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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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Becoming-Performance: Body, Time, and Deterritorialization in the Adaptation of The Swan Song Ilham Rifandi; Saaduddin Saaduddin
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.v8i2.6327

Abstract

This article analyzes Terbuang dalam Waktu, a performance by Teater Balai, presented at Alek Teater IX at UPTD Taman Budaya Sumatera Barat in September 2025. Employing a performative dramaturgical approach grounded in the conceptual framework of Gilles Deleuze, the article examines how body and time are staged as fields of non-linear intensity rather than as conventional dramatic representations. Adapted from The Swan Song (1887) by Anton Chekhov, the performance presents two versions of Vasili Svietlovidoff—young and old—appearing simultaneously on stage, producing a temporal fold that collapses past and present within a single performative space. The analysis identifies three key strategies: dramatic non-linearity through temporal folding, the deterritorialization of the Minangkabau body within a Western classical text, and an assemblage of space–body–light that generates an affective experience without a singular center of meaning. These findings affirm the work as a post-realist dramaturgical experiment positioning the actor’s body as a temporal archive and a site of cultural identity negotiation in contemporary Indonesian theatre.
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.
A Governance Model for Music Performances to Enhance Audience Participation: A Practice-Based Study of Music Event Production in Arts Education Contexts Yade Surayya; Nora Anggraini; Fahmi Marh; Md Jais Ismail
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.v9i1.30806

Abstract

This study aims to formulate a music performance governance model to enhance audience participation through a practicebased approach. The research is motivated by the persistent issue of low audience attendance at artistic performances, despite their high artistic quality, indicating that effective governance plays a crucial role in performance success. A qualitative approach was employed using a practicebased research design with a case study strategy. The study was conducted within the context of music performance practices in arts education institutions over a threeyear period (2023–2025). Data were collected through participatory observation, indepth interviews with 15 informants comprising managerial teams, artistic teams, and audience members, as well as performance documentation. Data analysis followed an interactive model consisting of data reduction, data display, and conclusion drawing. The findings reveal that performance governance has a more decisive influence on audience participation than artistic quality alone. Successful performances are achieved through the integration of audienceoriented strategic planning, effective production organization, highquality performance execution, and continuous evaluation. Furthermore, intensive promotional strategies and the involvement of popular artistic figures significantly increase audience appeal. This study proposes a cyclical and applicable music performance governance model that contributes to the development of performing arts management and offers a practical framework for arts education and performance industries.
The Creation Process of Gajah Barong Dance at Lingga Purbasari Studio, Baregbeg, Ciamis Mohammad Rizky Setiaji; Ayo Sunaryo; Saian Badaruddin
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.v9i1.30778

Abstract

This study aims to describe and analyze the creation process of the Gajah Barong Dance at the Lingga Purbasari Studio in Baregbeg District, Ciamis Regency, as a form of reinterpretation of local culture based on the myth of the Gajah Barong Site. This research employed a qualitative approach with participatory ethnography methods through observation, interviews, and documentation. The results indicate that the dance creation process proceeded through stages of exploration, improvisation, evaluation, and formation, conducted reflectively and collaboratively. Each element of the performance—movement, music, makeup, costume, and props—integrated to construct a narrative about leadership, spirituality, and life balance. Innovation and artistry were also evident in the use of a hybrid music performance concept using a Digital Audio Workstation (DAW), which enhanced the dramatic atmosphere without losing the identity of Sundanese tradition. The primary contribution of this research lies in documenting the creative process of dance based on local myths and strengthening the ethnochoreological perspective in understanding the relationship between creative practices, embodied experiences, and sociocultural contexts. The research findings demonstrate that the preservation of traditional arts can be achieved through a creative and adaptive approach to contemporary developments without losing their underlying philosophical and cultural values.
Melodic Structure, Harmony, and Dissonance in Jaya Suprana’s Piano Work Dedemit Kamaludin Galingging; Hendrik L Simanjuntak; Kartini R Manalu
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.v9i1.6307

Abstract

This study examines a solo piano work by a second-generation Indonesian composer, following Amir Pasaribu and Mochtar Embut. Jaya Suprana is a pianist and composer, and is widely recognized as an Indonesian cultural figure. As the second generation in the context of Indonesian piano composers, Jaya Suprana has provided a milestone in expanding the concept of musical composition and introducing it to the international world. Through various musical performances, concerts, and recitals, Jaya Suprana's piano compositions have graced numerous venues both domestically and internationally. What's fascinating about Jaya Suprana's compositional concept is its difficult-to-interpret element of "simplicity." This composition concept seems to be a personification that is attached to Jaya Suprana and continues to this day, even though many other composers also worked in a similar period. The urgency of this research is to find the composer's mindset in the aspect of 'simplicity' which is difficult for players to interpret. This research is part of the future development of composition concepts and will serve as learning material in higher education, specifically in the concentration of music composition and presentation. The method chosen for this research is a qualitative descriptive method with a musicological approach
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.
Pemanfaatan Teknologi Musik Menengah dalam Meningkatkan Kompetensi Pembelajaran Seni Musik Berbasis Digital Rozalvino Rozalvino
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.v8i2.31384

