Yospan Dance, Traditional Dance From Papua

Yospan dance is one of the traditional dances originating from Papua. This dance belongs to the kind of social dance or dance friendship between young men in Papua society. Yosim Pancar or commonly abbreviated Yospan is a merger of 2 (two) folk dances in Papua, namely Yosim and Pancar.



History of the emergence of the dance Yospan, we can run from the origin of both dances before experiencing merger to become Yospan. Yosim is an old dance from Sarmi, a district on the northern coast of Papua, close to the Mamberamo River. Yet another source says that this Yosim originated from the bay area of Saireri (Serui, Waropen). Meanwhile, Pancar is a dance that developed in Biak Numfor and also in Manokwari early 1960s during the Dutch colonial era in Papua. The beginning of the history of his birth is by imitating acrobatic movements in the air, with naming referring to jets. So the dance that mimicked the aerial acrobatic movement was originally called Gas Pancar, and shortened to become Pancar.



Since its inception in the early 1960s, Pancar has enriched its movement from various other sources, including enriching the movement of the natural movement. Because of this popularity, dance Yospan often exhibited in every event such as welcoming activities, events custom, and also the festival of art and culture. Yospan is also often displayed in Abroad to meet invitations or follow the Festival that is there. Even one of these Biak Papuans dances, always held every August. They will dance along the way of Imam Bonjol by accompanying a typical Papuan music.



The uniqueness of the Yospan dance is in addition to its musical instruments, clothing, accessories, clothing, and color, clothing in each of the dance clubs or art galleries of Yospan vary, but still with typical accessories from Papua are almost the same. The musical instruments used in accompanying Yospan dances are like Guitar, Ukulele, Tifa and Acoustic Bass. The rhythms and songs in the Yospan Dance in particular greatly awaken the power of this dance. Another highly visible uniqueness is the freedom of movement in Yosim dance and the dynamic mixing of acrobatic movements.



So the dance of Yosim Pancar consists of two teams, the Musicians Team and also the Dancer. Yospan dancers are usually more than one person or group, with a movement full of exciting, vibrant, and dynamic. In this dance, there are several different forms of dance moves such as Gale-gale dance, Seka dance, Sajojo Dance, Pacul Tiga dance, Balada dance and Cendrawasih dance.



Because Yospan dance is a social dance and there is no limit on the number of dancers in this dance, anyone can follow and enter the circle and can directly move to follow other dancers. It does not matter whether they are male or female, comment or amber, old or young. With the position of the dancers generally, form a circle and walk around while dancing, and accompanied by musicians. So no wonder through the dance Yospan, Papua community communication with the immigrants to be positive, as well as introducing the music and songs of contemporary created by Papuan artists.

War Dance, Traditional Dance From West Papua

War Dance is a traditional dance originating from West Papua. This dance symbolizes a heroism and valor of the Papuan people. This dance is generally performed by mountain communities and was held when the chieftain ordered to fight, because the dance was able to inflame the spirit in the war.



Papua is one of the provinces in Indonesia that has the most diversity of customs, tribes, and cultures. From the results of data collection conducted by the team formed by the head of the Department of Culture and the Province of Papua and after the selection and determined through a seminar involving religious figures, women leaders, indigenous figures, youth leaders and community leaders representing the 7 customary territories of Mamta Indigenous Territory, Bomberai, Saireri Traditional Territory, Domberai Traditional Territory, La-Pago Adat Area, Ha-Anim Custom Territory, Mi-Pago Custom Territory, were 248 tribes. The determination of this 248 amount is the data of temporary and recent information.



From this diversity of numbers we can imagine how rich the sources of research are for humanists, anthropologists, artists, etc. In the world of performing arts, the development of dance in Indonesia is closely related to the development of society. James R. Brandon in 1967 divides the development of performances in Southeast Asia can be divided into 4 periods namely: Pre-history period, around 2500SM to 100M. The period of entry of Indian culture, 100 to 1000. The period of entry of the influence of Islam, 1300 to 1750. The period of entry of the western country, 1750 until the end of World War II.



If viewed from the aspect of cultural anthropology in Papua, as well as analysis of the development of dance art in Southeast Asia, War Dance from West Papua this leads to the art of performances of the prehistoric period. The people of Papua, until now still maintain and preserve this dance of War as a form of homage to the ancestors and dignity of a nation or tribe. It shows that the development of society and art is not a development that is cut off from one another, but they are mutually sustainable. They believe that since the ancestors of the Papuan people have always hoped that the culture that has been passed on to every generation does not fade and not drown and not buried by the various developments of the increasingly growing days. Just as with the culture of the dances they have created with various waves of distress, trouble, and unrest are not as quickly forgotten by the next generation.



Many writings or records that tell of pre-historic tribal warfare in Papua, such as Velabhea war dance, a dance that tells the tribal war in Sentani. Papuans use a war dance to give a spiritual boost in the face of a war. But with the development of the era and government regulations that strictly prohibit the war between tribes, this dance then only a dance greeter invited guests.



This Papuan war dance belongs to a group dance, or may even be a colossal dance. Because there is no limit on the number of dancers. As in general dance in Papua, this war dance is also diringi tifa and other musical instruments, which distinguish this dance with other papua dance is a rebound of the songs of the spirit of war. By wearing traditional clothing, such as skirts made of roots, chestnut beads, and the leaves are inserted on the body to be a testament to the love of the people of Papua