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Role of Tajo Dance in The Bohien Dohik Ritual on Dayak Hibun in Parindu Dewi, Della Aprilya; Tindarika, Regaria; Aditya, Mega Cantik Putri
Jurnal Pendidikan Sosiologi dan Humaniora Vol 16, No 3 (2025): Special Issue 2025
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/j-psh.v16i3.102082

Abstract

This study examines the central role of the Tajo Dance in the Bohien Dohik healing ritual performed by the Dayak Hibun community in Parindu District, Sanggau Regency, West Kalimantan. The Tajo Dance is understood as a spiritual medium that connects humans, ancestors, and Penompo (God), and serves as an essential element in restoring balance between the physical world and the spiritual realm. This study aims to describe the role of the Tajo Dance in the Bohien Dohik healing ritual. The research method used is descriptive qualitative with an ethnocoreological and anthropological approach through observation, interviews, and documentation. The results show that the Tajo Dance, which is performed only at the highest levels of the ritual (levels 5, 6, and 7), functions as a medium to persuade the Minu (spirit) to return to the patient’s body, while also acting as a means of negotiation and reconciliation with spiritual entities. Through forty-four sequences of ancestral games, this dance presents symbolic elements of movement, costume, and ritual structure that reflect the spiritual journey of the Bohien. Overall, the Tajo Dance is not merely a form of artistic expression, but a core component that affirms cultural identity, strengthens social solidarity, and sustains the traditional healing system of the Dayak Hibun community. This study provides an important contribution to understanding local wisdom and the urgency of preserving ritual arts rooted in customary traditions.
ANALISIS MAKNA TOPENG BUKOKNG DALAM TARI KATIPAK PADA RITUAL ADAT BABUKOKNG SUKU DAYAK MA’AMP DI KABUPATEN SEKADAU Sasmita, Ela; Tindarika, Regaria; Satrianingsih, Aline Rizky Oktaviari
Joged Vol 24, No 2 (2025): OKTOBER 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v24i2.17932

Abstract

ABSTRAKPenelitian ini bertujuan untuk mendeskripsikan bentuk, bahan, motif dan makna intrinsik topeng Bukokng pada tari Katipak dalam ritual adat Babukokng di Kabupaten Sekadau serta hubungannya dengan nilai dan kepercayaan setempat. Metode penelitian yang digunakan yaitu deskriptif dengan bentuk penelitian kualitatif. Sumber dan data penelitian didapat dari hasil observasi, wawancara dan dokumentasi. Hasil penelitian bahwa Bukokng merupakan perwujudan makhluk mitologi Bukokng Rimba yang bertugas untuk menjaga arwah hingga mengantarkannya menuju surga. Bukokng memiliki jenis dan bentuk yang berbeda tetapi memiliki tugas yang sama yaitu sebagai penjaga. Ketiga jenis Bukokng yaitu Bukokng Labu, Bukokng Pelaik dan Bukokng Mangar. Ciri khas yang berbeda pada topeng terlihat dari ekspresi simbolik yang merepresentasikan peran setiap Bukokng dalam ritual adat Babukokng. Bukokng Labu merupakan Bukokng kepala atau pemimpin dari semua jenis Bukokng dengan ekspresi yang tampak datar namun menyeramkan. Bukokng Pelaik menggunakan ekspresi garang dan menyeramkan untuk menakuti makhluk atau roh jahat. Sedangkan Bukokng Mangar memiliki ekspresi simbolik meyimbolkan kesedihan mendalam terutama berkaitan dengan kematian.ABSTRACTThis study aims to describe the forms, materials, motifs, and intrinsic meanings of the Bukokng masks used in the Katipak dance during the Babukokng traditional ritual in Sekadau Regency, as well as their relation to local values and beliefs. The research method used is descriptive with a qualitative research approach. The sources and data for this study were obtained through observation, interviews, and documentation.The results show that Bukokng represents a mythological creature called Bukokng Rimba, whose role is to guard spirits and guide them to heaven. There are different types and forms of Bukokng, but they share the same role as guardians. The three types of Bukokng are Bukokng Labu, Bukokng Pelaik, and Bukokng Mangar. The distinctive features of the masks are seen in the symbolic expressions that represent each Bukokng's role in the Babukokng traditional ritual. Bukokng Labu is the head or leader of all Bukokng types, characterized by a flat yet frightening expression. Bukokng Pelaik bears a fierce and terrifying expression meant to scare away evil beings or spirits. Meanwhile, Bukokng Mangar has a symbolic expression that represents deep sorrow, particularly in relation to death.
PELATIHAN KETERAMPILAN PENCIPTAAN TARI KREASI UNTUK SISWA SMA DI KOTA PONTIANAK Satrianingsih, Aline rizky; Tindarika, Regaria; Aditya, Mega cantik Putri; Ismunandar; Oktariani, Dwi; Fretisari, Imma; Djau, Nurmila Sari; Ghozali, Imam; Putra, Zakarias Aria Widyatama; Sagala, Mastri Dihita; Grandena, Egi Putri; Muniir, Asfar; Silaban, Chiristianly Yerry; Olendo, Yudhistira Oscar
Jurnal Gembira: Pengabdian Kepada Masyarakat Vol 3 No 06 (2025): DESEMBER 2025
Publisher : Media Inovasi Pendidikan dan Publikasi

