CULTURAL HISTORY OF ACEH
Indonesia is one country that has ethnic and culturally diverse. Each local cultures influence each other and are influenced by the culture of other regions and cultures that come from outside Indonesia. One such culture is culture of Aceh. The history and development of ethnic Acehnese also attracted the attention of anthropologists such as Snouck Hurgronje. Viewed from the side of culture, Aceh has a unique culture and diverse. Acehnese culture is heavily influenced by Malay culture, because the location is strategic because Aceh is the trading band then entered the Middle Eastern culture. Some cultures that exist today are the result of acculturation between Malay culture, the Middle East and in Aceh alone.
Ethnic groups who inhabit the Acehnese people are Malay descent and the Middle East this led to the faces of people different from the people of Aceh Indonesia in other areas. Acehnese society and ethnic groups, the majority of livelihoods in Aceh is not a little farming but also the trade. Kinship system of the Acehnese people know the mayor, Karong and Kaom which is part of the kinship system.
Religion Islam is the religion of the most dominating in Aceh Aceh therefore dubbed the "Veranda of Mecca". From the known structure of the Acehnese village, mukim, nanggroe and so forth. But at this present moment ceremony massive ceremonial only as a symbol so that the core of the ceremony is not reached. The shift occurred because of cultural values ??and fakttor other occupation.
From the things that have been described above in my opinion interesting, so I picked up this paper with the title "Ethnic Culture Aceh".
A. location
Ethnic group in Aceh is one of the "origin" in the area of ??Aceh which is now the Province of Nanggroe Aceh Darussalam. Ordinary Acehnese who calls himself Ureueng Aceh, according to the 1990 census recorded the total amount of 3,415,393 souls, where people of Aceh course, is the majority group. People in Aceh were the original inhabitants scattered population in Aceh. They inhabit the regions Municipality Sabang, Banda Aceh, Aceh Besar, Pidie, North Aceh, East Aceh, South Aceh, and Aceh Barat. The language used by people of Aceh are included in the Austronesian language family that consists of several dialects, including dialects of Pidie, Banda Aceh, Meulaboh, and Matang. In the Province D.I. Aceh there are at least seven other nationalities, namely: Gayo, Alas, Tamiang, Aneuk Jamee, Simeuleu, Kluet, and Gumbok Cadek. Shared identity based on cultural and religious ties reflect the unity of tribes in this province. In the tribal society of indigenous people rarely call themselves people of Aceh Gayo, Alas, Tamiang, and so on. They prefer to call themselves as "People of Aceh", so that Aceh should be seen as a major ethnic supported by a number of sub-ethnic identity respectively. These characteristics also confirmed as a Special Territory of Aceh province.
B. COMMUNITY LIFE
1. Livelihood
Basic livelihood of people of Aceh are farmed in rice fields and farmlands, with the main crops of rice, cloves, pepper, nutmeg, coconut, and others. Bermukim_ Communities along the coast in general become fishermen.
Alas most people live from agriculture in the rice fields, especially those living in villages (Kute). Alas planting a rice granary in the Special Region of Aceh. In addition, breeding population of horses, buffaloes, cows, and goats, to be sold or hired in the fields.
The main livelihood of people Aneuk Jamee is bersawah, gardening, and farming, and fishing for residents who live in coastal areas. In addition, there are still engaged in trade (baniago), one of them by way of hawking wares from village to village (penggaleh). Livelihoods in the dominant society Gayo is gardening, especially the coffee crop.
The main livelihood of people Tamiang is rice cultivation or in the fields. Residents who live in coastal areas to catch fish and make Aran from mangrove trees. Those that become plantation laborers or traders.
2. Kinship System
In the kinship system, kinship forms the most important is the nuclear family with the principle of bilateral descent. Indigenous settled after marriage is matrilocal, ie stay at home wife's parents for some time. While the child is the father's responsibility entirely.
In people Alas lineage drawn based on patrilineal principles or according to the male lineage. Mating system in force is exogamy merge, that is looking for a mate from outside the merge itself. Indigenous settled after marrying the prevailing character of virilokal, which centered on the family residence of a man. The combination of several extended family referred to stack. Then a few stacks combine to form an indigenous federation called split (half of society).
