While ratoh duek was widely performed and taught in simplified form to thousands of Indonesian school children, saman has remained an exclusively Gayo traditional form, and unlike the Acehnese, its community has consistently rejected any substantial modification of the genre for mass teaching and performance purposes. In 2008, some performing arts groups were optimistically planning artistic activities for 2009 and beyond.
‘remembrance of Allah’) developed in the Perso-Arabic world. Founded in 1997, Gondwana Voices is Australia’s national choir for treble singers aged 10-17.
Performing arts teachers opened or re-opened their music and dance schools and troupes (sanggar) or taught the religious arts in the Islamic schools (madrasah) again.
While ratoh duek was widely performed and taught in simplified form to thousands of Indonesian school children, saman has remained an exclusively Gayo traditional form, and unlike the Acehnese, its community has consistently rejected any substantial modification of the genre for mass teaching and performance purposes. To this day, the government, the media and the general population often mistakenly refer to the Acehnese genre ratoh duek by the Gayo name of saman, despite its very different history and style. Find the perfect ratoh stock photo.
However this recognition served to intensify existing tensions between the Gayo and the Acehnese at home and especially in the diasporas. From ca the 1980s they were transplanted into the Medan, Jakarta and Yogyakarta diasporas. Despite widespread fears that the peace would not last, many communities throughout Aceh slowly began to return to normalcy.
Before the peace agreement was signed in 2005, only troupes that were officially supported by the government elite and commercial recording companies were able to continue to rehearse, perform, and develop new items or reinterpretations of traditional pieces.
However, knowing that the massive input of aid was to cease in March 2009, they were apprehensive about the future of the arts in the potentially unstable economic and political situation that might ensue. Some commercially produced popular songs on politically topical subjects were also confiscated, including the song Nanggroe Merdeka (Independent Homeland) performed by the local singer Yusbi Yunus.
In 2011, UNESCO formally recognised the Gayo Lues style of saman as an Endangered Item of Intangible Cultural Heritage, which increased its international prominence and provided some funding for its preservation.
They feared that their traditional customs and arts – their very identity – had been lost forever. To this day, the government, the media and the general population often mistakenly refer to the Acehnese genre ratoh duek by the Gayo name of saman, despite its very different history and style. This article focuses on the Gayo saman and the Acehnese ratoh duek (lit. This vigorous and strenuous dance is performed by a row of men who sit close together in half-kneeling position or rise up on their knees as they sing, dance, and perform unison or interlocking body percussion, clapping and beating their thighs, shoulders and the floor in cyclic rhythmic textures. From ca the 1980s they were transplanted into the Medan, Jakarta and Yogyakarta diasporas.
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