Journal title : Gondang: Jurnal Seni dan Budaya Initials : GSB Abbreviation : Gondang Frequency : 2 issues per year (June & December) DOI : Prefix 10.24114 by ISSN : 2599-0594 (print) | 2599-0543 (online) In Association : AP2SENI (Asosiasi Prodi Pendidikan Sendratasik, Drama, Tari, dan Musik Indonesia) Editor-in-Chief : Dr. Panji Suroso, S.Pd., M.Si. Managing Editor : Tri Danu Satria, S.Pd., M.Pd. Publisher : Department of Music Education, Faculty of Languages and Arts, Universitas Negeri Medan Indexing & Abstracting : Sinta | Advances Science Index (ASI) | DOAJ | EBSCO | Copernicus | Dimensions | Garuda | Oxford Library | Harvard Library | Scilit | Google Scholar | Neliti | CiteFactor | Base | ZDB Gondang is a Journal of Art and Cultural for information and communication resources for academics, and observers of Art and Culture, Performing Arts, Educational Arts, Methodology of Art and Cultural. The published paper is the result of research, reflection, and actual critical study with respect to the themes of Art and Culture. All papers are peer-reviewed by at least two referees. The scope of Gondang is the Science of Art and Culture. Published twice a year (June and December) and first published for print edition in June 2017. Gondang: Jurnal Seni dan Budaya has been accredited Sinta 3 by the Indonesian Ministry of Research and Technology decision Number 0173/C3/DT.05.00/2025 which is valid for five years since on Volume 8 Number 1 (June, 2024) until Volume 12 Number 2 (December, 2028).
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Blended Learning in Dance Education: A Qualitative Study of Its Implementation among SIJB Students
This study is driven by the need for innovation in dance education at Sekolah Indonesia Luar Negeri (Indonesian Schools Abroad), where limited access to expert instructors remains a challenge, alongside the growing importance of technology in supporting skill-based learning. The study aims to describe the implementation of a blended learning model supported by audio-visual media in dance instruction at Sekolah Indonesia Johor Bahru (SIJB) and to examine the resulting learning outcomes. The study adopts a descriptive qualitative approach involving teachers, students, and expert instructors as participants. Data were collected through two days of direct observation, follow-up interviews conducted online via WhatsApp, questionnaires, and documentation. The analysis followed stages of data reduction, data display, and verification using triangulation techniques. The findings show that the learning process unfolds through interconnected stages, including video-based material distribution, independent learning, face-to-face practice, expert evaluation, and continued practice leading to performance. Audio-visual media serves as an initial learning resource that helps students build foundational understanding, while face-to-face practice with teacher guidance strengthens technical mastery of movements. Students’ responses reflect a generally positive trend, particularly in relation to interaction and direct learning, although variations in ability emerge due to differences in prior learning experience. Learning outcomes appear across cognitive, psychomotor, and affective domains, all of which develop throughout the process. In conclusion, the findings indicate that integrating audio-visual media with face-to-face learning supports a structured and sustained dance learning process, particularly in contexts with limited resources.
Copyright (c) 2026 Regita Azzahra Komarudin Putri, Agus Budiman, Fitri Kurniati https://creativecommons.org/licenses/by-nc-sa/4.0
Relationship Between Local Culture and Voter Rationality in the 2024 Electoral Contestation in Batu Bara Regency
This study examines the relationship between local culture and voter rationality in the electoral contestation in Batu Bara Regency. The research aims to analyze how local cultural values influence the political behavior of society in determining their choices during regional head elections. As a multiethnic region predominantly shaped by coastal Malay culture, Batu Bara Regency possesses strong social characteristics rooted in kinship relations, traditional leaders, religious authority, and socio-political patronage networks. This study employs a qualitative method with approaches from political sociology and cultural anthropology. Data were collected through observation, in-depth interviews, and documentation studies involving community members, traditional leaders, religious figures, and local political campaign teams. The findings reveal that voter rationality in Batu Bara Regency is not entirely rational-instrumental as described in modern rational choice theory, but is significantly influenced by local culture, emotional proximity, ethnic identity, patron-client relations, and the legitimacy of traditional and religious leaders. Local culture functions as a medium for the production of political meaning that shapes voter preferences in electoral contestation. In this context, voting behavior represents a combination of pragmatic considerations and cultural values embedded within society. This study confirms that local democracy in Batu Bara Regency cannot be understood solely through formal political approaches, but must also be examined through the cultural dimensions that shape public political consciousness.
Copyright (c) 2026 Ahmad Khairuddin, Oman Sukmana, Tutik Sulistyowati https://creativecommons.org/licenses/by-nc-sa/4.0
Integrating the Sibelius App into Learning Traditional Dayak Music Rhythmic Patterns to Enhance Musical Creativity
This study examines the integration of Sibelius, a digital music notation software, as an innovative pedagogical medium in teaching Dayak traditional rhythm patterns to enhance students’ musical creativity. Traditional music instruction, which predominantly relies on oral and imitative approaches, often lacks systematic structure and limits students’ conceptual understanding and creative development. Addressing this gap, this research employs a descriptive qualitative design conducted at Sanggar Panatau Kameluh Bulan involving 26 students. Data were collected through observation, interviews, performance tests, and documentation of students’ musical works. The findings indicate that the use of Sibelius significantly improves students’ cognitive understanding of rhythmic structures through visual notation, enhances psychomotor skills in performing rhythm patterns, and increases affective engagement toward traditional music learning. Moreover, students demonstrate notable development in musical creativity, as reflected in their ability to explore, modify, and create new rhythmic variations based on traditional patterns. The study also reveals that digital notation serves as an effective bridge between oral tradition and modern pedagogical practices, supporting both learning innovation and cultural preservation. Despite challenges related to technological access and varying levels of digital literacy, the integration of Sibelius offers a relevant and adaptable model for technology-based music education. This research contributes to the development of culturally responsive and innovative music pedagogy in the digital era.
