SOFYANI PLATE DANCE AND THIRD SPACE AESTHETICS: HOMI K. BHABHA'S POSTCOLONIAL HYBRIDITY PERSPECTIVE WEST SUMATERA, INDONESIA

The study, titled “Tari Piriang Sofyani dan Estetika Ruang Ketiga: Perspektif Hibriditas Poskolonial Homi K. Bhabha” (Sofyani plate dance and Third Space Aesthetics: Homi K. Bhabha’s Postcolonial Hybridity Perspective) examines the evolution of Minangkabau performing arts through the concept of the third space, representing the intersection between indigenous tradition and global modernity. The research questions focus on: (1) the manifestation of aesthetic hybridity in the Sofyani plate dance, (2) the representation of the third space through music and choreography, and (3) the negotiation of Minangkabau cultural identity within a postcolonial framework. This research seeks to elucidate the process of creating hybrid aesthetics, comprehend cultural representation in the performance, and uncover the dynamics of local-modern identity. The approach used is a qualitative method that incorporates an art ethnography framework along with Homi K. Bhabha’s postcolonial theory. Information was collected via observation, interviews, documentation, and a review of the literature. The findings reveal that the Sofyani plate dance presents a fresh aesthetic through the fusion of traditional and contemporary aspects, dynamically shaping Minangkabau cultural identity within a postcolonial space.本研究题为《索菲亚尼盘舞与第三空间（third space）美学：霍米·K·巴巴（Homi K. Bhabha）的后殖民混杂性（postcolonial hybridity）视角》，以第三空间概念为分析框架，探讨米南加保（Minangkabau）表演艺术的演变——该概念指代本土传统与全球现代性的交汇地带。本研究的核心研究议题包括：（1）索菲亚尼盘舞中美学混杂性的具象表现；（2）通过音乐与编舞对第三空间的表征；（3）在后殖民（postcolonial）框架下米南加保文化身份的协商过程。本研究旨在阐明混杂性美学的创作路径，解读表演中的文化表征，并揭示本土与现代身份的动态互动逻辑。本研究采用质性研究方法，融合艺术民族志（art ethnography）框架与霍米·K·巴巴的后殖民理论。研究数据通过实地观察、访谈、文献记录与文献综述的方式采集。研究结果显示，索菲亚尼盘舞通过融合传统与当代元素呈现出全新的美学风貌，在后殖民空间中动态塑造了米南加保的文化身份。