Pamenan as an Aesthetic Concept of Creating a Padang Theatre

1 jurnal tari, teater, dan wayang Sahrul Nazar volume 1 number 1, May 2018 Jurusan Teater, Institut Seni 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 role Hadi in alsothe performance makes 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 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 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 , etc. It shows peopleto a cultural are Minang space, while, while ‘ Minang people do that words are essential . 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 byBakti 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 game by 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.

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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. in the when “melawan is dunia known orang”—against as ‘ all lapauThe cultural dialogues dialoque. in the Lapau scenes dialoque confirm style that is odds—is determined from other people’s bordered by the strength of the meaning of the condition and achievements, as told through words. The words determine the characters, mamangan and pituah, among others is Baa time, place andoccurences. The same thing di urang, baa di awak.4 A language, for Minang applies in . A randai without words will people, has two functions: as a means of not be a randai. It can be seen that the words kato’ uttered or sung in the randai can determine meaning word and to show courtesy in life the role, place, time and occurences. communicationbaso’ or for attitude. human 5 known as ‘ Wayang Padang is a theater performance that utters words distinctively so that the Pamenanknown as ‘in Word and Dialogue audiences might interpret the meanings in different ways. An example of this is in the Minangkabau habits are adopted by expression of “anjing, menggonggong, kafilah berlalu”—when a dog barks the traveler keep of contemporary theaters in Sumatra Barat. SometimesWisran Hadi some into the idioms communication are played to language change severe swearing word for Indonesian) is cut the meaning in Wayang Padang performance. inmoving. such a Theway soword that ‘anjing’—dog—(dog it sounds like a swearing. is a The same thing applies to the expression of aesthetical values is born in the form of word “kabar burung Penghulu” meaning the news orFrom a play such of techniques, language that a language will create with biases. new kabar’ is Wayang Padangis cut, the rest will mean “burung milik Penghulu” delivered in a distictive technique that makes meaningabout the thechief’s chief’s bird. bird When (bird the canword also ‘ mean theWords audience in Wisran feel enlightened Hadi’s by the chopping male genital). of words or the new meaning it creates. Usually, such story is delivered in an illogical Pamenan at the Balai Adat–Custom Hall way that is far from reality so that the audience can detect that there is something wrong yet Balai adat is a gathering place for the they feel entertained. custom in Minangkabau. This place is used A village chief uses a strict toned dialoque to discuss and debate many current issues, while it also functions to guard the custom there will be no complaints about it. A farmer Minangkabau democracy to tell all farmers to leave their fields and values and ‘syara’.

3 Melawan dunia urang—against all odds—refers to the philosophy that to achieve glory, good reputation, and wealth, people need to continuously compete with each other as stated in the teaching “Mau mulia bertabur urai, mau ternama dirikan kemenangan, mau pintar rajin berguru, mau kaya kuat berusaha.” (wanting glory needs efforts, wanting fame needs winning, wanting intelligence needs learning, and wanting wealth needs hard work). 4 Like people like us. If other peope can do it we will be able to do it. If we can do it, others can also do it. 5 “Kato” is spoken words, while “baso attitudes that lead to courtesy. It is shown from the use of “baso basi” which is a synonym of basa basi—small talk, when they talk about an issue (Interview” has double with meaning. Asmali, Thea prominent first is language person inand Minangkabau the second , isdated human 21

