Floor Patterns Research Articles

Dampak Tari Budaya Gayo Tari Saman dalam Tradisi Islam di Desa Titi Pasir Kecamatan Semadam Kabupaten Aceh Tenggara

This research examines the cultural impact of the Gayo saman dance on the Islamic tradition in Titi Village. This type of research is field research (research in the field) which is a research carried out by collecting data by research at locations where there are symptoms that will be examined to find facts found in society. The results of this study are that the Saman Gayo dance choreography is not an ordinary dance work, but Saman is a dance that contains basic Islamic concepts symbolized through rhythm, movement, poetry, floor patterns, clothing, stages of performance, purpose of offerings. From the choreography produced, it can be seen that the Saman Dance is a symbol of the Gayo tribe in carrying out Islamic law in their daily lives, so that the Saman Dance is synonymous with Islam and in accordance with the customary system in Acehnese society, namely "adat with syaraad, syaraq with Kitabullah". This statement becomes clear by looking at the performance of the Saman dance itself, which was originally an activity of the Gayo people in taking advantage of the time between their breaks by playing a game which was later called pok ane. This game later became a medium for spreading the teachings of Islam, especially in the Gayo Lues highlands. The lyrics mean advice, religious advice, rules that guide life, and so on. This dance is a symbol of brotherhood, education, religion, courtesy, heroism, cohesiveness, and togetherness. Through the Saman dance, the community is taught to behave according to politeness in Islam which is also in accordance with the customs that apply to the Gayo tribe.

Bentuk Penyajian Tari Maanta Batanghari

The purpose of this research is to explore the form of presentation of the Maanta Batanghari dance. In terms of clothing, music, property, movement and floor patterns. The method used in this research is descriptive analysis method using a qualitative approach. Data was collected through data collection methods, observation, interviews and documentation. Results and discussion concluded that. The form of the dance movement begins with the opening of the offering and continues with the delivery procession which is a sign of the completion of the ceremony between presenting the groom to the bride and groom. Furthermore, the flags at the ends contain money with various denominations from the lowest to the highest. Next is the silek movement and the last is the kneeling movement which is a procession and a form of receiving delivery offerings and the last is the closing offering movement by the emcee and music presenter.

Perfomance of the Gegesik Style Cirebon Mask Kalana Dance in the Context of Coastal Culture as a Source of Local Wisdom

Gegesik-style Klana mask dance is one of the styles that have survived to the present day. The importance of maintaining and preserving the Gegesik-style Klana mask dance, which is comprised of dance elements presented in the form of a dance perfomance, is understood by a few people who have studied its dance elements. By comprehending the elements contained therein, the Gegesik style of the masked Klana dance will maintain its authenticity without altering a single aspect of the Gegesik style masked Klana dance's standard. Gegesik-style Klana mask dance has excellent appeal for ceremonial events, welcoming guests, and filling in events organized by government and non-government organizations. This study used qualitative research and an ethnochoreological methodology as a scalpel to investigate the textual components of dance. The Gegesik style Klana mask dance has eight text components: movement, dancers, make-up, clothing, floor patterns, music, property, and place of performance. Collecting data was done with observation, interviews, and document analysis. After conducting research, the researcher discovered that the form of perfomance of the Gegesik-style masked Klana dance consists of eight interrelated components that cannot be changed without altering its authenticity. Consequently, the Gegesik-style Cirebon masked Klana dance contains elements that cannot be easily altered, as well as meanings and values implicit in every movement, music, costume, and another component. Keywords: Gegesik Style Klana Mask Dance, Dance Perfomance, Ethnochoreology.

Inovasi Pembelajaran Tari: Higher Order Thinking Skill (HOTS) dan Kearifan Lokal

This study aims to describe the results of the analysis of SBdP subject matter in the field of dance for high school grades on Higer Order Thinking Skills and material innovation based on local wisdom. The research method used is a literature study with data sources thematic books of teachers and elementary school students SBdP material in the field of high-class Dance in accordance with the 2013 Curriculum. The data collection technique is document analysis with a descriptive method. The results showed that the operational verbs used in learning were dominant at levels C1 to C3, cognitive level C4 appeared 3 times and C6 once. Local wisdom-based learning innovations are very supportive to be applied to Basic Competence in understanding the basics of movement, floor patterns, and regional dance properties. The conclusion of this study is that HOTS-based operational verbs and the development of local wisdom-based materials are needed.

