Saiyyang Pattuqduq, Traditional Art From Mandar West Sulawesi

Saiyyang Pattuqduq is a traditional art from Mandar, West Sulawesi Province. Saiyyang word itself means horse, while the word pattuqdud means dancer so that when combined it will be a horse that dances, experts to play foot movements and also the head.



This dance is generally played on a children's thanksgiving ceremony that has Khatam Al Qur'an, the child will then ride a horse and paraded around the village. Usually, this activity is held on the occasion of Maulud Prophet Muhammad SAW, honorary guest picking, and also entertainment facilities.



This tradition also reflects the Mandar community, especially in women who must be calm in the face of life. When going on horseback dancing, women should remain calm even though sometimes the dance goes berserk.



This horse dance refers to the handler who has hand-coded the reins on the horse's mouth. When the handler pulls the rope, then performs small strokes in the horse's horse, the horse has been trained so as to remember the movement during practice.



When the handler does so, then the horse must move his legs, ascend and descend. The head should be shaken according to the rhythm with the movement of the foot. Some horses also have a variety of movements, such as cross leg movement that looks beautiful. Horses can also swoop or jump high.



The horse has never been trained in the rhythm of a tambourine and can not dance if it is not taught by the handler's fingers. There are two main movements in the horse dance in Mandar that is at the head that looks up and also two front legs stomped in turn.

Reog Gendang Dance, Traditional Dance From Tulungagung East Java

Tulungagung District, East Java Province has a diversity of traditional arts areas, one of which is Reog Gendang. Reog Gendang is a traditional art recorded by UNESCO as an art object. Reog Gendang itself is an original traditional dance masterpiece of Tulung Agung society.



The history of Reog Gendang is related to the history of Kilisuci Goddess. Narrated in ancient times, a Bugis wanted to marry the daughter of Airlangga named Dewi Kilisuci. When the man from Bugis wants to woo, Dewi Kilisuci also asked the Bugis man to make a Sanipan as a condition in wooing him.



The Bugis man then asked Tulung Agung community to make a Sanipan or a candy for Kilisuci Goddess. Then created Reog Gendang dance as Sanipan Bugis man to woo Kilisuci Goddess.



Reog Gendang is usually danced by 6 (six) people or more. In this dance, the Pengrawit or the musician will play some kind of traditional musical instruments, but what should be in the show is kenong, gong, and also 6 (six) drums that will be played by the dancers.

Gandrung Dance, Traditional Dance From Banyuwangi East Java

Gandrung Dance is a traditional dance performance art from Banyuwangi, East Java. This gandrung dance emerges as a manifestation of the gratitude of society in every harvest. Gandrung Dance is still a genre with Ketuk Tilu from West Java, Tayub from Central Java and West Java, Lengger from Banyumas and Joged Bumbung originating from Bali.



This form of art that is dominated from the dance with orchestration is very popular in Banyuwangi area located at the eastern tip of Java Island. Because of the popularity of this dance, making Gandrung dance became the hallmark of the Banyuwangi region. Nothing wrong if Banyuwangi always identified with gandrung dance. Just look at the various corners of the region from Banyuwangi will often a lot of gandrung dancers.



The dance is accompanied by this music will be played by a professional dancer woman who then dances with the guests, especially men in pairs. Musical accompaniment was a typical music mix between Javanese and Balinese culture. Meanwhile, dance musical instruments such as the gong, kluncing, violin, kendhang, and also a pair of kethuk. Sometimes also interspersed with angklung, saron Bali, or tambourine as a form of creation and also accompanied electone.



Gandrung is often staged in various kinds of events, such as marriage ceremonies, marine lawn, circumcision, seven dozens and also other official and unofficial events, either in Banyuwangi or other areas. According to the custom, this performance is complete since about 09.00 PM and will end until dawn.

Giring Giring Dance, Traditional Dance From Central Kalimantan

The excitement and excitement of many are manifested in various ways. One way to express joy and pleasure is to dance. This is also done by the people of Kalimantan. One way to express the joy and delight of the people of Kalimantan, especially Central Kalimantan Province and Barito District is Giring Giring dance.



