Harmonia: Journal of Arts Research and Education 19 (1) (2019), 98-110 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.v19i1.19185

Acting, Movements, and the Three Important Components Configuration in Marginalizing Randai as an Entertainment Show

Indrayuda Indrayuda

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

Received: March 18, 2019. Revised: May 18, 2019. Accepted: June 19, 2019

Abstract

The purpose of this research is to reveal how marginalized Randai as a performing art in the life of Minangkabau’s people and their social culture in West Sumatra. This research is based on qualitative methodology with a descriptive method; this research is focused on the marginaliza- tion of Randai as the consequences of its lack of acting techniques, movement, and configuration. This research involved traditional artists, dance and Randai artists, indigenous elites, and the people managing the show. Data collection using live monitoring on the Randai performance and doing many interviews related to Randai as an art performance in Minangkabau’s people’s life. Besides that, the data also collected from documentary and literature studies. Data analysis was done using the ethnography method. The results showed that, in reality, the weakness of the Randai show is located on the acting, movement, and its configuration. The weakness of those three key elements is marginalizing the existence of Randai as an art show in social culture life. The lack of acting, movement, and configuration in the performance does not match the current demand of the people.

Keywords: Randai performance, acting, movement, configuration

How to Cite: Indrayuda. (2019). Acting, Movements, and the Three Important Components Configuration in Marginalizing Randai as an Entertainment Show. Harmonia: Journal of Arts Research And Education, 19(1), 98-110.

INTRODUCTION one of the national cultures even after its change during the colonial era. Today, The Minangkabau society has many Randai becomes a cultural heritage among pretty popular performance arts, one of the Minangkabau people and are still per- which is called Randai. Randai is a local formed both in people’s own nagaris, and product that was made by the Minangka- overseas. bau society in many nagari (villages). Eve- These days, the development of Ran- ry nagari has a certain characteristic in the dai performances faces obstacles; this can aspect of the movement, costume, and mu- be seen from the decline in the number sic in its Randai arts. To this date, Randai of spectators and the next generations of performances can be seen in many events Randai. The researcher sees that in various by the Minangkabau people in their naga- villages in districts and cities in West Su- ri; furthermore, Randai also got culturized matra, Randai shows are often left behind and taught by the urban society and by by the audience, even though Randai is many college students. Randai has become performed in front of its community; thus,

 Corresponding author: Jl. Prof. Dr. Hamka, No.1 Air Tawar Barat Padang 25132, Indonesia E-mail: [email protected]

