Traditional Dance Performance Research Articles

The Crossover: Integrating Indian Sign Language with the Mudras in an Indian Classical Dance Performance Creation

Indian classical dance uses a variety of non-verbal communication devices, with gestures called hasta or mudra being one of the most ancient sign languages powerful to transmit the meaning of the lyrics through dance. The classical dance forms of Kerala have an elaborate scheme of gestures drawn from the ancient text on aesthetic sign language, called Hastalakṣanadīpika, inspired by the Vedic, Nāṭya and Tantric traditions. The following is an attempt to document a performance-oriented, socially inclusive effort that makes Indian traditional dance performance discernible to the Deaf and Hard of Hearing (DHH) community, a disparate group that is hardly considered as a spectator during performance creation by mainstream Indian classical dancers. The Indian Sign Language (ISL) of individuals with hearing impairments is elaborate, yet is rarely used as a gestural language along with other aesthetic gestural sign languages to disseminate a narrative in a work of art. In her role as both creator and performer, Methil Devika creates work in Mohiniyāṭṭam, a graceful dance form of Kerala, integrating the sign language of those with hearing impairments along with the gestural language prescribed in the ancient treatise Hastalakṣanadīpika. She applies it strategically in her work of art, as an interlinking tool between the art and the audience. In the first few moments, “all walls came crumbling down,” something the performer quotes in the visual documentation of the work. Any separation between the hearing impaired and the artiste, as well as the spectators, become inconsequential. The performance and the presentation have been video documented in a film called The Crossover, and the following is an attempt to describe the creative process.

Implementasi Pembelajaran Berdiferensiasi Berbasis Gaya Belajar Peserta Didik Kelas 7 pada Mata Pelajaran Seni Budaya

This study aimed to describe the implementation of differentiated learning based on learning styles in the Seni Budaya subject for 7th-grade students at SMP Negeri 14 Malang and its impact on student learning outcomes and motivation. Employing a qualitative method with a descriptive approach, the research found that differentiated learning can effectively be applied in 7th-grade classes, positively influencing student outcomes and motivation. The implementation spanned a semester, focusing on artistic creation through a project involving traditional dance performances. Students were grouped based on their kinesthetic, auditory, and visual learning styles, allowing tailored engagement with the material. Kinesthetic learners engaged in hands-on activities, auditory learners in listening exercises and discussions, and visual learners in visual aids utilization. Following the traditional dance performances, comprehensive evaluations were conducted, encompassing both formative and summative assessments. This feedback-oriented evaluation aimed at enhancing student skills and understanding. The differentiated learning approach resulted in increased motivation, improved learning outcomes, and the cultivation of character traits consistent with the Pancasila student profile. In conclusion, this study highlights the efficacy of differentiated learning in enhancing academic performance, motivation, and character development. It offers valuable insights for educators seeking to implement student-centered learning strategies effectively.

Legal Protection of Bambu Gila Dance as a Traditional Cultural Expression

This study aims to examine the bambu gila dance as a potential intellectual property for traditional cultural expressions in Maluku which should receive legal protection as part of efforts to defend cultural heritage from claims of ownership by other parties or other countries. Bambu Gila Dance is one of the famous traditional arts from Maluku. The traditional cultural expression in the form of the Bambu Gila dance is expressly protected by the Indonesian intellectual property rights system. However, protection for Bambu Gila Dance as a traditional cultural expression cannot be realized so that it can only be used by other parties illegally. This research is a normative juridical research supported by primary legal materials and secondary legal materials with a conceptual approach and statutory approach. Legal protection for the traditional Bambu Gila dance from Maluku Province has not been effectively implemented, both based on Article 38 of Law Number 28 of 2014 Concerning Copyright, as well as in terms of the actions of government officials who have not been able to inventory traditional dance performance artworks as an expression traditional culture in Maluku including the Bambu Gila Dance. The role of the Provincial and Regency Governments in Maluku is crucial in realizing legal protection for traditional dances, including the Bambu Gila Dance, as intangible cultural heritage through the establishment of regional regulations. These regulations serve as legal basic to provide legal certainty as part of efforts for preventive legal protection for the Bambu Gila Dance.

