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All Journal JUPIIS: Jurnal Pendidikan Ilmu-ilmu Sosial Ganaya: Jurnal Ilmu Sosial dan Humaniora International Journal of Interreligious and Intercultural Studies JURNAL PENDIDIKAN TAMBUSAI International Journal of Cultural and Art Studies (IJCAS) Jurnal Pengabdian kepada Masyarakat Jurnal Pendidikan dan Penciptaan Seni Journal of Social Research
Sebayang, Vanesia Amelia
Universitas Sumatera Utara
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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Erpangir Ku Lau Ritual: Between Religion and Identity Vanesia Amelia Sebayang; Asmyta Surbakti; Torang Naiborhu
International Journal of Interreligious and Intercultural Studies Vol 5 No 1 (2022): International Journal of Interreligious and Intercultural Studies
Publisher : UNHI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32795/ijiis.vol5.iss1.2022.2849

Abstract

Erpangir ku lau is a ritual of the Karo people based on old religion called Pemena, as a medium for self-cleaning to maintain the sanctity of the body and spirit of a human being. Humans who have been physically and spiritually clean are having been kept away from evil inflences so that they are worthy of getting closer to their ancestors, the universe’s spirit, andalso God. However, while Christianity zending is carried out by the Dutch missionary unionin Tanah Karo in 1890-1904, all of the traditional customary and cultural practices towards ancestor and God were prohibited to be done. The Dutch aiming to change the Karo people’s perception of their own cultural identity. Nowadays, The Karo people divided into several groups, each with their understanding of the cultural customs of their ancestors, including the erpangir ku lau. This research uses a qualitative descriptive research method. The theories used are deconstruction and postcolonial theory. The results of this research were erpangir ku lau is a human ways to communicate with their God while maintaining a harmonious relationship between humans, the universe, and their ancestors. It has been proven that erpangir ku lau ritual is black magic worship was fully a colonial construction. Erpangir ku lau is a root that shapes the identity of the Karo people, known as metami, melias, mehamat, perkuah, and perkeleng. Even though they were no longer adhere to ancestral beliefs, the Karo people should reinterpret the identity-forming moral values contained in the erpangir ku lau ritual and then attach them side by side with whatever beliefs they currently hold.
PEMBINAAN DAN PENINGKATAN MINAT BACA BUKU SEJARAH TERHADAP SISWA SEKOLAH DI KOTA BINJAI Lila Pelita Hati; Lestari Dara Cinta Utami Ginting; Vanesia Amelia Sebayang
J-ABDI: Jurnal Pengabdian kepada Masyarakat Vol. 2 No. 9: February 2023
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/jabdi.v2i9.4865

Abstract

Rendahnya budaya literasi pada masyarakat Indonesia masih menjadi masalah serius yang sedang dihadapi pemerintah. Sejalan dengan visi presiden pada 2019-2024 untuk menciptakan SDM Unggul, Indonesia Maju, maka seharusnya pula pemangku kebijakan di sektor pendidikan diharapkan menghasilkan inovasi peningkatan literasi dan minat baca masyarakat, terutama di era disrupsi sekarang ini. Namun, strategi pengembangan minat baca yang dilakukan, khususnya pada para siswa di sekolah belum memperlihatkan hasil yang maksimal, khususnya pada pelajaran sejarah di mana para siswa menganggap bahwa sejarah sebagai suatu pelajaran yang membosankan, hal inilah yang membuat siswa jarang sekali untuk membaca buku-buku sejarah. Maka pada pengabdian masyarakat ini, bersama-sama dengan Komunitas Binjai Kota Cerdas (KBKC) berupaya melakukan Pembinaan Dan Peningkatan Minat Baca Buku Sejarah Terhadap Siswa Sekolah di Binjai di mana dengan memaksimalkan edukasi, sosialisasi, bedah buku hingga kegiatan baca bareng untuk mengenalkan buku-buku sejarah kepada para siswa.
BAGURAU SALUANG DENDANG IN THE PERFORMANCE LAPIAK GURAU IN THE MINANGKABAU COMMUNITY IN TANAH DATAR DISTRICT: CONTINUITY CHANGE AND FUNCTION Amelia, Putri Chairina; Nasution, Ikhwanuddin; Sebayang, Vanesia Amelia
JUPIIS: JURNAL PENDIDIKAN ILMU-ILMU SOSIAL Vol. 16 No. 1 (2024): JUPIIS (JURNAL PENDIDIKAN ILMU-ILMU SOSIAL) JUNE
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/jupiis.v16i1.53978

