scholarly journals Menghidupkan Identitas Kepulauan Riau Melalui Seni Tari Tradisional

2021 ◽  
Vol 5 (1) ◽  
pp. 40
Author(s):  
Nur Sekreningsih Marsan ◽  
Mia Juliana Siregar
Keyword(s):  
Dance Movement ◽  
Traditional Dance ◽  
Dance Movements ◽  
Dance Identity

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.

scholarly journals Nilai Filosofi Gerak Tari Guel pada Masyarakat Gayo di Kota Takengon Kabupaten Aceh Tengah

2020 ◽  
Vol 4 (1) ◽  
pp. 47
Author(s):  
Maghfhirah Murni Bintang Permata ◽  
Indra Setiawan ◽  
Rika Wirandi
Keyword(s):  
Social Values ◽  
Standard Form ◽  
Data Retrieval ◽  
Theory Approach ◽  
Dance Movement ◽  
Story Structure ◽  
Traditional Dance ◽  
Dance Movements ◽  
Interpretative Approach ◽  
Participatory Observation

Guel dance was a traditional dance based on the history narrative of Gayo, District- inspired by the legend of the siblings Sengedaand BenerMerie who were looking for white elephants that to be presented to a princess. Therefore, some elements of the dance movements reflected the character of the elephant. Besides the aspect of form, every element of Guel dance movements also contained the philosophical values that contain moral messages and social values. Currently, Guel dance performances creations are increasingly present in the middle of the community, The forms of Guel dance creations sometimes leave the standard provisions as a standard form of the dance itself. This study aimed to describe the philosophical values of the Guel dance movement in Takengon, Aceh Tengah District, by using the theory approach of motion dance structure fromKaepleer. The method used in this study was descriptive interpretative approach, namely research directly related to the community (participatory observation)for data retrieval. This study concluded that the Guel dance was a traditional dance which has a standardize story structure and dance motion philosophy. It implied the moral teachings, religious teachings, Guel dance has a message about loyalty, responsibility, fraternity, and it is not only done by relatives or family nut must be done in relationship for others.

scholarly journals Silat as the Source and Identity of the Minangkabau Ethnic Dance

2019 ◽  
Vol 19 (1) ◽  
pp. 71-83
Author(s):  
Afifah Asriati ◽  
Ahmad Kosasih ◽  
Desfiarni Desfiarni
Keyword(s):  
Focus Group ◽  
Cultural Values ◽  
Focus Group Discussion ◽  
Martial Arts ◽  
Qualitative Method ◽  
Group Discussion ◽  
Dance Movement ◽  
Traditional Dance ◽  
Dance Movements ◽  
West Sumatra

This article is intended to get the concept of Minangkabau dance movement in the context of ethnic philosophical values. Today, ninik-mamak, cadiak pandai, and alim ulama in West Sumatra develop ideas about Minangkabau philosophy in all aspects of life. How this idea is reflected in dance movements? To answer this question, a qualitative method is used by taking six samples of popular Minangkabau traditional dance. The data were collected using Focus Group Discussion, observation, and interviews to confirm previous findings. Through the triangulation technique, it is expected to obtain credible data and be analyzed using the models of Miles and Haberman. The results of this study indicate that the basic movements of Minangkabau dance are silat movements. The martial arts movement is the basis of movement used by many traditional dances in Minangkabau. Every district has its unique cultural values and identities and these values are manifested in dance created by dance activists.

Movement Analysis of Philippine Folk Dance Itik-itik

2019 ◽  
Vol 2 (1) ◽  
pp. 56-63
Author(s):  
Pangilinan Math C ◽  
Fontanilla Lyndo V ◽  
Pineda Israel C ◽  
Rocelle E Agtang ◽  
Soriano Ria M ◽  
...  
Keyword(s):  
Movement Analysis ◽  
Adductor Muscle ◽  
Mechanical Analysis ◽  
Muscle Group ◽  
Upper Body ◽  
Folk Dance ◽  
Dance Movement ◽  
Dance Teacher ◽  
Hip Muscle ◽  
Dance Movements

The purpose of the study was to describe and analyze the dance movements of the Philippine folk dance Itik-itik. The researchers adopted the movement analysis method similar to that of Mackenzie that involves the (1) description of the actual movements which occur at the joints involved; (2) the plane in which the movement occurs; and (3) the muscles producing the movement (agonist & antagonist). In addition, similar to the study of Martin and Miller, the researchers also had done a mechanical analysis on the lever type involved in the execution of the dance movement in terms of force, axis, and resistance. Results revealed that the prominent dance steps in the Philippine local dance Itik-itik are the (1) running, (2) cross step, slide close, slide close step, (3) heel, close-ball, close arm, (4) step, slide-close, slide, (5) arms extension/flexion, and (6) flapping of the arms. The joints involved are the shoulder and hip muscle which are ball and socket type of joints; and elbow, knee and ankle which are hinge joints. The major muscles involved in the dance for the lower body include the quadriceps, hamstring muscle group, adductor muscle group, calves and gluts. While for the upper body muscles involved are the pectoralis major, latissimus dorsi, deltoid, trapezius, biceps, and triceps muscles. The type of lever used in performing the dance comprise majority of 1st class and 3rd class levers. By knowing the muscles involved in the dance the dance teacher may be able to devise activities to gradually prepare the prime mover muscles before the actual execution for injury prevention. Thus, the movements in the dance may improve the health and skill related fitness of the performers.

