HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 75-86 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v16i1.6145

The Inheritance of Malay Palace Dance in and Yogyakarta Classical Dance in

Muhammad Fazli Taib Bin Saearani Fakulti Muzik dan Seni Persembahan, Sultan Idris Education University, Malaysia Sultan Idris Education University 35900 Tanjong Malim Perak, Malaysia E-mail: [email protected] Agus Cahyono Department Sendratasik, Semarang State University, Indonesia Sekaran Campus Gunungpati, Semarang 50229, Central Java, Indonesia

Received: April 9, 2016. Revised: June 3, 2016. Accepted: July 2, 2016

Abstract

The background of this study is the effort of solving the inheritance problem faced by Malay- sia in the case of Malay Palace dance which is currently in decline. This study is done by using best practice from the The Development and Inheritance of Yogyakarta Classical Dance (TKGY) done by the Ngayogyakarta Hadiningrat Palace and some formal and non-formal institutions in Yogyakarta, Indonesia. TKGY is chosen as it is viewed to have positive life in classical Palace dance and involve various actors and clear strategies. For three years, the researcher has done the research by observing the inheritance context (TKGY) to identify preservation phenomena done in Yogyakarta. This research is using a qualitative approach. The data are collected by doing in- depth interviews with some leaders of the main studios in Yogyakarta and Malay Palace dance choreographers in Malaysia. The result of the research shows that there are some similarities and differences between Malay palace and Yogyakarta classical dance. Some strat- egies have been used to describe how the Malaysian government adopts inheritance strategies (TKGY) used by actors in the inheritance discourse (TKGY).

Keywords: Inheritance; Yogyakarta classical dance; Malay Palace dance

How to Cite: Saearani, M. F. T. B & Cahyono, A. (2016). The Inheritance of Malay Palace Dance in Malaysia and Yogyakarta Classical Dance in Indonesia . Harmonia: Journal of Arts Research And Education, 16(1), 75-86. doi:http://dx.doi. org/10.15294/harmonia.v16i1.6145

INTRODUCTION ce (Tharuwat, 2011: 35). There are other palce dances like Terinai, Mangadap Malay Palace dance in Malaysia has and Layang Mas, but they are not special. relatively slow movement starting with dance and dance be- kneeling position and bowing, and mo- come a part of curriculum in Palace Dance ving slowly to standing position, and ca- lesson (Pusat KoKurikulum dan Pemajuan reful and sensitive hand and arm motions. Pelajar, 2009, pp. 75-76). Some art groups The way the dancers facing downward or have tried to pass down the palace dance along with their hands show their respects in some events, in Malaysia and in other to Sultan. There are only two Malay pala- countries. Therefore, the two dances will ce dances in Malaysia which are in special be the focus of discussion in this paper. status: Asyik dance and Joget Gamelan dan-