Abstract

The Bagurau Saluang Dendang performance referred to in this research is the Bagurau Saluang Dendang performance at the Lapiak Gurau event, literally meaning 'joking on a mat', which usually occurs in many coffee shops in Tanah Datar Regency. This show is an entertainment show. This thesis aims to analyse the changes that occur in the Lapiak Gurau Saluang Dendang (TLGSD) tradition performance today. This performance is usually performed at night, from 20.00 WIB until dawn. The accompanying instrument for singing in this performance is usually only the saluang musical instrument. Meanwhile, the singers are only men. This is because traditional rules prohibit the participation of women in bagurau art. In the early 2000s, changes began to occur. In fact, nowadays, TLGSD performances are held from 22.00 WIB until just before dawn. The cast in TLGSD currently numbers ten people, with details: one saluang player, one keyboard player, one Janang, four singing children, and three singing parents. Changes in the mindset of the Minangkabau people in the last three or four decades have had an impact on the orientation of TLGSD performances. The changes in question predominantly occurred in aspects of the procedures for performing lapiak gurau, including traditional norms for female singers, the choice of ensemble format used as accompaniment to the song, and the text of the pantun. The method used in this research is a qualitative-descriptive method using an ethnographic perspective. The results of this research show that the tradition of lapiak gurau saluang dendang has undergone changes: (i) the choice of instruments to accompany the dang that is popular with audiences is now more modern; (ii) the majority of singers currently in demand as singers are women; (iii) weakening the role of the ninik mamak as traditional elders who are supposed to protect the dignity of Minangkabau women. However, TLGSD is now contributing to increasing the financial income of stall owners. 
FUNCTION AND MEANING OF GONDRANG SIPITU-PITU IN THE LAYUR MATUA CEREMONY IN THE SIMALUNGUN COMMUNITY IN HARANGGAOL HORISON DISTRICT Situmeang, Kasri; Sebayang, Vanesia Amelia; Ginting, Pulumun P
JUPIIS: JURNAL PENDIDIKAN ILMU-ILMU SOSIAL Vol. 17 No. 1 (2025): JUPIIS (JURNAL PENDIDIKAN ILMU-ILMU SOSIAL) JUNE
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/jupiis.v17i1.65336

Abstract

This article is entitled "The function and meaning of Gondrang sipitu-pitu in the layur matua ceremony in the Simaungun community in the Haranggaol Horison sub-district". The analysis is focused on (1) the function of Gondrang sipitu-pitu, (2) the meaning of Gondrang sipitu-pitu. The method used is qualitative method with data collection data through field research, interviews, audiovisual data recording. In this case, to describe the meaning of Gondrang sipitu-pitu, the author uses the theory Ferdinand De Saussure. to describe the function of Gondrang sipitu-pitu. Gondrang sipitu pitu used the theory of use and function of Alan P Merriam (1964: 223-226), plus the theory of functionalism from Malinowski. Research results The research results obtained show that conceptually for the Simalungun community if someone is in Simalungun society if someone is in the status of death layur matua where all his children, grandchildren and great-grandchildren are married, then the person who died is perceived as having succeeded in the person is perceived to have succeeded in the life they left behind. left behind. At the layur matua traditional ceremony there are four types of Gondrang that are used in the ceremony. used in the layur matua ceremony, namely: (1) the first is rambung ramos which means having children and grandchildren, (2) Second, olop-olop which means saying yes, grateful to God, (3) third, panrahut which means to assent, (4) huda-huda which is intended to welcome the tondong to come to accompany dances by wearing topings and hornbill beaks.
Pergeseran Makna Kesenian Musik Bordah Pada Upacara Perkawinan Masyarakat Melayu di Kelurahan Gunting Saga Situmorang, Syaraya Hartika; Sebayang, Vanesia Amelia; Suroso, Panji
Ganaya : Jurnal Ilmu Sosial dan Humaniora Vol 8 No 3 (2025)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/ganaya.v8i3.4680

