#5 Analysis Of The Characteristics Ngremo Munali Fatah Dance Movement: A Mixed Method Approach To Cultural Preservation
UDC: 793.3(594)
COBISS.SR-ID 163946761
Received: Sept 12, 2024
Reviewed: Nov 10, 2024
Accepted: Dec 29, 2024
#5 Analysis Of The Characteristics Ngremo Munali Fatah Dance Movement: A Mixed Method Approach To Cultural Preservation
Citation: Triyanto, Afan R. Febri, Indraswari Kusumaningtyas, and Raden R. P. D. Fitriasari. 2025. "Analysis Of The Characteristics Ngremo Munali Fatah Dance Movement: A Mixed Method Approach To Cultural Preservation." Accelerando: Belgrade Journal of Music and Dance 10:5
Abstract
Ngremo Munali Fatah Dance is a traditional East Javanese dance that has cultural and aesthetic values. This study identifies the differences in motion characteristics in Ngremo Munali Fatah Dance for autodidact and didactic dancers, using Laban Movement Analysis (Shape) and biomechanics through motion capture as an effort to preserve culture. This research uses Rudolf Laban's theory of Laban Movement Analysis (LMA) Shape. This research uses Mixed Methods Research (Exploratory Sequential Design). Qualitative data was collected through LMA Shape to record differences in dance movement characteristics of autodidact and didactic dancers. Quantitative data was obtained from biomechanical analysis using motion capture. The results showed that Ngremo Munali Fatah Dance movement has distinctive characteristics between autodidact and didactic dancers, (1) measurement of biomechanical parameters such as joint angle, velocity and acceleration, and strength, (2) gesture, and (3) cultural preservation. This research makes an important contribution to preserving East Javanese culture by documenting the characteristics of traditional dance movements in detail and accurately. The results of this research can be used as dance learning materials, choreographic development, and cultural documentation.
ngremo munali fatah dance, traditional dance, javanese gamelan, laban movement analysis, biomechanics, exploratory sequential design, cultural preservation, east javanese culture
Intoroduction
Ngremo Munali Fatah dance was created by Munali Pattah, an artist born in Sidoarjo. Ngremo Munali Fatah dance has a form of movement and energy that emphasizes a calm, dashing (pidhegsa), straightforward, and broken appearance, stability of dance taste (manteping rasa), not insistent (not ngoyo), and firm. The attitude of Ngremo Munali Fatah dance is more upright (Wibisono 2015, 116). Ngremo Munali Fatah dance is often learned and performed by various community groups. However, there are significant differences in the way the dance is learned and executed by autodidact and didactic dancers. These differences include, the learning process of autodidact dancers by self-learning through observation and imitation who do not have access to formal training and tend to rely on personal instinct and creativity. This can result in movements that are more free and unique, but lack the technicality and precision of dance movements. Didactic dancers, on the other hand, receive formal training and guidance from dance teachers through art education institutions or dance studios. Basically, they learn techniques that are standardized and refined through regular practice, resulting in more structured and consistent movements. Then several other factors, such as expression and style, technique and precision, as well as creativity and improvisation.
The main discussion that becomes a problem in this research is that there are differences in the characteristics of Ngremo Munali Fatah dance movements in autodidact and didactic dancers. This encourages differences in the characteristics of different forms of motion from the Ngremo Munali Fatah dance which previously experienced the development of dance movements for structural achievements. Therefore, the authors seek to identify in depth the differences in the characteristics of the Ngremo Munali Fatah dance movement form in autodidact and didactic dancers through the application of Laban Movement Analysis (LMA) Shape and biomechanical analysis using motion capture.
Theoretical Framework
Laban Movement Analysis (LMA) is a systematic method for observing, recording, and analyzing qualitative aspects of movement. According to (Habermen and Meisel 1970, 68) said that the Laban Movement Analysis Shape method is the most effective tool for describing differences between individuals in a particular cultural field and reality. The application of biomechanics can also be found in the field of dance with regard to dance movements. The use of this knowledge to analyze dancers' movements uses computer software that includes data through mechanical formulas. These formulas represent the application of mechanics in dance and can describe the characteristics of traditional dance movements for self-taught and didactic dancers.
