<![CDATA[This study examines the levels of da’wah portrayed in the narrative of Tari Puti Bungo Api, a traditional dance performed by Sanggar Mandugo Ombak in Payakumbuh, West Sumatra. Earlier studies on this dance mainly focused on its choreography, performance form, and creation process, leaving the da’wah dimension of its storyline largely unexplored. This research addresses that gap by analyzing how the three levels of nahi mungkar formulated by Abdul Aziz bin Baz action (bi al-yad), speech (bi al-lisan), and heart (bi al-qalb) are represented in the plot. Using a qualitative descriptive approach, data were gathered through in-depth interviews with the dance’s creator, limited observation, and documentation, then analyzed with the Miles and Huberman model. The findings show that the story opens with da’wah bi al-lisan through a father figure’s gentle admonition toward a group of delinquent youth; when persuasion repeatedly fails and turns violent, the narrative shifts toward da’wah bi al-yad, embodied in the daughter’s resistance against injustice, while da’wah bi al-qalb appears more implicitly through the story’s underlying disapproval of immoral conduct. These findings suggest that traditional performing arts can serve as a contextual medium of cultural da’wah, translating the graduated principle of amar ma’ruf nahi mungkar into a narrative accessible to the wider community.]]>
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