Performance of Goa Kreo Legend Masterpiece: Before, During and After the Performance in the Management of Tirang Community in the City of Semarang

Tirang Communtiy is a group consisting of dance, music and drama activists. The existence of Tirang Community is able to invite young people to join in order to love traditional culture and arts and to package arts so that they are easily accepted by the community. This is the reason for researchers to study the performance of the Kreo Goa Legendary Masterpiece: Before, When and After Performances in Tirang Community Management in Semarang City. The research objective is to analyze the form of the Goa Kreo Legend Masterpiece performance, and analyze the Tirang Community management in the production of the Goa Kreo Legend Masterpiece. Researchers used a phenomenological approach and qualitative methods in preparing research results. The results showed that the form of the Goa Kreo Legend Masterpiece show consisted of pre-show and the core of the show. The supporting elements of the Goa Kreo Legend Masterpiece show consist of performers, movements, accompaniment, fashion, makeup, lighting, settings, themes, plot, floor patterns, places, expressions, properties, and spectators. Tirang Community carries out managerial activities by including management functions and management elements. Tirang Community management factors consist of organizational management, production activity management and show management

Bentuk Tari Munai Serapah di Sanggar Seni Sedulang Setudung Kabupaten Banyuasin (Komponen Nonverbal)

The purpose of this study was to determine and describe the form of Munai Serapah Dance in Sedulang Setudung Art Studio, Banyuasin Regency. The method used in this research is the qualitative method. The data collection techniques in this research are observation, interviews, and documentation. The data analysis technique used is data reduction, data presentation, and conclusion drawing. The results showedthat the body movements in munai serapah dance use basic Malay movements that are developed and created so as to create movements and music that are in harmony without reducing the meaning of the dance conveyed. The floor patterns used in Munai Serapah dance are arrows, circular, angled, straight, "V" shape, "A" shape, and face. the makeup used in Munai Serapah dance is stage makeup. Stage makeup is makeup intended for performance.This makeup is more assertive and bold and emphasizes certain effects such as the eyes, nose, lips, and eyebrows so that special attention is drawn to the face because theface is to be seen from a distance under bright lights. The music that accompanies the Munai Serapah dance was created simultaneously with the creation of the dance. Raden Gunawan is the music director as well as the dance director of Munai Serapah dance, adjusting between dance and music, and vice versa between music and dance. Munai Serapah dance accompaniment music was created using typical Malay musical instruments and modern musical instruments but still maintains the characteristics of thick Malay music. The musical instruments used in Munai Serapah dance include drums, organ, guitar, bass, drums, and vocals.

Elemen Estetis Sendratari Manarajang Lawok pada Pertunjukan Launching Calendar of Charming Event Palembang Tahun 2022

The purpose of this paper is to find out how the aesthetic elements contained in the Manarajang Lawok ballet. The problem is focused on the aesthetic elements of choreography. In order to approach this problem, a theoretical, a theoretical reference from Y. Sumandiyo Hadi was used in 2012 with the title choreography (From-Engineering-Content). The data were collected throuhg data triangulation and analyzed qualitatively. This study concludes that the manarajang lawok ballet is a new creation, dance by 10 dancers. The Manarajang Lawok ballet is discussed in 3 aesthetic elements of choreography, namely the concept of motion as an aesthetic element of choreography, namely the movements performed by dancers are focussed in such away as to make it look epic when performed. The conceptof space as an aesthetic choreography element which is further divided into positive-negative space discussions, levels using low, medium and high levels, floor patterns using locomotor movement, stasionary and pause, directions using the eight cardinal directions, dimensions which includes height, width and depth. It is also discussed in the concept of time as an aesthetic element of choreography, which is divided into three parts, aspects of the tempo of the fast and slow movements performed by the dancers, the aspect of rhythm, namely the strenght and softness of the movements performed, and the duration, which is 11 minutes 40 seconds.

