scholarly journals MENGEKSPRESIKAN TARI TRADISI MELALUI PENGEMBANGAN GERAK DARI ASPEK TENAGA, RUANG, DAN WAKTU

2019 ◽  
Vol 8 (4) ◽  
pp. 1
Author(s):  
Indrayuda Indrayuda ◽  
Harisnal Hadi
Keyword(s):  
Energy Space ◽  
Development Effort ◽  
Creative Work ◽  
Dance Movement ◽  
Space And Time ◽  
Traditional Dance

Abstract This article aims to express and explain the issue of how to express traditional dance through the development of motion from aspects of power, space, and time. Traditional dance as a source of arable is developed in the form of new motifs, which are arranged in a structured manner so that it forms a new arable dance. New dance works that are rooted in traditional dance moves are choreographically subjected to reconstruction and modification, so that a creative work takes the form of an artistic, aesthetic, dynamic, and groove development effort that is processed in terms of power, space, and time. The development of these three aspects can shape traditional dance works into new Minangkabau dance works, which are more dynamic, harmonious and attractive. Keyword: Traditional dance, movement, energy, space and time.

scholarly journals The Transformation of Karo Traditional Dance Movement in Modern Choreography Form Gegeh Gundala-Gundala

2020 ◽  
Vol 2 (3) ◽  
pp. 765-775
Author(s):  
Martozet ◽  
Nurwani
Keyword(s):  
Creative Process ◽  
Modern Dance ◽  
Energy Space ◽  
Traditional Values ◽  
Literature Study ◽  
Unique Form ◽  
Dance Movement ◽  
Narrative Study ◽  
Space And Time ◽  
Traditional Dance

This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern choreography rooted in new traditional values such as the theory conveyed by Soedarsono that modern dance is freedom in expressing movement techniques on stage, such as the Gegeh Gundala-Gundala choreography. The method in this research is. While the method of this research uses qualitative methods, describing a narrative study of dance creation including literature study, observation, studio work, and documentation. From the process of creating the Gegeh Gundala-Gundala choreography, a new and unique form was obtained, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala.

scholarly journals ANALISIS KOREOGRAFI TARI KETIMANG BURONG SUKU SAWANG

JOGED ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 59-72
Author(s):  
Martha Sarassati Afnal
Keyword(s):  
Sequence Comparison ◽  
Daily Life ◽  
Energy Space ◽  
Motion Pattern ◽  
Transition Sequence ◽  
Space And Time ◽  
Choreographic Analysis ◽  
Male Dancers

Tari Ketimang Burong adalah sebuah pertunjukan tari yang lahir dari masyarakat suku Sawang Belitung. Tari ini adalah tari kelompok yang ditarikan oleh 6 orang penari laki-laki dan 6 orang penari perempuan secara berpasangan. Dilihat dari gerak, pola lantai, dan syair yang dilantunkan oleh para penyanyi memberikan gambaran mengenai kehidupan keseharian masyarakat suku Sawang yang dahulunya adalah suku yang menghabiskan hidupnya di lautan lepas.  Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi: keutuhan, variasi, repetisi, transisi, rangkaian, perbandingan dan klimaks.Dengan pendekatan Koreografi yang meliputi aspek bentuk, teknik, dan isi, serta menganalisis gerak tari dari aspek tenaga, ruang, dan waktu. Ketiga konsep tersebut merupakan satu kesatuan dalam bentuk tari yang tidak dipisahkan dan merupakan satu kesatuan bentuk tari yang utuh.  Tari Ketimang Burong suku Sawang merupakan suatu tari hiburan dengan bentuk koreografi tari kelompok. Koreografi dalam tari ini memiliki motif gerak yang sangat sederhana, setiap motif geraknya dilakukan berulang-ulang. Dari kesederhanan yang terdapat dalam tari Ketimang Burong menyimpan berbagai makna disetiap hal yang terkait dengan tari tersebut, diantaranya tema, gerak, kostum, pola lantai, dan syair yang menjadi aspek penting dalam tari Ketimang Burong. This researchment analyze choreography of Ketimang Burong as a dance that comes from Sawang’s People of Belitung. This dance is a group dance that was danced by 6 male dancers and 6 female dancers in pairs. This dance is a dance that’s very closely related to daily life of the Sawang’s people. Judging from the motion, pattern of the floor, and the lyrics that sung by the singer provide an overview of the tribe of Sawang people who were former as the tribe who spend their life  in the sea.  This Researchment uses choreography appoarch, covering the aspect of form, technique, and content. And analyze the motion of dance from the aspect of energy, space, and time. The three concepts are unity in the form of dance that is not separated and is a unified whole dance form. The understanding of choreographic analysis consists of the principles of deformity which include : wholeness, variety, repetition, transition, sequence, comparison and climax.  Ketimang Burong dance of Sawang’s people is a entertainment dance where the form of choreography is a group dance. Choreography in this dance has a very simply motif, it is like every single of motion motif is done repeatedly. From the simplicity of Ketimang Burong dance, there are various meaning in ever thing related to the dance among theme are theme, motion, costume, floor pattern, and poem which become important aspect in Ketimang Burong dance.