The beginning of this Giring Giring dance is a traditional dance derived from the Dayak Ma'anyan tribe and also popularized by the tribe. It then developed in the areas of Central Kalimantan Province and Barito district. The word Giring Giring or in the language of the people of Kalimantan is gangerang, which is a bamboo that contains piling seeds.



For the people of Central Kalimantan Province and Barito District, Giring Giring Dance is a burst of expression for the excitement and also the community's delight. This is symbolized by dancing movement Giring Giring Dance, which stomping a cantilever hand held in the left hand to the floor, while the right hand will hold a bamboo containing gravel and in a shake in order to create a very distinctive sound. The legs of the dancers also follow the rhythm of music by moving back and forth. The accuracy of hands and feet that move together is a unique part and the attention of the audience from dance bells.



The objects carried by the dancers are thin bamboo (telang) containing the seeds "piding" and shaken, so that will create a rhythmic tone is Giring Giring. The name of this sleigh Leaning object becomes an integral part of this dance, so it is called this dance called Giring Giring Dance. The dance activities of these bells are performed at the banquet, the inauguration or in the traditional event which describes the feeling of joy and also the pleasure.

Cokek Dance, Traditional Dances From Betawi Jakarta

Cokek dance is a traditional dance that comes from Betawi culture. Apart from Betawi, this dance is also often found in Tangerang area. Because this dance is the result of friction between Betawi culture, Banten, and China. Cokek dance has existed since the 19th century in Teluknaga area, Tangerang brought by a Chinese merchant named Tan Sio Kek.



The Chinese merchant also carries the Rebab Dua Dawai musical instrument, which is then collaborated with local musical instruments, such as flute, kempul, gong, kecrek, and kendang. The melody of the Chinese mainland and Tangerang traditions is called Gambang Kromong.



Early emergence, Cokek Dance is played by three female dancers. Now, the Cokek dance show is often played by five female dancers and some males as musicians who partly accompany this female dance. A scarf tied around the waist of a female dancer is one of the main clothing ornaments of women dancers combined with striking kebaya colors. This scarf is named cokek.



At first glance, this Cokek Dance is similar to Sintren dance from Cirebon or Ronggeng in Central Java, where the dancers have the authority to invite the audience to join the dance. However, one interesting part of the Cokek Dance is the musical accompaniment of Gambang Kromong.



Currently, Cokek Dance is rarely performed in the Betawi area. But in the area of Benteng, Tangerang, Cokek Dance is still to be found if there are people who hold a party. The cokek dance will generally be placed at the beginning of the series of events. If the Cokek show is held for weddings, then Cokek dancers will usually invite the groom or some of the invited guests to dance together. Whereas if held to welcome the guest of honor, then the local officials and guest of honor that's who will get the first chance to dance with the Cokek dancers.



The invitation sign of the dancer is a shawl that is worn around the neck of the guests. People assume, if a shawl of the dancers Cokek has been denied, then the abstinence for the guest or anyone to reject it. Rejection is believed to defame their own good name. Generally, guests are the ones who will dance with the Cokek dancers until the Cokek dance performances are over.

Baksa Kembang Dance, Traditional Dance From South Kalimantan

Baksa Kembang dance is a traditional dance from Banjar, South Kalimantan. This dance is a dance to welcome guests. Baksa Kembang dance will usually be danced by a woman. This dance can be danced singly and can also be danced by some female dancers.



Beginning around the 15th century BC, a prince named Suria Wangsa Gangga in the kingdom of Dipa and also Daha on the island of Borneo has a lover named daughter Kuripan. One event at another time is when the daughter of Kuripan gives a red lotus to the prince. The event is the embryo of the birth of dance Baksa Kembang in Banjar province of South Kalimantan.



According to Yurliani Johansyah, the classical dance experts Banjar. Baksa Kembang dance has existed since before the reign of Sultan Suriansyahm is the first king of Banjar Kingdom. This dance was created one day with other Baksa dance, such as Baksa Dadap, Baksa Lilin, Baksa Panah and also Baksa Tameng in Hindu era before Islam came.



The Baksa Kembang dance is a dance to welcome the honorable guests or royal kin. This dance is also performed by the general public in weddings or on traditional occasions. Originally this dance was a dance that was in the royal environment. At one time, the kingdom opened the royal access for the people so that the culture in the kingdom carried over to the general public.



