Malay Dance Research Articles

Developing Malay traditional dance model for preschoolers: Evidence from contextual and content needs

The uniqueness of the Malay dance community should be introduced to the children so that the beauty of the dance movements does not disappear. Therefore, this study analysed preschoolers' content and the contextual needs of developing the traditional Malay dance model. Quantitative studies using this survey method aim to obtain information about the contextual and content of traditional Malay dance models. 125 preschool teachers from the Ministry of Education (MOE) were selected to respond to the questionnaires. The results show that the necessities of the context should inhibit the aspects of creative movement. The results refer to the content aspect of the model of the basic movement elements in the traditional dances of the Malay community that should be taught to the children. The implication of this study from the development of the model helps preschool teachers in the performance of traditional Malay dances.

VIDEO PEMBELAJARAN TARI JEPIN KEMBANG MANGGAR UNTUK SISWA SMA DI KOTA PONTIANAK KALIMANTAN BARAT

The Jepin Kembang Manggar Dance learning video is an alternative traditional dance learning media that is based on Malay culture in West Kalimantan. This learning media was developed using the Research and Development research method. The Jepin Kembang Manggar dance originates from Batu Layang, West Kalimantan, which was created with the aim of remembering that life must have a sense of togetherness, mutual cooperation and joy, because in society you cannot live without other people. The material for this dance is divided into 7 learning videos consisting of movement videos for ragam 1, ragam 2, ragam 3, ragam 4, ragam 5, ragam 6, a video of the posture of holding a manggar, and a performance video of the Jepin Kembang Manggar Dance. This learning video was developed to meet the needs of high school students in the city of Pontianak in studying traditional Malay dance as a medium for instilling and stimulating noble character values. Apart from that, through this video students of senior high schools can improve their skills independently or in groups.

Analisis Frasa dalam Kisah Sejarah pada Buku Ilmu Pengetahuan Sosial Kelas X Kurikulum Merdeka

This study focuses on the analysis of phrases contained in the text of historical stories in class X textbooks of Social Sciences in the independence curriculum. This study uses a qualitative descriptive method and data collection techniques used are listening techniques, observation techniques, and note taking techniques. In this analysis, the author analyzes the phrases in four historical narrative texts entitled Mohammad Hatta: "Every action is for the sake of the country you love, don't betray.", Ki Hadjar Dewantara: "It's better to have nothing but be happy than to be wealthy but unhappy.”, History of the Beduk Musical Instrument in Malay Dance Accompaniment Music in Pontianak City, Typhoid Outbreaks in Cirebon during the Dutch East Indies Period. The research results obtained were the discovery of various uses of phrases totaling 35 in these texts. There are 10 noun phrases, 15 verb phrases, 8 prepositional phrases, and 2 adjective phrases.

"Membingkai Melayu" Perancangan Metode Akting Berbasis Tradisi Untuk Pembelajaran Makyong di Program Studi Seni Pertunjukan UNIMED

Theatrical discourse in Indonesia is still dominated by Western theater discourses, both theoretically and practically. This domination ordains theater as an art that is distant from the audience, including Makyong. As an effort to bring theater closer to the community, the development of acting methods based on ethnic traditions can be an alternative. The research method that will be used in this study is the Research and Development method developed by Thiagarajan, et al. The stages of implementing the research are as follows: Defining, Designing, Developing. The theory used as a basis in this study is the theory of postcolonial acting put forward by Asrul Sani and concept of theater anthropology from Eugenio Barba. The results of this study are Malay acting training methods arranged in the order of spiritual knowledge based on Tunjuk Ajar Melayu, pantun skills and body training based on Malay dance techniques. The development of the acting training method, which the author calls Framing Malay, aims to collect things that can help actors in creating Malay behavior.

