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).
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
The Function of Music in Silek Minangkabau: Instrument and Cultural Values
Silek minang is a form of traditional martial arts originating from Minangkabau, West Sumatra. This martial art consists of physical aspects and fighting techniques accompanied by music. The music has an important role and function in supporting the players' emotions, serving to enhance and support the movements and providing a heroic atmosphere in the silek performance. This article examines the musical instruments used in silek minang music and its function. This research used a qualitative approach with observation and interviews with artists, cultural figures, community leaders, Silek practitioners and traditional musicians. Our results show that each of the accompanying instruments for the silek minang including talempong, gandang tambua, gandang tasa, sarunai and gong, has a specific function and role in supporting silek in performance. The sounds and rhythms promote the player's emotional engagement when carrying out silek movements. Enthusiasm is brought about by the influence of the rhythm of loud music and a faster or slower tempo in stimulating the atmosphere. The music is at once a symbolic marker, event opener, and encouragement to players and audience. Symbolic interactions between performers, musicians and audience are co-present in the performance space in a dynamic and lively atmosphere.
Copyright (c) 2025 Rosta Minawati, Alfalah Alfalah https://creativecommons.org/licenses/by-nc-sa/4.0
Pentahelix Model of Cultural Transmission in Wayang On The Street Performances in Semarang’s Old Town
The sustainability of traditional performing arts in the modern era requires innovative strategies to ensure cultural relevance and intergenerational transmission. This study investigates the cultural transmission process within the Wayang On The Street (WOTS) performance, held in the Old Town area of Semarang in 2024, as a collaborative model integrating traditional values into contemporary public spaces. Employing a descriptive qualitative case study, data were collected through participant observation, in-depth interviews with artists, cultural officials, and community members, and documentation of the Pandawa Pitu performance during the Semarang Old Town Festival. The analysis focuses on the interaction among actors within the pentahelix framework—academics, government, business, media, and community—in sustaining traditional performing arts in urban contexts. Findings reveal that WOTS serves not only as a platform for artistic expression but also as a medium for cultural education, public participation, and community empowerment. The synergy among stakeholders strengthens the adaptive capacity of traditional arts and fosters sustainable cultural ecosystems. This study contributes to the theoretical development of cultural transmission by emphasizing the role of multi-stakeholder collaboration as a foundation for innovative cultural preservation in contemporary society.
Copyright (c) 2025 Dwi Yullastuti, Paramitha Dyah Fitriasari, Wiwik Sushartami https://creativecommons.org/licenses/by-nc-sa/4.0
Visual Literacy Design of Kebo Kicak Interactive Game for Early Age Children
The decline in children’s exposure to local folktales is closely linked to the lack of digital literacy media that transform oral traditions into formats suited for digital-native learners. Kebo Kicak, a well-known folktale from Jombang Regency, holds strong cultural value and requires revitalization through accessible digital storytelling. This study aims to develop an interactive digital literacy medium in the form of an illustrated and narrated audiobook designed for kindergarten-aged children. A qualitative case study approach was applied using the Design Thinking framework, consisting of the stages of empathy, define, ideation, prototype, and user testing. Data were collected through field observations, interviews with cultural and early childhood education experts, and usability trials in local kindergartens. The prototyping process produced two audiobook modes: a self-reading mode supported by child-friendly digital illustrations, and a read-to-me mode integrating voice-over narration with gamelan-inspired background music to reinforce cultural identity. User evaluation through the User Experience Questionnaire (UEQ) indicated strong appeal, clarity, engagement, and perceived novelty. Children demonstrated positive attention, enjoyment, and improved motivation to read or listen independently, while teachers affirmed the media’s relevance for early literacy learning.The implementation of this digital storytelling medium shows that the Kebo Kicak audiobook effectively connects traditional folklore with contemporary multimedia practices. It enhances early literacy experiences while serving as a practical strategy for cultural revitalization among the digital-native generation.
