Dance Costume Research Articles

Sintren Dance, Women, and Power Contestation on the North Coast of Java

Objectives: This paper aims to describe a traditional dance in the northern coastal region of Java and the local power dynamics that surround it. The existence of sintren, which resembles the role of women, is desirable for further study. Previous research on this topic has not been studied. Methods: This research utilizes desk research supported by relevant references regarding the "sintren" dance based on research reports, records, Javanese literature, reference books, and others. Results: Understanding the "sintren" dance is not sufficient by observing the twisting movements of the woman's body using all the dance costumes, but there are many aspects of the surrounding local power. Over time, the "sintren" has evolved significantly. Initially, the "sintren" was a means of narrating the love story of couples. Since then, women have taken on a leading role as dancers and mythical figures in the local community. With the development of society, the "sintren" has lived amidst ethnic diversity. Some groups do not perform it due to the mystical elements, while others perform it because the "sintren" serves in spreading noble values and aesthetics. The "sintren" exists amidst multicultural communities with diverse ethnicities. This is the competitive ability that cannot be avoided in the "sintren" and surrounds its development.. Conclusions: This research emphasizes the importance of making the "sintren" a shared property and considering it a valuable cultural heritage, therefore, preserving the "sintren" is necessary. At the same time, there is interest in recognizing the role of women in the development of the "sintren".

Analysis Of The Opak Abang Dance As A Symbol Of Kendal Regency Identity Through Costume Design With Objective Aesthetics

Opak Abang dance is the identity art of the Kendal Regency community, as a local culture that has historical importance. The form of Opak Abang dance costume design includes, headband, long shirt, kolor pants, songket cloth, white socks, sampur, belt / slepe, ear fan, sash, sunglasses. The research focused on “analyzing opak abang dance as a symbol of the identity of kendal district through costume design with objective aesthetics” using a qualitative approach. Data analysis techniques used in this research are data reduction analysis, narrative analysis, and content analysis. Data collection in this study through observation, interviews, documentation and audio-visual materials. The results showed that the design in Opak Abang dance as a Symbol of Identity of Kendal Regency has meaning and is formed from different elements through the balance of design components, thus creating an aesthetic and attractive visual unity with a combination of harmonious patterns, terns, color contrast and texture. The results of costume design research in Opak Abang Dance which is a typical art of Kendal Regency have meaning and are formed from different elements through the balance of component design, which makes an aesthetic and attractive visual unity with a harmonious blend. Innovation in the process of making costumes for Opak Abang Dance Kendal Regency has a relatively simple and unique form. The design is formed as an illustration of the story of heroism and the spread of Islam in Kendal Regency .

Costume and Body Language of Ethnic Dance Drama under Semiotics: An Analytical Study

Dance drama is a dramatic form with dance as its main means of expression, which has been developed in China for less than a century. In recent years, the development of Chinese dance drama, especially ethnic dance drama, has shown an obvious upward trend. Several excellent dance drama works have appeared, forming some distinctive dance drama styles, among which The Journey of a Legendary Landscape Painting, The Peacock, and The Railway to Tibet are quite representative. This study will investigate the above three dance dramas based on semiotics. An analysis of costume and body language is carried out in this study based on the semiotics, from the morphological characteristics of dance and costume. In addition, the author makes a comprehensive exploration of the integration of the external form, fabric, structure and pattern of costume and body language, tries to reveal the way of interaction between costume symbols and body symbols in dance drama, and summarises the artistic connotation of the integration of dance costumes and body language. Then, it provides ideas for the role creation and education of dance drama.

