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The Melaju With Quality dance is a dance that represents the PGRI Palembang University which has the motto "Melaju With Quality". Melaju With Quality Dance is a new dance creation created by Mrs. Rully Rochayati in 2017. Makeup is important in dance because it emphasizes the perfect parts of the face using the wahah corrective technique, this makes the dancer look more beautiful. The clothes worn by dancers in the Melaju With Mutu dance are blue and red shirts and trousers. This writing uses qualitative methods. The data collection process in this paper uses observation, interviews, documentation, literature study methods.

This research aims to find out and describe the dance forms of middle children in the Tuah Merindu art studio, PulauBeringin District, South OKU Regency. The method used in this research is a qualitative descriptive method discussing the dance forms of middle children. This research uses primary data sources and secondary data sources. The data collection techniques used are observation techniques, interview techniques and documentation techniques. The results of this research, the middle child dance was created in 2019 which has the meaning "nak iduptareknyawe" where middle children are required to be tougher and tougher in living life. Over time, this dance is carried out with the aim of preserving and maintaining regional traditional dances that have been passed down from generation to generation so that they are known to the outside community and are not lost over time. The forms in the middle child's dance at the Tuah Merindu art studio, PulauBeringin District, South OKU Regency have elements, namely 1). Theme, 2). Motion, 3). Dancer, 4), Property, 5). Music, 6). Makeup 7). Clothing, 8). Floor Patterns, 9). Expression/Pattern, 10). Storyline, 11). Dramatic Plot, 12). Settings, 13). Stage, 14). Lighting.

This research aims to find out and describe the dance forms of middle children in the Tuah Merindu art studio, PulauBeringin District, South OKU Regency. The method used in this research is a qualitative descriptive method discussing the dance forms of middle children. This research uses primary data sources and secondary data sources. The data collection techniques used are observation techniques, interview techniques and documentation techniques. The results of this research, the middle child dance was created in 2019 which has the meaning "nak iduptareknyawe" where middle children are required to be tougher and tougher in living life. Over time, this dance is carried out with the aim of preserving and maintaining regional traditional dances that have been passed down from generation to generation so that they are known to the outside community and are not lost over time. The forms in the middle child's dance at the Tuah Merindu art studio, PulauBeringin District, South OKU Regency have elements, namely 1). Theme, 2). Motion, 3). Dancer, 4), Property, 5). Music, 6). Makeup 7). Clothing, 8). Floor Patterns, 9). Expression/Pattern, 10). Storyline, 11). Dramatic Plot, 12). Settings, 13). Stage, 14). Lighting.  

This research creates a technique of making paper bones in 3-dimension makeup character using materials that easy to find and affordable price. The methods used are literature, experiment, documentation, interview, questionnaire, and public test. Based on the results of feasibility tests of paper bone’s technique assessed by 6 validators on indicators of application effectiveness declared feasible, time efficiency indicators declared feasible, cost indicators declared very feasible, indicators of ease of discovery of materials declared very feasible. Based on the results of the feasibility test, the appearance of the effects of torn wounds using bones from paper assessed by 6 validators on indicators of wound composition was declared feasible, indicators of color combinations were declared feasible, indicators of similarity to the original wound were declared feasible, and indicators of detail were declared feasible. The results of the public test were conducted by 81 respondents. 96.3% said the wound effect similar to the original one. 100% said this technique affordable. 97.5% said this technique can be an alternative for 3-dimension makeup character cosmetic. 98.8% said this technique is easy to use by beginners. 100% said the ingredients are easy to find. 100% said paper bone can support zombie’s character appearance. 97.5% said interest with this technique. 98.8% said they like this technique. So can be concluded, this technique is worth to apply in 3-dimensional makeup character.

