The P oceedings o In e na ional Con e ence on
Aceh Ci iliza ion
1
Idalupa Alue Glong Naga in Wes Aceh: A Va ian S o y
and I s Pe o mance S a egy
Susand o1, Ha mi Neg ia Ta uan2, Achmad Zaki3
1 Indonesian Ins i u e o A s and Cul u e Aceh
*Co esponding Au ho : susand [email protected]
ABSTRAK
Sangga Seni Alue Glong Naga me upakan salah sa u g up seni adisi di Aceh Ba a yang
seca a masi mempe unjukkan kesenian Dalupa a au lazim juga disebu Si Dalupa oleh
masya aka nya. Pe samaannya dengan g up lain ialah sama-sama e ika pada sa u kisah yai u
en ang muasal okoh Dalupa. Pe bedaannya ialah sangga ini menyebu nya Idalupa
be dasa kan nama okoh dalam kisah e si me eka. Selain i u, pe bedaan lain yang khas juga
e liha pada ben uk pemen asannya, yang mana sebagian pa a pemain/peme annya memakai
busana pe empuan sebagaimana e gamba dalam kisah. A ikel ini be ujuan memapa kan
mengapa pe unjukan Sangga Seni Alue Glong Naga ini be beda dengan g up Dalupa lain
dengan jalan menelusu i kisah yang mela a belakanginya. Peneli ian dilaksanakan dengan
me ode kuali a i dengan langkah s udi pendahuluan/pus aka, obse asi, wawanca a, klasi ikasi
dan eduksi da a, analisis dan penulisan hasil. A as dasa i u, dapa dikemukakan bahwa kisah
Idalupa e si Sangga Seni Alue Glong Naga be la a pe is iwa pepe angan an a a Raja Bada
dengan Raja Nam ud. Raja Bada me upakan pe soni ikasi da i pe is iwa Pe ang Bada an a a
uma Islam dengan kaum Qu aisy. Sedangkan Raja Nam ud me upakan okoh yang e dapa
dalam ki ab-ki ab suci agama samawi, yang hidup di masa Nabi Ib ahim. Dua la a masa yang
e pau jauh, e api disa ukan dalam sa u kisah. Ihwal demikian menunjukkan bahwa sua u
kisah sebagai landasan sangga Dalupa idak ha us seca a langsung e kai dengan kebudayaan
Aceh a aupun seja ahnya. Sedangkan busana pe empuan yang dipakai pa a pemainnya
dika enakan Idalupa me upakan sepasang kakak-be adik (Ida dan Da), anak Raja Nam ud, Da
yang menyama sebagai Ida un uk mengakali musuh-musuhnya.
Ka a Kunci: Siasa Pe gela an, Idalupa, Alue Glong Naga, Aceh Ba a
ABSTRACT
The Alue Glong Naga A S udio is one o he adi ional a g oups in Wes Aceh ha pe o ms he a o
Dalupa, o Si Dalupa as i is commonly called by he communi y. Bo h g oups a e linked by a sha ed
na a i e, namely he genesis o he Dalupa cha ac e . The p ima y dis inc ion be ween his g oup and
o he s is ha hey e e o he cha ac e as Idalupa, a a ia ion o he name used in hei e sion o he
s o y. Fu he mo e, ano he no able di e gence is obse ed in he o m o he pe o mance, whe ein ce ain
pe o me s a e a i ed in women's a i e, as depic ed in he na a i e. The objec i e o his a icle is o
elucida e he dis inc i e cha ac e is ics o he Alue Glong Naga A S udio's pe o mance is-à- is o he
Dalupa g oups, wi h a pa icula ocus on he na a i e unde pinning i . The esea ch was conduc ed
using a quali a i e me hod, which included p elimina y/lib a y s udies, obse a ions, in e iews, da a
classi ica ion and educ ion, analysis, and he w i ing o esul s. I can be posi ed ha he Alue Glong
Naga A S udio's e sion o he Idalupa s o y is se du ing he wa be ween King Bad and King
Nam ud. King Bad ep esen s he Bad Wa be ween he Muslims and he Qu aysh. Meanwhile, King
Nam ud is a cha ac e ound in he holy books o he hea enly eligions, who li ed du ing he ime o he
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P ophe Ab aham. The wo se ings a e dispa a e, ye uni ied by a single na a i e h ead. This illus a es
ha a na a i e as he basis o he Dalupa adi ion does no ha e o be di ec ly linked o Acehnese cul u e
o his o y. Addi ionally, he a i e wo n by he emale pe o me s is indica i e o he Idalupa my h, which
is a na a i e abou a pai o b o he s (Ida and Da) who we e child en o King Nam ud. In he my h, Da
disguised himsel as Ida o ou sma his enemies.
