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Minangkabau Dance in West Sumatra: Tradition,Training and Tourism

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Minangkabau Dance in West Sumatra: Tradition,Training and Tourism Minangkabau Dance in West Sumatra: Tradition,Training and Tourism William Peterson While the Minangkabau dance reflects traditions of the Minangkabau people of Sumatra, Indonesia, it is evolving in the context of increasing tourism. William Peterson provides insights into the development of the dance ance among the paying special attention to three Traditional Beliefs and Dance Minangkabau people of areas: 1) the way in which D West Sumatra balances a traditional belief systems are The system of traditional beliefs, number of forces; though its reflected in Minangkabau dance or iiclcit as it is known in the content continues to reflect and music; 2) the relationship Indonesian language, is deeply traditional belief systems, it is between the regional dance inscribed in Minangkabau dance. increasingly informed by the academy in Padang Panjang, West One of the key elements of regional, national, and Minangkabau adat is international pers- a matrilineal system pectives of young which predates the dancers and choreo- arrival of Islam in the graphers trained at region2. To the dance academies. At Minangkabau, adat the same time, Min- serves as a central angkabau dance is organising principle now being seen by a which regulates all growing tourist social exchanges and audience, a factor provides a set of which has altered the meanings for the conditions of re- 'Tari Pasambahan', Sakato Group phenomenon found in ception, as well as the daily life3. Elements structure of a dance performance. of adat are still very much present This report will focus on the current Sumatra and Minangkabau dance in Minangkabau dance and music state of Minangkabau dance as it as performed in the region; and 3) today, even at a time when these is taught, disseminated, and the nature of dance performances forms are reaching out to a wider performed in the Minangkabau in the highland town of Bukittinggi. audience of non-Minangkabau. highlands of West Sumatra1, while SPAFA Journal Vol. 6 No. 1 5 Minangkabau dance is largely Minangkabau dance known as the leader or penghulu, offers a folk tradition, rooted in the Tari Rantak, martial arts protection and guidance by rhythms of rural life and often tied movements are used to convey a spreading his "wings" and to important events such as harvest particular aspect of adat, in this encircling the remaining dancers festivals, or adat ceremonies. case "the readiness and bravery of who represent Minangkabau youth. Stylistically, it has much in Minangkabau youths in defending The teachings embodied in these common with pencak silat, the their homeland" (Saliguri). The two dances in many ways mirror martial art form found throughout choreography of the Tari Rantak the respective positions of women the Pan-Malay world. The features men and women engaging and men in Minangkabau society; Minangkabau version of silat is in vigorous foot-stamping, intense while women are valued for the characterised by a low stance, drum-beating, and rigid line continuity they provide the family frequent kicks, formations which and their connection with the land, evasive use of the appear martial at the actual civic life of the aims and hands, Minangkabau dance times, all of community is largely male- and is generally is largely a folk which is appro- dominated. Thus these two dances considered more tradition, rooted in priate given the when taken together can be seen rhythmic than the rhythms of dance's prog- as a reflection of the way in which other versions of rural life and often rammatic char- the Minangkabau have reached an the form (Alex- tied to important acter. Among the accommodation between the ander). Like events such as Minangkabau, all original, matriarchal culture, and Minangkabau harvest festivals, or agricultural Islam, with its stress on spiritual dance, the overall adat ceremonies. property passes and moral guidance largely at the pattern of through the first hands of male elders. movement in born female in The patterns found in the silat is often indirect and circular, the family; thus it is consistent with music which accompanies Min- with the fighters stalking one the role of women in Minangkabau angkabau dance can also be another and balancing out one society that they execute all of the interpreted as a reflection of adat, another's movements rather than heroic, vigorous movements according to Minangkabau attacking directly. The footwork carried out by the men. choreographer and dance teacher can be quite vigorous while the Yet another dance, the Tari Indra Utama (19 May 1993). The arms and hands are kept well away Alang Babega, reflects a key ensemble of percussive instruments from the torso. The link between