Abstract

Bordah music is a cultural heritage of the Malay community that is full of spiritual and religious values. However, in the context of marriage ceremonies in Gunting Saga Village, this art has experienced a shift in meaning due to the influence of modernization and social change. This study aims to: (1) describe the form of presentation of Bordah art in the wedding ceremony of the Malay community; (2) analyze the factors causing the shift in the meaning of Bordah; and (3) examine the community's perception of changes in the form and function of the art. This research uses a qualitative approach with data collection techniques through observation, in-depth interviews, and documentation. Data analysis was conducted inductively-qualitatively with a semiotic approach to reveal the symbolic meaning contained in Bordah performances. The results showed that Bordah art has shifted from a sacred-religious function to a symbolic entertainment function. This shift is influenced by the modernization of musical instruments, the decline in the regeneration of artists, and changes in the cultural preferences of the younger generation. This research contributes to the study of traditional cultural adaptation to modernization, and offers a theoretical understanding of the transformation of meaning in local performing arts practices. The implications of these findings suggest the need for cultural preservation strategies that are responsive to social and generational dynamics.
The dynamics of the development of canang kayu musical instruments in the Aceh Singkil community Purba, Junaidi; Sebayang, Vanesia Amelia; Hennywaty, Yusnizar
International Journal of Culture and Art Studies Vol. 9 No. 2 (2025): International Journal of Culture and Art Studies (IJCAS)
Publisher : Talenta Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32734/ijcas.v9i2.20878

Abstract

This study discusses the dynamics of the development of canang kayu musical instruments in the Aceh Singkil community. Canang kayu, which initially served as a traditional musical instrument in rituals and religious activities, has undergone changes in form, function, and context of use over time. Using a descriptive qualitative approach through observation, interviews, and documentation, this study was analyzed based on Herkovits' Theory of Change. The results of the study indicate that the Canang Kayu musical instrument has undergone changes in its aesthetic subjects, objects, and ethics. These changes can be seen in the number of notes and in the player's position at formal events and traditional ceremonies. Despite the changes, Canang Kayu continues to uphold the values of local culture and the identity of the Aceh Singkil community.
Makna Teks Ende Bue Bue Papodom Anak pada Masyarakat Mandailing di Kabupaten Tapanuli Selatan Manalu, Widiarso Pria Hasoloan; Fadlin, Fadlin; Sebayang, Vanesia Amelia
Jurnal Pendidikan Tambusai Vol. 8 No. 2 (2024)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Ende Bue-bue Papodong Anak, nyanyian pengantar tidur khas Mandailing, bukan sekadar alunan merdu. Di balik melodinya yang menenangkan, terukir makna mendalam tentang kasih sayang, harapan, dan nilai-nilai luhur budaya Mandailing. Makalah ini mengupas makna teks Ende Bue dalam konteks masyarakat Mandailing di Kabupaten Tapanuli Selatan. Kajian ini menemukan bahwa Ende Bue-bue Papodong Anak merupakan perwujudan kasih sayang orang tua kepada anak. Liriknya sarat doa dan harapan untuk masa depan sang buah hati, diiringi nilai-nilai budaya seperti gotong royong, saling menghormati, dan pantang menyerah. Tradisi ini tak hanya sebagai media pengantar tidur, tetapi juga media hiburan, ekspresi emosional, dan pelestarian budaya. Upaya pelestarian Ende Bue perlu dilakukan melalui penanaman tradisi kepada anak sejak dini, dokumentasi, dan penyelenggaraan festival. Ende Bue-bue Papodong Anak adalah kekayaan budaya yang perlu dijaga, bukan hanya sebagai penutur mimpi indah bagi anak Mandailing, tetapi juga sebagai penjaga identitas dan karakter masyarakatnya. Penelitian ini merupakan penelitian deskriptif-analitis, yaitu menguraikan apa adanya dan menjelaskan secara mendalam mengenai bue-bue papodom anak dari sisi makna teks dan keberlanjutannya. Berdasarkan pendapat Nettl diatas, maka dalam penelitian ini penulis melakukan beberapa tahapan kerja yang terdiri dari studi kepustakaan, kerja lapangan, wawancara, pengamatan terlibat, perekaman, dan studi laboratorium. Berdasarkan dari hasil penelitian, bue-bue papodom anak adalah salah satu unsur yang digunakan pada saat melakukan tradisi papodom anak atau menidurkan anak. Papodom anak merupakan tradisi menidurkan anak dari Suku Mandailing yang telah berkembang sebelum masuknya teknologi di Tapanuli Selatan. Dalam pelaksanaan Tradisi papodom anak pada masyarakat Mandailing di Tapanuli Selatan dilakukan baik itu laki laki maupun perempuan yang sudah memiliki anak. Properti atau bahan yang dilakukan pada masa itu yaitu bue dari kain panjang. Berdasarkan hasil penelitian penulis terhadap makna bue – bue papodom anak pada masyarakat Mandailing di Tapanuli Selatan, penulis berpendapat bahwa kegiatan tradisi bue – bue papodom anak masih terus berlanjut. Tetapi kedua lagu Bue – bue papodom anak yang dibawakan oleh Bapak Bahraini Lubis dan Ibu Jentina Br. Silitonga versi tradisi sudah tidak banyak ditemukan lagi atau sudah hilang dengan digantikan Bue-bue papodom anak versi yang sudah ada penciptanya yaitu ciptaan Alm. M. Nasir Rambe dan bue – bue Papodom anak ciptaan A. Nazari Nasution.
SWOT Analysis of Classic Vocal Learning at The Medan Flow Music Course Institution Wika, Riau; Sebayang, Vanesia Amelia; Muchtar, Muhizar
Journal of Social Research Vol. 3 No. 1 (2023): Journal of Social Research
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/josr.v3i1.1670