Keywo ds: Pe o mance S a egies, Idalupa, Alue Glong Naga, Wes Aceh
INTRODUCTION
A is ic exp ession can be cul i a ed and e ol e om an ini ial ac ion ha
p o ides he a is wi h a sense o joy and ul illmen . Subsequen ly, he ac ion is
pe o med epea edly, and he ac ion also p o ides a simila le el o pleasu e o
se e al o he indi iduals, he eby inc easing he numbe o people who a o he
ac ion. This is a b ie desc ip ion o he cyclical na u e o cul u al phenomena, whe he
he cause is in e nal o ex e nal. In his con ex , his is he p ocess ha is being
expe ienced by he a o Dalupa, Si Dalupa, o Idalupa in Wes Aceh. The e m
"Idalupa" is used o e e o he Alue Glong Naga g oup. As each g oup o s udio has a
dis inc na a i e, he a ia ions in hei accoun s a e conside able.
The e olu ion o Dalupa a in Wes Aceh was documen ed in an a icle i led
"Dalupa: The Po en ial o D ama ic A om he Wes Coas o Aceh," which was
compiled in a compendium o essays i led "Laku Seni." In "A and Cul u al
Diplomacy o S eng hen Na ional Iden i y," he au ho iden i ies h ee phases in he
de elopmen o he a , including: The i s phase is ha o Si Dalupa as o al olklo e.
The second phase is ha o he embodimen o he cha ac e o Si Dalupa in he o m o
dance o p ocession. The hi d phase is ha o he embodimen o ans o ma ion o
he s o y o Si Dalupa in o d ama ic/ hea ical a (Susand o, 2022b). Ne e heless, he
ques ion o whe he he a o Si Dalupa can be classi ied as dance o hea e emains a
opic o ongoing deba e wi hin he communi y.
This is d i en in pa icula by he o m and isuali y ha make some obse e s
o a ac o s in Aceh call Si Dalupa a a dance, bu on o he occasions (e en by he
same pe son) also call i d ama ic a o hea e (Susand o & Ta uan, 2021). The
di e si y o iews is no inhe en ly p oblema ic; howe e , i may become o e ly
cons ained when i is educed o a single o m, such as dance o hea e . This is
pa icula ly ue gi en ha he isual o m o he a is no always ixed o may change
o e ol e acco ding o he p e e ences o e en o ganize s. This is because he s aging
o his a is ypically based on he eques o he pa y who has a wish o e en
(Susand o e al., 2021).
To da e, i has been es ablished ha he cul i a ion o Si Dalupa a in he o m
o d ama ic a was unde aken on wo occasions. The ini ial a emp was made by a
hea e a is om Aceh named Z. Wazi in he la e 1980s (Dadek, 2017). He was
dispa ched by he Wes Aceh local go e nmen o collabo a e wi h he Da ok Rimba
A S udio in Woyla, Wes Aceh, in he adap a ion o he Si Dalupa na a i e in o a
d ama ic o m (Susand o e al., 2021). The ini ial wo k aimed o p esen he a o Si
Dalupa a he hi d Aceh Cul u al Week (PKA) e en held a Blangpadang Field in
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Banda Aceh (Fa ianda e al., 2020). PKA is a cul u al e en ha has been a egula
occu ence on he agenda o he Aceh p o incial go e nmen since 1958. The second
i e a ion o Si Dalupa was pe o med by he same g oup, accompanied by Ma halim
Zaini, an a is and li e a y igu e om Riau. Ma halim was dispa ched o Aceh Ba a
o o e see he p ocess and o sha e his insigh s (d ama u gical no es) on how Si Dalupa
was p epa ed o pe o m a he Na ional Thea e Week e en a he Main S age o
Taman Budaya Sama inda, Eas Kaliman an, om Sep embe 20-26, 2019. Howe e ,
each pa icipan om a a ie y o egions was equi ed o unde go a cu a o ial p ocess,
which in ol ed submi ing a ideo. The a o Si Dalupa by he Da ok Rimba A
S udio was subsequen ly ilmed and uploaded o he YouTube pla o m
(h ps://www.you ube.com/wa ch? =sK23d7-39og). The ideo link abo e demons a es
ha he a o Si Dalupa inco po a es se e al elemen s cha ac e is ic o d ama ic a ,
including he heme, s o yline, cha ac e iza ion, dialogue, se ing a mosphe e, se ing
place, se ing ime, and se ing o e en s. These elemen s a e p esen ed clea ly and
cohe en ly (Susand o, 2023).
