Saman Dance

             Saman Dance is one of the dance area of Aceh. This dance originated from the Central Highlands. In the past, Tari Saman is usually displayed to celebrate the event - a significant milestone in indigenous and people of Aceh. In addition, this dance is usually also displayed to celebrate the birth of the Prophet Muhammad. In fact the name "Samantha" is obtained from one of the great scholars of Aceh, Syech Saman.

 Saman dance is usually displayed using the accompaniment of musical instruments, a drum and use the sound of the dancers and their applause is usually combined with hitting the chest and groin, and flung them as synchronization body in different directions.

 This dance is guided by a leader who is typically called Syech. Because of the uniformity of formation and punctuality is a must in these dances, the dancers are required to have a high concentration and a serious exercise in order to appear perfectly.

 This dance is performed in groups, singing by sitting on his knees and berbanjar / bersaf without musical accompaniment.

 Because of dynamic motion, this dance a lot dibawak / danced by men, but now the development of this dance has been danced by many female dancers as well as a mixture between male dancers and female dancers. This dance is danced about 10 people, with details of 8 dancers and 2 as cue givers while singing.

 For dance lovers, Saman be one prima donna in the show. In every appearance, in addition to drawing attention also suck big dance lovers. Saman dance one dance that is quite unique, because it only shows the motion of clapping and other movements, such as body movement, head and body position. Another uniqueness visible from a seated position of the dancers and swaying bodies snapped to the left or right, when the verses sung in rhythm.

 This dance is usually played by a dozen or dozens of men, but the numbers must be odd. However, in subsequent developments, this dance is played also by women or a mix between men and women. And of course with modifications to other motion. I am sometimes asked how many people can simultaneously play a dance that has a high speed? In addition to training of course, there's a certain formation in putting each dancer was so dense and balanced look harmonious and dynamic dance.

 Almost all Acehnese dances performed a gang. This requires cooperation and mutual trust between the sheikh (leader in the dance) with the dancers. But what are the elements that make this dance so beautiful in motion, rhythm and cohesiveness is not much we know.

 Now let us begin to understand the supporting elements in this saman dance. Perhaps when we know all the aspects contained in this dance, we can better understand. And get not only beauty but also the philosophical meaning of position, movement, poetry performances terlantun when Saman in the title.

In a normal appearance (not match) in which the existence of time constraints, Saman could be played by 10-12 dancers, but at least supported the integrity Saman 15-17 dancers. Which has the following functions:



1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17



    * No. 9 is called Lifting

      Lifting is the main character (a type of sheikh in Seudati) central point in the Saman, which determines the motion of dance, dance level, that poetry and poets echoed in retaliation to attacks opponent's play (Saman Jalu / game)

    * No. 8 and 10 referred to clamp

      Auxiliary lifting clamps are good figures dance movement and singing / vocal

    * No. 2-7 and 11-16 is called pincers

      Pincers are regular dancers who support the dance or dance movement that is directed lifter. Aside from being a dancer also plays grip (squeeze). So the density between the dancers awake, so the dancers together without any of the positions banjo / bershaf (horizontal) to unity and simultaneity of motion.

    * No. 1 and 17 is called Penupang

      Penupang is the dancer's most right-left end of line dancers who sit berbanjar. Penupang besides supporting role as part of the dance also serves menupang / hold the integrity of the position of dance in order to remain tight and straight. So-called penamat kerpe penupang jejerun (holder jejerun grass). As if last strengthen the position with grass memgang jejerun (jejerun a kind of grass roots terhujam strong and deep, hard on the pull.

Saman dance danced in a sitting position. Included in this type of art ratoh duk (sitting dance). Whose birth is closely related to the entry and spread of Islam. Where the dancers sat kneeling position, depressed body weight to both feet. Saman dance patterns in space is also limited at the level, ie, the height position of the body. From a sitting position on his knees turned to a position above the knee (Gayo - berlembuku) which is the highest level, being the lowest level is one where the dancers body bent forward until 45o (tungkuk) or tilted backward ° to 60 ° (langat). Sometimes when the motion is accompanied tilt to the right or left, called novice. There are also exercise in a sitting position next pitch to right-or left-rear (lingang).