February, 2013, at Lubuk Aro , Sumatra Barat). 25 Sahrul Nazar, Pamenan and Wayang Padang Theatre takes place here since all chiefs duduak samo to every problem faced by he society. They randah, tagak samo tinggi—sit as low and usually have good logic, lots of knowledge and stand as tall—where everyone is equal. At the are able to update themselves with modern custom hall, pamenan has already reached the life. The three aspects of leadership ensure comprehensive level. The leadership aspects that the structure of the will run well in nagari including the pamenan of anak nagari—the meaning and guard the existence of pamenan pamenan of the members of the society. in daily life (the are nation) of village who chiefs, are to religious find the In general, all aspects of leadership leaders, and intellectuals which are known as within the nagari in Minangkabau have the tungku tigo sajarangan—three burner stove— same backgrounds: they have lived in a rumah or tali tigo sapilin—three line thread. These gadang (traditional Minangkabau house), sura three aspects are didahulukan selangkah dan (a small mosque), lapau (coffee stall), and ditinggikan seranting—one step ahead and one rantau (foreign land), and then moving to balai branch taller—meaning leaders who are close adat (custom hall). Respectively, those chiefs to their people. totally understand the life style and attitudes Penghulu—village chief—is a respected of the younger generations, especially those man in a Minangkabau’s village. Penghulu or related to pamenan anak nagari—young also known as niniak mamak in6 the daily life people games. With the combination of tungku is called “datuak”. Each penghulu represents tigo sajarangan that work hand in hand to the existing village and a group of penghulus develop the life standard and welfare of the will choose one penghulu chief to lead. Alim society, the people will not lose their way, create ulama are religious leaders in Minangkabau. unnecessary problems and go into chaos. Their existence is essential to keep the ethics There is another important leader, Bundo in the society based on Islam religion. The Kanduang—mother (woman) that control religious leaders are chosen based on their the power. Bundo Kanduang is the owner of understanding of Islam and they are called the state that function as the legislation of “tuanku”—the master. Intellectuals are people the power. Women is positioned as sterile, gracious, free from the self-destructive image. with vast knowledge that can find a solution

The position of pamenan in the custom hall.

Figure 2. One step ahead and one branch atop show how people respect someone important. 6

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Pamenan in Randai blend in the game. Sitting does not mean stay passive without any role, a player needs to Traditionally, arts and games in Minangka- work by blending in the game and becomes bau are practiced by young people, therefore a playground for other players, so that all anak’ or the actors create a united wave in the game. child, such as anak randai, anak , etc. When an actor plays in the middle of the wave Meanwhile,the players the are coach called is by called using as ‘ “tuo” or and does an activity as if he does not become something or keeps a distance to something, Minangkabau traditional art players ranges he plays his own style without transforming the respected elderly. Hence, the age of the into the character he is playing. There is not adults. a special mark that is presented by the visual fromRandai 10 to 25 yearsuses old,pamenan from children patterns to young by actor, everything is merely presented in words. taking idiom of duduak baparintang, tagak When words are uttered, they are respectively bapamenan (sit when there is things to do, considered as the representatives of certain stand when there is a game to play), something characters. which is related to the creative concept in Working and playing are dualistic Minangkabau society. Randai traditional circle harmony that unite in randai game. A can enlarge and shrink the size of the circle trancendent actor and an immanent wave and it happens quite frequently. When the that give a space of comprehension of the circle shrinks all players clap their hands at relations between human and human and the same time in the middle of the circle as if also between human and God. A randai game they have an agreement in solving a problem. is a collaboration of the learning process that When the circle enlarges, they start to sit (sit the get from rumah to work immanently) and a character stands gadang (Minangkabau traditinal house), in the middle to play trancendentially. (mosque), lapau (coffee stall), and also When Galombang randai (the wave of their understanding of the costums and basic randai) sit down, it starts to work or function knowledge. The border between the two is immanently in order to set the playground and the attitude towards the game. The actors’

Pamenan in randai applies creative concepts of dualistic harmony: duduak babaparintang and tagak bapamenan. Figure 3. 27 Sahrul Nazar, Pamenan and Wayang Padang Theatre behavior is a self interpretation as if he is Duduak bamanuang Tolan kini, becoming a different person. Pamenan mato indak tampak. The art concept of the Minangkabau Peo- (Lubuk Basung tebingnya tinggi, ple in general, including randai, is put in three Ikan dijala mati jatuh, domains within pamenan, they are pamenan Duduk bermenung Anda kini, kato, pamenan mato, and pemenan raso jo Permainan mata yang tidak kelihatan) pareso. The three domains cover philosophi- cal, habitual, moral/religious, educational and social values of Minangkabau People. All of Sitting[Basung quietly Gulf with are youthe tallnow bank those values are united within the visual aes- InvisiblyFishes in playingthe net fallyour and eyes] died Rumah sikola di Piaman Linguistic aesthetic ( ) in pamenan kato Sudah alah baratok balun thetic as illustrated is related in figure to 4.spoken or oral Minangkabau Kini balantai batu juo literature. The presentation of the meaning Buruang lah nampak ka pamenan is given through the language of poetry and Jinak alah katangan balun lyrical prose. The language of the spoken li- Kini di ateh kayu juo terature is full of emotional, spiritual, intel- (Rumah sekolah di Piaman lectual intelligences. Below is the example of Sudah siap beratap belum such spoken arts: Kini berlantai batu juga Lubuak Basuang tabiangnyo tinggi, Burung sudah nampak untuk permainan Ikan dijalo tajilapak, Jinak sudah ke tangan belum

The art concept of the Minangkabau people in general.

