Aldiabat, K., & Le Navenec, C.-L. (2011). Clarification of the blurred boundaries between grounded theory and ethnography: Differences and similarities. Turkish Online Journal of Qualitative Inquiry, 2(3), 1–13. https://eric.ed.gov/?id=ED537796
Ayderova, V., Lonsdale, K. A., Goh, Y-L., & Majid, M. P. (2017). Exploring the Malay traditional genre‘zapin’as educational material forawestern classical ensemble (flute, viola,piano).APSMER2017 Proceedings: Music education transcending boundaries (pp. 360-366). UiTM Faculty of Music, UniversitiTeknologi Mara.
Babchuk, W. A., & Hitchcock, R. K. (2013). Grounded theory ethnography: Merging methodologies for advancing naturalistic inquiry. Arts Education Research Conference: 2013 Conference Proceedings (St. Louis, MO), pp. 26–33.
Bakka, E. (2023). Words and meanings – decolonising dance-music terminology. Musikk Og Tradisjon, 37. https://doi.org/10.52145/mot.v37i.2255
Bari, M. H.A., Samsuddin, M. E., & Kahn, S. M.(2021). Pelestariandanpemartabatan zapin Johor sebagai warisan terbilang. Jurnal Melayu Sedunia, 4(1), 75–113.
Birks, M., & Mills, J. (2022). Grounded theory: A practical guide (3rd ed.). SAGE Publications.
Bourdieu, P. (1977). Outline of a theory of practice. Trans. Richard Nice. Cambridge University Press.
Bourdieu, P. (1990). The logic of practice. Stanford university press.
Bourdieu, P. (2018). The forms of capital. In The sociology of economic life (pp. 7892). Routledge.
Br. Simatupang, N. M. (2014). Simbol dan makna tari zapin penyengat di sanggar budaya warisan Pulau Penyengat Kepulauan Riau. Repositori Universitas Pendidikan Indonesia.
Brown, C. (2009). Chance and circumstance: Twenty years with Cage and Cunningham. Knopf Doubleday Publishing Group
Bryant, A., & Charmaz, K. (2007). Grounded theory research: Methods and practices. In B. Antony & C. Kathy (Eds.), The Sage handbook of grounded theory (pp. 1–28). SAGE.
Caillois, R. (2001). Man, Play, and Games. University of Illinois Press.
Chai, Celine. (2018). “Chance Isn’t Always Random:How “Chaos”Led to Modern Structure. Dance Department Best Student Papers. 15. https://digitalcommons.lmu.edu/dance_students/15
Chanifudin. (2023). Maknadan nilai budayamelayu studikasus padatari zapin Melayu. Jurnal Tamaddun, 11(1), 15-35. https://www.syekhnurjati.ac.id/jurnal/index.php/tamaddun/article/download/13 081/pdf_59
Charmaz, K. (2006). Constructing grounded theory: A practical guide through qualitative analysis. Sage Publications.
Chaterji, K. (2023). The Archive Performs: Malay Performance Traditions as Vessels for Islamic Histories and Identities in Sumatra (Order No.30635473).ProQuest Dissertations & Theses Global. https://www.proquest.com/dissertationstheses/archive-performs-malay-performance-traditionsas/docview/2864050980/se-2
Chun Tie, Y., Birks, M., & Francis, K. (2019). Grounded theory research: A design framework for novice researchers. SAGE Open Medicine, 7, 2050312118822927. https://doi.org/10.1177/2050312118822927
Copeland, R. (2004). Merce Cunningham: the modernizing of modern dance. Psychology Press.
Corbin, J., & Strauss, A. (1990). Basics of Qualitative Research: Grounded theory procedures and techniques. SAGE Publications.
Crosby, J. F. (1997). The dancer’s way of knowing: Merging practice and theory in the doing and writing of ethnography. Etnofoor, 10(1/2), 65–81. https://www.jstor.org/stable/25757908
deSouza, A.L. (2016). Laban MovementAnalysis—Scaffolding Human Movement to Multiply Possibilities and Choices. In: Laumond, JP., Abe, N. (eds) Dance Notations and Robot Motion. Springer Tracts in Advanced Robotics, vol 111. Springer, Cham. https://doi.org/10.1007/978-3-319-25739-6_13
Dewan Bahasa dan Pustaka. (2017a). “main.” Kamus Dewan Edisi Keempat. https://prpm.dbp.gov.my/cari1?keyword=main
Dewan Bahasa dan Pustaka. (2017b). “tari.” Kamus Dewan Edisi Keempat. https://prpm.dbp.gov.my/Cari1?keyword=tari
Dewan Bahasadan Pustaka. (2017c). “gotong-royong.”Kamus Dewan Edisi Keempat. https://prpm.dbp.gov.my/Cari1?keyword=gotong-royong
Dewan Bahasa dan Pustaka. (2017d). “kopak.” Kamus Dewan Edisi Keempat. https://prpm.dbp.gov.my/Cari1?keyword=kopak
Franko, M. (1992). Expressivismand chanceprocedure: Thefutureof an emotion. RES: Anthropology and Aesthetics, 21, 142-160. http://www.jstor.org/stable/20166846
Geertz, C. (1973). The interpretation of cultures: Selected essays. Basic Books.
