Related Papers
In A. Rumsey, & D. Niles (Eds.), Sung tales from the Papua New Guinea Highlands: Studies in form, meaning and sociocultural context (pp. 49-63). Canberra: ANU E Press.
2011 •
Lila San Roque
Gong and Sekafi Dances of Lundayeh in Kemabong, Sabah : a way to understand the nature of Lundayeh
2015 •
Lee Suan Chong
Lundayeh populations are found in the areas of Tenom, Sipitang and Long Pa Sia, along the west coast of Sabah, Malaysia. Lundayeh dance forms and systems have gone through changes and variations since their existence in Borneo. This paper looks into a variety of aspects, including music, costumes, movements, functions and stories of the traditional dances practiced in today’s Lundayeh communities in Kemabong, Sabah. The surviving traditional dances found to have stemmed from the core of Lundayeh cultural, social and religious aspects of life. The study leads to the discovery of the thinking patterns, life philosophies and world perspectives of Lundayeh that are strongly influenced by their religion and ancient culture. Dance music ultimately serves as a tool to understand the nature of Lundayeh people as one of the minor ethnic groups in Malaysia. The understanding of the nature of Lundayeh would further contribute toward sharing and discovering another dimension of human knowledge ...
British (Jurnal Bahasa dan Sastra Inggris)
The Role of Balada Cenderawasih Traditional Dance of Papua
2020 •
Sri Winarsih
Balada Cenderawasih is a traditional dance of Papua which is performed by a group of dancers in the costumes resembling beautiful Paradise birds. The dance is often performed in many important events in Merauke. This study aims to find out the role of Balada Cencerawasih as a kind of ballad from Papua beyond an art show. Two subjects were studied; the dance and the owner of traditional dance studio. Through overt observation over the dance, and semi structured interview with the owner of traditional dance studio, it was collected the data and were analyzed using Spradley qualitative model. The study shows the roles of Balada Cenderawasih are as; 1) Cultural identity; through the motions, language and symbols; 2) Regional wealth, both material and cultural heritage; through the show includes costumes, musical instruments and the dancer attributes; and 3) Environmental protection; through the values include moral, religious and education.Keywords: balada cenderawasih, ballad, role, tr...
African Music: Journal of the International Library of African Music
1. Thunga la ngororombe - the panpipe dance group of Sakha Bulaundi (The Nyanga/Ngororombe panpipe dance (double article))
1992 •
Moya Malamusi
Aesthetic Values in Balada Cenderawasih Traditional Dance of Papua
2020 •
Sri Winarsih
This study aims to find out the aesthetic values in Balada Cenderawasih, a traditional dance of Papua. Balada Cenderawasih is a traditional Papuan ballad performed in the dance moves. The contents of literary and artistic are fully included in it which can be explored more than just a performance on the stage. One of several ways to explore is by finding out the aesthetic values through a study. This study is descriptive qualitative with the source data obtained from the dance move sequences, informant, and the synopsis. The data were collected by overt observation, structured interview, and documentation, then were analyzed using Miles and Huberman’s three steps; reduction, display, and verification. The results of the study show that the aesthetic values are found out based on the 3 aesthetic elements; appearance, substance, and presentation. 1) Appearance; a) Form: the formation of a group of birds symbolizing beauty, binary opposition and leadership, b) Structure: the unity, the...
Performing Arts in Postmodern Bali – Changing Interpretations, Founding Traditions
Finding Your ‘Gedig’: Revivalism in Balinese Improvised Paired Drumming
2013 •
Made Mantle Hood
Revivalism may be considered, in part, a sociological response to musical impoverishment. When a degenerated and marginalized genre or style is resuscitated, it is the efforts of revivalists, among others, who restate its value and worth for a new generation (Jones 2007:84-89). These restatements revivalists make through teaching musics in various established and new contexts are simultaneously their reinventions of tradition (Keister 2008:240- 241). Revivalists are often stalwart traditionalists but they may also seek out musical remnants from archival recordings or living ‘core revivalists’ in search of both authenticity and innovative ideas (Livingstone 1999:70). In the case of the later, knowledgeable culture bearers attempt to fuse temporal boundaries to create tradition, and represent authenticity. They bring with them a musical system (tuning, mode, rhythm, melody), an approach that initially stands out among mainstream musical systems as an ‘articulation of difference.’ One such articulation is the current revival of traditional Balinese theater drumming that has been building momentum since the fall of the New Order. In the revival, a pair of drummers play double-headed conical drums called kendang arja. They produce a percussive improvisatory style that reached the pinnacle of its popularity in the 1960s and 70s before being overshadowed by Bali’s colossal theater movement (Bandem 1981). Only recently has arja and its drumming style resurfaced in a new vocal genre called pesantian. In the revival, uninitiated drummers encounter new patterns and formulas. This ‘new’ musical system with its own unique rhythmic organization stands out as different because drummers must learn to create their parts in real-time performance rather than learning pre-composed patterns. In this essay, I explore arja drumming’s history and stylistic formulation focusing on one of arja’s principal centres, the village of Singapadu. Here I trace the lineage of teachers and core-revivalists in the ‘Singapadu Style.’ Then I conduct a detailed analysis of drum patterns to reveal the organizational principals of improvised paired-drumming. Throughout the chapter, I present the micro-issues Balinese percussionists confront when learning fundamental patterns as a step towards improvisation. Through these confrontations and engagements, they yield their own interpretations and ultimately find their own ‘groove’ or gedig.
