 Yapong dance performance | |
| Instrument(s) | Rebana , Gamelan |
|---|---|
| Inventor | Betawi |
| Origin | Indonesia |
| Yapong dance |
|---|
|
| Burma |
| Cambodia |
| Indonesia |
|
| Laos |
| Malaysia |
| Philippines |
| Thailand |
|
| Vietnam |
Yapong dance is a Betawi dance originating in Jakarta, Indonesia. This dance depicts the association of young people created by the artist Bagong Kussudiardja. The Yapong dance was performed for the first time to enliven Jakarta's 450th anniversary event in 1977. [1] [2]
The Yapong dance was first performed to prepare for the 450th anniversary of the city of Jakarta in 1977. At that time, the Dinas Kebudayaan DKI prepared a mass dance performance with the story of the struggle of Prince Jayakarta. The performance, in the form of a ballet, was entrusted to Bagong Kussudiarjo to organize the event. To prepare for the performance, Bagong conducted research for several months on the lives of the Betawi people. Bagong carried out this research through libraries, films, slides, and direct observations of the Betawi people. Finally, this performance was successfully staged on 20 and 21 June 1977 at the Senayan Convention Center, Jakarta. The performance was supported by 300 artists and musicians who took part in it.
This dance is a joyful dance with dynamic and exotic movements. In the Yapong dance movement, a happy atmosphere is shown because it welcomes the arrival of Prince Jayakarta. The scene is named Yapong and does not contain any meaning. The term comes from the song which reads ya, ya, ya which is sung by the accompanying singer and the sound of music that sounds pong, pong, pong , so that "ya-pong" is born which gradually develops into Yapong. [3] [4]
The pattern in the clothes worn by the dancers is a development of the Betawi mask dancer clothes. This can be seen clearly from the shape and decoration of the headgear and the sash worn on the chest, which is called the toka-toka. Yapong dance is colored by Betawi folk dance, then processed by the inclusion of elements of pop dance, including elements of Sumatran dance. Because Betawi culture is heavily influenced by elements of Chinese culture, the Yapong dance also contains elements of Chinese art, for example on the cloth worn by the dancers there is a dragon motif with a bright red color which is identical to Chinese culture.
The musical instruments used in this dance are a mixture of Betawi, Javanese, and Sundanese. After this dance became a freelance dance, Jakarta used several traditional musical instruments, such as the Rebana Biang, Rebana Hadroh, and Rebana Ketimpring. Thus, Yapong dance is a new creation that departs from the elements of traditional Betawi movements. [5]
Jakarta, officially the Special Capital Region of Jakarta and formerly known as Batavia until 1949, is the nation's capital city and the centre of the largest metropolis of Indonesia. Lying on the northwest coast of Java, the world's most populous island, Jakarta is the largest metropole in Southeast Asia, and serves as the diplomatic capital of ASEAN. Jakarta is bordered by two provinces: West Java to the south and east; and Banten to the west. The Special Capital Region has a status equivalent to that of a province. Its coastline faces the Java Sea to the north, and it shares a maritime border with Lampung to the west. Jakarta's metropolitan area is ASEAN's second largest economy after Singapore.
As it is a country with many different tribes and ethnic groups, the music of Indonesia itself is also very diverse, coming in hundreds of different forms and styles. Every region has its own culture and art, and as a result traditional music from area to area also uniquely differs from one another. For example, each traditional music are often accompanied by their very own dance and theatre. Contemporary music scene have also been heavily shaped by various foreign influences, such as America, Britain, Japan, Korea, and India.
The culture of Indonesia has been shaped by long interaction between original indigenous customs and multiple foreign influences. Indonesia is centrally-located along ancient trading routes between the Far East, South Asia and the Middle East, resulting in many cultural practices being strongly influenced by a multitude of religions, including Buddhism, Christianity, Confucianism, Hinduism, and Islam, all strong in the major trading cities. The result is a complex cultural mixture, often different from the original indigenous cultures.
The rebana or terbangan is a tambourine that is used in Islamic devotional music in Southeast Asia, particularly in Indonesia, Malaysia, Brunei, and Singapore. The sound of the rebana often accompany Islamic ritual such as the zikir. The name rebana came from the Arabic word robbana. The rebana is also used by the Cham people of Cambodia and also gave rise to the Rabana which is used by the Sinhalese people of Sri Lanka.
Topeng is a dramatic form of Indonesian dance in which one or more mask-wearing ornately costumed performers interpret traditional narratives concerning fabled kings, heroes, and myths, accompanied by gamelan or other traditional music instruments. Topeng dance is a typical Indonesian dance that can be found in various regions of Indonesia. Topeng dance has the main characteristic that the dancers use masks to cover their faces. The dance will usually be performed by one dancer or a group of dancers.
Betawi people, or Batavians, are an Austronesian ethnic group native to the city of Jakarta and its immediate outskirts, as such often described as the native inhabitants of the city. They are the descendants of the people who inhabited Batavia from the 17th century onwards.
Dance in Indonesia reflects the country's diversity of ethnicities and cultures. There are more than 1,300 ethnic groups in Indonesia. Austronesian roots and Melanesian tribal forms are visible, and influences ranging from neighboring Asian and even western styles through colonization. Each ethnic group has its own dances: there are more than 3,000 original dance forms in Indonesia. The old traditions of dance and drama are being preserved in the numerous dance schools which flourish not only in the courts but also in the modern, government-run or supervised art academies.
