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Songket fabric is one of the traditional fabrics originating from South Sumatra, songket fabric has been used as a subordinate of traditional clothing, it can be in the form of bodo clothes, tunics. The development of fashion that continues to rotate so that the preservation of this songket fabric is maintained, innovation is needed, to provide innovation so that songket fabric can be processed into fashion for wedding occasions with more modern models. The principle of aesthetics is a reference in creating innovations so that the results of innovation are in accordance with the intentions and goals. The problem is how to use songket fabric as a wedding dress by applying aesthetic principles. The purpose is to find out the use of songket fabric as a wedding dress by applying aesthetic principles. The data collection methods used are observation, documentation and literature. The data analysis used is qualitative data analysis. The manufacture of wedding dress using songket fabric and a combination of tulle fabric through the process of determining design, preparing tools and materials, taking measurements, making patterns, cutting materials, marking the patterns, sewing, pressing, and finishing. Unity lies in detail by detail is still continuous, balance lies in symmetrical balance and contrast is applied to the selection of materials in terms of texture and color. Wedding Dress clothing is as follows; using songket fabrics. The use of this songket fabric is a synthetic songket fabric, which is widely sold and the price is still affordable. There are different possibilities when using the original songket.

Silungkang weaving is a traditional heritage of the Silungkang community, long recognized in Sawahlunto. However, this tradition is currently under threat due to the lack of younger generations continuing it, with the majority of artisans being over 40 years old. This study aims to analyze the existence and development of Silungkang weaving in Padang City, particularly concerning its products, motifs, colors, and weaving techniques. The research employs a descriptive qualitative method, with data collected through observation, interviews, and documentation. Data analysis was carried out through data reduction, data presentation, and conclusion drawing. The results show that the interest of the younger generation in Silungkang weaving is very low, while the remaining artisans continue to use traditional tools and ancestral motifs. However, there has been some development in more varied motifs that are no longer confined to the old designs. The basic weaving techniques used also show variations from simple to more complex songket techniques. The conclusion of this study emphasizes the importance of preservation efforts and innovation so that Silungkang weaving can continue to survive and evolve in the future.

This research was carried out with the aim of finding out  the Batu Bolah Dance works at the Miss Tahto Art Studio, Kampar Regency, Riau Province. The method used in this research is a descriptive method using qualitative data. The data collection techniques used are observation, interviews and documentation techniques. In this research, the author conducted direct interviews at the Miss Tahto art studio with 3 people involved, namely, Misselia Nofitri as choreographer, Riska Juliani as dancer, and Gilang Ramadhan as musician. Based on Soedarsono's theory, the Batu Bolah dance has several movements, namely, the opening movement, the movement to pick flowers, the movement to take the shawl, the movement to stab, the movement to propose to the protected princess, the movement side by side, the movement facing each other, the movement to play with the scarf, the commander's arrival, the movement to look for puti protected, movement of resistance, movement of citizen unrest, movement of anger, and split stone movement. The musical instruments used are calempong oguong, katepak, gong, flute, djembe, drum and accordion. The floor designs used are straight line and curved line floor designs. The dynamics in this dance are changing levels, changing tempo, and changing energy. The theme of this dance tells about the legend of the split stone. The costumes used by female dancers are plain red clothes with borkat decorations on the shoulders, yellow mixed with red editing using a bun, a yellow scarf wrapped around a green belt, earrings and necklace accessories. The costumes used by male dancers are red bolos shirts, yellow tanjaks, yellow songkets and green belts. The make-up for female dancers uses beautiful make-up. The make-up for male dancers uses character make-up as a king. The stage used is a proscenium stage. The property used is a shawl. The lighting used is white light.

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.

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.

The aim of this research is to reveal and describe the preservation of Sayak Dance in Buluh Betuah Sayak Baguno Art Studio in Air Batu Village This type of research is qualitative research with descriptive method The instrument of this research is the researcher himself and assisted by supporting instruments such as writing tools, camera and flash drive Data in this research uses primary and secondary data Data collection techniques are carried out through observation, interviews and documentation The steps of analyzing data are data reduction, data presentation and concluding data. The research results show that the preservation efforts carried out by Sanggar Seni Buluh Batuah Sayak Baguno in maintaining Tari Sayak are through protection, development, and utilization The protection of Tari Sayak is carried out through dance training held at Sanggar Seni Buluh Batuah Sayak Baguno in Air Batu Village The development of Tari Sayak carried out by Sanggar Seni Buluh Batuah Sayak Baguno consists of the number of performers or dancers and the development of costumes The number of performers or dancers of Tari Sayak, which initially only consisted of 2 people, has now developed The costume development is now more colorful, previously the skirt only used cloth, now it uses songket and for head coverings, previously using a shawl, now using a kreasi tengkuluk By performing Tari Sayak at certain events, it is already one way to introduce dance to the community.

The Muara EnimWelcom Dance is a traditional dance in Muara Enim Regency, the welcome dance is still developing today. The aim of this research is to describe the form of presentation of the welcome dance. To strengthen the research, the research interviewed 3 informants Dian PermanaJoeliusS.Pd, Elani DestiaristaS.Pd, Sri WulandariS.Pd, people who had received information about the welcome dance, from its presentation to how the welcome dance works displayed. The benefits of this research are to preserve existing arts, and it is hoped that it will be useful for: increasing the insiht of researchers and readers of this article, to know what the Muara Enim welcome dance is, for similar researchers so that it can be used as a reference. This research uses qualitative methods, data collection and retrieval techningques using observation, interviews and documentation techniques. The results of this researchis that the welcome dance is a form of presentation consisting of dancer are walking on tiptoe, hands stacked, opening right and left, praying up, picking right and left up. The music used in the welcoming dance includes drums, kromongan, simbal and gong. The make-up used by dancers for female dancers uses beautiful make-up while male dancers use handsome make-up. The costumes for the welcoming dance are clothes brackets, songketclosth, shawls, paksangko crowns, potpourri of flowers. The floor design is in the shape of the letter V and has straight horizontal and vertical lines. The property used by dancers of tanggai, betel taps, umbrellas and spears. The performance venue is like a performance stage in general.