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Based on the analysis of the dance movement motifs danced in the entire Berjalan Dance, there
is a specific movement in each of the Puteri Mabuk Dance, Anak Menora Dance, Gambang Dance, and
Sendayung Dance. Referring to the Puteri Mabuk Dance, the movements performed as a symbol of the
dance are the motif of the movement of the Limbai Menapak hand position and the movement of the feet
of the Langkah Mabuk. For Anak Menora Dance, the motif of the movement performed as a symbol of
the dance is the motif of the movement of the hand position Limbai Menapak and the movement motif
of the foot position of the Langkah Silang Sangkut. For the Gambang Dance, the movement motif
performed as a symbol of the dance is the movement motif of the Daun Sirih hand position and the
movement motif of the Berjalan foot position. For the Sendayung Dance, the motif of the movement
performed as a symbol of the dance is the motif of the movement of the hand position Limbai Tarik and
the movement motif of the foot position of the Langkah Lompat Kuda.

Conclusion

This writing explains and describes a process of analysis of the performance structure and
movement of the Berjalan Dance in the pre-performance of the Mek Mulung traditional theater based on
the approach by Kaeppler (2001) to the overall structuring of horizontal and vertical perspectives. The
Berjalan dance has four different parts or breakdowns of the dance according to the instrumental song
without singing: the Puteri Mabuk Dance, the Anak Menora Dance, the Gambang Dance, and the
Sendayung Dance. This writing provides details about the scientific input on the movement quality of the
Berjalan Dance repertoire to make documentation material. In addition, it shows movements that show
the codified technique found in this dance which is linked to the traditional theater performance art of
Mek Mulung. There are eight movement motifs based on the hand position and nine movement motifs
based on the foot position to complete the movement of the Berjalan Dance in a circle or circle in the
performance. Each movement motif breakdown in the Berjalan Dance has a specific movement to identify
the movement motif symbol of the Puteri Mabuk, Anak Menora, Gambang, and Sendayung dances.
Berjalan Dance is danced to music through an instrumental song without singing that is played
continuously.

References

Giurchescu, A. (1992). Romanian Tradistional Dance, A Contextual and Srtuctual Approach. Romania:
Publishing House Express.
Hobsbawn, E. (1983). ‘Introduction: Inventing Tradition’. In Hobsbawm, E. & Ranger, T. (Eds.). The Invention
of Tradition (hal.1-14). London: Cambridge University Press.

Kaeppler, A. L. (2007). Dance Structures Perspectives On The Analiysis of Human Movement. Canada:
Akademia Kiado.

Nur Izzati Jamalludin. (2019). The Origin, Evolution And Future Of Mek Mulung A Stage Heritage Status
And Beyond. London: King's Collage London.
Schechner, R. (2003). Performance Theory. New York: Routledge.

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