Dance of West Java

Rampak Drum Dance
Rampak Drum Dance is art which combines dynamic sound with drums salendro gamelan music that is cheerful. Drum players consist of 6-15 people, while nayaga (gamelan players) consisting of 7-10 people.

Mask Dance Kelana udheng Indramayu
Mask Dance Kelana udheng Indramayu, Dance Dance Kelana mask the development of a mask dance was created by the maestro Indramayu, that Mimi Rasinah.

Peacock dance (Tari Merak)

Interest Betawi From Indonesia

Betawi tribe came from the mating-mawin ethnic and nation in the past. Biologically, they are claiming to be the Betawi people are descendants of mixed blood of the various tribes and nations that were imported by the Dutch to Batavia. The so-called real people or ethnic Betawi in Jakarta as of new entrants. This ethnic group was born from a mix of other ethnic groups who had already been living in Jakarta, like Sundanese, Javanese, Balinese, Bugis, Makassar, Ambon, and Malay immigrants and ethnic groups, such as Arabic, Indian, Chinese, and Europeans.

The term Betawi
Betawi words used to express the native tribes who inhabit the Jakarta and Creole Malay language it uses, as well as Malay culture. Betawi word comes from the word "Batavia," the old name of Jakarta during the Dutch East Indies.

Tribal history Betawi
Preceded by the Sundanese (majority), prior to the 16th century and into the kingdom and then Pakuan Pajajaran Tarumanegara. In addition to the Sundanese, there are also foreign merchants and sailors of the north coast of Java, from different islands of Eastern Indonesia, from Malacca on the Malay Peninsula, China and even from Gujarat in India.

In addition, the agreement between Surawisesa (King of Sunda) by the Portuguese in 1512 which allow the Portuguese to build a community in the Sunda Kalapa result in mixing of the local population with a lower Portuguese Portuguese mixed blood. Of this community was born keroncong music.

After making Batavia as the VOC niaganya center, the Netherlands requires a lot of manpower to open farmland and build the economy of this city. When the VOC was a lot of buying slaves from Bali authorities, because it was in Bali is still ongoing practice of slavery. [1] That the cause is still tersisanya vocabulary and grammar in Betawi Bali now. Batavia trade advances attract various tribes of the archipelago to the Chinese, Arab and India to work in this city. Influence of ethnic foreigners is evident in the Betawi wedding dress is heavily influenced Arab and Chinese elements. Various place names in the history of Jakarta also left clues about the arrival of various tribes to Batavia; Kampung Melayu, Kampung Bali, Kampung Ambon, Java Village, Kampong Makassar and Bugis Village. Bugis houses in the northern part of Jl. Two mangoes in the Bugis village which began in 1690. In the early 20 th century there are still some home like this in the city.

University of Indonesia anthropologist, Dr. Yasmine Zaki Shahab, MA estimates, the newly formed ethnic Betawi about a century ago, between the years 1815-1893. This estimate is based on a study of the demographic history of Jakarta residents who pioneered Australian historian, Lance Castle. In the Dutch colonial era, the government is always a census, which is based on national or ethnic group. In Jakarta census data in 1615 and 1815, there were people from various ethnic groups, but there is no record of the Betawi ethnic group. The results of the census of 1893 showed a loss of some ethnic groups that previously existed. For example, Arabs and Moors, the Balinese, Javanese, Sundanese, the South Sulawesi, Sumbawa people, people of Ambon and Banda, and the Malays. The possibility of all these tribes and Arab Moors archipelago is categorized into the unity of the indigenous population (the Netherlands: inlander) in Batavia who then absorbed into the Betawi ethnic group.

Tribal Art and Culture Betawi 
Betawi culture is a mestizo culture, or a mixture of diverse ethnic cultures. Since the days of the Dutch East Indies, Batavia (now Jakarta) is the capital of the Dutch East Indies attract migrants from inside and outside the archipelago. The tribes that inhabit Jakarta, among others, Javanese, Sundanese, Minang, Batak, and Bugis. Apart from the population of the archipelago, the Betawi culture also absorb a lot of foreign cultures, such as Arab culture, Chinese, Indian, and Portuguese.

