Urai Sikerai Music and Turuk Sikerai Dance as Cultural Texts: An Ethnomusicological-Semiotic Analysis in the Mentawai Indigenous Community

Copyright © ISRG Publishers. All rights Reserved. DOI: 10.5281/zenodo.17846551 346 ISRG PUBLISHERS Abbreviated Key Title: ISRG J Arts Humanit Soc Sci ISSN: 2583-7672 (Online) Journal homepage: https://isrgpublishers.com/isrgjahss Volume – III Issue -VI (November-December) 2025 Frequency: Bimonthly Urai Sikerai Music and Turuk Sikerai Dance as Cultural Texts: An Ethnomusicological-Semiotic Analysis in the Mentawai Indigenous Community M. Halim1, Eva Riyanti2*, Muhammad Zulfahmi3, Alfalah4 1, 2, 3, 4 Faculty of Performing Arts, Padangpanjang Indonesian Institute of the Arts | Received: 01.12.2025 | Accepted: 06.12.2025 | Published: 07.12.2025 *Corresponding author: Eva Riyanti Faculty of Performing Arts, Padangpanjang Indonesian Institute of the Arts INTRODUCTION Indonesia is a country with a rich cultural diversity, encompassing language, customs, music, dance, and traditional practices. Traditional music and dance in many communities serve not only as entertainment but also as an integral part of social life, spirituality, and community identity (Hartanti, 2024). Local music and traditions often serve as a medium for transmitting cultural values, history, local wisdom, and social norms from generation to generation. Through traditional music and dance, younger generations can learn about customs, community identity, and a sense of belonging to their ancestral heritage (Yohana, 2022). However, in the modern era of globalization, with the rapid flow of popular culture, mass media, and urbanization, many local traditions face challenges: younger generations' interest is Abstract This study analyzes Urai Sikerai music and Turuk Sikerai dance as semiotic and performative constructions within the Mentawai indigenous community. Drawing on the paradigms of ethnomusicology and cultural semiotics, this article positions ritual music not merely as artistic artifacts but as cultural texts that mediate the relationship between humans, ancestors, and the taikabaggek spirits that regulate the balance of the Mentawai cosmos. The research employed a qualitative approach through participant observation and semi-structured interviews. Findings indicate that the musical structure of Urai Sikerai is constructed by repetitive formulas that serve to reinforce a liminal state, while the Turuk Sikerai dance emerges as a representation of the bodyspirit negotiating the collective identity of the indigenous community. Through a Peircean semiotic framework and grounded ethnography, this study concludes that Sikerai music and dance serve as epistemic mechanisms that reproduce local Mentawai knowledge and simultaneously serve as symbols of cultural resistance within the context of modernity. Keywords: Urai Sikerai, Turuk Sikerai, Mentawai, ethnomusicology, music semiotics, cultural identity. Copyright © ISRG Publishers. All rights Reserved. DOI: 10.5281/zenodo.17846551 347 declining, traditional practices are beginning to be forgotten, and without adequate documentation, these traditions risk being lost or their meaning changed (Sosrowijaya, 2023). In this context, less widely known local traditions retain high value as a community's cultural identity. One example is the Turuk Langgai Dance, which developed within the Mentawai community in the Mentawai Islands, West Sumatra. This dance, which is recorded as having emerged around the 17th century, is part of a traditional ritual and healing practice performed by a Sikerei (Sari, 2016). The movements in Turuk Langgai draw inspiration from nature, imitating the movements of wild animals and elements of the surrounding environment, demonstrating that this tradition is not merely art, but a representation of the Mentawai people's cosmological relationship with nature, ancestors, and spirituality. Traditional percussion music (such as the accompaniment of local traditional instruments) and the chanting of mantras/customs are also integral parts of the ritual, making the dance and music symbols of identity, ritual, and collective belief (Sari, 2016). Ritual music in indigenous communities often functions beyond mere aesthetic expression. It is a cultural text, a knowledge system, and a cosmological medium of communication that maintains human relations with non-human forces. In the Mentawai indigenous community, Urai Sikerai music and Turuk Sikerai dance hold a central position in the sacred practices carried out by Sikerei, healers and spiritual leaders. Previous studies on Mentawai culture have focused more on aspects of social change, migration, missionization, modernization, and