The article is the result of research aimed at describing and analyzing the relationship between Henna Dance and the Social Status of the User Community and the Role of Inai Dance in Current Berinai Night Activities. This type of research is qualitative research with descriptive methods. The research instrument is the researcher himself and is assisted by supporting instruments such as writing equipment and a camera. The data in this research uses primary data and secondary data. Data was collected through literature study, observation, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and drawing conclusions. The results of the research show that the Henna Dance functions to protect the bride and groom from disturbances originating from humans and other creatures and as a blessing for the bride and groom who will live a new life. Apart from that, the Henna Dance or Berinai Night is called a night to introduce the groom to the entire extended family of the bride. However, currently the Inai Dance or Malam Berinai is rarely performed by the people of Nipah Panjang District, especially the Malay ethnic community in Nipah Panjang District. This is because the Henai Dance or Berinai Night event can only be performed by people whose economic class is relatively good.  So currently it is very rare for researchers to see the Inai Dance or Malam Berinai culture in Nipah Panjang District.

This study aims to describe and analyze the survival and sustainability of the Dua Dua Dance in the community in Tanjung Eran Village. This type of research is qualitative research with a descriptive method. The main instrument of this research is the researcher and is assisted by supporting instruments such as stationery and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data modeling, and drawing conclusions. The results of the study show that the survival and sustainability of the Knife Dance in Tanjung Eran Village, Pino District is still ongoing to this day through the Elan Sakti College taught by Datuk Ardin. The survival of the Dua Dua Dance can be seen in terms of the form of movement, costumes and rituals that have not changed from the past to the present. The ritual is to prepare offerings containing (black chicken/beetle chicken and brown rice), then prepare a complete betel nut containing (lime, betel, areca nut), prepare a basket of rice filled (rice, lime, white thread, needles, glasses filled with salt chili) and a bowl of Situngkat Guru White Cloth 1 piece per person and 3 colors of yarn (yellow, black,  white). The offerings that were prepared were used before becoming a member and after mastering the Pisau Dua dance is still carried out without any change at all. In terms of performing the Pisau Dua dance at an event, there is a procedure carried out by the dancer, namely bathing using lime. It is this resilience that makes sustainability in people's lives so that the Pisau Dua dance can be used in traditional ceremonies such as marriage ceremonies.

This study aims to describe and analyze the Changes in the Function of Ngadu Tanduk Dance as a Traditional Dance of the Siulak Panjang Village Community. The type of research used is qualitative with a descriptive method. The instrument of this study is the researcher himself, with supporting instruments such as stationery and mobile phones. The data collection techniques used are literature studies, observations, interviews, and documentation. The data analysis techniques used include data collection, data reduction, data presentation, and data verification/conclusion drawn. The results of the study show that the Ngadu Tanduk Dance is a dance that originated from Siulak Panjang Village, Siulak District, Kerinci Jambi Regency. The change in the function of the Ngadu Tanduk Dance reflects the social and cultural dynamics of the local community that continues to develop. This dance initially only had a traditional function but now it also has an entertainment and performance function. Changes in function in the Ngadu Tanduk Dance are influenced by internal and external factors that interact in the context of the community. The internal factors that affect are changes in people's mindsets and the need for entertainment and cultural identity. While external factors are changes in the agricultural cycle and the influence of globalization and modernization.

This study aims to describe and describe 1) the causes of changes in the role and function of dancers' positions by using women in Galombang Kreasi dance. 2) the role and function of female dancers in Galombang Kreasi dance performances. This type of research is qualitative research with descriptive methods. The instrument of this study is the researcher himself and assisted by supporting instruments such as stationery and cameras. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The steps of analyzing or analyzing are data reduction, data presentation and inferring data. The results showed that the Galombang Kreasi dance is usually performed by men who can number up to dozens of people and then divided into two groups, where each group seems to be a group of bodyguards. Galombang Kreasi dance has a little element of pencak silat in its movements, so that when it is performed there will be a little martial arts attraction in the series of dances performed, in contrast to pasambahan dance which highlights elegance in every movement and can also be performed by women. The combination of these two dances serves to welcome and pay homage to the bride and groom, also paving the way for a line of virgins carrying carano offerings containing traditional betel. In addition, this new creation of traditional dance also serves as a fence for the entrance of the ninik mamak troupe that accompanies the journey of the bride and groom.