75 76 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 75-86

METHOD ce was created on the order of a king who was sad because his bird flew away. He This research is using a qualitative tried to find it, but he could not. The king approach. The data are collected by doing wanted to watch a dance which looked like observation, interview, and documenta- the flying bird (Manaf, 2002, p. 423). The tion. In-depth interview was done to the dance was named Asyik dance because main leaders of studios in Yogyakarta and the dance movement and the female dan- palace dance choreographers in Malaysia. ce sitting position are interesting to watch, The data were analyzed using interactive especially the male ones. However, some model: data reduction, data display, and people said that asyik is not an adjective, it data verification. The data validity in the is the names of palace dayang in Kelantan research was done to check its validity and on the 14 century (Sahimi, 2005, p. 158). reliability, and its trustworthiness (Rohidi, Other people said that asyik means 2011, p. 218). a lover, and it is shown by Puteri Asyik To keep its validity and trustworthi- character as the main dancer in the dan- ness, triangulation was done. It means it ce. On its journey, Asyik dance was deve- was done by checking the data from dif- loped in Istanan Balai Besar Kelantan, as ferent sources. Based on the various data, a devisor of Kesultanan Pattani (Sahimi, the data are described, categorized, and 2005, p. 158). The development was then analyzed to reach conclusions. The trian- performed in the Palace of Yang Dipertu- gulation technique was done by compa- ang Agung on 30 and 31 August 1957, at ring data from different sources to compa- the house of the prime minister on 1st Sep- re different perspectives on the data. tember 1957, and general shows in Kuala Lumpur on 5-6 September 1957, right af- RESULT AND DISCUSSION ter Malaysia proclaimed its Independence from England on 31st August 1957 (Tharu- Asyik dance was developed in Ke- wat, 2011, p. 24). The innovation was done sultanan Pattani in Semenanjung Utara in on the dance movement, choreography, the era of Ratu Kuning, 1635-1649/1688), and costumes which put movement prac- Ratu Ungu ‘s daughter (1624-1635), and ticality forward. Thailand influence can Ratu Biru ‘s niece (1616-1624). She was the be seen in the dancer’s costumes. Thai fourth queen after Sultah Bahdur (1573- dancer’s costumes consist of three parts: 1584) who had three sisters who became dress, body accessories, and head acces- queens respectively (Ratu Hijau, Ratu sories (Tharuwat, 2011, p. 32). Thai dress Biru, and Ratu Ungu). In the era of the four for female dancers are usually open on the queens, Kesultanan Pattani reached its glo- upper part of the body and on the hands, ry (Conlon, 2012, p. 50). and long silk dress, and scarf (Thomas, & It contributed to peace which might Sydenham, 2008). The body accessories promote dance creation oriented to hedo- are varied, the ones in golden colour and nism. However, the reign ended badly. head accessories. The head accessories can There are two history version about the be gold accessories like a crown or simple end of Kesultanan Pattani reign. The first accessories, like flowers (Manaf, 2002, p. version told that Pattani was invaded by 423). In Malay culture, the dress is consi- Kesultanan Kelantan in the south by Raja dered too open. Sakti I. The second version told that Patta- Based on the reasons, the next deve- ni was helped by Kesultanan Kelantan to lopment (when Moslem Party was in reign) send troops from Ayodhya (Siam) away was in the dancer’s costume which became which attacked from the north. Whichever closer tertutup and longer. The upper part version was right, Asyik dance was trans- of the body and arm are closed. The hair mitted from Pattani to Kelantan. is also closed with hijab. The dancers may Based on Pattani folklore, Asyik dan- not wear hijab, but their hair should be in Muhammad Fazli Taib Bin Saearani & Agus Cahyono, Inheritance Situation of Malay ... 77 a bun. Accessories are not worn on every live in hedonism as a result of the success part of the body, only on the head on the on trading, makes the first Sayik dance had upper part of chest. There are two main Siamese cultural features and erotic. styles of Asyik dance: Asyik Kijang Mas The second period was Islamization and Asyik Sasang (Tharuwat, 2011, p. 29). period which occured on the more modern Asyik Kijang Mas has more songs and is era, around the era of Kesultanan Kelan- associated with Makyong dance and Ma- tan or Malaysia Kingdom. Islamization nora dance. Kijang Mas itself is one of 20- brought changes to the dance to become 30 songs of Makyong song (Takari, 2013, more social than intimate between indivi- p. 134). duals. Asyik Sasang is a variation of Asyik The third period was a period when dance which has movements which in the multiculturalism became stronger in the contrary of Asyik Kijang Mas dance. Sa- last decade. In this period, Asyik dance sang itself meand upside-down. Asyik Sa- lost its identity as a palace classical dance sang is more developed and is named af- because practically, the composition has ter animals’ movement, like itik berenang become