Gondang: Jurnal Seni dan Budaya
type: channel
description: 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).
publisher: Universitas Negeri Medan
language: en
publication name: Gondang: Jurnal Seni dan Budaya
issn: 2599-0594
copyright: This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
items: Blended Learning in Dance Education: A Qualitative Study of Its Implementation among SIJB Students
items: Batiteria: The Epistemology of Contemporary Musical Creation Based on the Aceh Spice Route
items: The Kuda Kepang Turonggo Budoyo Dance in Dharmasraya as a Space for Social Interaction
items: An Ethnochoreological Analysis of Historical Transformation and Socio-Ecological Critique of SANG Dance in Belitung
items: Cultural Identity Through the Background Design of Three Animated Advertisements: The Perceptions of Z Generation
items: What Symbolic Meaning Would Peirce Find in the Raspati Dance at the Galura Kencana Studio in Garut?
items: Continuity & Transformation of Zapin Meskom Music in Bengkalis Regency
items: The Representation of Riau Malay Traditional Music in the SUNO AI Application: A Post-Reality Perspective
items: Analysis of Tari Kelelawar Movement Variations Based on the Wordwall Game for 9th Grade at SMPN 7 Semarang
items: Strategy to Preserve Srimpi Lobong Dance at Yogyakarta Palace in the Digital Era
items: Haro Hara Song: History of Protest Music in Aceh 2000-2003
items: Form and Structure of Music in the Tidi Lo Polopalo Dance from the Gorontalo Community
items: Presentation of Tortor Bejan at Traditional Ceremonies of the Batak Toba Community
items: Choreographing Matrilineal Archives: Feminist Emplacement in Perempuan dan Rumah Gadang by Loravianti
items: Nusantara Dance as a Therapeutic and Educational Medium for SLBN Bireuen Students
items: Preserving the Rabbani Wahed Dance through Arts Extracurricular Activities: A Study of Cultural Digitalization
items: ADDIE-Based Design Research of Institutional Batik at Ma Chung University
items: Pancasila Ideology in Practice: Ethnographic Study of Integration in Amaq Abir Theater West Nusa Tenggara
items: Nada-Nada Persatuan: Manifestation of the Third Principle of Pancasila in the Meugang Through Experimental Music
items: Dialog Bunyi: Reinterpreting Uroh Rapai as a Manifestation of Social Piety in Musical Composition
items: Acehnese Creative Dance as an Intervention for Problematic Digital Use in Elementary Schools
items: Educational Values of Kurung-Kurung Music of the Dayak Meratus Loksado Community
items: The Creation of the Performative Theater Ruang Ketubuhan
items: Socio-Cultural Changes of Hananu Mate in the Death Song Bei Mate of The Tetun Tribe
items: Visual Literacy Design of Kebo Kicak Interactive Game for Early Age Children
items: Inai Dance and Cultural Identity in Malay Wedding Ceremonies of Teluk Majelis
items: Pentahelix Model of Cultural Transmission in Wayang On The Street Performances in Semarang’s Old Town
items: Harmony of Chinese Cultural Acculturation in the Aesthetic Perspective of Art Anthropology in Surakarta
items: Aesthetics of the Cowongan Dance at Sanggar Sekar Shanty Banjarnegara
items: The Gayo Kerawang Motifs at the Keni Gayo Statue in Central Aceh Regency

Blended Learning in Dance Education: A Qualitative Study of Its Implementation among SIJB Students
type: item
description: 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.
subject: Research Article
  topic: section
creator: Regita Azzahra Komarudin Putri
creator: Agus Budiman
creator: Fitri Kurniati
rights: Copyright (c) 2026 Regita Azzahra Komarudin Putri, Agus Budiman, Fitri Kurniati https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-15
publication date: 2026-06-15
starting page: 146
ending page: 162
doi: 10.24114/rqbcaw53

Batiteria: The Epistemology of Contemporary Musical Creation Based on the Aceh Spice Route
type: item
description: 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.
subject: Research Article
  topic: section
creator: Rizki Mona Dwi Putra
creator: Uswatul Hakim
creator: Vereki Martiano
rights: Copyright (c) 2026 Rizki Mona Dwi Putra, Uswatul Hakim, Vereki Martiano https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-14
publication date: 2026-06-14
starting page: 135
ending page: 145
doi: 10.24114/w6svbg07

