DOCSLIB.ORG

“Saweran Sebagai Bentuk Interaksi Simbolik Antara

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Saweran Sebagai Bentuk Interaksi Simbolik Antara “SAWERAN SEBAGAI BENTUK INTERAKSI SIMBOLIK ANTARA PEMAIN DAN PENONTON DALAM TARI REOG GONDORIYO PADA KESENIAN BARONGAN SINGO LODRO DI DESA TODANAN KECAMATAN TODANAN KABUPATEN BLORA” SKRIPSI untuk memperoleh gelar Sarjana Pendidikan (S1) Oleh: Nama : Selvi Widya A NIM : 2501412154 Program Studi : Pendidikan Seni Tari Jurusan : Pendidikan Seni Drama Tari dan Musik JURUSAN SENI DRAMA TARI DAN MUSIK (PENDIDIKAN TARI) FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2017 i PERSETUJUAN PEMBIMBING Skripsi dengan judul “Saweran Sebagai Bentuk Interaksi Simbolik Antara Pemain Dan Penonton Dalam Tari Reog Gondoriyo Pada Kesenian Barongan Singo Lodro Di Desa Todanan Kecamatan Todanan Kabupaten Blora” telah disetujui oleh pembimbing untuk diajukan ke Sidang Panitia Ujian Kripsi Semarang, 11 Agustus 2017 Pembimbing I Pembimbing II Drs. Bintang Hanggoro P. M. Hum.. Restu Lanjari, S.Pd, M.Pd. NIP. 196002081987021001 NIP. 196112171986012001 ii PENGESAHAN KELULUSAN Skripsi ini telah dipertahankan di hadapan sidang Panitia Ujian Skripsi Jurusan Seni Drama, Tari dan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Semarang pada hari : Jumat tanggal : 11 Agustus 2017 Panitia Ujian Skripsi Prof. Dr. Agus Nuryatin, M. Hum. (196008031989011001) Ketua Abdul Rachman, S.Pd.M.Pd (198001202006041002) Sekertaris Dra. Eny Kusumastuti, M.Pd (196804101993032001) Penguji I Restu Lanjari, S.Pd, M.Pd (196112171986012001) Penguji II/Pembimbing II Drs. Bintang Hanggoro P, M. Hum. (196002081987021001) Penguji III/Pembimbing I Prof. Dr. Agus Nuryatin, M. Hum. (196008031989011001) Dekan Fakultas Bahasa dan Seni iii PERNYATAAN Saya menyatakan bahwa yang tertulis di dalam skripsi yang berjudul “Saweran Sebagai Bentuk Interaksi Simbolik Antara Pemain Dan Penonton Dalam Tari Reog Gondoriyo Pada Kesenian Barongan Singo Lodro Di Desa Todanan Kecamatan Todanan Kabupaten Blora” adalah benar-benar hasil karya saya sendiri, bukan dari karya orang lain, baik sebagian atau seluruhnya. Pendapat atau temuan orang lain yang terdapat dalam skripsi ini dikutip atau dirujuk berdasarkan kode etik ilmiah. Semarang, 11 Agustus 2017 Selvi Widya Astuti NIM. 2501412154 iv MOTTO DAN PERSEMBAHAN Motto : Sesungguhnya sesudah kesulitan pasti ada kemudahan, maka apabila kamu telah selesai dari satu urusan, maka kerjakanlah dengan sungguh-sungguh urusanmu yang lain. Berangkat dengan penuh keyakinan, berjalan dengan penuh keikhlasan, bersabar dalam menghadapi cobaan (Selvi Widya Astuti) Persembahan: 1. Kedua orang tuaku tercinta Bapak Widodo dan Ibu Winarni 2. Bapak dan Ibu Dosen Pendidikan Sendratasik Fakultas Bahasa dan Seni, Universitas Negeri Semarang 3. Adiku Agung Wisnu Aji 4. UNNES Semarang v PRAKATA Puji syukur kehadirat Allah SWT atas segala rahmad dan hidayah-Nya yang telah memberikan kelancaran penulis dalam menyelesaikan tugas akhir skripsi dengan judul “Saweran Sebagai Bentuk Interaksi Simbolik Antara Pemain Dan Penonton Dalam Tari Reog Gondoriyo Pada Kesenian Barongan Singo Lodro Di Desa Todanan Kecamatan Todanan Kabupaten Blora.” Berkat bimbingan, bantuan dan dorongan dari berbagai pihak, akhirnya penulis dapat menyelesaikan penyusunan skripsi dengan baik. Penulis menyampaikan banyak terimakasih kepada: 1. Prof. Dr. Fathur Rochman, M.Hum., Rektor UNNES yang telah memberikan kesempatan untuk menyelesaikan studi S1 di Universitas Negeri Semarang. 