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Bentuk Penyajian Tari Sining Pada Masyarakat Gayo Aceh Tengah Maghfirah Murni Bintang Permata; Rika Wirandi; Berliana Denada
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 3, No 2 (2020): Journal of Education, Humaniora and Social Sciences (JEHSS) December
Publisher : Mahesa Research Center

This paper aims to describe the form of presentation of the sining dance in the Gayo community of Central Aceh Regency. Sining dance is a dance whose form of movement is inspired by nature. The movements are pure and use a lot of mimitive movements. This dance is also one of the traditional dances that was extinct and was then made a revitalization effort by the Central Aceh Kuta Dance Studio. This study focuses the problem on the form of presentation of the Sining Dance. To analyze the problem, Soedarsono used the theory of presentation forms, which said that, the form of presentation in dance has an understanding of how to present a dance as a whole, including the main elements or elements that support dance. These elements consist of dance movements, floor design, make-up, costumes, performance venues, props, and accompaniment music. This research uses qualitative research methods. This study concludes that the movements contained in the sining dance are mimitive and spontaneous movements, and tend to describe balance. Using a gayo openwork costume, accompanied by traditional music and traditional Gayo musical instruments. With two adult male dancers. Using upuh ulen-ulen cloth. Using a props made of pile board measuring 1.6 meters high. The shape of the board which is used as the main property is adopted from the Bere Numah shape. Meanwhile, the sining dance performance venue is currently adjusting to the location of the show provided, both on stage and in the open field area.

Model Tatakelola Grup Rapa’i Daboh Bungong Jeumpa di Kawasan Pengungsian Pasca Tsunami Aceh, CARE Rika Wirandi; Magfhirah Murni B.P; Berlian Denada
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 3, No 2 (2020): Journal of Education, Humaniora and Social Sciences (JEHSS) December
Publisher : Mahesa Research Center

This article aims to determine the form of governance applied in the Rapa'i Daboh Bungong Jeumpa Group (GRDBJ) in the post-Tsunami refugee area in Aceh, CARE, in Jantho City, Aceh Besar District. The problem is focused on the form of GRDBJ governance by using the management function approach reference proposed by Goerge R. Terry. The management function consists of four: 1) Planning (planning); 2) Organizing (organizing); 3) Movement (actuating); and 4) controlling. The research method used in this study is a qualitative research method as a research procedure that produces descriptive data in the form of written words from people and behavior that can be observed using several stages of data collection, namely: observation; literature review; Interview; and documentation. This study concludes that the planning carried out by GRDBJ includes preparing member resources in quality and quantity. In the organizational aspect, GRDBJ has a formal organizational structure that is generally applied in an organization, besides that there is a central and significant role for the caliph and ceh. In the movement, GRDBJ applies work efficiency through optimal utilization of human resources and facilities. In addition, GRDBJ conducts foster group coaching consisting of young children. The form of supervision includes supervision of the performance of members or players, finances, performance materials.

POWER PEREMPUAN DALAM TRADISI MUSIK BECANANG DI BENER MERIAH Rika Wirandi; Fifie Febryanti Sukman
Gorga : Jurnal Seni Rupa Vol 11, No 2 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i2.40085

