Penutup 6 Penutup 6 , or only 4 parts . The present social function of Saman is as entertainment, as part of celebrations of national or 2,6 2,6, religious holidays ( Saman Bale Asam ) or welcoming honoured guests ( Saman Pertunjukan Fig.28,21 ). This is confirmed by 95% of respondents (72/76). Saman is used as a media for conveying messages which are traditional, religious, informative, and about development, 1,2,3,4,5,6 through the sung verses . Saman is a vehicle for developing friendly and fraternal relationships between village groups who invite each other for performances ( Bejamu Besaman 2,6 Fig 2,3 - Saman Roa Lo Roa Ingi ). Saman is a game among village children and youth ( Saman 2 , Fig.5,6 Jenjunten and Saman Njik ). There are many Saman verses. New verses continue to be composed by Saman Penangkat trainers. Drs. Bungkes Habsyah has collected 99 Saman verses, along with their translations (Interview, Blangkejeren, 15/02/10). the verses contain messages about traditions, religion, development, advice, subtle romance, satire, poetry, 6 heroism, humour, philosopy, daily life, etc. . Saman players need to have the qualities of discipline, physical strength, quickness and cooperation. They must follow the Penangkat making all the hand, head and body movements synchrnonized, and sing the verses together. A Saman trainer ( Penangkat, Ceh or Syeh ) needs to have well mastered the verses and all Saman movements, must be intelligent, responsive and capable of leading the Saman group, especially in competitions. Saman trainers frequently become leaders in society (H. Ibnu Hasim, ibid ). 2009 demographic data from the Tourism and Culture Service indicate the total number of active Saman players in Gayo Lues District to be 1,461 or 3,95% of the total male population of 37,005. The breakdown of this data by age is: 0-3 years 0%, 4-5 years (kindergarten) 1,27% (23 children); 6-11 years (elementary school) 4,76% (258 children); 12-14 years (junior high school) 2,93% (77 children); 15-17 years (senior high school) 2,31% (53 children); and 18 years and over 4,93% (1050 persons). School age Saman players are mostly students, while those 18 years and over work at various occupations. 80% of respondents (51/64) admit having learned Saman informally from their fathers and Fig.6 grandfathers, under the mersah (boys dormitory) or from village friends. Presently, we find Saman practice going on at few among the 122 mersah dormitory buildings in Gayo Lues District. Among the 92 Elementary, 27 Junior High or equivalent, and 13 Senior High or equivalent schools registered in Gayo Lues District in 2009, some have Saman groups made up Fig.7,15-1 of a few of their students who can play Saman, having learned in their villages , However, no schools presently hold Saman as extracurricular or local content activity, but only stage occasional performances for special events (Syafruddin, Interview, Blangkejeren, 18/02/10). Both informal and formal transmission of Saman are presently weakening. 1,2,3,4,5,6 Saman is part of the cultural heritage of the Gayo people . 99% (82/83) of respondents said that Saman was part of their traditional customs and cultural expression, while 100% of respondents (83/83) admitted that Saman was a part of their cultural heritage. Saman verses and moves are inspired by the natural environment. Motifs of Saman traditional costumes symbolize flora, nature and noble values such as honesty, patience, unity, togetherness, helping one another, guidance of religious and traditional teachings, obedience, 2,7, Fig.24 self defence, improving one's life, etc. . The embroidered headbands worn by Saman players called Bulang Teleng and Bulang Rekal have a sprig of fragrant pandan leaves 2 ( Pandanus amaryllifolius ) inserted in the band as a symbol of fertility . 91% of respondents (72/79) considered Saman was related to Gayo history. Saman with the th 3,5,6 name Pok pok Ane has been existing since around the 13 century . It was later developed by 1,2,3,4,5,6 Syeh Saman as a media for religious teachings. . 99% of respondents (78/79) said that Saman gave them a feeling of cultural identity, and a feeling that they were carrying on the cultural heritage of their ancestors. Saman culture does not contravene international Human Rights instruments. 100% of respondents (81/81) said that playing Saman developed feelings of mutual respect and cooperation among the players. Saman is in accord with sustainable development. Saman

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