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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 336 Documents
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Choreographing Matrilineal Archives: Feminist Emplacement in Perempuan dan Rumah Gadang by Loravianti Hendra Nasution; Wiwik Sushartami; Rr Paramitha Dyah Fitriasari
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; Eszter Tari; Dilinar Adlin; Tania Rizqy Octaviani; Liza Maysuri
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.
Haro Hara Song: History of Protest Music in Aceh 2000-2003 Rika Wirandi; Rico Gusmanto; Dwindy Putri Cufara; Susandro Susandro; Hatmi Negria Taruan
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: 10.24114/3c9q8z67

Abstract

The song Haro Hara is one of the protest songs whose lyrics contain four bloody events during the 1998 conflict or after the revocation of the Military Operations Area (DOM) status in Aceh. This study aims to examine the development, social and political influences, and the phases of the ban on the protest song Haro Hara during the armed social conflict in Aceh. This study uses a qualitative approach based on archives, employing netnography techniques that emphasize the search for online data, archives, and interviews. The primary data sources are musical artifacts in the form of physical cassette tape releases of the Nyawöung album and several related Acehnese music albums, as well as digital files of related songs on YouTube, Instagram, Facebook, and TikTok. This study found that the song Haro Hara is considered a product of journalism in the form of music that tells and records four conflict events that claimed civilian casualties in Aceh. The song is considered to contain propaganda and is included in the list of “banned songs” that were once censored along with other Acehnese songs with protest and political nuances. The song Haro Hara was removed from the second album released by Nyawöung in 2004 because it was considered by the Regional Military Emergency Authority (PDM) of Nanggroe Aceh Darussalam (NAD) to be provocative and to stir up the spirit of resistance among the Acehnese people who wanted independence and were considered to be siding with the Free Aceh Movement (GAM). Furthermore, the musical concepts championed by the Nyawöung band—including in the song Haro Hara—have had a significant impact on the dynamics of music and local politics in Aceh during the conflict and up to the present day.
Strategy to Preserve Srimpi Lobong Dance at Yogyakarta Palace in the Digital Era Chory Martha; Malarsih Malarsih; Hartono Hartono
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/hd8y0w13

Abstract

The Srimpi Lobong dance is one of the classical princess dances that developed in the Yogyakarta Palace environment and has high historical, philosophical and cultural value in Javanese cultural tradition. However, amid the tide of globalisation and digital technology development, the existence of the Srimpi Lobong dance faces various challenges, such as declining interest among the younger generation, limited appreciation space, and shifts in people's cultural consumption patterns. This study aims to examine the philosophical value of the Srimpi Lobong dance, its position in the palace tradition, the preservation challenges it faces, and the preservation strategies implemented in the digital era. This study uses a qualitative approach with a qualitative descriptive method. The data was obtained through observation, in-depth interviews with relevant parties, and documentation in the form of archives, photographs, and videos of performances. The results of the study show that Srimpi Lobong Dance not only functions as a performing art, but also as a medium for passing on ethical values, spirituality, and character education. Preservation strategies include maintaining classical standards, regenerating dancers, and utilising digital media as a means of documentation, promotion, and cultural education. Although digitisation opens up opportunities to broaden appreciation, its use must be selective so as not to lose the philosophical essence and authenticity of classical dance. Thus, the preservation of Srimpi Lobong Dance needs to be understood as a process of sustainable cultural regeneration, which balances the conservation of tradition and adaptation to the times.
The Representation of Riau Malay Traditional Music in the SUNO AI Application: A Post-Reality Perspective Ridho Fatwandi; Daryusti Daryusti
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: 10.24114/19t13n57

