DOCSLIB.ORG

Eksistensi Tari Payung Sebagai Tari Melayu Minangkau Di Sumatera Barat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eksistensi Tari Payung Sebagai Tari Melayu Minangkau Di Sumatera Barat i JURNAL EKSPRESI SENI Jurnal Ilmu Pengetahuan dan Karya Seni ISSN: 1412–1662 Volume 17, Nomor2,November2015,hlm.165-323 Terbit dua kalisetahun pada bulan Juni dan November.Pengelola Jurnal Ekspresi Seni merupakan sub-sistemLPPMPPInstitut Seni Indonesia (ISI)Padangpanjang. Penanggung Jawab Rektor ISI Padangpanjang Ketua LPPMPP ISI Padangpanjang Pengarah KepalaPusat Penerbitan ISI Padangpanjang Ketua Penyunting Afrizal Harun Tim Penyunting Elizar Sri Yanto Surherni Adi Krishna Emridawati Harisman Rajudin Penterjemah Novia Murni Redaktur Saaduddin Liza Asriana Ermiyetti Tata Letak danDesainSampul Yoni Sudiani Web Jurnal Ilham Sugesti ______________________________________________.________________________________ _ Alamat Pengelola Jurnal Ekspresi Seni:LPPMPP ISI Padangpanjang Jalan Bahder Johan Padangpanjang27128, Sumatera Barat; Telepon(0752) 82077 Fax. 82803; e-mail; [email protected] Catatan.Isi/Materi jurnal adalah tanggung jawab Penulis. Diterbitkan oleh Institut Seni Indonesia Padangpanjang ii JURNAL EKSPRESI SENI Jurnal Ilmu Pengetahuan dan KaryaSeni ISSN: 1412–1662 Volume 17, Nomor2,November2015,hlm.165-323 DAFTAR ISI PENULIS JUDUL HALAMAN Husni Mubarat Aksara Incung Kerinci Sebagai Sumber Ide 165 - 179 Penciptaan Seni Kriya Diah Rosari Eksistensi Tari Payung Sebagai Tari Melayu 180–203 Syafrayuda Minangkabau di Sumatera Barat Nursyirwan Kesenian Rarak (Calempong) Sudut Pandang 204–221 Fungsi dan Guna di Desa Seberang Taluk Kuantan Singingi Riau Evi Lutfiah “Permainan Bola Api (Boles)” Antara Sakral 222–229 dan Profan di Pondok Pesantren Dzikir Al- Fath Sukabumi Lina Marliana Cingcowong: Upacara Ritual Meminta Hujan 230–243 Hidayat di Desa Luragung Landeuh Kecamatan Luragung Kabupaten Kuningan Rahmad Washinton Visualisasi Motif Itiak Pulang Patang Pada 244–258 Kriya Kayu Ranelis Kerajinan Rendo Bangku Koto Gadang 259–274 Rahmad Washinton Sumatera Barat Rizki Rahma Dina Makna dan Nilai Filosofis Masyarakat 275–282 Palembang yang Terkandung dalam Bentuk dan Arsitektur Rumah Limas Connie Lim Keh Nie Lagu Pop Bidayuh Bukar Sadong di Serian, 283–304 Sarawak, Malaysia Dini Yanuarmi Dampak Seni Bordir Komputer di Bukittinggi 305-323 Sumatera Barat _______________________________________________________________________________ Berdasarkan Peraturan Direktur Jenderal Pendidikan Tinggi Kementerian Pendidikan Kebudayaan Republik Indonesia Nomor 49/Dikti/Kep/2011 Tanggal 15 Juni 2011 Tentang Pedoman Akreditasi Terbitan Berkala Ilmiah. JurnalEkspresi Seni Terbitan Vol. 17, No. 2 November 2015 Memakaikan Pedoman Akreditasi Berkala Ilmiah Tersebut. EKSISTENSI TARI PAYUNG SEBAGAI TARI MELAYU MINANGKAU DI SUMATERA BARAT Diah Rosari Syafrayuda Pascasarjana Institut Seni Indonesia (ISI) Padangpanjang Jl. Bahder Johan Padangpanjang,27128,Sumatera Barat [email protected] ABSTRAK Penelitian ini bertujuan untuk mengungkapkan fenomena yang berkaitan dengan Eksistensi Tari Payung sebagai Tari Melayu Minangkabau. Sebagai suatu kajian budaya yang kritis dan emansipatoris dirumuskan masalah penelitian yaitu bagaimanakah eksistensi tari Payung sebagai tari Melayu Minangkabau, bagaimana bentuk tari Payung Syofiany sebagai tari Melayu Minangkabau di Sumatera Barat, serta faktor-faktor