THE ANALYSIS OF LIMA SERANGKAI DANCE
A PAPER WRITTEN BY
RETNO VITASARI BR TARIGAN REG. NO. 102202025
DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY
UNIVERSITY OF SUMATRA UTARA MEDAN
Approved by Supervisor,
Dra. Persadanta, M.Hum. 196102041986012001
Submitted to Faculty of Culture Study University of Sumatera Utara
In partial fulfillment of the requirements for Diploma-III in English Study Program
Approved by
Head of English Diploma Study Program,
Dr. M atius C.A. Sembiring, M.A. NIP 19521126198112 1 001
Accepted by
Board of Examiner in partial of the requirements for the D-III Examination of the Diploma-III of English Study Program
Faculty of Culture Study University of Sumatera Utara
The examination is held on the 2013
Faculty of Culture Study University of Sumatera Utara Dean,
Dr. Syahron Lubis, MA NIP 19511013197603 1 003
Board of Examiners Signature
1. Dr. Matius C.A. Sembiring, M.A. 2. Dra. Persadanta, M.Hum.
AUTHOR’S DECLARATION
I am, RETNO VITASARI TARIGAN, declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.
No other person’s work has been used without due acknowledgement in the main text of this paper. This paper has not been submitted for the award of another degree in any tertiary education.
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COPYRIGHT DECLARATION
Name : RETNO VITASARI TARIGAN
Title of Paper : THE ANALYSIS OF LIMA SERANGKAI Qualification : D-III/ Ahli Madya
Study Program : English
I am willing that my paper should be available for reproduction at the discreation of the Librarian of the Diploma III English Study Program, Faculty of Culture Studies, University of North Sumatera on the understanding that users are made aware of their obligation under law of the Republic of Indonesia.
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ABSTRAK
ABSTRACT
ACKNOWLEDGEMENTS
My first thanks and praise is to Jesus Christ for His amazing bless and accompanying me from the time I started writing this paper until I was able to finish and complete this paper.
I would thank to my supervisor, Dra. Persadanta Br Karo, M.Hum, and my reader (?). Thank you very much for the coments, suggestions, and guidance in doing and finishing this paper. I wish to thank to all lectures in English Diploma III Study Program who has dedicated themselves, especially for Dr. Matius C.A Sembiring, M.A as the Head of English Diploma III Study Program. I would thank to Dr. Syahron Lubis, M.A as the dean of Faculty of Culture Studies.
My special gratitude to my beloved family. My father, P. Tarigan and my mother, S.br Kacaribu. I love you so much. Thanks for your great affection prayers, encouragements and financial support and your love for me. For my brother, Mahyendra T, Fery Chandra T, Jhon Fredy T and my sister, Marlina T, Sriyanti T, thank you very much for your supports and love too. I love you.
Bastian Sitepu who always support me as long as my study and finishing my paper and for all of informants that helped me to finish this paper.
Finally, I realize that this paper is still far from being perfect because of my limited knowledge source. I hope all of the readers of this paper will give me some construct critisms and suggestions to make this paper to be perfect. I hope also this paper can be inspiration anyone who want to explore more on the topic that I have discussed.
Medan, 2013
TABLE OF CONTENTS
THE ANALYSIS OF LIMA SERANGKAI DANCE
The Dance PresentationPresentation Place and Time Performance Performer
Makeup and Costumes
The Meanings of Basic Movement
The Meanings of Dance Movements (Lima Serangkai Dance) The Dance Functions
4.
CONCLUTION AND SUGGESTION
BIBLIOGRAPHY
ABSTRAK
ABSTRACT
1.
INTRODUCTION
1.1 Background of the StudyIndonesia is one of the country in Southeast Asia, comprising more than 17.508 island. Indonesia consist of 5 big islands. One of them is Sumatera island. Sumatera island consist of 9 provincies, one of them is North Sumatera. It has many of ethnic groups, every ethnic group has a specific culture and system of belief. They also have each unique tradition that will be interesting to know.
One of ethnic group in North Sumatera is Batak. The Batak ethnic groups consists of five sub-ethnic group, there are Batak Toba, Batak Karo, Batak Simalungen, Batak Pakpak Dairi and Batak Mandailing. Each ethnic group has many similarities and differences with the other ethnic groups in their languages, cultures, traditions, habits, ceremonies, and the roles.
Koentjaraningrat, in his book Pengantar Ilmu Antropologi (1986), says that the culture can divided into seven elements of culture, and one of them is related to the art. The art appears in various of traditional ceremonies arounded society live such as religious ceremony, death ceremony, wedding ceremony and the other traditional activities society. The art has been being a tradition from generation to generation that inherit the culture rich of ancestry. It is a part that we can not separate from their live behavior society since years ago.
