DANCE KECAK

Kecak is often called "The Monkey Dance" for the tourists is in the form of dance drama relatively new but has become a very popular show / famous and has become a must watch show for tourists both domestic and abroad. Dance scenes kecak been promoted in several poscard, tourist guide and others.

Kecak is the name is a name that directly taken after the sound "cak, cak" in saying that continually throughout the show. There are some who explained that the word or sound "cak" actually means a very important and significant in the show.


Kecak origins

Not known for certain where the dance originated and where kecak was first developed, but there is a kind of consensus on the Bali kecak first time developed into the art pertujukan in Bona, Ganyar, as additional knowledge kecak initially a tembang or produced music from the sound synthesis which form the melody is usually used to accompany the sacred dances Sahyang. And can only be performed in the temples. Kemudaian in the early 1930s from the village astist Bona, Gianyar trying to develop kecak dance by taking the story of Ramayana as a substitute didramatarikan Trance Dance so it can finally dance in public dipertontontan as performance art. Part of the Ramayana story was first taken in which the Goddess Sita was abducted by King Ravana.

The development of the Balinese Kecak

Kecak Dance in Bali has continued to experience the changes and developments since the 1970s. Developments can be seen is in terms of story and performances. In terms of story to play not only BASED on one part of the Ramayana, but also the other parts of the story from the Ramayana.
Then the performance in terms of development is also beginning to experience not only found in one place like the Village Bona, Gianyar but also other villages in Bali to start developing that kecak dance throughout Bali kecak are dozens of groups whose members usually banjar members. Activities such as Kecak dance festivals are also often held in Bali either by governments or even by the school of art in Bali. And the largest number of dancers who had performed the dance kecak recorded in 1979 which involved 500 people dancing. At that time kecak performed by taking the story from the Mahabharata. But this record was broken by the Government is conducting Tabanan colossal kecak with 5000 dancers on 29th September 2006, at Tanah Lot, Tabanan, Bali.

Kecak Pattern

As a Kecak performance is supported by some very important factors, more is more in this kecak show presents dance as an introduction to the story, of course the music is vital to accompany the dancers sway lenggak. But in the Kecak music sounds generated from a combination angota peak of about 50 to 70 people it will make music akapela, a leader will act as the initial tone memberika longer act as a stressor in charge of high pressure or low tone of an act as penembang solo, and another sorang ki will act as the mastermind who brought the story line. Kecak dance dancer in the movement should not follow the standard are standard dance accompanied by gamelan. So in this kecak dance dancer's body movements more relaxed because the main priority is the story and voice synthesis.

DANCE SAMAN

For the audience the art of dance, Saman became one prima donna in the show. In every appearance, in addition to absorbing large also suck the audience the art of dance. Saman dance is one dance that is quite unique, because it only displays clapping motion and other movements, such as exercise, head and body position. Another uniqueness visible from a seated position and the sway of the dancers stomping body to the left or right, as sung poetry.


This dance is usually played by a dozen or a dozen men, but there must be odd. However, in the further development, this dance is played also by women or a mixture of men and women. And of course with the other motion modifications. I am sometimes asked how many people can simultaneously play a dance that has a high speed? In addition to training of course, there must be certain formations in each set so that the density of dancers and dance looks harmonious balance and dynamic.

Almost all Acehnese dance troop performed. This requires cooperation and mutual trust between the sheikh (leader of the dance) with the dancers. But any element that makes this dance so beautiful in motion, rhythm and cohesion is not much we know.

Now let us begin to peel supporting elements in this saman dance. Perhaps when we know all the aspects contained in this dance, we can better understand. And get not only beauty but also the meaning of the philosophy of the position, motion, poetry as performance terlantun Saman in the title.

In the normal appearance (not match), where the constraints of time, Saman could play 10 to 12 dancers, but the integrity of Saman least supported 15 to 17 dancers. Which has the following functions:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
* No. 9 is called the lifting
Lifter is the main character (a sheikh in Seudati) central point in the Saman, which determines the motion of dance, the level of dance, poetry and voiced poems in response to attack your opponent play (Saman Jalu / game)
* No. 8 and 10 called clamps
Clamp is a good lifter helper character dance and singing / vocals
* No. 2-7 and 11-16 is called claw
Tweezers are used to support the dancers dance or dance movement that is directed lifter. In addition to a role as a dancer also pinch (squeeze). So that the density of dancers awake, so the dancers unite in a position without the banjar / bershaf (horizontal) to unity and simultaneity of motion.
* No. 1 and 17 is called Penupang
Dancer Penupang is the most right-left end of the line dancer who sat berbanjar. Penupang besides acting as part of the support also plays a role menupang dance / dance position hold integrity to remain tight and straight. Penupang so-called penamat kerpe jejerun (jejerun grass holder). As if to strengthen the position held by memgang grass jejerun (jejerun grass roots kind of strong and terhujam in, difficult to remove.

Saman dance danced in a sitting position. Included in the types of products ratoh arts (dance sitting). Which is closely related to the birth and development of religion in Islam. Where the dancers sit kneeling position, depressed body weight to both feet. Dance patterns in space is also limited to warrant the level, the height of body position. From a seated position changed to a position kneeling on the knee (Gayo - berlembuku) which is the highest level, being the lowest level is when the dancers bent forward until the body 45o (tungkuk) or tilted backward up to 60o (Langat). Sometimes while doing the movement with the movement to the right side or left called singkeh. There are also exercise in a sitting position strolled to the front right or left-rear (lingang).

In addition to a sitting position and body movement, hand gestures are dominant in saman dance. Because he serves as music and motion. It's called the second hand cerkop coincide and direction. There is also cilok, namely the index finger tip motion as if to take something lighter objects such as salt. And tepok conducted in various positions (horizontal / back and forth / like a propeller). Head movements such as nodding in a slow tempo to fast (anguk) and head spinning like a propeller (girek) is also a range of motion saman. Is Kesenyawaan all the elements that add beauty and harmony in saman dance movement.

Because saman dance in the play without a musical instrument, then as a retinue of using hands and body. There are several ways to get these sounds:
1. Clapping his hands together. This is usually moderate to fast bertempo
2. The second blow to the chest palms. Usually fast bertempo
3. Clapping one hand to the chest. Bertempo general was
4. Friction with the thumb-hand middle finger (kertip). Bertempo general was.

And the song of the dancers add dynamism of the dance saman. Where do I sing songs in the dance saman divided into 5 types:

1. Rengum, which is preceded by the roar of the lifter.
2. Dering, Regnum is immediately followed by all dancers.
3. Redet, namely a short track with a short sound sung by a dancer in the middle of the dance.
4. Syek, the song sung by a dancer with long, high-pitched voice, usually as a sign of change in motion
5. Saur, the song that is repeated along the whole dancer when sung by a solo dancer.

In every show it was in mengahasilkan a sinergikan so amazing dance movement. So Saman dance power not only lies in the words alone but a compact motion becomes more value in the dance. This may result from compliance with the dancers play a role in each.

That bit about the function of formation, type of motion, provided musical accompaniment and singing of the Saman dance performances. May be useful for you in understanding the Saman dance.