Tari Serampang Dua Belas:

The Serampang Dua Twelve Dance, which is a Malay dance originating from North Sumatra, in the Malay Deli Land, is very different from other Malay dances of the same family. It was first shown in 1952 in Medan City. In subsequent performances, this Serampang Twelve Dance can enter the international world. So that at that time President Soeharto was interested and decided that the Deli Malay dance would become a national dance. Guru Suati as the famous pioneer of the Serampang Twelve dances. Incorporating various cultures from various cultures in the city of Medan at that time. The attitude of maintaining and strengthening Malay culture is highly demonstrated in the tarain which currently stands out as a complement to the meaning in the dance. In this study, the authors used a descriptive qualitative method, taking into account secondary and primary interests. From this research method, it is hoped that it can solve problems related to this research, so that the objectives of this research are achieved. The purpose of this study is to find out more about the various dance movements that support the performance and convey meaning in the Serampang Dua dance, from the perspective of the dancers' perfection in the city of Medan.
 Keywords: serampang twelve dance, Malay dance, performance, meaning,

The Development Of Makyong Acting Training Method For Environment Of Traditional Theater Courses

This study aims to develop a Makyong acting training method based on the Malay tradition for enrichment in the North Sumatra Traditional Theater course at the UNIMED Performing Arts Study Program. In particular, this study aims to: (1) be able to interpret Malay advice as spiritual values; (2) identifying Malay dance techniques to prepare for body movements; (3) Identifying the Malay pantun tradition as the improvisational power of makyong actors. This study was designed with a research and development approach. This research was followed up by developing methods and applying methods in training and performances. In analyzing the data the author uses qualitative analysis techniques. As a reference in preparing the training model, the author uses the folklore approach, actor dramaturgical theory from Eugenio Barba and Asrul Sani's postcolonial acting approach as a reference in developing acting training methods.

BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR

The research entitled Forms and Functions of Ronggeng Paser Dance in Sesulu Village, Gunung Batu, North Penajam Paser Regency, East Kalimantan, is a form of traditional dance in Sesulu Village, Gunung Batu, East Kalimantan. This dance is a form of traditional Malay dance. This dance is included in the social dance or merry dance which is danced by six dancers using the Malay lenggang motion motif with dance music of three kinds of songs, namely Batu Sopang, Tirik, and Makinang.

Jambi Malay Dance Fashion Aesthetics

This research aimed to know the concept of dress aesthetics and art of traditional and creative dance of Jambi Malay, and dress development of Jambi Malay dance could be seen from a dress of traditional dance, creative dance, and contemporary dance. The research result was expected to be one of Jambi Malay culture inventory in social science. The research method used is a descriptive qualitative research method with a symbolic interaction approach. The background of the people of Jambi city which is multicultural makes Jambi city rich in cultural diversity, one of which is dance. Dance dress is included as an important element in dance performance. Dance dress is a symbol of aesthetics and artistry in dance performances. The dress wisdom of Malay dance is not separated from aesthetic and artistic concepts based on concepts of custom and Islam. The concept is based on message of Jambi culture, “adat bersendikan syarak, syarak bersendikan kitabullah, syarak mengato adat memakai”. The research conclusion is that the ideal dress aesthetically according to Jambi Malay tradition after converting to Islam is a dress that covers the genitals. Artistically it is the dress that is lost when moving, with not too much design based on Islamic custom and law while color is usually natural color and adapted.

Notating Traditional Drumming in ‘Makyung’

Makyung is a Malay dance theatre that developed in the state of Kelantan in Malaysia. An oral tradition handed down from teacher to student ('disciple'), the music of Makyung is traditionally not notated and usually learned 'by ear'. This teaching-learning approach can be time-consuming and less effective for the modern classroom, where students are expected to learn and perform many different styles and genres of music in a relatively short period. Currently, there is also an absence of a technique book on the teaching and learning Pergendangan Kelantan (Kelantanese Drumming) in Makyung. This study explores how to notate Pergendangan Kelantan in Makyung based on the drumming technique of two instruments: Gendang Ibu and Gendang Anak with Tetawak. This study aims to notate Pergendangan Kelantan using western notation. This notation will likewise fill in as a significant aspect of the endeavour to document Pergendangan Kelantan in Makyung. Without documentation, the knowledge will perish when the teacher passes away. One standard piece from the repertoire is selected in this study. The piece is determined based on its simple form and rhythmic pattern. The Western notation will be the method to notate each sound produced by the Gendang Ibu, Gendang Anak, and Tetawak. There will also be a few compositions of short exercises that can be used as a warm-up or practice guide.

