Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali.

Reimagining the Brown Body

William Forsythe’s screendance Alignigung (2016) depicts two male dancers, one fair- and the other brown-skinned, in hyperflexible and intimate configurations that vacillate between object and human. Alignigung engages with an egalitarian ethos along the same lines as contact improvisation but further demonstrates an alternative masculinity through movement qualities by reimagining the stereotypical brown body.

Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping

Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.

Koreografi “PETI = MATI”: Otokritik Fenomena Sosial Dompeng di Sarolangun, Jambi

Koroegrafi titled "PETI = Dying" is the result of the interpreter's imagination and imagination in pouring ideas into the form of works about PETI or Dompeng activities. PETI or Dompeng is a mining business that is carried out by individuals, groups of people or companies with legal entities whose operations do not have permits from government agencies in accordance with applicable laws and regulations. Miners are supported by large investors who use heavy equipment to dredge sand and river so that it can quickly cause damage along the watershed. To purify gold, miners use mercury, then dump their waste directly into the river. Disposal of mercury poison is very severe in the upper area of Batang Tembesi. Choreography is arranged based on abstract type supported by setting and music to convey the message and impression of the dance work. The foothold in choreography departs from forms of pure motion, namely the activities of gold miners. To convey the contents of the choreography will be strengthened by seven dancers consisting of six male dancers and one female dancer. With the theme of life, who wants to convey messages and impressions to the audience about the importance of protecting natural resources and environmental preservation. The concept of this work is the result of observations of the workman, especially what happened in his personal life where the workmanship of the workman who was born and delivered in Sarolangun felt his direct impact. To visualize arable ideas into dance works.

KESENIAN RONGGIANG PASAMAN GROUP RANAH SAIYO DARI BENTUK HIBURAN KE BENTUK PERTUNJUKAN

This study aims to reveal the art of Ronggiang Pasaman of Ranah Saiyo group from entertainment to performance form. This is a qualitative research using analytical descriptive method. The main instrument in this study was the researcher it self with primary and secondary data. The data were collected throughliterature study, observation, interview, and documentation. The object of this research was Ronggiang Pasaman Art of Ranah Saiyo group. The results show that Ronggiang is the only entertainment dance which has its own characteristics, uniqueness, and beauty from other entertainment dances in AuaKuniang village. Ronggiang can be seen from the form of presentation. Ronggiang is danced by three or four dancers. There are male dancers and one of which acts as singer. This is due to the fact that in ancient times women were prohibited to dance in crowd by the customs of Aur Kuning community. The place to show Ronggiang performance is not arbitrary because the performanceis arranged as well as possible. Music in Ronggiang is the main support which serves to provide atmosphere and enthusiasm for the dancers and the audiences who watch it. The differences can be seen from the entertainment and performance form Ronggiang. Ronggiang performance usually serves as entertainment for the community. Such entertainment is performed in some events such as Mamasak, maaghak-aghak, youth events, and West Pasaman's Birthday. As for the show, it is usually performed in a special place.Keywords: ronggiang pasaman, form of entertainment, form of performance.

Assimilation

Chapter 2 theorizes the flexibility of, specifically, male British South Asian dancers in relation to debates about assimilation and citizenship that (re-)emerged in the wake of the July 7, 2005, terrorist attacks in London. In neoliberalism, assimilation is required to participate in globalized capitalist markets; otherness must either be integrated or eliminated. The 7/7 bombings, carried out by four British citizens, called into question the allegiance of Britain’s South Asian/Muslim communities, which led to hotly contested debates about the perceived failures of multiculturalism to assimilate Britain’s “Others.” The bombings ossified stereotypes of the British Asian/Muslim man as “rigid” and “inflexible” (in beliefs and ideologies), unable or unwilling to assimilate. Analyzing works by three choreographers, zero degrees (2005) and Abide with Me (2012) by Akram Khan, Faultline (2007) by Shobana Jeyasingh, and Quick! (2006) by Nina Rajarani, this chapter examines how British South Asian choreographers countered popular (mis)conceptions of British Asian/Muslim men as rigid and inflexible in the post-7/7 national imaginary by staging more fluid, flexible, and, thus, more assimilable British Asian masculinities. It also foregrounds the onstage and offstage experiences of some of the male dancers in these works and how they navigated increased surveillance, racism, and restrictions on movement in the aftermath of the bombings.

The Beighton Score and Injury in Dancers: A Prospective Cohort Study

Context: Joint hypermobility has a high prevalence in dancers and may be associated with injury and performance. Objectives: To investigate whether total Beighton score can predict injury and to determine the relationship between joint hypermobility and injury, and to report injury demographics. Design: A prospective cohort injury study. Setting: Edge Hill University dance injury clinic. Participants: Eighty-two dancers (62 females, 20 males). Main Outcome Measures: Joint hypermobility via the Beighton score ≥4 with lumbar flexion included and removed. Results: A total of 61 dancers were classified as hypermobile, which was reduced to 50 dancers with lumbar flexion removed. A significant difference existed between pooled total days injured in hypermobile dancers and nonhypermobile dancers with lumbar flexion included (P = .02) and removed (P = .03). No significant differences existed for total Beighton score between injured and noninjured groups with lumbar flexion included (P = .11) and removed (P = .13). Total Beighton score was a weak predictor of total days injured (r2 = .06, P = .51). In total, 47 injuries occurred in 34 dancers, and pooled injury rate was 1.03 injuries/1000 hours. Receiver operating characteristic curve analysis demonstrated an area under the curve of 0.83 for male dancers with lumbar flexion removed, which was considered diagnostic for injury. Conclusions: The Beighton score can be utilized to identify dancers who may develop injury. Clinicians should consider the role of lumbar flexion in total Beighton score when identifying those dancers at risk of injury. Different injury thresholds in female and male dancers may aid injury management.