The e olu ion o he pe o mance is no limi ed o i s isual aspec s; i also
encompasses he na a i e ha se es as he backd op o ha d i es he eme gence o
he Si Dalupa pe o mance o m. I is now known ha he e a e ou a ian s o he Si
Dalupa s o y, each a ibu ed o a di e en g oup in Wes Aceh. Howe e , one a ian
is also ound in Aceh Jaya (Susand o, 2022a). Some g oups main ain ha hei accoun s
a e ac ual, while o he s acknowledge he possibili y ha hei na a i es may be
ic i ious o ab ica ed. I is easonable o hypo hesize ha he challenges associa ed
wi h de elopmen , which ha e he po en ial o in luence he luc ua ions o he Si
Dalupa a o m, may also ex end o o he aspec s o he a . Consequen ly, an analysis
o he ex (sc ip /s o y) o he Si Dalupa a pe o mance is an in aluable s a ing poin
o examining g oups wi h new s yles/ a ian s. This is consis en wi h he wo
p e ious esea ch ac i i ies, and i can be u he deepened by eading/analyzing i
wi h a wide ange o opics.
Mulyana (in Jaeni, 2007) posi s ha he pe o med a wo k is an in e ac ion ha
is pe cei ed as symbolic in e ac ion, an ac i i y ha is cha ac e is ic o humans, namely
communica ion o he p ocess o exchanging symbols ha a e gi en meaning. In o he
wo ds, Jaeni (2007) asse s ha he symbols ha in e ac in a pe o mance can be
e e ed o as he ex ha is composed in he pe o mance. De Ma inis (in Yudia yani,
2015) p oposes a simila app oach, iewing he ma e ial objec o analysis as a " ex ".
Acco ding o Ma inis, ex can be de ined as 1) T ansg ession ac i i ies ha sepa a e
he au ho as a cen e , limi e , and de e minan o u h, oice, and meaning. 2) The
display o li e a y phenomena in he o m o kni ed wo ds a anged o p oduce
meaning. 3) The p oduc ion o meaning h ough he elimina ion o signs. 4) Re-
ac ualizing he social p ac ices in ol ed in i . 5) The edis ibu ion o language
ansmission o he bene i o speech communica ion associa ed wi h di e en speech.
METHOD
The phenomenon o adi ional a is o en unde s ood o e lec he philosophy
o alues o human li e o a g oup o (e hnic) communi ies, pa icula ly abou hei
ela ionship wi h na u e and e en wi h God (Hol , 2000). This is also he case wi h
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Dalupa a . Consequen ly, he quali a i e me hod is a sui able app oach, as i seeks o
unco e he unde lying aspec s o he phenomenon (Moleong, 2021). In addi ion, he
s ages align wi h he es ablished no ms o quali a i e esea ch, which a e delinea ed
in o h ee phases: p e- esea ch, du ing esea ch, and pos - esea ch (Sa o i & Koma iah,
2020).