1. The dance related to the custom 2. The dance related to the religious 3. The dance related to the entertainment.
The dance of Karo is formed since there is Karonese, although the appeareance year of Karonese is not known clearly. There are many kinds of tradisional dance of Karonese, such as Piso Surit dance, Roti Manis dance, Terang Bulan dance, Lima Serangkai dance and etc. The dance that writer discuss is Lima Serangkai dance that estimated appear in 1956 and it is a dance that related to the entertainment (Interview with Mr. M.Ukur Ginting).
Lima serangkai dance is a traditional dance. Yoki Mirantino (2012) says that traditional dance is a way that happen in an area of certain ethnic group and it happens from generation to generation that done in certain place and time for association need, to show feeling, meaning, and thinking.
Today, Lima Serangkai dance often shown in some of festivals, almost every year shown this dance by government agencies, Gereja Batak Karo Protestant (GBKP) or even schools. In this paper the writer will describe Lima Serangkai dance in the performance context of the festival, because it is more often performed in some of festivals than in Gendang Guro-Guro Aron party.
According to Mr. Malem U. Ginting in choreography, Lima Serangkai dance is one of dance that accompanied five gendang. They are gendang morah-morah, gendang perakut, gendang patam-patam sereng, gendang sipajok and gendang kabangkiung, that get the composition of dance movement and the movements have aesthetic values in its presentation. Beauty in a dance cannot be separated from forming elements, the forming elements of dance are:
1). Endek motion (up and down motion) 2). Jole motion (rocking motion of the body) 3). Lempir Tan motion (tapering fingers motion)
Nowadays, as we know each ethnic group has a traditional dance that they show in the certain ceremonies, so do for Karonese. But in fact, there are a lot of karonese doesn’t know about it. Based on the above statement, the writer is interested in discussing about the tradisional dance “Lima Serangkai “of karonese that is one of the culture that cannot lose from Karonese.
1.2The Problem of the Study
being performed. So the audience will find it boring without understand the meanings of each movement practiced or performed by.
1.3 Scope of the Study
When we are talking about the meanings of a performance, especial the ‘Lima Serangkai’ as one of the traditional Karo society’s dances there will be a tremendous things to be discussed about, but on this occasion as it is only bused as one of the requirements to finish the writer’s study from the Diploma Programme of English Language and the contents of the writing will be not too big and not too simple therefore the writer limit the discussion just dealing with the meaning of the rhythm and movement of the dancing. Different rhythm and different movement will give different meaning.
1.4The Purpose of the Study
The purpose of writing this paper is to give the description of any movement practiced while the dance of ‘Lima Serangkai’ is being performed and so the meanings of any movement deal with the rhythm. On the other hand it will be made as the task for a student of the Diploma Programme of English Language to report as the writer’s last duty as a student.
1.5The Reason of the Study
The writer has reason for choosing this topic. It is because this topic is new and exciting, and has never been written by the former students as their paper.
1.6Method of Research
2.
THE SOCIETY OF KARO PEOPLE
There are five things that the writer describes about Batak Karo society, they are the religion, the language, the livelihood, the kinship and the art system.
The first is the religion. Before Christian, Islam, Hindu, and Chatolic spread to Karo land, Karonese society believed in animism. Beside that, there are still many gods had spirits that are related to their forefather spirits. Whenever they need them, the spirit can be called. The calling of the forefather spirit is holding ritual ceremony. Where the spirit come through an intermediary or shaman. The first belief in Karonese is called Perbegu.
Perbegu is the first religion in Karonese, they believe that every people has soul (tendi), when somebody pass away their soul will change to be begu. In 1946, perbegu religion in Karo land had changed become pemena by Guru - guru Mbelin. Putra (1979:32) says that the change of this name because there are so many pressure from Belanda Colonial, they express that Perbegu is a idolatry religion.
However, at present time, there are five religions in Karo land now. They are Christian Chatolic, Christian Protestant, Islam, Hindu and Budha. However, the most populer religions in Karo land are Chatolic, Protestant and Islam. And the people that profess Hindu and Budha religion are not karonese, they are not indigenous people, such as Chinese and Arabian that have been living in Indonesia.
Hindu and Budha. The majority of the population in Karo land profess Christianity and the rest is other religions.
The second is the language. The language which is spoken by the Karo ethnic group to communicate in their daily life is Karo language. It is used by Karo society in the house, church and traditional ceremonies, even nonnative speaker that know this language such as Chinese and Arabian also use the Karo language for their service towards Karonese. Using Karo language well in our daily life is one of ways to keep Karo language as one of cultures in Karonese.
