Silat As the Source and Identity of the Minangkabau Ethnic Dance

Harmonia: Journal of Arts Research and Education 19 (1) (2019), 71-83 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v19i1.16106

Silat as the Source and Identity of the Minangkabau Ethnic Dance

Afifah Asriati, Ahmad Kosasih, Desfiarni

Department of Drama, Dance and Music, Faculty of Languages and Art, Universitas Negeri Padang, Indonesia

Received: September 24, 2018. Revised: January 4, 2019. Accepted: May 28, 2019

Abstract

This article is intended to get the concept of Minangkabau dance movement in the context of ethnic philosophical values. Today, ninik-mamak, cadiak pandai, and alim ulama in West Sumatra develop ideas about Minangkabau philosophy in all aspects of life. How this idea is reflected in dance movements? To answer this question, a qualitative method is used by taking six samples of popular Minangkabau traditional dance. The data were collected using Focus Group Discussion, observation, and interviews to confirm previous findings. Through the triangulation technique, it is expected to obtain credible data and be analyzed using the models of Miles and Haberman. The results of this study indicate that the basic movements of Minangkabau dance are silat movements. The martial arts movement is the basis of movement used by many traditional dances in Minangkabau. Every district has its unique cultural values and identities and these values are manifested in dance created by dance activists.

Keywords: Minangkabau dance, martial arts, movement identity

How to Cite: Asriati, A., Kosasih, A. & Desfiarni. (2019). Silat as the Source and Identity of the Minangkabau Ethnic Dance. Harmonia: Journal of Arts Research And Education, 19(1), 71-83.

INTRODUCTION ethnic, their dance is tradition-based especially in a particular district and becomes a Dance movement is an essential ele- pride for the district and its penghulu (As- ment in a dance, aside from other suppor- riati, 2005). ting elements such as dancers, clothing, Therefore, penghulu, cendikiawan, ni- music, property, and others. nik- mamak, cadiak-pandai and ‘alim-‘ulama Likewise in traditional Minangka- have been evolving Minangkabau philo- bau dances, the movement showed in the sophies called “Religion-based Customs, dance is a very essential element. As an es- Al-Quran-based Religion” (Adaik Basan- sential element, the movement may tell hadi Syarak, Syarak Basandi Kitabullah/ABS- bitual activities pattern of the community. SBK) in various aspects of life. However, a It also expresses the cultural values of its question arises on its application towards people (Asriati, 2005). Thus, the movement Minangkabau traditional dance. How this of Minangkabau traditional dance is a mo- philosophical value is considered in the vement that tells the pattern of daily living movement of the dances also catches their activities of Minangkabau people in their attention. respective district contexts and expresses It indicates that the movement ele- their cultural values. For Minangkabau ments in Minangkabau traditional dances

 Corresponding author: E-mail: [email protected]

