Historical Romanticism Of Islamization In West Aceh Through The Si Dalupa Theatre Performance

This study examines historical romanticism concerning the arrival of Islam in West Aceh as represented in the Si Dalupa theatrical performance. The study addresses the problem that the performance is often understood either as historical evidence or merely as religious entertainment, while its position between local memory, oral tradition, and artistic creation remains insufficiently explained. Using a qualitative interpretive approach, data were drawn from performance observations, audiovisual documentation, the narrative document Teater Tradisional Sida Lupa Datok Rimba, an interview with Hanafiah as Chair of Sanggar Seni Datuk Rimba, and relevant literature. Data were analyzed through thematic coding, comparison between narrative and performance evidence, and source and method triangulation. The findings show that historical romanticism is constructed through the character of Datok Rimba, narratives of Islamic preaching, the Acehnese language, ca’e, rapa’i and seurune kalee music, masks, palm-fibre costumes, bodily action, and the spatial imagination of Woyla. Datok Rimba functions dramaturgically as a conflict resolver, religiously as a transmitter of Islamic values, socially as a mediator of reintegration, and culturally as a representation of ulama authority. However, the performance does not constitute a factual reconstruction of the Islamization of West Aceh. Instead, it performs reflective historical romanticism that emotionally connects contemporary communities with local memories while allowing critical reflection on violence, family responsibility, religious morality, cultural loss, and intergenerational transmission. The study concludes that Si Dalupa transforms Islamic historical memory into a living cultural practice that strengthens cultural awareness and local pride when supported by critical interpretation and community-based safeguarding.