Tari Aceh Seudati

The word comes from the Arabic Seudati syahadati or syahadatain, which means testimony or confessions. In addition, some are saying that the word comes from the word seurasi Seudati meaning harmony or compact. Seudati developed since Islam entered Aceh. Islam advocates of utilizing this dance as a medium of propaganda to develop religious teachings of Islam. This dance is quite developed in North Aceh, Pidie and East Aceh. This dance is performed with the story of various kinds of problems that happen so that people know how to solve a problem together. Initially known as a dance dance Seudati coast called ratoh or ratoih, which means telling, started the game on show for cockfighting, or exhibited for the revelers when harvest season arrives on the night of full moon.

In ratoh, can be told many things, from the story sad, happy, advice, until the stories are uplifting. Scholar who developed the religion of Islam in Aceh is generally derived from the Arab country. Therefore, the terms used in Seudati generally derived from Arabic. Among the terms that means a leader Sheikh, Saman which means eight, and the poem which means nyayian.

Dance Seudati now grown throughout the region and favored by the people of Aceh. In addition to used as media propaganda, Seudati also be live entertainment for the people.

 

ORIGINS OF DANCE Seudati

Seudati dance was originally grown in the village Gigieng, District Simpang Tiga, Pidie district, led by Sheikh Tam. Then evolved into the village Didoh, Pearl District, Pidie district, led by Sheikh Ali Didoh. Dance Seudati from Pidie district. Seudati including one of the traditional Acehnese dance preserved and is now the artistic guidance to the elementary school level.

Seudati danced by eight men as the main dancer, consisted of one leader called a sheikh, sheikh of the servants, two assistants on the left called apeetwie, one aide in the back called apeet tub, and three auxiliary usual. In addition, there are two other singers as a dance accompanist called aneuk syahi.

This type of dance does not use the instrument, but only brought a few movements, like clapping the chest and hips, feet pounding the ground and the passage of a finger. The movement to the rhythm and tempo of the song sung. Bebarapa movement is quite dynamic and agile with great enthusiasm. However, there are some movements seem stiff, but actually showed courage and bravery of the dancers. In addition, clapping to the chest and abdomen as well as an impressive warrior pride.

Clothing Seudati dance consists of long pants and long sleeve T-shirts are tight, both white; songket strapped to the extent of the thigh and waist; rencong inserted at the waist; tangkulok (headband) in red tied around the head, and a handkerchief colored. Dress uniforms are only for the main players, while aneuk syahi not have to dress uniform. The most important parts in the dance consists of likok Seudati (style: dance), Saman (melodies), rhythmic agility, and story that tells the story of heroism, historical and religious themes.

In general, this dance is exhibited on stage and divided into several acts, among others: First round, beginning with saleum (greeting) is spoken introductions by aneuk syahi only, namely:

Assalamualaikum Lon tamong lam seung,

Lon jak saleum bri ... keu bang teuku sheikh.

Syahi aneuk function to accompany the dance sequence. The first greeting was returned by the Sheikh with the style (tone) is different:

Seumangat lon lam crew tamong seung,

lon jak to jamee teuku saleum bri ....

Poem above was repeated by both apeetwie and apeet tub. In this introductory chapter, eight dancers melenggokkan only body in graceful movement, pat his chest and flick of the eight finger movements that follow the rhythm of the song. The new smart movement seen when entering the next round. When staging is perntandingan, then after this first group completed the first round, will be followed by a second group with different techniques.

Usually, the first group will come down from the stage. The second half, starting with tub saman, ie all the main dancers stood in a circle in the middle of the stage to match the sound and likok determine what will be played. Sheikh was in the middle of the circle. This circular shape symbolizes that the people of Aceh are always muepakat (deliberation) in taking any decision. Muepakat that, if linked to the context of this dance, is consulted to determine the saman or likok to be played.

Inside likok demonstrated uniformity of motion, agility and dexterity to play that match the songs sung chant aneuk syahi. Likok chant begins with:

Iiiiii ilalah He was ne ya .... (slow and fast)

The entire principal dancers will follow the rhythm of the song sung by a rapid or slow depending on the chant sung by the aneuk syahi. Another phase is the phase saman. In this phase the various poems and rhymes delivered with each other and there was a Meandering between aneuk syahi and shaykhs are followed by all dancers. When the sheikh who say:

walahuet seuneut APET kataheee ee, O Sham,

Anek syahi will then chimed in with answers:

lom ka dicong Iboih tub, anuek puyeh Ngon cicem Earring.

To eliminate the boredom of the audience, each chapter concludes with Lanie formation, ie to improve the formations that have previously been irregular.

This article quoted from various sources related. Includes interview with one of his dancers langung leading Seudati in Aceh, Sheikh La Geunta.

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