Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali

This article aims to discuss the Renteng Dance in Saren Village, Nusa Penida, which is actually the forerunner of the Rejang Renteng Dance performance, which is now widely danced by mothers in the context of the dewa yadnya ceremony in Bali. Supposedly, as the forerunner of ceremonial dance performances, the Balinese people know the Renteng Dance. However, in reality, this is not the case. Balinese people seem to know more about the Rejang Renteng Dance than the Renteng Dance. (1) What is the form of the Renteng Dance in Saren Village? (2) Why is the Renteng Dance the source of the creation of ceremonial dance in Bali? This study uses a qualitative method with research data sources such as Renteng Dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. Aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observation, interviews, and literature review. The study results show that: (1) the community in Saren Village presents Renteng Dance in the form of a freelance dance (without a play). It can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of Renteng Dance is the source of the creation of ceremonial dance in Bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. The new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts.

“SUICIDE” ON THE KHARKIV STAGE: MUSIC AND STAGE READING BY S. PASICHNYK – H. FROLOV

Statement of the problem. The article examines the theatrical heritage of Les Kurbas, the founder of Shevchenko Kharkiv Academic Ukrainian Drama Theatre (originally called «Berezil»). Les Kurbas is the reformer of the Ukrainian theater; his theatrical ideas demonstrate a new understanding of the synthesis of the arts. He concentrated his creative aspirations not only on acting, but also on all components of the performance, in particular on music. The paper examines methodically the application of the basic principles of Les Kurbas Theatre – the co-authorship of the director and composer – in Kharkiv theatre. The article also studies the works by H. Frolov – talented Kharkiv composer. The critical legacy dedicated to the works of Les Kurbas does not fully illuminate the uniqueness of his views regarding directing and the originality of the musical language in the genre of dramatic performance (CherkashynaHubarenko, 2002; Hordieiev, 2003; Yermakova, 2012; Labinska, 2012). There are a number of works devoted to the issues of music in theater (Kurysheva, 1984; Kozyurenko, 1986; Tarshis, 2010; Matsepura, 2013; Lesakova, 2017; Oseeva, 2019; Kovalchuk, 2017; Nurtazin, 2013; Spagnolo, 2017). The novelty of our research. The paper investigates musical component in the current practice of Shevchenko Kharkiv Academic Ukrainian Drama Theatre and creative method of its leading composer H. Frolov. The aim of the article is to reveal the interconnection of music with the stage elements of the performance. The study of the stage play “Suicide” in Kharkiv Drama Theater required the implementation a number of scientific approaches: historical and genetic, studying the modern function of music in the analyzed dramatic performance in Kharkiv Drama Theater, the origins of which go back to Kurbas “Berezil”; a comparative analysis, revealing the ways of preserving old traditions in modern performance; genre analysis, investigating the embodiment of the comedy dell arte in the musical scenes; stylistic analysis, revealing the composer’s thinking in making the director’s decision regarding stagecraft. The presentation of the main material. The article analyzes a musical component in the stage performance “Suicide” based on the play by Nikolay Erdman (1928), reinterpreted by our contemporaries – the stage director Stepan Pasichnyk and the composer Henadii Frolov. The work reviews the production itself and the acting troupe. The article outlines the inheritance and development of the traditions in Les Kurbas Theatre regarding the mutual work of the composer and director, aimed at the organic fusion of the stage action and musical accompaniment of the performance. Conclusions. Dramaturgical and genre-compositional analyzes of the performance detected such distinctive features of the individual style of H. Frolov as: musical organization of the stage with one intonation, which, depending on the drama, can be flexible and transformative, acquiring new meanings and qualities and thus making the musical development monothematic; unity of the figurative and semantic layers of music with the director’s concept of the performance; transformation of genre features of tragic farce and commedia dell’arte.