Methodology
This research uses Mixed Method Research which combines qualitative and quantitative methods (Creswell 2003). This method starts with a qualitative method to explain the differences in the characteristics of Ngremo Munali Fatah dance movements, then uses a quantitative method to identify the differences in the characteristics of Ngremo Munali Fatah dance movements between autodidact and didactic dancers.
Result And Analysis of Ngremo Munali Fatah Dance
Ngremo dance is a traditional dance developed in East Java Province that visualizes the brave and courageous arek-arek of East Java with a heroic theme (Nurcahyo and Ridlo’i 2011). Ngremo comes from the word Ngremong which means sampur, this is because in the dance repertoire the sampur is the dominant role used by dancers. However, some say that Ngremo comes from the word rekmo which means hair which is considered a depiction of people applying makeup. This is reinforced in the Ngremo dance which has a dance movement with visualization of playing hair called ngore rekmo as a symbol of self-makeup, especially someone who is styling hair or unraveling hair which is intended to unravel the various problems that surround his life. Meanwhile, in terms of the Javanese language, Ngremo means ngeNgremo, which means showing activity or doing Ngremo.
Ngremo dance underwent various developments and changes, especially from the structural aspects of the dance, until it became a whole dance structure known to the public as a form of dance repertoire in various cities and regencies in East Java. Ngremo dance in East Java has several forms of styles that have emerged and developed in the community, including Ngremo Bolet Jombang Dance, Ngremo Malang Dance, Ngremo Madura Dance, Ngremo Putri Dance, Ngremo Besut Dance, Ngremo Seniti Dance, and Ngremo Surabayan Dance. Visually, the Ngremo Surabayan dance style is more popular in the Surabaya City community, East Java, as Ngremo Munali Fatah dance (Wahyudiyanto, 2008).
The supporting elements of Ngremo Munali Fatah's dance include many different aspects, ranging from dance movements, dance music accompaniment, dancer makeup, dance clothes, to floor patterns. Dance movement as the main element in dance that prioritizes the visualization of the symbolic meaning of the dance to be conveyed to the audience. Dance accompaniment has the function of accompanying and emphasizing the emotions conveyed by the dancer. Dancer makeup and clothing help define the character and cultural context of the dance, while adding a dramatic visual layer. Floor patterns that visualize the flow of dance dramaturgy in the dance.
Basic Dance Movement
Picture 1. Kepat Sampur Movement Form of Ngremo Munali Fatah's Dance.
The understanding of Ngremo Munali Fatah's dance movements relies more on energetic movements that lie in the stomping of the feet, the play of the sampur and the very agile, dynamic and rhythmic hand movements. The development of Ngremo Munali Fatah dance as a human life on earth has been inherent since the existence of the Besut character in Ludruk Besutan. The movement patterns of each form come from several patterns of tayub, pencak silat and the spontaneity of ngremo artists when performing the dance. The ngremo dance visualizes movements found in nature, such as ayam alas and nglandak. Then there are movements that visualize the behavior of soldiers at war with the weapons used, such as nggendhewo and lawung. Some dance motifs that have meaning or as human symbols can be mentioned, among others: kepat sampur, ceklekan, nglandak, ayam alas, and bumi langit, shown in Picture 1.
Dance Music Accompaniment
Ngremo Munali Fatah dance can be studied from several aspects, the number of sabet (tutukan balungan/deguban), rhythm players (kempul, kenong, gong). The musical instrument that accompanies Ngremo Munali Fatah's Dance is Javanese gamelan, which consists of: Bonang barung/babok, Bonang penerus, Saron, Gambang, Gender, Slentem siter, Flute, Kethuk, Kenong, Kempul, Gong. Ngremo Munali Fatah's dance is accompanied by gamelan with Jula-Juli and Tropongan rhythms, sometimes with_ gendhing Walangkekek, Gedok Rancak, Krucilan_ or new creation gendhing. Of the many styles or versions of Ngremo Munali Fatah dance, the most famous in East Java is the Ngremo Munali Fatah Surabaya dance, especially in the city of Surabaya.
Dance Makeup
Picture 2. Kepat Sampur Movement Form of Ngremo Munali Fatah's Dance.
Ngremo Munali Fatah's dance makeup has an important role in enhancing the personality and expression of the dancer. This makeup not only functions aesthetically but is also symbolic, reflecting the cultural identity and history to be conveyed.
