Creation Leumo Lon Sayang, Sayang Na Leumo Dance as a Criticism of Aceh Besar Regent Regulation No.5/2021

Public order is an ideal that can create calm, comfort and tranquility in people's lives. However, this is still far from being felt by the people of Jantho City, Aceh Besar Regency. This is due to the large number of livestock roaming around in public places such as residential areas, offices, parks, roads, etc. The rise in cases such as accidents, crop destruction and environmental pollution caused by animal waste needs to be a cause for concern. The regional government through Aceh Besar Regent Regulation No.5/2021 concerning Procedures for Controlling Livestock in Aceh Besar Regency has made efforts to prevent and resolve the above problems. In fact, until now the government seems to have turned a blind eye to what is happening in public. This needs to be a common concern in order to create order in livestock that is oriented towards orderly community life. This phenomenon is interesting to actualize in the form of a dance work entitled "Leumo Lon Sayang, Sayang Na Leumo". The aim of this research is to create a dance as criticism regarding Aceh Besar Regent Regulation No.5/2021. The method used in this research is Alma Hawkins method which consists of exploration, improvisation and forming. <

BABALIAK KA NAGARI SEBAGAI IDE PENCIPTAAN KARYA TARI “SENANDUNG IMPIAN”

ABSTRAKFenomena babaliak ka nagari yang terjadi di Minangkabau menjadi sumber inspirasi dari penciptaan karya seni tari yang berjudul “Senandung Impian”. Babaliak ka nagari merupakan proses pergantian sistem pemerintahan di Minangkabau yang bermula dari nagari ke pemerintahan desa dan kembali lagi menjadi nagari. Pergantian sistem pemerintahan ini menyebabkan hilangnya fungsi dan jati diri niniak mamak di Minangkabau. Karya tari ini diciptakan menggunakan tipe dramatik dengan menghadirkan berbagai konflik yang terjadi dalam fenomena babaliak ka nagari. “Senandung Impian” terbagi atas tiga bagian yang masing-masing berjudul (1) Perkampungan, (2) Gejolak Kaum, dan (3) Keikhlasan. Metode yang digunakan pada proses penciptaan karya ini meliputi eksplorasi, improvisasi, dan perwujudan.Kata Kunci: Babaliak Ka Nagari, Dramatik; Koreografi, Pemerintahan, Penciptaan Tari. ABSTRACTBABALIAK KA NAGARI AS A CREATING IDEA OF DANCE "SENANDUNG IMPIAN", June 2022. Babaliak ka nagari phenomenon that occurred in Minangkabau became a source of inspiration for the creation of "Senandung Impian" dance. Babaliak ka nagari is the process of changing the government system in Minangkabau which starts from the nagari to the village government and back again to the nagari. This change in government system caused the loss of function and identity of niniak mamak in Minangkabau. This dance is created using dramatic type by presenting various conflicts that occur of the babaliak ka nagari. “Senandung Impian” is consist of three parts, each titled is (1) Perkampungan, (2) Gejolak Kaum, and (3) Keikhlasan. The methods used in the process of creating this dance is exploration, improvisation, and embodiment.Keywords: Babaliak Ka Nagari, Dramatic, Choreography, Government, Dance Creation

Interaksi Mamak dan Kamanakan Sebagai Sumber Penciptaan Karya Tari Buek Arek Karang Taguah

The social phenomenon between mamak and kamanakan in Minangkabau is the source of the creation of the dance title Buek Arek Karang Taguah. Looking at the current phenomenon, there is a dissociative interaction that causes the waning of tolerance and harmony between mamak and kamanakan. The purpose of the creation of this art is to create a work of dance art originating from the phenomenon between mamak and kamanakan which is viewed from social values and to reveal the condition of closeness between mamak and kamankan which has been reduced through dance movements. This work is done using a literary theme which is actualized in three ideas, namely; (1) expressing the relationship between mamak and kamanakan as indak bapamatang fields, (2) expressions of dissociative interactions as the cause of the breakdown of tolerance and harmony between mamak and kamanakan, (3) expressions of the relationship between mamak and kamanakan that should be in the value of cooperation. The manufacturing methods used include research, concept surgery, exploration, movement arrangement, and evaluation. The creation of this work provides knowledge about the importance of harmony between mamak and kamanakan.

KEKITAAN : KOMPOSISI MUSIK YANG MENGUNGKAP IDENTITAS BUDAYA KABUPATEN PASAMAN BARAT

ABSTRAKRongiang Pasaman adalah seni pertunjukan yang berasal dari Kabupaten Pasaman Barat, Provinsi Sumatera Barat. Kesenian ini merupakan hasil akulturasi antara etnis Minangkabau, etnis Jawa, dan etnis Mandailing. Akulturasi merupakan salah satu faktor yang membentuk suatu identitas. Kekitaan merupakan sebuah komposisi musik nusantara yang bertujuan untuk mengungkap identitas budaya Kabupaten Pasaman Barat. Tujuan tersebut diwujudkan melalui penggarapan idiom musik dari tiga etnis di Ronggiang Pasaman yang ditinjau dari proses akulturasi budaya. Metode penciptaan yang digunakan terdiri dari observasi, elaborasi, dan realisasi. Berdasarkan hasil penelitian, toleransi dan keharmonisan antaretnis merupakan nilai-nilai penting yang terkandung dalam kesenian Rongiang Pasaman sebagai wujud identitas budaya. Nilai-nilai tersebut diwujudkan dalam dua bagian karya musik yang berjudul Kekitaan.ABSTRACTRonggiang Pasaman is a performing art from West Pasaman Regency, West Sumatera Province. This art is the result of acculturation between the Minangkabau ethnic, Java ethnic, and Mandailing ethnic. Acculturation is one of the factors that form an identity. Kekitaan is a music that aims to reveal the cultural identity of West Pasaman Regency. This purpose is realized through the cultivation of musical idioms from three ethnic in Ronggiang Pasaman as seen from the process of cultural acculturation. The creation methods used consists of observation, elaboration, and realization. Based on the research results, tolerance and interethnic harmony are important values contained in the art of Ronggiang Pasaman as a form of cultural identity. This values realized in two pieces of music entitled Kekitaa