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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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Analysis of Tari Kelelawar Movement Variations Based on the Wordwall Game for 9th Grade at SMPN 7 Semarang Nahla; Eny Kusumastuti
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: 10.24114/68entj32

Abstract

This study aims to analyze the variations of Tari Kelelawar movements and test the use of the Wordwall educational game as a movement analysis medium in dance learning for 9th grade students at SMPN 7 Semarang. The method used is Research and Development (R&D) with the ADDIE development model which includes five stages, namely analysis, design, development, implementation, and evaluation. Data were collected through observation, interviews, documentation, and media feasibility testing to obtain comprehensive information regarding the characteristics of dance movements and the application of learning media. The collected data were analyzed through the stages of data reduction, data presentation, and conclusion drawing to ensure systematic and coherent interpretation. Based on the results of the media expert validation test, Wordwall was declared suitable for use with advantages in aspects of visual appearance, technical quality, and high interactivity. The implementation results showed that the average student response score reached 88% (very suitable category). The use of interactive features such as Match-Up, Labeled Diagram, Group Sort, and Open the Box also proved effective. These features help students deconstruct the complexity of movement visually and independently, while encouraging their active involvement during the learning process. This study concludes that Wordwalls can function effectively as a visual analysis medium to support dance movement analysis and enhance students' understanding of dance learning in a local cultural context.
Continuity & Transformation of Zapin Meskom Music in Bengkalis Regency Zalfandri; 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/zzbmmx20

Abstract

This study analyses the continuity and transformation of Zapin Meskom music in Bengkalis Regency, Riau, as a Malay cultural heritage amid modern social change. It aims to explain the tradition's forms of sustainability and the performance changes occurring in a contemporary context. The study uses a qualitative method with a descriptive-analytical approach. We gathered data through observation, in-depth interviews with artists, traditional leaders, and community members, and documentation studies. We analysed the data using the interactive model of Miles, Huberman, and Saldana: data reduction, data display, and conclusion drawing. The results show that Zapin Meskom's continuity rests on preserved core elements: basic movement patterns, the rhythms of gambus and marwas, Malay-language verses, and the values of courtesy and togetherness. Intergenerational transmission through families, art studios, and cultural communities supports this continuity. Transformation shows up in adjusted performance duration, modern stage arrangements, costume innovations, and the use of digital media and cultural festivals as new spaces of expression. Technological developments, tourism, cultural policy, and globalization drive these changes. Zapin Meskom demonstrates a dynamic relationship between tradition and modernity. Tradition preserves local cultural identity. Transformation works as an adaptation strategy that keeps the art relevant. Zapin Meskom continues to endure as a living, evolving cultural heritage in the Bengkalis community.
What Symbolic Meaning Would Peirce Find in the Raspati Dance at the Galura Kencana Studio in Garut? Muhamad Rifki Ilhami; Ria Sabaria; Fitri Kurniati
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/dzqgn617

Abstract

This study examines the symbolic meanings embedded in the Raspati Dance performed at Sanggar Galura Kencana, Garut Regency, using the semiotic perspective of Charles Sanders Peirce. It aims to identify and interpret the system of signs found in the choreographic structure, movement vocabulary, makeup, and costume as representations of Sundanese women’s leadership values in education. The study employs a descriptive qualitative approach. Data were collected through observation, interviews, documentation, and literature review, and triangulation was applied to ensure validity. The analysis is based on Peirce’s triadic model, which consists of the sign, object, and interpretant, to understand how visual and kinetic elements function as cultural signs within the performance. The findings show that the movement sequences of the Raspati Dance do not merely serve aesthetic purposes, but also represent values such as perseverance, intelligence, solidarity, and leadership vision among women. The makeup and costume further reinforce the visual dimension, highlighting the image of Sundanese women as graceful, firm, and dignified. All the interconnected elements of the dance create a symbolic narrative that reflects women's struggle to gain knowledge and contribute to societal development. In this sense, the Raspati Dance can be understood as a form of cultural expression that combines artistic creativity with symbolic meanings rooted in the social and cultural values of Sundanese society.
The Kuda Kepang Turonggo Budoyo Dance in Dharmasraya as a Space for Social Interaction Pipit Supriyani; Budi Setiyono
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/hej4f287