Research on the Analysis of Traditional Dance Performance Forms and Dance Movement Characteristics Based on Artificial Intelligence Technology

Abstract This paper analyzes the performance forms and movement characteristics of traditional dances by using the method of movement feature extraction. We construct a dance key movement extraction system by merging optical flow computing and extracting the key movements of music and dance, which increases the efficiency of traditional dance movement analysis and reduces computational complexity. We can improve the similarity matching of human posture when using picture entropy computation. It uses an optical capture technique to record lively dancing motions. The results show that the accuracy of optical flow computation is 0.8 for distinguishing the form of the cultural lion performance, 0.85 for distinguishing the martial lion performance, 0.75 for distinguishing the aerial lion performance, and 0.6 for capturing the tumbling movement of the cultural lion and 0.7 for capturing the frolicking movement under the optical motion capture system.

The Communicativeness of Okobo Traditional Dance Performances

The Communicativeness of Okobo Traditional Dance Performances

The Impact of Affective Destination Image on Domestic Tourist Preferences: A Study of Gaborone City, Botswana

Visitor preferences is a personal choice of a destination for a defined purpose of travel. In most times it is influenced by value for money, intention to re-visit and the intention to recommend the destination to others. The purpose of this study was to assess the influence destinations affective image on visitor preferences in destination Gaborone City, Botswana. Descriptive survey design was used for describing the study population and their characteristics. The target population was 3750 and a sample size of 360 domestic tourists who visited Gaborone departing through SSKIA Structured questionnaires was used to collect quantitative data, and interview schedules was used to collect qualitative data. Quantitative data was analyzed using descriptive and inferential statistics. Results were presented in tables. Thematic analysis was used to analyze qualitative data. The study findings revealed R coefficient of 0.638, implying that destinations affective image as the independent factor had a correlation of 63.8 percent with visitor preferences in Gaborone City. This was supported by coefficient of determination (R-square) of 0.408. This meant that destinations affective image explained 40.8 percent of the variations in tourist preferences in Gaborone City. The study concludes that improving destination affective image has the likelihood of enhancing visitor preferences of destination in Gaborone City, Botswana. Gaborone city has a rich cultural heritage that can be showcased through cultural tourism, including cultural festivals, traditional dance performances, and visits to local museums and historical sites. By promoting cultural tourism, Gaborone can attract a niche market of travelers interested in experiencing local cultures and traditions. The study thus recommends that tourism destinations in Gaborone city needs to have a strong marketing strategy that promotes the city's unique features and attractions, including social media campaigns, collaborations with travel bloggers and influencers, and attending travel shows and exhibitions. Keywords: Affective, Destination image, Domestic tourist, Destination preferences, Gaborone City

The Exploration of Public Performance Dance Art in the Background of the Emerging Metaverse Age

The purpose of this thesis is to seek the development of dance performance contents in the metaverse era. The performance production mechanism, production-distribution-consumption, is put in a big frame, but the focus is on the planning and production of the work. First of all, the meaning and environment of dance performances in the metaverse era were diagnosed along with the explanation of the term of the ‘metaverse era’. As can be seen in the case of convergence performance and Korean traditional dance performance, it was confirmed that the application of technology that can be in line with the metaverse era can create synergy with dance performances. As for the development of dance performance contents in the metaverse era, the first thing to be adhered to is the application of technology based on the uniqueness of the dance genre. Second, from the perspective of the consumer, the audience, aesthetic. At the same time, it is necessary to consider the role of a channel that can organically trigger experiences and enjoyment. As it comes down to the problem of form and device, continuous research on this is necessary. In short, the development of dance performance content in the metaverse era focuses on the genre property of dance. Accurate application of evolving technology and ‘Metaverse thinking’ that can increase the rapport with the audience, the consumer, are essential. Beyond contemporary values, the development of dance performance contents that can be left as future heritage comes from the chemical combination of dance and technology.