Currently, the dance Baksa Kembang is still used at events to greet the respected guests, although there are still many dancers from dance Baksa Kembang not understand the meaning and value of dance Baksa Kembang. The word Baksa has a meaning of tenderness. Baksa Kembang dance is a form of the softness of the host in welcoming the respected guest. This greeting is done by the dancers giving the flower arrangement to the respected guest. These values are the transformation of the lovers' love, the prince of Suria Wangsa Gangga with the daughter of Kuripan.



The dance Baksa Kembang must be odd. In addition, the flower arrangement given to the guests of honor is a flower arrangement of a blend of roses and jasmine which is also called by the local community of Bogam flower.

Tambun and Bungai Dance, Traditional Dances From Central Kalimantan

Dance of tambun and bungai is a traditional dance originated from the palangkaraya area, Central Kalimantan. This dance is a dance that tells the heroism of Tambun and Bungai inside expelling enemies who will rob the crops from the people.



Tambun and bungai are the fighters in Central Kalimantan. Tambun and Bungai are the legendary figures of the Dayaks of Danum who live in the middle of the island of Borneo, especially in the area of Gunung Mas Regency.



Tambun and Bungai are brothers of their father who are siblings. These two men, Tambun and Bungai, have the same feeling that if one of them is sad then the other will share the same sadness.



Both have the same character and nature. They also have an intelligent character, gentle, gentle, helpful to others, little to receive a lot of giving, wise, fast legs, and also never give up to defend the truth.



One of the important events that made Tambun and Bungai a warrior from Central Kalimantan was that they always won in battle against enemies who would seize the land and harvest the local community.



They both got the title from Nya Nya Undang raja in Pematang Sawang. This title is Tumenggung Tambun Ringkin Duhung Falls and Tumenggung Bungai Andin Sindai. For all the struggles of Tambun and also Bungai, many people who created the culture to remember from Tambun and Bungai, one of them is Tambun dan Bungai dance.

Maengket Dance, Traditional Dances From North Sulawesi

Maengket Dance is a traditional dance that comes from Manado, North Sulawesi Province. The word maengket itself comes from the local language that is a crank, which can mean lifting the heel of the foot up and down. With the addition of the ma prefix on the word crank, it can mean dancing up and down.



This Maengket dance is one of the traditions of the Minahasa community that is still preserved to this day. The Minahasa people themselves are indigenous people of North Sulawesi. The Minahasan people are from Austronesians who have lived in North Sulawesi for thousands of years before Christ.



Minahasa tribe is a unity of several sub ethnics that have inhabited the North Sulawesi region such as Tombulu, Tonsea, Tontemboan, Tolour (Tondano), Tonsawang, Ponosakan, Bantik, and Pasan. Although the Minahasan community is composed of various tribes and religions, but the Minahasan people live side by side and get along. It also affects the cultural features of the Minahasa community, including maengket dance. Due to the wide variety of tribes in the Minahasa tribe, the term used in technical maengket dance also varies according to the language of each of these tribes.



Maengket dance has been known since the Minahasa people know the farm. Once upon a time Maengket dance performed at harvest time as a thanksgiving to God with a simple movement. Maengket dance consists of 3 rounds namely Maowey Kamberu, Marambak, Lalayaan. Moawey Kamberu is a dance performed as an expression of gratitude when the rice harvest is abundant. Meanwhile, Marambak is a dance that displays the spirit of mutual help of Minahasa people in building a new home for a new family, while lalayaan is a dance that symbolizes the young Minahasa students who seek a mate or also known as the Minahasa youth social dance in the age past.



The Minahasan community in the past played the maengket dance in the rice picking ceremony. Maengket dance itself is divided into two parts, namely Sumempung intended to invite the spirit of the Gods and praises the Empy (God) and Mangalei is intended to ask for blessings from the gods. Maengket dance is actually not purely dance, but also the unity of the two branches of art that is dance and singing. The rice picking ceremony is a traditional ceremony performed during the traditional party season which lasts for 28 consecutive days.



Moawey kamberu Maengket dance performed 7 days at the time before the full moon in the stone yard (Tumotowa), on the night of full moon performed lalayaan dance and 7 days on after full moon is done then dance maengket marambak in lamp installation ceremony for new house (sumolo).