In the kinship system there seems to be a combination of Minangkabau culture and Aceh. Line calculated based on the principle of bilateral descent, while the customary marriage is settled after uxorilikal (stay in the family environment of women). Paternal relatives have a strong position in terms of inheritance and guardianship, while ninik mamak derived from maternal relatives. Kinship group is the smallest nuclear family are called houses Tango. My father served as head of the family who has an obligation to meet the needs of his family. The responsibility of a mother who is the main child-rearing and house.
In Gayo society, the lines drawn on the principle of patrilineal descent. Prevailing system based on traditional marriage is the divisive exogamy, by indigenous peoples who settled after marriage patrilokal (juelen) or matriokal (angkap). Smallest kinship groups called saraine (nuclear family). Unity of several nuclear families called sara kitchen. In the past few sara kitchen living together in a long house, so called sara umah. Some fruit longhouse joined into one split (clan).
In the kinship system used the principle of patrilineal society Tamiang, ie draw a line under garislaki-male offspring. Traditional marriage is generally settled after done is customary matrilocal, ie relatives residing in the neighborhood women.
3. Social Coating System
In the past the people of Aceh know some social strata. Among them there are four segments of society, namely the Sultan family group, class uleebalang, class scholars, and ordinary folk group. Class families are the descendants of the former sultan sultans who once ruled. Calls common to the descendants of this sultan was Ampon for men, and cut for women. Group uleebalang were descendants of the sultan's subordinates who controlled small areas under the empire. Usually they hold Teuku. While the clergy or religious leaders or commonly known as Tengku Teungku.
In the past people Aneuk Jamee divided into three levels of society, namely class of progenitor as the top layer; group commander and the clergy, which consists of Tuangku, priests, and the qadi as the middle layer, and the common people as the bottom layer. Now this system of social stratification that was not applied again in society. Which is now regarded as the most admired is the rich, educated, and holders of power.
In the period known as the classification society Tamiang society into three social strata, namely ughang nobleman, ughang patoot, and ughang bepake. The first group consists of the king and his descendants. Tengku who use the title for men and for women Wan; second group is orangÂorang who acquire certain rights and powers of the king, who received his People (Rich), and the third group is a group of people mostly.
C. SOCIAL SYSTEM
Form the smallest unit of local life called village (kampung or village) which is headed by a geucik or kecik. In every village there is a meunasah (madrasah), headed by a meunasah. A collection of some village called mukim led by a uleebalang, namely the captains who contributed to the sultan. Social and religious life in every village led by traditional leaders and religious leaders, such as meunasah, teungku preacher, the Tengku bile, and Tuha peut (custom advisor.)
In the past Alas Land is divided into two regional powers, led by two kejerun, namely regional and local Mbulan Stone Kejerun Kejerun Bambel. Kejerun assisted by a deputy who called Raje Mude, and the four elements of leadership that called Raje foursome. Each element Raje-led foursome leads several villages or village (Kute), while each headed by a Pengulu Kute. A Kute usually inhabited by one or several clans (merge). Each extended family inhabiting a house panjanga.
Gayo society living in a small community called the village. Each village is headed by a gecik. Collection of several villages called kemukiman, led by mukim. Traditional governance system in the form of the element of leadership that called Sarak Opat, consisting of: reje, petue, imeum, and sawudere. At the present time some fruit kemukiman is part of the district, with elements of leadership consists of: gecik, vice gecik, imeum, and scholars who represent the people.
D. RELIGIOUS
Aceh is one of the earliest regions to receive the Islamic religion. Therefore the province is known as the "Veranda of Mecca", meaning "gate" the closest between Indonesia and the place from where the religion originated. Nevertheless the original culture of Aceh do not go away, otherwise some elements of local culture and blend influenced by Islamic culture. Thus culture is the result of acculturation style Islamic culture gave birth to a typical-Aceh. In these cultures, there are still remnants of animistic belief and dynamism.
