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All Journal Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Melayu Arts and Performance Journal Jurnal Cerano Seni: Pengkajian dan Penciptaan Seni Pertunjukan Jejak digital: Jurnal Ilmiah Multidisiplin
Ariefin Alham Jaya Putra
Institut Seni Indonesia Padangpanjang
Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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KARYA TARI STIGMA: SEBUAH EKSPRESI TARI TENTANG KARAKTER DAN TINGKAH LAKU KORBAN-KORBAN PENYAKIT MAGIS SIJUNDAI Ariefin Alham Jaya Putra; Erman Syaiful; Sherli Novalinda
Jurnal Cerano Seni | Pengkajian dan Penciptaan Seni Pertunjukan Vol. 1 No. 02 (2022): Cerano Seni | Pengkajian dan Penciptaan Seni Pertunjukan
Publisher : Universitas Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (450.794 KB) | DOI: 10.22437/cs.v1i02.21876

Abstract

Karya tari Stigma adalah interpretasi dan imajinasi yang diwujudkan ke dalam sebuah karya tari tentang karakter dan tingkah laku korban-korban penyakit magis sijundai. Ritual magis sijundai selalu diiringi dengan perlakuan atau penolakan cinta yang menyinggung si pengirim sijundai. Korban penyakit sijundai akan mengalami kejang, teriak, menangis, menarik rambut, memanjat dinding, dan tidak dapat mengendalikan tubuhnya sendiri. Untuk memvisualisasikan ide garapan ke dalam karya tari ini pengkarya menggunakan ekspresi wajah dan gerak tubuh penari yang menggambarkan bagaimana korban-korban penyakit magis sijundai. Gerak yang digunakan dalam karya Stigma ini berasal dari hasil eksplorasi pengkarya atas karakter atau tingkah laku korban sijundai dan diiringi dengan mantra-mantra ritual sijundai. Metode yang digunakan yaitu pengumpukan data dan observasi lapangan, eksplorasi gerak, improvisasi, pembentukan, dan evaluasi. Karya ini digarap dengan tiga alur suasana dengan mengolah suasana tenang, tegang, dan mencekam. Tema yang digunakan dalam karya ini memilih tema magis dengan tipe abstrak. Karya ini ditarikan oleh delapan orang penari yang terdiri dari empat orang penari laki-laki dan empat orang penari perempuan.
Karya Tari  “Nan Bagandiang” Representasi Prosesi Manjopuik Limau Masyarakat Lubuk Jambi, Kabupaten Kuantan Singingi, Provinsi Riau Jenilva Magrilla; Yan Stevenson; Dony Osmond; Ariefin Alham Jaya Putra
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 4 (2026): JUNI-JULI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/d2z8gc13

Abstract

The Manjopuik Limau Tradition or Menjemput Limau is a tradition carried out by the Community in the Lubuk Jambi Region, Kuantan Mudik District, Kuantan Singingi Regency, Riau Province. This tradition is a tradition for Maagiah Tando (giving a sign) to a girl carried out by a young man with the aim of conveying the intention of establishing a relationship with the girl. In this work, Nan Bagandiang will raise the tradition of manjopuik limau as a source of inspiration for the work. This work raises three important stages in the traditional procession, namely the delivery process, the delivery of petitah-petitih, and the procession of the procession on the banks of Batang Kuantan. This tradition is interpreted as a symbol of the sincerity of a young man in establishing a relationship with a girl towards married life. Through the development of movements based on Randai Kuantan Ali Baba, this work presents a form of group choreography that emphasizes the values of togetherness, respect for customs, and the relationship between humans and traditions that are passed down from generation to generation. Nan Bagandiang was performed at the Hoeridjah Adam performance hall with eighteen dancers. It is hoped that this dance will contribute to the preservation of regional culture, particularly that of Lubuk Jambi, Kuantan Singingi Regency
Nan Tak Putuih: Transforming the Meaning of Kapan Salampih Custom into Contemporary Dramatic Dance Inda Fatika Sari; Susas Rita Loravianti; Wardi Metro; Ariefin Alham Jaya Putra
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 28, No 1 (2026): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v28i1.4988

