{ "vercy": "1.0-draft", "publication": { "status": "research-draft", "adjudicationStatus": "unreviewed", "publishableCanonical": false, "generatedAt": "2026-09-12T10:39:42Z", "providers": [ "Codex" ], "breadth": "recalled by Codex without web access - no source was read", "missingProviders": [], "pass": 2, "cost": { "grok": { "seconds": 17.2, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a09532-4654-7a12-8f22-d03965ac2958\n--------\nuser\nDescribe what is already known about one registered thing. Answer as JSON only, no prose around it.\n\nThing: Jaipongan\nSense to describe: (none recorded)\nDomain code: ACT.ACT\nAlso known as: (none)\n\n\nContext for this batch of 1001 things:\n# Batch 043: 1001 regis", "usd": 0.0, "recall": true }, "codex": { "seconds": 88.2, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a09532-462f-7703-8bcf-43f8f62e0721\n--------\nuser\nYou are drafting a Vercy meta-model for one registered thing. Answer as JSON only, no prose around it.\n\nThing: Jaipongan\nRegistry id: vr.tr.jaipongan\nPlane / domain: ACT / ACT.ACT\nRegistry definition: (none recorded)\nNames folded into this entry: (none)\n\n\nCont" } }, "enrichment": { "pass": 3, "engine": "claude", "producedAt": "2026-10-06T12:00:00Z", "ingestedAt": "2026-10-06T08:40:34+00:00", "fields": [ "agent_conduct", "ethics", "failure_modes_and_hazards", "owners", "visual_identification" ] }, "gate": { "passed": true, "version": "1.0", "at": "2026-10-07T10:10:29+00:00", "evidence": [ "completeness 1.00", "sense: Wikidata description", "2 live sources", "review by codex: pass" ] } }, "metaModel": { "id": "THING-Q3160589", "registryId": "vr.tr.jaipongan", "name": "Jaipongan", "version": "0.1.0-research.1", "entryKind": "thing", "family": "Thing Registry", "domain": [ "ACT.ACT" ], "status": "research-draft" }, "canonicalUrl": "https://ver.cy/models/thing/q3160589/", "model": { "registry_id": "vr.tr.jaipongan", "name": "Jaipongan", "purpose": "Enable an agent to recognise, document, compare and support Jaipongan practice while preserving the distinctions between its dance, musical interpretation and practitioner lineages.", "definition": "Jaipongan is a Sundanese dance and accompanying music genre developed in West Java, Indonesia, during the 1970s, drawing on ketuk tilu, pencak silat movement and other local performance traditions, and closely associated with choreographer Gugum Gumbira.", "scope_statement": "This model owns vr.tr.jaipongan as a Sundanese dance and associated performance practice of West Java, recording how practitioners identify, perform, transmit and adapt it; individual choreographies, recordings and performances are related instances.", "in_scope": [ "Practitioner definitions of Jaipongan and the use of the name Jaipong", "Movement vocabulary, phrase organisation and choreographic interpretation", "Relationships between dancing, kendang patterns and musical accompaniment", "Regional, choreographic and teaching lineages", "Performance formats, learning practices and attributed adaptations" ], "out_of_scope": [ "Sundanese dance and culture in their entirety", "Ketuk tilu, bajidoran and pencak silat as independent practices", "Construction and maintenance of kendang and other instruments", "Complete biographies of choreographers, musicians and teachers", "Recording ownership, venue operation and event administration beyond their implications for Jaipongan practice" ], "distinguishing_features": [ "Require practitioner attribution or documented repertoire connections alongside visual resemblance; costume or energetic movement alone does not establish Jaipongan.", "Distinguish Jaipongan from ketuk tilu by documenting the claimed development and choreographic lineage rather than treating the names as interchangeable; an Indonesian cultural authority describes early Gugum Gumbira works as developments of ketuk tilu. [Cultural authority account](https://kebudayaan.kemdikbud.go.id/bpnbjabar/kesenian-jaipong-antara-karawang-bandung/)", "Test the relationship between movement phrases and the identified Jaipongan accompaniment, rather than classifying any dance performed to Sundanese music as Jaipongan.", "Separate a Jaipongan choreography from a fusion work that selectively quotes its movements by recording the creator's designation and practitioner assessments.", "Determine whether a use of 'Jaipongan' names dancing, musical practice or their combination before comparing instances." ], "characteristics": [ { "name": "Referent of the genre label", "kind": "category", "unit_or_values": "dance practice; musical practice; integrated performance; adaptation; unresolved", "why_it_matters": "Prevents a music recording, dance lesson and staged choreography from being treated as equivalent instances." }, { "name": "Attributed practice lineage", "kind": "relation", "unit_or_values": "Named