Ranup Lampuan Dance. One of the dance products that are widely born in Indonesia is the welcoming dance. Such is the magnitude of the glorification of guests, making traditional communities in each region create special dances that are unique in accordance with their cultural tastes.
Aceh, as a region that stands out in terms of culture also has a dance that is used to welcome guests, namely Ranup lam Puan. “Ranup” represents “betel” in the Acehnese language, while “Puan” is a typical Aceh betel place. In this dance, the dancers bring betel in the lady.
For the people of Aceh, betel has become a kind of symbol of guest breeders. The native Indonesian vines have traditionally been used to entertain guests in their daily lives. As for this dance, it can be said as a cultural visualization of a symbol of respect for guests.
Ranup Lampuan dance is often performed to welcome guests who attend important events. In the wedding ceremony, this dance offering is intended to welcome the arrival of the groom by the bride’s family. The series of events is usually called Intat Linto Baro.
A Brief History of Ranup Lampuan Dance
Ranup Lampuan dance was created in 1959 as the work of one of the Acehnese dance artists, namely Yusrizal. This dance describes the habits of the Acehnese people in welcoming guests by presenting betel as a token of their receipt. The term Ranup Lampuan itself means betel in Mrs.
In the early days, the dancers wore Aceh buns complete with headdresses and there was no use of the shawl property. The dance is presented in a duration of 3 – 9 minutes accompanied by an orchestra or band. In this case, the composer of the musical accompaniment is T Djohan, the author of the song Tanoh Lon Sayang.
The development of this dance is colored by various changes. For example, when the Acehnese arts team visited the kingdom in Malaysia in 1959 in exchange for souvenirs. At that time, this dance was presented with the addition of three male dancers, two holding swords, one holding vandel.
As for around 1966, through the advice of traditional elders, regarding the presentation of betel nut it was the work of women, it would be better if this dance was danced by women only. Changes also occur in the duration which is considered too long, so that the presentation of the dance is more condensed.
Furthermore, after PKA II in 1972, the accompaniment that was previously an orchestra was changed to traditional music, namely Serune Kale, Gendrang and Rapai. This is in line with the request of the 1974 National Dance Festival committee which requested that traditional dances be accompanied by traditional music as well.
Philosophical Value of Ranup lam Puan
As indicated in the previous paragraphs, in Acehnese culture, betel has long been a symbol of respect. During the time of Sultan Alaudin Riayatsyah (1602 AD), betel was used as a treat for an envoy of the King of England James I, Sir James Lancastle.
Betel represents the nature of humility and intention to glorify guests. Betel is also interpreted as a source of peace and social warmth. Sirih is often served to initiate dispute resolution deliberations, peace ceremonies, peusijuek, meu-uroh, and other ceremonies.
Besides that, betel is also a medium of social communication in Acehnese society. In this case, in Aceh, the term Ranub Sigapu is known as a communication opener. Every book written by the people of Aceh, there is always a ranub sigapu which is the initial part of the side of the book.
Presentation of Motion, Accompaniment & Clothing
The movements in the Ranup Lampuan dance are adapted from the activities of making betel by Acehnese women. There are greetings and prayers, picking the betel and removing the stem, cleaning the betel, sweeping the lime, giving gambier and areca nut, until the betel is served. The more beautiful combined with Zapin’s movements and other dances.
In this dance, there is a dancer’s role as a prima donna and a companion dancer. The difference in contrast can be seen through the clothes used, where the prima donna dancers use more beautiful clothes. All of them wore long-sleeved shirts, trousers, headscarves, songket cloth tied around their waists to cover their pants.
The rest, there are several other accessories whose function is to beautify the appearance of the dancer. There are belts, anklets, semanggoi cots, crowns, rocking flowers, Aceh fans, necklaces or boh ru, including the lady or cenara as the main property of this dance.
In terms of dance accompaniment, it has been mentioned above that there has been a change from an orchestra to a traditional musical instrument, namely Serune Kale, Geundrang and Rapai. The three musical instruments play in harmony without any poetry. Motion and music combined beautifully sparked the joy of the audience.
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