Kreativitas Tari dengan Permainan Kentongan pada Kegiatan Ektrakurikuler di SMKN 1 Banjarbaru

Sensitivity to rhythm and tempo is important in learning dance. When sensitivity is lacking, disharmony will appear in the dance. As happened in extracurricular activities at SMKN 1 Banjarbaru. Even though students take part in mint-based activities, there are still many students who are less sensitive to rhythm and tempo. Students are able to memorize dance movements, but they are often loose and not in accordance with the rhythm of the music. For this reason, activities are needed that give special emphasis related to rhythm and tempo. The purpose of this study is to describe the process and results of dance creativity by playing kentongan. Qualitative descriptive research method. The results showed that the creativity process was carried out through the stages of exploration, improvisation, and composition. In the exploration stage, students try to hit the kentongan with several different rhythms and tempos. Students also try to find some movements that can be done with their hands while hitting the kentongan. The improvisation stage is done by trying to combine the appropriate motion and tempo. The composition stage was carried out by composing and sequencing several movements while hitting the kentongan that had been obtained. The results obtained, group one was able to make five tempos and two tempo variations, five movements and three variations of movements, and four floor patterns. Group two was able to make five tempos and three tempo variations, five movements and three variations of movements, and four floor patterns.

ANALISIS KOREOGRAFI TARI BEDAYA RETNA DUMILAH KARYA S. NGALIMAN TJONDROPANGRAWIT

Bedaya Retna Dumilah is a type of Surakarta-style classical dance danced by seven female dancers. The composer of this dance was S. Ngaliman Tjondropangrawit in 1978. This Bedaya dance is rarely performed. The form of presentation of the Bedaya Retna Dumilah dance is unique and exciting. The uniqueness of this dance lies in the dance moves, floor patterns, accompaniment, and themes. This study aims to analyze and describe the Choreography of the Bedaya Retna Dumilah Dance by S. Ngaliman Tjondropangrawit. The method was carried out by analyzing the visual data of the Bedaya Retna Dumilah Dance video from the text side and conducting interviews using triangulation to obtain valid data. The choreographic approach was analyzed descriptively from form, technique, and content aspects from Y.Sumandiyo Hadi's book Choreography: form-technique-content. S. Ngaliman composed the Bedaya dance with various innovations from movements, floor patterns, timing, themes, poetry, and dance accompaniment. The renewal of this work is necessary so that it can be taught to students in the Dance Study Program, especially for teaching Surakarta Dance classes. The theme of war plus romance by including dance accompaniment with "sindenan" poetry, which describes the romance between Panembahan Senopati and Retna Dumilah. The results found from the Choreography of the Bedaya Retna Dumilah Dance are that the theme of the dance is an essential part of composing the Bedaya dance. The piece of romance influences all aspects of the Bedaya Retna Dumilah dance composition. The dance theme also determines the color of the new arrangement of the Bedaya Retna Dumilah dance. S. Ngaliman Tjondropangrawit as a dance master from Surakarta. Significantly skillfully incorporating elements of novelty into the Bedaya Retna Dumilah dance. This renewal will attract the younger generation to learn and preserve the Surakarta-style Bedaya dance.

Ethnomathematics: Exploration In Kebyok Anting- Anting Dance Floor Patterns For Learning The Concept Of Geometry

Ethnomathematics is a realistic approach to learning mathematics that relates mathematical concepts to culture. By learning mathematics relevant to the student environment's culture, students will more easily understand mathematical concepts. This study aimed to examine theethnomathematical exploration of the Kebyok Anting-Anting dance floor pattern for learning the concept of geometry. This research is qualitative research using the ethnographic method. The instruments used are interviews, observation, and documentation. Data obtained through interviews and observations were analyzed using the analytical method described by Miles & Huberman, there are data reduction, data data display, and conclusion drawing/verification. The results showed that the ethnomathematical investigation in the Kebyok Anting-Anting dance floor patterns for learning the concept of geometry were horizontal lines, vertical lines, squares, rectangles, isosceles trapezoids, isosceles triangles, and parallelograms. It is hoped that various local cultures can be used to introduce other mathematical concepts.