Copyright (c) 2026 Hendro T.G Samosir, Muhammad Ahsin Maulana, Mastri Dihita Sagala, Mastri Dihita Sagala https://creativecommons.org/licenses/by-nc-sa/4.0
Utilizing DAW FL Studio as a Transformation of Traditional Music Learning to Digital Media
This study examines the pedagogical role of Digital Audio Workstation (DAW) in traditional music learning among students of the Music, Dance, and Drama Education Study Program at the University of Palangka Raya. The research aims to analyze the functions of digital media, the role of DAW in the learning process, student interactions, creative exploration, and the integration of traditional music into digital environments. A qualitative case study approach was employed involving 21 students enrolled in the Central Kalimantan Traditional Music course. Data were collected through participatory observation, semi-structured interviews, documentation of student arrangement projects, FL Studio project files, audio recordings, and field notes. Data were analyzed using an interactive model and thematic analysis. The findings reveal that FL Studio functioned as a medium for musical exploration, production, and evaluation by enabling students to repeatedly revise and refine their musical arrangements. The learning process was characterized by active collaboration, peer assistance, lecturer guidance, and reflective practice, indicating the presence of scaffolding and collaborative knowledge construction. Students demonstrated creative exploration through experimentation with rhythm, melody, layering, and instrumentation while adapting traditional musical elements into digital formats. The integration of traditional instruments such as Panting Dayak, Rebana, and Gong Dayak into digital arrangements further demonstrated the potential of DAW-based learning to support cultural preservation and revitalization. The study concludes that DAW functions not only as a music production tool but also as a pedagogical environment that facilitates creativity, learner autonomy, collaborative learning, and cultural sustainability in higher education traditional music learning contexts.
Copyright (c) 2026 Muhammad Ahsin Maulana, Hendro T.G Samosir, Andi Arie Astuti https://creativecommons.org/licenses/by-nc-sa/4.0
The Transformation of Sembah Batin Dance in the Development of Performing Arts in West Lampung Society
This study aims to examine innovation in the Sembah Batin Dance as a form of performing arts development within the West Lampung community. The Sembah Batin Dance, created by Nyoman Mulyawan in 2010, now functions as a welcoming dance for guests at various official events, traditional ceremonies, and wedding processions. The uniqueness of this dance lies in its ability to adapt to modern social contexts through innovations in movement forms, accompanying music, and presentation structure, without abandoning noble values ​​such as respect, mutual cooperation, and togetherness. This research employs an ethnocoreological approach to analyze aspects of meaning as well as elements of choreography, costumes, properties, and music. The findings indicate that innovation in the Sembah Batin Dance plays an important role in maintaining the sustainability of tradition and strengthening the existence of regional performing arts amid the social dynamics of West Lampung.
Copyright (c) 2026 Nur Sintia, Pramutomo, Aris Setiawan https://creativecommons.org/licenses/by-nc-sa/4.0
When Myths Incarnate Performances: The 12th Krisnayana Performances as Cultural Discourse and Emotional Experience
This research aims to examine the representation of the myth of Krishna in the performance of the 12th Kresnayana based on the play Suta Ruhara, focusing on the relationship between dramatic structure, the emotional experience of the audience and the performer, and the aesthetic transformation of performance in the contemporary social context. The research uses a qualitative approach with a case study method, including script analysis, direct observation of performances, audiovisual documentation, and in-depth interviews with actors and audiences. The analysis is carried out through an interpretive phenomenological perspective to understand affective experience as part of the production of performance meaning. The results of the study show that myths are not positioned as static epic narratives, but rather as ethical discourses that are alive and negotiated through the tragedies of Samba, Boma, Hagnyanawati, with Krishna appearing as a figure of moral wisdom and a balancer of conflicts. The novelty of this research lies in the finding that affection in performance does not function solely as a dramatic effect, but as a space for collective ethical reflection that connects myths, bodily experiences, and the social consciousness of the audience. Aesthetic transformation through the fusion of traditional idioms and contemporary performance technologies reinforces the symbolic articulation of myths without eliminating local roots. This study concludes that the 12th Kresnayana acts as a reflective cultural practice that bridges traditions, emotional experiences, and social realities, and offers a model of traditional performing arts development that is adaptive, pedagogical, and relevant to the dynamics of today's society.
Copyright (c) 2026 Syaiful Qadar Basri, Setyo Yanuartuti, Anbie Haldini Muhammad , Kanzul Fikri https://creativecommons.org/licenses/by-nc-sa/4.0
Batiteria: The Epistemology of Contemporary Musical Creation Based on the Aceh Spice Route
This article examines the epistemological foundations underlying the creation of the contemporary musical work Batiteria—a work born from research on the Acehnese spice route as a cultural phenomenon. This study uses an artistic research approach that positions artworks as both products and vehicles for reflection on knowledge. By integrating three epistemological axes—(1) practice-based knowledge, (2) an epistemology of reinterpretation that explores how artists “know” traditions before transforming them, and (3) a multi-source epistemology that combines empirical, intuitive, and cultural knowledge—this study analyzes how Batiteria constructs new musical knowledge. Batiteria, an acronym for West, East, and Central Aceh Rhythms, interprets three traditional Acehnese rhythms: Rapai Geleng (West Aceh), Rapai Pasee (East Aceh), and Didong (Central Aceh) through techniques of musical reinterpretation and contemporary composition. The findings indicate that the creation process of Batiteria is not merely expressive, but rather an epistemic act that produces knowledge about tradition, identity, and cultural sustainability through the language of sound. Thus, this article contributes to the development of discourse on the epistemology of art—particularly in the context of tradition-based contemporary music creation in Indonesia.
