TARI DAN

MUSIK
MELAYU
RIAU

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PETA KONSEP
TARI DAN MUSIK
MELAYU

Tari dan musik Jenis tari dan music Praktik tari dan
tradisional melayu tradisional melayu music tradisi melayu

Tari tradisional Musik tradisional

melayu melayu
 Pengertian

Tari dan musik tradisional melayu Riau adalah tarian

atau music yang tumbuh atau berkembang didalam suatu
komunitas budaya Melayu Riau.

Proses pewarisan dilakukan secara turun temurun secara

lisan (oral tradition), dan disebarkan dalam suatu
pertunjukan-pertunjukan atau ritual upacara.
JENIS TARI DAN MUSIK TRADISIONAL
MELAYU
1. Tari tradisional melayu
a. Tarian Rakyat
Tarian rakyat adalah tarian yang tumbuh dan berkembang secara turun temurun
didalam suatu komunitas budaya.

Tarian ini berada diluar lingkungan istana yang merupakan wujud dari ekspresi
kesenian atau bersumber dari ritual dan upacara.

Ciri-ciri tarian rakyat dapat dikenali dengan gerakan yang spontan, lincah, aksi
dan gerak bebas.

Musik pengiring memadukan musik Internal dan musik eksternal

Pakaian penari masih sederhana yang menggunakan pakaian sehari-hari atau

berdasarkan tujuan dari pelaksanaan ritual dan upacara. Tata rias tidak terlalu
diperhatikan, dan aksesoris yang digunakan biasanya berasal langsung dari
alam.

Macam-macam Tarian rakyat :

1. Tari ritual
2. Joget
3. Zapin api
4. Dabus
b. Tarian klasik
Tarian klasik adalah tarian yang berkembang didalam lingkungan istana, dibawa
atau dipengaruhi oleh budaya asing sebagai hasil interaksi atau diplomasi
budaya.

Tarian klasik disusun dari kegemulaian dan kewibawaan pemimpin tari

mengikuti pakem atau aturan yang telah baku, dan diawasi secara ketat agar
tidak melanggar norma-norma yang terdapat dalam istana.

Macam-macam Tari klasik :

1. Tari Zapin
2. Tari persembahan
2. Musik Tradisional Melayu

a. Musik melayu asli

Musik melayu tradisional dibagi dalam 3 jenis, yaitu:

1. Musik melayu asli
2. Musik melayu tradisional
3. Musik melayu modern
1. Musik melayu asli
Ciri khas melayu asli ditandai penggunaan alat music berupa gendang ataupun alat
music sederhana semisal beduk, gambang, seruling bamboo, serunai, gendang Panjang
ketobung, dan ketuk-ketuk.

Didalam perayaan, musik ini bersifat profan yang bisa dimainkan oleh siapapun,
sedangkan didalam ritual dan upacara, musik mempunyai ketentuan-ketentuan tertentu
yang terkait oleh magis yang hanya dimainkan oleh kumantan.
1) Ketuk-ketuk
Memainkan ketuk-ketuk dipukul dengan Teknik sederhana
sehingga mengeluarkan bunyi pukulan bertingkah.

ketuk-ketuk dimainkan sebagai hiburan dipondok saat

menjelang ladang.

Sebagian ketuk-ketuk dibuat dari kayu yang dilubangi atau

bambu.
2) Ketobung

Musik ini digunakan untuk mengiringi ritual pengobatan

belian atau babalian. Didalam penggunaan, ketobung
dipukul dengan tangan atau pemukul yang terbuat dari
kayu atau rotan.
3) Serunai
Musik serunai sering digunakan sebagai hiburan rakyat
terutama dimainkan oleh anak-anak. Alat musik ini dibuat
dari bambu, batang padi, pimping, ataupun daun kelapa
yang dijalin menyerupai terompet.

Jika dilihat dari jenis alat musiknya, serunai dikategorikan

kepada alat music erofon.
4) Gendang Panjang
Terdapat dua jenis gendang Panjang, yaitu gendang dua muka dan
gendang satu muka.