The Kuda Kepang Turonggo Budoyo Dance in Dharmasraya as a Space for Social Interaction
type: item
description: 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.
subject: Research Article
  topic: section
creator: Pipit Supriyani
creator: Budi Setiyono
rights: Copyright (c) 2026 Pipit Supriyani, Budi Setiyono https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-16
publication date: 2026-06-16
starting page: 176
ending page: 185
doi: 10.24114/hej4f287

An Ethnochoreological Analysis of Historical Transformation and Socio-Ecological Critique of SANG Dance in Belitung
type: item
description: 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.
subject: Research Article
  topic: section
creator: Muhammad Akbar Lazuardi Suherman
creator: Beben Barnas
creator: Tatang Taryana
rights: Copyright (c) 2026 Muhammad Akbar Lazuardi Suherman, Beben Barnas, Tatang Taryana https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-07-02
publication date: 2026-07-02
starting page: 29
ending page: 44
doi: 10.24114/3gq0pg74

Cultural Identity Through the Background Design of Three Animated Advertisements: The Perceptions of Z Generation
type: item
description: 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.
subject: Research Article
  topic: section
creator: Arum Wulandari
creator: Riksa Belasunda
creator: Syarip Hidayat
rights: Copyright (c) 2026 Arum Wulandari, Riksa Belasunda, Syarip Hidayat https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-11
publication date: 2026-06-11
starting page: 73
ending page: 90
doi: 10.24114/nctwq488

What Symbolic Meaning Would Peirce Find in the Raspati Dance at the Galura Kencana Studio in Garut?
type: item
description: 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.
subject: Research Article
  topic: section
creator: Muhamad Rifki Ilhami
creator: Ria Sabaria
creator: Fitri Kurniati
rights: Copyright (c) 2026 Muhamad Rifki Ilhami, Ria Sabaria, Fitri Kurniati https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-13
publication date: 2026-06-13
starting page: 119
ending page: 134
doi: 10.24114/dzqgn617

Continuity & Transformation of Zapin Meskom Music in Bengkalis Regency
type: item
description: 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.
subject: Research Article
  topic: section
creator: Zalfandri
creator: Daryusti
rights: Copyright (c) 2026 Zalfandri, Daryusti https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-16
publication date: 2026-06-16
starting page: 163
ending page: 175
doi: 10.24114/zzbmmx20

The Representation of Riau Malay Traditional Music in the SUNO AI Application: A Post-Reality Perspective
type: item
description: 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.
subject: Research Article
  topic: section
creator: Ridho Fatwandi
creator: Daryusti Daryusti
rights: Copyright (c) 2026 Ridho Fatwandi, Daryusti Daryusti https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-09
publication date: 2026-06-09
starting page: 58
ending page: 72
doi: 10.24114/19t13n57

Analysis of Tari Kelelawar Movement Variations Based on the Wordwall Game for 9th Grade at SMPN 7 Semarang
type: item
description: 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.
subject: Research Article
  topic: section
creator: Nahla
creator: Eny Kusumastuti
rights: Copyright (c) 2026 Nahla, Eny Kusumastuti https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-11
publication date: 2026-06-11
starting page: 108
ending page: 118
doi: 10.24114/68entj32

Strategy to Preserve Srimpi Lobong Dance at Yogyakarta Palace in the Digital Era
type: item
description: 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.
subject: Research Article
  topic: section
creator: Chory Martha
creator: Malarsih Malarsih
creator: Hartono Hartono
rights: Copyright (c) 2026 Chory Martha, Malarsih Malarsih, Hartono Hartono https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-06
publication date: 2026-06-06
starting page: 18
ending page: 28
doi: 10.24114/hd8y0w13

Haro Hara Song: History of Protest Music in Aceh 2000-2003
type: item
description: 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.
subject: Research Article
  topic: section
creator: Rika Wirandi
creator: Rico Gusmanto
creator: Dwindy Putri Cufara
creator: Susandro Susandro
creator: Hatmi Negria Taruan
rights: Copyright (c) 2026 Rika Wirandi, Rico Gusmanto, Dwindy Putri Cufara, Susandro, Hatmi Negria Taruan https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-05
publication date: 2026-06-05
starting page: 1
ending page: 17
doi: 10.24114/3c9q8z67

Form and Structure of Music in the Tidi Lo Polopalo Dance from the Gorontalo Community
type: item
description: 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.
subject: Research Article
  topic: section
creator: Sri Rahayu Hidayat Miu
creator: Aris Setiawan
rights: Copyright (c) 2026 Sri Rahayu Hidayat Miu, Aris Setiawan https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-07-06
publication date: 2026-07-06
starting page: 45
ending page: 57
doi: 10.24114/qfz4y149

