Close reading Essay Example | Topics and Well Written Essays - 1250 words

Close reading - Essay ExampleMatusky and Sooi (2004) studied the Malayansian leap and commented that the Malaysian musical traditions were always go with with jump or leaping drama that did not have any dialogue as its essence was to engage the audience to the set act so that they could derive a meaning out of the performance. This acted as an act that included the attributes of the classical or common people music2. As a result, the dance incorporated the expenditure of the body more so the hands and the feet. thusly through their traditional Malay music, the Malay dancer(s) introduced the use of hands as they swayed their hands from boldness to side or up and down as a form to express emotion and attachment to the song. Malay classical dance history and characteristics The early Malay dances incorporated various dance forms such as mak yong, mek mulung and manohra and these were practiced often in the courts thus their origination. The mak yong comprised of a much dramatiz ed dance act that depicted the stories of the princes and princesses. The women who acted as princesses wore royal costumes while the men wore the same costumes and an additional male clown. Their dance was also accompanied by drums, gongs and a serunai. The dance is also associate to Puteri, which is an ancient ritual that was believed, that when it was performed by the dancers, it was prone to release occult arts powers and as a result, the kings did not follow much on that, rather they adopted the dance that was related to theatrical performances. This dance involved the simple act of a female and a male at the courts. Manohra also sh atomic number 18s some aspects with mak yong such as the dance that consists of the female and the male and it also incorporates more of dance rather than the story that is behind to the dance set being performed. Manohra also served as a traditional and respected ritual and it was also believed to have the aspect of super natural powers. When the dance was performed, it was always accompanied with the serunai, two gedung, two gedumbak, kesi, bamboo or wood clappers and gongs. As of today, there exists only two quick manohra groups in Malaysia and tey happen to occupy the parts of Kelantan. Mek mulung on the other hand involved a dance drama that depicted a local legend that had happened in the community. As a result this dance also had the same aspects in meaning and body gesture when compared to mak yong and manohra. When the dance was performed, it was always accompanied with the use of the serembong, gong, serunai and ceruk. The oldest surviving Malaysian performance traditions can be dated back to the peoples of the orang Asli communities of Peninsular Malaysia who are very scarce in numbers in the region. Some of the community sub groups include the Negrito communities that include the Bateq, Jahai, Kensui, Kintak, Lanoh and Mendriq peoples and they are located in the Kelantan, Pahang, Perak and Terengganu regions. The Senoi include the Che Wong, Jahut, Mahmeri, Semai, Semoq Beri and Temiar peoples who are located in Kelantan, Pahang, Perak and Selangor, and the Proto-Malay peoples incorporate the Jakun, Orang Kanaq, Orang Laut, Orang Seletar, Semelai and Temuan) majoritively in Johor, Melaka, Negeri Sembilan and Pahang. The Orang Asli performances involved the incorporation of music, song and dance and they were preformed mainly at cordial events