Pantun in the Text of Nyanyian Lagu Melayu Asli (NLMA)

Home , Mak Inang, Pantun

Harmonia: Journal of Arts Research and Education 18 (1) (2018), 97-106 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.15524

Pantun in the text of Nyanyian Lagu Melayu Asli (NLMA)

Tengku Ritawati

Department of Drama, Dance and Music Education, Universitas Islam Riau, Indonesia

Received: December 13, 2017. Revised: April 23, 2018. Accepted: June 10, 2018

Abstract

The purpose of this study is to understand the role of pantun in the text of Nyanyian Lagu Melayu Asli (NLMA). By using critical descriptive method accompanied by implementation of content analysis theory, the author conducted literature studies (literature studies), namely activities re- lating to compilation and critical analysis of literature data, such as books, magazines, documents, historical stories and etc. The results of the study found that Pantun is an old Malay poetry work that is not only full of meaning but also solid with its beauty value. Values of beauty can perceived if we are sensitive and susceptible with structure and language style a pack of Pantun. The other result of this study found the functionality of the origin creation of Pantun associated with; (1) commoners who created pantun through their own living experiences, (2) wise people who issued wise words from their contemplation and (3) wise verses from the holy book, namely the Qur‟an. The most important research results above all of them are: 1). Pantun as a literary art, which has fulfilled the provisions as one of the highest art works of the Malay heritage. 2). Pantun as a culture of the Malay community confirms that the culture of reciprocating pantun is the culture of the Malay people. 3). Therefore, as the „soul‟ of NLMA, meaning and aesthetic of a Pantun should be understood and expressed by all NLMA singers.

Keywords: Nyanyian Lagu Melayu Asli (NLMA); Lingua Franca; Pantun; Pantun Functionality; Originality of Pantun

How to Cite: Ritawati, T. (2018). Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA). Harmonia: Journal of Arts Research And Education, 18(1), 97-106. doi:http://dx.doi.org/10.15294/harmonia.v18i1.15524

INTRODUCTION cluding allied Malay people, singing is also a special activity in cultural commu- In realizing a form of personal and nication. This is certainly in line with the cultural expression that is fundamental to opinion of Minette Mans (2009) who says: the field of music, we know one of them “A song, as well as other human expres- in the form of singing. As text and history, sions, is a habitual pattern that is learned, songs and musical works use traditional as a common thing for a cultured human signs and symbols as an alternative both being. Singing is a special activity of com- in the offering and in the playing. Through munication. “ singing, we can appreciate and understand Besides that, as one of the various cultural diversity and richness and indeed, cultures that have been learned from gene- indirectly through singing, we can also un- ration to generation for centuries, NLMA derstand our identity as a cultured nation. is a symbolic nature of a musical commu- It can be understood in a society, in- nication for the Malay people.

98 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 97-106

Corresponding author: Jl. Kaharuddin Nasution 113 Pekanbaru Riau 28284, Indonesia E-mail: [email protected]

