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Wahida Wahyuni
Institut Seni Indonesia Padangpanjang
Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Medicine & Pharmacology Nursing Public Health Social Sciences Other

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Nan Ka Sanang Realitas dari Peristiwa Tolak Bala dalam Tradisi Basapa di Taeh Bukik di Kabupaten Lima Puluh Kota Sonya Prima Putri; Emri Emri; Wahida Wahyuni; Oktavianus Oktavianus
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/sr5qhy70

Abstract

The Nan Ka Sanang dance is inspired by the Basapa tradition in Taeh Bukik, Lima Puluh Kota Regency, a tradition of praying during the month of Syafar as a way to ward off disaster and seek inner peace. This work depicts the reality of the tolak bala event in the basapa tradition, namely the spiritual journey of humans who come bringing disaster, anxiety, and hope, toward a point of purity through prayer and drawing closer to God. This work is danced by eight dancers accompanied by techno music. The methods used in creating this dance work are exploration, improvisation, and formation. The movements are developments of movements found in the basapa activity, namely sitting, walking, standing, and praying. This work uses a tray as a prop, symbolizing togetherness towards a common goal. This work is created with a religious theme and a pure style, consisting of three lines. It was performed at the Huriah Adam Performance Hall, Indonesian Institute of the Arts, Padangpanjang.
Karya Tari Lintas Jiwa dari Spiritualitas Perjuangan dalam Arak Sorban Humairoo Hasna Zulhanifah; Yan Stevenson; Oktavianus Oktavianus; Wahida Wahyuni
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/yek2bc24

Abstract

The dance work LINTAS JIWA is a contemporary abstract dance that explores a social theme and is rooted in the creator’s empirical experiences during the process of higher education. These experiences are shaped by various academic, social, and personal pressures, which are then integrated with the spiritual values of Imam Husein’s struggle as reflected in the Arak Sorban procession of Bengkulu. The values of perseverance, sacrifice, and sincerity serve as the main foundation of this work and are expressed as a reflection of the creator’s inner journey in responding to the dynamics of life. This work is presented as a group dance performed by seven female dancers, symbolizing interconnected and mutually supportive human spiritual journeys. The ideas are not conveyed through a narrative structure, but through symbolic body movements explored intuitively and expressively. The creative process applies Alma M. Hawkins’ method, which consists of exploration, improvisation, composition, and evaluation, resulting in a cohesive and meaningful structure. In addition to movement elements, the work is supported by music and video mapping as visual graphics that enhance the atmosphere and reinforce the meaning of the performance. Through LINTAS JIWA, the creator aims to present a reflective aesthetic experience and to open a space for contemplation on the meaning of struggle in human life.
Karya Tari Jejak Kaba Interpretasi Perjuangan Seorang Seniman Rabab dalam Mempertahankan Tradisi Rabab Alsafitro Alsafitro; Susasrita Loravianti; Wahida Wahyuni; 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/zajrba79

Abstract

The dance work Jejak Kaba is inspired by the struggle of a Tukang Rabab, portraying the strong fighting spirit possessed by traditional artists, as well as their determination to preserve the roots of traditions passed down through generations and the ways they strive to survive. This becomes the creator’s main focus in highlighting the resilience and perseverance of a traditional Rabab artist, who regards Rabab not merely as a form of entertainment but as a way of life—both as a means of livelihood and as a medium for inheriting traditional art.The creation of this work is realized by emphasizing the space of memory surrounding struggle, sincerity, challenges, anxiety, and loyalty of a traditional artist in maintaining the existence of Rabab tradition amid the rapid changes of the modern era.This work applies Alma M. Hawkins’ choreographic approach as outlined in the book Creating Through Dance and Choreography: Form, Technique, and Content, which consists of several stages: data collection and field observation, exploration, improvisation, formation, and evaluation. The work is further strengthened by the use of lighting to represent atmospheres of calmness, tension, and gloom. Jejak Kaba employs a dramatic type of dance and is performed on an arena stage at the Boestanol Arifin Adam Auditorium.
Perkembangan Tari Tirik Lalan Masyarakat Banjar di Tembilahan, Provinsi Riau Dini Rahdatul Aisy; Wahida Wahyuni; Eva Riyanti; Suaida Suaida
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/w92dkc29

Abstract

This study aims to examine and describe the development of the Tirik Lalan Dance among the Banjar community in Tembilahan, Riau Province. Tirik Lalan Dance is a traditional paired dance characteristic of the Banjar ethnic group who migrated to Tembilahan through trade routes. Over time, this dance has undergone choreographic development due to interaction with the local Malay culture. This study uses a qualitative method with a descriptive analytical approach, and is analyzed using the Cultural Development Theory by Linton, the Cultural Ecology Theory by Steward, and the Choreography Theory by Y. Sumandio Hadi. Data was collected through literature study, observation at Sanggar Citra Sebati, in-depth interviews with traditional artists, and documentation. The results of this study show that development occurred in three main elements of presentation, namely movement, music, and costume. The movements that were originally straightforward and open as typical of Banjar developed into more subtle, closed, and symbolic forms, adapting to Islamic values and Malay aesthetics, such as the integration of Malay salutation and soft steps resembling Zapin. The accompanying music developed with variations of the gambus and accordion. Meanwhile, the dancers' costumes transitioned from Baju Kurung Basisit to Kebaya Labuh and Songket with Pucuk Rebung motifs. This development proves a dynamic cultural adaptation without eliminating the original philosophical values of the dance.
Co-Authors A Admiral Alsafitro Alsafitro Anak Agung Istri Agung Citrawati Auliana Mukhti Maghfirah Barkah, Hendri Jihadul Bram Sujadesman Cica Junia Citrawati, A A I A Desman, Febri Dini Rahdatul Aisy Ediwar Ediwar Efrinon Efrinon Elizar Elizar, Elizar Emri Emri Emri EMRI, EMRI Erman, Syaiful Eva Riyanti Gita Irawan, Esika Humairoo Hasna Zulhanifah Kurniadi Ilham Maryelliwati Maryelliwati muhammad fikri Nahwita, Nahwita Ninon Syofia Ninon Syofia Nurmalena, Nurmalena Oktavianus Oktavianus Oktavianus Oktavianus Osmond, Doni Pulungan, Nopita Sari Rony, Zahara Tussoleha Roza Muliati Saduddin Saaduddin Saura Arfina Novenda Sonya Prima Putri Stevenson, Yan Suaida Suaida Suharti Suharti Suharti Suharti Suharti Suharti Suharti, Suharti Suharti Sukri, Ali Susas Rita Loravianti Syofia, Ninon Wansyah, Andri Syatria Yan Stevenson Yusfil Yusfil Yusfil Yusfil Yusfil Yusfil Yusfil, Yusfil Yusfil