Transformation of Function and Meaning in Lukah Gilo Dance as a Response to Social Change Transformation of Function and Meaning in Lukah Gilo Dance as a Response to Social Change Apriyulia1.
Ira Adriati2.
Nuning Yanti Damayanti3 MasterAos Program in Visual Arts.
Faculty of Art and Design.
Institut Teknologi Bandung Jalan Ganesha No.
10 Bandung - Jawa Barat, 40132.
Indonesia Email: apriyulia21@gmail.
ABSTRACT
Lukah Gilo dance from Tebo Regency.
Jambi, originated as a ritual to honour ancestral spirits before planting and harvest seasons.
Over time, as socio-cultural dynamics shifted, the dance transformed from a sacred ritual into a secular form of artistic expression performed at public and communal events.
This study describes the transformation of Lukah GiloAos function and meaning in response to social change.
The research adopts a qualitative approach using contemporary ethnography by Hammersley & Atkinson, combined with historical methods through the stages of heuristics, verification, interpretation, and The findings reveal three developmental phases: a ritual-based pre-independence era, an innovation phase in the early 2000s with two stylistic variations (Semabu Village and the Tebo Regency arts tea.
, and an ongoing preservation phase.
These changes are shaped by government support, artistic reinterpretation, community participation, and environmental factors.
The study underscores how traditional performances can adapt to modern contexts while maintaining cultural identity.
Keywords: Lukah Gilo Dance.
Cultural Transformation.
Social Dynamics ABSTRAK Tari Lukah Gilo dari Kabupaten Tebo.
Jambi, berasal dari tradisi ritual yang ditujukan untuk menghormati roh leluhur menjelang musim tanam dan panen padi.
Seiring dengan perubahan dinamika sosial budaya, tari ini mengalami pergeseran fungsi dan makna, dari ritual sakral menjadi ekspresi seni profan yang dipentaskan dalam berbagai acara publik dan komunal.
Penelitian ini bertujuan untuk mendeskripsikan transformasi fungsi dan makna tari Lukah Gilo sebagai respons terhadap perubahan sosial.
Pendekatan yang digunakan bersifat kualitatif, dengan menggabungkan etnografi kontemporer dari Hammersley & Atkinson dan metode sejarah melalui tahapan heuristik, verifikasi, interpretasi, dan historiografi.
Hasil penelitian menunjukkan tiga fase perkembangan: era pra-kemerdekaan yang bersifat ritual, fase inovasi pada awal 2000-an dengan dua variasi gaya (Dusun Semabu dan tim kesenian Kabupaten Teb.
, serta fase pelestarian yang berlangsung hingga kini.
Transformasi ini dipengaruhi oleh dukungan pemerintah, reinterpretasi seni, partisipasi masyarakat, dan faktor lingkungan.
Studi ini menegaskan bahwa kesenian tradisional dapat beradaptasi dengan konteks modern tanpa kehilangan identitas budayanya.
Kata kunci: Tari Lukah Gilo.
Transformasi Budaya.
Dinamika Sosial
INTRODUCTION
through the concepts of atita .
, wartamana Since prehistoric times, dance has .
, and nagata .
, as noted by evolved in tandem with the era in which it Dana et al.
1, p.
These temporal stages This progression can be understood highlight how traditional dance forms, despite Jurnal Panggung V35/N2/06/2025 Apriyulia.
Ira Adriati.
Nuning Yanti Damayanti their ancient origins, continue to be preserved cultural processes.
Through this interaction, and reinterpreted within the cultural fabric of traditional arts persist by transforming their the communities that uphold them.
forms, functions, and meanings in response to performing arts, including dance, chanting, ongoing social change (Sulaeman et al.
, 2014,
and ritual, were more than mere entertainment.
One notable example of a traditional They served as vital communication channels performance preserved and transformed over time is the Lukah Gilo dance from Semabu significance and reinforcing harmony between Village in Tebo Regency.
Jambi Province.
humans and nature.
(Schechner, 2021, pp.
Semabu Village is located along the banks 28Ae35.
Taylor, 2003, pp.
16Ae.
Dance had of the Batanghari River, which is part of a ritualistic functions, often accompanied by major watershed area (DAS).
Historically, chants, offerings, songs, and prayers that the Batanghari River basin was a vital hub played significant roles in the human life cycle, for trade routes and cultural exchange.