E. LANGUAGES
The language used by people of Aceh are included in the Austronesian language family that consists of several dialects, including dialects of Pidie, Banda Aceh, Meulaboh, and Matang.
As a means of daily communication Alas people use their own language, the language Alas. The use of this language differentiated into several dialects, such as dialect Upper, Middle dialect, and dialect Downstream. Thus the people of Alas distinguished by the use of dialects of the language.
In terms of language, vocabulary Aneuk Jamee language derived from Minangkabau language is more dominant than the Acehnese language vocabulary. Jamee Aneuk use of language distinguished by some dialects, such as dialects and dialect Samadua Tread Master.
Percakapaan Gayo language used in everyday life. Gayo language usage differentiated into several dialects, such as the dialect of Gayo Sea which is divided again into sub-dialect of Lut and the series, and the dialect of Gayo Flexible covering sub-dialect Flexible, Kalul, and Serbejadi.
People Tamiang has its own language, that language Tamiang, most vocabulary similar to malay language. Some even say that language Tamiang is one of dialect of Malay. Language Tamiang marked by utter the letter r into gh, for example the word "people" read into oghang. Meanwhile, the letter t often c, for example the word "not" read "ciade".
F. ARTISTRY
Aceh's art style was heavily influenced by Islamic culture, but it has been processed and adapted to the cultural values ??prevailing. Famous dance from Aceh, among others Seudati, Seudati Inong, and Seudati fiance. Other art is the art of Arabic calligraphy developed, as many have seen in many carvings of mosques, traditional houses, ceremonial tools, jewelry, and sebagainnya. Besides developing the art of literature in the form of having Islamic saga, like the Tale of War Sabil.
Art forms Aneuk Jamee come from two cultures that assimilate .. People familiar with the arts Seudati Aneuk Jamee, dabus (dabuih), and ratoh that combines elements of dance, music, and sound art. Also known tale, the art tells the story of a character who peppered with fairy tales.
A cultural element that never flagging in Gayo society is art, which almost never experienced stagnation and even tends to grow. Gayo famous art form, including arts and theater saman tan called Didong. In addition to entertainment and recreation, these art forms have a ritual function, education, information, as well as a means to maintain balance and social structure of society. In addition there is also a form of art bines, Didong teachers, and melengkap (the art of speech based on custom), which is also not forgotten from time to time.
G. EQUIPMENT
Weaponry
Acehnese known as a tough opponent prajuri warrior-invaders, armed with rencong, ruduh (kelewang), keumeurah paneuk (short-barreled rifles), peudang (sword), and tameung (shield). These weapons are generally made his own.
H. HISTORY
In the sixteenth century, Aceh holds a very important role as transit areas of commodity goods from East to West. Commodity trade of the archipelago such as nutmeg and spices from the island of Banda, cloves from the Moluccas, from Barus camphor and pepper from Aceh are collected here waiting to depart out of negen. Aceh's most important airports are crowded at that time was visited by traders from various countries.
Aceh is also known as the first entrance of Islam into the archipelago. The traders from Saudi Arabia, Turkey, and India's Gujarat Muslims in Aceh stopover on their way to find a variety of commodity trade of the archipelago. Aceh, located in the international shipping lane is the first area that they singgahi in Southeast Asia. Then around the end of the century XIII in Aceh has stood a great empire that is the Kingdom bandar Pasai that not only the most important for trade, but also as a center of Islamic proselytizing both the archipelago and abroad.
Once the first Portuguese landed in Aceh in 1509 visited the Royal Pedir (Pidie) and Pasai to find silk. Then in 1511 the Portuguese conquered Malacca (now Malaysia), which causes the Sultan of Aceh angry. Kingdom of Aceh and then send a fleet to liberate the back of Malacca from the hands of invaders, but was unsuccessful and the Kingdom of Aceh, many soldiers are killed and buried there. According to reliable sources Syech Shamsuddin Assumatrani is one of the great scholars of Aceh were killed in a battle with the Portuguese in Malacca and the grave was there. -
Then at the Sultan Iskandar Muda (1607 - 1636), only then can Malacca Portuguese freed from the grip back and trade routes in the Straits of Malacca again dominated by the kingdom of Aceh Darussalam. At the time of Aceh and Turkey have established a close relationship so many weapons experts and shipping from Turkey to come and settle in Aceh. Historical evidence that still remains is the mosque, monument and headstone Turks in the village Bitai (± 3 km from Banda Aceh).