Language, no doubt, are powerful and meaningful although they cannot be concretely be seen obviously when it is used as oral language if we compare them to other tools of mechanics. They, that as language, however are used to differentiate human being from animals, but it can seen if is used as written language or sign language. We can imagine how great and important a language in to the world in general and its society in particular. We really cannot guess what would happen to the world without language, while as we know that the language is a tool to communicate for human.
There are three main dialect in Karonese. They are:
a. Gunung-gunung dialect, Karonese call it with “ Cakap Karo Gunung-gunung ”. It means the language that used by karonese who live in Munte, Juhar, Tiga binanga, Kuta Buluh, Lau Baleng and Mardingding subdistrict. This dialect called G dialect.
Barusjahe, Simpang Empat and Payung subdistrict. This dialect called K dialect.
c. Jahe-Jahe dialect, Karonese call it with “ Cakap Karo Jahe-Jahe ”. It means the language that used by Karonese who live in Pancur Batu, Biru-Biru, Sibolangit, Laubakeri and Namorambe subdistrict. This dialect callled J dialect.
According to Karonese society, they can devided in two categories. First, Gugung Karo or the Karonese that live in mountainous, especially in Karo regency. And another one is Jahe Karo or the Karonese who live in coastal area, especially in Langkat regency and Deli Serdang. Gugung Karo society regarded is more consistent in obeying the culture of Karo, but Jahe Karo society has a lot of influences with the other culture around them, especially Malay ethnic group.
Sometimes many people make some mistakes in daily conversation such as in Karo land identified by Karo district. In fact, Karo land is far large than Karo regency, because Karo land overwhelms part of Dairi regency (Tanah Pinem, Gunung Sitember, and Tiga Lingga subdistrict), Deli Serdang district (Lubuk Pakam, Bangun Purba, Gunung Meriah, Sibolangit, Pancur Batu, Namorambe,
Sunggal, Kuta Mbaru, Hamparan Perak, Tanjung, Bahorok, Selapian, Kuala,
Next, the third is about the livelihood of Karonese. Karonese is most interested in agriculture. Karonese society was born as agricultural society, since years ago Karo society had been able to cultivate their farmland. They will go to farmland with some people (aron) or with their family to plant the rice, corn, vegetables, and fruits. Aron is a group of people who have common interest. Aron members do not distinguish the gender. They work with system. It means in one day all of the member will work together in Someone’s farm for 4 hours in the morning (starting from 8.00 a.m until 12.00 p.m) and for 4 hours in the afternoon ( from 1.00 p.m until 17.p.m). When the Someone’s field can be completed during on stage then another stage may move to another work place or to another member field. It is usually depends on the situation and condition will be set by the group leader. Anderson (1823) says that Karonese society has many similarities with Chinese in habit to economize and their desire to collect the money.
Transportation is the other livelihood of Karonese. They, especially men has already managed in some public transportation company in Medan, Kabanjahe, Jakarta, they can also become a driver.
The fourth is the kinship. Karo society has a social system in which the system serves to regulate the community life. The Order of social life that the most important in Karoese are systems known as Merga Silima, Rakut Si Telu and Tutur Si Waluh. Merga (clan)derived from the word meherga (expensive), merga shows the identity and also determination of kinship systems of Karonese . According to the decision of Karo Cultural Congress in the 1995 Berastagi , one of the decisions is that there is five merga contained in Merga Silima , they are Ginting, Karo-karo, Tarigan, Sembiring, and Perangin-angin.
Merga also has sub-merga, while Sub Merga used behind of Merga , so there is no confusion regarding the use of Merga and Sub Merga. The following will be presented Merga (clan) and its distribution :
1) Ginting : Pase, Munthe, Manik, Sinusinga, Seragih, Sini Suka, Babo,
Sugihen, Guru Patih, Suka, Beras, Bukit, Garamat, Ajar Tambun, Jadi Bata,
Jawak, Tumangger, Capah, Garamata, Gurupatimpus.
2) Karo-Karo :Purba, Ketaren, Sinukaban, Karo-karo Sekali, Sinuraya/
Sinuhaji, Jong/ Kemit, Samura, Bukit, Sinulingga, Kaban, Kacaribu,
Surbakti, Sitepu, Barus,
3) Perangin-angin :Bangun, Penggarun, Perbesi, Pinem, Sebayang, Benjerang,
Kacinabun, Keliat, Laksa, Manu, Namohaji, Pencawan, Penggarun.Uwir,
4) Sembiring :Milala, Depari, Busuk, Bunuaji, Brahmana, Colia,
Gurukinayan, Keling, Muham, Pandia, Pelawi, Pandebayang, Inukapor,
Tekang Keloko, Kembaren, Sinulaki, Sinupayung.