Maengket Maowey kamberu dance will be led by women called Walian in uma and assisted by Walian im pengumam'an or an adult man. Walian is the original religion or religion held by the Minahasa, the leader is an old woman who is often called Walian Mangorai who served as advisor and also supervisor in the implementation of fertility ceremonies.



This goo dance begins with a wave of handkerchief by a dance leader intended to invite the earth goddess (lumimu'ut) to the trance master of the goddess of the earth. After the dance leader was possessed by the goddess of the earth, then this dance really started.



In order for other dancers not possessed by evil spirits, there is a Tonaas Wangko assistant accompanying wali in uma, this maid is called the tonaas in uma who is an adult male holding a spear as a symbol of the sun god (Toar). Therefore, around the stone yard (tumotowak) ditancapkan spears.



Maengket moawey kamberu or owey kamberu dance is an illustration of the complaints of fatigue in planting rice which then produces pleasure when reaping rice. The wisdom that can be learned is that any feeling of fatigue that is felt after working hard will produce a pleasure in the future.



In its development, dance maengket now has become an attraction for tourism, especially North Sulawesi province. Therefore, maengket dance is still preserved as a cultural asset by continuously undergoing modification without overriding the philosophical values of the dance.



Maengket dance is now in addition to still used by the community in traditional ceremonies, but also become one of the alternatives in traditional entertainment that is still maintained and developed by the Minahasa community.

Lenggang Nyai Dance, Betawi Traditional Dance Jakarta

Every traditional dance must have a message to convey to every movement. There are stories that inspire a choreographer in terms of creating his dance moves, such as love, passion, struggle and so forth. One of the dances that are inspired by this is the Lenggang Nyai Dance, a dance from Betawi or Jakarta that tells the story of Nyai Dasimah.



The origin of this lenggang dance comes from the story of a beautiful girl from Betawi named Nyai Dasimah who was in confusion to choose two choices of a spouse, a Dutch and an Indonesian. He later became the wife of a Dutchman named Edward William. Feeling constrained by the rules that her husband made, Nyai Dasima also made the excuse to rebel for the abuse committed against him. This struggle for women's rights inspired Wiwiek Widiastuti to commemorate Nyai Dasima's struggle in the form of Lenggang Nyai dance movement.



Lenggang Nyai dance character is more using the form of a lively movement as a personification of Betawi society. Sometimes, as cannot make decisions, this dance movement shows how it moves on one side to the other. besides that, Lenggang Nyai dance tells about the cheerfulness and flexibility of the young girl of Betawi and of course Nyai Dasima's happiness which can determine his life choice.



Like other Betawi dances, this dance is also performed using the musical accompaniment of Gambang Kromong which has Chinese cultural elements. The costumes were worn by the dancers in this dance usually wear the dominance of the flaming red color as well as the head decoration that is identical with the Chinese tradition.



Although this dance Lenggang Nyai including dance new works, Lenggang Nyai Dance can be said popular in Betawi and surrounding society. Like Ondel-ondel, this dance is also often an icon for Betawi people. Proven by often brought in special occasions in foreign countries and other names pinned on this dance, namely Lenggang Betawi Dance.

Kukila Dance, Traditional Dances of Bird Moves

Kukila dance is a traditional dance depicting the movements of birds. Both the rhythm or the dynamic range of motion and also agile arranged to illustrate the landing, hilarity in the glide, and back to fly. Kukila Dance is one of the many traditional dances that the movement is taken from the behavior of animals.



In Javanese philosophy, Kukila belongs to the five requirements of the life of a man, after the house, wanondya (wife), turangga (vehicle), and also suspicious (weapons). Kukila in Javanese philosophy can mean pet bird as klangenan or as a hobby. The essence of having this clearance aims to give pleasure, eliminate fatigue and also refresh the mind of the owner. Indeed the relationship between Kukila Dance and Javanese philosophy shows what is to be achieved by the dance. The series of movements displayed are expected to give pleasure for those who watch this dance.



Because this kukila dance is an imitation of kukila movement. The dancers in this dance usually use a bird-like costume. At a glance, this costume looks like a peacock dance but the difference is only on the green scarf that is tied behind and not bloomed. While the similarity with the peacock dance that is on the head of a dancer decorated with a kind of crown shaped like a bird.