This research, based on the desire to which home is in Riau, or anywhere else understand the musical culture and sin- has almost the same character. The content ging of the archipelago, which in particu- contained in music and text certainly gi- lar is Nyanyian Lagu Melayu Asli (NLMA) ves a certain meaning in people‟s lives. as the ultimate wealth of allied Malay cul- This classical Malay literature called ture. NLMA was chosen as the main aspect pantun has played a very special role in this research because this genre is a le- in the life of Malay society. Various soul gacy for allied Malay people around the experiences were manifested by Malay world with its own history. people into the pantun. Of course this is In addition, the researcher has also related to the way the Malay thinks which conducted research on NLMA specifically tends to express it through the metapho- ric related to the transmission (inheritance) way. According to Akmal (2015) it was of NLMA through formal education. This alleged that there were pantuns that were research is for a doctoral program disserta- very classic and popular in the Ma- lay tion entitled “Development of Curriculum community, namely pantun which was of- for Teaching and Learning of Nyanyian ten used in the wedding culture of Ma- lay Lagu Melayu Asli (NLMA) for Formal Edu- people, for example in reciprocating„the cation Institutions” at University Pendi- Door Opener‟. The reciprocating pantun dikan Sultan Idris (UPSI), Malaysia. Even „Pembuka Pintu‟ (the door opener) though it is also related to pantun, but the is a repying pantun one another in the discussion is not very specific, so that the door of the bride‟s house that is carried out writer intends to study pantun in the con- by the male guard. Reciprocating The pan- text of NLMA specifically in this research. tun NLMA is a tradition of singing „Door Opener‟ is a very exciting acti- sounds with a certain rhythm. The variety vity, spontaneous and contains a lot of me- of sounds is adjusted to the meaning that tapho- ric values, which shows the culture will be conveyed by the text of the song. of the Malay community that views an ob- For example in the song Tudung Periuk. ject or problem through inner depth, then The text or song lyrics conveyed illustra- reveals the results of the mind, appreciate the attitude of humility of the Malayans tion and desire of the heart by using me- in the perspective of life and relationships taphor, namely symbol and figuration. among human beings. Other things also This condition makes the dimension of show about the manners and elegance of language and literature very thick in the Malayan language in daily life. life of the Malay world. The language con- There are several types of rhythms in taining symbols and metaphors is like a NLMA that are commonly sung by the Ma- mirror of the life of the Malay people (Ha- lay people, including: langgam, inang, zapin midy, 2011). Because of the expansion of and joget rhythm. Every rhythm certainly Sri Wijaya‟s kingdom trade activities, in its brings its own atmosphere. For example, development of Ma- lay language became the type of langgam rhythm is always iden- a kind of lingua franca throughout the ar- tical with a sad atmosphere, so the pantun chipelago. used as lyrics is in sad tones too. Pantun in the NLMA text can also be NLMA text or lyrics are very open. said to be the „Soul‟ of NLMA. The pantun There are many NLMA whose pantun‟s itself for the Malay community have been text is developed and modified according used from all sides of life, for example, to the location and condition of the count- folk songs based on pantun. Even classi- ry where the song was popularized. Hasan cal Malay songs that were popular in the (2002) notes that Malay music is compa- past also spread to the archipelago such as: tible with the Malay community itself, and Dear Musalmah, Zapin Kasih and Budi, jalak most have become the universal property Lenteng, Mak Inang Pulau Kampai and so of Malayans in the world. Malay music on. These classical Malay terms refer to the Tengku Ritawati, Pantun in the text of Nyanyian Lagu Melayu Asli (NLMA)… 99

notion of music genres which are based on of the line, according to the poem that is classical literature which are used as other a-b-a-b. At the end of the rhyme, row one sciences such as customs, religion, beliefs, is the same as the end of the third row, and literature, social, politics and general cul- the end of the second row is the same as the ture (Nicolas, 1994). end of the fourth row (Suharto & Subroto, In the National Seminar proceedings 2014). organized by PS PBSI FKIP Jember Uni- The form of pantun as text or lyrics in versity, Murti (2017) noted that “Pantun NLMA is a part that is inseparable from the is a representation of rhetorical intelligen- noble archipelago‟s cultural heritage. As ce in the language and literature of Ma- the formulation of the discussion above, in lay society that is beautiful with thought, the end the aim of this study was to under- beautiful in rhyme, and graceful in har- stand the role of pantun in the original mony. Pantun is born from the game of text of Nyanyian Lagu Melayu Asli (NLMA) sound and strict rhythmic consideration text. This study also wants to know how with instruments that are „in‟ and „enligh- the role of pantun for Malay society is seen tening‟. Pantun includes the values of the from the perspective of literature and Ma- wisdom of the local wisdom in reflecting lay culture. his noble life. This wisdom has attached and symbolizes the identity of the Malay METHOD nation. “ As a song text, pantun plays a big This research is a qualitative research role in people‟s lives. The songs that are using critical descriptive method through played will certainly indirectly permeate library research (library research), which is the hearth and have the impression of the a series of activities related to library data audience. The text or lyrics of this song not collection methods, such as books, maga- only can contribute towards the formation zines, documents, historical stories (Mah- of the mind of a society, but also be a docu- mud, 2011). mentation of the socio-cultural history of a In this study the author uses a con- nation. Choo Ming‟s research (2010) shows tent analysis approach model which is de- that pantun contains a lot of content in- fined as a theory that is used to analyze all cluding advice, ideals, philosophy, tasks, forms of communication both in the text of loyalty, ethics, family, respect, filial piety, books, newspapers and other documen- obedience, memory, and many others for ta- tion materials. As the implementation the supporting community such as Malay of this approach, the research has begun society for centuries. Therefore, the song by reading and studying writing material, text must also be considered for its creati- which is quite significant as a reference on so as not to bring negative impressions especially for the discussion of the study and as a reflection of identity for the sup- of pantun analysis in the text of Nyanyian porting community. Lagu Melayu Asli (NLMA), then the data The beauty of the song is determined is sorted to be easily analyzed to answer by the elements that are interrelated bet- the study problems that is exist. The final ween the melody of the song and the lyrics. study provides certainty whether the con- Song lyrics are part of a song that gives a clusions are in accordance with the formu- new dimension to music composition. The- lated hypothesis if it exists. In summary, new dimension is a language that makes research is a genuine and true scientific- a language like poetry feel beautiful to contribution to the development of know- hear. Poems such as rhymes used for song ledge (Takavoli, 2012). lyrics will give the beauty of the song in two aspects, the beauty of the musical and RESULTS AND DISCUSSION the beauty of the literature. The beauty of sound equation in the rhymes is at the end The researcher wants to note about 100 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 97-106

