Huta Gabe Aeksorseang studio is a traditional art studio that helped preserve traditional culture, especially the Batak Toba. The presence of this art studio has stimulated creative economy activities within the region. The problems currently being faced by the Huta Gabe Aeksorseang studio have not been made optimal yet. Products that had been sold nationally but had not well known to many other Indonesian consumers due to there is no product brand. The daily activities of this art gallery cultivate traditional music. This community services is carried out with a focus on solving partner problems by providing appropriate science and technology for the local community, especially for the management of the Studio. The method of making traditional musical instruments is still not optimal so that the resulting sound quality is not correctly produced. Science and technology has been given to partners related to production and marketing techniques that have been carried out. We also provided online marketing strategies to assist the online marketing activities of the Huta Gabe Aeksorseang studio. Technical equipment is also provided to help partners improve product quality and product competitiveness with lower production costs. Heavy equipment such as welding machines in the area makes production costs high. With the help of the equipment provided, partners will be more efficient in production, thereby increasing partner competitiveness.
ABSTRAK Katoneng-katoneng adalah nyanyian tradisional etnik Karo di Sumatera Utara yang diciptakan secara spontan menggunakan melodi tetap namun dengan teks baru sesuai situasi dan konteksnya (strophic logogenic) ABSTRACTKatoneng-katoneng is a traditional Karo ethnic song in North Sumatra composed spontaneously using repetitive melody with diff erent lyrics, which depends on the context and situation (strophic logogenic). Being used in various social and cultural activities of Karo society, one of them is for the cawir metua ritual (the death of a person who considered to meet the ideals and expectances of Karo society). This research studies the textual meaning of katoneng-katoneng as the cultural expression of the owner society by using the performing art theory, ethnomusicology, semiotic, and anthropology. Field data is collected through observation, interviews, and recording. Qualitative method is applied by defi ning key informants, including traditional fi gures, sierjabaten (musicians), perkolong-kolong (katoneng-katoneng singers) and member of society. The result shows that katoneng-katoneng is a phrase of various things: messages and advices, prayers, hopes, ideals, exemplaries, life persistence, values of mutual cooperation, purpose of life in the world, and others delivered by professional singers of perkolong-kolong who represents the died person and the elements of relatives sangkep nggeluh (rakut sitelu) by singing. The function and meaning of the text refer to the ideals and concepts of Karo culture.
Randai dalam kehidupan masyarakat Minangkabau merupakan gabungan beberapa jenis kesenian seperti, gerak tari dari pencak silat, musik, teater dan sastra yang ditampilkan dalam satu pertunjukan yang sama. Fungsi pertunjukan randai sebagai seni pertunjukan rakyat, dan dalam perkembangan saat ini randai berfungsi sebagai tarian hiburan. Bagi perantau Minangkabau randai digunakan sebagai salah satu media pendidikan adat istiadat untuk menjaga kelestarian adat istiadat Minangkabau tetap hidup dalam komunitas budaya perantau Minangkabau. Penelitian ini dilakukan di Sanggar Sumarak Anjuang Jalan Paku, Lingkung 3 no.16, Tanah Enam Ratus Marelan Medan. Dipilihnya sanggar Sumarak Anjuang untuk diteliti karena seluruh anggotanya merupakan perantau Minangkabau yang aktif mengembangkan seni budaya dan kesenian Minangkabau termasuk randai. Penelitian menggunakan metode deskriptif kualitatif dengan pendekatan kepustakaan, wawancara, observasi dan dokumentasi. Simpulan penelitian ini, bahwa kesenian randai digunakan oleh sanggar Sumarak Anjuang sebagai media pendidikan adat istiadat Minangkabau dengan menginformasikan pola-pola dan nilai-nilai adat istiadat serta sopan santun melalui kesenian randai kepada masyarakat, terutama bagi komunitas perantau Minangkanau dan masyarakat luas yang bersentuhan dengan kesenian ini. Randai in the life of Minangkabau community is a combination of several types of art such as dance movements from pencak silat, music, theater and literature which are displayed in the same show. The function of the randai show is folk performing arts, and in the current development, randai functioned as an entertainment dance. For Minangkabau Randai migrants, it is used as one of the media for traditional education to preserve Minangkabau customs and exist in the cultural community of Minangkabau migrants. This research was conducted at Sumarak Anjuang Studio in Jalan Paku, Hamlet 3, No.16, Tanah Enam Ratus Marelan, Medan. The Sumarak Anjuang studio was chosen because all of the members are Minangkabau migrants who actively develop Minangkabau arts including randai. The study used a qualitative descriptive method with a library approach, interviews, observation and documentation. The conclusions of this study that art of randai is used by the Sumarak Anjuang Studio as a media for Minangkabau customary education by informing the patterns and custom values and politeness through randai to the community, especially for the migrant community Minangkabau and the wider community in contact with this art.
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