Glaser, B. G. (1998). Doing grounded theory: Issues and discussions. Sociology Press.
Glaser, B. G., & Strauss, A. L. (1967). Discovery of grounded theory: Strategies for qualitative research. In The Discovery of Grounded Theory: Strategies for Qualitative Research. Aldine Transaction. https://doi.org/10.4324/9780203793206
Hall, S. (1990). Cultural identity and diaspora. In J. Rutherford (Ed.), Identity: Community, culture, difference (pp. 222-237). Lawrence & Wishart.
Hamza, H. Z. (2016). Dance and beyond: Performing and observing igal (Dance) of Bajau Laut communities in Semporna, Sabah, Malaysia. In N. Duangwises & L. D. Skar (Eds.), The Folk Performing Arts in ASEAN (pp. 147–178). Princess Maha Chakri Sirindhorn Anthropology Centre.
Hamza, H. Z. (2023a). Exploring the elements of Main Zapin: A preliminary reports and studies from fieldwork in Johor. Jurai Sembah, 4(1), 9–20.
Hamza, H. Z. (2023b,July 12). Main Zapin DPAC -Lecture-Performance|Zapin Johor [Video]. YouTube. https://youtu.be/MqHW8j_ijpg?si=D1aE4_2ngFI8Iz7t
Hanna, J. L. (1987). To dance is human: A theory of nonverbal communication. University of Chicago Press.
Hanna, J. L. (1988). Dance, sex, and gender: Signs of identity, dominance, defiance, and desire. University of Chicago Press.
Hendra, D. F. (2023). Tari zapin sayang serawak: Bentuk dan perkembangan. SEIKAT: Jurnal Ilmu Sosial, Politik Dan Hukum, 2(1), 11–20. https://doi.org/10.55681/seikat.v2i1.365
Huizinga, J. (1971). Homo Ludens: A study of the play element in culture.Beacon Press. Huizinga, J. (1971). Homo ludens: A study of the play-element in culture.Beacon Press.
Ibnur, T., 2000. Dana: Tari pergaulan bernafaskan Islam di Jambi. In Zapin Melayu di Nusantara (ed M.A.M. Nor) pp. 61-77. Yayasan Warisan Johor, Johor Bahru
Institute for the Study of Knowledge Management in Education. (n.d.). Call and Response -The Sound of Collaboration. Retrieved October 31, 2023, from www.iskme.org
Ismail, A. S. (1984). Sejarah ringkas Muar. Toko Buku Manaf.
Izadri. (2020). Makna gerak tari zapin siak sri indrapura di Desa Rempak, Kecamatan Siak, Kabupaten Siak. Perpustakaan Universitas Islam Riau. https://repository.uir.ac.id/10954/1/166710321.pdf
Jaques-Dalcroze, E. (1921). Rhythm, music and education. GP Putnam’s Sons.
Kaeppler,A. L. (1972). Method and theory in analyzing dancestructurewith an analysis of Tongan Dance. Ethnomusicology, 16(2), 173–217. https://doi.org/10.2307/849721
Kaeppler,A. L. (1987). Spontaneous choreography: Improvisation in Polynesian dance. Yearbook for Traditional Music, 19, 13–22. https://doi.org/10.2307/767874
Kamaruddin Amin, M. Arsikal Salim GP, Ishom Yusqi, Amin Haedari, Imam Safei, Matuski HS, Affandi Muchtar, Suwendi, Mahrus, Muh. Aziz Hakim, Zulfakhri Sofyan Pono. (2018). Ensiklopedi Islam nusantara: Edisi budaya. Direktorat Pendidikan Keagamaan Islam, KementerianAgama RI.
Kelle, U. (2007). “Emergence” vs. “Forcing” of Empirical Data?ACrucial Problem of “Grounded Theory” Reconsidered. Historical Social Research / Historische Sozialforschung. Supplement, 19, 133–156. http://www.jstor.org/stable/40981074
Khairunnisha, S. S. R., Fretisari, I., & Munir, A. (2020). Struktur penyajian tari zapin arab (grup al-badar) di Pontianak Timur Kalimantan Barat. Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK), 9(4). https://dx.doi.org/10.26418/jppk.v9i4.40519
Lafrelle, M. (2018, April 4). Main Zapin (SYF 2018) -Rivervale Primary School | Myrahans Lafrelle Choreography. [Video]. YouTube. https://youtu.be/gbRWVI5YA8I?si=BeC1zm7ijZ7i2lQ1
Loring, D. D., & Pentz, J. L. (2021). Dance appreciation. Human Kinetics Publishers.
