Sangkal Muang Dance, Regional Dances Sumenep Madura

Understanding Muang Sangkal Dance, Dance Originating Region Sumenep Madura. Sangkal Muang dance created by an artist Sumenep in 1972, he was named Taufikurrachman. He created this dance one of which is motivated by concern for the artists in translating nature laden Madura will work and uniqueness. In addition, to lift the life history of the palace Sumenep in the past.

Meaning Words Sangkal Muang

Literally the word muang Sangkal consists of two words that have the Measures language meaning of the word as follows:

Muang word means throwing

Sangkal means sukerta word meaning dark. Meaning that more breadth is something that becomes food countrymen devil, Evils, rayangan genie, devil, in Hinduism.

Sangkal yourself said adopting of Ancient Java language that means Sengkala or sengkolo. Thus denied in a broader sense by the public Sumenep is: if a parent has a child and girl spoken by men, should not be rejected because it makes the girl will be denied or not sell forever.

Motion Dance

At the beginning of this dance movement is rather loud and accompanied by gamelan with the musical sampak then flows on gissing oramba '-orambe which suggests the princess palace into the garden sare. And then adds subtle movements, smooth movement, signaled the daughter was walking in Mandiyoso (royal palace corridor towards the Great Hall palace Sumenep).

When the dance progresses, the dancers hold a cemong (brass bowl) containing various kinds of flowers. Dancers go hand in hand with hand gestures while sowing flowers that are in cemong accompanied by gamelan music of the palace.

Dancers and Costume

The number of dancers in this dance should odd number, and costumes digunakannyapun is typical Sumenep legha bridal costume with a distinctive color as well, the colors red and yellow, the colors blend contains a philosophy of "kapodhang nyocco ' sare" which means "flower prapa'na Rato" (the king was happy). while to blend the colors red and green or yellow and green contains folosofi "kapodang nyocco" leaves "which means" Rato prapa'na bendhu "(The king was angry).

The dancers have been women because the womens movement more graceful and more beautiful. This dance is not dancing in pairs with men for maintaining the sanctity of this dance to avoid in motion between male dancer and a female dancer to touch, when men and women are not mahram contact, then desecrate this sacred dance. Similarly, the requirement dancers should not be in a state of menstruation (menses).

The uniqueness that is characteristic of this dance is:

Dancers must be an odd number, can be one, three, five or seven and so on.

Used clothing style bridal lega with typical dodd Sumenep.

The dancers are not currently in the coming months (menstruation)

Until now conservationists Muang Sangkal not little and not too much, some dance studio and Student Organizations and Students in Sumenep maintain this Sangkal Muang Dance, Dance Studio Potre Koneng as I've ever played a dozen years old, who is still trying how attract the younger generation now to be proud of the typical dance Sumenep and proud of their own culture, considering Dance Muang Sangkal an important icon for the city of Sumenep.

Maengket Dance, Traditional Dance Of Minahasa Of North Sulawesi

Regional Traditional Dance Dance Maengket Manado in North Sulawesi. Maengket dance is dance Minahasa tribe in the city of Manado. This dance performances accompanied by singing to the accompaniment of drums or drum. Minahasa tribe a union of several sub ethnic inhabit the northern Sulawesi. Because of the diverse tribes in Minahasa tribe, the technical terms used in dance Maengket also vary according to the language of each tribe.

This dance can be seen in the village Ranowangko, District Kombi, Minahasa regency, North Sulawesi. Maengket most famous from the beginning until now, namely Maengket mandolang and Maengket pinkan.

Originally Maengket done at harvest as thanksgiving to God. Maengket dance performance begins a singer who will be followed (repeated) by others. The dancers are 20 to 30 people consisting of men and women in pairs with one woman acting as a guide. Used clothing such as brightly colored red, pink, blue, yellow, green and white. The male dancers use a red headband. This dance is so dynamic, energetic, and relatively free from rules. You will find it still beracu on the value and the original motion.

In the show Dance Maengket consists of 3 rounds, namely:

1. Maowey Kamberu

Maowey Kamberu is a dance that is performed on the occasion of thanksgiving to Almighty God on agricultural products, especially rice plants doubled. This type of dance is led by women called "Walian in uma" and assisted by Walian im pengumam'an or adult men. Custody is a genuine religious or tribal religions professed by the Minahasa tribe, its leader was an elderly woman who called Walian Mangorai who served as advisors and supervisors in the implementation of fertility rites.