On June 21, 1599 a Dutch merchant ship, led by Cornelis De Houteman and his brother Frederick De Houteman landed in Aceh. However, because the people of Aceh thought that their Portuguese Dutch ship was attacked and killed Cornelis De Houteman and charming Frederick De Houteman.
Subsequently in 1602 a Dutch merchant ship another, led by Gerald De Roy was sent to Aceh by Prince Mounsts in an effort to establish cooperative relations with the Kingdom of Aceh. The envoy welcomed either by the Sultan of Aceh and cooperative relations signed it. When Gerald De Roy returned home to Holland, the Sultan of Aceh sent two envoys to the Netherlands. One of these ambassadors, Abdul Hamid (another source says Abdul Zamat) died in the Netherlands and his grave is in Middleburg, Netherlands.
In early June 1602 British merchants were sent to Aceh by Queen Elizabeth to establish cooperation in the field of trade. The envoy also welcomed by the Sultan and signed a cooperation relationship. This relationship keeps continuing until years later.
However, because of the greed of the VOC, the Dutch declared war on the kingdom of Aceh Darussalam and attacked him on April 14, 1873. War between the Netherlands and Aceh is the longest in the history of the world that is more or less 69 years (1873 -1942) that has claimed millions of lives.
In 1942 the Japanese landed in Aceh and was welcomed by the people of Aceh because of the time between the Netherlands and Japan sating hostile, and the Acehnese people hoped the arrival of Japan will help to expel the Dutch from the ground in Aceh. But the reality on the contrary that Japan is more virulent than the Netherlands so that the Acehnese people feel cheated by the Japanese and took up arms to fight the Japanese.
Japan was in Aceh is only 2.5 years, but many battles that occurred between Aceh with Japan. Among the many wars going on, there are two battles that are difficult to forget because the number of casualties is falling in Pandrah (North Aceh) and in Cot Plieng (North Aceh). Proclamation of Indonesian Independence on August 17, 1945 at the very least to free Aceh from the shackles of that tragic war.
HISTORY OF ACEH & CHINA RELATIONS
Masjid Raya Baiturrahman development undertaken by a contractor or a contractor named Chinese Sie Lie A historic record of the oldest and the first of the royal kingdom of Aceh, it was found from the sources of Chinese historical writing. In historical records Liang dynasty (506-556), mentioned the existence of a kingdom located in North Sumatra in the 6th century, called Po-Li and Buddhist. In the 13th century texts of China (Zhao Ru-cave in his book-fan Zhu zhi) says Lan-wu-li (Lamuri) on the east coast of Aceh. And in 1282, it is known that the king of the Ocean-Pasai send two people (and Shamsuddin Sulaiman) envoy to China. In the note Ma Huan (Ying-yai sheng-lan) in a voyage along with Admiral Cheng Ho, is recorded with the extensive list of cities in Aceh such as, A-lu (Aru), Su-men-da-la (Ocean), Lan- wu-li (Lamuri). In a note Dong-xi-a-kao (Research seas east and west) which was composed by Zhang Xie in 1618, there is a detailed record of modern Aceh.
