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Melayu Arts and Performance Journal
Published by Institut Seni Indonesia Padang Panjang
ISSN : 26560232     EISSN : 26563509     DOI : http://dx.doi.org/10.26887/mapj
Core Subject : Humanities, Education, Art,
Arts Humanities Languange, Linguistic, Communication & Media
Melayu Arts and Performance Journal (MAPJ) is the Scientific Journal focusing on the study of performing arts and visual arts, as well as the development of methods for the creation of performing arts and visual arts.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 149 Documents
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Vocal Technique and Expressive Interpretation in the Performance of “Ganjang Ma Umurmi” by Osen Hutasoit Andreas Simanjuntak; Hendrik L Simanjuntak; Happy Majesty Waruwu
Melayu Arts and Performance Journal Vol 8, No 2 (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.v8i2.5086

Abstract

This study examines vocal technique and expressive interpretation in the performance of the Batak popular song “Ganjang Ma Umurmi” composed by Osen Hutasoit. While previous studies on vocal performance primarily emphasize technical mastery in classical or choral contexts, limited scholarly attention has been given to the integration of vocal technique and interpretative expression in contemporary Batak popular repertoire. This research aims to analyze how technical elements—posture, diaphragmatic breathing, articulation, intonation, resonance, and dynamics—function not only as mechanical vocal strategies but also as embodied expressive devices that shape musical meaning. Employing a qualitative descriptive approach, data were collected through performance observation, in-depth interviews, score analysis, and documentation of a recital performance at GBI Pelita IV. The data were analyzed using Miles and Huberman’s interactive model, including data reduction, data display, and conclusion drawing. The findings reveal that the effective performance of this song requires a synergistic integration between technical control and emotional interpretation, particularly in handling modulation, sustained high-register passages, and dynamic contrast. Vocal technique operates as an expressive medium that constructs intimacy, sincerity, and emotional resonance within the performance. This study contributes to the discourse on vocal pedagogy and performance studies by highlighting the role of embodied technique in shaping interpretative meaning in regional popular music. The novelty of this research lies in its contextual focus on Batak popular repertoire and its analytical integration of technical and expressive dimensions in performance practice
The Narrative Style of Randai in the Film Rantau Adri Yandi; Ranang Agung Sugihartono; Pande Made Sukerta
Melayu Arts and Performance Journal Vol 8, No 2 (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.v8i2.5185

Abstract

This article investigates the structural translation of the Minangkabau performative tradition of randai into cinematic language through a practice-led research framework. Departing from representational or thematic adaptation, the study positions randai as an organizing principle that shapes the narrative architecture, temporality, and audiovisual rhythm of the film Rantau. Core performative elements, such as dendang, galombang transitions, episodic composition, circular staging, and the mediating function of the Janang, are operationalized as structural devices rather than ethnographic references. The article adopts practice led research approach, a reflective and cyclical creative process integrating observation, interviews, textual study, scripting, performance translation, and editing. Editing is conceptualized as an epistemological site where meaning emerges through montage, temporal layering, and audiovisual juxtaposition. The resulting film employs a dual narrative system, linear within performative segments and non-linear within cinematic sequence, producing stratified temporality that articulates generational reinterpretations of merantau (migration). The findings demonstrate that performative tradition can be translated structurally into contemporary film without hierarchical subordination. The study contributes to discourses on intermediality, artistic research, and decolonial aesthetics by repositioning tradition as a generative epistemic framework within audiovisual production, while proposing a model for culturally grounded cinematic innovation.
Playing Technique and Saxophone Interpretation in the Song “I Believe In You” by Eric Marienthal Denny Alex Renaldy Sianturi; Kartini R M Manalu; Nielson Sihombing
Melayu Arts and Performance Journal Vol 8, No 2 (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.v8i2.3535

