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36-426: Bedoya may refer to: Bedhaya , also rendered as Bedoya , an Indonesian sacred dance Bedoya (surname) , including a list of people with the name Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Bedoya . If an internal link led you here, you may wish to change the link to point directly to

72-405: A newly composed choral melody, while the latter fitted a new choral part into a pre-existing gendhing melody played by the gamelan. Hundreds of stanzas of text were written for these parts, and a particular gendhing uses at least a dozen. The texts are mainly in the form of a wangsalan (poetic riddle), and deal with a wide variety of subjects. Much of the text is erotic love poetry, describing

108-468: A peaked roof, with the Susuhunan on a throne in the middle of the room. The dance is performed in three large sections. In each section, the dancers emerge from a room behind the audience hall, approach the throne single file, dance in front of the throne, and then retreat, again single file. They approach and retreat on opposite sides of the throne, thus circumambulating the throne in a clockwise direction,

144-405: A sacred text literally. This is all because during any performance or rehearsal, the deputies of Ratu Kidul are said to be present. The dance can be interpreted in a number of ways, including as an abstract sequence of positions, and a reenactment of the love between the goddess and a royal ancestor. Another common interpretation is that they symbolize military formations , which may explain why

180-652: A saint or an image of Jesus or the Virgin Mary . Often this is performed three times, as a reference to the Trinity . In the Tridentine Rite the elements of Bread and Wine are also incensed before the Consecration by encircling them, twice counterclockwise, once clockwise. This incensing was accompanied with Latin prayer. In Romania , there is an Easter custom to process around the church three times by singing priests leading

216-550: Is a common form of Hindu prayer. The ambulatory pathway made of stone around the shrine is called the Pradakshina path. Also called pradakṣina or caṅkramaṇa in Sanskrit . In Zen Buddhism , jundō (巡堂) can mean any ritual circuit or circumambulation. At Tassajara each morning, the officiating priest (導師 dōshi ) visits four different altars on their way to the zendō , to make bows and offerings of incense. This jundō begins with

252-478: Is also present in other religions, including Christianity, Judaism, and Islam. In many Hindu temples, the temple structure reflects the symbolism of the Hindu association of the spiritual transition from daily life to spiritual perfection as a journey through stages. Passageways for circumambulation are present through which worshipers move in a clockwise direction, starting at the sanctuary doorway and moving inward toward

288-551: Is done in complete silence and also performed on holy days such as the birth and ascension of Bahá'u'lláh as well as the birth and martyrdom of the Báb. The Bönpo in the Tibet traditionally circumambulate (generally) in a counter-clockwise direction, that is a direction that runs counter to the apparent movement of the Sun . Candidates for the three principle degrees of Freemasonry circumambulate

324-492: Is only accompanied by a pathetan known as pathetan bedhaya , which has lost much of the rhythmic freedom associated with pathetan s to fit better the stride of the dancers. The literary renaissance of Java in the 18th and 19th centuries, which greatly changed Javanese music, had as one of its first effects the creation of genres of gendhing to accompany bedhaya and serimpi, known as gendhing kemanak and gendhing bedhaya-serimpi . The former were based on

360-483: Is performed during wedding ceremonies, the four rounds of pheras symbolize a sacrosanct bond in the form of circumambulation of a purifying object, in this case the holy book, Sri Guru Granth Sahib . In the Catholic Church , a priest sometimes circumambulates an altar while incensing it with a thurible . Also, at some Catholic shrines, it is a tradition to circle the cult object of the place, usually relics of

396-537: The Susuhunan 's accession to the throne. All rehearsals, and especially the performance, must be accompanied by offerings (many of which correspond to those specified in the Gandavyuha Sutra ). The dancers must fast and undergo ritual purification, they must be in bridal dress and cover the upper part of their bodies in turmeric ( borèh ). When the text is copied, a few intentional mistakes are inserted to avoid copying

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432-554: The Trilokya or the Trimurti , so a threefold set of three symbolizes completion and perfection. In the 19th century, dancers held and fired pistols in the performance of the bedhaya. Sumarsam considered the meaning of the use of pistols an aristocratic attempt to adopt a foreign element to show enhance royal power, or the secularization and informalization of the court ritual when in the presence of European guests. During some period in