Abstract

This research aims to examine how traditional Malay music is represented through the Suno AI application and to understand this phenomenon using Jean Baudrillard’s post-reality perspective. The study employs a descriptive qualitative approach with digital experimentation techniques and in-depth interviews. Data were obtained from AI-generated Malay music (zapin, joget, and langgam), which was then compared to original traditional music, supported by the views of informants with expertise in Malay music. The findings indicate that AI is capable of presenting musical similarities at the surface level, such as rhythm, tempo, and the distinctive Malay nuance. However, the music produced tends to lose essential elements such as feeling, spontaneity, social interaction, and cultural meaning. From the post-reality perspective, this condition shows that AI music has entered the stage of simulation and simulacra, where culture is represented as sound signs detached from its original reality. Moreover, AI music can create hyperreality, a form of culture that appears neater and more perfect, but lacks depth of meaning. The presence of AI is not as an agent that changes the way culture is understood and represented in the digital era. AI-generated Malay music becomes a cultural representation that is simulational and has the potential to shift society’s understanding of the authenticity of traditional culture.
Cultural Identity Through the Background Design of Three Animated Advertisements: The Perceptions of Z Generation Arum Wulandari; Riksa Belasunda; Syarip Hidayat
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/nctwq488

Abstract

Background design in animated advertising is often treated as a secondary visual element, while most studies focus on character design and narrative. This study examines how background design in three Indonesian animated advertisements Sasa, Khong Guan, and Pocari Sweat functions as a representation of culture and how Generation Z audiences interpret the cultural meanings embedded within those backgrounds. Using a qualitative descriptive approach, the research applies Kurtz’s (2020) background art framework, including form, color, perspective, shadow and light, texture, art style, image placement, and narrative function. Cultural representation is analyzed through Koentjaraningrat’s concepts of ideas, activities, and artifacts, while audience reception is examined using Stuart Hall’s encoding–decoding theory through semi-structured interviews with 28 Generation Z informants aged 18–27. The findings show that each advertisement uses distinct visual strategies to construct representations of Indonesian cultural identity. Warm and cool color palettes function as cultural signifiers, perspective shapes the perception of space, and anime-inspired visual styles make local cultural content more globally accessible and commercially appealing. Among the 28 informants, 22 occupied the Dominant position, recognizing the cultural environments as familiar and emotionally resonant. Four informants occupied the Negotiated position, acknowledging tensions between anime aesthetics and Indonesian visual specificity, while two occupied the Oppositional position, criticizing the simplification and homogenization of regional cultural representation. This study demonstrates that animated advertisement backgrounds function not merely as decorative settings, but as culturally meaningful visual spaces that influence audience perception and cultural recognition among Generation Z.
An Ethnochoreological Analysis of Historical Transformation and Socio-Ecological Critique of SANG Dance in Belitung Muhammad Akbar Lazuardi Suherman; Beben Barnas; Tatang Taryana
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: 10.24114/3gq0pg74

Abstract

This study analyzes the expressive, symbolic, and communicative functions of movement in SANG Dance from Belitung Island through an ethnocoreological framework. SANG Dance, created by Bella Asmanabillah, uses pepper (sahang) as its central symbol to narrate the historical transformation of Belitung society across three choreographic phases: imbang (pre-colonial), ambang (colonial), and rumpang (post-colonial). This qualitative descriptive research collected data through in-depth interviews, participatory and non-participatory observation, and documentation involving the choreographer, dancers, arts observers, and the supporting community. Data were analyzed using the Miles and Huberman interactive model, and validity was strengthened through source and method triangulation. Results show that movement in SANG Dance functions expressively to convey the collective experience of Belitung people, symbolically to represent the relationship between humans and nature, and communicatively to deliver social criticism regarding ecological exploitation and cultural identity loss. The choreographic structure reflects the historical transformation of Belitung society from harmonious agrarian life, through exploitative colonial systems, to the post-colonial condition marked by social fragmentation and environmental degradation. SANG Dance thus serves not merely as an aesthetic expression but as a medium of social critique, cultural preservation, and ecological consciousness. This study contributes to ethnocoreology by positioning choreography as a cultural text that encodes collective memory, local identity, and socio-ecological criticism rooted in local commodity history.
The Local Wisdom and Educational Values in Kurung-Kurung Music of the Dayak Meratus Loksado: English Muhammad Najamudin; Maryanto Maryanto; Dedy Ari Nugroho
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/bcwahz55

