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Eksistensi Tari Rentak Kudo Sebagai Pertahanan Budaya Masyarakat Desa Tanjung Kerinci Novita Hidayani; Pramutomo Pramutomo
Gondang: Jurnal Seni dan Budaya Vol 6, No 1 (2022): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2022
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v6i1.34233

Penelitian ini bertujuan untuk mengungkapkan fenomena terkait keberadaan Tari Rentak Kudo sebagai identitas serta warisan budaya tradisional. Sikap, pola pikir serta karakteristik masyarakat Kerinci sebagai cerminan dari corak kehidupan sosial budayanya. Kehadiran Tari Rentak Kudo di setiap acara pernikahan memberikan peranan penting bagi masyarakat, adanya kebanggaan tersendiri jika tari tersebut hadir. Dengan bentuk tari yang sederhana dan spontanitas, sehingga menjadi daya tarik bagi masyarakat setempat maupun rantauan untuk mempertahankan dan pengembangkan budayanya. Penelitian ini menggunakan penerapan etnografi, pendekatan ini untuk menjelaskan tentang kehidupan sosial budaya sebagai penyatuan antara kesenian dengan kehidupan sosial yang tidak bisa dipisahkan oleh kehidupan masyarakat pendukungnya. Maka hasil dalam penelitian ini di lakukan karena melihat fenomena sosial terhadap perkembangan Tari Rentak Kudo di acara pernikahan yang masih eksis. Maka adapun faktor yang mempengaruhi kelangsungan hidup tari berupa guna, fungsi, strategi serta upaya yang dilakukan masyarakat dan pemerintah menjadi Tari Rentak Kudo sebagai warisan budaya.

From Ritual to Entertainment: Transformations in Daruet AcehDance in Banda Aceh Basri, Novysa; Alfi Syahrin; Aida Fitri; Novita Hidayani; Umul Aiman; Aris Munandar
Catharsis Vol. 13 No. 2 (2024): November 2024
Publisher : Universitas Negeri Semarang

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The purpose of this study is to determine the social changes in the function of the Drop Daruet dance. This study uses a qualitative descriptive method, data collection techniques using the stages of observation, interviews and documentation with the aim of examining social changes in the function of the Drop Daruet Dance. This qualitative study can be used to understand social changes in the function of the Drop Daruet Dance. The results of this study indicate that the form of social change in the function of the Drop Daruet dance at the Cut Nyak Dhien Banda Aceh Studio, which was originally a medium of education and a medium of preaching, has changed into a medium of entertainment for dance performances only and the function of previous cultural values has shifted as a meeting of young people but now it is only as a dance performance for entertainment. While the factors that cause social change in the function of the Drop Daruet dance at the Cut Nyak Dhien Banda Aceh Studio are the rapid development of technology in the current era of Globalization, the mindset of society that continues to develop and is critical, and changes in the tastes of the younger generation. Social changes in the function of the Drop Daruet dance, namely as a medium of education and a medium of preaching, have changed into a medium of entertainment and a medium of performance. This has both good and bad impacts on society.

The meaning of the dulang dance movement as a traditional dance in traditional ceremonies in Langkat Regency, North Sumatra, Indonesia Fitri, Aida; Basri, Novysa; Ramdiana , Ramdiana; Aiman, Umul; Saputra , Rudy Juli; Hidayani, Novita; Rahmad , Rizki; Wahyudi , Wahyudi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6581

The purpose of this study is to explore the meaning of the Dulang Dance. In this study, the method chosen is a qualitative descriptive method. The data collection process was carried out through observation, conversation, and document recording, aiming to explore the significance of the implied meaning in the Dulang Dance movements. This qualitative research is able to provide insight into the meaning contained in the Dulang Dance in Langkat. The findings of the study revealed that in the sembah movement when greeting the host of the event, each movement has its own symbolic value. Such as the contour of the sembah movement following the direction of the wind, and the low horse stance position that represents stability. In addition, the sitting position is similar to the tahyad prayer, but with the legs more open and not overlapping, expressing deep respect. The gentle movements in the martial art of silat, still contain strength and spirit, while the steps on the plate and the jumps onto the dulang have deep philosophical meanings. All of this symbolizes an expression of gratitude to the Creator, respect for respected individuals, as well as the values of simplicity, humility, and respect for religion. The implication of the greeting to the steps on the stage, Dulang Dance expresses gratitude to Allah SWT while respecting the King or leader. For the future, the young generation can preserve the meaning of Dulang Dance.

Character Values Education Through Tarek Pukat Dance for UNIKI Performing Arts Education Students Basri, Novysa; Miftahul Jannah; Umul Aiman; Rudy Juli Saputra; Novita Hidayani; Rizki Rahmad; Aida Fitri
Catharsis Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i1.24155

The purpose of this study was to determine the character value education in the Tarek Pukat dance of UNIKI Performing Arts education. This study uses a qualitative descriptive method, and a case study approach. Data collection techniques use the stages of observation, interviews and document analysis. With the aim of examining the character values contained in the Tarek Pukat Dance. A qualitative approach with a case study design was used to specifically understand character values in educational praxis through the Tarek Pukat Dance. The results of this study indicate that in the Tarek Pukat dance, the character value education that is seen is in the form of religious, responsibility, tolerance, discipline, cooperation values, humility and this is packaged into character value education in the Tarek Pukat Dance, namely religious values that are born in the Tarek Pukat Dance contain strong religious values, such as patience and perseverance, discipline, humility and responsibility. Social values in the Tarek Pukat Dance such as cooperation, mutual cooperation, humility and tolerance. Cultural values that can be taken from the Tarek Pukat Dance symbolize Acehnese cultural values, such as strength and resilience of local culture and love of the homeland. Aesthetic value: Tarek Pukat Dance also symbolizes aesthetic values, such as beauty and art from local culture. Tarek Pukat dancers in UNIKI performing arts education have and are able to implement the religious values of Tarek Pukat Dance used in religious ceremonies, social events, such as weddings and other events. Cultural events such as festivals have aesthetics, such as art performances