Ocean-Pasai was a kingdom and a bustling port town visited by traders from the Middle East, India to China in the 13th century -16. Pasai Ocean is located on the sea silk route linking China with Middle Eastern countries, where the traders from various countries come first / transit before continuing the voyage to / from China or the Middle East, India. City Pasai and Perlak also once visited by Marco Polo (13th century) and Ibn Batuta (14th century) on his way to / from China. The main merchandise of the most famous of these is Pasai pepper and many are exported to China, otherwise a lot of Chinese goods such as Silk, Ceramics, etc.. Pasai imported into this. In the 15th century, Cheng Ho's fleet was also stopped by on his voyage to Pasai and provide a large bell, dated 1409 (Cakra Donya) to the king Pasai at that time. Pasai Ocean, also known as one of the centers of Islamic empire (and Perlak) the first in Indonesia and Islamic centers throughout the archipelago penyebaraan at that time. Islamic teachings are spread by traders from Arabia (Middle East) or Gujarat (India), a stopover or stay in Pasai. Pasai Ocean city is a lot of the Chinese community living, such as the existence of "Chinese village", as written in Pasai Kings Tale. So long before the kingdom of Aceh Darussalam stand, the Chinese community has been in Aceh since the 13th century. Because Pasai Ocean is located in the path of international trade and shipping as well as a center of international commerce, then various other foreign nations settle in and live there and cosmopolitan character
Various Dance Aceh
-dance saman from Aceh
Saman dance is one of the most famous areas of Aceh today. This dance originated from the Central Highlands. Saman use of Arabic poetry and the language of Aceh. In the past, Tari Saman is usually displayed to celebrate the event - a significant milestone in indigenous and people of Aceh. In addition, this dance is usually also displayed to celebrate the birth of the Prophet Muhammad. In fact the name "Samantha" is obtained from one of the great scholars of Aceh, Syech Saman.
Saman dance is usually displayed using the accompaniment of musical instruments, a drum and use the sound of the dancers and their applause is usually combined with hitting the chest and groin, and flung them as synchronization body in different directions. This dance is guided by a leader who is typically called Syech. Because of the uniformity of formation and punctuality is a must in these dances, the dancers are required to have a high concentration and a serious exercise in order to appear perfectly. This dance is performed in groups, singing by sitting on his knees and berbanjar / bersaf without musical accompaniment.
Because of dynamic motion, this dance a lot dibawak / danced by men, but now the development of this dance has been danced by many female dancers as well as a mixture between male dancers and female dancers. This dance is danced about 10 people, with details of 8 dancers and 2 as cue givers while singing.
- Dance Seudati
Dance Seudati is the name of the dance which originated from the province of Nanggroe Aceh Darussalam. Seudati comes from the Creed, which means witness / testify / recognition of no god but Allah, and Prophet Muhammad the messenger of God.
This dance also includes categories of Tribal War Dance or Dance War, in which the words are always inspiring young people of Aceh to rise up and fight the occupation. Therefore, this dance was banned in the Dutch colonial era, but now this dance is allowed to return and become the National Arts of Indonesia.
-Dance Ranup Lam Puan
AK Abdullah, a young military officer who served in the field of Rohdam described his experiences during duty outside Aceh. He is often seen dancing betel in formal occasions as a mark of respect to guests who come.
While it is customary to eat betel time in the province where she is responsible society is not so prominent as in the region of Aceh. Hearing the story, then find out through the traditional elders and creating a dance Ranup Lampuan. After the dance of creation process is complete, Yuslizar invite community leaders, is intended for memdapat input on a new dance he had reserved.
As for those who were present at home lord Burhan venue for the meeting was the lord Burhan, as host, AK Abdullah, A. Aziz Kunun husband and wife, Samaun Eaglewood, T Hamzah and his wife, Major T Ismail and his wife (Cut Jah Samalanga), Nyak Adam Kamil and his wife, Alm T Djohan, Cut Ainun Mardiah (Pocut Seulimum), T Ismail Bitai, the late Mrs. Hamidi, and AD Manua. Mutual agreement of these figures, then disetujuilah to make the dance such as dance offerings, and was named Ranub Lampuan, the name proposed by the lord Burhan and AD Manua chosen to make the accompaniment of an orchestra or a band that later in aransir by Max Sapulete. Max Sapulete also change the opening variation of the song.
Is the first dancer Ida Burhan, Tri Suyatinah, Murniati, Nong Bit, Sri Mukmintasi, Cut Keumala late, Romlah, Nurhasmi Hamidi and Ola dance was complete device such as a dance offerings that are ready in the show.