When Musical Accompaniment Allows the Preferred Spatio-Temporal Pattern of Movement

A musical accompaniment is often used in movement coordination and stability exercise modalities, although considered obstructive for their fundament of preferred movement pace. This study examined if the rhythmic strength of musical excerpts used in movement coordination and exercise modalities allows the preferred spatio-temporal pattern of movement. Voluntary and spontaneous body sway (70 s) were tested (N=20 young women) in a non-musical (preferred) and two rhythmic strength (RS) musical conditions (Higher:HrRS, Lower:LrRS). The center of pressure trajectory was used for the body sway spatio-temporal characteristics (Kistler forceplate, 100 Hz). Statistics included paired t-tests between each musical condition and the non-musical one, as well as between musical conditions (p≤0.05). Results indicated no significant difference between the musical and the non-musical conditions (p>0.05). The HrRS differed significantly from LrRS only in the voluntary body sway, with increased sway duration (p=0.03), center of pressure path (p=0.04) and velocity (p=0.01). The findings provide evidence-based support for the rhythmic strength recommendations in movement coordination and stability exercise modalities. The HrRS to LrRS differences in voluntary body sway most possibly indicate that low-frequency musical features rather than just tempo and pulse clarity are also important.

Imitation On The Jaranan Buto Banyuwangi Musical Presentation Structure

Jaranan Buto is one of the arts that live in Banyuwangi in addition to other arts. As a performing art, in every presentation Jaranan Buto uses accompanying music. At the beginning of its creation, the musical accompaniment of Jaranan Buto consisted of several instruments and pieces. Over time, the musical accompaniment of Jaranan Buto has experienced developments so as to form a structure for presenting the musical accompaniment of Jaranan Buto which is now commonly used. This study discusses the structure of the musical accompaniment of Jaranan Buto and its various imitations. This study used a descriptive qualitative approach by interviewing Setro Asnawi (80 years) as the creator of Jaranan Buto and Mariyono (55 years) as the second generation of Jaranan Buto Sekar Diyu dancers who were still active until this research was written. Analysis of research data starts from domain analysis, observation focused on the accompaniment of Jaranan Buto from the beginning of the stage, trance to exiting the stage, taxonomic analysis, selected observations to the final stage, namely component analysis. From these results it can be concluded that the elements of musical imitation in the accompaniment of Jaranan Buto consist of imitation of musical instruments and imitation of pieces performed from other arts.

The Relationship Between Musical Accompaniment Learning Media and the Skills Learning Outcomes of Participants in Traditional Minangkabau Dance Training at Baiturrahmah Studio Padang City

This research was motivated by the success of the Baiturrahmah Studio in carrying out training activities. This can be seen from the activeness of the training participants in participating in training activities and the large number of participants invited to major events. This is because the media used in the training activities use direct music accompaniment that is played by the musician. The purpose of this study was to determine the relationship between the musical accompaniment learning media and the learning outcomes of the training participants at the Baiturrahmah Studio, Padang City. This type of research is a quantitative study that deals with a population of 40 people. The sampling technique used a random sample per cluster which was taken as much as 75% of the population. The number of samples in this study were 30 people. The data collection technique used was the data collection technique used by the researcher in this study, namely a questionnaire, while the data collection tool used by the researcher was a list of statements. Data analysis techniques used percentages and product moments. The results of this study indicate that: (1) The learning media of musical accompaniment in the implementation of traditional dance training are in accordance with the objectives to be achieved, (2) The learning outcomes of participants in traditional dance training are high, (3) There is a significant relationship between the use of media. learning with the results of learning the skills of traditional dance training participants. The hope of this research is to keep using and increasing the use of music accompaniment learning media in the implementation of traditional dance training. Keywords: Training Success, Music Accompaniment Media

Values Of Religious Education in Begalan Tradition from Banyumas District, Central Java Province

Begalan is an original tradition of Banyumas, Central Java which is performed in a series of wedding ceremonies. Begalan is a combination of dance, speech, and comedy, which is performed with musical accompaniment. The Begalan tradition contains the values of religious education which is full of advice and teaching. Community life is closely related to culture or tradition, including Javanese culture. The interrelation between Islamic teachings and Javanese culture includes the meaning of the contents of brenong kepang, including ilir, ian, cething, kusan, centhong, irus, siwur, tampah, pari, ciri-muthu, suket, suluh, kendil, and broom stick. In each of these household appliances, there is a meaning of religious knowledge. This research was conducted with a qualitative approach. Data obtained through interviews, observation, documentation, and FGD. The purpose of this study was to reveal the values of religious education in the begalan tradition along with the preservation challenges it faces. The begalan tradition has Islamic educational values, such as the value of monotheism education, the value of religious education, the value of moral education, and the value of social education. Everything related to this tradition certainly needs to be done by all parties so that this divine heritage can be preserved and not extinct.