71 72 Harmonia: Journal of Arts Research and Education 19 (2) (2019): 71-83 are not appropriate with the values con- aside from martial arts movements. This tained in the philosophy. Erlinda (2012) finding is useful for choreographers asa sees that the influence of globalization guideline in creating typical Minangkabau and the capitalization of life have led to dance movements in accordance with the the development of Minangkabau dance Minangkabau people’s identity. towards the market demand. Their creativity adapts market demand and has even Dance and its relevance to the community become a tool for industrial and commerce Theoretically, this study is classified advertising today. as a correlational study between dance as Indeed, cultural and religious va- values of life and activities of its supporting lues (the philosophy of ABS-SBK) are not communities because people’s understan- obscured by new values, which are not ding of dance varies greatly. Zile (2014) ex- in harmony with traditional and religio- plained that dance is the movement show us values. The existence of the hip shake from the translation of written notation movement in Minangkabau contemporary while preparing a performance becomes dance is one example of a movement that the actual appearance or the show itself. In is not in harmony with the Minangkabau Pemalang, Wahyuni and Hartono (2014) philosophy itself. The development of Mi- found that the realization of the Slendang nangkabau dance movements seems to be Pemalang Dance was in line with the ele- dominated by female dancers compared to ments of dance in the form of wiraga, wi- male dancers. This matter makes Minang- rama, and wirasa. The costumes are also in kabau dance can be uprooted from its cul- line with the characteristics possessed by tural roots. the Pemalang community. Historically, there was indeed a mo- Kaeppler 1991 in Kwok (2014) argued vement of Minangkabau dance that was that dances can be classified into three ma- not in line with religion (syarak), such as jor groups; (1) kinesthetic, (2) ethnological Lukah Gilo Dance (Desfiarni, 2004) which approaches, and (3) dance scholars. expresses and contains the value of shirk. Kinesthetic is a dance that uniquely Meanwhile, several movement prototypes integrates deep personal experience with are in line with the values of religion, such cultural structures. Thus, culture and indi- as the movement in Pasambahan dance, vidual experiences are inherent in the cul- which has the value of glorifying guests tural values of a community. with movement and clothing that reflects While ethnological approaches are the value of religion (Asriati, 2012). studies of dances that specifically use an Based on the phenomenon descri- ethnological approach. In the US, this stu- bed above, it is necessary to conduct an dy concerns five dimensions of Kaeppler; in-depth study that involves the concept (1) dances as a performing art, (2) dances of dance movement in general (dance ele- as a therapeutic method, (3) dances as cul- ments) and the specific forms of Minang- ture, (4) dances as social, and (5) dances as kabau dance movement. Especially in the history. First, as a performing art, a dance framework of philosophical values embra- educates many strata and levels, especially ced by Minangkabau people. Specifically, at the level of philosophical and aesthetic it can be formulated; what is the real basis values. Both of these values also integra- concept of Minangkabau dance? te into one dance performance. Thus, the The purpose of this article is to find performance dance is a combination of the Minangkabau dance movement con- substantive and technical values in a dance cept in accordance with the philosophy of movement and form. people. In other words, this article aims to Second, dance as a therapeutic met- prove either the traditional dance move- hod can be meant as a combination of ments in Minangkabau are based on mar- physical exercise and emotive processing tial arts movements or other movements which cannot be inseparable from the hu- Afifah Asriati, Ahmad Kosasih, Desfiarni, Silat as the Source and Identity of the Minangka- 73 man self. Dances integrate the physical the movement meaning of some traditio- and emotional parts of the self. This means nal dances in some areas. that the human physical and emotions as- The third group approach is the dan- pects are integrated activities. ce scholar approach which emphasizes Third, dance as a cultural phenome- that the future dance study is focusing on non can be meant a symbol that symbolizes cultural relevance of understanding histo- habits and non-verbal activities or means ry, social and ethnic diversity, and cultural to communicate ideas, thoughts, and fee- understanding in our ever-volatile world. lings. This point is very important for the In connection with the concept of development of human values. In additi- dance and society above, Kiram (2000: 5) on, dance provides a code and communi- tries to express the concept and orientation cates one’s worldview through non-verbal of dance movement in general. He states motion or text. In short, dance is a cultural that movements are a change in the place, communication instrument that contains position, and speed of the body or human ideas, feelings, and thoughts symbolized body parts that occur in a dimension of in the form of motion and a series of mea- space and time and can be observed objec- ningful human movements. tively. The meaning of this movement is Fourth, dance as a social phenome- certainly not a movement in the meaning non provides a form of great strength from of physics but specifically for human mo- communal activities, unites and identi- vement. For example, changes in the place, fies social groups. It means we are able to position, and speed of the body or the hu- know that the unity of society through the man body part in walking, running, jum- dance delivered by the community groups ping and more. is an identity of the community. Furthermore, changes in the place, Fifth, dance as a historical phenome- position, and speed of the body or parts non