multicultural and semiotically (swimming duck), gajah amok (angry which defines asyik as an adjective than elephant), burung merpati (dove), or ayam a character. The nuance is wider, that is patah sayap (broken-wing chicken). Asyik nationality. We can conclude that Asyik dance accompanied with three , 11 dance has a wider meaning, and unfor- gendangs (gedombang asyik), a big han- tunately, had to sacrifice its identity as a ging , and Gamelan song (Ang, 2002, palace classical dance. The scope of Asyik p. 19). The dance starts with ten dancers dance is also changed from palace dance sitting on their legs. After that, Puteri to dance with religious identity, and then Asyik enters the stage and starts the dan- to a dance with nationality identity. Along ce (Kementerian Pengajian Tinggi, 2013, p. with the meaning changes, Asyik as a cha- 24). racter (Putri Asyik) becomes Asyik as an The problem faced by Asyik dance adjective (enjoyful/interesting). is a linguistics problem which fades the dance identity away. Although we have a clear guidance on how to differ Asyik dan- ce with other dances, people’s understan- ding on the term ‘asyik’ is more on an ad- jective, which makes them think that any interesting dances is called asyik dance. For example, the show: “Asyik: the Beau- ty of Classical Dance” from ASWARA on December 2007 is a compilation of dances from different ethnics in a story, and Asyik Figure 1. Asyik dance with Siamese Cos- dance is performed as a dance. The same tume (Photo by: Muhammad Fazli Taib, thing was on the ASWARA show on March 2014) 2013 entitled “Malam Asyik” showed Joget Gamelan, Makyong, Bharatanatyam, Silat, The Condition of Joget Gamelan Istana and at the end Asyik (Eunice Au, 2014). and Terengganu Dance Based on the description above, we The second dance is Joget Gamelan. can see that Asyik dance has passed three Joget Gamelan is from Pahang and Tereng- periods. The first period was when it was ganu. The name of Gamelan is from Malay created in Kesultanan Pattani. It is true that Gamelan played for the dance. Malay ga- Pattani is a Kesultanan, but the influence melan is different from Javanes gamelan, of Siam was very strong and the materia- from the instruments, scale, and the music. lism background pushed the Sultans to One set of Malay Gamelan consists of one 78 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 75-86 gendang, kerumong, kenong (five gongs Malaya, wrote that Joget Gamelan dance like big vase), two saron (barung and pe- is a dance with special accompaniment king), one gambang, and gong suwukan which looked like real music (Yong, 2010, (one big hanging gong with high tone), p. 171). The dance he watched was Joget and gong agung (one big hanging gong Gamelan performed in 1895 Istana Pekan, with low tone). Gendang becomes the Pahang (Omar, 2005, p. 3). tone, sarong barung becomes the melody, The second transmission was on while the big gng and kenong give music Tengku Ampuan Mariam’s wedding, the time signal, and others are the ornaments other daughter of Sultan Ahmad (from his (Matusky, 2008, p. 239). marriage with Che Zubedah), with Teng- Joget Gamelan was originally from ku Sulaiman (who then became Sultan Yogyakarta Palace in the middle of the Sulaiman Badrul Alam Shah (1920-1942)), 18th Century (D’Cruz, 2011: 2). In 1811, Se- the second son of Sultan Zainal Abidin, in rimpi and dancers, and Gamelan 1914 (Yong, 2010, p. 171). Unfortunately, in players were taken from Java to Istana Ku- the same year, Sultan Ahmad passed away ning Kesultanan Riau-Lingga in Penyen- and Joget Gamelan faded away in Pahang. gat Island to have a performance at a royal Che Zabedah then followed her wedding. As Kesultanan Riau-Lingga co- daughter moving to Istana Maziah Te- vered Semenanjung area, Joget Gamelan rengganu. One year later, a set of Gamelan transmission to Pahang area happened was taken from Pahang to Terengganu. In soon. However, the Gamelan music group Terengganu, Tengku Mariam tried to revi- in Lingga got faded as soon as Sultan Ling- ve Joget Gamelan dance by teaching Joget ga reign ended, Abdul Rahman Muadzam Gamelan to the youth there. On 21 May Shah II bin Almarhum Raja Muhammad 1920, right after Tengku Sulaiman became Yusuf al Mahdi (1885-1911), destroyed Sultan, two ex dancers from Pahang, Yang his own palace to avoid the Dutch taking Khoja and Cik Meriam were brought to Te- over the palace and he went to Singapore rengganu to teach Joget Gamelan. Famous in 1912 (Takari, 2013, p. 7). The inheritan- gamelan players from Pahang like Encik ce process in Pahang was started by Sul- Wan Mohd, Encik Wan Ahmad, Pak Sal- tan Ahmad Muadzam Syah (1863-1909). It leh, and Encik Ahin, came along with them was managed by the queen Wan Fatimah (Wahidah, 2008, p. 5). This kept Joget Ga- and his second wife, Che Zubedah (Omar, melan victorious and became an exclusive 2005, p. 5). The preservation process in Malay Palace dance in the kingdom, for Pahang was done directly by Sultan who sacred ceremonies and other events like enthusiastically danced the dance and do- accepting guests. In 1925, Wilkinson wrote cumented the dance. Joget Gamelan was how Joget Gamelan dance was modified to performed in many ceremonies in the pa- the audience from European countries at lace like