The Guel dance was one of the Gayo cultural treasuries in Naggroe ACeh Darussalam province (Nad). Guel was significant sounded. Especially in the area of the plateau gayo, this dance had the long and unique story. The researchers and the dance choreographer said this dance not merely the dance. He was the combination from literature art, musical art and the dance art personally.
In his development, the Guel dance emerged sank, but Guel became the tradition dance especially in the certain traditional ceremony. Guel fully the appreciation of the shape of nature, the environment was afterwards composed so by the form through the symbolic movement and rhythm stamping. This dance was the informative media. The solidarity in solid the border between art Literature, music/the voice, the movement enabled to be developed (collaboration) in accordance with the spirit of the time, and the change in the pattern thought the local community.Guel certainly had philosophy was based on the history of his birth. Then extension in the 90 ‘s this dance became the object The research amount survesor domestic and foreign.
The Aceh Special District regional government at that point also involved several teams was supervised koodinasi the Department of Education and Culture (the educational service and culture), and this the name of Drs Asli Kesuma, Mursalan Ardy, Drs Abdurrahman Moese, and Ibrahim Kadir that entered did survey that afterwards was felt very useful for the younger generation, the artist, the culture critic to find a description that was almost perfect about the dance guel. Some results of this research that was tried by me suggested, moreover indeed the document/this dance literature could be seldom obtained.
The Sengeda dream
Was based on the developing folk tale in the Gayo Land.the Guel dance started from the dream of a young man named Sengeda the child King Linge to XIII. Sengeda dreamed of meeting his sibling was true Meria that it seems died because of betrayal. The dream depicted correctly Meria gave the guidance to Sengeda (his brother), about the method got the white Elephant at the same time the method meenggiring this Elephant to be brought and Dedicated to Aceh Sultan Darussalam. It was the daughter the Sultan really wanted to have this White Elephant (Gajah Putih).
Several years afterwards, this narrated about Cik Serule, the prime minister King Linge to XIV departed for the Capital Aceh Darussalam (now the Banda Aceh city). Met wingding the annual session of The royal sultanate. Than, Sengeda that was known close to Serule to take part in being Companied. In session moments was taking place, Sengeda apparently played at the Gading Hall while enjoying Sultan’s Palace grandeur.
When so he be reminded will dream him time set, then in accordance with the guidance of his sibling was true Meria he described a coloured elephant as white to a sheet of Neniyun leaf (bamboo shoots), after ending, the painting was pointed to the sunlight. Was not supposed, the reflection of the so beautiful light invited amazement the Daughter King Sultan. From the painting, the daughter became curious and wanted to want to have the White Elephant in the original shape.
- Two men were dancing the Guel Dance in the Didong agenda jalu an entire night in Taman Mini Indonesia (TMII). Photo taken from: www.uwein.multiply.com
The request was said to Sengeda. Sengeda promised caught the White Elephant available In rimba raya Bener Meriah Regency to be pointed to the daughter’s host with Sultan’s condition gave the order to Cik Serule. Afterwards in the search procession so seeds and the blend of the Guel dance came: To tame the White Elephant, was held the ceremonial meal with burn incense; the holding sounds by means of struck the stick of wood as well as any that produced sounds. Several relatives Sengeda then carried out the movement of the dance to provoke the Elephant.
After that, the white Elephant visible went Outside from his hiding . When meeting with the Sengeda party, the Elephant did not want to move from his place. Various methods were followed, the Elephant still also was not moving. Sengeda that became the expert at that time to lost the idea of driving the Elephant.
Again and again Sengeda be reminded will dream time set about several indications that must be carried out. Sengeda afterwards ordered the party to again danced with the sincere intention until moved the hands like the movement trunking the elephant: beautiful and well-mannered. Accompanied with the movement of greetings sembahan to the Elephant evidently could melt the heart the Elephant. The elephant could be then tamed while being accompanied by the party. For the length of the expert’s trip and the party, the white Elephant from time to time ditepung offered with the palanquin (the rough-skinned citrus fruit) and the powder through to for days the trip until the party opposite Sultan’s daughter in the Centre of the Kingdom Aceh Darussalam.
Such was the history from the folk tale in Gayo, although the truth could not be scientifically proven, but afterwards the Guel Dance in his development continued to be repeated by them the unique Sengeda story, White Elephant and the daughter the Sultan. This that afterwards was known temali(gayo language) the history that connected the Linge kingdom with the Kingdom Aceh Darussalam so close and simple.
Even so in the performance of the attraction of the Guel Dance, that often was experienced by us when the marriage ceremony, especially in the Gayo Land, continued to take spirit of the history relationship with the language and the beautiful dance In the Guel. Dance Regeneration this story, in the Guel dance, Sengeda was afterwards played by the Didong Teacher namely the dancer who asked Beyi Bridegroom (Aman Mayak)to get up from the place the Bridal Dais.Whereas the White Elephant was played by Bridegroom. The village chief the Mungkur, The village chief the Powder was played by mothers that scattered the rice or was known with bertih In Gayo language and breuh padee In Aceh language.
The Dancer
In the Gayo land, previously was known by so many dancers Guel. Like Syeh Ishak in the Village of Kutelintang-Pengasing, Aman on Rabu in the Jurumudi-Bebesan village, Ceh Regom in Toweran. The other dancer in the period 1992 up until 1993 at that time still was living was Safe Jaya-Kampung Kutelintang, Umer-Bebesan, Syeh Midin-Silih Nara Angkup, Safie-Gelu Gele Lungi-Pengasing, Item Majid-Bebesan. They at that time in general aged in the 60 ‘s. At this time has died so as to change the generation of the dancer to the serious obstacle.
Although having the dancer who was born because of the talent personally, not immediately was taught in a manner the theory and the practice by the expert’s dancers as being mentioned, skills danced they were not as skilled as his predecessors. Even so the escort penggiring percussion music like Rebana increasingly rare, moreover want to compared with a person prominent figure the deceased Syeh Kilang in Kemili Bebesan.
Guel Dance (Tari Guel) was divided into four standard rounds. Consisted of your round natap, the Round Ii Dep, Babak III Ketibung, Babak IV Cincang Nangka. The style of the Movement or the movement of the foundation was Semah greetings (Munatap), Kepur Nunguk, Sining Lintah, Semer Kaleng (Sengker Kalang), Dah-Papan.
While the number of the dancers in his development consisted of the man’s group and the revolving woman between 8-10 (the Woman), 2-4 (the Man). The Pria dancer in each appearance always appeared as the symbol and the prima donna, symbolised safe manyak or lintoe Baroe and the Teacher Didong. The number penabuh usually minimal 4 people that menabuh Canang, Gong, Rebana, and Memong. The Guel dance quite unique, the writer’s experience felt contained the element and the character of the blend of the hard element soft and simple. When the players really Carries this dance, especially the Sengeda role and the White Elephant (Gajah Putih) then for the spectator will feel astonishment to be extraordinary. (uranggayo.wordpress.com)