On the face shown in Picture 2, makeup accentuates the eyes with strong lines and bright colors such as red and black to create a strong and sharp impression. The lips are often polished with a bright red color to add expression to the mouth movements. The application of white powder on the face creates a strong contrast, creating a striking effect on stage. Makeup also includes distinctive details, such as defined, forked eyebrows and distinctive curves, as well as the use of blush to add impact to the face.
Dance Clothes
There are many variations of Ngremo Munali Fatah dance costumes, each of which has its own characteristics according to the historical background or understanding of each Ngremo Munali Fatah dance artist.
Picture 3. Makeup and Clothes of Ngremo Munali Fatah's Dance.
In outline, the elements of the Ngremo Munali Fatah dance outfit used by the dancers, which is shown in Picture 3. The dance outfit consists of white long-sleeved shirts, short pants, lasem jarik, rapek, boro-boro, kace necklace, cinde stagen, kamus timang, keris, sampur, studs, udheng, pols decker, and gongseng (Supriyanto 2001).
Floor Pattern
The floor pattern in Ngremo Munali Fatah dance in East Java is an important element that organizes the dancers' movements on stage so as to create harmony and an attractive image. Ngremo Munali Fatah dance often uses linear and circular floor patterns, reflecting the dynamics and storyline presented. Linear floor patterns are often used when dancers move back and forth or move left and right, giving the impression of solidity and clear direction. This pattern is often used in dance works that emphasize strength and courage, in accordance with the brave and enthusiastic nature of Ngremo Munali Fatah's dance. The circular floor pattern, on the other hand, creates a luxurious and unified impression.
Structure of Ngremo Munali Fatah's Dance Variety of Movement
Structure is a form made by anthropologists that aims to provide an understanding and explanation of the cultural phenomena being analyzed, and has connection with the empirical phenomena of the culture. Structure is a relationship that has an influence on each other (system of relations).
The structure is obtained by a generalization system of order or called order and regularities or called repetition in cultural symptoms, as well as formulating abstract rules (language or code) of the cultural phenomena under study. Structure and system are concepts that often have overlapping understandings and are even seen as two sides of the same coin. Understanding the empirical facts of structure and system can be seen through understanding the concepts of syntagmatic (structure) and paradigmatic (system) relations.
Ngremo Munali Fatah's dance has levels/hierarchy. The level starts from the smallest part to the whole dance. Motifs are part of phrases, then phrases are part of sentences, then sentences are part of clusters, and finally clusters are part of the whole dance. Motifs in Ngremo Munali Fatah's dance are the smallest parts of phrases. The phrase has several sentences. In the motion sentence there is a cluster as a large part of the sentence.
| Cluster in Autodidact Dancer | Movement Moti | Cluster in Didactic Dancer |
|---|---|---|
| Solah Kawitan (Ajon-ajon) Atau Group A | ||
| Tindak kencak-gejug right foot adeg | Ragam Tindak | |
| Gedrug lombo-kepat sampur right gedeg | ||
| Gedrug rangkep-kepat sampur right gedeg-iket | ||
| Lawung-kepat sampur right gedeg-lawung | ||
| Gedrungan-iket sabetan iket | ||
| Tindak kencak-kepat sampur rig | ||
| Tebakan right (foot kencrong) iket sabetan iket | ||
| Solah Pangruwat Atau Group B1 | ||
| Kebyok kepat sampur-gedeg | Ragam Kembangan | |
| Kebyok kepat sampur-penthangan-gedrugan iket | ||
| Gendhewa-iket lawung-gedrugan iket | ||
| Solah Busana atau Group B2 | ||
| Ukel suweng-kepat sampur gedeg-ukel suweng | ||
| Liaison (Ceklekan Penthangan Gedeg Godeg Ceklekan Shoulder, Kepat Sampur Right) | ||
| Tatasan right left-liaison | ||
| Ukel kepatan sampur right left | ||
| liaison gedrugan iket | ||
| Tindak kencak-gedrugan-iket | ||
| Ayam alas-iket sabetan iket | ||
| Solah Gredoan atau Group C1 | ||
| Ngundhang bolo (ceklekan ogek lambung ngruji) | ||
| _Ukel kepat sampur lombo-penthangan _ | ||
| Ukel kepat sampur rangkep-penghubung | ||
| Tumpang tali right-kepat sampur gedeg liaison | ||
| Klewasan right left right-bumi langit right gedrugan iket | ||
| Ayam alas-iket | ||
| Solah Badar Atau Group C2 | ||
| Nglandhak | ||
| Telisik-iket (released sampur) | ||
| _Ceklekan lombo-lenggang mundur-iket _ | ||
| Ceklekan rangkep-gedrugan-iket | ||
| Ayam alas | ||
| Solah Pungkasan Atau Group D | ||
| Iket sabetan iket-bumi langit right-gedrugan | Iringan Tropongan | |
| Iket sabetan iket-bumi langit left-gedrugan | ||
| Iket sabetan iket-bumi langit rangkep-gedrugan iket | ||
| Adeg-godheg | ||
| Tindak lenggang |
