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    15 views14 pages

    Adat 00427 PDF

    Uploaded by

    Venii Sifaa

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    © All Rights Reserved
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    RITUAL AND PROCESSIONAL PERFORMANCES k Indonesia, performances are often linked to ritual enactment. In some, the spirits of ancestors, deities or guardian animals take possession of human bodies nd in this form, dance, In other cases, the presentation is meant to entertain spirits which have descended to Earth to join their people (on some special occasion, In the first instance, the presence of the spirits is invoked by a ritual specialist to help expel pestilence. Many of the dances performed for this purpose are native to Indonesia. Trance can be an important component: itis seen as a sign of spiritual presence, The sanghyang of Bali and seblang of East Java come under this category, Sanghyang performers are possessed by celestial nymphs and animal spirits whose conduct they imitate, while the seblang of East Java is performed as a traditional vilage-cleansing ritual Spirits of deities coming down to join a Balinese temple's anniversary celebration (odalan), on the other hand, enter into the bodies of wooden effigies (oratinia); and performances of the rejang and baris gad are Inducted for their entertainment, so that they will be pleased to stay a while, Alter the dances, the effigy is paraded in a colourful and lively procession to.@ bathing place some distance away for annual ritual bathing, before itis returned to the temple's innermost courtyard. Al processions have the qualty of a performance. n the Javanese courts ‘of Surakarta, Yogyakarta and Cirebon, the Prophet Muhammad's birthday is celebrated with a grand procession conveying several gigantic mounds of rice or gunungan to the Grand Mosque where, after prayers, they are distributed to the waiting crowd. The raucous colourful reog ponorogo procession in East Java is purely entertaining. The dominating feature is the heavy chadhakmerak headaress, a tiger's head ccrowmed with a huge fan of peacock feathers, The galombang procession greets important guests in West Sumatra. Six to twelve martial arts experts advance towards the gu in two long rows, rising and faling in wave-like movements, then part to allow the passage of a woman carrying a betel container, and two umiorella-porters. After the quest has accepted a quid of betel, the tro usher the guests into the ceremonial area Galombang Aim every Minangkabau nagar (a poltical as well as territorial unit) and urban community in West Sumatra has some sort of cultural ‘performance dedicated to honouring important guests. Some take place as the guests are about to enter the location of the event to which they have been invited, others when they have taken their places inside. The principal element in the display is the ‘art of movement’ carried out to the accompaniment of music bun\nyli-oun(ny}ian. | Galombang Performance in Minangkabau ne aft frm tet is called gafombang or tari tual performance is act of doing; main=play, speaking, the galombang is a demonstration of welcome fo mensurate with ther status, The word A modern-day Wast Sumatran sedding -shossing thatthe ynbang also refers to a series of movements actor resembling ne rise and fall of ocean (Randa is a local form of fok theatre in which the story is enacted ‘canoe and narration galombang continues nad da inaci to havea role in ceremonial life. Behind the welcoming dancers res (galoms is he bridal pavilion, resplendent in gold ‘embroidered and sequined veleet angings. | just before t site. After >A West Sumatran | wih the performance of ickis | pasambahan. The pasa ‘often used in the | (offering or al gslombang dance phenomenon introduced fairy recently inte the Minangkabau dance repertoire. Created by a chor modem Western sense, it comes under the c of ‘recreational dance’ The galombang performance wes a part of ae asigy | Minangkabau culture long before the bith ofthe ad | _ independent Republic of Indo intentions but also Closely imental structure established by Minangkabau’ frst ruler, ‘Adityavarman (AD! it evolved into 1 deeply embedded of Minangkabau sich ger fe) 's an urban The penghulu, sho is marked bya special heirloom sath around ‘is noch, accepts a gid of b of not only his sis appreciation for the honour bing chon hi as visiting nagar (panghul nment of early Gays comprised the rer hulu, and an administrative 2 St i the king wa ach penghuiu neaded " (panghuly pucuk) or an indvdual tin the Minangkabau worl, while pucuk, was pero since the nagari had autonomous status vuthin the greater