Copyright (c) 2026 Rizki Mona Dwi Putra, Uswatul Hakim, Vereki Martiano https://creativecommons.org/licenses/by-nc-sa/4.0
Gerattak Semate: Syncretism Representation of Sambas Malay Timang Bubu’s Folkgame
Gerattak Semate is a representation of the syncretism of the Sambas Malay Timang Bubu folkgame in music composition. Timang Bubu is a folkgame that grows and develops in Semate Village, Sambas Regency. The folkgame uses bubu / a type of fishing tool made of bamboo. The phenomenon in the folkgame is used as a stimulus as the material object of creation. The syncretism element contained in it is used as a trigger for the idea of creating musical works. The work of Gerattak Semate is worked on in four works that are mutually sustainable. The four works were created using interpretation and reinterpretation approaches. Interpretation is aimed at interpreting and synthesizing the meaning and socio-cultural values contained in the phenomenon of the Timang Bubu’s folkgame. Reinterpretation is applied to the utilization and development of musical elements in the Timang Bubu’s folkgame as well as the pattern of traditional Malay music that grows and develops in West Kalimantan. Gerattak Semate is composed by applying a combination of hybrid instrumentation. This is done by mixing traditional Malay musical styles and instruments, western instruments, and electronic media. The mixture of various musical idioms and expressions used as a representation of syncretism. Subjectively, this work was conceived as a bridge to present socio-cultural values with a pluralistic frame of mind.
Copyright (c) 2026 Rama Anggara, Asril https://creativecommons.org/licenses/by-nc-sa/4.0
Presentation Structure and Symbolic Meaning of Sekapor Sireh Dance: An Ethnochoreological Study
Sekapor Sireh Dance is a welcoming dance of the Pontianak Malay community performed in customary, cultural, and state ceremonies. As a cultural product, the dance functions not only as an aesthetic performance but also as a medium for expressing cultural values and symbolic meanings. This study aims to analyze the presentation structure and symbolic meanings of Sekapor Sireh Dance from an ethnochoreological perspective. The research employed a qualitative method with an ethnochoreological approach. Data were collected through observation, interviews, and documentation at Sanggar Bougenville, West Kalimantan, and analyzed using the interactive model of Miles and Huberman combined with ethnochoreological analysis. The findings reveal that the presentation structure of Sekapor Sireh Dance consists of movement, musical accompaniment, makeup, costumes, accessories, properties, and floor patterns that form an integrated performance system. The symbolic meanings of the dance are constructed through the interrelationships among these elements, representing values of respect, acceptance, hospitality, openness, prayer, protection, and the cultural identity of the Pontianak Malay community. From an ethnochoreological perspective, these meanings emerge through the interconnectedness of all presentation elements, which collectively form a system of cultural symbols.
Copyright (c) 2026 Romi Faisal, Malarsih Malarsih https://creativecommons.org/licenses/by-nc-sa/4.0
The Kuda Kepang Turonggo Budoyo Dance in Dharmasraya as a Space for Social Interaction
Dharmasraya Regency became one of Indonesia's major transmigration destinations during the New Order period, resulting in a multicultural society composed of Javanese, Minangkabau, Batak, Sundanese, and other ethnic communities. Within this diverse social setting, cultural practices have become important media for fostering interaction and social cohesion. One of these cultural practices is the Kuda Kepang Turonggo Budoyo (PDC) performance, which has developed in Nagari Kurnia Koto Salak, Sungai Rumbai District. This study examines how the Kuda Kepang Turonggo Budoyo (PDC) performance functions as a space for social interaction among the multi-ethnic community of Dharmasraya. The research employs Herbert Blumer's theory of symbolic interaction and adopts a qualitative approach through field observations, in-depth interviews, documentation, and literature review. Data were analyzed descriptively by interpreting the relationships between the performance structure and the social interactions surrounding it. The findings reveal that although the performance preserves the essential characteristics of the Javanese Kuda Kepang tradition, it has undergone adaptation within the multicultural context of Dharmasraya. The performance incorporates distinctive choreographic movements, musical accompaniment, costumes, and performance properties while simultaneously accommodating the participation of individuals from different ethnic backgrounds. More importantly, the performance serves not merely as an artistic expression but as a social arena where members of diverse ethnic communities interact, collaborate, negotiate cultural meanings, and strengthen social relationships. Therefore, Kuda Kepang Turonggo Budoyo (PDC) functions as both a cultural performance and an inclusive medium that promotes social integration and reinforces community cohesion within Dharmasraya's multicultural society.
Copyright (c) 2026 Pipit Supriyani, Budi Setiyono https://creativecommons.org/licenses/by-nc-sa/4.0
An Ethnochoreological Analysis of Historical Transformation and Socio-Ecological Critique of SANG Dance in Belitung
This study analyzes the expressive, symbolic, and communicative functions of movement in SANG Dance from Belitung Island through an ethnocoreological framework. SANG Dance, created by Bella Asmanabillah, uses pepper (sahang) as its central symbol to narrate the historical transformation of Belitung society across three choreographic phases: imbang (pre-colonial), ambang (colonial), and rumpang (post-colonial). This qualitative descriptive research collected data through in-depth interviews, participatory and non-participatory observation, and documentation involving the choreographer, dancers, arts observers, and the supporting community. Data were analyzed using the Miles and Huberman interactive model, and validity was strengthened through source and method triangulation. Results show that movement in SANG Dance functions expressively to convey the collective experience of Belitung people, symbolically to represent the relationship between humans and nature, and communicatively to deliver social criticism regarding ecological exploitation and cultural identity loss. The choreographic structure reflects the historical transformation of Belitung society from harmonious agrarian life, through exploitative colonial systems, to the post-colonial condition marked by social fragmentation and environmental degradation. SANG Dance thus serves not merely as an aesthetic expression but as a medium of social critique, cultural preservation, and ecological consciousness. This study contributes to ethnocoreology by positioning choreography as a cultural text that encodes collective memory, local identity, and socio-ecological criticism rooted in local commodity history.