Abstract

Penelitian ini bertujuan untuk mendeskripsikan teknik penyajian serta penerapan interpretasi pada permainan saksofon dalam lagu I Believe in You karya Eric Marienthal. Lagu ini dipilih karena repertoar ini memiliki tingkat kesulitan tinggi, baik secara teknis maupun musikal, sehingga menuntut penguasaan yang matang terhadap aspek nada, artikulasi, frasering, dinamika, improvisasi, dan ekspresi. Metode penelitian menggunakan pendekatan deskriptif kualitatif dengan teknik observasi, studi literatur, dan analisis partitur. Pengalaman langsung penulis dalam proses latihan terencana dan resital juga menjadi sumber data penting untuk memperkuat hasil temuan di lapangan. Hasil penelitian menunjukkan bahwa teknik dominan yang muncul dalam lagu ini meliputi tonguing, glissando, altissimo, vibrato, sub-tone pada beberapa frase lembut, serta artikulasi staccato dan legato untuk membentuk karakter phrasing yang lebih jelas. Penerapan interpretasi dilakukan melalui pengelolaan dinamika (crescendo–decrescendo), kontrol tempo larghetto (63 BPM), penentuan aksen frase, serta pengaturan warna bunyi untuk menciptakan nuansa emosional sesuai karakter lagu. Selain itu, sikap tubuh, kontrol pernapasan diafragma, fokus mental, dan penguasaan panggung juga berperan penting dalam menghasilkan kualitas penyajian yang optimal.
Technical and Interpretative Aspects of Violin Performance in Chopin’s Nocturne No. 20 in C-Sharp Jefri Aprillian Lase; Hendrik L Simanjuntak; Kamaluddin Galingging
Melayu Arts and Performance Journal Vol 8, No 2 (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.v8i2.5067

Abstract

This study examines the playing techniques and musical presentation of Nocturne No. 20 in C-Sharp Minor by Frederic Chopin when performed on the violin. Although originally composed for piano, this work has frequently been adapted for violin performance, presenting specific technical and interpretative challenges for performers. The purpose of this research is to analyze the violin playing techniques and expressive elements required to perform the piece effectively. This study employs a qualitative descriptive approach through musical analysis and literature review, supported by observations of the rehearsal and performance process. The analysis focuses on several important techniques applied in the performance, including legato, triplet, and trill techniques, as well as the use of musical dynamics such as piano, mezzo forte, diminuendo, and tempo indications like meno mosso. The findings show that the primary technical challenge in performing this work lies in maintaining smooth legato phrasing while preserving expressive musical interpretation. In addition, the performer must control bow pressure, finger placement, and rhythmic accuracy to achieve the expressive character typical of Chopin’s romantic musical style. The study demonstrates that the integration of technical mastery and musical interpretation plays a crucial role in delivering a convincing violin performance of Nocturne No. 20 in C-Sharp Minor. These findings contribute to the understanding of violin performance practices in adapting Romantic piano repertoire to violin interpretation
Si Muntu as an Event of Meaning: A Hermeneutic Reading of the Processional Tradition in West Sumatra Saaduddin Saaduddin; Sherli Novalinda
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.v9i1.6338

Abstract

Artikel ini mengkaji tradisi arak-arakan Si Muntu di Sumatera Barat melalui pendekatan hermeneutika untuk memahami bagaimana praktik performatif tersebut membangun, mentransmisikan, dan mentransformasikan makna kolektif masyarakat. Si Muntu tidak diposisikan sekadar sebagai figur ritual atau ekspresi folklor, melainkan sebagai “teks budaya” yang terus ditafsir ulang dalam konteks sosial, politik, dan historis yang berubah. Dengan menggunakan kerangka hermeneutika filosofis, penelitian ini menelaah relasi antara simbol, tubuh performatif, ruang komunal, dan horizon pemaknaan masyarakat pendukungnya. Data diperoleh melalui observasi partisipatif, dokumentasi visual, dan wawancara mendalam dengan pelaku serta tokoh adat. Analisis menunjukkan bahwa Si Muntu berfungsi sebagai medium negosiasi identitas, memori kolektif, dan dinamika kuasa, sekaligus membuka ruang tafsir baru di tengah perubahan zaman. Dengan demikian, tradisi ini tidak bersifat statis, tetapi merupakan peristiwa makna yang selalu berada dalam proses penafsiran ulang.
Representation of Patriarchal Culture in the Legong Lanang Dance in Denpasar City Eva Riyanti
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.v9i1.6337

