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Pamenan As an Aesthetic Concept of Creating a Wayang Padang Theatre

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Pamenan As an Aesthetic Concept of Creating a Wayang Padang Theatre Pamenan as an Aesthetic Concept of Creating a Wayang Padang Theatre 1 jurnal tari, teater, dan wayang Sahrul Nazar volume 1 number 1, May 2018 Jurusan Teater, Institut Seni Indonesia Padang Panjang page 22 – 35 Abstract Wayang Padang Theater performance, perceived from the communication perspective, commonly uses a lapau—a traditional coffeestall (pamenan kato aesthetic (pamenan mato). Pamenan philosophically.)—style dialogue. Dialogue Meanwhile, plays an essential Wisran roleHadi in also the performancemakes use of that visual can provide a playful sense that sometimes soundsis defined like as there a game, is a misscommunication both creatively or in presenting an entertainment through words. Pamenankato is a technique or an altered meaning. This is actually a distinct characteristic of Wisran Hadi The society itself is quite appreciative in absorbing the words uttered by the actorsused by on Wisran the stage. Hadi On in he creating other side, a work the of visual art that aesthetic can entertain or pamenan the society. matois related with thevisual elements shown on the stage. The aesthetic concept of the characters, the costumes, the movements, and the organization of stage, the play can be seen from the use of words or expressions, the flow of the story, his Wayang Padang performance. music and lighting. These elements are effectively applied by Wisran Hadi in Keywords : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; Abstrak Wisran Hadi Pamenan sebagai Konsep Estetis Penciptaan Teater Wayang Padang. Pementasan teater Wayang Padang, ditinjau dari segi komunikasi, menggunakan dialog gaya lapau atau warung kopi (pamenan kato). Sementara itu, ditinjau dari pamenan mato). Pamenan diartikan sebagai permainan, baik permainan secara kreatif maupun segi estetika visual, Wisran Hadi memakai keindahan lihatan ( ini. Dialog dalam Wayang Padang seperti bermain-main, kadang-kadang tidak permainan secara filosofis. Dialog menjadi hal yang utama dalam pementasan menghadirkan hiburan lewat kata-kata. Pamenan kato seperti ini merupakan menyambung dan diplesetkan. Hal ini merupakan ciri khas Wisran Hadi dalam Masyarakat cukup apresiatif dalam menyimak seluruh kata yang diucapkan olehcara Wisranaktor di Hadi atas pentas.dalam membangun Estetika visual karya atau yang pamenan bisa menghibur mato berkaitan masyarakat. dengan permainan yang terlihat di panggung pementasan. Estetika konsep penciptaan yang mengarah pada permainan yang terlihat, meliputi unsur kata atau ucapan, cerita, tokoh, kostum, gerak, tata pentas, musik, dan cahaya. Unsur inilah yang Wayang Padang. Kata kunci : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; dipermainkan oleh Wisran Hadi dalam pementasan teater Wisran Hadi 1 Correspondence: Jurusan Teater, Fakultas Seni Pertunjukan, ISI Padang Panjang. Jln. Bundo Kanduang, Padang Panjang. E-mail: [email protected] HP: +628126773609 22 | Received: 3rd February 2018 Last revision: 23rd March 2018 Dance & Theatre Review | volume 1 number 1, May 2018 Introduction for the name of the Sumatra Barat Province Capitol, also means a large savana, an area Pamenan without tall, woody plants (KBBI padang’ is a situation is definedPamenan as a ‘game’ as a gameand can of which is open and bright. Wisran, 2008:does not 1087). use wordsalso be definedin Minangkabau as ‘the beloved’, Sumatra (Dt. SamponoBarat, is ItWayang can also Minangkabau explain that ‘ Wayang Padang’ Dirajo, 1972: 270). Minangkabau’ especially refers society way of thinking. The word pamenan ‘ ’, butPadang ‘ ’ refers to an isderived frequently from theused culture in thatpepatah, influence petitih, the administrativesince the word zone.‘ In this case, not all Padang pasambahan, mamangan adat, etc. It shows peopleto a cultural are Minang space, while, while ‘ Minang people do that words are essential Minangkabau culture. not always live in or come from Padang. Wisran Pamenan is not just a folk game but also Wayang Padang as functions as a thinking concept in creating an enlightening or brightening performance. arts. The pamenan TheHadi performancetried to generalize also has a complexity of works of art Wayang Padang are taken from issues such as customary, religious, social, the patterns of Minangkabau patterns in folk Wisran games Hadi’s that politic and ecomonic problem. It critizes the adopt the Minangkabau philosophy. contemporary issues and this makes the work A.A. Navis states that folk games in of arts even more treasured. Minangkabauare open folk arts, they are created by people for people. This is in Discussion accordance with the democratic society that supports the philosophy of unity and Wayang Padang, a performance by and customary values, as well as economical Minangkabautogetherness amongcan easily human experience beings changes (1984: valueWisran that Hadi, becomes carries some a superior religious, value cultural, of 263). Hence, the manifestation of arts in the Minangkabau culture. The superior Wayang Padang was performed characteristic is