The such as warding off evil, healing illnesses, presence of traders from various regions enhancing fertility of the natural environment significantly influenced the local communityAos .
lants, soil, wate.
, and human fertility social and cultural practices, including the (Suharti, 2013, pp.
423Ae.
In this context, development of performing arts (Romadon, dance was performed to honour ancestors, 2024, pp.
43Ae.
seek protection and blessings, and connect Etymologically.
Lukah Gilo is composed humans with supernatural powers through of two words: lukah, meaning a traditional fish ritual practices.
lso known locally as reka.
commonly As A.
Nieuwenhuis .
n Holt, 2000, p.
used in tidal rice fields .
, and gilo, a .
observes, traditional societies perform term derived from Malay meaning Aumad,Ay dances during key communal events, such irrational, or possessed (Suaida et al.
, 2018, p.
as planting and harvest rituals, weddings, funerals, and ceremonies that shape collective In this performance, the Lukah functions The evolution of dance in Indonesia as more than just a stage prop.
it serves as a reflects a gradual shift from simple, rhythmic medium for communication with ancestral expressions to more structured performances Through the chants of a dukun .
, and eventually to secular spectacles presented the object is believed to move uncontrollably, in public domains (Holt, 2000, p.
as though possessed, symbolising mystical In the face of modernity, traditional arts in forces at work.
This aligns with Mircea EliadeAos Indonesia have not disappeared.
instead, they concept of the sacred and the profane, where coexist dynamically within the communities everyday objects become sacred through that sustain them.
This continuity, however, hierophany, the manifestation of the divine is not passive.
tradition must remain adaptive, within the physical world (Eliade, 1957, pp.
actively engaging with contemporary socio- 20Ae.
Jurnal Panggung V35/N2/06/2025 Transformation of Function and Meaning in Lukah Gilo Dance as a Response to Social Change Preliminary field observations in August Santi .
Bentuk Penyajian Tari Lukah Gilo 2023 revealed that the Lukah Gilo dance di Masyarakat Sijunjung Sumatera Barat.
Septi continues to be recognised by the people of Rahmawati .
Makna Kontekstual Dalam Tebo Regency as an important cultural legacy.
Lagu Lukah Gilo Pada Masyarakat Kabupaten Despite the regionAos predominantly Muslim Tebo Provinsi Jambi (Struktural Hermeneuti.
population, the performance integrates local Misra Nofrita .
- Tuturan Ritual pada beliefs rooted in animism and dynamism.
Tradisi Lukah Gilo Masyarakat Bonai: Kajian creating a unique space where ancestral Nilai dan Fungsi Sosial Teks.
traditions and Islamic values coexist.
This Collectively, these eight studies examine intersection presents both challenges and Lukah Gilo as a cultural expression that has opportunities for cultural negotiation and evolved in line with socio-cultural dynamics of different communities.
However, a critical From a socio-religious and cultural gap remains.
Few studies have explored in depth how the function and meaning of Lukah community play crucial roles in sustaining Gilo have transformed specifically within the existence of traditional arts.
Communities the context of socio-cultural change in Tebo act not only as cultural bearers but also as Regency.
A more focused inquiry is needed to active agents in adapting and transmitting understand how this performance continues to tradition, ensuring its relevance in the face adapt and find meaning in a rapidly changing of modernisation (Fitriana et al.
, 2023, p.
Dana et al.
, 2021, p.
Sulistiawati et al.
, 2021,
Several previous studies have aspects of Against this backdrop, the present study seeks to address the following research the Lukah Gilo tradition.
These include works .
How have the function and meaning of by the following works: Desfiarni .
- Lukah Gilo dance transformed as a form Tari Lukah Gilo: sebagai Rekaman Budaya of cultural heritage in Tebo Regency? Minangkabau Pra Islam dari Magis ke Seni .
What impact have these transformations Pertunjukan Sekuler.
Desmiarti, et al .
had on the form and function of - Fenomena Pertunjukan Lukah Gilo pada Masyarakat Sabak Auh.
Siak Riau.
Radhiyah .
Studi Deskripsi Musikal Kesenian Lukah Gilo Di Kenagarian Gunuang Bungkuak Lumpo Kecamatan IV Jurai Kabupaten Pesisir Selatan.