cultural resistance. However, in-depth studies of the semiotics of ritual music, particularly Urai Sikerai, are still very limited. Blacking (1973) states that music is "humanly organized sound" that can only be understood through the social context and value systems surrounding it. A semiotic approach to music is also important, given that music, unlike language, conveys meaning through patterns, intensity, gestures, and bodily experiences (Turino, 2008). Therefore, semiotic analysis provides a way to understand how cultural meanings are produced through musical structures, bodily performativity, and symbolic interactions in rituals. This research aims to fill this gap by analyzing Urai Sikerai and Turuk Sikerai as semiotic constructs that shape Mentawai cultural identity. The analysis focuses on the relationship between symbols, the body, ritual space, and musical structure, thus yielding a holistic understanding of the epistemic function of music in Mentawai indigenous society. Given its complex aesthetic, spiritual, and social functions, traditional identities such as Turuk Langgai hold significant value as intangible cultural heritage. Unfortunately, scholarly literature documenting and analyzing this tradition in depth is very limited. Most studies on traditional music/traditions in Indonesia focus on traditions that are already "popular" or widely recognized, while specific local traditions and minority groups are often overlooked. In fact, ignoring local traditions like Turuk Langgai means ignoring a part of Indonesia's cultural mosaic, losing its potential diversity, local wisdom, and community identity. Therefore, academic research that explores local traditions like Turuk Langgai as a cultural identity is necessary to document and understand their meaning, social and symbolic functions, and potential for preservation amidst changing times. Theoretical Basis 1. Ethnomusicology As a scientific discipline, ethnomusicology views music as a social, cultural, and symbolic phenomenon. Merriam (1964) identified three main focuses: the concept of music, musical behavior, and the musical sound itself. In this context, Urai Sikerai stands at the intersection of these three: it is a spiritual expression (concept), a ritual act (behavior), and a sound formula that has both technical and cosmological functions (sound). Blacking (1973) emphasized that the meaning of music lies in the interaction between musical structure and the social experience of the listener. Therefore, an analysis of Sikerai music must consider how it elicits bodily experiences, emotions, breathing rhythms, and trance states. 2. Semiology and Semiotics of Music Semiotic analysis of music focuses on how musical signs generate meaning through the relationship between icons, indices, and symbols (Peirce, 1955). Ritual music typically takes the form of indexical signs that point to the presence of spiritual entities through sound intensity, rhythm, and spatial resonance. Taruskin (2005) states that ritual music ―does not signify but effectuates‖—it not only presents meaning but also brings about performative effects that alter spiritual states. This is highly relevant to understanding Urai Sikerai, which is believed to open a space for dialogue between humans and spirits. 3. Anthropology of the Body and Performativity Schechner (2006) and Turner (1969) state that ritual performance is a liminal space where identity is negotiated. The body in the Turuk Sikerai dance is not merely a medium, but an agent that mediates the human-spirit relationship, re-presenting ancestral traces through movement. 4. Mentawai Cosmology and Epistemology The Mentawai recognize the concept of simagre (balance) between humans, nature, and spirits. The Sikerai ritual aims to restore this balance. Music and dance are not complementary, but epistemic tools that uphold the cosmological structure of Mentawai society. Research Methodology This study employed a qualitative-interpretive approach with an ethnographic paradigm. It was conducted in Madobag Village, South Siberut, Mentawai Islands, over a three-month period (March–May 2025). Data collection techniques included participatory observation of ritual processes, in-depth interviews, documentation, and symbolic analysis of music recordings. After data collection, the researchers analyzed the data through descriptive transcription of musical structures, semiotic analysis, body performance analysis, and triangulation of meaning with sikerai narratives. Finding and Discussion Sikerei as Cosmological Actors Sikerei are the guardians of the balance between the human and spirit worlds. They lead healing rituals, summon guardian spirits Copyright © ISRG Publishers. All rights Reserved. DOI: 10.5281/zenodo.17846551 348 (Ketsat), and negotiate the safety of the community. Music and dance are their primary tools. One Sikerei said: "Urai is not just for listening. Urai is a way for the spirits to know we are calling them." In Mentawai cosmology, Sikerei occupy a central position as cosmological actors, bridging the relationship between humans, ancestral spirits, and the forces of nature. This role is not only related to healing abilities but also encompasses performative, ecological, and social functions that maintain balance in community life. Sikerei are figures who master ritual knowledge, spirit language, and a repertoire of sacred performances that enable cross-dimensional communication (Schefold, 1988; Persoon, 1994). The basic concept of Mentawai cosmology states that the world is inhabited by various spiritual entities that have wills and influence human life. Sikerei act as mediators, regulating these relationships through rituals, offerings, and sacred performances. Their role is not only religious but also cosmopolitical—regulating the flow of energy and ensuring harmony between body, nature, and spirit (Loeb, 1929; Schefold, 2011). Mastery of cosmological knowledge is acquired through a lengthy process of kerei, a learning process that includes abstinence, fasting, spiritual practice, and the internalization of mantras. This stage develops the Sikerei's bodily sensitivity and spiritual intuition, enabling them to read signs of energy changes in the environment (Reimar Schefold, 2020). From a performative anthropology perspective, the Sikerei's body functions as a cosmological medium. The body is not merely a biological instrument but a locus for the manifestation of spiritual power. Through song, dance, and mantra, the Sikerei's body transforms into a space for encounters between spirits and humans (Turner, 1969; Kaeppler, 2001). Ritual attributes such as rumbia leaves, root bracelets, tattoos, and other ornaments serve to strengthen the body's spiritual identity and serve as a sign of connection to the cosmos. Each symbol affixed to the body signifies the abilities and cosmological permissions a Sikerei has received. One of the key characteristics of the Sikerei's role is its performative nature. Music, dance, and mantras are not ornaments, but tools of spiritual communication. In healing rituals (punen kerei), Sikerei use: invocative chants to summon guardian spirits, body rhythms and foot stomping as markers of cosmological journeys, circle dances as a form of energy alignment, and simple sounds (such as tapping or shaking leaves) to guide spirits back to one's body (Schefold, 1988; Persoon, 2010). This approach aligns with Blacking's (1973) view that music is "soundly organized human behavior," where musical structure helps reinforce ritual function and spiritual efficacy. Furthermore, Mentawai cosmological ecology positions nature as a living entity possessing spirit and consciousness. The Sikerei is responsible for maintaining the balance of the human-nature relationship through ritual practices and ecological ethics (Persoon, 1994). He ensures that all forest harvesting, hunting, and economic activity are carried out with the permission of the guardian spirits (simagre). Thus, the Sikerei's role is not only to safeguard human health but also to safeguard ecological health and community sustainability. This ecological relationship aligns with the concept of animistic environmental ethics proposed by Bird-David (1999). The authority of the Sikerei is not acquired through hereditary means but through collective recognition by the community after passing a series of initiation rituals and spiritual trials. This legitimacy is performative: a Sikerei is recognized for his or her ability to "bring forth" ritual results healing, restoring harmony, and recapturing kina, or lost souls (Schefold, 2011). This spiritual authority makes them key figures in community decision-making, particularly regarding rituals, healing, social conflict, and ecological activities. In addition to being cosmological actors, Sikerei are also guardians and maintainers of tradition. They maintain a repertoire of songs, mantras, cosmological narratives, and healing techniques that are passed down orally (Reyes-García, 2013). In the context of modernization, Sikerei's position becomes increasingly important as a living archive, ensuring the continuity of Mentawai cultural memory. Musical Structure as a Cosmological Icon In the religious system of the Urai Sikerai people, musical structure serves not only as an aesthetic element but also as a cosmological icon, a sonic representation of the