Traditional Dance Research Articles

Filosofskie osnovy i esteticheskie principy tanceval'nogo iskusstva v Kitae i Rossii: poisk garmonii i duhovnogo sovershenstva

This article presents a comparative analysis of the ideological connotation and philosophy of dance art in China and Russia. The research is based on the comparison and analysis of the historical and modern contexts of the dance traditions of both countries, their connection with culture and ideology, as well as their influence on the formation of national identity. The results of the analysis will allow a deeper understanding of the role of dance art in society and its reflection of ideological attitudes and philosophical principles in China and Russia.

Nilai dan Fungsi Tarian Gawe Daku Masyarakat Desa Bahinga Kecamatan Tanjung Bunga Kabupaten Flores Timur

This study aims to describe the values and functions of the Gawe Daku dance in Bahinga Village, Tanjung Bungan District, East Flores Regency. Gawe Daku dance, is a traditional Lamaholot dance, a traditional dance with movements that appear as spontaneous movements that do not have specific rules but still have a clear foundation, so they still look orderly and orderly. To achieve the research objectives above, a research approach is used, namely a qualitative approach using descriptive research types. The research location is Bahinga Village. Data collection techniques used are observation, interviews and documentation. Checking the validity of the data using triangulation techniques. The results of this study state that there are values in the Gawe Daku dance. a) shared values. b) the value of unity. c) family values. d) the value of beauty, and the function of the Gawe Daku dance. a) as a means of ceremony. b) as a means of entertainment. c) as a means of performance, and d) as a means of education.

Mengungkap Makna di Balik Tarian Tradisional Pepe-pepe ri Makkah Pada Masyarakat Makassar

This article aims to uncover the cultural significance behind the Pepe-pepe ri Makkah dance, one of the traditional dances originating from Makassar, South Sulawesi, Indonesia. The research method employed is qualitative research with a descriptive-analytical approach. Data collection was conducted through direct observation, interviews with performers or dancers, and literature review. The research findings indicate that the Pepe-pepe ri Makkah dance embodies profound religious and spiritual meanings, symbolizing gratitude and reverence to God, expressed through captivating movements involving torches or fire props. The collaborative interaction among dancers carries social and communal significance, as the Makassar community uses this dance as a means to strengthen relationships among its members. This article contributes significantly to the cultural richness of Indonesia, particularly in preserving and developing Makassar's traditional dance heritage.

Some Aspects of Pashtun Culture

Pashtun culture is a rich and diverse culture that has been shaped by centuries of history and tradition. Often referred to as Pashtunwali, this culture encompasses every aspect of daily life, from social norms and customs to religious practices and cuisine. As an ethnic group, the Pashtun people are primarily located in Afghanistan and Pakistan. They are known for their proud and distinctive culture that emphasizes loyalty, hospitality, and respect for the Pashtun code of conduct. A central aspect of Pashtun is the Pashtunwali, which is the traditional code of conduct of the Pashtun people. Derived from the Pashto language, this code emphasizes concepts like courage, honor, and hospitality, and serves as a guide for how Pashtuns should conduct their lives. Hospitality is one of the most valued traits in Pashtun culture, and guests are treated with the utmost respect and care. This tradition dates back to the times of the ancient Silk Road, when traveling merchants of all backgrounds would stop at the Pashtuns' homes and receive food, shelter, and care. Music and dance are also cherished in Pashtun culture, with traditional instruments like the rubab (a lute-like instrument) and tabla (a percussion instrument) used to create melodic and rhythmic pieces. The attan, a traditional dance, is common at weddings, religious festivals, and other celebrations. The Pashtuns are a primarily Muslim community, and religion is deeply ingrained in their culture. Islamic practices like praying five times a day, fasting during Ramadan, and giving to charity are all important parts of life for Pashtuns. However, Pashtunwali also places a strong emphasis on tolerance and respect for other religions, and there is a long history of coexistence between different faiths in the region.

Cakalele Dance: Religious and Social Ethics in Islamic and Environmental Education

The Cakalele dance is widely recognized as a “war dance” deeply rooted in Maluku culture. It involves dynamic movements such as jumping, turning, stomping, and sword-slashing, reflecting its historical significance in war strategies. However, Cakalele in Banda showcases its distinctiveness. From the elaborate costumes to the formation of the dancers, and the specific dance movements, it conveys a profound connection to Islamic religiosity and ethical values prevalent within the Banda coastal community. This study used a qualitative analysis approach with a phenomenological perspective, focusing on the Cakalele dancers and their characteristics, movements, and performances in the traditional village of Namasawar, Banda Naira Sub-District. The research reveals that the traditional Cakalele dance incorporates essential Islamic educational values, including aspects of Sharia and ritual worship. In addition, it also emphasizes environmental ethics, promoting harmony between humans and the coastal and sea environment. Through this research, it becomes evident that the Cakalele dance carries a strong message regarding Islamic education, social ethics, and the preservation of the environment.