As a native tribe Betawi Jakarta somewhat sidelined by the new settlers. They come out of Jakarta and moved to areas in the province of West Java and Banten province. Betawi culture was excluded by other cultures both from Indonesia and Western culture. To preserve the Betawi culture, heritage founded in Situ Babakan.

Interest Betawi language used  
Mixed nature of the Betawi dialect is a reflection of Betawi culture in general, which is the result of mating a wide range of cultures, both originating from other areas in domestic and foreign cultures.

There is also the opinion that the tribes who inhabited the area around Batavia are also classified as an ethnic Betawi early (proto Betawi). Historically, the Kingdom Tarumanagara, based in Sundapura or Sunda Kalapa, had attacked and conquered by the Sumatran kingdom of Srivijaya. Therefore, do not be surprised if in the port of Sunda Sunda ethnic Kalapa, long before the Youth Pledge, already use the Malay language, which is commonly used in Sumatra, which then serve as the national language.

Because the difference is the language used at the beginning of the 20th century, the Dutch think of people who lived in Batavia as different ethnic and call it a Sundanese ethnic ethnic Betawi (a derivation of Batavia). However, there are many local names and the name of the river which is still maintained in Sundanese as said Ancol, Jewel, Cilandak, Ciliwung, Cideng (derived from Cihideung and then turned into Cideung and tearkhir be Cideng), and others are still accordance with the naming of which is described in ancient texts Bujangga Manik [2] which is currently stored in the Bodleian library, Oxford, England.

Although the formal language used in Jakarta is Indonesian, the language of informal or colloquial language is Indonesian Betawi dialect. Betawi dialect itself is divided into two types, namely the middle and Betawi dialect Betawi dialect edge. Betawi dialect was generally reads "é" Betawi dialect, while the edge is "a". Betawi dialect center or the center is often regarded as a true Betawi dialect, because it comes from the beginning of the city of Jakarta, the lush countryside around Jakarta City of Batavia, Big Rice, Monument, Cilincing, Kemayoran, Senen, Kramat, to the southernmost boundary Meester (Jatinegara ). Betawi dialect from the periphery to the South Jatinegara, Condet, Jagakarsa, Depok, Rawa Belong, Ciputat up to the edge of the south to West Java. Examples of middle Betawi dialect speakers are Benjamin S., Ida Royani and Aminah Cendrakasih, because they are derived from the Kemayoran and Kramat Sentiong. While the sample edges Betawi dialect speakers are Mandra and Mr. Tile. The most obvious example is when they say kenape / why'' (why). Betawi dialect was clearly stating the "é", while the edge Betawi pitched "a" die hard like "ain 'dead in the way of reading the Koran Quran.

Dance from Betawi Interest  
The art of dance in Jakarta is a blend of cultural elements in it. For example Betawi dance masks, dance-influenced Yapong Jaipong Sunda, Cokek and others. At first, the art of dance in Jakarta has influence Sunda and China, as a costume dance dancer Yapong typical Beijing Opera player. But Jakarta can be called the most dynamic regions. In addition to dance the old dances also come with a dynamic style and choreography.

Dramatic art of Interest Betawi 
Betawi traditional dramas such Lenong and Tonil. This traditional staging of the play usually depict everyday life Betawi people, interspersed with songs, rhymes, comedy, and witty jokes. Sometimes actors can interact directly with lenong audience. 