Trauma, Multimodal Mental Imagery and Intermediality in Arundhati Roy’s The God of Small Things

Arundhati Roy’s The God of Small Things has been effectively described by N. Rokotnitz as a narrative that accesses and arouses sensory modes of reception and perception, infiltrating reader’s preconscious and subconscious levels of understanding and thus enhancing the vividness of immersion in a text that ultimately renders its moral code physically tangible. This use of multimodal mental imagery, which per se vouches for a transmedia understanding of narrative as a “multimedia construct” (Ryan 2004), is an integral part of a literary representation of trauma that also integrates explicit reference to other media, namely cinema and traditional dance performance. The essay addresses the role of these media within the socio-cultural frame of Roy’s novel and interrogates their function in shaping the literary narrative of trauma and healing, integrating the writing’s multimodal imagery and contributing to the reader’s emotional and intellectual responses.

The creative Thai traditional dance performance of King Naresuan's Declaration of Independence

The research on a creative Thai traditional dance performance of King Naresuan's Declaration of Independence. The objective is to study the history of King Naresuan the Great to design a performance of Thai dance, creating a set of King Naresuan's Declaration of Independence, in order to integrate teaching and learning in single dance and duo dance courses, bachelor of education program, department of Thai Dramatic Arts Studies. The methods of conducting research by studying and collecting document data, relevant research includes the study of solo dance styles in various performance sets.The results showed that a creative performance of Thai dance King Naresuan declares independence. The idea came from the belief in the brave Thai King and having a heart of patriotism. It is a solo dance performance. It is a dance showing off the skill of the performer along with their faith by using 3 principles of designing poses and dancing styles, namely 1. Using the imagination 2. Using the principle of dance in combination with natural gestures 3. Using the principle of stylistic dance (or body language in dance) and the master dance that is a standard dance streak in the form of a dance according to the lyrics and melody to convey the meaning of the song. The dance moves show the uniqueness of the characters to be consistent and beautiful in the style of Thai dance. Conveying the dance process in the solo and couple dance course for 3rd year undergraduate students in the field of Thai Dramatic Arts Department of Dramatic Music Faculty of Fine and Applied Arts, Rajamangala University of Technology Thanyaburi. Students are able to practice the dance movements, styles, and emotions of the characters beautifully in a traditional Thai dance style and goes well with the lyrics and melody.

Kontribusi Pertunjukan Seni Tari Tradisional Sebagai Atraksi Wisata Terhadap Kesejahteraan Masyarakat Lokal Desa Adat Ubud

Ubud which is famous for cultural tourism has encouraged the local community to participate in these tourism activities. Performing traditional dance that develops in every banjar in Ubud by involving local communities in the implementation will certainly contribute to the lives of people in Ubud both material and non-material. This study aims to determine the contribution of traditional dance performances as a tourist attraction to the welfare of local communities in the Indigenous Village of Ubud, Ubud District, Gianyar Regency.In this study using primary data sources and supported by secondary data obtained directly by observation and interviews, and the data analysis technique used in this study is qualitative analysis by reducing data which is then presented and concluded. The results of this study show that the contribution of traditional performing arts to the welfare of the local community can be seen from the community's involvement, either directly or indirectly. Being involved in performance performances is a side profession for the local community. Apart from helping economically, the results of this art performance can also contribute to the socio-cultural field of the community in traditional villages.Keyword: Contributions, Performing Arts, Prosperity, Local Communities

STRENGTHENING THE TRADITIONAL DANCE GROUP & PLACE (SANGGAR TARI) TO STRENGTHEN THE LOCAL CULTURE OF MEDAN IN MEDAN AMPLAS SUBDISTRICT