98 Indrayuda Indrayuda, Acting, Movements, and the Three Important Components Con- 99 it can be said that the Randai show has and videotaped important moments from lost its audience. Although the frequency the Randai performances. of performances has not decreased signi- Data is collected through interviews, ficantly from the early 2000s, the audience both structured and unstructured, which has indirectly marginalized Randai from were guided by the interview guide sheet. the entertainment arena in West Sumatra Another data collection tool is direct ob- today. Researchers obtained information servation, where the researcher observed from several informants that the Randai the flow of each Randai show. In - hisob show was considered to be less relevant to servation, the researcher focused on two the rapid development of people’s artistic aspects, the form of packaging visually tastes. Indirectly, technological growth has displayed on Randai, and the social set- changed the mindset of the public artistic tings as well as audience responses from taste in Sumatra Barat. As time goes by, the Randai show. All forms of observation there has not been any significant changes must be guided by observation sheets. The in Randai performances, so that the public researcher analyzed the data presented by assumes that Randai is no longer part of Spradley, in ethnographic data analysis their culture anymore. techniques which consist of: (1) determi- ning research objects; (2) conducting field METHOD observations; (3) conducting domain ana- lysis; (4) conducting focused observations; This study used a descriptive rese- (5) conducting taxonomy analysis; (6) ana- arch method. The focus of the research, lyzing themes; and (7) writing a report. as well as the object of research, is the is- The researcher conducted multiple sue of the exclusion of Randai performan- data checks which were carried out re- ces caused by the acting, movement, and peatedly and carried out discussions with configuration aspects. These are the most peers to ensure the validity of the data. important aspects of the packaging of the Data triangulation was also carried out show that need to be highlighted qualitati- when collecting the data on the field so vely. This research was conducted in seve- that the researcher obtains data certainty. ral rural and urban areas in the province of In addition, the researcher examined the West Sumatra. Researchers chose several validity of the data with the help of several key informants, namely, Randai tuo (el- experts and mentors who were experts in der), Randai actors, and Randai musicians. the performing arts, which were conducted Other informants are managers of tourism in the focus group discussion activities. and entertainment performance as well as the general public and customary elites RESULTS AND DISCUSSION and government elements. In addition, the researchers also selected informants from Randai Marginalization as a Performing the owners of art galleries, performance Arts Entertainment art researchers, academics, and the Randai The desires of people’s tastes have an performing arts community. impact on the form changes and the packa- The key instrument in this study is ging of performing arts, both modern and the researcher himself because the resear- folk performing arts. Nowadays, the dy- cher acts as the designer and direct actor namics of people’s tastes are moving for- in collecting research data. The researcher ward rapidly; this is due to the ease with also uses other devices such as audio and which the public accesses all information audiovisual recording devices; these tools related to the form, pattern, and style of function as an instrument in taking field the performance art intended. Thus, the data at the study site. In addition, in order public wants a variety of new styles and for the data to remain original, faithful, and variations of the art form. People always easy to store, researchers photographed want things that are new, even if they re- 100 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 98-110 quired to be commodified, elaborated, or ration. Performance art like this is a form recycled. This has an impact on the estab- of entertainment performance art concepts lished art; established art does not want to that must be addressed by creators from adapt according to the wishes of the audi- various studios and production houses. ence. In the end, arts like this will be mar- Desfiarni (2013. P. 128) said that ae- ginalized in the market of entertainment sthetic elements such as movement, cos- performing arts. tumes, and other factors that build the Referring to the growth and deve- value of an art performance, will affect lopment of information technology, all ele- the imagination of the audience. In turn, ments related to the performing arts were the performance will be determined by its affected by the flow of change. Indirectly, aesthetic appeal, such as movement that is established traditional arts need to be de- packaged in a form of work of art. Refer- veloped; things that are considered obso- ring to the Randai show, it turns out that lete need to be adjusted and reconstructed, movement and acting, as well as its confi- or modified or given a touch of color and guration, are important elements within a other art styles. If this is not done, then the unified composition of the works of Ran- existence of the artwork will be easily eli- dai art. The reality aspects of acting, mo- minated from the arena of entertainment vement, and configuration that exist in the performing art competitions. The market Randai show has not been able to make will move from liking the arts to marginali- Randai as a cultural focus, both for rural zing them. One of the best ways is to bring communities and urban communities in about a change in the form of packaging West Sumatra. The elements of movement, for the art show, just like Randai art, whe- acting, and configuration should be of se- re its existence has begun to be reduced by rious concern by current Randai artists in the weakness of its own artistic death. The West Sumatra. issue of important elements in the Randai Randai, at this time, naturally and work is still structured like that too, and gradually began to recede from circulation. there is no change in the elements of ac- This incident means that the performance ting, dialogue, configuration, and the lega- of Randai as an entertainment commodity ran movement. is declining in value. The Randai audien- As stated by Jazuli (2001, p. 189), the ce community is increasingly diminishing occurrence of globalization, which has led in every Randai event. A Randai expert, to the presence of the entertainment and Saparman, said that Randai was too rigid tourism industry, has an impact on the with its structure and packaging so that conceptual framework for the performing the movement and acting of the actors arts. This means that the presence of the who acted as characters in the show had entertainment and tourism industry has not been able to establish good interactions changed the face of performing arts pro- with the audience. The audience felt they ducts, which are oriented to the interests had not found any communication and and desires of the market. Production hou- were not entertained from watching the se or art studio as a manufacturer of works Randai show. of art will give birth to works of art that Referring to Soedarsono’s statement focus on working for the needs of tourist (1992, p. 12), good entertainment art is to consumers and consumers of the enter- have elements which include: (1) the art- tainment industry. Thus, a transaction ta- work is a reflection of existing traditional kes place between the artist as an art crea- art; (2) from the aspect of presenting the tor and the buyer as a connoisseur, which work, the performing arts must have a concerns the form of the packaging of the concise composition structure; (3) full of show. As a result, the show’s packaging variety and enjoyable; (4) the work is ea- patterns appear in the form of solid, attrac- sily digested by the audience and not too tive, demonstrative, and are in a short du- complicated. Indrayuda Indrayuda, Acting, Movements, and the Three Important Components Con- 101