Suaida, et al.
- Konsep Ritual
METHODS
This research employs a descriptive Dalam Penciptaan Karya Seni Tari Gilo Lukah.
Misra Nofita, et al .
Tradisi Lukah Gilo transformation and continuity of the Lukah Masyarakat Bonai Kabupaten Rokan Hulu:
Gilo dance as a traditional performance art.
Pembelajaran Analisis Semiotika.
Devi Kurnia This approach was chosen because it allows Jurnal Panggung V35/N2/06/2025 Apriyulia.
Ira Adriati.
Nuning Yanti Damayanti for an in-depth understanding of meaning, and other archival materials that record the social context, and cultural practices from the performanceAos historical trajectory.
The aim perspective of the local community.
was to identify key moments and turning The research data are narrative, visual, and documentary materials:
points in Lukah Gilo's evolution.
All data were validated through both Primary data were obtained through external and internal criticism.
External direct observation, in-depth interviews criticism examined the authenticity and with performers, cultural practitioners, originality of the sources, while internal and local community members, and criticism verified the reliability and credibility detailed field notes.
of the content.
Following this, interpretation Secondary data consists of archival was conducted to derive meaning from the photographic and video facts and evaluate the coherence among the documentation, and various written The final stage of the historical method sources, including books, articles, and is historiography, the process of composing a historical records.
chronological narrative based on past events.
This study integrated two main methods:
The contemporary ethnography and historical The ethnographic approach is comparative techniques.
Observations from grounded in the framework proposed by the field were systematically compared with Hammersley and Atkinson .
, which past documentation to identify elements of the emphasises understanding social practices performance that have changed and those that within the everyday life of a community.
have remained constant.
This analysis was In this context, ethnography is no longer carried out thematically and comparatively, limited to isolated or AutraditionalAy groups allowing the study to reveal patterns of but is a powerful tool for interpreting cultural transformation and continuity within the dynamics in complex, pluralistic societies Lukah Gilo tradition.
(Spradley, 2006.
Siddiq & Salama, 2.
The findings are presented in a narrative- Through participant observation, interviews, descriptive format that integrates field data and field notes, the researcher documented with historical context.
The aim is to provide symbols, social interactions, and cultural a holistic understanding of the Lukah Gilo values embedded in the contemporary Lukah performance within the broader cultural Gilo performance.
dynamics of Tebo Regency.
This study also At the same time, the historical method seeks to contribute to wider discussions on was applied to trace the danceAos development traditional arts preservation in times of social over time.
The process began with the heuristic phase, identifying and collecting relevant sources (Herdiani, 2016, p.
, such as written documentation, photographs, videos.
Jurnal Panggung V35/N2/06/2025 Transformation of Function and Meaning in Lukah Gilo Dance as a Response to Social Change West Sumatra, and Bengkulu.
It reflected RESULT AND DISCUSSION The initial analysis of the developmental characteristics of these ancient traditions, dynamics of the Lukah Gilo dance performance rooted in the expression of gratitude and in Tebo Regency is based on interviews appeals of prosperity, particularly in agrarian Traditionally, it was performed photographic and video documentation, and to honour ancestors ahead of the rice planting was validated through internal and external and harvesting seasons.
Holt .
0, p.
noted that agrarian criticism, followed by interpretive analysis.
The evolution of the Lukah Gilo dance societies began to embed ritual into their can be classified into several distinct phases, according to the periodisation of performing Neolithic culture.
Hanafi .
6, p.
arts in Indonesia, particularly traditional similarly emphasised the importance of ritual practices in maintaining harmony with nature in such communities.
Supporting this view.
First Phase: Before IndonesiaAos Independence Stutterheim described prehistoric Indonesian The earliest phase marks the initial beliefs, particularly in Bali, as deeply animistic.
Lukah Gilo although its precise origin remains uncertain.
centred on reverence for ancestors believed to reside in sacred natural spaces.
He wrote:
Prehistoric art may be described through Nevertheless, its form and function strongly pre-Hindu particularly their ritualistic and magical Indonesian societies, particularly in Bali and As described in Perjalanan its animistic beliefs.
Ancestral spirits guided Tari di Indonesia dari Masa ke Masa, the daily life, believed to dwell in mountains and development of Indonesian dance is classified hidden springs.
