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Jurnal AdabiyaJurnal Adabiya

Rapai dabôh is a traditional art performed by 12 people, accompanied by risky attractions using sharp objects such as knives, swords, chainsaws, chains, sharpened bamboo, and more. This study aims to discover the history of rapai dabôh in Aceh. The research employs observation, interviews, and documentation as instruments, with data analysis techniques including data reduction, data display, and data verification/conclusion. The study reveals that the history of rapai dabôh in Aceh originates from a prominent scholar named Syekh Abdul Qadir Jailani, inherited by Syekh Rafai, later popularly recognized as the Rifaiyyah Order. Initially used as a medium for Islamic preaching, rapai dabôh evolved into an art cherished by most Acehnese people. Its spread was facilitated by preachers from northeastern to southwestern Aceh, inspiring groups like Rincong Pusaka in Ie Lhop village and Putra Naga in Mutiara village, both of which still exist today.

The research concludes that the origins of Rapai Dabôh in Aceh can be traced back to the teachings of Syekh Abdul Qadir Jailani and Syekh Rafai, associated with the Rifaiyyah Order.Initially employed as a tool for Islamic dawah, the art form gradually transformed into a beloved cultural expression among the Acehnese people.The practice of Rapai Dabôh was disseminated throughout Aceh by preachers, leading to the establishment of enduring performance groups such as Rincong Pusaka and Putra Naga.

Penelitian lebih lanjut dapat dilakukan untuk menggali lebih dalam mengenai aspek spiritual dalam Rapai Dabôh, khususnya bagaimana praktik invulnerabilitas dipahami dan diinternalisasi oleh para pemain dan penonton dari perspektif keagamaan. Selain itu, studi komparatif antara Rapai Dabôh dengan seni pertunjukan serupa di daerah lain di Indonesia atau negara-negara dengan pengaruh Islam yang kuat dapat memberikan wawasan baru tentang akulturasi budaya dan peran seni dalam penyebaran agama. Terakhir, penelitian mengenai dampak sosial dan ekonomi dari keberadaan Rapai Dabôh terhadap masyarakat setempat, termasuk potensi pengembangan pariwisata budaya berbasis komunitas, perlu dilakukan untuk memastikan keberlanjutan seni tradisional ini di masa depan. Penelitian-penelitian ini diharapkan dapat memperkaya pemahaman kita tentang Rapai Dabôh sebagai warisan budaya yang bernilai dan relevan bagi masyarakat Aceh.

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