sarunai. (4) male dancers weartaluak balango, galembong pants, deta wrapped in batik cloth andsongket Silungkang and the costumes for female dancers wear baju kurung, pants, songketSilungkang, and tanduak wrapped in songket. (5) Female dancers wear beautiful makeup and male dancers wear foundation and powder only. (6) Dancer consists of 6 people;3 female dancers and 3 male dancers.Dancers are able to express their movements by maintaining balance and compactness swiftly so that Lampu Togok stands firmly on the headduring the performance. (7) Property is Lampu Togokitself which used to be a light for the community. The lights are turned on using kerosene. The balance ofTari Piring Lampu Togoksymbolizes caution in facing opponents and living life. The compactness of the Tari Piring Lampu Togok symbolizes the community and togetherness in living life. Keyword: Solok, Lubuak Nan Tigo Studio, Tari Piring Lampu Togok, Form of Creation.

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KOREOGRAFI TARI INDANG RANDAI DI SANGGAR ALANG BANGKEH SILAING BAWAH KOTA PADANGPANJANG

Jurnal Sendratasik ◽

10.24036/jsu.v9i1.109528 ◽

2020 ◽

Vol 9 (2) ◽

pp. 9

Author(s):

Uthi Sonia ◽

Herlinda Mansyur

Keyword(s):

Qualitative Research ◽

Data Analysis ◽

Secondary Data ◽

Daily Activities ◽

Creative Dance ◽

Straight Line ◽

Dance Movements ◽

Use Stage ◽

Main Instrument ◽

Descriptive Method

This study aims to reveal and describe the choreography form of Indang Randai Dance at Alang Bangkeh Studio, Silaing Bawah, Padang Panjang city. This is a qualitative research using descriptive method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing instruments and cameras. The data used were primary and secondary data. The data were collected through interview, observation, and documentation. The data analysis was conducted by collecting the data, reducing the data, presenting the data, and making conclusions. The results show that Indang Randai dance is a creative dance whichholds the characteristics of Minangkabau women and rules which exist in Minangkabau custom. This dance tells about the joy of teenagers in doing activities. The dance functions as an entertainment dance. Related to the dance elements, Indang Randai dance choreography consists of 59 dance movements, the upper design dominantly using low design, the floor design which is dominantly from straight line developments, the music design, and the dramatic group choreography design. The dynamics are generally intermediate. The group choreography is performed simultaneously and balanced. The costumes worn are galembong pants, bajukurung, tokah, waist bands, and accessories. The dancers use stage make-up. From all those dance elements, relation to the theme of the daily activities of teenagers who are happy and enthusiastic in carrying out activities can be made.Keywords: Choreography, Indang Randai Dance, Alang Bangkeh Studio

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PELAKSANAAN PEMBELAJARAN TEKNIK VOKAL DI KELAS VII-3 SMP NEGERI 12 SIJUNJUNG

Jurnal Sendratasik ◽

10.24036/jsu.v8i3.108139 ◽

2020 ◽

Vol 9 (1) ◽

pp. 24

Author(s):

Shilvi Yunita ◽

Syeilendra Syeilendra

Keyword(s):

Qualitative Research ◽

Data Collection ◽

Secondary Data ◽

Learning Objectives ◽

Literature Study ◽

Vocal Technique ◽

Average Value ◽

Main Instrument

AbstractThe purpose of this study is to describe and find out the implementation of vocal Technique learning at class VII-3 in SMP Negeri 12 Sijunjung. This type of study was a qualitative research with using descriptive methods. The object of this study was the students at class VII-3 in SMP N 12 Sijunjung who participated in vocal technique learning. The main instrument in this study was the researcher. The additional instruments were stationery and camera. Techniques of Data collection were carried out by taking literature study, observation, interviews, documentation study. The type of data used primary and secondary data. The steps in analyzing data were done by collecting, reducting, presentating and drawing data conclusions. The result shows that the vocal technique learning thatis carried out by the teacher atclass VII-3 does not run well and meet the target of the learning objectives. The teacher does not understand the material of vocal technique well so that the students do not understand the vocal technique. Therefore, there are still some students who have not been able to sing properly due to lack of practice, lack of understanding of the material and practice of vocal technique learning so that they get a low scores. The results of the practice of various vocal techniques namely the highest value only reaches 87 and the lowest value is 58 with an average value is 74.4%.Keywords: Implementation, Learning, Vocal Technique