Karya Tari Sang Misionaris : Interpretasi Karya Misi Paulus Tjen On Ngiedi Keuskupan Pangkalpinang

The Missionary is a dance work which is an interpretation of the work of Paulus Tjen On Ngie’s mission in the Pangkalpinang diocese area. The purpose of realizing this dance work is as an expression of his journey in proclaiming the gospel. The purpose of writing is as a from af accountability for the work. In addition, it is necessary to provide knowledge about the background of the work. The process of creating this dance creation methods, namely exploration, improvisasion, giving shape, and evaluation. These stages are combined with observations, interviewer, and documentation to strengthen the process of creating dance work. Related to this method, literature studies and recording in the from of videos or pictures are also carried out during the process is a dance work with a duration of 08.40 minutes. The from of dance work is very completeconsistingof title, dance moves, number of dancer, floor patterns, dance accompaniment mucis, dance properties, make-up, fashion, stage area, lighting.Overall this dance work is formed with a mature and planned concept and is complete according to the needs of the dance itself.

An analysis of digging anchor machine stability and track wear under digging conditions

To analyse the stability of a digging anchor machine under digging conditions, the dynamics model of the anchor machine and the interaction mechanics model between its tracks and the roadway floor are constructed with a Sandvik MB670-1 digging anchor machine in the context of the Zhang Jiamao 5–2 coal seam of the Shaanxi Coal and Chemical Industry Group. The discrete element method (DEM) and multibody dynamics (MBD) two-way coupling algorithm is used to simulate the cutting process of a full coal seam and coal rock containing gangue by using a digging anchor machine in a roadway. The changes in the cutting depth of the digging anchor machine drum, the sliding distance of the track and the stress‒strain pattern of the roadway floor are obtained. Finally, through shear slip testing, the stress distribution and deformation pattern of the roadway floor under different grouser parameters of the digging anchor machine track shoe, as well as the wear characteristics of the track shoe, are obtained. The results of this study can provide a theoretical basis for the control and reliability of the digging anchor machine and the life fatigue prediction of its tracks.

THE RECONSTRUCTION OF “JEPIN TALI” SINTANG DANCE

Jepin Tali dance is one of the traditional Malay dances from Sintang Regency, West Kalimantan Province. This Jepin Tali dance was very popular then, especially among the Malay tribe community, because the community participated in dancing or bejepen at every performance. This is a group dance performed by both male and female dancers. However, this dance has been hibernating. Accordingly, this research aims to reconstruct the Jepin Tali dance so it can be revived in the community. This study is a practice-led research. Data were collected through interviews, observation, and literature study. Burra Charter's theory was used in the dance reconstruction. The results of this study indicate that the reconstruction increased the range of motion from 3 to 16 varieties, musical instruments, make-up and clothing, and floor patterns. The dance structure was developed into three parts: the beginning, the core, and the closing, by using the property of eight ropes braided in red, green, blue, and yellow colors and accompanied by music featuring Siti Zubaidah's poetry.

Investigation of ambek-ambek nagari koto gadang koto anau dance art to improve cultural tourism attraction

Minangkabau Tribe in West Sumatra hasone cultural problem, namely the traditional art of Ambek-Ambek Dance. This study aims to find out whether the art of Ambek-Ambek Nagari Koto Gadang - Koto Anau Dance can be used as a cultural tourism attraction in Solok Regency. The research method used is descriptive qualitative using the theory of tourist attraction. Data collection is carried out by observation, interview, and documentation methods. The results of this study show that Ambek-Ambek Dance meets the criteria of good tourist attraction; 1) uniqueness, ambek-ambek dance has a distinctive uniqueness and is different from other dances, namely in terms of dance history, naming, movement philosophy, herding music, costumes, and special rules in the presentation of dance. 2) originality, pure ambek-ambek dance comes from the traditional traditions and daily life of young mudi Koto Anau in ancient times in finding a partner. 3) Authenticity, Ambek-Ambek dance has a distinctive beauty naturally, exotic, and unpretentious. 4) diversity, ambek-ambek dance has a diversity of Minangkabau customs and culture which can be seen in terms of variations in movement shapes, floor patterns, herding music, and dance costumes.