Referring to Table 1 that Solah is the division of the dance structure of Ngremo Munali Fatah autodidact dancers. Structurally, the Ngremo Munali Fatah dance pattern can be grouped into four parts, namely part A (Solah Kawitan or Ajon-ajon), part B (Solah Pangruwat and Solah Busana), then part C (Solah Gredoan and Solah Badar), finally part D (Solah Pungkasan or closing). Ragam is the division of the Ngremo Munali Fatah dance structure in didactic dancers. The cluster is divided into three parts, namely the first part (Ragam Tindak), the second part (Ragam Kembangan), and the third part (Iringan Tropongan). The last level is the cluster as a collection of three varieties in the whole Ngremo Munali Fatah dance.
Laban Movement Analysis (Shape)
Figure 1. Form Diagram.
Understanding the basic concepts of Laban analysis makes it possible to describe and analyze the qualitative aspects of movement, especially in dance styles that are known and mastered. Basically, changes in form can be divided into three changes in nature (Dell 1977). The first change in nature is the flow of form which is the result of changes in the body and certain body parts. Then the second, the direction line is the embodiment produced by clear lines forming directions in space. Third, the embodiment of motion is the forms produced by the activities of the body in relation to space or adjustments to space (see Figure 1).
The description of the diagram in Figure 1 is as follows, the two sloping lines at the crossing point of the horizontal and vertical lines are symbols of form. The horizontal line to the left of the crossing point is a symbol of the flow of form stretching, outward, away from the center, and expanding. The horizontal line to the right of the crossing point is a symbol of the flow of form of folding, inward, toward the center, and narrowing. The upright line from the crossing point is a symbol of high realization, while the downward one is a symbol of low realization, and a symbol of upward and downward direction lines. The upright line at the end of two sloping lines is a symbol of the realization of opening, and a symbol of the direction of the line to the outer side. The horizontal line at the end of two sloping lines is a symbol of the closing realization and a symbol of the inward sideways direction (Laban 1971).
The strip mark or connecting line to the left of the vertical line is a symbol of the forward realization and a symbol of the forward direction, while the one to the right of the vertical line is a symbol of the backward realization and a symbol of the backward direction.
Movement Analysis of Ngremo Munali Fatah Dance
Autodidact Dancer’s Lenggang Mundur Motif
Picture 4. Attitudes of the Lenggang Mundur Motif by autodidact dancer.
| Count | Description Movement | Shape Symbol |
|---|---|---|
| five | Lenggang Mundur With the head extended to the left side, the face is turned to the left side and the gaze is far to the left side. |  |
| five | The torso opens slightly to the left side at approximately 30 degrees. This is the effect of movements that are carried out simultaneously, with a standing position like a normal person walking. | |
| five | The right hand opens to the right side to form a perpendicular by opening from the center of the body 90 degrees, with the fingertips pointing downward and the palm facing inward and the back of the hand facing outward. | |
| five | The left hand opens by forming an elbow to the inner side. The fingers point sideways in the right direction with the palm facing forward and the back of the hand facing backward from the center of the body part. |  |
| five | The right foot closes stepping close to the left foot as if walking. |  |
| five | The left foot acts as a fulcrum so that the right foot can move and move closer to the left foot. The left foot stands upright like a person walking. | |
| six | With the head opening to the right side, the face is turned to the right side with a long gaze to the right side. | |
| six | The torso opens slightly to the right side at approximately 30 degrees. This is the effect of movements that are carried out simultaneously, with a standing position like a normal person walking. | |
| six | The torso opens slightly to the right side at approximately 30 degrees. This is the effect of movements that are carried out simultaneously, with a standing position like a normal person walking. | |
| six | The torso opens slightly to the right side at approximately 30 degrees. This is the effect of movements that are carried out simultaneously, with a standing position like a normal person walking. | |
| six | The right foot closes, stepping close to the left foot as if walking. | |
| six | The left foot closes, stepping closer with the left foot as if walking. |
Didactic Dancer’s Lenggang Mundur Motif
Picture 5. Lenggang Mundur stance by a didactic dancer.