teachers, choreographers, musicians, ensembles or studios, with evidence and attribution role", "why_it_matters": "Supports comparisons without assigning every version to one originator." }, { "name": "Repertoire and version", "kind": "relation", "unit_or_values": "Named choreography or piece, creator attribution, arrangement and locally identified version", "why_it_matters": "Distinguishes genre membership from fidelity to a particular work." }, { "name": "Movement phrase vocabulary", "kind": "category", "unit_or_values": "Practitioner terms, spelling variants, demonstrated meanings and sequence positions", "why_it_matters": "Allows meaningful comparison without assuming terminology is universal." }, { "name": "Dance-kendang coordination", "kind": "relation", "unit_or_values": "Time-linked movement phrases, drum cues, responses and practitioner explanations", "why_it_matters": "Makes musical interpretation observable instead of reducing assessment to appearance." }, { "name": "Choreographic flexibility", "kind": "category", "unit_or_values": "fixed sequence; bounded variation; improvisation; mixed; undocumented", "why_it_matters": "Determines whether a difference is permitted interpretation or departure from the selected version." }, { "name": "Accompaniment configuration", "kind": "category", "unit_or_values": "Named instruments and vocal roles; live, recorded or mixed accompaniment", "why_it_matters": "Records the resources and cueing conditions needed to reproduce a version." }, { "name": "Practice setting", "kind": "category", "unit_or_values": "studio lesson; rehearsal; staged presentation; participatory setting; recorded demonstration; other documented setting", "why_it_matters": "Makes expectations about participation, presentation and assessment explicit." }, { "name": "Documentation readiness", "kind": "state", "unit_or_values": "unattributed; practitioner-described; demonstrated; corroborated; disputed", "why_it_matters": "Shows whether an agent can confidently label or teach from the available material." } ], "affordances": [ "Classify a candidate performance as Jaipongan, a documented adaptation or an unresolved identification using attributed evidence.", "Annotate movement phrases against kendang cues in a recording or rehearsal.", "Compare interpretations of a named choreography across teachers, performers and accompaniment versions.", "Prepare a lesson or rehearsal brief using a specified lineage, repertoire version and cue structure.", "Document adaptations and route disputed attribution or terminology to relevant practitioners.", "Assemble an attributable teaching or archival record with appropriate reuse permissions." ], "agent_conduct": { "may": [ "Describe Jaipongan, its music and history from reliable sources.", "Teach or share performances with credit to choreographers, dancers and musicians." ], "must_not": [ "Present the dance as an invention of anyone other than its Sundanese originators.", "Share recordings without the performers' permission or rights holders' licence.", "Sexualise dancers or describe the dance in demeaning terms.", "Present political disputes over the dance as settled fact." ], "requires_human": [ "Licensing or publishing archival recordings." ] }, "ethics": { "considerations": [ "The dance belongs to Sundanese culture, which deserves credit and respect.", "Female dancers have faced moral criticism; descriptions should be fair to them." ], "affected_parties": [ "Dancers and musicians", "Sundanese communities", "Audiences" ] }, "owners": { "steward": "The Sundanese performing communities; rights holders own individual recordings.", "master_systems": [] }, "visual_identification": [ "Solo or group dancers in sarong and kebaya-style dress with a long sash.", "Quick hip, shoulder and hand movements set to kendang drums and gamelan." ], "failure_modes_and_hazards": [ "Loss of teachers and repertoire when traditions are not passed on." ], "what_it_is_for": [ "Jaipongan is encountered in Sundanese community celebrations, staged performances, dance instruction and cultural documentation.", "It provides a setting for expressive movement and musical interaction, with performance choices shaped by practitioners, repertoire and occasion." ], "standards_and_regulation": [ "The Convention for the Safeguarding of the Intangible Cultural Heritage, adopted by UNESCO in 2003, provides a framework for safeguarding living performing arts such as this tradition without implying individual inscription on a heritage list." ] }, "sources": [ { "id": "wikidata", "title": "Wikidata item Q3160589: Jaipongan", "url": "https://www.wikidata.org/wiki/Q3160589", "url_status": "live", "what_it_supports": "identity and sense of the item", "checked_by": "wikidata-api" }, { "id": "wikipedia-en", "title": "Wikipedia: Jaipongan", "url": "https://en.wikipedia.org/wiki/Jaipongan", "url_status": "live", "what_it_supports": "general