kingdom of wi au. This is reflected in the saying: adit Ccupak sapanjang batuang tradition 2 na Internode the vaiity of a ulation extends 2s far as the boundaries of the nagar very for honouring guests indi tradition and between t Form and Implementation of Performance The galombang performance requires considerable ski Six to 12 dancers align themselves in two long long the ading to the ste at wil take place, facing the direction from guests wil ave. One person is assigned to ctor 01 quid) ina ceremonial sinf-pinang (bet st-of-honour, and one get cone at the ‘approach the sit, they are graetec 1g dancers who move slowly and ly towards them, performing a se ‘movements that produce the effect of ring an: faling waves. They metres from the quests. Sih-pinang s offered i ‘obigatery that gussts take some) and the doubie fl of danc through th The general con p at a dstance of two to th ranks to the ste of the main pt of the performance is more or less the Minangkabau social units. Howover, va can be discerned from nagari to nagar and sequence of movement in both form Galombang Performance in Pariaman There is Both go into action when the gt te. The host galombang 19 folows shortly attows st and a guest galambang in Pariamen, sts approach the Ine quest nave an equal numer of men, aranged in two pairs 3f rows facing each other. In front of each group isthe tukang allah who leads the silk movement The tito groups progress towards each other in the synchronised wave-ike movement of the bang. When they come face-to- 2, each puts display of ts prowess in the martial arts on a spe As things can sometimes get out-of-hand, an arbiter, nang, stands ready with a sinh container. Th moment areal fight seems imminent, he thrusts the sic container between 1 " ought t ig alah salute each other thelr senses, the under the sinh container Each then places a ri merawa, across the top tft container. In Pariaman, ths signifies forgiveness and o frendship Detwaen the two groups. Should the fight nou be stopped, ito and lot After the two parties separate or are separated, they reassemble into two long lines facing each other Down this ase, the host advances to fetch the ‘and escort them fo ther places, n Pariaman, tinues to the beating ngle-headed hang drum pert noes usually take place as a f traditional festivities, particularly those related to the instalation ofa ‘ruler’ or penghuly Galombang Dua Baleb One style of galombang isthe galombang d which was created by 2 martial arts expert by the “Movements are generally extracted “controlled by a principal performer, Newer a cen fnaesthetcconsideratonsalone. "Performers ae traditionally men, "There are infact, three conceptual resedinall Back loose sources of movement ek nature, : and symboisn. Syncheonisation ie name of Pandeka Tanger The dance \was intially performed by 12 male dancers but in recent times, it can be p d by both male and femal Urban Galombang Performances Vatations nave become more evident wth urban development in West Sumatra, esoecially with the involvement of arts institutions as well es re-arrangement ine aditions through developed. New ‘of mavement have been found in the martial ar such as the ter ining (plate dance) performers ha 2 worren often adds elegance to performance: one carries the sinh container, far by the otner two. Behind axe three men, the one in the middle carrying @ yellow parasol-of-honour to The movement o shetter the sin bearer. Ts ge stoned in West Stumatram dan the middle of the two rows of g sare sharp, forceful 3y move towards the guests. Al the performers and defintice are clothed in soecife regional costume that may like those of elt by the choreographer defence si fe been reworked to conform new concepts of harmony, 's called the tar galombang (ga 10 distinguish it rom the traitonal gelombang. The tar galombang escorts the quests to ther hr point it ends. Frame-Drum Ensembles iF Indonesia, the frame-drum is closely a the country one encounters ensembles of several or many frame-crur are played for Muslim weddings and circumecisions, both in parades essions preceding the ceremony and as entertainment afterwards, and for devotional mestings. ‘ockated with Islam, All over ollny ofthe Jolk performances throughout Indonesia are held by rorchlght at ight, suck as this indang performance i West Sumatra Defining Frame-Drums In a rame-drum, by defntion, the diameter oft head is greater than the depth ofthe body. Frame. drums may or may not have ingles attached (tambourine), and they may have one or two heads (membranes), athough in Indonesia the single Headed varety 's more common. The single-headed crum is often called rebana; some other names are