TARIAN JOGHEE

Penang Culture Centre

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Introduction and history

The origin of the name joghee is a combination of the words joget (a traditional Malay dance) and gembira (joyful). This dance was introduced by the late Aminah Nani (Mak Minah), a prima donna and a prominent figure in the art of bangsawan theater. The joghee dance was often performed during the extra turn of a bangsawan performance. However, it was not restricted to this context and could be performed at other events as well.



According to Marlinda Mansor, the joghee dance was revived in 1993 when Mak Minah was invited to serve as an advisor at the Penang Cultural Heritage. At that time, she was tasked with showcasing the dances of Penang. Mak Minah emphasized the importance of preserving the joghee dance. In 1994, during the Malaysia Fest, the dance was officially revived. Marlinda Mansor also noted that the dance incorporates elements from the dances of traders and colonial influences. This is believed to have occurred during the colonial era. Nevertheless, the movements of the dance are more closely associated with the Indian and Arab-Persian communities, which are strongly tied to the mixed-heritage groups (such as Anak Mami and Peranakan Jawi) in Penang. Furthermore, even if the dance was introduced to the Malay world during the colonial period, the Arab-Persian influences in its movements are evident, particularly in the gestures involving the head, hands, and feet.

The joghee dance has also been studied by communities in neighboring Indonesia. Research indicates that the joghee or jogi dance originated among the Malay ethnic group on Pulau Panjang, Batam, influenced by Penang. According to studies by students of the Dance Department at the Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, the joghee dance is connected to the lives of fishermen. It depicts the story of women or wives preparing to welcome their husbands or young men returning from fishing at sea. This interpretation aligns with the meaning of joghee introduced by Mak Minah—joget (dance) and gembira (joy)—symbolizing dancing and celebrating the return of the men who went out to earn a livelihood.

The music of the joghee dance is simple, featuring repetitive patterns. There is only one joghee song, making the music easy to remember. The dance highlights the etiquette and decorum of women, as it begins with the dancers entering while covering their faces. They then remove the shawls covering their faces, bow, and open their arms as a gesture of respect. After this, the dance continues until the joghee song ends.

Functions and Roles

-As a means of entertainment


-As a symbol of celebrating the return of men who went out to earn a livelihood


-As one of the performances during the extra turn


Traditional Attire/ Accessories

-Originally, before being recreated or contemporized, the women performed the joghee dance with their hair let loose, as Malay women traditionally had long hair.


-A decorative forehead ornament was worn on the head.


-For the upper body, the dancers wore beaded and sequined vests (clearly showing Persian-Indian influences).


-For the lower body, the dancers wore long skirts. Today, contemporary elements have been introduced, with dancers wearing ankle-cuffed trousers instead.


-The dancers also wear bracelets and ankle bells to produce rhythmic sounds when foot-stomping movements are performed.


Equipment/ Ingredients

-Beads, sequins.


-Forehead ornament.


-Bracelets.


-Ankle bracelets.


Method / Preparation Method / Presentation Method

-The titik menapak dance movement begins with a stomp of the right foot (titik), followed by a stomp of the left foot (menapak), repeated facing forward. This stomping is enhanced by the sound of ankle bells worn by the dancers.


-The titik menapak movement continues with the dancers turning to the side.


-The hands are moved using a rolling motion.


-The head is swayed from left to right following an eight-count and the tempo of joghee music.


-There are several types of movements in the joghee dance, including the double mirror movement, mat-spreading movement, and three-side-point movement. In the three-side-point movement, the dancer lifts their foot from the center to the side.


Figures and Achievements

-

Reference Source

i. Bahan Bacaan: https://www.facebook.com/jkknp.pinang/posts/httpsyoutube4saqhi7_96ocabaran-menari-tarian-joghee-bersama-kumpulan-kesenian-jk/3179906018730817/ 

https://www.youtube.com/watch?v=ErFYTwIUpys 

https://digilib.isi.ac.id/11606/5/jurnal.pdf 

https://www.youtube.com/watch?v=Fx6tAuNjc9U



i. Tokoh (jika ada temu bual tokoh)

Abd Razak Abd Malek & Nur Hidayati Mohamed Jamali (JKKN Pulau Pinang)

Marlinda Mansor (Penang Culture Centre)


Location

Informant/Figure/Editor/Researcher
Get Directions

State JKKN Contact Information

Zurairi bin Hanip

Cultural Officer

Jabatan Kebudayaan dan Kesenian Negara, Pulau Pinang
Kompleks Pustaka Warisan Seni, Lot No. 2180 Lintang P. Ramlee, Off Jalan P.Ramlee 10460 PULAU PINANG

04-281 7791 /7792

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Use the form below to contact the Informant/Figure/Editor/Researcher directly. We will respond to your inquiry as soon as possible!

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