Presentation of Tortor Bejan at Traditional Ceremonies of the Batak Toba Community
type: item
description: 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.
subject: Research Article
  topic: section
creator: Martozet Martozet
creator: Eszter Tari
creator: Dilinar Adlin
creator: Tania Rizqy Octaviani
creator: Liza Maysuri
rights: Copyright (c) 2025 Martozet Martozet, Eszter Tari, Dilinar Adlin, Tania Rizqy Octaviani, Liza Maysuri https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-23
publication date: 2025-12-23
starting page: 573
ending page: 583
doi: 10.24114/gondang.v9i2.72155

Choreographing Matrilineal Archives: Feminist Emplacement in Perempuan dan Rumah Gadang by Loravianti
type: item
description: 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.
subject: Research Article
  topic: section
creator: Hendra Nasution
creator: Wiwik Sushartami
creator: Rr Paramitha Dyah Fitriasari
rights: Copyright (c) 2025 Hendra Nasution, Wiwik Sushartami, Rr Paramitha Dyah Fitriasari https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-06
publication date: 2025-12-06
starting page: 373
ending page: 385
doi: 10.24114/gondang.v9i2.69860

Nusantara Dance as a Therapeutic and Educational Medium for SLBN Bireuen Students
type: item
description: 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.
subject: Research Article
  topic: section
creator: Novita Hidayani
creator: Cut Santika
rights: Copyright (c) 2026 Novita Hidayani, Cut Santika https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-01-17
publication date: 2026-01-17
starting page: 562
ending page: 572
doi: 10.24114/gondang.v9i2.69762

Preserving the Rabbani Wahed Dance through Arts Extracurricular Activities: A Study of Cultural Digitalization
type: item
description: 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.
subject: Research Article
  topic: section
creator: Umul Aiman
creator: Novysa Basri
rights: Copyright (c) 2025 Umul Aiman, Novysa Basri https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-25
publication date: 2025-12-25
starting page: 584
ending page: 593
doi: 10.24114/gondang.v9i2.69514

ADDIE-Based Design Research of Institutional Batik at Ma Chung University
type: item
description: 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.
subject: Research Article
  topic: section
creator: Amar Ma'ruf Stya Bakti
creator: Didit Prasetyo Nugroho
rights: Copyright (c) 2025 Amar Ma'ruf Stya Bakti; Didit Prasetyo Nugroho https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-17
publication date: 2025-12-17
starting page: 504
ending page: 518
doi: 10.24114/gondang.v9i2.69607

Pancasila Ideology in Practice: Ethnographic Study of Integration in Amaq Abir Theater West Nusa Tenggara
type: item
description: 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.
subject: Research Article
  topic: section
creator: Rapi Renda
creator: Mohamad Yudisa Putrajip
creator: Galih Suryadmaja
creator: I Wayan Kusuma Di Biagi
creator: Daffa Satya Jaya Buana
rights: 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
date: 2025-12-11
publication date: 2025-12-11
starting page: 442
ending page: 457
doi: 10.24114/gondang.v9i2.69469

Nada-Nada Persatuan: Manifestation of the Third Principle of Pancasila in the Meugang Through Experimental Music
type: item
description: 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.
subject: Research Article
  topic: section
creator: Rico Gusmanto
creator: Dwindy Putri Cufara
creator: Rika Wirandi
rights: Copyright (c) 2025 Rico Gusmanto, Dwindy Putri Cufara, Rika Wirandi https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-07
publication date: 2025-12-07
starting page: 386
ending page: 400
doi: 10.24114/gondang.v9i2.69308

Dialog Bunyi: Reinterpreting Uroh Rapai as a Manifestation of Social Piety in Musical Composition
type: item
description: 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.
subject: Research Article
  topic: section
creator: Angga Eka Karina
creator: Dwindy Putri Cufara
creator: Toza Darlija
creator: Riqi Anugerah
rights: Copyright (c) 2025 Angga Eka Karina, Dwindy Putri Cufara, Toza Darlija, Riqi Anugerah https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-13
publication date: 2025-12-13
starting page: 474
ending page: 482
doi: 10.24114/gondang.v9i2.69251

Acehnese Creative Dance as an Intervention for Problematic Digital Use in Elementary Schools
type: item
description: 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.
subject: Research Article
  topic: section
creator: Putry Julia
creator: Faisal Anwar
rights: Copyright (c) 2025 Putry Julia, Faisal Anwar https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-18
publication date: 2025-12-18
starting page: 532
ending page: 541
doi: 10.24114/gondang.v9i2.69249