Abstract

Kapan salampih merupakan praktik adat kematian di Nagari Koto Laweh yang menegaskan tanggung jawab moral pihak bako terhadap anak pisang. Artikel ini bertujuan menjelaskan transformasi makna kebersamaan, kepedulian, dan kesinambungan hubungan kekerabatan tersebut ke dalam karya tari Nan Tak Putuih. Metode penciptaan memadukan riset lapangan dan kerja studio. Data diperoleh melalui observasi di Jorong Kandang Diguguak, wawancara dengan tiga informan adat, studi pustaka, dan dokumentasi; sedangkan kerja studio meliputi eksplorasi, improvisasi, pembentukan, serta evaluasi. Hasil penciptaan menunjukkan bahwa makna kapan salampih diterjemahkan melalui struktur dramatik tiga bagian: duka, tanggung jawab adat, dan keikhlasan. Kualitas gerak berat, tertahan, dan stakato pada bagian awal berkembang menjadi tarikan antartubuh pada bagian konflik, lalu berubah menjadi gerak mengalir dan terbuka pada bagian akhir. Kain putih sepanjang sembilan meter menjadi simbol utama tanggung jawab, beban emosional, dan ikatan yang tidak terputus; maknanya diperkuat oleh komposisi kelompok, musik langsung bernuansa Minangkabau, tata ruang berlevel, busana bernada gelap, dan perubahan tata cahaya. Karya ini tidak merekonstruksi prosesi adat secara literal, tetapi melakukan pemadatan simbolik agar nilai sosialnya dapat dialami melalui tubuh dan suasana pertunjukan. Nan Tak Putuih dengan demikian menawarkan model penciptaan tari kontemporer yang berakar pada pengetahuan lokal sekaligus reflektif terhadap keberlanjutan kekerabatan Minangkabau
Karya Tari di Antara Pijak Patah Interpretasi Filosofi Bajanjang Naiak Batanggo Turun Putry Wulandari; Yan Stevenson; Emri Emri; Ariefin Alham Jaya Putra
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 1 (2026): JANUARI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/01f88669

Abstract

The dance work Di Antara Pijak Patah is grounded in the Minangkabau philosophy of Bajanjang Naiak Batanggo Turun, a life principle that emphasizes order, process, and ethical conduct in social life. This philosophy has long served as a foundation for shaping social etiquette within Minangkabau society, particularly in intergenerational relationships, both within the family and in broader social contexts. However, alongside rapid social change and technological advancement, these values have gradually shifted, especially among younger generations who tend to prioritize speed and instant achievement over meaningful processes. This condition has contributed to a decline in ethical awareness, manners, and mutual respect in everyday social interactions. These circumstances form the basis for the creation of this dance work as a medium of reflection and social critique on contemporary social realities. Di Antara Pijak Patah is realized as an abstract contemporary dance with a social theme. The creative process involves several stages, including data collection, observation, exploration, improvisation, structuring, and evaluation. Movement development focuses on the exploration of space, time, and energy, combined with symbolic bodily expressions and the use of a ladder as a prop to represent the moral journey of the younger generation. This metaphor illustrates the rise and fall of ethical values and the fragility of moral foundations when social norms are neglected. The work is performed by four female dancers and accompanied by live music, which serves to enhance the dramatic atmosphere and reinforce the overall structure of the performance. Through Di Antara Pijak Patah, the choreographer seeks to convey a moral message regarding the importance of social etiquette, respect for process, and ethical awareness as fundamental aspects of social life. This work is expected to function as a space for reflection for younger generations while also contributing to the development of contemporary dance creation rooted in local cultural values.  
Karya Tari Rongga Sunyi Terinspirasi dari Tradisi Luambek di Padang Pariaman Aurelia Ivana; Ariefin Alham Jaya Putra; Oktavianus Oktavianus; Kurniadi Ilham
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 1 (2026): JANUARI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/6yb5hz78