As rice could not grow without into several eras: the Prehistoric Era .
th water, ancestors were seen as founders of rural centur.
Ancient Era .
thAe15th centurie.
, life, guardians of tradition, and protectors Middle Era .
thAe19th centurie.
, and the of growth.
They also controlled the source Modern Era .
th century to the presen.
, of magical vitalityAilife itselfAinot only for which is further divided into the Old Order, humans but also plants, animals, and mystical New Order, and Reform periods (Dana et al.
communities, without which prosperity would 2020, p.
be impossible.
Ay (Stutterheim, 1935, p.
During prehistoric times, humans often From the 7th to the 15th centuries, relied on magic and symbolic gestures to Central Sumatra was influenced by the Melayu ensure success in their daily lives, such as (Dharmasray.
Kingdom, later centred in These actions were imitated in ritual Pagaruyung performances, much like the early Lukah Gilo Several inscriptions indicate AdityawarmanAos The dance was found across various regions in Sumatra, including Jambi.
Riau, suggesting Indian cultural influence, although Mahayana King Adityawarman.
Buddhist Jurnal Panggung V35/N2/06/2025 Apriyulia.
Ira Adriati.
Nuning Yanti Damayanti it is unclear how widespread these religious the Malay Peninsula and Sumatra, was a key practices were among the general population maritime trade hub.
Its geographical position (Widianarko, 2022.
Hanifah, 2.
allowed for predictable wind shifts, vital for Nicolson also noted that Adityawarman sailing vessels.
Ships would gather at the port to await favourable winds to continue or ceremonial sites such as the stone thrones at return from their trade journeys (Purnomo.
Limo Kaum.
Some sources claim he promoted These conditions transformed the area Tantric Buddhist rituals, featuring blood, into a major trading meeting point, a rest stop, bone artefacts, and spirit possession, which, and a seasonal waiting station.
As a result, port although controversial, may have influenced cities flourished, becoming vibrant centres of the mystical aspects of performances like commerce and exchanging goods from India.
Lukah Gilo (Desfiarni, 2004, pp.
47Ae.
China, and local resources (Daliman, 2012, pp.
Desfiarni reinforces this possibility, stating:
97Ae.
Lukah Gilo is closely associated with the Geographically, this area was ideal and religion brought by Adityawarman, whose instrumental in spreading Hindu-Buddhist activities involved rituals that can be classified beliefs, brought by Indian and Chinese traders as mystical rites with deities or spirits.
Ay to Jambi.
Many settled there, even marrying (Desfiarni, 2004, p.
This The openness of local communities the development of dance at the time, as to outside cultural influences facilitated the performing arts received significant the evolution of Lukah Gilo.
IndonesiaAos attention from kings and nobility.
Meanwhile, geographical position along major maritime traditional dances evolved into popular trade routes encouraged contact with South performances and public entertainment.
and East Asian civilisations, evident in the In the 15th century, the rise of the Jambi adoption of foreign artefacts and customs into Sultanate was established under the leadership everyday life, even during prehistoric times of Princess Selaras Pinang Masak and her (Sumardjo, 2001, p.
Ahmad Salim (Ahmad Barus II).
The historical account of the Chinese a Turkish scholar and merchant.
Their son, monk I Tsing, who visited the Melayu Orang Kayo Hitam, officially declared Islam Kingdom around 671Ae672 CE, underscores as the religion of the Jambi Sultanate (Yanti et the importance of this trade route (Utomo in in ZE, 2020, p.
From then on, daily life Rahim, 2022, p.
Ports like Malacca served was based on Islamic teachings, following the as cultural crossroads, where predictable customary saying adat bersendi syarak, syarak seasonal winds allowed traders to settle bersendi Kitabullah, customs grounded in temporarily and exchange ideas, further Islamic law, and Islamic law grounded in the influencing the performing arts (Daliman.
QurAoan.
This also shaped the local legal system, 2012, pp.
97Ae.
such as the AuPucuk Undang Nan DelapanAy The port of Malacca, located between Jurnal Panggung V35/N2/06/2025 (Rahim, 2.