In addition to the costumes, the shape of the choreography is arranged so that the resulting movement is similar to the agility of birds. Surely something that is imitative must have something fundamental and there must be. The basic pattern of this dance movement lasts about five minutes, among the basic patterns are the Serisih, Debeg Gejug, Open Close, Rotate. This movement is combined in such a way that it forms a sweet choreography.



The dances that are often performed by the girls are usually shown in the singular form. But not infrequently also played in a rampak.

Peacock Dance, Traditional Dance From Pasundan Land

Peacock dance is a traditional dance of the new creations of Pasundan land created by someone named Raden Tjetjep Somantri in 1950 and recreated by Irawati Durban in 1965. As the name implies, this Peacock Dance is much inspired by the elegance of motion and the color of the tail of the peacock. Many people mistakenly think this peacock dance tells the story of the life and joy of the female peacock, whereas this dance tells of the charm of the famous male peacock.



The male peacock will show off the beauty of its colorful and colorful tail feathers to attract the female's heart. The male peacock gestures look like a graceful dance to show her charm, this aims to keep the female fascinated and willing to continue mating with her.



It is this natural gesture that inspires this traditional dance of Pasundan land. Characteristic in this dance is that dancers usually wear a scarf that will be tied at the waist, which when unfurled will resemble the tail of a peacock that blooms and rich in color.



In the show, the characteristic of this dance lies in the clothes worn by the dancer, which has a peacock feather-like motif. The fabric and the clothes depict the shape and also the color of the peacock feathers. Coupled with scarves filled with sequins as a picture of a peaked peacock's tail, as well as a crown-shaped head of a peacock often called a siger, this siger will sway every dancer to move his head.



This dance is generally danced rampak and usually consists of three or more dancers who each have a role as a male and female peacock. This dance will usually be accompanied by gamelan instruments. Although this dance recounts the male peacock movement, the male peacock elegance can only be described through the movements of female dancers.



In each event, the peacock dance is most often shown primarily in welcoming the great guests, welcoming the bridegroom in the wedding procession, or introducing Indonesian culture, especially in the Pasundan culture to the international level.



Of the many dances created by Raden Tjetje Somantri, perhaps only this peacock dance is a famous dance in Indonesia as well as abroad. Until the number of variants appears in peacock dance creations, such as Peacock Dance in East Java and also Manuk Rawa Dance from Denpasar.

Klana Mask Dance, Traditional Dance From Cirebon

Cirebon mask dance is one of the traditional dances that come from Cirebon, including Indramayu, Losari, Jatibarang, and Brebes. This dance is one of the dances in Tatar Parahyangan. In Cirebon, mask dance is a lot of its kind, in terms of movement or story to be conveyed. Sometimes the mask dance will be played by a single dance dancer, or it can also be played by some dancers.



One of the kinds of mask dance that comes from Cirebon is the Klana mask dance. This Klana mask dance is a kind of another part of other Cirebon mask dance that is like Kung Wungu Topeng Dance. Sometimes these two mask dances are presented together and commonly referred to as klana kung wungu mask dance.



This Klana mask dance is a series of dance moves that tell the King Minakjingga (Klana) who is crazy about the beauty of the Queen Kencana Wungu, until then trying to get the idol of his heart. But his pursuit did not get results. The anger he could no longer hide then revealed all his bad temper. That would be the inspiration of Nugraha Soeradiredja when creating Klana Dance.



Basically, the shape and color of the mask will represent the character or character of the character being played. Klana, with masks and clothing dominated by red, represents a temperamental character. In this dance, Klana is a greedy, angry person, and can not keep the passions visualized into long, stomping movements of footsteps. His hands are also open and fingers are always clenched.



Part of his dance moves depicts someone who is dashing, angry, drunk, or laughing out loud. This dance can be combined with the rhythm of Gonjing which is then followed by Sarong Ilang. The pattern of dancing is similar to the other masks that consist of the part of the baksarai ( the dance that has not used the mask) and the ngedok (masked dance).



Before the end of this dance, the dancers will usually go around to guests who come to ask for money. He toured by way of masking the mask worn as a money container giving the audience. This section is called Ngarayuda or Nyarayuda, the symbol of the rich king and still does not feel sufficient with what he has, to continue to seize as much wealth from the small people without any rights.