2. Prof. Agus Nuryatin, M.Hum., Dekan Fakultas Bahasa dan Seni Universitas Negeri Semarang yang telah memberikan izin untuk melaksanakan penelitian. 3. Dr. Udi Utomo, M.Si., Ketua Jurusan Pendidikan Sendratasik FBS Universitas Negeri Semarang yang telah memberikan izin untuk melaksanakan penelitian. 4. Drs. Bintang Hanggoro Putra, M. Hum., Dosen Pembimbing I yang telah mencurahkan waktunya untuk membimbing penulis dalam penyelesaikan tugas akhir skripsi. 5. Restu Lanjari, S.Pd, M. Pd, Dosen Pembimbing II yang telah membimbing dan memberikan saran-saran dalam penyusunan skripsi. vi 6. Bapak dan Ibu Dosen Pendidikan Sendratasik Fakultas Bahasa dan Seni, Universitas Negeri Semarang 7. Seluruh keluarga besar Dinas Kebudayaan dan Pariwisata Kabupaten Grobogan yang telah membantu dalam memperoleh data untuk menyelesaikan tugas akhir skripsi penulis. 8. Widodo, Ketua grup Kesenian Barongan Singo Lodro yang telah banyak memberikan informasi dan membantu dalam proses pengambilan data 9. Seluruh keluarga besarku yang telah memberi semangat dan dorongan dalam menyelesaikan pendidikan S1. 10. Teman-teman Pendidikan Seni Tari angkatan 2012 yang telah berjuang bersama untuk memperoleh gelar Sarjana Pendidikan. 11. Semua pihak yang membantu penulis dalam menyelesaikan skripsi yang tidak dapat disebutkan satu persatu. Penulis berharap skripsi ini dapat bermanfaat bagi para pembaca sehingga menambah khasanah pengetahuan tentang Kesenian. Semarang,Agustus 2017 Penulis Selvi Widya Astuti vii SARI Astuti, Selvi Widya. 2017. Saweran Sebagai Bentuk Interaksi Simbolik Antara Pemain Dan Penonton Dalam Tari Reog Gondoriyo Pada Kesenian Barongan Singo Lodro Di Desa Todanan Kecamatan Todanan Kabupaten Blora. Skripsi. Jurusan Pendidikan Seni Drama, Tari, dan Musik. Fakultas Bahasa dan Seni. Universitas Negeri Semarang. Pembimbing I: Drs. Bintang Hanggoro Putra, M.Hum. , Pembimbing II: Restu Lanjari, S.Pd, M.Pd Kata Kunci: Saweran Sebagai Interaksi Simbolik, Tari Reog Gondoriyo, Todanan Tari Reog Gondoriyo merupakan salah satu Tari kreasi baru yang berkembang di Kabupaten Grobogan. Tari Reog Gondoriyo merupakan gambaran dari seorang bapak yang sedang menimang anaknya, oleh karena itu pokok permasalahan dalam penelitian ini adalah Bagaimana bentuk penyajian Tari Reog Gondoriyo, Bagaimana bentuk saweran sebagai interaksi simbolik antara pemain dengan penonton pada Tari Reog Gondoriyo. Tujuan dari penelitian ini yaitu untuk mengetahui bentuk penyajian Tari Reog Gondoriyo dan bagaimana bentuk saweran sebagai interaksi simbolik antara pemain dengan penonton pada Tari Reog Gondoriyo di Kesenian Barongan Singo Lodro di Desa Todanan, Kecamatan Todanan Kabupaten Blora. Penelitian yang dilakukan peneliti menggunakan metode kulitatif yang menghasilkan data deskriptif dengan Pendekatan yang digunakan dalam penelitian ini adalah pendekatan sosial. Teknik pengumpulan data dilakukan dengan observasi, wawancara dan dokumentasi, serta triangulasi yang sekaligus sebagai teknik keabsahan data. Data yang dikumpulkan berupa informasi yang berkaitan tentang saweran sebagai interaksi simbolik antara penari dan penonton dalam Tari Reog Gondoriyo yang membagi analisis data menjadi tiga bagian yaitu reduksi data, paparan data, dan penarikan