Ranub Lampuan in the Acehnese language, means betel in the ladies. Puan is a typical betel Aceh. The work of dance backgrounds customs Acehnese people, especially indigenous peoples in welcoming guests. The choreography of this dance tells how virgin-virgin Aceh betel serve to guests who came, who told the process of picking motion, wrap, put it into the ladies betel leaf, betel nut to serve to come.
Ranub Lampuan is the creation mentradisi after undergoing a long process to become a dance tradition by continuing to adjust to fit the times. So in 1959 when the art team to Aceh will make royal visit to Malaysia in order to exchange cendramata, dance Ranub Lampuan dimodis by adding three male dancers, two dancers as the holder of the sword and one dancer as the holder Vandel.
Around 1966, after hearing advice from indigenous elders, that the work presents betel is women's work, then it would be nice if the dance is danced by women only. So is the issue of the perceived duration of the show is too long, so dance Ranub Lampuan experiencing compaction. It is running about eight years.
Post-PKA II in 1972, with the advent of the traditional art of dance to give effect to Ranub Lampuan especially for dance accompaniment. Original music accompaniment orchestra or band then this role is replaced with the accompaniment of traditional musical instrument that is Serune kale, Gendrang, and Rapa'i. The conversion is in line with requests from the committee of national-level dance festival 1974 which asked for a traditional dance performed to the accompaniment of traditional music as well. This was changed when the building dedication ceremony at Blang Padang Pertamina.
Ranub Lampuan special originally shown on stage (stage), while welcoming the arrival of President Suharto. The show was held at meuligoe menyaiapkan governor with a special stage for the appearance of this dance. When the Aceh Cultural Institute (LKA) promote Acehnese customs, dances Ranub Lampuan began performing outside courtyard.
Yuslizar passed away January 6, 1982 (25 years ago), but the works of monumental still we enjoy and the eternal in the realm of traditional Acehnese culture. This is what should be a collective consciousness of the people of Aceh, in particular dance artists for daring creations. We long for a "New Yuslizar" in the traditional dance repertoire that having Aceh.
-Dance Meuseukat
Dance Meuseukat or Ratéb Meuseukat is one dance that originated from Aceh Nanggroe Aceh Darussalam. Meuseukat Ratéb name comes from the Arabic origin of the word is ratéb Ratib means worship and meuseukat origin sakat word meaning silence.
It was reported that this Meuseukat Ratéb dance movements and styles were created by children Teungku alias Abdul Habib Seunagan (Nagan Raya), while his poetry or ratéb created by Teungku Chik at Kala, a scholar at Seunagan, who lived in the century XIX. The content and the content of his verse consists of flattery and praise to God and praise to the Prophet, played by a number of women in traditional clothes of Aceh. This dance is a lot of growing in Meudang Ara Rumoh Baro in Southwest Aceh district.
On the first play after the completion Ratéb Meuseukat mengaji religious instruction at night, and also it does not matter as media propaganda. Game done in a sitting position and standing. In the end, the game also Ratéb Meuseukat was shown also in religious ceremonies and holidays, wedding ceremonies and others that do not conflict with religion.
Today, this dance is the dance of the most famous in Indonesia. This is because beauty, dynamism and speed of movement. This dance is often misconstrued as belonging Saman Gayo tribe. Whereas the two dances have a very clear difference. The main difference between dance Ratéb Meuseukat with Saman dance is 3, ie, the first Saman Gayo language, while using the language of dance Ratéb Meuseukat Aceh. Second, Saman dance performed by men, while Ratéb Meuseukat dance performed by women. Third, Saman dance is not accompanied by musical instruments, while dance Ratéb Meuseukat accompanied by musical instruments, namely rapa'i and geundrang.
Fame of this dance as it is now inseparable from the role of one of the characters who introduce this dance in Java that is usually addressed Marzuki Hasan or Mr. Uki.