can be meant as a statement or reflecti- of the human body in dance according to on of past cultural experiences that are ex- Hutchinson (1974) in Labannotation or Kine- plained, presented, and showed until now. tography Laban; the System of Analyzing and It means that the dance that performs to- Recording Movement, and in the Knowledge day is a record of the past cultural history of Dance Elements and Some Dance Problems experienced by a person or community of by Sedyawati et al. (1986) can be left, right, its supporters. Thus, it is pleased as a past forward, backward, upward, downward, state that is still remembered. to the left side, to the right side, and up Kaeppler theory mentioned that tra- to 27 types of movements that have been ditional dances are actually a reflection of registered for the benefit of this notation. past traditions presented today that con- Laban made a map and a gesture of mo- tain ideas, feelings and thoughts of a per- vement which he called Movement Family son or group of creators as a symbol of past Tree (Hutchinson, 1974: 18), which until conditions that unite physical and spiritu- now is still used as a guide for researchers al (emotional) movements, embraced by and practitioners of dance movements. community supporters or social groups. Laban’s concept and promises are still rele- They are either ideas or meanings of com- vant for dance research and movement in munity activities (tradition) or philosophy particular, including for the grand theory and aesthetics, both textual and contextual of dance research (dance movements) of values. Minangkabau. Therefore, Kaeppler theory can be used as a framework of thought or theore- Results of Research on Minangkabau tical foundation for conducting a study on Traditional Dance traditional dances in Minangkabau. Espe- The dance movements in Minangka- cially, in analyzing the contextual meaning bau are traditionally based on traditional of a dance or in the framework of giving and religious values. It is generally ex- 74 Harmonia: Journal of Arts Research and Education 19 (2) (2019): 71-83 pressed by Naim (2004) that the value of the Al Quran. ABS-SBK as the philosophy of Minangka- Then, dance movements are classi- bau people is believed to be their identity. fied as an aesthetic classificationadat ( isti- Naim sees that the problem is no longer at adat/yang diadatkan). At this aesthetic level, the level of theoretical concepts, but how Naim (2004) argues that the philosophy of their values are manifested in their social ABS-SBK is the manifestation of Allah law actions. According to Naim (2004: 50), the- (sunnatullah). Thus, customs that have been se philosophical values are systemically patterned in the culture must be free from and planned to be programmed into vario- the elements of shirk, khurafat and bid’ah be- us aspects of life so that they become en- cause their main reference is religion and lighteners and directors (suluah bendang) in the reference of religion is Al Quran. Minangkabau people life in the future. From all the explanations above, it Moreover, four things can be under- can be understood that the movement in stood from the opinion related to the elabo- Minangkabau dance, in fact, must be in ration of this philosophy in the future, such line, harmonious, in accordance with and as (1) concrete steps must be conducted, (2) based on the ABS-SBK values which be- describing the value of this philosophy in come the Minangkabau ethnic philosophy. government and social action, (3) doing It means that Islamic religious values must well-programmed step, not incidental , be shown in all expressions of Minangka- and (4) do not let it run conventionally. bau dance movements. It does not express This idea has been used as an official docu- things that contrast with Islamic values. ment in West Sumatra, that the ABS-SBK This philosophy is very useful for Indone- philosophy has become the philosophical sian choreographers to make the aesthetic foundation for religious life (Regional Re- value of Indonesian dance richness Has- gulation of West Sumatra No.9 of 2000 and tuti and Supriyanti (2012). It can also be a No.27 of 2007). differentiator with the aesthetic value of In connection with the value of religi- western dance patterns. on in dance movements, Gazalba (1977, p. 79) argues that Islamic ethics or morality METHOD determines whether an element of art (including movement in dance) is worth halal, This study used a qualitative approa- makruh or haram. Then, Omar (1983: 57-58) ch that was used to collect appropriate Mi- argues that the laws of music art, sound nangkabau dance movements data based arts, and dance art are legal (permissible), on cultural values and ABS-SBK. The data as long as other forbidden things do not collection techniques used were (1) FGD, follow them. When haram things follow (2) documentation, (3) observation, and it, then the law becomes haram too. On the (4) interview. The credible data obtained contrary, when it is followed by things that through triangulation, and they were ana- Allah blesses, then the law becomes sun- lyzed by the model of Miles and Huber- nah, such as celebrating a wedding party, man (1992). circumcision, respecting guests, Eid Fitri, The flow chart of this research can independence day, and others. be seen in Figure 1. In finding out the Mi- Besides, Omar said that the haram nangkabau traditional dance movement value of dance and movement in dance is concepts, one dance is set for one district not because of the substance itself. Next, in each representative district; (1) land area Naim (2004) also mentioned that the real (darek) and (2) coastal area (pasisie). The custom (Adat nan sabana adat) is absolute land area (darek) is an area that belongs to while supporting custom (adat istiadat and the Luak area. Luak is a native area of Mi- adat yang diadatkan) is a flourishing (ethics nangkabau culture. Whereas the coastal and aesthetics), which is elegantly used area (pasisie) is a seacoast area or an area and adapted to the place and method of that is influenced by the culture of the na- Method and process