kesimpulan atau verifikasi. Hasil penelitian mengemukakan bahwa bentuk penyajian Tari Reog Gondoriyo pada Kesenian Barongan Singo Lodro di Desa Todanan Kecamatan Todanan Kabupaten Blora dapat dilihat dari aspek: tema, pelaku, gerak, musik/iringan, tata rias, tata busana, pola lantai. Saweran sebagai bentuk interaksi simbolik Tari Reog Gondoriyo pada Kesenian Barongan Singo Lodro di Desa Todanan Kecamatan Todanan Kabupaten Blora meliputi : Bentuk Saweran tahun 50-an, bentuk saweran pada Tari Reog Gondoriyo di tahun 50-an para penonton memberi uang saweran dengan cara melemparkan uang dibawah para penari, bentuk saweran pada Tari Reog Gondorio pada tahun 2016 cara pemberian saweran dari penonton ke penari sama-sama menggunakan mulut. Saran penelitian yaitu bagi seniman Tari Reog Gondoriyo, adanya kreativitas seniman untuk memperindah sajian Tari Reog Gondoriyo baik gerak atau bentuk saweran, yang khususnya memperjelas bagaimana bentuk saweran yang sebagaimana mestinya. Bagi generasi muda untuk mau mempelajari Tari daerah yaitu Tari Reog Gondoriyo. Bagi pemerintah daerah untuk lebih memperhatikan perkembangan Tari Reog Gondoriyo karena Tari Reog Gondoriyo merupakan Kesenian lokal daerah Grobogan. viii DAFTAR ISI Halaman HALAMAN JUDUL ................................................................................... i PERSETUJUAN PEMBIMBING ............................................................. ii HALAMAN PENGESAHAN ..................................................................... iii PERNYATAAN ........................................................................................... iv MOTTO DAN PERSEMBAHAN .............................................................. v SARI ............................................................................................................ vi PRAKATA ................................................................................................... vii DAFTAR ISI ................................................................................................ ix DAFTAR TABEL ....................................................................................... xiii DAFTAR GAMBAR ................................................................................... xiv DAFTAR BAGAN ....................................................................................... xvi DAFTAR LAMPIRAN ............................................................................... xvii BAB I PENDAHULUAN ............................................................................ 1 1.1 Latar Belakang Masalah .......................................................................... 1 1.2 Rumusan Masalah ................................................................................... 4 1.3 Tujuan Penelitian .................................................................................... 4 1.4 Manfaat Penelitian .................................................................................. 5 ix 1.5
Load more

Recommended publications
  • Apresiasi Masyarakat Terhadap Kesenian Burok Grup Pandawa Nada Di Desa Kemurang Wetan Kabupaten Brebes