Dance process Maowey Kamberu

The dance begins with a flick of a handkerchief by the dance leader who intends to invite lumimu'ut or goddess of the earth to the earth goddess trance dance leaders. After the leader of the dance trance dance then really begins. In order for the other dancers are not possessed of evil spirits there are helpers who accompany Tonaas Wangko in custody called uma uma Tonaas in which an adult man holding a spear symbol of the sun god (Toar). Therefore, around the yard stone (tumotowak) plugged spears.

Maengket dance moawey kamberu or owey kamberu an overview of the complaints would fatigue grow rice which then produce pleasure when harvesting rice.

2. Marambak

Marambak is the second half Maengket dance performed by Mapalus spirit or the spirit of cooperativeness. Ordinary staged in new construction. People Minahasa Bantu helped create a new home. Finished houses are built then held a party ride a new home or in the local language called "rumambak" or test the strength of a new home and all the people in the village were invited thanksgiving

3. Lalayaan

Lalayaan part or half of Maengket dance that symbolizes how youth Minahasa in ancient times will be looking for their soul mate. This dance is also called social dance of young people in Minahasa time immemorial.

In the ritual, Maengket itself is divided into two parts, namely Sumempung intended to invite the spirit gods and praise Si Empung (Good) and Mangalei intended to ask the blessing of the gods.

Dance Maengket actually not pure dance but also the unity of the two branches of art that is dance and singing and picking rice ceremony is a ritual that is performed in the traditional party season which lasts for 28 days in a row. Dance Maengket Moawey kamberu made 7 days before the full moon in the stone courtyard (Tumotowa), on the full moon night of dance performed lalayaan and 7 days after the full moon dance performed Maengket marambak in lighting installation ceremony for new homes (sumolo)

Similar to other regions in Indonesia in its development, Maengket dance has now become a tourist attraction. So that this dance was modified without prejudice to the values of philosophy.

Besides staged in traditional ceremonies, dance is also one of the traditional entertainment alternatives that are still maintained and developed Minahasa community.

Lio Ende Dance: Dance Ende Lio Origin East Nusa Tenggara

Explanation Ende Lio Dance Dance Origin of East Nusa Tenggara. As another dance Dance Ende Lio is also a local dance that expresses the sense of passing the order motion in the rhythm of music and song. This dance has a variety of dances and development. Many choreographers who developed this dance.

Lio Ende dance can be distributed several types based on motion and shape governance, namely :

Toja
Dancers danced a dance group that has been set in the form of variety and rhythm of the music/song for a formal appearance.

Wanda
Dancers with their own style, dancing to the music/songs in a group or individual.

Wedho
Dancing with freestyle by relying on footwork as-will jump. Woge: Motion dance with legs fully rely on agility and dynamic energy, equipped with means mbaku and sau or shield and sword/machete.

Gad
Dance with the feet on the ground jerked.

For terms Toja and Wanda are actually the same sense that dance, just different ways and functions and word syllables for Lio tribe means Toja.

Dance developments Ende Lio

Along with the development of generations of choreographers have created dances development of many of these are:

Gad/Naro
This dance form a circle around tubu musu by means holding hands and legs jerked in the form of two kinds, namely Ngendo and Rudhu variety or varieties backward and forward.

Teka Se
This dance is almost like a dance Gad/Naro, only in the form of a variety of foot movement and rotation movements faster than Gad/Naro. The uniqueness of teka se, in the center of the circle is ignited by embers or bonfire and dance is held on every ceremonial event in Nangapanda and surrounding area.

Wanda/Toju Pau
Dance shown individually in an event. Dancers use scarf accompanied by music Ngo wani/Lamba or feko music legend. Usually when a female dancers finished dancing, he must give the shawl to men, or more specifically, namely Ana no, no vice versa Ana gave scarves to exist eda/belle for dancing

New Wenggu
This dance form of a procession by a group of dancers in the show pick-up or drop means PA workshops/offerings or guests and others. New dance form Wenggu very much with each name of each region in Ende Lio.

Joka dance Sapa
This dance dance classified fishermen and characteristic of this dance is the girls (dancers) dance with fishing outfit accompanied with music/song psaltery.

Dance Murree Murree
This dance is meant to support each other. Danced by women/girls of the family mosalaki in Single-Pora-Waga on customary rituals invoke rain.

Prop dance Alu/Asu
Originally this dance is a game and gradually developed into a dance and dancers consist of two (2) pairs of young people accompanied by a prison ana. In appearance it takes 4 to 8 players bamboo bar by way of jerking and clamped simultaneously. The dancers enter the foot/head in between the bamboo from slow to fast tempo tempo, then combined with the rhythm of the song and dancing around the prison ana dancer/performer bamboo bars.