qualitative, FGD, documentation, observation, in-deep interview. triangulation & Member Check. Analyze using Miles dan Haberman model.

Afifah Asriati, Ahmad Kosasih, Desfiarni, Silat as the Source and Identity of the Minangka- 75 tive region of Minangkabau culture. The following FGD, “ men don’t want to dance state of the coastal area (pasisie) has been anymore if this dance has mixed with the influenced by many external cultures such woman movements style. However, silat as Malay, Portuguese and others. can only be done by men “(FGD, AS, Maji Dirajo, June 2, 2015). The point here was that Mulo Pado dance movement which showed during the FGD had combined the original and improved movement. Then, it was defined as women steps because the movements carried out were like people dancing and such movements were not suitable for men anymore. The movement was only suitable for women, while the suitable one for men was silat. The ot- Figure 1. The conceptualization of Minangka- her FGD participants stated that the Mulo bau dance movements Pado dance had been modified. He said, “the opening of the dance was tradition, Furthermore, the land areas (darek) yet the show in a whole was a creation” are represented by; (1) Mulo Pado dance (FGD, Syafwardi, 2 June 2015). It means from Padang Magek, representing the Ta- that the opening stage can be categorized nah Datar district, (2) Piriang di Ateh Kaco as the traditional movements, others were dance from Bayue representing Agam created. district, and (3) Sarompak dance from In general, Mulo Pado dance move- Taeh Baruah representing Limo Puluh ment danced by women was a contempo- Kota district. Then, the coastal areas (pa- rary dance. Syafwardi added that this dan- sisie) are represented by (1) Indang dance ce movement was silat movement at first. from III Koto Aur Malintang, Padang Pari- Then, happy movements followed the aman district, (2) Pilin Salapan dance from rhythm showed that they were heartened Air Bangis West Pasaman district, and (3) after finding the Padang Magek area as a Rantak Kudo dance from South Painan Pe- new settlement. sisir Selatan district. In addition, there were special rules for the movement of this dance, in which RESULT AND DISCUSSION there must be Pasambahan movements at the beginning of the dance as a symbol of There were 6 dance samples taken apology to God and humans, as revealed into account in this study. These dances by the A.S. Dt Majo Dirajo (FGD, June 2, can be used as adequate data information 2015). “The opening (the beginning of the in representing the basic concept of Mi- movement) was the four steps movements nangkabau traditional dance movement. begging an apology to earth and to hea- ven”. Mulo Pado Dance Movements Concept Therefore, the FGD above indicated Mulo Pado dance is divided into that Mulo Pado dance movements had the original and the contemporary dance. two versions that were the original and Mulo Pado dance movements were deri- contemporary creation version. The origi- ved originally from silat. “Most of these nal one was derived from martial arts mo- dance movements are from silat” said the vements such as attacking and parrying, A.S. Dt Majo Dirajo (FGD, 2 June 2015). while the creation version used silat mo- Meanwhile, other FGD participants stated vements in the opening only. Thus, the that Mulo Pado dance movements perfor- next movement was referred dancing. This med by female dancers combined traditi- dancing movement was only suitable for on and creation. It was revealed from the women, while the one that was suitable for 76 Harmonia: Journal of Arts Research and Education 19 (2) (2019): 71-83 men was silat movement. on, the change in dance needed to be mo- Based on the data presented above, nitored so that it has an inconspicuous mo- it was known that Mulo Pado dance was vement in the meaning of Islam. It could be performed by 2 people. Initially, the male meant that women were tolerated to move dancer did silat that was already mastered dance as long as they were not against the before they danced Mulo Pado (A.S. Dt. criteria of Islam. Majo Dirajo, FGD, 2 June 2015). This state- Whereas, this dance can also be per- ment was justified also by other FGD par- formed by female and male dancers as ticipants. well. They can be joined together as long At first, the movement in this dance as it was not opposed to the ABS-SBK va- was silat style since the skill of silat was lue said A.S. Dt Majo Dirajo (FGD, 2 June only possessed by men who were warri- 20115). The female dancers did not show ors in silat. However, now it turned into off their gestures and inappropriate dres- another movement that was not silat. This sing according to customary and religious new movement was only called dancing. standards. Now, this dance is only danced by women From the data above, it can be found in pairs (A.S. Dt. Majo Dirajo, FGD, 2 June that the movement carried out by Mulo 2015). The community accepted the gen- Pado dancers in Padang Magek was mar- der movement change as it did not violate tial arts-based movement. Men danced this custom and ABS-SBK philosophy (A.S. Dt dance at first. However, due to the times, Majo Dirajo, FGD, 2 June 20115). On the men were no longer willing to dance, so contrary, some ulama in Padang Magek women took over this dance by changing were reluctant to accept this. He said that their movements according to appropriate the religious did not allow it. However, for steps and movements for women. It no the sake of emancipation, it was finally not longer used the martial arts movements disputed. Thus, there were not even ulama performed by male dancers before. Becau- who opposed it (Suhaili Anwar, Interview, se, it is only in the initial movement gree- 2 June 2015). ting God, nature, and the audience. This change was tolerated by the community, Movements and Dancers Relation both by traditional stakeholders, traditio- Furthermore, Suhaili Anwar (inter- nal dance activists, and district ulemas. view, 2 June 2015) stated that the combination of female and male dancers depended Piriang di Ateh Kaco Dance Movements on the permissible movement, as long as Concept it was not striking in terms of their move- Piriang di Ateh Kaco dance in Bayue ments. In contrast, Silat movements were reflected community farming activities. taboo to be carried out by women in an- The farming movement was the dominant cient time. Even, females were not allowed motive for this dance with attractive jum- to go out of the house. It was not a big deal ping and rolling on broken glass. This type now due to the times and outside influen- of dance was a tradition and some were al- ces. Suhaili also mentioned that Mulo Pado ready improved as well. dancers were male ideally. It was also noti- Piriang di Ateh Kaco dance move- ced that in reality there were no more men ments illustrated the daily activities of who want to dance, and it was difficulty in Bayue community. This dance told the getting it. story of farming activities in the rice fields, Based on the above expression, it can from hoeing to harvesting and bringing be understood that Mulo Pado dance in rice home (Dj. B. Dt Pamuncak, 31 May Padang Magek actually needed to be reor- 2015). ganized. Ideally, it should have been males It can be seen from its traditional mo- as the original dancer who can dance this vement originated from silat while women movement. In fact, because of emancipati- performed the contemporary one. Dj. B. Dt Afifah Asriati, Ahmad Kosasih, Desfiarni, Silat as the Source and Identity of the Minangka- 77