FORM AND FUNCTION STUDY OF BARIS KEKUPU DANCE IN BANJAR LEBAH, SUMERTA KAJA VILLAGE, DENPASAR CITY

Dance is one of the crucial aspects of the Balinese Hindu community's artistic, cultural, and socio-religious activities. Dance is referred to as the art of movement and contains aesthetic and philosophical values, which can be enjoyed by the dancers and the audience (art lovers) during the performance. In Sumerta Kaja Village, East Denpasar Subdistrict, Denpasar City, there is a Baris Dance whose shape has a speciality, namely the Kekupu Baris Dance. This article aims to describe the beauty of the form and function of Baris Kekupu Dance. The research method used is descriptive qualitative. The results showed that the Baris Kekupu Dance is a traditional Balinese dance created around 1930 by a Balinese kakebyaran artist, I Nyoman Kaler. This dance describes the movements of a group of colourful butterflies who are playing in a beautiful flower garden, happily looking for flower honey. Baris Kekupu dance was popularized by Banjar Lebah dance maestro, Ni Ketut Arini, and until now, its existence is still sustainable and has become an icon of Banjar Lebah. The uniqueness of Baris Kekupu Dance can be seen from its dance movements and costumes, which combine Legong dance movements with Baris dance movements. Furthermore, in terms of dance costumes for body decoration using awiran type costumes (Baris Dance costumes), while for headdresses using gelungan of legong dance (the type of gelungan pepudakan). Baris Kekupu Dance has two primary functions: as a ritual tool in the Dewa Yadnya (a ceremony to Gods/Goddesses) and Pitra Yadnya (ceremonial offerings to ancestors) ceremonies, and as an aesthetic presentation.

Multi-Layer Polyurethane-Fiber-Prepared Entangled Strain Sensor with Tunable Sensitivity and Working Range for Human Motion Detection.

The entanglement of fibers can form physical and topological structures, with the resulting bending and stretching strains causing localized changes in pressure. In this study, a multi-layer polyurethane-fiber-prepared (MPF) sensor was developed by coating the CNT/PU sensing layer on the outside of an elastic electrode through a wet-film method. The entangled topology of two MPFs was utilized to convert the stretching strain into localized pressure at the contact area, enabling the perception of stretching strain. The influence of coating mechanical properties and surface structure on strain sensing performance was investigated. A force regulator was introduced to regulate the mechanical properties of the entangled topology of MPF. By modifying the thickness and length proportion of the force regulator, the sensitivity factor and sensitivity range of the sensor could be controlled, achieving a high sensitivity factor of up to 127.74 and a sensitivity range of up to 58%. Eight sensors were integrated into a sensor array and integrated into a dance costume, successfully monitoring the multi-axis motion of the dancer's lumbar spine. This provides a new approach for wearable biomechanical sensors.

Exploring the relationship between color and form in the design of women’s Latin dance costumes

This article delves into the complex world of designing women's Latin dance costumes, highlighting the paramount importance of harmonizing current fashion trends with the essential requirements of comfort, flexibility, and the need to emphasize the dancer's graceful movements. The objective of this study was to create few models of Latin dance costumes. To forecast how the users and viewers would perceive Latin dance outfits, an on-line survey was conducted. A regression model was applied to analyze how color and shape interact in the creation of Latin dance costumes. The article focuses on key aspects of costume design, covering an in-depth study of silhouettes and colors and their perception by viewers. Designers are encouraged to focus their creative efforts on prioritizing the comfort and freedom of movement of the dancers, adapting to ever-evolving societal and cultural changes, and exploring innovative solutions to overcome the challenges and limitations inherent in costume creation. The regression model can be used to predict with enough accuracy users' and viewers' opinions on the use of Latin dance costumes. Embracing these results, designers are ready to produce remarkable, comfortable clothing patterns that authentically capture the splendor and diversity of Latin dance culture.

Tari Piriang Lenggang Manatiang di Sanggar Anjuang Siriah Kota Padang: Tinjauan Koreografi

his research aims to describe and analyze the choreography of the Piriang Lenggang Manatiang Dance at the Anjuang Siriah Studio, Padang City. This type of research is qualitative research using descriptive analysis methods. The instrument for this research is the researcher himself and is assisted by supporting instruments in the form of writing instruments, books, recording equipment and audio-visual equipment. Data collection techniques were carried out using literature study, observation, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and conclusion. The results of the research show that the choreography process for the Piriang Lenggang Manatiang Dance starts from determining the idea/theme, then exploration, improvisation and composition. The choreography process produces the following form aspects: movement, space design, time design, energy design, top design, dramatic design, floor design, group composition, equipment and music. The movements of the Piriang Lenggang Manatiang Dance are the saayun steps, buai ayun movements, lenggang mantiang movements, manyabiak movements, rampak movements, saayun saangkat movements, Baginjai movements, ayun ma ayun movements, lenggang sway movements. The spatial aspect in the Piriang Lenggang Manatiang Dance uses straight, oblique and curved lines. The group compositions performed by dancers include unison (union), alternating, broken, alternating (canon), and balanced (balance). The Piriang Lenggang Manatiang Dance Costume is a garment that was developed and created by the Baju Kurong. The musical instruments used are Gandang, Bansi, Sarunai, Canang and Talempong Pacik. Meanwhile, the property used is piriang tujuah.