5) Tarigan : Tua, Bondong,, Girsang, Gana-Gana, Cingkes, Jampang, Pekan,
Purba, Sibero, Silangit, Tambak, Tambun, Tegur, Kerendam.
For Karonese, the lineage relationship known ertutur. Ertutur is a take lineage of father (patrilineal) or lineage of mother (matrilineal). Sarjani Tarigan (2007) says that ertutur shows kinship level in Karonese. Ertutur is introduction, it’s also one of characteristics of Karonese. In ertutur there are some lining to find our position when we introduce each other. Actually, ertutur just not to intoduce someone, but it purposes to add the family that karonese called “ kade-kade” and know about the kinship each other.
The lining process or ertutur are:
1. Merga or Beru, is a family name that is inherited to someone from his father’s family name from generation to generation, especially for man. While for woman father’s merga cannot inherit to her children because merga/beru her children will inherit her husband’s merga.
2. Bere-bere, is a family name that is inherited from beru of their mother.
3. Binuang, is a family name that is inherited from father’s bere-bere.It means Binuang is beru of grandmother (mother of our father)
mother).It also known as Puang Kalimbubu in tradition ceremony of Karonese.
5. Kampah, is a family name from beru of great-grand parent (father’s grandmother
6. Soler, is a family name which is inherited from beru of grandmother (mother’s grandmother).
Today in daily life, tutur is usually used commonly until second layers. As usual the three to six layers required in a traditional ceremonies such as marriages, entered a new home, or in the event of death and other custom events. After the kinship system can be determined by a Karonese through ertutur, then the fabric of family relationships that can be grouped into three bonds known as Rakut Si Telu (three bonds).
The meaning of Rakut Sitelu is Sangkep Nggeluh ( the completeness of life) for karonese society and it consists of three groups, they are
a. Kalimbubu is a group who give the daughter to certain family (merga)
b. Senina/ Sembuyak are people who have relatives relation or a group of people that have one desition in the custom deliberation
c. Anak Beru is woman and in everyday life Karo people are known as the group that took a wife of the group family (kalimbubu).
Senina, Senina Sipemeren, senina Siparibanen, Anak Beru, Anak Beru Menteri,
Kalimbubu, and Puang Kalimbubu.
You can see the relationship of Tutur si waluh and Rakut Sitelu in this table.
No Rakut Si Telu Tutur Si Waluh
1 Kalimbubu Puang Kalimbubu
Kalimbubu 2
3 Senina/ Sembuyak Senina Sembuyak
Finally, Karonese has also art system. According to Koentjaraningrat (1982:395-397), art is human expression of the beauty, the culture of the tribes who originally is deskripsif. Karo people have a variety of art forms, such as literary arts, music, dance, sound and visual art (clothing, jewelery and handicrafts).
Visual Arts is a form of art that can be enjoyed through sight (eyes). In Karonese, this art can be seen from the engravings. Karo engravings usually made and placed by the experts at :
a. Various traditional buildings such as: traditional homes, geriten, jambur, etc. b. Disposable items such as: Gantang Beru Beru, Cimba lau, Abal Abal, busan,
petak, tagan, Kampil and art tools.
c. Various custom clothing such as Karo: uis kapal, uis nipes and clothes. d. Various jewelry items such as bracelets, rings, necklaces, knives and belts.
Dance and movement is a combination of art and sound art that can be enjoyed by humans through the eyes and ears. Dance that developed in Karo society seen from the shape and appearance can be distinguished on the 3 types: a. Dance related with traditional as the wedding party, the event of death, the show enters a new home. Traditional dance is usually done with a merga groups or Sangkep Nggeluh groups, where the purpose of this dance is as a custom with respect.
b. Dance related to religious-like Mulih mulih dance, Tungkat dance, Erpangir Ku Lau dance, Baka dance, BeguDeleng dance, Muncang dance and others.
3.
THE ANALYSIS OF LIMA SERANGKAI DANCE
Lima Serangkai dance estimated appear about 1960. According to informant, Mr.Malem Ukur Ginting, Lima Serangkai dance has been known since Karo society know dance about 1956. So it can be said that Lima Serangkai dance emerged during 1956-1960. It is one of dance that serves as entertainment.
