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All Journal Gondang: Jurnal Seni dan Budaya Komunikasiana: Journal of Communication Studies
Indra Setiawan
institut seni budaya indonesia aceh
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences

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KAJIAN IKONOGRAFI PADA SULAMAN KASAB DI GAMPONG KEUBANG KECAMATAN INDRA JAYA KABUPATEN PIDIE. Indra Setiawan; Saniman Andi Kafri
Gondang: Jurnal Seni dan Budaya Vol 5, No 2 (2021): GONDANG: JURNAL SENI DAN BUDAYA, DESEMBER 2021
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (775.689 KB) | DOI: 10.24114/gondang.v5i2.30967

Abstract

Sulaman Kasab merupakan sebutan khas masyarakat Aceh terhadap sulaman benang emas, Sulaman kasab yang berada di Gampong Keubang kabupaten Pidie yang harus dijaga agar tetap lestari. Adapun upaya untuk melestarikan kebudayaan itu baik secara fisik maupun secara nilai-nilai makna dilakukan dengan cara menginpentarisasikan dan membedahnya dengan pendekatan ilmu pengetahuan agar dapat menjadi rujukan oleh masyaraka Aceh. Adapun proses pengkajian sulaman kasab sebagai upaya untuk menganalisa, membedah dan menginterpretasikan menggunakan pendekatan ikonografi. Ketertarikan peneliti mengangkat Sulaman Kasab di Gampong Keubang Kecamatan Indra Jaya Kabupaten Pidie ini dikarenakan sulam kasap ini memiliki cirikhas pada bentuk visual dan memiliki tempat proses produksi yang banyak oleh masyarakat dalam bentuk home industri, sehingga dapat menjadi salah satu produksi symbol kultural yang dapat merepresentasikan kebuadayaan masyarakat Aceh khusunya masyarakat pidie. Selain bertujuan untuk menginfentarisasi bentuk Sulaman Kasab di Gampong Keubang. Penelitian ini juga menggunakan pendekatan penelitan dengan teori Ikonografi yang didukung oleh teori bentuk dan teori fungsi. Hal ini bertujuan untuk mengetahui sejauh mana membaca pemaknaan dari karya sulam kasab yang dipandang dari fase perkembangan sejarahnya.
Nilai Filosofi Gerak Tari Guel pada Masyarakat Gayo di Kota Takengon Kabupaten Aceh Tengah Maghfhirah Murni Bintang Permata; Indra Setiawan; Rika Wirandi
Gondang: Jurnal Seni dan Budaya Vol 4, No 1 (2020): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2020
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (634.749 KB) | DOI: 10.24114/gondang.v4i1.15415

Abstract

Guel dance was a traditional dance based on the history narrative of Gayo, District- inspired by the legend of the siblings Sengedaand BenerMerie who were looking for white elephants that to be presented to a princess. Therefore, some elements of the dance movements reflected the character of the elephant. Besides the aspect of form, every element of Guel dance movements also contained the philosophical values that contain moral messages and social values. Currently, Guel dance performances creations are increasingly present in the middle of the community, The forms of Guel dance creations sometimes leave the standard provisions as a standard form of the dance itself. This study aimed to describe the philosophical values of the Guel dance movement in Takengon, Aceh Tengah District, by using the theory approach of motion dance structure fromKaepleer. The method used in this study was descriptive interpretative approach, namely research directly related to the community (participatory observation)for data retrieval. This study concluded that the Guel dance was a traditional dance which has a standardize story structure and dance motion philosophy. It implied the moral teachings, religious teachings, Guel dance has a message about loyalty, responsibility, fraternity, and it is not only done by relatives or family nut must be done in relationship for others.
The Visuality of Upuh Ulen-Ulen in the Guel Dance: A Roland Barthes Semiotic Analysis of Kerawang Gayo Magfhirah Murni Bintang Permata; Indra Setiawan
Gondang: Jurnal Seni dan Budaya Vol. 10 No. 1 (2026): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2026
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/v6f8k655

Abstract

Upuh Ulen-Ulen is a traditional textile of the Gayo people that holds a significant role in both customary ceremonies and the performance of the Guel Dance. Previous studies on the Guel Dance have primarily focused on its historical background, movement philosophy, and cultural identity, while research on Upuh Ulen-Ulen has generally examined its motifs and symbolic values as a cultural artifact. However, studies that specifically investigate Upuh Ulen-Ulen as a visual sign system that constructs performative meaning through its relationship with the dancer's body remain limited. This study aims to analyze how the motifs, colors, and use of Upuh Ulen-Ulen generate cultural meaning in Guel Dance performances through the semiotic perspective of Roland Barthes. The research employs a qualitative approach using visual ethnography as its primary method. Data were collected through observations of Guel Dance performances in Central Aceh and Bener Meriah Regencies, in-depth interviews with dancers, artists, cultural experts, traditional leaders, and Upuh Ulen-Ulen artisans, visual documentation, and a review of relevant literature. The data were analyzed using Barthes' three levels of signification—denotation, connotation, and myth—integrated with perspectives from visual culture and performance studies. The findings reveal that Upuh Ulen-Ulen functions not merely as a dance property but as a visual sign system that produces meaning through the interaction between the dancer's body, Kerawang motifs, colors, and the performance context. At the denotative level, Upuh Ulen-Ulen appears as a traditional textile decorated with Kerawang motifs. At the connotative level, it signifies honor, protection, spirituality, and the cultural identity of the Gayo people. At the mythological level, these meanings are naturalized through cultural practices, transforming Upuh Ulen-Ulen into a collective representation of Gayo identity. This study offers a novel contribution by positioning Upuh Ulen-Ulen as a performative artifact that generates cultural meaning through a visual sign system, thereby expanding the application of semiotic studies within the field of Indonesian traditional performing arts.
Cultural Communication in Seudati Dance: Transforming Moral and Religious Values for Character Education of the Young Generation Teuku Muhammad Husni; Asrinaldi; Arismunandar; Indra Setiawan; Rizki Mona Dwiputra
Komunikasiana: Journal of Communication Studies Vol. 8 No. 1 (2026)
Publisher : Universitas Islam Negeri Sultan Syarif Kasim Riau

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24014/kjcs.v8i1.40074

Abstract

Seudati Dance is an expression of Acehnese culture that represents community identity and serves as a medium for transmitting moral, religious, and social values across generations. This study aims to analyze its cultural communication mechanisms, identify values conveyed through verbal and nonverbal elements, and examine their transformation into character education for the younger generation. A qualitative cultural ethnography approach was employed, using participatory observation, in-depth interviews, documentation, and document analysis involving Seudati practitioners, cultural experts, traditional leaders, academics, teachers, trainers, and young people. Data were analyzed thematically, with credibility ensured through source and technique triangulation. The findings reveal that Seudati Dance constitutes a multimodal cultural communication system integrating verse, vocals, gestures, rhythm, foot clapping, formations, expressions, and group interaction. These elements convey religiosity, morality, discipline, responsibility, cooperation, solidarity, courage, and cultural identity. Their transformation into character education occurs through cultural meaning-making, participatory experience, habituation, reflection, and actualization. This study proposes a Seudati Cultural Communication Transformation Model linking cultural symbols, message interpretation, value internalization, and character actualization. The findings highlight the importance of revitalizing local culture's communicative and pedagogical functions beyond preserving performance traditions.
Co-Authors Arismunandar Asrinaldi Magfhirah Murni Bintang Permata Maghfhirah Murni Bintang Permata Rizki Mona Dwiputra Saniman Andi Kafri Teuku Muhammad Husni Wirandi, Rika