apa saja yang menyebabkan tari Payung sebagai tari Melayu Minangkabau. Penelitian ini adalah penelitian kualitatif, dengan metode pengumpulan data di lapangan seperti observasi, wawancara dan dokumentasi serta dianalisis secara interaktif dan berlangsung secara terus pada tahap penelitian sehingga sampai tuntas. Aktivitas dalam analisis data dilakukan dengan reduksi data, penyajian data, dari penarikan kesimpulan.Berdasarkan analisis data dapat di formulasikan hasil penelitian yakni pertama eksistensi tari Payung sebagai tari Melayu Minangkabau hadir wadah di tengah lingkungan masyarakat terpelajar baik di lingkungan masyarakat kota dan masyarakat nagari Kata kunci : Tari Payung, Eksistensi, Masyarakat terpelajar ABSTRACT This study aims to to express phenomenon pertaining to the existence of dance an umbrella as dance Malay Minangkabau. As an assessment culture who is critical and emansipatoris formulated problems research that is how existence dance an umbrella as dance Malay Minangkabau, what was the dance an umbrella as dance Malay Minangkabau, and what factors cause dance an umbrella as dance Malay Minangkabau. This research is research qualitative with data collection method in the field as observation, interviews and documentation and analyzed interactive and place in a to hold at a research phase so until completed.Activity in the analysis data was undertaken by reduction data, presentation of data, from a with drawal conclusion. Based on analysis of the data can be in formulasikan the results of the study the first existence dance an umbrella as dance Malay Minangkabau present a container in the middle of the community erudite good in the community city and the community nagari.. Key words : Dance an umbrella, the existence of; the community erudite 180 Jurnal Ekspresi Seni, Vol. 17, No. 2, November 2015 PENDAHULUAN selalu tumbuh dan berkembang dengan Minangkabau terkenal dengan ciri Melayunya, baik dari segi berbagai bentuk dan jenis seni tari gerakannya, pakaian (seperti pakaian yang tumbuh dan berkembang di orang Melayu), musik dengan musik tengah masyarakat pendukungnya. langgam Melayu. Sehingga tari Pertumbuhan dan perkembangan Payung dapat dikategorikan sebagai berbagai jenis tari Minangkabau sesuai tari Melayu Minangkabau. dengan perkembangan masing-masing Pelajar-pelajar Noormalschool masyarakat yang di Bukittinggi yaitu Sitti Agam dan menghidupkembangkan kesenian Sariamin melaksanakan acara tersebut. pertunjukan kesenian yang lebih Pada perkembangan sekitar populer dikenal dengan pertunjukan tahun 1920-an tari Minangkabau toneel atau basandiwara yang diantara mempunyai karakteristik gerak lemah paket pertunjukannya adalah lembut. Hal ini pernah mewarnai pertunjukan tari Payung. Menurut persepsi sebagian seniman dan Mulyadi (1994 : 334-339) Pertunjukan budayawan Minangkabau tentang toonel atau basandiwara yang berawal kespesifikan dan keunikan tari antara tahun 1936-1937 oleh pelajar Minangkabau. Menurut Idrus Hakimi aktif Noormalschool akhirnya (2001:1) bahwa pernyataan karakter berkembang ke lingkungan gerak tari Minangkabau pada masa itu masyarakat nagari-nagari di Sumatera diibaratkan sebagai gerak siganjua Barat. Hal ini ditambahkan oleh lalai, pado suruik maju nan labiah. Syofiany bahwa dalam pertunjukan Alu tataruang patah tigo, samuik toonel atau sandiwara tersebut tari tapijak indak mati” (pada surut maju Payung menjadi paket pertunjukan yang