Jara Jara dance Angi Angi or phantom horse and the most popular is called Dancing Horse braid. Dancers consisted of children or the young men. Dancers equipped with horses made of Mas (shawl nut) or plaited palm leaves with a shape like a horse. The uniqueness of this dance is the singers sang with special words, also sung by notes or do not say the words rhyme.

Pala dance Tubu Musu
Dancers consisted of mothers/girls of every family Mosalaki in Wolotopo-Ndona, with a male as a dancer Woge for PA ceremony Loka or give offerings at Tubu Musu. To accompany this dance that is, music/song Ngo Wani/Lamba and Ngo Dhengi and final part of this dance with Gad/Naro or tandak.

Dowe dance Dera
Dera Dowe dance danced at the time of planting. The dancers consist of 2 (two) groups: mens and womens groups, with traditional rituals in place mopo (in the middle of the field). Male dancers with music make, make a hole in the ground, while the women/girls filling plant seeds that have been drilled. The dance is accompanied by a song with music Make Dera Dowe made of bamboo (see music make) and the dancers equipped with custom clothing and accessories.

Napa dance Nuwa
This dance as the excitement of the fighters who have won the battle, dancers consist of fighters or some men, equipped with the tools of war, namely Mbale and sau or shield and sword/machete. The dance begins with New Wenggu, followed by Bhea and Woge and bill or rather with sau while moving in a circle. Dances of this Wolotopo village accompanied by music Ngo Lamba/wani and Song Da Seko.

Lela Ule dance Nggewa

The title of this dance is identical with the title song which is very typical. In this dance the dancers consist of the girls and the accompanying music is only a drum, in ancient times the ancestors used stone as the accompanying music.

Jaipong Dance: Dance From The City Of Bandung

Dance Jaipong otherwise known as Jaipongan is a dance that was created in 1961 by Gugum Gumbira. At that time, when President Sukarno banned the rock and roll and other western music played in Indonesia, local artists are challenged to keep pace with the prohibition rule by reviving the traditional arts. Jaipong dance is a fusion movement tilu tap, Banjet mask dance, and martial arts (martial).Tap tilu very popular in the village, but at the moment it is considered among the urban poor, because the movements are sensual, even erotic. Not infrequently tilu tap dancer also serves as a prostitute. In his work, Gugum Gumbira at that seeks to preserve the basic shape tilu tap, but with an accelerated tempo of the music. Thus making the dancers become more active. He also maintains the traditional form of tap tilu, where dancers doubles as a singer, but combined with the urban gamelan sounds plus drums. Jaipur is the onomatopoeic name of the drum sound is often heard among this dance. Mouth audience and musicians usually shout accent imitation of the sound of drums: ja-i-pong, ja-ki-nem, or ja-i-nem. Some say that the name refers to the sound of drums Jaipur: plaque, ping, pong.At the initial appearance, Jaipur is a modern dance that is different from traditional Sundanese dances before that emphasizes manners and refinement of the dancers. Dancers (which usually women) even lowered her gaze, and should not be looked at his partner. Others with Jaipur which at the time was also influenced by Western culture in the ball room dance, dancers are required to focus staring at her partner as a form of visual communication.Dance Jaipur begin appearing in public in 1974 in the Hong Kong Arts Festival, involving the singer-dancer tatih Saleh, Gugum Gumbira as choreographer, and Nandang Barmaya, a musician and puppeteer. When the government was trying to ban this dance because it feels inclined immoral and sensual. But instead of fading, Jaipur even more popular, especially in the '80s. Jaipur dance forms when it is no longer presented as social dances like the dancers, tayub or tap tilu, where the spectator position parallel to the dancer, but as a dance stage. Jaipur usually done by female dancers, but can also be done in pairs.Movement JaipongJaipur has two categories of movement:Ibing Patterns (Patterned Dance)This dance is usually performed rampak (groups) choreographed, presented in a stage for the needs of the spectacle alone.Ibing Saka (Random Dance)Presentation This is popular in the area of ​​Subang and Karawang, known also as Bajidor. Bajidor itself is often associated as an acronym Barisan Jelama Boraka (Barisan People Durhaka). This dance is more populist because, parallel to the dancer position audience. And the audience can come to dance.Pattern JaipongThe series of dance movement Jaipur can be divided into four sections:

1. Openings, the opening movement,
2. Pencugan, is part of a collection of movements,
3. Ngala, it could be called a point of termination of a series of dances, and
4. Mincit, a displacement or shift.

