Randai is a traditional Minangkabau art that presents a combination of literary, dance and music. The essence of randai presentation is as a medium to convey kaba (folklore) through gurindam or poems sung, and galombang (dance) originating from Minangkabau martial arts movements. Randai performance is good for 2 to 3 hours, depending on the kaba or folklore delivered. This article is prepared based on the research of randai performances in the context of tourism in Kawasan Seribu Rumah Gadang Jorong Lubuk, Jaya Solok Selatan District, West Sumatra. Research on this was carried out using qualitative methods. The data was collected through literature study, observation, interviews, and recording. As a tourist attraction, the randai shown is randai which presents compaction of Bujang Selamat folklore, which begins with talempong music as an introduction to anak randai to the performance arena, followed by sambah, plate dance, galombang, compaction of bujang salamat folklore, then ends with sambah. All randai offerings as tourist attractions last for 20 to 25 minutes.

This study aims to reveal and describe the Choreography of Ratok Maik Katurun Dance in Padang Laweh Village, Koto VII District, Sijunjung Regency. Therefore, this study explores the problems related to the choreography contained in the Ratok Maik Katurun dance in Padang Laweh Village, Koto VII District, Sijunjung Regency. This research belongs to a qualitative research using descriptive methods. The main instrument of this research was the researcher itself and was assisted by supporting instruments such as writing tools and voice recorders. Types of data used were primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted through data collection, data reduction, data presentation, and conclusion making. The results show that Ratok Maik Katurun Dance is a traditional dance which uses a choreographic approach and is created by raising the life of nature and the people of Padang Laweh village. Ratok Maik Katurun dance has a unique cultural value. It is dancing at the death of a leader in Padang Laweh village. Ratok Maik Katurun dance has two main aspects. The first one is the aspect of form including: motion (10 types of motion); simple floor designs such as straight and curved lines, top designs such as angular, medium, low, high, contrast and curved designs; group composition such as synchronously and balanced;female dancers aged 30-50 years; music using gondang boghek, talempong, and gong instruments; costumes worn is black baju kuruang basibah (Malay traditional clothes) and black songket (skirt); and properties in the form of shawls which are only worn in the oghak salendang movement. The second one is the aspect of content including: The idea, in Ratok Maik Katurun dance the idea isrelated to death and the atmosphere whichis sad. Music and dendang ratok used as accompaniment of the dance movements make the dance conveyed and complemented. Thus, it can be concluded that Ratok Maik Katurun Dance has choreographic aspects so that it can be researched using choreography knowledge.Keywords: Choreography, Ratok Maik Katurun Dance

This article aims to describe the planting of students' self-confidence characters through the self-development of dance in Bukittinggi 2 Public Middle School. This type of research is Qualitative Descriptive Research. The object of research is students of class VII and VIII in Bukittinggi Middle School 2 who participated in Self Development as many as 12 people. The research instruments were researchers as teachers and observers as well as school principals and art and culture teachers at Bukittinggi Middle School 2. Furthermore, data is collected by observation, interviews and documentation. The results of the study showed that the planting of students' self-confidence characters carried out during 6 meetings went well and smoothly. It turned out that through the Pasambahan dance it was able to instill the character of self-confidence of students in Bukittinggi Middle School 2, where in the Pasambah Dance itself students were required to focus and have self-confidence in performing each of the movements of Pasambah with the complexity of martial arts movements at the opening of Pasambahan Dance, for road techniques for carano carrier and motion at the closing of Pasambah Dance and the use of changing floor patterns, so that students' confidence can be embedded through this Pasambah Dance. It was proven at each meeting that students experienced an increase in self-confidence by referring to six indicators of self-confidence and categorization, namely self-confidence in good categories, feeling self worthy in good categories, not relying on other people with good enough categories, not boasting with categories good, not hesitant in the good category and have the courage to act in a fairly good category, so that at the end of the process students are shown in the opening ceremony of the seminar at IAIN Bukittinggi also looks good. Thus it can be concluded that the Pasambah Dance that was passed on the Self Development of Dance was able to instill the Student's Confident Character in Bukittinggi Middle School 2 well.Keywords: character confident and self development dance art

The "Moans (Rintihan)" artwork aims to elevate personal life into motion elements, create dance artworks, stimulate art performers to increase creativity in art and express the experience of writers as beginner choreographers in the field of dance art creation. The form of presentation in the “Moans (Rintihan)" artwork was representational. The “Moans (Rintihan)" artwork depict family activities that began with a beauty and harmony of the family that end in something not as expected. In this work, the choreographers used movements that have meaning and pure motion that had been distributed with motion techniques adapted to the theme, so that the designs of motion have strenght that could be used as starting points in the work, the most preferred in this work was aesthetic of the motions, full of soul and artistic motions, since the dance is also the choreographer’s priority.Keywords: Rintihan

This study aims to describe and explain the choreography of Piring Hoyak Badarai dance at Sarai Sarumpun Studio in Padang city. This is a qualitative research using descriptive method. The object of research was the Piring Hoyak Badarai dance. The instrument in this study was the researcher it self and was assisted by a voice recorder and several videos, a cell phone camera, and writing instruments. The data used were primary and secondary data. The data were got through collecting data, selecting important data, compiling data selected, and analyzing data using interpretation technique with careful consideration.  The results of this study indicate that Piring Hoyak Badarai dance is a creative dance originating from a traditional pattern movement which is developed into a creative dance shown as entertainment. In addition, this dance emerges from choreographed ideas, but it considers the norms and rules existing in the society. For instance, female dancers do not dance male dance movements because there are ethics in moving as well as ethics in dressing. The Piring Hoyak Badarai dance functions as an entertainment and develops the artistic potential of choreographers.  The Piring Hoyak Badarai dance with a theme manifested from traditional materials whose atmosphere is joyful has 33 kinds of movements and 5 dancers. The body lines contained in the Piring Hoyak Badarai dance are dominant to straight lines, the level is medium, the time is medium and fast, the upper design is angular,the floor pattern is straight and curved lines, andit is in the form of group dance developed by using dance composition knowledge by its choreographers.Keywords: Choreography, Piring Hoyak Badarai Dance, Sarai Sarumpun Studio