Figure 4.

Randai Performance of Intan Korong from Tanah Datar, Sumatra Barat, shows the circle of waves when sitting to work in order to keep the game going, while the actor playing is representing himself. Figure 5.

(Documentation: Department of Theater, ISI Padangpanjang, 2007).

28 Dance & Theatre Review | volume 1 number 1, May 2018

Kini di atas kayu juga) The terms “main” and “main-main” are the concept of pamenan. In there is All is ready but the roof a sign language that involves movements [School building at Piaman and sounds. The sign language with hand The bird is ready for the game movements to block shows that the player is AlreadyNow the tame floor butis from not instone hand not yet ready, therefore the opponents cannot Now perching on the wood above] that situation, the one blocking might face a The poem shows that word pamenan is veryattact. serious However, consequence, if the opponent such still as attactsbreaking in essential in Minangkabau spoken literature. bones. On the other hand, when the hands It shows that pamenan can also become a show that the person is ready to receive the visual aesthetic (pamenan mato). On the other strike, he will show it with his hands and utter hand, the emotional and logical aesthetics sounds like “ap” and “tah”. “Ap” is from the (pamenanrasa dan periksa) surface when attacker to ask the opponent whether he is the art takes the emotional, spiritual and ready. “Tah” says that the opponent is ready intellectual intelligences into consideration. to receive the attack. The movement of galombang randai is Randai game has no levels and it depicts derived from the Minangkabau silat—the the egalitarian Minangkabau society. At social traditional martial art. Generally, the silat structure level, the egalitarian values are tradition includes distinct kudo-kudo and shown in Minangkabau social life. Even though pitunggua.7 Silat does not really have kudo- kudo, it is better known to have pitunggua. does not exist in the Minangkabau society. The Pitunggua does not show strong position of storythere hasis presented been some in Hinduism most randai culture, that butstart it the feet and legs, but it is more tranquil to from kaba story in Minangkabau mythology. take a step. In Minang, there is guyah-guyah The mithology (kaba garaman which means it is not that strong not only hope and fears but also the people but not that weak (layah)either. Meanwhile, ) is a reflection that shows kudo-kudo is a very strong stand8 when the feet and legs do not move at all. Silat shows waywhere to thesee mythology people of the came era from since (Junus, there might1981: two terms: “main—play” and “main-main— not25). be Sometimes, a written notessome ofmyths the part reflect of history.the only playful”. “Main-main” or being playful is a movement when there is an attact and dodge Pamenan in Wayang Padang Theatre by using tangkok ibo (catching with pity) or tangkok lapeh (catching and releasing). On the other side, “main—play” is in a more serious performance art in Sumatra Barat by using level where tangkok mati (catch and kill) is a traditionalWisran concept Hadi presentsblended with the a modern more dominant. pamenan

