Jurnal Sendratasik: ISSN 2302-3201, managed by the Drama, Dance, and Music Education Study Programme and published by Universitas Negeri Padang. Jurnal Sendratasik collaborates with the Association of Drama, Dance, and Music Education Study Programs (AP2SENI) and is published four times in March, June, September, and December. It contains articles and research results in the fields of drama, dance, and music, as well as their learning. The loading of the manuscript is carried out by the editorial group; the manuscript used is one that has passed and has never been or will not be moved to another journal.
Implementation of the Maapam Tradition in P5 at SMP Negeri 1 West Pasaman
Local wisdom is a wise idea that grows from the local community and contains values and cultural preservation. In the context of the Independent Curriculum, these values are integrated through the Pancasila Student Profile Strengthening Project (P5) with the theme of local wisdom. This study aims to describe the implementation of the Maapam tradition in the P5 project at SMPN 1 Pasaman, as well as its impact on the formation of student character. The method used is descriptive qualitative with observation, interview, and documentation techniques. The results show that the learning process is based on the Mapam tradition, which includes cultural introduction, discussions, mutual cooperation practices, and creative works. Able to instill the values of mutual cooperation, independence, and social concern. Students become more active, enthusiastic, and understand cultural values contextually. Constraints such as limited time and references arise, but the collaboration of teachers and student motivation supports the success of the project. The implementation of Maapam in P5 is effective in strengthening cultural identity and fostering character according to the Pancasila Student Profile in a meaningful and participatory manner.
Copyright (c) 2025 Dina Rahma Dani, Ayuthia Mayang Sari (Author) https://creativecommons.org/licenses/by-nc-sa/4.0
Representation of Social Aspects in the Drama Script DOR by Putu Wijaya
This study examines the sociological aspects revealed in Putu Wijaya’s drama script DOR, which reflects the author’s social criticism of various events in Indonesia. These aspects formed the basis for the research focus, problems, and questions. The study applied a qualitative descriptive approach with content analysis. Data were drawn from dialogues and events in the script, while triangulation ensured validity and reliability. The findings highlight several sociological aspects: (1) crime and its treatments, revealed through depictions of weak law enforcement that made people unafraid or guilty when committing crimes; (2) family disorganization, shown in the lack of parental responsibility in education and affection, leading children to seek needs without moral consideration; (3) instability of the younger generation in modern society, reflected in their tendency to disregard norms; (4) violations of social norms, expressed in actions of youth willing to do anything to achieve desires and personal needs; and (5) issues of bureaucracy, law, and security, illustrated by public fear due to reckless behavior and vigilante actions. These sociological aspects are conveyed in straightforward language, though some dialogues employ symbolism. The meanings must be interpreted through character actions, setting, and background. Ultimately, DOR underscores the urgency of law enforcement to avoid inequality and potential unrest. Thus, readers, actors, and directors are encouraged to interpret the play as a critical reflection of Indonesian society.
Copyright (c) 2025 Novrizal Novrizal, Titiek Fujita Yusandra, Mia Fahmiati, Hendri Yusuf (Author) https://creativecommons.org/licenses/by-nc-sa/4.0
Tari Topeng Klana Udeng from Indramayu: Laban Movement Analysis of the Pekandangan Style
This study aims to conduct an in-depth analysis of the movement characteristics of the Tari Topeng Klana Udeng in Pekandangan style, which serves as a distinct cultural identity of Indramayu's mask dance. This dance possesses unique features that differentiate it from mask dance styles in other regions, making it a crucial subject for documentation and understanding. The research employs an ethnographic method to grasp the sociocultural context of the dance, along with an ethnochoreological approach to analyze the function and meaning of its movements within the community. To systematically and meticulously analyze the movements, this study utilizes the Laban Movement Analysis (LMA) framework, with a specific emphasis on Effort and Shape. This approach allows for the identification of the dynamic qualities and spatial patterns that form the core of the dance. Furthermore, the research includes dance notation as a method for comprehensive visual documentation. The findings are expected to contribute significantly to the documentation, recording, and description of Indramayu's traditional dance movements, while also enriching academic understanding of the unique characteristics of the Tari T Klana Udeng in Pekandangan style.
