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 The Transformation of Karo Traditional Dance Movements in the Form of Modern Choreography of Gegeh Gundala-Gundala

2020 ◽  
Vol 2 (3) ◽  
pp. 679-689
Author(s):  
Martozet ◽  
Nurwani
Keyword(s):  
Qualitative Methods ◽  
Creative Process ◽  
Modern Dance ◽  
Traditional Values ◽  
Literature Study ◽  
Unique Form ◽  
Creation Process ◽  
Narrative Study ◽  
Traditional Dance ◽  
Dance Movements

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.

scholarly journals MENGEKSPRESIKAN TARI TRADISI MELALUI PENGEMBANGAN GERAK DARI ASPEK TENAGA, RUANG, DAN WAKTU

2019 ◽  
Vol 8 (4) ◽  
pp. 1
Author(s):  
Indrayuda Indrayuda ◽  
Harisnal Hadi
Keyword(s):  
Energy Space ◽  
Development Effort ◽  
Creative Work ◽  
Dance Movement ◽  
Space And Time ◽  
Traditional Dance

Abstract This article aims to express and explain the issue of how to express traditional dance through the development of motion from aspects of power, space, and time. Traditional dance as a source of arable is developed in the form of new motifs, which are arranged in a structured manner so that it forms a new arable dance. New dance works that are rooted in traditional dance moves are choreographically subjected to reconstruction and modification, so that a creative work takes the form of an artistic, aesthetic, dynamic, and groove development effort that is processed in terms of power, space, and time. The development of these three aspects can shape traditional dance works into new Minangkabau dance works, which are more dynamic, harmonious and attractive. Keyword: Traditional dance, movement, energy, space and time.

scholarly journals ANALISIS KOREOGRAFI TARI KETIMANG BURONG SUKU SAWANG

JOGED ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 59-72
Author(s):  
Martha Sarassati Afnal
Keyword(s):  
Sequence Comparison ◽  
Daily Life ◽  
Energy Space ◽  
Motion Pattern ◽  
Transition Sequence ◽  
Space And Time ◽  
Choreographic Analysis ◽  
Male Dancers

Tari Ketimang Burong adalah sebuah pertunjukan tari yang lahir dari masyarakat suku Sawang Belitung. Tari ini adalah tari kelompok yang ditarikan oleh 6 orang penari laki-laki dan 6 orang penari perempuan secara berpasangan. Dilihat dari gerak, pola lantai, dan syair yang dilantunkan oleh para penyanyi memberikan gambaran mengenai kehidupan keseharian masyarakat suku Sawang yang dahulunya adalah suku yang menghabiskan hidupnya di lautan lepas.  Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi: keutuhan, variasi, repetisi, transisi, rangkaian, perbandingan dan klimaks.Dengan pendekatan Koreografi yang meliputi aspek bentuk, teknik, dan isi, serta menganalisis gerak tari dari aspek tenaga, ruang, dan waktu. Ketiga konsep tersebut merupakan satu kesatuan dalam bentuk tari yang tidak dipisahkan dan merupakan satu kesatuan bentuk tari yang utuh.  Tari Ketimang Burong suku Sawang merupakan suatu tari hiburan dengan bentuk koreografi tari kelompok. Koreografi dalam tari ini memiliki motif gerak yang sangat sederhana, setiap motif geraknya dilakukan berulang-ulang. Dari kesederhanan yang terdapat dalam tari Ketimang Burong menyimpan berbagai makna disetiap hal yang terkait dengan tari tersebut, diantaranya tema, gerak, kostum, pola lantai, dan syair yang menjadi aspek penting dalam tari Ketimang Burong. This researchment analyze choreography of Ketimang Burong as a dance that comes from Sawang’s People of Belitung. This dance is a group dance that was danced by 6 male dancers and 6 female dancers in pairs. This dance is a dance that’s very closely related to daily life of the Sawang’s people. Judging from the motion, pattern of the floor, and the lyrics that sung by the singer provide an overview of the tribe of Sawang people who were former as the tribe who spend their life  in the sea.  This Researchment uses choreography appoarch, covering the aspect of form, technique, and content. And analyze the motion of dance from the aspect of energy, space, and time. The three concepts are unity in the form of dance that is not separated and is a unified whole dance form. The understanding of choreographic analysis consists of the principles of deformity which include : wholeness, variety, repetition, transition, sequence, comparison and climax.  Ketimang Burong dance of Sawang’s people is a entertainment dance where the form of choreography is a group dance. Choreography in this dance has a very simply motif, it is like every single of motion motif is done repeatedly. From the simplicity of Ketimang Burong dance, there are various meaning in ever thing related to the dance among theme are theme, motion, costume, floor pattern, and poem which become important aspect in Ketimang Burong dance.