Pamuncak (FGD, May 31, 2015) stated that movement of the hips and pitch the swing this dance should be sent back to the origi- should be avoided. In addition, to farming nal culture that did not show rocking hip. activities, rolling and stepping on the glass This dance should not be vulgar. Thus, movements, which can be done through according to them, Minangkabau dance dzikir or magic. Magic doing was not in should be replaced to its original culture line with Islamic value, yet zikr was im- in which no movement rocked the hips, no possible because nowadays there was no one swayed in the swing. one praised God. Therefore, the movement Additionally, Piriang di Ateh Kaco through magic was not in line with the Mi- dance also showed the movement of step- nangkabau philosophy. ping on glass, rolling on glass and other at- tractions. Regarding this matter, the FGD Movement and Dancers Relation participants included Y.E. Imam Panjang Piring di Ateh Kaco dance move- (FGD, 31 May 2015) stated that it was not ments were originally carried out with a allowed to use real magic. It was allowed pattern of martial arts by men only. Howe- only to use ma’rifat power with prayer. ver, in its development, their movements Then, both can be applied. In the past, the- adapted to the proper movements for fe- re was a debus man dance that was similar male dancers. With the presence of wo- to this dance. Later, the music was the ori- men dancers, the custom and religion gave ginal music. Some people can do it if the- limits to movements that do not provoke re was a handler. There were two kinds of lust or erotic. As Dj. B. Dt Pamuncak stated handlers called the sihir kulipah that asked in (FGD, 31 May 2015) that the movement for hak besi katapuang besi and tarekat expert of women in public must maintain the ho- that used the ma’rifat power goes to Allah. nor of being in proper movements and clo- Finally, these men were not eaten iron. As se their genitals. a result, there were two classifications of Whereas, there were no movements this dance; sihir and dzikir. that made women and men in contact. It There were some impossible move- would be a problem if this happened be- ments for normal people in this dance. Ac- cause the community could not accept it. cording to them, it was due to the influen- Dj. B. Dt Pamuncak (FGD, 31 May 2015) ce of magic and zikr. Ulama in Bayue did said that this is a new problem that should not accept the influence of magic. While be resolved. Ideally, Minangkabau female the two basic types of movements (magic should be replaced as it was before (Dj. B. and zikr) were in this district. In summary, Dt Pamuncak, FGD, 31 May 2015). the Piriang di Ateh Kaco dance depended The FGD above explained that male on its commander (the handler). Whether dancers performed the original pattern of the handler was from surau or lapau. If the movements in Piriang di Ateh Kaco dance handler was a person from surau, then it as it was mentioned by adat and ulama in used dzikir. On the contrast, if the person Bayue. They argued that this dance priori- was from lapau, then it was performed tized male dancers, yet in its development, through magic. These approaches were it has now been danced also with the pro- the same concept and purpose that was to per movements carried out by women. Fi- provide entertainment to the public in the nally, the FGD participants gave the crite- crowd and showed up the talent. rion if women want to be in charge of this The results of the FGD indicated that dance. This case was also permissible un- Piriang di Ateh Kaco dance movements der conditions that the movement must be were carried out to illustrate farming ac- appropriate traditionally and religiously. tivities in the fields started from hoeing, Ideally, according to them, Minangkabau harvesting and bringing rice home. The women must be replaced to their nature as style of movement was silat. When the Minangkabau women. When they move or dance performed by women, the rocking dance, their movements were deemed ap- 78 Harmonia: Journal of Arts Research and Education 19 (2) (2019): 71-83 propriate and according to Islamic values. duet was generally not permissible according to ulama in Air Bangis. Ideally, as As- Pilin Salapan Dance Movements Concept rial, S.Ag. suggested (FGD, June 1, 2015) Pilin Salapan dance in Air Bangis il- “Pilin Salapan dance is ideally danced by lustrated the hard spirit of struggle toward men only”. Then Asrial asserted that “I invaders. The most dominant movement think this dance should be replaced as it used in this dance was the wooden hitting was to the initial form, the dancers were and jerking movements, while the steps all men”. This statement was supported were called the Malay style moves (Mai- by Aidil Haqhi (FGD, June 1, 2015) “In my walis, Interview, June 1, 2015). opinion, this dance should be replaced to It turned out that in its development the initial form, all-male dancers”. The fact, now, this dance was also danced by an it was rare for men who wanted to dance. adult female. In fact, it was not allowed by In short, Pilin Salapan dance was ulama, as revealed by an ulama said, “the essentially carried out by men because of movement was fast” (Idmansyah, FGD, 1 its dynamic movements. Then, it was later June 2015). Unlike Idhamsyah’s opinion, a danced by women and women-men duet. Bundo Kanduang, who is called “Puti”, sta- Cerdik pandai, penghulu and alim-ulama who ted that this dance was in line with ABS- participated in the FGD and interview sta- SBK. It had standing up movement only, ted that this dance needed to be replaced so it was fine (Rosna, Interview June 1, to its original value. Women who have not 2015). yet been mature was one solution. Finally, the FGD and interview above showed that the adult female move- Indang Dance Movements Concept ment criteria based on ABS-SBK should Indang dance in III Koto Aur Malin- not be vulgar. It was fine to be performed tang Padang Pariaman was a popular dan- by a male dancer because the movement ce, known by almost all regions in West was standing and a step only. Sumatra and even outside West Sumatra. Most people knew this dance. Indang Dan- Movement and Dancers Relation ce was used to spread Islam in the Minang- Men danced pilin Salapan Dance kabau. Now, it was also used as entertain- in Air Bangis Pasaman Barat at first. As ment. The very famous creation of Indang revealed by Maiwalis (Interview, June dance was Dindin-Badindin. 1, 2015) that all dancers were male who Indang dance was danced by sitting struggled against the invaders. The same cross-legged. Dancers’ hands and bodies thing was expressed by Asrial (FGD, June were centered of the movements and it 1, 2015) Pilin Salapan dance was only for was carried out with martial arts. The men. However, women danced it now. movements of men and women were the Then, female and male dancers were in same in Indang dance. It was not a big deal contact. In fact, they were not muhrim and for them as revealed by Rajo Rangkayo this matter was actually violated. Someti- Sardewo (FGD, June 16, 2015). He said mes there is contact and collision because that the movement of men was as same as the movements were getting closer. the movement of women, then it was no The data and information above sho- problem for society. It could be meant that wed that Pilin Salapan dance movements the movement in this dance was not dis- also changed as Mulo Pado dance in Pa- puted both for male and female. There was dang Magek. The process of change was nothing against traditional and Islamic re- also similar. The movements were origi- ligious values. nally carried out by men. Next, it could Previously, Indang dance was domi- be performed by women with appropriate nated by men, said Rajo Rangkayo Sarde- movements for women. Then, a duet bet- wo (FGD, June 16, 2015). This statement ween men and women movements. This was supported by other FGD participants Afifah Asriati, Ahmad Kosasih, Desfiarni, Silat as the Source and Identity of the Minangka- 79