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KOREOGRAFI TARI PIRIANG BAKENCAK DI SANGGAR TARI TUAH SAKATO KECAMATAN PAUAH KOTA PADANG

Jurnal Sendratasik ◽

10.24036/jsu.v8i1.106522 ◽

2019 ◽

Vol 8 (2) ◽

pp. 48

Author(s):

Rafi Rafi ◽

Herlinda Mansyur

Keyword(s):

Qualitative Research ◽

Data Collection ◽

Design Process ◽

Secondary Data ◽

Primary Data ◽

Process Equipment ◽

Data Types ◽

Data Presentation ◽

Library Studies ◽

Collection Data

Abstract This article aims to reveal and describe the choreography of Piriang Bakencak dance at Sanggar Tuah Sakato in Kecamatan Pauh Kota Padang. This type of research is qualitative research using descriptive methods. This research instrument is self-research and assisted by supporting instruments such as stationery and cameras. Data types use primary data and secondary data. Data collection techniques are conducted by way of library studies, observations, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and withdrawal of conclusions. The results showed that Piriang Bakencak dance was a group-shaped creation that used the composition of the group, and was directed by a lift in the Koto Anau tradition. This Bakencak dish dance is a development of tradition with a choreography approach. In Piriang Bakencak dance There are elements of dance composition consisting of theme, motion, top design, floor design, dramatic design, music design, process, equipment and choreography group. It was concluded that Piriang Bakencak dance was directed by planning choreography by the fact. Because Piriang Bakencak dance in the start of an idea that is present from the tradition, and was directed in a form of a clear, then directed again with more new movements. Keywords: choreography, Piriang Bakencak Dance, Sakato Classes Workshops Dance

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KESENIAN RONGGIANG PASAMAN GROUP RANAH SAIYO DARI BENTUK HIBURAN KE BENTUK PERTUNJUKAN

Jurnal Sendratasik ◽

10.24036/jsu.v9i2.110627 ◽

2020 ◽

Vol 10 (1) ◽

pp. 441

Author(s):

Emeilya Batu Bara ◽

Nerosti Nerosti

Keyword(s):

Qualitative Research ◽

Secondary Data ◽

Ancient Times ◽

And Performance ◽

Main Instrument ◽

Main Support ◽

Descriptive Method ◽

Male Dancers

This study aims to reveal the art of Ronggiang Pasaman of Ranah Saiyo group from entertainment to performance form. This is a qualitative research using analytical descriptive method. The main instrument in this study was the researcher it self with primary and secondary data. The data were collected throughliterature study, observation, interview, and documentation. The object of this research was Ronggiang Pasaman Art of Ranah Saiyo group. The results show that Ronggiang is the only entertainment dance which has its own characteristics, uniqueness, and beauty from other entertainment dances in AuaKuniang village. Ronggiang can be seen from the form of presentation. Ronggiang is danced by three or four dancers. There are male dancers and one of which acts as singer. This is due to the fact that in ancient times women were prohibited to dance in crowd by the customs of Aur Kuning community. The place to show Ronggiang performance is not arbitrary because the performanceis arranged as well as possible. Music in Ronggiang is the main support which serves to provide atmosphere and enthusiasm for the dancers and the audiences who watch it. The differences can be seen from the entertainment and performance form Ronggiang. Ronggiang performance usually serves as entertainment for the community. Such entertainment is performed in some events such as Mamasak, maaghak-aghak, youth events, and West Pasaman's Birthday. As for the show, it is usually performed in a special place.Keywords: ronggiang pasaman, form of entertainment, form of performance.

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