hands. Beka buluh that held hands will be used at the dance, formed to cover their head, Karonese called Bulang-bulang
2. Female dancer
a. Kebaya, the clothing is always worn by the Karo people in any cultural activities and at the time of dancing.
b. Kampuh , a sarong that is commonly used by the Karo people in daily activities or the activities of customs.
c.Tudung, is formed from Kelam-kelam to cover the head female dancer. Kelam- kelam is another traditional clothes. Then, it is covered Beka buluh so looks
unique. d. Uis nipes, is customary red cloth which is a hallmark characters of Karonese
3.2 The Meanings of Basic Movements
The dance movements that exist in Lima Serangkai dance are development of basic movement. The basic movements came from movements of Guro-Guro
Aron dance. In essence, the basic meaning of this movements show about someones desire men to know other people women and shows his love and
affection. Therefore, the writer first identifies the meaning of basic movements of Guro-Guro Aron dance.
a. Basic movement for male dancer
1. Left hand above shoulder level and parallel to the right hand under the thigh
body right oblique. The meaning is a man want to get acquainted with a woman. He asked May I know your name? see pages 34 picture I.1.
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2. Right and left hand in front of chest, left oblique body. The meaning is a man
shows that he has a good heart and intentions see page 34 picture I.2. 3.
Still like the beginning of the movement, but the meaning of movement here is a man stated that he is able to carry or bear anything see pages 34 picture
III.3. 4.
Even all the people he loved he could embrace and carry to give happiness to his family see pages 35 picture III.2.
b. Basic movements for female dancer
1. The left hand was on her waist, right hand parallel to the thighs. It means a
woman ask man’s patience to get acquainted her and ask when he arrives in
the place see page 35 picture I.1.
2. The left hand was on her waist, right hand parallel to the front of the waist. It
means a woman asking if the man had eaten or not see page 35 picture I.2.
3. The left hand was on her waist, right hand slightly above the waist. It means
that the woman ask the man news see page 36 picture I.3.
4. The left hand was on her waist, right hand in front of the abdomen. It means
that the woman asked about the mans father see page 36 picture I.4.
5. The left hand was on her waist, right hand at shoulder level. It means that the
woman asked about the mans mother see page 36 picture I.5.
6. The left hand was on her waist, right hand in front of the shoulder. The
meaning is the woman asks the mans intent see page 37 picture I.6.
7. The left hand was on her waist, right hand parallel to the head. The meaning is
the woman tell him to wait for her decision see page 37 picture I.7.
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8. The left hand still at the waist, right hand in front of forehead, Karonese called
this movement with pucuk. This movement means that woman ask for the
time to think about the man’s willing see page 37 picture I.8.
9. The left hand still at her waist, right hand is above the shoulders. It means that
the woman considers the mans willing, whether that is good and true like he
said see page 38 picture I.9
10. Hand does the movement changes. Right hand motion no.9 to waist through
cleavage while the left hand moves. Then repeat the movements as movement on the part I. The Meanings of the movements in part 2 is that the women are
still considering. But she could not make her own decisions, So she tell the family. Then, the family also think about it. They all consider and finally
approve their relationship even get the level of marriage. See page 38-41
picture II.1-II.9
11. Repeat the movement part I picture I.1-I.9 in Part III. But here the meaning
of these movements is the struggle and loyalty. If a couple is bound marriage, surely they would have children. Women stated that she is ready to carry her
child while upholding something. Even when needed She is also able to carry
mersan something, although it is usually done by men.
Kumalo Tarigan says that in general, all these basic movements are movement that danced in gendang morah morah of Lima Serangkai dance and the
rest is just dance development, which aims to increase the variety of movements and creating aesthetic value. The difference a few dance depends on the coach and
dancers who dance the dance. It cannot be blame. Not because they want to
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change the meaning of the Lima Serangkai dance but this is because the culture is alive and thriving. The differences just create aesthetic values.
3.3 The Meanings of Dance Movements Lima Serangkai Dance