lebih.Alu tertaruang patah tiga, yang tidak pernah terlupakan. Tidak semut terpijak tidak mati) yang berlebihan jika dikatakan tidak ada bermakna gerak lemah lembut yang sandiwara tanpa tari Payung. mengandung ketajaman dan kekuatan Sekitar tahun 1960 tari Payung tersebut, terlihat pada tari Payung yang pernah menjadi salah satu tari 181 Jurnal Ekspresi Seni, Vol. 17, No. 2, November 2015 Minangkabau yang populer di masih tetap mempertahankan lingkungan masyarakat Minangkabau karakteristik dan etika tari tradisi maupun lingkungan masyarakat Minangkabau dengan memperhatikan lainnya. Sebagian masyarakat karakter gerak tarinya dan mudah berpandangan belum merasa ditiru bagi siapa saja yang mengikuti menyaksikan tari Minangkabau tarian tersebut, sehingga sampai sebelum melihat pertunjukan tari sekarang lebih populer dari tari Payung. Tari Payung sering tampil Payung lainnya dan ikut serta dalam dalam paket pertunjukan tari setiap pertunjukan baik tingkat Minangkabau baik dalam bentuk nasional maupun internasional, serta hiburan maupun dalam bentuk dikalangan pelajar baik tingkat pertunjukan seni (performing art). Sekolah Dasar hingga tingkat Sekolah Lingkungan pendidikan Atas ikut andil menarikan tari Payung kesenian seperti di Sekolah Menengah Syofiany dalam acara pertunjukan Karawitan Indonesia Padang yang pentas seni sekolah maupun berbagai sekarang disebut SMK 7 dan di Institut perlombaan. Presepsi yang Seni Indonesia Padang Panjang, tari berkembang di masyarakat luar Payung pernah menjadi salah satu Minangkabau mengenal tari Payung paket dalam pembelajaran tari. Begitu Syofiany adalah tari Minangkabau. juga pada sanggar-sanggar tari Padahal bagi sebahagian masyarakat Minangkabau yang berada di kota-kota Minangkabau yang hidup di nagari- seperti di kota Padang, Padang nagari, mereka tidak mengenal tari Panjang, Bukittinggi, Payukumbuh Payung sebagai tari Minangkabau. dan lain sebagainya. Tari Payung Berpijak dari uraian di atas, hidup dan berkembang baik, sehingga dipandang perlu adanya penelitian memunculkan tari Payung dalam tentang eksistensi tari Payung pada berbagai bentuk dan variasi. masyarakat Minangkabau di Sumatera Pada perkembangan berikutnya Barat. Tanpa melakukan pengkajian pertengahan abad ke 20 koreografer dan penelitian terhadap eksistensi tari Syofiany Yusaf melakukan Payung sebagai tari Melayu pengembangan tari Payung yang Minangkabau, maka pertumbuhan dan 182 Jurnal Ekspresi Seni, Vol. 17, No. 2, November 2015 perkembangan tari Payung di Melayu secara universal berbeda Sumatera Barat sebagai tarian yang dengan seni pertunjukan di lingkungan pernah memberi pengayaan dan wilayah Minangkabau terutama di kespesifikan tari Minangkabau belum daerah darek atau luhak. Menurut bisa terjawab, hal demikian secara Zulkifli bahwa daerah Luhak nan Tigo langsung atau tidak langsung akan di Minangkabau yaitu daerah luhak berpengaruh terhadap persepsi Tanah Datar, luhak Agam dan luhak
Load more

Recommended publications
  • Apresiasi Masyarakat Terhadap Kesenian Burok Grup Pandawa Nada Di Desa Kemurang Wetan Kabupaten Brebes