Dance Maena of Nias

Description: Maena a dance that is very simple and modest, but it implies togetherness, joy, excitement, which is not less interesting as the dances that exist in the archipelago. Compared with Moyo dance, dance baluse / dance war (still from Nias), maena does not require any special skills. Simple movements have made almost anyone can do it. Constraints or difficulties the only thing is situated on a series of rhyme-rhyme maena (fanutunõ maena), in order to correspond to events where maena it done. Pantun maena (fanutunõ maena) is usually performed by one person or two people and referred to as sanutunõ maena, while the poem maena (fanehe maena) voiced by the people who took part in a dance called the sanehe maena and maena / ono maena. Maena poems are fixed and kept participants diulang-ulang/disuarakan maena-rhyme after rhyme maena dilantunkannya, until the end of a dance maena. Maena rhyme sung by people who are fluent in the language bertuntun Nias (amaedola / Duma-Duma), but as the development of sophisticated and modern civilization, rhyme-rhyme maena typical li niha nono is much disappeared, and many mixed by the Indonesian language in penuturannya, can we listen if there are events maena big city. Maena arguably a ceremonial dance and colossal of Nias tribe, because there is no limit to the number who may participate in this dance. The more participants maena dance, the spirit of dance and shake well (fataelusa) maenanya. Maena usually done in a marriage ceremony (fangowalu), party (falõwa / owasa / folau ORI), even maena Golkar at elections in 1971 (niasonline.net), indicates how dance maena already entrenched and flexible, to be held in what events only. There was no mistaking the distinctive dance maena is easily recognized and carried by ono niha or by people outside Nias second to none with poco-poco dance (Sulawesi) or dance Sajojo (Irian), which has enriched the national cultural scene. In Nias and in big cities such as Jakarta, Medan, Batam, Surabaya, Bandung, Padang, Sibolga etc., we often find maena at weddings Nias people, and we also occasionally take part in it "but only" as sanehe maena . Maena, Moyo dance, dance baluse, Hombo stone, li niha, is a wealth of cultural amaedola niha ono which should continue to be preserved, so that our identity as ono niha not disappear and the Indonesiaan is maintained by cultural influences from outside of the stronger squeeze local cultures.

Privacy Policy

Privacy Policy for www.the-arts-collection.blogspot.com

If you require any more information or have any questions about our privacy policy, please feel free to contact us by email at erwinluswandy86@gmail.com.

At www.the-arts-collection.blogspot.com, the privacy of our visitors is of extreme importance to us. This privacy policy document outlines the types of personal information is received and collected by www.the-arts-collection.blogspot.com and how it is used.

Log Files
Like many other Web sites, www.the-arts-collection.blogspot.com makes use of log files. The information inside the log files includes internet protocol ( IP ) addresses, type of browser, Internet Service Provider ( ISP ), date/time stamp, referring/exit pages, and number of clicks to analyze trends, administer the site, track user’s movement around the site, and gather demographic information. IP addresses, and other such information are not linked to any information that is personally identifiable.

Cookies and Web Beacons
www.the-arts-collection.blogspot.com does use cookies to store information about visitors preferences, record user-specific information on which pages the user access or visit, customize Web page content based on visitors browser type or other information that the visitor sends via their browser.

DoubleClick DART Cookie
.:: Google, as a third party vendor, uses cookies to serve ads on www.the-arts-collection.blogspot.com.
.:: Google's use of the DART cookie enables it to serve ads to users based on their visit to www.the-arts-collection.blogspot.com and other sites on the Internet.
.:: Users may opt out of the use of the DART cookie by visiting the Google ad and content network privacy policy at the following URL - http://www.google.com/privacy_ads.html

Some of our advertising partners may use cookies and web beacons on our site. Our advertising partners include ....
Google Adsense


These third-party ad servers or ad networks use technology to the advertisements and links that appear on www.the-arts-collection.blogspot.com send directly to your browsers. They automatically receive your IP address when this occurs. Other technologies ( such as cookies, JavaScript, or Web Beacons ) may also be used by the third-party ad networks to measure the effectiveness of their advertisements and / or to personalize the advertising content that you see.

www.the-arts-collection.blogspot.com has no access to or control over these cookies that are used by third-party advertisers.

You should consult the respective privacy policies of these third-party ad servers for more detailed information on their practices as well as for instructions about how to opt-out of certain practices. www.the-arts-collection.blogspot.com's privacy policy does not apply to, and we cannot control the activities of, such other advertisers or web sites.

If you wish to disable cookies, you may do so through your individual browser options. More detailed information about cookie management with specific web browsers can be found at the browsers' respective websites.