This study aims to identify and examine the existence and role of women in the bronze musical tradition: becanang in Bener Meriah. The extent of the role of men in Aceh, including various forms of performing arts activities known as Islamic – the becanang music culture has survived for a long time until now with supporters and performers of the culture being women. The importance of this research to be carried out for several reasons and considering the lack of studies on traditional music from a gender perspective to date in Indonesia, especially in Aceh. In addition, the reason for the low interest of traditional music researchers to conduct studies on the presence of women in Indonesian music culture from a gender perspective. This research uses descriptive qualitative research methods using several data collection techniques, including: literature studies and static archives, direct observation, interviews with sources from various backgrounds, documenting object events contextually, to the selection stage to field data analysis. The gender perspective is an analytical perspective that will later be used to look at gender issues in becanang music culture and the role and existence of women in the life of this musical tradition. This study concludes that, becanang can be regarded as entertainment music and music to encourage work whose musical traditions are brought to life by women. All types of traditional music that use canang musical instruments (bronze and bamboo) as well as arts that use the term "canang" are played and brought to life by women and are only spread around the Central, South, and Southeast regions of Aceh Province.Keywords: becanang, women, bener meriah, Aceh. AbstrakPenelitian ini bertujuan untuk mengetahui serta menilik keberadaan dan peranan perempuan dalam tradisi musik perunggu: becanang di Bener Meriah. Luasnya peran laki-laki di Aceh, termasuk berbagai bentuk aktivitas seni pertunjukan yang dikenal Islami – kebudayaan musik becanang bertahan sejak lama sampai saat ini dengan pendukung dan pelaku kebudayaannya adalah perempuan. Pentingnya penelitian ini untuk dilakukan atas beberapa alasan serta menimbang masih minimnya sampai hari ini kajian tentang musik-musik tradisional dalam perspektif gender di Indonesia, terutama di Aceh. Di samping itu, alasan rendahnya minat peneliti-peneliti musik tradisional untuk melakukan studi tentang keberadaan perempuan dalam budaya musik di Indonesia dalam perspektif gender. Penelitian ini mengunakan metode penelitian kualitatif deskriptif dengan menggunakan beberapa teknik pengumpulan data, di antara: studi literatur dan arsip statis, observasi langsung, wawancara dengan narasumber dari berbagai latar belakang, pendokumentasian peristiwa objek secara kontekstual, hingga tahap seleksi hingga analisis data lapangan. Perspektif gender merupakan sudut pendang analisis yang nantinya akan dipakai dalam melihat persoalan gender dalam kebudayaan musik becanang serta peran dan keberadaan perempuan dalam kehidupan tradisi musik tersebut. Penelitian ini menyimpulkan bahwa, becanang dapat dikatakan sebagai musik hiburan dan musik penyemangat bekerja yang tradisi musiknya dihidupkan oleh perempuan. Semua jenis musik tradisi yang menggunakan alat musik canang (perunggu dan bambu) maupun kesenian yang menggunakan istilah “canang” dimainkan serta dihidupkan oleh perempuan dan hanya tersebar di sekitar wilayah Tengah, Selatan, dan Tenggara di Provinsi Aceh.Kata Kunci: becanang, perempuan, bener meriah, Aceh.Authors:Rika Wirandi : Institut Seni Budaya Indonesia AcehFifie Febryanti Sukman : Institut Seni Budaya Indonesia Aceh References:Bungin, B. (2015). Penelitian Kualitatif: Komunikasi, Ekonomi, Kebijakan Publik, dan Ilmu Sosial Lainnya. Edisi Kedua. Jakarta: Prenada Media Groups.Hurgronje, C. S. (1996). Tanah Gayo dan Penduduknya. Jakarta: Indonesian-Netherlands Cooperation in Islamic Studies (INIS).Hutajulu, R. (2003). Power, Gender, dan Musik pada Masyarakat Batak Toba: Opera Batak sebagai Wadah ekspresi Perempuan. Jurnal Seni Pertunjukan Indonesia, XII. 113-136.Jannah, R. (2020). Sakdiah: Negosiasi Gender dalam Musik Pop Gayo. Semarang: Elsa Press.Koskoff, E. (2014). A Feminist Ethnomusicology: Writings on Music and Gender. Urbana: University of Illinois Press.Manalu, N. A., & Sukman, F. F. (2020). Tari Seudati Inong sebagai Wujud Representasi Kesetaraan Gender Dikabupaten Aceh Besar. Gorga: Jurnal Seni Rupa, 9(2), 367-376. https://doi.org/10.24114/gr.v9i2.20673.Nettl, B. (2012). Theory and Method in Ethnomusicology. Terj. Nathalian H.D.P Putra. Teori dan Metode dalam Etnomusikologi. Jayapura: Jayapura Center of Music.Saraswati, I. (2022). Mencari Perempuan dalam Kritik Kiwari. Serunai.co. https://serunai.co/2019/03/26/mencari-perempuan-dalam-kritik-musik-kiwari/ (diakses tanggal 01 Maret 2022).Wirandi, R., & BP, M. M. (2021). Fungsi Musik dalam Upacara Perayaan Ritual Thaipusam Etnis Hindu Tamil di Banda Aceh. Gorga: Jurnal Seni Rupa, 10(2), 415-422. https://doi.org/10.24114/gr.v10i2.28379.