Bentuk Penyajian Tari Jepin Laba-Laba di Desa Penibung Kecamatan Mempawah Hilir Kabupaten Mempawah

This research aims to describe and document the presentation of the Jepin Spider Dance. The researcher's interest was motivated by knowing the dance performance from start to finish. This research uses descriptive methods, qualitative research forms, and a choreographic approach. The data collection techniques used are observation, interviews and documentation techniques. The technique for testing the validity of the data used is extended observation and source triangulation. Based on data analysis, it can be concluded that the form of presentation of the Jepin Spider Dance, the Jepin Spider Dance is an entertainment dance that is performed at Khataman qur'an, circumcision, wedding and robo-robo events. The movement motif in the Jepin Spider Dance uses a single-step movement motif. There are two types of movement, namely the one-go type and the two-return type. This style is divided into initial, middle and final movements. This variety forms a connective pattern resembling a spider's nest. Each change of movement is marked by a tahto or tahtim movement. The Jepin Spider Dance Costume uses a clothes bracket and a telok belanga. Using realistic make-up from the dancer's real face. The musical accompaniment to the Jepin Spider Dance instrument uses Arabic poetry, meaning praise to the Prophet Muhammad. The instruments use the Gambus or Selodang and Beruas musical instruments. This dance uses rope properties which are played by nine dancers.

Lexicons in Baris Demang Demung Dance Costumes at Banjar Tegal Village

Baris Demang Demung dance is a sacred dance that exists at Banjar Tegal Village, Singaraja, Bali. This study was designed in a descriptive qualitative study. The focus of this study was to find out the lexicons and the cultural meaning of costumes used by the dancers of Baris Demang Demung dance. This study applied observation and interview methods to collect the data and totally supported with the three selected informants. The obtained data were analyzed qualitatively and descriptively. The result of this study showed that t here were 27 lexicons in the dance costumes which were divided into three types namely costumes in Baris Demang Demung (8 lexicons), costumes in Prebangsa/King (14 lexicons), and costumes in Potet (10 lexicons). However, 5 of the same lexicons are found in Prebangsa/King and Potet costumes. Therefore, it can be said that there were 27 lexicons found in costumes.

An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village

This research aims to find out the lexicons and the cultural meaning in the costumes of the Baris Gede dance. Baris Gede dance is a traditional Balinese dance that tells about warriors fighting on the battlefield. Costumes are an important component in the Baris Gede dance because the costumes used represent the contents of the dance. This research used qualitative research with interviews and observation as the method to obtain the data. The researcher found 14 lexicons in the costumes; head costume (1 lexicon) that is gelungan, neck costume (1 lexicon) which is badong/bapang, hand costume (1 lexicon) which is gelang kana, upper body costume (7 lexicons) which are awiran, oncer, lamak, kwace selem, tali semayut, keris, and urangka and lower body costume (4 lexicons) that are stewel, jaler putih, kancut putih, and sabuk. The cultural meaning relates to the soldiers on the battlefield. Warriors are depicted as dashing and brave figures represented through the Baris Gede dance costume.

The Lexicons Used in Palawakya Dance Costumes

Palawakya dance is a kind of dance which mixes the arts of dance, music, and old Balinese song called Kakawin. Culturally, the dance consists of various lexicons used in common life but it is getting rarely used by people nowadays. This research was designed in the form of descriptive qualitative research by applying an ecolinguistic approach. It was focused on analyzing the lexicons of Palawakya dance costumes in Jagaraga Village, Singaraja. Observation and interview were conducted to obtain the data of this research by involving three informants. The informants were selected by using purposive sampling. The instruments used in gaining the data were observation sheet and interview guide. The results of this study showed that there were 17 lexicons found in the dance costumes. The dance costumes were divided into five parts; 1) head costume consists of five lexicons, 2) neck costume consists of one lexicon, 3) body costume consists of eight lexicons, 4) hands, costume consists of one lexicon, 5) leg costume consists of two lexicons. In addition, another result revealed that there were 16 cultural meanings found in the Palawakya dance costumes.
 Keywords : Costume, Cultural Meaning, Ecolinguistics, lexicons, Palawakya