inauguration, wedding, king’s that time (Yong, 2010, p. 171). birthday, and baby delivery. Tengku Ampuan Mariam kept teach- The transmission process to Tereng- ing dancers, gamelan players, and created ganu area was done in at least two occa- her own orchestration. All models of Joget sions, both royal weddings (Yong, 2010:, Pahang dance were created by Tengku pp. 171-175). The first one was on the Ampuan Mariam. Sultan Sulaiman tried Tengku Long’s wedding, the daughter of his best to differ Joget Gamelan in Pahang Sultan Ahmad from Pahang, with Sultan and Joget Gamelan in Terengganu. So far, Zainal Abidin III (1881-1918) from Tereng- the dance’s name becomes Jeget Pahang, ganu, in 1885. Since then, Joget Gamelan but Sultan Sulaiman named Joget Game- had become famous in Terengganu area lan in Pahang as Joget Gamelan Pahang, and became a part of Terengganu and Pa- and Joget Gamelan in Terengganu as Joget hang Kingdoms’ ceremony. In 1895, Sir Gamelan Terengganu (Wahidah, 2008, p. Frank Swettenham, an English officer in 5). Joget Gamelan dancers were called Bu- Muhammad Fazli Taib Bin Saearani & Agus Cahyono, Inheritance Situation of Malay ... 79 dak Joget or Anak Joget. However, Sultan hidah, 2008, p. 5). was also a gamelan player and a gamelan Realizing that there were the dancers teacher, while his queen is a dancer and a and gamelan players who took part on Jo- dance teacher at the same time. In 1932, Is- get Gamelan’s performance in Terengganu tana Kolam was built and became a new palace, Mubin organized a meeting with place for the Sultan. One year later, the ef- the dancers and gamelan players. Right forts of developing Joget Gamelan dance after that, Tengku Mariam joined Mubin were done in this place (Omar, 2005, p. 17). Sheppard to raise Joget Gamelan (Yong, As a result, in 1935, Joget Gamelan Tereng- 2010, p. 172). In 1967, the dancers and ga- ganu was performed in Istana Bangkok melan players were invited to perform (D’Cruz, 2011, p. 8). at Istana Kolam in front of royal guests. One year later, Sultan Sulaiman had In 1969, International conference on the already had a set of gamelan for perfor- South-East Tradition Drama and Music at mance. Isolation was done in this situation University of Malaya, Kuala Lumpur was because Joget Gamelan dance was always held and became the first moment for Joget performed in the palace. Because of it, the Gamelan dance to be performed in public. preparation of the performance always be- In 1971, after a bloody tragedy in came busy days. From the history above, Malaysia, Malaysian Kingdom imposed inheritance process happened explicitly, National Culture Policy. One of the policy from Java Kraton, through Riau-Lingga, put Joget Gamelan dance as one of an inhe- arrived in Pahang, and finally arrived rited Malaysian culture. Since then, Joged in Terengganu and was being preserved Gamelan has been performed not only in there. A unique transmission happened Terengganu and Pahang but also all over between Pahang and Terengganu when, Malaysia. This dance is taught at schools in 1885, the transmission marked the be- and performed in government offices, tele- ginning of Jiget Gamelan in Terangganu, visions, and other places. Tengku Ampuan and the transmission in 1914 marked the Mariam’s granddaughter, Tengku Hilmi end of Joget Gamelan in Pahang. Howe- Suleman bin Tengku Abdul Halim Syah, ver, the journey of Joget Gamelan did not taught and trained gamelan in many pla- end. In 1941, Japan colonialized South East ces in Kuala Lumpur and Selangor (Omar, Asia and brought the WW II to this area. 2005, p. 41). In 1942, Sultan Sulaiman passed away, In 1990s, Gamelan Club was establis- and Tengku Mariam, the dancers, and the hed by Sunetra Fernando who was gradua- gamelan players moved to Istana Kolam. ted from Sekolah Tinggi Seni Indonesia, By that time, the inheritance process of Jo- Solo. Gamelan Club is a nonformal group get Gamelan dance in Terengganu finally focuses on kerawitan aspect of Joget Game- stopped, marked by the moving of Teng- lan, and mixes them become multicultural ku Mariam, the dancers, and the gamelan music, bot from the players and the instru- players. In the 1960s, Mubin Sheppard, a ments. It used not only Malay gamelan but humanist, prolific author, and world recor- also Javanese and Balinese gamelan (Yong, der, Persekutuan Tanah Melayu, revealed he 2010, p. 172). In 1997, Gamelan Club made existence of Joget Gamelan on his sculptu- a full concert showing the innovative con- re in Istana Kolam Terengganu. By chan- temporary version for public. ce, he met Tengku Ampuan Mariam and In 1998, a year later, Fernando estab- found the gamelan set in the palace. The lished a new group which was complete- finding became political problem between ly different from gamelan tradition, that Kasultanan Pahang and Terengganu. In is by making a group consisting of fema- the end, the Gamelan set was returned to le players. The group named Rhythm in Pahang in 1973 by agreement between the Bronze shows the spirit of innovation of two kingdoms. Then, the Gamelan set was the gamelan aspect of Joget amelan dance. kept in the Pahang Museum in Pekan (Wa- The interesting fact is that this condition 80 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 75-86