terbang, fava, repano and gendang Frame-crum music is believed orginaly to have been used in the cisserination of itis, even today, a combination of art and religous teaching, tuninteligible through the cconturies and the assimi $n of local languages ‘The Rebana Ensemble The number of single headed trame- ‘an ensemble ranges from 0 oF thrae to 20 oF and ev spectacular ot Typically, some of the than others, and thus lower in pitch, and diferent nusical functions are assigned to various drums. The lowest-pitched drums may fun gongs, marking strong beats of repeating patterns. Its very common in these ensembles fo more fora (Nboce) Drumming ‘without drum. The so people of Central Acoh use heir bodies for beating out jon, for example, rhythmical | the drummers to dive into several groups playing accompaniment to | ‘eteriocking patterns of considerable complexty sarees and variation The drummers, who are usually male, sing as they drum, more or le with Muslim content: praises of Alzh and ‘Murammad, or statements of Islamic rules anc principles. One common text is the Arabic poom | known as Berzanj after its author; many texts are in indonesian or in regional languages. While the singing is going on, the rebana wil typically play a repeating pattern the rebana biang, | into impressive passages of interlocking patterns. In some traditions, there is no danoe; in others, the musicans dance as, they sing and drum, moving their whote body if standing, or just their upper body i seato kneeling: and in sil others, there is a separate group cof dancers, Dabus in Aceh, West Java and Malu, indang in West Sumatra, rebana biang in Jakarta and selawatan throughout Java are typical genres featuring ensembles of rebana, Variations Many variations and exp ‘combination of frame-crums and Islamic content ‘context have developed. Melody instruments — ‘uitars and electronic keyboards, for example — are added, and a female chorus substituted, to make lar form known as gasidah, or nasyid. The be an Avab-sty ud or an indigenous indonesian lute, and three to five small two-headed manwis, to accompany nging by the lute-player The drums play in the style rioed above for wang), at the eastern end of Java, the kuntulan ensemble augments @ group (of some ten rebana with European miltary drums, some instruments typical of a local dance tradition, (gandrung Banyuwang) and, apparently, anything (se that comes to hand — Balinese reyong, singaral dancer and Casia keyboards are among the possi bilties. The fremo-drums, together withthe military tums, tend to play in alternation with the other instruments, rather than simultaneously; this musk opposition reflects kuntulan’s history as a ganre that iiginated in relgious performance, hadrah, and then overtime, acquired secuiar elements, ln Muslim areas of Lombok, there isa rebana ensembe that is also a ‘drum chime’, that is a set of precisely tuned drums which use, in this case a fve-tone scale. At least one of these ensembles plays music borrowed from the Balinese processional gamelan, bebonangan: each drummer drops in his pitch whénaver it comes around in the melody Here, there appears to be no Islamic content to t performance, but other Lombok rabana ensembles are reported to perform more typically Muslim music. Frame-crum music's very popular amongst the Betaw of Jakarta. The rebana ourdan, wnich beloved to be the oldest form, consists of four frame-crums, conforming to a Muslim's ‘fou ‘obligations: to Ged, to nature, to the community, and to the sel. The songs are rendered traditionally in Arabic, which has become garbled with time and is pow largely uninteligibie, but today quite of the vernacuir. The Islamic nature of frame-crum music's reinforced by the costumes worn by the musicians ‘and vocalists, These are invariably ong trousers, rt and a Musi cap or turban for men, and pathaps a searf around the neck; and trousers, along tunic, an a vell worn over @ head-hugging Drumming without Drums TERBANG GUDRUG OF CIRANGKONG, TASIKMALAYA HA 6s Hes Wn DF WAR “The erbanggudrag ofthe Cirangkong area of South Tasikmalaya, West Jaa, Jas set of frme- dram which are played by three to five drummers. The players are taken fom the male community, Unslly two players take curs to plays dram because the performance continues untae a nigh. cred rom Sul cata ries tives mae “Th fem oft tengo octet mh eel ‘singers who dance and make per sounds, but frame-drums found in other areas. The structure of the drum is superior, strong. their instruments ave their ov bodes, as they clap ann antique. Each drum measure about 70 centimetres in diameter The ther hands, slap ther chests and sides, and srap membrane s made from two-year-old buf ite ogee