description of the item", "checked_by": "wikidata-api sitelink" } ], "structure": { "bundles": [ { "id": "identity-and-lineage", "name": "Identity and lineage", "description": "Establish how Jaipongan is named and situated within particular practitioner histories.", "rationale": "Recognition requires more than a generic description of Sundanese dancing, and historical credit needs role-specific evidence.", "layers": [ { "id": "genre-designation", "name": "Genre designation", "description": "Identify what the label denotes in each source or practice setting.", "findings": [ { "id": "label-and-referent", "name": "Label and referent", "description": "Record who uses Jaipongan or Jaipong and whether the label denotes dance, music or an integrated practice.", "questions": [ { "text": "What does the practitioner mean by Jaipongan in this instance?", "kind": "definition", "id": "label-and-referent-q01" }, { "text": "What evidence distinguishes this use from a neighbouring Sundanese performance category?", "kind": "boundary", "id": "label-and-referent-q02" } ] } ] }, { "id": "development-and-credit", "name": "Development and credit", "description": "Separate accounts of musical development, choreography and dissemination.", "findings": [ { "id": "contributor-specific-history", "name": "Contributor-specific history", "description": "An Indonesian cultural authority connects Jaipongan's development with Karawang and Bandung and discusses Suwanda's drumming alongside Gugum Gumbira's choreography; record contributions separately rather than imposing a single undifferentiated creator credit. [Cultural authority account](https://kebudayaan.kemdikbud.go.id/bpnbjabar/kesenian-jaipong-antara-karawang-bandung/)", "questions": [ { "text": "Which sources attribute particular musical, choreographic or dissemination contributions to each named practitioner?", "kind": "provenance", "id": "contributor-specific-history-q01" }, { "text": "Which dates and origin claims are corroborated, and which remain conflicting accounts?", "kind": "provenance", "id": "contributor-specific-history-q02" } ] } ] } ] }, { "id": "movement-and-choreographic-structure", "name": "Movement and choreographic structure", "description": "Describe recognisable movement material and its organisation within a specified Jaipongan version.", "rationale": "An agent needs demonstrable movement relationships to recognise and compare dancing without inventing a universal sequence.", "layers": [ { "id": "movement-terms-and-demonstrations", "name": "Movement terms and demonstrations", "description": "Connect local movement names to observable executions.", "findings": [ { "id": "situated-movement-vocabulary", "name": "Situated movement vocabulary", "description": "Document named movements through teacher explanations and time-linked demonstrations, retaining variation in terminology.", "questions": [ { "text": "Which terms does this teacher use for the demonstrated Jaipongan movements, and what does each term encompass?", "kind": "definition", "id": "situated-movement-vocabulary-q01" }, { "text": "Which changes of weight, posture, direction and limb coordination distinguish the demonstrated phrase?", "kind": "measurement", "id": "situated-movement-vocabulary-q02" } ] } ] }, { "id": "sequence-and-variation", "name": "Sequence and variation", "description": "Identify how a particular choreography orders phrases and permits interpretation.", "findings": [ { "id": "version-specific-phrase-rules", "name": "Version-specific phrase rules", "description": "Separate required phrase order, transitions and endings from variation accepted by the relevant teacher or choreographer.", "questions": [ { "text": "Which phrase relationships must be retained for this named Jaipongan version?", "kind": "boundary", "id": "version-specific-phrase-rules-q01" }, { "text": "Where may a dancer vary timing, emphasis or movement material, and who establishes those limits?", "kind": "action", "id": "version-specific-phrase-rules-q02" } ] } ] } ] }, { "id": "music-and-dance-coordination", "name": "Music and dance coordination", "description": "Record accompaniment choices and the relationship between kendang playing and dancing.", "rationale": "A visual movement inventory cannot explain how a Jaipongan performance is coordinated or how accompaniment changes affect it.", "layers": [ { "id": "accompaniment-realisation", "name": "Accompaniment realisation", "description": "Identify the actual musical resources used by a version.", "findings": [ { "id": "ensemble-and-arrangement", "name": "Ensemble and arrangement", "description": "Record instruments, vocal participation, piece identity and arrangement without making one ensemble configuration compulsory for the genre.", "questions": [ { "text": "Which instruments, vocal roles and