Pedagogical Competency of Dance Instructors in The Training of Malay Court Dance Skills Among Upper Secondary Students at Johor National Art School

Dance pedagogy is a complex and dynamic field of competency that involves various skills and self-appearance. Therefore, dance instructors must widen the scope of their competency to strengthen and improve their level. This research aimed to identify the competency of dance instructors teaching the practical subject of Malay Court Dance based on factors including the components of pedagogy, curriculum, assessment, and professionalism. The data was collected from interviews with the instructors and was analyzed through thematic analysis. The findings indicated that the instructors’ competency level development could be mapped into three dimensions, namely orientation, agent, and competency content. It was concluded that art schools in Malaysia need to develop dance instructors’ competency in terms of (1) 21st-century learning needs, (2) vertical and horizontal knowledge sharing, (3) workshop, study tour, and competition, and (4) standardization of technological development relevant for curriculum, across knowledge, practical, and feeling domains.

The quest of finding the self in the Bedhaya: Unravelling the psychological significance of the Javanese sacred dance

The Bedhaya is the avant-garde of Yogyakarta and Surakarta (Java, Indonesia) court dance. This classical dance replete with Javanese symbols, spirituality and cultural values embedded in its aesthetic elements. Furthermore, the Bedhaya was created not for entertainment but rather as a meditative medium that would allow individuals to gain wisdom and higher consciousness. These noble characteristics of the dance suggest that the Bedhaya has psychological purposes for the performers and the spectators. We may gain insight into the process of attaining mental growth through studying the embodied wisdom and aesthetic ideal of the Bedhaya, which reflects the development of the human’s psyche. Therefore, the author proposes an interpretation of Bedhaya’s underlying symbolism, aesthetic experience, and potential as means of psychological growth. The paper’s primary argument is delivered by studying a set of theoretical ideas that present Bedhaya as a distinguished aesthetic with psychological capacities. Further, art as an embodiment of cultural wisdom and ethics is also discussed by connecting Bedhaya and other artistic forms drawn from varied cultures.

Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example

Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.

Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta

AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.

Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta

AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.