order of the universe as understood within the local worldview. Music serves as a symbolic medium connecting humans with cosmic forces through patterns of rhythm, melody, dynamics, and textural organization that reflect the structure of the cosmos (Merriam, 1964; Becker, 1993). In many animistic societies, musical patterns map the relationship between the human world, the spirit world, and the ecological landscape. In the Sikerei people, every musical element repetitive rhythm, rhythmic dynamics, and melodic patterns of rise and fall is interpreted as a symbol of cosmological cycles: repetitive rhythm → flow of natural energy; ascending melodic contour → connection with celestial entities; descending contour → calling to ancestral spirits; fluctuating dynamics → cosmic disorder and balance (Kaeppler, 2001; Roseman, 1991). The rhythm in the Urai Sikerai ritual functions as a regulator of sacred temporality. The repetitive rhythms mimic natural cycles such as ocean waves, rain, and the pulse of life, thus serving as a symbolic representation of the structure of the Mentawai cosmos. This aligns with Blacking's (1973) view that rhythm is a form of "humanly organized time" that reflects social and spiritual structures. The rhythms that guide the ritual journey often function as "cosmological path markers" that allow spirits to move between the spiritual and physical realms. Melody plays a crucial role in directing spiritual energy. Certain melodic contours are thought to have the ability to summon or exorcise spirits, a practice found in many Austronesian traditions (Kartomi, 1990). In the Sikerei ritual, soft, circular melodies are used to summon the kina (soul), while melodies with wider intervals are used to negotiate relationships with guardian spirits. Thus, melody is not simply a sequence of notes, but a cosmological language. Textural structures both monophonic and heterophonic—reflect the social structure and cosmological relationships of a society. When multiple vocal and instrumental sounds coexist, a sonic landscape Copyright © ISRG Publishers. All rights Reserved. DOI: 10.5281/zenodo.17846551 349 is created that represents the layered interactions between spirits, nature, and humans (Feld, 1982; Nettl, 2005). Simple polyphony in rituals is often understood as a simultaneous representation of: the human voice, the voices of ancestral spirits, and the sounds of nature that accompany the ritual. This reinforces the view that music serves as an arena in which various cosmological entities interact harmoniously. Changes in dynamics (loudness–softness), acceleration of tempo, and increased vocal intensity are understood as icons of the expansion of cosmic energy. As the ritual reaches its climax, the musical intensity increases, symbolizing the opening of a communication channel between the human and spirit worlds (Turner, 1969; Schefold, 2011). This musical climax marks a liminal transition a moment when the structure of the cosmos opens and allows for spiritual interaction. Music not only depicts the structure of the cosmos but also regulates the flow of energy within the human body. In the Sikerei tradition, musicality is understood as a tool for balancing the relationship between body, soul, and guardian spirits (Persoon, 1994). Sound repetition functions as a spiritual resonance technique that leads the body into a state of attunement. Thus, musical structure is not only representational but also operational it fulfills a cosmological function through energy resonance. Analysis of the Turuk Sikerai Dance (Body Semiotics) The movements imitating animals (monkeys, birds, deer) are not aesthetic representations, but symbols of the ecological and animistic relationships of the Mentawai people. Animals are considered spirit-brothers. The Turuk Sikerai Dance is one of the most important performative expressions in Mentawai cosmology. As an integral part of healing and harmony-restoring rituals, this dance combines body movement, vocalizations, and musical rhythms that reflect the relationship between humans and the spirits of nature. The body semiotics approach allows for an in-depth reading of how the dancer's body—particularly the Sikerei—functions as a sign that constructs, communicates, and embodies cosmological meanings (Csordas, 1993; Farnell, 1999). In Mentawai tradition, the body is not merely a biological instrument, but a symbolic medium that transmits spiritual messages. Basic Turuk Sikerai movements, such as the turuk sabulungan, turuk buruak, and turuk leleu, present a signifying system that connects the dancer with non-human entities. Each gesture has an indexical value that refers to a specific spirit, while the