    APRESIASI MASYARAKAT TERHADAP KESENIAN BUROK GRUP PANDAWA NADA DI DESA KEMURANG WETAN KABUPATEN BREBES SKRIPSI disajikan sebagai salah satu syarat untuk memperoleh gelar Sarjana Pendidikan Program Studi Pendidikan Seni Musik oleh M. Ricky Juliardi 2503407015 JURUSAN PENDIDIKAN SENI DRAMA, TARI, DAN MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2013 ii iii MOTTO DAN PERSEMBAHAN Motto: Ikutilah apa yang diwahyukan kepadamu dan bersabarlah (Q.S Yunus: 109) Persembahan: Kupersembahkan skripsi ini untuk orang-orang terkasih yang telah memberi warna dan makna dalam alur kehidupan yang telah terlalui dan yang akan dilalui: Ayahku yang tercinta Joko Irianto, Ibuku yang tersayang Lily Mulyati dan adikku Laras Nur Maulida yang cinta dan kasihnya tak pernah terbatas. Rekan-rekan Mahasiswa Pendidikan Seni Musik Angkatan Tahun 2007. Segenap Dosen Sendratasik Abdul Muklis, Lingling, dan teman-teman kos Tumpuk yang telah membantu dan memberikan inspirasi kepadaku. iv KATA PENGANTAR Puji syukur kehadirat Allah SWT yang selalu melimpahkan rahmat dan hidayah-Nya. Hanya dengan anugerah dan karunia-Nya penulis dapat menyelesaikan skripsi yang berjudul “Apresiasi Masyarakat Terhadap Kesenian Burok Grup Pandawa Nada Di Desa Kemurang Wetan Kabupaten Brebes”. Pada kesempatan ini penulis ingin mengucapkan terima kasih yang sebesar-besarnya atas segala bantuan dan ilmu yang telah diberikan kepada penulis baik secara langsung maupun tidak langsung dalam rangka penyusunan skripsi ini, terutama kepada : 1. Bapak Prof. Dr. Fathur Rokhman, M.Hum., Rektor Universitas Negeri Semarang yang telah memberi kesempatan untuk menyelesaikan studi di Pendidikan Sendratasik FBS Universitas Negeri Semarang. 2. Bapak Prof. Dr. Agus Nuryatin, M.Hum., Dekan Fakultas Bahasa dan Seni yang telah memberikan ijin untuk melaksanakan penelitian.
    [Show full text]
  • Phd Thesis Tamara Aberle
    Socially-engaged theatre performances in contemporary Indonesia Tamara Alexandra Aberle Royal Holloway, University of London PhD Thesis 1 Declaration of Authorship I, Tamara Alexandra Aberle, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract This thesis argues that performances of contemporary theatre in Indonesia are socially- engaged, actively creating, defining and challenging the socio-political environment, and that theatre practitioners are important members of a vibrant civil society who contribute and feel actively committed to democratic processes. Following an initial chapter about the history of modern theatre from the late 19th century until the fall of President Suharto in 1998, the four core chapters centre on four different aspects of contemporary Indonesian socio-politics: historical memory and trauma, violence and human rights, environmentalism, and social transition. Each of these chapters is preceded by an introduction about the wider historical and socio-political context of its respective discourse and is followed by an analysis of selected plays. Chapter 2 focuses on historical trauma and memory, and relates the work of two theatre artists, Papermoon Puppet Theatre and Agus Nur Amal (a.k.a. PM Toh), to processes seeking truth and reconciliation in Indonesia in the post-Suharto era. Chapter 3, on violence and human rights, discusses the works of Ratna Sarumpaet and B. Verry Handayani, with a specific focus on human trafficking, sexual exploitation, and labour migration. Chapter 4 discusses environmentalism on the contemporary stage. It investigates the nature of environmental art festivals in Indonesia, taking Teater Payung Hitam’s 2008 International Water Festival as an example.