Bentuk Komponen Nonverbal Karya Tari Elegi

This paper aims to reveal the meaning of the nonverbal component forms of Elegi dance by interpreting the compound relationships between its elements. Several elements are discussed, namely: theme, movement, facial expressions (polatan), make-up, clothing, floor patterns and music as accompaniment. The research methodology is qualitative with data collection techniques: literature study, observation and interviews. All data that has been collected, classified, processed and analyzed using the triangulation method. The data that has been collected is then compared between one data and other data. This study found that the compound relationship of the nonverbal component elements of the Elegi dance is a dance work presented by two female dancers based on elements of traditional Surakarta style dance which was developed with the theme of romance. The struggle for love that is presented is about a love relationship that failed due to the denial of love and the woman fell into a state of hatred, resentment and anger, but in her downturn a new awareness was born, she got up and moved on to continue living by arranging her entire life so that it was meaningful for herself and others.

Folk Dance and Music of Rajasthan: A Study of their Role in Fairs and Festivals

Rajasthan, a state with a thriving cultural scene in India, is home to a diverse range of traditional folk dance performances and folk music that have greatly influenced the growth of the local culture. Through thoroughly examining various folk dance and music, their historical roots, and their contemporary relevance, this study sheds light on how these folk dances and music contribute to preserving Rajasthan's legacy and their significance in fairs and festivals. The main goal of this study is to examine the mutually beneficial interaction between Rajasthan's traditional performances—such as folk dances and music, and the fairs and festivals that shape the state's calendar. The paper is exploratory, providing an overview of the folk dance and music of Rajasthan and their relevance to the state-wide fairs and festivals.

Lexicons in Ajisaka Dance

Ajisaka dance is a traditional Balinese dance that has lexicons and their cultural meaning. The ones who practice and perform the dance do not know about the lexicons of the dance. It can cause language death because the native speaker does not maintain their language. This study aimed to find out the lexicons and their cultural meaning related to Ajisaka dance movements. The setting of this study was conducted in Buleleng regency. It was designed in the form of a qualitative method using an ecolinguistic approach. The data were obtained through observation and interview techniques. The results of the study show that the lexicons are classified into eye movements (two lexicons), neck movements (two lexicons), body movements (four lexicons), hand movements (eight lexicons), finger movements (four lexicons), and leg movements (eight lexicons) and the cultural meaning of the lexicons of movements refers to the firmness, obedience to responsibility, authority, majesty, intelligence and agility, the subtlety of mind and soul, and the strong principles of the king and his soldiers. The results of this study can be used as teaching material for the dance teacher to teach lexicons and their cultural meaning to their students and introduce it to foreigners who want to learn this dance. Specifically, this study can help maintain a local language and lead to avoiding language death. Keywords: ecolinguistic; lexicons; cultural meaning; Balinese dance; Ajisaka dance

야류 및 오광대의 덧배기춤에 대한 문헌고찰

This study systematically examined the literature to explore the integrated concept of Yaryu and Oggwangdae, mask dance designated as national intangible cultural heritages. It investigated the composition of dances based on the fundamental arm movements(Sawi) and examined the changes in costumes and props used in performances. The conclusions drawn from this are as follows: Firstly, Ddeutbaegi dance is a representative dance in the Busan and Gyeongnam regions, and it is a dance performed for personal enjoyment. Therefore, the movements are naturally expressed according to the rhythm and inspiration of the performers. Secondly, the fundamental Sawi of Ddeutbaegi dance are categorized into bae-gim-sawi (swinging), il-ja-sawi (straight), dol-lim-sawi (turning), pul-i-sawi (spinning), and eo-reum-sawi (jumping). Bae-gim-sawi can be considered as the representative Sawi of Ddeutbaegi dance. Thirdly, it can be observed that the costumes and props used in performances based on Ddeutbaegi dance have undergone changes over time. Therefore, efforts should be made to continuously collect data and analyze traditional dances that represent the region, with the expectation of establishing more well-defined concepts through these endeavors.