Karo Dance

Tari Karo

One of the dance traditions of the Karo. This dance describes the romance of young people at night under the bright moonlight. This dance is performed by the character movement is more graceful.

Dance in the Karo language called "Landek." Karo is the basic pattern of dance postures, hand gestures, up and down movement of the knee (endek) adjusted to the tempo drums and footwork. Basic pattern of the dance coupled with some variations so as exciting and beautiful dance.

Relating to indigenous dances such as entering a new house, weddings, funerals and others.

Dance associated with religious rites and led by regular teachers (shaman). For example Mulih-mulih Dance, Dance Tungkat, Erpangir Ku Lau, Dance Baka, Begu Please see Dance, Dance Muncang, and others.

Dance-related entertainment in general classified. For example Gundala-gundala Dance, Dance Ndikkar and others.

Since 1960 dance dance Karo increased in the presence of new creations. For example the five series that combined dance of the five types of dance that is : Dance-morah Morah, Perakut Dance,DanceCIPA Seat, plate-plate Lance Dance and Dance Kabang Kiung. After that came the Piso Surit dance, dancethe Light of the Moon, dance and dance Bread Sweet Rice Planting.

Batak Script

Aksara Batak

The development of traditional culture Nusantara experiencing an increasingly competitive challenges of the cultures of other countries. This is an indication of the need for an innovative breakthrough to boost the return of traditional cultural values ​​that slumped to a more reasonable in view of modern society. 

One of the characters that need special attention are the endangered Batak script associated with limited sources of data and information. In contrast to the literature and culture of Java is quite exist, Batak script is still very minimal understood by the public. Even most of the Batak people themselves are unaware of the Batak script.


Factors that cause the extinction of traditional Batak script writing, among others:

1. Most of the Batak literature was never written. Folklore in the form of fables, myths and legends, for instance, and umpasa, torhan-torhanan, turiturian, huling-hulingan all derived only orally from generation to generation.
2. Introduction of Islam and Christianity to the Batak lands, who hated products pustaha the datu who are considered "objects of infidelity" resulting in the emergence of mass destruction. As a result, since 1852 has been endangered pustaha.
3. Batak pustaha remaining extant collections stored in museums or libraries abroad, especially the Netherlands and Germany, and a small part in the National Library of Jakarta. 

Batak pustaha remaining extant collections stored in museums or libraries abroad, especially the Netherlands and Germany, and a small part in the National Library of Jakarta.

In today's modern era of communications media are most effective global write is Latin letters. The fact is the basis for adaptation efforts Batak alphabet characters into Latin letters, as a good solution in terms of functionality, efficiency and benefits that can be accepted by society. These factors are important, given the script in terms of communication are no longer needed.

The ultimate objective of the research process is the production design character script Latin letters archipelago, with a focus Toba Batak script, which makes the Batak script is easily accessible and known character by the tribes and other nations around the world, including the Batak society itself. Thus, the Latin letters alphabet character of this archipelago can function as a mediator of socialization Batak visual literacy with the level of effectiveness is equivalent to the Latin letters and the rate of spread of a global standard.

Letter Pattern Design Process

As written communication media, letters have significant differences with Latin letters, especially in terms of visual and technical readings. Differentiator in terms of visuals such as proportions, visual character, the anatomy of letters, and the construction geometry. Variants from a technical point of reading is included in the Batak script script type silabik, the script describing the syllable (a-ha-ma-na-ra), while Latin letters included in this type of phonetic alphabet which is kind of script in the form of phoneme symbol (ab-CDE ). On the basis of these differences, then the process of adaptation characters require some form of basic pattern of letters that became a meeting point between Toba Batak alphabet characters with Latin characters.

Urutan Aksara Batak Toba (Ina ni surat)

 

Tortor Batak

Plate Dance

Dancing Plate (Minangkabau) is an art of dance belongs to the Minangkabau people from West Sumatra. He is one of Minangkabau art of dance is still practiced residents Negeri Sembilan Minangkabau descent.
 
This dance has a motion that resembles the movement of farmers during planting bercucuk, making work reaping and so on. This dance also symbolizes joy and gratitude with the results of their crops.