This study aims to describe and analyze the Choreography of Maikek Kain Dance at Langkisau Studio in Kenagarian Painan Timur, District IV Jurai, South Pesisir Regency. This type of research is qualitative research using a descriptive method. The research instrument is the researcher himself and is assisted by supporting instruments such as tulsi tools and mobile phones. The data of this study uses primary data and secondary data. Data was collected through literature studies, observations, interviews and documentation. The steps of analyzing data are collecting data, describing the data and inferring the data. The results of the study show that the Maikek Kain Dance has 3 parts, including the beginning as the opening of the dance, the middle part, and the final part as the climax. In this Maikek Kain dance, there are elements of dance composition consisting of; movement, floor design, group composition, top design, dancers, music design, costumes and makeup and props. The movements that the choreographer worked on were taken from the recreated cloth dance. This dance work also looks very interesting with various floor patterns and group compositions so that the audience does not get bored in watching the performance and the dancers who master strong movements and movements. The costume used in the Maikek Kain dance is a simple costume. This Maikek Kain dance raises the theme of Minangkabau women and is taken from the cloth dance and created by music that accompanies the dancers' movements using a fast tempo to the end of the dance with singing drums. The property used in the Maikek Kain dance is the clay cloth.

This study aims to reveal, describe, and analyze the development of Sumbun Dance in East Tanjung Jabung Regency, Jambi Province. This type of research is qualitative research using a descriptive method. The research instrument is the researcher himself assisted by supporting instruments in the form of stationery and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data modeling, and drawing conclusions. The results of this study show that the development of Sumbun Dance can be seen in terms of quality and quantity. In terms of the quality of the development of Sumbun dance, it is seen from the movement, floor patterns, dancers, music, makeup and clothing, time and place of performance. Meanwhile, in terms of quantity, it can be seen from the addition of actors, increasing performances, expanding the performance area. The development in terms of movement of the Sumbun dance which before it was developed there were 8 types of movements and in the creation of Sumbun dance there were 11 types of movements. The musical instruments used in the Sumbun dance that were previously developed were kulintang, gong, drum, and accordion and in the Sumbun dance that had been developed kulintang, gong, drum, accordion, violin, gambus, drums, keyboard, bass, and guitar. The floor pattern is carried out by variating what was initially 8 types of floor patterns now to 10 types of floor patterns and in the form of variations.  The costumes that used to be danced using Malay traditional clothes from Tanjung Jabung Timur were equipped with batik-patterned cloth songkets as well as golden iron head accessories and necklaces and men's accessories only used headbands. Now the costumes used in the creation mung dance have been packaged and created in a new form like costumes for performance events. Meanwhile, in terms of quantity, the number of Sumbun dancers who have been dancing for a long time amounted to 6.

This study aims to describe and reveal the Review of Tabuik Dance Choreography at Mustika Minang Art Studio in Pariaman City. This type of research is qualitative with descriptive methods. This research instrument is the researcher himself and is assisted by supporting instruments stationery, cameras and gadgets / smartphones. Data were collected through literature study, observation, interviews and documentation. The steps of analyzing data are collecting data, describing the data and inferring the data. The results showed that this Tabuik dance has 3 parts, namely the beginning as the opening of the dance, the middle, and the end as the climax. In this Tabuik dance there are elements of dance composition consisting of; motion, floor design, group composition, top design, dancers, music design, costumes and makeup as well as props. The movements worked on by the choreographer were taken from the traditional procession carried out at the time of making Tabuik itself. This dance work also looks very interesting with floor patterns and diverse group compositions so that the audience does not get bored in watching the performance and dancers who master strong movements and movements. The costumes used in the Tabuik dance are simple costumes. This Tabuik dance raised the theme of the Hoyak Tabuik procession in Pariaman City.The music that accompanies the dancer's movements uses a fast tempo to the end of the dance with dang singing. The property used in Tabuik dance is the miniature Tabuik itself.