    [Show full text]
  • B. Barendregt the Sound of Longing for Homeredefining a Sense of Community Through Minang Popular Music
    B. Barendregt The sound of longing for homeRedefining a sense of community through Minang popular music In: Bijdragen tot de Taal-, Land- en Volkenkunde 158 (2002), no: 3, Leiden, 411-450 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/23/2021 02:24:12PM via free access BART BARENDREGT The Sound of 'Longing for Home' Redefining a Sense of Community through Minang Popular Music Why, yes why, sir, am I singing? Oh, because I am longing, Longing for those who went abroad, Oh rabab, yes rabab, please spread the message To the people far away, so they'll come home quickly (From the popular Minangkabau traditional song 'Rabab'.) 1. Introduction: Changing mediascapes and emerging regional metaphors Traditionally each village federation in Minangkabau had its own repertoire of musical genres, tunes, and melodies, in which local historiography and songs of origin blended and the meta-landscape of alam Minangkabau (the Minangkabau universe) was depicted.1 Today, with the ever-increasing disper- sion of Minangkabau migrants all over Southeast Asia, the conception of the Minangkabau world is no longer restricted to the province of West Sumatra. 1 Earlier versions of this article were presented at the 34th Conference of the International Council of Traditional Music, Nitra, Slovakia, August 1996, and the VA/AVMI (Leiden Uni- versity) symposium on Media Cultures in Indonesia, 2-7 April 2001. Its present form owes much to critical comments received from audiences there. I would like to sincerely thank also my colleagues Suryadi, for his suggestions regarding the translations from the Minangkabau, and Robert Wessing, for his critical scrutiny of my English.
    [Show full text]
  • Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia)
    DOCUMENT RESUME ED 411 529 CS 215 987 AUTHOR Cork, Vern, Comp. TITLE Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia). Language Acquisition Research Centre.; Australian National Languages and Literacy Inst., Deakin. ISBN ISBN-1-87560-40-7 PUB DATE 1996-00-00 NOTE 200p. PUB TYPE Collected Works General (020) Creative Works (030) LANGUAGE English, Indonesian EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Anthologies; *Audience Awareness; Cultural Background; *Cultural Context; Foreign Countries; *Indonesian; Literary Devices; Non Western Civilization; *Short Stories; *Social Change; Tourism IDENTIFIERS *Bali; *Balinese Literature; Indonesia ABSTRACT This collection of 25 short stories (in Indonesian) by Balinese writers aims to give Bali's writers a wider public. Some of the stories in the collection are distinctly and uniquely Balinese, while others are more universal in their approach and are self-contained. But according to the collection's foreword, in all of the stories, experiences of Bali are presented from the inside, from the other side of the hotels, tour buses, and restaurants of "tourist" Bali. The writers presented come from a range of backgrounds, reflecting the diversity cf Balinese society--different castes, differences between urban and rural baa4xiouncl.s, .and varieties of ethnicity are all important to the multiplicity of voices found in the collection. In addition, the collection draws from backgrounds of journalism, theater, cartoons, poetry, and academia, and from writers who may have been born in other parts of Indonesia but who have lived for decades in Bali and reflect Bali's inseparability from the Indonesian nation.
    [Show full text]
  • Mapping the History of Malaysian Theatre: an Interview with Ghulam-Sarwar Yousof
    ASIATIC, VOLUME 4, NUMBER 2, DECEMBER 2010 Mapping the History of Malaysian Theatre: An Interview with Ghulam-Sarwar Yousof Madiha Ramlan & M.A. Quayum1 International Islamic University Malaysia It seems that a rich variety of traditional theatre forms existed and perhaps continues to exist in Malaysia. Could you provide some elucidation on this? If you are looking for any kind of history or tradition of theatre in Malaysia you won’t get it, because of its relative antiquity and the lack of records. Indirect sources such as hikayat literature fail to mention anything. Hikayat Raja-Raja Pasai mentions Javanese wayang kulit, and Hikayat Patani mentions various music and dance forms, most of which cannot be precisely identified, but there is no mention of theatre. The reason is clear enough. The hikayat generally focuses on events in royal court, while most traditional theatre developed as folk art, with what is known as popular theatre coming in at the end of the 19th century. There has never been any court tradition of theatre in the Malay sultanates. In approaching traditional theatre, my own way has been to first look at the proto- theatre or elementary forms before going on to the more advanced ones. This is a scheme I worked out for traditional Southeast Asian theatre. Could you elaborate on this? Almost all theatre activity in Southeast Asia fits into four categories as follows: Proto-Theatre, Puppet Theatre, Dance Theatre and Opera. In the case of the Philippines, one could identify a separate category for Christian theatre forms. Such forms don’t exist in the rest of the region.