Lima Serangkai dance is some rhythms are combined into one set rhythm, which means the five different rhythms presented into one of set rhythm. The five rhythm are gendang morah-morah, gendang perakut, gendang patam-patam sereng, gendang sipajok and gendang kabangkiung. The orders are made from the slow one follow by second, third, fourth, and fifth. The first, second, and third rhythm which categoriesed as slow that has about 50-60 metronome. The fourth is faster about 80-90 metronome and the fifth is fastest that about 120 metronome. Metronome is a measure for beats (slow or fast).
Karo dance have norms in conducting its movements, but there are some movements such as waist and flirting movement was not desirable because it is considered impolite according to custom.
Serangkai dance looks as a means of entertainment and a competition. It can be seen that this dance is often competed in some places, such by schools, churches, or government agencies.
Theme of Lima Serangkai dance are events or life experiences that very simple, such as folklore, heroes, legends, and others. However, the theme of Lima Serangkai dance is something that is usual, because the purpose of the dance is a communication between the art with the people who enjoy it. Lima Serangkai dance’s theme is to explain the relationship. The relationship means a relationship of youths. It is a introduction between a pair of human that introduce each other customarily by ertutur. Then, they try to continue their relation seriously (be boy/girlfriend) and finally their love relationship get to the level of marriage. 3.1 The Dance Presentation
The structure is a formal system of working relationship that divide and coordinate the tasks of individual or groups of people to achieve goals. Meanwhile, according to Surayin (2001:574), in Kamus Umum Bahasa Indonesia states that the structure is the way things are arranged or constructed in accordance with a certain pattern. From the definition above it is intended by the structure in this study is the composition or elements in Lima Serangkai dance for Karonese.
group are usually students who joined in a dance studio. There are no special requirements to become a dancer of Lima Serangkai dance, anyone can as long as there is a willingness to learn and try to do it well. Before doing the show, the dancers have been practicing to get uniformity of movements.
In addition to do rehearsals, the dancers also have to prepare for dance costumes. The dance costumes that used by dancers are kebaya, kampuh, uis nipes and tudung for female dancer. Kemeja, celana panjang, kampuh and two pieces of beka buluh for male dancer.
3.1.1 Presentation Place And Time Performance
The facility of meeting in Karo is called los/jambur. Any social activities will be held in jambur by Karo people. Lima Serangkai dance that shown in both Kerja Tahun party (Merdang Merdem) and Gendang Guro-guro is also perfomed in jambur.Lima Serangkai dance usually danced in the beginning of the events, as an opening dance that is entertainment.
3.1.2 Performer
The actors in Lima Serangkai dance are youths. Dancers are an important part in the performances of Lima Serangkai dance, because the dancers who demonstrate Lima Serangkai dance, and they will be the focus of attention of the audience.
make preparation, they will be trained by a coach who has experiences or an expert in the field of customs and dances, so that they are able to show the best performance
3.1.3 Make up and Costumes
Make up and fashion for dancer of Lima Serangkai dance is not too special, It means makeup and fashion still most resembles to Karo traditional performance. The use of makeup and clothing adapted to the conditions of everyday local community. Although this dance is always presented in front of lots of people, but only use rias cantik (simple makeup). The meaning of rias cantik is makeup that is used does not describe a person or specific character, just use simple makeup that make dancers looks beautiful. The costumes that used can support the concept and theme of Lima Serangkai dance. The costumes used in Lima Serangkai performance are:
1. Male dancers
a. Kemeja, a shirt used by men Karo in cultural activities and other formal occasions.
b. Celana panjang, a trousers, men's suits that are used when the official cultural activities and events.
c. Kampuh, a sarong used by Karo people in everyday life as well as in traditional activities.
hands. Beka buluh that held hands will be used at the dance, formed to cover their head, Karonese called Bulang-bulang
2. Female dancer
a. Kebaya, the clothing is always worn by the Karo people in any cultural activities and at the time of dancing.
b. Kampuh , a sarong that is commonly used by the Karo people in daily activities or the activities of customs.
c.Tudung, is formed from Kelam-kelam to cover the head female dancer. Kelam-kelam is another traditional clothes. Then, it is covered Beka buluh so looks unique.
d. Uis nipes, is customary red cloth which is a hallmark characters of Karonese 3.2The Meanings of Basic Movements
The dance movements that exist in Lima Serangkai dance are development of basic movement. The basic movements came from movements of Guro-Guro Aron dance. In essence, the basic meaning of this movements show about someone's desire (men) to know other people (women) and shows his love and affection. Therefore, the writer first identifies the meaning of basic movements of Guro-Guro Aron dance.
a. Basic movement for male dancer
2. Right and left hand in front of chest, left oblique body. The meaning is a man shows that he has a good heart and intentions (see page 34 picture I.2).