Educational Values of Kurung-Kurung Music of the Dayak Meratus Loksado Community
type: item
description: 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.
subject: Research Article
  topic: section
creator: Muhammad Najamudin
creator: Maryanto Maryanto
creator: Dedy Ari Nugroho
rights: Copyright (c) 2026 Muhammad Najamudin, Maryanto Maryanto, Dedy Ari Nugroho https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2026-06-11
publication date: 2026-06-11
starting page: 91
ending page: 107
doi: 10.24114/bcwahz55

The Creation of the Performative Theater Ruang Ketubuhan
type: item
description: 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.
subject: Research Article
  topic: section
creator: Galuh Tulus Utama
creator: Riswani Riswani
creator: Fantri Pribadi
creator: Marrisa Aulia Mayangsari
creator: Iga Ayu Intan Candra
rights: 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
date: 2025-12-09
publication date: 2025-12-09
starting page: 431
ending page: 441
doi: 10.24114/gondang.v9i2.69164

Socio-Cultural Changes of Hananu Mate in the Death Song Bei Mate of The Tetun Tribe
type: item
description: 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.
subject: Research Article
  topic: section
creator: Theresia Trivonia Sanan
creator: Aton Rustandi Mulyana
rights: Copyright (c) 2025 Theresia Trivonia Sanan, Aton Rustandi Mulyana https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 493
ending page: 503
doi: 10.24114/gondang.v9i2.69052

Visual Literacy Design of Kebo Kicak Interactive Game for Early Age Children
type: item
description: 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.
subject: Research Article
  topic: section
creator: Kinanti Erste Panggayuh Putri
creator: Akbar Warisqianto
creator: Muhammat Fansya Ubaidillah
rights: Copyright (c) 2025 Kinanti Erste Panggayuh Putri, Akbar Warisqianto, Muhammat Fansya Ubaidillah https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-05
publication date: 2025-12-05
starting page: 356
ending page: 372
doi: 10.24114/gondang.v9i2.68699

Inai Dance and Cultural Identity in Malay Wedding Ceremonies of Teluk Majelis
type: item
description: 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.
subject: Research Article
  topic: section
creator: Nurul Annisa Syafwan
creator: Daryusti Daryusti
rights: Copyright (c) 2025 Nurul Annisa Syafwan, Daryusti Daryusti https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-20
publication date: 2025-12-20
starting page: 542
ending page: 551
doi: 10.24114/gondang.v9i2.68517

Pentahelix Model of Cultural Transmission in Wayang On The Street Performances in Semarang’s Old Town
type: item
description: 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.
subject: Research Article
  topic: section
creator: Dwi Yullastuti
creator: Paramitha Dyah Fitriasari
creator: Wiwik Sushartami
rights: Copyright (c) 2025 Dwi Yullastuti, Paramitha Dyah Fitriasari, Wiwik Sushartami https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-03
publication date: 2025-12-03
starting page: 346
ending page: 355
doi: 10.24114/gondang.v9i2.68463

Harmony of Chinese Cultural Acculturation in the Aesthetic Perspective of Art Anthropology in Surakarta
type: item
description: 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.
subject: Research Article
  topic: section
creator: Achmad Nur Kholis
creator: Norhayati Ayob
rights: Copyright (c) 2025 Achmad Nur Kholis, Norhayati Ayob https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-07
publication date: 2025-12-07
starting page: 401
ending page: 418
doi: 10.24114/gondang.v9i2.68434

Aesthetics of the Cowongan Dance at Sanggar Sekar Shanty Banjarnegara
type: item
description: 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.
subject: Research Article
  topic: section
creator: Dian Wardani Putri
creator: Muhammad Jazuli
rights: Copyright (c) 2025 Dian Wardani Putri, Muhammad Jazuli https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-18
publication date: 2025-12-18
starting page: 519
ending page: 531
doi: 10.24114/gondang.v9i2.68331

The Gayo Kerawang Motifs at the Keni Gayo Statue in Central Aceh Regency
type: item
description: 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.
subject: Research Article
  topic: section
creator: Maulidha SA
creator: Ikhwanuddin Nasution
creator: Agus Priyatno
creator: Lenna Shaness
rights: Copyright (c) 2025 Maulidha SA, Ikhwanuddin Nasution, Agus Priyatno, Lenna Shaness https://creativecommons.org/licenses/by-nc-sa/4.0
date: 2025-12-12
publication date: 2025-12-12
starting page: 458
ending page: 473
doi: 10.24114/gondang.v9i2.68282