Transformation of Function and Meaning in Lukah Gilo Dance as a Response to Social Change The Islamization process influenced performance contexts and occasions for its cultural expressions, including Lukah Gilo.
presentation, .
the atmosphere and audience According to Wak RifaAoi, local elders danced engagement, .
accompanying music and berumo di pay .
ice planting in swampy field.
sound element, .
costumes, makeup, and to invoke ancestral protection.
Back then, accessories, and .
performance props.
the Cak Lukah dance was considered a sacred While these adaptations introduced theatrical ritual passed down from a shaman named Pak and artistic enhancements, they remained Rojali.
respectful of the danceAos original spirit and The cultural roots.
Once central to the ritual of a team including a shaman, two Lukah function, the mystical aura was retained handlers, and musicians playing traditional symbolically, without contradicting prevailing instruments such as gongs, drums, and social or religious values.
Thus, the Lukah buffalo horns .
uput tandu.
Sacred chants Gilo performance maintained its authenticity and songs accompanied it.
Unlike the more while becoming more accessible to broader theatrical version seen today, the early form of Cak Lukah was minimal in visual spectacle.
One of the most significant milestones Unfortunately, documentation of these early in this phase occurred during the tenure performances is scarce.
of Regent Madjid MuAoaz.
According to oral accounts by Wak RifaAoi, a traditional shaman Second Phase: Around the Year 2000 = The and performer, a newly reworked version Innovation Phase of Lukah Gilo was prepared and presented The second phase marks a period of internationally in Singapore.
The preparation innovation, beginning in the early 2000s, took nearly three months and marked a turning when the Lukah Gilo dance underwent point in the danceAos visibility and evolution.
notable transformation.
This shift was driven Since then.
Lukah Gilo has often performed by collaboration between the Tebo Regency at prestigious events, from welcoming state government, traditional leaders, shamans, guests and commemorating religious holidays and local artists.
Together, they reimagined to participating in national and international the performance by developing its traditional elements into a more structured and dynamic supported by the Tebo Regency arts team, is form, better suited for public presentation and characterised by a choreographed structure, cultural festivals.
Several aspects of the dance theatrical staging, and elaborate musical and were modified during this phase, including visual presentation.
the composition of performers, .
the Meanwhile.
This Semabu Village, function and purpose of the performance, .
the traditional version of Lukah Gilo has the visual elements and aesthetic of Lukah, continued to survive in its original form.
the addition of choreographic structures.
The performance remains deeply rooted in .
performance settings and venues, .
its ritualistic structure, featuring six core Jurnal Panggung V35/N2/06/2025 Apriyulia.
Ira Adriati.
Nuning Yanti Damayanti Picture 1.
Lukah Gilo dance .
reative versio.
(Source: Documentation by Tebo Regency Arts Team, 2.
Picture 2.
Traditional Lukah Gilo Performance in Semabu Village.
(Source: Documentation by Sardeni, 2.
participants, including the shaman, the lukah handlers, and musicians.
Rather than being staged for official or commercial purposes, it is still performed within the community during intimate social events such as weddings, circumcision ceremonies, and thanksgiving Today, both versions coexist, each Picture 3.
Lukah Gilo Dance .
reative versio.
(Source: Documentation by Tebo Regency Arts Team, 2.
fulfilling a different function within the The modern adaptation serves as a symbol of cultural pride and artistic identity at public forums.
At the same time, the traditional version preserves the deeper spiritual essence of the ritual within the local The performance is typically held in open spaces of about ten meters in diameter, allowing for direct engagement between the performers and the surrounding audience (Rahmawati & Rahima, 2019, p.
The Lukah Gilo during this phase reflects aesthetic innovation and a broader strategy for cultural By adapting the performance to contemporary cultural frameworks, the dance remains relevant, bridging tradition with the Jurnal Panggung V35/N2/06/2025 demands of a modern, diverse audience.
Third Phase: Preservation The third phase marks an ongoing period of preservation in which two distinct versions of the Lukah Gilo dance continue to coexist and On one hand, the version performed by the Tebo Regency arts team features musical arrangements, and enhanced visual elements, including stage props, makeup, and elaborate costumes.
This adaptation reflects a conscious effort to align the dance with the aesthetics of modern stage performances and cultural festivals.
Transformation of Function and Meaning in Lukah Gilo Dance as a Response to Social Change influence funding and institutional support.
More broadly, the rising popularity of modern entertainment, such as organ tunggal .
lectronic music with live singer.