    APRESIASI MASYARAKAT TERHADAP KESENIAN BUROK GRUP PANDAWA NADA DI DESA KEMURANG WETAN KABUPATEN BREBES SKRIPSI disajikan sebagai salah satu syarat untuk memperoleh gelar Sarjana Pendidikan Program Studi Pendidikan Seni Musik oleh M. Ricky Juliardi 2503407015 JURUSAN PENDIDIKAN SENI DRAMA, TARI, DAN MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2013 ii iii MOTTO DAN PERSEMBAHAN Motto: Ikutilah apa yang diwahyukan kepadamu dan bersabarlah (Q.S Yunus: 109) Persembahan: Kupersembahkan skripsi ini untuk orang-orang terkasih yang telah memberi warna dan makna dalam alur kehidupan yang telah terlalui dan yang akan dilalui: Ayahku yang tercinta Joko Irianto, Ibuku yang tersayang Lily Mulyati dan adikku Laras Nur Maulida yang cinta dan kasihnya tak pernah terbatas. Rekan-rekan Mahasiswa Pendidikan Seni Musik Angkatan Tahun 2007. Segenap Dosen Sendratasik Abdul Muklis, Lingling, dan teman-teman kos Tumpuk yang telah membantu dan memberikan inspirasi kepadaku. iv KATA PENGANTAR Puji syukur kehadirat Allah SWT yang selalu melimpahkan rahmat dan hidayah-Nya. Hanya dengan anugerah dan karunia-Nya penulis dapat menyelesaikan skripsi yang berjudul “Apresiasi Masyarakat Terhadap Kesenian Burok Grup Pandawa Nada Di Desa Kemurang Wetan Kabupaten Brebes”. Pada kesempatan ini penulis ingin mengucapkan terima kasih yang sebesar-besarnya atas segala bantuan dan ilmu yang telah diberikan kepada penulis baik secara langsung maupun tidak langsung dalam rangka penyusunan skripsi ini, terutama kepada : 1. Bapak Prof. Dr. Fathur Rokhman, M.Hum., Rektor Universitas Negeri Semarang yang telah memberi kesempatan untuk menyelesaikan studi di Pendidikan Sendratasik FBS Universitas Negeri Semarang. 2. Bapak Prof. Dr. Agus Nuryatin, M.Hum., Dekan Fakultas Bahasa dan Seni yang telah memberikan ijin untuk melaksanakan penelitian.
    [Show full text]
  • Masyarakat Kesenian Di Indonesia
    MASYARAKAT KESENIAN DI INDONESIA Muhammad Takari Frida Deliana Harahap Fadlin Torang Naiborhu Arifni Netriroza Heristina Dewi Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara 2008 1 Cetakan pertama, Juni 2008 MASYARAKAT KESENIAN DI INDONESIA Oleh: Muhammad Takari, Frida Deliana, Fadlin, Torang Naiborhu, Arifni Netriroza, dan Heristina Dewi Hak cipta dilindungi undang-undang All right reserved Dilarang memperbanyak buku ini Sebahagian atau seluruhnya Dalam bentuk apapun juga Tanpa izin tertulis dari penerbit Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara ISSN1412-8586 Dicetak di Medan, Indonesia 2 KATA PENGANTAR Terlebih dahulu kami tim penulis buku Masyarakat Kesenian di Indonesia, mengucapkan puji syukur ke hadirat Tuhan Yang Maha Kuasa, karena atas berkah dan karunia-Nya, kami dapat menyelesaikan penulisan buku ini pada tahun 2008. Adapun cita-cita menulis buku ini, telah lama kami canangkan, sekitar tahun 2005 yang lalu. Namun karena sulitnya mengumpulkan materi-materi yang akan diajangkau, yakni begitu ekstensif dan luasnya bahan yang mesti dicapai, juga materi yang dikaji di bidang kesenian meliputi seni-seni: musik, tari, teater baik yang tradisional. Sementara latar belakang keilmuan kami pun, baik di strata satu dan dua, umumnya adalah terkonsentasi di bidang etnomusikologi dan kajian seni pertunjukan yang juga dengan minat utama musik etnik. Hanya seorang saja yang berlatar belakang akademik antropologi tari. Selain itu, tim kami ini ada dua orang yang berlatar belakang pendidikan strata dua antropologi dan sosiologi. Oleh karenanya latar belakang keilmuan ini, sangat mewarnai apa yang kami tulis dalam buku ini. Adapun materi dalam buku ini memuat tentang konsep apa itu masyarakat, kesenian, dan Indonesia—serta terminologi-terminologi yang berkaitan dengannya seperti: kebudayaan, pranata sosial, dan kelompok sosial.