Ancoptoweaa. who eta wsllfary the edges ofthe membrane fr itrlacing strings The body is surrounded by ‘Aceh, chiong is performed at Muslim celebrations, Serrenenete reredneoien rae athoyah i in male and always seated, lap while others be considered frame-drum ensembies without the ‘rame-crums. The seudat genve of the Acemnese beubetaee (itl holes produce surprisingly loud sounds by slapping small square fabric pilows. surrounding the memane) Oi ene — Samba Besar asuk (pags mae om new wood) or QA combined bangle atta coi) febana burdah. drum performance @ 4 rapin peformane ‘Sabeces sing framedrums. — @ Aw indang dane ‘arava (sig) OX framesdram Wes Sumatra. uaa (boy) gnsemble in Sumbassa. — QA Minanghaban A rebana Jrame-drnm plavwer fang or obang (hk) Performancz near ‘ram West Sumatra, Zapin "he zapin dance is common to almost all of coastal Indonesia, an especialy areas where Isiam is the dominant influence. Del on the eastern littoral of North Sumatra, the Riau islands, Jambi, South Sumatra, Bengkulu, and Lampung; Jekarta, Pekalongan, Garut, Tuban, Gresik Bondowoso and Yogyakarta in the Javanese coastiands; Madura, Nusa Tenggara, al of the Kalimantan and Sulawesi coastal districts, Ternate, Seram and several other Malukan islands, each has its own version of the zapin dance. Aceh and West Sumatra are the exception, despite the predominance of Islam and the presence of the right traditonal musical instruments and rhythms for accompaniment (Top right) Tic zapin Meaning of Zap “Mak Inang'was pin, the word, has a varity of interpretations, performed by Sanggar al detved tom Arabic. Inthe Arab-cescended Tari Dahlia in community of Bondowoso (East Jay. it is variously Medan, Sumatra. _attibuted to the word zafn (step orto take a step) (Bortom) A af (which is a plucked 12-strnged musical performance ofthe ntrument for dance accompaniment) and al-zaf zapin ‘Kasih eno take a step oF to raise one fot). Zepin dance Budi ‘maverent emphasises footwork. Hand and ar gostures act as a balance and have a form oftheir own, tke padding @ canoe, swinging freely taking hold ofthe shit front with one hand, the other behind the body, palms loosely open or clenched with 2 protruding index finger elagantly curve. (Above) sage ‘Amongst the Malay peoples of Indonesi, the dackdrep for aapin | word zapin nas various equivalents. In Del and Riau performance at zapin preva, in Jambi it becomes dara sarah, and Ar Genre in 1984. | Lampung bedana, On Java and Madura, tne dance is known as zafn, on Kaimantan, Sulawesi ‘and Maluku japin or jopn, and in Nusa Tenggara dani-dane, Areas Where Zapin is Found The practising community is goneraly the Malay et however on Java, Madura and in Nusa Tenggare the zapin dance genre is known only in Arab descended commurites. Ditferetiaton can therefore be made between the (Aboce) Tso mate dancers performing a dance sequence from the zapin, zapin and the Malay zapin. The Arabic zapin is 80 insttutionaised with respect to siyla and accompanying music that it can be performed by an dancers anywhere, The Malay z (On Sumatra, for example, we h pin Siak, Zapin Pulau Penyengat, zapin Tembilahan, and zapin Palembang. All ay be Inked by dance pattern and musical accompaniment, but they differ th respect to sive in (tan be eaded marwas oF -omparying rhythm, Both ends of ns, which are 15-20 centimetres and the larger hajir drums, 30-40 centimetres, are covered with tightly stretched calf oF goat-skin memoranes. The malody is cariad by a five-noled bamboo fiute, madruf. The zafn hair marawis bagins with the ulus, in which a pair of mae faces the mu na dancers assume as and salute the musicians with raised hands, palms pressed close together. They move back and forth several st the music as they adjust hemselves to ts rhythm and tempo. When the dancers teal synchronised with the music, they perform a figure-eight movement. This basic step is performed at the complotion of each dance step or movement, This is then followed by the tahtah which isto move forward, shift one foot tothe ‘back, then turn in place and sit on The ‘theatres, open fields and schools in ir mara) iso modern vapim are presente droerse styles and forms. By devising modes of expression, the is expanded into a erative ‘work, while om th village level the 2api, continues to fulfil its traditional role @ Benes See| one folded leg. The figure- mmm ae or then = ated. Tae tant, IN DANCE OVER THE ARCHIPELAGO | tase: iat: pie which is identical to the anbusslo and intoducton | | | Ametendd fore of the tatioh, is executed ater | —— ©} scemesese unt) | tears omni SS pinonee e poten ans ode <0 Seno ossanskaioral | | Thea ou opt te ee Saoepiese Ja | Painbonee: | ' | retort