468-531: The bedhaya Semang in Yogyakarta, the latter of which has not been performed for more than 20 years. The Solonese dance continues to be performed once per year on the second day of the Javanese month of Ruwah (May), to commemorate the ascension of the current Susuhunan (prince) of Surakarta. Nine females, relatives or wives of the Susuhunan, perform the dance before a private audience. An invitation to anyone outside of

504-800: The chuppah and much Jewish dancing at weddings and Bar Mitzvahs is done by moving in a circle. According to the Mishnah in Tractate Middot 2:2, when a person ascended to the Temple Mount in Jerusalem on the Three Pilgrimage Festivals in the time of the Temple 's existence, they would circumambulate counter-clockwise. Someone who had something bad happen to them would circumambulate clockwise so that when someone saw them going in this unusual direction

540-433: The colotomic instruments ( kethuk , kenong , and gong ), the kemanak , and drums ( kendhang ketipung and gendhing); there are no balungan instruments and only sometimes other melodic instruments (such as gambang and gendér ). In the Yogyakarta kraton , where the dance is no longer performed as ritual, the complete gamelan was used as accompaniment, sometimes even featuring cornets . The pieces used to accompany

576-426: The inner sanctum where the deity is enshrined. This is a translation of the spiritual concept of transition through levels in life into bodily movements by the worshipers as they move inwardly through ambulatory halls to the most sacred centre of spiritual energy of the deity. It is done in a clockwise direction and in an odd rather than even number of times. Circumambulatory walking around the shrine, by keeping time,

612-536: The 19th century, the dancers in Yogyakarta were young men dressed as women. The combination of characteristics of both sexes was thought to have a special spiritual power. Circumambulation Circumambulation (from Latin circum around and ambulātus to walk ) is the act of moving around a sacred object or idol. Circumambulation of temples or deity images is an integral part of Hindu and Buddhist devotional practice (known in Sanskrit as pradakśiṇā ). It

648-519: The Cross services are celebrated. The priest along with altar servers process around the interior of the church visiting each of the 14 stations. On Palm Sunday in the churches of many Christian denominations , members of the congregation, oftentimes children, are given palms that they carry as they walk in a procession around the inside of the church. In the Church of Pakistan , a united Protestant Church ,

684-610: The Kaaba, while supplicating to Allah. Judaism uses circumambulation in the Hakafot ritual during the Festival of Sukkot culminating in seven Hakafot on Hoshanah Rabbah , the end of the Festival. They are also performed during Hakafot on Simchat Torah , where Jews often dance circling the Torah Scrolls. Traditionally, Jewish brides circumambulate their grooms during the wedding ceremony under

720-514: The South Sea, with a founder of the Mataram dynasty , either Sultan Ageng or his grandfather, Senapati . In the former, the nine dancers were the creation of a deity who was brought to life and offered the dance to their maker in gratitude. In the latter, the dance was created when Kangjeng Ratu Kidul fell in love with the sultan and danced the bedhaya for him; the nine dancers in the modern dance represent

756-630: The appropriate direction for veneration in Buddhist and Shaivist traditions. A name and number is given to each of the nine dancers, which designate a specific position in the changing choreographic pattern. There are slight variations between different sources in the names and numbers of the dancers, but there is consensus on the general forms. They are: a human being, representing taṇhā (the word for desire or craving in Buddhism), four chakras (the top three of which are used as note names; see slendro ), and

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792-508: The attraction of Kangjeng Ratu Kidul to Sultan Agung. There are many taboos regarding the performance and rehearsal of the Bedhaya ketawang , both the song and the dance associated with it. It is only allowed to be rehearsed every 35 days (when Thursday of the seven-day week coincides with Kliwon, the fifth day of the five-day week of the Javanese calendar ), and performed on the anniversaries of

828-519: The body; the second shows opposition between desire and the chakras (there is some evidence that the legs were considered a fifth chakra), and in the final section, interaction between the head and desire. Afterwards, desire is absorbed into the body, and then the dancers are arranged in the same arrangement as offerings in the Majapahit palace. Three is a number rich in Hindu symbolism, like the three pramanas ,

864-517: The claims made about the advances in the arts in Sultan Agung's courts, and the existence of the dance was not clearly documented until the late 18th century. There are many myths which explain the origin of the dance, which generally have either an account of a meeting with an Indic deity ( Shiva , Brahma , Vishnu , Indra , or Lord Buddha ), or the meeting of Kangjeng Ratu Kidul , the Goddess of

