MEANING OF INSTRUMENTS APEIN THE LIFE OF THE KENYAH DAYAK TRIBE
Main Article Content
Damri A Hanaou
Dewi Tika Lestari
Junita Batubara
Sapeis a traditional musical instrument of the Dayak Kenyah people which not only functions as a means of entertainment, but also becomes an important symbol in various traditional rituals of the Dayak Kenyah people. This study aims to analyze the meaning of musicSapein the context of Dayak Kenyah cultural rituals. With a qualitative approach and ethnomusicological approach, this study combines field observations, in-depth interviews, and literature reviews. The findings show thatSapenot only accompanies traditional rituals, but also has a socio-spiritual function in strengthening community relations, cultural identity, and the continuity of tradition. Dayak Kenyah is one of the sub-tribes of the Dayak group that inhabits the interior of Kalimantan, especially in East Kalimantan and North Kalimantan, with a distribution that is also found in the border region of East Malaysia (Sarawak). In the life of the Dayak Kenyah community, musicSapehas a very special place. Not only is it a part of artistic expression,Sapealso integrated into religious rites, traditional ceremonies such as harvest festivals, welcoming guests, and various spiritual processions that are full of meaning. This musical instrument is considered a medium of spiritual communication and a means of inheriting ancestral values. Through the plucking of its notes,Sapebe an intermediary in conveying prayers, hopes and respect for the spirits of ancestors. This study specifically focuses on the Dayak Kenyah community, to highlight howSapenot only maintained as a cultural heritage, but also brought to life in the daily lives of the community as an identity that unites and strengthens solidarity amidst the increasingly rapid flow of modernization. Thus, this study emphasizes the importance of traditional music such asSape, not only as a cultural artifact but as part of cultural identity.
Anjani, N., Razak, A., & Warsana. (2022). Sape Sebagai Sumber Inspirasi Penciptaan Musik Etnis “Manai”.
Antara, M., & Yogantari, M. V. (2018, November). Keragaman budaya Indonesia sumber inspirasi inovasi industri kreatif. In SENADA (Seminar Nasional Manajemen, Desain Dan Aplikasi Bisnis Teknologi) (Vol. 1, pp. 292-301).
Arimbawa, W., & Santhyasa, I. K. G. (2010). Perpektif Ruang Sebagai Entitas Budaya Lokal Orientasi Simbolik Ruang Masyarakat Tradisional Desa Adat Penglipuran, Bangli-Bali. Local Wisdom: Jurnal Ilmiah Kajian Kearifan Lokal, 2(4), 01-09.
Batubara, J. and Maniam, S. (2019). Enhancing Creativity through Musical Drama for Children with Special Needs (Down Syndrome) in Education of Disabled Children. Music Scholarship, No. 2, 166–177. DOI: 10.17674/1997-0854.2018.4.166-177
Batubara, J. (2021). Destinasi: Kolaborasi Kreatif Musik Digital, Puisi dan Tari. Resital, 22(1), 1-11. DOI: 10.24821/resital.v22i1.5866
Chong Pek Lin. (2013). Kenyah Recreational Songs and their Significance to Music Education.
Denzin, N. K., & Lincoln, Y. S. (2018). The SAGE handbook of qualitative research (5th ed.). SAGE Publications.
Fachrissal, F., Sudikan, S. Y., & Wahyuni, E. (2021). Estetika Musik Sampe’Dayak Kenyah. CaLLs (Journal of Culture, Arts, Literature, and Linguistics), 7(2), 259-276.
Ferdinan, R., Batubara, J., & Harefa, B. (2023). Teknik Permainan Dan Penyajian Saxophone Alto Pada Lagu E.G. Blues Karya Mezzoporte Band. Jurnal Pendidikan Dan Konseling (JPDK), 5(2), 150–160. https://doi.org/10.31004/jpdk.v5i2.12564
Galingging, K., Batubara, J., Marbun, T. and Marbun, J. (2023). Komposisi Musik Alam Menyapa sebagai Media Terapi Pasien Narkoba di Yayasan Mutiara Abadi Binjai (MAB) Sumatera Utara. Resital, 24(2), 157-166. DOI: 10.24821/resital.v24i2.7864
Gurning, A., Batubara, J., & Simangunsong, E. (2022). Analisis Bentuk dan Struktur Musik Sihutur Sanggul dan Perubahan pada Musik Sihutur Sanggul Aransemen Hendri Perangin-angin. Jurnal Pendidikan Dan Konseling (JPDK), 4(6), 9248–9260. https://doi.org/10.31004/jpdk.v4i6.9843
Irawati, E. (2014). Sape dalam masyarakat dayak kenyah uma lung di desa Setulang kecamatan Balinau Selatan kabupaten Milanau Kalimantan Utara. Selonding, 5(5).
