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Panji Suroso
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Program Studi Pendidikan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Medan Jl.Willem Iskandar Ps. V, Medan Estate.
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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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Choreographing Matrilineal Archives: Feminist Emplacement in Perempuan dan Rumah Gadang by Loravianti Nasution, Hendra; Sushartami, Wiwik; Dyah Fitriasari , Rr Paramitha
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.v9i2.69860

Abstract

This research examines the choreographic work of Susas Rita Loravianti, particularly Perempuan dan Rumah Gadang, as sites of feminist resistance and spatial emplacement within the Minangkabau village. While existing scholarship on Minangkabau often romanticizes its matrilineal system, this study identifies a gap in understanding how women's bodies actively negotiate the matrilineal paradox, the tension between symbolic female power in the ancestral home and formal male authority in public discourse. Drawing on a two-year ethnographic approach (2022–2024), the research employs participant observation, semi-structured interviews, and detailed gestural mapping to analyze the creative process. The study integrates Doreen Massey's concept of relational space with Gay McAuley's performance spatiality to argue that Loravianti's choreography transcends mere illustration, constituting a subversive critical perspective that reimagines the village (kampuang) as a dynamic arena of global social relations. The findings suggest that the performance functions as a subaltern counterpublic, empowering women to develop oppositional identities in opposition to the restrictive behavioral codes of the Sumbang Duo Baleh. Furthermore, the research considers the limitations of this artistic strategy, questioning the inclusivity of the performance space for non-elite women within the village and examining the potential for artistic abstraction to obscure pressing socio-political crises.
Presentation of Tortor Bejan at Traditional Ceremonies of the Batak Toba Community Martozet, Martozet; Tari, Eszter; Adlin, Dilinar; Octaviani, Tania Rizqy; Maysuri, Liza
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.v9i2.72155

Abstract

Tortor Bejan is an activity performed in the traditional death ceremony known as Mambejan or Patortorhon Parangin. In this ritual, the deceased is symbolically brought to life in order to commemorate their life. This tradition was formerly performed once every five years and lasted for forty days. However, over time, Tortor Bejan is now performed only once a year and lasts for a single night. This study focuses on the presentation form of Tortor Bejan. The analysis employs Soedarsono’s theory of presentation, which defines dance presentation as the overall manner of performance, encompassing the main elements of a dance. The findings indicate that Tortor Mambejan is a ritual dance that symbolically revives ancestral spirits through a statue as a form of respect for ancestral contributions. Before the performance of Tortor Bejan, Tortor Mangaraksa Desa Nawalu is first performed by a male dancer. During the Bejan ritual, one highly respected ancestor is selected. If the ancestor passed away under the condition of Saur Matua, the Bejan statue must not be made of wood but from the ancestor’s bones. The dance is called Tortor Bejan because, during the performance, ancestral spirits are symbolically revived through a “kailit” statue known as Bejan. The performance of Tortor Bejan uses costumes made of Batak Toba ulos fabric with traditional makeup and is accompanied by Gondang Suling Ni Happang Na Opat and Gondang Sahala Raja.

Page 32 of 32 | Total Record : 312

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