Copyright (c) 2025 Kinanti Erste Panggayuh Putri, Akbar Warisqianto, Muhammat Fansya Ubaidillah 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
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
Harmony of Chinese Cultural Acculturation in the Aesthetic Perspective of Art Anthropology in Surakarta
Surakarta is the center of Javanese culture in Indonesia. Many kinds of arts and culture have not been studied in depth, one of which is the phenomenon of cultural acculturation. The arrival of foreign countries to Indonesia influenced the unification of cultures that created new cultural forms. There are several ethnicities and races that live and settle in this area that influence the creation of new cultures, one of which is the Chinese people who come from China. Every year the Chinese and the general public hold a joint Chinese New Year celebration centered on Pasar Gede Hardjonagoro. The relationship that occurs in the ceremonial is a potential to get findings about the harmony of cultural acculturation that occurs from this phenomenon. The research method used is a descriptive qualitative type as an effort to present naturalistic data in the field in the form of sentences. There are several techniques applied in the data collection process, namely observation, interviews, and documentation. The application of the three techniques is based on the suitability of the topic and is supported by an approach in the form of theory. The approach comes from the theory of art anthropology proposed by Ruth Bunzel. The relationship between people, culture, and art occurs in harmony in Surakarta City. One place that has become a cultural center in the city of tolerance is Pasar Gede Hardjonagoro. The traditional market is one proof of the harmony of Chinese and Javanese cultural acculturation that goes hand in hand. The Chinese New Year celebration is a ceremonial example that can be followed by the whole community, without any special attention to the background. This cultural acculturation is a step to maintain tolerance in the community.
Copyright (c) 2025 Achmad Nur Kholis, Norhayati Ayob https://creativecommons.org/licenses/by-nc-sa/4.0
Artistic Research in the Process of Documentary Filmmaking Semua Pasti Bertuan
Documentary filmmaking serves as a potent medium for both social advocacy and artistic expression, particularly when highlighting environmental urgencies. This study investigates the implementation of artistic research in the creation process of the documentary film Semua Pasti Bertuan, which addresses the critical issue of plastic waste management. Artistic research provides a systematic framework ensuring that every cinematic element is constructed based on deep findings and critical reflections conducted throughout the production process. This comprehensive approach effectively bridges the gap between conceptual theory and practical execution across all production phases. In the pre-production phase, ideas were developed through rigorous direct observation of the environment and by scouting subjects suitable for the theme to ensure strong narrative relevance. The production phase executed a participatory documentary approach, significantly employing the Informal Conversational Interview Method using Direct Recording Techniques on Subjects Engaged in Activities, alongside planned camera movement techniques to maintain visual authenticity. This specific interview technique was essential for capturing spontaneous, genuine responses without disrupting the subjects' daily routines. Furthermore, in the post-production phase, background music selection, Lower Third Placement Strategy, and the utilization of project documentation served as strategic narrative tools to strengthen the film's message delivery and emotional impact. The results indicate that artistic research plays a pivotal role in enriching the filmmaker's understanding before making creative decisions. Ultimately, this study concludes that integrating a structured artistic research methodology enables a more profound exploration of complex subject matter, resulting in a documentary that is both aesthetically compelling and socially resonant.
Copyright (c) 2025 M. Kisra Anusyirwan, Citra Dewi Utami, Nur Rahmat Ardi Candra Dwi Atmaja https://creativecommons.org/licenses/by-nc-sa/4.0
The Creation of the Performative Theater Ruang Ketubuhan
Site-specific performance is established in international practice, yet its application in post-disaster contexts remains under appreciated. This study addresses this gap by exploring the creation of ‘Ruang Ketubuhan’ (The Embodied Space), a performative theater work developed in the ruins of Mount Merapi eruption, Sleman, Yogyakarta, in 2010. Grounded in Practice-as-Research method, site-specific ethnography, and autoethnography, this study documents a creative process where ruins, objects, and borrowed narratives from survivors become active dramaturgical events. The findings demonstrate that the performer’s body functioned as a medium to translate historical trauma into a shared and empathetic experience. It gained through methods of spatial attunement and emotional memory reflection. The study concludes that Ruang Ketubuhan offers a model for ‘embodied site-specificity’ which argued that the interweaving of body, space, and memory in performance constitutes a significant mode of knowledge production. This moves beyond aesthetic documentation to show how performative practice can actively mediate challenging history, making it accessible and relevant for both live and mediated audiences.
