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Randai As Cultural Identity Formation in Minangkabau Hendri Jihadul Barkah

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Randai As Cultural Identity Formation in Minangkabau Hendri Jihadul Barkah International Journal of Management and Humanities (IJMH) ISSN: 2394-0913 (Online), Volume-5 Issue-10, June 2021 Randai as Cultural Identity Formation in Minangkabau Hendri Jihadul Barkah that are not following the concept of national culture. [1] the Abstract: The present study is initiated on the phenomenon that cultural diversity belonging to the local community as a people in minang lose such cultural identity. Indeed, the portion of community value system during the Soeharto era was only local cultures gradually begins to shift and they are switched into used as a miniature project on the display at Taman Mini a single culture which is commonly known as "National Culture". Indonesia Indah”. TMII is used only as such a displaying On the one hand, the creation of a national cultural identity originates only from a “small part” of regional culture. This has medium for local culture items from Sabang to Merauke, led to cultural stunting in Indonesia. The approach used within while practically, the functions and uses of local culture the study is cultural study. The cultural study is one of the methods themselves are such attributes to the life of its local people. used to understand humans. This study explains conflicts of As a consequence, the national culture created by the interest that happened between groups and tribes where they are OrdeBaru becomes meaningless to people in other places bond through an understanding of cultural differences. Local culture as a basis values in the life of its people is a factor that where it was not its growing place at the beginning. The same must be respected by the government. Society must have the thing also happens in the field of art; especially in performing freedom to create their regional identity as a view and guide of arts. During the OrdeBaru era, artists were only given their living. Local cultures should not be used as a display and deceitful freedom to make a creation. It is no longer a secret preserved as if they were mere ancient items. On the other hand, that among the corruption that has become a habit, local culture must have its own space to be owned by the performances that attempt to criticize this misbehavior are community. Keywords: Culture, Identity, Minangkabau, Randai. always silenced. [2] as a result, criticism is done in a veiled way. I. INTRODUCTION The resignation of Soeharto which was driven by the student movement reached its peak in May 1998 began with the Trisakti and Semanggi incidents which resulted in n the OrdeBaruera, there was a uniform culture that was I changes in social, political, and cultural systems. People termed a "single principle" in the interests of "United began to have the freedom of making a move and expression Indonesia". For 32 years, the Indonesians have not had the in the era of reform. Since then, awareness of people about freedom to show their identity and regionalism. As a result, Indonesia consists of various ethnicities with cultural people in the area lose their cultural identity. Slowly, the diversity has grown. Hence, all existing differences must be portion of local cultures gradually begins to shift and they are accommodated so that each local people live by their cultural switched into a single culture which is commonly known as identity. These various people with cultural diversity could "National Culture". On the one hand, the creation of a not possibly be united with the pseudo-“Indonesian” identity national cultural identity originates only from a “small part” created by the OrdeBaru. The identity concept about of regional culture. This has led to cultural stunting in "Indonesia is singular; Bhineka Tunggal Ika," with the slogan Indonesia. Society of regions has displaced the role of local "although we are different we are still one" can no longer be cultures that they were the basis for living values. Having maintained. The idea of a single identity based on the peaks converted its functions into cultural monuments or displays of regional culture is no longer able to maintain its unity. In makes local cultures no longer free to develop amid their creating "a single" one, there must be something "put away". supporting communities. For example, the miniature of Yet, to make things be "the one" there must be some things traditional houses and cultural objects displayed in Taman "thrown away". As a result, the politics of creating an identity Mini Indonesia Indah (TMII). Hence, such cultural objects is used to get rid of what is deemed irrelevant to the are exposed like beautiful porcelain in a house; museum. “Indonesians” identity. However, in reality, the singularity These objects are no longer alive or at least no longer exist in created by eliminating some of the local geniuses could not the joints of the life of people who belong to them. survive, because it did not accommodate the culture of the This condition causes elimination to some local cultures local community. In addition, the concept of "Indonesia is the One" that aims to suppress inter-ethnic differences can no longer be the glue of living in a state.On the other hand, Manuscript received on May 21, 2021. conflicts of interest between local cultures arise. Almost Revised Manuscript received on June 15, 2021. every province in Indonesia conflicts due to conflicting Manuscript published on June 30, 2021. interests. One of the most relevant examples is the war * Correspondence Author Hendri Jihadul Barkah*, Assistant Dean II Institute Seni Indonesia, between the Dayak and Madurese tribes in Sampit, Central Email: [email protected] Kalimantan several years ago. © The Authors. Published by Blue Eyes Intelligence Engineering and Sciences Publication (BEIESP). This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Published By: Retrieval Number:100.1/ijmh.I1324055921 Blue Eyes Intelligence Engineering DOI:10.35940/ijmh.I1324.0651021 & Sciences Publication (BEIESP) Journal Website: www.ijmh.org 12 © Copyright: All rights reserved. Randai as Cultural Identity Formation in Minangkabau One of the reasons lies behind this conflict was because the Basically, in the context of local autonomy today, the two tribes did not understand each other's traditions and involvement of local governments in the world of people's customs. This lack of understanding emerged negative performances is generally driven by two main engines: impact on mutual disrespect between those people. raising identity (identity) and the economy (tourism). In To avoid such a phenomenon, it is necessary to develop a further discussion, this paper will focus on raising identity "new cultural paradigm" regarding the Unitary State of the (identity) through the traditional art of minangkabaunese Republic of Indonesia.The diversity and differences of each namely Randai. local culture in Indonesia which was not accommodated Moreover, to actualize this intention, efforts were made to during the OrdeBaru era need to be re-highlighted. This formulate a cultural identity project as local identity. [6] in effort aims at creating awareness about the existence of the book of Cultural Studies: Theory and Practice reveals differences. When realizing the existence of differences, that the creation of identity is composed of what we think of people may appreciate these in their living. By having an ourselves now based on past and present situations, as well as understanding of other and own cultures, people in various the idea of what we will become, as well as the future regions realize that they are not the same. Besides, such trajectory of what we want to be. The term of identity in the understanding automatically may rise an appreciation for the characteristics of a social unit is an answer to the question of "meaning of difference". who I am or who we are.The answer to that question can only Based on the above description, it can be interpreted that to be found by making a comparison between me and you create a Minangkabau cultural identity regarding the and/or between us and them. Identity is the universal and philosophy of West Sumatra people with its “contemporary” eternal essence of the self which is created according to one’s concept, it is clear that in-depth study and research is needed wants and needs. to understand the basic concepts of Minangkabau culture. As a traditional Minangkabau theater, Randai is used to The topic may stand about What is Minangkabau? Why is it communicate the values of "Minangkabau" wanted to be called Mingkangkabau? and What is the condition of the raised by minangkabaunese. [7] art is the most effective tool Minangkabaunese today? These are the basic questions that of communication to convey goals. Therefore, Randai is seen need to be answered by the willing of the whole community. as a vehicle (medium) in communicating Minangkabau's The West Sumatra region, which is located in the western cultural identity. At first, Randai was in the form of dance part of Central Sumatra, is inhabited by the before it is being known as traditional Minangkabau theater. Minangkabaunese. The term Minangkabau contains cultural The steps of the silek movement (pencaksilat); a martial and geographical meanings that are not contained in the dance of minangkabaunese, are played around and in a circle meaning of the word West Sumatra.After Minangkabau with an unspecified number of participants. In this dance, the became a part of the territory of the Republic of Indonesia, story has not been played because at that time the the term Minangkabau was identified with the geographical performance was only in the form of rhymes sung danced by meaning of the administrative area of West Sumatra young people in traditional events. This dance is performed province.
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