This research is motivated by the differences in the shape and size of each person's eyebrows, therefore to get ideal and symmetrical eyebrows, this can be done by correcting the shape of the eyebrows, including using solid foundation and liquid foundation. This study aims to analyze the results of applying solid foundation to correct eyebrow shape in Minang bridal make-up, analyze the results of applying liquid foundation to correct eyebrow shape in Minang bridal make-up, and analyze the comparison of the results of eyebrow shape correction in Minang bridal make-up. makeup using solid foundation with liquid foundation. This type of research is quantitative. The object of this research is solid foundations and liquid foundations. The research data analysis technique is a descriptive analysis test, namely an organoleptic test that looks at the level of similarity of eyebrow shape, the level of disguise of the eyebrow shape, and the level of smooth application of cosmetics as well as prerequisite tests and hypothesis tests. The research results obtained are that for the application of pressed foundation to correct the shape of the eyebrows in Minang bridal make-up, the indicator for the level of ideal eyebrow shape can be categorized as ideal, as evidenced by the average value of the panelist assessment obtained at 3.09, so the level of disguise of eyebrow hair is categorized as disguised. , as evidenced by the average score obtained by the panelists being 3 and the level of cosmetic application being categorized as good as evidenced by the average score obtained by the panelists being 3. Meanwhile, the application of liquid foundation to correct the shape of the eyebrows in Minang bridal make-up is an indicator The level of ideal eyebrow shape is categorized as ideal, proven by the average panelist assessment value obtained at 3, the level of disguise of eyebrow hair is categorized as hidden, proven by the average panelist assessment value obtained at 2.85 and for the level of cosmetic application indicator it can be categorized as good, as evidenced by the average value of the panelists' assessment obtained at 3. And based on the hypothesis of a comparison test of the results of eyebrow shape correction in Minang bridal make-up using solid foundation and liquid foundation, there is no significant difference, as evidenced by the significance value obtained > 0.05 which is 0.835.

This research analyzes the influence of influencers on purchasing decisions for skincare and makeup products among Generation Z. Data was collected through a questionnaire distributed to 170 respondents. The results show that most of Generation Z follows influencers' social media accounts to obtain product information and recommendations. Influencer reviews have a significant influence on purchasing decisions, with 85.9% of respondents being interested in buying products after seeing influencer reviews. However, 88.8% of respondents still conduct additional research before making a purchase. The presence of influencer reviews can trigger consumptive behavior, with 69.4% of respondents stating so. To overcome this behavior, 87.6% of respondents set a special budget, and 89.4% compare product prices. Nevertheless, 64.1% of respondents spent more than their planned budget, with 60.6% spending more than IDR 200,000 per month on skincare and makeup products. This research concludes that influencers have a significant influence in attracting purchase interest and purchasing decisions among Generation Z for skincare and makeup products.

The purpose of this study is to reveal and describe the form of Tabot Dance Performance in Bengkulu City. This type of research is qualitative research with descriptive methods. This research instrument is the researcher himself and supported by cameras, photos and interviews. Data collection techniques are carried out through literature studies, observation, interviews and documentation. The stages of data analysis are data collection, data description, and data inference.  The results showed that the form of presentation of Tabot Dance in Sanggar Lawang Budaya Kota Bengkulu, Bengkulu Province, it was concluded that the presentation of Tabot Dance consists of several supporting elements, including 1) dance movements, 2) floor design, 3) music design, 4) dancers, 5) makeup and costumes, 6) property and 7) performance venue. Tabot Dance consists of several types of movements, namely Sambah movement, Ground Ambition movement, Penja Sitting motion, Menjara / Bearun movement, Meradai movement, Arak Penja movement, Arak Turban movement, Gam movement, Arak Gedang movement and Tabot Tebuang movement.  The floor design of Tabot Dance uses straight lines and curved lines. Changes in floor design are made according to the number and movement of the Tabot dance dancers.  The musical instruments used to accompany the Tabot Dance are doll, tassa, kulintang, flute, boyah, cymbals, canned. Tabot dance is danced by 7 dancers who start with 3 dancers while 4 dancers enter in the middle of the dance. The makeup used is character makeup while the costumes used in Tabot Dance dancers are wearing clothes, pants, vests, headband turbans, hats, belts, hand bears, foot bears. The properties used in the Tabot Dance are coki-coki, fingers, turban and tabot. Tabot Dance performance is held outdoors using an open stage.    

