Bentuk Penyajian Tari Tor-Tor Naposo Nauli Bulung pada Upacara Perkawinan Mandailing di Sigantang Kecamatan Ranah Batahan Kabupaten Pasaman Barat Presentation Form of the Tor-Tor Naposo Nauli Bulung Dance in the Mandailing Wedding Ceremony in Sigantang, Ranah Batahan District, West Pasaman Regency

Crossmark

Main Article Content


Abstract

This study is motivated by the importance of preserving traditional performing arts within the context of customary ceremonies, specifically Tari Tor-Tor Naposo Nauli Bulung, which forms part of the wedding rituals of the Mandailing community in Sigantang, Ranah Batahan Subdistrict, West Pasaman Regency. The research aims to describe and analyze the presentation form of this dance within the context of marriage ceremonies. A qualitative approach with a descriptive-analytical method was employed. Primary and secondary data were collected through literature review, observation, interviews, and documentation, and subsequently analyzed through the stages of data collection, description, identification, and reporting. The findings indicate that Tari Tor-Tor Naposo Nauli Bulung consists of eight movement variations, categorized into pure movements, such as jonjong, siamun, siambirang, tujolo, and the opening sequence and meaningful movements like maido tutuhan, symbolizing a prayer for a smooth ceremony, and mijur, marking the formalization of the marriage. The dance employs floor patterns that are horizontal, spiral, and circular. The accompanying music includes gondang, gong, momongan, suling, and tulilla. Dancers wear simple traditional attire, with a formation of five men and five women, and use a traditional selendang as the main prop. The performance takes place in the bride’s courtyard and serves as entertainment, a symbol of unity, a gesture of respect for elders, and a medium for preserving the social and cultural values of the Mandailing people.

Downloads

Download data is not yet available.

Citation Metrics & Similar Scopus Articles

Data source Crossref
0
citations
Citation counts are source-specific and may differ because database coverage, reference matching, and update schedules are different. Counts are not added together. Crossref values represent citation links registered and matched by Crossref.
Check Secondary Documents in Scopus
Open this article in Scopus, then check the Secondary documents tab. Use Manual Citation Fallback only for counts you have verified manually.
Open in Scopus
Similar Scopus Articles
Scopus
  1. Jiménez P.A. (2026)
    Predictors of tick-associated rash illness (TARI) among tick bite patients: Roles of exposure history and tick biological characteristics
    Ticks and Tick Borne Diseases, 17(4)
  2. Yusof A. (2026)
    The Method of al-Fiqh al-Muqāran as an Islamic-Based Research Design
    Jurnal Fiqh, 23(1), 267-301
  3. Barotto A. (2026)
    Separative conjunction: Evidence from Japanese non-exhaustive connectives
    Journal of Pragmatics, 258, 92-104

Article Details

How to Cite
Syarah, S., & Nerosti, N. (2025). Bentuk Penyajian Tari Tor-Tor Naposo Nauli Bulung pada Upacara Perkawinan Mandailing di Sigantang Kecamatan Ranah Batahan Kabupaten Pasaman Barat. TSAQOFAH, 5(5), 5075-5094. https://doi.org/10.58578/tsaqofah.v5i5.6990

References

Aisyah Mayzuhra, A. (2023). Fungsi Tari Tor-Tor Naposo Nauli Bulung bagi Masyarakat Mandailing Natal [Disertasi, Institut Seni Indonesia Yogyakarta].
Asmarani. (2020). Pendidikan Seni Tari: Pengetahuan Praktis tentang Seni Tari bagi Guru SD/MI. LPPM UNHASY Tebuireng.
Cohen, R. (2013). Theatre: Brief Version. McGraw-Hill.
Desfiarni. (2004). Tari Lukah Gilo sebagai Rekaman Budaya Minangkabau Pra Islam. Kalika.
Diana, T., & Tantoro, S. (2017). Makna Tari Tortor dalam Upacara Adat Perkawinan Suku Batak Toba Desa Tangga Batu Kecamatan Tampahan Kabupaten Toba Samosir Provinsi Sumatera Utara [Disertasi, Universitas Riau].
Hadi, Y. S. (2020). Estetika Pertunjukan Seni. Pustaka Pelajar.
Hartati, S. (2022). Penari sebagai komunikator budaya dalam seni pertunjukan. Jurnal Kajian Seni, 18(1), 55–68.
Hasanah, T. N. (2021). Bentuk Penyajian Tari Tortor Adat Batak Kecamatan Kandis Kabupaten Siak Provinsi Riau [Disertasi, Universitas Islam Riau].
Hutajulu, R., & Tarigan, K. (2017). Analisis Tortor Parsiarabu pada Upacara Horjabius di Desa Tomok, Kecamatan Simanindo, Kabupaten Samosir [Disertasi, Universitas Sumatera Utara].
Indrayuda. (2013). Tari sebagai Budaya dan Pengetahuan. UNP Press.
Kusumastuti, N. (2021). Eksplorasi Tubuh dalam Tari Kontemporer. ISI Press.
Malini, S., & Mansyur, H. (2024). Struktur pertunjukan tari Tor-Tor Naposo Nauli Bulung dalam acara pesta perkawinan di Sawah Mudik Kabupaten Pasaman Barat. Dharma Acariya Nusantara: Jurnal Pendidikan, Bahasa dan Budaya, 2(1), 149–158.
Moleong, L. J. (2011). Metodologi Penelitian Kualitatif (Edisi Revisi). PT Remaja Rosdakarya.
Nerosti. (2019). Metafora Tari dalam Pendidikan. Sukabumi Press.
Nerosti. (2024). Kajian Tari dari Perspektif Tekstual dan Kontekstual. Rajawali Pers.
Nuraeni, G. (2013). Studi Budaya di Indonesia. CV Pustaka Setia.
Pratiwi, S., Kurnita, T., & Nurlaili, N. (2016). Bentuk penyajian tari Tor-Tor Naposo Nauli Bulung pada adat perkawinan Mandailing di Kelurahan Pidoli Dolok. Jurnal Ilmiah Mahasiswa Pendidikan Seni, Drama, Tari & Musik, 1(4).
Soedarsono. (2020). Tari-Tari Klasik Surakarta dan Yogyakarta. Gadjah Mada University Press.
Supriyono, A. (2009). Cooperative Learning. Pustaka Pelajar.
Sumaryono, S. E. (2006). Tari Tontonan. Lembaga Pendidikan Seni Nusantara.
Wilson, E., & Goldfarb, A. (2014). Seni yang Semarak. MC.
Yudiaryani. (2020). Kreativitas Seni dan Kebangsaan. Badan Penerbit ISI Yogyakarta.
Y. Sumandiyo Hadi. (2007). Kajian Tari: Teks dan Konteks. Pustaka Book Publisher.