Bentuk Penyajian Tari Sining Pada Masyarakat Gayo Aceh Tengah

This paper aims to describe the form of presentation of the sining dance in the Gayo community of Central Aceh Regency. Sining dance is a dance whose form of movement is inspired by nature. The movements are pure and use a lot of mimitive movements. This dance is also one of the traditional dances that was extinct and was then made a revitalization effort by the Central Aceh Kuta Dance Studio. This study focuses the problem on the form of presentation of the Sining Dance. To analyze the problem, Soedarsono used the theory of presentation forms, which said that, the form of presentation in dance has an understanding of how to present a dance as a whole, including the main elements or elements that support dance. These elements consist of dance movements, floor design, make-up, costumes, performance venues, props, and accompaniment music. This research uses qualitative research methods. This study concludes that the movements contained in the sining dance are mimitive and spontaneous movements, and tend to describe balance. Using a gayo openwork costume, accompanied by traditional music and traditional Gayo musical instruments. With two adult male dancers. Using upuh ulen-ulen cloth. Using a props made of pile board measuring 1.6 meters high. The shape of the board which is used as the main property is adopted from the Bere Numah shape. Meanwhile, the sining dance performance venue is currently adjusting to the location of the show provided, both on stage and in the open field area.

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MAKNA GERAK TARI TANGGAI DI KOTA PALEMBANG SUMATERA SELATAN

Greget: Jurnal Pengetahuan dan Penciptaan Tari ◽

10.33153/grt.v18i1.2644 ◽

2019 ◽

Vol 18 (1) ◽

Author(s):

Gabriella Saras Katungga ◽

S Syahrial

Keyword(s):

Qualitative Research ◽

Young People ◽

Research Methods ◽

Research Question ◽

Qualitative Research Methods ◽

A Value ◽

The People ◽

Dance Movements ◽

Relationship Of ◽

The City

Tanggai Dance is a welcome guest dance in the city of Palembang. Tanggai Dance is one of the dance that until now continues to exist and become a dance that must be known and studied by young people especially women. It is not recklessly to dance the Tanggai dance, but dancers should also know the contents of the dance, because there is a value to be conveyed to the people who appreciate the Tanggai dance. There are two focus problems that will be researched and formulated in the research question which is how the form of Tanggai dance and what is the meaning of the movement of Tanggai dance in the city of Palembang. This research uses qualitative research methods. The research aims to discuss the shape and meaning of the dance movements of Tanggai. The discussion of the form uses the concept of Suzzane K. Langer and Soedarsono about the form which means the structure of a relationship of various factors that are intertwined. Discussion of the meaning of motion using the concept expressed by Anya Peterson Roice about the three things of use is, mimetic, abstract, and metaphoric. The result of this research is Tanggai dance in Palembang city is a packaging dance form for welcome guests. Related to the meaning of the whole movement of Tanggai dance that has the meaning of surrender to the Lord Almighty.Keywords: dance form and motion meaning.

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ASAL USUL, PENGOLAHAN DAN SIMBOL RAGAM GERAK TARIAN SUMANGGAK ETNIK TOMBONUO

MANU: Jurnal Pusat Penataran Ilmu dan Bahasa (PPIB) ◽

10.51200/manu.v0i0.1890 ◽

2019 ◽

pp. 47-78

Author(s):

CHENG JIA MIN ◽

LOW KOK ON

Keyword(s):