The majority of the younger generation ignore national culture, such as traditional dances, and prefer modern dances. This makes the importance of strengthening traditional dance groups & place (sanggar tari) as a forum for developing creativity in traditional culture in Medan. Therefore, in this community service, efforts to strengthen the sanggar tari to strengthen Medan's local culture were carried out. This activity consisted of a Focus Group Discussion (FGD) and dance training for 30 young men and women members of the Medan Amplas sub-district sanggar tari held for two months. Besides providing training, the community service team facilitates supporting equipment in traditional dance performance activities for members, such as clothing, accessories, and other training media. The lecture, Q&A, demonstration, and drill methods are used in its implementation. This community service has resulted in the form of services to raise public awareness of the local dance culture of North Sumatera, especially in Medan, with training assistance to increase creativity, innovation, and the ability of the sanggar members in the field of traditional dance and culture.

The Pinisi Festival as a Tourist Attraction in Bulukumba District of South Sulawesi

The Pinisi Festival is a national tourism event. The festival is expected to develop the tourism industry in Bulukumba Regency. This study aims to describe and discover the Pinisi Festival’s performance and influence as a tourist attraction. This study is qualitative research with a descriptive approach. The used data collection techniques of this research were observation, in-depth interview, and literature study. The results of this study showed that the Pinisi Festival was held for three days with a variety of activities, i.e. Opening Ceremony, Pinisi Trip from Leppe’E to Bira, Fishing Contest, GEMARI (Eat Fish Movement) Campaign, Traditional Pinisi Launching Ritual, Bergem Bira Parade, The Andingingi Kampong Traditional Ritual, Crowbar Burns Ritual, Pinisi Expo, Bulukumba Traditional Dance Performance, Bulukumba Traditional Culinary Festival, and Photography Jamboree. The Pinisi Festival has an impact on increasing the number of both domestic and foreign tourists or increasing of 70% from the previous few months so that it can be used as a media promotion of the tourism development in Bulukumba. Keywords: Pinisi Festival, tourist attraction, tourism event.

The Realities and Implication of the Chinese Cultural Village Community - Focusing on the Traditional Dance Performance of Heilongzhen in Henan Province, China -

The Realities and Implication of the Chinese Cultural Village Community - Focusing on the Traditional Dance Performance of Heilongzhen in Henan Province, China -

Perancangan Media Interaktif Gerak Tari Topeng Patih pada Wayang Topeng Malangan Menggunakan Sensor Kinect

Tari Topeng Patih is a part of the traditional dance performance art “Wayang Topeng Malangan” with a religious background which grew up around people in Malang City, East Java. Presently, art gallery of Tari Topeng Malangan has been difficult to be found. In addition to the difficulty of finding this art gallery even in the regions of origin, the problems is also about the interest and enthusiastic public, especially teenagers in Malang to learn this dance is still very rare. As a result, this art is slowly deteriorated and increasingly falling by the presence of various modern performances. In regarded to learn Tari Topeng Patih, the conventional learning activities requiring a special place such as a dance studio that is generally located far away from downtown Malang. Thus to overcome this problem is requires an instructional media that can be used as an alternative solution to learn and obtain information about Tari Topeng Patih, one way may be able to use the simulation method by utilizing the technology and education. The results of the design is the interactive media learning and simulation for basic motion of Tari Topeng Patih by using Kinect media.

Semantic Representation of Balinese Traditional Dance

Bali is an island in Indonesia that is rich in culture, for example, is a traditional dance. The traditional dance performance is diverse from one village to another village in Bali. The traditional Balinese dance knowledge should be captured dan documented well in a digital form so that it can be shared easily to different people and generation across the world. The use of ontology as an information representation technique is the preferred solution in this matter because ontology can be used to enhance the development of semantic applications, especially when dealing with semantic webs. In this project, the ontology was built using Protege ontology development tool. We follow the methontology ontology development method where this methodology clearly describes each of its activity. In this study, we focus to describe two variants of Balinese traditional dance (Barong dance and Pendet dance). In the future, we expect that more type of dance can be documented using our proposed ontology.
 Keywords: Balinese Dance, Ontology,Semantic Web