Abstract

Legong Lanang is a Balinese performing art that has undergone significant transformation alongside social and cultural changes within Balinese society. Originally performed by male dancers, it later became predominantly associated with female performers before eventually being revived as a male dance performance. This transformation demonstrates that the performance is not merely an aesthetic expression but also reflects power relations, gender construction, and patriarchal culture embedded within society. Although previous studies have examined Legong dance from historical, aesthetic, and choreographic perspectives, limited attention has been given to the representation of patriarchal culture in Legong Lanang. This study aims to analyze how patriarchal culture is represented through the performance elements of Legong Lanang in Denpasar City. Employing a qualitative approach within the framework of cultural studies, data were collected through participant observation, in-depth interviews, document analysis, and literature review involving dancers, artists, cultural practitioners, and supporting documents. The data were analyzed using descriptive-interpretative techniques informed by theories of representation, semiotics, aesthetics, and hegemony to reveal the construction of meaning within the performance. The findings indicate that patriarchal representation is constructed through choreographic structure, characterization, movement vocabulary, costume and make-up, musical accompaniment, and the symbolic dominance of male performers within the performance arena. These elements collectively construct a cultural system that reproduces while simultaneously negotiating masculine identity within Balinese performing arts. This study contributes to the development of performing arts and cultural studies by explaining the relationship between artistic practice and socio-cultural construction. The novelty of this research lies in its analysis of Legong Lanang as a cultural representation through which patriarchal values are negotiated amid contemporary social transformation in Balinese society.
Local Culture-Based Two-Dimensional Visual Arts Learning through Batik Training at Rumah Tuo Rantau Panjang Febra Muyusari; Endang Komara; Teti Ratna Wulan
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.v9i1.5497

Abstract

This study examines local culture-based two-dimensional visual arts learning through batik training at the cultural heritage site of Rumah Tuo Rantau Panjang, Merangin Regency, Jambi Province. Previous studies have discussed batik, local wisdom, and visual arts education separately; however, research that specifically positions a cultural heritage site as an authentic learning space for two-dimensional visual arts through batik training remains limited, particularly in the context of Jambi Malay culture. This study aims to describe and analyze how batik training at Rumah Tuo Rantau Panjang functions as a contextual, participatory, and culturally grounded model of visual arts learning. The research employed a qualitative approach with a descriptive case study design. Data were collected through participatory observation, semi-structured interviews, and documentation involving elementary school students, university students, teachers, community members, batik artisans, site managers, and local cultural figures. The data were analyzed using the interactive model of Miles, Huberman, and Saldaña through data condensation, data display, and conclusion drawing. The findings show that batik training in Rumah Tuo Rantau Panjang provides meaningful visual arts learning experiences by integrating artistic practice, cultural interpretation, and direct engagement with local heritage. Participants improved their understanding of Jambi Malay batik motifs, technical skills in batik making, visual composition, and cultural appreciation. The motifs taught, including Keluk Paku, Tampuk Manggis, Tali Ikat, Mensinding Gulung Paku, and Akar Kekait, embody philosophical values related to leadership, kinship, social boundaries, and customary traditions. This study contributes to the development of local culture-based art education by proposing cultural heritage sites as authentic learning laboratories. The novelty lies in integrating batik training, cultural site-based learning, and two-dimensional visual arts education within the specific context of Rumah Tuo Rantau Panjang.
The Form and Musical Structure of the Gong Tanah Ensemble in Gunung Sahilan, Kampar Ade Syahputra; Nursyirwan Nursyirwan; Hadaci Sidik; Yusnelli Yusnelli; Nofridayati Nofridayati
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.v9i1.5470

