HIKMATUNA Vol. 6 No.

1 2020
ISSN: 2460-531X (Print)
2503-3042 (Online)
Journal for Integrative Islamic Studies
Published by: Pascasarjana Institut Agama Islam Negeri Pekalongan

Islamic Education Values in Gayo Saman Dance

Article History
Submitted: 19-03-2020 Shaumiwaty
Reviewed: 27-05-2020
Approved: 15-06-2020 shaumiwaty26@gmail.com
Sekolah Tinggi Agama Islam Negeri Gajah Putih Takengon

Dharmika Yoga
yogadharmika@gmail.com
Sekolah Tinggi Agama Islam Negeri Gajah Putih Takengon

Abstract

Saman dance is a folk dance developed in the Gayo tribal community that inhabits several
districts in Aceh Province. The origins of the dance are in harmony with the entry of Islam
in Aceh and become a propaganda media in the spread of Islam. Then developed into an
art that has a socio-cultural function and is the result of Islamic cultural acculturation.
This study intends to examine the values of Islamic education contained in the symbols,
the meaning of the movements and poetry of the Saman dance through ethnopedagogical
analysis. The method used in this research is descriptive-qualitative method. The data
source in this study consisted of primary data sources and secondary data sources, primary
data sources were obtained from saman jalu dance video files and secondary data sources
were obtained from interviews, books, video, and literatures. The results of the Saman
dance research are known to be some of the values of Islamic education, namely,
deliberation, courtesy to start guests, establish silaturrahmi, worship prayers, unity,
obedience to leaders and scholars, love the motherland and habituation. This value is part
of religious and moral education which has an important role in shaping the character of
the Gayo tribe community.

Keywords: Values, Islamic Education, Saman Gayo Dance

URL: http://e-journal.iainpekalongan.ac.id/index.php/hikmatuna/article/view/2416
DOI: https://doi.org/10.28918/hikmatuna.v6i1.2416

Abstrak

Tari saman adalah tari rakyat yang berkembang pada masyarakat suku Gayo yang
mendiami beberapa kabupaten di Provinsi Aceh. Asal usul tari saman selaras dengan
masuknya Islam di Aceh dan menjadi media dakwah dalam penyebaran Islam. Kemudian
berkembang menjadi suatu kesenian yang mempunyai fungsi sosial budaya dan
merupakan hasil akulturasi budaya Islam. Penelitian ini bermaksud mengkaji tentang

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nilai-nilai pendidikan Islam yang terdapat dalam simbol, makna gerak dan syair
kesenian tari saman Gayo melalui analisis etnopedagogi. Metode yang digunakan dalam
penelitian ini adalah metode deskriptif-kualitatif. Sumber data dalam penelitian ini
terdiri dari sumber data primer dan sumber data sekunder, sumber data primer diperoleh
dari file video tari saman jalu dan sumber data sekunder diperoleh dari, wawancara,
buku-buku, file video dan literatur yang berkaitan dengan penelitian ini. Hasil penelitian
tari saman Gayo diketahui beberapa nilai pendidikan Islam yaitu, musyawarah, adab
memulaikan tamu, menjalin silaturrahmi, ibadah shalat, persatuan dan kesatuan, taat
kepada pemimpin dan ulama, cinta tanah air dan pembiasaan salam. Nilai ini merupakan
bagian dari pendidikan ibadah dan pendidikan akhlak yang memiliki peran penting
dalam membentuk karakter masyarakat suku Gayo.