Marasari, R. (2016, November 10). Main zapin 2016, aura tari (johan) sk seksyen 6 kota damansara. [Video]. YouTube. https://youtu.be/OzmpFHSN7K0?si=NmPkztNGJ4cbi_AX
Matusky, P. & Tan, S. B. (2012). Muzik Malaysia: Tradisi klasik, rakyat dan sinkretik. Universiti Malaya Press.
Matusky, P. & Tan, S. B. (2017). The music of Malaysia: The classical, folk, and syncretic traditions. Routledge.
Mcfee,G. (2013). Defusing Dualism:John Martin on DanceAppreciation, The Journal of Aesthetics and Art Criticism, 71(2), 187–194. https://doi.org/10.1111/jaac.12008
Md Tahir, A. (2001). Sungai Muar: Kesan sejarah awal dan perkembangannya. In T. Kassim, A. B. Yahaya, & E. Mahmud (Eds.), Menelusuri Sejarah Tempatan Johor (pp. 201-222).Yayasan Warisan Johor.
Melinda, T., & Asriati, A. (2020). Analisis struktur gerak tari zapin siak di Kecamatan Siak Kabupaten Siak Provinsi Riau. e-Jurnal Sendratasik, 9(2), 1-8. https://ejournal.unp.ac.id/index.php/sendratasik/article/download/109507/1050 97
Merriam-Webster. (n.d.). Exclusivity. In Merriam-Webster.com dictionary. Retrieved December 29, 2023, from https://www.merriamwebster.com/dictionary/exclusivity
Merriam-Webster. (n.d.). Inclusivity. In Merriam-Webster.com dictionary. Retrieved December 29, 2023, from https://www.merriamwebster.com/dictionary/inclusivity
Monti, I. H. (2020). In support of abstraction: Physical interiority beyond postmodern. City University of New York (CUNY). https://academicworks.cuny.edu/gc_etds/3600/
Nahachewsky, A. (1995).Participatory and presentational danceas ethnochoreological categories. Dance research journal, 27(1), 1-15. https://doi.org/10.2307/1478426
Nazif, P. (2020, January 23). Coincidences, chance, and champignons. Los Angeles Review of Books. https://lareviewofbooks.org/article/coincidences-chanceand-champignons/
Nettl, B. (2007, June 13). taqsim. Encyclopedia Britannica. https://www.britannica.com/art/taqsim
Nicolas, A. (2017). Musical terms in Malay classical literature: The early period (14th -17th century) (No. 24; Nalanda-Sriwijaya CentreWorking Paper Series, Issue January).
NinhBinhTV. (2020, February 17). Main Zapin -malaysian dancetroupe-international dance. [Video]. YouTube. https://youtu.be/3lK91CgPXhQ?si=dzvL4qqcL4YxYSHu
Noland, C. (2020). Merce Cunningham: After the arbitrary. University of Chicago Press. https://doi.org/10.7208/9780226541389
Nor, M. A.M. (2000).Dancing onthe proscenium: re-constructing, revitalizing and appropriating Malay folk dances in the new performance space. In Z. T. Dunin E (Ed.), Proceedings: 21st Symposium of the ICTM Study Group on Ethnochoreology, Korcula, 2000 PP-Zagreb (pp. 238–243).
Nor, M. A. M. (1993). Zapin: Folk dance of the Malay world. Oxford University Press.
Nor, M. A.M. (1998). Malaysia. InZ. A. Tinggal (Ed.), The dances of ASEAN (pp. 90– 127).ASEAN Committee on Culture and Communication.
Nor, M. A. M. (2001). Blurring images, glowing likenesses: Old and new styles in traditional dances of Malaysia. Yearbook for Traditional Music, 33, 65–72. https://dx.doi.org/10.2307/1519631
Nor, M. A. M. (2001). Malay folk and social dances. In G.-S. Yousof (Ed.), The encyclopedia of Malaysia: Performing arts (pp. 36–51). Didier Millet, Csi.
Nor, M. A. M. (2004, January). The relationship of traditional Malaysian dance movements to the colotomicunits of music. In 37th ICTM World Conferencein Fuzhou and Quanzhou, China (pp. 128-130).
Nor, M. A. M. (2020). Eclecticism and syncretic traditions: the making of Malay folk dance. In Sharing Identities (pp. 37-55). Routledge.
