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. This research aims to analyze the values of Islamic education that are internalized in the aesthetics and spiritual dimension of Sufi dance, especially in the Sema ritual. In the Islamic view, art is not only an expression of beauty, but also a means of da'wah and a manifestation of love for Allah the Most Beautiful (Al-Jamīl). Using the descriptive qualitative literature study method, this study examines the symbolic and spiritual meanings contained in each element of Sema. The results of the analysis show that Sema is a dynamic form of dhikr that is firmly rooted in the Sufism tradition, oriented towards the purification of monotheism, and the process of purification of the soul (tazkiyatun nafs). Aesthetic elements such as hirkah, tennure, and sikke costumes have a deep symbolism about ego release (fana'), while the rotating movement symbolizes a spiritual journey (suluk) towards oneness with God. Pedagogically, Sufi Dance contains the essential values of Islamic education, such as spiritual calmness, love, patience, and sincerity, which can be used as a holistic learning model to form the awareness of monotheism and spirituality of modern humans. This research confirms that spiritual arts such as Sema have significant relevance in contemporary Islamic education as a medium for internalizing transcendental values.    

The commercialization of songs through music concerts organized by third parties is a form of commercial exploitation of works. However, this practice often harms creators because songs are used without the payment of royalties. The case of Agnez Mo against Ari Bias is a clear example of the neglect of copyright as the exclusive right of the creator, while singers only have a position through related rights. This study aims to analyze the legal status and relationship between creators and singers, including the responsibilities of singers in music concerts based on Law Number 28 of 2014 concerning Copyright. The methods used are normative and empirical legal methods, with data collection from primary, secondary, and tertiary legal materials, as well as interviews, which are then analyzed normatively and qualitatively. The results of the study show that the legal relationship between creators and singers is reciprocal, but creators have a higher position in accordance with the alter ego principle and personality theory. Singers, based on the principle of good faith, the theory of responsibility, and the principle of suum cuique tribuere, are obliged to respect the rights of creators.