    [Show full text]
  • Time Project Event Unite the Nations 3 May 2011
    Time Project Event 2011 May 3rd 2011 TIME PROJECT EVENT UNITE THE NATIONS 3 MAY 2011 Short instruction: 1) How many questions do I have to answer? There are 250 questions. Every Country has 25 questions. Every school HAS to answer 225 questions, which means you do not ANSWER THE 25 questions FROM YOUR OWN COUNTRY. For example: Russia: There are 25 questions about Russia. More than one school from Rusia contributed questions which means there may be some Russian questions some Russian students may not recognize (they came from the other school ). Schools from Russia do not answer the 25 questions about Russia regardless of who contributed the questions. You never answer the questions about YOUR OWN COUNTRY. 2) How do I find the answers? - Encyclopaedias, the Internet, the Library or other sources at school or in the community - Get in touch with other time participants to find answers to questions which are difficult for you. 3) Where and when do I send the answers? Questions have to answered on line at the ZOHO Challenge Site. https://challenge.zoho.com/unite_the_nations_2011 Test starts 00:00 GMT May 3rd 2011 - Deadline: 00:00 GMT/UTC 4 May 2011! Other questions?? Get in touch with Event Co-ordinator ! [email protected] phone: +01.519.452.8310 cellphone +01.519.200.5092 fax: +01.519.452. 8319 And now…the game! Time Project Event 2011 May 3rd 2011 ARTS Argentina 1) Who wrote the book "Martin Fierro"? a) Jose Hernandez b) Peschisolido miguel angel c) David vineyards d) Jorge Luis Borges 2) What is the typical dance of Argentina? a) quartet b) tango c) cumbia d) capoeira 3) Who was Carlos Gardel? a) a singer of cumbia b) a soccer player c) a singer of tango d) a former president 4) Who was Lola Mora? a) a model b) a sculptor c) an athlete d) a journalist 5) Which Argentine made and released the world's first animated feature film.
    [Show full text]
  • Gentarasa 2016 Showcases the Significance of Malay Culture Through Traditional Performances and Poetry in Celebration of Hari Raya Aidilfitri
    PEOPLE’S ASSOCIATION 9, King George’s Avenue Singapore 208581 Tel: (65) 6340 5430/5454/432/231 Fax: (65) 6348 5977 Website: www.pa.gov.sg 27 July 2016 GENTARASA 2016 SHOWCASES THE SIGNIFICANCE OF MALAY CULTURE THROUGH TRADITIONAL PERFORMANCES AND POETRY IN CELEBRATION OF HARI RAYA AIDILFITRI 18 Gentarasa performers who have excelled in both academic and cultural pursuits to receive Gentarasa Study Grant 2016 at Gala Show In conjunction with Hari Raya celebrations, Gentarasa 2016 will showcase the Malay community’s heritage, culture and customs through this cultural performance which will feature performers from all walks of life. The cast, comprising 85% local talents from the Community Centres/Clubs (CCs), includes a total of 150 artistes, both Malay and non-Malay performers coming together to promote understanding and appreciation of the Malay culture. This is one of the biggest cast participation in Gentarasa since 2002. William See is one of the 5 non-Malay performers who is very excited in performing dance on stage and will continue to support such programmes in the future. The youngest cast, Md Hasif Afiq Bin Md Ridwan, aged 6, will be involved in the martial arts performance. Md Hasif Afiq is from the Bukit Batok East CC Silat Interest Group and is his first Gentarasa performance. 2 The 100-minute flagship cultural concert by People’s Association (PA) Malay Activity Executive Committees Council (MESRA), entitled “Genggaman Jati, Menyulam Masa – Weaving Self through Time” – will perform to an anticipated 2,500 audience at the Kallang Theatre on Saturday, 30 July 2016 at 2.00pm (Matinee) and at 8.00pm (Gala Show).
    [Show full text]
  • The Concept of Self and the Other
    Tel Aviv University The Yolanda and David Katz Faculty of the Arts Department of Theatre Studies The Realm of the Other: Jesters, Gods, and Aliens in Shadowplay Thesis Submitted for the Degree of “Doctor of Philosophy” by Chu Fa Ching Ebert Submitted to the Senate of Tel Aviv University April 2004 This thesis was supervised by Prof. Jacob Raz TABLE OF CONTENTS TABLE OF ILLUSTRATIONS................................................................................................vi INTRODUCTION...................................................................................................................... 1 ACKNOWLEDGEMENTS ....................................................................................................... 7 I. THE CONCEPT OF SELF AND THE OTHER.................................................................... 10 Introduction ............................................................................................................................ 11 The Multiple Self .................................................................................................................... 12 Reversal Theory...................................................................................................................... 13 Contextual Theory ................................................................................................................. 14 Self in Cross‐Cultural Perspective ‐ The Concept of Jen................................................... 17 Self ..........................................................................................................................................