Inter-Asia traditional dances in dialogue: reflections on a performance-lecture between Singaporean practitioner-scholars

ABSTRACT This is an artist’s reflection on a performance entitled Intersections: Traditionally Speaking, which was presented on March 2018 by the author who is a Malay dance practitioner-scholar and his counterpart, Elizabeth Chan, a practitioner-scholar of Chinese dance. The performance-lecture as a chosen format offers an opportunity for intercultural and interdisciplinary dialogue about their individual practice and scholarly investigation. Through the performance, they addressed discourses of gender, nation and, innovation within tradition. In addition, they demonstrated through dance how their embodied knowledge intersects and informs one another. Their discursive exchange and corporeal dialogue revealed how their respective “traditional” dances have developed in tandem with nation-building agendas amidst transnational trends and creative contestations. The author concludes that this performance-lecture as Inter-Asia artistic activism, demonstrated how knowledge and unique perspectives, produced by juxtaposing intercultural discussions with bodies in motion, can reveal intricacies and nuances that language alone cannot fully describe.

Characteristics of East Sumatran Malay Dance as a New Dance Creation Engineering Foundation

Malay Dance is one of the local content dances from North Sumatra Province - Indonesia. It is important that Malay dance is well understood by various groups, both students and the general public as art connoisseurs. Understanding of Malay dance aims to increase insight and comprehensive knowledge related to Malay dance and its characteristics. Thus, through a deep understanding of the characteristics of Malay dance, the skills to create new dances become more creative. This study aims to formulate or formulate the characteristics of Malay Dance as the foundation for engineering new dance creations. The results showed that the characteristics of Malay dance were grouped intointo three major parts, namely: a) head movement group which includes four (4) kinds of motion; b) group of hand movements which includes fourteen (14) kinds of motion; and c) group of footwork which is divided into eleven (11) kinds of motion. All of these characteristics become the foundation for engineering the creation of a new Malay dance by using the elements of energy, space, and time as a foothold.

Perubahan Tari Makan Sirih Ke Tari Persembahan Melayu Riau Di Kota Pekanbaru Provinsi Riau

This study aims to analyze the changes in the Riau Makan Sirih Melayu Dance which are focused on changing the form of the dance. This type of research is qualitative research with a descriptive analysis method with the object of research namely Riau Malay dance. The main instrument of this research is the researcher himself making direct observations in the field and assisted by supporting instruments such as; stationery, digital cameras, tape recorders, CD cassettes, and flash drives. Data collection techniques were carried out through literature study, observation, interviews, and documentation. Data analysis techniques are carried out by reducing data, presenting data, and drawing conclusions. The results showed that the change of the Makan Sirih Dance into the Riau Persembahan Melayu Dance consisted of a change in the name and the form of presentation.

DIGITAL PRESERVATION OF INTANGIBLE CULTURAL HERITAGE OF JOGET DANCE MOVEMENT USING MOTION CAPTURE TECHNOLOGY

Culture and heritage play a major role in the Malay community in terms of linguistic, art craft, traditional ceremonies, music, activities, and performing arts. The Malay folk dances are most frequently described as a way of human expression through movement and traditional elements in storytelling, ritual, feeling manifestation, and conveying the Malay manner and customs as pillars of the Malay ethnic. Joget was created based on Branyo, a famous Portuguese folk dance. It is a hybrid of culture between the West and the East, reflecting heavily the Malay identity and characteristics as the core philosophy of choreography in the routine. The new creation of Malay dance has positively impacted Malay cultural activities. It has also threatened the original dance form which is being forgotten further from the philosophy. This paper was executed using a qualitative descriptive approach. Interviews and literature reviews were used to expose the rich diversity of two-element; joget and motion capture technology. Data verification, data compilation, data comparison, and triangulation are used as a form of data analysis. The results of the study found that the practice of motion capture has been massively used in digitising intangible assets for 3D application in the form of gaming, video interactive, education entertainment, and learning animation as a platform of education and training as a preservation and protection strategy. But motion capture technology has the potential to be explored as a medium in discovering a quality of trajectory micro visualization of joget dance movement and analyse the symbols or signs that can benefit to the young generation that provides a local sense of unity and belongingness that can help develop a new interest in enhancing cultural values and appreciation.