Referring to what was explained by a communication media for government Soedarsono and related to the current con- development messages, especially dition of the Randai performance, there concerning the Keluarga Berencana (family has not been a meaningful relationship. planning) programs. But what has chan- The reality is that the Randai performan- ged is only at the level of the story script, ce is still complicated; the narration is too and not on the structure of the show, ac- long to be conveyed, which makes the ting techniques, appearance techniques, audience bored. The tapping pattern of or composition. Today, what is inherited the galembong often repeated even though by Randai artists from their teachers or the story has changed from one scene to previous heirs, remains that way and has another. On the other hand, variations in never changed. Along with that, people’s terms of showing various combinations demands for Randai performances with of movement techniques, the configura- innovative packaging are getting higher, tion has not completely changed. In the so this has become a problem for Randai end, every Randai show performed by the artists. As a result, the inability of these Randai community has a small audience. traditional artists to pack with new colors When shown as entertainment for the ge- and styles at the Randai show has an im- neral public, most of those who come to pact on the marginalization of Randai as watch the show, are traditional artists and an entertainment performance art in West local elites. This means that the communi- Sumatra. ty has marginalized Randai art as a perfor- Changes in the Randai show are ming arts show in West Sumatra today. only at the level of the story script, incor- Efrida (2016, p. 64) says that art in porating new song elements in the Randai the Minangkabau community is somet- accompaniment music, as well as the pre- hing that is considered valuable if it has sence of a small portion of dance moves been given value by the community. This and a significant increase in the frequency means that the community will provide of the galembong. But it is the tapping pat- value to the art if the art is in accordance tern of the galembong that often repeats and with community needs. If the Minangka- has been the same since the 1980s, causing bau community considers the art to be ir- the Randai show not to be dynamic, espe- relevant to the customs and habits of the cially since it has lost its pencak silat bit. community, then the art is considered to This pencak silat factor causes the Randai be of no value, so that the art will slowly show to be less attractive to the communi- be excluded from the community life. The ty because the identity of the village where value of art by the community can be caus- Randai grows and develops is seen from ed by the form, use, and benefits of the the movements of pencak silat, which are art. Therefore, in the Randai show, there played by the Randai artists. Eventually, are several elements of the composition of Randai lost its pencak silat identity, which Randai that are less relevant than the cur- resulted in the decline of local fanaticism rent public taste in art. In turn, the commu- towards the Randai performance. As a re- nity considers the Randai performance to sult, Randai shows have increasingly been lose its artistic value. Therefore, the pub- marginalized by their own people. lic has marginalized Randai performances unless there has been a fundamental chan- Randai Marginalization from the Acting ge in the elements of the composition, such Perspective as in movement, costumes, music, or in the According to the development of acting. the form of performance from traditional Randai, in its current form, has not entertainment art, there have been many changed since the era of independence, shows that are packaged in an attractive or even the Order Baru (New Order) era, and modern way, namely the presence of where at that time, the Randai show was stage makeup. The acting done is proces- 102 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 98-110 sed with gesture techniques and communi- to Armeynd, in fact, traditional Randai cative expressions. The development was is in a literary value better than its acting triggered by the emergence of information technique. The speech literature can bring technology; it seems that the emergence of the audience’s imagination more into the various YouTube videos that are easily ac- past. Through literary performances, the cessed by people in various corners of the actors can manipulate the audience’s fee- region. In turn, it has influenced the mind- lings, as if they were brought to the past of set of the audience of the traditional per- Minangkabau. forming arts in West Sumatra. The impact of some entertainment shows on YouTube has stimulated the imagination of the public towards a new spectacle. Thus, people will eventually compare what they have just watched on YouTube with what they have received as cultural heritage, which they have used as an entertainment art so far. In turn, they concluded that it turned out that the Ran- Figure 1. Acting techniques performed by the dai entertainment show had lost its aest- actors in the Randai performance hetic appeal, this is due to the poor quality (Indrayuda’s Documentation, 2019) of the attractiveness of the actors in