Copyright (c) 2025 Farah Nurul Azizah, Desya Noviansya Suherman, Nunung Nurasih (Author) https://creativecommons.org/licenses/by-nc-sa/4.0
Body Aesthetics in Dramatic Achievement: an Analysis of the Theatrical Performance of Malin Kundang by Payung Sumatera
Body aesthetics and dramatic performance are crucial elements in the theatrical performance of "Malin Kundang" by the Payung Sumatera Community. This study aims to analyze how these two elements intertwine to convey the narrative and emotions of this legendary story. The methods used include participant observation, in-depth interviews, and thematic analysis of the dancers' movements, expressions, and interactions. The findings indicate that the dancers' body movements and expressions not only reflect dance techniques but also portray the characters and conflicts within the story. The use of space and tempo contribute to the dramatic performance, while costumes and props reinforce the characters' identities. The performance successfully integrates body aesthetics and dramatic performance, creating a profound experience for the audience. The conclusion confirms that dance serves as a meaningful medium for conveying moral and cultural messages. This study is expected to inspire artists and researchers to further explore the expressive potential of performing arts.
Copyright (c) 2025 Venny Rosalina et al. https://creativecommons.org/licenses/by-nc-sa/4.0
Sanjungan: from the Salawaik Dulang Tradition to a Popular Approach
Sanjungan is a karawitan composition inspired by the Padang Magek Marisau melody in the lagu Batang in Salawaik Dulang. The Sanjungan work originates from the lyrics of the lagu Batang, which contains praise to Allah SWT and the Prophet. Lagu Batang's are a distinctive part of the Salawaik Dulang presentation structure, which features numerous melodic variations due to the creativity of tukang salawaik dulang. One variation of the lagu Batang melody is the Padang Magek Marisau song. Its uniqueness lies in the vocal presentation technique and the scale used. The Padang Magek Marisau song is presented with a responsive vocal technique and a journey of the major scale to the minor scale, then back to the major scale. This uniqueness is then worked on through a popular music approach in the religious pop genre, with methods and work stages; observation, interviews and discussions, exploration, realization, and completion, so as to produce an innovative karawitan music composition that meets the standards of a performing art.
Copyright (c) 2025 Nadya Fulzi et al. https://creativecommons.org/licenses/by-nc-sa/4.0
Narratives of Oral Theatre in the Kenduri Sko Ritual: A Perspective on Multiculturalism and Sociocultural Transformation in the Digital Era, Kumun Debai District
The “Teater Tutur” in the Kenduri Sko Ritual represents a noble tradition of the Kumun Debai community, imbued with rich multicultural and sociocultural values. However, in the fast-paced digital era, the existence of Teater Tutur within the Kenduri Sko ritual faces threats from modernization and changing lifestyles. These conditions have led to a decline in the frequency of its use during the ritual, a shift in the methods of conveying messages, and changes in how the younger generation perceives and understands local cultural values. The urgency of this study lies in understanding how Teater Tutur adapts to sociocultural transformations in the digital era, as well as how the multicultural values it embodies can serve as social capital in fostering harmony within an increasingly heterogeneous society. The research aims to conduct an in-depth examination of the narratives of Teater Tutur in the Kenduri Sko Ritual in Kumun Debai District as a means of preserving multicultural cultural heritage within the context of social transformation in the digital age. The study employs a qualitative research method using an ethnographic approach, specifically implementing digital ethnography as conceptualized by Sarah Pink which integrates field observation with the analysis of cultural activities in digital spaces.
