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 Malaysia and Yogyakarta Classical Dance in Indonesia 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 dance in Malaysia 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 Rebab Malay Palace dance in Malaysia has and Layang Mas, but they are not special. relatively slow movement starting with Asyik dance and Joget Gamelan 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 gongs, 11 dance has a wider meaning, and unfor- gendangs (gedombang asyik), a big han- tunately, had to sacrifice its identity as a ging gong, 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.