The basic movements of this dance is often called 3G acronym of Geol (hip twisting motion), Gitek (stomping hip movement and swing), Goyang (hips swing motion without snap). Today dance jaipong be called as one of the identity of West Java, it is visible in several important events in West Java. Guests from foreign countries who come to West Java usual greeted with dance performances Jaipur. Similarly, the missions of art to foreign countries.Dance Jaipong also many other affects the arts in West Java community, both in the art of puppet show, gamelan, Genjring / Terbangan, kacapi Jaipur, and almost all folk performances as well as on modern dangdut music collaborated with Jaipong.

Serampang Twelve Dancing : Dance From North Sumatra

Twelve Serampang dance is a traditional dance that evolved under the Malay Sultanate Serdang. This dance was created by Sauti in the 1940s and changed again by penciptannya between 1950-1960. before named Serampang Twelve, was named Dance dance Sari Island, according to the title of the song that accompanies the dance, the song Sari Island.

This dance is a kind of traditional dance which is played as a social dance. There are at least two reasons why the name changed Serampang Sari Island Dance Twelve. The first, called Pulau Sari less precise because this dance tempo (quick step). According to Tengku Mira rays, dance name that begins the word '' islands '' usually upbeat rumba, like Kampai and Dance Dance Island Princess Island. While Serampang Twelve Dancing has fast-paced movements such as the Sea Dance Serampang. Based on this, Sari Island Dance Dance Serampang more appropriately called the Twelve. The name itself means twelve dance with the fastest movement between song called Serampang. Secondly, naming Twelve Dancing Serampang tarianya range of motion refers to the numbering 12, namely:

1. The first meeting of Love pervasive
2. Craze lovelorn
3. Gesture of love
4. Replies cues
5. Guess
6. Masi not believe
7. Reply
8. Nut-woo
9. Escort the bride
10. Meeting the love

According to Tengku Mira rays, this dance is the result of a combination of motion between the Portuguese and Malay dance Serdang. Portuguese influence can be seen in the beauty of the dance movement and dynamism of the accompanying music rhythm. Twelve Serampang dance is about the love child holy man who emerged from the view and ends with pernihkahan ole sanctioned both the parents and the young virgin. Therefore tell the meeting of two hearts, then this dance is usually played in pairs, male and female. However. 

Growing Interest DANCE 

In the early development of this dance is only performed by men because of the condition of society at that time forbade women to appear in public, let alone his catwalk shows. Permissibility of women played Serampang Twelve Dancing not only developed and known by the people of the empire Serdang, but also spread to various regions in Indonesia, such as Riau, Jambi, Kalimantan, Sulawesi, even to the Moluccas. In addition to known and played throughout the country, Dance Serampang Duableas well-known and frequently performed in several countries tentangga like Malaysia, Singapore, Thailand, and Hong Kong. The existence of the Twelve Dancing Serampang this Sauti work, received overwhelming response across the country and neighboring countries. Along with this development, local government Serdang Bedagai initiative to protect copyrights Dance Serampang Twelve. This is done to reintroduce the community a lot about the origin of this dance, so that young people know and understand. In addition, there was also a variety of performances Dance competitions Serampang Twelve especially for the people residing in the region Bedagai Serdang. 

FIGURE TRUSTEES 

This dance was created by Sauti in the 1940s and changed again between 1950-1960. Sauti was born in 1903 in the Mirror Beach, Serdang Bedagai when creating Serampang Twelve Dancing was on duty at the Department of Regulation and K province of North Sumatra. On the initiative of the Office of the shelter, Sauti seconded a teacher diperwakilan Cultural Bureau in Medan North Sumatra. At that time Sauti also managed to compose some other dance, which is a type Triad consisting of Dance humming the song Kuala Deli, Dance Mak Inang with Kampai Island song, and dance tracks with songs Cape Katung Two.

FUNCTIONS OF DANCE 

The function of this dance is a dance of friendship among young couple wither. In addition, there was also a variety of dance competitions Serampang Twelve performances especially for the people who are Serdang Bedagai region.

MUSIC Dance Accompanist 

At first music dance accompanist still using traditional musical instruments. However, over the age of music equipment used increasingly diverse.

CLOTHING DANCE 

Usually this dance using custom clothing wither on the east coast of the island of Sumatra although not the main equipment, the existence of this outfit is very important. There are two reasons: first color colorful clothes and both show the origin of the use of custom clothing Serampang Twelve Dances.

DANCERS 

In early development Serampang Twelve Dancing danced by men in pairs while the women have not been allowed to come to dance because dance means it will show the curves they and was prohibited, but today this dance is danced by men maupu women in pairs. 