Copyright (c) 2025 Monita Precillia et al., https://creativecommons.org/licenses/by-nc-sa/4.0
The Concept of Tri Angga in Makeup and Costume Condong Legong Kraton Dance
Condong Legong Kraton dance is one of the forms of classical Balinese performing arts that is rich in aesthetic value, philosophy, and symbolic meaning. One of the elements in this dance is the makeup and costumes. This study aims to identify the forms of makeup and costumes in Condong Legong Kraton dance and describe the meaning of makeup and costumes in Condong Legong Kraton dance in the concept of Tri Angga. This study uses a qualitative method with Charles Sanders Pierce's Semiotics as a tool to explore the meaning of makeup and costumes in Condong Legong Kraton dance within the Tri Angga concept. The Tri Angga concept is a Hindu religious concept that classifies the human body into three parts: Utama angga (head), madya angga (body), and nista angga (feet). The interpretation of makeup and costumes in several regions has often been reduced to merely visual elements, thus necessitating a deeper understanding of makeup and costumes in dance, particularly in the Condong Legong Kraton dance as a classical dance. The division of these concepts is as follows: Utama angga is the most sacred part, where the use of hair ornaments and facial makeup symbolizes the Trimurti (the gods Brahma, Vishnu, and Shiva). Madya angga is the torso or body, which serves as a medium for expression, and Nista angga is the lower part, which serves as the foundation and is integrated with life.
Copyright (c) 2025 Ni Luh Enita Maharani https://creativecommons.org/licenses/by-nc-sa/4.0
Transformation of Togak Balian Ritual in Programmed Music Composition: An Exploration of Sonata in Three-Part Music
Togak Balian is a traditional medicine ritual of the Kenegerian Sentajo community, Kuantan Singingi Regency, Riau Province, which uses robab music and nandong singing as the main elements in its spiritual procession. The music in this ritual has a repetitive pattern with narrow intervals that create a mystical and transcendental atmosphere. Along with the times, this ritual is increasingly rarely practiced, so a revitalization strategy through an artistic approach is needed. This research aims to transform the elements of Togak Balian ritual music into a three-part musical composition based on the concept of programa, emphasizing sonata exploration as a form of adaptation and innovation. An artistic research method with a qualitative approach was used in this research, with data obtained through participatory observation, in-depth interviews with ritual performers, and musicological analysis of Togak Balian melody, rhythm and harmony transcriptions. The results show that this transformation can maintain the original musical character while still providing space for innovation through progressive harmonization, timbre exploration, and rhythm adaptation in a three-part composition format. The structure of the developed composition consists of Part I (Masuak ka Tampuruang), Part II (Manjopuik Samangek), and Part III (Baliak ka Alam Awak), which describes the spiritual journey in the Togak Balian ritual through a musical progression approach. This research contributes to the development of performing arts, culture-based music education, as well as the preservation of Indonesian traditional music, by showing that traditions can develop without losing their cultural roots, as well as being a model in adapting traditional music to remain relevant in modern art.
Copyright (c) 2025 Haris Zikri et al. https://creativecommons.org/licenses/by-nc-sa/4.0
The Form and Function of Karawitan in the Reog Art of the Wahyu Singo Mudho Joyo Group in Sampung Ponorogo Village
This study discusses the presentation and function of Karawitan in supporting Reog performances by the Wahyu Singo Mudho Joyo group in Sampung Village, Ponorogo. Karawitan, as a traditional musical art form, plays an important role in various art performances in Indonesia, including Reog, which is a cultural heritage unique to East Java. This study employs a qualitative descriptive method with data collection techniques including observation, interviews, and documentation. Data was obtained from the group leader, members, and documentation of group activities. The results of the study indicate that the Karawitan Reog Wahyu Singo Mudho Joyo has a distinctive presentation style characterized by innovative methods. This innovative approach involves continuing to use traditional instruments such as the Reog Drum, Large Gong, pencon, Slompret, and Small Ketipung Drum, but the melodies performed are contemporary popular songs or hits among the community, such as Satru, Lamunan, and Jaran Goyang. This group maintains the authenticity of traditional Karawitan Reog by not using modern musical instruments like guitars, keyboards, and bass. The function of Karawitan is not only to accompany Reog performances but also to entertain the community. In the long term, the Wahyu Singo Mudho Joyo group conducts informal training for the younger generation to familiarize them with and provide them with a basic understanding of Karawitan Reog. The aim of this training is to pass on traditional arts by stimulating children's interest.