The p elimina y s ages o he esea ch p ocess include a li e a u e e iew and
obse a ion. Obse a ion is de ined as he p ocess o di ec ly obse ing he
phenomenon unde s udy (Sugiyono, 2022). Meanwhile, he li e a u e e iew en ails
acing o he s udies (in books, scien i ic a icles, e c.) ha also highligh he a o Si
Dalupa and o he ma e ial objec s bu wi h simila opics (Rohidi, 2011). Subsequen ly,
a he esea ch s age, in-dep h in e iews a e conduc ed and he ac i i ies unde aken
h oughou he esea ch p ocess a e documen ed. This documen a ion may ake he
o m o w i en no es, audio, ideo, o pho og aphs/images. The in e iew me hod is
di ided in o wo ca ego ies: planned in e iews and unplanned in e iews
(Koen ja aning a , 1997). A planned in e iew is conduc ed o o mula e esea ch
ques ions and de e mine he ime and place o he mee ing. In con as , unplanned
in e iews a e p o isional.
The inal s age o he p ocess is pos - esea ch, du ing which da a is classi ied
acco ding o i s ype. This can be done in a a ie y o ways, including he c ea ion o a
single olde o all iles, o he ca ego iza ion o da a in o dis inc olde s o di e en
ypes o iles, such as in e iew eco ding da a, pho os, o images. The objec i e o da a
classi ica ion is o acili a e he analysis o exis ing da a by esea che s and o elucida e
he in e ela ionships be ween di e en da a se s. The objec i e o da a classi ica ion is
o acili a e he analysis o exis ing da a and he comp ehension o he ela ionships
be ween di e en da a se s. Subsequen ly, da a analysis is conduc ed, which en ails
examining and desc ibing all he in o ma ion con ained in he da a. This s ep is open o
in e p e a ion, as i can be ca ied ou a any s age o he esea ch p ocess o
subsequen ly. I his is no he case, he da a should be se aside ( educed). The
educ ion o da a is equally as c ucial, as i aims o elimina e any unnecessa y o
i ele an da a, hus p e en ing esea che s om eaching biased o ague
conclusions. The inal s ep in he pos - esea ch phase is o documen he esul s o he
esea ch.
FINDINGS AND DISCUSSION
1. Alue Glong Naga A S udio's e sion o he Idalupa s o y
The Alue Glong Naga A S udio's e sion o Idalupa is se du ing he g ea
wa be ween King Bad and King Nam ud. Addi ionally, he na a i e encompasses
he genesis o he se une and apa'i d ums, which a e pe asi e in Idalupa
pe o mances, pa icula ly hose o he Alue Glong Naga a g oup. I also
encompasses he jou ney o he Idalupa cha ac e . Howe e , he na a i e does no
commence wi h he li e jou ney o he Idalupa cha ac e bu a he wi h he accoun o
he genesis o he se une and apa'i d ums. Acco ding o Salihin Yunus, he na a i e
un olds as ollows.
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Figu e 1. The chie esea che (Susand o) in e iewed he head o he s udio, Ami uddin; he
illage keuchik, Mi ahul Hadi; he sheikh, Salihin Yunus; and Kamil, a apa'i playe ; as well as
wo local people (Sou ce: Ha mi Neg ia Ta uan, 2023).
The Fi s Wa is he his o ical e en ha is belie ed o ha e gi en ise o he
se une and he apa'i d um. One day, a wa b oke ou be ween King Nam ud and King
Bad . A ha junc u e, King Nam ud was unable o engage in comba wi h King Bad ,
esul ing in his de ea . The as majo i y o his oops we e annihila ed by King Bad .
Subsequen ly, King Nam ud sough e uge in a ca e, leaning on a s ick o suppo .
Upon his a i al, a Tengku named Malim inqui ed as o he eason o his isi . King
Nam ud in o med Malim ha he had been anquished in comba agains King Bad .