FEATURES 

Name Dance Serampang Twelve actually taken from twelve variety of dance movements which tells of the stages of the process of finding a mate to enter the stage of marriage.

Indonesian Dance Art History

Dance of Indonesia reflect the richness and diversity of peoples and cultures of Indonesia. There are more than 700 ethnic groups in Indonesia: can be seen from the root of the Austronesian and Melanesian culture, influenced by the culture of the countries in Asia and even in the Western influences were absorbed by the neighboring colonization. Every tribe in Indonesia has its own particular variety of dancing; In Indonesia there are over 3000 dance native Indonesia. The ancient tradition of dance and drama were preserved in a variety of dance studios and schools are protected by a Court or Government-run Academy of fine arts.

For the purposes of classification, the art of dance in Indonesia can be classified into various categories. In the category of history, art dance Indonesia can be divided into three eras: prehistoric tribes, the era of Hindu-Buddhism and Islam. Based on patron and supporter, can be divided into two groups, the square dance (dance Palace) supported the nobility, and folk dance that grew out of ordinary people. Based on the tradition of Indonesia, the dance is divided into two groups; dance and contemporary dance.

Era history

Prehistoric style of dance or the dance of the outback

Before you get in touch with foreign influences, ethnic groups in Indonesia Islands had developed the art of its own, this dancer looks at the various tribes that survived from outside influences and choose a simple life in the countryside, for example in Sumatra (Batak, Nias, Mentawai), Kalimantan (Dayak tribe, Christians, Iban), Java (Baduy), Sulawesi (Minahasa, Toraja Tribe), in the Maluku islands and in Papua (Dani, Asmat, Amungme).

Many anthropologists believe that the dance originated from Indonesia's movement rituals and religious ceremonies. this kind of Dance is usually originated from rituals, such as dance, dance war shamans to cure or repel disease, dance to call the rain, and the various types of dances associated with agriculture, such as the Dayak Hudoq dance. Other dances are inspired by nature, such as the Peacock Dance of West Java. This early type of dances usually showing a movement over and over like Tor-Tor dance in Batak which comes from North Sumatra. This dance is also intended to evoke the spirit or soul that are hidden in man, it is also meant to be soothing and pleasing the spirits. Some dances involve mental condition such as trance is considered to be channeling the spirit into the body of the dancer to dance and move beyond his awareness. Tari Sanghyang Dedari is a sacred dance in Bali, where the girl who had turned up to dance in the unconscious mental condition which is believed was possessed of the Holy Spirit. This dance intended to expel evil spirits from around the village. Dance and keris dance Kuda Lumping also involve conditions possessed.

Hindu-Buddhist-style dance

With receipt of the Indonesia dharma in religions, Hinduism and Buddhism are celebrated in a variety of sacred ritual and art. The story of Hindu epics such as the Ramayana, the Mahabharata and also was the inspiration for the Banners displayed in the dance-drama called "the ballet" resembles the "ballet" in the Western tradition. A method of a complicated dance and very stylish was created and remains preserved to the present day, especially in Java and Bali. Javanese Ramayana Ballet is performed routinely in Prambanan, Yogyakarta; While the theme of the Ballet in the same version of Bali staged at various Temples throughout the island of Bali. Javanese shadow puppets dance people take snippets from episodes of the Ramayana or Mahabharata. But the dance is very different from the version of India. Although the attitude of the body and the hands are still considered important, dance of Indonesia is important not paying attention to mudra as dance India: even more showing of local forms. Dance palaces of Java stressed to elegance and movement is slow and weak supply, while Balinese dances are more dynamic and expressive. Sacred ritual dance Bedhaya Javanese Majapahit originated in the 14th century and even earlier, the dance is derived from the Dance ritual performed by virgins to revere Hindu deities such as Shiva, Brahma, and Vishnu.

In Bali, dance has become an indispensable part of the ritual of the sacred Hindu Dharma. Some experts believe that a Balinese dance originated from the older dance traditions of Java. Relief from a temple in East Java from the 14th century show crowns and headdresses headwear similar to that used in Balinese dance now. It is showing the continuity of the tradition of outstanding uninterrupted for at least 600 years. Some sacred and sacred dances should only be given in religious ceremonies was presented. Each has its own uses Balinese dance, ranging from dance to religious rituals, which should only be performed in a temple, which tells the story of dance and dance to popular legends, welcoming and honour to guests such as the pendet. Mask dance is also very popular in Java and Bali, generally taking the story of the Panji stories can be traced to the history of the Kingdom of Kediri originates from the 12th century. This type of mask dance which is famous Cirebon mask dance and Balinese mask.