Implikasi Erupsi Gunung Agung Terhadap Pertunjukan Seni Tari Tradisional Di Kelurahan Ubud, Kecamatan Ubud, Kabupaten Gianyar, Bali


 
 
 Ubud is an area on the island of Bali which is known as a tourism area that is very popular with the cultures. This research purposes to analyze how the implications that occur as a result of the eruption of Mount Agung in 2017 on the traditional dance performances contained in the Ubud district. The method used to achieve the objectives in this research is using descriptive qualitative, namely by means of observation, interviews and documentation. The technique of determining informants in this study used a purposive procedure, the data were then analyzed using descriptive analysis. The results of the research analysis show the implications of the eruption of Mount Agung on traditional dance performances have an impact on the level of tourist visits which declined and there are also implications on the management system of dance performances contained in the Village of Ubud.
 The significant impact on the level of tourist visits occurred from March 2017 to December 2017 where there were no tourists visiting to watch traditional dance performances in the Ubud district because tourists were afraid of the outstanding issues of the eruption of Mount Agung. In addition there is an impact that occurs on the traditional dance performance management system in Ubud output, the changes include reducing the active days of the show, reducing ticket prices and reducing the duration of traditional dance performances in the Ubud district
 Key Words Natural Disasters, Implications of Eruption Mount Agung, Traditional Dance Performances in Ubud
 
 

신전통춤 공연 현상에 근거한 개념 정립 및 체계화 필요성에 관한 연구

신전통춤 공연 현상에 근거한 개념 정립 및 체계화 필요성에 관한 연구

Study of stage acoustic parameters of Cak Durasim concert hall Surabaya for javanese traditional dance performance

One of the important things in stage acoustic is how a performer can hear their own and their comrades’ musical instrument. Stage acoustics condition for Indonesian traditional music will affect the quality and harmonization of the performance. Music on traditional dance performance has an important role in determining the dance movement. This paper discusses the stage acoustic parameters for a Javanese traditional dance performance on Cak Durasim Concert Hall Surabaya based on the optimum acoustics parameters of the Javanese gamelan as an accompanying music for Javanese traditional dance. Those parameters are loudness level, RT, BR, TR, C80, D50 and Support. Measurements were made with two variations of sound source position, which are on the corner in front of the stage and on the center in front of the stage. According to the measurement result and analysis, the optimum position for gamelans’ player is on the corner in front of the stage, but with the loudness level distribution having a 4dB difference between the nearest and farthest positions from the source. This result is also supported on the aesthetic side of the layout of the show because its location does not affect the visual side that became the main focus of dance performances.

A Study of Analysis of Viewing Behavior of Visitors to Traditional Dance Performance Applying Extended Theory of Planned Behavior(ETPB)

A Study of Analysis of Viewing Behavior of Visitors to Traditional Dance Performance Applying Extended Theory of Planned Behavior(ETPB)

Desenvolvimento do sentido espacial através do uso de representações múltiplas no contexto da dança tradicional: uma experiência de ensino no 1.º ciclo de escolaridade

This study is developed within the framework of a project that explored the connections between Mathematics and Dance, materializing in a teaching experience in one 8 years old class, and analyzes how the students developed their spatial sense through the use of multiple representations when solving challenging math tasks associated with traditional dance performance. Data analysis took the written productions of the students in response to three tasks that exploit a traditional dance. Students used diverse representations, consistently associating actively represented ideas, while dancing, and elaborate schemes and verbal explanations, evidencing a strong presence of contextual representation. They were able to schematize the spatial formations and the figures danced, but they manifested difficulties in representing the movements of the dancers. They have developed several aspects of the spatial sense, being generalized the understanding of the identified geometric objects and their properties and relations. However, they did not show the same ease of identification of the reflection and rotation symmetries present in the dance, although they have recognized the geometric transformation rotation. Localization and spatial orientation are other abilities that have been shown. This experience was an opportunity for the development with meaning and purpose, in an informal and integrated way, of their spatial sense, which has also mobilized issues associated with the measure