| Count | Description Movement | Shape Symbol |
|---|---|---|
| five | Lenggang Mundur The head faces to the left side following the direction of the sampur in the left hand. | |
| five | The torso opens slightly to the left side at approximately 30 degrees. This is the effect of movements that are carried out simultaneously, with a standing position like a normal person walking. | |
| five | The right hand is straight down at the right side of the body with the shape of the fingers and fingertips pointing downward, with the palm facing inward and the back of the hand facing the right outer side | |
| five | The left hand opens by forming an elbow to the inner side. The fingers point sideways to the right with the palm facing forward and the back of the hand facing backward from the center of the body, with the addition of clamping the sampur and dikebyok inward. | |
| five | The right foot closes, stepping closer with the left foot gejug in front of the left foot. |  |
| five | The left foot acts as a fulcrum so that the right foot can move and move closer to the left foot. The left foot stands upright like a person walking. | |
| six | With the head opening to the left side, the face turns to the left side and the gaze turns to the left side. | |
| six | The torso opens slightly to the left side at approximately 30 degrees. This is the effect of movements that are carried out simultaneously, with a standing position like a normal person walking. | |
| six | The right hand opens to the right side to form a perpendicular by opening from the center of the body 90 degrees, with the fingertips pointing downward and the palm facing inward and the back of the hand facing outward. | |
| six | The left hand opens by forming an elbow to the inner side. The fingers point sideways to the right with the palm facing forward and the back of the hand facing backward from the center of the body, with the addition of clamping the sampur and dikebyok inward. | |
| six | The right foot closes stepping close to the left foot as if walking. | |
| six | The left foot acts as a fulcrum so that the right foot can move and move closer to the left foot. The left foot stands upright like a person walking. | |
| seven | With the head opening to the right side, the face is turned to the right side with a long gaze to the right side. | |
| seven | The torso opens slightly to the right side at approximately 30 degrees. This is the effect of movements that are carried out simultaneously, with a standing position like a normal person walking. | |
| seven | The right hand opens by forming an elbow to the inner side. The fingers point sideways in the left direction with the palm facing forward and the back of the hand facing backward from the center of the body part. | |
| seven | The left hand opens by forming an elbow to the inner side. The fingers point sideways to the right with the palm facing forward and the back of the hand facing backward from the center of the body, with the addition of clamping the sampur and dikebyok inward. | |
| seven | The right foot closes, stepping close to the left foot as if walking. | |
| seven | The left foot closes, stepping closer with the left foot as if walking. |
Interpretation of Dance Movement Characteristics Results
Interpretation of the results of Laban Movement Analysis (Shape) shows the difference in movement characteristics between autodidactic and didactic dancers. The Lenggang Mundur motif in autodidact dancers identifies that the nature of the flow of form is folding, inward, towards the center, and shrinking. Then the nature of the direction line is curved, and the embodiment is dominated by high and backward movements, and there are elements that stand out, namely low, closing, and backward. In didactic dancers, it is identified that it is seen from the nature of the flow of form stretching, outward, away, expanding. Then the nature of the direction line is curved, and the embodiment is dominated by high, closing, and backward movements. It can be concluded that the nature of the form of autodidact dancers is (contraction) and didactic dancers are (expansion). Then the nature of the direction line between autodidact and didactic dancers has the same nature, namely the curved direction line.