scholarly journals The Artistry and Creative Process in the Making of Malang Masks in East Java | Kesenian dan Proses Kreatif dalam Penciptaan Topeng Malang di Jawa Timur

SPAFA Journal ◽  
2021 ◽  
Vol 5 ◽  
Author(s):  
Guntur [n/a]
Keyword(s):  
Creative Process ◽  
Cultural Background ◽  
Qualitative Description ◽  
Facial Appearance ◽  
Unique Form ◽  
Common People ◽  
The Common ◽  
Visual Characteristics ◽  
Unique Style ◽  
And Function

The creative process in Malang mask making has a strong tradition of creation which has produced a unique form. The Malang mask art has been popularized based on the Panji story. Despite being properties of an art performance, the masks are works of art. The visual characteristics of the faces and their carved ornaments are the main elements that determine the typology of the mask’s facial appearance. The characteristics of form, color, expression, and function create a unique style or identity of the group of traditional mask artists in Malang. Masks can be classified according to four general types of character: the figure of Panji, antagonistic characters, servants, and animals. In terms of the traditionality of creation, including aspects of material, technique, and function in the community of craftsmen, the style of the masks refers to previously existing forms. This essay is a qualitative description of the artistry of Malang masks, through the formation of the Panji story – based on kidung as indigenous stories in the practice of adaptive Hinduism – and leaning on a dichotomy with the Kakawin form. Malang masks are used by the wayang topeng community in art performances to present the narration of the Panji story – against the spiritual cultural background of the common people. Process kreatif dalam pembuatan topeng Malang memiliki tradisi penciptaan yang kuat, dan telah menghasilkan bentuk yang khas. Topeng Malang dipopulerkan berdasarkan kisah Panji. Meskipun menjadi properti seni pertunjukan, topeng adalah karya seni. Karakteristik visual wajah dan ornamen ukir merupakan elemen utama yang membentuk tipologi perwajahan topeng. Karakteristik pada bentuk, warna, ekspresi, serta fungsi, menghasilkan gaya atau identitas unik dari kelompok seniman topeng tradisional di Malang. Klasifikasi topeng ada pada empat tipologi umum karakter tokoh: sosok Panji, tokoh antagonis, tokoh abdi, dan tokoh binatang. Dari sisi tradisionalitas penciptaan, yaitu aspek materialitas, teknik, dan fungsinya di komunitas perajin, gaya topeng mengacu kepada bentuk topeng yang ada sebelumnya. Esai ini mendeskripsikan secara kualitatif perwujudan artistik topeng Malang, melalui formasi kisah Panji - berdasarkan kidung sebagai cerita asli dalam praktek Hinduisme adaptif - dan bersandar pada dikotomi dengan bentuk Kakawin. Topeng Malang digunakan oleh masyarakat topeng wayang dalam pertunjukan seni untuk menampilkan narasi kisah Panji - dengan latar belakang kultural spiritual orang biasa.

Dudley, Jane (1912–2001)

2018 ◽  
Author(s):  
Victoria Phillips Geduld
Keyword(s):  
New York ◽  
Professional Training ◽  
Modern Dance ◽  
The United States ◽  
London School ◽  
Contemporary Dance ◽  
Martha Graham ◽  
Dance Movement ◽  
The Social ◽  
Political Works