Figure 2. Joget Gamelan, from Istana Terengganu and Pahang, Malaysia (Photo by: Muhammad Fazli Taib, 2013) was not found in the dance aspect of Joget as it has a lot of standard movements, like Gamelan dance itself. jari menanti, pecah jari (melentik plus sepit The Joget Gamelan dance’s story ketam, done with one or two palms), jari was mostly taken from the story of Panji sepit ketam (fore finger and thumb sticking from Java. Some part were from activities and also the other three fingers so they in around the palace. The dance is opened form scissors or sepit kepiting), jari sepit with gamelan music entitled Ayak-ayak sabuk, sembah, campak lenggang (throwing then followed with Togok, Timang Burung, scarf or wooden fan to the side), berkisar Lambang Sari, Perang, Geliong, Ketawang, melemak (bending the body back until the Lohor, Topeng, Arak-Arak, Wani-wani and head touches the floor), sitting on two Lancang Kuning (D’Cruz, 2011, pp. 11-12). heels, sitting on one or two knees, timpuh The first six movements, starting from katak (sitting on two thighs and the knees Ayak-Ayak until Geliong had existed sin- are folded at front), and timpuh sila (cross- ce Sultan Sulaiman era. If the dancers do legged sitting). Campak lenggang includes: all movements, it will take 5 to 6 hours to regular campak lenggang, sambut gong cam- dance. Meanwhile, Mohd Nefi Imran bin pak lenggang, and melayah campak lenggang. Djamaan enrolled 75 fragments of dances They are done while sitting and standing. from the compilation of Joget Gamelan Te- Sitting position is done with timpuh katak rengganu (Imran, 2003). Table 1.1 shows and sitting on two heels (Omar, 2005: 103). 20 terms used in Joget Gamelan Terengga- As an elite dance, Joget Gamelan also nu dance and the definition. looks rigid in the movement. There is al- From the description above, we can most no improvisation in dancing except see that Joget Gamelan is a series of dan- on the dancers’ position mpst of whom are ces like wong. Mohd Anis Mohd female. It is influende by seniorit or leader- Noor states that Joget Gamelan can be said ship in the show. The influence of TKGY as theatrical drama if it is more organized can be seen in the dance. Besides the Java- Muhammad Fazli Taib Bin Saearani & Agus Cahyono, Inheritance Situation of Malay ... 81

