Uncovering the hidden meaning: an analysis of the performance structure and social meaning of the salonreng dance in the cultural context of Makassar

Authors

  • Johar Linda Universitas Negeri Makassar, Makassar
  • Putri Dyah Indriyani Universitas Lambung Mangkurat, Banjarmasin
  • Rachmat Djarot Universitas Negeri Makassar, Makassar

DOI:

https://doi.org/10.33153/dewaruci.v19i2.6278

Keywords:

Salonreng Dance, The performance structure, Social meaning , The cultural of Makassar

Abstract

The Salonreng dance represents the cultural identity of the Makassar tribe. Despite its rich cultural significance, Salonreng dance is rarely witnessed and in demand by the public, as well is a lack of deep understanding of the meaning and values contained in Salonreng dance. This study aims to analyze the performance structure and social meaning of Salonreng dance better to understand its role in the cultural context of Makassar. The research method used is qualitative with an ethnocoreological approach, considering the cultural setting of the Salonreng dance. Direct observation was carried out by attending ritual activities; selected informants included actors, panrita (ritual leaders), dancers, pinati (ritual equipment organizers), local artists, and traditional leaders. Data collection was carried out through documentation of Salonreng dance performances in the form of ritual videos, books, and journals. The study results show that the Salonreng dance is an important element of Makassar's cultural heritage, which has high aesthetic, social, and spiritual value. The findings include Salonreng dance movements, criteria for dancers who are considered spiritually clean, accompanying musicians, audiences, dancers' clothing, dance floor patterns, and the transformation of the performance venue. The contribution of this research includes the enrichment of academic literature and the provision of research methodologies that can be used as a reference that supports the preservation and development of the Salonreng dance so that it becomes an important part of Makassar's cultural heritage and develops in the future.

Downloads

Download data is not yet available.

References

[1] I. Ayuning, “Analisis makna pesan-pesan komunikasi nonverbal dalam tarian adat tradisional gandrang bulo di Kota Makassar= Analysis of the Meaning of Messages-Nonverbal Communication Messages in the Gandrang Bulo Traditional Dance in Makassar City.” Universitas Hasanuddin, 2022.

[2] M. De Marinis, “Performance Studies e Nuova Teatrologia: il dialogo continua,” Mantichora. Ital. J. Perform. Stud., vol. 9, p. 23, 2019.

[3] S. Rustiyanti, “Metode ‘TaTuPa’Tabuh Tubuh Padusi sebagai Musik Internal Visualisasi Koreografi NeoRandai,” Resital J. Seni Pertunjuk., vol. 20, no. 3, pp. 161–175, 2019.

[4] P. D. Indriyani, D. A. Nugroho, and S. N. Hikmah, “Study of functionalism in the art of Reog Singo Budoyo,” Cendikia Media J. Ilm. Pendidik., vol. 13, no. 3, pp. 508–514, 2023.

[5] N. A. Wahid, M. B. A. Becker, and M. Mustafa, “Ruang Dan Memori Dalam Koreografi Site-Specific: Kajian Terhadap Karya City Of Entertainment Oleh Lee Ren Xin: Memory In Site-Specific Choreography: A Study On Intertainment By Lee Ren Xin,” J. Gendang Alam, vol. 10, no. 2, 2020.

[6] R. G. Asra, “Karya Tari Angkang-Duriangkang Dikaji Dalam Perspektif Analisis Koreografi,” J. Seni Tari, vol. 10, no. 1, pp. 31–44, 2021.

[7] K. Elpus, “Access to arts education in America: the availability of visual art, music, dance, and theater courses in U.S. high schools,” Arts Educ. Policy Rev., vol. 123, no. 2, pp. 50–69, Apr. 2022, doi: 10.1080/10632913.2020.1773365.

[8] S. D. Handayani, M. Jazuli, and U. Utomo, “The Symbolical Interaction of Inter Dance Performers in Hak-Hakan performance in The Ritual Ceremony in Kaliyoso, Tegalombo, Kalikajar, Wonosobo,” Catharsis, vol. 7, no. 3, pp. 338–347, 2018.

[9] Z. Çetin and P. Erdem Çevikbaş, “Using creative dance for expressing emotions in preschool children,” Res. Danc. Educ., vol. 21, no. 3, pp. 328–337, Sep. 2020, doi: 10.1080/14647893.2020.1789087.

[10] S. Raposo, “Antropologia e performance. Terra de ninguém ou terra de todos?,” Perifèria. Rev. d’investigació i Form. en Antropol., vol. 22, no. 1, p. 75, Jun. 2017, doi: 10.5565/rev/periferia.590.

[11] S. Bigger, “Victor Turner, liminality, and cultural performance,” J. Beliefs Values, vol. 30, no. 2, pp. 209–212, Aug. 2009, doi: 10.1080/13617670903175238.

[12] L. Perlovsky, “Musical emotions: Functions, origins, evolution,” Phys. Life Rev., vol. 7, no. 1, pp. 2–27, Mar. 2010, doi: 10.1016/j.plrev.2009.11.001.