Ethnic Group ◽

Research Methods ◽

19Th Century ◽

Field Trips ◽

Musical Instruments ◽

Dance Movement ◽

Video Recordings ◽

Dance Movements ◽

Performance Context ◽

The 19Th Century

ABSTRAK Tarian Sumanggak moden telah diolah oleh Suana Kabora berdasarkan pergerakan ritual muinsamung dan monginsamung etnik Tombonuo di daerah Pitas, Sabah pada tahun 1983. Fokus kajian ini tertumpu kepada aspek perubahan, pengolahan dan simbol ragam gerak tarian Sumanggak moden. Bagi mengumpul data kajian, tiga siri kerja lapangan dijalankan di empat buah kampung di daerah Pitas. Kaedah temu bual, pemerhatian, rakaman video dan pengambilan gambar telah digunakan dalam kajian lapangan. Analisis secara interpretasi mendapati asal usul nama tarian Sumanggak diperoleh daripada perbuatan membuka gadur (bekas yang diperbuat daripada tembaga), yang dikenali sebagai adat Sumanggak. Persembahan tarian Sumanggak didapati mengalami perubahan dari zaman mengayau sehinggalah zaman kini. Tarian ini berasal daripada upacara muinsamung, yang dikendalikan semasa rombongan mengayau dalam perjalanan kembali ke kampung. Pada zaman pentadbiran British (akhir kurun ke-19), konsep persembahan tarian Sumanggak berubah kerana upacara muinsamung telah ditukar kepada upacara monginsamung. Oleh itu, aspek-aspek persembahan tarian Sumanggak seperti ragam gerak, kostum, alat muzik, dan prop mengalami perubahan dari segi fungsi dan pengolahan. Setiap ragam gerak didapati mempunyai simbol yang berkait rapat dengan ritual tradisional etnik Tombonuo. ABSTRACT The modern Sumanggak dance was adapted by Suana Kabora in 1983, based on the movements depicted from the muinsamung and monginsamung rituals of the Tombonuo ethnic group in Pitas district, Sabah. This study focuses on the aspects of the performance, the adaption and the symbols that are portrayed in the dance movements of the modern Sumanggak dance. This study involved three field trips to collect data from four villages in Tombonuo in Pitas district. Among the research methods employed were interviews, observations, video recordings and photography. Based on the interpretation and analysis of the study, it was found that the name of the modern Sumanggak dance originated from the act of opening the gadur (vessel made of bronze), which is known as Sumanggak. The performance context of the Sumanggak dance focused on the head-hunting period to the British administration era until the present time. The Sumanggak dance originated from the muinsamung ritual, which was performed at the time of the arrival of the head-hunting group at their village. During the British administration era (end of the 19th century), the Sumanggak dance had undergone some modifications due to transition from the muinsamung ritual to the monginsamung ritual. The aspect of the dance movements, the costume, the musical instruments and the props had undergone changes in terms of function and adaption. Each symbol of the dance movement has also been found to be closely related to the muinsamung and monginsamung rituals.

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HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)

Sorai: Jurnal Pengkajian dan Penciptaan Musik ◽

10.33153/sorai.v12i1.2622 ◽

2019 ◽

Vol 12 (1) ◽

pp. 44-53

Author(s):

Chandra Okta Abrianto

Keyword(s):

Qualitative Research ◽

Research Methods ◽

Creative Process ◽

Hip Hop ◽

Traditional Music ◽

Musical Structure ◽

Musical Form ◽

The West ◽

Artistic Career ◽

Textual Research

Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.

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STUDI DESKRIPTIF MUSIK TRADISIONAL LAGIA PADA KEBUDAYAAN NIAS DI SANGGAR MUSEUM PUSAKA NIAS KOTAMADYA GUNUNGSITOLI

Areopagus : Jurnal Pendidikan Dan Teologi Kristen ◽

10.46965/ja.v18i2.329 ◽

2020 ◽

Vol 18 (2) ◽

pp. 10-18

Author(s):

Priska Eunike Putri Zebua

Keyword(s):

Qualitative Research ◽

Research Methods ◽

Field Research ◽

Original Data ◽

Traditional Music ◽

Descriptive Study ◽

Musical Instrument ◽

Work Process ◽

Palm Sugar ◽

Research Show

ABSTRACT This study aims to determine the descriptive study of Lagia traditional music in Nias culture at the Museum Pusaka Nias. The approach tha the authors take is to use qualitative research methods. The work process carried out namely, observation, interviews, documentation, recording of activities, song transcript. This research was conducted by gathering information through field research to obtain results that are processed into original data. The results of the research show that Lagia is a single-stringed musical instrument made from salak roots, with a resonator made from sugar palm sticks, strings handles made of palm sugar pieces, strings made of tutura (rattan) and bow made of wood that has supple properties liek bamboo which are classified into the Chordophone classification. The author determines the location in the Museum Pusaka Nias and interview figures who ubderstand and understand it in that field. Lagia musical instrumen is played by using a bow which firts strings and both bow strins must be smeared with water (in the old days using saliva).Keywords : Descriptive study, Traditional Music, Lagia

