The Story of Love Did Not Reach in the Bopureh Dance

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Kisah cinta di tanah jauh, tanah kerinduan di Rijuan Tujuh
Tujuan akhir pemuda rantau, dari jangkang di atas sanggau
Gadis kanayan memikat hati, memberikan cinta sepenuh hati
Bumi dipijak langit dijunjung, sampaikan cinta pada penghujung
Beda bahasa beda budaya, lain adat lain silsilah
Pagar batas menahan langkah, warna-warni masalah berujung kisahApakah cinta seputih kapas, mengubah pelangi di langit lepas

Bopureh Dance
Bopureh Dance

In the last stanza of the poem, there is the worry of a man whose love is blocked by adat. The love story that is blocked by adat is a classic story that often occurs in the Dayak community, Kalimantan. Traditionally, traditional rules and regulations for the marriage of someone with different ethnic groups have developed. This is common since the Dayak tribe has many sub-ethnic groups with different cultures. Poetry with the theme of love did not arrive until it later became a prologue for the birth of a dance creation called the bopureh dance.

The bopureh dance is a creative dance that tells the love story of a Dayak Jangkang youth with a beautiful girl Kanayan who is obstructed by custom. In Jangkang, “bopureh” means genealogy. This dance of creation tries to depict the traditional family tree separating the rope of love that has been tightly bound between two lovebirds.

Bopureh Dance
Bopureh Dance

As a work of creative art, bopureh dance is inseparable from the aesthetic elements of traditional Dayak dance in general. For example in fashion. The bopureh dancer still wears the traditional clothes of the West Kalimantan Dayak tribe, but that has been modified in several parts. The tingang bird crown worn by male dancers further enhances the identity of the bopureh dance as part of the Dayak performance art.

The bopureh dance was performed by 10 dancers, eight complementary dancers and two acted as lovers who were in love. The bopureh dance movement is dominated by contorting hands while occasionally changing formations. In the middle of the performance, eight dancers who are all female will form a circular formation with the male dancer as the center. The colorful fabric stretched is a symbol of the diversity of the Dayaks. That diversity is actually a barrier to the love story of Jangkang youth with Kanayan girls.

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