well wrapped in the concept atcaused Graha by Bakti the Budaya, influence Taman of otherIsmail cultures.Marzuki, of pamenan. The use of pamenan is an effort Wisran Hadi’s to consider tradition in enriching modern portrayed the existence of those changes. theater so that contemporer performance Jakarta, on 14-16 July 2006. Thewayang performance’ that is has more universal values and stronger taken from a Javanese term in art. According Indonesian taste. Through Wayang Padang, toWisran Soetarno, Hadi usedwayang the wordoriginally ‘ meant “to Wisran created a performance that Roland wayang is related Barthes mentions as an intertext work by to the rotation of the covered or hidden globe. colaborating various texts within one single Recently,cover”. For Wayang Javanese people, text. Respectfully a text which is a web of the ayang can be also is defined as “shadow”. The aesthetic concept in Wayang However, philosophically, w Padangquotations is from from the the traditional past history Minangkabau (1981: 39). defined as a shadow or reflectionwayang” ofsince human the society that refers to an expression that says actorscharacteristics use the technique(Soetarno, which 2005: is152). applied in “nan baik budi, nan endah baso” (the good wayangWisran performance, Hadi uses with “ the use of dolls or decorum, the beautiful language). The word scarecrows in the performance. There is the dalang—the director, a story line, and shadow ethics and aesthetic. Nothing is considered ‘good’ is understood as a combination of Wayang Padang, the perception is drawn beauty is meaningless without decorousness. largercharacters. by making However, the indalang the performance as the person of as good if without benefitsndah’ and (beautiful) functions, sois who determines the situations or conditions something that is still within the law of Padang’, standing ethics.Meanwhile, the word ‘e in the scenes. The word ‘ 23 Sahrul Nazar, Pamenan and Wayang Padang Theatre Pamenan at Lapau style. The language game that they play by debating or symbolizing about their youth. So a lapau is not only designed for young Minangkabau human characteristic that people but also accomodate most members Wisran Hadi created words to illustratebersilat of the society. lidah’ or war of the tounges, as depicted in the A lapau usually looks like an ordinary Wayangenjoys debating—the Padang text byexpression cutting the is ‘words/ coffee stall. Inside, we can see a display of syllables in such a way so they will create snacks or traditional food that normally new meanings. Each word when standing accompany tea or coffee. In front of the alone will create a new word or it creates a lapau, there is a verandah with long tables new meaning when combined with another and benches to serve the food and drink that word. The cutting of word or syllable, such people order. Even though people can visit a lapau in their leisure, there are certain times when the lapau barking—willas ‘anjing—dog—and create givena different a space, meaning. and the is in the morning after the morning prayer Thiscontinued word gameby the is wordfrequently ‘menggonggong’— played by the will be very packed. The first Minangkabau society when they gather in a the afternoon prayer (Solat Ashar) until the coffee stall which is usually called lapau. timeuntil 08.00they need a.m. Theto do next their peak evening hour isprayer after lapau is a place (Solat Magrib). The last is after the last prayer to learn how to mingle and socialize to reach of the day in the evening (Solat Isya) when adulthood.For the At new a lapau,generation, they learn about the people can gather to chat, maota-ota, exchange culture of shame, tolerance, respect so the information, play koa or domino.2 Those games young people in Minangkabau will choose can take hours and sometimes even reach the a proper place to hang out since a stall is ka lapau (to the designed for various audiences, such as urang stall) is an interactive and democratic culture sumando, ninik mamak, or young people. At a ofmidnight the Minangkabau to finish. Therefor, people, which is well lapau, they practice to use a proper language known as “lapau democracy”. The entity of pamenan at a Lapau that leads to raso jo pareso (emotion and logic/check). Figure 1. 2 Maota means talking or discussing a certain theme or topic. Koa is a card game originated from China which is wellknown as ceki game at some other places in Indonesia. Domino is a game without paper card, but it uses a kind of melamine or solid fiber. In some places in Minangkabau it is also called sampilang. 24 Dance & Theatre Review | volume 1 number 1, May 2018 At a lapau, all humans are considered or the actors do not have anymore opportunity equal. The only thing that shows the to negotiate since they were already forced to difference is how each individual is able to communicate and socialize with others. Each individual is encouraged to keep trying which leave their fields. In the story, the strictness in Minangkabau malawan dunia shown by the chief is illustrated as a selfish urang’.3 The value reached in a competition Wisrandecision plays that iswith unbeneficial words as forpracticed the others.
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