The king eques ed assis ance om Malim, who was subsequen ly anspo ed o he
i e . Subsequen ly, Malim eques ed he s a ha King Nam ud was holding. The
king inqui ed as o he na u e o Malim's eques , o which Malim esponded ha he
simply wished o he king o comply wi h his ins uc ions. The s ick was di ided in o
h ee sec ions, each o which was u ilized o a dis inc pu pose. One sec ion was
u ilized o c ea e a se eune, ano he was used o c ea e a d um, and he inal sec ion
was used o c ea e a bea ing s ick. Tengku Malim c a ed he ins umen wi h such
p ecision ha he sound i p oduced was unlike any hing he king had e e hea d
be o e. The sound was pe cei ed as imbued wi h a quali y ha could be desc ibed as
mys ical, and i was obse ed o ha e he capaci y o a ouse he spi i o King
Nam ud's oops. Consequen ly, King Nam ud was led o he conclusion ha : "Wha
will ensue?" In he con ex o King Nam ud's oops, who we e on he e ge o
comple e de ea , King Bad exhibi ed such a ogance ha he no longe conside ed he
emaining oops o King Nam ud o be a conce n. To summa ize, he sound o
Tengku Malim's ins umen inspi ed King Nam ud's oops, who had been on he
e ge o de ea , o e u n o he ba le ield wi h enewed igo . Consequen ly, he
ou come was in hei a o .
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Figu e 2. Ha mi Neg ia Ta uan ( esea ch membe ) wi h Ami uddin (leade o he s udio), as
well as some membe s o he s udio and he local communi y (Sou ce: Susand o, 2023).
The Second Wa : The O igin o Dalupa. Du ing he ou b eak o he Second
G ea Wa be ween King Nam ud and Bada , a bo de was d awn be ween he wo
kingdoms. Du ing his second wa , wo wa io s we e he sons o King Nam ud
(named Da and Ida), who du ing he i s g ea wa , when hey we e abou o be
de ea ed, led and s ayed o a while in he deepes o es , which was he e i o y o
King Bad . Since he bo de s we e s ic ly gua ded by he o de o King Bad and ice
e sa, he wo child en o King Nam ud could no lea e o e u n o hei a he .
Mon h a e mon h, he wo oops ne e ied o be picked up by o he oops
un il hey we e inally o go en. Then, o ick he oops o he King o Bad who we e
gua ding he bo de , since he gua ds had no seen hei wi es o a long ime, he wo
oops o King Nam ud, who had been apped in he o es o a long ime, disguised
hemsel es as women. The man (Da) disguised himsel as a woman, while he woman
(Ida) disguised he sel as a man. They co e ed hei bodies wi h wooden lea es o hide
hei aces, while sha p weapons we e ucked in o hei wais s.
A e ha , he wo ied o app oach he King o Bad 's soldie s who we e
s anding gua d. The soldie asked hem whe e hey we e going. The disguised men
eplied ha hey we e going back o hei homes. The soldie s on gua d pe suaded
hem o s ay o he nigh because i was la e. When he soldie saw he woman, his
bad in en ions a ose and he ook he woman o he gua d pos . Ins ead o being able o
ul ill his wish, he lay dead. A e a while he woman came ou and he o he soldie s
asked he whe e he was. She answe ed ha he was sleeping and es ing. Then he
ques ioning soldie ook he back inside and she me he same a e. In he end, he wo
soldie s o King Nam ud su i ed and managed o c oss he bo de . Bu un il hen, no
one knew hei condi ion. On he o he hand, since hey had no e u ned home o a
long ime, King Nam ud conside ed hem dead. So he king p epa ed a une al
ce emony o his wo sons. Soon a e , he people lea ned o hei e u n, and hey old
he king. Seeing clea ly wi h his eyes he e u n o his wo sons, he king o de ed all he
musical ins umen s, including he se unee, d ums, e c., o be p epa ed o he
celeb a ion. Immedia ely, he mou ning was eplaced by a joy ul celeb a ion.
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2. Idalupa Alue Glong Naga Pe o mance S a egy
The uniqueness o each g oup is ha he s o y hey ell has no i le. The s o y
a ian usually ends wi h he name o he g oup, usually, hey jus call i Dalupa Da ok
Rimba (loca ed in Suak T ieng illage, Woyla, Wes Aceh), Si Dalupa Bu aq Lam Tapa
(loca ed in Layung illage, Bubon, Wes Aceh), and Idalupa Alue Glong Naga (loca ed
in Padang Jawa illage, Woyla, Wes Aceh). None o hese ound ha a s udio had
gi en hei s o y a i le. Based on he naming abo e, i can be assumed ha each
sangga /g oup wan s o be known/iden i ied by he name o he g oup, no by he i le
o he s o y hey (usually) ell. This makes i possible ha in he u u e, wi h he g ow h
o sangga in each gampong ( illage), he e will be many a ian s o dalupa s o ies,
and he naming o cha ac e s (dalupa, si dalupa, idalupa, e c.) will ce ainly be mo e
a ied as well. On he one hand, such a pa e n may encou age he massi e g ow h o
adi ional a s udios (especially Dalupa) in Wes Aceh. On he o he hand, his
pa e n can ac ually s i le he c ea i e/imagina i e powe o each ac o because hey a e
ixa ed on he same s o y; ha 's all. In sho , i such a pa e n has he po en ial o
p omo e he g ow h o sangga , bu a e ha i can hinde he c ea i e powe o each
a is /pe o me .
