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The Study of Presentational and Discursive Symbol of Gawi Dance in Tenda Village, Ende Regency

Catharsis · Vol. 8 No. 2 (2019) · pp. 143–150

DOI
10.15294/catharsis.v8i2.31427
ISSN
2502-4531, 2252-6900
Published
2019-09-15
Publisher
Universitas Negeri Semarang
Language
eng

Abstract

Gawi dance is a popular traditional dance in Ende Regency that has existed since the days of the Melehur and was inherited from generation to generation. Gawi dance is used in every traditional ceremony as an expression of gratitude and others as entertainment. The uniqueness of this dance lies in its shape resembling a snake circle (spiral), the rhythmic sound of the dancer's feet, and supported by musical accompaniment in the form of poetry from a solis without using text, properties such as machetes, tufted sticks tied to a horse's tail. The purpose of this study was to analyze the presentational and discursive symbols of the Gawi dance in the village of Tenda Regency in Ende. Qualitative research methods Interpretive with an interdisciplinary approach. Data collection techniques were observation, interview and document study. The data validity technique used source triangulation techniques. The data analysis technique used the theory of Susan K.Langer symbols with the stages of interactive model analysis. The results of the study suggested that Gawi dance has dance elements, namely motion, space and time, and supporting elements, namely accompaniment, clothing, makeup and property. The presentational symbol of Gawi dance could be seen in motion, space, accompaniment, clothing, makeup and property. The discursive symbol of Gawi dance was in the form of meanings such as religious meaning, unity, gender equality. The make-up of the Gawi dance means: valor and courage, beauty and neatness. The fashion of the Gawi dance has meaning: one's position, authority and pride. The implication of this research is that people can find out about the arts in the local area and increase the art treasury in Ende Regency.

Collaboration network of the authors

40 authors · 121 co-authorship links · showing the 40 most connected

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  • State University of Semarang
  • State University of Jakarta
  • Affiliation unknown
  • Different organisations
  • Same organisation
  • Affiliation unknown
  • Thicker line = more joint articles · bigger circle = more articles
Show as table
Co-authorOrganisationJoint articles
Sunarto SunartoAffiliation unknown10
Agus CahyonoAffiliation unknown10
Wadiyo WadiyoAffiliation unknown9
Totok Sumaryanto FlorentinusState University of Semarang9
Triyanto TriyantoAffiliation unknown6
Hartono HartonoAffiliation unknown6
Widodo WidodoState University of Jakarta4
Malarsih MalarsihAffiliation unknown4
Syahrul Syah SinagaAffiliation unknown3
Totok Sumaryanto. FAffiliation unknown3
Lesa ParantiAffiliation unknown3
Tjetjep Rohendi RohidiAffiliation unknown2
Totok Sumaryanto FlorentinusAffiliation unknown2
Syahrul Syah SinagaAffiliation unknown2
Faruq AlfiantoAffiliation unknown2
Suharto SuhartoAffiliation unknown2
Wandah WibawantoAffiliation unknown2
Setyati Dyah HandayaniAffiliation unknown2
Slamet HaryonoAffiliation unknown1
Tri Danu SatriaAffiliation unknown1
Metha BertinaAffiliation unknown1
Eko SugiartoAffiliation unknown1
Prima Suci LestariAffiliation unknown1
Suharto SAffiliation unknown1
Crecenda Della RossaAffiliation unknown1
Tegar AnugrahitaAffiliation unknown1
Nur Lintang Dhien HayatiAffiliation unknown1
Stefanny Mersiany PandalekeAffiliation unknown1
Dedy FirduansyahAffiliation unknown1
Willy LontohAffiliation unknown1
Firdaus PerdanaAffiliation unknown1
Dwi Tiya JuwitaAffiliation unknown1
Masayu Selly SabillahAffiliation unknown1
Richard Junior KapoyosAffiliation unknown1
Bahtiar ArbiAffiliation unknown1
Eryaya NirbayaAffiliation unknown1
Setiorini Rahma SafitriAffiliation unknown1

Affiliations come from OpenAlex; journal OAI-PMH metadata carries none. Authors without an OpenAlex ID are matched by name, which can merge or split people.

Metadata source: OAI-PMH (metadata jurnal) https://journal.unnes.ac.id/sju/index.php/catharsis/oai, first harvested 5 Nov 2026, last seen 8 Nov 2026.
Original metadata (oai_dc)
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	<dc:title xml:lang="en-US">The Study of Presentational and Discursive Symbol of Gawi Dance in Tenda Village, Ende Regency</dc:title>
	<dc:creator>Tina Mati, Reneldis</dc:creator>
	<dc:creator>Jazuli, Muhammad</dc:creator>
	<dc:creator>Utomo, Udi</dc:creator>
	<dc:description xml:lang="en-US">Gawi dance is a popular traditional dance in Ende Regency that has existed since the days of the Melehur and was inherited from generation to generation. Gawi dance is used in every traditional ceremony as an expression of gratitude and others as entertainment. The uniqueness of this dance lies in its shape resembling a snake circle (spiral), the rhythmic sound of the dancer's feet, and supported by musical accompaniment in the form of poetry from a solis without using text, properties such as machetes, tufted sticks tied to a horse's tail. The purpose of this study was to analyze the presentational and discursive symbols of the Gawi dance in the village of Tenda Regency in Ende. Qualitative research methods Interpretive with an interdisciplinary approach. Data collection techniques were observation, interview and document study. The data validity technique used source triangulation techniques. The data analysis technique used the theory of Susan K.Langer symbols with the stages of interactive model analysis. The results of the study suggested that Gawi dance has dance elements, namely motion, space and time, and supporting elements, namely accompaniment, clothing, makeup and property. The presentational symbol of Gawi dance could be seen in motion, space, accompaniment, clothing, makeup and property. The discursive symbol of Gawi dance was in the form of meanings such as religious meaning, unity, gender equality. The make-up of the Gawi dance means: valor and courage, beauty and neatness. The fashion of the Gawi dance has meaning: one's position, authority and pride. The implication of this research is that people can find out about the arts in the local area and increase the art treasury in Ende Regency.</dc:description>
	<dc:publisher xml:lang="en-US">Universitas Negeri Semarang</dc:publisher>
	<dc:date>2019-09-15</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
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	<dc:type xml:lang="en-US">Peer-reviewed Article</dc:type>
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	<dc:identifier>https://journal.unnes.ac.id/sju/catharsis/article/view/31427</dc:identifier>
	<dc:identifier>10.15294/catharsis.v8i2.31427</dc:identifier>
	<dc:source xml:lang="en-US">Catharsis; Vol 8 No 2 (2019); 143-150</dc:source>
	<dc:source>2502-4531</dc:source>
	<dc:source>2252-6900</dc:source>
	<dc:source>10.15294/catharsis.v8i2</dc:source>
	<dc:language>eng</dc:language>
	<dc:relation>https://journal.unnes.ac.id/sju/catharsis/article/view/31427/13659</dc:relation>
	<dc:rights xml:lang="en-US">Copyright (c) 2019 Catharsis</dc:rights>
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