acting, their expressions are unable to reveal the Ismar Maadis Datuak Putiah said role they are playing. Randai had lost its appeal in the aspect of As Rizal Tanjung explained, accor- acting or character. Especially at this time, ding to the dramaturgy theory, Randai is Randai players in acting are less able to currently losing actors who are able to act move to open space, so that the blocking expressively and communicatively. There- they do feels stiff, and they often stay in fore, if the show is successful and respon- one place without doing anything. The is- ded well by the audience, then the artists sue of acting is bothersome for the audien- must work on their acting techniques be- ce because the audience does not get any cause so far, the Randai show only featu- surprises from the expressions and acting res actors with acting techniques who have styles of the actors. The Randai show is not been able to explore their body when considered boring, so the audience feels acting. The artists must work on their ac- “tortured” by their feelings and thoughts ting techniques because the Randai show to understand the Randai show, which is is packed and focuses on the messages and considered too long as an entertainment literary art of speech delivered by the Ran- show. dai performers. The researcher observed that in some Armeynd also criticized the issue of traditional Randai performances so far, acting; according to his observations, Ran- they were too focused on the delivery of dai shows have not been able to provide the story by packaging the composition of something spectacular in terms of acting. the show so that it takes too long for the The show director still struggles to direct audience to watch this not so interesting the players in emulating the characters entertainment. In fact, every actor per- they play with expressive and communi- forms with a rigid appearance; the tran- cative acting. The actors or the players of- sition between dialogue places from one ten only talk without being able to act well, room to another is less done. Actors are of- even when the actors are having a conver- ten too long in dialogue with other actors sation with each other. Still, the acting does in one room, making the audience bored. not appeal to the audience at all and often The acting from the actors is not done with considered corny. Objectively, according good gestures that are flexible either so Indrayuda Indrayuda, Acting, Movements, and the Three Important Components Con- 103 that their expression can not reach the ma- The packaging that includes elements such ximum potential from the aspect of acting. as composition, movement, expression, as As a result, the audience has not been able well as acting, will be the focus of the at- to enjoy the acting of the actors fully. tention of the audience. So if the acting ele- Ade Suyandra said that many tradi- ment is problematic, then the show will dis- tional directors in Randai shows have not turb the imagination of the audience, and been able to develop the talents of their the audience will move from their seats. actors in acting. Many Randai trainers let Therefore, the focus of the audience is on their actors improvise on the stage without the innovative change of a show, meaning focusing on their acting techniques. They that an entertainment show must make an are more focused on dialogue techniques update of its component elements. If there using oral literature. The trainer’s empha- is no renewal, then the performance will sis is only on speaking techniques using be abandoned by the audience. good oral literacy so that actors are able to Along with that, Rusliana (2011, p. dialogue by using classical Minangkabau 99) said that the marginalization of tradi- literary techniques to the full. However, tional performing arts in the competitive the dialogue without being accompanied entertainment performance art market is by good acting techniques, then the perfor- caused by inaccurate forms, motion de- mance Randai feels bland, thus making the sign, music, costume design, and dyna- audience less able to feel the interesting mics, working patterns, and the perfor- and unique actions by the actors. mance techniques that never change. In According to Viveri Yudi, after Ran- addition, the packaging of the presentation dai integrates with drama, which in turn is not neatly patterned, and the elements uses story scripts and has actors who will of the composition have not been explored portray the story, the acting of the perfor- properly. Because composition elements mers inevitably must make the audience such as the actors’ acting need to be wor- to fantasize so that the Randai performan- ked on seriously, the actors need to be able ces really able to penetrate the minds and to play roles with good quality and are feelings of the audience. However, if the able to express themselves that can make players’ acting is sluggish and does not the audience hypnotized. produce good gestures, the show will fail, According to Rangga & Abdillah and there will be a chance of Randai to be (2019, p. 7), a search or exploration pro- left behind by its own audience. cess to find a form of characterization that As Rizal Tanjung said, that Randai wants to be played by each actor needs needed to transform into an innovative to be done step-by-step and requires ap- performing art, one