Preserving the Acehnese Language Through Qanun and Educational Synergy Santika, Cut; Hidayani, Novita
Indonesian Journal of Education Methods Development Vol. 20 No. 4 (2025): November
Publisher : Universitas Muhammadiyah Sidoarjo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21070/ijemd.v20i4.954

General Background: The Acehnese language, as a crucial symbol of cultural identity, faces the threat of extinction due to globalization, modernization, and linguistic dominance. Specific Background: Despite Aceh’s legal efforts through Qanun No. 10 of 2022 and Qanun No. 11 of 2014 mandating the inclusion of the Acehnese language in education, implementation challenges persist in Bireuen City. Knowledge Gap: Previous studies rarely assess how effectively these qanun-based policies interact with educational practices to sustain language vitality. Aims: This study analyzes the effectiveness of qanun and educational policies in preventing the extinction of the Acehnese language as a form of local wisdom in Bireuen City. Results: Using mixed methods, findings reveal strong student awareness and positive attitudes toward language preservation, yet implementation remains weak due to a shortage of qualified teachers, limited instructional materials, minimal teaching hours, and low curricular innovation. Family and community support play a key role in maintaining linguistic continuity. Novelty: This study highlights the disjunction between normative regulation and practical implementation, emphasizing students’ and teachers’ cultural commitment as assets for language revitalization. Implications: Strengthening teacher certification, curriculum development, and digital integration is essential to transform qanun from symbolic policy into an effective instrument for preserving Acehnese linguistic heritage. Highlights: Qanun implementation remains weak despite strong cultural awareness. Teachers and families act as key agents of language preservation. Digital innovation is vital for sustaining Acehnese language vitality. Keywords: Qanun, Education Policy, Acehnese Language, Local Wisdom, Language Preservation

The meaning of the dulang dance movement as a traditional dance in traditional ceremonies in Langkat Regency, North Sumatra, Indonesia Fitri, Aida; Basri, Novysa; Ramdiana , Ramdiana; Aiman, Umul; Saputra , Rudy Juli; Hidayani, Novita; Rahmad , Rizki; Wahyudi , Wahyudi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6581

The purpose of this study is to explore the meaning of the Dulang Dance. In this study, the method chosen is a qualitative descriptive method. The data collection process was carried out through observation, conversation, and document recording, aiming to explore the significance of the implied meaning in the Dulang Dance movements. This qualitative research is able to provide insight into the meaning contained in the Dulang Dance in Langkat. The findings of the study revealed that in the sembah movement when greeting the host of the event, each movement has its own symbolic value. Such as the contour of the sembah movement following the direction of the wind, and the low horse stance position that represents stability. In addition, the sitting position is similar to the tahyad prayer, but with the legs more open and not overlapping, expressing deep respect. The gentle movements in the martial art of silat, still contain strength and spirit, while the steps on the plate and the jumps onto the dulang have deep philosophical meanings. All of this symbolizes an expression of gratitude to the Creator, respect for respected individuals, as well as the values of simplicity, humility, and respect for religion. The implication of the greeting to the steps on the stage, Dulang Dance expresses gratitude to Allah SWT while respecting the King or leader. For the future, the young generation can preserve the meaning of Dulang Dance.

The Learning Process of The Rapa'i Geleng Dance At Seulawet Arts Groups in UIN AR-RANIRY Banda Aceh Umul Aiman; Uliyana Uliyana; Novysa Basri; Novita Hidayani; Rizki Rahmad; Vinny Aryesha; Aris Munandar
Catharsis Vol. 13 No. 1 (2024): June 2024
Publisher : Universitas Negeri Semarang

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

Although dances are generally performed by women, the traditional Acehnese dance "rapa'igeleng" is instead performed by a group of men, emphasizing cooperation, togetherness, and solidarity. Uniquely, there is a traditional oral product in the form of poetry that is also presented as an accompaniment to the dance. By analyzing dance learning behavior, this research aims to explain the learning processes undertaken by the male dance group at the traditional dance studio Seulawet at UIN Ar-Raniry Banda Aceh. To gain a deep understanding, a qualitative method with participatory observation was used to examine the competence of the trainers, objectives, teaching materials, teaching methods, and assessments. Interviews and training program documents were also used for source and data triangulation. The study concluded that the process of learning the rapa'igeleng dance at the Seulaweut Art groups at UIN Ar-Raniry Banda Aceh revealed that the dance trainers did not have a bachelor of art background, but were seniors who already had dance experience and had achieved success both domestically and internationally. Dancers and musicians from Seulaweut Art Groups are among the students of UIN Ar-Raniry. Teaching materials include the scope of the rapa'i geleng dance, the movements of the rapa'i geleng dance, the poetry of the rapa'i geleng dance, and how to play the rapa'i musical instrument, Teaching methods are the lecture method, question and answer method, and demonstration method. The media used in learning include the Rapa'i musical instrument, documentation books about traditional Acehnese dances, Rapai Geleng dance videos and the trainer evaluates each lesson.

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