Abstract

Dharmasraya Regency became one of Indonesia's major transmigration destinations during the New Order period, resulting in a multicultural society composed of Javanese, Minangkabau, Batak, Sundanese, and other ethnic communities. Within this diverse social setting, cultural practices have become important media for fostering interaction and social cohesion. One of these cultural practices is the Kuda Kepang Turonggo Budoyo (PDC) performance, which has developed in Nagari Kurnia Koto Salak, Sungai Rumbai District. This study examines how the Kuda Kepang Turonggo Budoyo (PDC) performance functions as a space for social interaction among the multi-ethnic community of Dharmasraya. The research employs Herbert Blumer's theory of symbolic interaction and adopts a qualitative approach through field observations, in-depth interviews, documentation, and literature review. Data were analyzed descriptively by interpreting the relationships between the performance structure and the social interactions surrounding it. The findings reveal that although the performance preserves the essential characteristics of the Javanese Kuda Kepang tradition, it has undergone adaptation within the multicultural context of Dharmasraya. The performance incorporates distinctive choreographic movements, musical accompaniment, costumes, and performance properties while simultaneously accommodating the participation of individuals from different ethnic backgrounds. More importantly, the performance serves not merely as an artistic expression but as a social arena where members of diverse ethnic communities interact, collaborate, negotiate cultural meanings, and strengthen social relationships. Therefore, Kuda Kepang Turonggo Budoyo (PDC) functions as both a cultural performance and an inclusive medium that promotes social integration and reinforces community cohesion within Dharmasraya's multicultural society.
Blended Learning in Dance Education: A Qualitative Study of Its Implementation among SIJB Students Regita Azzahra Komarudin Putri; Agus Budiman; Fitri Kurniati
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/rqbcaw53

Abstract

This study is driven by the need for innovation in dance education at Sekolah Indonesia Luar Negeri (Indonesian Schools Abroad), where limited access to expert instructors remains a challenge, alongside the growing importance of technology in supporting skill-based learning. The study aims to describe the implementation of a blended learning model supported by audio-visual media in dance instruction at Sekolah Indonesia Johor Bahru (SIJB) and to examine the resulting learning outcomes. The study adopts a descriptive qualitative approach involving teachers, students, and expert instructors as participants. Data were collected through two days of direct observation, follow-up interviews conducted online via WhatsApp, questionnaires, and documentation. The analysis followed stages of data reduction, data display, and verification using triangulation techniques. The findings show that the learning process unfolds through interconnected stages, including video-based material distribution, independent learning, face-to-face practice, expert evaluation, and continued practice leading to performance. Audio-visual media serves as an initial learning resource that helps students build foundational understanding, while face-to-face practice with teacher guidance strengthens technical mastery of movements. Students’ responses reflect a generally positive trend, particularly in relation to interaction and direct learning, although variations in ability emerge due to differences in prior learning experience. Learning outcomes appear across cognitive, psychomotor, and affective domains, all of which develop throughout the process. In conclusion, the findings indicate that integrating audio-visual media with face-to-face learning supports a structured and sustained dance learning process, particularly in contexts with limited resources.
Sustainable Practice of Ogoh-ogoh: An Ecological Perspective on Integrating Environmental Conservation with Cultural Heritage Dewanto; Shanty Anugerah Yuni Puspita Sari Duwila; Olivia Jessi Febrianti
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: 10.24114/2a7de835

Abstract

The processes of crafting, parading, and burning the Ogoh-ogoh carry spiritual significance for Hindu communities in Indonesia. Despite its deep spiritual and philosophical meaning, the Ogoh-ogoh celebration is not without controversy. Environmental critics have raised concerns regarding the materials used in Ogoh-ogoh construction, including paints and dyes, as well as the environmental impact of the burning process. The objective of this study is to describe the cultural practices of Ogoh-ogoh in Surabaya and Gresik, particularly in relation to cultural preservation and environmental conservation. The research employs a Descriptive Qualitative Method. Content Analysis will be used to interpret the data. The research locations are Pura Perak in Surabaya and Kampung Bongso Wetan in Gresik. The subjects of this study include Hindu religious leaders, Ogoh-Ogoh artisans, and environmental enthusiast communities. Data were collected through literary studies, participatory observation, and in-depth interviews. The steps of data analysis are: 1) examining literature, policy documents, and archival materials, 2) conducting open coding, 3) categorizing codes, 4) applying selective coding, 5) interpreting data from observation and interview, 6) integrating data from cultural to ecological points of view, and 7) drawing conclusions. Findings reveal that local communities are actively integrating biodegradable and non-biodegradable materials to create Ogoh-ogoh. Styreofoam, plastic raffiah, and metal wires are continously used due to their affordability, accessibility, and malleability. This research offers a model for sustainable cultural practice that bridges tradition and innovation, emphasizing the role of community agency in shaping environmentally conscious heritage. It aims to inspire policy frameworks and educational initiatives.
When Myths Incarnate Performances: The 12th Krisnayana Performances as Cultural Discourse and Emotional Experience Syaiful Qadar Basri; Setyo Yanuartuti; Anbie Haldini Muhammad; Kanzul Fikri
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: 10.24114/3z5qgf50