Copyright (c) 2026 Muhammad Akbar Lazuardi Suherman, Beben Barnas, Tatang Taryana https://creativecommons.org/licenses/by-nc-sa/4.0
Cultural Identity Through the Background Design of Three Animated Advertisements: The Perceptions of Z Generation
Background design in animated advertising is often treated as a secondary visual element, while most studies focus on character design and narrative. This study examines how background design in three Indonesian animated advertisements Sasa, Khong Guan, and Pocari Sweat functions as a representation of culture and how Generation Z audiences interpret the cultural meanings embedded within those backgrounds. Using a qualitative descriptive approach, the research applies Kurtz’s (2020) background art framework, including form, color, perspective, shadow and light, texture, art style, image placement, and narrative function. Cultural representation is analyzed through Koentjaraningrat’s concepts of ideas, activities, and artifacts, while audience reception is examined using Stuart Hall’s encoding–decoding theory through semi-structured interviews with 28 Generation Z informants aged 18–27. The findings show that each advertisement uses distinct visual strategies to construct representations of Indonesian cultural identity. Warm and cool color palettes function as cultural signifiers, perspective shapes the perception of space, and anime-inspired visual styles make local cultural content more globally accessible and commercially appealing. Among the 28 informants, 22 occupied the Dominant position, recognizing the cultural environments as familiar and emotionally resonant. Four informants occupied the Negotiated position, acknowledging tensions between anime aesthetics and Indonesian visual specificity, while two occupied the Oppositional position, criticizing the simplification and homogenization of regional cultural representation. This study demonstrates that animated advertisement backgrounds function not merely as decorative settings, but as culturally meaningful visual spaces that influence audience perception and cultural recognition among Generation Z.
Copyright (c) 2026 Arum Wulandari, Riksa Belasunda, Syarip Hidayat https://creativecommons.org/licenses/by-nc-sa/4.0
What Symbolic Meaning Would Peirce Find in the Raspati Dance at the Galura Kencana Studio in Garut?
This study examines the symbolic meanings embedded in the Raspati Dance performed at Sanggar Galura Kencana, Garut Regency, using the semiotic perspective of Charles Sanders Peirce. It aims to identify and interpret the system of signs found in the choreographic structure, movement vocabulary, makeup, and costume as representations of Sundanese women’s leadership values in education. The study employs a descriptive qualitative approach. Data were collected through observation, interviews, documentation, and literature review, and triangulation was applied to ensure validity. The analysis is based on Peirce’s triadic model, which consists of the sign, object, and interpretant, to understand how visual and kinetic elements function as cultural signs within the performance. The findings show that the movement sequences of the Raspati Dance do not merely serve aesthetic purposes, but also represent values such as perseverance, intelligence, solidarity, and leadership vision among women. The makeup and costume further reinforce the visual dimension, highlighting the image of Sundanese women as graceful, firm, and dignified. All the interconnected elements of the dance create a symbolic narrative that reflects women's struggle to gain knowledge and contribute to societal development. In this sense, the Raspati Dance can be understood as a form of cultural expression that combines artistic creativity with symbolic meanings rooted in the social and cultural values of Sundanese society.
Copyright (c) 2026 Muhamad Rifki Ilhami, Ria Sabaria, Fitri Kurniati https://creativecommons.org/licenses/by-nc-sa/4.0
Continuity & Transformation of Zapin Meskom Music in Bengkalis Regency
This study analyses the continuity and transformation of Zapin Meskom music in Bengkalis Regency, Riau, as a Malay cultural heritage amid modern social change. It aims to explain the tradition's forms of sustainability and the performance changes occurring in a contemporary context. The study uses a qualitative method with a descriptive-analytical approach. We gathered data through observation, in-depth interviews with artists, traditional leaders, and community members, and documentation studies. We analysed the data using the interactive model of Miles, Huberman, and Saldana: data reduction, data display, and conclusion drawing. The results show that Zapin Meskom's continuity rests on preserved core elements: basic movement patterns, the rhythms of gambus and marwas, Malay-language verses, and the values of courtesy and togetherness. Intergenerational transmission through families, art studios, and cultural communities supports this continuity. Transformation shows up in adjusted performance duration, modern stage arrangements, costume innovations, and the use of digital media and cultural festivals as new spaces of expression. Technological developments, tourism, cultural policy, and globalization drive these changes. Zapin Meskom demonstrates a dynamic relationship between tradition and modernity. Tradition preserves local cultural identity. Transformation works as an adaptation strategy that keeps the art relevant. Zapin Meskom continues to endure as a living, evolving cultural heritage in the Bengkalis community.
Copyright (c) 2026 Zalfandri, Daryusti https://creativecommons.org/licenses/by-nc-sa/4.0
The Representation of Riau Malay Traditional Music in the SUNO AI Application: A Post-Reality Perspective
This research aims to examine how traditional Malay music is represented through the Suno AI application and to understand this phenomenon using Jean Baudrillard’s post-reality perspective. The study employs a descriptive qualitative approach with digital experimentation techniques and in-depth interviews. Data were obtained from AI-generated Malay music (zapin, joget, and langgam), which was then compared to original traditional music, supported by the views of informants with expertise in Malay music. The findings indicate that AI is capable of presenting musical similarities at the surface level, such as rhythm, tempo, and the distinctive Malay nuance. However, the music produced tends to lose essential elements such as feeling, spontaneity, social interaction, and cultural meaning. From the post-reality perspective, this condition shows that AI music has entered the stage of simulation and simulacra, where culture is represented as sound signs detached from its original reality. Moreover, AI music can create hyperreality, a form of culture that appears neater and more perfect, but lacks depth of meaning. The presence of AI is not as an agent that changes the way culture is understood and represented in the digital era. AI-generated Malay music becomes a cultural representation that is simulational and has the potential to shift society’s understanding of the authenticity of traditional culture.