The purpose of this study is to reveal and describe the choreography of Gamaro Dance at Sari Bunian Art Studio in Kanagarian Andaleh, Sungayang District, Tanah Datar Regency. This type of research is quantitative research with descriptive methods. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. The data in this study used primary data and secondary data. Data collection techniques are carried out by means of literature studies, observations, interviews, and documentation. The steps of analyzing data are collecting data, describing the data and inferring the data. The results showed that this Gamaro dance has 3 parts, namely the beginning as the opening of the dance, the middle, and the end as the climax. In this Gamaro dance there are dance composition elements consisting of movement, floor design, group composition, upper design, dancers, music design, costumes and makeup and props. The movement worked on by the choreographer depicts the activities of residents who work as niro farmers. This dance work also looks very interesting with floor patterns and diverse group compositions so that the audience does not get bored in watching the performance and dancers who master strong movements and movements. The costumes used in the Gamaro dance are simple costumes. This Gamaro dance raised the theme of the activities of residents in Kanagarian Andaleh Baruh Bukik as niro farmers. The music that accompanies the dancer's movements uses a fast tempo until the end of the dance with drumming singing. The property used in Gamaro dance is niro tube or bamboo tube.

Jathil Obyog is a semi-oral folklore that is undergoing a process of change at this time. The purpose of this research is to find out the changes in Jathil Obyog in Reyog Obyog in Ponorogo City. This research is a qualitative research. There are three parts in this research, namely, the beginning of Jathil Obyog art in Ponorogo City, the change of Jathil Obyog art form in Ponorogo City, and the impact of Jathil Obyog art changes on the community. This research is a qualitative descriptive research. The data was obtained from interviews, observations and literature studies about Reyog Obyog. Data in the form of words and photos. The data is then analyzed through an intensive implementation process that is through a descriptive narrative which is then arranged in such a way and then produces the results of an in-depth analysis. The results of this research show that Jathil Obyog in the Reyog Obyog performance is a traditional performance art that comes from East Java, Indonesia and has gumathok elements. Jathil Obyog changed his mind. Starting from Dance Movements, Events, Makeup and Hair, Dance Properties, as well as Songs and Dances. For the general public, the intensity of Pagelaran Reyog Obyog is increasing, the public's interest in the art of Jathil Obyog is increasing, content creators are developing, and can develop and advance the UMKMe of the community. The intensity of the Reyog Obyog performance has a direct impact on the interests of the community.

The aim of this research is to describe and reveal the presentation form of Rampak Sapinggan dance by Sanggar Sarunai Tonic in Payakumbuh Barat sub-district, Payakumbuh City This type of research is qualitative research with descriptive method The main instrument used is the researcher himself and supported by supporting instruments such as writing tools, cameras, and smartphones Data collection techniques are carried out by means of literature study, observation, and interviews Data analysis techniques are by means of data collection, data reduction, data presentation, and conclusion drawing. The research results show that Tari Rampak Sapinggan is one of the Creative Dances developed based on the basic movements of dance and Minang silek movements Tari Rampak Sapinggan is a non-representational dance, which means it does not depict anything Tari Rampak Sapinggan has a sequence of movements that starts from: sambah movement, tapuak galembong, ayun babuai, maarak or manjapuik, sanduak mancukam, lenggok baayun, baganjua maju, bajombo-jombo, basiang tagak, kibeh, baganjua suruik batanam, salingkuang korong, mambori sambah The number of dancers is 5 or odd, the floor pattern uses straight and curved lines The accompanying music uses traditional Minangkabau music such as Gandang, Talempong, and Sarunai Makeup uses beautiful makeup for women and handsome makeup for men Men's costumes wear rang mudo shirts, destar, galembong, and sasampiang, while women wear kurung clothes, songket skirts.