(FGD observations, June 16, 2015) that ant high, so did the dance (Ute, FGD, 25 mention “The dominant here could be me- October 2015). It was interpreted that the ant as men dance more often than women movement was very dependent on music, ...”. While the combination of men and wo- added to the height of the musical tone men dancers, most recently, had been pub- and also the level of dance movements licly shown up. and vice versa. The movements were influenced by musical magic instruments, Sirompak Dance Movements Con- which according to them the poems sung cept by the accompaniment of Sirompak have Sirompak dance movement in Taeh a distinctive tone that can appeal to those Baruah was rooted in martial arts move- who listen to them. The dancers did not ments and performed by one dancer. This fully realize that they did the movements. dance was performed using music origi- The movement and music were supported nating from the sound of saluang Sirompak. with silat clothing, namely black clothes, Saluang and dance movements were mer- galembong pants and destar. ged with each other and inseparable. For- When it was related to custom and merly, the movement of Sirompak Dance religious values, the results of the FGD sta- was full of magic values and done secretly. ted that the dancers knew that this dance Today, this dance was showed in public was in contrast to adat and religion. Howe- because there was no magic anymore. The ver, all elements of dance were not related movement of Sirompak dance could be to women during the performance. Then, seen in Figure 2. this matter did not raise a problem in adat and Islamic view. Moreover, the dancers were really fighter in general (Ute, FGD, 25 November 2015).

