Academic literature on the topic 'Peacock Dance'

Tari Merak Jawa Barat, merupakan jenis tarian tontonan (pertunjukan). Tari Merak pertama kali diciptakan oleh Rd. Tjetje Somantri pada tahun 1955. Kemudian pada tahun 1965, tari Merak dikemas kembali oleh Irawati Durban Ardjo, yang bertujuan untuk dipertunjukkan pada misi kesenian Soekarno. Tari Merak yang sering kita jumpai saat ini merupakan Tari Merak karya Irawati Durban Ardjo.Tarian ini mempresentasikan keindahan yang dimiliki oleh burung merak pada saat burung merak jantan melebarkan ekornya. Kebanyakan masyarakat Indonesia salah berasumsi jika tarian ini bercerita tentang kehidupan burung merak betina, sedangkan sang jantanlah yang memamerkan keindahan bulu ekornya. Sang jantan melakukan gerak-gerik yang tampak seperti tarian gemulai untuk menunjukkan pesona dirinya, sehingga sang betina terpesona dan bersedia kawin dengannya. Gerakan itulah yang mengekspresikan dibuatnya Tari Merak. Untuk mendukung keindahan tari, maka dibuat bentuk visual Merak pada kostum Tari Merak yang telah diinovasikan oleh Irawati. Irawati mengonsepnya melalui ide-ide kreatif dan mengindahkan esensi burung merak pada bentuk visual. Beberapa bagian kostum tari Merak Irawati, yaitu siger (mahkota), susumping, giwang (anting), kelat bahu, garuda mungkur, gelang tangan, kemben, ekor, Ikat pinggang, kacih, selendang, dan sinjang. Kostum yang memiliki banyak unsur estetika seperti garis (lurus, lengkung, bergelombang), bentuk (lingkaran, setengah lingkaran, persegi panjang, ekor merak, dan penyederhanaan burung merak), ornamen (ragam hias binatang, ragam hias tumbuhan, geometris, ulir). Beberapa motif yang digunakan yaitu motif ekor, bulu, ataupun keseluruhan bentuk burung merak. ABSTRACT Peacock Dance is a type of spectacle dance (performance). The Peacock Dance was first created by Rd. Tjetje Somantri in 1955. Then in 1965, the Merak dance was repackaged by Irawati Durban Ardjo, which aimed to be performed on Soekarno's art mission. The Peacock Dance that we often encounter at the moment is the Peacock Dance by Irawati Durban Ardjo. This dance presents the beauty of peacocks. The peacock is the inspiration for the creation of the Peacock dance and its beauty is found when the male peacock widens its tail. Most Indonesian people wrongly assume that this dance tells the story of the life of a female peacock, while the male exhibits the beauty of its tail feathers. The male performs movements that look like graceful dances to show his charms so that the female is fascinated and willing to marry him. That movement expresses the Peacock Dance. With the visual form of the Peacock Dance costume that has been innovated by Irawati. Irawati conceptualized it through creative ideas and heeded the essence of the peacock in visual form. Some parts of the Merraw Irawati dance costume, namely siger (crown), susumping, ear studs (earrings), kelat shoulders, garuda mungkur, wristbands, kemben, tail, belt, belts, shawls, and sinjang. Costumes that have many aesthetic elements such as lines (straight, curved, wavy), shapes (circles, semicircles, rectangles, peacock tails, and simplifications of peacocks), ornaments (various animal decoration, plant decoration, geometric, threaded). Some of the motifs used are the tail, feather, or overall shape motif.

The research titled "Analysis of Merak Subal Dance Movement by S. Maridi at Soeryo Soemirat Gallery in Surakarta", was created by S. Maridi in the 1969s. Merak Subal Dance is a dance that represents the life (behavior) of peacocks. S. Maridi's Merak Subal dance was inspired by sundanese peacock dance.This study aims to describe and analyze the movements in The Merak Subal Dance. The research method used is descriptive analytics with qualitative data properties, namely collecting data through observations, interviews, subsequent library studies analyzed descriptively. The research problems were analyzed using conceptual foundations from Soedarsono on dance forms and Agus Tasman on the analysis of dance moves and characters.The results of Merak Subal Dance research in Soeryo Soemirat gallery showed that the dance was presented in the form of a group dance drawn by three dancers with a duration of about eight minutes. Elements that make up The Merak Subal Dance are motion, floor design(floor pattern), top design, dramatic design, theme, makeup and fashion, dance music, property, lighting, venue and performance time. Then the analysis of motion includes materials, energy, space, time, organization, aggregation, character, description. Keywords: Merak Subal Dance, choreography, Soeryo Soemirat gallery.

