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Silat As the Source and Identity of the Minangkabau Ethnic Dance

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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 move- ments. 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 espe- cially 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 ha- di 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 as a 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 creati- vity 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.
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