In addition to a sitting position and body movement, hand gestures are very dominant in saman dance. Because he serves as a motion once the music. It's called the second hand cerkop coincide and direction. There is also cilok, namely the index finger tip motion as if to take something lighter objects such as salt. And tepok performed in different positions (horizontal / back and forth / like a propeller). Head movements such as nodding in a slow tempo to fast (anguk) and head spinning like a propeller (Girek) is also a range of motion saman. Kesenyawaan all these elements that add beauty and harmony in motion dance saman.

Because dance saman played without musical instruments, then as a retinue in use hands and body. There are several ways to get these sounds:



   1. Clapping both hands. This is usually moderate to fast tempo

   2. Punch both hands to the chest. Usually upbeat

   3. Clapping of the palms to the chest. General tempo is

   4. Friction with the thumb-hand middle finger (kertip). General tempo is.

And the singing of the dancers add to the dynamics of saman dance. Where can I sing songs in saman dance is divided into 5 types:



   1. Rengum, the roar that begins by lifting.

   2. Tones, namely Regnum which was quickly followed by all dancers.

   3. Redet, which is a short song with a short sound sung by a dancer in the middle of the dance.

   4. Syek, the song sung by a dancer with a long high-pitched voice, usually as a sign of change in motion

   5. Saur, that is the song that is repeated by all the dancers after sung by a solo dancer.

In every show it was in sinergikan so aimlessly an amazing dance movement. So the power of the Saman is not only in his verse alone, but the motion of a compact be more value in the dance. This may be realized from the compliance of the dancers in their respective roles to play.

That bit about the function of formation, type of motion, provided musical accompaniment and singing in the Saman dance performances. May be useful for you in understanding the Saman dance.



    Saman Dance Little History

       This dance comes from the Gayo highlands soil. Created by a cleric named Sheikh Saman Aceh. At first, this dance is just an ordinary game called Pok Ane. Seeing the great interest in the arts to the people of Aceh so by Sheikh disisipilah with poems that contain Praise, praise to Allah SWT. So Saman became a media propaganda that time. Formerly Saman exercises done under the under the Meunasah (a type of mosque, at that time still building aceh building stage). So they will not miss to pray in congregation.

    Along Aceh in war conditions, the sheikh added that manambah poets fighting spirit of the Acehnese. This dance continues to develop according to their needs. Until now this dance is more frequently in the show in celebration of religious and state affairs. This dance was originally received less attention because of the limitations of communication and information from the outside world.

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Reog Ponorogo

Reog is one of the cultural arts that originated from East Java and the northwest Ponorogo Reog regarded as the true home town. The city gate was decorated by the figure Ponorogo warok and gemblak, two figures who took part during reog demonstrated. Reog is one of the local culture in Indonesia is still very strong with things of a mystical and powerful mysticism.

HISTORY

Basically there are five versions of the popular story that developed in the community about the origins and Warok Reog , but one of the most famous story is the story of the rebellion Ki Ageng lice, a royal servant during Bhre Kertabhumi, the last king of Majapahit in power in the 15th century. Ki Ageng lice will anger the powerful influence of the Chinese colleagues in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit kingdom will end. He then left the king and established the college where he teaches young children martial arts, science self immunity, and the science of perfection in the hope that these young children will be the seed of the resurrection of the Majapahit kingdom again later. Realizing that his forces are too small to fight the royal troops, the political message conveyed by Ki Ageng Flea Reog performing arts, which is a "satire" to King Bra Kertabumi and his kingdom. The performance becomes a way of Ki Ageng Reog Flea build local resistance using Reog popularity.

In the show Reog displayed mask lion-shaped head, known as "Singa Barong", king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan which symbolizes the strong influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops into comparison with the strength warok contrast, behind the red clown mask that became the symbol for Ki Ageng lice, alone and sustain weight that reached more masks singabarong of 50kg using only his teeth. Popularity Reog Ki Ageng lice eventually cause Kertabumi take action and attack perguruannya, rebellion by warok quickly overcome, and forbidden to continue teaching college will warok. However, students still continue Ki Ageng ticks quietly. Even so, art Reognya still allowed to be staged because the show has become popular among the public, but the story has a new channel which added characters from the Roxburgh folklore Kelono Sewondono, Goddess Songgolangit, and Sri Genthayu.