3. Still like the beginning of the movement, but the meaning of movement here is a man stated that he is able to carry or bear anything (see pages 34 picture III.3).
4. Even all the people he loved he could embrace and carry to give happiness to his family (see pages 35 picture III.2).
b. Basic movements for female dancer
1. The left hand was on her waist, right hand parallel to the thighs. It means a woman ask man’s patience to get acquainted her and ask when he arrives in the place (see page 35 picture I.1).
2. The left hand was on her waist, right hand parallel to the front of the waist. It means a woman asking if the man had eaten or not (see page 35 picture I.2). 3. The left hand was on her waist, right hand slightly above the waist. It means
that the woman ask the man news (see page 36 picture I.3).
4. The left hand was on her waist, right hand in front of the abdomen. It means that the woman asked about the man's father (see page 36 picture I.4).
5. The left hand was on her waist, right hand at shoulder level. It means that the woman asked about the man's mother (see page 36 picture I.5).
6. The left hand was on her waist, right hand in front of the shoulder. The meaning is the woman asks the man's intent (see page 37 picture I.6).
8. The left hand still at the waist, right hand in front of forehead, Karonese called this movement with pucuk. This movement means that woman ask for the time to think about the man’s willing (see page 37 picture I.8).
9. The left hand still at her waist, right hand is above the shoulders. It means that the woman considers the man's willing, whether that is good and true like he said (see page 38 picture I.9)
10.Hand does the movement changes. Right hand (motion no.9) to waist through cleavage while the left hand moves. Then repeat the movements as movement on the part I. The Meanings of the movements in part 2 is that the women are still considering. But she could not make her own decisions, So she tell the family. Then, the family also think about it. They all consider and finally approve their relationship even get the level of marriage. ( See page 38-41 picture II.1-II.9)
11.Repeat the movement part I (picture I.1-I.9) in Part III. But here the meaning of these movements is the struggle and loyalty. If a couple is bound marriage, surely they would have children. Women stated that she is ready to carry her child while upholding something. Even when needed She is also able to carry (mersan) something, although it is usually done by men.
change the meaning of the Lima Serangkai dance but this is because the culture is alive and thriving. The differences just create aesthetic values.
3.3The Meanings of Dance Movements (Lima Serangkai Dance)
In Lima Serangkai dance there are 5 rhythm that accompany this dance, they are gendang morah-morah, gendang perakut, gendang patam-patam sereng, gendang sipajok and gendang kabangkiung. They produce the dance composition and movement patterns that have aesthetic values in its presentation. Each gendang (music) has the different movements and the movement naming adjusted with gendang (tracks) retinue. According to Mr.Lukas Tarigan Lima Serangkai dance, besides having aesthetic values in its presentation, this dance also has meaning in the movement. The meaning of the dance is to tell about life of the Karo people, especially in introduction (ertutur) between youths to have a special relationship (dating) until take a marriage level.
The elements forming of Karo dance are endek (down-up movement), Jole (shaking movement of body) and Lempir tan (tapering fingers movement ). The third elements are core movement in Lima Serangkai dance.
Here the description of movements and meanings of Lima Serangkai dance taught by Mr. Malem Ukur Ginting, a humanist and traditional dance coach in the Karo land. They are :
2. Then the dancers turned to the audience and salute. When respectful position the body leaning forward, head is subject and the view down (see page 42 picture 1b).
3. After paying respect, back upright body position. Then both dancers face each other, and the fabric traditional position is still in front of the chest. The third movements mean giving regard to the audiences (see page 42 picture 1c). 4. Legs do endek movement, the dancers are facing right diagonal then squat
down. At the same time their hands fold the traditional cloth. Female dancer fold Uis nipes in the left shoulder past the bottom right hand as forming fabric for carrying children, and male dancers fold beka buluh form bulang-bulang on his head as hat ( see page 43 picture 2a).
5. During the installation of traditional cloth the position of foot dancers alternate to face right diagonal, then stood face to face, facing left diagonal, standing face to face, and so on until the installation traditional cloth is complete.(see page 43 picture 2b).
6. After the position traditional cloth is properly installed, followed by hand gestures of female dancers beside body (right hand) and left hands on waist but both hands of male dancers in front of chest.(see page 43 picture 2c). 7. Legs do endek movement, then face left diagonal and squat down, with the
diagonal and squat down, hand position of female dancers is almost the same but the position of the right hand slowly rises, the movement sequence are on the side below the waist, on the side parallel to the waist, beside parallel to the chest, beside parallel to the head (see page 44 picture 2d).