Abstract

This study aims to uncover the educational values ​​contained in the traditional kurung-kurung music of the Dayak Meratus community in Loksado, South Kalimantan. The kurung-kurung music, played in an ensemble with bamboo instruments, serves not only as entertainment or a complement to traditional ceremonies, but also as a means of transmitting cultural values ​​through an ethnopedagogical approach. This study used a descriptive qualitative method with data collection techniques in the form of participatory observation, in-depth interviews, and documentation. Analysis was carried out through data reduction, data presentation, and drawing conclusions. The results of the study indicate that kurung-kurung music contains important educational values ​​for the community, namely: (1) discipline, (2) awareness of environmental conservation, (3) obedience to leaders, (4) tolerance, and (5) mutual cooperation. These values ​​are rooted in the local wisdom of the Meratus agrarian community that prioritizes social and ecological harmony. Thus, kurung-kurung music not only preserves cultural identity, but also functions as a medium for character education that is relevant to the needs of the younger generation in the modern era.
Form and Structure of Music in the Tidi Lo Polopalo Dance from the Gorontalo Community Sri Rahayu Hidayat Miu; Aris 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/qfz4y149

Abstract

Tidi Lo Polopalo is a traditional dance performed during traditional wedding ceremonies, commonly referred to as 'Hui Mopotilandahu.' This dance symbolizes the refined character and grace of a woman, her hospitality, as well as the duties and responsibilities she will assume after marriage. This dance cannot exist without its accompanying music; in this context, music is considered essential in strengthening the identity of the dance, which serves to represent the essence of womanhood in Gorontalo. he musical accompaniment of the Tidi Lo Polopalo dance is not merely a form of entertainment in traditional ceremonies; rather, it serves as a manifestation of cultural expression rooted in specific values. Within the performance, the music acts as a universal language that transcends words. This study aims to analyze the form and structure of the musical accompaniment in the Tidi Lo Polopalo dance within the Gorontalo community. This study employs a qualitative method, incorporating interviews, literature reviews, and direct observation. The research utilizes the concepts of form and structure to analyze a vocal or musical composition, which conveys the creator's thoughts and emotions through musical elements specifically tempo, rhythm, harmony, and expression as a unified whole. The results of this study indicate that the form and structure of the music in the Tidi Lo Polopalo dance reflect the aesthetic dimensions of sound within the Gorontalo community. Consequently, the presence of this music is essential in accompanying the Tidi Lo Polopalo dance for the people of Gorontalo.
Batiteria: The Epistemology of Contemporary Musical Creation Based on the Aceh Spice Route Rizki Mona Dwi Putra; Uswatul Hakim; Vereki Martiano
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/w6svbg07

Abstract

This article examines the epistemological foundations underlying the creation of the contemporary musical work Batiteria—a work born from research on the Acehnese spice route as a cultural phenomenon. This study uses an artistic research approach that positions artworks as both products and vehicles for reflection on knowledge. By integrating three epistemological axes—(1) practice-based knowledge, (2) an epistemology of reinterpretation that explores how artists “know” traditions before transforming them, and (3) a multi-source epistemology that combines empirical, intuitive, and cultural knowledge—this study analyzes how Batiteria constructs new musical knowledge. Batiteria, an acronym for West, East, and Central Aceh Rhythms, interprets three traditional Acehnese rhythms: Rapai Geleng (West Aceh), Rapai Pasee (East Aceh), and Didong (Central Aceh) through techniques of musical reinterpretation and contemporary composition. The findings indicate that the creation process of Batiteria is not merely expressive, but rather an epistemic act that produces knowledge about tradition, identity, and cultural sustainability through the language of sound. Thus, this article contributes to the development of discourse on the epistemology of art—particularly in the context of tradition-based contemporary music creation in Indonesia.

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