The aim of this research is to describe and reveal the presentation form of Rampak Sapinggan dance by Sanggar Sarunai Tonic in Payakumbuh Barat sub-district, Payakumbuh City This type of research is qualitative research with descriptive method The main instrument used is the researcher himself and supported by supporting instruments such as writing tools, cameras, and smartphones Data collection techniques are carried out by means of literature study, observation, and interviews Data analysis techniques are by means of data collection, data reduction, data presentation, and conclusion drawing. The research results show that Tari Rampak Sapinggan is one of the Creative Dances developed based on the basic movements of dance and Minang silek movements Tari Rampak Sapinggan is a non-representational dance, which means it does not depict anything Tari Rampak Sapinggan has a sequence of movements that starts from: sambah movement, tapuak galembong, ayun babuai, maarak or manjapuik, sanduak mancukam, lenggok baayun, baganjua maju, bajombo-jombo, basiang tagak, kibeh, baganjua suruik batanam, salingkuang korong, mambori sambah The number of dancers is 5 or odd, the floor pattern uses straight and curved lines The accompanying music uses traditional Minangkabau music such as Gandang, Talempong, and Sarunai Makeup uses beautiful makeup for women and handsome makeup for men Men's costumes wear rang mudo shirts, destar, galembong, and sasampiang, while women wear kurung clothes, songket skirts.

This study aims to reveal and describe the form of presentation of Gambyong Dance in shadow puppet performances at weddings in Desa Baru, Ranah Batahan District, West Pasaman Regency. This research is qualitative research with descriptive method of analysis. The research instrument is the researcher himself and is assisted by supporting tools such as stationery and cameras. Data were collected through observation techniques, interviews, literature studies, and documentation. The steps of analyzing are carried out through data collection, data reduction and conclusion making. The results showed that the form of presentation of Gambyong Dance in Desa Baru was collaborated with a shadow puppet performance that told about Arjuna's marriage with Dewi Borosumbroto.Gambyong Dance was performed by 4 female dancers 1 puppeteer. The movements of this Gambyong dance are the Sekaran Rorok Asem movement, the Jamang Trap movement, the Sekaran Kawilan movement, the Egol movement, the Sekaran Kesetan Sampir Sampur movement and the Mentangan Seblak Sampur movement. The floor pattern of Gambyong Dance is a straight line floor pattern and a curved line floor pattern. The accompaniment music of Gambyong Dance is gong, drum, gamelang and telempong with the property of using shawls. The makeup used is beautiful makeup. The costume uses a pink kebaya. Sampur uses a dongker blue sampur. Gambyong dance is performed in the wedding party area, which is in the yard of the house that holds the wedding party.

One type of fruit that is liked by people in Southeast Asia, namely Salak. The development of nail art has become one of the supporting appearances for women. So that it becomes a source of ideas in new innovations in the world of nail art. The purpose of this study was to find out how to make nail art by utilizing zalacca peels. In this study using the method, observation, documentation, literature and experimental methods Utilization of zalacca skin in making nail art through three stages, namely preparation of material tools and manufacturing steps. The results of the feasibility test from the five validators, namely the color assessment indicator score 23 is said to be very feasible, the form score 23 is said to be very feasible, the neatness score is 21 is said to be very feasible, and the design gets a score of 23 which is said to be very feasible so that it can be concluded that the product is said to be very feasible. .5% nail art color involved suitable for women's skin, 98.8% beauty nail art color gradations, 96.3% beauty nail art accessories, 98.8% accessories for fantasy makeup, 61.3% nail art accessories in fashion, 86.3% zalacca nail art accessories not excessive, 96.3% accessories on nail art to match, 96.3% nail art able to compete and 98.8% nail art being one of the innovations based on the results of the test 87% of respondents said they liked snake fruit nail art products