Jane Dudley, a key figure in the radical dance movement of the 1930s, was a choreographer who developed her own distinctive voice within the modern dance idiom and an educator who trained numerous dancers both in the United States and in England. An early member of the New Dance Group (NDG), she oversaw the creation of group works such as Strike (1934), while choreographing solos such as Time is Money (1934), in which she used the modern dance idiom to embody a worker’s oppression on the assembly line. A striking performer, Dudley joined the Martha Graham Company in the mid-1930s. At the same time, she continued to develop her own repertoire, in part through the Dudley–Maslow–Bales Trio, whose founders—Sophie Maslow, William Bales, and herself—remained committed to the social ideals of the 1930s long after they had abandoned the making of overtly political works. Dudley’s loyalty to NDG extended over several decades during which it became a major New York training venue, offering inexpensive classes and professional training to promising students, including many African Americans. From 1970 to 2000, Dudley directed the London School of Contemporary Dance, transforming it into one of Europe’s leading modern dance institutions.

scholarly journals Inevitable Designs: Embodied Ideology in Anna Sokolow's Proletarian Dances

2013 ◽  
Vol 45 (2) ◽  
pp. 5-23 ◽  
Author(s):  
Hannah Kosstrin
Keyword(s):  
Social Justice ◽  
Middle Class ◽  
Working Class ◽  
Case History ◽  
Critical Role ◽  
Modern Dance ◽  
Left Wing ◽  
Martha Graham ◽  
Dance Movement ◽  
Going Public

Anna Sokolow (1910–2000), an American Jewish choreographer known for her social statements, led the workers dance movement and performed as a soloist with Martha Graham. She imbued her dancesStrange American Funeral(1935) andCase History No.—(1937) with proletarian ideology that spoke to 1930s working- and middle-class audiences aligned with values of revolutionary and modern dance. These choreographies spoke to a political atmosphere focused on social justice while they appealed to a broad dance-going public. Sokolow's Graham training engendered a modernist aesthetic in her choreography that led critics to consider her work universal instead of marked as coming from a working-class left-wing Jewish dancer. This article argues that while narratives about Sokolow's work downplay her Communist affiliations, these ideals played a critical role in her choreography and in her navigation of international Communist circles. As Sokolow's choreography reinforced her politics, so too did her affiliations support her dance work.

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 “Feeling” in Modern Dance Print Media: Loïe Fuller, Isadora Duncan, Maud Allan

2021 ◽  
Author(s):  
Emma Doran
Keyword(s):  
New York ◽  
Print Media ◽  
Modern Dance ◽  
New York Times ◽  
Regular Feature ◽  
Traditional Dance ◽  
Isadora Duncan ◽  
Modern Dancers ◽  
Style Of Writing ◽  
Loie Fuller

Between 1890 and 1920, modern dancers such as Isadora Duncan, Loïe Fuller, and Maud Allan presented a new performative aesthetic in dance. Breaking from the narrative storytelling that dominated nineteenth-century vaudeville and ballet, these dancers advanced non-narrative movement, thereby encouraging a new aesthetic engagement from the audience, namely, one that was rooted in notions of corporeal sensation rather than narrative telos or (melo)dramatic pathos. These new responses, this dissertation argues, are reflected in the new tactics for writing the dancing body, which at once render problematic the putative objectivity of journalistic criticism and reveal the limits of traditional dance criticism’s focus on intricate technique and plot line. This dissertation pursues its argument by studying over 300 print reviews of dances performed by Fuller, Duncan, and Allan between 1890 and 1920 culled from North-American archives and representing a spectrum of print media—from mainstream national media, such as The New York Times, to regional newspapers, to more specialized theatre magazines—to reveal compelling insight into hermeneutic entanglements of language and movement. Informed by the work of recent performance studies (e.g. Phelan; Schneider; Taylor), this dissertation approaches this body of dance reviews from an inverse perspective from that represented by traditional dance history scholarship. That is, instead of reading reviews as documentation in order to understand these dances, the study explores how reviewers perform criticism, thus framing our understanding of modern dance in specific ways. This dissertation engages with the correlation between media and performance as either documentary or performative, arguing that writing performance offers promises for both types of engagement with the live event. Collectively, these reviews reveal that dance criticism involved a metacritical reflection on the significance of the critical writing act itself, and advanced a style of synesthetic metaphor to describe novel kinesthetic experiences of spectatorship. Ultimately, the new tactics to modern dance criticism not only revealed a crisis in articulation but prompted a performative style of writing dance criticism that went in tandem with the development of the dance review genre itself, whose placement in popular print media was mounting to become a regular feature by the 1930s.

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.

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