of the things that nee- propriate techniques. Some techniques are ded to be changed was the acting techni- very necessary so that actors understand que since Randai has now been marketed well how to approach the character being to the tourism market and the entertain- played. This is inversely proportional to ment industry both for local, national, re- the Randai show, where the Randai show gional and foreign tourists. Therefore, fun- does not yet have an actor who plays the damental changes need to be made from character with the right technique, so the the acting techniques of the actors, so that show is not communicative. the theater performances can be enjoyed In reality, so far, Randai shows are by the audience. But the reality is that the often lacking in acting techniques, so the Randai show has begun to be abandoned performances are less attractive from the by the audience; this is due to the weak ac- entertainment aspect. Thus, the weakness ting techniques performed by the players. of the acting technique helps to margina- Susmiarti (2015) said that the show lize the existence of Randai as a spectacle that was often left by the audience was the of public entertainment in various naga- phenomenon in the form of the packaging. ri (villages) today in West Sumatra. Actors’ 104 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 98-110 weaknesses in acting have been detrimen- In turn, Randai performances will not turn tal to the quality of Randai performances into a low-audience-count show. Therefo- as an art of folk entertainment. The issue re, one of the ways that they do is change of actors who have not been able to act the old acting techniques by bringing up properly has an impact on the lack of ex- innovative acting techniques. With hope, if pressiveness of Randai shows, and this has this change can be made, then the Randai encouraged the audience to marginalize show will not become a marginal art any- Randai performances in various places. more. Referring to the fact that Randai art The pros and cons of the Randai show has entertainment value for the Minang- depended on how the Randai players pre- kabau people, Randai cultivation as an sented the text stories in the sense of ha- entertainment media must be able to pro- ving a dialogue and acting and moving on vide something of entertainment value to stage or arena (Sakti, 2010, p. 166). Refer- the community, both through movement, ring to what was explained by Sakti, this music, and the acting of the players. If one time, the public sees the Randai show not element is not able to be presented proper- being able to be delivered by the players ly, the Minangkabau people, as a critical well, especially from the acting, aspects community, will leave and marginalize the of literature, and movement. As a result show even if Randai is a cultural heritage of the poor performance of the show, the of the Minangkabau people. This means community has slowly marginalized the that the aesthetic tastes of the performing existence of Randai as an entertainment arts of the Minangkabau community lie in performance art in West Sumatra. the imagination and personal interpretati- Randai Marginalization from the on related to the objects they see (Hidayat, Movement Perspective Indrayuda, I., & Syahrel, 2013). Based on the study that the resear- Minangkabau society is very dyna- cher had done, the artistic and aesthetic mic and very responsive to various chan- power of the Randai show currently lies ges. As Kuswarsantyo (2008: 41) says that only in the literary elements and the ga- the growth of art is like a chain; if one bre- lembong pattern, while the dominance of aks, it will break the other. Therefore, chan- the galembong pattern has degraded the ges in the performing arts will be interrela- pencak silat movement. As a regional art ted; the relationship between the art form that originally began with the motion of and the tastes of the audience becomes an pencak silat, the silat aspect is no longer inseparable link. Therefore, if there has not visible from the Randai show. Initially, the been a change in active techniques to more composition of the movements in the Ran- innovative techniques, then Randai perfor- dai show are movements originating from mances should not be expected to become pencak silat, which is one of the identities the focus of entertainment for people in va- from which the Randai art originated. This rious villages and cities in West Sumatra. means that by only looking at the variance Referring to Kuswarsantyo’s state- of movement and techniques played by the ment above, changes in people’s tastes actors of Randai (Randai players), the au- towards the performing arts essential- dience can already guess that the Randai ly and substantially have an impact on art originates from a particular nagari (vil- people’s desire for improvement of the lage). By focusing on the galembong pattern acting techniques in Randai performances. on the Randai packaging at this time, the Thus, there is a positive response from the impact on the agility and dynamics of the community’s criticism of changes in the Randai show began to diminish, although Randai show model; this response needs to its uniqueness is still apparent. be addressed wisely by the Randai artists. Indrayuda Indrayuda, Acting, Movements, and the Three Important Components Con- 105

