The problem in this research is the unavailability of teaching materials for Cultural Arts (music, dance, and drama) based on local content in North Sumatra. The purpose of this study was to develop and determine the validation, practicality and effectiveness of teaching materials for Art and Culture based on local content in North Sumatra. The type of research used is Research and Development (R&D) with a Four-D model, namely: Define, Design, Develop and Disseminate. The cultural arts teaching materials developed include traditional arts from North Sumatra, including: traditional music (Karo, Simalungun, Nias), traditional dances (Mandailing, Sibolga, Dairi), traditional theater (Makyong and Batak Opera). The results of the assessment of the material expert validators are an average of 96.5% (very valid). The test results to students averaged 85.07 (practical). The results of the assessment of the effectiveness of the Arts and Culture teaching materials were an average of 67.08 (effective), the second stage trial averaged 91.25 (Very Effective)..

Batak Simalungun is a part of the five Batak tribes, namely Batak Toba, Batak Karo, Batak Pakpak, and Batak Mandailing, as well as from eight indigenous tribes namely Melayu, Nias, and Sibolga Pesisir in North Sumatra Region. This study aims to explain how the traditional Batak Simalungun dance movement technique in Tortor Martonun, or in Indonesian can be interpreted as a weaving dance. The method used in this research is descriptive-qualitative. The approach used is an ethnographic study with an emphasis on the cultural aspects of the Batak Simalungun tribe. The research location was conducted in Simalungun Regency. The results showed that the Tortor Martonun belonging to the Simalungun community had 20 types of movements consisting of: Mamuyuk (collecting cotton fruit), Manrobus (boiling cotton fruit), Mamispis (separating seeds from cotton), Mamusur (developing), Manusun Bonang (composing thread), Marsigira (coloring), Manjomur Bonang (drying the thread), Mangganti (shaping the thread), Mamuyuk Bonang (taking the thread), Partorsahon Bonang (tidying the thread), Manggulung Bonang (rolling the thread), Martonun (weaving), Manggulung bonang (winding thread), Papeakkon Bonang (putting/placing the thread), Martonun (weaving), Mambuka Hiou (untying the woven/traditional woven cloth), Patorsahon Hiou (tidying the hiou), Pataridahkon Hiou (showing hiou), and Panutup (closing). To facilitate the learning process of Tortor Martonun while responding to technological advances, the entire range of motion is packaged in its entirety in audio-visual media, and uploaded to podcast “Rumah Tari’. with a link link Youtube : https://www.youtube.com/channel/UCYn7jZKYq0mEVgjWajsInag

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This study aims to explore the deconstructive tendency of acting in the performances of Yusril's Under the Volcano works / director. The acting device of an actor also develops according to the situation of society and culture. Actors in postmodern culture no   longer analyze the soul, or present patterns of human behavior as Stanislavsky suggested. The actor explores his mental state through the postmodern aesthetic idioms that tend to be artificial, a culture that worships form. In the Under the Volcano theater performance, the concretization process of actor work was born through Minangkabau traditional arts. The research methods used in this study are: Observation, documents, interviews and data analysis. The results of this study indicate that, in the concrete process of work in postmodern culture there are aesthetic idioms built through silek, dendang, poetry and poetry texts which are then implemented in the form of acting that emphasizes the use of gestural acting, prescribes verbality and tends to be acrobatic.  Keywords: postmodern aesthetics, acting, Under the Volcano

Migrasi Tubuh merupakan sebuah pertunjukan manifestasi dari tradisi merantau masyarakat Minangkabau. Perantau baru biasanya akan mengalami berbagai kompleksitas dalam menjajaki tanah rantau, salah satunya adalah culture shock. Dalam mewujudkan karya teater Migrasi Tubuh menjadi sebuah pertunjukan teater, pengkarya menggunakan metode penciptaan teater tubuh yang digagas oleh Tony Supartono. Metode penciptaan teater tubuh terdiri dari tahap perancangan dan tahap penciptaan. Migrasi Tubuh akan disajikan dalam dua repertoar yakni, Migrasi Tubuh 1 atawa Tanah Rantau dan Migrasi Tubuh 2 atawa Tanah Pasilek.