This dance is a jig with the dancers holding plates in their palms, accompanied by a song played by talempong and Saluang. Sometimes, the dishes will dilontar into the air or slammed to the ground and climbed by the dancers.
 
To add aesthetic elements, magic and surprises in this dance, male and female dancers will trample the broken plates without fear nor wound. The audience will certainly feel terrified when the glass broke and it climbed sharply, pulling.

Randai Dance

Randai in the history of the Minangkabau have a rather long history. The legend says that he was played by the community Pariangan, Tanah Datar when mesyarakat managed to capture the deer out of the sea. Randai in Minangkabau society is an art that is played by several people in the sense of group or team event, where there is a story in this Randai brought, like the story Cindua Mato, Malin Deman, Anggun Nan Tongga, and other folklore. Randai aims to entertain people during a party usually held in public or on the feast of Eid al-Fitr.

Randai is played by the protagonist who will be tasked with telling a story, the protagonist of this could amount to one person, two, three or more depending on the story that was delivered, and in bringing the main character or act it is circled by the other members that aims to animate berlansungnya event.

Randai Now this is something foreign to young Minangkabau, this is because the shifting orientation of art or hobby of that generation. Randai contained in pasisie (coastal) and Darek area (mainland).
 
Initially Randai is a medium to convey the tale or folklore through couplets or poems are sung and galombang (dance) which originate from Minangkabau silat movements. But in its development, adopting Randai style characterizations and dialogue in the plays, such as group Dardanela.

Randai at first is a medium to convey stories of the people, and less appropriate if called as a theater Randai Minangkabau tradition, although in its development Randai adopting storytelling or theater or theatrical dialogue.

Saman Dance

Saman dance created and developed by the ulama of Aceh, a Muslim religious leader named Sheikh Saman. Originally this dance is only an ordinary game called Pok Ane. Because the public has a high interest in the disisipilah with poems of praise to Allah SWT. So this dance is also a media propaganda at that time. Exercise is usually done under the under menasah. Meunasah mushalla the building is made ​​of the stage. And they do not miss his prayers in congregation. Conditions in Aceh are in a war, then the poems were made to increase the morale of the people of Aceh. Today this dance is more frequently in performances at local celebrations, religious. Tari Saman began to show off during performances at the Cultural Week of Aceh (PKA) II and the inauguration of Taman Mini Indonesia Indah (Taman Mini). Saman at TMII tumultuous roar not only the archipelago but to foreign countries.

Saman lyric used Arabic and Aceh. This dance does not have the accompaniment of the game, because the arm movements and poems sung and with bodies flung in all directions in a single synchronization, has made ​​the atmosphere become excited. But now, the dance that comes from the Gayo highlands are usually often displayed using the accompaniment of musical instruments like drums.

Songs (the movements of dance) is basically the same, namely to clap hands, claps and pats his chest above the knees, raised his hands up in turn. Songs that are used in dance saman are not fixed (except rengum). Where poetry and rhythm changes according to place, time and situation of the show. So there is no standard for poetry saman dance. Saman can be divided according to place of origin: Saman Gayo in Aceh and the Middle East, Saman Lokop in East Aceh, West Aceh Saman Aceh Barat.
Led by a so-called Syech. Almost all Acehnese dances performed abuzz. This requires cooperation and mutual trust between Syech with the dancers. Because dance is based on a dynamic motion, fast, and high concentrations so that the dance group is widely played by male dancers. But now also been played by a female dancer or a mixture.
Activities of this dance is usually performed to celebrate the birth of Prophet Muhammad, or other important events in the indigenous people of Aceh. Initially the show saman played with poetry-themed symbols of proselytizing or religious teachings. Developments finally made saman themed poems, such as about the development, customs, agriculture, youth and others. How to sing songs in the Saman dance is divided into 5 types:

1. Rengum, the roar (murmur) that begins by the lifter.
2. Tones, namely Regnum which was soon followed by all dancers.
3. Redet, which is short with a short sound track sung by a dancer in the middle of the dance.
4. Syek, the song sung by a dancer with a long high-pitched voice, usually as a sign of change in motion
5. Saur, the song that is repeated by all the dancers once sung by a solo dancer.