Kata Kunci: Nilai, Pendidikan Islam, Tari Saman Gayo

A. INTRODUCTION
This study examines the values of Islamic education contained in the Gayo saman
dance, namely folk art that was born and developed for generations in the Gayo tribal
community who settled in the Gayo Lues district, Southeast Aceh district, East Aceh
district and Bener Meriah district. According to Sarjono quoting the opinion of Milton
and James Bank, Value is a type of trust that is within the scope of a belief system, in
which a person must act or avoid an action, or regarding something that is appropriate or
inappropriate to do, have or trust (Sarjono, 2015, p.55).
Education can not only be obtained in schools or formal education institutions.
Education can be obtained from anywhere, one of which is through culture, in this case
the dance art of Saman Gayo. Yusnizar Heniwaty explained that Dance is a performance
that involves all elements of the supporting community, which is also a cultural heritage
of the ancestors (Heniwaty, 2015, p. 77). Whereas saman, according to Yusnizar
Heniwaty are traditional forms of dance performed in a seated position such as, Ratib
Meusekat in West Aceh, Likok Pulo in Aceh Besar, Ratok Duek on the west coast,
Rabbani Wahid in Samalanga Blueen district, Saman Gayo in Southeast Aceh which its
existence is related to the entry and development of Islam. Meanwhile, saman dance
according to Yusnizar Heniwaty can be understood as folk dance that develops in the
Gayo tribe community who inhabit several regions of Aceh, such as Southeast Aceh
regency, specifically Blangkejeren, which is commonly called Gayo Lues, East Aceh
regency, especially Lokop district, which is prevalent called Gayo Lut, but the saman
dance is more populist and develops in the Gayo Lues district with the dominant Gayo
tribe being residents (Heniwaty, 2015, p. 79). Pride for the Gayo tribe community when
the saman dance received recognition from the United Nations Educational and Cultural
Organization (UNESCO) as an intangible world cultural heritage. The determination took
place at the 6th session of the Intergovernmental Committee for the Protection of
Intangible Cultural Heritage on Thursday afternoon November 24, 2011 in Nusa Dua,
Bali. Saman Gayo dance was born based on the spirit of Islam. Yusnizar, explained that
the history of the emergence of saman was in harmony with the entry of Islam in Aceh in
the 13th century, then became the media of da'wah in the spread of Islam. Saman then
developed into an art that has a socio-cultural function.
Propaganda medium in the spread of Islam with specific values such as religious
values, cultural values, social values and educational values. This value is not explicitly

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or implicitly explicit but explicit or implicit. In order to be able to discover the values of
a culture, it requires deep exploration.
Gayo's dance art rich in Islamic educational values can be an excellent alternative
to learning embodied in symbols, meaning of gestures and poetry. The meaning of
symbols in Gayo's summons also requires interpretation According to Rajab Bahri
quoting Paul Ricoeur's interpretation is one's rational attempt to reveal hidden meanings
behind the apparent meaning, or to reveal the level of meaning assumed in the literal
meaning. While the meaning of gestures in Gayo Yusnizar Heniwaty's suit recognizes
that in a dance suit the application is focused on physical gestures. A physical motion is
a movement that has a specific meaning or meaning. These gestures usually have special
features that are easy for the audience to understand. In the dance moves this is a bit of
pure (meaningless) gestures, this gesture is simply to make the dance look beautiful to
the eyes. While the gestures in Gayo's suit dance according to Rajab Bahri the movements
in the suit are squeaking, croaking, choking, crouching, crowding, grunting, chirping,
clapping, teasing, crouching, shaking, and screaming (Rajab et al., 2014, p. 55). While
the poem in Gayo's suit dance according to Yusnizar Heniwaty was originally a poem
composed of teachings about Islam, to bring people to faith in the khalik using the local
language (Gayo) mixed with Arabic, and using traditional Gayo poetry. In this opinion
Rajab Bahri added that the summons of the suit was analyzed and grouped based on the
values contained in the poem. Cultural values analyzed include several aspects, namely
(a) Cultural values in human relations with God, (b) Cultural values in human relations
with nature, (c) Cultural values in human relations with nature, (d) Cultural values in
human relations with her.
Ethnopedagogy theory in this study is used to explain etnopedagogic values
contained in the symbols, meanings of movements and Gayo saman dance poetry.
According to Tatang Suratno explained based on an analysis of the cultural and
educational dimensions quoted from Alwasilah opinion that ethnopedagogy as a practice
of education based on local wisdom in various spheres and emphasizing local knowledge
or wisdom as a source of innovation and skills that can be empowered for the welfare of
society where local wisdom is related to how knowledge is generated, stored, applied,
managed and inherited (Tatang Suratmo, 2010, p. 53). Tatang Suratno further quoted
Alwasilah's opinion that local wisdom had the following characteristics: 1) based on
experience; 2) tested after centuries of use; 3) can be adapted to current culture; 4)
integrated with the daily practices of the community and institutions; 5) commonly done
by individuals and communities; 6) dynamic; and 7) strongly associated with belief
systems.
Based on the ethnopedagogical theory review, it can be understood that saman Gayo
dance as one of the world cultures that is rich in educational values can be analyzed
through the theory approach to education based on local wisdom, which later is expected
to be one source of innovation in educational development so as to improve people's
welfare. It is hoped that this study will find the values of Islamic education in the Gayo
saman dance, so that the historical value of the Gayo saman dance born from the spirit of
the Islamic religion will be scientifically documented. This research will also examine
and analyze how the application of Islamic education values contained in the Gayo saman
dance in the life of the Gayo community.
This type of research is descriptive-qualitative. Qualitative research is a research
procedure that produces descriptive data in the form of written or oral words from people
and observable behavior. In line with that, according to Subandi the approach used is

