Twelve Serampang dance is one of the many dances that developed under the Sultanate of Serdang Bedagai Regency (formerly called the Deli Serdang district) of North Sumatra Indonesia. This dance is a kind of traditional dance, played as dance association containing messages about the journey the story of the young people in finding a soul mate, from the introduction to enter the stage of marriage.
In this dance originally performed by indigenous Sultanate of Serdang. The uniqueness and characteristic of this masterpiece of the past i.e. is present on the story line dance that is performed.
In other words twelve serampang dance is a community way Serdang in teaching the hereditary processes and stages a person in performing the wedding. One function of this dance is communication at the same time as the transformation of social science which develops on the Sultanate of Serdang especially in lowering science and knowledge in performing household Ark. No wonder if the dance is very popular by the young in the region of Serdang.
TWELVE SERAMPANG DANCE HISTORY
The history of these Twelve Serampang Dance created by Sauti, born in 1903 on the shores of Mirror, and in the 1940s dance Serampang Twelve repeated by him was composed between 1950-1960. Whereas a Dance name Serampang Twelve formerly Island Sari dance. This refers to the title of a song that accompanies the dance song island of Sari.
There are two reasons why each passing the name of the dance. The first reason is because the name of the island: Sari rated less precise, and this up-tempo dance (quik step). The name of the dance that preceded the word “Islands” are typically up-tempo rumba, such as Dance and Kampai I Island Princess. Whereas a Serampang Twelve dance have such up-tempo Dance movement Serampang sea. Investigation by the description, the more precise Pollen Island Dance when dance Serampang called Twelve, which own twelve names taken from the dance that has the fastest movement in between songs named Serampang.
Then the second reason which caused the changing name of this dance is that this dance has twelve movements, i.e. starting from the first meeting, love permeated, love, harbored smitten craze, the cue mark, replies love cue, suspect, still not believing, answers, areca-proposes to transport the bride and groom, and love.
At the beginning of its development, Serampang Twelve dance should only be performed by men. This is because the condition of the community at that time forbade women to perform in public, let alone exposing the swing body. But with the development of the times, where women already able to participate more freely in every activity, then Serampang Twelve dance then played in pairs between men and women in various parties and arena shows.
To date, Twelve Serampang Dance has developed into several areas in Indonesia in addition to North Sumatra, Riau, Jambi, such as Borneo, Sulawesi, even up to the Moluccas. In addition to the known and played all over the country, Twelve Serampang dance is also well known and often performed in some neighbouring countries, such as Malaysia, Singapore, Thailand, and Hong Kong. The existence of Twelve Serampang dance works this Sauti, tremendous acclaim around the country and neighboring countries. Along with this development, the local Government District of Serdang Bedagai beinisiatif to protect the copyright of this dance as an asset and wealth of the area.
The MEANING of DANCE MOVEMENT of TWELVE SERAMPANG DANCE
The names of the Twelve Serampang dance is actually taken from the twelve variety dance movement that told me about the stages of the search process partner to enter the stage of marriage, here is the meaning of the XII variety dance movements Serampang twelve.
Movement I , motion the beginning of the dance with the rotary motion while jump-jump little described the first meeting between a man and woman who punctuated the attitude full of question marks and shy.
Movement II, the motion of running done while running small, then spun and turned to its original position as a symbol of growing seeds of love between two people in which began the growing sense of love between two hearts, but they have not dared to mengutarakannya.
Movement III, the spinning motion (the giddy dance) as a symbol was being harbored in love without can mengutarakannya. Looks to youth and youth are increasingly being met, so as to make love longer makin blossomed. The movements in this dance portrays two people who harbored the nervousness of flavor.
Movement IV, crazy motion performed like a drunk man as a symbol of the two pairs of lovers are dimabuk kepayang, played with and-waddling little penguins and staggered like a drunken man. The process has already started to deep soul meeting and dance depicts the condition of the two people who hold flavor that never turns off.
Movement V, motion runs are done by walking and-waddling little penguins as a symbol gives the cue. On this spectrum, women trying to explicate the sense of love and love by gesturing toward the men, that is by the movement follows the pair on a regular basis. Dance movements on a Variety V is often also called the crazy variety.
Movement VI, motion goncet is the symbol of the movement replied to cue from both people who are being hit by love. In this variety, described the party men who tried to capture the signals given by the women by moving the next hand. The youth and the youth then do the dance steps with hand between the youth and the youth.
Movement VII, the motion of the left to the right (suspect) that describe the occurrence of intent between the two pairs of lovers in a mutual gesture capture was given. They have been convinced to continue the story they’ve knit up to enter the rank of the wedding. After an appointment is pronounced, then a pair of lovers who are dimabuk the romance went home to get ready continues the story beautifully.
Movement VIII, three-step motion surged back and forth as a symbolic process of convincing yourself. The movement is done by jumping as much as three times that done while backward and forward. Young people who have promised to try again, permeates and trying to convince myself to enter the next stage of life. Dance movements done with a motion of the revelers who shows a pair of lovers are talking list gurau-before entering the second level with the introduction of the extended family.
Movement IX, motion jumped as a symbol of the wait for answers. Dance movement described the efforts of both people to ask for a blessing to parents in order to receive the partner they choose. Both of the people waiting for answers and pounding the blessing of their parents.
Movement Of X, the motion comes-came to as a symbol of the process of peminangan of the men against the women. After no reply of certainty and approval from both parents, the youths took the initiative to do the peminangan toward women. This is done so that the long love blossomed can unite in a sacred bond, that is marriage.
Movement XI, all manner of motion paths as symbols of the process take the bride to the altar. After the proposal put forward by the youth received, both families will make the wedding. Usually done with shades of cheerful gratitude as the Union of two lovers who have long dimabuk romance towards the altar with a happy heart.
Movement XII, the motion of the handkerchief or range the last played by using a handkerchief as a symbol of Union of two hearts who have loved each other in marriage. On this spectrum, dance movements done with a handkerchief attached depicting two young people ready to sail the household, without the big dipper can be separated either in a state of happy nor difficult.
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