8. Then pucuk movement ( thumb and index finger touching and position in front of the forehead), then replaced with the left hand. Hand position of male dancers alternately perform movement as I.1 and I.2 in basic movement. Alteration of hands movement occurs when exchange foot position that started of right diagonal then squat down and then stand up again and next, continued facing left diagonal and then stand up again and squat down. The movements are did until left hand position of dancer women are equal above the shoulders (see page 44 picture 2e). All of the process, which starts from the installation of traditional cloth call Morah-morah movement.
9. Then continued with endek mowement that right foot step right laterally and followed by left leg , with the hands above the shoulder (see page 44 picture 3a).
10.Both hands on the shoulders and legs keep endek movement then step left aside. Wrist Rotated until a position the left-hand on the shoulder and right-hand on waist (see page 45 picture 3b).
11.Step forward one step, so that the two dancers are in side by side position. Still the same position of the hand above the shoulder, then step back and step right aside. Repeating the movement as before.(see page 45 picture 3c).
touching. Both dancers step to form a circle around the 270 degrees, the hands position is in front of body, head upright and the view down.(see page 45 picture 4a).
13.When the position of dancers facing each other, do endek on place and wrists of dancers rotated from below to above the shoulder. Next, The position of the hands as before and return to the place with the same groove.(see page 46 picture 4b and 4c).
14.The position of the left hand above shoulder and right hand beside the body, keep on endek while turn left in place. When back to the first position, the arms up parallel to the chest while took a step forward (see page 46picture 4d) 15.Then repeat again the previous movements, the wrists are rotated and hands
on the shoulders (see page 47 picture 4e).
16.After that the male dancers and female dancer do endek on their place, the hands of men dancers on waist while female dancers fold uis nipes and form it as length cloth, then the hands position of male dancers are down and both on waist, and uis nipes is placed on the right shoulder by female dancer (see page 47 picture 4f).
18.Next, the dancers do a similar movement, which the female and male dancers position hands in front of the abdomen. Female dancers as request something and move forward while men as reject and move backward. Then back again with both hands above shoulder. (see page 48 picture 5b).
19.The female dancers keep on endek in her place with the hands on the shoulders, and the hands position of male dancers on waist while move to the right and turn back to the female dancers. Their hands position on the shoulder (see page 48 picture 5c).
20.Next, the Dancers will perform kabangkiung movement, where the right-hand position of male dancers is above the shoulder and the left hand in addition to the body, while move forward to approach the female dancer. Female dancers facing left with both hands above shoulder . So the male dancers will step through the front of the female dancers (see page 48 picture 6a).
21.And when the male dancers were right next to the left female dancer, male dancer spins to the right and a female dancer moves toward the right 2 times, so that the male dancers will be passing through the front of the female dancers (see page 49 picture 6b)
22.After the male dancer next to the left of female dancers, they squat down with left hand position is above the shoulder and right hand next to the body. Still in a squatting position while both dancers perform endek and Jole (Sloping right and left).(see page 49 picture 6c)
and the hands position above the shoulder. While the male dancers back to the place by spinning back to the right to face with female dancers and the hands position above the shoulders (see page 49 picture 6d).
24.The next motion inverse of the previous motion. Now right hand above the shoulder and the left hand beside the body. Originally a femae dancer facing left, now she facing right. For male dancers, movement forward and rotate is almost the same, that male dancer have to keep in mind is always stepping through the front of the female dancers. This movement pattern is also performed by female dancers.(see page 50 picture 6e,6f and 6g).
25.Then they do the closing movement (Pertik Rurusen), where the dancers face to the audiences with the hands position above the shoulders (see page 51 picture 7a).
26.Then leaned forward and hands position are lowered parallel to the thighs with palms facing down, clapping one and open hand (the palms facing up) (see page 51 picture 7b).
a. The Meaning of Morah –morah movements
• The Movement to set traditional cloth, Beka buluh wore by men and Uis nipes by women. It purposes to practice youths to be able to wear clothing (traditional clothes) alone. At this movement also means that the young couple were grown and can live independently.