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qualitative which has a descriptive ¬ christic character. The data collected in the form of
the first directly from the source, the researcher becomes part of the main instrument of
analysis, the second is data in the form of words in sentences or images that have meaning
(Subandi, 2011, p. 35).
B. DISCUSSIONS
1. The Value of Islamic Education in the Gayo Saman Dance
The definition of value has been raised by many experts including according to
Bertens cited by Fertile value is something that interests us, something we are looking
for, something pleasant, something that is liked and desired. In short, value is something
good. Values and feelings are two inseparable things, both of which presuppose each
other. Feelings are psychological activities where humans live values. This means that
something is valuable to someone if it causes positive feelings and vice versa (Subur,
2007, p. 89). In line with this opinion, Jirzanah (2008, p. 75) quoted Scheler's opinion as
saying that value is a reality that is hidden behind other realities. Another reality is the
bearer of values as an object can be a bearer of red or other color bearers. Value is a
quality whose existence does not depend on its development. One object or one action is
sufficient to capture the value contained therein. All experiences that relate to good and
bad assume both basic and prior knowledge about good and bad. Moral values are not
hidden behind the deeds which are themselves good, but the good deeds that embody the
values. From this description it can be understood that value is something that is good or
vice versa according to feelings and appreciation of an object or an action.
From this definition it is clear that Islamic education is defined as a process of
physical and spiritual guidance according to Islamic law towards the formation of human
beings. While according to Abdul Rahman (2013) citing the opinion of Al-Nahlawi, it
gives an understanding of Islamic education as a personal and community arrangement
so that it can embrace Islam logically and suitably as a whole in the lives of individuals
and communities (collectively). This means that Islamic education has an important role
in forming individuals who have good morals in the lives of individuals and society
through a process of physical and spiritual education based on Islamic teachings. This is
in line with Moedjiono (2003, p. 177) citing the opinion of Natsir to interpret education
as a physical and spiritual leader towards the perfection and completeness of human
nature in its true meaning. While the word leader in the educational context above
contains two main elements, namely the element of purpose that serves to direct the
educational process and the element of one principle as a place to base it.
According to Kurnisloh (2015, p. 65) quoting the opinion of Said Agil Al-ikhsan
Values in Islamic education sourced from the Qur'an and Al-Hadith include three
dimensions or aspects of life, namely : The spiritual dimension, namely, faith, piety, and
noble character (which is reflected in worship and muamalah). Moral education
emphasizes the attitudes, behavior, and behavior that illustrate the values of goodness that
must be owned and made the habits of students in everyday life. Praiseworthy
encompasses honesty, trustworthy, sincere, patient, trusting, grateful, taking care of
yourself from sin, qona'ah, khusnudzon, like helping, forgiving, and so on (Sucipto &
Cahyo, 2015, p. 79).
There is also a cultural dimension, namely, a steady and independent personality,
social and national responsibility. This dimension universally focuses on the formation
of the Muslim personality as an individual which is directed to the improvement and
development of basic factors (innate) and teaching factors (environment). The basic