one. In Wisran Hadi’s hands, the

Wayang Padang Modern Theater Performance

Figure 6. Wisran Hadi’s Pattern of work in the 7 Kudo-kudo is a stand with strong legs position. Pituanggua is when the position of the leg is loose, not strong, but a bit relaxed when elasticity is more essential. Longgar-longgar gigi geraham, loose as the molars. 8 29 Sahrul Nazar, Pamenan and Wayang Padang Theatre concept is well developed. In the structure of come, the river bangs change) since human the performance, there is a system combining has unlimited needs. Changes happen after a variety of pamenans within one performance comparing the situation in the past with what and there is a guaranteed coherence with the other concepts. Pamenan is traditionally life are hoped to be positive while in Wayang managed to become a modern theater per- Padangpeople canthe changessee now. result However, in chaotic the changes situations in instead of positive development. the values in folktales and history to become In Wayang Padang performance problems dramaformance. scripts. He The reconstructs same things and also transforms applies to of social order cover the relationship system the Minangkabau traditional games, they are in Minangkabau. The village chief who has a restructured and tranformed into a modern niece (a female character playing as a scare theater performance. crow) will restore the matrilineal system in Pamenan started when he Minangkabau—a system which is especially reinterpreted the Minangkabau culture with practiced in Minangkabau while other parts Wisran Hadi’s Minangkabau of Indonesia practice patrilinial system. The cultural issues in drama scripts. The scripts social system also involves the majority of functionits folk tales as andthe games. guideline He puts in building the the society that become workers in their own heirloom by becoming farmers and scare crows. tomodern prevent theater oneself performance. from a disadvantageous Wisran (2000: or A bird is an important symbol of ruining 5-6) states that there are some possibilities farming system. A bird does not only steal rice, person need to believe that the old reference but also provoke people to change the social hasunwanted now situation.become irrelevant The first is tothat teach a Minang the and culural systems in the country. The social customs to the people in the future. Those old and cultural changes have a very close relation references cannot answer the contemporary problems of the Minang people’s, likewise for the future needs. The second is that if those appliessince a social social cultural change willpamenan influence in Wayang in the references are kept, there is a need to change Padang,emergence by of acovering cultural change.some Wisranphenomena, Hadi the way the people think. Minang intellectuals they are: 1) poverty as a result of selling the need to be brave in making a revision, family heirloom, 2) a behavioral switch from reposition, or reactualization. The third, to communal into individual, 3) identity crises, answer the future challenges, Minangkabau 4) cultural distorsion, and 5) changes in the people need to think and work harder to build thinking concept of Minangkabau people. They a reference framework that accommodates the all occur as globalisation is inevitable. new customs teaching in order to answer the future challenges. Once in a while, they also Patterns of Three and Circle in Wayang need to open their eyes to look at different Padang directions. Wayang Padang performance is related to One of the game patterns employed by pamenan of Minangkabau social and cultural Wayang Padang is the use systems that resulted from a bad treatment of pattern three. Pattern three is derived by the village chiefs (penghulu). The chiefs fromWisran Minangkabau Hadi in concept on tungkutigo have sold the family heirloom and that sajarangan and tali tigo sapilin which means brought up chaotic situations. The changes are there are three structures that support and experienced by all human in the society both face each other in order to build the scenes in Minangkabau or in Indonesia, in general. in the performance. The changes in the society are considered The circle pattern is a traditional normal, like in the idiom sakali aie gadang, Minangkabau game, known as randai. In fact, sakali tapian berubah (once big waters this pattern is commonly used by primitive

30 Dance & Theatre Review | volume 1 number 1, May 2018 society as seen Balinese and dances Padang became a complex combination of from Papua and Dayak. The initial purpose of the two patterns. The pattern of Wayang the art is a ritual or offering to the invisible Padang 1 (WP.1) is formed when building two powers. By playing in a circle, the middle part different areas. The pattern of Wayang Padang is to place the obeisance or the tool to pay 2 (WP.2 respect. In randai the democratic Minang- between a bird and a farmer and is solved by a kabau govenance system is portrayed; there scarecrow) is visiblewho shakes in the the building bamboo. of the The conflict same is no special treatment given to an actor with higher position. All actors are equal, both in scarecrow and the village chief, farmer and the sitting or standing positions. There is no pattern applies to the conflictsWayang between Padang the leveling that puts someone in a feodal position. 3 (WP.3) is shown when all players create a This also applies to all players and musicians settingofficial, withetc. Thethe usepattern of the of stage properties. in the performance. The pattern WP.1 combining top, middle The game in Wayang Padang combines and bottom shows the relations of human the patterns found in Jalan Lurus dan Anggun with human, human with nature and human Nan Tongga. The patterns on top, middle with God. While pattern three, like indang and bottom are combined by a triangle that tradition, focuses on the relation of tungku tigo focuses on indang game in Minangkabau. As sajarangan, between religious leader, village Wayang chief, and intellectual in Minangkabau. the final work of arts by Wisran Hadi,

Patterns of three and circle in Wayang Padang.

