Yogyakarta-Style Classical Dance plays an important role in the part of human-life values, both seen from the religious function and from the social function. From a comprehensive perspective, it is shown that the preservation related to the development of this type of dance occurs because each generation has its own soul of the era that encourages cultural creativity. Eventually, Yogyakarta-style classical dance transform both internally and externally. The interplay among different traditions may result in something new that constitutes an additional repertoire in addition to the existing traditions. This paper discusses how such transformational processes apply in Yogyakarta-Style Classical Dance and what happens to the dance that belongs to the Palace of Yogyakarta and how their current development is. The processes of cultural transformation that have occurred to Yogyakarta-Style Classical Dance (in conjunction with the performing arts) also lead to shifts in the functions of the performing arts in the environment of Yogyakarta Palace that initially tended to be sacred, with the advancement of the society’s mindset, the functions get eroded and change into the profane ones or into a performance that the general public can learn.
Dance pedagogy is a complex and dynamic field of competency that involves various skills and self-appearance. Therefore, dance instructors must widen the scope of their competency to strengthen and improve their level. This research aimed to identify the competency of dance instructors teaching the practical subject of Malay Court Dance based on factors including the components of pedagogy, curriculum, assessment, and professionalism. The data was collected from interviews with the instructors and was analyzed through thematic analysis. The findings indicated that the instructors’ competency level development could be mapped into three dimensions, namely orientation, agent, and competency content. It was concluded that art schools in Malaysia need to develop dance instructors’ competency in terms of (1) 21st-century learning needs, (2) vertical and horizontal knowledge sharing, (3) workshop, study tour, and competition, and (4) standardization of technological development relevant for curriculum, across knowledge, practical, and feeling domains.
Strategies in teaching and learning cover three key concepts consisted of approaches, methods and techniques that are interrelated and interrelated including in Malaysia Folk Dance. This research aimed to identify the systematic review on learning strategies adapted through Wau Bulan folk dance learning in general and learning strategies adapted from the modelling theory approach in dance learning through the aspects of approach. Study found that learning strategies was through general dance learning through Modelling Theory by Albert Bandura (1969) and Nana Degjana Dance (1989) approach. Both finding showed that dance approaches can focus on cognitive and psychomotor aspects at the same time. Beside, learning strategies adapted from the approach of modelling theory to dance learning based on the aspects of the approach, the researcher found that there are several teaching methods relevant to this including inductive and deductive concepts in dance teaching and learning, direct experience methods, demonstration and demonstration methods and play methods. Therefore, it is hoped that this study will help in deepening and preparing literature review related to learning strategies based on the approach of modelling by the coach in internalisation process of Wau Bulan folk dance.
The Uda and Dara theatre script is based on the outcome of Usman Awang's observation on Malay society life, especially in the newly independent era. Since the beginning, they have taken the process to improve social development. The choices of language and determination of the characters used by Usman Awang reflect any ideas and strong critical thinking on Malay society, humanity facts that were colonized and defeated either by the real colonizers or the Malay elite themselves. Thus, it is believed that through Uda and Dara, Usman Awang fought for a social statement that was contrary to the noble values that were believed in, namely the Malays who developed social, cultural, economic, and political origins based on Islamic values. In accordance with the issue, this article focuses on the two problems. How Usman Awang's resistance to the Malay's social reality and how the Malay elite practised colonialization of fellow Malay's. The literary sociology approach and reading literary method was used to analyse Uda and Dara theatre scripts. This article shows that Usman Awang strongly criticizes the stratification or social status that only benefits the Malay elite. Through an unjust system of land tenure, the Malay elite maintained strong dominance over weaker societies. The main principal is Usman Awang was able to reveal the critical Malay's awareness to escape from the elites power who colonized them after independence from Western colonialists.
This study aims to examine the roles of the Ngayogyakarta Palace, formal educational institutions, and non-formal educational institutions in the inheritance of the classical court dance of Yogyakarta or Tari Klasik Gaya Yogyakarta (TKGY). The method employed was a qualitative method through interviews and observations with a number of informants from dance institutions in Yogyakarta. Based on the interviews, a number of independent and collaborative roles among the three types of institutions under study can be identified. These roles were then placed in a theoretical framework related to the inheritance of the classical court dance of Yogyakarta (TKGY) that justifies the reasons why it can be well-inherited in the Special Region of Yogyakarta. Based on this effort, it was found that each institution took a place in the attempt to support the inheritance layers (core, practical, philosophical, and developmental) causing the absence of problems in the existence of the classical court dance of Yogyakarta in the Special Region of Yogyakarta. These findings then can be used as the best practice for the inheritance efforts for classical dances in other places in the Indonesian Archipelago.
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