Abstract

This research aims to examine the representation of the myth of Krishna in the performance of the 12th Kresnayana based on the play Suta Ruhara, focusing on the relationship between dramatic structure, the emotional experience of the audience and the performer, and the aesthetic transformation of performance in the contemporary social context. The research uses a qualitative approach with a case study method, including script analysis, direct observation of performances, audiovisual documentation, and in-depth interviews with actors and audiences. The analysis is carried out through an interpretive phenomenological perspective to understand affective experience as part of the production of performance meaning. The results of the study show that myths are not positioned as static epic narratives, but rather as ethical discourses that are alive and negotiated through the tragedies of Samba, Boma, Hagnyanawati, with Krishna appearing as a figure of moral wisdom and a balancer of conflicts. The novelty of this research lies in the finding that affection in performance does not function solely as a dramatic effect, but as a space for collective ethical reflection that connects myths, bodily experiences, and the social consciousness of the audience. Aesthetic transformation through the fusion of traditional idioms and contemporary performance technologies reinforces the symbolic articulation of myths without eliminating local roots. This study concludes that the 12th Kresnayana acts as a reflective cultural practice that bridges traditions, emotional experiences, and social realities, and offers a model of traditional performing arts development that is adaptive, pedagogical, and relevant to the dynamics of today's society.
Presentation Structure and Symbolic Meaning of Sekapor Sireh Dance: An Ethnochoreological Study Romi Faisal; Malarsih Malarsih
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: 10.24114/5fnmvc71

Abstract

Sekapor Sireh Dance is a welcoming dance of the Pontianak Malay community performed in customary, cultural, and state ceremonies. As a cultural product, the dance functions not only as an aesthetic performance but also as a medium for expressing cultural values and symbolic meanings. This study aims to analyze the presentation structure and symbolic meanings of Sekapor Sireh Dance from an ethnochoreological perspective. The research employed a qualitative method with an ethnochoreological approach. Data were collected through observation, interviews, and documentation at Sanggar Bougenville, West Kalimantan, and analyzed using the interactive model of Miles and Huberman combined with ethnochoreological analysis. The findings reveal that the presentation structure of Sekapor Sireh Dance consists of movement, musical accompaniment, makeup, costumes, accessories, properties, and floor patterns that form an integrated performance system. The symbolic meanings of the dance are constructed through the interrelationships among these elements, representing values of respect, acceptance, hospitality, openness, prayer, protection, and the cultural identity of the Pontianak Malay community. From an ethnochoreological perspective, these meanings emerge through the interconnectedness of all presentation elements, which collectively form a system of cultural symbols.
Gerattak Semate: Syncretism Representation of Sambas Malay Timang Bubu’s Folkgame Rama Anggara; Asril
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: 10.24114/9wmq5w27

Abstract

Gerattak Semate is a representation of the syncretism of the Sambas Malay Timang Bubu folkgame in music composition. Timang Bubu is a folkgame that grows and develops in Semate Village, Sambas Regency. The folkgame uses bubu / a type of fishing tool made of bamboo. The phenomenon in the folkgame is used as a stimulus as the material object of creation. The syncretism element contained in it is used as a trigger for the idea of creating musical works. The work of Gerattak Semate is worked on in four works that are mutually sustainable. The four works were created using interpretation and reinterpretation approaches. Interpretation is aimed at interpreting and synthesizing the meaning and socio-cultural values contained in the phenomenon of the Timang Bubu’s folkgame. Reinterpretation is applied to the utilization and development of musical elements in the Timang Bubu’s  folkgame as well as the pattern of traditional Malay music that grows and develops in West Kalimantan. Gerattak Semate is composed by applying a combination of hybrid instrumentation. This is done by mixing traditional Malay musical styles and instruments, western instruments, and electronic media. The mixture of various musical idioms and expressions used as a representation of syncretism. Subjectively, this work was conceived as a bridge to present socio-cultural values with a pluralistic frame of mind.
The Transformation of Sembah Batin Dance in the Development of Performing Arts in West Lampung Society Nur Sintia; Pramutomo; 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/ngqrfq49

Abstract

This study aims to examine innovation in the Sembah Batin Dance as a form of performing arts development within the West Lampung community. The Sembah Batin Dance, created by Nyoman Mulyawan in 2010, now functions as a welcoming dance for guests at various official events, traditional ceremonies, and wedding processions. The uniqueness of this dance lies in its ability to adapt to modern social contexts through innovations in movement forms, accompanying music, and presentation structure, without abandoning noble values ​​such as respect, mutual cooperation, and togetherness. This research employs an ethnocoreological approach to analyze aspects of meaning as well as elements of choreography, costumes, properties, and music. The findings indicate that innovation in the Sembah Batin Dance plays an important role in maintaining the sustainability of tradition and strengthening the existence of regional performing arts amid the social dynamics of West Lampung.

Page 33 of 34 | Total Record : 336

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