PI00003692

Guncang (shaking)

PI00001679

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00006888

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field. The leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors. Characteristics: ∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011 Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Photographed by Maria Sofia Trimawarsanti

PI00003688

Bejamu Saman (Saman that done by inviting other village youths to dance all night long, mostly two days and two nights)

PI00003696

Saman dance is one of the artistic performances done by men

PI00001680

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00006889

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field. The leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors. Characteristics: ∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011 Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Photographed by Maria Sofia Trimawarsanti

PI00001681

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00006890

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field. The leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors. Characteristics: ∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011 Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Photographed by Maria Sofia Trimawarsanti

PI00006891

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field. The leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors. Characteristics: ∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011 Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Photographed by Maria Sofia Trimawarsanti

PI00001682

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001683

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001684

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00006893

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field. The leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors. Characteristics: ∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011 Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Photographed by Maria Sofia Trimawarsanti

PI00001685

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001686

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001687

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00006892

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field. The leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors. Characteristics: ∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011 Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Photographed by Maria Sofia Trimawarsanti

PI00001688

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001689

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001690

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001691

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001693

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.

PI00001692

Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.