Copyright (c) 2026 Ridho Fatwandi, Daryusti Daryusti https://creativecommons.org/licenses/by-nc-sa/4.0
Analysis of Tari Kelelawar Movement Variations Based on the Wordwall Game for 9th Grade at SMPN 7 Semarang
This study aims to analyze the variations of Tari Kelelawar movements and test the use of the Wordwall educational game as a movement analysis medium in dance learning for 9th grade students at SMPN 7 Semarang. The method used is Research and Development (R&D) with the ADDIE development model which includes five stages, namely analysis, design, development, implementation, and evaluation. Data were collected through observation, interviews, documentation, and media feasibility testing to obtain comprehensive information regarding the characteristics of dance movements and the application of learning media. The collected data were analyzed through the stages of data reduction, data presentation, and conclusion drawing to ensure systematic and coherent interpretation. Based on the results of the media expert validation test, Wordwall was declared suitable for use with advantages in aspects of visual appearance, technical quality, and high interactivity. The implementation results showed that the average student response score reached 88% (very suitable category). The use of interactive features such as Match-Up, Labeled Diagram, Group Sort, and Open the Box also proved effective. These features help students deconstruct the complexity of movement visually and independently, while encouraging their active involvement during the learning process. This study concludes that Wordwalls can function effectively as a visual analysis medium to support dance movement analysis and enhance students' understanding of dance learning in a local cultural context.
Copyright (c) 2026 Nahla, Eny Kusumastuti https://creativecommons.org/licenses/by-nc-sa/4.0
Strategy to Preserve Srimpi Lobong Dance at Yogyakarta Palace in the Digital Era
The Srimpi Lobong dance is one of the classical princess dances that developed in the Yogyakarta Palace environment and has high historical, philosophical and cultural value in Javanese cultural tradition. However, amid the tide of globalisation and digital technology development, the existence of the Srimpi Lobong dance faces various challenges, such as declining interest among the younger generation, limited appreciation space, and shifts in people's cultural consumption patterns. This study aims to examine the philosophical value of the Srimpi Lobong dance, its position in the palace tradition, the preservation challenges it faces, and the preservation strategies implemented in the digital era. This study uses a qualitative approach with a qualitative descriptive method. The data was obtained through observation, in-depth interviews with relevant parties, and documentation in the form of archives, photographs, and videos of performances. The results of the study show that Srimpi Lobong Dance not only functions as a performing art, but also as a medium for passing on ethical values, spirituality, and character education. Preservation strategies include maintaining classical standards, regenerating dancers, and utilising digital media as a means of documentation, promotion, and cultural education. Although digitisation opens up opportunities to broaden appreciation, its use must be selective so as not to lose the philosophical essence and authenticity of classical dance. Thus, the preservation of Srimpi Lobong Dance needs to be understood as a process of sustainable cultural regeneration, which balances the conservation of tradition and adaptation to the times.
Copyright (c) 2026 Chory Martha, Malarsih Malarsih, Hartono Hartono https://creativecommons.org/licenses/by-nc-sa/4.0
Haro Hara Song: History of Protest Music in Aceh 2000-2003
The song Haro Hara is one of the protest songs whose lyrics contain four bloody events during the 1998 conflict or after the revocation of the Military Operations Area (DOM) status in Aceh. This study aims to examine the development, social and political influences, and the phases of the ban on the protest song Haro Hara during the armed social conflict in Aceh. This study uses a qualitative approach based on archives, employing netnography techniques that emphasize the search for online data, archives, and interviews. The primary data sources are musical artifacts in the form of physical cassette tape releases of the Nyawöung album and several related Acehnese music albums, as well as digital files of related songs on YouTube, Instagram, Facebook, and TikTok. This study found that the song Haro Hara is considered a product of journalism in the form of music that tells and records four conflict events that claimed civilian casualties in Aceh. The song is considered to contain propaganda and is included in the list of “banned songs” that were once censored along with other Acehnese songs with protest and political nuances. The song Haro Hara was removed from the second album released by Nyawöung in 2004 because it was considered by the Regional Military Emergency Authority (PDM) of Nanggroe Aceh Darussalam (NAD) to be provocative and to stir up the spirit of resistance among the Acehnese people who wanted independence and were considered to be siding with the Free Aceh Movement (GAM). Furthermore, the musical concepts championed by the Nyawöung band—including in the song Haro Hara—have had a significant impact on the dynamics of music and local politics in Aceh during the conflict and up to the present day.