the rhymes in the NLMA text specifically for listeners to understand the content de- the results of the study from the literature livered. The second part contains the real review that has been carried out. For this intentions about the contents of the rhymes reason, it will also be explained about the that will be conveyed. Shafii & Introducti- background of Malay history so that its re- on Research (2010) even mentions the two lationship with Malay art in general and parts between shadow (sampiran) and in- specifically to the realization and aesthe- tent (content) something that is inseparab- tics of NLMA. le, such as body and soul, birth and mind, It should be stated that the pantun is outside and inside, even bodies and spirits the „soul‟ of NLMA because of the impor- for Malay people. The linking is somet- tance of its role as described below. hing nice to sing and hear including from the sound at the end of the line (Braginsky, Pantun as a literary art 1998; Daillie, 1990). As a literary work, pantun must have In the rhythm of the final sound in met the criteria as one of the culmination each part of the shadow should be dif- of Malay heritage art. Pantun is the work ferent while the end sound in each part of of old Malay poetry which is not only loa- the contents should be the same as the end ded with meaning but also dense with its sound on the shadow. NLMA singers must beauty value. The value of its beauty can understand the description above, because be seen if we are sensitive and susceptive almost all NLMA song texts are in the form to the structure and language of the double of rhymes. Further knowledge must be style of a pantun. The structure of langu- elaborated with a further understanding age is not created arbitrarily but requires of the concept of the structure of a pantun. attention and sensitivity from all aspects According to Alisjahbana, pantun is for- including lexical selection, syllable syllab- med of four rows of rhyming and alterna- les, and a limited number of lines. “ ting two-two (rima a-b-a-b) and sometimes The expression above gives an idea there is a pantun bond which also consists of the sensitivity of feelings that arise du- of six or eight lines (Idris, 2011). Pantun has ring the creation and selection of the right multiple copies and each double consists words to give meaning to the pantun. Not of lines or slices. Examples of the Malay only that, pantun contributes to diversity pantun type are pantun two slices, pantun in Malay art treasures. One of them is of four slices, pantun six slices, pantun eight course NLMA. To understand the NLMA slices, pantun ten slices, pantun twelve text, there are no shortcuts but must un- slices, pantun fourteen slices, and pantun derstand the deep meanings of the rhymes sixteen slices. The number of syllables in sung. This is not an easy thing, because ac- each row consists of eight to twelve. Each cording to Idris (2011) “Pantun not only double pantun has a shadow section and a has a profound meaning but its offerings purpose section: the shadow is called also are also interesting with limited syllables as sampiran or imagined intention and the and lines, the chosen dictation, and the rhyme scheme is a-b-a-b. structured receptions, including the com- Each double or pantun stanza has position of words and phrases.” (1) complete and perfect unity of mind, (2) Furthermore, Ahmad (as stated by has symbols that are in accordance with Idris, 2011) states that: “The recording of the norms and values of the local commu- the beauty of feeling is indeed already in nity: (3) and there is a meaning relation- every double pantun. In terms of the cre- ship between the shadow and the intent. ation of the pantun, aspects of physical The essence of the beauty of this rhymes is the rhythm in the lines, the sound of beauty and the beauty of language as il- words that form the heart, and the contents lustrated in the first part (intentional ima- of the next two lines (Idris, 2011; Alis- gery) can be perceived as the pantun skin. jahbana, 2009) The goal seems to provide an opportunity Tengku Ritawati, Pantun in the text of Nyanyian Lagu Melayu Asli (NLMA)… 101