Tafsir Tari Zapin Arab dan Melayu dalam Masyarakat Melayu

This article aims to describe and interpret the Zapin Arab and Zapin Malay dances. Zapin dance comes from Arabic and developed within the scope of the Malay community. At first the Zapin dance culture was brought by merchants from Gujarat to various regions in the archipelago in the XV century. Zapin dance has a heroic background, because the movement was originally a sense of uplifting the spirit of the companions of the prophet for war. The development of Zapin Arabic and Malay dances are both expressed in the form of performing arts. The problem in this research is focused on the structure of the Malay zapin dance. In order to approach this problem, the structuralism theory reference from Levi Strauss' model is used. Structural theory is applied to describe Malay society. The data were collected through statements and experiences of sources, observation, and document review, then analyzed descriptively qualitatively. Data analysis uses textual and contestual interpretations, namely interpreting denotative and connotative structures. This study concludes that, (1) the Arabic Zapin dance has Arabic cultural content, and (2) the Malay Zapin dance is an Islamic expression of Malay culture.

Malay Dance Concept and Its Basic Elements

The large number of tribes living in North Sumatra causes this area to have a variety of art forms. Starting from the art forms brought by immigrants to the original art forms of North Sumatra, Malay art is one of them. Malay art is the prima donna of art in its native area, it is also one of the most popular art forms in the archipelago, especially its dance forms. Malay dance, like dance in other tribes, becomes a means to express or express how the soul of the people is. Through the presentation of the dance, the characters and customs that apply in the community can be understood. This fact is the reason for researchers to explain how the concepts and basic elements of Malay dance from North Sumatra. This study uses a qualitative approach.

Cultural Acculturation of Yemeni Zapin Dance and Malay Dance in Malaysia As A Means of Islmic Teaching

<p>This research was conducted to explain the cultural acculturation of the Yemeni and Malay zapin dance as a means of da'wah Islamiyah in Malaysia. The method used in this research is descriptive qualitative. In this research, literature study was also carried out as a data collection method. There is a theory in this research, namely the theory of cultural diffusion and from the point of view of a historical approach. The aim of this research is to reveal the acculturation elements of the Yemeni and Malay zapin dance. Then describe the Islamic da'wah function and the value between the two parties behind the zapin dance. The results that can be concluded from the acculturation of the Yemeni zapin dances and the Malay dances in Malaysia are producing all kinds of changes including the elements of dancers, musical instruments, movements, and the lyrics or songs used in these dances.</p>

MALAY CULTURE IN THE KINGDOM OF SINTANG

This study aims to: 1) describe the Sintang Sintang Malay cultural social system; 2) The description of the language system includes the language used by the Sintang people in their daily interactions in order to communicate with each other; 3) A description of the knowledge system that can help the survival of the Sintang Malay community; 4) a description of the Sintang Malay cultural living equipment system in the Sintang Kingdom poem; 5) description of the Sintang Malay cultural livelihood system; 6) description of the Sintang Malay cultural religious system; 7) a description of the Sintang Malay cultural arts system. This study uses a descriptive method, with a qualitative research form. The source of data in this study comes from the verses of the Sintang Kingdom. The results of the study are as follows, the first data concerning the social system contains quotes about the stanzas regarding the aspects of deliberation to reach consensus, both in the inter-work environment, between royal members, and in a smaller environment, namely the nuclear family. used in syair. The third data is a knowledge system which is divided into knowledge of human nature, knowledge of nature, knowledge of objects. The fourth data is about living equipment which is divided into several aspects, namely transportation of ships, bidars, and canoes. The production is cerana, the clothing aspect is clothes, selawar, and songket cloth. There are traditional weapons, namely kris and cannons. The existence of a place to live or shelter, namely awnings, tents and mosquito nets, the existence of a container, namely the existence of a bamboo or lampstand as a place for lamps, as well as food and drink aspects, namely sherbet and juadah water. The sixth data, the religious system has aspects of marriage salvation, thanksgiving celebrations, worship, and the occult. The seventh data, which contains the art system on the sense of sight, the presence of Malay dance and theater and the sense of hearing, the presence of musical instruments typical of the Malay community. Keywords: Culture, Sintang Malay, Sintang Kingdom Poem