    [Show full text]
  • Mamanda Theatre, the Play of Banjar Culture 163
    162 WacanaWacana,, Vol. 12Vol. No. 12 1 No. (April 1 (April 2010): 2010) 162—180 NINUK KLEDEN-PROBONEGORO, Mamanda theatre, the play of Banjar culture 163 Mamanda theatre, the play of Banjar culture NINUK KLEDEN–PROBONEGORO Abstract This article reveals the dialectic relationship between Teater Mamanda and the living conditions of Banjarese community. When we watch Mamanda, we watch the life and culture of the Banjarese. Without any knowledge of Banjarese society and culture we cannot possibly understand the content of a Mamanda performance as a miniature version of Banjarese society and culture. Three areas where Mamanda is performed have been studied using Paul Ricoeur’s textual theory. There are two kinds of texts, the Mamanda performance (considered as text, that is, social events fixated in the form of a performance), and the narration of the performance itself which is considered a text as well. Keywords Mamanda theatre, texts analysis. Introduction This article rests on my working assumption that there is an affinity between Banjar culture and the Mamanda, namely that Mamanda functions to perform Banjar culture. Therefore, watching and attending performances of Mamanda theatre will improve our understanding of Banjar culture. At the same time, as in Paul Ricoeur’s theory (1982), the two levels of a text - the performer as a text, and the text of the performer - becomes more readable if there is sufficient knowledge and understanding of Banjar culture which is the context where the texts have been produced. The idea about the possible role played by Mamanda for its supporting community originated in my observation of the political situation, particularly of the relation which might exist between government policies and freedom NINUK KLEDEN-PROBONEGORO is a researcher at the Center for the Study of Society and Culture of the Indonesian Institute of Sciences (Pusat Penelitian Masyarakat dan Kebudayaan, Lembaga Ilmu Pengetahuan Indonesia, PMB-LIPI).
    [Show full text]
  • BAB I PENDAHULUAN A. Latar Belakang Budaya Sunda
    BAB I PENDAHULUAN A. Latar Belakang Budaya Sunda merupakan sebuah sistem tatanan hidup yang tumbuh dan berkembang di kalangan masyarakat Sunda yang umumnya berdomisili di Jawa Barat (Ekadjati, 1993 : 7). Budaya Sunda memiliki nilai-nilai kehidupan yang tercermin dalam pameo silih asih (saling mengasihi), silih asah (saling memperbaiki diri), dan silih asuh (saling melindungi) nilai nilai tersebut dijunjung tinggi dan diwariskan oleh masyarakat Sunda secara turun temurun1. Dalam perkembangannya, budaya sunda terdiri dari sistem kepercayaan, mata pencaharian, kekerabatan, bahasa, ilmu pengetahuan dan teknologi, adat istiadat dan kesenian. Kesenian di Jawa Barat dalam penyebarannya hampir tersebar luas di seluruh wilayah Jawa Barat, dan telah dikenal baik dalam negeri sampai mancanegara akan kekayaan ragamnya. Kesenian tersebut diantaranya : sisingaan, tari jaipong, wayang golek, tarawangsa, calung, rampak gendang, lengser, karinding, cianjuran, serta kacapi suling. Selain itu terrdapat pula seni pertunjukan karawitan. Karawitan merupakan kesenian vokal atau insturmen yang memiiki pola dan ciri khas tertentu sesuai dengan daerah masing-masing2. 