Official Version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying for daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong of Kediri. King Singabarong troops consisting of peacock and lion, while the part of the Kingdom of Roxburgh and his Deputy Bujanganom Kelono King, escorted by warok (men dressed in black in the dance), and warok has a deadly black magic. The whole dance is a dance of war between the kingdom of Kediri and the Kingdom of Roxburgh, and pitted black magic between them, the dancers in a state of 'possession' when enacting the dance.

Until now people just follow what Ponorogo into their ancestral heritage as a very rich cultural inheritance. In his experience art is copyright Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for lay people to fulfill it without a clear lineage. embrace their lineage Parental and customary law which still applies.
Modern Reog usually performed in several events such as weddings, circumcisions and National holidays. Art Reog Ponorogo consists of several series of 2 to 3 dances opening. The first dance is usually performed by a 6-8 guy valiantly with all black clothes, with faces polished red. The dancers depict the figure of a lion is brave. Next is a dance that was delivered by a 6-8 girl who climbed the horse. In reog Traditionally, the dancers are usually played by male dancers who dressed women. This dance is called the dance lesson braid, which must be distinguished from other dances that lumping horse dance. Other opening dance if there is usually a dance by a little boy who brought the funny scenes.

After the opening dance is complete, the new core scenes show the contents of which depend on the conditions in which art is displayed reog. If related to the marriage then that is displayed is romance scene. For a celebration of circumcision or circumcision, is usually a story of warriors,

The scene in the art reog usually do not follow a neat scenario. Here there is always interaction between the player and the puppeteer (usually the leader of that group) and sometimes with the audience. Sometimes a player who was the stage may be replaced by another player when the player fatigue. More emphasis in the staging reog art is to give satisfaction to the audience.

The final scene is a lion barong, where the actor wearing a mask-shaped head of a lion with a crown made of peacock feathers. Weight mask can reach 50-60 kg. This heavy mask carried by the dancers with the teeth. The ability to bring this mask in addition to the weight gained by training, is also believed diproleh with spiritual practices like fasting and penance.

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Gambyong Dance

Dance Gambyong allegedly created under the name of a dancer

street (tledhek) called the Gambyong who lived at a time

Pakubowono Sinuhun IV in Surakarta (1788-1820). This figure dancer

known as a beautiful and have a dance

quite beautiful. No wonder, he was famous throughout Surakarta

and created a Gambyong Dance.

This dance is a kind of social dance in the community. Feature

Dance performances typical Gambyong, before it starts is always open

with gendhing pickaxe. Looks beautiful and elegant dance

if the dancer is able to align with the rhythm of drum motion.

Therefore, it is usually called muscle drum dances and guides

gendhing.

At the time of Surakarta, street dance, instrumental accompaniments

bonang and equipped with a gong. Gamelan music is usually used

include gender, gender successor, drum, kenong, kempul, and

gong. All instruments were taken everywhere in a way

bear.

Generally known among the drummer instruments Gambyong Dance,

playing drums is not something easy. Pengendang must

identical with the flexibility to dance and be able to chime in with

gendhing rhythm. And no wonder, there is often a dancer

Gambyong can not always be separated by pengendang

accompaniment. Vice versa, a pengendang which

already know the dancer mannerism Gambyong songs will be easy to do

harmonization.Dance Gambyong allegedly created under the name of a dancer

street (tledhek) called the Gambyong who lived at a time

Pakubowono Sinuhun IV in Surakarta (1788-1820). This figure dancer

known as a beautiful and have a dance

quite beautiful. No wonder, he was famous throughout Surakarta

and created a Gambyong Dance.

This dance is a kind of social dance in the community. Feature

Dance performances typical Gambyong, before it starts is always open

with gendhing pickaxe. Looks beautiful and elegant dance

if the dancer is able to align with the rhythm of drum motion.

Therefore, it is usually called muscle drum dances and guides

gendhing.

At the time of Surakarta, street dance, instrumental accompaniments

bonang and equipped with a gong. Gamelan music is usually used

include gender, gender successor, drum, kenong, kempul, and

gong. All instruments were taken everywhere in a way

bear.