Pantun as a Malay culture dance with Islam based on the Qur‟an and Apart from being one of the tops Sunnah. Pantun plays a very vital role in of Malay literary works, pantun is also the life of the Malay people. Through pan- part of the culture of Malay society. Ap- tun, teaching points were disseminated, propriately describe this by saying that inherited and developed. Through rhymes old poems such as pantun are part of the also noble values are perpetuated and con- culture emitted by the Malay community veyed to members of the community (Alisjahbana, 2009). There is a problem about how to Idris (2011) revealed that Pantun is a in- terpret pantun values in the context of container used by the Malay community to Malay language and culture. First, pantun express their thoughts and feelings about interpretation should be based on words, the meaning of life, about human behavior phrases, lines or couplet. There is also a and its relationship with the surrounding pantun in the form of a story called pantun environment. Pantun is also one of the cohesion (for example there is in ‘dadenda- main aspects in understanding Malay civi- te’, namely the art of traditional music of lization because pantun usually describes the people of Palu, South Sulawesi, Indo- the unique character of nature, environ- nesia). This pantun genre interpretation ment, thought and subtlety of the Malays. needs to be done in the whole couplet to Shafii‟s research (2010) even found that work on themes, problems, and teaching there was a love of nature in Malay culture that might be revealed through dual con- through poetry in his contemporary life. tinuity (Idris, 2011). The following is the poetry example. Then Idris further explained how to assess the order of a pantun. According to Tonight the maize for roasting‟s set, To- him, the order of a pantun does not lie in morrow it is a lemon grass, Tonight we one part but is related to the whole. There are together met, Tomorrow on the ways are rhymes that are rich with sounds and we pass. rhymes that are melodious (poetic) and others are thick with the comparison. Even Maulina (2015) states that «... pan- so, the whole becomes strong and steady tun seems to originate from the Malay tra- because of its cohesion and is not due to dition which has been so firmly rooted and sound aspects or comparative aspects se- becomes an inseparable part of the daily li- parately. The melodious rhymes, but the ves of its people. Pantun may spread along raw contents will not be considered quali- with the development of Malay langu- ty. The rhymes are rich in comparison but age which became the lingua franca in the the meaning of comparison is cheap, the archipelago. It might be because of that, nature of it will also be pinned down. compared to people in other regions, pan- The source related to the origin of the tun for the Malay community has been so creation of rhymes in the Malay commu- firmly integrated and as an important me- nity is divided into three sources, namely; dium in delivering advice regarding social 1) commoners who create rhymes through relations in social life. “ their life experiences, 2) wise people who Piah (1989), asserts that rhyme is not express phrases of results rather than their only a communication tool to express emo- reflections and 3) holy book, namely Al- tions of love and affection. Pantun also has Qu‟ran. Then the question also arises about educational elements, which contain te- the authenticity of pantun art, whether it achings about social life, advice, religious is genuine or has other cultural influen- studies and affirming the oneness of God. ces. To answer that problem, Idris (2011) Andriani (2012) also emphasized: asserts that the culture of acting is Malay “Pantun plays a very important role in the culture. Pantun is favored by the Malay life of the Malay community because in the community because pantun is a poem that pantun many values of life are in accor- does not have elements of foreign influen-