Copyright (c) 2025 Galuh Tulus Utama, Riswani Riswani, Fantri Pribadi, Marrisa Aulia Mayangsari, Iga Ayu Intan Candra 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
The Gayo Kerawang Motifs at the Keni Gayo Statue in Central Aceh Regency
This study aims to systematically describe the names, patterns, and motifs of kerawang Gayo applied to the keni Gayo Statue in Central Aceh Regency, as well as to explain the contribution of this statue to cultural preservation and the strengthening of Gayo community identity. This study uses a qualitative descriptive method, data sources were obtained through observation, documentation and interviews with seventeen informants, in addition, data were also obtained through libraries, theories and other literature. The data obtained were summarized, described between categories and concluded. There are six main motifs applied to the Gayo keni statue, such as emun berangkat, saraq opat, tali mestike, pucuk rebung, bunge lawang, and emun beriring. Each motif is applied in a structured manner, adhering to the aesthetic principles and cultural values of the Gayo people.The research findings reveal that the keni Gayo statue serves not only as an aesthetic element in public space but also as an effective medium for cultural communication. The statue fosters a sense of identity, strengthens social solidarity, and nurtures collective pride among the community. Through its presence in open spaces, the statue plays a significant role in introducing cultural values to younger generations and reinforcing local cultural narratives amid globalization. A model like the keni Gayo statue can serve as an inspiration for efforts to reinforce national cultural identity through contemporary visual media rooted in local traditions.
Copyright (c) 2025 Maulidha SA, Ikhwanuddin Nasution, Agus Priyatno, Lenna Shaness 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
Revealing the Symbolic Meaning of Heri Dono's Flying Angels: From Paul Ricoeur's Hermeneutic Perspective
Flying Angels (1996) by Heri Dono is examined in this article as a visual installation rich in symbolic complexity and interpretive openness. This work is selected as the object of study to explore how Paul Ricoeur’s hermeneutic framework can be applied to reveal the layered meanings embedded in contemporary visual art. Employing a qualitative descriptive method grounded in Ricoeur’s textual hermeneutics, the research positions the artwork as an autonomous visual discourse that generates meaning beyond the artist’s original intention. The analysis focuses on visual, symbolic, and narrative elements, particularly the representation of angelic figures rendered grotesque, mechanical, and ironic. Through hermeneutic interpretation, these angels—traditionally associated with purity, transcendence, and moral authority—are understood as ambivalent symbols that articulate tensions between spirituality, technology, and social critique within modernity. The mechanical movements, hybrid materials, and vivid colours operate as a symbolic system reflecting the distortion of spiritual values under technological rationality and globalised cultural conditions. The findings demonstrate that Flying Angels functions not merely as an aesthetic installation, but as an open visual text that invites critical reflection on the erosion of spirituality, processes of dehumanisation, and the transformation of traditional values in the technological era. By emphasising Ricoeur’s concepts of distanciation, surplus of meaning, and dialogical interpretation, this study contributes to Indonesian contemporary art discourse and underscores the relevance of hermeneutic approaches in expanding interpretive dialogue across cultural and temporal contexts.
Copyright (c) 2025 Sumarwahyudi Sumarwahyudi https://creativecommons.org/licenses/by-nc-sa/4.0
Socio-Cultural Changes of Hananu Mate in the Death Song Bei Mate of The Tetun Tribe
This study examines Hananu Mate , a traditional funeral song of the Tetun people of Timor, East Nusa Tenggara, within the context of the Bei Mate ceremony . As a form of oral expression, Hananu Mate not only expresses grief over the passing of a person but also contains the narrative of the deceased's life, social values, local spirituality, and the community's collective hopes. This study aims to uncover the narrative in Hananu Mate lyrics and the socio-cultural dynamics of the Tetun community as reflected in the changing form and meaning of the song in the modern era. This study uses a narrative approach based on Walter Fisher's narrative theory, which positions narrative as a primary form of human communication and a means of conveying collective values and meanings. In addition, social change theory as explained by Anthony Giddens and Inglehart-Baker is used to understand the cultural dynamics and transition of Hananu Mate's meaning in the context of modernizing Tetun society. The research method used is a qualitative approach with narrative ethnography techniques, in-depth interviews, participant observation, and lyrical text analysis. The findings indicate that Hananu Mate has a distinctive elegiac narrative structure, involving the flow of introducing the deceased, depicting social relations, spiritual reflection, and closing with hopes for future generations. This research confirms that Hananu Mate is a dynamic community narrative, continually transforming in response to modernization, education, and technological developments. Despite changes in form and meaning, this song continues to play a vital role in maintaining the cultural identity and continuity of Tetun social values.