Table 1. Fragments on Joget Gamelan dance and its definition Term Definition Arak-arak A dance showing a trawling person Ayak-ayak Used as closing if Sulang Arak or Perang is not done Dalam Ayak-ayak Mula Fragment of the first dance , Baung Telling about Inu sitting side by side and being entertained by Bujam Emas Bujam is a place for sirih leaves, describing a time when Raden

Galuh was trying to find Nenek Kebayan and took flowers in the garden Engkok Describing a princess flying to heaven, followed by her husband, but her husband was lost in the jungle. He cut trees and made his way to heaven. From heaven, he threw a ring to Buyung Inang- Inang who was taking water in the pond. Galah Ganjur Ganjur is a spear Gambuh Telling a story about Raden Menteri who chose Raden Puteri and shot a bird when Raden Putri was weaving Geliung Geliung is a big ship in 16 century Ketawang Ketawang is a song in Javanese gamelan Lolo Lolo means peeping Lonang Lonang means nona fruit Mulih, Pemulih Mulih means going back home in Javanese Perang Selinan Big wars, including betul war, Geruda war, and Seri Rama war Rangu-Rangu Welcoming Gambuh when he went back to Kuripan with Raden Inu Sembawa Balik Betara guru went to Tasik to revive Gambuh who passed away Serakas Tunggal Inu was playing in Balai when struck by Betara Guru Seri Rama Balik A war between Garuda and Harimau, and the commander Seri Rama Timang Inu Gambuh shot an arrow to Nakus Wani-Wani The princess was taking a bath in a pond (Source: Mohd Nefi Imran bin Djamaan, 2003) nese gamelan modification, other modifi- An interesting thing of both dan- cations are on the use of long scarf, a fan on ces’ history is that they were not originally the hand, and hand and head movements palce dances from Malaysia. Joget Game- which are like TKGY (Nor, 2004: 66). The lan from Java is also modified in Malaysia Malay style can be seen on the body swing (Nor, 2012: 317). The problem is both are movement to the slooping shoulder. considered to be Malaysian’s Malay Iden- tity. This also happen on almost all Pala- The similarities and Difference of Malay ce dances in Malaysia (Alfirafindra, 2012: Palace Dances in Malaysia and Yogyakar- 78-86). Therefore, we can see that TKGY is ta Classical Dance from Kingdom. 82 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 75-86