102 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 97-106

ce. This is due to the fact that pantun is a song, is no longer called pantun teaching product of true Malays who can describe or tunjuk ajar, but is called ‘pantun nyanyi- the thinking of the people. an’ or ‘pantun lagu.‟ If the song is a song to With regard to Malay culture, NLMA put the child to sleep, it is called „pantun is one form of Malay identity. Pantun lulling a child‟ or pantun „singing to lulling which is the most important idiom in the a child‟ or chid hum” NLMA text has great values as the iden- Besides that, in different NLMA pan- tity of the Malay community. The pantun tun offerings are always sung with the text in NLMA is formed by the laws con- same melody repeated, depending on the tained in the repertoire including the mu- atmosphere experienced. Below are some sical theories that frame it. The aesthetic examples of rhymes that are always used has contextual values related to the musi- in the NLMA and the meaning of the text cal behavior of the community formed by within. the community who want to express cultural characteristics (cultural identity), and Example 1: Lyric of „Si Hitam Manis’ make it a social identity (Hanks, 1989). In the Malay republic, various types of lite- Kiri jalan kanan pun jalan, Ditengah-ten- rary works can be found, but why is the gah pohon kenari Kirim jangan pesan pun pantun used as an identity of the Malay jangan Kalaulah rindu datang sendiri

identity. In addition, pantun can become Hitam-hitam si tampuk manggis, Walaupun a means to convey noble values including hitam kupandang manis Hitam-hitam si the Islamic values of the Malay communi- gula jawa, Walaupun hitam manis tertawa ty. Kalau tinggi-tinggi selasih, Walau tinggi Pantun as ‘Soul’ NLMA berdaun jangan Kalau pergi pergilah kasih, As noted before this pantun is a „soul‟ Walaupun pergi bertahun jangan which shows that NLMA art depends entirely on the beauty of pantun art. Likewise, Hitam-hitam si tampuk manggis, Walaupun because of that, as a first step, an NLMA hitam kupandang manis Hitam-hitam sibe- singer needs to understand with certainty ras pulut, Walaupun hitam hati terpaut the meaning of pantun and second, it must Translated in English: be clever to make rhymes when desired at the time of offering. Andriani (2012) as- The Sweet Black serted: “Pantun is very close to Malay life. The left goes, so does the right Pantun is considered as a form of art In the middle of a walnut tree that was born from the Malay cultural ins- Sending not allowed neither do order tinct itself. Even pantun survives its use Whenever missing coming by itself until now in Malay life. The rhymes are often made by song lyrics or even used as Black and black mangosteen new expressions.“ Even though black is considered sweet Andriani (2012) also stated: “For Black and black the Javanese sugar most Malays, especially Riau Malays, they Although sweet black laughs

already know the terms of the rhymes, so If the basil is high that only one name is mentioned, they can Even high leaves do not understand the meaning. Because of its va- If you go away riety, the term for the rhymes that conta- Despite going many years do not in the teaching and religious teachings, the The black, black mangosteen Malay elders enter the rhymes into various Although black, it is sweet forms of presentation so that the designati- Black, black the glutinous rice on follows the intended form. For example, Although black hearts are linked pantun which is used as a song or rhyming

Tengku Ritawati, Pantun in the text of Nyanyian Lagu Melayu Asli (NLMA)… 103

This rhyme on Joget „Hitam Manis‟ is A heart that wants to live a ride becomes very popular, especially among teenagers increasingly painful when disappointed. and young people, even more so for those That is the feeling of a Malay woman who who are loving. This song is a song that is is hurt in love matters. well known to this day and listeners really enjoy the song, rhythm and lyrics. Revea- Example 3: Lyric of (Mak Inang) ling the meaning contained in the lyrics of this song, it is a mercy verse that contains „Pulau Kampai‟ expressions addressed to loved ones. Sungguh(lah) indah si Pulau Kampai, Tem- pat memancing ikan tenggiri Sungguh(lah) sedih kasih tak sampai, Rindu kutanggung Example 2: Lyric of ‘Jalak Lenteng’ seorang diri

Pukul gendang kulit biawak, Sedikit tidak Lama(lah) sudah tidak ke ladang, Tinggi(lah) berdentum lagi Kemana untung hendak ku- rumput dari(lah) lalang Apa(lah) saja dapat bawa, Sedikit tidak beruntung lagi dibilang, Karena lidah tidak bertulang Jalak lenteng ayam sabungan Hatiku rindu

mengenangkan tuan Sakit sungguh kena je- Gadis(lah) desa pandai mengukir, latang, Pandai(lah) juga bertenun kain Kasihan Sakit tak boleh kubawa mandi bunga menghadap air, Embun menitik di tempat lain Sakitlah sungguh hidup menumpang, Sakit tak boleh kehendak hati Anak(lah) dara duduk termenung, Sambil Jalak lenteng Melayu lagu Melayu menyusun sibunga rampai Maksud(lah) hati Hatiku sedih bertambah pilu nak meluk gunung, Apalah daya tangan tak sampai Translated in English: Jalak