Copyright (c) 2025 Zheldy Maulana Akbar Kedati & Widodo https://creativecommons.org/licenses/by-nc-sa/4.0
Analysis of the Transformation of the Ebeg Krida Rahayu Putra Manguntapa Performance in Tetel Village, Pengadegan, Purbalingga
This study examines the transformation of Ebeg performing arts carried out by Paguyuban Krida Rahayu Putra Manguntapa in Tetel Village, Purbalingga Regency. Ebeg art, as a local cultural heritage that is full of spirituality, is facing major challenges due to social restrictions. This study uses a qualitative method with a phenomenological approach to explore the subjective meaning of changes in form, aesthetics, and performance organization. The results of the study show significant changes such as adjustments to choreography, make-up, costumes, and performance properties. Paguyuban Krida Rahayu Putra Manguntapa is an example of a community that is able to adapt without losing its cultural identity. This study contributes to the discourse on community-based traditional art preservation and shows that tradition can coexist with modernity. This study is relevant as a reference for preserving traditional arts for the next generation of culture.
Copyright (c) 2025 Resita Aprilia & R. Indriyanto https://creativecommons.org/licenses/by-nc-sa/4.0
Topeng Ireng Wira Catra in Wanurejo Village Magelang District: an Analysis of the Development of Performance Form and Function
This study aims to describe the development of form and functional transformation in the Topeng Ireng Wira Catra performance over time. This research employs a descriptive qualitative method with two main approaches: historical study and structural-functional analysis. Data were collected through direct observation, in-depth interviews, and documentation, with data validation carried out using triangulation techniques. The findings reveal that the performance structure of Topeng Ireng Wira Catra includes performance patterns, movements, makeup and costumes, music, performance venues, lighting, and sound systems. The development of the performance form involves changes in performance patterns, movements, makeup and costumes, and music, occurring across three periods: 1999–2006, 2007–2014, and 2015–2025. One consistent characteristic that has been preserved is the use of traditional instruments, the rearrangement of old songs without incorporating the dangdut genre, and the presentation of classic rodat accompanied by distinctive Topeng Ireng movements, which distinguish the group from others. In addition to changes in form, the function of the performance has also evolved—from its original ritualistic role to one that now serves as community entertainment, a means of tourism and economic promotion, and a medium for strengthening local social solidarity.
Copyright (c) 2025 Puji Maharani Hidayat & R. Indriyanto https://creativecommons.org/licenses/by-nc-sa/4.0
Improving Movement Quality Through Proprioceptive Neuromuscular Facilitation (PNF) Based Body Conditioning in the KIG Dance Community
This study aims to explore a proprioception neuromuscular facilitation (PNF)-based physical training model to improve dancers' movement quality in terms of coordination, strength, flexibility, and body control in various dance movements at the KIG Dance Community. A qualitative research paradigm with a descriptive method was used to explore the initial condition of dancers' movement quality and its impact on improving participants' movement quality as well as dancers' experiences and perceptions. Data was collected through direct observation, interviews, and analysis of physical tests, including measurements of dancers' flexibility and strength. The results of the study indicate that dancers experienced a significant improvement in movement quality. The training lasted for 8 sessions, with each session focusing on a specific type of PNF exercise, such as hamstring, quadriceps, inner thigh, back, and shoulder contraction-relaxation exercises. The PNF method applied in this training proved effective in improving participants' movement quality, with evaluation results showing that participants experienced a clear improvement in their movement abilities in both contemporary and traditional movements.