    [Show full text]
  • Phd Thesis Tamara Aberle
    Socially-engaged theatre performances in contemporary Indonesia Tamara Alexandra Aberle Royal Holloway, University of London PhD Thesis 1 Declaration of Authorship I, Tamara Alexandra Aberle, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract This thesis argues that performances of contemporary theatre in Indonesia are socially- engaged, actively creating, defining and challenging the socio-political environment, and that theatre practitioners are important members of a vibrant civil society who contribute and feel actively committed to democratic processes. Following an initial chapter about the history of modern theatre from the late 19th century until the fall of President Suharto in 1998, the four core chapters centre on four different aspects of contemporary Indonesian socio-politics: historical memory and trauma, violence and human rights, environmentalism, and social transition. Each of these chapters is preceded by an introduction about the wider historical and socio-political context of its respective discourse and is followed by an analysis of selected plays. Chapter 2 focuses on historical trauma and memory, and relates the work of two theatre artists, Papermoon Puppet Theatre and Agus Nur Amal (a.k.a. PM Toh), to processes seeking truth and reconciliation in Indonesia in the post-Suharto era. Chapter 3, on violence and human rights, discusses the works of Ratna Sarumpaet and B. Verry Handayani, with a specific focus on human trafficking, sexual exploitation, and labour migration. Chapter 4 discusses environmentalism on the contemporary stage. It investigates the nature of environmental art festivals in Indonesia, taking Teater Payung Hitam’s 2008 International Water Festival as an example.
    [Show full text]
  • B. Barendregt the Sound of Longing for Homeredefining a Sense of Community Through Minang Popular Music
    B. Barendregt The sound of longing for homeRedefining a sense of community through Minang popular music In: Bijdragen tot de Taal-, Land- en Volkenkunde 158 (2002), no: 3, Leiden, 411-450 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/23/2021 02:24:12PM via free access BART BARENDREGT The Sound of 'Longing for Home' Redefining a Sense of Community through Minang Popular Music Why, yes why, sir, am I singing? Oh, because I am longing, Longing for those who went abroad, Oh rabab, yes rabab, please spread the message To the people far away, so they'll come home quickly (From the popular Minangkabau traditional song 'Rabab'.) 1. Introduction: Changing mediascapes and emerging regional metaphors Traditionally each village federation in Minangkabau had its own repertoire of musical genres, tunes, and melodies, in which local historiography and songs of origin blended and the meta-landscape of alam Minangkabau (the Minangkabau universe) was depicted.1 Today, with the ever-increasing disper- sion of Minangkabau migrants all over Southeast Asia, the conception of the Minangkabau world is no longer restricted to the province of West Sumatra. 1 Earlier versions of this article were presented at the 34th Conference of the International Council of Traditional Music, Nitra, Slovakia, August 1996, and the VA/AVMI (Leiden Uni- versity) symposium on Media Cultures in Indonesia, 2-7 April 2001. Its present form owes much to critical comments received from audiences there. I would like to sincerely thank also my colleagues Suryadi, for his suggestions regarding the translations from the Minangkabau, and Robert Wessing, for his critical scrutiny of my English.