Copyright (c) 2026 Rika Wirandi, Rico Gusmanto, Dwindy Putri Cufara, Susandro, Hatmi Negria Taruan https://creativecommons.org/licenses/by-nc-sa/4.0
Form and Structure of Music in the Tidi Lo Polopalo Dance from the Gorontalo Community
Tidi Lo Polopalo is a traditional dance performed during traditional wedding ceremonies, commonly referred to as 'Hui Mopotilandahu.' This dance symbolizes the refined character and grace of a woman, her hospitality, as well as the duties and responsibilities she will assume after marriage. This dance cannot exist without its accompanying music; in this context, music is considered essential in strengthening the identity of the dance, which serves to represent the essence of womanhood in Gorontalo. he musical accompaniment of the Tidi Lo Polopalo dance is not merely a form of entertainment in traditional ceremonies; rather, it serves as a manifestation of cultural expression rooted in specific values. Within the performance, the music acts as a universal language that transcends words. This study aims to analyze the form and structure of the musical accompaniment in the Tidi Lo Polopalo dance within the Gorontalo community. This study employs a qualitative method, incorporating interviews, literature reviews, and direct observation. The research utilizes the concepts of form and structure to analyze a vocal or musical composition, which conveys the creator's thoughts and emotions through musical elements specifically tempo, rhythm, harmony, and expression as a unified whole. The results of this study indicate that the form and structure of the music in the Tidi Lo Polopalo dance reflect the aesthetic dimensions of sound within the Gorontalo community. Consequently, the presence of this music is essential in accompanying the Tidi Lo Polopalo dance for the people of Gorontalo.
Copyright (c) 2026 Sri Rahayu Hidayat Miu, Aris Setiawan https://creativecommons.org/licenses/by-nc-sa/4.0
Presentation of Tortor Bejan at Traditional Ceremonies of the Batak Toba Community
Tortor Bejan is an activity performed in the traditional death ceremony known as Mambejan or Patortorhon Parangin. In this ritual, the deceased is symbolically brought to life in order to commemorate their life. This tradition was formerly performed once every five years and lasted for forty days. However, over time, Tortor Bejan is now performed only once a year and lasts for a single night. This study focuses on the presentation form of Tortor Bejan. The analysis employs Soedarsono’s theory of presentation, which defines dance presentation as the overall manner of performance, encompassing the main elements of a dance. The findings indicate that Tortor Mambejan is a ritual dance that symbolically revives ancestral spirits through a statue as a form of respect for ancestral contributions. Before the performance of Tortor Bejan, Tortor Mangaraksa Desa Nawalu is first performed by a male dancer. During the Bejan ritual, one highly respected ancestor is selected. If the ancestor passed away under the condition of Saur Matua, the Bejan statue must not be made of wood but from the ancestor’s bones. The dance is called Tortor Bejan because, during the performance, ancestral spirits are symbolically revived through a “kailit” statue known as Bejan. The performance of Tortor Bejan uses costumes made of Batak Toba ulos fabric with traditional makeup and is accompanied by Gondang Suling Ni Happang Na Opat and Gondang Sahala Raja.
Copyright (c) 2025 Martozet Martozet, Eszter Tari, Dilinar Adlin, Tania Rizqy Octaviani, Liza Maysuri https://creativecommons.org/licenses/by-nc-sa/4.0
Sustainable Practice of Ogoh-ogoh: An Ecological Perspective on Integrating Environmental Conservation with Cultural Heritage
The processes of crafting, parading, and burning the Ogoh-ogoh carry spiritual significance for Hindu communities in Indonesia. Despite its deep spiritual and philosophical meaning, the Ogoh-ogoh celebration is not without controversy. Environmental critics have raised concerns regarding the materials used in Ogoh-ogoh construction, including paints and dyes, as well as the environmental impact of the burning process. The objective of this study is to describe the cultural practices of Ogoh-ogoh in Surabaya and Gresik, particularly in relation to cultural preservation and environmental conservation. The research employs a Descriptive Qualitative Method. Content Analysis will be used to interpret the data. The research locations are Pura Perak in Surabaya and Kampung Bongso Wetan in Gresik. The subjects of this study include Hindu religious leaders, Ogoh-Ogoh artisans, and environmental enthusiast communities. Data were collected through literary studies, participatory observation, and in-depth interviews. The steps of data analysis are: 1) examining literature, policy documents, and archival materials, 2) conducting open coding, 3) categorizing codes, 4) applying selective coding, 5) interpreting data from observation and interview, 6) integrating data from cultural to ecological points of view, and 7) drawing conclusions. Findings reveal that local communities are actively integrating biodegradable and non-biodegradable materials to create Ogoh-ogoh. Styreofoam, plastic raffiah, and metal wires are continously used due to their affordability, accessibility, and malleability. This research offers a model for sustainable cultural practice that bridges tradition and innovation, emphasizing the role of community agency in shaping environmentally conscious heritage. It aims to inspire policy frameworks and educational initiatives.
Shanty Anugerah Yuni Puspita Sari Duwila
Copyright (c) 2026 Dewanto, Shanty Anugerah Yuni Puspita Sari Duwila, Olivia Jessi Febrianti https://creativecommons.org/licenses/by-nc-sa/4.0
Choreographing Matrilineal Archives: Feminist Emplacement in Perempuan dan Rumah Gadang by Loravianti
This research examines the choreographic work of Susas Rita Loravianti, particularly Perempuan dan Rumah Gadang, as sites of feminist resistance and spatial emplacement within the Minangkabau village. While existing scholarship on Minangkabau often romanticizes its matrilineal system, this study identifies a gap in understanding how women's bodies actively negotiate the matrilineal paradox, the tension between symbolic female power in the ancestral home and formal male authority in public discourse. Drawing on a two-year ethnographic approach (2022–2024), the research employs participant observation, semi-structured interviews, and detailed gestural mapping to analyze the creative process. The study integrates Doreen Massey's concept of relational space with Gay McAuley's performance spatiality to argue that Loravianti's choreography transcends mere illustration, constituting a subversive critical perspective that reimagines the village (kampuang) as a dynamic arena of global social relations. The findings suggest that the performance functions as a subaltern counterpublic, empowering women to develop oppositional identities in opposition to the restrictive behavioral codes of the Sumbang Duo Baleh. Furthermore, the research considers the limitations of this artistic strategy, questioning the inclusivity of the performance space for non-elite women within the village and examining the potential for artistic abstraction to obscure pressing socio-political crises.