In every show it all in motion synergize to result in an amazing dance. So Saman strength lies 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. Sample lyric saman about youth as below.

Syair dalam bahasa Aceh Gayo	Syair dalam bahasa Indonesia
Persalaman
Rengum/ Dering Hmm laila la aho Hmm laila la aho Hoya-hoya, sarre e hala lem hahalla Lahoya hele lem hehelle le enyan-enyan Ho lam an laho	Aum/ Koor Aum :   Hmm tiada Tuhan selain Allah Hmm tiada Tuhan selain Allah Begitulah-begitulah semua kaum Bapak begitu pula kaum ibu Nah itulah-itulah Tiada Tuhan selain Allah
Salam Kupenonton Salamualikum kupara penonton Laila la aho Simale munengon kami berseni Lahoya, sarre e hala lem hahalla Lahoya hele lem hehelle Le enyan-enyan Ho lam an laho Salamni kami kadang gih meh kona Laila la aho Salam merdeka ibuh kin tutupe Hiye sigenyan enyan e alah Nyan e hailallah Laila la aho, ala aho	Salam Kepada Penonton :   Assalamualaikum ya para penonton Tiada Tuhan selain Allah Yang hendak melihat kami berseni Begitu pula semua kaum bapak Begitu pula kaum ibu Nah itulah-itulah Tiada Tuhan selain Allah Salam kami mungkin tidak semua kena Tiada tuhan selain allah Salam merdeka dijadikan penutupnya Ya itulah, itulah, aduh Itulah, kecuali Allah Tiada tuhan selain Allah, selain allah
Uluni Lagu/ Kepala lagu
Asalni Kededes Asalni kededes kedie Asalni kededes ari ulung kele keramil Sentan ire rempil kedie Sentan irerempil he kemenjadi jadi bola Asalni kededes kedie Asalni kededes ari ulung kele keramil Sentan irerempil kedie Sentan irerempil he kemenjadi jadi bola Asalni kededes kedie Asalani kededes ari ulung ke le keramil Sentan irerempil kedie Santan irerempil he menjadi jadi bola Inget-inget bes yoh ku ine e	Asal Bola Daun Kelapa :   Asal bola daun kelapa kiranya Asal bola daun kelapa dari daun kelapa Begitu dijalin-jalin kiranya Begitu di jalin-jalin ia menjadi-jadi bola Asal bola daun kelapa kiranya Asal bola daun kelapa dari daun kelapa Begitu dijalin-jalin kiranya Begitu di jalin-jalin ia menjadi-jadi bola Asal bola daun kelapa kiranya Asal bola daun kelapa dari daun kelapa Begitu dijalin-jalin kiranya Begitu di jalin-jalin ia menjadi-jadi bola Ingat-ingat awas sayangku aduh ibu
Salam Ni Rempelis Mude Oreno nge tewah ari beras beras padi Ya hoya, oi manuk kedidi He menjadi rem rempelis mude Ne inget bes inget bes Oi kiri sikuen kiri Ara salamualaikum, rata bewene Ara kesawah jamuni kami Ne inget-inget bes yohku Kuguncang male kuguncang Salamualaikum rata bewene Ne inget bes mien yohku Ingatin bang tudung Oi mude kin ulung mude Ipantasan mulo	Salam dari Rampelis Mude (Rampelis Mude nama sanggar) :   O runduk sudah rebah dari beras beras padi Ya, begitulah oi burung kedidi Hai menjadi Rempelis Muda Oh ibu, ingat awas, awas Oi yang dikiri dikanan-kiri Assalamualaikum, rata semuanya Adakah tiba tamu kami Oh ibu, inga-ingat, awas sayangku Ku guncang akan ku guncang Assalamualaikum rata semuanya Oh, ibu ungat awas lagi sayangku Digantilah tudung Oi muda untuk daun uda Dipercepat dulu.
Lagu-lagu