sips. ts ct ‘pe oasendy | Trearont mares pate || Set pote The Malay Form | teen ns aerate ——— The Malay apin has a great many reg | sonar t ime). arc steps. The pattern ofthe dance is similar to that ofthe Arabic zapin, I opens with he salute (salam) | imam | or siting (ouduk sembat}) followed by the Jangkah buka (opening movement, langkah tai (dance step), tahtim, langkah tar, and sing fahtoh or sembeh penutup (closing salute The actual number of dance steps used in each _zapin depends on the dancers, The Malay zapin differs with the Arab zapin in that the dancers face the audiance and not the musicians. The opening step is simple, mer stepping forward, rising on the tove with feet together on every fourth count, pressing or brushing 18 on ground, oF raising one foot, turing 180" to reluin to the original position with the same step, and making another 180' turn so as to end up facing the ausience. Musical accompaniment is provided by the same instruments as the zafin gambus, Some Malay zapin make use of dan ‘accessories, in which case the dance a ame of the accessory. This techrique is particuarly popular in West Kalimantan where we find the jeain {fembung (pole, jepin kerangkang (ishing net), fepin payung (umbrela), and jepin selendang (stole/shaw/) Occasions for Performances The zapin dance is generally presented on speci accasions such as ritual gatherings, situa bathing ceremonies and commemorations of Islamic holy days. Iitialy the performers were al men who danced in pairs and dressed in sarung (oylndrical skirt-cloth, shirts and black kopiah hats, ach pnt ABC msi nt or the teluk botan suit) with sesamping songket (goid-brocaded sarong over-skit) and lacak oF destar headcioth, The Arabic zapin is stil performed by an all: male company, but the Malay zapin is now performed as well by an all-female or mixed troupe. Female dancers weer the songket sarong, baju urung (pulover brouse) or kebaya paniang (cardigan blouse), and @ selendlang (stole). The stole may be ‘worn to cover the hair, draped diagonaly across the chest, or wound around the waist. When the hai is ‘not covered, it is wound in a sanggui knot and orna mented with sunting (decorative hairpins) or flowers. 92 (pajama ‘The Zapin in Present Day The orig ofthe zapin dance 's contemporaneous withthe arrival of Arab, Persian and incian traders in the 13th century Ithas become a cutur hettage, a oot rom which have sprouted new forms of indonesian dance, a process greatly clted by the wealth of and existing zapin fo its demand for both pontaneous and pee conceived impr sation. maLuKu® ‘sLawie PERFORMANCES The zafin gambus 4s accompanied by the gambus (6-aringed Jute), violin, dowble- ended maewas drum, smadrut late and singing. Vocal ‘accompaniment ‘appears inthe form of euatrain-verced pantun and sir This i deioerd in the Arabic language for the Arabic vapin and Malay and Arabic for the Malay capi. Both contain advice, a story, romance and humour which are closely linked to Islamic poetry (Belz) The xapi. dancers perform a Fieure-ight movement ‘aking diagonal sep forward tothe left «a jump 10 the right, a 180" turn, a diagonal step to the right, a jump tothe loft and another 180 arn, arriving back atthe starting point Dances of West and South Sumatra ‘he dances from West and South Sumatra range from combination ‘of martial arts and dance such as the alau ambek to graceful female dance like the gending stiwiaya. Unique forms of dances such as the alau ambek, lang suntiang and gending Sriwijaya are particular to the area but West and South Sumatra also possess dances which are shared with other parts of Sumatra and indonesia such as the pencak silat and tari pring Alau Ambek ‘Alau ambek is a traditional dance from the Minangkabau culture of West Sumatra which is based on martial arts movements. itis sad to have originated in the period when the kings of ancient kingdams conducted batts to expand their hegemony: the kingdom sponsoring the losing fighter would be obliged to surrender its terrtory to the winner, Today, the dance is merely an exhibition of skil inthe martial f arts, but it retains a spiritual nuence and f thus cannot be performed without the permission ofthe highest traction authorites, the nink mama (aie elders of the matrneal clan, since improper perfor. mance could have disastrous consequences for the community. The nik mamak are Identied at the performance with the Aispay of valuable paraphernaia owned by hangin rai, candal, tabie), announcement The tat pring (place dance) is (one ofthe dances ofthe Minanghahaw. West Sumatra & Fe Presentation [An alau ambok performance resamibles a martial ats

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