Sirompak Dance Movements Concept Rantak Kudo dance was taken from the name of Benten’s wife, Rantak Kudo, who described to train her child walking. Kudo’s face as a mother guides his child’s hand so that he can walk well and quickly. This dance was well-known in the South Figure 2. Sirompak dance movement in Painan (Arita, FGD, 26 November 2015). Taeh Baruah performed by Ute Rantak Kudo dance movements th (Documentation: Afifah Asriati, 25 Novem- were played based on the silat movement. ber 2015) “This dance was indeed the movements of silat, it guided children to walk, practice The movement was in balance with walking (Arita, FGD, 26 November 2015). the accompaniment of the music, “if the- There was no graceful movement as the re is no music, how can I dance? Ute said researcher showed during this FGD. “The- “(FGD, 25 November 2015). Ute added re were 4 main movements such as eye that after the music and the saluang were movements, head, and incisive steps like played, he felt as if someone was calling in martial arts movements” (Rini Delvita, and his hands would move on their own. FGD, 26 October 2015). Thus, this dan- When the music rises then the movement ce had strong power and its motion style rises, on the other hand when the music based on the silat style. The four basic mo- goes down then the motion goes down. vements were taken from Benten’s activi- The other dance had a title. This dan- ties as father and Rantak Kudo as a mother ce hangs from the low and high pitch of who taught their child to walk. The names the chime. If the height of the voice me- of the movements were Jinjiang Bantai, Titi 80 Harmonia: Journal of Arts Research and Education 19 (2) (2019): 71-83

Batang, Rantak and Lenggang Karaia. the Pesisir Selatan. This statement was in The four movements had their own line with the figure of Bundo Kanduang meaning. Literally, Jinjiang Bantai inter- Hasnidar (FGD, 26 November 2015) who preted as a father, namely Benten had res- stated that “Rantak Kudo Dance was a good ponsibility for his family. There was Thurs- dance without something negative”. This day market in Painan where Benten went was the same as the traditional figure abo- to the market and returned carrying gro- ve, who said that there was nothing cont- ceries by carrying it. Lengang Karaia could radictory of Rantak Kudo dance seen from be described as walking upstream (Arita, the aspect of adat and religion. FGD, 26 October 2015). It was in accordan- On the other side, Rantak Kudo dance with Minangkabau people’s philosophy ce was also danced in pairs. This dance “Alam Takambang jadi Guru” (Nature is a was an even-numbered dance. “There was teacher). The movement in this dance was the only group in pairs for this dance in a daily activity of a new family that has just East Painan”(Arita, FGD, 26 November had children. The movement of this dance 2015). The dancers could be both man and was not becoming a big problem according women and they did the movement in the to traditional leaders, yet there was a limi- same way. “This dance was a duet dance tation in the way of shaking and rocking since there were simultaneous and oppo- (Asril, FGD, October 26, 2015). sites fend off ”(Rini Delvita, FGD, Nov. 26, Therefore, it would be discordant if 2015). rocking was included in this dance since it was not in line with Minangkabau cus- Conceptualization and Discussion Means toms. This opinion was strengthened by Based on the results of the research Arita (FGD, November 26, 2015) “There described above, it was found that the mo- was no hip shaking in Rantak Kudo dance vements of Minangkabau dance were in since shaking hip was forbidden in Islam”. line with the context of adat and religious The FGD concluded that the basic values. These movements were derived movement of Rantak Kudo dance was silat from martial arts or silat which became the and there was no hip shaking movement typical style of Minangkabau dance. There because it was contradicted with adat and were some dances as evidence for this fact religion. such as (1) Mulo Pado Dance (2) Piriang In ancient times, Rantak Kudo dan- Diateh Kaco Dance, (3) Indang Dance, (4) cers were male only. “At first, this dance Sirompak Dance, and (5) Kudo Rantak was danced by men only. Women should Dance. On the other hand, Pilin Salapan not take part in art because it was taboos Dance adapted from Malay culture had for Minangkabau people. (Arita FGD, 26 influenced the Minangkabau dance. Thus, November 2015). However, this dance was Pilin Salapan dance was not included in performed by men and women in its de- the stage of analyzing the conceptualizati- velopment. “In my opinion, since the be- on of Minangkabau dance. These findings ginning of my elementary school, Rantak could be mapped in the following schema- Kudo dance was performed by female and tic description (Figure 3). male, not male only” (Asril, FGD, October It can be seen from the schemata abo- 26, 2015). Today, Rantak Kudo dance was ve that the basic motions of Minangkabau performed with the combination of men dance movements were dominated by si- and women dancers. “It seemed that the lat. Then, it could be stated that without si- traditional leaders did not have a problem, lat movement, Minangkabau dance would Asril (FGD, October 26, 2015) everything lose its identity. As Sedyawati (1986: 64) was in line with adat and religion “. argued that nature as a world and human That was to say, there was no discre- as culture unconsciously formed the cha- pancy in Rantak Kudo dance based on the racter motions in dance. These two funda- view of adat. In fact, this was an asset for mental settings had a significant effect on Afifah Asriati, Ahmad Kosasih, Desfiarni, Silat as the Source and Identity of the Minangka- 81 the formation of motions in dance and it on was in line with the alim ulama and adat turned out to be the identity of the com- figures of Padang Magek district who sta- munity. This conclusion was in line with ted that the movement of male dance was Asriati’s (2005) findings that the Piriang originated from silat (Asriati, 2015). Huri Sulueh dance in Pariangan also reflected Adam’s movement for women, for instan- the daily activities of the community and ce, was not erotic and sensual, these mo- its movements were silat-based move- vements were not carried out beyond the ment. ethical and aesthetic limits of Minangka- bau culture which were based on religious and adat values (Utama, 2009). Based on the data and explanations above, Minangkabau dance had an identity of silat in terms of its motions. This silat motion maintained Minangkabau dance identity in which without silat it was not the actual Minangkabau dance. Although there was a change in the life of the Mi- nangkabau people to be more modern di- rection, it did not necessarily change local values. The local values were still retained in the dance. This finding was supported by the Indrayuda (2016) study which concluded concluding: “As a result, the change found in Minang- kabau dance creation is limited only to the visual or formation, but content still reflects and illustrates the cultural identity of Mi- nangkabau society through the local wisdom value”.

