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In this Management dance, we can also find out that the scene of this tradition is in “a new house,” what I meant is that a house that is just built by the people who work together to build the house and then the owner of the house will invite the people to come to his/her new house as his/her gratitude and this is called “rumba”. This scene can be found in the act two called Management Rumba. There’s also act three, It Is called Management Layman’s, but there’s no setting or scene in this act.
If we follow the detail of this tradition, the setting and scene are only in harvest time and in a time where there’s a new house that is built by the people. 2. P stands from “participants” According to Homes, Participants refer to people who Involved In the speech community, speech events, speech acts and those are the speaker, listener, addresser, someone who takes part in a conversation, for the example in a prayer, telephone, classroom, etc.
In Management dance, we can see that the participants are the singers and dancers consist of 20 until 30 people whether men or women, but we can also mind in the tradition of this Management dance, the participants are also the farmers Just like in the act one, it is called Management Makers, people in a community or society, we can call it neighbors Just like in the act two called Management Rumba and last but not least, the act three Is the youth whether men or women, It can be found in act three called Management Layman’s.
Just like what it was explained by Homes, the participants are the speaker; in this case it is the singers and dancers who consist of 20-30 people whether men or women, the listener; in this case it is the people who watch the dance, the addresser; In this case It can be the guest because this Management dance Is also shown In a special occasion such as when they have a special guest comes to visit their place or land. It is also shown in ceremony, those 1 OFF According to the theory of Homes, ends refers to the expecting result from the participants or the goals of the participants.
In Management dance, the ends can be found in act three also known as Management Layman’s, where the youth try to find their love to live their life with. After read the tradition of Management dance, we can also include that there are several ends that we can find or conclude in this tradition, first, in act one Management Makers, the ends is the gratitude of the payday cultivation in the harvest time. Second in act two also known as Management Rumba, we can conclude that the ends is to try the new house that the people built in togetherness or also known as Napalms in Bass Tumble.
Since this tradition was shown in a special occasion, we can conclude that the ends of this tradition or the social goal of this tradition is to entertain the guests of the special occasion. 4. A tanks from “act sequence” As what we can read from the theory of Homes, act sequence refers to the actual form of contents, what is said in traditional ceremony, because in every tradition there are sentences in the local language that have been frozen, which it means, it cannot be changed by other people.
Act 1 – Management Cambers Kappa : Sigh waning Ana plunge e WI SE tea waistcoat e Koori : ‘way Ana momma plunge e sigh waning keen WI MO Trio : Pop wan innate Koori -Ron : Tombstone me : Tombstone me kaki e : I mangle : Katie Magdalene : Kananga waning : Undone IANA e Naira e end waning ottoman plunge e : End waning tama plunge e : Naira e pass MO Nikkei plunge e : Mesa Susanne ma en : Naira e hookworm Allan sea e : Way temperature membrane cambers : Cambers e way owe : Pop wailing sis wailing undone : Warrant sis warrant Kari SE skimped ye : Membrane cambers : Undone fallopian jamboree : Emerge regression manumit mammalian membrane cumberer Koori Cambers cambers cambers cambers e owe (TOMBOY TERM : Endow naira cambers in wailing owe : Asana Allan unman aka silica : Kantian in wailing upon aka deputation : Cambers owe : Cambers e owe cambers cambers e owe As meaning mumble enumerated in pop wailing Koori I : Ay as meaning cambers naira e cambers e naira e cambers owe Trio : Membrane in wailing Kinsley in wailing Koori : Kinsley in wailing Kari untangle membrane cumberer Koori : Way kingmaker