Figu e 3. C oss-posi ion pa e n (le o igh and ice e sa, while he cen e playe emains in
he o iginal posi ion) in he i s epe oi e (sou ce: Susand o, 2023)
The endency o Dalupa a g oups in Wes Aceh is di e en om adi ional
a g oups in o he egions, such as Randai in Wes Suma a, which a e named a e he
i le o he s o y hey usually pe o m (Ha un, 1991). The eason o his is ha among
he many s o y i les hey ha e pe o med, he e is usually one ha is he a o i e o
mos popula , bo h by he pe o me s hemsel es and by he audience. The audience
may e en judge ha one g oup is mo e skilled han ano he in pe o ming a pa icula
s o y. The e o e, de e mining he name o he g oup in he andai s udio is usually
based on he i le o he s o y ha is he mos liked by he pe o me s o he audience
(Rus iyan i, 2018). I is no uncommon o a g oup's name o change om i s o iginal
name because i is no mo e popula han he i le o he s o y hey usually pe o m.
Howe e , each sangga is no limi ed o jus one s o y. They also pe o m a a ie y o
o he s o y i les, e en hose ha ha e been pe o med by o he s udios. This is because
he uniqueness o a andai g oup lies no only in i s in e es ing s o ies bu also in i s
ene ge ic and dynamic pe o mances.
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As men ioned ea lie , Dalupa s o ies end o be ela ed o Acehnese cul u e. Fo
example, he Dalupa Da ok Rimba g oup's s o y is se du ing he a i al o Islam in
Aceh. Meanwhile, he Si Dalupa Bu aq Lam Tapa g oup is se a ound wo e ugees
om India who we e la e s anded on he wes coas o Aceh o escape he king's
punishmen . Howe e , unlike he o he s, he Idalupa Alue Glong Naga g oup is se in
a wa be ween King Bad ud and King Nam ud, as men ioned on he p e ious page.
The e a e no Acehnese cul u al idioms in he s o y, excep o he names Nam ud and
Bad ud, which a e known o be pa o he s o y o he jou ney/sp eading o Islam,
which is p edominan ly p ac iced by he people o Aceh.
I we look closely, a he Alue Glong Naga A S udio's e sion o he Idalupa
s o y, he e a e no idioms/signs e e ing o Acehnese cul u e. Fo example, he s o y is
se in Aceh like o he Dalupa a g oup s o ies, o he cha ac e s a e om Aceh, and so
on. Bu wha is e y clea is he eligious idiom belie ed by he a is /pe o me who is
a Muslim. Idioms ull o Islamic eligion and his o y a e ound in he cha ac e s o
King Nam ud and King Bad . Nam ud was a p oud and a ogan king who li ed
du ing he ime o P ophe Ib ahim, a ound 1800 BC. He e en o de ed his people o
wo ship him as God. Meanwhile, he King o Bad is no a igu e in Islamic his o y, bu
only an e en , namely he i s majo ba le be ween he Muslims and he Qu aysh in 2
Hij i (624 AD). Bad is he name o an a ea be ween Mecca and (bu close o) Medina.
Since he ba le ook place in his a ea, i was called he Ba le o Bad . Thus, he
cha ac e o Raja Bada in he Idalupa s o y by Alue Glong Naga A S udio is a
pe soni ica ion o an impo an e en ha became pa o he his o y o he s uggle o
he p ese a ion o Islam by he Muslims o ha ime.