In the nature of realization, there are differences in the opening and closing parts of the movement in autodidactic dancers that look balanced, but in contrast to didactic dancers in the closing part of the movement is more dominant. The difference that is clearly visible at the beginning of the movement, it results in a difference in the prefix of the count of the Lenggang Mundur movement, namely the autodidact dancer is earlier in doing the Lenggang Mundur movement, in contrast to the didactic dancer who inserts a different initial motion before doing the Lenggang Mundur movement. On the left hand, autodidact dancers perform movements without using a sampur, but in contrast to didactic dancers who use a sampur on the left hand in a series of Lenggang Mundur movements.
Based on the results of the Laban Movement Analysis (shape) analysis, it has a tendency to be able to identify the characteristics of the Ngremo Munali Fatah dance movement form in several parts of the dance, so there is an effort to continue the analysis of the characteristics of Ngremo Munali Fatah dance movement in autodidact and didactic dancers by continuing biomechanical analysis using motion capture focusing on analyzing joint angles, temporal or accentuation of dance movement, and strength in performing the characteristic movements of Ngremo Munali Fatah dance with laboratory testing using the Axis Studio application for sensor recording on the bodies of the two dancers as laboratory test samples, then from the recording results the analysis data is obtained from BoB Biomechanics which is continued by conducting kinematics analysis to identify differences in dance movement characteristics that are more accurate and comprehensive.
Biomechanics Analysis Using Motion Capture
From a biomechanical point of view, the body is viewed as a trunk connecting joints. Joints and their movements form the basis of analysis. Biomechanics studies measurable aspects of motion, such as speed and force, which can determine the elements of body movement (Nelson 2000). The application of biomechanics in dance can be done using motion capture technology. Motion capture technology makes marks on the surface of the skin of the research subject (Rubiono et al. 2019). In this study Axis Studio software version 1.3.10119.302 has been used. Some of the hardware used in this research, as follows:
Picture 6. Hardware PN Studio Sensor
PN Studio Sensor is a wireless nine-axis MEMS internal sensor focusing on integrated gyroscope, accelerometer, and magnetometer shown in Picture 18-20. It is designed to detect motion with high precision. The gyroscope is used to measure rotation, the accelerometer is used to measure acceleration, and the magnetometer is used to measure direction. The sensor is ideal for applications that require detailed motion analysis, such as ergonomic and sports research. PN Studio sensors come with a charging case that also serves as a charging and storage device. The charging case keeps your sensor ready and protected when not in use, increasing efficiency and mobility in the field
Picture 7. Hardware Body Straps
Body Straps are special straps that allow the Perception Neuron Studio sensor to be securely and comfortably attached to a part of the artist's body shown in Picture 7. The body strap allows the sensor to be securely attached to key locations such as the wrist, waist, or thigh, enabling accurate and consistent motion measurement. This design facilitates customization and ensures the sensor remains securely attached without interfering with the viewer's natural movements during the recording and analysis process. Straps are used on the trainer according to the trainer for each segment. The installation of the sensor placement straps according to the previous diagram. Place the sensor into the base, then rotate the sensor 90 degrees clockwise. Press the sensor button on the top for about 2 seconds to turn on the sensor; Press the button for about 5 seconds to turn off the sensor. The sensor indicator light will display the status.
Analysis Of Ngremo Munali Fatah Dance Movement
Ayam Alas Autodidact Dancer
Ayam Alas focuses on the footsteps to identify the strength of the right footsteps on the ground of the autodidact dancer. The motif focuses on the data analysis of the right ankle Internal/External or right ankle rotation of the autodidact dancer, which is shown in Picture 8a, as follows:
Picture 8a. Motion Capture Ayam Alas result of autodidact dancer
Then the recording results in the Axis Studio software provide movement data processed in BoB Biomechanics. Biomechanics data includes aspects of joint angles between body segments and time duration. The results of the biomechanics data to analyze the motion of the pedestal chicken are shown in Table 3, as follows:
the Ayam Alas motif of autodidact dancers.