Figure 7. 31 Sahrul Nazar, Pamenan and Wayang Padang Theatre

The pattern three with A, B, and C Area B is full of standing banana trunks, alphabets shows top, middle and bottom either at the back, left, or right sides of the positions. On the other hand, the alphabets stage. The banana trunks are a part of the na- ture symbolizing the beauty of the human and forD, E, properties and F illustrate made of a trianglebamboo onbeing the hang bottom (in not ruin nature so that nature will not disturb Jalanor ground Lurus that it is show in the the form floor. of a Area bag). A When is a place the human.nature relation When talking that goes about well. nature, Human it shouldcovers scarecrow casts out birds, the bamboo shakes the rich natural resources or the environment and creates loud noises When the bamboo - shakes all the birds stealing rice burst out to ences over human. When the nature is ruined bywithout illegal human logging activities. there will Nature be negative has big effects influ symbol of an unbreakable rule in life that also appliesfind a safer to the place. rice eatingThe hanging birds. bamboo is a when the government and society do not care Area A is identical to the relation between aboutsuch asthe flood, nature landslide, and environment etc. Even by worse building is skycrappers and streets on the green zones, that their food is not stolen by birds or other the global warming takes place. This situation pests.human God and creates God. Human everything depends in the on Godmortal so forces human to manage the natural resources world. God has the will for everything on earth to avoid ruining the nature. When the nature and heaven. Only for God, human is created is disturbed and ruined, as an impact, human’s and only to God human will come back after life will also be negatively affected. death. When human hears the name of God, Area C is where the actors play. In this it should be the only one thought staying in area dialogues between roles and humans his/her mind that is the love towards God/ so they have positive (good) and negative the love to God, will be easy, beautiful and safe. take place. Humans are created as imperfect GodAllah. is All the human’s place for deeds human which to arecomplain justified and by human, as the created beings, needs to carry has(bad) unstable traits. Humanpersonalties can helpthat can themselves change easilyand other depending creatures on to his/her survive own in life. interests, Human God’s prohibitions (doing vices or crimes). for example one can be smart and cunning out all God‘s commands (praying) and avoids

The scene in Wayang Padang

32Figure 8. with three areas of the game. (Documentation: Bumi Teater, 2006) Dance & Theatre Review | volume 1 number 1, May 2018 when he is in a favourable situation (like the Later on the story talks about freedom since village chief who wants to sell the land as the scarecrows always feel conquered. It can a family heirloom). The relations between even touch some issues on local autonomy humans in area C vary, among others are the and others. This story telling style is exactly relations between farmers and the landlord, identical with what happens in a lapau, there and scarecrows and the farmer. is no clear main focus in the story. The story The relations between the three areas, A, B, and C is the core of human life in general. any certain direction, jumping from one theme The relation between human, nature and flows with the audiences’ agreement without Second, pamanen in the game is directed that God has created human and nature. That to theanother character infinitely. pamenan in Wayang Padang meansGod is without very strong. God human Human and always nature believes do not formed by a game that is commonly used supposed to be grateful for what God has given inby randai Wisran; they Hadi. are The in characters’dualistic harmony traits are of forexist. the Human survival culture of human. teaches that humans are duduak baparintang and tagak bapamenan. All The other pattern three is on areas D, E, the create a wave when seated, they work to keep the rhytm and when standing up the three leadership features in Minangkabau. they create a new composition. The actors, the Areaand F D as in Wayangan area Padangthat shows is an the area relations at the back of female scarecrow and the village chief, act like stage where people can see the banana trunks, in randai: when making a dialogue, they enter a collection of Wayang made from baloons, the wave circle and when quiet they only sit and a group of people that move the wayang. in the left level of the audience or outside the The movements of the wayang is dynamic, al- stage. Galombang (wave) in Wayang Padang ways change based on the scenes played. Area is not only in the form of a circle like in randai, E is where the scarecrows sit while watching but it can also proceed into a line, triangle, or the crops and harvest. The place is static, never others. - The wayangs have the characteristics crows return to their initial positions where of Minangkabau people in general, such as theychanges. can Afteralso controlfinishing the a dialogue, bamboos the hanging scare galie (cunning), paota (witty), and friendly (di mana bumi dipijak di sana langit dijunjung— wayangs without the people wait. Those way- standing on the ground and lifting the sky). angon thes play ceiling as a reservedof the stage. property Area F to is replace where the The pamenan characteristics of the village ones being played break down or be ruined. Minangkabau negative or When a player loses his wayang he should take bad village chief. The village chief who is another one from the right side of the stage. pressuredchief reflect by thethe modernization, does not This goes on until all the wayangs are ruined. act in accordance with the local culture and beliefs. They sell the heirlooms for their own Pamenan in Wayang Padang Game interests (galie or cunning). The Minangkabau village chief is part of the Minangkabau pamenan in Wayang Padang game leadership, together with the religious leader starts with pamenancerita (story pamenan). and intellectals (tungku tigo sajarangan). The The storyFirst, in Wayang Padang is told in pamenan absence of the other two components in the lapau style, the story is straight forwardly leadership indicates the alteration of the developed and sometimes it becomes bias and cultural system. The chief has become the is easily changed. At the beginning, the story haegemony that dictates all the Minangkabau is about the scarecows that watch the scared issues. The inadequate leadership has brought chaos in the society. The uprooted religion the scarecrows which are moved by another from the Minangkabau society brings a big hiddenbirds fly poweraway. Suddenly (by the thedalang story or changes director). into

