Article Per Year (5 Year)
p-Index From 2021 - 2026
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This Author published in this journals
All Journal Melayu Arts and Performance Journal
M Halim
Institut Seni Indonesia Padangpanjang
Arts Humanities Languange, Linguistic, Communication & Media

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Colossal Dance Sawah Solok: Heritage in the Heart of the City: Artistic Creation Based on Agrarian Activities and Food Security Emri Emri; Susas Rita Loravianti; M Halim
Melayu Arts and Performance Journal Vol 8, No 1 (2025): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v8i1.4710

Abstract

This study examines the creation of the colossal dance Sawah Solok: Heritage in the Heart of the City as an artistic response to agrarian life and food security in Solok City, West Sumatra. Employing a practice-based research approach, the study positions dance creation as a form of cultural knowledge production rooted in local agricultural practices. The research aims to analyze how agrarian activities—such as rice cultivation, field maintenance, and harvest traditions—are transformed into choreographic structures that articulate social values, collective memory, and cultural resilience. Data were generated through field observations in urban rice fields, interviews with farmers and cultural actors, documentation of the creative process, and reflective analysis by the choreographer. The creative process follows Alma M. Hawkins’ stages of exploration, improvisation, and formation, enabling embodied experiences of agrarian labor to be translated into movement vocabulary, spatial design, and performance structure. The findings reveal that food security is represented not merely as an economic issue, but as a cultural and ethical commitment embedded in communal cooperation and adat values. This study contributes to contemporary dance discourse by demonstrating how agrarian practices and food security narratives can be integrated into colossal dance performances situated in public space.
Mangandung Ritual in Batak Toba Society: A Musical and Cultural Perspective Rosmegawaty Tindaon; M Halim; Rina Oktavia; Martis Martis; Yasril Adha
Melayu Arts and Performance Journal Vol 9, No 1 (2026): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v9i1.30774

Abstract

Although ethnomusicological studies on Batak Toba traditions continue to develop, scholarly attention to the musical analysis of andung remains limited, particularly regarding its continuity and transformation within musical and cultural perspectives. This study examines the continuity and change of the mangandung ritual in Batak Toba funeral traditions, focusing on its musical dimensions. As a vocal expression of grief, andung embodies structured musical elements such as melody, rhythm, vocal ornamentation, and performance context. Using a qualitative ethnomusicological approach, this research employs field observation, in-depth interviews with tradition bearers, and audio-visual documentation. The analysis identifies patterns of continuity and transformation in andung singing. Findings reveal that while the ritual’s primary expressive function as a medium of lamentation is preserved, its musical characteristics have significantly changed. These include the simplification of melodic structures, reduced use of traditional ornamentation, and shifts in performance context influenced by modernization, religious practices, and contemporary funeral services. These changes reflect a dynamic negotiation between preservation and adaptation. The study underscores the importance of systematic documentation and pedagogical strategies to sustain the mangandung ritual and its transformation into andung as part of Batak Toba cultural heritage.
Representation of Gender Roles in the Choreography of Rantak Nagari Parampuan within Minangkabau Matrilineal Society Emri Emri; Susas Rita Loravianti; M Halim
Melayu Arts and Performance Journal Vol 9, No 1 (2026): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v9i1.4708

Abstract

This practice-led study examines the choreography Rantak Nagari Parampuan, presented at the 2024 Alek Mandeh Festival in the Sijunjung Traditional Village, as an artistic articulation of changing gender roles within Minangkabau matrilineal society. Previous discussions of Minangkabau women frequently emphasize normative status, customary authority, and the ideal figure of Bundo Kanduang, while fewer studies explain how contemporary choreography transforms tensions between domestic, cultural, professional, and public responsibilities into embodied performance. The study aims to identify the creative process, performance structure, and cultural meanings through which the work negotiates those multiple roles. Data were derived from field observation, discussions with local community members, rehearsal documentation, choreographic notes, and reflective evaluation of the performance process. The creation process followed the stages of exploration, improvisation, formation, and evaluation adapted from Alma M. Hawkins. The findings show that the work is organized into six dramaturgical sections: religious and moral education, domestic labor, social interaction, participation in communal activities, contemporary female identity, and the adaptive position of men in a matrilineal kinship system. Movement, vocal sound, musical accompaniment, and ensemble composition construct the idea of rantak as grounding, awareness, balance, and resilience. The work does not merely celebrate women’s customary position; it stages negotiation between inherited cultural obligations and contemporary social mobility. This study contributes to dance creation research by demonstrating how matrilineal values can function as both thematic material and a dramaturgical framework. Its novelty lies in reading the choreography as a relational representation of women and men rather than as a singular glorification of the Bundo Kanduang figure.
Co-Authors Emri Emri Martis Martis Rina Oktavia Rosmegawaty Tindaon Susas Rita Loravianti Yasril Adha