Figure 3. Makyong Show in Pesta Kesenian by the lecturers and students of Uni- versiti Pendidikan Sultan Idris, Malaysia. (Photo by: Muhammad Fazli Taib, 2011) However, the discourse we have in Malaysia palaces. Folk dances became the Indonesia is different form the develop- mascots for the palaces along with the pa- ment discourse in Malaysia. In Indonesia, lace dances, only one folk performance be- every dance’s location maintains its exis- came a palace theatrical dance, Makyong. tence, so people can differ the dances ea- However, the truth is still doubtful becau- sily, for example: TKGY, Padang dances, se the palace does not want to perform the and Balinese dances. In Malaysia, the deve- theatrical dance Makyong in the palace lopment means cross cultural experience. anymore. We should realize that this step This makes any Malay dances difficult to takes very long time, so many people do preserve their palace dances because they not realize that palace dance is actually are afraid of ethnic-based jealousy. Ethni- . cal problem is a big problem in Malaysia Howeverhe disclosure of awareness, because the differences among ethnics are is also important because after the society based on their origin, socio-economics sta- considers a dance as a palace dance, the so- tus, religions, politics, and cultures. ciety will be impressed with it when they This is why new creation of Malay- know that it was originally from folk dan- sia dance contains various ethnics, not ce, not created by the palace or imported only one specific ethnic. In one dance, we from other palace. The development sta- can find Malay, Chinese, and Tamil, or ges do not run well either in Malaysia. even other ethnics. This fades the origi- This is influenced by ethnic political- fac nal identity of the dance away and finally tor. The inheritance of English colonia- obstructs the development of ethnic-based lism was very strong so that it influences dance in the ethnic. It will be difficult for a Malaysian’s multicultural policy. This gi- Chinese to learn Palace Malay dance, and ves more burden to the majority society vice versa. It will take a very long time to perceived as an authority. The majority, learn the movements in the dance. Howe- Malay, has the burden to share their power ver, this problem is not faced by TKGY as with other ethnics, like Chinese, Tamil, many students from different ethnics learn and other minor native ethnics. Therefore, TKGY. Malay society acts carefully by not putting The society acquisition process on their own culture to be more dominant in palace dances does not run perfectly in the society. Muhammad Fazli Taib Bin Saearani & Agus Cahyono, Inheritance Situation of Malay ... 83

