SUPPORTING ELEMENTS DANCE SAMAN
Saman dance, dance is full of energetic and dynamic is not only famous in the whole country and even foreign countries well acquainted with the dance this one. Exact date of 19 November 2011 last year, the dance that comes from Nanggroe Aceh Darussalam have been recognized and confirmed by the organization of education, science and culture of the United Nations (UNESCO) as a world cultural heritage are not objects (Representative List of the Intangible Cultural Heritage of Humanity). Of course we should be proud, after earlier keris, angklung, batik and wayang is also recognized as a UNESCO world cultural heritage. Intrigued by this one dance, let's sharp eye peeled one by one hoe hehehe ... * kidding
This dance was originally an ordinary folk dance known as POK ANE and comes from the ground Gayo highlands. This dance was created by Sheikh Saman, a ulemas. Seeing the enthusiasm of the people of Aceh to the arts was so great, then the Sheikh menyisipi poems praising GOD at every movement of the dance. In line with conditions in Aceh were at that time in a state of war, then inserted again poetry adds to the fighting spirit of the people of Aceh and to this day continues to grow as needed. At the beginning of this dance is not as famous now, until the moment the Aceh Cultural Week (PKA) II and the opening of the Taman Mini Indonesia Indah (TMII) was rumbling this dance began to shake and electrify not only Nusantara even to other countries.
Saman dance played by men with odd number (11-21) of people, but along with its development, this dance began to be played by women, even a mixture of both (male and female sitting alternating). This dance requires teamwork and cooperation anatara sheikhs and dancers. Supporting elements in this dance are:
1. The position and function of the dancers.
Saman dance is played in a sitting position and included in this type of kesenianratoh duk (dance sitting), whose birth is closely related to the entry and development of Islamic religion. The position of the dancer knelt down, depressed body weight to both feet. Saman dance patterns in space depends on the level or height position of the body. From a sitting position on his knees turned to a position above the knee (Gayo - berlembuku) which is the highest level, while the lowest level is when a dancer bending over forward until 45o (tungkuk) or tilted backward until 60o (Langat). Sometimes when the motion is accompanied tilt to the right or to the left so-called novice. There are also exercise in a sitting position next pitch to right-or left-rear (Lingang).
If played with a time limit and not a game, this dance is played by 10-12 dancers. but the integrity of at least Saman dance performed by dancers 15-17 with the following functions:
1 . 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
2. No 9 is the lifter, the main character (like a sheikh in the dance seudati) on the central point in the saman dance, which determines the motion of dance, level or strength of dance, poetry sung and poems in response to an opponent's attack main (Saman Jalu played for the match).
3. Numbers 8 and 10 are clamps, namely supporting cast lifter both dance and singing / vocal.
4. No. 2-7 and 11-16 are pincers, the usual supporting dancers dance movement that is directed lifter also plays pinch (choke), so that the density between waking dancer, dancers fused without intermediate in bershaf position (horizontal) to the unity and uniformity movement.
5. Numbers 1 and 17 is Penupang, the dancers of the most right-left end of the line dancers who sit berbanjar. In addition to acting as a supporting part of the dance, also plays menupang / keep the integrity of the position of dance in order to remain tight and straight. Penupang also called terminator Kerpe jejerun (holder jejerun grass). As if the last likened strengthen the position of the holding grass jejerun (a kind of grass roots jejerun strong, terhujam in, and difficult to pull).
Body 2.Gerakan
In addition to a sitting position and body movement, hand gestures are very dominant in this dance that serves as a motion at once music, consisting of:
a) cerkop ie both hands coincide and direction,
b) cilok namely motion index finger as if to take something light objects such as salt,
c) tepok performed in various positions (horizontal / back and forth / like a propeller),
d) movements such as nodding head in a slow tempo to fast (Anguk),
e) and head spinning like a propeller (Girek).
Kesenyawaan all these elements that add beauty and harmony in the saman dance movement. Because the saman dance played without musical instruments, then as a retinue in use hand and body. There are several ways to get these sounds:
1. Clapping both hands. It is usually moderate to fast tempo
2. Punch both hands to the chest. Usually upbeat
3. The next Clapping hands to the chest. Generally moderate tempo
4. Friction thumb to middle finger (kertip). Generally moderate tempo.
3. Rhythm Songs and Poetry
And the song of the dancers add to the dynamism of saman dance. Where is the way to sing songs in Saman dance is divided into five categories:
1. Rengum is preceded by the roar of a lifter.
2. Ring is Regnum soon to be followed by all the dancers.
3. Redet is a short song with a short sound sung by a dancer in the middle of the dance.
4. Syek is a song sung by a dancer with a long high-pitched voice, usually as a sign of change in motion
5. Saur is the song that is repeated by all the dancers after sung by a solo dancer .
0 Komentar