    [Show full text]
  • “Saweran Sebagai Bentuk Interaksi Simbolik Antara
    “SAWERAN SEBAGAI BENTUK INTERAKSI SIMBOLIK ANTARA PEMAIN DAN PENONTON DALAM TARI REOG GONDORIYO PADA KESENIAN BARONGAN SINGO LODRO DI DESA TODANAN KECAMATAN TODANAN KABUPATEN BLORA” SKRIPSI untuk memperoleh gelar Sarjana Pendidikan (S1) Oleh: Nama : Selvi Widya A NIM : 2501412154 Program Studi : Pendidikan Seni Tari Jurusan : Pendidikan Seni Drama Tari dan Musik JURUSAN SENI DRAMA TARI DAN MUSIK (PENDIDIKAN TARI) FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2017 i PERSETUJUAN PEMBIMBING Skripsi dengan judul “Saweran Sebagai Bentuk Interaksi Simbolik Antara Pemain Dan Penonton Dalam Tari Reog Gondoriyo Pada Kesenian Barongan Singo Lodro Di Desa Todanan Kecamatan Todanan Kabupaten Blora” telah disetujui oleh pembimbing untuk diajukan ke Sidang Panitia Ujian Kripsi Semarang, 11 Agustus 2017 Pembimbing I Pembimbing II Drs. Bintang Hanggoro P. M. Hum.. Restu Lanjari, S.Pd, M.Pd. NIP. 196002081987021001 NIP. 196112171986012001 ii PENGESAHAN KELULUSAN Skripsi ini telah dipertahankan di hadapan sidang Panitia Ujian Skripsi Jurusan Seni Drama, Tari dan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Semarang pada hari : Jumat tanggal : 11 Agustus 2017 Panitia Ujian Skripsi Prof. Dr. Agus Nuryatin, M. Hum. (196008031989011001) Ketua Abdul Rachman, S.Pd.M.Pd (198001202006041002) Sekertaris Dra. Eny Kusumastuti, M.Pd (196804101993032001) Penguji I Restu Lanjari, S.Pd, M.Pd (196112171986012001) Penguji II/Pembimbing II Drs. Bintang Hanggoro P, M. Hum. (196002081987021001) Penguji III/Pembimbing I Prof. Dr. Agus Nuryatin, M. Hum. (196008031989011001) Dekan Fakultas Bahasa dan Seni iii PERNYATAAN Saya menyatakan bahwa yang tertulis di dalam skripsi yang berjudul “Saweran Sebagai Bentuk Interaksi Simbolik Antara Pemain Dan Penonton Dalam Tari Reog Gondoriyo Pada Kesenian Barongan Singo Lodro Di Desa Todanan Kecamatan Todanan Kabupaten Blora” adalah benar-benar hasil karya saya sendiri, bukan dari karya orang lain, baik sebagian atau seluruhnya.
    [Show full text]
  • Komodifikasi Tari Piring Minangkabau Di Sumatera Utara Indah Fikria
    Jurnal Antropologi Sumatera Vol. 16, No.2, Edisi Desember 2018, 59-74 1693-7317 (ISSN Cetak)| 2597-3878 (ISSN Online) Komodifikasi Tari Piring Minangkabau di Sumatera Utara Indah Fikria Aristy1, Ichwan Azhari2, Fikarwin Zuska3 1) Antropologi Sosial, Program Pasca Sarjana Unimed, Indonesia. 2) Antropologi Sosial, Program Pasca Sarjana Unimed, Indonesia. 3) Antropologi Sosial, Program Pasca Sarjana Unimed, Indonesia. Corresponding author: E-mail : [email protected] Abstrak Penelitian ini bertujuan untuk mengetahui proses komodifikasi tari piring di Sumatera Utara. Tari piring merupakan salah satu kesenian yang berakar pada kebudayaan Minangkabau yang telah mengalami komodifikasi sebagai salah satu kesenian pertunjukan tari. Menggunakan metode penelitian kualitatif dengan melakukan teknik Wawancara dan observasi. Hasil penelitian menunjukkan bahwa komodifikasi tari piring terjadi akibat dua hal, yakni komodifikasi secara internal dan komodifikasi eksternal yang meliputi gerak tari piring, pakaian penari, musik pengiring pertunjukan tari piring hingga pada komodifikasi bentuk pertunjukan tari piring. Kesimpulannya komodifikasi tari piring dipengaruhi beberapa hal antara lain kebutuhan penari, permintaan atas pertunjukan dan penyesuaian penciptaan reka gerak tari. Kata Kunci : Komodifikasi, Budaya Minangkabau, Tari Piring Abstract This study aims to determine the process of commodification of plate dance in North Sumatra. Plate dance is one of the arts that has its roots in the Minangkabau culture which has undergone commodification as a dance performance. Using qualitative research methods by conducting interview and observation techniques. The results showed that the commodification of the plate dance occurred due to two things, namely internal commodification and external commodification which includes the movements of the plate dance, the dancer's clothes, the music to accompany the plate dance performance to the commodification of the plate dance performance.