Menghidupkan Identitas Kepulauan Riau Melalui Seni Tari Tradisional

This article was created with the aim of seeing the extent of the identity of Riau Islands through the art of dance known in the community and trying to revive the identity of traditional dance through documentation of the dance movement itself. Thus, the problem in this research is focused on traditional dance movements that are indeed the identity of Riau Islands identifiers, namely malay dance movements. This research was conducted by exploring the roots of the dance from art actors directly through interviews and documenting them. Through the collection of dance movement information is then documented so that it can be seen or read by all people. So that traditional dance as the identity of Riau Islands is well documented. Based on the results of the rersponden assessment, 61% stated that knowing and knowing the traditional dance of Riau Islands, the rest stated that less knowing the traditional dance. Art performances can only be enjoyed on certain occasions. To overcome this, one way to bring traditional dance identity to life is to gather information related to traditional dances and document them in the form of photos, videos and books, increasing the frequency of dance performances.

ANALISIS STRUKTUR GERAK TARI ZAPIN SIAK DI KECAMATAN SIAK KABUPATEN SIAK PROVINSI RIAU

Zapin Siak dance is a traditional Malay dance which has been cultured, lived, and developed in line with human life from time to time. Zapin Siak dance is danced by two male dancers taking parallel position in a form of motion which generally uses a lot ofThis is a qualitative research using a content analysis method, known as content analysis. The object of research was Zapin Siak Dance in Kampung Dalam Subdistrict, Siak District, Siak Regency, Riau Province. The data used were primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The research instrument used was the researcher itself and was assisted by writing instruments, cameras, and flash drives. The data analysis was done by describing and interpreting various movements of the Zapin Siak dance. It refers to the elements of motion: the head, body, hands, andThe results show that the movement structure of Zapin Siak Dance in Siak District, Siak Regency, Riau Province, consists of 22 kinem elements, 22 morphokinem elements, 7 motif elements, and one overall dance form, namely Zapin Siak dance. Zapin Siak dance has a syntagmatic relationsip between the motif level and a paradigmatic relationship in overall dance.Keywords: Analysis, Motion Structure, Zapin Siak Dance

PEMBUATAN PERANGKAT PEMBELAJARAN TARI MELAYU BERBASIS HIGH ORDER THINKING SKILLS (HOTS) UNTUK SISWA/I KELAS VIII SMP NEGERI 1 TANJUNG TIRAM

ABSTRACTThis research aims to make learning tools for Malay Dance based on High Order Thinking Skills (HOTS) for students of class VIII of SMP Negeri 1 Tanjung Tiram. This study uses theories related to topics such as packaging theory, learning, teaching materials in the form of textbooks and HOTS-based student worksheets. The main theory used in this thesis uses the theory of Andi Prastowo (2014: 17) which states that "Teaching materials are all materials (both information, tools, and texts) that are arranged systematically which displays a complete figure of competencies that will be mastered by students and used in the learning process with the aim of planning and analyzing learning implementation, and Widjajanti's theory (2008: 1) LKS is one of the learning resources that can be developed by the teacher as a facilitator in learning activities, LKS that are arranged can be designed and developed according to conditions and HOTS (Yuniar, et al: 2015) is a thinking ability that tests at a higher level, in the sense that students not only memorize and remember, but must be able to analyze, synthesize, and evaluate. This study uses a qualitative method. The object in this study is the Malay Dance learning tool based on High Order Thinking Skills (HOTS). This research was conducted in May to August 2019, the data obtained were analyzed using qualitative data analysis. The location of this research was carried out in one of the schools in Batu Bara Regency, namely SMP Negeri 1 Tanjung Tiram, located at Jl.Sekolah Sukamaju Village, Tanjung Tiram District, Batu Bara Regency, North Sumatra. The results of this study are in the form of teaching material products in the form of a Malay dance textbook (Dua Song Dance) and Malay Dance Student Worksheet (LKS Dance) in the subject of cultural arts (dance) related to Malay Dance material (Song Dance Two). The packaging of this learning tool was prepared by adjusting the syllabus and Learning Implementation Plan (RPP) for students of class VIII with basic competencies 3.1 understanding the uniqueness of traditional dance moves based on floor patterns using dance support elements. The preparation of this learning tool is designed as for the achievement of learning outcomes both cognitive, affective and psychomotor.Keywords: Learning tools, Malay dance, High Order Thinking Skills (HOTS)