Mausoleum or museum: Engaging the significance of cultural museum collections for heritage tourism in the 21st century

AbstractTangible and intangible elements of culture are the primary sustenance of heritage tourism. They include traditional dance, folklore, songs, arts and craft, indigenous technologies, festivals, rituals, and rites. All these are cultural products designed to embody different activities. They constitute some of the major attractions of present‐day cultural museums. Although these objects are imbued with functional roles through which they interact with society, yet within the confines of cultural museums, they are seemingly lifeless; needing the curator to narrate their relevance. Their functional role in the community seems lost as no opportunity is given or created to display their cultural relevance to amuse curious museum visitors. This raises some questions, is the museum a mausoleum of cultural products? How can mere narration of lifeless objects satisfy visitors' curiosity and taste for a new experience? To answer these salient questions, this paper employed desktop research design using two case studies, the Osun Osogbo sacred grove in Osun state and the palace of the Oba of Benin Nigeria, to explore the significance of cultural museums in promoting heritage tourism through the functional role of its collections. The study found that living heritage negates their original community role upon entry into the modern museum. The paper concludes that the significance of cultural museum collections can be revived by decolonizing the Eurocentric paradigm and indigenizing curatorial practices of western‐modeled museums in Nigeria.

Kabela for Enriching the Contemporary Concept of Choreography at Gorontalo

The Kabela is one of traditional dances of Bolaang Mongondow, which reflects the cultural values of North Sulawesi. Behind the ephemeral form and nature, it is necessary to investigate more deeply the rules and essential values, so that the understanding of the meaning of this dance is completely intact for the Gorontalonese as well as the Bolaang Mongondownese. This research is a starting point for mapping dance styles in eastern Indonesia, through strengthening local cultural values in northern Sulawesi in the construction of contemporary choreographic concepts in Gorontalo. The research integrates the ethnographic techniques with methodical experiments in learning process of a non-traditional choreography for the department of Pendidikan Seni Drama, Tari dan Musik at Universitas Negeri Gorontalo. Ethnographic techniques place field research simultaneously with literature studies, to create a qualitative-phenomenological analysis process that considers emic and ethical data. The choreography process adapts Hawkins' exploration model as a guide for realizing experimental works, which also creates an intersubjective understanding discourse process on the Kabela. The results show the Kabela’s presence as symbols of a noble tradition of the Bolaang Mongondownese as well as its structure. The choreographic concepts then intensify the meaning in the production of imaginative and sensory effects, so that the appreciation towards the dance is active and dynamic. This also shows that, it is by understanding others, that the appreciation of one's own is deepened.

Innovative Research on the Fusion Mode of Dance and Information Technology

With the continuous development of society, people pay more and more attention to the improvement of their spiritual life. Dance art, as an important part of human spiritual life, has begun to gain public attention and recognition. Under the background of cultural diversity, values diversity, information exchange diversity and aesthetic diversity, dance has a diversified development trend. Today, with the highly developed information technology, some new media technologies that can change people's means of information exchange, perception form and aesthetic way are presented to the world, and the appearance of these new media technologies is bound to have an impact on the diversified development of dance art. It requires that dance art should not only inherit and carry forward the advantages of traditional dance, but also keep pace with the times, innovate and constantly improve the quality of dance art.

Potret Harmonisasi Masyarakat dalam Tradisi Ari Kaut Perayaan Idul Adha di Kampung Lilinta Kabupaten Raja Ampat

The aim of this study was to determine the implementation and the symbolic meaning of the Ari Kaut tradition at the Eid al-Adha celebration and also to understand the reason why the Ari Kaut tradition could strengthen the community harmonization in Lilinta Village. This research is qualitative with using social phenomenology paradigm. The procession was started with Takbir and taking the alms from the congregation which has become a common habit. The acts of Syar’a judge in managing the celebration of Ari Kaut tradition was his responsibility as a religious figure so the norm and religious value on the tradition which carried out are still maintained. Cultural preservation on the Ari Kaut tradition was shown by the acts of the community according to their expertise such as making meat Qurban together to be served which is a habit that existed for a long time. Panpon as a religious symbol has a meaning to increase togetherness among the community. Eid al-Adha celebration was accompanied by traditional dances which are effective to be used to preserving culture.

The Collective Workshopping of Our Emerging Global Citizenship in Transcultural Fusion Dance (TcFD)

Transcultural Fusion Dance (TcFD) is a global, hybrid genre that fuses dance traditions of North Africa and the Arab World with Hip Hop and Electronica. Starting in the 1990’s, TcFD participants utilized the genre to enact their enthusiasm for intercultural exchange, visual cultural mashup, and embodied exploration of global citizenship. The momentum shifted after being confronted with decolonization calls from BIPOC communities in the U.S.A., and is now collectively building ethical practices and interdisciplinary contextualization that also offers a critique of contemporary dance education for its sluggish awakening to decolonization. The author details the historical events that instigated a global decolonization conversation of TcFD practices, conventions, and language, and the unfolding evolution of Fair-Trade Cultural Exchange practices.