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Program pelatihan penciptaan tari ini dilaksanakan sebagai upaya meningkatkan keterampilan kreatif peserta didik SMA di Kota Pontianak dalam mencipta karya tari kreasi yang berakar pada budaya lokal. Kegiatan dirancang dengan pendekatan partisipatif berbasis praktik kreatif, yang menempatkan siswa sebagai subjek aktif dalam proses pembelajaran. Pelaksanaan program dilakukan melalui empat tahapan utama, yaitu persiapan dan koordinasi dengan sekolah mitra, pelatihan dan eksplorasi gerak, penggarapan karya secara kolaboratif, serta pementasan dan evaluasi. Kegiatan ini melibatkan kurang lebih 30 siswa dan 2 guru serta mahasiswa sebagai pendamping proses penciptaan para peserta didik dari SMA di Kota Pontianak dan sekitarnya. Hasil pelatihan menunjukkan peningkatan yang signifikan pada kemampuan eksplorasi gerak siswa, dari kondisi awal sekitar 30% menjadi 85% setelah mengikuti pelatihan. Selain itu, seluruh peserta menunjukkan peningkatan keberanian tampil yang ditandai dengan partisipasi aktif dalam pementasan akhir, serta 90% peserta menyatakan pemahaman yang lebih baik terhadap nilai-nilai budaya lokal sebagai sumber inspirasi penciptaan tari. Luaran kegiatan berupa lima karya tari kreasi tematik, modul pelatihan singkat, dan dokumentasi audiovisual dimanfaatkan oleh guru sebagai bahan ajar pendukung pembelajaran seni tari. Program ini memperkuat sinergi antara perguruan tinggi dan sekolah serta berpotensi dikembangkan sebagai model pembelajaran seni berbasis budaya lokal di tingkat sekolah menengah.
Babukong Ritual and the Persistence of Dayak Ma'ap Cultural Identity in the Modern Era Tindarika, Regaria
Jurnal Pendidikan Sosiologi dan Humaniora Vol 17, No 1 (2026): Edisi April 2026
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/j-psh.v17i1.101682

Abstract

This study examines the transformation, functions, and meanings of the Katipak Dance within the Babukong funeral ritual of the Dayak Ma’ap community in the context of modernization and cultural globalization. The urgency of this research lies in the increasing pressure of global culture, which threatens the continuity of local traditions and weakens cultural identity. This study aims to (1) describe the role of the Katipak Dance in the structure of the Babukong ritual, (2) analyze its social, cultural, and spiritual functions, and (3) identify the forms of transformation and community strategies in preserving the tradition. This research employs a qualitative method with an ethnographic approach. Data were collected over a period of three months through participant observation, in-depth interviews with three key informants; Sakon (81 years old, customary leader and ritual authority), Agustinus Alat (76 years old, dancer and ritual practitioner), and Dimoarto (61 years old, Babukong cultural practitioner) and documentation. The findings show that the Katipak Dance remains a central element of spiritual communication, social cohesion, and cultural transmission within the Babukong ritual. However, modernization has influenced changes in its performance, duration, and modes of transmission. The Dayak Ma’ap community responds to these changes through adaptive strategies such as ritual revitalization, youth involvement, and contextual adjustments without eliminating core cultural values. This study highlights the importance of Babukong as a cultural mechanism that sustains identity, strengthens social solidarity, and ensures the continuity of local wisdom in the modern era.
Co-Authors Aditya, Mega Cantik Putri Ahadi Sulissusiawan ALINE RIZKY OKTAVIARI SATRIANINGSIH Anisa Safitri, Nur Apriani, Nadella Asfar Muniir, Asfar Audina, Sovi Berlisia, Melisa Budihardini, Sindy Sri Cantik Putri Aditya, Mega Dewi, Della Aprilya Djau, Nurmila Sari Dwi Oktariani Egi Putri Grandena Grandena, Egi Putri IMAM GHOZALI Imam Ghozali Imma Fretisari Ismunandar Ismunandar . Janita, Angen Dea Mastri Dihita Sagala Nahak, Innocentia Marta Abuk Nurmila Sari Djau Parasbanyu, Kalista Fiona Putri Aditya, Mega Cantik Putri, Suci Adelia Rianto, Ridho Ridho, Rianto Saputra, Agus Saputri, Suri Sasmita, Ela Satrianingsih, Aline rizky Silaban, Chiristianly Yerry Ulhasanah, Nida Utami, Riana Winda Istiandini Yery Silaban, Chiristianly Yudhistira Oscar Olendo Zakarias Aria Widyatama Putra