CATHARSIS 7 (2) 2018 : 189-198 CATHARSIS http://journal.unnes.ac.id/sju/index.php/catharsis The Reflection of Cultural Identity of Gayo Society, Central Aceh Regency in Tawar Sedenge Song Tria Ayu Dini1, Udi Utomo2, Triyanto2 1 Syiah Kuala University Aceh, Indonesia 2 Universitas Negeri Semarang, Indonesia Article Info Abstrac ________________ Article History: Tawar Sedenge is a song from Gayo, Aceh province. For Gayo society, Recived January 2018 this song has an important existence till present. It is marked by the Accepted May 2018 Published August 2018 sung of Tawar Sedenge song in Takengon’s formal events and every ________________ national ceremony as a distraction of Indonesia Raya song. Tawar Keywords: Sedenge song has an important role in Gayo society because this song’s Reflection, Tawar Sedenge Song, Cultural lyrics contains a spirit of nationalism that awaken the spirit of Gayo Identity. society to achieve the progress and weathliness. This research aims at ____________________ analyzing and understanding the reflection of Gayo’s cultural identity in Tawar Sedenge song. The research method was qualitative. The research location was Takengon, Central Aceh Regency. The techniques of data collection were observation, interview, and document study. The technique of data validity used source triangulation. Analysis data technique used analysis desciptive. The research result shows that lyrics and music elements contained in this song prove that this song is reflected Gayo’s cultural identity that is from the cultural identity elements based on belief, language, and behavior. First, the element of belief exists in the third stanza lyrics. Secondly, the language element used is Gayo’s language, the behavior is seen from the costume worn by the conductor,i.e., Kerawang Gayo, Gayo’s raditional costume.. The behavior can also be seen from the solemn posture in singing the song. Therefore, it is believed that the elements of Tawar Sedenge song is the reflection of Gayo culture. © 2018 Universitas Negeri Semarang Alamat korespondensi: p-ISSN 2252-6900 Jalan Teuku Nyak Arief, Darussalam, Kopelma Darussalam, Syiah Kuala, Kota Banda Aceh, Aceh 23111 e-ISSN 2502-4531 E-mail: [email protected] 189 Tria Ayu Dini, Udi Utomo, Triyanto / Catharsis 7 (2) 2018 : 189-198 INTRODUCTION cure diseases. While Sedenge means the World. It means that the listeners are still always aware The Indonesian art cultural wealth is that they belong to young generations exisisting various so that it needs tobe maintained well its because of their ancestors. (Gustami, 2006). existence. One of them is Gayo tribe’s culture. According to (Sedyawati, 2006) A song is Gayo is a tribe that exists and grows in Aceh a depiction of its composer. It is not rarely that province. the lyrics are depiction of sadness, happiness, (Hermanto, 2010) states that Nanggroe anxiety, and amazement. One of arts works Aceh Darussalam Province consists of 10 (ten) form that become part of cultures famous among tribes, Aceh, i.e., Gayo, Alas, Aneuk Jamee, societies is local song. Melayu Tamiang, Kluet, Devayan, Sigulai, Local song is a song or music that is from Haloban and Julu. Aceh tribe spreads especially a certain region and turn tobe popular in the in Sabang, Banda Aceh, Aceh Besar, Pidie, public. According to its characteristic and its Bireun, Aceh Utara, Loksumawe, Langsa, Aceh origin this kind of song is differenciate into 2 Timur, Aceh Tamiang, Aceh Jaya, Aceh Barat (two), Folk song and Classical song. Folk song is Nagan Rayan, Aceh Barat Daya, and Aceh a song from a society in a certain region. Folk Selatan. song is naturally spread out spokenly from Gayo tribe is a tribe that settles in Gayo generations. (Annajmi, 2014). According to (Leo plateau. Suku Gayo tribe lives in 3 (three) Virganta Ananda & Sunarto, 2016) Folk song is regencies, they are Central Aceh Tengah, Bener classified into a real folk song, between lyrics Meriah, Gayo Lues. Based on sub group, Gayo and song, lyrics is messages that want tobe society is differenciate in to 6 (six) groups, i.e., delivered, while song is a differenciator between Gayo Lot settles in Central Aceh, Gayo Deret music and another vocal. settles in Bener Meriah Regency, Gayo lues The occurence of this song is not settles in Southeast Aceh, Gayo Serbejadi in separated from the condition of tanoh Gayo. Peureulak upstream, Gayo Kidul Tamiang Especially, Central Aceh Regency as the main upstream, and Gayo Linge in Ishak area, regency for the sub regency of South East Aceh, precisely in Jambo Aye upstream (Hurgronje, Gayo Lues, and Bener Meriah regency that 2009). develop later. And also Lokop or Serbejadi (East According to Saleh (71 Tahun), Gayo Aceh) Kalul (Aceh Tamiang), and in some tribe settling in plateau with Takengon as the distribution spot of Gayo tribe (Al- Gayoni, capital city is a tribe in Aceh that has different 2008). According to Al-Gayoni (Al- Gayoni, culture from other Aceh