Abstract

The development of digital music technology has changed the orientation of music learning from instruction centred on notation, performance, and acoustic practice toward learning that integrates sound production, audio editing, MIDI sequencing, virtual instruments, and digital portfolio assessment. This study examines the use of intermediate music technology to improve competencies in digital-based music learning. Intermediate music technology is understood as a pedagogical stage that bridges basic digital literacy and advanced music production through the use of Digital Audio Workstation (DAW), MIDI, audio recording, editing, basic mixing, and collaborative production projects. The study aims to formulate a competency-oriented model for digital music learning by analysing how technology can strengthen technical, musical, creative, collaborative, and reflective abilities. A qualitative-descriptive method was employed through a directed literature review and document analysis of recent studies on music technology education, digital competence frameworks, DAW-based pedagogy, and technology-supported learning. The data were analysed thematically by classifying the findings into domains of learning objectives, technological tools, pedagogical strategies, competency indicators, and assessment models. The findings show that intermediate music technology improves learners' competencies by enabling them to operate digital tools, understand sound structures, produce musical works, evaluate audio quality, collaborate in digital projects, and document learning outcomes through portfolios. Effective implementation requires modular learning design, adequate infrastructure, teacher readiness, contextual learning materials, ethical awareness, and assessment rubrics that balance technical accuracy with musical expressivity. The novelty of this study lies in the formulation of an intermediate music technology learning model that integrates DAW-based production, MIDI practice, audio editing, basic mixing, and portfolio-based assessment as a coherent framework for digital-based music education.
Transformation of Minangkabau Traditional Theatre in Contemporary Performance: Aesthetic and Dramaturgical Study Edy Suisno
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.v8i2.31391

Abstract

This study examines the transformation of Minangkabau traditional theatre in contemporary performance, with particular attention to aesthetic and dramaturgical changes in the adaptation of Randai as a folk theatre form. Randai has long been recognized as a performative expression that integrates kaba narrative, acting, dendang, music, silek-based movement, and circular staging patterns within the cultural order of Minangkabau society. However, contemporary theatre practices have opened new possibilities for reinterpreting these traditional elements through experimentation with space, body, visual composition, rhythm, and performance structure. This research aims to analyze how Minangkabau traditional theatre is transformed into contemporary performance and to identify the aesthetic and dramaturgical implications of such transformation. The study uses a qualitativedescriptive method with an interpretive approach. Data were collected through literature study, visual documentation from open sources, and textual analysis of scholarly sources related to Randai, traditional theatre, performance studies, and contemporary dramaturgy. The findings show that the transformation of Minangkabau traditional theatre occurs through the reconfiguration of narrative structure, the expansion of actor movement, the modification of musical functions, the reinterpretation of circular space, and the shifting position of tradition from communal representation to artistic exploration. These changes do not necessarily eliminate traditional identity; rather, they create a dialogic space between inherited cultural values and contemporary theatrical imagination. The novelty of this study lies in its effort to position the transformation of Minangkabau traditional theatre not merely as modernization, but as an aesthetic and dramaturgical negotiation that allows tradition to remain productive within contemporary performance discourse. 
Reinterpreting the Dana Dance of Jambi's Arab-Malay Community in the Creation of Rentak Bedana Dony Osmond
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.v8i2.3810

Abstract

Reinterpretations of traditional dance through new choreography often emphasize formal transformation, while the means of retaining the social spontaneity of participatory dance within a structured composition remain underexplored. This artistic research examines the transformation of elements of the Dana dance of Jambi’s Arab-Malay community into Rentak Bedana and analyzes its artistic outcomes in movement, interaction, performance structure, music, and visual design. The creative process comprised exploration, improvisation, composition, and rehearsal. Materials were generated through observation of Dana dance characteristics, review of visual documentation and literature, movement experiments with six dancers over approximately six months, creative notes, rehearsal evaluations, photographic documentation, and observation of the performance. The data were analyzed reflectively by examining relationships among ideas, movement motifs, spatial patterns, music, expression, and the cultural identity of the source tradition. The findings show that dynamic and communicative movement, a joyful communal atmosphere, and spontaneity can be transformed through variations in space, time, energy, floor patterns, and movement-music relations within a three-part structure. Controlled spontaneity allows dancers to vary accents, duration, gaze, and qualities of response to the music and other dancers, while remaining within the source motifs, atmosphere, spatial boundaries, section duration, and predetermined choreographic meeting points. The study’s novelty lies in formulating controlled spontaneity as a strategy that connects the participatory character of Dana dance with the demands of a choreography that can be rehearsed and repeated without eliminating individual responsiveness. This formulation offers a practical framework for tradition-based dance creation. However, because the analysis concerns a single work and relies on the creator’s documentation and internal evaluation, Rentak Bedana should be regarded as a potential model of traditional development rather than evidence of successful preservation; assessment by the source community and audience reception remains necessary

Page 15 of 15 | Total Record : 149

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