Saman Dance

For dance lovers, Saman be one the best in the show. In every appearance, in addition to drawing attention also suck big dance lovers. Saman dance one dance that is quite unique, because Saman Dance only shows the motion of clapping and other movements, such as body movement, head and body position. Another uniqueness visible from a seated position of the dancers and swaying bodies snapped to the left or right, when the verses sung in rhythm.

Saman Dance dance is usually played by a dozen or dozens of men, but the numbers must be odd. However, in subsequent developments, this dance is played also by women or a mix between men and women. And of course with modifications to other motion. I am sometimes asked how many people can simultaneously play a dance that has a high speed? In addition to training of course, there’s a certain formation in putting each dancer was so dense and balanced look harmonious and dynamic dance.

Almost all Acehnese dances performed a gang. This requires cooperation and mutual trust between the sheikh (leader in the dance) with the dancers. But what are the elements that make this dance so beautiful in motion, rhythm and cohesiveness is not much we know.

Now let’s start peeling the supporting elements in this saman dance. Perhaps when we know all the aspects contained in this dance, we can better understand. And get not only beauty but also the philosophical meaning of position, movement, poetry performances terlantun when Saman in the title.

In a normal appearance (not match) in which the existence of time constraints, Saman could be played by 10-12 dancers, but at least supported the integrity Saman 15-17 dancers. Which has the following functions:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

No. 9 is called Lifting
Lifting is the main character (a type of sheikh in Seudati) central point in the Saman, which determines the motion of dance, dance level, that poetry and poets echoed in retaliation to attacks opponent’s play (Saman Jalu / game)
No. 8 and 10 referred to clamp
Auxiliary lifting clamps are good figures dance movement and singing / vocal
No. 2-7 and 11-16 is called pincers
Pincers are regular dancers who support the dance or dance movement that is directed lifter. Aside from being a dancer also plays grip (squeeze). So the density between the dancers awake, so the dancers together without any of the positions banjo / bershaf (horizontal) to unity and simultaneity of motion.
Number 1 and 17 is called Penupang
Penupang is the dancer’s most right-left end of line dancers who sit berbanjar.Penupang besides supporting role as part of the dance also serves menupang / hold the integrity of the position of dance in order to remain tight and straight. So-called penamat kerpe penupang jejerun (holder jejerun grass). As if last strengthen the position with grass memgang jejerun (jejerun a kind of grass roots terhujam strong and deep, hard on the pull.
Saman dance danced in a sitting position. Included in this type of art ratoh duk (sitting dance). Whose birth is closely related to the entry and spread of Islam. Where the dancers sat kneeling position, depressed body weight to both feet. Saman dance patterns in space is also limited at the level, ie, the height position of the body. From a sitting position on his knees turned to a position above the knee (Gayo – berlembuku) which is the highest level, being the lowest level is one where the dancers body bent forward until 45o (tungkuk) or tilted backward ° to 60 ° (langat). Sometimes when the motion is accompanied tilt to the right or left, called novice. There are also exercise in a sitting position next pitch to right-or left-rear (lingang).

In addition to a sitting position and body movement, hand gestures are very dominant in saman dance. Because he serves as a motion once the music. It’s called the second hand cerkop coincide and direction. There is also cilok, namely the index finger tip motion as if to take something lighter objects such as salt. And tepok performed in different positions (horizontal / back and forth / like a propeller). Head movements such as nodding in a slow tempo to fast (anguk) and head spinning like a propeller (Girek) is also a range of motion saman. Kesenyawaan all these elements that add beauty and harmony in motion dance saman.

Because dance saman played without musical instruments, then as a retinue in use hands and body. There are several ways to get these sounds:

Clapping both hands. This is usually moderate to fast tempo
Punch both hands to the chest. Usually upbeat
Clapping of the palms to the chest. General tempo is
Friction with the thumb-hand middle finger (kertip). General tempo is.
And the singing of the dancers add to the dynamics of saman dance. Where can I sing songs in saman dance is divided into 5 types:

Rengum, the roar that begins by lifting.
Tones, namely Regnum which was quickly followed by all dancers.
Redet, which is a short song with a short sound sung by a dancer in the middle of the dance.
Syek, the song sung by a dancer with a long high-pitched voice, usually as a sign of change in motion
Saur, that is the song that is repeated by all the dancers after sung by a solo dancer.
In every show it was in sinergikan so aimlessly an amazing dance movement. So the power of the Saman is not only in his verse alone, but the motion of a compact be more value in the dance. This may be realized from the compliance of the dancers in their respective roles to play.

Quoted from :http://tourismobject.com/aceh-saman-dance.html

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