Main Article Content
Abstract
This study is a study that explores cultural values and develops a gymnastic movement that originates from the Aceh Rampoe dance in Langsa City. The research method used is a combination of qualitative research and development (Research & Development) from Brog and Gall. In the part of exploring the cultural values of the Rampoe Aceh dance, qualitative research methods are used with a holistic approach through in-depth interviews and direct observation at dance studios. Historical analysis of this dance is not a traditional Aceh dance that has existed for a long time. accordance with the terminology of the naming "Rampoe" which in Indonesian translation means "mixture", then this is the essence of the Aceh Rampoe dance. This dance is created and developed by combining or a mixture of several types of traditional Acehnese dances, such as the Likok dance, the Saman dance, and the Seudati dance. At each movement and the translation of the meanings contained in the Rampoe dance, it shows a variety of life messages related to the orientation of cultural values, namely first, the connection between the essence of a life of the Acehnese people (MH), and secondly related to the nature of the relationship between the Acehnese people and others. human (MM). A cultural value orientation that leads to the essence of life in oneself which is a creature that is created and has the creator, as well as relationships with other creatures (humans). So it requires a way to remind oneself to build a relationship between the creator and the creator (Allah SWT), which is accommodated by the element of religiosity that is felt in the lyrics of the Rampoe dance which are full of recitations of shahada and Shalawat. The Rampoe dance movement consists of Nyap (bending), moving steps, Rheng (horizontal movement), Asek which is a movement of turning the head from right to left, Ketrip Jaroe which is a movement in the form of snapping fingers, Nyet which is the body resting on the feet, then Dhet namely the movement of shrugging while the hand is slapped to the rhythm of the song, Gudam Kaki, and Puta Taloe, which is moving alternately between dancers.
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References
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References
Arikunto S, 2012. Prosedur Penelitian Suatu Pendekatan Praktik. Jakarta: Rineka Cipta
Borg, W.R. & Gall, M.D. Educational Research: An Introduction,Fourth Edition. New York: Longman.1983
Geertz Clifford. 1996. Tafsir Kebudayaan. Yogyakarta : Kanisius
Husein Ali Dkk, 2002. Model Pengembangan Motorik Anak Prasekolah.
Jakarta: Direktorat Olahraga Masyarakat, Ditjen Olahraga Depdiknas.
Islamiyati Rosi. 2017. Estetika Religius Dalam Tari Saman Aceh. Yogyakarta (Skripsi).
Iskandar. 2015. Metodologi Penelitian Kualitatif. Jakarta : Gaung Persada
Koentjaraningrat. 2016. Pengantar Ilmu Antropologi. Jakarta: Rineka Cipta.
Kurniawan, R. (2013). Persepsi Orang Tua Terhadap Sekolah Sepakbolaptp. Wilayah I Sumut Tahun 2013 (Doctoral Dissertation, Unimed).
Marzali Amri. 2017. Antropologi & Pembangunan Indonesia. Jakarta : Kencana
Maulana Roby Al Hakim, Lailatul Rohmah (2018) Pengembangan Fisik Motorik Melalui Gerak Tari Di Kelompok B Ra Dwp Uin Sunan Kalijaga Yogyakarta. Jurnal Ilmiah Tumbuh Kembang Anak Usia Dini Golden Age Vol. 3 No.4.
Novalia Linda Sihotang 2020. Nilai Estetika Tari Dampeng Pada Masyarakat Muara Pea Desa Bukit Harapan Kabupaten Aceh Singkil. Jurnal Unimed
Ranjabar Jancobus. 2014. Sistem Sosial Budaya Indonesia. Bandung : Alfabeta
Rangkurti, Y. A., & Nova, A. Pengembangan Model Pembelajaran Renang Berbasis Hukum Syariat Islam Pada Siswa-Siswi Smp Negeri Di Kota Langsa. Jurnal Ilmu Keolahragaan, 18(2), 129-134.
Restela Rika, Tati2017. Tari Rampoe Sebagai Cerminan Karakteristik Masyarakat Aceh. Jurnal Panggung Vol.27 No.2.
Spradley James. 2015. Metode Etnografi. Jakarta : Kencana
Yuniarni Desni, Renny Puspita Sari. 2019. Pengembangan Multimedia Interaktif Video Senam Animasi Berbasis Budaya Khas Kalimantan Barat. Jurnal Obsesi. Vol.4 No.1