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
Article Sidebar
Page Numbers:
5075-5094
Digital Object Identifier:
10.58578/tsaqofah.v5i5.6990
Viewed: 241 times
Downloaded: 135 times
LYAS Publisher cordially invites qualified professionals to serve as Editors or Reviewers. Your expertise will make an important contribution to maintaining and strengthening the academic quality of our publications. Interested applicants are kindly requested to complete the application form at the following link: Editors & Reviewers
Please feel free to contact us if you need any further information about the submission process or if you have any additional questions.
Authors:
Sisri Syarah1, Nerosti Nerosti2 
Copyright :
Authors retain copyright and grant the journal right of first publication.
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.
Citation Metrics:
Downloads
Article Details
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
References
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.