Proprioceptive Neuromuscular Facilitation
Copyright (c) 2025 Lola Juliadrini, Trianti Nugraheni & Saian Badaruddin https://creativecommons.org/licenses/by-nc-sa/4.0
Improving students' vocal production skills through the use of a basic vocal learning video
This research is motivated by the lack of students' ability to produce good vocals when singing. To overcome this problem, a basic vocal learning video was developed. This research is a classroom action research that aims to determine how students' ability to produce vocals increases after using a basic vocal learning video. The learning video is specifically designed for beginners, with a sample of first-semester students as the population, comprising 30 individuals with no prior vocal training experience. The research design consists of (1) planning, (2) implementation and observation, (3) evaluation and reflection. The main focus of this study covers four aspects of basic vocal techniques: diaphragmatic breathing, articulation, resonance, and intonation. The instrument used is a validated vocal assessment rubric. The results of the study indicate that basic vocal learning videos can improve students' vocal production abilities, with a significant average increase in scores in all indicators. This study recommends the integration of basic vocal learning videos in vocal learning so that learning objectives can be achieved.
Copyright (c) 2025 Stevanie Lumbangaol, Azhardi Wisnugraha, Urfan Saniylabdhawega Ridhwan https://creativecommons.org/licenses/by-nc-sa/4.0
Design of a Arimbi Dance Pop-up book as an Introduction to Local Content for Elementary School Students
This study aims to develop a prototype of an educational media in the form of a pop-up book titled Tari Arimbi as a means of introducing Sundanese local cultural content to elementary school students. The research employs a Research and Development (R&D) method based on the Borg & Gall model. The study was carried out up to the third stage, namely the design development phase. The design process involved identifying learner needs and determining appropriate visual, narrative, and educational concepts tailored to the characteristics of learners in the concrete operational stage. The results indicate that the Tari Arimbi pop-up book prototype was designed with careful consideration of graphic and visual design elements, local cultural values, and an interactive approach. This media has the potential to serve as an alternative tool for supporting cultural literacy and the preservation of traditional arts particularly dance starting from an early age.
Copyright (c) 2025 Sidqia Nurfadilah, Saian Badaruddin & Inke Firdaus https://creativecommons.org/licenses/by-nc-sa/4.0
Music as Community Empowerment in the Process of Cultural Identity Formation in Tulang Bawang Barat, Lampung
Establishing a cultural identity in the midst of the heterogeneity of the people of West Tulang Bawang Regency is still a hot topic for discussion. The phenomenon of cultural practices is often carried out by creating symbols through mythical products, narratives, activities, objects, and monumental buildings that are intensified by the local government and its people. The arts path is one way to realize the motto they call 'Tubaba: Return to the Future'. This research seeks to find a solution to the issue of cultural identity formation in West Tulang Bawang district through the practice of music as a medium for community empowerment. The Participation Action Research (PAR) approach is used as a method in the community empowerment process. Collaborative work with the community of Tiyuh Gedung Ratu and the Sanggar Pakem group in making Tikew: The Circle of Life and Senandung Rawa became the result of the empowerment process. Lidskog's paradigm of music and identity is able to produce an interpretation of the previous empowerment process. The formation of a new cultural identity can be created through cultural negotiations between the ethnic diversity of the Tubaba community.
Aton Rustandi Mulyana Aton Rustandi Mulyana
Copyright (c) 2025 Ghaimbibie, Aton Rustandi Mulyana (Author) https://creativecommons.org/licenses/by-nc-sa/4.0
Development of Digital Ibing Pencak Silat Module Based Website as a Dance Learning Media for Junior High School Students
The learning of Ibing Pencak Silat in schools still faces various challenges, particularly in the availability of interactive and easily accessible learning media. This study aims to develop a digital module for Ibing Pencak Silat based on a Website using Google sites as a learning medium for junior high school students. The method used is Research and development (R&D) with the Borg and Gall model, consisting of six selected stages: identification of potential and problems, data collection, product design, product validation, product revision, and testing. Product validation was conducted by material experts and media experts using a Likert scale-based questionnaire with percentage techniques. The validation results showed a module feasibility level of 88.68%, with 88.64% from material experts and 88.71% from media experts, categorized as highly feasible. The trial results indicated an improvement in students' understanding, with the average score increasing from 57.6 before using the module to 91.1 after its implementation. Additionally, students were more motivated as they could access the material flexibly. Thus, this digital module has proven to be effective in enhancing the understanding of Ibing Pencak Silat. This innovation is expected to provide a more interactive and engaging learning solution for junior high school students while also strengthening the preservation of Pencak Silat culture through digital technology.