Abstract

Penelitian ini mengkaji bentuk dan struktur musikal Ansambel Gong Tanah di Gunung Sahilan, Kampar, sebagai praktik musik tradisional yang masih terbatas mendapat perhatian dalam kajian musikologi. Ansambel ini terdiri atas tiga instrumen utama, yaitu Gong Tanah sebagai instrumen beresonansi tanah, Gambang sebagai instrumen melodis berbahan kayu, dan Katepak sebagai unsur ritmis yang dihasilkan dari penutup resonator Gong Tanah. Penelitian ini bertujuan untuk menganalisis organisasi musikal Ansambel Gong Tanah, terutama aspek instrumentasi, kecenderungan penalaan, konstruksi melodi, pola ritme, motif, frase, perioda, kadens, interval, dan bentuk lagu. Penelitian ini menggunakan metode kualitatif dengan pendekatan musikologis. Data dikumpulkan melalui observasi, wawancara, studi pustaka, dokumentasi audio-visual, dan transkripsi musik. Analisis difokuskan pada beberapa repertoar, yaitu Kakak Timbang Baju dan Timbang Baju Tuok Kakak. Hasil penelitian menunjukkan bahwa repertoar Ansambel Gong Tanah dibangun melalui motif independen dan motif derivatif, frase simetris dengan perluasan, pola melodi repetitif, serta organisasi metrik 4/4. Peran melodis dimainkan oleh Polalu, sedangkan Poningkah membangun pola dasar pada instrumen Gambang. Sementara itu, Gong Tanah dan Katepak berfungsi sebagai unsur ritmis dan aksentuasi dalam tekstur ansambel. Repertoar yang dianalisis menunjukkan bentuk lagu satu bagian yang ditandai oleh pengulangan dan durasi permainan yang fleksibel sesuai ekspresi musikal pemain. Penelitian ini berkontribusi terhadap dokumentasi dan pemahaman musikologis atas tradisi musik lokal Kampar serta menegaskan Ansambel Gong Tanah sebagai bentuk kreativitas musikal masyarakat Gunung Sahilan.
Reinterpretation of Minangkabau Boys’ Merantau Culture in Dance Creation Fattahul Anugraha; Ariefin Alham Jaya Putra; Syahril Syahril; Zulfikar Rizki Ananda; Suaida Suaida
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.v9i1.6304

Abstract

This article discusses the creation process of the dance work Budaya Merantau, which originates from the socio-cultural phenomenon of migration in Minangkabau society. The study focuses on how the surau, as a space for religious education, customary learning, martial arts practice, and character formation among Minangkabau boys, is reinterpreted as a conceptual foundation for dance creation. The main issue addressed is how migration patterns expressed in Minangkabau proverbs and oral philosophy can be transformed into a choreographic method. This study employs a research-based creation method involving observation, interviews, literature review, documentation, data analysis, movement exploration, exploration of space-time-energy, property experimentation, rehearsal, and performance. The creation process reveals that the pattern of merantau can be structured into three dramatic parts: the encouragement to migrate, the ability to socialize and adapt in a new environment, and the longing for the homeland. These structures are embodied through movements derived from Minangkabau pencak silat, everyday gestures, shifting floor patterns, the use of sarong and white fabric, Minangkabau musical idioms, and religious expressions associated with the memory of the surau. The article argues that merantau can be understood not only as social mobility but also as a creative method for producing contemporary dance based on tradition.
ALANG SUNTIANG PANGULU DANCE: REGENERATION CRISIS IN CONTEMPORARY SOCIETY Wahida Wahyuni; Zulfikar Rizki Ananda; Sri Meiweni Basra; Fattahul Anugraha; Donny Osmond
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.v9i1.31082

Abstract

Alang Suntiang Pangulu Dance is a ritual dance originating from the community of Nagari Padang Laweh, Agam Regency, West Sumatra, performed during the batagak pangulu ceremony or the inauguration of traditional clan leaders. Currently, the existence of this dance is facing a regeneration crisis caused by an exclusive and genealogically based cultural inheritance system. This study aims to analyze the regeneration crisis of Tari Alang Suntiang Pangulu within the dynamics of cultural transmission in contemporary Minangkabau society. The research employs a qualitative method with an ethnochoreological approach through literature studies and cultural phenomenon interpretation. The Cultural Transmission Theory proposed by Luigi Luca Cavalli-Sforza and Marcus W. Feldman is used as the analytical framework to examine vertical, horizontal, and oblique transmission patterns in sustaining the dance tradition. The findings reveal that the inheritance system of Tari Alang Suntiang Pangulu predominantly operates through vertical transmission within clan and traditional leadership structures. This closed transmission pattern limits regeneration and makes it difficult for the tradition to adapt to contemporary social changes. The regeneration crisis is further intensified by the declining interest of younger generations in ritual arts, the limited performance space, and the dominance of popular culture in modern society. This study argues that the primary issue surrounding Tari Alang Suntiang Pangulu lies not only in cultural preservation efforts but also in the stagnation of traditional cultural transmission systems that have yet to develop adaptive inheritance patterns in the modern era.

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