Table 2. TIM situation in Malaysia compared to TKGY (Table by: Muhammad Fazli Taib, 2014) Dance Names Asyik dance Joget Gamelan Yogyakata Classical Dance (TKGY) Origin Pattani, Thailand Yogyakarta Majapahit Hadiningrat Palace Isolation Developed inside Developed in Istana Developed in Yogya- Istana Pattani and Pahang and karta Kelantan Terengganu Hadiningrat Palace Isolation era Pattani: 1635-1649 Riau-Lingga: 1811- Sultan Kelantan: 1649-31 1912 Hamengku Buwono I August 1957 Pahang: 1863- until National: 31 August 1914 VII: 1755-1899 1957– 5 September 1957 Terengganu: (Sultan Hamengku 1885-1942 Bowono VII era when Nasional: photography entered 1967-1971 Kraton) Exposure Merdeka land in Kongres Kuala Lumpur Kebudayaan Nasional Show with the char- show acters of Pregiwa and Pregiwati in Yogyakarta Hadiningrat Palace Characteristics Dualism, simple Dualism, simple Monoism, complex Exposure immanent immanent transcendent Exposure Era 5 September 1957- 1971- now 1899 - now now Acquisition - - , and Beksan Golek Menak Acquisition - - The last half of 19th century era (ketoprak), Beksan Golek Menak since HB IX - now Develop- 1957-now 1971- now 1918 - (Kridha Beksa ment era Wirama); 1961- now (SMKI Yogyakarta) @ (ISI Yogya- karta) Develop- Formal, and nonformal Formal, and nonfor- Formal, and nonformal ment mal an Feedback Kementerian Kementerian Abdi dalem proposal, Pelancongan dan Pelancongan dan Show invitation to the pal- Kebudayaan Malaysia Kebudayaan Malaysia ace, dance studio, and dance practice at Kraton Feedback era valid until now valid until now valid until now As a result, the development of Ma- although there are some offers to compro- lay palace dance more focuses on the crea- mize with other cultures. At the end, this tion of intercultural dance which contains problem can be brought to a higher level multiethnics aspects and fades the original related to the Sultan political power. TIM, especially Asyik dance. This is dif- Kesultanan Yogyakarta has the st- ferent from TKGY which has rigid stan- rongest shadow state in Indonesia and the dard guidelines and cannot be changed biggest human resources which are con- 84 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 75-86 centrated on the center of economics deve- experts in non-formal institution related to lopment. This is difefrent from Malay eth- Malay cultural identity. The philosophical nic in Malaysia; although it is the majority, foundation is then implanted in the curri- it is separated into some smaller states in culum of formal education in dancing. Semenanjung Malaysia area, and does not Second, dancers’ selection in formal have power on economics area, like Java in and nonformal institution should be based Indonesia. on their competence, not closeness or eth- Chinese people takes the strongest nics. Although s/he is a Chinese but s/ economics power in Malaysia so the en- he is good at Malay dance, s/he should terpreneurs do not see TIM as a cultural be selected. In TKGY, there is no rule that object which should be performed on capi- the dancers should be Javanese, and that talistics activities. In Indonesia, Javanese is should be applied to TIM too. It is difficult a dominant ethnic who has power on eco- to do in a multicultural background count- nomics. There were chinese conglomerate, ry like Malaysia, but it is not impossible. but assimilatsion process done by Orde Compromising steps can be done. For Baru could weaken chinese economics example, if Chinese people have to learn power so they have to compromize their TIM, Malay people should also learn to ethnical identity with Javanese ethnical dance Chinese Classical dance (TKT). identity. We can easily find Chinese speak In Indonesia, especially in in a Malay Javanese well and find it difficult to speak area with Chinese people in certain area, Chinese. Chinese people also change their like Pontianak and Singkawang, it is not names into Javanese name, and after refor- difficult to find Malay ethnic who can do mation era, they try to preserve their Chi- Singa dance well and take part as Singa nese names and other cultural objects. dancer in capitalistics events and Chinese In a less friendly atmosphere for the cultural events. This program can be more development of TIM in Malaysia, giving effective in inheriting cultural object from feedback is more difficult to do. It means various ethnics in Malaysia than reisola- that TIM as a palace dance has lost its as- ting cultural dances from various ethnics sociation with Kraton/palace and finally and put contemporary dances with multi- becomes a dance appointed by Kemente- cultural nuances and its movements and rian Pelancongan dan Kebudayaan Malaysia stories than the dancers forward. through Jabatan Kesenian in Kelantan, Pa- Thrd, regenaration should be done hang, and Terengganu. There are two ac- on formal and nonformal institutio. Young tors left in inheritance process of TIM in dancers can be easily trained than the ol- Malaysia: formal and non-formal institusi- der ones. They can be directed to dance on. The following is the situation of TIM in TIM correctly and can master it well, than Malaysia compared to TKGY. old dancers who are resistant to change. In formal institution which completely has CONCLUSION Malay ethnic, TIM can be taught easily and accepted by many parties, and they should Based on the discussion described take this chance because there will be less in the first section, there are some recom- class composed by mono ethnic in Malay- mendation for formal and non-formal sia. institution to develop Malay Palace dan- Fourth, social orientation must be ce (TIM). First, formal and nonformal ins- emphasized. It will be easy as TIM gets titution need to develop a philosophical less attention from capitalists. However, foundation for TIM, which is analog to it will also be difficult thing to do because Joget Mataram in TKGY. The philosophi- high dedicated teachers are needed for this cal foundation can be abstracted through social job to teach students to dance TIM interdiscipline study by experts in formal with low cost. institution and in-depth reflection by the Fifth, governments in Malaysia Muhammad Fazli Taib Bin Saearani & Agus Cahyono, Inheritance Situation of Malay ... 85 should recruit formal and nonformal insti- Yong, M. & Christine. (2010). Contesting tusion to do shows in domestic and foreign Boundaries of the Malay Gamelan: countries. At this time, this step runs well the Contemporary Response of and is expected to be more intensive quan- Rhythm in Bronze. In Mohd Anis titatively. Md Noor, Patricia Matusky, Tan Sooi Beng, Jacqueline-Pugh Kitingan, dan REFERENCES Felicidad Pridenie, ed. Paper pre- sented on Symposium Singapore: Manaf, A., & Faridah, N. (2002). Tarian ICTM Study Group on Asyik, dalam David Levinson dan Miles, H. B. & Huberman, A. M. (1992). 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