TASK 4
Visual
culture has emerged as a constellation of various interests and numerous
critical intersections in the visual and performing arts. Because of its dynamic nature it constitutes
less of discipline than a platform for exploring theoretical and creative
collaborations between Film, Art History, Modern Thought, Museum Studies,
Visual Anthropology, Scientific Imaging practices, new media, and computer
engineering, reflects the interests of
participating in visual studies. Visual Culture is divided into two
tracks, one designed to engage with critical thinking the history of art and
film criticism, theories of the visual, philosophies of perception and new
media and other concentrating on creativity and media production
internationally acclaimed filmmakers and artist’s advice on filmmaking, and
courses are taught in film production.
(University of Aberdeen, 2010)
Visual
culture is concerned with visual events in which information, meaning or
pleasure is sought by the consumer in an interface with visual technology. By
visual technology, mean any form of apparatus designed either to be look at or
enhance natural vision, from oil painting to television and internet.
(Mitchell, 1994)
The
visual culture approach acknowledges the reality of living in a world of cross
mediation. You’re culturally important obvious written content looks inside
many varieties, and also visible written content and also requirements migrate
through to a new. An Image often moves across social arenas from document
images to advertisement to amateur video to news images of artworks. Each
change in context produces a change in which means.
(Jackson, 2012)
History
about the Kuda Kepang
Picture 1: Kuda kepang
The production of “kuda kepang” is using the plaited of
bamboo. At the first time,”kuda kepang”
made from of planted of ‘pandan’
leaves but in this era, “kuda kepang”
is make from plywood board and cattle skin. It must be in black color and the
feather is yellow color.
In 1983, “kuda kepang” is started before Islamic development. “kuda kepang” performances is played if
ritual adoration. It believe that “kuda
kepang” be played for the relationship between the living people and the
spirits of the dead people. Furthermore, they believed that the aims of “kuda kepang” are played it because to
clean up the village from evil spirits disorders, diseases and disasters.
(By: Soedarsono)
“Kuda
kepang” is a one of the Jawa dance warriors on horseback. But now “kuda kepang” is famous at Johor because
there has been a widespread dissemination at everywhere. Art of “kuda kepang” still the same until now
because Jawa’s community very strong to maintain the art traditions of Jawa.
The
costume for dancer of “kuda kepang”.
Costume is an important thing in
“kuda kepang” performances. In their history about the “kuda kepang” in Malaysia especially in Johor, the art of “kuda
kepang” was taken by the Jawa resident
of art of “kuda kepang” in Indonesia
when they remove to this country. Other than that, they also bring the
traditional clothes of Jawa. Its
clothes a basic costume for the performances of “kuda kepang”.
The costume of dancer is using the
traditional clothes from Jawa, Indonesia.
It is complete with “ketopang” or “tanjak” and besides Fabric. Then, their
pants for dancer must stitched by using the special besides fabric that called
“batik jawa”. But in this era, the headdress that called “tengkolok” that used by the dancer is “tanjak jawa” or “tanjak
Malay”.
Picture
2: costume for “kuda kepang” dancer
Picture
3: Ketopang Jawa (headdress Jawa)
Picture
4: The dancer that use “tanjak Melayu” (Malay headdress)
Musical
instruments of “kuda kepang”.
The musical instrument is a one
important for the “kuda kepang”
performances. There is a types of the instruments of musical of ”kuda kepang” are “Angklung”, “Caklempong”, “Kenong”, “Gong”, Jawa drum and “Jidur”.
Angklung
is a made from the bamboo. Angklung
are consisting of two or four tubes that are tied to the house or known as “ancak”. Melody angklung should harmonize within each other. Then, accompaniment Angklung should be harmonize using the
tonic triad method like DO, MI and SO in mode major or minor. The process of angklung must be done with knock in the
foot or blow. In “kuda kepang”
performance always play around three or four angklung to play mode rhythm as a complete for another ensemble.
Picture
5: Angklung
Caklempong
is a one of the music instrument that use in performances of gamelan
orchestra. This instrument also known as “keromong”
it is meaning the smaller gongs. That have ten until twelve that already
arrange in two lines and it put at every wood box. One of the line of the “caklempong” that have high key note and
other than that have low key note. “Bonang”
bowl made from iron and bronze, it is the mixed from copper and white tin. The
iron and copper must be melted and put at the bowl shaped that made from the
mixed clay and rice husk.
“Caklempong”
or “bonang” can play with use two
wooden beaters wrapped with red fabric at the end. The fabric wraps will make
the wooden beater softer and can to avoid the damage to the “caklempong”.
Pictures
6: Caklempong or bonang
“Kenong”
is an idiophone instrument from Jawa,
Indonesia. “Kenong” has one set
similar with “gong” but it thinner and round than “gong”. Kenong must put
at the top and tie at wood that made from the hardwood for make the best sound
during tap the “kenong”. “Kenong”
knocker consists instead of wood and rope wrapped around the upper portion of
the timber. In addition, “kenong”
must to play with knock method in one times likes song note. The function of
the “kenong” is for out the sound
that more soft other than “gong” sound. In the gamelan ensemble, “kenong” should include in one octave
that have barrel pentatonic.it have five note scales without semitones, has
fixed pitch and western tempered pitch.
Pictures
7: Kenong
Jawa drum
is an instrument that have wooden frame and covered on both surfaces with “belululang”. This drum is a “membraphone” tool that played
percussion. This tool use in the “kuda
kepang” performances. Jawa drum
shaped oblong and three feet in length with the different surface. Both of the
surfaces must be closed using the lamb skin and goat skin. This drum have higher key note and also has
lower key note.