(Source: Motion measurement data through
Biomechanics of Bodie software. Triyanto, 2024):
| Time | Right knee Flex/Ext | Right ankle Plantar/Dorsi | Right ankle Int/Ext |
|---|---|---|---|
| 09.01* | 0 | -3,18E-11 | 135* |
| 09.02 | -3,18E-11 | -9,54E-11 | -1.615.651 |
| 09.03 | 3,18E-11 | -2,86E-10 | -1.736.598 |
| 09.04 | 3,18E-11 | -4,13E-10 | 1.756.013 |
| 09.05 | 3,18E-11 | 9,54E-11 | 184.349 |
| 09.06 | -6,36E-11 | -2,54E-10 | -172.875 |
| 09.07 | 0 | -3,18E-11 | 180 |
| 09.08 | -3,18E-11 | -1,27E-10 | 1.659.638 |
| 09.09 | -1,27E-10 | 9,54E-11 | -45 |
| 10 | 0 | -3,18E-11 | 180 |
| 10.01 | 3,18E-11 | -3,18E-11 | -1.659.638 |
| 10.02 | -1,27E-10 | 6,36E-11 | -7.125 |
| 10.03 | 0 | -1,27E-10 | -1.693.803 |
| 10.04 | -3,18E-11 | 6,36E-11 | 140.362 |
| 10.05 | -3,18E-11 | 1,27E-10 | 0 |
| 10.06 | 0 | -2,23E-10 | 1.779.546 |
| 10.07 | -1,59E-11 | 3,18E-11 | 0 |
| 10.08 | -1,59E-10 | 2,23E-10 | 0 |
| 10.09 | -1,27E-10 | 3,18E-11 | -458.814 |
| 11 | 9,54E-11 | -1,59E-10 | 1.735.812 |
| 11.01 | 7,95E-11 | 4,77E-11 | -802.038 |
| 11.02 | 0 | -2,39E-11 | 1.362.189 |
| 11.03 | -1,19E-11 | 1,19E-11 | -672.559 |
| 11.04 | -1,59E-11 | 1,59E-11 | 634.349 |
| 11.05 | -3,18E-11 | -6,36E-11 | -172.875 |
| 11.06 | -6,36E-11 | 6,36E-11 | -563.099 |
| 11.07 | -1,59E-11 | 9,54E-11 | 0 |
| 11.08 | 3,18E-11 | 0 | -90 |
| 11.09 | -3,18E-11 | -3,18E-11 | -1.118.014 |
| 12* | -6,36E-11 | -6,36E-11 | 135* |
Ayam Alas Didactic Dancer
Ayam Alas focuses on the footsteps to identify the strength of the right footsteps that tread on the ground of didactic dancers. The motif focuses on the data analysis of the right ankle Internal/External or right ankle rotation of didactic dancers, which is shown in Picture 8b, as follows:
Picture 8b. The result of motion capture Ayam Alas didactic dancer.
The recording results in Axis Studio software provide movement data processed in BoB Biomechanics. Biomechanics data includes aspects of joint angles between body segments and time duration. The results of biomechanical data to analyze the motion of Ayam Alas in didactic dancers, are shown in Table 4, as follows:
Ayam Alas motif of didactic dancers.
(Source: Motion measurement data through
Biomechanics of Bodie software. Triyanto, 2024)
| Time | Right knee Flex/Ext | Right ankle Plantar/Dorsi | Right ankle Int/Ext |
|---|---|---|---|
| 15* | 6,36E-11 | 4,77E-11 | -531.301 |
| 15.01 | -1,59E-11 | 3,18E-11 | 0 |
| 15.02 | 6,36E-11 | 1,59E-11 | -634.349 |
| 15.03 | -3,18E-11 | -9,54E-11 | 180 |
| 15.04 | 0 | -1,11E-10 | -1.640.546 |
| 15.05 | 0 | 6,36E-11 | 0 |
| 15.06 | 1,59E-11 | -1,59E-11 | 180 |
| 15.07 | -6,36E-11 | 1,59E-10 | -218.014 |
| 15.08 | 1,59E-11 | -9,54E-11 | 180 |
| 15.09 | -1,59E-11 | 4,77E-11 | -336.901 |
| 16 | -3,18E-11 | 3,18E-11 | 45 |
| 16.01 | 0 | -1,59E-11 | 180 |
| 16.02 | -4,77E-11 | 4,77E-11 | 336.901 |
| 16.03 | 0 | -4,77E-11 | -1.463.099 |
| 16.04 | -3,18E-11 | 6,36E-11 | -265.651 |
| 16.05 | 3,18E-11 | 0 | -90 |
| 16.06 | 0 | -3,18E-11 | -135 |
| 16.07 | 3,18E-11 | 3,18E-11 | 45 |
| 16.08 | -6,36E-11 | 3,18E-11 | 0 |
| 16.09 | 0 | 9,54E-11 | -184.349 |
| 17 | 0 | -6,36E-11 | 180 |
| 17.01 | 0 | -3,18E-11 | -135 |
| 17.02 | -1,59E-11 | -1,59E-11 | 180 |
| 17.03 | 3,18E-11 | -4,77E-11 | -1.463.099 |
| 17.04 | -3,18E-11 | -3,18E-11 | 135 |
| 17.05 | 0 | -1,59E-11 | 1.165.651 |
| 17.06* | -4,77E-11 | -4,77E-11 | 180* |
| 17.07 | -2,39E-11 | 1,47E-11 | 0.77422 |
| 17.08 | -1,59E-11 | -4,77E-11 | -1.401.944 |
| 17.09 | 4,77E-11 | -4,77E-11 | -1.401.944 |
Comparative Analysis of Dance Movement Characteristics
Picture 9. Comparison of the pose of the Ayam Alas (left - Autodidact Dancer, right - Dicactic Dancer).