Abstract

The dance work Rongga Sunyi was inspired by the Luambek tradition from Padang Pariaman. The choreographer’s interest arose from the unique movements of Luambek martial arts, which differ from other forms of silek (silat). In Luambek, the duel occurs without any physical contact between the performers, yet it leaves emotional and psychological wounds for the Buluih (defeated) fighter. The central issue interpreted in this work focuses on social pressure experienced by the defeated fighter, who, from the very beginning of the duel, already feels the burden and expectation to win in order not to bring shame upon their village or themselves. This work is structured into three dramatic sequences, carrying a social theme and employing a dramatic type of choreography. The choreographic method used is based on the principles written by Prof. Dr. Y. Sumandiyo Hadi in his book Aspek Dasar-Dasar Koreografi Kelompok (The Basic Aspects of Group Choreography). To strengthen the atmosphere, the choreographer incorporated live techno music as accompaniment. The performance features five female dancers, selected based on their strong character, technical ability, and expressive interpretation that aligns with the choreographer’s vision in conveying the intended social issue. The dance work, titled Rongga Sunyi, was created in the style of traditional contemporary dance and was performed at the Boestanul Arifin Adam Auditorium on January 15, 2026.
Sikalabai: Interpretasi Identitas Perempuan  Mentawai dalam Penciptaan Koreografi Hafizatul Rahmi; Ali Sukri; Ajuoktoza Rovylendes; Ariefin Alham Jaya Putra
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 1 (2026): JANUARI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/m5tern98

Abstract

This artwork thesis is entitled “Si Kalabai: Interpretation of Mentawai Women’s Identity in Choreographic Creation”. This work departs from the meaning of the Geilat symbol (Mentawai traditional titti/tattoo) as a representation of identity, social status, and the role of women in the Mentawai indigenous community who adhere to the Arat Sabulungan belief. Women in this culture are seen as important subjects in maintaining the balance of life, but in the broader social reality they still often experience role restrictions and inequality. The creation of this dance work aims to interpret the strength, resilience, and struggle of women through the medium of movement as a form of artistic expression and social reflection. The creative method used refers to the stages of Alma M. Hawkins’ choreography, including data collection and field observation, exploration, improvisation, formation, and evaluation. The results of the creation are realized in an abstract contemporary dance work using five female dancers, which are arranged into three main parts, namely oppression, inner resistance, and self-liberation. Non-representational movement elements, the processing of space, time, and energy, as well as the use of internal and external music are utilized to strengthen the delivery of symbolic meaning. The work of Si Kalabai is expected to be a medium for appreciation and understanding of the identity of Mentawai women while also opening up awareness about the importance of equality and respect for women in social and cultural life.
Reinterpretation of Minangkabau Boys’ Merantau Culture in Dance Creation Fattahul Anugraha; Ariefin Alham Jaya Putra; Syahril Syahril; Zulfikar Rizki Ananda; Suaida Suaida
Melayu Arts and Performance Journal Vol 9, No 1 (2026): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v9i1.6304

Abstract

This article discusses the creation process of the dance work Budaya Merantau, which originates from the socio-cultural phenomenon of migration in Minangkabau society. The study focuses on how the surau, as a space for religious education, customary learning, martial arts practice, and character formation among Minangkabau boys, is reinterpreted as a conceptual foundation for dance creation. The main issue addressed is how migration patterns expressed in Minangkabau proverbs and oral philosophy can be transformed into a choreographic method. This study employs a research-based creation method involving observation, interviews, literature review, documentation, data analysis, movement exploration, exploration of space-time-energy, property experimentation, rehearsal, and performance. The creation process reveals that the pattern of merantau can be structured into three dramatic parts: the encouragement to migrate, the ability to socialize and adapt in a new environment, and the longing for the homeland. These structures are embodied through movements derived from Minangkabau pencak silat, everyday gestures, shifting floor patterns, the use of sarong and white fabric, Minangkabau musical idioms, and religious expressions associated with the memory of the surau. The article argues that merantau can be understood not only as social mobility but also as a creative method for producing contemporary dance based on tradition.
Co-Authors Ajuoktoza Rovylendes Ali Sukri Aurelia Ivana Dony Osmond Emri Emri Erman Syaiful Fattahul Anugraha Hafizatul Rahmi Inda Fatika Sari Jenilva Magrilla Kurniadi Ilham Oktavianus Oktavianus Putry Wulandari Sherli Novalinda Suaida Suaida Susas Rita Loravianti Syahril Syahril Wardi Metro Yan Stevenson Zulfikar Rizki Ananda