Le Alah Payahe He le ala payahe kejang E kejang mufaedah payah musemperne Enge ke engon ko kuseni ruesku Senangke atemu kami lagu nini Ine inget-inget bes mien yoh ku ine Oho ingatin bang tudung uren Awin gere kedie muselpak Jangko gere kedie muleno Beluh gere kedie berulak Jarak gere kedie mudemu Ine ilingang lingeken mulo Yoh kukiri sikuen kiri Tatangan katasan Enti lale cube die ine Awin gere kedie muselpak Jangko gere kedie muleno Beluh gere kedie berulak Jarak gere kedie mudemu Jadi bang mulongingku ine O kejang teduhmi ningkah Ike payah teduhmi kite Ike gaduh tuker mulo	Aduh Payahnya :   Hai, aduh payahnya, payah lelah E, lelah berfaedah, payah memuaskan Sudahlah kau lihat sendi ruasku Senangkah kamu kami seperti ini Oh ibu, ingat-ingat lagi sayangku, oh ibu Oho, diganti dulu payung hujan Di tarik, tidaklah nanti patah Dijangko tidaklah nanti rebah Pergi tidaklah nanti kembali Jauh tidaklah lagi bertemu Oh ibu, di goyang, di geleng dulu Hai ke kiri, ke kanan-kiri Angkatlah lebih tinggi Jangan lalai cobalah dulu, oh ibu Di tarik, tidaklah nanti patah Dijangko tidaklah nanti rebah Pergi tidaklah nanti kembali Jauh tidaklah lagi bertemu Cukuplah dulu adikku, oh ibu Oh, capek berhenti dulu meningkah Jika payah berhenti dulu kita Jika letih tukar dulu
Balik Berbalik Iye balik berbalik Gelap uram terang uren urum sidang Simunamat punce wae ala aho He nyan e hae ala aho Aho - aho - aho Iye balik berbalik Gelap uram terang uren urum sidang Simunamat punce wae ala aho He nyan e hae ala aho Aho - aho - aho	Balik Berbalik ::   Iya ku balik berbalik Gelap dengan terang, hujan dengan teduh Yang nmemegang punca Dialah, Ya Tuhan Itulah dia, ya Tuhan Ya Allah - Ya Allah - Ya Allah Iya ku balik berbalik Gelap dengan terang, hujan dengan teduh Yang nmemegang punca Dialah, Ya Tuhan Itulah dia, ya Tuhan Ya Allah - Ya Allah - Ya Allah
Penutup
Gere Kusangka Gere kusangka, aha kenasibku bese Berumah rerampe ehe itepini paya Berumah rerampe ehe itepini paya Suyeni uluh, nge turuh supue sange Mago-mago bese aku putetangak mata Mago-mago bese aku putetangak mata Tetea tetar ahar reringe petepas Gere kidie melas dengan naik iruangku Gere kidie melas dengan naik iruangku	Tidak Kusangka :   Tidak kusangka, aha kalau nasibku begini Berumah rerumputan ditepinya rawa Berumah rerumputan ditepinya rawa Tiangnya bambu, sudah bocor atap dari pimping Sulit-sulit begitu aku berputih mata Sulit-sulit begitu aku berputih mata Lantainya belahan bambu, dindingnya pun tepas Tidakkah kiranya menyesal saudara naik kerumahku Tidakkah kiranya menyesal saudara naik kerumahku
Kemutauh Uren Kemutauh uren ari langit Munerime kedie bumi Kemutauh uren ari langit Munerime kedie bumi I nampaan ara baro renah Cabang tewah ku lawe due Ari abang gih mungkin berubah Bier lopah itumpun kudede Kemutauh uren ari langit Munerime kedie bumi Kemutauh uren ari langit Munerime kedie bumi I nampaan ara baro renah Cabang tewah ku lawe due Ari abang gih mungkin berubah Bier lopah itumpun kudede Kerna langkah ni kami serapah Berizin mi biak sudere Kesediken cerak kami salah Niro maaf kuama ine	Jika Turun Hujan   Jika turun hujan dari langit Menerimakah kiranya bumi Jika turun hujan dari langit Menerimakah kiranya bumi Di nampaan ada waru rendah Cabang rebah ke lawe due Dari abang tidak mungkin berubah Biar pisau tancapkan ke dada Jika turun hujan dari langit Menerimakah kiranya bumi Jika turun hujan dari langit Menerimakah kiranya bumi Di nampaan ada waru rendah Cabang rebah ke Lawe Due Dari abang tidak mungkin berubah Biar pisau tancapkan ke dada Karena langkah kami segera bergegas Mohon izin kepada sanak saudara Sekiranya ucapan kami salah Mohon maaf kepada ibu-bapak

