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Gondang: Jurnal Seni dan Budaya
Published by Universitas Negeri Medan
ISSN : 25990594     EISSN : 25990543     DOI : https://doi.org/10.24114/gondang.v8i1
Core Subject : Humanities, Art,
Arts Humanities
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.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 312 Documents
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The Existence of Totokng Dance as the Cultural Identity of the Dayak Salako Tribe Slamet, Deni; Narawati, Tati; Budiman, Agus
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.v9i1.64936

Abstract

This study aims to examine the existence of the Totokng dance in the Nurutni’ Ceremony as a representation of the cultural identity of the Dayak Salako community in West Kalimantan. The dance functions not only as a performative expression but also as a medium of spiritual communication that connects humans, ancestors, nature, and God (Jubato). This research adopts a qualitative descriptive approach, using participatory observation, semi-structured interviews, and field documentation in Pelanjau Hamlet, the central site of the ceremony. The findings show that the Totokng dance is a sacred ritual passed down vertically through the ancestral lineage of the Panglima Kayau. The structure of the performance consists of preparation, main performance, and post-ritual stages, with strong symbolism reflected in the movements, music, costumes, and offerings. The dance embodies cosmological and spiritual values, turning the dancer’s body into a living archive of collective memory. The shift in the function of the dance from a symbol of power to a ritual of gratitude for the harvest illustrates the adaptive capacity of local culture in facing social change. The process of intergenerational transmission through direct ritual experience strengthens the preservation of its meaning. In conclusion, the Totokng dance not only maintains ancestral traditions but also acts as a cultural instrument that reinforces the identity and resistance of the Dayak Salako community in the face of global cultural homogenization.  
Gender Aesthetics and Symbolic Tension in Syofyani’s Pasambahan Dance: Negotiating Honor, Hospitality, and Cultural Identity Virginia Aulia, Tiara; Indrayuda, Indrayuda
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.v9i1.64961

Abstract

This study critically examines the movement techniques and body postures in Syofyani’s Pasambahan Dance by exploring how the values of honor and hospitality are constructed, performed, and negotiated within the Minangkabau cultural context. Rather than assuming harmony between movement and cultural values as fixed, this study questions how gender construction and bodily symbolism in dance operate within a matrilineal society that paradoxically privileges masculine roles in public performance spaces. This research employs a descriptive qualitative approach with data collected through participant observation, in-depth interviews, and visual documentation at the Syofyani Dance Studio in Padang, West Sumatra. The researcher was present not only as an external observer but also as a limited participant in rehearsals and artistic discussions, in order to understand the meaning-making process through the body and movement.Findings show that male dancers' movement techniques, derived from pencak silat, exhibit protective, dominant, and assertive traits, while female dancers express gentleness and deference through movements inspired by silat bunga. However, a critical reading reveals that this gender division does not necessarily reflect Minangkabau gender reality but rather represents a symbolic negotiation that evolves with changing social dynamics and modern aesthetic expectations. Furthermore, symbols such as the carano and betel leaves are not always received with a singular meaning. Younger dancers, especially those living in urban areas, interpret these symbols as formalities or even folklorization, rather than as expressions of spirituality. When the dance is performed at tourism events or modern receptions, its meaning shifts from a ritual of respect to a visual attraction. This study affirms that Pasambahan Dance is not merely an aesthetic medium but also a discursive arena where values, identities, and ideologies are negotiated. By combining dance analysis and performance ethnography, this research contributes to the discourse on cultural preservation, performative critique, and arts education that is both contextual and reflective.
Citizen-Based Arts Festivals in North Sumatra: Obstacles, Solutions, and Social Impacts Togatorop, Merdy Roy Sunarya; Hakim, Ifwanul; Mulya, Aqsa; Erizon, Erizon
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.v9i1.65303

Abstract

This art study aims to reveal a new phenomenon of organizing art festivals based on community mutual cooperation or better known as citizen festivals. This study is based on the desire to produce a view and knowledge in seeing the challenges, solutions, and social impacts of citizen festivals. The study focuses on three citizen festivals representing three geocultural regions of North Sumatra, namely coastal, mountainous, and urban. The purpose of this study is to find the challenges faced by organizers in implementing Community-Based Art Festivals in North Sumatra and to reveal their solutions in facing these challenges, as well as to find the social impact of organizing Community-Based Art Festivals for the surrounding community. The method used in this study is a qualitative approach. The process of searching for data and information is carried out using interview, documentation, and literature study methods. The results of the study show that community-based festivals in coastal, mountainous, and urban areas have their own challenges. The Berhala Island marine culture festival on the Serdang Bedagai coast must deal with uncertain natural conditions. The Pancur Siwah Festival in the Karo mountains must grapple with religious ethics, the conservative attitude of the elders and the apathy of the younger generation. Meanwhile, the Jawa Deli Festival in Medan must be adaptive and collaborative with a multicultural social environment by facilitating various ethnicities. Some categories of impacts generated from these three types of festivals are cultural impacts, educational impacts, and economic impacts.
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