influence that changes the order and habit33 of Sahrul Nazar, Pamenan and Wayang Padang Theatre the people because “adatnya bersendi syarak, as independence day, cultural or religious syaraknya bersendi kitabullah” and “syarak celebrations. mangato (to say) soadat mamakai (to do)”. The costumes of the female scarecrows are of baju basiba or baju kurung, a special are already scarcely applied. Consequently, Minangkabau blouse, with a scarf which ends theThis chief principles, becomes according a dictator to to Wisranthe people. Hadi, are intertwined at the waist and completed Third, word or spoken pamenan in Wayang with a veil. Under the blouse there is a Padang is a pamenan of pasambahan dialogue loose long skirt that reaches the ankles. The habit, a dialogue with fast thinking process costumes symbolize the Minangkabau people that determines the course of the dialogue. The that respect their traditional custom and Islam uttered word is like an improvisation and then as their life guidance. it is gone just like that. It is made purposefully pamenan on Wayang so that the words will only pass in a while to Padang stage is more of group movement, tickle the audiences’ conscience. especiallyFifth, movementfor the groups of farmers, pamenan, is how Wisran scarecrows, and birds. The birds mostly move while dancing. The movement of the wayangs costumesFourth, in costume Wayang Padang so they look tend to use randai style, moving together interestingHadi puts efforts yet are in designingconsidered and polite. managing The then sitting, moving again and sitting again actors who play the wayang wear long sleeved by stabbing the wayangs into the banana white moslem shirts with pants of various colors (black, green, brown and blue). On their movement is set by moving when the wayang waists, there are folded sarongs and crown- willtrunks start to amake dialogue, them allstand wayang on thes will floor. do Thethe shaped old banana leaves are tied on their same. When randai using silat (traditional heads. The folded sarong symbolizes the tie martial art) it moves in a circle, in Wayang of truth while, at the same time, ties the pants Padang the moves are more dynamic based in order to keep them from getting loose. on the prosenium stage space, they are not Costume pamenan in Wayang Padang always in a circle but can be in a line, gathering shows the habit of Minangkabau people who in the middle of the stage, spreading out, etc. are Moslem. In Minangkabau culture, clothes Sixth, stage and property pamenan in show one’s identity, i.e. the village chief Wayang Padang mostly make use of what is wears black clothes with no decoration and available in nature. Banana trunk, bamboo, and no pockets. When clothes no longer show the dried banana leaves are all commonly used to identity there will be biases in the rules of enliven the stage. It shows the good relations conduct of the chief in carrying out his role in the custom rituals. interact well with animals, plants and other The wayangs played also wear costumes environmentalbetween human aspects and nature. since Humanhuman needcannot to that show their identities. The wayangs wear live alone without the help of the natural old long-sleeved shirts with no pants and resources around them. the heads are made of colorful balloons. The The bamboo properties are hang on the clothes are commonly used by farmers to ceiling of the stage. Almost all parts of the stage is full bamboo which are well-arranged. The front part of the stage has taller bamboos tocover allude scarecrows human whose in the head rice field.is totally The empty. use of that create an illustration of an opened mouth baloons for the heads is Wisran Hadi method with sharp teeth which are ready to bite. When simuntu, made of dried banana leaves weaved the wayangs are played and stabbed on the ba- to coverThe costume the body. for theThe bird birds flock also is calledwear sunglasses and head dresses. The simuntu seems that the teeth are grinding the wayangs. costume shows how the traditional people nana trunk to stand on the floor of the stage, it attract attention in a certain occasion such Wayang Padang is the wayangs themselves. Another property used by Wisran Hadi in 34 Dance & Theatre Review | volume 1 number 1, May 2018