Lenteng Translated in English:

Hit the monitor lizard skin drum, Kampai Island A little bit no more Really beautiful Kampai Island, Where to go I want to bring, Mackerel fishing spot A little unlucky again Really sad, sad not to arrive, Miss the guilt alone Jalak lenteng chicken brook

My heart to remember your master Old is not in the fields, Hight of grass Pain really hit nettles, from weeds Anything can be said, I can‟t take a bath Because the tongue is not boned

It hurts to live a ride, The village girl is good at carving, She is Pain should not be hearted good at woven cloth too, Poor flower fa- Malay Jalak lenteng Malay song cing the water, My heart saddened Dew drops elsewhere

The rhymes in the song „Jalak Len- Daughter‟s child is sitting pensive, Whi- teng‟ are very popular and are often sung le arranging the lofty place in the NLMA genre in areas that still prac- I mean my heart is hugging a mountain, tice Malay culture, especially in Indonesia What‟s the power of the hand does not and Malaysia. The first pantun is a symbol arrive of a woman‟s overflowing feeling towards someone who no longer gives attention to The song (Mak Inang) ‘Kampai Is- her. land’ is also one of the songs that are also The second pantun, illustrates the very popular in the Malay Archipelago. distress of the heart and the feeling of sad- The song text (lyric) is the rhymes that ness when remembering the fate that befell.

104 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 97-106

are simple and easy to understand. This rse in the future. song is also often used to accompany Tra- ditional Malay dance, namely „Tari Mak Example 5: Lyric of ‘Kasih dan Budi’ Inang Pulau Kampai‟. If analyzed, the whole meaning of pantun above illustra- Kalau menebang, kalau menebang si pohon tes a person‟s disappointment because his jati, Papan di Jawa, aduhai sayang, papan di sincere love does not get a reply. The ly- Jawa dibelah-belah rics or text of this song can sometimes be Kalaulah hidup, kalaulah hidup tidak berbu- di,Umpama pokok, aduhai sayang, umpama composed in such a way as to maintain its pokok tidak berbuah rhythm, because what is prioritized is not only the text but the rhythm that can satis- Bunga selasih, bunga selasih si bunga fy the listeners. padi, Kembang mekar, aduhai sayang, kembang(lah) mekar di dalam taman Example 4: Lyric of „Sayang Musalmah‟ Pertama kasih, pertama kasih kedua budi, Yang mana satu, aduhai sayang, yang mana Ahai ... sayang Musalmah memakai sanggul satu nak diturutkan Ahai... turun kesawah menanam padi Emas sekoyan dapat kupikul Datuk Laksmana, Datuk Laksmana ke Bang- Aku tak sanggup menanggung budi ka Hulu, Berlayar kapal, aduhai sayang, berlayar ka- Ahai ... turun kesawah menanam padi Ahai pal membawa dagang … hendak dijual ke pekan lama Jangan se- Bagailah mana, bagailah mana kapal nak lalu menanggung budi Keraplah kali jadi lalu, bencana Kuala sudah, aduhai sayang, kuala sudah di- lekong karam Translated in English: Dear Musalmah Translated in English: Ahai ... dear Musalmah wearing a bun Ahai ...down the field to plant rice Love and Right-minded Sekoyan gold can be carried I can‟t bear the thought If you cut down, if you cut down the teak tree, Ahai ...down the field to plant rice Board on Java, what a pity, the boards in Ahai ... want to be sold to the old week Java are divided Don‟t always bear your heart Even if life, if life is not right-minded, It‟s often a disaster For example, it is a pity, dear, for example the principal does not bear fruit ‘Sayang Musalmah’ is also one of the Basil flowers, the flower of the rice flo- most popular songs in Riau, North Sumat- wer, ra and Peninsular Malaysia. Pantun from Flowers bloom, it‟s a pity, baby, blooms this song reflects the day-to-day life of a bloom inside the garden Malay woman named „Musalmah‟ who First love, first give the two minds, always wears a bun going down to grow Which one is one, what a pity, which one kid is sorted rice. Here there is advice about the im- portance for someone so that they are not Datuk Laksmana, Datuk Laksmana to always consumed with anyone because it Bangka Hulu, will lead to disaster. This shows how eve- Sailing ship, wonderful baby, a sailing rything that has been done can be used as ship carrying trade an initiative in the future. This provides an Tell me where, where did the boat last, illustration of how a Malay woman who Kuala already, it‟s a pity, my wife has is in accordance with her traditional cus- been wrecked toms must always think before accepting a person‟s favor so that she will not be remo- The song (Zapin) ‘Love and Budi’ is a