Klana mask dance is sometimes referred to as rowana mask dance, which refers to the character of Ravana in the Ramayana story that has the same character. But this is clearly different because the character Rowana is in mask dance panji.

Dance Tauh, Traditional Dance From Jambi

Tauh Dance is a traditional dance from Jambi, precisely in Lekuk 50 Tumbi Lempur area, in Gunung Raya District. This dance is a depiction of the association or relationship of young men (single girl). This dance has existed since ancient times until now and passed down from generation to generation until finally, people do not know who the creator of dance that has been rooted in the middle of society. Currently, dance tauh is very popular in Bungo District as a traditional dance that is very popular with the community.



This dance is usually shown at events such as Celebrations, Sko Festivals, and also welcoming guests. Tauh Jambi dance is generally danced upon welcoming Rajo and Berelek Gedang. The most often decorated by this dance is Beselang Gedang or together harvest rice when harvest takes place. Therefore, this dance also describes the joys and gratitude of the indigenous people.



Like Jambi dance in general, this dance is also performed by men and women in pairs. The body position of this tauh dance is a combination of movement in standing position. Musical instruments of rebab, gong, and classical singing called mantun accompany this dance. 4 (four) men and 4 (four) women in the music Melayu melay poetry pantun. Uniquely, the duration of dancing is dependent on the short length of the rhyme that is hummed and also the ability of the dancers themselves. Not infrequently this dance also lasts from dusk till morning.



In addition to describing the gratitude and joy of indigenous peoples, dance and singing are also tells the life of village communities, romance, and customs. Clothing that is worn in this dance is a typical brown sludge. Do not forget the silver ornament cover is used to beautify from the appearance of the dancers. As well as typical Jambi dance in general, dance tauh this is often done in the open field, but there is also indoors, this is in accordance with the time and event.



The music accompaniment in dance tauh is Kelintang Kayu, Gong, and also Gendang. In addition to these three musical instruments, there is a violin musical instrument, this violin is used as a melodic musical instrument with a variety of Malay. At this time dance taut often displayed in an official ceremony held by the Government district or district and also at the wedding. As for the songs that accompany dance tauh is Krinok and pantun-pantun young people.

Pencak Silat Dance, Betawi Traditional Dance Jakarta

Pencak Silat or Silat is a traditional Indonesian martial art. The martial arts of Pencak Silat are widespread in Indonesia, Malaysia, Brunei, Southern Philippines, Singapore, and southern Thailand according to the spread of the Malay Nusantara tribe. In Indonesia, the role of this martial art is very large in expelling the Dutch in the colonial era.



Each region in Indonesia has its own style of Silat. The popular martial arts in Betawi are Silat Beksi and Silat Sabeni. In Betawi, Silat Beksi is usually used as a silat. As for Silat Sabeni specifically to fight alone, because the movement of the Silat Sabeni flow tends to be fast and also frontal.



Pencak Silat dance cannot be separated from the martial arts of Pencak Silat because the movement and costume in Silat Dance is the result of the Pencak Silat adaptation itself. It is said that Silat is danced and accompanied by music is the effort of the Silat college to trick the Dutch in the colonial period. After previously the martial arts warriors learn in a stealthy way. Because of that time, all types of martial arts are prohibited in Indonesia.



Pencak Silat Dance is classified as not long developed in Betawi. Because during this time Betawi silat players are not too concerned with the development or movement of attention and also watching the enemy. Part of this development in some areas sometimes resembles dance movements.



Unlike the case with martial arts dance in West Java accompanied by a pencak drum, Betawi silat dance accompanied by Gambang Kromong and Rebana Biang. But there are also wearing kendang pencak as in the area Cirendeu and Kayu Manis. However, the kendang Pencak instrument in this Betawi silat dance is only a rhythm carrier only. While in West Java kendang Pencak is functioned as a rhythm at the same time to give emphasis on the movements of the dancers.



In the procession of marriage in Betawi tradition, there is a tradition of "doorstop", which is a Betawi silat demonstration packed into a small play. The event is generally held before the marriage ceremony, which is a small drama that tells the entourage of the groom on the way to the bride's house will be intercepted by the local village champion who is told also put heart to the bride. So there was a silat fight in the middle of the road among the warriors of warriors with the bridesmaids of the brides who of course were won by the groom's bodyguards.



