Profile of Indonesian Cultural Performances

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Kecak Dance

by I Ketut Rina
Originally based on a ritual Balinese trance dance, Western artist Walter Spies collaborated with the local dancer Limbak in the 1930s to create this unique entertainment involving a chorus of 100 men and no musical accompaniment. However, the innovations did not stop there. In 1970 famed Javanese dancer and choreographer, Sardono W. Kusumo, staged a variation of Kecak dance, introducing elements of Javanese theater traditions. This riveting rendition of a classic is performed by I Ketut Rina on the Full Moon and the New Moon. It is a “must-see” performers.
Gambyong Dance
is a dance that is presented to welcoming guests or initiate a wedding reception. Usually the average dancers are young and flawless beautiful. As a performance art, dance gambyong presents its own aesthetic nourishment for anyone who witnessed so it is suitable to serve arts and cultural attractions.
It is said that dance is created based on the name of a gambyong street dancers (tledhek) called the Gambyong the live in an era Sinuhun Pakubuwono IV in Surakarta (1788-1820). The figure is known as a dancer are beautiful and have a dance that is quite beautiful. Not surprisingly, he was famous throughout the Surakarta and Dance Gambyong created name.

‘iT’Wira &
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iMwMi ii
Dirodo Meto Dance
Bedoyo Dirodo Meto, a sacred dance of the highest ideal of refinement in the court of the Mangkunegaran Palace of Solo City in Central Java. The dancing of Bedhaya Dirodo Meto was accompanied by the sound of gending kemanak. These are small traditional metal drums shaped like bananas. (Dirodo Meto – meaning “Furious Elephant” — is a sacred dance.)
The steps symbolizing war were made by three dancers armed with three-pronged lances, and four more armed with bows and arrows.
The three principal dancers personified Raden Mas Said and two close companions. (Raden Mas, or RM, is a title reserved for Javanese nobility.)
RM Said (1725-1795) was later to be named Hamengkunegara or Mangkunegara I. He was also known as Prince Sambernyawa. The other two dancers played the parts of his compatriots-at-arms, Patih Kudanawarsa and Ranggapanambang.
Srimpi Moncar Dance
Srimpi Moncar dance created by KGPAA Mangkoe Nagoro VII is unique, because two of four dancers dressed as Chinese, while the two other dancers wore Srimpi dancer costumes from Pura Mangkunegaran The dance is about two princesses, Adanenggar and Kelasworo. They compete their power to seized a prince named Wong Agung Menak. Although describing the fight but in the dance movement is very smooth with the movements of soft..
Angklung, West Java
Angklung is a traditional musical instrument from West Java. Angklung made out of two bamboo tubes attached to a bamboo frame.The tubes are carved so that they have a resonant pitch when struck and It is an idiophone instrument.
In the Hindu period and the era of the Kingdom of Sunda, the people of Sunda, as West Java is called, used the angklung to signal the time for prayer. Later, in Kingdom of Sunda these instruments were used as martial music in the Bubat War as told in the Kidung Sunda.
The angklung functioned to build community spirit. Saung Angklung Udjo is one-stop cultural workshop of :performance venue,bamboo handicraft centre,bamboo instrument workshop & educational centre – Angklung in particular.

A star among stars in Peking Opera, Bao-chun Li was born in 1950 into a family of great theatric heritage in China. His grandparents and parents were all celebrated Peking Opera players. His father, the legendary Shao- chun Li, had a repertoire that is still considered unsurpassable.
Following his father’s steps, Bao-chun Li specializes in both the “ lao-sheng “ (bearded man) and the “wu-sheng” (combating hero) roles. At the age of nine, he began the strict disciplines to become a Peking Opera player.
He was admitted to the renowned Beijing Peking Opera School where he continued his study for eight years. Upon graduation he was assigned to the China National Peking Opera House in Beijing (other Peking Opera troupes in China being all provincial or municipal).
Bao-chun Li has well mastered both the singing and the acting of Peking Opera. On top of a voice full of variety and velocity, his graceful body movements and adroitness in combating scenes enjoy wild acclamation.
In 1983, after playing at the Cologne Arts Festival, he was conferred the Honorary Doctor Degree of Chinese Drama and Arts by the Northern Pontifical Academy in Nantes, France. Later on, he moved to the USA and was bequeathed the Award for Outstanding Asian Artist by the Chinese American Arts Council at the Lincoln Centre, New York, in 1987. In 1989, he gave his first performance in Taiwan, receiving great recognition. In 1990, he entered a contracted partnership with the Koo Foundation in Taiwan and together he and the Foundation have been giving at least two productions of Peking Opera annually in past 22 years. Li’s growth into a most brilliant star is a natural consequence of luck, talents, and hard work.
In addition to giving performances in Taiwan, Japan, the USA, Europe, and China, Li teaches at the Department of Chinese Drama in the Chinese Cultural University and the National Taiwan University in Taiwan. He also heads the “Taipei Li-yuan Peking Opera Theater” and has earned global recognition in numerous world tours.

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