Gendang Panjang dua muka memiliki dua sisi yang terbungkus

kulit. Badan gendang terbuat dari kayu merbau yang dilubangi
didalamnya. Gendang ini dapat dibunyikan dengan pukulan tangan
atau rotan.

Gendang satu muka terbuat dari kayu bulat Panjang yang dilubangi
dan satu sisinya diberi kulit yang diregangkan. Gendang ini
dimainkan dengan posisi berdiri, biasanya dipakai untuk
mengiringi orkes gambus atau lagu melayu.
b. Musik Melayu Tradisional

Musik melayu tradisional menggunakan alat music berupa gong, kompang, rebana,
rebab, marwas, gubano, nobat, suling, dan calempong yang digunakan untuk
mengiringi berbagai pertunjukan tradisional.

Ciri khas musik tradisional melayu dipengaruhi budaya luar terutama Arab dan
Persia.

Beberapa musik tradisioanl juga berfungsi untuk mempertahankan struktur social,

menjadi alat kebesaran kerajaan, ataupun penambalan raja seperti nobat.

Musik melayu tradisional yang umum dikenal misalnya gendang beregung, music
silat, rebana, calempong, kompang, bardah, barzanji, dan nafiri.
 First home

Miguel Hernández Sánchez Concepción Gilabert Giner

Miguel Hernández Encarnación Hernández

Vicente Hernández Gilabert Elvira Hernández Gilabert
Gilabert Gilabert

He was born at 80 Antonio Piniés Street, better known

as San Juan Street because the was a convent of that
name. He was the third child of Vicente Hernández
and Concepción Gilabert. Seven children were born in
that house, although unfortunately three sisters died
very young. Those were hard times!

Orihuela

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Exercises about the poem “En cuclillas, ordeño”

● What do you think "el tisú" means? Before looking it up,

try to imagine what it could be with the help of the
following verse
● Why do you think it says "(Me lame otra cabra, y bala)"?
How and with whom do you show affection?
● Create a drawing with the materials you want to represent
the poem

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Child labor at the time of the early 20th century

Miguel Hernández did not like children working. In the same vein " El hijo del pobre" begins thus:
He wanted children to study and learn in order to
progress in life. Writings like "El niño Flores" who,
Al hijo del rico se le deba a escoger títulos y
exhausted by work, is overcome by sleep and falls
carreras; al hijo del pobre siempre se le ha
into the sènia -which is a water wheel moved by
obligado a ser el mulo de carga de todos los
animals-. The oxen, on hearing the noise of the
oficios.
child falling, run scared, moving the blades of the
waterwheel faster, breaking his bones

Me duermo. Tengo sueño… Tengo sueño porque

hace mi padre que me levante muy temprano…
¡tan temprano! Para ayudarle en sus trabajos…
¿Por qué he de trabajar? Tengo siete años…

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Youth. The legend of the poet-goatherd

Hernández excelled at school, getting very good

grades, but at the age of fifteen his father put him
to work as a shepherd. At that time Miguel carried
a notebook, pencil and books in his backpack,
always reading and writing about what he saw!

Lagarto, mosca, grillo, reptil, sapo, asquerosos

seres, para mi alma sois hermosos.

His father used to get angry with him because his

reading would throw him off track and the animals
would get lost in the mountains. He didn't want him
to read and even hit him!

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 Fenoll's tahona
At the other end of Arriba Street, specifically at
number 5, there was a bakery where Miguel found
friends to share his passion for reading and writing

They would meet there, with the smell of hot bread,

the Fenoll brothers -Carlos and Efrén-, Jesús
Poveda and José Marín -Ramón Sijé-, to whom he
dedicated a beautiful elegy

Yo quiero ser llorando el hortelano

de la tierra que ocupas y estercolas,
compañero del alma, tan temprano.

Elegía a Ramón Sijé. El rayo que no cesa

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 Madrid

Our poet outgrew Orihuela and decided to try his

luck in the capital of Spain. He had no luck on his
first trip and, after asking for money from friends
and even the town hall -which approved to give him
Madrid 50 pesetas (30 euro cents) but did not send it to
him-, he returned to Orihuela by train. The anecdote
of the return was that he took someone else's ticket
because he had no money and the Guardia Civil
arrested him, mistreated him and accused him of
Orihuela impersonation. A disaster!