The wayangs are made to resemble living with God), saciok bak ayam, sandanciang bak creatures which are operated by human actors. basi (the relation with other humans), and alam takambang jadi guru (the relation with doll theater. Doll theater performs the story nature). The three aspects can be seen in the lineIt shows by using that dollsWisran as Hadithe characters is also influenced which are by performance textures, such as the costumes to operated by the a dalang or director. The dolls cover aurat, the use of properties taken from can be in the forms of leather or doll puppets nature, and God’s anger to human bad deeds. Wayang Padang, each doll Pamenan physically tends to use the pat- has its own dalang or director that can move tern three and circle pattern. The pattern three toin Java.any directions However, in in accordance with the will is derived from the terms of tungkutigo saja- of the dalangs. rangan and tali tigo sapilin, which means three Seventh, musical pamenan in Wayang structures that face and support each other to Padang is composed of internal and external build the scenes in the performance. The pat- music. Internal music is the sounds made by tern three is illustrated in the division of the the players on the stage such as the sound of game groups: the wayang, female scarecrows the moving bamboo, the sound of the dried and village chief. The area of the game also banana leaves made by the birds, or baloon uses the pattern three: top, middle and bottom blast blown by the players. On the other hand, (vertically), and right, middle and left (hori- external music is played by the musician zontally). The circle pattern in Wayang Padang outside the stage in the forms of vocal, guitar, is shown in the movement of the players that gendang or sampelong. broaden, srink or ruin the space of the game. Pamenans which are related to the scenes Conclussion in the Wayang Padang among others include story pamenan, character pamenan, costume In Wayang Padang performance by Wisran pamenan, dialogue pamenan, stage property pamenan concept in Minangkabau pamenan, movement pamenan, lighting culture lies on three spheres, namely surau pamenan, and music or sound pamenan. The (mosque),Hadi, the lapau (coffee stall), and balai adat story telling uses lapau style, the characters (custom hall). Surau is where they learn are of the Minangkabau people, the costumes pamenan, lapau is a place to practice pamenan, are also those of Minangkabau people and so and balai adat is where pamenan given the is the nature as the background. meanings. Randai as the basic of the Wayang Padang References creation has its own pamenan concept. Randai uses pamenan pattern by taking the idiom of “Theory of the Text”, duduak baparintang, tagak bapamenan (sitting dalam Robert Young, Unitying the Text, when there is something to do, standing when Barthes,A Post Roland. Structuralist 1981. Reader, London and there is a game to play). Galombang randai New York: Routledge. or randai wave is sitting when working or Dirajo, Dt. Sampono. 1972. Mustika Adat functioning immanently, and standing, moving Minangkabau. : Angkasa. in a circle trancendently to create a playground Alam Terkembang Jadi Guru for and unite with the game. Adat dan Kebudayaan Minangkabau. Pamenan in Wayang Padang is related, Navis, A. A. 1984. in general, with the Minangkabau culture Pusat Bahasa Departemen Pendidikan pamenan and, especially, Indonesian pamenan. Jakarta: Grafiti Press.Kamus Besar Bahasa Pamenan in Wayang Padang is also related to Indonesia. Jakarta: . Islam. The performance of Wayang Padang Nasional. 2008.Pertunjukan Wayang dan Adat Basandi Makna Simbolisme. Surakarta: Pasca- Syarak, Syarak Basandi Kitabullah (the relation Soetarno.sarjana 2005. ISI. by Wisran Hadi is related with 35