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.

Dance Identity

Chapter 7 examines dance works’ repeatability, that is, their capacity to appear in/through multiple (and potentially quite diverse) performance events. The philosophical problem of identity is introduced as the challenge of explaining when and why two or more performances are of the same work. The chapter explores situations where repeatability seems compromised because the dancer’s own body or personality is deeply implicated in her dance: distinctions are made between various kinds of cases, and an argument is made for repeatability being circumscribed when a dancer’s identity is built into the action-structure of a work. The chapter examines how far notation and scoring practices enable independent articulation of works, considering how notation and ontological views which centre on it (such as those of Nelson Goodman and Graham McFee) struggle to anchor performance identity. The chapter ends with a brief consideration of choreographic copyright practices and disputes and their relationship to ontological concerns.

Drowning in Swan Lakes

The chapter continues the discussion of dance identity, examining the problem posed by a specific case, the ballet Swan Lake. This ballet is often invoked in the existing philosophical literature on identity but arguably with insufficient attention paid to its historical genesis and development. The chapter argues that nineteenth-century ballet ‘classics’ are not central or paradigm cases of choreographic works in the modern sense. It also makes the case that the variously authored, individual productions titled Swan Lake are works in their own right rather than tokens of some overarching work-type. If there is an overarching Swan Lake type, then this is a very “thin” entity on which it is problematic to model an account of the identity conditions of later works, since that misrepresents their identity constraints. The discussion illustrates how identity issues—and work ontology more generally—are intertwined with historically contingent conceptualisations and practices.

SAMAN DANCE OF THE ACEH PEOPLE: IDENTITY AND ACTUALIZATION

This study aims to analyze the Saman dance of the Aceh people that focuses on the analysis of the function of Saman that becomes the identity of the Gayo people. The identity and the actualization of Saman in accordance to the religion and customs of the Gayo people include some aspects that create the dance of the Aceh people, such as: socio-religious life, philosophies, symbols, norms and ethics. In the analysis, Saman has some values that make it as the identity of the Aceh people in the present and future life.Keywords: Saman Dance, Identity, Actualization

Reenactment, Dance Identity, and Historical Fictions

Commentary on the recent trend toward performance “reenactment” suggests that there is something distinctive about how the phenomenon enables past dances to return. This raises ontological and identity questions that this chapter explores through three central cases: Fabian Barba’s (2009) A Mary Wigman Dance Evening, Philippe Decouflé’s (2012) Panorama, and the Kirov Ballet’s (1999) restaging of Marius Petipa’s The Sleeping Beauty. Do past dances reappear in reenactment, and, if so, how? Does the reenactment offer new tokens of a choreographic work type, or a redoing of a past performance event? Critically analyzing ideas central to the reenactment literature about the body-as-archive and affective history, the chapter argues for a conception of reenactment (alongside other models of dance reconstruction) as a form of historical fiction. As such, reenactment represents, rather than “re-instances,” past dances, hazarding and testing historical claims, by presenting thought experiments about how those dances might have been.

Greek Dance, Identity, and Difference in a Cosmopolitan Europe

Greek dance constitutes a lived culture of the masses that affirms the Greek identity and contributes to the diverse dance heritage of the European cultural landscape reflecting the idea of “unity in diversity.” In this paper, I explore the role of dance as a form of everyday nationalism during the current crisis. Does it act as a psychological boost and infuse pride to help overcome the crisis? Or are financial instability and the austerity measures imposed by the Troika provoking fears of loss of cultural identity and sparking a backlash in which dance is used for exclusive nationalist purposes?