Irawati, E. (2018). Belajar Musik Sape. BP ISI Yogyakarta.
Istianingrum, R., Suryani, Y., Musdolifah, A., & Fatin, I. (2023). Ngendau Sebagai Nyanyian Ungkapan Perasaan Masyarakat Dayak Kenyah. Innovative: Journal Of Social Science Research, 3(4), 9492-9499.
Jovi, S., Batubara, J. and Simanjuntak, H. L. (2023). Blessing: Musical Composition and Collaborative Processes for a Contemporary Genre. Sarcouncil Journal of Arts humanities and social sciences, 2(8), 23-32. https://doi.org/10.5281/zenodo.8254642
Judijanto, L., Sitompul, M. S., Herman, H., Manihuruk, L. M. E., Fatmawati, E., Munthe, M. V. R., Batubara, J., Saputra, N. (2024). Students' Perception on the Use of English Pop Song in Improving the Skill of Pronunciation. Studies in Media and Communication, 12(3), 218-230. DOI: https://doi.org/10.11114/smc.v12i3.7004
Kiring, M. (2023). Kontekstualisasi Musik Sape Dalam Ibadah di Gereja Kemah Injil Indonesia Kalimantan Utara. Cantata Deo: Jurnal Musik dan Seni, 1(2), 59-70.
Marpaung, C. A., Panggabean, A. J., & Batubara, J. (2024). Bentuk Dan Fungsi Lagu Buku Ende N0. 435 “Marolopolop Tondingki” di Gereja HKBP Teladan Sei Mati Ressort Medan Labuhan. Innovative: Journal Of Social Science Research, 4(1), 8540–8550. https://doi.org/10.31004/innovative.v4i1.8848
Marsaulina, D., Batubara, J., & Galingging, K. (2023). Analisis Struktur Dan Bentuk Lagu Jolma Biasa Yang Dibawakan Oleh Argado Trio Dan Duo Naimarata. Jurnal Pendidikan Dan Konseling (JPDK), 5(2), 641–652. https://doi.org/10.31004/jpdk.v5i2.12814
Mekarisce, A. A. (2020). Teknik pemeriksaan keabsahan data pada penelitian kualitatif di bidang kesehatan masyarakat. Jurnal Ilmiah Kesehatan Masyarakat: Media Komunikasi Komunitas Kesehatan Masyarakat, 12(3), 145-151.
Miles, M. B. D. A. (1992). Michael Huberman. Analisis Data Kualitatif: Buku Sumber Tentang Metode–metode Baru, 2829-0747.
Moleong, L.J. (2013). Metodologi Penelitian Kualitatif. Bandung: Remaja Rosdakarya.
Nasution, A. F. (2023). Metode penelitian kualitatif.
Noor, F. (2022). Dialog antar budaya: Interpretasi video musik Wonderland Indonesia. Komunikatif, 11(1), 38-49.
Nurcahyawati, E., Syahid, S., & Anugrahputri, B. K. (2022). Transformasi budaya lokal tradisi Ngarak Barong terhadap akulturasi budaya modern pada masyarakat Kampung Legok Bekasi. Journal of Academia Perspectives, 2(1), 69-79.
Panggabean, A. J., Simangunsong, E. and Batubara, J. (2023). Gayutan Rondo Alla Turca Karya WA. Mozart sebagai Iringan dalam Film Amadeus. Resital, 24(1), 58-68. DOI: 10.24821/resital.v24i1.7865
Patti Patipeilohy, M., Jazuli, M., Rohidi, T. R., & Sunarto, S. (2022, September). Peran Pemerintah, Seniman dan Komunitas Seni dalam Pengembangan Kota Ambon Sebagai Kota Kreatif Musik. In Prosiding Seminar Nasional Pascasarjana (Vol. 5, No. 1, pp. 666-672).
Penina Uring. (2015). Perang, Makna Simbolik Seni Tari, And Sebagai Identitas Dayak Kenyah.
Raco, J. (2010). Metode penelitian kualitatif: jenis, karakteristik dan keunggulannya.
Savira, A., Sulisfiani, A., Aprianda, D., Hudi, I., Mahda, M. Y., Listi, O. C., & Maharani, R. W. (2024). Pandangan terhadap keragaman budaya Indonesia di negara lain. MERDEKA: Jurnal Ilmiah Multidisiplin, 1(6), 380-385.