Copyright (c) 2025 Theresia Trivonia Sanan, Aton Rustandi Mulyana 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
Aesthetics of the Cowongan Dance at Sanggar Sekar Shanty Banjarnegara
This research aims to analyze the aesthetics in the Cowongan Dance by Gading Nadaswara Kemilau Banyu Biru. Cowongan dance has its own uniqueness and specifically has never been studied regarding its aesthetics so researchers are interested in conducting research. This research uses a qualitative descriptive approach with data collection techniques, namely observation, in-depth interviews and document review. The analysis was carried out using aesthetic theory which includes form, weight or content, and appearance. The results of this research show that aesthetics seen from the form side, the Cowongan Dance has a unique form of presentation with ritual-themed choreography as a development of creative dance works. Judging from its weight, the Cowongan Dance contains a magical atmosphere and a message of preserving the traditions of the local community. In terms of appearance, this dance is presented with dynamic choreography supported by movements, unique props, make-up and clothing, as well as musical accompaniment that strengthens the meaning of the Cowongan Dance. This research reveals the aesthetic values ​​created from local community traditions through the creativity of the younger generation to preserve them.
Copyright (c) 2025 Dian Wardani Putri, Muhammad Jazuli 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
Inai Dance and Cultural Identity in Malay Wedding Ceremonies of Teluk Majelis
The Inai Dance is a traditional dance that is only performed in traditional wedding ceremonies in Teluk Majlis Village for the Malays. This Inai dance is performed during the evening Henai Dance procession, which is held on the night before the wedding day. The Inai dance has been performed by people from the past to the present, so it has become a characteristic in the village of Teluk Majlis. This research uses a qualitative approach, which was carried out in Teluk Majlis village. The informants in this study are traditional leaders, studio leaders, dancers, and community users who hold the Inai dance night ceremony in Teluk Majlis village. Data collection used observation, interview and documentation techniques. The source triangulation technique is a technique used to ensure the validity of this data. To analyze data requires steps such as data collection, data presentation, and drawing conclusions. The result of this study is that the Inai Dance plays an important role as a marker of the existence of the Malay community in the midst of the dynamics of modernization and intercultural interaction. Despite the mixture of ethnicities and social changes, the people of Teluk Majelis Village still strive to maintain this cultural practice as a form of fortitude in their identity and a symbol of cultural unity.
Copyright (c) 2025 Nurul Annisa Syafwan, Daryusti Daryusti https://creativecommons.org/licenses/by-nc-sa/4.0
Symbolism of Movement in Widya Prakrti Dance: A Phenomenological Analysis of Cultural and Spiritual Interpretation
Artistic and cultural degradation has recently emerged amidst the rapid spread of digitised information. This research aims to anticipate the degradation of the understanding of the art of cultural identity by finding historical records, symbols and meanings in the Widya Prakrti Dance owned by the maestro of the island of Bali. It is essential to conduct an in-depth study that has an impact on the millennial generation in the digital era not to leave the tradition of meaning symbols in their cultural identity. The method used in this research is qualitative phenomenology. Data collection techniques in the form of in-depth interviews, documentation and literature studies and studied using George Herbert Mead's theory of symbolic interactionism. The participants are divided into 2 groups, namely key informants of 2 people and companion informants of 13 people who will complete the data presentation. The findings of this study examine the history, meaning and symbols of the Widya Prakrti dance. The sacredness of this dance is a manifestation of love for God and Lord Vishnu as the strength and balance of life.
Copyright (c) 2025 I Wayan Gede Lamopia, Riza Wulandari, Putu Setyarini 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
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
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
Characteristics of the Teren Bas Instrument of Orkes Kampoeng Wangak
Teren Bas is a distinctive musical instrument from Maumere that has developed from the village music traditions of East Flores. In the context of contemporary ethnic music, this instrument has undergone a transformation in both form and function through the musical practices of the group Orkes Kampoeng Wangak based in Yogyakarta. This study explores the characteristics of the Teren Bas instrument as performed by Orkes Kampoeng Wangak, particularly through the song "Gemu Fa Mi Re." Teren Bas is a unique Maumere instrument resembling a one-stringed contrabass, played using a stick in a percussive manner. The aim of this research is to identify the organological, acoustic, and musical characteristics of the Teren Bas from a musicological perspective. The method employed is qualitative-descriptive with a musicological approach. The findings indicate that Orkes Kampoeng Wangak is a contemporary ethnic music ensemble that blends Maumere traditions into a modern format. The Teren Bas is constructed from kemiri (candlenut) wood, producing a rounded and rhythmic bass sound. Its playing patterns include the styles of Kripso, Langgam, Mars, and Dolo-Dolo, which reflect the cultural roots of Maumere. In the arrangement of “Gemu Fa Mi Re,” the Teren Bas serves as the rhythmic core and a symbol of musical identity, creatively combined with other instruments such as the juk, benyol, violin, flute, and jimbe. The arrangement process integrates modern chord progressions, energetic musical structures, and local sound explorations typical of Maumere through both traditional and non-traditional instruments.