Tengku Ritawati, Pantun in the text of Nyanyian Lagu Melayu Asli (NLMA)… 105 song that still gets a place in the heart of that Nyanyian Lagu Melayu Asli (NLMA) NLMA activists and listeners up to now is a tradition of singing sounds with a cer- especially in the Malay community. Ove- tain rhythm. The variety of sounds is adju- rall the meaning contained in the above sted to the meaning that will be conveyed text contains the instructions, invites, pro- by the text of the song, for example in the hibitions and examples of good and true- song Tudung Periuk delivered to describe behaviors. This pantun also gives a lot of the attitude of humility of the Malays in teaching about good manners and does the perspective of human life and relation- not deviate from Malay customs. Messa- ships. ges delivered are very useful for our lives Pantun literary art as the text or ly- to become a better human being. rics of NLMA is an inseparable part of the An in-depth analysis of some of the realization of NLMA. As the art of Malay pantun examples in the NLMA above exp- literature, pantun also has cultural values lains that the aspects and values of the Ma- and symbols and communication media lay community can be described. Examp- of the Malay community. This study has les of some pantun above although short found results from the literature study of of the bait but contain a solid and brilliant pantun in the NLMA text on the realizati- meaning. on and aesthetics of NLMA. Pantun is said The Malay community in the past to be the „soul‟ of NLMA and has an impor- but today still makes pantun as one of tant role such as: 1) Pantun as a literary art, the entertainment media. NLMA-sha- which has fulfilled the criteria as one of the ped songs, jogets, zapins and hostages for culmination of Malay heritage. 2) Pantun example still use pantun as the main text to as a Malay culture, which confirms that the the present, despite the ability to express culture of acting is the culture of the Malay new pantun as a process of imagination community. Popular rhymes are caused by open to a NLMA singer. the creation of true Malays who can desc- What cannot be ignored is its beauty ribe the thoughts of the people. 3) Pantun of the literary. Literary elements add to as the „soul‟ of NLMA, which shows that the beauty of song lyrics if sung in a song NLMA art depends entirely on the beauty (Suharto & Subroto (2014). Repetition of of pantun art. Therefore, it is important for the word (repetition) and the equation of an NLMA singer to understand the mea- sound in the repetition and at the end of ning of pantun and express new rhymes as the line (rhyme) add to the beauty of the a process of imagination. song. The distinctive beauty of this song is because of the shape of the pantun which REFERENCES also has elements of beauty such as musical, literary and cultural inherent in the Alisjahbana, S. (2009). Puisi Lama. Jakarta: pantun itself. Dian Rakyat. Pantun consists of two elements: the Akmal, A. (2015). Kebudayaan Melayu first two lines as sampiran and the last two Riau (Pantun, Syair, Gurindam). Ri- lines as contents. These two parts, accor- salah: Jurnal Kajian Dakwah, Komu- ding to Shafii (2010) and Daillie (1990) ni- kasi dan Kemasyarakatan, 26(4), are inseparable souls and bodies of the 159-165. Malay community. The sampiran in pantun Andriani, T. (2012). Pantun Dalam Ke- generally reflects the character and culture hidupan Melayu (Pendekatan Histo- of Malay people. ris dan Antropologi). Sosial Budaya, 9(2), 195-211. CONCLUSION Assingkiri, I. D. (n.d.). Thanking Unwrit- ten Soul. Retrieved August 16, 2018, The results of the analysis of content from https://www.poemhunter. from various data as described above show c o m / p o e m / t h a n k i n g - u n w r i t t e n

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