Setu Babakan Betawi Cultural Village or Setu Babakan is a cultural park of Betawi people, which is located at Srengseng Sawah, Jagakarsa, Jakarta in Indonesia. The village is about 5 kilometers southeast of Ragunan Zoo at the center of the Betawi Cultural Village, a site considered as part of the cultural heritage of Jakarta, which is devoted to the preservation of the indigenous Betawi culture. The location of the Betawi Cultural Village is replacement of the previous Condet (Betawi) Cultural Village which is eroded by the time.
Blangkon or belangkon is a form of traditional cultural Javan headdress or headgear, made of traditional native Javan cultural clothing textile materials. Originating from the intricate Javanese cultural tradition and philosophy, there are four standard types of Blangkon that are commonly associated to the original ancestral-styles form, distinguished by the pakem and its invention origins, namely Yogyakarta-style, Surakarta-style, Kedu-style, and Banyumas-style. Over time, the Blangkon has also been adopted by another Javan ethnic groups, namely the Betawi, leading to the development of the Jayakarta-style Blangkon, subsequently recognized as Liskol(in Betawi), Belangkon Betawi or Blangkon khas Jakarta(in Indonesian), which characterized by its colorful Batik material, symbolizing the new Javan generations emerged in Sunda Kalapa area.
Ondel-ondel is a large puppet figure featured in the Betawi folk performance in Jakarta, Indonesia. As an icon of Jakarta, ondel-ondel is often utilized as a pair for livening up festivals or welcoming guests of honor. It is one of a few Indonesian folk performances that has survived modernization and is still being regularly performed.
Lenong is a traditional theatrical form of the Betawi people in Jakarta, Indonesia.
A kongahyan is an Indonesian musical instrument played by drawing a bow across one or more strings. Kongahyans are similar to the rebab, which can be found in Java, Bali and Sunda Islands. This musical instrument is played for shows on those islands. The kongahyan is smaller than two other Indonesian instruments, the tehyan and sukong.
Piring dance is a traditional Minangkabau plate dance originated and performed in West Sumatra, Indonesia. It is also performed in Negeri Sembilan, Malaysia. The dance might be performed by a group of women, men, or couples; each of whom holds a plate in each hand, and vigorously rotates or half rotates them in various formations and fast movements.
The peacock dance or peafowl dance is a traditional Asian folk dance that describes the beauty and the movement of peacocks. There are several peacock dance traditions developed in Asia, among others are peacock dances of Myanmar, and in the western and northern parts of Cambodia, West Java in Indonesia, also peacock dances of Indian subcontinent in Southern India, Sri Lanka, and Bangladesh.
Bagong Kussudiardja was an Indonesian artist, contemporary dance choreographer and painter. Bagong’s career kicked off after Indonesia’s independence in 1945. As a dance choreographer, Bagong has choreographed more than 200 dances. Bagong perfected his skills by studying Japanese and Indian dances. In 1957 and 1958, Bagong trained under the well-known dance choreographer Martha Graham, known for her boundary-breaking techniques. Bagong then combined the modern moves with traditional Indonesian dances. After his training, he founded Pusat Latihan Tari Bagong Kussudiardja in 1958, followed by Padepokan Seni Bagong Kussudiardja in 1978.
The Betawi mask dance is a theatrical form of dance and drama of the Betawi people in Jakarta, Indonesia. This dance-drama encompasses dance, music, bebodoran (comedy) and lakon (drama). The Betawi mask dance demonstrates the theme of Betawi society life which is represented in the form of dance and drama. It is called mask dance because the dancers use topeng (mask) during dancing and Betawi people believed that the topeng has magical powers.
Lenger lanang is a traditional Javanese dance originating from Banyumas, Central Java, Indonesia. This dance has existed for hundreds of years, lengger lanang is not just an ordinary dance, but a tradition of worshiping the Goddess of Fertility to celebrate harvests or village clean ceremonies that have been passed down from generation to generation. Lengger lanang dance is a form of cross-gender culture in Indonesia. This dance is categorized as cross-gender because the performer is a man who looks like a woman.
Tortor is a traditional Batak dance originating from North Sumatra, Indonesia. This dance was originally a ritual and sacred dance performed at funerals, healing ceremonies, and other traditional Batak ceremonies. For the Batak people, tortor dance has both cultural and spiritual values. Through this dance, people express their hopes and prayers. Demonstrations of attitudes and feelings through this dance describe the situation and conditions that are being experienced.
Ireng mask dance also known as Topeng Ireng or Dayakan is a traditional Javanese art that developed in Magelang Regency, Central Java, Indonesia.
| Acehnese |      | |
|---|---|---|
| Balinese | ||
| Banjarese | ||
| Batak | ||
| Betawi | ||
| Buginese and Makassarese | ||
| Cirebonese | ||
| Dayak | ||
| Javanese | ||
| Lampung | ||
| Malay | ||
| Minangkabau | ||
| Minahasan | ||
| Palembangese | ||
| Sasak | ||
| Sundanese | ||
| Timorese | ||
| Moluccan and Papuan | ||