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factors are developed and enhanced through guidance and habituation of thinking,
behaving and behaving according to Islamic norms. While teaching factors are done by
influencing individuals through processes and efforts to form conditions that reflect
patterns of life that are in line with Islamic norms such as example, advice, advice,
rewards, habituation, punishment, and the formation of a harmonious environment.
Community responsibility can be carried out with activities the formation of social
relations through the application of moral values in social relations such as: training
oneself not to commit abominable and despicable acts, strengthening cooperative
relations by avoiding actions that lead to the destruction of social relations, promoting
commendable acts and providing benefits in community life and fostering relationships
in accordance with the rules. According to Dudung Abdullah (2014), citing Abdul Hamid
Al-Anshari's opinion, said that shura (deliberation) means negotiating or exchanging
opinions on an issue or asking for opinions from various parties to then be considered and
taken the best for mutual benefit.
Second, Adab Begins Guest. Manners education glorifies guests in the saman jalu
dance at the munalo (welcoming) and melengingan (traditional speech) stages. Munalo
in the activities of Saman Jalu is an activity of welcoming invited guests Gayo. According
to the Munalo community, it is a process of picking up invited guests in Gayo custom
accompanied by the singing of Didong Alo (didong welcoming guests) played by a
number of youths from both villages before the invited guests arrive at the main
welcoming place (wards), wards in Indonesian meaning the main place of the Saman Jalu
dance performance which was built together by the community, in its development the
ward was replaced by mersah (mushalla) or the existing traditional house in the village.
Still according to the community, it is known that in the process of munalo activities in
addition to the Didong Alo procession, it is also accompanied by bines dance
performances, bines dance is a traditional dance of the people born and developed in the
Gayo tribal community. Bines dance is played by seku (women) Gayo totaling 12 people
in one group of bines. The next customary process in welcoming the invited guests,
Saman Jalu, is to sit together with Jema Opat (fourth person) from both villages on
ampang that has been provided by Sukud (host). Ampang is a special mat that is used as
a cushion for honored guests. Jema opat is an elder and respected person in the structure
of the village apparatus according to Gayo custom. Jema opat (four people) consists of
representatives of sudere (siblings), urang tue (parents), pegawe (village officials /
officials) and pemude (youth). In the process of sitting together this vanity is also given
by sukud (host) to invited guests and accompanied by a brief (traditional speech) which
contains greetings of greetings to all invited guests who have been present in the host
village.
Third, Establish Silaturrahmi Rope. Making silaturrahmi rope in the saman jalu
dance is at the stage of serinen (best friend) and release. According to the serinen
community, the activities of the Saman Jalu are interpreted as establishing friendships
through friends such as friends in the time of the Prophet Muhammad. It means to
establish new friendships among seraman friends without blood relations, such as
between Rema Baru village, Gayo Lues district and Suka Makmur village, Southeast
Aceh district through saman jalu and this relationship will be established for generations
(Kamaluddin, interview, Gayo Lues, 11 November 2018) In line with that, according to
the serinen community is a kinship system by appointing other people to be brothers so
that the foster brother's position is the same as siblings, meaning that the Rema village
community is required to provide serinen (friends) a number of invited guests. Serinen