Effects of underscoring on the perception of closure and intensity in film excerpts

In 3 experiments, we examined the influence of musical underscoring on judgments of closure in filmed events. In Experiment 1, a 12 s animated episode was judged to end with greater closure if underscoring was strongly closed than if it was weakly closed. This influence of music was implicit: When asked to justify their judgments, participants mainly cited only qualities of the visual information. Experiment 2 provided evidence that music can influence perceived closure in longer film episodes, but it also revealed that musical accompaniment does not always influence judgments of closure. Experiment 3 examined the effect of underscoring for 12 brief film excerpts from a commercial motion picture. Ratings of closure were obtained for 3 conditions: underscores only, films without underscores, and films with underscores. Again, underscoring influenced perceived closure in films. However, ratings of closure were more heavily influenced by visual information than by underscoring. Other effects of closure in film music are discussed.

Effects of underscoring on the perception of closure and intensity in film excerpts

In 3 experiments, we examined the influence of musical underscoring on judgments of closure in filmed events. In Experiment 1, a 12 s animated episode was judged to end with greater closure if underscoring was strongly closed than if it was weakly closed. This influence of music was implicit: When asked to justify their judgments, participants mainly cited only qualities of the visual information. Experiment 2 provided evidence that music can influence perceived closure in longer film episodes, but it also revealed that musical accompaniment does not always influence judgments of closure. Experiment 3 examined the effect of underscoring for 12 brief film excerpts from a commercial motion picture. Ratings of closure were obtained for 3 conditions: underscores only, films without underscores, and films with underscores. Again, underscoring influenced perceived closure in films. However, ratings of closure were more heavily influenced by visual information than by underscoring. Other effects of closure in film music are discussed.

Contemporary State of Readiness of First School Pedagogues to Use Pro-Health Education Technologies

The article includes the current issues of maintaining the health of younger students, namely determining the readiness of primary school teachers to use pro-health technologies in the educational process. For this purpose, a teacher survey was used, and the results of the experi-mental study were analyzed and generalized. Teachers' answers to thirteen questions of the survey were described in detail, and the ranking of exercises used by teachers during "PE-minutes" during primary school lessons was presented. It was concluded that the use of health-promoting technologies is not a very widespread phenomenon in the practice of primary school tea-chers. The least used are aromatherapy, color therapy, musical accompaniment and art technology. On the basis of the received conclusions, it was predicted that the basic condition for the functioning of a health-promoting educational environment is the use of a complex of functional components, ensuring the integrity and effectiveness of influencing the conscious behavior of students.

“The Meranaw Rina-rinaw and its Emerging Semiotic Resources”

This study aims to discover the emerging semiotic resources found in the Meranaw rina-rinaw. Through semiotic analysis, this ethnographic research determines how faithful the rina-rinaw has remained to the prototype, the traditional bayok, or how far it has drifted from the latter. Specifically, this study seeks to identify and discuss how the semiotic resources contribute to the meaning-making function of the rina-rinaw. The findings revealed the emerging semiotic resources such as the use of guitar as a musical accompaniment, the wearing of modern evening gowns instead of the Meranaw traditional malong or landap, transfer of the setting from the torogan to a private residence or more public place, and less formality and exclusiveness of the contemporary rina-rinaw event which, unlike the traditional bayok, is performed for the delectation of the general public. These semiotic resources have evolved in its own time. There are also evidence of departures or breaks where singers no longer exhibit the typical Meranaw arts of “kakini-kini” and “kakurum.” Instead, the onor walks naturally toward the stage. Moreover, the rina-rinaw event is open for everyone. The audience is no longer as exclusive as that of the traditional bayok; it is more heterogeneous. The participants could become rowdy or boisterous.