movement patterns serve an iconic function by imitating animal behavior or natural phenomena (Schechner, 2013). Utilizing Charles Sanders Peirce's triadic framework, Turuk Sikerai movements can be categorized as follows: Icon: movements that imitate the form and behavior of animals, for example, the movement of birds (turuk buruak), which serves as an icon of mobility between layers of the cosmos. Index: changes in breathing tempo, foot stomping, and muscle tension that signal the presence of spirits or the intensity of trance; the body serves as an indicator of changes in liminal states. Symbol: dance patterns that are inherited, learned, and socially codified, thus becoming a collective representational system (Duranti, 1997). In the context of the Sabulungan ritual, the Sikerei plays the role of an embodied mediator negotiating the boundaries between the human and spirit worlds. Through repetitive movements, controlled breathing, and rhythmic intensity, the Sikerei's body enters a transformative state that Csordas (1990) calls the embodiment of presence. Trance is not understood as a loss of consciousness, but as an expansion of the sensorium and an intensification of the relationship with the ketsat (spirits). In this moment, the body becomes a living text read by the community. Movement in Turuk Sikerai is always connected to spatial orientation: east–west as the axis of life–death, and center– periphery as a symbol of cosmological balance. Thus, the body not only produces signs but also operates within a field of signs (Feld & Basso, 1996). In several sequences, the Sikerei turns its body toward the forest or sea to signal a connection with the non-human world. The Integration of Music and Dance in Ritual Structures Music is not merely accompaniment, and dance is not merely visual interpretation. Both are systems of signs that operate simultaneously. The integration of music and dance in the Urai Sikerai ritual is the primary foundation that governs performative structures, emotional dynamics, and the production of sacred meaning within the community. From an ethnomusicological perspective, music and dance are not understood as separate entities, but as coevolutionary units of expression—where sound shapes movement, and movement gives body to sound. Their relationship constitutes a temporal, symbolic, and social marker that reproduces the community's cosmology and reinforces the spiritual presence of ancestors. Several ethnomusicological theories suggest that the relationship between music and dance in ritual contexts is inseparable. Merriam emphasizes music as human behavior, while Kaeppler views dance as a system of movement organization shaped by the musical structure, cosmology, and social values of the community. In the context of Urai Sikerai, both of them mutually construct the meaning of the ritual through rhythmic synchronization, repetitive movement patterns, markers of sacred space and time, and the division of roles between musicians, dancers, and participants. Music functions as a time-coding system. Each ritual segment has a distinctive sound signature: a slow opening; a core ritual with increasing tempo; and a decaying closing. These changes mark the transition between worlds—humans, ancestral spirits, and nature— and guide participants through the ritual's dynamics. Dance expresses cosmology through the body. Circular movements, forward and backward steps, and hand gestures symbolize the connection between humans and ancestors. Dance functions as an energy channel, a marker of sacred space, and a meditative medium that enables transformative experiences for dancers. When music and dance harmonize, the phenomenon of collective entrainment is born. This synchronization strengthens solidarity, creates a state of shared transcendence, and stabilizes the ritual's dynamics. Individual bodies merge into the communal rhythm, generating a collective spiritual experience. Rhythmic patterns, movement motifs, and dance formations serve as living cultural archives—media for transmitting cosmological, social, ecological, and genealogical values. This archive is continually updated with changing times, but its basic structure remains intact in the ritual. Copyright © ISRG Publishers. All rights Reserved. DOI: 10.5281/zenodo.17846551 350 Rituals become arenas for identity negotiation. Musical and choreographic elements signify cultural identity, spiritual legitimacy, and connections with ancestors. In the modern context, this integration also serves as a tool for cultural diplomacy and the strengthening of local existence. The integration of music and dance reinforces sacred meaning by intensifying emotions, marking important