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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 Form and Creative Process of Nyi Pandanaran as a Female Warrior Dance Anjali, Sangghita; Soemaryatmi; Pramutomo, R. M.
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.66345

Abstract

The dance work Nyi Pandanaran Prajurit Perempuan is a traditional solo performance inspired by the historical figure Nyi Pandanaran, who accompanied her husband in developing the Kadipaten Semarang during the 16th century. This study aims to explore the form and creative process behind the choreography, highlighting the representation of women's resilience, participation, and leadership. Using a practice-based research approach, the choreographer developed movements derived from traditional Javanese dance styles of Surakarta, Yogyakarta, and Semarang, integrated with properties such as fans, bows, and daggers to symbolize strength and femininity. The performance is divided into three main scenes: the opening reflects firmness and determination; the middle portrays grace, prayer, and spiritual strength; and the final scene conveys courage and martial prowess. The dance is supported by musical arrangements that combine Javanese gamelan with modern instruments like saxophone and trumpet, as well as realistic makeup and military-inspired costumes that emphasize character expression. Lighting design further enhances the performance by dividing stage space and symbolizing emotional tones through the use of red and gold hues. The work ultimately presents a nuanced narrative of a woman warrior’s struggle and leadership in safeguarding her land, illustrating themes of emancipation and national devotion. Through this creation, the choreographer underscores the potential of women to embody both strength and grace within cultural and historical contexts.
Characteristics of the Teren Bas Instrument of Orkes Kampoeng Wangak Lestari, Viktoria Friski; Purba, Ezra Deardo; Pasaribu, Rianti Mardalena
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.66634

Abstract

Teren Bas is a distinctive musical instrument from Maumere that has developed from the village music traditions of East Flores. In the context of contemporary ethnic music, this instrument has undergone a transformation in both form and function through the musical practices of the group Orkes Kampoeng Wangak based in Yogyakarta. This study explores the characteristics of the Teren Bas instrument as performed by Orkes Kampoeng Wangak, particularly through the song "Gemu Fa Mi Re." Teren Bas is a unique Maumere instrument resembling a one-stringed contrabass, played using a stick in a percussive manner. The aim of this research is to identify the organological, acoustic, and musical characteristics of the Teren Bas from a musicological perspective. The method employed is qualitative-descriptive with a musicological approach. The findings indicate that Orkes Kampoeng Wangak is a contemporary ethnic music ensemble that blends Maumere traditions into a modern format. The Teren Bas is constructed from kemiri (candlenut) wood, producing a rounded and rhythmic bass sound. Its playing patterns include the styles of Kripso, Langgam, Mars, and Dolo-Dolo, which reflect the cultural roots of Maumere. In the arrangement of “Gemu Fa Mi Re,” the Teren Bas serves as the rhythmic core and a symbol of musical identity, creatively combined with other instruments such as the juk, benyol, violin, flute, and jimbe. The arrangement process integrates modern chord progressions, energetic musical structures, and local sound explorations typical of Maumere through both traditional and non-traditional instruments.
The Function of Music in Silek Minangkabau: Instrument and Cultural Values Rosta Minawati; Alfalah, Alfalah
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.67722

Abstract

Silek minang is a form of traditional martial arts originating from Minangkabau, West Sumatra. This martial art consists of physical aspects and fighting techniques accompanied by music. The music has an important role and function in supporting the players' emotions, serving to enhance and support the movements and providing a heroic atmosphere in the silek performance. This article examines the musical instruments used in silek minang music and its function. This research used a qualitative approach with observation and interviews with artists, cultural figures, community leaders, Silek practitioners and traditional musicians. Our results show that each of the accompanying instruments for the silek minang including talempong, gandang tambua, gandang tasa, sarunai and gong, has a specific function and role in supporting silek in performance. The sounds and rhythms promote the player's emotional engagement when carrying out silek movements. Enthusiasm is brought about by the influence of the rhythm of loud music and a faster or slower tempo in stimulating the atmosphere. The music is at once a symbolic marker, event opener, and encouragement to players and audience. Symbolic interactions between performers, musicians and audience are co-present in the performance space in a dynamic and lively atmosphere.
Symbolism of Movement in Widya Prakrti Dance: A Phenomenological Analysis of Cultural and Spiritual Interpretation Lamopia, I Wayan Gede; Wulandari, Riza; Setyarini, Putu
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.67771