Movement Retrieval from Long-Term Memory: Physical versus Mental Rehearsal

1987 ◽  
Vol 65 (2) ◽  
pp. 603-612 ◽  
Author(s):  
Susan L. Puretz
Keyword(s):  
Original Learning ◽  
Long Term Memory ◽  
Mental Rehearsal ◽  
Dance Movement ◽  
Term Memory ◽  
Covert Rehearsal ◽  
Significant Difference ◽  
Rehearsal Strategies ◽  
Dance Movements

Despite references in the psychomotor literature regarding the use of rehearsal strategies in recovering movements from longer term memory, no significant difference between physical (overt) and mental (covert) rehearsal strategies for retrieving a complex dance movement over 30 min., 2 days, and 1 wk. were observed for 72 college women in beginning dance classes. Further, no rehearsal was as effective as either physical or mental rehearsal for retrieving dance movements for up to 1 wk. after original learning by these inexperienced dancers. The findings raise the possibility that other forms of retrieval than those already proposed are used to recover complex dance movements from longer term memory.

scholarly journals 11. Continuity and Reinvention

2020 ◽  
pp. 317-342
Author(s):  
Sille Kapper
Keyword(s):  
Twentieth Century ◽  
Local Community ◽  
Folk Dance ◽  
Dance Movement ◽  
Traditional Dance ◽  
Round Dance ◽  
The Relationship

Kapper (Estonia) focuses mainly on the twentieth century, basing her discussion on information from folk dance collectors and researchers connected to the folk-dance movement. She surveys round dance forms described or referred to as part of this information, and discusses the relationship between round dances and other dances in a local community, particularly if that community was known as a stronghold of traditional dance. She also refers in brief to the folk-dance movement. In this way, she includes two of the groups mentioned above: the ‘dancing crowds’ and the folk dancers, and discusses the place round dancing has within each.

scholarly journals MENINGKATKAN MOTORIK KASAR USIA PRASEKOLAH MELALUI GERAKAN TARI PADA KELOMPOK B TK NURANI

2018 ◽  
Vol 1 (3) ◽  
pp. 48
Author(s):  
Endang Tri Sudaryanti ◽  
Kusniati Nursika Sahara ◽  
Rohmalina Rohmalina
Keyword(s):  
Early Childhood ◽  
Basic Education ◽  
Dance Movement ◽  
Motor Movement ◽  
Dance Movements ◽  
Motor Movements

This research is aimed at increasing rough motor on early childhood. At early childhood, There are a lot of developmental aspects that must be stimulated and one of this is the rough motor movement. Children’s rough motor movement is the ability of children in moving using big muscles. Nowadays there are schools that focused more on the smooth motor movement such as writing, cutting and others that is due to factors of parents and demands of calistung (reading, writing, and counting) to enter the basic education unit. Rough motor movements become abandoned, but researcher intended to increase children’s motor movement, not only in smooth motor movement but also rough motor movement. One of the activity to increase children’s rough motor movement is through dance activities for childrens. Through this dance movement, children’s rough motor movement can be stimulated and children is given varied instruction, not only doing basic movements such as jumping, running and others but the childrens are also able to perform other dance movements accompanied with music. Therefore children is not only learning but also able to recognize fun dance movements.

scholarly journals The Transformation of Karo Traditional Dance Movement in Modern Choreography Form Gegeh Gundala-Gundala

2020 ◽  
Vol 2 (3) ◽  
pp. 765-775
Author(s):  
Martozet ◽  
Nurwani
Keyword(s):  
Creative Process ◽  
Modern Dance ◽  
Energy Space ◽  
Traditional Values ◽  
Literature Study ◽  
Unique Form ◽  
Dance Movement ◽  
Narrative Study ◽  
Space And Time ◽  
Traditional Dance

This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern choreography rooted in new traditional values such as the theory conveyed by Soedarsono that modern dance is freedom in expressing movement techniques on stage, such as the Gegeh Gundala-Gundala choreography. The method in this research is. While the method of this research uses qualitative methods, describing a narrative study of dance creation including literature study, observation, studio work, and documentation. From the process of creating the Gegeh Gundala-Gundala choreography, a new and unique form was obtained, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala.

scholarly journals Synchronization of Dance Motion Data Acquisition using Motion Capture

2019 ◽  
Vol 9 (2) ◽  
pp. 3639-3642
Keyword(s):  
Motion Capture ◽  
Advanced Technology ◽  
Kinect Sensor ◽  
Depth Sensor ◽  
Body Frame ◽  
Dance Movement ◽  
Modern Culture ◽  
Motion Data ◽  
Depth Sensors ◽  
Dance Movements

Dance is a body activity that unites body movements, art and certain meanings. Dance performances are sometimes only performed at certain times, so that it is not well known by the public, especially young people today, especially classical dance. They are more interested in presenting a more modern culture because of the development of the times and more advanced technology. The lack of public knowledge about current dance moves has encouraged researchers to conduct motion capture research for dance movements using the Kinect sensor. This paper proposes a technique called mechanical motion capture to capture the motion of objects, namely the dance movement Golek Menak which is one of the classical dances in Indonesia. The proposed Kinect motion capture technique requires special input devices such as cameras with the ability to capture motion up to 2000 frames per second. Kinect has the facility of RGB camera and depth sensor (depth sensor). Kinect's advantages over other tools that can capture and track the movements or actions of threedimensional (3D) objects (humans and animals) accurately, without marking under certain lighting conditions by utilizing depth sensors. The results showed that the Kinect sensor was able to perform motion capture (MOCAP) techniques in dance movements accurately to produce the right body frame with the movement of dance props which subsequently developed the results in various fields, one of which was the development of motion characters for animation. The results of the synchronization of dance motion data and the capture of motion with motion capture then in this study were developed in the animation of dance movements

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