“Rencong”, like “keris” in Jawa, and “kujang” in West Jawa, is a traditional weapon. It is a combination of metallurgy, the skill of a master craftsman, and arts. Verses from Al Qur’an engraved on the blade of this small dagger, will increase one’s self-confidence. In the “siwah”-type rencong, the hilt is not curved, slightly longer, and generally used by the kings or district chiefs (“hulubalang”).
Certain swords are knows as ”pedang daun tebu”, ”oon ngom”, and “reudeuh”.
The Acehnese are acquainted with the arts of decoration, handicraft, architecture, and weaving although their developments are virtually slow. ”Rumoh Aceh” (Aceh House), whose basic form is a square supported with four or more pillars, is essentially the end result of a final stage after centuries of undergoing changes.
The arts carving and writing are centered around calligraphy. No human nor animal forms in Acehnese painting and carving, since it is forbidden in Islam to draw, carve and sculpt human being and animal.
Traditional paintings and drama (theatre) did not exist.
The characteristic of Acehnese traditional dances:
- Islamic
- At early stages, it was intended for ritual purposes only, not for public
- A harmonious combination of dance, music and literature
- Performed in groups but within a limited space
- Repetitious and monotonous physical movements
- It takes a long time to perform.
Today Acehnese dances can be enjoyed by the public and have incorporated aesthetic elements as well.
Out of 52 traditional dances recorded in 1981, there are two most popular dances domestically and in foreign countries:”seudati” and “saman”(originated from Gayo Luwes). The former is also known as the”one thousand hand dance”. In addition to traditional and religious backgrounds there are also dances based on myths and legends of pre-Islam era, such as “Pho”dance in South Aceh, and “Bines” dances in Central Aceh.
Seudati, in which the influence of the Middle East cultre is strong. There are two kinds of “Seudati”: “seudati Agam” (performed by men), and Seudati Inong (performed by women).
Saman, a dance performed by a number of dancers while sitting a row. The verses recited contains messages on good deeds. It is originated from Southeast Aceh and bears similarities with”Didong” of Central Aceh. Ramphak describes the heroism of female fighters during the Dutch Colonial War. Rapa’I is always accompanied with the sound of a large tambourine and with “zikir” words or sentences praising Allah or the Prophet uttered repeatedly). The most well-known “rapa’I” is a combination between”rapa’I” and saman called “Rapa’I Geleng”.
Natural environment and social-cultural conditions are factors establishing the types of the game played or performed by the people. But one thing is obvious: the absence of woman if the game or performance is shown in public.
Since Alas people live along Alas river, games are also played on the riversides, such as “sepangkal” and “king-kingan”. “Sepak raga” is a kind of football. Top spinning, known as “gasing”, is often contested. “Meukrueng krueng” is a popular martial art.
“Daboih”, originated from the Arabic word “dabbus” is a ritual display of physical invulnerability. While dancing, seemingly to be in trance, the performers stab theirs necks, thighs, hit their heads, etc. eith knives,”rencong”(small dagger), or any other sharp materials. Sometimes a burnt metal chain is also used. The dance is normally accompanied with the sound of “Rapa’I Daboih”, a sort of tambourine.
Song, declamations, and riddles are dominant in Gayo literature. Architecture, carvings, and decorations are not conspicuous.
As regards music, Gayo people have created some instruments. “Teganing” is made from piece of bamboo and the strings are made by prying its skins. The sound is produced by hitting the strings with a sliced bamboo. The opposite side of the musical instrument serves as a drum. “Canang” is a set of musical instruments played by one player. Wind instruments include “genggong”, “bensi”, “serune”, flute and “gamang” (or harmonica).
In literature there are riddles, proses, traditional poetry, and “sebuku”. “Sebuku” is the expression of one’s feelings in the form of poems sung by a woman in special occasions, such as before the burial of the deceased.
The most popular of all traditional form in poetry is “didong”. It is a combination of music, dance and literature (poem). A group of youngsters (originally only male youngsters were allowed) consisting of 30 people compete with other group. They sit in a circle with their legs crossed. Each group has to answer, or to react against, a poem sung by the opponent. The answer or reaction should also be in a poem. The verses recited contains any information the people are expected to know or a social criticism.
At a glance, “didong” looks like “seudati” clapping of the hands perfomed uniformly accompanied with verses recited by a “ceh” who maintains the dynamics of the performance. The rhyme and contents of the poems are composed then and there. “Didong” is classified into the art of music.
“Sa’er” is a poem delivered by one person. The theme is religious.
The Gayo ethnic group is discussed exclusively here, because they have preserved certain cultural elements which do not exist in other ethnic group. However, a brief description on their ethnic background is worthwhile to enable us to appreciate their culture more appropriately.
Regionally, Gayo can be devided into four sub-ethnic-groups: “Gayo Laut Tawar” (around Laut Tawar lake), “Gayo Linge” (around Linge Isaq), “Gayo Serbejadi” (in Serbejadi), and “Alas (Alas area).
Gayo and Alas are all moslems. Mosques and “musholla” can be found in almost every corner of the areas they live.
Population growth rate of Gayo and Alas is relatively fast: in 1920 they represented 7.09 percent of total population in Aceh; in 1961: 10,53 percent, and in 1971: 11.59 percent. In the past they subsited on agriculture, forest products, and cattle breeding. They are experts in handicrafts and metal works, widely known as excellent coffee and tobacco growers. They have been familiar with Arabic, spoken and written, long before they knew Indonesian language.
Gayo’s have their own culture, language and tradition are different from other ethnic groups.
Before the Dutch invasion in1873, it was believed that there was a kingdom called Linge Kingdom located in Gayo Linge and eight “kejurun”, or administrative units headed by“kejurun”. The king and the kejurun are functionaries of local customs and traditions assisted by an “imam’. In his studies on the system of administration in Gayo, Snouck Horgrounye said that “the administration system is a patriarchal republic inclusive of small republics. The king is the president of the small republics.” The link with Aceh kingdom is restricted to general affairs, like joint efforts to fight against the Dutch. A similar system is also applicable in Alas areas.
Gayo and Alas were the final fortresses during the Aceh war. Members of the two ethnic groups took active parts in almost all battlefields throughout Aceh. The Gayo Commander in Chief, Tengku Tapa, was killed in Pase, North Aceh, after he lead several battles in East Aceh. Snouck Horgronye called him”a remarkable man”because of his outstanding mastery in guerilla warfare.