Abstract

Artistic and cultural degradation has recently emerged amidst the rapid spread of digitised information. This research aims to anticipate the degradation of the understanding of the art of cultural identity by finding historical records, symbols and meanings in the Widya Prakrti Dance owned by the maestro of the island of Bali. It is essential to conduct an in-depth study that has an impact on the millennial generation in the digital era not to leave the tradition of meaning symbols in their cultural identity. The method used in this research is qualitative phenomenology. Data collection techniques in the form of in-depth interviews, documentation and literature studies and studied using George Herbert Mead's theory of symbolic interactionism. The participants are divided into 2 groups, namely key informants of 2 people and companion informants of 13 people who will complete the data presentation. The findings of this study examine the history, meaning and symbols of the Widya Prakrti dance. The sacredness of this dance is a manifestation of love for God and Lord Vishnu as the strength and balance of life.
Revealing the Symbolic Meaning of Heri Dono's Flying Angels: From Paul Ricoeur's Hermeneutic Perspective Sumarwahyudi, Sumarwahyudi
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.68132

Abstract

Flying Angels (1996) by Heri Dono is examined in this article as a visual installation rich in symbolic complexity and interpretive openness. This work is selected as the object of study to explore how Paul Ricoeur’s hermeneutic framework can be applied to reveal the layered meanings embedded in contemporary visual art. Employing a qualitative descriptive method grounded in Ricoeur’s textual hermeneutics, the research positions the artwork as an autonomous visual discourse that generates meaning beyond the artist’s original intention. The analysis focuses on visual, symbolic, and narrative elements, particularly the representation of angelic figures rendered grotesque, mechanical, and ironic. Through hermeneutic interpretation, these angels—traditionally associated with purity, transcendence, and moral authority—are understood as ambivalent symbols that articulate tensions between spirituality, technology, and social critique within modernity. The mechanical movements, hybrid materials, and vivid colours operate as a symbolic system reflecting the distortion of spiritual values under technological rationality and globalised cultural conditions. The findings demonstrate that Flying Angels functions not merely as an aesthetic installation, but as an open visual text that invites critical reflection on the erosion of spirituality, processes of dehumanisation, and the transformation of traditional values in the technological era. By emphasising Ricoeur’s concepts of distanciation, surplus of meaning, and dialogical interpretation, this study contributes to Indonesian contemporary art discourse and underscores the relevance of hermeneutic approaches in expanding interpretive dialogue across cultural and temporal contexts.  
The Gayo Kerawang Motifs at the Keni Gayo Statue in Central Aceh Regency SA, Maulidha; Nasution, Ikhwanuddin; Priyatno, Agus; Shaness, Lenna
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.68282

Abstract

This study aims to systematically describe the names, patterns, and motifs of kerawang Gayo applied to the keni Gayo Statue in Central Aceh Regency, as well as to explain the contribution of this statue to cultural preservation and the strengthening of Gayo community identity. This study uses a qualitative descriptive method, data sources were obtained through observation, documentation and interviews with seventeen informants, in addition, data were also obtained through libraries, theories and other literature. The data obtained were summarized, described between categories and concluded. There are six main motifs applied to the Gayo keni statue, such as emun berangkat, saraq opat, tali mestike, pucuk rebung, bunge lawang, and emun beriring. Each motif is applied in a structured manner, adhering to the aesthetic principles and cultural values of the Gayo people.The research findings reveal that the keni Gayo statue serves not only as an aesthetic element in public space but also as an effective medium for cultural communication. The statue fosters a sense of identity, strengthens social solidarity, and nurtures collective pride among the community. Through its presence in open spaces, the statue plays a significant role in introducing cultural values to younger generations and reinforcing local cultural narratives amid globalization. A model like the keni Gayo statue can serve as an inspiration for efforts to reinforce national cultural identity through contemporary visual media rooted in local traditions.
Aesthetics of the Cowongan Dance at Sanggar Sekar Shanty Banjarnegara Putri, Dian Wardani; Jazuli, Muhammad
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.68331