Gerak merupakan unsur utama dari tari. Gerak di dalam tari bukanlah gerak yang realistis, melainkan gerak yang telah diberi bentuk ekspresif dan estetis. Gerak tari selalu melibatkan unsur anggota badan manusia dan berfungsi sebagai media untuk mengkomunikasikan maksud dari pembentukan gerak. Jenis gerak tari yang digunakan, yaitu gerak maknawi, gerak murni, dan gesture. Selain gerak tari, terdapat elemen-elemen ruang, waktu, dan tenaga dalam menari.Metode penelitian yang digunakan, yaitu pendekatan kualitatif. Tujuannya agar penelitian dapat ditemukan, dikembangkan, dibuktikan, dan dapat digambarkan secara sistematis tentang gerak pada tari Merak, sehingga menimbulkan rasa untuk melakukannya. Subjek penelitiannya adalah para anggota yang berada di sanggar tari, terdiri dari para penari merak, pelopor, dan pengola sanggar Pusbitari Bandung. Suatu tarian apabila disajikan sebagai objek seni menjadi sebuah pengalaman bagi para pengamat untuk di hayati dan dimengerti, melalui struktur sensasi, persepsi, dan perasaan dalam menggerakkannya. Sering kali dikatakan bahwa murid-murid pemula tidak siap untuk mencipta dan mendapatkan ketubuhan baru. Melalui kesempatan yang diulang-ulang bagi aktivitas kreatif yang diarahkan sendiri, seorang penari dapat mengembangkan potensi kreatifnya. Pengalaman kreatif yang pertama dalam tari, dialami dengan beberapa tingkat kecemasan. Tingkat kecemasan ini dapat kita pahami dan pengalaman seperti itu sebaiknya diarahkan agar para murid-murid dapat mengatasi rasa takutnya.Motion is the main element of dance. Motion in dance is not a realistic movement, but a movement that has been given an expressive and aesthetic form. Dance moves always involve elements of the human body and function as a medium to communicate the purpose of motion formation. Types of dance movements used, namely meaningful motion, pure motion, and gesture. In addition to dance moves, there are elements of space, time, and energy in dancing. The research method used is a qualitative approach. The goal is that research can be found, developed, proven, and can be described systematically about the movements of the Peacock dance, giving rise to a sense of doing so. The subjects of the research were the members who were in the dance studio, consisting of peacock dancers, pioneers, and processors at the Bandung Pusbitari Studio. A dance when presented as an object of art becomes an experience for observers to be lived and understood, through the structure of sensation, perception, and feeling in moving it. It is often said that novice students are not ready to create and obtain new bodies. Through repeated opportunities for self-directed creative activities, a dancer can develop their creative potential. The first creative experience in dance, experienced with some level of anxiety. This level of anxiety can be understood by us and such experiences should be directed so that students can overcome their fears.

This contribution interprets the east-central European post-liberal governments’ recent anti-immigrant, anti-refugee and anti-human-rights hysteria in the context of the increasing dependence of the region's societies for livelihood on employment in the western EU, the widespread racialization of east European labor in the western EU, and the refusal of east European political elites and societies at large to consider possible “Left” critiques of the EU. Given those circumstances, and laboring under related anxieties, post-state-socialist political elites and societies have assumed a fundamentalist-racialist posture. They redirect their repressed anger toward incoming refugees, claim an ahistorical, essential kind of Whiteness and contribute to rigidifying European discussions of “race.”

Gatherings of the Serbian peasant youth for various forms of entertainment like Sabac, Bubalice, Jezalo... during the six-week Great Easter Fast (when they did not go to the kolo dance, their main and popular entertainment) were a reflection of the strict observation of the patriarchal and Christian norms symbolized by the Fast. The participants in Sabac, Bubalice... were more serious, almost sad due to the mourning of the Christ?s passion and crucifixion. They entertained in the games without music, songs, merriment clamour, laughter, anything which is otherwise the essence of entertainment and games. Some of the games, e.g. Peacock (Paun). Passing Swallows.

