LANGGAM: International Journal of Social Science Education, Art and Culture

Tradition of Burning Barges in Rokan Hilir Regency: Arts and Culture Studies

Esi Esi Gusrini — 2025-03-21

Every society inherits traditions from its predecessors, creating a cultural continuum that defines social identity. In Indonesia, one of the unique cultural traditions is the Barge Burning Ritual, known as "Go Ge Cap Lak," which is deeply rooted in the Chinese ethnic community of Bagansiapiapi, Riau. This annual ritual, celebrated on the 16th day of the fifth month of the lunar calendar, serves as a tribute to ancestors who migrated to Bagansiapiapi in search of a better life. The ritual involves burning a replica of a barge to symbolize their commitment to settling in the new land, as well as to honor the sea gods Ki Hu Ong Ya and Tai Sun.This study employs a qualitative descriptive approach using Feldman’s theory of art criticism, encompassing description, formal analysis, interpretation, and evaluation. Data collection methods include observation, in-depth interviews with traditional leaders and the Mak Teduh community, and documentation review. The study applies source triangulation for data reliability and follows a systematic process of data collection, reduction, presentation, and conclusion. The findings reveal that the Barge Burning Ritual holds significant historical, religious, and cultural meanings. It reflects the Chinese community’s struggle, resilience, and devotion to their deities. The ritual is also believed to influence economic prosperity, as the direction in which the barge falls after burning is interpreted as a sign of fortune—whether from the land or the sea. Additionally, the ritual fosters communal solidarity and preserves ancestral heritage. However, differing religious perspectives within the broader community influence participation and perception of the event. In conclusion, the Barge Burning Ritual is a profound manifestation of cultural identity, spiritual belief, and historical commemoration. It serves as both a means of worship and a cultural spectacle that strengthens ethnic cohesion while contributing to the region’s cultural tourism. Future research could explore its socio-economic impact and its role in intercultural dialogue.

Contribution of Area Change to Minangkabau International Airport (BIM) to the Community in Kenagarian Ketaping West Sumatra

Nia Daniati — 2025-03-21

Nagari Ketaping, located in Batang Anai District, West Sumatra, has undergone significant land use changes, primarily due to the establishment of Minangkabau International Airport (BIM) in 2005. Initially a swamp and forest area, this region has transformed into a rapidly developing urban area, triggering various socio-economic and cultural shifts. This study aims to analyze the impact of these changes on the local community, including population growth, livelihood transitions, educational access, and social interactions. A qualitative research approach with a descriptive method was employed. Data collection techniques included interviews and observations, involving five key informants: local government representatives, affected residents, and workers. Observations were conducted to examine land use transformation, including the construction of infrastructure such as housing complexes, overpasses, highways, and airport railway connections. The findings reveal that the airport's presence has significantly increased the population due to urbanization and migration. New housing developments have proliferated, attracting settlers from various regions. Economic shifts are evident, with residents transitioning from agricultural livelihoods to employment in trade, construction, and service industries. Additionally, the expansion of educational facilities has improved access to schooling, supporting human resource development. Changes in social interaction patterns are also observed, as denser settlements foster stronger community bonds and reduce crime rates. The study applies Herbert Spencer's evolutionary theory, which posits that societal transformations occur gradually. The development of BIM has triggered continuous infrastructure expansion, leading to sustained regional and socio-economic growth. However, discrepancies remain in employment opportunities for indigenous residents despite prior agreements. The findings highlight the profound influence of large-scale infrastructure projects on local communities, emphasizing the need for inclusive and sustainable development policies.

The Historical Site of Mbah Soero Coal Mine Pit Sawahlunto, West Sumatra, as a Learning Resource for Social Science Education