Abstract

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.  
Pedagogical Strategies in Building Students' Dance Competence: A Case Study at SMAN 1 Rengel Rukmana, Rori Reza Dewi; Zandra, Rully Aprilia
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.v9i1.66452

Abstract

This research aims to identify the strategies used in learning dance at SMAN 1 Rengel and reveal the learning difficulties that arise in implementing these strategies. Using a descriptive qualitative approach, this research collects data through observation, interviews and documentation. The data analysis techniques used include data collection, data reduction, data presentation, and drawing conclusions. The results of this research show that the strategy used was a combination of the Project-Based Learning (PjBL) method and peer tutoring which was proven to be effective in developing the dancing skills of class XI E students at SMAN 1 Rengel. PjBL encourages active student engagement through real projects, while peer tutoring increases motivation, collaboration, and mastery of dance moves. However, there are learning difficulties that arise in implementing this strategy, such as differences in skill levels with recommendations to overcome them, it is recommended to implement training that focuses on small groups, lack of interest in the art of dance with recommendations to overcome them, it is recommended to implement training that focuses on small groups, limitations time with recommendations to overcome it, it is recommended that flexible training scheduling be provided, inadequate facilities with recommendations for overcoming it are recommended to maximize the use of existing facilities, as well as difficulties in understanding dance movements through YouTube video media with recommendations for overcoming it is recommended to implement training that focuses on groups small. The implication obtained is that it makes a real contribution in improving the quality of dance learning at SMAN 1 Rengel.
The Function of the Basuh Lantai Tradition for the Daik Village Community Kora, Panca Dwi; Daryusti, Daryusti
Gondang: Jurnal Seni dan Budaya Vol. 8 No. 1 (2024): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2024
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i1.47564

Abstract

Culture is the characteristic identity of any group or community, which is upheld within its boundaries. Culture as a product of human thought records community traditions in various ceremonies such as births, funerals, agricultural rituals and musical performances. One of the ingrained traditions is the Washing the Floor custom in Daik Village, Lingga Regency, Riau Islands Province, which is carried out before giving birth. This qualitative research conducted in Daik Village immersed researchers in the local community, aiming to understand the social significance and evolution of the Basuh Floor tradition. By demonstrating solidarity and actively participating with the locals, the researcher aims to gather accurate information for this study. The results reveal the tradition's connection to animist beliefs and its role in protecting against mystical forces. Despite modernization, the decline of these traditions reflects changing attitudes towards childbirth practices and health care. This study underscores the importance of preserving cultural heritage amidst societal change. Despite its decline, the Basuh Floor tradition remains an integral part of the cultural identity of Daik Lingga Village and the Riau Islands as a whole. It serves as a symbol of cultural continuity and resilience, reminding the community of their heritage and providing a sense of belonging and identity. Additionally, it underscores the importance of understanding and preserving cultural practices, not only for their symbolic value but also for their role in maintaining social cohesion and collective memory.
The Role of Gunawan Setiawan's Batik Industry in the Education Process and Maintaining Batik Cultural Symbols in the Community Noviana, Renzi; Verdiani, Omy Marissa; Azhar, Mohamad Rizki; Trinugraha, Yosafat Hermawan; Parahita, Bagas Narendra
Gondang: Jurnal Seni dan Budaya Vol. 8 No. 1 (2024): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2024
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i1.48573

