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Journal > Journal of Urban Society´s Arts > Tari Galombang di Minangkabau Menuju Industri Pariwisata

 

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Journal of Urban Society´s Arts
Vol 13, No 2 (2013): Oktober 2013
Tari Galombang di Minangkabau Menuju Industri Pariwisata
Adnan, Nerosti ( HP +60124463270)
Article Info   ABSTRACT
Published date:
10 Nov 2014
 
Tari Galombang merupakan tari tradisional Minangkabau yang selaludipersembahkan sebagai tarian penyambutan tamu dalam berbagai upacara adatMinangkabau, seperti penobatan Penghulu (kepala suku), pernikahan, turun mandi,dan alek nagari. Semula ditarikan oleh puluhan laki-laki dengan bergaya pencaksilatyang disebut juga silek galombang. Dalam perkembangannya, Tari Galombangdominan ditarikan oleh perempuan dengan bermacam-macam kreativitas sehinggamemunculkan satu koreografi baru, baik dari aspek penari, gerak, pola lantai, musik,properti, dan kostum serta rias, namun masih tetap menampilkan simbol-simbolestetika adat Minangkabau. Perubahan dari segi teks dan konteksnya merupakandampak pariwisata sejalan dengan teori Maquet (1980) yang mengategorikan duabentuk produksi seni, yaitu art by destination dan art by metamorfosis. Kajian inimembahas kedua konsep tersebut dengan merujuk pada kriteria yang dikemukakanoleh Soedarsono (1994) bahwa produk seni yang sesuai dengan kondisi pariwisataadalah: bentuk miniatur, tiruan, penuh variasi, tidak sakral, dan singkat durasipelaksanaannya. Bentuk tari demikian sekarang berlangsung dalam masyarakatMinangkabau di kota Padang. Galombang Dance in Minangkabau Goes to Tourism Industry. GalombangDance is a traditional dance of Minangkabau which is always offered as a welcome dancein a variety of Minangkabau traditional ceremonies, such as the coronation of headman(chieftain), marriage, turun mandi, and alek nagari. Originally, it was danced bydozens of men with pencak silat style which was also called Silek galombang. During itsdevelopment, the galombang dance is performed by women with a variety of creativitiesperforming a new choreography - both from the dancers, movement, floor patterns,music, properties, and costumes and makeup - but still displays symbols of Minangkabautraditional aesthetics. The changes on text and its context, in terms of the impact oftourism which is in line with the theory of Maquet (1980), categorize the two forms ofart production, such as art by destination and art by metamorphosis. This study discussesboth these concepts by referring to the criteria proposed by Soedarsono (1994) that the artproducts which are tailored for tourism are: miniature, imitation, full of varieties, notsacred, and short duration of its implementation. Thus, these dance forms are taken placerecently in Minangkabau society in Padang
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