CITRA PEREMPUAN DALAM LUKISAN KARYA PERMADI LYOSTA Hatmi Negria Taruan; Susandro Susandro; Rika Wirandi
Gorga : Jurnal Seni Rupa Vol 11, No 2 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i2.40086

This study aims to understand the ethnographic and gender aspects and values in the visual use of women, themes about women, and the representation of gender injustice towards women in paintings by Permadi Lyosta in 2000-2007.This study uses a descriptive qualitative research method using data collection techniques through observation, interviews, and visual data collection methods in the form of physical works and works in catalogs. Ethnographic and gender approaches are the perspectives used in this study. The results of this study show that Permadi Lyosta's post-New Order works are more dominant in using women's visuals with themes of women's backwardness and marginalization in social life through paintings of women who are depicted as manual laborers as farmers, traders in traditional markets. As women, wives and housewives with cultural burdens and gender roles as women who raise children at home. There is almost no image of women depicted as figures who fill strategic roles in the public sphere. On the other hand, Permadi's works are a kind of criticism of the gender injustice experienced by women. Keywords: woman, painting, permadi lyosta. AbstrakPenelitian ini bertujuan untuk memahami aspek dan nilai etnografis dan gender dalam penggunaan visual perempuan, tema-tema tentang perempuan, serta representasi ketidakadilan gender terhadap perempuan dalam lukisan karya Permadi Lyosta tahun 2000-2007. Penelitian ini menggunakan metode penelitian kualitatif deskripstif dengan menggunakan teknik pengumpulan data melalui observasi, wawancara, serta metode pengumpulan data visual berbentuk karya-karya fisik dan karya-karya dalam katalog. Pendekatan etnografi dan gender adalah perspektif yang digunakan dalam penelitian ini. Hasil penelitian ini menunjukkan karya-karya Permadi Lyosta pasca orde baru lebih dominan memakai visual perempuan dengan tema-tema keterbelakangan dan ketermajinalan perempuan dalam kehidupan sosial melalui lukisan-lukisan perempuan yang digambarkan sebagai pekerja kasar sebagai petani, pedagang di pasar tradisional. Sebagai perempuan, istri, dan ibu rumah tangga dengan beban kultural serta peran gender sebagai perempuan yang mengasuh anak-anak di rumah. Hampir tidak ada gambaran citra perempuan yang tergambar sebagai sosok-sosok yang mengisi peranan strategis di ruang publik. Di sisi lain, karya-karya Permadi tersebut semacam kritik terhadap ketidakadilan gender yang dialami perempuan. Kata Kunci: perempuan, karya lukis, permadi lyosta. Authors:Hatmi Negria Taruan : Institut Seni Budaya Indonesia AcehSusandro : Institut Seni Budaya Indonesia AcehRika Wirandi : Institut Seni Budaya Indonesia Aceh References:Fitryona, N., & Kharisma, M. (2021). Darvies Rasjidin dan Perubahan Karyanya Sebuah Kajian Sosiohistoris. Gorga: Jurnal Seni Rupa, 10(1), 35-44. https://doi.org/10.24114/gr.v10i1.23677.Khairi, A. I., & Hafiz, A. (2022). Kajian Estetika Lukisan Realis Kontemporer Drs. Irwan, M. Sn. yang Berjudul di Ujung Tanduk. Gorga: Jurnal Seni Rupa, 11(1), 138-146.Rostiyati, A. (2019). Memaknai Lukisan Perempuan dalam Konteks Budaya Visual. Patra Widya: Seri Penerbitan Penelitian Sejarah dan Budaya., 20(2), 187-202.Yulianto, N., & Yuliastuti, N. (2019). Dinamika Citra Tubuh Perempuan dalam Lukisan KARYA Luna Dian Setya. Imajinasi: Jurnal Seni, 13(1), 27-34.