-Dance Sikarang Kipah
Sikarang Kipah Dance is the art of traditional dance of North Aceh which shows the movement - the movement rytme hitting fan with a unique and amazing. The fan used in this dance is a special braided fan, made of areca pelepa consisting of 3 or 4 layers which cause a loud noise with clapping that varies in accordance with the rhythm of movement and song dibawakan.Tari Poh Kipah contains messages - messages religious and danlazimnya development presented at the time of the birth of Prophet Muhammad (Birthday of Prophet) and other Islamic holidays.
-Dance Aceh Uproar
Aceh Dance Uproar is a dance performed especially for the event 17 August.
-Dance noble Ratep Aceh
Dance noble Ratep Aceh is that done in groups. This dance is accompanied with a vowel sound and sometimes with Rapai, Serune Kale, Canang.
-Dance Rapai Geleng Aceh
Rapai Geleng Dance is the art of dance in the form of body movement combined with the voice and hand gestures, head and other limbs, performed by 12 male dancers and 1 person sheik.
-Dance Turun Kuaih Aunen Aceh
Dance Down Kuaih Aunen is a dance that originated from Aceh.
-Dance Bungong Seulanga Aceh
Seulanga Bungong Dance is a traditional dance from Aceh.
-Dance Seudati Ratoh Aceh
RATOH Seudati dance is dance that is unique because it is done without instruments. Dance music comes from a song sung by the dancers. The dancers perform the same movements sometimes they sat lined up straight on the floor. This dynamic dance performed by seven dancers or nine and there is one dancer who became leader, called Sheikh. This dance song lyric tells of advising life
-Dance Nayak Padi Aceh
This dance, performed by some girls use pot (winnowing tray) above their heads. inside the pot there are several dishes in the pot there are a few dishes. Throughout the dance they have to maintain the balance of the pot. This dance tells the joy after harvest.
-Dance Saman Jaton Aceh
This dance is one art that has been accommodated by Jaton Dance Minahasa. Originally this dance originated from Sumatra - Malay (Aceh and Palembang), which first popularized by people from Palembang Jaton (Assagaf).
-Dance Kipah Sitangke Aceh
Sitangke Kipah Dance is a traditional dance from Aceh.
-Dance Dodaidi Aceh
Idi Doda Dance is a dance that tells about the saga sung by mothers in their children slept.
-Dance Likok Puloe Aceh
Dance Likok Puloe including one aceh dance in the show at certain times, such as the harvest season, the arrival of distinguished guests, and its other shower. Dance likok puloe actually consists of 9 movement and the dancers must consist of an odd distinguished men.
-Dance Didong Gayo Aceh
Didong Dance Arts One of the traditional Gayo Gayo ethnic group, which is an art that combines elements of dance, vocal, and literature. Didong Gayo Highly favored by the people who live in Central Aceh.
-dance Tarek Pukat Aceh
The meaning of this dance is, of togetherness and helping each other from all over the country for Aceh and Nias. Thus, the Aceh and Nias back a smile, every woman in this dance with each holding a rope connecting each connection, and then formed a net like a spider.
-Dance Aceh Ek U Gle
Gle U Ek Dance is a dance that originated from Aceh, which means up to the hill.
-Dance Aceh Dara Meukipah
Dara Aceh Dance Meukipah is a dance that tells a woman who was fan oneself.
-Dance Aceh Top Pade
Top Pade Aceh Dance is a dance that tells the story of pounding rice.
-Dance Saman Aceh Gayo
Saman is one of the traditions that grow and develop in society Gayo Lues, in Gayo Lues district, community in District Serbejadi Gayo (Kab. East Aceh), Gayo and society in Sub Tamiang Hulu (Kab Aceh Tamiang). Saman is a common tradition of games or made by children to adults at the time to fill his spare time. Both at the time in the field, mersah, after the Koran in any house they took a train Saman. Saman game into a performance art that is often staged as a media relationship, establish friendships, delivering moral messages, rhymes young people, drawing lam and the environment, and so forth.
The existence of saman in Gayo society is a tradition handed down and became part of their lives. Saman exist and live in society series Gayo (Gayo Blang) wherever they are. Besides held in his hometown, Samantha is also done in the area their overseas areas, for example in Banda Aceh, Medan, and also in Jakarta. In his hometown, Samantha is played starting from the ellipse (hamlet) to the district level. Saman bejamu done by inviting saman from other areas to get together to play saman.