But it was not all sorrows. His first book "Perito en

lunas" was published in Murcia and he made new
friendships that had a profound influence on him:
Pablo Neruda and Vicente Aleixandre

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Civil War in Spain. From poet-farmer to poet-
soldier

In July 1936, the Spanish Civil War began between

the Republican and Nationalist sides, supported by
Nazi Germany and the dictator Mussolini's Italy. It
lasted three years, during which Miguel Hernandez
engaged in frenetic literary and political activity.
He traveled to Russia, married Josefina Manresa,
had two children (the first one died when he was 10
months old), participated in the Pedagogical
Missions... At his wedding he received a gift from
his friend Vicente Aleixandre, a gold watch that,
later and to his misfortune, would lead to him
getting arrested

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 Leave no man to himself

In a letter, published on November 14, 1937, Miguel sintiera más solo… Le eché sobre mis espaldas; el
Hernandez explains what happened to him in an calor de su sangre golpeó mi piel como un martillo
escape to Madrid, as bombs were besieging them: doloroso. “¡No hay nadie quien te deje solo!”, le
grité. Me arrastré con él hasta donde quisieron las
pocas fuerzas que me quedaban. Cuando ya no pude
...En medio del fragor de la huida… me hirió de más le recosté en la tierra, me arrodillé a su lado y
arriba abajo este grito: “¡Me dejáis solo, le repetí muchas veces: “¡No hay quien te deje solo,
compañeros!” Una bala rasgó por el hombro compañero!”.
izquierdo mi chaqueta de pana, que conservaré
mientras viva, y las explosiones de los morteros me
cegaban y me hacían escupir tierra. “¡Me dejáis
solo, compañeros!”... orienté mis pasos hacia el
grito, y encontré un herido que sangraba como si su
cuerpo fuera una fuente generosa. “¡Me dejáis solo,
compañeros!” Le ceñí mi pañuelo, mis vendas, la
mitad de mi ropa. Le abracé para que no se

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 Prison
In October of '38 his first son died. He was
heartbroken. The war came to an end with the
victory of the national side in early 39. Staying in
Spain was not safe for Miguel Hernandez and his
family, so he decided to emigrate to Portugal.
Hunger pursued him and he sold the suit he was
wearing and the gold watch that Aleixandre had
given him for his wedding. The person who bought
the watch thought it was stolen and denounced
him. He began a pilgrimage from prison to prison

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 Cancionero y romancero de ausencias

Miguel Hernández was sentenced to death, which was commuted to

life imprisonment in an "act of generosity". He was sentenced to 30
years in prison for defending his ideas! He went through many
hardships. His wife wrote him a letter that motivated the famous
poem "Nanas de la cebolla" in which he mentioned that he fed only
on those onions. But not only did he write that poem, he wrote a
whole book in a notebook he carried (even on toilet paper) that was
published after his death: "Cancionero y romancero de ausencias"

In it there are very sad poems like "Tristes guerras", "Ropas con su
olor", "Llegó con tres heridas", "Nanas de la cebolla"...

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 Death
After passing through several prisons, in June 1941,
he arrived at the Reformatory for Adults in Alicante,
Spain, where some friends tried to reduce his
sentence, but for that to happen, Miguel had to
disavow his political thoughts, which he refused to
do. He was faithful to his values

Our poet, sick and without medical treatment, agreed

to marry Josefina in church 24 days before his death,
since Franco's laws did not recognize civil marriage
and his son and his wife would have been left
destitute

On March 28, 1942, he died in the infirmary of

tuberculosis, pneumosis and typhus at the age of 31

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Fragment from “Nanas de la cebolla”

I hope we have awakened your desire to read a poem

by Miguel Hernández, and that you will be able to
understand him better knowing what his life was
like. We say goodbye with a verse from "Nanas de la
cebolla" that he dedicated to his son

No te derrumbes.
No sepas lo que pasa
ni lo que ocurre.

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