musical pieces accompany this Jaipongan version?", "kind": "provenance", "id": "ensemble-and-arrangement-q01" }, { "text": "Which accompaniment substitutions do its practitioners accept, and how do they affect the dance?", "kind": "boundary", "id": "ensemble-and-arrangement-q02" } ] } ] }, { "id": "kendang-cues-and-response", "name": "Kendang cues and response", "description": "Make the timing relationship between percussion and movement inspectable.", "findings": [ { "id": "cue-to-movement-map", "name": "Cue-to-movement map", "description": "Annotate audible drum events and visible movement responses, distinguishing observed synchrony from practitioner explanations of cueing.", "questions": [ { "text": "Which kendang events coincide with movement accents, transitions or endings in the documented passage?", "kind": "measurement", "id": "cue-to-movement-map-q01" }, { "text": "Do practitioners describe the dancer, drummer or a fixed arrangement as determining each transition?", "kind": "definition", "id": "cue-to-movement-map-q02" }, { "text": "What cueing adjustments are needed when this passage uses recorded accompaniment?", "kind": "action", "id": "cue-to-movement-map-q03" } ] } ] } ] }, { "id": "repertoire-and-performance-context", "name": "Repertoire and performance context", "description": "Locate each realisation within a named work, adaptation and performance setting.", "rationale": "Genre membership, fidelity to a choreography and suitability for an occasion are separate judgements.", "layers": [ { "id": "work-version-and-adaptation", "name": "Work, version and adaptation", "description": "Track the relationship between a performance and its claimed repertoire.", "findings": [ { "id": "repertoire-attribution", "name": "Repertoire attribution", "description": "Identify the choreography and musical version where known, then record modifications and the designation used by their creator.", "questions": [ { "text": "Which choreography, choreographer and accompaniment version does this performance claim to realise?", "kind": "provenance", "id": "repertoire-attribution-q01" }, { "text": "What supports classifying the changes as interpretation, a new Jaipongan choreography or a work influenced by Jaipongan?", "kind": "boundary", "id": "repertoire-attribution-q02" } ] } ] }, { "id": "setting-and-participation", "name": "Setting and participation", "description": "Describe how the occasion shapes performers' and audiences' roles.", "findings": [ { "id": "situated-performance-expectations", "name": "Situated performance expectations", "description": "Record cast arrangement, audience involvement, presentation choices and locally stated expectations without treating one setting as the genre norm.", "questions": [ { "text": "How are dancers, musicians and spectators expected to participate in this Jaipongan presentation?", "kind": "definition", "id": "situated-performance-expectations-q01" }, { "text": "Which staging, costume or duration choices follow this occasion's requirements rather than the choreography itself?", "kind": "boundary", "id": "situated-performance-expectations-q02" }, { "text": "What changes do the performers and host consider appropriate when moving this version to another setting?", "kind": "action", "id": "situated-performance-expectations-q03" } ] } ] } ] }, { "id": "transmission-and-responsible-reuse", "name": "Transmission and responsible reuse", "description": "Support teaching, evaluation and documentation through identifiable Jaipongan practitioners and versions.", "rationale": "Useful preservation must retain movement-music relationships and attribution, with enough evidence to support subsequent learning.", "layers": [ { "id": "teaching-and-assessment", "name": "Teaching and assessment", "description": "Capture how a teacher develops and evaluates competence in a particular repertoire.", "findings": [ { "id": "lineage-specific-learning-progression", "name": "Lineage-specific learning progression", "description": "Document lesson progression and observable assessment criteria, clearly identifying whose standard is being applied.", "questions": [ { "text": "Which movements and kendang-response skills does this teacher require before introducing the selected choreography?", "kind": "action", "id": "lineage-specific-learning-progression-q01" }, { "text": "What observable evidence does the teacher use to assess phrasing, coordination and interpretation?", "kind": "measurement", "id": "lineage-specific-learning-progression-q02" } ] } ] }, { "id": "documentation-and-reuse", "name": "Documentation and reuse", "description": "Retain the evidence needed to interpret and appropriately reuse a captured performance.", "findings": [ { "id": "usable-jaipongan-performance-record", "name": "Usable Jaipongan performance record", "description": "Link legible movement footage