Furthermore, local wisdom value for the Minangkabau culture was silat that fundamentally based on Adat basandi Sy- arah, Syarak Basandi Kitabullah (ABS-SBK) that custom was based on religion, and religion was based on Al Quran. Then, Yunus (2013) stated that Mi- nangkabau customs had four Islamic values: polite, kind-hearted, good manner, and elegant. These four values controlled creativity and art performances. This sta- Figure 3. Scematic description of the dances tement was also in line with Hadi’s view who said that there were things for women Then, the motions drew in Figure in adat called “discordant” (inept), such as 3 were also in line with Hadi (2006) who sumbang duduak, sumbang tagak. This could noted that the movement of Minang dan- be meant that women had to avoid rocking ce was derived from silat resulting into hips. various forms of dance, including Galom- Kadir’s research (in Soedarsono bang movement in Randai (Rustianti et al., (2002, p. 39-43) found that the Piriang 2013). Based on adat point of view, silat di Ateh Kaco dance performance was al- could only be done by men. Hadi’s opini- ways led by a person called Kulipah who 82 Harmonia: Journal of Arts Research and Education 19 (2) (2019): 71-83 was responsible for the performance of the In addition, the dance movement show. It was the same as the researchers concept that is appropriate for women found in Piriang di Ateh Kaco dance from based on adat and religion; it is not rocking Bayue district. Kadir revealed that the ma- hip and erotic in legs, body, hands, head gic spell Kulipah during the performance and other movements, such as rolling, at- was animism and it resulted in some attacking and parrying. It is also forbidden tractive forms of irrational and mystical. to be in contact with men if the dance is Hadi (2006) argued that dances that were performed in combination or duet. (Jour- used spells can damage the aqeedah and nal & 1985, n.d.) they must be avoided and eliminated “. Naim (2004) stated that the philo- ACKNOWLEDGMENT sophical concept of ABS-SBK was actually the manifestation of natural law in the Thank you to the Ministry of Rese- form of sunnatullah that contacted with arch, Technology and Higher Education Islam. Adat was patterned and cultured (DRPM) for funding this research in the habit, inevitably had to be free from the Fundamental research scheme. elements of shirk, khurafat and bid’ah since they were contrary to Islamic values. REFERENCES

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