Dinaka/kiba: A descriptive analysis of a Northern Sotho song-dance performative compound
Geoff Mapaya
A disjuncture in the description of persists between practitioners of the genre, deemed custodians of Northern Sotho culture, and some scholars. Drawing from extensive fieldwork and consultation of literature from established scholars, this article presents a descriptive analysis of the dinaka/kiba song-dance performative compound. It does so by looking into the constituent elements of the genre, particularly its attendant nomenclature, instrument playing techniques and the technology used in instrument making. It was found that by investing in unravelling the deep lying philosophical underpinnings, as well as gaining insight into the functions of genre, chiefly embedded within the attendant indigenous languages systems, a contextually sound and accurate description of the genre is possible. This article, therefore, apart from challenging a few misrepresentations surrounding scholarly definitions, seeks to provide a practitioner-informed, analytical and comprehensive definition of dinaka/kiba as a song-dance performative compound. Keywords: Indigenous
Book Reviews Review Essay: Recent Scholarship on the Music of the Southwestern Pacific. Sung Tales from the Papua New Guinea Highlands: Studies in Form, Mean-ing, and Sociocultural Context; Steep Slopes: Music and Change in the Highlands of Papua New Guinea; Nga Moteatea
Gabriel Solis
Master's thesis
Igal: The Traditional Performing Arts of the Bajau Laut Community in Semp*rna, Sabah
2013 •
Hafzan Zannie Hamza
This thesis examines the concept and meaning of igal, an indigenous dance tradition of the Bajau Laut community in Semp*rna, Sabah. Igal or ‘dance’ to the Bajau Laut community signifies more than just a ‘dance’. This thesis posits that igal represents Bajau Laut’s culture, heritage, worldview, and cultural memory; through its epistemology and the construction of its form and content. The practice and performance of igal in Bajau Laut cultural landscape articulates the psychological impression of concept and meaning, and is signified as the Bajau Laut restored behavior. Thus, it is necessary to uncover the concept and meaning of igal through investigative studies on its practices and performances within the Bajau Laut traditional landscapes as well as stage performances. This thesis adopted Ferdinand de Saussure’s dyadic model of decoding the sign - signifier and signified; to investigate, interpret and understand the holistic conception of meaning of igal in the Bajau Laut society. This thesis also incorporated Richard Schechner’s concepts of performativity and restored behavior to elucidate the culturally structured movement system of the Bajau Laut community as a performative, symbolic and reflexive “performance.” This thesis attempts to discuss that igal as a structured movement system, is a performative expressions of an explicit and implicit coded aspect of Bajau Laut culture.
The 5th International Conference on Climate Change 2020 24-25 September 2020, Bali, Indonesia
Kelambut: environment-based traditional music of the Waena Tribe, Sentani, Jayapura, Papua
2021 •
I Gde Agus Jaya Sadguna
Kelambut is an important instrument for the Waena Tribe and plays a vital role in raising awareness about climate change mitigation. However, until now there has been no indepth study about Kelambut music. The purpose of this study is to identify the traditional music of Kelambut musically and to know the meaning of Kelambut for the Waena tribe. This research was conducted using qualitative methods. The data source is the music of Kelambut itself; the informants are the chief of the Waena tribe, performers, and local cultural observer. All data collected through participative observation, interviews, records, and FGDs were analyzed using ethnic music theory and structural-functional theory. The results are: (1) Kelambut is a traditional musical instrument made from natural environmental wood in the Sentani area. It resembles a boat and is played by hitting the inside part and functions as a communication tool and musical accompaniment to dance. (2) Besides valuing it as a work of art, to balance life with the environment, the Waena tribe also interprets Kelambut as sacred music which provides protection, as a liaison with their ancestors, as a sign of the appointment of a tribal chief (Ondoafi), and as the cultural identity.