900-583: The dancers are given names of flanks . Furthermore, the dancers were brought onto battlefields with the Yogyakartan ruler. Some of the choreographic positions are vaguely similar to those that were believed to have been used in the Kurukshetra war , the war in the Mahabharata , and some of the texts tell of military victories. Judith Becker provides a tantric interpretation. The first position shows desire plus

936-406: The dancers divide into two facing groups, the arms and desire to one side, and the chakras and legs on the other. In the third section of the dance, there is an added section of an encounter between the desire and head dancers in the second position, while the other dancers squat. The third position places the dancers either in a row (Surakarta) or with the arms to one side (Yogyakarta), with desire in

972-534: The dances are traditionally gendhing with long structures (originally designated at least kethuk 4 arang ; see gendhing for an explanation); however, shorter gendhings were also used later (such as kethuk 4 kerep or kethuk 2 ). The most ancient and sacred song is the Bedhaya Ketawang . When the bedhaya dancers appear on stage, in Yogyakarta it was accompanied by an ayak-ayakan ; in Surakarta, it

1008-630: The faithful on Palm Sunday carry palm branches into the church as they sing Psalm 24 . Tawaf (طواف) is one of the Islamic rituals of pilgrimage . During the Hajj and Umrah , Muslims are to circumambulate the Kaaba ( most sacred site in Islam ) seven times, in a counter-clockwise direction. The circling is believed to demonstrate the unity of the believers in the worship of God, as they move in harmony together around

1044-448: The first rolldown of the han , and ends as the dōshi enters the zendō with the third rolldown. After offering incense and bowing at the altar, the dōshi walks around the zendō behind the meditators, in what is called the kentan (検単), inspection of the sitting platform . As the dōshi passes, each resident raises their hands in gasshō (合掌) without bowing. This joins the dōshi and sitters in mutual acknowledgement. In Lavan Pheras, which

1080-459: The four limbs: The first two sections of the dance each have three positions, with slight variations, while the last adds a final, fourth position. The first position is in the shape of a human being, with the first five dancers in a line down the middle, and those representing the right and left sides in front and behind (from the perspective of the Susuhunan), respectively. In the second position,

1116-489: The inner circle of the court is a considerable honor. Some kind of female dance known as bedhaya existed on Java at least as early as the Majapahit Empire . Indeed, some of the steps of the modern dance are said to be as old as the third century. However, the modern form is traditionally dated to the court of Sultan Agung of Mataram (reigned 1613–1645). Unfortunately, there is almost no historical evidence to back up

Bedoya - Misplaced Pages Continue

1152-431: The intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Bedoya&oldid=1045542636 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Bedhaya The bedhaya has different forms in the two court cities, the bedhaya Ketawang in Surakarta (Solo) and

1188-410: The middle. The final position is in a 3x3 grid ( rakit tiga-tiga ), with the three upper chakra centers in the middle column. The dance is accompanied with the singing of men and women together. The style is known as sindhenan lampah sekar . Formerly only women sang; however since at least the 1940s men have also sung these parts. In Surakarta, instead of a full gamelan , the only instruments used are

1224-586: The people, just before finishing Easter Liturgy. It symbolizes the funerary procession of the burial of Jesus Christ. Circumambulation is common in many Eastern Orthodox and Oriental Orthodox services. In the Coptic tradition, during the liturgy , the priest circles the altar while an acolyte ( altar boy ) holds a cross high on the opposite side. This is also a common practice in Lutheran, Roman Catholic, Anglican and Methodist churches during Lent when Stations of

1260-692: The person could tell them what was wrong (i.e., they were a mourner or were excommunicated) and the person encountering them would pray for them in the name of "the One who dwells in this House." Followers of the Baháʼí Faith perform circumambulation of both the Shrines of the Báb and Bahá'u'lláh during their lesser pilgrimage to Haifa and Bahjí , in Palestine. While circumambulating, observance of these Manifestations of God

1296-409: The spirit of the goddess. Since the decline in the power of the royal courts, other, more accessible forms of bedhaya have become popular, not as religious ritual, but as artistic performance. These do not require the royal presence, and may be performed on stage for an admission fee. They frequently recount stories used in wayang . The dance is held in a pendhapa , a pillared audience hall with

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