, has also displaced traditional arts in many community Umar Kayam challenges faced by traditional arts in the Picture 4.
Lukah Gilo's Performance in Semabu Village.
(Source: Author's documentation, 2.
modern era: changes in socio-cultural systems, communication technologies, have created new demands for traditional arts, particularly the need for uniqueness and audience engagement in an increasingly distracted (Kayam et al.
, 2000, p.
Nonetheless, in recent years, technological advancements and the widespread use of social media have significantly impacted Picture 5.
The Lukah Gilo Performers of Semabu Village, 2024 (Source: Author's documentation, 2.
many sectors, including traditional arts.
Amid this era of disruption, traditional arts are at a crossroads, facing challenges such as digital literacy gaps and the risk of being replaced On the other hand, the version practised by the community in Semabu Village remains more faithful to its traditional roots.
While it, too, has adapted to certain contextual and spatial considerations, its core structure, symbolic elements, and ritual functions are largely preserved.
This form is still performed during local events, sustaining its role as a living tradition in the community's everyday Informants fieldwork noted a decline in the frequency of both versions.
Several factors have contributed to this trend, including changes in regional leadership and shifts in cultural policy that by virtual-digital culture.
In this context.
Hidayatullah highlights that the primary challenge for Indonesian traditional arts is maintaining their relevance in the digital and globalised era.
He emphasises the importance collaboration among government bodies, communities, social media activists, business actors, and academics.
The hybridisation of music and the expanding access to information on traditional arts are part of the global impacts that must be addressed (Hidayatullah, 2.
Sustaining traditional performances in the current era requires creative strategies that blend preservation with innovation.
Gunawan .
argues that revitalisation efforts should Jurnal Panggung V35/N2/06/2025 Apriyulia.
Ira Adriati.
Nuning Yanti Damayanti and literature are aesthetic expressions and vehicles for ritual and collective solidarity (Kartodirdjo in Hasnah, 2013, p.
As such, the communityAos ongoing acceptance and support of the Lukah Gilo dance, despite transformations in context, elements, suggests that this art form continues Gambar 2.
Ritual Persiapan (Sumber: Supriatna, 2.
to hold meaning and relevance in the cultural life of Tebo Regency today.
package traditional arts in ways that appeal to contemporary sensibilities without losing CONCLUSION their cultural integrity.
These efforts include The Lukah Gilo dance in Tebo Regency has research, documentation, intergenerational undergone significant transformations, shaped by evolving social, cultural, and historical audiovisual production tools that allow Broadly, tradition to resonate with new audiences.
can be divided into three phases: the pre- The continued development of Lukah independence era, during which the dance Gilo, fueled by cooperation among government functioned as a sacred ritual rooted in agrarian institutions, artists, and local communities, and ancestral practices.
the innovation phase demonstrates how proactive adaptation can of the early 2000s, marked by the emergence help safeguard cultural heritage.
This aligns of two distinct versions .
he traditional form with Sal MurgiyantoAos insight that cultural preserved by the Semabu Village community shifts and innovations are often initiated and the modernised form presented by the by figures of authority or influence, such Tebo Regency cultural tea.
and the current as tribal leaders, kings, or, in this case, local preservation phase, in which both versions policymakers (Murgiyanto, 2004, p.
continue to adapt and coexist.
While Lukah Gilo's ritualistic function Originally.
Lukah Gilo served as a ritual may have diminished, its social and symbolic offering to ancestral spirits, performed to roles remain vital.
Dance continues to serve seek protection and blessings before entering as a medium for strengthening community the rice fields.
Over time, as society changed, bonds and affirming ethnic identity.
Kraus the performance shifted toward a more .
n Hasnah, 2013, p.
It emphasises that secular role, becoming an artistic expression dance functions as a form of social cohesion, that could be presented during various Similarly, stages of community life, such as weddings.
Sartono Kartodirdjo observed that vocal arts, dance, architecture.
Jurnal Panggung V35/N2/06/2025 Transformation of Function and Meaning in Lukah Gilo Dance as a Response to Social Change Despite these changes, certain core
elements have remained intact across both The Lukah as a symbolic object, *** the incantations, the summoning of ancestral spirits, and the presence of the dukun
are still preserved, especially in the REFERENCES