1 Annisa Fitriyani, Peran Keluarga Dalam Mengembangkan Nilai Budaya Sunda, Jurnal Sosietas, Vol. 5, No. 2. 2015. Hlm. 4. 2 Mariko Sasaki, Laras Pada Karawitan Sunda (Bandung : Pusat Penelitian dan Pengembangan Pendidikan Seni Tradisional Universitas Pendidikan Indonesia – P4ST UPI., 2007). Hlm. 1. 1 Salah satu seni karawitan yang berkembang di Jawa Barat adalah tembang Cianjuran. Sesuai dengan namanya kesenian ini berasal dari daerah Cianjur Jawa Barat. Pertunjukan Cianjuran pada mulanya hanya diperuntukan kalangan bangsawan saja hingga berkembang menjadi salah satu seni pertunjukan khas Jawa Barat. Tembang Cianjuran merupakan seni musik yang terdiri dari perpaduan antara seni vokal dan instrumen. Tembang Cianjuran diklasifikasikan ke dalam sekar gending, sekar dibangun oleh penembang, sedangkan gending dari kacapi indung, rincik, suling dan satu rebab.
    [Show full text]
  • Mak Yong: the Ancient Malay Dance-Theatre
    MAK YONG: THE ANCIENT MALAY DANCE-THEATRE GHULAM-SARWAR YousoF M ak Y ong is an ancient Malay dance-theatre form incorporating the elements of ritual, stylized dance and acting, vocal and instru­ mental music, story, song, formal as well as improvised spoken text. It is principally performed in the two provinces of Patani in southern Thailand and Kelantan, Malaysia, on the east coast of the Malay peninsula. 1 To a lesser extent Mak Yong also flourishes in the Rhiau Islands of Indonesia. Two other places associated with Mak Y ong performances are Kedah on the west coast of the Malay peninsula and northern Sumatra, particularly Serdang, to which Malaysian troupes arc reputed to have once travelled and even for a duration estab­ lished Mak Yong under royal patronage::~ History Myths and legends still current in Kelantanese villages suppot1 a strong belief that Mak Yong, like many other theatre genres of the of the region, had divine origination or inspiration. The ancient Java­ nese deity, Semar and his son, Turas, are credited with being its first my1hical founders and performers. Other theories link Mak Yong with Mak Hiang, the spirit of the rice, semangat padi, identified with Dewi Sri, the Hindu-Javanese harvest goddess.3 Mak Yong is thus regarded as a celebration of nature and natural phenomena, an idea eloquently expressed in the lyrics of Lagu Menghadap Rebab, the dance with which all Mak Yong performances commence.4 Yet again, to give it an Islamic colouring, Mak Y ong is often­ times described as having derived directly from Adam (Nabi Adam), the primeval human progenitor, through a host of spirits and mythical 1 The exact status of Mak Yang in the Pat ani area is not yet clear as no research has been done in that area up to the present.
    [Show full text]
  • Intercultural Theatre Praxis: Traditional Malay Theatre Meets Shakespeare's the Tempest
    University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2017 Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest Norzizi Zulkafli University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Zulkafli, Norzizi, Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2017.