moments, regulating energy rhythms, and facilitating communication with ancestral spirits. Without these elements, rituals would lose their cohesion, direction, and spiritual intensity. Elements Semiotic Function Social Function Drum rhythm Chanting Animal movements Ritual space Index of the presence of spirits Cosmological icon Symbol of ecological relationships Liminal media Focusing attention Strengthening collective suggestion Cultural values education Community identity consolidation Urai as a Marker of Identity In Mentawai society, the ritual vocal tradition known as urai is seen not simply as artistic expression or entertainment, but as an important manifestation of ethnic identity, cosmology, and collective memory. Through lyrics, sounds, and ritual context, urai preserves ancestral knowledge, social structures, and the relationship between humans, nature, and spirits. Based on ethnographic literature, ethnomusicology, and contemporary research, urai serves as a marker of Mentawai identity. Urai, especially ritual songs/shamanic songs, preserve myths, ancestral stories, knowledge about nature (animals, plants, natural phenomena), and local cosmology. Many songs mention the names of primates or birds, alluding to nature/the forest/ancestors (Tulius, 2022). Thus, urai functions as an oral archive that helps regenerate traditional knowledge, especially in communities still connected to the continuity of customs. In the context of traditional rituals and healing, urai songs are performed by Sikerei, who are considered intermediaries between the human world and the spirit/spirit world (Persoon, 2017). Because not everyone can (or has the right to) sing ritual urai, the ability to perform urai becomes a symbol of social/spiritual status, a sign of membership in the traditional structure, and legitimacy as guardians of tradition. The lyrics and themes in many urai refer to nature: animals, forests, and natural phenomena, demonstrating that Mentawai identity is deeply intertwined with their environment (Tulius, 2022). This distinguishes Mentawai from outside cultures; their music is not merely human-centric, but nature-centric. Urai reflects how this community views nature as part of their identity and cosmology. The above analysis shows that urai has multiple dimensions in Mentawai cultural functions: 1. Epistemic: preserving traditional knowledge about nature, cosmology, myth, and identity; 2. Socio-institutional: maintaining customary structures and the legitimacy of customary leaders (Sikerei), strengthening community solidarity; 3. Ecological-cultural: reflecting human-nature relations, defining ethnic identity as part of the island ecosystem; 4. Resistance & Revitalization: serving as a means of maintaining identity amidst the pressures of modernization, as well as a medium for cultural adaptation (through documentation, festivals, and cultural tourism). However, urai's status as a cultural identity does not automatically guarantee its survival: regeneration, community attitudes, and preservation policies are key factors. According to recent ethnolinguistic studies, traditions like urai face a regeneration challenge younger generations are less interested in continuing traditional songs due to formal education, migration, and modern lifestyles (Wijaya, 2023). CONCLUSION This research demonstrates that Urai Sikerai music and Turuk Sikerai dance are cultural texts that organize the cosmological relationships of the Mentawai people. Through semiotic analysis, it is shown that music and dance are not only aesthetic representations, but epistemic tools that produce meaning, identity, and balance in the cosmos. Urai, the traditional vocal music of the Mentawai people, is more than just a song; it is the heart of cultural identity, a medium for storing traditional knowledge, a symbol of customary status, and a bridge between humans, nature, and spirits. As a marker of ethnic identity, urai mediates social, cultural, ecological, and spiritual relations. The Turuk Sikerai dance demonstrates that the Sikerei body acts as a layered sign system that connects cosmological symbolism with ritual practices. The body not only performs movements but also produces collectively recognized spiritual meanings. This semiotic approach enriches the understanding of ethnomusicology and performance anthropology regarding how the Mentawai people build and maintain cosmic relationships through bodily expression. REFERENCES 1. Blacking, J. (1973). How Musical Is Man? University of Washington Press. 2. Merriam, A. (1964). The Anthropology of Music. Northwestern University Press. 3. Peirce, C. S. (1955). 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