Page 394 - Proceedings Collega2023

proposed differences in his view. The conceptual dimension that we find in dance is form, which is the
content system, and the form consists of structure and style. The structure in this dance consists of a
specific knowledge system of how kinemes combine into morphokines, which combine into motifs, which
combine into choremes and dance. Giurchescu insists that the form of dance or choreography should be
built through internal unity to clarify the relationship and connection with each other. Related to the
horizontal structural analysis, the units in the dance structure consist of small units arranged in stages or
phases in performance and added to the style. Finally, these units can fill the horizontal space of
performance or choreography. Martin and Pesovar (1961) defined the analysis of dance structure as
breaking down the morphology and structure into several parts and small units and recognizing and
distinguishing those parts and units from a dance arrangement. It refers to the shape or morphology of a
dance. The stated approach covering the dance structure can outline the objective of the study on the
relationship between the dance structure with the breakdown and combination of small units in
structuring the movement of the Mek Mulung Berjalan dance based on the movement motifs that have
been stated by Zamzuriah (2022) through interviews and participation observations. The research
methodology is carried out through structured interviews with informants and observations participating
in the performance through the process of training and performance.

MOVEMENT STRUCTURE WITH MOVEMENT MOTIF POSITION OF HANDS AND FEET THROUGH VERTICAL
PERSPECTIVE

Based on the application of the analysis of the dance movement structure presented by Kaeppler
(2007), each dance movement can be analyzed through a vertical perspective in the movement structure.
It can be explained in detail to the style of the performance structure and dance movement. Walking from
each dance movement is done with movement motifs through hand and foot positions with symbols,
styles, and meanings in performing the movement technique.

Zamzuriah (2022) states that there are eight motifs of movement of hand positions used in the
walking dance, namely Layar Sirih, Susun Sirih, Telapak Dua, Dayung, Limbai Menapak, Lenggang
Menapak, Limbai Tarik and Lenggang Melimbai. As for the position of the feet, nine movement motifs are
used: Berdiri, Berjalan, Langkah Geser, Langkah Mabuk, Langkah Silang Sangkut, Langkah Lompat Kuda,
Langah Berganda, Duduk Lutut Tunggal and Kirat Pusing. Table 1.0 shows the names of movements in
hand and foot positions in the Berjalan dance in the pre-performance section of Mek Mulung (Zamzuriah,
2022).

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