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Abstract
This study explores the role of archives and social memory in preserving the Malay classical dance, Joget Gamelan. Using ethnographic methods, it examines the impact of archives and repertoire on this dance form. Joget Gamelan originated from Riau Lingga and later spread to the Malaysian states of Johor, Pahang, and Terengganu, where it was performed during royal ceremonies since the 19th century. Its popularity peaked in the 1920s when it was recorded in the Tengku Ampuan Mariam manuscript for preservation. However, as time passed, the dance relied on the “memory” and embodied experiences of master teachers such as Zaharah Abdul Hamid and Wan Salmah Sulaiman, as the manuscript was inaccessible. The preservation through time was dependent on the social memory of female teachers. This study employs Paul Connerton’s “social memory” to explore the changes in the dance form. The teachers reconstructed the dance to meet contemporary demands, and Diana Taylor’s concepts of “archives” and “repertoire” are used to investigate the reconstruction of Joget Gamelan for staged performances. This study does not criticize the current practice or identify shortcomings but rather seeks to investigate the “absences” in the form, which can be recovered through archival sources like old manuscripts, poems, and dance notations. By revisiting the past through these sources, the dance form is expected to reclaim its “forgotten” or “lost” aesthetics. The study argues that the intersection of social memory and archives is crucial in preserving the dance’s originality and re-connecting it with the tradition.
Disclosure statement
No potential conflict of interest was reported by the authors.
Notes
1. “Tengku” is an honorific title used in certain parts of Southeast Asia, particularly in Malaysia. It is used to address or refer to individuals of noble or royal lineage. In some cultures, “Tengku” is equivalent to the title “Prince” or “Princess” and is given to members of royal families, especially those who are not in direct line for the throne. It is a sign of respect and recognition of their royal status.
2. Wayang, a traditional form of puppet theatre originating in Indonesia, has played a significant role in the expansion of gamelan music beyond the island of Java. This expansion is closely intertwined with the development of various forms of wayang performances, such as wayang purwa, gedug, topeng, and wong. The diverse manifestations of wayang have contributed to the dissemination and enrichment of gamelan music and cultural traditions across regions.
3. Topeng is a traditional form of masked theater or dance-drama that originated in Indonesia, particularly in Java and Bali. The word “topeng” itself means “mask” in Indonesian. In topeng performances, the actors wear elaborate masks that represent various characters, such as gods, heroes, demons, or animals. The masks are intricately crafted and often express specific emotions or personalities. Topeng is usually accompanied by music, singing, and dance movements, creating a vibrant and theatrical spectacle. The performances often depict mythical stories, historical legends, or moral teachings, and they are considered an important cultural tradition in Indonesian society.
4. Wayang Wong, also known as Wayang Orang, is a traditional Javanese dance-drama that combines dance, music, and acting. It is performed by human actors and dancers rather than using puppets like in other forms of wayang (shadow puppetry). Wayang Wong literally translates to “human puppet” or “human shadow”
5. Tan Sooi Beng and Patricia Matusky (1998) categorize Malaysian music into five genres, namely classical music, folk music, syncretic music, popular music, and contemporary art music.
6. JKKN stands for Jabatan Kebudayaan dan Kesenian Negara Malaysia. It is a government department in Malaysia that is responsible for the development and promotion of culture and the arts in the country. JKKN plays a key role in preserving and promoting Malaysia’s cultural heritage, supporting artistic and creative activities, and fostering the growth of the culture and arts industry. The department organizes various programs, exhibitions, performances, and initiatives to showcase Malaysia’s diverse cultural expressions and support the artistic community.
7. The Faculty of Creative Arts at the Universiti Malaya is an academic department within the university that focuses on the study and practice of various creative disciplines. It offers undergraduate and postgraduate programs in fields such as visual arts, performing arts, design, multimedia, film and television, music, and creative writing.
8. ASWARA stands for Akademi Seni Budaya dan Warisan Kebangsaan Malaysia, which translates to the National Academy of Arts, Culture, and Heritage of Malaysia. ASWARA is a prestigious institution of higher learning in Malaysia dedicated to the education and training of students in various artistic disciplines. ASWARA offers undergraduate and postgraduate programs in fields such as music, dance, theater, visual arts, traditional arts, cultural studies, and arts management. The academy aims to preserve, promote, and develop Malaysia’s artistic and cultural heritage while nurturing the talents of aspiring artists.
9. Warisan SaRi is a privately-run center for the preservation and development of dance and Gamelan music. The name Warisan Sari is an abbreviation of the names of the couple, “Sa” (Faisal) and “Ri” (Ariza).
10. Puteri Marlisa Shawaludin, personal communication, October 6, 2020.
11. Jawi means Arabic letters with several additional letters used to write in the Malay language.
12. In the context of dance, “sembah” refers to a gesture or movement that involves bowing, showing respect, or paying homage. It is a term often used in traditional or cultural dances where performers use specific body movements, postures, and gestures to convey reverence, gratitude, or acknowledgment. The “sembah” movement can vary in form and intensity depending on the cultural and dance tradition being performed.
13. Siti Zainon Ismail. Personal communication. March 19, 2022.
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Funding
Notes on contributors
Jafar Norsafini
Jafar Norsafini is a Malay Classical dancer, choreographer and researcher who holds a Diploma and Bachelor of Dance from ASWARA. She is a full-time lecturer at ASWARA’s Faculty of Dance since 2011. She is now completing her Ph.D at the Faculty of Creative Arts, Universiti Malaya.
Thiagarajan Premalatha
Thiagarajan Premalatha is a Senior Lecturer and the Deputy Dean (Undergraduate) at the Faculty of Creative Arts, Universiti Malaya. She received her Ph.D in Critical Dance Studies from the University of California Riverside, USA, in 2012. Through her doctoral study, she pioneered the study of Indian dance practices in Malaysia, emerging as a leading academician-scholar in the country.