TEXTUAL OF LENGGOK MAK INANG DANCE MALAY TRIBES OF EAST SUMATRA

ABSTRACT : The Lenggok Mak Inang Dance is one of the dances from the “9 mandatory Malay Dances” series, which originates from Serdang Bedagai Regency. To understand this dance more fully, this research will explain it from a textual point of view. In general, textual study can be explained as a step to find out the meaning of dance. These steps include observing elements in the dance that are visible to the eye, such as dancers, dance movements, and all supporting elements. The theory presented by Sumandiyo (2007:23) is used as an analytical issue in understanding the Lenggok Mak Inang Dance in relation to all the elements in Malay cultural dance which are its background. Qualitative description is a research method to explain how textual studies in the Lenggok Mak Inang dance are based on data obtained through observation, interviews, recording and literature study. This research produced findings in accordance with the research objectives, namely the form of movement developed from 11 movement motifs, namely 1) opening movement, 2) melenggang, 3) backward movement, 4) petik bunga, 5) melenggang jongkok, 6) kuak, 7) menitih batang , 8) tabur bunga and silat, 9) gerak sauk, 10) gerak elak, and 11) closing movement. Movement technique is related to the power used when doing it, namely moderate power. Movement technique describes the overall form of movement carried out by the dancer. Movement techniques are divided into head movements, body movements (torso), hand movements and foot movements. The dancer’s movement style in the Lenggok Mak Inang Dance has its own characteristics, related to the dancer’s ability to translate the content, message and meaning of this dance. The movement style is influenced by the dancer’s socio-cultural environment. Movement structure The structure of this dance is composed of four (4) types of movement, namely movement type one (1) to movement type four (4). Movement type 1 is a meeting stage between two people who are interested in each other, emphasized symbolically through the meeting of eyes of the two dancers. The second type (2) means establishing an introduction to initiate an approach between the two. Type three (3) is a deeper approach stage of two people falling in love. Type four (4) is an exploration stage to move on to a more serious relationship and towards marriage.

KEYWORDS :Malay Ethnic, East Sumatera, Textual, Lenggok Mak Inang Dance