Right Knee Flexion/Extention Comparison:
Larger joint angles in didactic dancers of 0.0000000000477° may indicate the ability to perform movements with better control and precision, which may improve overall performance. Smaller joint angles in autodidact dancers of 0.0000000000159° may indicate that the self-taught dancer may still be in the learning stage and may not have fully mastered the technique required to achieve the optimal position in the movement.
Comparison of Angular Velocity:
- Autodidact Dancer
- Didactic Dancer
From the comparison of the velocity results between the self-taught dancer and the didactic dancer, we can draw the conclusion that the autodidact dancer has an angular velocity of (0.0000000000309°/second). This indicates that the movement of the autodidact dancer occurs more slowly or with smaller angular changes per unit time compared to the didactic dancer. Then the didactic dancer has a higher angular velocity, which is (0.0000000000463°/second).
Comparison of Angular Acceleration:
- Autodidact Dancer
- Didactic Dancer
From the comparison of the angular acceleration between autodidact and didactic dancers, we can conclude that autodidact dancers have an angular acceleration of (0.0000000000150°/second 2). This indicates that the change in movement speed of self-taught dancers occurs more slowly, meaning that autodidact dancers may make slower movement adjustments over time. Then didactic dancers have a larger angular acceleration, which is (0.0000000000225°/second 2).
Comparison of Footwork Power:
- Autodidact Dancer
F=m×α
F=68 kg×64.60 m/second 2= 4392.8 N
- Didactic Dancer
F=m×α
F=68 kg×64.60 m/second 2= 4392.8 N
Autodidact dancers produce a force (4392.8 Newton) when performing foot movements on the base chicken motif. This value shows that the force produced by the right foot of the autodidact dancer is very large and close to the value produced by the didactic dancer, shown in Picture 9 (left). Didactic dancers produce a force of (4631.1 Newton) slightly greater than the force produced by autodidact dancers. In terms of the amount of power there is no big difference, it appears that both dancers have relatively the same physical strength, shown in Picture 9 (right).
Conclusion
The use of Laban Movement Analysis (Shape) and biomechanical analysis is very effective in identifying differences in motion between autodidact and didactic dancers, which plays an important role in cultural preservation efforts. Laban Movement Analysis (Shape) which focuses on the elements of quality of motion form to recognize the characteristic shape of motion in each dancer. This helps identify differences in interpretation of movement, especially among autodidact dancers who tend to be more free and exploratory than didactic dancers who follow formal structures. Biomechanical analysis provides a deeper understanding of the efficiency and dynamics of body movement. It can reveal smaller technical differences between two dancers by measuring physical aspects such as joint angles, acceleration, speed and force. Autodidact dancers experience changes in balance and force distribution that are different from those experienced by didactic dancers with more structured formal training. Combining these two methods not only allows for more comprehensive identification of movement differences, but also provides detailed documentation for cultural preservation. This documentation based on scientific analysis provides flexibility in the development of dance over time, while maintaining the originality of traditional movements.
References
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