tion in the Randai show is a manifestation of the content of the story that will be told through dialogue by several actors. According to Armeynd, the reality is that Randai is simpler in its packaging. In the aspect of the movement, there is often a repetition of motives from one technique of galembong pat to another, and in each Figure 2. The dance movement within the transition scene, always uses the same Randai show. (Indrayuda’s Documentation, motif. The movement on the legaran (cir- 2019) cle configuration) does not change very much from one formation to another. The Today’s society feels their regional varying power of pencak silat movements identity has begun to disappear along with is no longer visible, due to the dominance the dominance of the galembong pat mo- of the more prominent galembong tap and vement in Randai performances because applause. In turn, the audience will wit- the galembong pat is not based on silat (si- ness a stagnant show, and this will have lek in the Minangkabau language). The ga- an impact on the dynamics of the Randai lembong pat is merely a displacement of show, which will become monotonous percussion rhythm in music, meaning that from the aspect of the movement. it is not a part of the movement but rather a Putra (2012, p.169) said that the de- musical sound motif in the form of rhythm velopment of the tourism industry in In- that is transferred to the Randai players’ donesia had stimulated the emergence of pants. The technique of the beating of the- new creativity and new ideas in the form se pants is done by hand and body move- of performance art packaging. Therefore, ments. Still, it is not really the main part of the performance of performing arts in the the main movement that is in Randai. The context of packaging will be a loss for the Randai art originally grew and developed performance art itself because the perfor- in traditional silat pencak silat colleges in mance art is not considered dynamic and Minangkabau; because of that, all the main attractive and revolves around the same elements of movement in Randai shows form, so the performance becomes mo- are based on the movements of pencak notonous and is seen as arid from varia- silat with their variations being the galem- tion. Meanwhile, Indrayuda (2016), res- bong pat as the palam (cue). That is why we ponding to the growth of the performing could call the Randai players as warriors. arts entertainment in the era of tourism, Changes that occur in today’s Randai said that artists are required to continue performance are mainly in the aspects of to develop in accordance with the growth movement, namely the loss of diversity of of people’s tastes. This means that local ar- dynamic and varied movements of silat. tists need not be too idealistic about their Today in the Randai show, what is present work. Thus artists are required to be more is the dominance of the galembong patting creative to renew their art from the packa- motion, which is actually just a sound ging aspects of the show; therefore, the use transfer with additional movement — a of idealism that is still surviving must be rhythm that is transferred from gendang to adapted to new developments in the as- the clapping and patting of the galembong. pect of the movement. This is often done in repetitive amounts Maadis (2012, p. 85) said that these with exactly the same motives, which ma- days, the Randai show is still considered kes the audience bored. In turn, the galem- unique to foreign tourists because of the ga- bong pat and the sound motif never chan- lembong pat, but for Minangkabau artists ge during the performance even though and academic artists in general in West the flow has changed. In essence, the mo- Sumatra, the movement feels monotonous 106 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 98-110 and lacks variety, similar to the views of nity is due to the reduction in the vario- the supporters themselves in various villa- us forms of pencak silat movements in ges in West Sumatra because their identity the Randai show. Although the gesture of as the owner of the Randai art no longer hand-clapping and the galembong patting appears in the movement that exists at the is a unique attraction, because it is done intended Randai show. with less variety and is always repetitive, Based on Maadis’ explanation abo- makes the audience dislike it. The audien- ve, it is relevant to the fact that researchers ce wanted to bring back the collaboration find today, namely that many supporters between pencak silat movements with the of Randai arts are less appreciative of the tapping and the galembong to become an current Randai performances. Local peop- aesthetic and artistic unity in the form of le who feel that they own the Randai art new motifs from the packaging of the Ran- want a change from the element of mo- dai show. vement in the Randai show, i.e., collabo- rating the technique of pencak silat move- Randai Marginalization from the Config- ment with various forms with the rhythm uration Perspective of the galembong pat while still giving a lar- According to Wendy (2014, p. 39), ge portion to the pencak silat aspect. traditionally, the configuration pattern of In the initial tradition, Randai is Randai art is a circle by placing an actor based on the local culture of the owner’s in the middle of the arena of other Ran- community; it means that if the culture dai actors. Similarly, Maadis (2012, p. 53) is no longer carried out, then the culture and Harun (1980, p. 79) also said that the will be marginalized by the community. formation or configuration of the Randai So that the existence of Randai if it is no show is a circle called “legaran.” All acti- longer responded to by the community, it vities such as performing silat, hand-clap- means that in the Randai show, the peop- ping, and galembong tapping and when the le no longer see it as the present heritage actors are having a dialogue is all done in- of the