The research aims to reveal and describe the Aesthetics of Hoyak Badarai Plate Dance Sarai Sarumpun Studio in Padang City. This type of research is qualitative research with descriptive methods of analysis. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data model and drawing conclusions. The results showed that the aesthetics of Piriang hoyak badarai Dance 6 principles, namely the principle of organic unity. Theme Principle, Theme Variation Principle, Balance principle, Development principle and Level Layout principle which are also associated with elements in dance, where dance elements are also divided into 2, namely the main elements such as movement and supporting elements in dance such as floor patterns, dancers, dance accompaniment music, makeup and clothing, property and performance venues. Appearance is one of the fundamental parts that all art objects or art events have.  For art performance, there are three elements that play a role, namely talent, skills, and facilities or media. This element was used to study it as the Aesthetics of Piriang Hoyak Badarai Dance at Sarai Sarumpun Studio in Padang City. Piriang Hoyak Badarai dance is a dance that illustrates the nature of community cooperation in working on rice fields starting from hoeing until rice returns to the granary. This is the background behind the creation of Hoyak Badarai Dance. And the source of the gerkana itself is taken from the Minangkabau Basic Motion.

The background of this research is due to the phenomenon of students' lack of interest in participating in cosmetology student day activities after the COVID-19. This can be seen from the lack of enthusiasm of students during the learning process. This study aims to identify and describe the factors that influence students' interest in student day cosmetology activities after the COVID-19. This type of research is descriptive quantitative using survey methods. The population of this study was 25 students of class XI who participated in cosmetology student day activities. The sample selection used a census/total sampling technique where all members of the population were used as research samples. Data collection techniques using observation, interviews and questionnaires with the Likert Scale model. The results showed that students' interest in cosmetology student day activities after the COVID-19 was in the moderate category, which was 48%. The indicator with the highest percentage influencing students' interest in student day cosmetology activities after the COVID-19, namely the motivational indicator included in internal factors was in the moderate category at 60%. Meanwhile, school environment indicators which are included in external factors in influencing students' interest in participating in cosmetology student day activities after the COVID-19 pandemic are in the moderate category at 52%

Marketing a product at first glance is easy, but it needs the right method of what marketing means that is right on target so that it can be in accordance with the expected goals and get profits or profits as expected, through techniques of fsn the right theories in managing business ventures, especially in marketing management so that in buying and selling goods or services offered by business actors the best ones are actually chosen. The aim of this research is to find out and explain the implementation of the Marketing Management course to increase the income of a Beauty Salon Make-up Business and the factors that can increase the income of a Beauty Salon Make-up business. The research method was carried out through a sociological juridical approach because to find out how far the Implementation of Marketing Management Courses for Increasing Revenue for Make Up Salon Businesses (Case Study of Alumni of the Cosmetology Study Program Alumni of the Social Welfare Academy of Mrs. Kartini Semarang. The increase in the salon make-up business is growing because of the progress of the cosmetic business that is circulating in the market. This is supported by the fact that many women want to look prettier and more attractive, so they go to salons to beautify their facial makeup. Salon make-up business owners to be smarter in managing their business, both the skills of the makeup artist who always keeps abreast of the latest makeup models and modern and adequate make-up equipment according to current developments.

Dry facial skin causes cracks on the skin surface and will feel dry to the touch. Dry skin is caused by genetic factors, aging, hormonal changes, and cold weather. The purpose of this study was to make a mask made from white radish and honey which functions to moisturize facial skin so that it can be used for dry facial treatment. The method used in this research is interview method, documentation, library method, experimental method. Experiments on making white radish and honey face masks for the treatment of dry skin were carried out at the Laboratory of the Kartini Academy of Social Welfare's Makeup Study Program, Jalan Sultan Agung, No. 77, Gajahmungkur Village, Gajah Mungkur District, Semarang. City. Experiments were carried out 3 times with the composition of 1) white radish 41.25 g, honey 35 g 2) white radish 41.25 g, honey 40 g 3) white radish 41.25 g honey 55 g. The results showed that the third experiment resulted in products: fresher aroma (honey scent), soft texture, dark brown color, stronger adhesion so that it is easy to apply. Implementing it properly supports amazing results. The change after 2 uses of White Radish and Honey Face Mask leaves skin moisturized and supple