[13] B. Nettl, Teori dan metode dalam etnomusikologi. Penerbit Ombak, 2019.

[14] V. Doubleday, “Sounds of Power: An Overview of Musical Instruments and Gender,” Ethnomusicol. Forum, vol. 17, no. 1, pp. 3–39, Jun. 2008, doi: 10.1080/17411910801972909.

[15] R. Rachmat, T. Sumaryanto, and S. Sunarto, “Klasifikasi Instrumen Gendang Bugis (Gendrang) Dalam Konteks Masyarakat Kabupaten Soppeng Sulawesi Selatan,” j. Pakarena, vol. 3, no. 2, p. 40, Mar. 2020, doi: 10.26858/p.v3i2.13064.

[16] K. Khaeruddin and R. Rachmat, “Rate’ Singing: Religious humming as a marker of cultural identity in Makassar’s life cycle rituals,” Dewa Ruci J. Pengkaj. dan Pencipta. Seni, vol. 19, no. 1, pp. 102–111, Jun. 2024, doi: 10.33153/dewaruci.v19i1.5992.

[17] M. A. Sofyan, “Sawer: Simbol Komunikasi Kultural Penyanyi dan Penonton,” Manhaj J. Penelit. dan Pengabdi. Masy., vol. 2, no. 3, 2018.

[18] H. P. Trisdani, “Penerimaan Penonton Terhadap Program Musik Dangdut Academy 3 Di Indosiar,” J. e-Komunikasi, vol. 5, no. 1, 2017.

[19] M. C. Jumantri and T. Nugraheni, “Pengkajian Gaya Busana Tari Jaipongan Karya Sang Maestro,” Gondang J. Seni dan Budaya, vol. 4, no. 1, p. 9, Apr. 2020, doi: 10.24114/gondang.v4i1.16324.

[20] S. Kindoyop, H. Jusilin, and N. ak Tugang, “Pembudayaan Reka Bentuk Busana Tradisional Masyarakat Dusun Tindal Di Sabah,” J. Gendang Alam, vol. 7, Dec. 2017, doi: 10.51200/ga.v7i.1054.

[21] N. A. Mukam and H. Jusilin, “Representasi Budaya Dalam Rekaan Bentuk Busana Perkahwinan Masyarakat Bisaya Di Beaufort, Sabah,” J. Gendang Alam, vol. 9, Dec. 2019, doi: 10.51200/ga.v9i.2139.

[22] P. Artiningrum, A. Sudikno, and K. A. Arif, “Adaptation Patterns of Bugis Diaspora Village Architecture: Sulapa Eppa’Philosophy and Function-Form-Meaning-Context Theory,” ISVS e-Journal, vol. 6, no. 4, pp. 49–54, 2019.

[23] D. T. Afrianto, “Mitos properti waktu batu karya teater garasi.” Institut seni indonesia surakarta, 2015.

[24] R. A. Sutton, Pakkurru sumange’: musik, tari, dan politik kebudayaan Sulawesi Selatan. Ininnawa, 2013.

[25] I. Ismail, H. Merman, R. R. A. Razak, and M. S. Zakaria, “Visual Tubuh Manusia Dan Pesan Simboliknya Dalam Karya Seni Bayu Utomo Radjikin: Visual Of The Human Body And Its Symbolic Message In Bayu Utomo Radjikin’s Artwork,” J. Gendang Alam, vol. 12, no. 1, pp. 177–196, 2022, doi: 10.51200/ga.v12i1.3836.

[26] P. Pillai, “Rereading Stuart Hall’s Encoding/Decoding Model,” Commun. Theory, vol. 2, no. 3, pp. 221–233, Aug. 1992, doi: 10.1111/j.1468-2885.1992.tb00040.x.

[27] I. F. YOU, “Korla Pandit Plays America: Exotica, Racial Performance, and Fantasies of Containment in Cold War Culture,” J. Pop. Cult., vol. 48, no. 4, 2015, doi: 10.1111/jpcu.12295.

[28] R. Hadi, “Tradisi Ritual Ngayu-Ayu Dalam Menjaga Kelestarian Alam,” Jupe J. Pendidik. Mandala, vol. 4, no. 5, Dec. 2019, doi: 10.58258/jupe.v4i5.836.

Downloads

Published

2024-12-22

Issue

Vol. 19 No. 2 (2024)

Section

Articles

License

Copyright (c) 2024 Johar Linda, Putri Dyah Indriyani, Rachmat Djarot

Creative Commons License

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Authors who publish in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni agree to the following terms:

  1. Authors retain copyright and grant the Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share (copy and redistribute the material in any medium or format) and adapt (remix, transform, and build upon the material) the work for any purpose, even commercially with an acknowledgment of the work's authorship and initial publication in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni.
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).

    Lisensi Creative Commons

    This work is licensed under a Creative Commons Attribution 4.0 International License