    [Show full text]
  • Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia)
    DOCUMENT RESUME ED 411 529 CS 215 987 AUTHOR Cork, Vern, Comp. TITLE Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia). Language Acquisition Research Centre.; Australian National Languages and Literacy Inst., Deakin. ISBN ISBN-1-87560-40-7 PUB DATE 1996-00-00 NOTE 200p. PUB TYPE Collected Works General (020) Creative Works (030) LANGUAGE English, Indonesian EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Anthologies; *Audience Awareness; Cultural Background; *Cultural Context; Foreign Countries; *Indonesian; Literary Devices; Non Western Civilization; *Short Stories; *Social Change; Tourism IDENTIFIERS *Bali; *Balinese Literature; Indonesia ABSTRACT This collection of 25 short stories (in Indonesian) by Balinese writers aims to give Bali's writers a wider public. Some of the stories in the collection are distinctly and uniquely Balinese, while others are more universal in their approach and are self-contained. But according to the collection's foreword, in all of the stories, experiences of Bali are presented from the inside, from the other side of the hotels, tour buses, and restaurants of "tourist" Bali. The writers presented come from a range of backgrounds, reflecting the diversity cf Balinese society--different castes, differences between urban and rural baa4xiouncl.s, .and varieties of ethnicity are all important to the multiplicity of voices found in the collection. In addition, the collection draws from backgrounds of journalism, theater, cartoons, poetry, and academia, and from writers who may have been born in other parts of Indonesia but who have lived for decades in Bali and reflect Bali's inseparability from the Indonesian nation.
    [Show full text]
  • Mapping the History of Malaysian Theatre: an Interview with Ghulam-Sarwar Yousof
    ASIATIC, VOLUME 4, NUMBER 2, DECEMBER 2010 Mapping the History of Malaysian Theatre: An Interview with Ghulam-Sarwar Yousof Madiha Ramlan & M.A. Quayum1 International Islamic University Malaysia It seems that a rich variety of traditional theatre forms existed and perhaps continues to exist in Malaysia. Could you provide some elucidation on this? If you are looking for any kind of history or tradition of theatre in Malaysia you won’t get it, because of its relative antiquity and the lack of records. Indirect sources such as hikayat literature fail to mention anything. Hikayat Raja-Raja Pasai mentions Javanese wayang kulit, and Hikayat Patani mentions various music and dance forms, most of which cannot be precisely identified, but there is no mention of theatre. The reason is clear enough. The hikayat generally focuses on events in royal court, while most traditional theatre developed as folk art, with what is known as popular theatre coming in at the end of the 19th century. There has never been any court tradition of theatre in the Malay sultanates. In approaching traditional theatre, my own way has been to first look at the proto- theatre or elementary forms before going on to the more advanced ones. This is a scheme I worked out for traditional Southeast Asian theatre. Could you elaborate on this? Almost all theatre activity in Southeast Asia fits into four categories as follows: Proto-Theatre, Puppet Theatre, Dance Theatre and Opera. In the case of the Philippines, one could identify a separate category for Christian theatre forms. Such forms don’t exist in the rest of the region.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 463 Proceedings of the Eighth International Conference on Languages and Arts (ICLA-2019) Inventory, Identification, and Analysis of Randai Performing Arts Elements for the Development of Minangkabau Theatrical Dance Tulus Handra Kadir1 1 Universitas Negeri Padang, Padang, Indonesia, (email), [email protected] ABSTRACT This article describes the inventory, identification and analysis of elements of Randai performing art for the development of the Minangkabau theatrical dance based on Randai in the context of developing the Minangkabau performing arts. The development of contemporary performing arts, Randai and Minangkabau dance are not able to compete with modern performing arts. On the other hand, Randai has elements of performance that can be used in the development of theatrical dance, as a new form of Minangkabau performing art that combines elements of Randai and dance in Minangkabau. It is expected to be able to keep abreast of developments of contemporary performing arts. Development is based on research conducted qualitatively (the first phase of research) and experimentally (the second phase of research). Qualitative research was used to inventory and analyze data of Randai performance who were unable to compete in the realm of contemporary performing arts as well as inventory and analyze data, especially the elements of the performance that will be used in the development of the Minangkabau theatrical dance. Experimental research was used to create innovative dance that refers to the results of the first phase of research. This research uses an interdisciplinary approach (sociology /anthropology of dance and music, theater, choreography/dance composition, as well as the artistic performances).
    [Show full text]