This study examines how perspective and nirmana principles are integrated in imaginative drawings produced by Primary School Teacher Education (PGSD) students in visual arts learning. Previous discussions of students’ drawings in art education have often treated perspective as a technical matter and nirmana as a list of visual elements. This study addresses that limitation by positioning both concepts as an integrated visual literacy framework for reading spatial construction, compositional order, and pedagogical readiness among prospective elementary school teachers. A descriptive qualitative design was employed using visual artwork analysis, classroom observation, documentation, and literature study. Ten student artworks were selected through criterion-based purposive sampling because they represented diverse themes, visual complexity, and varied applications of perspective and nirmana. The analysis sheet was developed from perspective indicators, nirmana principles, and stages of art criticism, then strengthened through expert judgment and inter-rater discussion. The findings reveal three patterns of visual construction: narrative-spatial, decorative-dense, and thematic-symbolic. Students demonstrated strength in visual imagination, local themes, color exploration, rhythm, and thematic unity; however, they still showed weaknesses in horizon awareness, vanishing point consistency, scale relations, proportional accuracy, focal point, and visual hierarchy. The study proposes a Perspective-Nirmana Integration model as a conceptual contribution for analyzing imaginative drawings in visual arts learning. Pedagogically, the findings imply that PGSD visual arts instruction should connect imaginative exploration with systematic exercises in spatial representation, composition, visual hierarchy, and reflective critique.
This study examines the function of gondang bolon music in the Patarias Debata Mulajadi Nabolon ritual, an ancestral ceremony performed once every four years by descendants of Ompu Mamontang Laut Ambarita in Sihaporas Village, Pematang Sidamanik District, Simalungun Regency, North Sumatra. Using a qualitative descriptive method, data were collected through observation, interviews, and documentation during the ritual performance held on 22-24 October 2022. Alan P. Merriam's theory of the uses and functions of music was applied to examine how gondang bolon mediates communication between the Toba Batak community and Mulajadi Nabolon, the supreme creator in their traditional belief system. The findings show that gondang bolon performs at least seven interrelated functions within the ritual: accompanying the ceremonial sequence, guiding the tortor dance and ritual movement, communicating symbolic and religious meaning, expressing emotion, reinforcing social interaction, strengthening communal solidarity, and sustaining cultural continuity across generations. Performed by an ensemble of five taganing, one gordang, three to four ogung, one hesek, and a sarune bolon, gondang bolon proves to be far more than musical accompaniment: each tone produced functions as an intermediary that carries offerings, prayers, and petitions from the community to the spiritual realm. Comparison with related studies of gondang sabangunan in other Toba Batak ritual contexts confirms that these functions recur across ceremonies while taking locally specific forms in Sihaporas. The study concludes that gondang bolon is central to both the sacredness and the social cohesion of the ritual, and recommends further ethnomusicological research on its musical structure and long-term sustainability.
The musical composition Sitolu Sada was created by adopting the concept of “triadic unity” found in the cultural system of Dalihan Na Tolu. The composer chose this triadic concept because the Batak Toba community is deeply rooted in the symbolism of threes. This triadic principle is not only present in Dalihan Na Tolu, but also in Debata Na Tolu, Banua Na Tolu, and Bonang Manolu, all of which are important elements of Batak mythology. The concept of three is embedded into the structure of the music—reflected in its rhythm, meter, key signatures, timbre, harmony, and more. This composition highlights traditional Batak Toba musical values while incorporating elements of Western music. Sitolu Sada was developed using Alma Hawkins’ creative process methodology, which involves three main stages: exploration, improvisation, and composition. The composer went through several phases—from the initial idea to a fully realized musical performance. These stages include ideation, the creative process (exploration, improvisation, composition), presentation in performance form, and interpretation by musicians from notation to sound, ultimately making it accessible to listeners. The composition Sitolu Sada consists of three movements: Sitolu Sada I, Sitolu Sada II, and Sitolu Sada III. Through the creation of this work, it is hoped that the complexity of Dalihan Na Tolu can be appreciated and expressed as a creative outcome grounded in local wisdom and the rich values it represents.
This study aims to analyze the utilization of Acehnese Nusantara Dance as both a therapeutic and educational medium for children with special needs at Bireuen Special Needs School (SLB). The research was conducted using the Research and Development (R&D) method, which includes stages of problem identification, product design, development, pilot testing, and systematic evaluation. The findings indicate that dance learning significantly enhances students' motor, cognitive, social, emotional, and participatory skills. Structured evaluations show an average increase of 25% in motor skills, a 30% rise in social participation, and improved memory of movement sequences and coordination. Dance learning is also proven to be effective as a therapeutic medium, especially for deaf and intellectually disabled students, through visual cues, rhythmic music, and individualized instructions tailored to each child's needs. The final product—a performance of Acehnese Nusantara Dance—was piloted and validated by experts, receiving an average validation score of 4.2 out of 5. This research produces an inclusive learning model that not only supports students' personal and social development but also contributes to the preservation of Nusantara culture. Thus, this approach provides an innovative solution to improve the quality of education and therapy for children with special needs in the SLB environment.
This study aims to analyze the variations of Tari Kelelawar movements and test the use of the Wordwall educational game as a movement analysis medium in dance learning for 9th grade students at SMPN 7 Semarang. The method used is Research and Development (R&D) with the ADDIE development model which includes five stages, namely analysis, design, development, implementation, and evaluation. Data were collected through observation, interviews, documentation, and media feasibility testing to obtain comprehensive information regarding the characteristics of dance movements and the application of learning media. The collected data were analyzed through the stages of data reduction, data presentation, and conclusion drawing to ensure systematic and coherent interpretation. Based on the results of the media expert validation test, Wordwall was declared suitable for use with advantages in aspects of visual appearance, technical quality, and high interactivity. The implementation results showed that the average student response score reached 88% (very suitable category). The use of interactive features such as Match-Up, Labeled Diagram, Group Sort, and Open the Box also proved effective. These features help students deconstruct the complexity of movement visually and independently, while encouraging their active involvement during the learning process. This study concludes that Wordwalls can function effectively as a visual analysis medium to support dance movement analysis and enhance students' understanding of dance learning in a local cultural context.