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(best friend) is also a very sacred thing in saman jalu dance because it aims to build
silaturrahmi rope through saman jalu dance art activities. This is in line with the
community's statement that the Rema village community as the host will be very sad if
they do not get serinen (friends) even though the invited guests were unable to attend
because they were unintentional, this is due to the very sincere and sincere preparation of
the host in welcoming and serving candidates serinen (best friend).
Fourth, Prayer Education. Practical education about the practice of worship in the
saman jalu dance is found in the meaning of horizontal sitting motion (in congregation),
sitting in two forms (initial tahiyyatul and final tahiyyatul), anguk movement (dhikr),
hunching motion (prostration), motion singkih (form greetings right and left in prayer),
gestures (pray) (Rifa’i, 1976, p. 33). Prayers etymologically as defined in the large
Indonesian dictionary, prayer is the second pillar of Islam, which is carried out in the form
of worship to Allah swt. which must be carried out by every Muslim believer with certain
conditions, harmony and reading that begins with takbir and ends with greetings (Astuti,
2015, p. 67). Symbols and meanings of motion in the Saman Jalu dance are forms of
movement created by the community with various forms that are abstract, so that it is the
community that gives meaning to each form of symbol that it creates. Rajab Bahri
explicitly describes the meaning of symbols and the meaning of motion in the saman
dance, which is horizontal motion which is a symbol of congregation. With the form of
dance that is played together means that the Gayo community is a community that is
always in a unity or togetherness. Sitting in two forms leads to the initial tahiyyatul sitting
and the final tahiyyatul sitting in prayer. Anguk or nod motion means remembrance. This
means the obligation of a servant to continue always remembrance of Him. T bent means
bowing in submission, which means that humans are creatures created by Allah SWT.
Therefore, it is fitting for him to bow and surrender only to Allah alone. Singkih motion
means motion that resembles the shape of a "greeting" in prayer to the left and right.
Motion Langak means holding hands up or praying.
Fifth, Unity and Unity. Education to establish unity within the Gayo tribe
community in the saman jalu dance is found in the meaning of horizontal sitting motion
(congregation / unity or togetherness), the meaning of horizontal sitting motion is a form
of movement created by the community so that the community gives its meaning.
According to the community, the meaning contained in the form of horizontal sitting
motion is a symbol of unity that is intertwined among the saman jalu players because the
form of sitting tightly together who connects the shoulders inwardly creates a sense of
brotherhood among fellow saman jalu players. While Rajab Bahri interpret the form of
horizontal motion is a symbol of congregation. With the form of dance that is played
together means that the Gayo community is a community that is always in a unity or
togetherness. Sixth, Obedience to Leaders and Scholars. Education about obedience to
leaders and ulama in the saman jalu dance in the Gayo tribal community is found in the
meaning of the symbol of the ruler (leader) and the meaning of the symbol of the support
(ulama). According to Rajab Bahri, the meaning of the symbol symbolizes that the Gayo
community in daily life is always led by someone who is considered more and able to
lead the community. While the meaning of the symbol of the supporter is the dancer
whose role is to maintain the integrity of the position that is docked between the dancers.
Sixth, Love the Motherland. The education of patriotism in the saman jalu dance
in the Gayo tribal community is in the meaning of hitting the chest. Hitting a chest in the
saman dance in the Gayo tribal community is a symbol of the love of the homeland owned
by the Gayo tribe community towards the Unitary State of the Republic of Indonesia