• The hand movement of a female dancer from down to up slowly can mean that the young couple begin to see (observe) the opposite sex, but not in a hurry. It means that they attention to the opposite sex as a whole. After pay attention then thought and considered to be acquainted (ertutur).
b. The Meaning of Perakut Movements
This movement means that the young couple became acquainted with one another. They introduce each other by custom (ertutur), ertutur is asking each other indigenous identity and is a hallmark of which is very important for the Karo because the relationship can be intimate with each other through family greeting obtained. Because it’s very important that Karo’s youngsters is not allowed to have a special relationship (dating) if they have the same merga except merga Sembiring that does not eat the dog.
c. The Meaning of Patam-patam sereng movements
d. The Meaning of Sipajok Movement
Just as people are dating, there are persuasions between men and women. This movement tells the seductions in the relationship. It can also be interpreted as a demand for a more serious relationship (marriage). There is the relationship of give and take (intensive relationship).
e. The Meaning of Kabangkiung Movement
On kabangkiung movement, the young couple has agreed to have a more serious relationship in marriage. Generally, if a man wants to marry a woman, then he must ask permission to her parents. In this movement tells that a man’s families visit to the families of women and otherwise. Notice to the kabangkiung movement, the host (visited) is a dancer who keep running in place, which in turn in a squatting position together. The squatting position means they get to the marriage time. This movement also has a meaning that either man or woman shall be visiting kerja (party) from each family (social activities).
3.4The Dance functions
Lima Serangkai dance is a entertaining dance, which is usually shown in Gendang Guro-guro Aron and Kerja Tahun event. In addition dance also has some functions in life of Karonese. According to Sudarsono (1972:22) dance can function as:
a. Means religious ceremonies are still strong with elements of ancient belief. b. Means to express emotional feelings (joy) and socially.
4.
CONCLUSION AND SUGGESTION
4.1CONCLUSION
Based on field research on dance performances of Lima Serangkai dance, the writer will make a conclusion of the discussion. Lima Serangkai dance is a traditional dance that entertaining, which has aesthetic values in its presentation and has the meanings in its movement. Lima Serangkai dance estimated appear about 1956-1960.
In choreography, Lima Serangkai dance is a dance which accompanied by five gendang, they are gendang morah-morah, gendang perakut, gendang patam-patam sereng, gendang sipajok, and gendang kabangkiung, which produces a pattern dance. This dance used traditional cloths, uis nipes for female dancer and beka buluh for male dancer. . Each dance performances there will be a dance movement patterns that are normative. The elements that make Lima Serangkai dance said beautiful are:
1. Endek (up and down movement) 2. Jole (rocking movement of the body) 3. Lempir Tan (tapering fingers movement)
4.2SUGGESTION
Lima Serangkai dance as one of the traditional dance Karo society that in this present is rare known, particularly young people due to the influence of modernization. Therefore, as the conservation efforts, the younger generation is expected to play an active role in the preservation of the arts in their living place. This can be done with the socialization through traditional arts performances are often held. It purpose to make them know about this dance. It can also be done with regenerate the arts to the other Karo society, especially young people. A sense of awareness and love toward the traditional arts is the key problem.
BIBLIOGRAPHY
Ginting, Ukur. 2008. Adat Karo Sirulo. Medan : Kobe
Koentjaraningrat. 1982. Manusia dan Kebudayaan di Indonesia. Jakarta : Djambatan
Perangin-angin, Martin. 2004. Orang Karo Diantara Orang Batak. Pustaka Sora Mindo
Prints, Darwin. 2002. Kamus Karo Indonesia. Medan: Bina Media
Sitepu, Sempa. 1996. Pilar Budaya Karo. Medan : Forum Komunikasi Masyarakat Karo (FKMK) SU
Soedarsono, 1972. Pengantar Pengetahuan dan Komposisi Tari. Yogyakarta : ASTI Yogyakarta
Surayin, 2005. Kamus Umum Bahasa Indonesia. Jakarta : Balai Pustaka Tarigan, Sarjani. 2012. Mutiara Hijau Budaya Karo. Medan : BABKI Tarigan, Sarjani. 2011. Kepercayaan Orang Karo. Medan : BABKI
Tarigan, Sarjani. 2009. Lentera Kehidupan Orang Karo dalam Berbudaya. Medan : BABKI
APPENDIX
1. The Description of Basic Movements (Guro-Guro Aron Dance) Basic movement for male dancer
I.1
I.2
III.2
Basic movements for female dancer
I.1
I.3
I.4
I.6
I.7
I.9
II.
Picture II.1
Picture II.3
Picture II.4
Picture II.6
Picture II.7
Picture II.9
2. The Description of Lima Serangkai Dance
NAME IMAGE
1. Opening
Picture 1.a
Picture 1.c 2. Morah-Morah
Picture 2a
Picture 2c
Picture 2d
3. Perakut
Picture 3a
Picture 3b
4. Patam-Patam
Sereng
Picture 4a
Picture 4b
Picture 4d
Picture 4e
5. Sipajok
Picture 5a
Picture 5b
6. Kabangkiung
Picture 6a
Picture 6b
Picture 6d
Picture 6e
Picture 6g 7. closing
Picture 7a