scholarly journals Nilai Filosofi Gerak Tari Guel pada Masyarakat Gayo di Kota Takengon Kabupaten Aceh Tengah

2020 ◽  
Vol 4 (1) ◽  
pp. 47
Author(s):  
Maghfhirah Murni Bintang Permata ◽  
Indra Setiawan ◽  
Rika Wirandi
Keyword(s):  
Social Values ◽  
Standard Form ◽  
Data Retrieval ◽  
Theory Approach ◽  
Dance Movement ◽  
Story Structure ◽  
Traditional Dance ◽  
Dance Movements ◽  
Interpretative Approach ◽  
Participatory Observation

Guel dance was a traditional dance based on the history narrative of Gayo, District- inspired by the legend of the siblings Sengedaand BenerMerie who were looking for white elephants that to be presented to a princess. Therefore, some elements of the dance movements reflected the character of the elephant. Besides the aspect of form, every element of Guel dance movements also contained the philosophical values that contain moral messages and social values. Currently, Guel dance performances creations are increasingly present in the middle of the community, The forms of Guel dance creations sometimes leave the standard provisions as a standard form of the dance itself. This study aimed to describe the philosophical values of the Guel dance movement in Takengon, Aceh Tengah District, by using the theory approach of motion dance structure fromKaepleer. The method used in this study was descriptive interpretative approach, namely research directly related to the community (participatory observation)for data retrieval. This study concluded that the Guel dance was a traditional dance which has a standardize story structure and dance motion philosophy. It implied the moral teachings, religious teachings, Guel dance has a message about loyalty, responsibility, fraternity, and it is not only done by relatives or family nut must be done in relationship for others.

scholarly journals 11. Continuity and Reinvention

2020 ◽  
pp. 317-342
Author(s):  
Sille Kapper
Keyword(s):  
Twentieth Century ◽  
Local Community ◽  
Folk Dance ◽  
Dance Movement ◽  
Traditional Dance ◽  
Round Dance ◽  
The Relationship

Kapper (Estonia) focuses mainly on the twentieth century, basing her discussion on information from folk dance collectors and researchers connected to the folk-dance movement. She surveys round dance forms described or referred to as part of this information, and discusses the relationship between round dances and other dances in a local community, particularly if that community was known as a stronghold of traditional dance. She also refers in brief to the folk-dance movement. In this way, she includes two of the groups mentioned above: the ‘dancing crowds’ and the folk dancers, and discusses the place round dancing has within each.

scholarly journals Menghidupkan Identitas Kepulauan Riau Melalui Seni Tari Tradisional

2021 ◽  
Vol 5 (1) ◽  
pp. 40
Author(s):  
Nur Sekreningsih Marsan ◽  
Mia Juliana Siregar
Keyword(s):  
Dance Movement ◽  
Traditional Dance ◽  
Dance Movements ◽  
Dance Identity

This article was created with the aim of seeing the extent of the identity of Riau Islands through the art of dance known in the community and trying to revive the identity of traditional dance through documentation of the dance movement itself. Thus, the problem in this research is focused on traditional dance movements that are indeed the identity of Riau Islands identifiers, namely malay dance movements. This research was conducted by exploring the roots of the dance from art actors directly through interviews and documenting them. Through the collection of dance movement information is then documented so that it can be seen or read by all people. So that traditional dance as the identity of Riau Islands is well documented. Based on the results of the rersponden assessment, 61% stated that knowing and knowing the traditional dance of Riau Islands, the rest stated that less knowing the traditional dance. Art performances can only be enjoyed on certain occasions. To overcome this, one way to bring traditional dance identity to life is to gather information related to traditional dances and document them in the form of photos, videos and books, increasing the frequency of dance performances.

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. 

Sign in / Sign up

Export Citation Format

Share Document