tribes. Gayo tribe that 2008) this song, then set as an official song in settles in countryside is different from those Qanun (Local Regulation) number living in coatal area. The difference is not only 10//28/2002. Gayo sociaety even says that from their physical shape but also from culture, Tawar Sedenge song is a national song and a language, and history. Gayo tribe has various unifier among Gayo society that is now divided traditional arts, such as Munalo dance (to into 6 (six) administrative areas of government. welcome), Saman Gayo, Kekiten (puzzle), Tawar Sedenge is simply translated as the kekeberen (spoken prose), Melengkan (cutomary world healing. However, inside it contains speech), Sebuku (mourning poem), and Didong historical, socio-cultural, philosophical, and (interview, 2018). religious values that cannot be seperated from Beside that Gayo also has a traditional Gayo people. (Al- Gayoni, 2008). The song, it is Tawar Sedenge composed by a Gayo uniqueness of Tawar Sedenge song is seen from artist, AR Moese Sabdin in 1957. Tawar in the lyrics that tells about Gayo in a whole. This Gayo language means conditioning or medicine, song is also awaken the spirit of gayo society to like drinking water from Tawar lake that is always be developed and wealthy. In other usually consumed by the society surrounding to words, this song is a representation of Gayo 190 Tria Ayu Dini, Udi Utomo, Triyanto / Catharsis 7 (2) 2018 : 189-198 society. Although it has been composed many Gambus musical art in Palembang. It is one of years ago, this song is always in Gayo people’s unique musical genre with Palembang identity. mind. Like the title, “Tawar Sedenge” this song Based on the results of previous research, is really like a reliever for Gayo people. it can be used as a comparison of the similarities This become an inspiration to search the and differences, so it can put researchers in cultural identity of Gayo. Which part of song different positions. Therefore, the author is that reflects the cultural identity of Gayo. An art interested to observe the Gayo Society Cultural work reflects an identity of a society where it Identity Reflection in Central Aceh Regency In exists, both the custom and the rule of life. Tawar Sedenge Song. (Bastomi, 1992). Base od the above phenomenon, this research try to discover about METHODS how lagu Tawar Sedenge song reflects the cultural identity of Gayo society, Central Aceh This study used a qualitative method. The Regency. The purpose of this research is to research design used is a case study, which analyze and understand an identity reflection in means the findings in this study apply only to the song of Tawar Sedenge. In a simple the same characteristics and phenomena. The definition, cultural identity is a detail objective of this study is the Reflection on Gayo characteristic of a culture that belongs to a group Community Culture Identity in Central Aceh of people that we know its limitation when it is Regency in Tawar Sedenge Song. compared with the characteristic of another Data retrieval technique is done through culture. This also means that if we want to know observation, interview and document study. and to set a cultural identity, we are not simply Observations were done to observe Takengon's determine its physical characteristics but also condition and directly saw the community's observe it through our mind setting, feeling, and activities and behavior. Interviews were attitude. (Liliweri, 2002). Identity is a special conducted on Indigenous figures, artists, and the feature showing a culture that always developed public regarding Tawar Sedenge song, then through a process of socialization in education, through document studies to obtain school, family, and society as well. Because of photographs, videos and documents relating to the importance of an identity, Due to the Tawar Sedenge song. Technique validity of data importance of an identity, then every artistic in this research used technique triangulation, expression must be strived to be constructed into that is doing testing process by checking data an identity as a cultural foundation of society obtained through various source. This technique Syakir, et. al., (2017). is done by various steps, namely: (a) Comparing Cultural identity reflects cultural values of the observation data with the results of learning, acceptance of tradition, innate nature, interviews, (b) Comparing what the informant language, religion, descent from a culture said to the researcher, (c) comparing what the (Liliweri, 2004). From the above description it informants said during the research and over can be concluded that the cultural identity is a time, (d) comparing people's perspectives and certain characteristic and its characteristic is a circumstances with others' responses, and (e) clue to know about the group so that will know Comparing the results of interviews with the and facilitate in communicate with a group.