Pictures
8: Jawa drum
Gong is the music tool that use in “kuda kepang” performance. This tool is
a one of the ‘idiophone’ music instrument from South East Asia. It is made from
bronze rather than spherical, curved edges downward, hollow inside and ‘cembul’ in the middle of the surface
portion. The function of gong as the backbone of the ensemble sound of gamelan
music performance. These tools consist of various sizes to produce different
sounds each and played along to the rhythm of the song. Normally, one or two grumps
were played simultaneously to vary rhythm of the music is more unique. Gongs
are guaranteed high quality because of the way manufacturing is difficult and
requires a relatively high cost. Local Gong have rims shallow and small boss.
The melody produced is to signal the beginning and end of a song.
Pictures
9: Gong
Pictures10:
Jidur
Taboo predominate
The meaning of taboo is restrictions
or prohibition of doing things and if the restrictions or prohibitions are not
followed will bring bad consequences. Malay society these are many taboos in
ritual, daily activities and so as taboo in dance predominate. “Kuda kepang” dance has its own taboos
to be observed so that no plague will happen.
Taboos in the predominate dance can be seen
from the various aspects of such taboos before starting the dance, the dancer
taboo, taboo musical players, the taboo of taboos predominate and the audience.
Taboos created to help ensure the uniqueness of the dance predominate
maintained.
These are the taboo predominate
before started. It is because “kuda
kepang” performance has belief there, “kuda
kepang” has affected by the kind of spirit that require typical ritual
before playing for disclaiming something undesirable happened to players or the
audience. The ritual commenced with the worship of spirit by witches to provide
grain for porters like coconut, rice, incense, white fabric, needle, thread,
potpourri, and eggs. Then, the witches will spell to launch the opening of the
arena.
Players predominate, as do
traditional medicine to give a hardener, but the hardener players predominate
given to shaman to the performances. This meant hardener consists of several
items incense, place burning embers incense, mixed rice with chicken and
vegetable dishes, water kettle amp icons, some kind of cake and most
importantly, the sum of $2.25
delivered by the host or organizer to shaman show. The fee for each performance
being held is not less than RM200.
Players of “kuda kepang” cannot see the red cloth is one abstention to the
players. Taboos players cannot see the red cloth is natural that a major taboo.
Players were not allowed to “kuda kepang”
visible even see the glass. In addition, “kuda
kepang” should not be surprised during the game and do not think they have
‘climbed Sheik’ or not. It is thus his deep, shocking acts to play during the
player “kuda kepang” will cause the
state not guarded.
Music plays an important role in the
dance “kuda kepang”. This is so
because, according to the evidence that players have a 'ride sheikh', when they
have this condition they dreamed of riding a horse as he danced to the music.
“Kuda
kepang” used during the dance “kuda
kepang” also has its own taboos. “Kuda
kepang” used while dancing to be
stored or placed in a specific place. This is so because if the horse is placed
arbitrary and does not take good cares that will lead to the raging spirit “kuda kepang” with damage-show
performances to come.
Taboos dance of “kuda kepang” not only involve the player horses, horse braid and
players of musical instruments but also involves the audience. Spectators are
prohibited to abuse dancer “kuda kepang”
for fear of receiving a misfortune.
How
and function of dancer of “kuda kepang”.
“Kuda
kepang” presented and played out in the open like on the big stage. Before
the dance begins, shaman will burn incense and recite incantations to give
energy to the horses. He was using raw eggs, flowers, grass and water for the
show be under a ‘danyang’ which whipped the sprint to determine the dance, and
each dancer will get on their horses.
When the music begins to resonate
the dancers lead by ‘danyang’ to go into the ring. Music starts with a slow tempo
and a bit boring. Each dancer will be riding horses according to patterns
determined by the pace and rhythm of the song. When the music is fast, the
horses will gallop even faster. Sometimes the organizers will cunning cloth for
players pass. The dancer can do strange movements and outside normal as martial
arts jumping as high as six feet, and so on. During a dancer in such
circumstances, the sounds that accompany this dance will more increase. It is
like if the music is not robust, the dancers would pounces or kick a music
player like horse angry.
The dancer danced for two hours
until the circumstances trance, mesmerized by the grandeur of their movements.
When drunk, they sometimes would dream of riding a horse truly as he danced to
the music. As a result, they try to pursue music. The condition is called “rose
sheikh”. If the wild and cannot be under increased, shaman will instruct the
guards stationed at every corner of the ring to catch and knock them to the
ground and shaman will read a spell to restore them.
Number
of players “Kuda kepang”
Then player needs at least 25 people
at 9 dancers, 5 music player, and 2 acts as a ‘shaman restore’, 9–15 custodians
of the area. However, in a society, the number of members was 40. One of the
dancers act as leaders summoned ‘danyang’.
Number predominate use is at least 9.
Horse
function
This game is just as common as “takraw”. But the response from the
local population causing it ti grows from a village to another. In present
times, this dance is usually demonstrated at the ritual gatherings to enliven
the atmosphere while welcoming the dignitaries, celebrate the feast and the feast
days.
Conclusion
Kuda
kepang does not too forgettable by the new generation in this era, because kuda kepang is tradition from our
ancestor.
References
University
of Aberdeen, 2010, what is Visual culture.
[Online] Available at:
http://www.abdn.ac.uk/visualculture/whatisvc.shtml
[Accessed 11 March 2014]
Mitchell, 1994, what is Visual Culture. [Online] Available at:
http://www9.georgetown.edu/faculty/irvinem/theory/Mirzoeff-What_is_Visual_Culture.pdf
[Accessed 11 March 2014]
Soedarsono, 2009 History of Kuda
Kepang. [Online] Available at:
http://www.oocities.org/tengku_mahkota_muar/sejarah_permainan_kuda_kepang.htm
[Accessed 11 March 2014]