HIBRIDITAS DALAM PERTUNJUKAN KETOPRAK DOR GRUP RAHAYU CIPTO RUKUN DI KOTA TEKENGON Rika Wirandi; Fifie Febryanti Sukman
Gorga : Jurnal Seni Rupa Vol 12, No 1 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i1.48198

This study aims to explain the forms of cultural hybridity in the Ketoprak Dor Rahayu Cipto Rukun performance in Takengon. Historically, Ketoprak Dor is an art brought by the Javanese overseas community who became plantation workers during the colonial period, in Deli, North Sumatra. This art is another form of Javanese ketoprak art that developed in Surakarta and Yogyakarta. The art form and performance of Ketoprak Dor in Takengon has undergone flexing and adjustment so that there are many new local cultural elements blending into the performance packaging, such as language, dialect, story themes, to the music. This research uses descriptive qualitative research methods using several data collection techniques, including: literature studies, online data searches, direct observation, interviews with sources from various backgrounds, documentation of object events contextually, up to the selection stage to field data analysis. This research problem is solved by using a cultural hybridity approach which is one of the postcolonial theories. According to Homi K. Babha, hybridity is when the boundaries of a system or culture become unclear so that the culture experiences a flexion of meaning which in turn experiences an assimilation of cultural space. Babha's view becomes an analytical point of view in observing and reviewing the issue of cultural hybridity in the Ketoprak Dor Rahayu Cipto Rukun performance in Paya Tumpi Village, Takengon. The results of this study found that the hybrid culture in the Ketoprak Dor Rahayu CiptoÂ Rukun performance, there are three aspects: first, the theme of the story; secondly, music and musical instruments; third, language and dialect. This third aspect is also reinforced by the background of the Ketoprak Dor players consisting of Javanese, Gayo and Acehnese ethnicitie.Keywords: ketoprak Dor, hybridity, Java, Takengon.Â AbstrakPenelitian ini bertujuan menjelaskan bentuk-bentuk hibriditas budaya dalam pertunjukan Ketoprak Dor Rahayu Cipto Rukun di Takengon. Secara historis, Ketoprak Dor adalah kesenian yang dibawa oleh masyarakat perantauan Jawa yang menjadi pekerja perkebunan pada masa penjajahan, di Deli Sumatera Utara. Kesenian ini merupakan bentuk lain dari seni ketoprak Jawa yang berkembang di Surakarta dan Yogyakarta. Bentuk kesenian dan pertunjukan Ketoprak Dor di Takengon telah mengalami pelenturan dan penyesuaian sehingga banyak terdapat unsur-unsur budaya baru yang bersifat lokal membaur ke dalam kemasan pertunjukannya, seperti bahasa, dialek, tema cerita, hingga musiknya. Penelitian ini mengunakan metode penelitian kualitatif deskriptif dengan menggunakan beberapa teknik pengumpulan data, di antara: studi kepustakaan, penelusuran data online, observasi langsung, wawancara dengan narasumber dari berbagai latar belakang, pendokumentasian peristiwa objek secara kontektual, hingga tahap seleksi hingga analisis data lapangan. Permasalah penelitian ini dijabarkan menggunakan pendekatan hibriditas budaya yang menjadi salah satu teori Postkolonial. Menurut Homi K. Babha, hibriditas adalah ketika batasan-batasan sebuah sistem atau budaya menjadi tidak jelas sehingga budaya tersebut mengalami pelenturan makna yang pada akhirnya mengalami suatu pembauran ruang budaya. Pandangan Babha tersebut menjadi sudut pandang analisis dalam mengamati dan mengulas persoalan hibriditas budaya dalam pertunjukan Ketoprak Dor Rahayu Cipto Rukun di Desa Paya Tumpi, Takengon. Hasil penelitian ini mendapati bahwa hibriditas budaya dalam pertunjukan Ketoprak Dor Rahayu Cipto Rukun, terdapat tiga aspek: pertama, tema cerita; kedua, musik dan instrumen musik; ketiga, bahasa dan dialek. Ketiga aspek ini juga dikuatkan oleh latar belakang pemain Ketoprak Dor yang terdiri dari etnik Jawa, Gayo, dan Aceh.Â Kata Kunci: ketoprak Dor, hibriditas, Jawa, Takengon.Â Authors:Rika Wirandi : Institut Seni Budaya Indonesia AcehFifie Febryanti Sukman :Â Institut Seni Budaya Indonesia AcehÂ References:Gandhi, L. (2001). Teori Poskolonial: Upaya Meruntuhkan Hegemoni Barat. Yogyakarta: Penerbit Qalam.Gultom, J. (2017). Ketoprak Dor, Hiburan di Tengah Perbudakan Kuli Kotrak. https://medanbisnisdaily.com/news/online/read/2017/09/09/4954/ketoprak_dor_hiburan_di_tengah_perbudakan_kuli_kontrak/ (diakses tanggal 10 Maret 2023).Suroso, P. (2018). Tinjauan Bentuk dan Fungsi Musik pada Seni Pertunjukan Ketoprak Dor.Â Gondang: Jurnal Seni danÂ Budaya,Â 2(2), 66-78. https://doi.org/10.24114/gondang.v2i2.11283.Suyadi, S. (2019). Hibriditas Budaya dalam Ketoprak Dor.Â Jurnal Masyarakat dan Budaya, 191-202.https://doi.org/10.14203/jmb.v21i2.817.Wirandi, R., & Sukman, F. F. (2022). Power Perempuan dalam Tradisi Musik Becanang di Bener Meriah.Â Gorga: Jurnal Seni Rupa,Â 11(2), 572-580.https://doi.org/10.24114/gr.v11i2.40085.Â