Copyright (c) 2025 Hendra Nasution, Wiwik Sushartami, Rr Paramitha Dyah Fitriasari https://creativecommons.org/licenses/by-nc-sa/4.0
Nusantara Dance as a Therapeutic and Educational Medium for SLBN Bireuen Students
This study aims to analyze the utilization of Acehnese Nusantara Dance as both a therapeutic and educational medium for children with special needs at Bireuen Special Needs School (SLB). The research was conducted using the Research and Development (R&D) method, which includes stages of problem identification, product design, development, pilot testing, and systematic evaluation. The findings indicate that dance learning significantly enhances students' motor, cognitive, social, emotional, and participatory skills. Structured evaluations show an average increase of 25% in motor skills, a 30% rise in social participation, and improved memory of movement sequences and coordination. Dance learning is also proven to be effective as a therapeutic medium, especially for deaf and intellectually disabled students, through visual cues, rhythmic music, and individualized instructions tailored to each child's needs. The final product—a performance of Acehnese Nusantara Dance—was piloted and validated by experts, receiving an average validation score of 4.2 out of 5. This research produces an inclusive learning model that not only supports students' personal and social development but also contributes to the preservation of Nusantara culture. Thus, this approach provides an innovative solution to improve the quality of education and therapy for children with special needs in the SLB environment.
Copyright (c) 2026 Novita Hidayani, Cut Santika https://creativecommons.org/licenses/by-nc-sa/4.0
Preserving the Rabbani Wahed Dance through Arts Extracurricular Activities: A Study of Cultural Digitalization
This study aims to examine the preservation of Rabbani Wahed Dance, a traditional dance originating from Bireuen District, Aceh, through arts extracurricular activities in junior high schools, as well as to explore its potential integration with digital technology. The research employed a qualitative method with an exploratory design, conducted at SMP Negeri 1 Bireuen, the only school that consistently teaches Rabbani Wahed Dance through extracurricular programs. Data were collected through participatory observation, in-depth interviews, and documentation studies involving the school principal, cultural arts teachers, extracurricular instructors, students, local artists, and the Bireuen District Office of Education and Culture. The findings reveal that extracurricular activities of Rabbani Wahed Dance function not only as a means of cultural preservation but also as a medium for character education, fostering students’ discipline, responsibility, and cooperation. Nevertheless, several challenges persist, including limited teacher competence, low student interest, lack of regeneration, and insufficient policy and funding support. Strategies that have been implemented, such as internal regeneration and principal support, remain inadequate to ensure the sustainability of the program. The utilization of digital technology holds great potential as an alternative learning resource, a documentation medium, and a platform for cultural promotion, thereby serving as a strategic solution to support the continuity of Rabbani Wahed Dance in the modern era. This study highlights the urgency of formulating integrative preservation strategies that combine educational, cultural, and digital dimensions.
Copyright (c) 2025 Umul Aiman, Novysa Basri https://creativecommons.org/licenses/by-nc-sa/4.0
ADDIE-Based Design Research of Institutional Batik at Ma Chung University
Batik has increasingly been adopted by higher education institutions as a medium of institutional identity; however, existing studies on institutional batik largely remain descriptive, emphasizing aesthetic outcomes rather than examining the systematic process through which institutional philosophical values are translated into visual form. This research addresses that gap by investigating the development of Ma Chung University’s batik motif through a Research and Development (R&D) approach using the ADDIE model, positioned as a practice-based design research framework. The study aims not only to produce a batik motif, but to formulate a structured design process that articulates philosophical values and campus identity into visual elements such as motifs, composition, and color systems. Data were collected through literature review, institutional document analysis, in-depth interviews, observation, and user evaluation. Qualitative data were analyzed interpretatively to map philosophical values into visual symbols, while quantitative data were analyzed descriptively to assess design acceptance. The results demonstrate that the “Tugu Ma Chung Tirta Harmoni” batik motif functions as a visual system of institutional representation, rather than merely a decorative artifact. The study contributes academically by offering a replicable R&D-based model for institutional batik design, extending discussions in art and design research on visual identity, practice-based methodology, and culture-based design in higher education contexts.
Copyright (c) 2025 Amar Ma'ruf Stya Bakti; Didit Prasetyo Nugroho https://creativecommons.org/licenses/by-nc-sa/4.0
Pancasila Ideology in Practice: Ethnographic Study of Integration in Amaq Abir Theater West Nusa Tenggara
This study examines the integration of Pancasila values in the traditional theater performance of Amaq Abir, a cultural heritage preserved by Sanggar Pustaka Budaya in Central Lombok, West Nusa Tenggara. The urgency of this research arises from the impact of globalization, which often generates cultural dislocation, identity crises, and moral shifts. These conditions emphasize the importance of developing character education models grounded in local wisdom while reinforcing Pancasila as the nation’s ideological foundation. Using a qualitative design with an ethnographic approach, data were obtained through systematic observation, in-depth interviews, and documentation. The findings show that Amaq Abir performances embody the five principles of Pancasila through dialogic narratives, symbolic costumes, traditional music, and social interaction. Values of religiosity, humanity, unity, deliberation, and social justice are not only represented artistically but also lived communally by performers and audiences. The study positions Amaq Abir as more than folk entertainment; it serves as a medium for contextualized character education and ideological transmission. Its novelty lies in mapping how Pancasila values are integrated into traditional performance arts, framing them as cultural strategies and pedagogical tools. Broader implications highlight the revitalization of traditional arts, the strengthening of cultural identity, and the collaboration of local governments, educational institutions, and art communities to embed these practices into national character education agendas.