Lexicon Analysis in Sampi Gerumbungan Dance Costume

The study aims to find out what are lexicons used in the Sampi Gerumbungan dance in the costumes and its cultural meaning. The method used in this study is a descriptive qualitative design. The method directs researchers in obtaining social information accurately, broadly, and completely by designing problem formulations. The results of this study found that there were sixteen (16) lexicons found in the costumes of the Sampi Gerumbungan dance. All lexicons in the costumes are also classified based on parts of body, namely head costumes (5 lexicons), neck costumes (2 lexicons), hand costume (1 lexicon), body costumes (8 lexicons), and leg costume (1 lexicon). It can be concluded that there are several lexicons used in the Sampi Gerumbungan dance costumes and have cultural meanings.
 Keywords: Costume, Ecolinguistics, Lexicon, Sampi Gerumbungan Dance

Lexicon of Costumes in The Rangda Dance

Balinese culture has many traditions. One of the traditions in Bali is the Balinese dance that exists in Bali. Several dances have a sacred meaning for Balinese people. One of the dances is the Rangda dance. This dance contains many lexicons in the dance's costumes. This study aimed to discover the lexicons that exist in Rangda dance costumes. This study is designed as descriptive qualitative research using the ecolinguistics approach. The data were obtained through observation and interviews with selected informants. The study's result shows that twenty-seven lexicons exist in Rangda dance costumes. The data were categorized into the lexicons in the mask (ten lexicons) and lexicons on the costume (seventeen lexicons). Those lexicons including tapel rangda, terang, kumba, petitis, lidah api, teteh api, jangar api, rambut, jebug, bungan jepun, jaler reringitan, baju reringitan, udeng, badong mute, badong kulit, angkeb baong, tapih, ampok ampok, kuku, basang basang, sabuk, baju pepontangan, jaler pepontangan, semayut, nyonyo. galeng, and kereb.

Retracted: Research on the Architecture of Digital Song and Dance Costume Design System Based on Intelligent Deep Learning Algorithm

Retracted: Research on the Architecture of Digital Song and Dance Costume Design System Based on Intelligent Deep Learning Algorithm

PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG

This study describes the creative process of Wahyu Jatmiko and the form of Sima Swatantra Anjuk Ladang Dance. The problems in this study include : (1) What is the form of Sima Swatantra Anjuk Ladang Dance?and (2) How is the creative process carried out by Wahyu Jatmiko in the creation of Sima Swatantra Anjuk Ladang Dance?. This study uses qualitative research method with a choreographic approach. To dissect the problem of the form of the Sima Swatantra Anjuk Ladang Dance performance and the creative process of Wahyu Jatmiko the author uses the theory 4P Four P’s of Creativity : Person, Process, Press, Product. For dissecting the problem of the form of the Sima Swatantra Anjuk Ladang Dance, the author uses groups choreography elements namely, (1) dance moves, (2) dance room, (3) dance accompaniment, (4) dance title, (5) dance theme, (6 ) type/type of dance (7) mode or method of presentation, (8) number of dancers and gender, (9) makeup and dance costumes, (10) lighting, (11) property.The results of this study indicate that the Sima Swatantra Anjuk Ladang dance is a work created by Wahyu Jatmiko through a creative process that includes stages, namely exploration, improvisation, and composition. The form of this dance is a group choreography with a representational nature.