Figu e 4. Coun e clockwise ci cula mo ion pa e n and high and low le els in he second
epe oi e (Sou ce: Susand o, 2023)
The s o y a ian s o he Alue Glong Naga A S udio e u e he au ho 's ini ial
assump ion ha a Dalupa s udio is based on only one s o y whose se ing is di ec ly
ela ed o Acehnese cul u e (geog aphically) and his o y, such as he Da ok Rimba A
S udio (Susand o e al., 2021) and he Bu aq Lam Tapa G oup (Susand o & Ta uan,
2021). Based on he abo e eadings, and also based on p e ious esea ch, we can
en a i ely o mula e he pa e ns o he h ee Dalupa s udios in Wes Aceh as ollows:
1) each s udio has i s own a ian o he s o y; 2) each ime a s udio pe o ms, i ells
only one s o y; 3) he s o y can be econs uc ed agains he backd op o di e en
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The P oceedings o 1s In e na ional Con e ence on Aceh Ci iliza ion(ICoAC), pp.70-79
cul u es, such as Acehnese, A abic, Indian, e c.; 4) usually Dalupa pe o mances a e in
he o m o dances, bu 5) occasionally hey a e also pe o med in dance; 6) he musical
ins umen s used a e usually se une and apa'i, bu some add o he ins umen s such
as ma acas and may be combined wi h o he musical ins umen s; 7) he pe o mance
can be held du ing he day o a nigh , suppo ed by makeshi ligh ing as
illumina ion; 8) he pe o mance can be ca ied ou o a ious pu poses, such as
enli ening weddings, ci cumcisions, campaigns o a igu e/pa y, and so on; and 9) he
pe o mance can also be ca ied ou on s age o on he loo wi h ma s in closed spaces
o open ields, in he ya d and he like; 10) he du a ion o he pe o mance is
unlimi ed, adjus ing o he eques o he e en o ganize (who has a celeb a ion).
CONCLUSION
Resea ch on he Alue Glong Naga A S udio en a i ely ound ha he s o y o
he cha ac e Idalupa, which binds he pe o mance o a g oup o s udio, is no always
ela ed o Acehnese cul u e o his o y. The s o y o Dalupa can be based on o e en
econs uc ed om o he s o ies ha exis in a di e en communi y cul u e. This is
e iden in he Alue Glong Naga A S udio's e sion o he Dalupa s o y, which is se
in he s o y o he ba le be ween King Nam ud and King Bad ; a cha ac e old in he
holy books o he hea enly eligions o ens o cen u ies and an e en pe soni ied in a
cha ac e .
Because o his unique phenomenon, he s o y o he Dalupa cha ac e ha is
ca ied by each g oup o s udio may no (comple ely) con ain he u h o may be
ic i ious, as is common in he o al olklo e o he a chipelago. E en i his is he case, o
p omo e cul u e, especially a s ha equi e a high deg ee o imagina ion on he pa o
he pe pe a o s, i can o cou se be said o ha e gone well. I his we e no he case, i
would be e y di icul o Dalupa a o de elop o su i e amids he changing as es
o he public. On he o he hand, his phenomenon a leas p o ides oppo uni ies o
he wide communi y who wan o es ablish Dalupa s udios wi h a ia ions o hei
own s o ies, o o a is s who y o wo k on Dalupa s o ies bo h in he o m o
d ama ic a ( hea e ) and dance wi h a ious s yles.
ACKNOWLEDGMENT
The esea che s and he eam would like o hank he Alue Glong Naga A
S udio in Padang Jawa illage, Woyla Induk, Wes Aceh, who we e willing o sha e
hei knowledge and expe ience on he whole Idalupa a . In addi ion, o all pa ies
in ol ed in suppo ing he con inui y o his esea ch ac i i y, and o cou se also o he
Indonesian Ins i u e o A s and Cul u e (ISBI) Aceh, which has suppo ed he
implemen a ion o his esea ch p og am h ough he Ins i u e o Resea ch and
Communi y Se ice (LPPM). I is hoped ha his pape can con ibu e o he
de elopmen o Idalupa a in he u u e so ha i is be e known o he wide
communi y.
REFERENCES
Dadek, T. (2017). Bunga Rampai Seni & Budaya: Siapa dan Apa Ka ya Seniman Aceh Ba a .
Yayasan PeNA Aceh.