Copyright (c) 2025 Viktoria Friski Lestari, Ezra Deardo Purba, Rianti Mardalena Pasaribu https://creativecommons.org/licenses/by-nc-sa/4.0
Trapunto Quilting Innovation on Sasirangan Fabric and Community Response in South Kalimantan
The Akara Jukun Sasirangan fashion collection is inspired by the unique destination of Pasar Terapung. “Akara” comes from the Sanskrit language meaning form, while ‘Jukun Sasirangan’ comes from the Banjar language, meaning boat and Sasirangan fabric. This concept depicts the activities of people who conduct buying and selling transactions on a boat floating on the river. This urban style fashion design was developed based on Sasirangan fabric by applying trapunto quilting technique, adjusted to the character of modern, dynamic, and functional urban style. The design process began with an exploration of the latest fashion trends to determine silhouettes and design details that suit the tastes of women aged 17-35 years in South Kalimantan. This research uses a qualitative descriptive method that includes the stages of exploration, design, realization, and data collection of community responses. The results of the data indicators show that this fashion design innovation can be well received by the community, especially in the Pelaihari City area, especially in the aspects of comfort and visual appeal. This positive response indicates a great opportunity to develop traditional fabrics into the realm of modern fashion without losing cultural values, but still paying attention to market segmentation and consumer tastes.
Copyright (c) 2025 Lusi Arianti, Nurul Hidayati https://creativecommons.org/licenses/by-nc-sa/4.0
The Form and Creative Process of Nyi Pandanaran as a Female Warrior Dance
The dance work Nyi Pandanaran Prajurit Perempuan is a traditional solo performance inspired by the historical figure Nyi Pandanaran, who accompanied her husband in developing the Kadipaten Semarang during the 16th century. This study aims to explore the form and creative process behind the choreography, highlighting the representation of women's resilience, participation, and leadership. Using a practice-based research approach, the choreographer developed movements derived from traditional Javanese dance styles of Surakarta, Yogyakarta, and Semarang, integrated with properties such as fans, bows, and daggers to symbolize strength and femininity. The performance is divided into three main scenes: the opening reflects firmness and determination; the middle portrays grace, prayer, and spiritual strength; and the final scene conveys courage and martial prowess. The dance is supported by musical arrangements that combine Javanese gamelan with modern instruments like saxophone and trumpet, as well as realistic makeup and military-inspired costumes that emphasize character expression. Lighting design further enhances the performance by dividing stage space and symbolizing emotional tones through the use of red and gold hues. The work ultimately presents a nuanced narrative of a woman warrior’s struggle and leadership in safeguarding her land, illustrating themes of emancipation and national devotion. Through this creation, the choreographer underscores the potential of women to embody both strength and grace within cultural and historical contexts.
Copyright (c) 2025 Sangghita Anjali, Soemaryatmi, R. M. Pramutomo https://creativecommons.org/licenses/by-nc-sa/4.0
Grassroots Community Music Education as a Strategy for Liberating Marginalized Communities in Surabaya
This article discusses community music education as social emancipation for marginalized groups in Surabaya based on a case study of POSS (Surabaya Arts Center). For the sake of this research, POSS was explored qualitatively using a case study approach. The data were collected using interviews, observation, and documentation. The study demonstrates that POSS assumes Freire's pedagogy of the oppressed by embracing dialogic, participatory, and experiential education as principles of education. Music education at POSS is geared not just towards technical proficiency but also towards self-discovery, social identity transformation, and active citizenship of students in public life. A few of the students have proceeded to perform nationally and internationally and establish identical art communities in other regions of the country. These results illustrate that music education via community can effectively facilitate social mobility and new spheres of representation for marginalized groups. Furthermore, the study highlights the imperative of cultural recognition, trust-based leadership, and inclusive pedagogy in transforming how education can reach out to underserved communities. POSS demonstrates that music education has the potential to transform not only individuals but also communities, when it is founded upon lived experience and collective empowerment. This research calls for stronger support for community-based arts education as a genuine commitment to social justice and cultural inclusion in the educational system of Indonesia.
Copyright (c) 2025 Bayu Aji Wicaksono, Warih Handayaningrum, Setyo Yanuartuti https://creativecommons.org/licenses/by-nc-sa/4.0