    [Show full text]
  • Oideion 3 (2003)
    OIDEION The performing arts world-wide 3 edited by WIM V AN ZANTEN Nederlandse Vereniging voor Etnomusicologie "Arnold Bake" Department of Cultural Anthropology and Development Studies Leiden University, the Netherlands 2003 This volume was published by the Dutch Society for Ethnomusicology 'Arnold Bake' Editor: Wim van Zanten Editorial. Board: Ben Arps Saskia Kersenboom Emmie te Nijenhuis Rembrandt F. W olpert ISBN 90-808399-1-4 NUR: 664 Subject headings: ethnomusicology, performing arts, music, theatre Front cover design: Nelleke Oosten Printing: Copy- & Printshop F.S.W., Leiden University AH correspondence should be addressed to: Secretariat Nederlandse Vereniging voor Etnomusicologie "Arnold Bake", c/o Department of Cultural Anthropology and Development Studies, Faculty of Social Sciences, Leiden University, P.O. Box 9555, 2300 RB Leiden, the Netherlands http://www .abake.nl/ Copyright 2003 Nederlandse Vereniging voor Etnomusicologie "Arnold Bake", the Netherlands CONTENTS EDITOR'S PREFACE i.v KI MANTLE HOOD The musical river of change and innovation; The fourth John Blacking Memorial Lecture, ESEM, Rotterdam, 14 September 1995 1 EVERT BISSCHOP BOELE Teaching a multimusical soundscape; Non-Western music in Dutch basic education teaching materials 9 JEROEN DE K.LOET To seek beautiful dreams; Rock in China 29 JAN VAN BELLE Dafsaz in Tajik Badaxshan; Musical genre and rhythmic pattern 48 HANNEM. DEBRUIN What practice? Whose practice? 62 MA TTIIEW ISAAC COI-IEN Details, details: Methodological issues and practical considerations in a
    [Show full text]
  • Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and The
    Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Christina Sunardi, Chair Patricia Campbell Laurie Sears Philip Schuyler Meilu Ho Program Authorized to Offer Degree: Music ii ©Copyright 2017 Joseph M. Kinzer iii University of Washington Abstract Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer Chair of the Supervisory Committee: Dr. Christina Sunardi Music In this dissertation, I show how Malay-identified performing arts are used to fold in Malay Muslim identity into the urban milieu, not as an alternative to Kuala Lumpur’s contemporary cultural trajectory, but as an integrated part of it. I found this identity negotiation occurring through secular performance traditions of a particular instrument known as the gambus (lute), an Arabic instrument with strong ties to Malay history and trade. During my fieldwork, I discovered that the gambus in Malaysia is a potent symbol through which Malay Muslim identity is negotiated based on various local and transnational conceptions of Islamic modernity. My dissertation explores the material and virtual pathways that converge a number of historical, geographic, and socio-political sites—including the National Museum and the National Conservatory for the Arts, iv Culture, and Heritage—in my experiences studying the gambus and the wider transmission of muzik Melayu (Malay music) in urban Malaysia. I argue that the gambus complicates articulations of Malay identity through multiple agentic forces, including people (musicians, teachers, etc.), the gambus itself (its materials and iconicity), various governmental and non-governmental institutions, and wider oral, aural, and material transmission processes.
    [Show full text]
  • Mak Yong Music of Malaysia
    Mak Yong Music of Malaysia: Negotiating Complex Musical Content Within Periodicity Patricia Matusky, Cultural Centre, University of Malaya, Kuala Lumpur [email protected] © 2015 University of Malaya. All rights reserved. Malaysian Journal of Performing and Visual Arts, Volume 1, 2015 Abstract Over the past many centuries the dance theater known as the mak yong has been a major form of indigenous Malay theater that relates stories using formal and improvised monologue and dialogue, stylized dance and acting, and vocal as well as instrumental music. While written historical records about any aspect of the musical style prior to the late-19th century do not exist, the musical features of the mak yong since the early to mid-20th century are evident to us today through remembered and live performances by mak yong artists who are still active in the 21st century. This article explores the musical style of the mak yong, dating from the early 20th century to current times, noting the musical features of periodic formal structures, resultant rhythms and a complex melodic content that bind this genre to aspects of an ancient Southeast Asian musical style as well as to influences from Middle Eastern music- culture. Keywords: mak yong, makyung, periodicity, Malay traditional theatre, Malay traditional music, melodic ornamentation, interlocking performance style, rebab, Southeast Asian theatre Introduction In the ancient dance drama known as mak yong, originating among the Malay people in the region of northeast Malaysia (Kelantan) and southern Thailand
    [Show full text]