The purpose of this study is to understand and identify the composition of Rejang Pedawa dance attire and the meaning and function of Rejang Pedawa dance outfit. Rejang Pedawa dance fashion is the same as Rejang dance clothing in general but the difference is at the top that uses ungar and sekar spurs made from pelendo that take the form of flowers and tails of peacocks, and the use of traditional Balinese cloth in almost all of the Pedawa rejang clothing. From the functions and meanings it can be concluded that the Rejang Pedawa dance takes a beautiful form because it is indeed the function of the Rejang Pedawa dance to entertain Bhatara Bhatari who is led to descend to Earth during the Pujawali Saba Pedawa Village ceremony. The meaning of Rejang Pedawa's clothing still maintains the fashion that they received from their ancestral heritage. Traditional dance prioritizes a sense of devotion, so it does not take into account too much of the clothing worn.

In this paper I argue for the possibility of expanding the field of aesthetics not only beyond art and beauty but also beyond everyday aesthetics (or prosaics) centered in human sensibility. This implies considering sensibility or aesthesis in all live beings to understand the vastness of bio-aesthetics. Part of this query is zoo-aesthetics. We have such growing evidence, enriched day by day, that animals are capable of creating, recreating, imitating, enjoying, exhibiting and expressing sensibility or aesthetic taste in various forms that it is harder to deny the more we record and witness their behavior. Moreover, as there are various artistic genres, we can equally speak of similar genres in zoo-poetics, namely: a) musical b) visual (both architectonic and decorative), c) drama, and d) dance. Are females enamored by the male bat or bird mating song? Do peahens feel pleasure at the sight of a male peacock's tail? As Nagel asked 'what is it like to be a bat?' I would really like to know what it is like to be a peahen. This full inquiry is being published in The indispensable excess of the aesthetics: evolution of sensibility in nature. (Lexington 2015).

碩士<br>國立臺灣藝術大學<br>舞蹈學系<br>101<br>This paper to the "original folk dance and performative folk dance of the dai national minority's peacock dance as the main research object. Analysis of how to make the original folk dance sublimation to the performative dance. Analysis of “the two types of three-tier theory "of Professor Lv Yisheng and " the art of dance level "of Professor He Qun come to a conclusion. Second, analysis of "Spirit of the bird" from the original ecological musicals "Dynamic Yunnan"of the Miss Yang Liping and the Modern works of the "bird's Love" as the second spindle. Analysis choreography of their dance movements, space use, clothing, music, venues such as the five characteristics as the key, to comparative analysis the original ecological Pavaner and performative Pavaner based on the results. Its contents include: First, the performance time.Second, the performance spaces. Third, the performers.Fourth performances object.Fifth, features and music.Sixth, the original performance apparel and contemporary performances costumes.Seventh, props.Eighth, stage scenery and lighting.Ninth, the function and purpose. Finally, the researchers believe that the development of dance in progressive layers of relationship, foreshadowing of the original ecological folk dance to such a big breakthrough in performative dance and ornamental. Functions are fundamentally different in the original ecology and Performing Pavaner, makes the original ecological Pavaner with the performative Pavaner development each follow different rules. However, in reality development, they are interrelated and inseparable. It can be said that the original ecological Pavaner is the performative Pavaner creation, as a dance inheritors, if we can strike a balance in both dance patterns will surely create a higher value of folk dance.

Chapter 5 focuses on the human need for embellishment and artistic expression through song, dance, and music. Why do we do these things? Is it due to sexually selected behavioral traits, whereby those who stand out and flaunt their special qualities are selected as partners and thus further their genetic heritage because the artistic energy they exhibit is reliable evidence of fitness, which lets the world know that these are good, strong genes exactly like the peacock’s tail? Or is it, rather, that we must understand these exertions through their collective value as social markers that unite us and inform the world that we are dealing with a close-knit group united by a shared mind-set? None of these functions need be mutually exclusive.