community’s traditions, which they side the legaran. still acknowledge. As a cultural system, Observing the development of con- tradition gives meaning to the behavior of temporary tastes of art both at the local the supporting community, both in social and regional and global levels, art lovers life and in the arts (Hum, and Kuniang, or connoisseurs of art have never liked the 2015, p. 109). Today, people look down on establishment of art. Therefore, established Randai and no longer liken it to new cloth, arts will become cultural monuments and but instead a worn fabric; then Randai will not become an entertainment consumption be marginalized slowly by the community for the audience. Thus, the Randai show is owner. classified by the public today as an estab- Wendy (2014, p. 36) explains lished art with its configuration form. that silek or silat is the identity of a na- Based on the study conducted by the gari (village) in Minangkabau because, researcher in various villages and cities, in the past, the community was taught many viewers give their criticism of the in surau (traditional mosque) about the very monotonous configuration elements problem of martial arts, dendang music, of the Randai show because Randai only and kaba or stories. These three aspects are shows one circle configuration without ha- already present in Randai art. Therefore, ving any variation that can satisfy the au- the existence of Randai cannot be separa- dience when in fact there is an opportunity ted from pencak silat, namely pencak silat to provide the audience with a new experi- whose flow refers to the origin of the Ran- ment by increasing the configuration of the dai ownership area. circle. This has received a lot of criticism It was concluded that the current from the audience. marginalization of Randai in the commu- Along with that, Cauto, Nasbahri, Indrayuda Indrayuda, Acting, Movements, and the Three Important Components Con- 107 and Indrayuda (2013, p. 81) said that art is believes that the show has never changed bound to space and time; old art will die from one form of legaran. According to the and be replaced by new art that is more re- community, if there is an agreement from levant to the tastes of the people who use the community on the changes that should the art. Old art will be able to survive if be made, then changes should be made, old art is given new makeup, so old art is especially from the aspect of the show. To- relevant again to the reality of human de- day many Randai shows are marginalized velopment that uses it. Thus art is not ab- by the community people themselves, and solute; art is not permanent in the eyes of they turn to more dynamic shows and in- society, and art is an imitation that is con- novations such as creative dance or the ta- tinuously flowing so that art can be said to lempong goyang musical performances live in harmony with the lives of people (mixed music). who created and used it. Sugihartono and Falasifah (2016, Based on the evolution of Randai p. 61) said that in today’s performance in the 1920s with the appearance of the show, the most important thing is to do a king’s school in Bukittinggi, it introduced representation of the cultural forms that elements of drama or story in the Randai are rooted in society. The representati- show (Indrayuda, 2013). Pramayoza (2012) on is packaged in a new form so that it is also stated about the rampant performan- more attractive to the audience. This has ces of Tonil Melayu in several areas in Mi- been done by traditional artists in Jakarta nangkabau since 1888. In addition, Wendy in the case of the Lenong show. Therefo- (2014, p. 40) tells of the presence of Malay- re, the show that is watched by viewers is speaking tonil (theatrical play) with the a show that has been packaged in a new Minangkabau dialect and the presence of form, so that the show can be of interest a king’s school, which has triggered the to many viewers. The conclusion from the production of drama performances with above explanation is that every traditional stories. The kaba (story) has given rise to a art performance must be transformed into new evolution in the Randai performance a new form, which can adjust to the desires from only a circular movement play by the of the people’s tastes. silat fighters who collaborated with dra- Referring to Sugihartono’s explanati- mas or stories that use plays or actors in on, it should be done by artists and mana- their performances. Finally, in 1927, a col- gers of Randai in various studios or vario- lection of Randai groups from Payakum- us regions in West Sumatra, so that Randai buh emerged and played a form of Randai performances can be enjoyed and continue that had evolved earlier with the Simaran- to be sought after by the local community. tang story script. It turned out that the Randai performance, The Randai show has evolved since which had been considered a mainstream the 1920s in West Sumatra. Referring to the art, was seen by the public as an establis- problem of transformation and evolution, hed performance art and did not want to right now, the people’s desire to change leave its establishment state. In the end, the order of Randai format as performance the configuration form shown has never art is felt to be no harm. Therefore, the re- changed, so that the Randai performance searcher sees the reality now that the com- is currently lacking in demand by the local munity is saturated with the formations or community. Current Randai representati- configurations that never change, meaning on is still about cultural representations of the audience wants a change in the confi- the past, whereas today, the public wants guration aspect. the representations embodied by the Ran- The reality today is that many peop- dai performances to represent the present le complain about the configuration pre- time. sented in the Randai show, the public 108 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 98-110