EKSISTENSI RATEB MENSA DI DESA KUTA TEUNGOH KECAMATAN BEUTONG ATEUH BANGGALANG KABUPATEN NAGAN RAYA Mukhlishiin, Badrul; Wirandi, Rika; Denada, Berlian
Jurnal Musik Etnik Nusantara Vol 4, No 2 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i2.4449

Rateb Mensa merupakan tradisi yang dilaksanakan setiap tahun pada Kecamatan Beutong Ateuh Banggalang Kabupaten Nagan Raya. Penyajian Rateb Mensa disajikan dalam bentuk zikir tubuh yakni membaca zikir sambil menggerakkan badan. Rateb Mensa dilaksanakan pada malam ke empat Idul Fitri selama tiga sampai empat malam berturut-turut. Penyajian Rateb Mensa dimulai dengan membaca do’a kemudian dilanjutkan membaca Takbir lebaran, zikir, laweut, ditutup dengan do’a dan makan kenduri bersama. Tujuan dari penelitian ini adalah untuk mengetahi bagaimana eksistensi Rateb Mensa di Kecamatan Beutong Ateuh Banggalang Desa Kuta Teungoh, dengan menggunakan metode penelitian kualitatif pendekatan fenomenologi. Pada penelitian ini peneliti menggunakan teori eksistensi menurut Abidin dan teori fungsionalisme kebudayaan menurut Malinowski untuk mendukung teori eksistensi. Hasil penelitian menunjukkan bahwa eksistensi Rateb Mensa sebagai kesenian Islami dan objek kebudayaan yang ada pada Kecamatan Beutong Ateuh Banggalang Kabupaten Nagan Raya.

A Study of Listeners of the Song Haro Hara Songs from the Nyawöung Album (2000) Wirandi, Rika; Putra, Rizki Mona Dwi; Wijaya, Reza Sastra
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 1 (2025): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i1.65672