Now the term of pencak silat is slightly shifting in terms of its use. The term "pencak" itself is more meaningful dance, and also silat which refers to the martial art itself.

Suanggi Dance, Traditional Dance From West Papua

Suanggi Dance is a traditional dance originating from West Papua. This dance tells of a husband who was left behind by his wife who became victims of magical science. If we see from the description, this suanggi dance is a form of expression from the people of West Papua about the viscosity of the magical nuances that exist in the area.



Some dances that exist in Papua, tend to be impressed from ritual movements and religious ceremonies. As with the suanggi dance. This kind of dance usually starts with a ritual, like a war dance, a shaman dance used to heal or repel disease. Karl Jaspers calls these experiences that can bring about this crisis of existence as a boundary situation, and among them, the most important are the experience of dealing with the event of death.



In the West Papuan people's magical beliefs, Suanggi is an evil spirit (kapes) because it has not been redeemed yet and has not gained comfort in the afterlife. These spirits will usually enter the woman's body. Women who die in childbirth are feared to be transformed into fane capes. Meanwhile, in the Aifat community, it often calls it kapes mapo. These spirits often infiltrate the living women, who then magically can harm others. Women who are possessed by these spirits are referred to as kapo mapo, sometimes also called suanggi women.



It is said that these evil spirits can be used to harm others who are unpopular. Sometimes they are also jealous of seeing people eating themselves in the forest. If they see people eating around their dwellings and they throw out scraps of food at will, they will be a means for them to penetrate, causing sick people, emaciated, and eventually, they die.



When it comes to this kind of sacrifice, the elders will do Mawi to find out who the women of Suanggi (kapes mapo) it. After the elders find out, the woman will be killed, whether beaten or forced to drink the root of the tube. Furthermore, his stomach will be dissected, to see the peculiarities of the contents of his stomach. It is said if a true woman is kapes mapo, bile there will be two. Even to this day, the belief in Suanggi is still very thick



From some data from the results of research and information above, we can see how strong the belief of the people of Papua against magical things. Then summarized and recorded in the art form of dance performances. Maintained, preserved and preserved for generations for the belief, as well as the balance of life that we can then recognize as a cultural identity.

Sigale-Gale Dance, Unique Arts Of North Sumatra

Sigale-gale dance is a traditional dance performed by a sculpture made of wood that resembles a human being. This dance comes from the province of North Sumatra is proud by the Batak Toba community. Sigale-gale has a graceful meaning. Sigale-gale can be said of Batak puppet art since hundreds of years ago.



The story of the gale-gale is about a boy who is very dear to his father. In the Batak tribe a boy in high regard, so that if in the family did not have a boy, it becomes an infamy for Batak tribe.



The atmosphere of the Sigale-gale puppet show is very interesting and entertaining. Imagine, a doll on the back consisting of two or three of these puppeteers will pull the anatomical rope paths. Dolls that reach up to one and a half meters are given a traditional Batak costume. In fact, all the elements of his movements in the show create the impression of a human model. His head can be turned to the right and left the side, his eyes and tongue can also move, both hands then move like human hands that can dance and lower his body lower, like squat while dancing. Yet all the movements are only on the coffin, which is where the Sigale-gale dolls are stored after being displayed or played.



Gale-gale dance also has its own story, in ancient times there was a king who lived in the region of Toba. The king has a son named Manggale. At that time there were still frequent wars between the kingdoms, therefore the king then ordered the Manggale's son to go to war. Manggale was killed during the war. The king also felt sad and very devastated over the departure of the only child, so that his health worsened.



One of the royal advisors gave advice to the king to make sculptures made of wood with a face resembling the child. When the statue is finished, a royal healer performs a ritual ceremony by blowing sordam and summoning the spirit of Manggale to be inserted into the statue. The health of the king was getting better when he saw the statue is similar to his son's face.



Until now, Sigale-Gale is still on the island of Samosir, North Sumatra and is still often played by using the music player. Sigale-Gale became one of the cultural icons in North Sumatra that still attract attention for visitors both locally and internationally. The meaning of single-gale dance for the local community is that something bad does not happen again and is also considered to be unlucky.