Dance Ranup Lampuan, Traditional Dance From Aceh

Rupuh Lampuan is a traditional dance art originating from Aceh. This dance is a visualization of the life philosophy of the Acehnese people, which is to uphold the hospitality in welcoming the guests. The movement after movement in Rupuh Lampuan illustrates the procession of picking, wrapping, and also serving the betel to the respected guests, as in the custom of Aceh people who have the habit of serving the betel to their guests. Given the characteristics of the base, this dance is classified into several types of traditional dance or ceremony.

History of Ranup Lampuan

The word ranup or ranub in the language of Aceh does have the meaning of betel, while the word lampuan consists of two words, namely lam and puan, the word lam means in, while the word puan means a typical place of betel Aceh. This Ranup Lampuan dance was created by Yusrizal from Banda Aceh, which was more or less in 1962. Shortly after the popular Banda Aceh, this dance then developed in various other areas in Aceh.



In the beginning, the dance performed by 7 female dancers was created with the accompaniment of a modern music (band or orchestra), but in its development, Ranup Lampuan is more often accompanied by traditional Acehnese music, Serune Kalee, as proposed by a number of parties at that time.

Meaning In Ranup Lampuan

Every movement and attribute that exist in this dance contains symbolic meaning. As an illustration, the whole dance movement is performed in an orderly and gentle manner as an expression to the encyclopedia of receiving guests. There is also a gesture of greeting by using hands swinging left, right, and also forward as a symbol of reverence in inviting guests to sit. Then, betel in puan was served real by Ranup Lampuan dancers to the guests they welcome.



In the Acehnese society, these sirih and puan are symbols of a fraternal warmth. In addition, as a greeter, cooking or betel dish has an important role in the social rituals of the people of Aceh, so that the rupture or betel is always present in various professions, such as from the procession of marriage, circumcision, even when burying the corpse.

Raigo Dance, Traditional Dance From Central Sulawesi

Raigo is a traditional dance originating from Central Sulawesi. This dance represents a triumph in effort, excitement, and gratitude for the exhilarating harvest. It is the phrase which then becomes the movement and the expression of worship of the creator. This Raigo began to develop in the people of Central Sulawesi, especially in the Kulawi tribe.



Raigo dance is found in several types of raigo mpae (raigo = dance, and also mpae = paddy) or often referred to as raego vunja, which is a traditional dance of Central Sulawesi in a series of vunja ceremonies according to the rhythm of the people who are in the spirit, desire, and also believe in the Creator.



Raigo dance is not only in the form of entertainment, but the dance is not separated from the implementation of traditional ceremonies that exist in the Kulawi or Bada Valley. The poet's help in accompanying this dance contains a moral message. This dance is also part of the cultural expression that has been motivated by religious emotions as well as traditional ceremonies of all tribes in Indonesia.



Kulawi tribe who as the owner of the culture does not know the writing, so this cultural inheritance can only be done orally and imitate the behavior that relies on the mere memory. Not all layers of Kulawi peoples get raigo knowledge and skills because this dance is only for the totuangata (old people).



This type of raigo dance includes raigo vunca, raigo tarade, raigo potinowu, raigo pobalai and raigo puncumania. raigo vunca is a dance performed during post-harvest, raigo tarade, is a dance performed during the harvesting ceremony which results satisfactorily, raigo potinowu is a dance performed during the ceremony to pay the dowry by the groom, raigo pobalai is a dance held during a marriage ceremony, raigo puncumania is a dance performed at the ceremony circumcision.



Raigo bobongka ombo carried out on the seventh day of the death of a nobleman, raigo popowata was held at the time of waiting for the body, raigo poparoma was held at the ceremony of death before the last day, raigo mpainu held during the bath ceremony for the hero who will go to a battlefield, raigo hell done on when welcoming a hero from the battlefield, raigo popatunahou was held at the time of founding a new house, and for raigo pangkasuwia held for the reception of guests.



The accompanying song of this raigo dance is usually sung using tempo con brio, delce, de Marcia, forte, or presto that match the patriotic and heroic theme. The original raigo companion song was sung solo led by a tapanguli raigo then followed by a voice with the man. Then a soloist called toonama. Poems and lyrics for all types of songs are called oila and for vocals are called manoulia.