Abstract

Batik is one of the handicrafts that has high artistic value which has been passed down from generation to generation by the ancestors of the Indonesian nation since the Majapahit Kingdom and continues to be preserved today. However, we have discovered the reality that currently there are still many people who do not fully understand the meaning or philosophy behind batik motifs. Through this, it is necessary to have an educational process for the community, one of which can be carried out by the batik industry. The purpose of this study is to provide an overview regarding how the educational process carried out by Kampung Batik Kauman, especially Batik Gunawan Setiawan, is to provide a comprehensive understanding of batik to the public. This research was conducted in Surakarta, namely in Kauman Batik Village, precisely in Gunawan Setiawan Batik. The research method used is a qualitative research method with a case study approach. The results showed that there were several educational processes carried out by Batik Gunawan Setiawan, such as creating a batik gallery, conducting batik exhibitions and holding batik training. Furthermore, the process of batik education in the community is analyzed using Structural-Functional Theory - Radcliffe Brown as a countermeasure to tensions. As he stated that culture is not to satisfy individuals but to fulfill the social structure of society and emerge to overcome tensions such as theft of cultural identity due to the lack of public concern regarding local culture.
The Aesthetic Communication: Representation of Gandrung Bangun Urip Dance in Batukandik Village Haes, Putri Ekaresty; Apsari, Ayu Made Dwi
Gondang: Jurnal Seni dan Budaya Vol. 7 No. 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.48631

Abstract

The Gandrung Bangun  Urip dance is one of the tarekat's sacred traditions from Banjar Bangun Urip, Batukandik Village, Nusa Penida, which is still performed in several manusa nyadnya events. This research aims to describe representation rates based on communication aesthetics. This qualitative research uses an ethnographic communication approach based on the results of participatory observation, in-depth interviews and documentation. The data obtained were analyzed using data triangulation techniques. The results obtained from the research conducted on the Banjar Batukandik krama are the Gandrung Bangun Urip dance, which represents the expression of gratitude for Krama Banjar and a symbol of repelling reinforcements or disasters. The representation of this dance is a cultural agreement in a social context as the embodiment of philosophy in society, namely Tri Hitakarana, Rwa Bhineda so that apart from having a religious function, it also has a social function, namely forming harmonious community relations within the community.
The Effect of Kebyar Duduk Peliatan™s Performance During the Covid-19 Pandemic in Bali Suryani, Ni Nyoman Manik
Gondang: Jurnal Seni dan Budaya Vol. 7 No. 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.49317

Abstract

The purpose of this research was to reveal the phenomenon of the kebyar dudukpeliatan dance during the COVID-19 pandemic. In general, Balinese performing arts activities are very rare because of the red zone and demands for adaptation to health protocols. However, the kebyar duduk dance in the peliatan style was seen being performed. The performance of the kebyar duduk dance in the peliatan style during the COVID-19 pandemic looked different from usual. The questions are: 1) What is the form of the kebyar dudukpeliatan performance during the COVID-19 pandemic?; 2) What was the impact of staging the kebyar duduk peliatanperformance during the COVID-19 pandemic?. This research was completed based on qualitative methods. Secondary data was obtained through literature studies on COVID-19 and the kebyar duduk dance. While the primary data was obtained by means of observation and interviews with informants in Ubud. All data were analyzed qualitatively with aesthetic theory and practice theory. The results of the research show : (1) the people of Ubud present the kebyar duduk peliatan dance through digital technology; (2) the presentation of the kebyar dudukpeliatan dance through digital media has a positive impact on flexibility in learning the kebyar duduk peliatan dance and has a negative impact on the enculturation of the kebyar duduk peliatanperformance in the culture of the Ubud people.
Unpacking the Form and Structure of Jaya Baya Music Composition in JES Gamelan Fusion Pramana, I Putu Riangga Budi; Santosa, Hendra; Saptono, I; Yudarta, I Gede; Sutirtha, I Wayan
Gondang: Jurnal Seni dan Budaya Vol. 7 No. 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.49581

Abstract

This paper aims to reveal the structure and form of Jaya Baya music composition by I Nyoman Windha in JES Gamelan Fusion. Jaya Baya's Music Composition in JES Gamelan Fusion is the result of a rearrangement of the same title worked on with the Sekar Jaya Gamelan Group using Angklung gamelan in 2002 by taking the idea of revealing the meaning of the Bom Bali I Tragedy. This research uses qualitative descriptive research methods, with musicological approach procedures, to analyze the form and structure of the Composition of Musik Jaya Baya in JES Gamelan Fusion. This music turnover is in the style of fusion music, by combining the values of Bali characteristics with Western music values presented by JGF (Jes Gamelan Fusion). It turns out that in her composition, Windha is still thick with Balinese karawitan practices, where various elements of music, the practice of music playing techniques, ornamentation, and even the structure of the music are still Balinese style. Two types of gamelan as the basic foundation of music fusion, namely Jegog gamelan and Semar Pagulingan Saih Pitu gamelan, have certainly given rise to sound color perspectives and instrumentation techniques as a creative force for composition creation.   Windha has also made hybrid music in a fusion style which turned out to be an alternative to combining Western and Eastern music (Nusantara).

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