and audible accompaniment with repertoire, performer, musician and teacher credits, terminology and applicable permissions.", "questions": [ { "text": "Does the record preserve enough full-body movement and kendang detail to examine the claimed phrase relationships?", "kind": "measurement", "id": "usable-jaipongan-performance-record-q01" }, { "text": "Who identified the repertoire, explained the terminology and supplied the attribution?", "kind": "provenance", "id": "usable-jaipongan-performance-record-q02" }, { "text": "What permissions and credits apply to using this particular choreography, performance and recording for teaching or adaptation?", "kind": "action", "id": "usable-jaipongan-performance-record-q03" } ] } ] } ] }, { "id": "evidence-and-external-alignment", "name": "Evidence and external alignment", "description": "What the world already says about this thing, gathered so the model can be checked against it.", "rationale": "A model that cannot be lined up against existing standards, identifiers and practice cannot be adopted by anyone who already uses them.", "layers": [ { "id": "reported-evidence", "name": "Reported evidence", "description": "Findings from the breadth pass, kept separate from the structural claims.", "findings": [ { "id": "evidence-confidence-notes", "name": "Check these first", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "This account is recalled knowledge, not source-verified research.", "Precise origin dates and the respective contributions of Gugum Gumbira, Suanda and other Karawang practitioners should be checked before assigning sole authorship.", "Jaipongan can denote both dance and its musical genre; a fuller model should distinguish these connected uses without treating either as the exclusive meaning." ], "questions": [ { "id": "evidence-confidence-notes-q01", "text": "Which of these check these first hold for the sense of Jaipongan this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-real-world-use", "name": "Real-world use", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Stage performances of Sundanese dance and music.", "Entertainment at weddings, community celebrations and cultural festivals.", "Dance instruction in studios and performing arts education.", "Presentation of Sundanese cultural identity." ], "questions": [ { "id": "evidence-real-world-use-q01", "text": "Which of these real-world use hold for the sense of Jaipongan this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-regional-variation", "name": "Regional variation", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Its principal cultural setting is Sundanese West Java, particularly the artistic networks associated with Bandung and Karawang.", "Performances elsewhere in Indonesia and abroad may adapt choreography, accompaniment and presentation to stage or educational settings." ], "questions": [ { "id": "evidence-regional-variation-q01", "text": "Which of these regional variation hold for the sense of Jaipongan this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-neighbours", "name": "Neighbouring kinds and how to tell them apart", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ { "name": "Ketuk tilu", "difference": "An older Sundanese social dance and musical tradition that supplied important foundations for Jaipongan; Jaipongan is a later creative development with its own choreography and repertoire." }, { "name": "Pencak silat", "difference": "A family of martial arts traditions whose movements influenced Jaipongan; Jaipongan organises movement primarily as dance rather than martial practice." }, { "name": "Sundanese dance", "difference": "The broader category of dance traditions associated with Sundanese culture; Jaipongan is one particular genre within it." } ], "questions": [ { "id": "evidence-neighbours-q01", "text": "Which of these neighbouring kinds and how to tell them apart hold for the sense of Jaipongan this model covers, and on what evidence?", "kind": "provenance" } ] } ] } ] } ] }, "openQuestions": [ "How do practitioner accounts and archival records reconcile the respective contributions and chronology associated with Suwanda, Gugum Gumbira, Karawang and Bandung?", "When do practitioners use Jaipongan to designate an independent musical genre, and when does it specifically denote dancing or an integrated performance?", "How consistently are terms such as bukaan, pencugan, nibakeun and mincid defined and applied across teachers and repertoire?", "Which movement-kendang relationships do practitioners regard as diagnostic across lineages, and which belong only to particular choreographies?", "Where do practitioners place the boundary between contemporary Jaipongan, Jaipongan-derived fusion and neighbouring Sundanese performance practices?" ], "statistics": { "bundles": 6, "layers": 11, "findings": 14, "questions": 27 } }