Siti Nur Azizah — 2025-03-21

The Mbah Soero Sawahlunto Coal Mine pit, located in the Segar Valley District of Sawahlunto City, West Sumatra, is one of Indonesia's historical heritage sites. It is the fifth recognized heritage site related to the coal mining industry in the country. The first coal mine in West Sumatra was discovered in Padang Sibusuk by Ir. C. De Groot, followed by the discovery of the coal around the Ombilin trunk by Ir. W.H. De Gereve. During the Dutch colonial period, coal was extracted using deep mining methods and a sandfilling system. This study aims to integrate the Mbah Soero Coal Mine Pit as a valuable learning resource in Social Science Education, specifically for junior high school students. The research employs the historical method with a qualitative descriptive approach, using data collection techniques such as literature review, observation, interviews, and documentation. Social Science Education, particularly in historical learning, is closely connected to the presence of historical sites in Indonesia, offering an engaging and interactive way for educators to teach students about their cultural heritage. The findings of this study show that incorporating the Mbah Soero Coal Mine Pit into the educational curriculum can enhance students' understanding of Indonesia's industrial history and cultural heritage. By using this site as a resource, educators can provide a richer and more engaging learning experience. In conclusion, the integration of historical sites like the Mbah Soero Coal Mine Pit into the Social Science Education curriculum offers students a deeper connection to their history, fostering awareness and appreciation of their cultural heritage. This study can serve as a reference for future research on the use of heritage sites as educational tools.

The Ritual Tradition of Rejecting Reinforcements Preserves Sacred Art Values in the Kuantan Singingi Community, Riau Province

Fina Narulita — 2025-03-21

This study aims to analyze the Ritual Tradition of Rejecting Evil, which carries sacred art values within the Kuantan Singingi community in Riau Province. The research employs a descriptive qualitative method with an analytical approach and literature review. The art criticism theory used refers to four key aspects: description, formal analysis, interpretation, and evaluation. Feldman’s art criticism theory is chosen for its ability to provide a deeper and more objective analysis of the subject matter, particularly the krumpyung music. Data collection was carried out through observations, in-depth interviews with traditional leaders and community members regarding the ritual, and written documentation. Data reliability was ensured through source triangulation, and data analysis followed a four-stage process: data collection, data reduction, data presentation, and conclusion. The findings reveal that the Ritual Tradition of Rejecting Evil in the Kuantan Singingi community is rooted in animistic and dynamistic beliefs, practices that predate the arrival of Islam. Living in close connection with nature, and with limited technological resources, the community has long sought to maintain a harmonious relationship with their environment, which they believe is inhabited or controlled by spiritual beings. The sacred art values embedded in the ritual remain alive, with the Petalangan community continuing to perform the ritual annually. Despite exposure to various other cultures, this tradition endures due to several factors: the inheritance of tradition, its role in disaster protection, and its ability to foster social solidarity within the community. In conclusion, the Ritual of Rejecting Evil is not just a cultural tradition but a living expression of spiritual values that continue to shape the community's identity. This study hopes to serve as a reference for further research into similar traditions and sacred art values in other indigenous communities.

Walter Spies and Pitamaha: Innovators Who Inspired the Development of Painting in Bali

Anak Agung Inten Asmariati — 2025-03-21

The history of Balinese painting has undergone a long process of evolution, beginning with traditional wayang paintings used for ritualistic and palace decorations before transitioning into modern Balinese painting in the 1930s. Balinese painters hold a significant social status, as their works are deeply embedded in religious and cultural traditions. One of the key milestones in Balinese painting history was the establishment of the Pita Maha group, which played a crucial role in shaping artistic identity by fostering dialogue between local painters and foreign artists such as Rudolf Bonnet and Walter Spies. These interactions led to the emergence of a distinct aesthetic movement that combined traditional elements with new artistic expressions. This study examines the historical development of Balinese painting, emphasizing the impact of external influences such as colonialism, globalization, and modernization. Despite periods of disruption, Balinese painting has demonstrated remarkable continuity in its decorative aspects, themes, and use of traditional colors. The research also explores the transformation of Balinese painting from serving ritual functions to becoming a commercial art form due to the influence of tourism and Western artistic interventions. Using a qualitative descriptive narrative method, this research analyzes historical records, literature, and artworks to understand the evolution of Balinese painting. The study applies historical and social change theories to trace shifts in painting styles and their implications for Balinese cultural identity. Data collection includes primary sources such as historical texts and secondary sources including scholarly analyses of Balinese art. Findings indicate that while Balinese painting has retained core traditional elements, it has also adapted to external influences, particularly through the Pita Maha movement. The study highlights how Balinese artists navigate between preserving cultural heritage and adapting to modern artistic trends. Ultimately, this research underscores the dynamic interplay between tradition and innovation in Balinese painting, reflecting broader cultural transformations within Indonesian visual arts.