feature of public life in which accompanies Minangkabau dance and silat is acknowledged Minangkabau: the relationship of dance is similar to, though smaller by presenters of dance in the young to the head of their clan. than the Javanese gamelan. The Bukittinggi; in an evening's This relatively new dance principal percussive instrument, program, dance and silat are choreographed by Gusmiati Suid4 the talempongi, is similar in shape presented side by side. depicts this key relationship by to the Javanese bonang6, and is Dance frequently serves as a tool evoking the movements of a pitched to approximate Western through which adat is disseminated sparrowhawk in flight; the tuning, with eight tones. These and reinforced. In one popular sparrowhawk, representing the clan sets of talempong engage in 6 SPAFA Journal Vol. 6 No. 1 vigorous exchanges with one of Minangkabau adat as it relates visiting the academy in May of another during performance, to notions of democracy and 1993, I listened to an ensemble evoking the rhythms of human conflict resolution. rehearsing traditional music from dialogue; according to Utama, that the Riau Archipelago which dialogic music is an analogue of Minangkabau Dance Training sounded much like flamenco; saw Minangkabau democratic prin- students rehearsing the 77/77 ciples (Utama 19 May). Traditional Minangkabau dance Payung, a courtship umbrella Utama's assertion needs to be and music is taught in West dance which is essentially a contextualised in terms of the Sumatra at the arts Minangkabau concept of demo- academy ASK.I (Akademi cracy; Minangkabau tour guides Seni Karawitan Indo- and Western anthropologists7 point nesia) in Padang Panjang, out that unlike Western democracy, a small provincial town Minangkabau democracy involves in the foothills leading a lengthy, communal discussion of into the Minangkabau differences, giving equal time to heartland. As the minority opinions as the issue is principal training ground debated so completely that an for professional dancers eventual consensus is reached. and the institution where One could argue, as some virtually all of the most Minangkabau tour guides do, that important Minangkabau Western democracy ensures the choreographers have tyranny of the majority over the either trained or taught, minority, while the Minangkabau its guiding philosophy system ensures that minority voices shapes the present and are always heard. Someone future of Minangkabau defending the Western position dance. ASKI is one of might maintain that the six arts academies in the Minangkabau form appears to country, and the only one involve talking an issue to death, in Sumatra. Thus, not to the point where only sheer surprisingly, Minang- exhaustion, and not the strength of kabau dance features ideas, eventually necessitates a prominently in the Puti Limo Jural final compromise. Whatever curriculum there. position one takes, it is precisely The academy also endeavours Portuguese concept, but with this sort of lively, rapid-fire, back to expose students to a wide range Malay movements; sat in on a and forth dialogic structure that of dance forms from the traditional session in which students polished Utama is referring to when he to the modern, while also up their steps for a Western chorus- asserts that the musical lines of the introducing them to forms from line routine; and witnessed a talempong are concrete expressions Indonesia's other regions. While Muslim instructor, who was SPAFA Journal Vol. 6 No. 1 7 wearing the tudung (traditional out that some village residents have Dance in Bukittinggi headdress), leading a group in a complained that during their brief traditional Achenese dance. one or two week residencies, One of the few regular, income- Throughout my stay there, student dancers are "disrupting earning opportunities in West teachers, administrators and their traditions" (152). While this Sumatra for ASKI-trained dancers students all stressed the importance may be true, dancers who were is to perform with one of the four of learning to create "a new dance canvassed at ASKI feel that what groups appearing at the local with traditional roots", sometimes they are learning and transmitting Sanggar Seni (cultural centre) in even using the same phrase to is part of a living tradition which the highland town of Bukittinggi. describe this aspect of the school's must either be willing to adapt or While some dancers continue their mission (Esten, Utama 17 May risk the possibility of dying out. training and eventually leave the 1993). Toward that end, ASKI Whereas scholars, in their search region for studies at dance 'Pencak Silat', Saliguri Group Minangkabau Heartland 'Tari Piring', Sakato Group engages teachers of traditional for "authenticity", tend to scru- academies elsewhere in Indonesia, Minangkabau dance from the tinise and validate performances
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