DIGITAL PRESERVATION OF INTANGIBLE CULTURAL HERITAGE OF JOGET DANCE MOVEMENT USING MOTION CAPTURE TECHNOLOGY

Culture and heritage play a major role in the Malay community in terms of linguistic, art craft, traditional ceremonies, music, activities, and performing arts. The Malay folk dances are most frequently described as a way of human expression through movement and traditional elements in storytelling, ritual, feeling manifestation, and conveying the Malay manner and customs as pillars of the Malay ethnic. Joget was created based on Branyo, a famous Portuguese folk dance. It is a hybrid of culture between the West and the East, reflecting heavily the Malay identity and characteristics as the core philosophy of choreography in the routine. The new creation of Malay dance has positively impacted Malay cultural activities. It has also threatened the original dance form which is being forgotten further from the philosophy. This paper was executed using a qualitative descriptive approach. Interviews and literature reviews were used to expose the rich diversity of two-element; joget and motion capture technology. Data verification, data compilation, data comparison, and triangulation are used as a form of data analysis. The results of the study found that the practice of motion capture has been massively used in digitising intangible assets for 3D application in the form of gaming, video interactive, education entertainment, and learning animation as a platform of education and training as a preservation and protection strategy. But motion capture technology has the potential to be explored as a medium in discovering a quality of trajectory micro visualization of joget dance movement and analyse the symbols or signs that can benefit to the young generation that provides a local sense of unity and belongingness that can help develop a new interest in enhancing cultural values and appreciation.

Kreativitas Tari Yudawiyata

ABSTRACTThe Yuda Wiyata dance is an object of the research in the realm of artwork inspired by the SumedangWayang war dance. The motivation to do this is based on the reality that Sumedang Wayang dance is stillable to survive but experiences a stagnant life. This relity is a problem that must be broken down how tomake the repertoire survive and develop according to the times. As a solution by making dance modelsbased on these traditions. To carry an original dance work, the ability of creativity becomes a majormilestone. Thus, the theory of creativity was chosen as a surgical knife in explaining the problem. Tomaintain the typical characteristics of the case, the methods used lead to reconstruction, transformation,and innovation. These three methods are efforts to protect, utilize and develop that lead to conservation.The manifestation of Yuda Wiyata’s dance is in the form of a group presentation performed by sevenmale dancers. The structure of the dance is expressed through the form and content that illustrates thegallantry of the wadyabalad practicing war.Keywords: Creativity, Reconstruction, Transformation, Innovation, Yuda Wiyata DanceABSTRAKTari Yuda Wiyata merupakan objek penelitian dalam ranah karya seni yang terinspirasi dari tariperang wayang gaya Sumedang. Pendorong untuk melakukan hal tersebut, didasari oleh realitasbahwa tari Wayang gaya Sumedang masih mampu bertahan namun mengalami kehidupanyang stagnan. Realitas tersebut merupakan permasalahan yang mesti diurai bagaimana agarrepertoar tersebut dapat bertahan dan berkembang sesuai zaman. Sebagai solusinya dengancara membuat model karya tari yang berbasis pada tradisi tersebut. Untuk mengusung suatukarya tari yang original, kemampuan kreativitas menjadi tonggak utama. Dengan demikian,teori kreativitas dipilih sebagai pisau pembedah dalam mengeksplanasi permasalahan.Untuk mempertahankan ciri khas kasumedangan maka metode yang digunakan mengarahpada rekonstruksi, transformasi, dan inovasi. Ketiga metode ini sebagai upaya pelindungan,pemanfaatan, dan pengembangan yang mengarah pada ranah pelestarian. Perwujudan tariYuda Wiyata berupa penyajian secara kelompok yang dibawakan oleh tujuh orang penari pria.Struktur tarian diungkapkan melalui bentuk dan isi yang menggambarkan kegagahan para wadyabalad sedang berlatih perang.Kata Kunci: Kreativitas, Rekonstruksi, Transformasi, Inovasi, Tari Yuda Wiyata

Dancing with the Dust: Translating Ask the Dust to the Stage

This essay reconstructs the process of creating DUST, an original dance-theatre adaptation of John Fante’s novel Ask the Dust. The essay details the director’s work with student actors, faculty designers, and production team, and explores the methods used in the process of devising this adaptation. The performative relationship between movement and language, words and choreography, is emphasized throughout. Character analysis focusing on the tangled histories of Camilla and Arturo as outsiders suggests the persistence of loss that attends the experience of displacement caused by emigration, exile, and other such dislocations. The writing in the essay seeks to replicate the imaginative process of creating an embodied translation of this haunting novel.

Burrowes, Leslie (1908–1985)

Dancer, choreographer, and teacher Leslie Burrowes was the first British recipient of the full certification of Mary Wigman’s Dresden School, which licenced her to teach Wigman’s modern dance technique to amateurs and professionals. Before beginning her training with Wigman in 1930, Burrowes had studied and performed with Margaret Morris, whose "free dance" method belonged to the Hellenic and Duncanesque nonballetic dance techniques of early twentieth-century Britain. Burrowes rejected her original dance training in favor of Wigman’s expressionism, returning to London in 1931 to proselytize on its behalf and to serve as Wigman’s official British representative. Burrowes’ attempts to establish Wigman’s dance in Britain were largely unsuccessful, caught in the squeeze between the better-established ballet and Hellenic dance. However, she is an important figure in the development of modern dance in Britain, providing a thorough aesthetic education to some of the teachers and lecturers who, from the 1940s, were instrumental in establishing Laban-based modern dance in British teacher training colleges and schools.

Tempo in Baroque Music and Dance

Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.

Dance Moves

This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.

El Güegüence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing

Folk dance fulfills a particular function in the survival of communal memory. Community history and identity live through the animated body. But in the case of El Güegüence, Nicaragua's hybrid Spanish-Nahuatl dance-drama, many feel it is a contested tradition with a contested set of significations. Within that contestation, communal memory is fractured and ruptured in ways that produce a unique and dynamic discourse.In this paper, I will focus on Irene López's reworking of El Güegüence as the dance piece El Gran picaro. López has been criticized for altering the “authentic” dance tradition, a criticism she answers by pointing out that the original dance was lost when only the artifact of the dramatic text was preserved. López's reworking functions as collective memory and as an act of restored tradition, an invention meant to stand in for the original as faithfully as the inventor can imagine.I will also examine the redeployment of El Güegüence by groups who have embraced the figure and the act of dancing the masked drama as an expression of the subaltern, the marginalized, and the closeted minority identities within the context of the national culture, specifically Grupo Relajo, with its playful workshops built around the popular story. Ultimately, El Güegüence represents an artifact of the erasure of dance and, by extension, the indigenous body. Both López and Grupo Relajo, through their staging, resurrect the body of the indigenous Other and create a vehicle for the body to move in resistance to such erasure.

Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions

The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era, No Plays, No Poetry (1988) on Brecht's theoretical writings, American Vaudeville (1991), and The Medium (1993) on the writings of the Canadian media philosopher Marshall McLuhan. Bogart has been acclaimed for her astute directing of the work by contemporary playwrights, such as Paula Vogel, Charles Mee Jr. and Eduardo Machado.