owe sis wailing Kananga Koori I : Cambers : Cambers e Koori II Koori I : Fallopian : Fallopian : Owe : Wino endow : Wino yelled wine wino : Wino yelled wine : Wino e wino – Management Rumba Act 2 Kappa : Assigning en make wale : Kaki wino e make wale : How SE make piton : How : E make wale asana WI WI MO in kaki e make wale Tan MO unattended tangling Ana me make wale Koori Angelinos wounding legalize make wale (TOMBOY 9 KETTLE) Koori : Slow : Pollen Trio : Manning make slow rummaging mumble now endow Koori : Sis sis Augustan equalizing now make wale endow Trio : Watt lane naira attention mumble now endow Koori : IANA woo molestation tartan oleo en Kananga endow Trio Wale now endow England kaka language endow Koori : England kaka language engagement umber endow Trio : Wale were pinkness : Tan solo Sloan : Epinephrine marimbas : Phenylalanine marimbas : Pandering undone imparts mumble nana e E naira e undone : Wale were Koki e nana e : Way memo kits : Memo rumba MO rumba MO tumble were e : Oakmont Oakmont : Oakmont Oakmont e masque Oakmont Oakmont tumble were Koori : Bangkok male way tumbrels tumbrels tumbrels lye lye tumbrels Trio : Smugger Act 3 : Smugger wailing e smugger wailing : ISO momma unhand unpin oleo worrywart rooky en make wale were : Issue mom unhand Augustan woo equalizing rooky en make wale were : Mangle angles unman : Pakistan woo Episcopalian kits MO pollen – Management Layman’s : Alumna tare kits Kari : Auk maw demanded Kari : Embanking peerage regents Kari Osaka make waken Kari : Uneasy manmade : Ackerman wan gangrened : Lankan Lenten Kari : Sagging woo oleos way tea away tea : Sagging woo rooky : Away tea Lankan ethane : Anode woo cakewalk : Anode woo saleswoman : Attendant Hamiltonian UK unattended : Targeted tama India e : Mammals like antenna auk inner Eagan Kananga TOMBOY 2 KETTLE Koori : Signaling end IANA woo tare kits Maureen : Pain lazuli kulak makes OK Kari TOMBOY DECENT XX Koori : Mange inhuman tare lawmaker ganged lawmaker Kananga Trio way pap MO underdone aphelia nick TOMBOY TRENTON XX : Karri
Koori : Pastureland sis liaise titillate parental ganged parental unman auk Trio : Keen kits anima warren no Koori : Pap MO tare tradesman TA Enola Eagan loose Nolan Trio : Reiterate sumo nick Koori : Engel legman as demanded Eagan loose Nolan Trio : Targeted TA errors walleye TA pee Allendale Koori : Walleye TA pee laymen TIA Kanata Mann Eagan loose Nolan Trio : Shook in rooky shook in rosary mongoose eke Koori : In sis Kane tutu sis uncooked rondos machinelike Eagan loose Nolan Trio : Way ungentle in rooky seek in rooky way engagement Koori : In sis Kane TU sis mange’s en sis mange’s en kneeing Keynesian engage loose Nolan Trio : Wailing tumor tout tow tow tow rake rake la e Koori : ‘tow tow ‘rake rake la e kaki anima mule were e 5.
K stands from “kef’ conveyed whether it is conveyed mocking, sarcastic, sad, etc. In Management dance, the key that we can conclude in this tradition is dynamic and energetic. We can conclude that through the whole performance from act one to act three of Management dance. 6. I stands from “instrumentalities” According to the theory of Dell Homes, instrumentalities refers to the choice of channel whether it’s formal language, oral, written, traditional language, all depends n the choice of language, in this case, it is the language itself. In this Management dance, the instrumentalities of this tradition is traditional language, in this case it is in Bass Tumble. 7.
N stands from “norm of interaction and interpretation” According to Hymen’s theory, norm of interaction and interpretation refer to properties that are attached when we speak, such as loudness, silence, etc. It is called norm because it is considered as politeness and it depends on the society. In Management dance, the norm of interaction and interpretation can be found in the way he singers sing the song and dance along with the other dancers and singers, and as we can see, the properties that can be found in this dance, the outfit or clothes are in bright colors and in traditional clothes in Mishmash but now lots of the dancers of Management, especially the women wear clothes called Kebabs. 8. G stands from “gender” According to Homes, gender refers to poem, proverb, riddle, prayer, these are all marks that are different than casual styles.