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(NKRI). This is in line with the opinion of Rajab Bahri who interpreted the movement of
hitting the chest as a symbol of patriotic feelings or a sense of heroism that is owned by
every Gayo man. Seventh, Habit Salam. Greetings habituation education in saman jalu
dance is found in persianam poetry. Saman Jalu has verbal messages rich in Islamic
educational values or also called poetry. In poetry is Assalamu 'alaykum is greeting
Muslims when meeting with many people.
Eighth, Disciplinary Education. Disciplined education in the Gayo saman dance
activity is found in every series of activities in the saman jalu dance starting from the
preparation stage to completion, at the preparation stage for example all elements of the
community both dancers, committees, parents and traditional leaders are all required to
have a mental discipline self so as to create group discipline. Like the saman dancers must
have self-discipline in carrying out activities that have been agreed to through
deliberations such as training on schedule, establishing group collaboration and
cohesiveness so as to create quality dances.
2. The Application of Islamic Education Values in the Gayo Saman Dance to the
Community
The application is the practice or implementation of understanding the values of
Islamic education contained in the Saman Jalu dance activities by the Gayo tribe
community. According to the public speaking, general consultation must be carried out
by the Gayo tribe syarak based on Islamic teachings. However, specifically for the Saman
Jalu activity there is a Saman or Saman rules that have been agreed to in a customary
manner and must be carried out every time they will carry out the Saman Jalu activity
which is seen in a series or stages in the Saman Jalu dance performance, such as youth
meetings at the village level that will hold Saman Jalu, then the discussion between
villages, namely the village youth who will be invited because there are some villages
that we invite, they may not necessarily accept our invitation due, among others, due to
lack of logistics, etc. ) the village that we are going to invite so that if the first village
cannot fulfill our invitation, there will be 2 (two) villages as a reserve, basically the
success of the Saman Jalu program must be by deliberation (Siem, interview, (Gayo Lues,
August 4, 2018).
The practice of honoring guests in the series of saman jalu dance activities in the
Gayo tribal community is a traditional tradition that originates from Islamic teachings and
is preserved for generations through performances of didong alo (guest greeting dance)
and letting (traditional speeches). According to the public, the process of welcoming
guests in the Saman Jalu dance activity all originated from Islamic teachings and is still
being carried out in every Saman Jalu activity through the practice of didong alo (guest
greeting dance) and letting (traditional speeches).
Basic education about prayer in saman jalu dance is very helpful for students in
understanding the basic movements in prayer, can motivate students to go to honeah
because the practice site for saman is honeah. The application of the value of unity and
unity in the Saman Jalu dance in the Gayo tribal community can be proven by the
intertwining of inter and inter-religious harmony in the Gayo Lues district. The obedience
of the Gayo tribe community to leaders and ulemas can be seen from the formation of the
priestly apparatus in each village mosque and the Ulema Consultative Council at the
district level. The kinship system that was built through the saman jalu dance art among
the Gayo tribal community had a positive impact on the sense of nationalism. This can be

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proven by the historical events of the Aceh conflict in the past. to the Republic of
Indonesia).
The practice of greeting in saman jalu dance is still maintained, it can be seen from
the greeting poems. Performing arts in the Gayo tribal community also still use the
experience at the beginning of his appearance such as saman dance, bines, dido Gayo and
melengkan.
Deliberation in the Gayo tribal community is one of the values of Islamic education
in the Saman Jalu dance which is still maintained in the daily life of the community, with
a spirit of upholding the shared values of all the problems that exist in the family and
community environment is always solved by a process of deliberation. Deliberation in
the context of terminology is an activity of negotiating or exchanging opinions on an issue
or soliciting opinions from various parties for later consideration and best taken for the
common good.
The Gayo tribe community highly upholds the values of the courtesy of abducting
guests in accordance with the guidance and sunnah of the Prophet Muhammad SAW, this
can be proven from the procedure of glorifying guests in the saman jalu dance activities
accompanied by traditional activities such as didong alo (welcoming guests) and relaxing
(welcoming guests) and relaxing (guests) custom speech). Islamic Shari'a pays great
attention in the matter of fostering good interactions with fellow human beings. Among
these is the Shari'a about glorifying guests and sharing food to those in need. Islamic
teachings view the guest as a noble person and command his people to treat the people
well.
Prayer worship education in the Saman Jalu dance is a basic requirement, the
introduction of basic education about prayer in the Saman Jalu dance provides an
understanding and knowledge indirectly to the younger generation about the importance
of prayer worship. The first worship education is the education of worship of prayer,
prayer is to face God as worship, in the form of a number of words and deeds, which
begin with takbir and end with greetings and according to the conditions specified by the
sharia.
Education about unity and unity in the Saman Jalu dance is education for the
community how to interpret a unity and unity in advancing both the family, village and
even the State. through saman jalu dance, people can understand how to interact socially
with various ethnic backgrounds and even religions in social life. Moral education in the
meaning of horizontal motion (congregational prayer), horizontal motion is also
meaningful (maintaining unity and unity in advancing), as one brother in the same
homeland, every Indonesian citizen has an obligation to maintain religious harmony in
Indonesia so that this country remains a unity and achieve its goals as a prosperous and
socially just country.
The value of Islamic education obedient to leaders and scholars is a laudable
character contained in the Saman Jalu dance as an educational process for the community
to know how to be moral towards leaders and scholars in community and state life.
Leaders or rulers have a high and noble position in Islamic sharia. This is in accordance
with the high task and the magnitude of the responsibility and the weight of the burden
they carry, to preserve religion and regulate the world as a substitute for prophetic duties.
High status and degrees are given to them as wisdom and benefits that must be realized,
so that chaos and calamities do not arise which cause the loss of the virtues and the
destruction of religion and the world.