Batu Tumbuk as A New Creation Dance: Art and Culture Preservation Through Time

This research aims to analyze the choreography of the New Creation dance, Batu Tumbuk by Muhaldin Jamin, which was staged in 2015. The term ‘New Creation dance’ refers to the dance that undergoes a process of improvement or refinement that is appropriate to the passage of time but does not affect the traditional values of the community. Hence, this research discusses the Batu Tumbuk dance from the aspect of choreography. The choreographic approach by Minton (1997) is used in this article to discuss the choreographic aspects of the New Creation dance selected. The methodology used for this research was qualitative. Data collection was conducted by using observational methods, unstructured interviews, and library methods. The findings of this research show that the choreography of Batu Tumbuk dance has undergone the creative process of movements and development in terms of composition in the performances presented. Based on the various elements of Malay traditional dance, it is shown that the development processes of Batu Tumbuk dance include actions such as casting, floor patterns and additional props as forms of dance creations. The implications of this research could benefit local choreographers in providing the reference for understanding the terms and concepts of the New Creation dance choreography that continues the original tradition, as a source to be processed and developed in accordance with the passage of time aimed to preserve cultural art heritage.

BENTUK PENYAJIAN TARI RADDAT APE NANG DITUMBOK DI KABUPATEN SAMBAS KALIMANTAN BARAT

This study aims to describe the form presentation of the Raddat Ape Nang Ditumbok Dance in Sambas Regency, West Kalimantan. The problem of this research is related to the elements of the presentation form of the Raddat Ape Nang Ditumbok Dance. This research uses qualitative approach. The authors used descriptive method to analyse the cheography of the Raddat Ape Nang Ditumbok Dance. The authors involved two informants in the process of interview. The authors also used observation dan document analysis in this study. Based on the interview, observation and document analysis, the authors concluded that the Raddat Ape Nang Ditumbok dance consists of 6 to 12 female players. This dance comprises 5 movements, namely “menumbuk padi”, “menampi padi”, “timang burung”, “nyiur melambai”, and “sedih bahagia”. The floor pattern in this dance uses horizontal, triangular, and zig-zag floor patterns. The musical instruments used in the the Raddat Ape Nang Ditumbok Dance are tambourines, long drums (kedumbak), tahar, and rumba. The dance is accompanied with song. The dancers use realistic make-up, the clothes used are brackets, tapeh sarong, bun, lotus, and head accessories such as rocking flowers and earrings. The venue used must be a proscenium stage and an open field.

ASAL-USUL, BENTUK, DAN EKSISTENSI TARI LANGSIR DARI ETNIK HALOBAN

Langsir dance is one of the traditional dances of Haloban ethnic, which lives in Tuangku Island, Aceh Singkil Regency. This dance was lost for 20 years, yet it is brought back without any government intervention. This phenomenon leads to the assumption that the traditional dance is not only played for entertaining people, but it also contains more values. This research was conducted using a descriptive qualitative method, which aims to describe langsir dance as it is. Primary data were collected by using observation techniques and in-depth interviews. Meanwhile, secondary data were obtained from literature and documentation of photos and video recordings. Langsir dance turns out to have unique elements that are different from other local dances, such as aesthetic floor patterns, thirtytwo movement variations instructed by the instructor, as well as a combination patterns of coherent and chronological movement. Although this dance was not played for more than 20 years, the knowledge of this dance is still alive in the collective memory of the community. Therefore, when the young generation of Haloban are inspired to learn about their culture, this art is able to be revived even without any government’s revitalization program.