Nor, M. A.M. (2023). Engaging Ronggeng Community—Reviving Malay Social Dance and Music Practices in the Twenty-First Century: A Keynote Address. Asian Music.
Nurdin, Nurdin. (2014). Perkembangan fungsi dan bentuk tari zapin arab di Kota Palembang (1991-2014). Gelar: Jurnal Seni Budaya, 12(2), 173–82.
Nusantara Performing Arts Research Center. (2023, December 5). Main Zapin Melayu di Pentas Seni Merdeka 2023! [Video]. YouTube. https://youtu.be/vU8EtIzly3w?si=IEbYKhROL2-_h3d9
Olshansky, E. F. (2015). Overview of Grounded Theory.Springer PublishingCompany. https://doi.org/10.1891/9780826134684.0001
Overbeck, H. (1922). The Malay pantun. Journal of the Straits Branch of the Royal Asiatic Society, 85, 7-35. https://www.jstor.org/stable/41561388
Oxford English Dictionary. (n.d.). Exclusivity. Oxford English Dictionary, Oxford University Press. Retrieved December 29, 2023, from https://www.oed.com/search/dictionary/?scope=Entries&q=exclusivity
Oxford English Dictionary. (n.d.). Inclusivity. Oxford English Dictionary, Oxford University Press. Retrieved December 29, 2023, from https://www.oed.com/search/dictionary/?scope=Entries&q=inclusivity
Pangestu, I. Y., Ediwar, & Martion. (2013). Estetika tari zapin sebagai sumber penciptaan karya kaki-kaki. Bercadik: Jurnal Pengkajian dan Penciptaan Seni. 1(1), [no pagination]. http://dx.doi.org/10.26887/bcdk.v1i1.22
Ralph, N., Birks, M., & Chapman, Y. (2014). Contextual Positioning: Using Documents as Extant Data in Grounded Theory Research. SAGE Open, 4(3), 2158244014552425. https://doi.org/10.1177/2158244014552425
Royce, A. P. (1977). The Anthropology of Dance. Indiana University Press. https://books.google.com.my/books?id=0W61AAAAIAAJ
Schechner, R. (2013). Performance studies: An introduction. Routledge.
Shim, M., Johnson, B., Bradt, J., & Gasson, S. (2020). A Mixed Methods–Grounded Theory Design for Producing More Refined Theoretical Models. Journal of Mixed Methods Research, 15(1), 61–86. https://doi.org/10.1177/1558689820932311
Sklar, D. (2001). Five premises for a culturally sensitive approach to dance. Moving history/dancing cultures: A dance history reader, 30(2), 30-32.
Small, C. (1998). Musicking: The meanings of performing and listening. Wesleyan University Press.
Strauss, A. L. (1987). Qualitative Analysis for Social Scientists. Cambridge University Press. https://doi.org/10.1017/CBO9780511557842
Strauss, A. L., & Glaser, B. G. (1965). Awareness of Dying.AldineTransaction.
Strauss, A., & Corbin, J. (1990). Grounded Theory Procedures and Techniques. Journal of Environmental Psychology, 11(4).
SuperSedecrew. (2014, December 1). Main Zapin | Konvokesyen ASWARA KE 10 2014. [Video]. YouTube. https://youtu.be/XBerFWKiGTU?si=7AWn8r_7w9Q590pZ
Tan, S. B. (1993). Bangsawan: A Social and Stylistic History of Popular Malay Opera. In The Journal of Asian Studies (Issue 2). Oxford University Press. https://doi.org/10.2307/2059939
Tarryn-Tanille Prinsloo, Marth Munro & Chris Broodryk (2019) Theefficacy of Laban movement analysis as a framework for observing and analysing space in Rosas danst Rosas, Research in Dance Education, 20(3), 331-344, https://doi.org/10.1080/14647893.2019.1620719
Timmermans, S., & Tavory, I. (2007). Advancing Ethnographic Research through Grounded Theory Practice. In A. Bryant & K. Charmaz (Eds.), The SAGE Handbook of Grounded Theory. SAGE Publications Ltd. https://dx.doi.org/10.4135/9781848607941
Turner, V. (1986). The anthropology of performance. PAJ Publications.
Turner, V. (1998). From ritual to theatre: The human seriousness of play (Vol. 1). Performing Arts Journal Publ.
Weinstein, B. (2011). Thecollaborativelegacy of MerceCunningham. Places Journal, https://doi.org/10.22269/110307
Wilson, M. (2009). Dance Pedagogy Case Studies: A Grounded Theory Approach to Analyzing Qualitative Data. Research in Dance Education, 10(1), 3–16. https://eric.ed.gov/?id=EJ830082
Zakkai, J. D. (1997). Dance as a way of knowing. Stenhouse Publishers.