A critical reflection on movement observation and assessment through the lens of a Korean spirit-dance

The assumptions of the body and spirit in dance/movement therapy (DMT) impact how we examine dance and their application for healing. This paper compares DMT that developed within Judeo-Christian worldviews and gimoo (qi-moo, or spirit-dance) that originated from Eastern, Confucian, Korean traditional medicine and Korean traditional dance. Cross-cultural critical reflections can offer new insights on different ways of observing and assessing movement for health as body-based practitioners and dance/movement therapists. The authors reflect on how our socio-culturally situated knowledge of the body and worldviews of health, dance, and healing frame how and what movement we see.

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.

Exploring Music Performance Practices in the Zimbabwe Republic Police

The study explored the music performance practices in the Zimbabwe Republic Police (ZRP). The authors examined musical practices envisioned in the ZRP from colonial times to date. The ZRP music section has dance and brass bands, traditional dance, and vocal ensembles. The study focused on the ZRP dance and brass bands since they were subjected to colonial practices. Decoloniality theory was used to interrogate the data. A qualitative research methodology was used to examine the ZRP musical practices. Thirty participants were purposively sampled from current and ex-members of the ZRP. The study collected data through interviews and observations to understand the ZRP musical practices. The study explored topics including sight-reading, harmony, discipline, performance of copyrighted music, European songs, and transcription to explain how they affected the musical practices of the ZRP. The data showed that certain practices, like the playing of “Roast Beef of Old England” depicts the colonial system. Other practices, like playing European calls at national and police ceremonial events did not reflect African contexts. Although the ZRP incorporated indigenous musical practices into their musical renditions, more musical act ivities are needed to replace the fanfare and songs, including “Scipio,” “Road to the Isles,” and “Waltzing Matilda.”

Do No Harm: Lessons from Community-Engaged Learning Applied to Community Dance

ABSTRACT When thinking of wellness in dance, we often think about addressing mental or physical health-related challenges facing performers, although when looking at community dance, there are additional considerations to ensure the wellness of citizens and neighbors participating in dance programming. Gaps remain in dance education training to prepare students to be successful in authentically engaging in mutually beneficial, culturally sustaining, community dance. This article offers key concepts and practices from the field of Community-Engaged Learning (CEL) to supplement traditional dance education. The concepts of critical reflection, redistributing power, and authentic relationship-building are explored. Gleanings from CEL, in combination with dance education, can support us in preparing students to minimize unintentional harm, and amplify the joys of engaging in community dance.

Extraction of Design Factors of Chinese Dance Culture based on Analytic Hierarchy Model

Abstract To protect, inherit and develop minority culture, this paper proposes the extraction of design factors of Chinese dance culture based on the analytic hierarchy model. Taking the traditional dance culture of the Qiang nationality as an example, this paper studies the characteristics of its traditional national dance culture and extracts the design factor model from it, then designs the relevant cultural and creative products for verification. The product not only contains the traditional culture of the Qiang ethnic group but also conforms to the contemporary aesthetic. Cultural and creative products as the carrier of the traditional Qiang ethnic culture to spread widely. Methods: The materials of the traditional dance of the Qiang nationality were collected, classified, and screened; The design form factor and color factor are extracted from the material by using the analytic hierarchy process (AHP) and analysis graph; Collect and sort out emotional words, conduct user research; Understand the needs of target users according to the survey data and calculate the factor weight through the survey data; Then redesign and optimize, to form the final scheme.Conclusion: From the study of Qiang dance culture, it can be seen that ethnic dance is an important window of minority culture. Extracting design factors from minority dance culture and applying them to design products can effectively spread minority culture, thus achieving the purpose of improving the economic value of the minority cultural creative industry and spreading minority culture.

Practice-Research in Odissi Dance: The 3 Bindu Approach to Embodying Sacred Geometry

Ideas around sacred geometry in the Indian tradition are most clearly seen in the prolific use of yantras as tools of meditation in tantric art forms. These are typically two-dimensional diagrams or three-dimensional objects, regarded as representing the elemental powers of Earth, Water, Fire, Air and Ether commonly symbolised by a square, circle, triangle, hexagon and a dot or bindu respectively. These geometric shapes are combined to create energy fields of varying potencies within which sacred objects are conceived. Temple architecture in India is imbued with such yantras and used as a means of harnessing divine energies through their precision, power and beauty. While Odissi dance has been greatly inspired by the dance rituals of mediaeval Odishan temples, there has been no discussion about the possible role of yantras in actual movement and choreography. This is surprising as the ‘virtual lines’ held between different body parts in static dance postures as used in the dance tradition today, hold strong geometric shapes. This is amplified by movement sequences where the arms, hands, legs and feet create geometric forms in space, making patterns akin to ‘virtual yantras’. This recognition piqued my curiosity and the current paper is a self-reflexive account of a process of engaging with Odissi movement through visualising clarity of shape and form in movement patterns, before embodying them, based on a template of ‘3 Bindus on the body’s central axis’, which was formulated during the course of studio practice.