RELIGIOUS VALUE IN THE TRAINING MATERIALS OF THE RAMPAK BEDUG DANCE AT SANGGAR HARUM SARI

This study aims to describe the religious value of the Rampak Bedug Dance as a training material in the Sanggar Fragrant Sari. The object of this research is Rampak Bedug Dance. This research is focused on problems related to Religious Values in Rampak Bedug Dance. This study uses a descriptive research methodology through a qualitative approach. The subjects of this study were the manager of the Harum Sari studio, trainees and musicians. The data collection technique used is triangulation of data derived from observations, interviews, documentation and literature studies. The description of this research discusses dance movements, dance accompaniment, fashion, dance properties, and floor patterns. From the data that has been obtained, interpreted according to Koentjaraningrat's theory into 5 discussions, namely 1) religious emotions, 2) belief systems, 3) rites and ceremonies system, 4) rites and ceremonies equipment, 5) religious people. Based on the data obtained, it is concluded that the Rampak Bedug dance in Sanggar Harum Sari contains religious values which refer to the 5 religious components of Koentjaraningrat. The existence of religious values in the Rampak Bedug Dance is also based on the background of Pandeglang Regency which is part of the Banten province area which was formerly an Islamic kingdom on the island of Java. It can be concluded that the Rampak Bedug dance in Sanggar Harum Sari contains religious values which refer to the 5 religious components of Koentjaraningrat. The existence of religious values in the Rampak Bedug Dance is also based on the background of Pandeglang Regency which is part of the Banten province area which was formerly an Islamic kingdom on the island of Java. It can be concluded that the Rampak Bedug dance in Sanggar Harum Sari contains religious values which refer to the 5 religious components of Koentjaraningrat. The existence of religious values in the Rampak Bedug Dance is also based on the background of Pandeglang Regency which is part of the Banten province area which was formerly an Islamic kingdom on the island of Java.

Makna Gerak Tari Piriang Suluah Di Sanggar Aguang Kelurahan Sigando Kecamatan Padangpanjang Timur Kota Padangpanjang

This study aims to determine and describe the meaning of the movement of the Piriang Suluah Dance in Sigando Village, East Padangpanjang District, Padangpanjang City. The type of research used is qualitative with a descriptive method. The research instrument is the researcher himself and is assisted by supporting instruments such as writing instruments and cameras. This type of data uses primary data and secondary data. Data collection techniques were carried out employing library research, observation, interviews and documentation. The steps to analyze the data are data collection, data reduction and data presentation. The results showed that the overall performance of the Piriang Suluah dance moves meant hard work, responsibility and high social values. The Piriang Suluah dance movement is a reflection of the Sigando community whose life is farming and playing. Such as the movements of maniti pamatang, ramo-ramo tabang, maalau buruang, mangisai straw, tapuok rangik. Suluah which is placed above the head means a street light because in ancient times there was no electricity as it is today. Every performance that is performed at a different time and place will experience a change in the arrangement of movements or floor patterns. However, in the Piriang Suluah Dance performances, it is more dominant to use a circular floor pattern. The number of dancers in the Piriang Suluah Dance is independent and the age of the dancers is not limited. The existence of the Piriang Suluah Dance in the community is still preserved by the local community. This is evidenced that the Piriang Suluah Dance is still used in big events in Padangpanjang.

FORM OF PRESENTATION OF UMAPOS DANCE IN BALANTAK TRIBAL COMMUNITY

This study aims to find out and describe the Form of Presentation of Umapos Dance in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. This research uses a descriptive qualitative approach, focusing on the Form of Umapos Dance Presentation in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. Data are obtained through observation or observation, interviews, and documentation. Data analysis is carried out by reducing the data and inferring the data correctly. The results showed that the form of presentation of Umapos Dance in the Balantak Tribal Community in Luwuk Banggai Regency, Central Sulawesi, namely: Performers or dancers, Movements, dance accompaniment music, Floor patterns, makeup and clothing, property, and performance venues. This Umapos dance performance in ancient times was a series of Sumoili and Ummusulen dances for the repellent of danger to lower the seawater. Although these three dances are a series, they can still be performed separately or stand-alone. The later development of this dance was not only performed for rituals as well as for welcoming guests.