Abstract

Classical vocals still have a special place in the hearts of music fans despite the complexity of learning them. The presence of music course institutions has an important role in shaping students to become skilled in the field of classical vocals. Based on this, this research aims to determine classical vocal learning strategies at the Flow Music course institution. The theories used in this research are SWOT analysis theory, learning methods, and classical vocals. The data sources in this research consist of primary sources, namely classical vocal instructors and students, while secondary sources consist of information obtained by other people or other sources previously. The data collection techniques used in the research were observation, interviews, and documentation. The research results show that the classical vocal learning strategy at the Flow Music course institution was identified from internal strengths and weaknesses as well as external opportunities and threats with the strategy results being: 1) Increasing collaboration with schools, arts institutions, and local churches to increase visibility and attract more many students; 2) Applying distance learning technology to reach students from various locations; 3) Conduct active recruitment to address the shortage of instructor quantity; 4) Establish partnerships with related music institutions in more strategic locations; 5) Increase online marketing efforts; 6) Manage finances wisely to overcome the threat of unstable economic conditions; 7) Organizing local music events and competitions involving the participation of students and the general public; 8) Improving service quality through music workshops and collaboration with the local music industry.
Organologi dan Teknik Permainan Taratoa oleh Mardi Boangmanalu di Pakpak Bharat Pasaribu, Kevin Leonardo; Dewi, Heristina; Sebayang, Vanesia Amelia
Jurnal Pendidikan dan Penciptaan Seni Vol 5, No 2 (2025): Jurnal Pendidikan dan Penciptaan Seni
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v5i2.940

Abstract

Taratoa is one of the traditional wind instruments owned by the Pakpak people in North Sumatra. This instrument has high cultural value and is classified as an aerophone, precisely the type of end-blown flute. Its existence reflects the rich musical tradition of the Pakpak people that needs to be studied and preserved. This research aims to examine the organological aspects of Taratoa, including the manufacturing process, materials, construction, and playing techniques. The main focus is on the practice of Mardi Boangmanalu, a traditional craft and performance art form practiced by Taratoa craftsman and player from Aornakan II Village, Pargetteng-Getteng Sengkut District, Pakpak Bharat Regency. The approach used in this research is a descriptive qualitative one, employing data collection techniques that include observation, interviews, and documentation. To identify the process of making and playing techniques, this research refers to the structural and functional theory of Susumu Khasima (1978: 174). In classifying Taratoa, the Hornbostel-Sachs (1961) theory was used.
Co-Authors Amelia, Putri Chairina Fadlin Fadlin Ginting, Pulumun P Hennywaty, Yusnizar Heristina Dewi, Heristina Lestari Dara Cinta Utami Ginting Lila Pelita Hati Manalu, Widiarso Pria Hasoloan Muchtar, Muhizar Panji Suroso Pasaribu, Kevin Leonardo Purba, Junaidi Situmeang, Kasri Situmorang, Syaraya Hartika Surbakti, Asmyta Torang Naiborhu Wika, Riau