 Values ​​in the Tari Saman
Saman dance in the beginning with persalaman consisting of rengum and greetings. If observed carefully praising and encouraging their actual name of Allah with lafadz;

Hmm laila la ho
Hmm laila la ho
Hmm tiada Tuhan selain Allah
Hmm tiada Tuhan selain Allah

If you see this Saman dance performances, you will be stopped immediately when he heard the murmur of the dancers and come late along with the emotions of the dancers. Rengum it is spoken in a low voice but echoes. Thrilling stage and the souls of the dancers and the audience. There was a silence directly created at the time. Spectators are invited to participate in mentauhidkan God's wisdom.

Dance movement itself is still very limited and simple. Head bowed and hands to be worshiped. Regum show submission to Allah, also serves to equate vocal and concentration. Having created the atmosphere of reverent and then proceed with persalaman. Greeting addressed to the audience and the various parties by saying Assalamualaikum. then asked for permission to play Saman (manners and ethics).

After shaking hands then continued with the Ulu Ni song. It literally means head ulu ni song. But here means more variety-variety dance movement. The scene of this song ni ulu movement has varied, kesenyawaan between gestures, pat chest - the body and head movements. But the movement is still sluggish. Solemn atmosphere is still felt here. This section is like a warm-up before we are invited in ecstasy Saman other fast motion. Then known as the sheikh in a shrill voice will memberkan on cue at the end of the motion signify ulu ni song that will soon change the motion and entered the fast rhythm of the verse saying:

Inget-inget pongku - male i guncang
Ingat -ingat teman akan diguncang

At half the songs. This round was the culmination saman dance movement. The dancers are required optimal concentration and stamina. Apart from having to move quickly this round is also interspersed with the vocals together (crane). The whole movement look at the velocity of the hand strikes the chest, thighs or clapping, body movements simultaneously up-down or crossed, body tilted left - left to right in unison and crossbones (novice kuwen), head movements and head nodding rapidly rotating under ( girik), and the passage of a finger. Interspersed with slow movement that begins greeting words of the sheikh.
 
Similarly, repetitive movement between fast and slow, to the accompaniment of a few songs. In addition to dancers who brought in fast motion and kedinamisannya ecstasy, the penontonpun go hold your breath following the turn of the rise and fall motion and rhythm of dance. How beautiful enchanted in motion. Because of the speed and uniformity are stunningly attractive that you seemed to join in the rhythm of dancers moving in unison.
 
Then you are invited to relax tension and restore breathing in Ni-half aunt Kemuh which means literally cure motion. Accompanied by singing a simple and low tones are not pushy. If the condition of the dancers have been recovered, started fast motion that begins on cue by the sheikh with a variety of other motion. At the time of peak motion of the passionate, vocal accompaniment stops only visible motion only. Here there was no sound except the sound beating, chest stomping, clapping, thigh meghentak in traction quickly. You can imagine the atmosphere created at the time. Fast motion without a vowel is then how to create a magical atmosphere for the dancers and the audience.
 
Only after that you will re-watch a simple motion as a cover in the dance saman. In this round is overlooked is the poem, the phrase says, adieu, an apology to the audience and certain parties.
After witnessing the saman dance as a whole you will get an impression of this dance. Could be due to the speed in a magical atmosphere that brought him or you sense when following every move and dance rhythms.

    
(source : http://virtualaceh.com/aceh_art.php)