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Greetings habituation education contained in the meaning of saman jalu dance

poetry is a learning process to the Gayo tribal community how to behave if a Muslim
meets another Muslim or visits a relative's house. Greetings are one of the praiseworthy
morals, greetings have many meanings, including; salvation, honor, and one of the names
of some of God's names, and its very high position. Islam prescribes greetings as respect
and pray for those who are given salvation to bestow salvation.
Discipline education contained in the series of saman jalu dance activities is a
learning medium for the Gayo tribe community on how to interpret a mental attitude of
discipline in personal life (self-discipline) and in community life (group discipline) which
is the main requirement in achieving a goal.
The opinion of Wangsalegawa and Alwasilah quoted by Musanna (2012, p. 114)
about the fascination with educational praxis from outside involving policy makers is not
enough to pay attention to supporting the treasury of local wisdom to be used as a basis
for educational development that encourages the realization of Indonesian-style
educationEthnopedagogic values that appear in the saman jalu dance activities in
accordance with Moch Cahyo Sucipto's opinion cite Kartadinata's thoughts which reveal
that education based on local culture is important to be carried out to shape and pass down
local cultural values which are national cultural identity (Sucipto & Cahyo, 2015, p. 68).
Ethnopedagogic values contained in the saman jalu dance are also in line with the
values of Islamic education, this is caused by the culture of the people of Aceh that are
derived from Islamic teachings (Zuriah, 2014, p. 65). Ethnopedagogical values in saman
jalu dance in Islamic education are included in the category of moral education.
According to Syarifah Habibah, morals come from Arabic jama 'from the form of
mufradat khuluqun which means character, temperament, behavior and character.
Whereas according to the term is knowledge that explains about good and bad (right and
wrong), regulates human relationships, and determines the ultimate goal of his business
and work (Habibah, 2015, p. 53).
C. CONCLUSION
Based on the results of the research and discussion it was concluded that the values
of Islamic education contained in the dance of Gayo suit, the deliberation is in the
preparation and mango (inviting) phase, the manner in which the guests are present in the
munalo (welcoming) and meleng (customary speeches), forging hospitality ropes are
present at the level of serenity (companionship) and release, prayer worship education is
on the meanings of horizontal seating (congregations), lounging (remembering),
crouching (bowing), shivering (form of congratulatory and left in prayer). ) and
movement (prayer), union and unity education are in the sense of horizontal seating
(unity), obedience to leaders and scholars in the meanings of symbolism (leaders), clerks
(vice leaders) and patrons (scholars), love education homeland is in the meaning of chest-
beating (patriotic / heroic), greetings are found in the poetry of the interior and education
mindlin. As well as the application of Islamic educational values found in Gayo dance
arts culture to the Gayo people is still preserved this is evidenced by the presence of
communal and inter-religious solidarity in the Gayo Lues district.

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ISSN: 2460-531X (Print) 2503-3042 (Online)
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Vol. 6 No. 1 Juni 2020

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