Copyright (c) 2025 Rapi Renda, Mohamad Yudisa Putrajip, Galih Suryadmaja, I Wayan Kusuma Di Biagi, Daffa Satya Jaya Buana https://creativecommons.org/licenses/by-nc-sa/4.0
Nada-Nada Persatuan: Manifestation of the Third Principle of Pancasila in the Meugang Through Experimental Music
Meugang is a tradition of the Acehnese people that is carried out before Ramadan, Eid al-Fitr, and Eid al-Adha, and is rich in values of togetherness and mutual cooperation. These values are in line with the third principle of Pancasila, namely “Indonesian Unity”. Previous studies have focused on meugang as a cultural and social tradition but have not explored its ideological dimension nor its potential as the conceptual basis for musical experimentation. This research fills that gap by applying a practice-led artistic research approach, integrating observation, and interviews with Meugang practitioners. This music inspired by Cage’s sound philosophy and Lachenmann’s concept of musique concrete instrumentale. the result is an experimental music titled Nada-Nada Persatuan (Tones of Unity), structured around three core values of mutual cooperation namely unity, harmony, and balance. The study finds that music can function as both aesthetic construction and an ideological metaphor, enabling local cultural practices to articulate national identity through sound. This research contributes to the discourse on Indonesian experimental music by demonstrating how cultural-ideological concepts can be systematically translated into sonic structures.
Copyright (c) 2025 Rico Gusmanto, Dwindy Putri Cufara, Rika Wirandi https://creativecommons.org/licenses/by-nc-sa/4.0
Dialog Bunyi: Reinterpreting Uroh Rapai as a Manifestation of Social Piety in Musical Composition
This research aims to investigate the uroh rapai tradition in North Aceh, focusing on rapai pase, a unique form of Acehnese membranophone that is performed in competitive settings. The study emphasizes the philosophical and social dimensions of uroh rapai by interpreting it as a manifestation of social piety. Employing a practice-led approach, where the creative process itself becomes the core of inquiry, the study integrates three fundamental principles of piety: habluminallah (human relationship with God), habluminannas (human relationship with others), and habluminalalam (human relationship with nature). Data were collected through literature review, direct observation of uroh performances, and in-depth interviews with syeh rapai and players. These insights were then transformed into an experimental musical composition entitled Dialog Bunyi. The result is in a form of composition, structured into three segments; first, natural soundscapes symbolizing ecological harmony, second, instrumental interaction as a metaphor of social solidarity; and third, rapai rhythms and devotional chanting as an expression of spiritual devotion. Its premiere performance demonstrated how traditional art can be recontextualized into contemporary works, rooted in Acehnese identity. The research contributes a new methodological and pedagogical model for tradition-based music studies, offering a way to preserve and creatively reinterpret cultural heritage.
Copyright (c) 2025 Angga Eka Karina, Dwindy Putri Cufara, Toza Darlija, Riqi Anugerah https://creativecommons.org/licenses/by-nc-sa/4.0
Acehnese Creative Dance as an Intervention for Problematic Digital Use in Elementary Schools
Excessive use of digital devices among elementary school students in Indonesia has become increasingly concerning as it may lead to digital problematic digital use with negative impacts on cognitive, social, and emotional development. This study aimed to evaluate the effectiveness of Acehnese creative dance intervention in reducing digital problematic digital use among elementary school students. The research employed a quasi-experimental method with a One Group Pretest–Posttest Design. The sample consisted of 45 students from five elementary schools in Banda Aceh selected through purposive sampling. Data were collected using a modified questionnaire by Ratuaki (2023) measuring six dimensions of digital problematic digital use. The intervention was conducted over two weeks with seven sessions. The paired sample t-test indicated a significant increase in mean scores from pre-test (M = 44.82) to post-test (M = 63.56), Since higher scores indicate lower levels of digital problematic digital use due to reverse scoring applied to all negative problematic digital use indicators, this result demonstrates a significant reduction in students’ digital problematic digital use levels following the intervention with a size (Cohen’s d = 0.780). Furthermore, ANOVA results revealed no significant differences across schools (p = 0.564). These findings confirm that Acehnese creative dance is effective in reducing students’ dependency on digital devices while simultaneously preserving local cultural heritage. The study recommends integrating traditional dance into school curricula as a local wisdom-based digital detox strategy. Beyond its educational relevance, the intervention also demonstrates how cultural practices can be recontextualized to address contemporary challenges faced by younger generations, thus offering insights for educators, policymakers, and future researchers interested in sustainable approaches to digital well-being.
Copyright (c) 2025 Putry Julia, Faisal Anwar https://creativecommons.org/licenses/by-nc-sa/4.0
Educational Values of Kurung-Kurung Music of the Dayak Meratus Loksado Community
This study aims to uncover the educational values ​​contained in the traditional kurung-kurung music of the Dayak Meratus community in Loksado, South Kalimantan. The kurung-kurung music, played in an ensemble with bamboo instruments, serves not only as entertainment or a complement to traditional ceremonies, but also as a means of transmitting cultural values ​​through an ethnopedagogical approach. This study used a descriptive qualitative method with data collection techniques in the form of participatory observation, in-depth interviews, and documentation. Analysis was carried out through data reduction, data presentation, and drawing conclusions. The results of the study indicate that kurung-kurung music contains important educational values ​​for the community, namely: (1) discipline, (2) awareness of environmental conservation, (3) obedience to leaders, (4) tolerance, and (5) mutual cooperation. These values ​​are rooted in the local wisdom of the Meratus agrarian community that prioritizes social and ecological harmony. Thus, kurung-kurung music not only preserves cultural identity, but also functions as a medium for character education that is relevant to the needs of the younger generation in the modern era.
Copyright (c) 2026 Muhammad Najamudin, Maryanto Maryanto, Dedy Ari Nugroho https://creativecommons.org/licenses/by-nc-sa/4.0