Abstract

This research aims to analyze the aesthetics in the Cowongan Dance by Gading Nadaswara Kemilau Banyu Biru. Cowongan dance has its own uniqueness and specifically has never been studied regarding its aesthetics so researchers are interested in conducting research. This research uses a qualitative descriptive approach with data collection techniques, namely observation, in-depth interviews and document review. The analysis was carried out using aesthetic theory which includes form, weight or content, and appearance. The results of this research show that aesthetics seen from the form side, the Cowongan Dance has a unique form of presentation with ritual-themed choreography as a development of creative dance works. Judging from its weight, the Cowongan Dance contains a magical atmosphere and a message of preserving the traditions of the local community. In terms of appearance, this dance is presented with dynamic choreography supported by movements, unique props, make-up and clothing, as well as musical accompaniment that strengthens the meaning of the Cowongan Dance. This research reveals the aesthetic values ​​created from local community traditions through the creativity of the younger generation to preserve them.
Harmony of Chinese Cultural Acculturation in the Aesthetic Perspective of Art Anthropology in Surakarta Kholis, Achmad Nur; Ayob, Norhayati
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.68434

Abstract

Surakarta is the center of Javanese culture in Indonesia. Many kinds of arts and culture have not been studied in depth, one of which is the phenomenon of cultural acculturation. The arrival of foreign countries to Indonesia influenced the unification of cultures that created new cultural forms. There are several ethnicities and races that live and settle in this area that influence the creation of new cultures, one of which is the Chinese people who come from China. Every year the Chinese and the general public hold a joint Chinese New Year celebration centered on Pasar Gede Hardjonagoro. The relationship that occurs in the ceremonial is a potential to get findings about the harmony of cultural acculturation that occurs from this phenomenon. The research method used is a descriptive qualitative type as an effort to present naturalistic data in the field in the form of sentences. There are several techniques applied in the data collection process, namely observation, interviews, and documentation. The application of the three techniques is based on the suitability of the topic and is supported by an approach in the form of theory. The approach comes from the theory of art anthropology proposed by Ruth Bunzel. The relationship between people, culture, and art occurs in harmony in Surakarta City. One place that has become a cultural center in the city of tolerance is Pasar Gede Hardjonagoro. The traditional market is one proof of the harmony of Chinese and Javanese cultural acculturation that goes hand in hand. The Chinese New Year celebration is a ceremonial example that can be followed by the whole community, without any special attention to the background. This cultural acculturation is a step to maintain tolerance in the community.
Pentahelix Model of Cultural Transmission in Wayang On The Street Performances in Semarang’s Old Town Yullastuti, Dwi; Fitriasari, Paramitha Dyah; Sushartami, Wiwik
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.68463

Abstract

The sustainability of traditional performing arts in the modern era requires innovative strategies to ensure cultural relevance and intergenerational transmission. This study investigates the cultural transmission process within the Wayang On The Street (WOTS) performance, held in the Old Town area of Semarang in 2024, as a collaborative model integrating traditional values into contemporary public spaces. Employing a descriptive qualitative case study, data were collected through participant observation, in-depth interviews with artists, cultural officials, and community members, and documentation of the Pandawa Pitu performance during the Semarang Old Town Festival. The analysis focuses on the interaction among actors within the pentahelix framework—academics, government, business, media, and community—in sustaining traditional performing arts in urban contexts. Findings reveal that WOTS serves not only as a platform for artistic expression but also as a medium for cultural education, public participation, and community empowerment. The synergy among stakeholders strengthens the adaptive capacity of traditional arts and fosters sustainable cultural ecosystems. This study contributes to the theoretical development of cultural transmission by emphasizing the role of multi-stakeholder collaboration as a foundation for innovative cultural preservation in contemporary society.
Inai Dance and Cultural Identity in Malay Wedding Ceremonies of Teluk Majelis Syafwan, Nurul Annisa; Daryusti, Daryusti
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.68517

Abstract

The Inai Dance is a traditional dance that is only performed in traditional wedding ceremonies in Teluk Majlis Village for the Malays. This Inai dance is performed during the evening Henai Dance procession, which is held on the night before the wedding day. The Inai dance has been performed by people from the past to the present, so it has become a characteristic in the village of Teluk Majlis. This research uses a qualitative approach, which was carried out in Teluk Majlis village. The informants in this study are traditional leaders, studio leaders, dancers, and community users who hold the Inai dance night ceremony in Teluk Majlis village. Data collection used observation, interview and documentation techniques. The source triangulation technique is a technique used to ensure the validity of this data. To analyze data requires steps such as data collection, data presentation, and drawing conclusions. The result of this study is that the Inai Dance plays an important role as a marker of the existence of the Malay community in the midst of the dynamics of modernization and intercultural interaction. Despite the mixture of ethnicities and social changes, the people of Teluk Majelis Village still strive to maintain this cultural practice as a form of fortitude in their identity and a symbol of cultural unity.

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