Copyright (c) 2025 Muhamad Rizki Abdilah, Yuliawan Kasmahidayat & Saian Badaruddin https://creativecommons.org/licenses/by-nc-sa/4.0
Analysis of Ethnomathematical Elements Sigeh Pengunten Dance Lampung
Ethnomathematics connects mathematics and culture by examining the use of mathematics in everyday life. Many studies show that mathematical concepts are often used unconsciously in everyday activities. In learning, the integration of local culture helps students understand that various activities contain mathematical concepts. However, learning based on Ethnomathematics is still rarely applied. This research analyzes the elements of Ethnomathematics in Lampung Sigeh Pengunten Dance through movements, costumes, and floor patterns. The method used is descriptive qualitative research with an ethnographic approach. Data were collected through observation, interviews, and documentation using snowball sampling technique. Data validity is done by source triangulation. The results showed mathematical elements in Sigeh Pengunten Dance, such as angles, lines, and various geometric shapes. The philosophy of this dance symbolizes the respect of Lampung people in traditional ceremonies and welcoming guests.
Copyright (c) 2025 Endang Wahyuni & Dwi Putri Prabawati https://creativecommons.org/licenses/by-nc-sa/4.0
Stage Screen Arragement Strategy Wayang Wong Sriwedari Surakarta
This research investigates the stage management strategy of Wayang Wong Sriwedari Surakarta, focusing on the screen or curtain and its effect on the visual experience of the audience. Using A. A. M. Djelantik's aesthetic theory that includes appearance, substance, and presentation. This qualitative study analyzes the visual and technical representation of the stage screen through observations and interviews with directors, stagehands, and audience members. The research findings show that the strategic selection and presentation of the screen does not only function as decoration, but can play a role in building atmosphere, conveying narrative ideas, and realizing cultural messages rooted in the traditions of the Surakarta Palace. The diversity of visual representations of space and atmosphere effectively communicates the narrative context of each scene. the skill of the stage crew in making smooth transitions and the artistic quality of the paintings significantly contribute to audience immersion and appreciation. This study underscores the integral role of traditional staging in shaping the audience's visual experience.
Copyright (c) 2025 rfan Wahono & Eko Wahyu Prihantoro https://creativecommons.org/licenses/by-nc-sa/4.0
Lighting design in enhancing narrative: an artistic analysis of the performance Senja dengan Dua Kematian adapted by Fathul A. Husein
This study aims to analyze and explore the artistic arrangement of Lighting in enhancing theater narratives. Lighting creates various atmospheres—from tense and mysterious to bright and cheerful—and conveys time or season through its color and intensity. The performance Senja dengan Dua Kematian by Kirdjomulyo, adapted by Fathul A. Husein, tells the story of Wijasti's struggles with family issues, including her father’s gambling habit, his debts, and her mother’s illness, leading to deep traumatic experiences. This story depicts family failure and the conflict between desire and duty. Using a descriptive qualitative approach, the research stages include observation, interviews, and documentation study of Lighting elements. The results show that Lighting design functions not only as illumination but also plays a vital role in creating emotional ambiance, building atmosphere for the audience, bringing characters to life, and reinforcing the storyline. With a realistic approach, the director interprets artistic Lighting suggestively. This research provides insights for performing arts professionals on the importance of Lighting in creating a compelling and immersive theater experience.
Copyright (c) 2025 Sonia Ariella Partera, Monita Precillia, Jaeni Jaeni https://creativecommons.org/licenses/by-nc-sa/4.0