Indonesian Culture and Tradition: Traditional Dance

Pendet initially a dance of worship which was exhibited at many temples, places of worship of Hindus in Bali, Indonesia. This dance symbolizes the welcoming of the gods fall into the natural world. Gradually, over the development period, the Balinese artists change Pendet to "welcome", but still contain elements of the sacred-religious.

Pendet is a statement of an offering in the form of ritual dance. Unlike dance performances that require intensive training, can Pendet danced by all people, pemangkus men and women, adults and girls.

This dance is taught simply by following the movement and rarely done in the banjo-banjo. The young girl followed the movement of more senior women who understand their responsibilities in providing a good example.

This daughter has a dance movement pattern that is more dynamic than Rejang Dance that was delivered in groups or pairs. Usually displayed after page Rejang Dance at temples and generally facing toward the sacred (pelinggih) by wearing a ceremonial dress, and each dancer brings sangku, jugs, bowls, and other offerings equipment.

Serampang XII Dance is a traditional Malay dance that developed under Serdang Sultanate. This dance was created by Sauti in the 1940s and repeated by its creator composed between the years 1950-1960. Prior named Serampang XII, this dance called Dance Island Sari, in accordance with the title song which accompanies this dance, the song Sari Island.

At least there are two reasons why the name of Island Dance Sari replaced Serampang XII. First, the name Pulau Sari less precise because the dance is fast-paced (quick step). According to Tengku Mira Ray, a dance that preceded the word "island" is usually tempo rumba, like Dance Dance Pulau Kampai and Island Princess. While Serampang XII Dancing has fast-paced movements such as Dance Serampang Sea. Based on this, Sari Island Dance Dance Serampang more appropriately called XII. The name itself means twelve dances with the fastest movements in between the songs named serampang. Second, naming the Twelve Dancing Serampang dance refers to the range of motion, amounting to XII, namely: the first meeting, love sink in, bury love, crazy drunk, signaling a sign of love, return gesture, suspect, still do not believe, answers, areca-woo, escort bride, and meeting you. A description of the motion range Serampang Twelve Dancing will be discussed later.

According to Tengku Mira Ray, this dance is the result of the integration of motion between the Portuguese and Malay dances Serdang. Portuguese influence can be seen in the beauty of motion and dynamic rhythm of dance music retinue.

Portuguese Culture does influence Malay nation, seen from its traditional dance movement (Folklore) and the dynamic rhythm of dance music, we can see from the rhythm XII Serampang dance song two. However, its speed (2 / 4) duplicated, footwork and sway jumping lively body and hands just like the Portuguese dances. As a dancer of course I was amazed at the cultural links between the two countries, and as a Malay princess Serdang, in my imagination when teachers Sauti imagine dancing in front of the Palace City of Sultan Sulaiman Galuh Perbaungan. It's how smart he is with his imagination combine dance movement Portuguese and Malay Serdang, so as to create Dance Serampang XII famous throughout the world.

Serampang XII Dance sacred love story about two young men who emerged from the first sight and end with a marriage sanctioned by the parents of the virgin and the youth. Therefore, told the meeting of two hearts, the dance is usually played in pairs, male and female. However, in the early development of this dance is only performed by men because of the condition of society at that time forbade women to appear in public, let alone show body-sway.

Allowed women to play turned out to Dance Serampang XII positive influence on the development of this dance. Serampang XII not only developed and known by people in the area of Serdang Sultanate, but also spread to various regions in Indonesia, such as Riau, Jambi, Kalimantan, Sulawesi, even up to the Moluccas. In fact, dance is often performed in foreign countries, like Malaysia, Singapore, Thailand, and Hong Kong.

The existence of the Twelve Dancing Serampang increasingly global discomfort was ignited Serdang Bedagai some communities in particular, and North Sumatra in general. Concerns arose because of two things. First, the spread of Dance Serampang Twelve to various regions and countries is not matched by its quality transformation. That is, the transformation of Twelve Dancing Serampang occur only in form only, not to the technique. According to Jose Rizal Firdaus, one of which concerned the development of Serampang Twelve Dancing is silting in terms of dance technique. This is caused by people from outside the area that plays dance Deli Serdang is not supported by the mastery of proper technique. As a result, there was a shift from the original dance technique.
Second, the lack of concern for the younger generation to dance Serampang Twelve. The widespread distribution of this dance to the various regions was not offset by the increasing love of the young generation Serdang Bedagai of this dance. These conditions not only can cause Twelve Dancing Serampang lost because there is no successor, but also can be lost because it is claimed by another party.

Both phenomena must be addressed quickly and precisely for Serampang Twelve Dancing is not only unsustainable, but also can provide benefits to society Serdang Bedagai in particular, and Indonesia in general. At least there are three things you can do to save Serampang Twelve Dancing. First, make Serampang Twelve Dancing as a regional asset. That is, the government must make protection for this dance is not claimed by another party, namely the patent copyright.

Secondly, closer Serampang Twelve Dance to children and adolescents. How that can be done is to make the Dance Serampang Twelve as one of the local content of teaching materials. By making Serampang Twelve Dancing as local content material, then the children are taught early on to know the history of its existence and understand the values contained in each motion. In this way, then we have tried to impart to the younger generation a sense of love, pride, and sense of belonging to the Dance Serampang Twelve.
Third, carry out routine race Serampang Twelve Dancing. Held a dance contest means to find someone who has the best ability in dancing. In the race, only the best will become the champion. To be the best, everyone should learn by earnest to have the ability to dance better than anyone else. Through this strategy, everyone is fine "forced" to learn Serampang Twelve Dancing is good and right. If this does work, then there are two things at once achieved, namely sustainability Serampang Twelve Dancing on the one hand, and sustained quality Serampang Twelve Dancing technique on the other side.

Fourth, welfare guarantees the conserve. The stakeholders, especially governments, need to make a breakthrough for conservationists Dance Serampang Twelve, as well as other cultural heritage conservationists, can live in salayak. The cultural conservationist culture will certainly continue to work and devote his life to preserving the cultural heritage if what was done not only by normative cultural preservation, but also practically became the backbone of survival. Often the cultural legacy left stranded because of the "do not provide" benefits to its owner.