Generally known among the drummer instruments Gambyong Dance,

playing drums is not something easy. Pengendang must

identical with the flexibility to dance and be able to chime in with

gendhing rhythm. And no wonder, there is often a dancer

Gambyong can not always be separated by pengendang

accompaniment. Vice versa, a pengendang which

already know the dancer mannerism Gambyong songs will be easy to do

harmonization.

1. Traditional Clothing Melayu Jambi
2. Angklung
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Merak Dance

The Tari Merak or Dance of the Peacock is a female dance. Merak means peacock and the choreography is inspired by the beautiful movements of a peacock. The choreography of the Tari Merak is of raden Tjetje Somantri and it dates from the 1950's.
In 1965 dra. Irawati Durban Ardjo created a new choreography with altered movements, structures, music and costumes. This choreography has been revised in 1985 and taught to Romanita Santoso in 1993 by dra. Irawati Durban Ardjo herself.
The gestures of a peacock are beautifully blend together with the classical movements of the Sundanese dance and thus making the dance a colourful expression of the proud peacock which is showing its beautiful feathers.
The Tari Merak symbolises the beauty of nature and its creatures and intents to draw our attention to it and to convince us to dedicate our work to this world.

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Pendet Dance

Pendet initially a worship dance that many exhibited in the temple, where worship of Hindus in Bali, Indonesia. This dance symbolizes the welcoming of the gods fall into the natural world. however, along with the times, the Balinese artists change Pendet be "welcome", but still contains something sacred-religious. Creator / choreographer of modern dance forms are I Wayan Rindi (? - 1967).
Pendet is a statement of the offering in the form of a ceremonial dance. Unlike performing dances that require intensive training, Pendet be danced by all people, men and women, adults and girls.
This dance is taught simply by following the movement. The young girls follow the movements of the more senior women who understand their responsibilities in providing a good example.
This daughter dance has a pattern that is more dynamic movement of Rejang dance is performed in groups or pairs. Usually displayed after Rejang Dance at the temple yard and generally facing the direction of the sacred (pelinggih) with ceremonial dress, and each dancer brings sangku, jars, bowls, and other ritual supplies.

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Jaipongan

Jaipongan
Jaipongan is a dance that was born from the creativity of an artist from Bandung, gugum Gumbira. Attention to folk art one of them is making Tap Tilu know and recognize the patterns of traditional dance that is at Kliningan / or Tap Tilu Bajidoran. Opening movements, pencugan, nibakeun and several varieties of motion of several arts mincid above have enough inspiration to develop the art of dance or now known as Jaipongan.

Prior to this performance art form emerged, there are several influences behind this social dance form. In West Java, for example, social dance is the influence of the Ball Room, which is usually in a dance-dance association could not be separated from the existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for ceremonial activities, but for entertainment or slang way. Existence ronggeng in the performing arts attraction that invites sympathy for the pamogoran. For example in Tilu Tap dance is so well known by the Sundanese people, is expected this art popular around the year 1916. As a folk performance art, art is only supported by simple elements, such as covering waditra fiddle, drums, kulanter two, three beats, and gongs. Similarly with tarinya gestures that do not have a standard pattern of motion, simple costumes dancer as a reflection of democracy.
Along with the waning of the above types of arts, former pamogoran (viewers who actively participate in performing arts, Tap Tilu / Doger / Tayub) turned his attention to Kliningan performing arts, which in the North Coast region of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as the pattern Kliningan Bajidoran or events tarinya show has similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of dance in popular enough Banjet Mask, especially in Karachi, where some Bajidoran motion patterns taken from the dance in this Banjet mask. In still koreografis dance appeared patterns tradition (Tap Tilu) which contains elements of the opening gestures, pencugan, nibakeun and several kinds of motion mincid which in turn becomes the basis Jaipongan dance creation. Some of the basic movements of dance other than Tap Jaipongan Tilu, and Mask Ibing Bajidor is Tayuban Banjet and Pencak Silat.
The emergence of dance works Gumbira gugum originally called Tap Tilu development, which is due to a basic dance from Tap Tilu development. The first work gugum Gumbira still very thick with color Tilu ibing Tap, both in terms of choreography and accompaniment, who later became a popular dance called Jaipongan.

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