Research on Folk Ecology Status of Northeast Yangko in Heilongjiang Province

Julian Steward believes that environment and culture cannot be separated. Traditional folk dance is the reproduction of life, the expression of thoughts and emotions of ethnic groups, and has the attribute of national identity. In the process of urbanization evolution of Northeast Yangko Dance, it contains ethnic migration and cultural belonging. The participation and emphasis of Northeast Yangko Dance in folk affects the development of sub-ecological folk dance and stage art folk dance. This study uses the research methods of survey and interview, combined with the theory of dance ecology, to study the folk ecological status quo of Northeast Yangko Dance in Heilongjiang Province, and analyzes the status quo of urban square dance, middle-aged and elderly dance troupes, university dance clubs and activities. Through research, the main reasons that restrict the development of the Northeast Yangko Dance include: the traditional Northeast Yangko Dance costumes are rustic, the music is not fashionable, the dance movements are difficult to learn, there are few plays that can be learned, the lack of director, the lack of watching ways, the outdated style, and the lack of attention from schools and students. The study shows that the dance ecology of Northeast Yangko is not optimistic.

Investigation of ambek-ambek nagari koto gadang koto anau dance art to improve cultural tourism attraction

Minangkabau Tribe in West Sumatra hasone cultural problem, namely the traditional art of Ambek-Ambek Dance. This study aims to find out whether the art of Ambek-Ambek Nagari Koto Gadang - Koto Anau Dance can be used as a cultural tourism attraction in Solok Regency. The research method used is descriptive qualitative using the theory of tourist attraction. Data collection is carried out by observation, interview, and documentation methods. The results of this study show that Ambek-Ambek Dance meets the criteria of good tourist attraction; 1) uniqueness, ambek-ambek dance has a distinctive uniqueness and is different from other dances, namely in terms of dance history, naming, movement philosophy, herding music, costumes, and special rules in the presentation of dance. 2) originality, pure ambek-ambek dance comes from the traditional traditions and daily life of young mudi Koto Anau in ancient times in finding a partner. 3) Authenticity, Ambek-Ambek dance has a distinctive beauty naturally, exotic, and unpretentious. 4) diversity, ambek-ambek dance has a diversity of Minangkabau customs and culture which can be seen in terms of variations in movement shapes, floor patterns, herding music, and dance costumes.

Research on the Architecture of Digital Song and Dance Costume Design System Based on Intelligent Deep Learning Algorithm

In order to improve the intelligence and reliability of song and dance costume design, this article combines the intelligent deep learning algorithm to improve the digital costume design process. In order to solve the problem of minimizing the energy of image deformation, this paper proposes to transform it into a sparse matrix to solve the problem, which is solved by constructing a coefficient matrix and multiple iterations. After the algorithm is improved, this article combines the digital intelligence method to construct the digital song and dance costume design system structure based on the intelligent deep learning algorithm and analyzes its work flow. Finally, this paper verifies the method in this paper through feasibility analysis and system performance test. From the experimental results, it can be seen that the digital song and dance costume design system based on the intelligent deep learning algorithm proposed in this article has a good effect in the song and dance costume design.

Research on Art Innovation of Flower Drum Lantern Costume under the Background of Rural Revitalization

In 2006, Flower drum lamp was listed in the first batch of China's intangible cultural heritage list, becoming the only Han dance species selected in the national intangible cultural heritage protection project pilot project. As an important component, dance costumes also contain rich values, and have unique costume styles and cultural attributes. Through the cultural attributes of Flower drum lamp costume, it shows its protection value, analyzes the design status of Flower drum lamp costume, inherits and innovates Flower drum lamp costume, refines, transforms and applies the classic elements in traditional costume patterns based on the regional cultural characteristics with modern aesthetic concepts and performance skills, and adds regional cultural elements such as Dayu culture and Huaihe River valley culture to make it full of the times.

Analysis of the smart clothing technologies in dance costume designing

In past decade fashion world as well as world of technologies is more and more filling with smart clothing. Increasing aesthetic by use of smart clothing technology is vital when designing a dance costume. Available works on the question are dedicated to either designing and wearing of dance costumes or smart clothing itself with no regard to dance costumes. The aim of the current study is to systemise smart clothing technologies those might be used for dance costumes to provide the ability to change visual characteristics by using mobile app. Statistical analysis was applied to investigate the specifics of the smart clothing range and its interactions with mobile apps. The method of prototyping was used to assess the necessity of providing the smart clothing item with specific mobile app. A dance costume was designed on basis of light emitting diode technology. The assessment was done by members of dance teams. It was determined that mobile app would be more suitable way to manage light modes of costumes due to the fact that smartphones are usually carried around and remote controls are not. The app will provide more competitiveness of the clothing as well as insure comfort of a dancer.