Saman were part of Gayo culture that serves as a medium of communication, relationship arena, and as entertainment. Generally done in the bale Saman saman village or in the field that are displayed on major holidays such as wedding ceremonies, feasts and so forth.
Saman done by men who are generally young age. They practiced at saman mersah at an early age. Children who are mengaji in mersah generally going to saman as one of the media to play them.
Types include Saman Saman Jejunten, the saman is done at night by sitting on a felled palm tree. Saman Njik, namely saman performed at rest on rice menggirik activity. Saman Ngerje (Umah Sara), saman committed by youth at the wedding ceremony. Bejamu Besaman, which is done by inviting saman saman group from another village. Bejamu Besaman done in two ways, first intending Sara Saman (Saman one night), namely saman done all night long. Saman was performed on the day of religious besan (Aidul Fitr, Aidul Adha, and Birthday of Prophet Muhammad SAW. Second, Saman Roa Roa intending Lo (Saman two days and two nights), saman is done continuously. Saman saman Bale acid is carried out on during the day in commemoration of the big day. Saman was conducted jointly in a field and each group is free to choose his opponent. Usually the steering committee will mengaundang saman groups from different villages to meet and compete.
Saman Dance consists of Keketer, Rengum, Salam, Dance Movement, Ulu Ni Song, Children ni Song, Saur, Poems, hits and Seal. In the poem there are many insertions Saman Arabic language and the language of Aceh. In the rule looks before Saman dance begins, as the Preamble to first an old man representing the local community where Saman dance is held, give a word (keketar) addressed to the players and spectators. Keketar is speech uttered by a public figure or a traditional leaders who provide advice to the players and spectators Saman.
In dance there Saman Rengum Preamble in the form of imitation is the spoken sounds together. Then proceed with Salam was said by one of his players (penangkat / Syech). After that called Ulu Ni song or start dancing. The next step was the song and dance movements. Hereinafter called the Son of Ni song is a compact hand gestures and short poems that contain consisting of Saur and redet. Once the songs were sung and then the player makes Saur disaurkan together. Several times Saur interspersed syech shrill singing, two or three times then go up or stand on his knees and was given a cue from syech then joined by hits. Shake is done by standing on his knees. If sitting cross-legged with a scene very quickly once called gerutup. Gerutup done in a sitting position. In one song, it continues to do so many times that later changed to move with the rhythm or other songs. In closing dance usually performed surang-filter or by performing with the chorus of applause accompanied Saur until the show ended.
Composition saman players, namely;
Penangkat: those that govern the movement and rhythm saman, the position was in the middle of the player.
Clamps: penangkat if forgetting his duty to remind the next movement, usually 2 people whose position on the right and left penangkat.
Chopsticks: help pinchers to warn if there are mistakes of motion, is generally chosen people melodious voice.
Penupang: maintaining the balance of his or her support for the balance maintained.
Example:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
• Number 9 is called Lifting
Lifting is the main character (a type of sheikh in Seudati) central point in the Saman, which determines the motion of dance, dance level, that poetry and poets echoed in retaliation to attacks opponent's play (Saman Jalu / game) • No. 8 and 10 referred to clamp
Auxiliary lifting clamps are good figures dance movement and singing / vocal
• No. 2-7 and 11-16 is called pincers
Pincers are regular dancers who support the dance or dance movement that is directed lifter. Aside from being a dancer also plays grip (squeeze). So the density between the dancers awake, so the dancers together without any of the positions banjo / bershaf (horizontal) to unity and simultaneity of motion.
• Number 1 and 17 is called Penupang
Penupang is the dancer's most right-left end of line dancers who sit berbanjar. Penupang besides supporting role as part of the dance also serves menupang / hold the integrity of the position of dance in order to remain tight and straight. So-called penamat kerpe penupang jejerun (holder jejerun grass). As if last strengthen the position with grass memgang jejerun (jejerun a kind of grass roots terhujam strong and deep, hard on the pull.
