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Regaria Tindarika
Program Studi Pendidikan Seni Tari dan Musik FKIP Untan, Pontianak
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Analysis of Social And Religion Change of Dayak Ma’amp on Katipak Dance In The Ritual Babukokng Audina, Sovi; 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.v16i3.102064

Abstract

This study aims to explain the forms of social change and shifts in belief systems that occur within the Dayak Ma’amp community, as well as their relationship to the implementation of the Babukokng ritual and the continuity of the Katipak Dance as one of the sacred cultural elements. The focus of the research is directed toward identifying the forms of social and belief changes within the Dayak Ma’amp community, particularly those related to the practice of Babukokng and the preservation of the Katipak Dance. The study employs a qualitative approach with technique triangulation, which involves comparing data derived from interviews, observations, and document studies. Anthropological and historical approaches are used to understand how social and belief changes unfold within the Ma’amp community. The findings indicate that social change in the Ma’amp community can be seen through the shift from traditional customary leadership to a dual system involving village governance, the transition of livelihoods toward a monetary economy, and the simplification of the duration and procedures of the Babukokng ritual. The community’s belief system has also shifted due to the influence of formal religions, which have weakened traditional beliefs in spirits and spiritual elements, resulting in the modification or removal of certain ritual stages. The Katipak Dance, which was once strictly sacred, has undergone desanctification and can now be performed in public cultural events as an effort toward preservation. Overall, these changes demonstrate that the Ma’amp community is able to adapt to modern developments while simultaneously facing challenges in cultural regeneration if deliberate preservation efforts are not implemented.
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.
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 Dwi Oktariani Egi Putri Grandena IMAM GHOZALI Imma Fretisari Ismunandar Ismunandar . Janita, Angen Dea Mastri Dihita Sagala Nahak, Innocentia Marta Abuk Nurmila Sari Djau Oktaviari, Aline Rizky Parasbanyu, Kalista Fiona Putri Aditya, Mega Cantik Putri, Suci Adelia Rianto, Ridho Ridho, Rianto Saputra, Agus Saputri, Suri Sasmita, Ela Ulhasanah, Nida Utami, Riana Winda Istiandini Yery Silaban, Chiristianly Zakarias Aria Widyatama Putra