The research of Listeners' Study of Haro Hara Songs on Nyawöung 2000 Album aims to observe how listeners' experiences and interpretations of protest songs that emerged and developed during the armed conflict in Aceh in 2000-2003. The protest music that is the topic of this research refers to the category of songs created by local Acehnese musicians in the genre of regional pop and pop-authentic music with themes and lyrics inspired by several series of bloody events that have occurred in Aceh during the conflict, especially after the lifting of the status of the Military Operation Area (DOM) in 1998. Listener studies are the focus of this research as an effort to construct the memory, experience, and interpretation of listeners of these protest songs during the conflict and post-conflict period in Aceh. The method used in this research is a qualitative method using a phenomenological approach by emphasizing on extracting data related to the experiences and interpretations of listeners of protest songs by using data collection techniques using questionnaires to several listeners who became participants with three categories, namely: participants or listeners in the age group of generation X (born 1965-1980); age group of generation Y / Millennial (born 1981-1994); and participants or listeners in the age group of generation Z (born 1995-2010). This research uses framing analysis technique which consists of three frames of analysis to classify the interpretation of song listeners, namely, Diagnostic Framing, Prognostic Framing, Motivational Framing. The results of this study show that, participants who are listeners from the age group of generation X, generation Y, and generation Z stated that the song Haro Hara is a song that describes the state of Aceh during the GAM and RI conflict. The lyrics of the song are considered very straightforward with the interpretation classification of all respondents showing an average as diagnostic framing.

Perancangan Tata Panggung Pergelaran Ketoprak Dor Rahayu Cipto Rukun di Aceh Tengah Taruan, Hatmi Negria; Susandro, Susandro; Wirandi, Rika
Jurnal Abdimas Mahakam Vol. 8 No. 01 (2024): Januari
Publisher : Lembaga Penelitian dan Pengabdian Masyarakat

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24903/jam.v8i01.2452

Kegiatan Pengabdian kepada Masyarakat ini bertujuan merespon dan memberi solusi terhadap persoalan berkesenian yang khususnya dialami oleh Grup Ketoprak Rahayu Cipto Rukun di Aceh Tengah. Kegiatan ini berpijak pada hasil kegiatan penelitian terdahulu yang juga dilaksanakan oleh tim pengusul pengabdian ini. Maka dari itu, kegiatan ini dapat disebut pula dengan practice-led research yang berarti penelitian berarah praktik. Namun, perihal yang ditekankan dalam artikel ini bukanlah aspek penelitian maupun kekaryaan; bagaimana tim pengusul turut berkontribusi dalam mengangkat kembali kesenian yang dulunya tidak terdengar lagi gaungnya melalui kelompok tersebut. Adapun detail persoalan yang didapati ialah sangat minimnya pengembangan cerita yang hanya berupa kerangka cerita saja, serta tidak adanya set dan properti sebagai penunjang pergelaran. Maka dari itu, kegiatan pengabdian ini mencoba melakukan semacam kolaborasi dengan grup tersebut dengan jalan merancang ulang atau merekonstruksi tata panggung yang berlatar suatu cerita yang biasa mereka mainkan. Bentuk pelaksanaan yang dilakukan ialah merancang beberapa sketsa layar belakang (backdrop) untuk pergelaran Grup Ketoprak Dor rahayu Cipto Rukun.

Bentuk Penyajian Kesenian Didong Grup Musara Bintang di Desa Linung Bulen II Kecamatan Bintang Kabupaten Aceh Tengah Yanti, Yunita Rahma; Wirandi, Rika; Ocktarizka, Tria
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4225

This research is entitled "Forms of Presentation of the Didong Arts of the Musara Bintang Group in Linung Bulen II Village, Bintang District, Central Aceh Regency". The author examines the form of presentation of Didong art by the Musara Bintang Group in Linung Bulen II Village, Bintang District, Central Aceh Regency. The research method used is a descriptive qualitative approach. Data obtained in the field used observation, interview and documentation techniques.The theory used in this research is the presentation theory from Djelantik's theory which states that form is the basic element of manifestation. In the form of presentation, it means that form is a fundamental element of a performance. These elements include artists, musicians, seating formation, movement, songs presented, costumes, performance venue, and audience. Based on the results of research in presentation, Didong art is played by 15 people consisting of: 1 Ceh Apit (Ceh Companion), 1 Main Ceh, and 2 Penepok Pumu and 2 Penepok pillow splits, each of which acts as a pillow act, split pillow , and 9 players who act as penepok/penunung (followers). The Didong art performance consists of 9 stages, for the costumes the players wear black unity t-shirts with the words "Musara Bintang" written on the chest and wear a headband called Jembolang.

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