CONCLUSION

After observing Randai performan- ces, the reality is that Randai is still con- voluted, taking too long for the narration to be delivered, which makes the audien- ce bored. At the same time, variations in the aspects of movement, music, acting, and configuration techniques are still not found. Randai performances also have re- peating galembong patting patterns even Figure 3. The legaran configuration in the Randai performance. after the story has changed from one scene (Indrayuda’s Documentation, 2019) to another. In the end, every Randai show that is performed by the Randai commu- Artworks are human endeavors to nity has a low amount of audience from bring the dream world imagined; when the public or other art connoisseurs. Besi- fantasizing, an artist is limited by the reali- des that, important composition elements ty of the world that already exists. Besides, such as pencak silat movements, actors’ art emerges from a rebellion of souls. In performances, and configuration have not addition to the artist, the audience is also been able to be presented to the audience a wanderer in the living space (Belvage, as something of value. In turn, randai per- 2015, p. 167). Therefore, art needs to make formances are increasingly marginalized leaps that preceded its era. One of the ef- by the audience. forts in making those leaps was to make The exclusion of Randai at this time various innovations and modifications to in the community is mainly caused by the the composition elements of the perfor- reduction of various forms of the move- mance artwork. If they do not make a bre- ments of pencak silat in the Randai show. akthrough for change, the performance art Although the gesture and the tapping will become a monument that is only seen in galembong pat is a unique attraction, be- as part of past history by the audience. cause it is done with less variety and is al- Therefore, it can be concluded that ways repetitive, and almost exist in every the Randai show from the aspect of its Randai performance, it makes the audien- composition currently has stagnated, ce dislike it. The audience wanted to bring eventually impacting the marginalization back the fusion between pencak silat mo- by the supporting community. One of the vements, hand-clapping, and the galem- aspects of the composition element is the bong pat to become an aesthetic and artistic configuration problem. The configuration unity in the form of new motifs in the Ran- present in the Randai show is very mini- dai show. malist, meaning that the configuration It turns out that the Randai per- only consists of one form of legaran. Cur- formance, which had been considered a rently, At present, the performing arts are mainstream art, is seen by the public as an getting richer with variations from various already established performance art and forms of composition elements, the Randai does not seem to want to leave its estab- show, on the other hand, feels less appea- lished state. In the end, the configurati- ling by the audience by only bringing up on form displayed has never changed, so one configuration form. Thus, the Randai that the Randai performance is currently show is increasingly losing viewers, despi- lacking in demand by the local communi- te efforts to bring the Randai performance ty. Randai images are still about cultural art to schools in West Sumatra. representations of the past. In contrast, to- day, the public wants representation rep- resented by randai performances as repre- Indrayuda Indrayuda, Acting, Movements, and the Three Important Components Con- 109 sentations of the present, one of which is cation, 17 (2). through new and artistic and innovative Jamal, Emral. (2015). “Randai Suatu Wari- configurations. san Budaya Masyarakat Minangka- bau dan Eksistensi Sastra Lisan”, Ce- REFERENCES ramah Budaya di Salimbado Kultural, tanggal 23 Maret 2015. Belvage, R. H. (2015). Pada Suatu Drama: Jazuli, M. (2001). Paradigma Seni Pertunju- Studi Seni Pagelaran dalam Wacana kan. Yogyakarta: Lentera. Pergerakan. Jurnal Kajian Seni, 1(2), Kuntowijoyo. (2006). Budaya dan Masyara- 166-178. kat (Edisi Paripurna). Yogyakarta: Ti- Cauto, Nasbahri & Indrayuda. (2013). Pen- ara Wacana. gantar Sosisologi Seni. Padang: UNP Kuswarsantyo. 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