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DIALEKTIKA KESENIAN JARANAN THEK DI PONOROGO DENGAN AGAMA ISLAM

Kodifikasia ◽

10.21154/kodifikasia.v14i2.2192 ◽

2020 ◽

Vol 14 (2) ◽

pp. 339-358

Author(s):

Ahmad Choirul Rofiq ◽

Erwin Yudi Prahara

Keyword(s):

Qualitative Research ◽

Traditional Music ◽

Musical Instruments ◽

Conservation Strategy ◽

Local Culture ◽

Popular Songs ◽

The Arts ◽

Electric Organs ◽

History Of ◽

Depth Interviews

Agama Islam senantiasa berinteraksi dengan kebudayaan lokal. Di antara kesenian yang berinteraksi dan berdialektika dengan ajaran agama Islam adalah kesenian Jaranan Thek di Ponorogo. Keunikan dari kesenian Jaranan Thek ini adalah para pemain dan pawang yang memainkan Jaranan Thek menggunakan unsur magis dan kadang tidak sadar (trance), padahal mereka secara formal menganut agama Islam. Oleh karena itu, penelitian ini sangat penting dalam mengkaji fenomena Jaranan Thek yang hingga kini tetap eksis dan bagaimana para pelaku kesenian ini mendealektikakannya dengan ajaran agama Islam. Penelitian kualitatif (dengan observasi, wawancara mendalam, dan dokumentasi) ini menganalisis sejarah kesenian Jaranan Thek, strategi pelestarian, dan dialektikanya dengan Islam. Jaranan Thek di Ponorogo terkait dengan Kerajaan Kediri dan Kerajaan Bantarangin (Ponorogo). Demi pelestarian Jaranan Thek, maka komunitas kesenian ini berinovasi, yakni menyisipkan kisah Kelono Sewandono (dari Kerajaan Bantarangin) dengan Dewi Songgolangit (dari Kerajaan Kediri); menambahkan variasi lagu (shalawatan, tembang Jawa, Campursari, maupun lagu populer di masyarakat); menggunakan alat musik modern (misalnya, drum dan organ elektrik) sambil mempertahankan gamelan; menggabungkan Jaranan Thek dengan kesenian lain (misalnya, tari tayuban dan jathilan); dan menyelaraskannya dengan ajaran Islam (misalnya, doa, ayat, maupun lafadh bernuansa Islam). Dialektika Jaranan Thek dengan Islam terwujud secara mencolok dalam bentuk sinkretisme setelah unsur-unsur keislaman dimasukkan dalam pementasan Jaranan Thek. [Islam always interacts with the local culture. Among of the arts that interact and dialectic with Islamic teachings is the art of Jaranan Thek in Ponorogo. The uniqueness of this Jaranan Thek art is that the players and handlers who play Jaranan Thek use magical elements and are sometimes unconscious (trance), even though they formally adhere to Islam. Therefore, this research is very important in examining the phenomenon of Jaranan Thek, which still exists today and how the actors of this art treat it with Islamic teachings. This qualitative research (with observations, in-depth interviews, and documentation) analyzes the history of Jaranan Thek, its conservation strategy, and its dialectic with Islam. The Jaranan Thek's art in Ponorogo related to the Kingdom of Kediri and the Kingdom of Bantarangin (Ponorogo) because Jaranan Thek's art was from Jaranan art in Kediri. There are many innovations to preserve Jaranan Thek, such as inserting the story of Kelono Sewandono (from Bantarangin Kingdom) with Dewi Songgolangit (from Kediri Kingdom); performing various songs (with shalawatan, Javanese song, Campursari, and popular songs); using modern musical instruments (drums and electric organs) besides gamelan (traditional music instruments); combining Jaranan Thek with other arts (tayuban and jathilan), and synchronizing Jaranan Thek with Islam (Islamic prayers, verses, and sayings). The dialectic of Jaranan Thek with Islam appears prominently in its syncretism with Islamic elements in its performance.]

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