MEDENDANG TRADITION OF SUBULUSALAM SINGKIL ETHNIC: A CRITICAL DISCOURSE ANALYSIS

TESIS

Oleh

ARMANSYAH 107009035

FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2014 MEDENDANG TRADITION OF SUBULUSALAM SINGKIL ETHNIC: A CRITICAL DISCOURSE ANALYSIS

TESIS

Diajukan Sebagai Salah Satu Syarat untuk Memperoleh Gelar Magister Sains dalam Program Studi Linguistik pada Program Pascasarjana Fakultas Ilmu Budaya Universitas Sumatera Utara

Oleh:

ARMANSYAH 107009035

FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2014 Judul Tesis : MEDENDANG TRADITION OF SUBULUSSALAM SINGKIL ETHNIC: A CRITICAL DISCOURSE ANALYSIS

Nama Mahasiswa : Armansyah Nomor Pokok : 107009035 Program Studi : Linguistik Konsentrasi : Linguistik

Menyetujui Komisi Pembimbing

(Prof. Dr. Robert Sibarani, M.S.) (Prof. T. Silvana Sinar, M.A., Ph.D.) Ketua Anggota

Ketua Program Studi Dekan

(Prof.T. Silvana Sinar, M.A.,Ph.D.) (Dr. Syahron Lubis, M.A.)

Tanggal Lulus : 12 Februari 2014 Telah diuji pada Tanggal: 12 Februari 2014

PANITIA PENGUJI TESIS

Ketua : Prof. Dr. Robert Sibarani, M.S.

Anggota : 1. Prof. T. Silvana Sinar, M.A., Ph.D.

2. Prof. Amrin Saragih, M.A., Ph.D.

3. Prof. Hamzon Situmorang, M.S., Ph.D. PERNYATAAN

Judul Tesis

MEDENDANG TRADITION OF SUBULUSALAM SINGKIL ETHNIC: A CRITICAL DISCOURSE ANALYSIS

Dengan ini Penulis menyatakan bahwa tesis ini disusun sebagai syarat untuk memperoleh gelar Magister dari Program Studi Linguistik Fakultas Ilmu

Budaya Universitas Sumatera Utara adalah benar hasil karya penulis sendiri.

Adapun pengutipan-pengutipan yang penulis lakukan pada bagian-bagian tertentu dari hasil karya orang lain dalam penulisan tesis ini, telah penulis cantumkan sumbernya secara jelas sesuai dengan norma, kaidah dan penulisan ilmiah.

Apabila dikemudian hari ditemukan seluruh atau sebagian tesis ini bukan hasil karya penulis sendiri atau adanya plagiat dalam bagian-bagian tertentu, penulis bersedia menerima sanksi pencabutan gelar akademik yang saya sandang dan sanksi-sanksi lainnya sesuai dengan peraturan perundangan yang berlaku.

Medan, Maret 2014 Penulis,

Armansyah

ABSTRACT

MEDENDANG TRADITION OF SUBULUSSALAM SINGKIL ETHNIC: A Critical Discourse Analysis

Medendang as an oral tradition ofSubulussalamSingkilethnic is performed one night full. It is a spontaneous expression of the peronde (narrators) toaccompany dampeng dance, Alas dance, Silat dance, Selendayong dance, and ambei-ambei dan ceshow.Dendangand Tonjong are not collaborated with dance. Dendangcontains the narrator‟s life story, poems, rhymes and narrative oral storycontains moral teaching.Tonjong contains the poems, rhymes of the narrator to entertain, advice the host and audience. This research is indented to describe (1) the contex, co-text and text, (2) the macrostructure, (3) the schematic structure,(4) the micro structure, And (5) The local wisdom or moral values of medendang. The analyses of context shows : (1) Culturally the medendang performance was used for some purposes; entertain the king, audiences, and themselves in some kingdom in Singkil region. Situationally, It is performed in the veranda of the host‟s house. Socially it is performed to entertain the guesses and the players themselves in parties and some other ceremonies. Ideologically, It is influenced by the Islam, not only the utterances but also the customs (2) the macrostructure level finds that the Medendang tradition of SubulussalamSingkilethnic is influenced by Islam, it could be seen by finding greeting, poems related to Islam. The narrators use some poems to open and close the performance. Some poems are used as a strategy to save them whenever they do mistake of saying something, some others contain advice, salutations, persuasions , praises, satires etc. The purpose of the performance is to entertain and respect the audiences in the party. (3) The schematic structure finds that the show consist of structures, global structure and specific structure. The global structure shows the utterances of the poems consist of opening, contain and closing. The contain poems are about apology, appreciating, satire, allusion. The specific structure of the poems consist of salutation, Clothesline and contain. (4) The micro Structureor realization of medendang in text finds the collaboration past and present tense in Dendang text as the narrator‟s laments which tells about the complication of the narrators at past and present time. Some figures of speech are also found, they are personification, similes, metaphors.and satires. (5) Some local wisdom is found suc as; togetherness, admiration, appreciating other people etc.

Key words: Medendang, Subulussalam Singkil ethnic, Critical Discourse Analysis

ABSTRAK

TRADISI MEDENDANG PADA MASYARAKAT EKNIS SINGKIL SUBULLUSSALAM: Sebuah Analisa Wacana Kritis

Medendang adalah sebuah tradisi lisan masyarakat Singkil Subulusalam yang di pertunjukkan semalam suntuk. Tradisi ini adalah sebuah ekspresi spontanitas penuturnya (narator) untuk mengiringi pertunjukan tarian Dampeng, Silat, Selendayong, dan Ambei-ambei. Dendang dan Tonjong tidak dipadu dengan tarian. Dendang berisi cerita kehidupan naratornya, pantun-pantun, sajak-sajak, dan carita lisan narasi yang berisi pengajaran moral. Tonjong beri sipantun- pantun, sajak-sajakdari narrator untuk menghibur dan menasehati tuan rumah dan penonton. Penelitian ini diperuntukkan untuk menjelaskan (1) Konteks, co-teks dan teks (2) struktur Makroskematik (3) struktur skematik (4) struktur mikro dan (5) Kearifan local atau nilai-nilai moral pada Medendang tersebut. Analisa konteks memperlihatkan : (1) secara budaya pertunjukan Medendang dahulu digunakan untuk beberapa tujuan; menghibur raja, penonton, dan diri mereka sendiri di beberapa daerah di sekitar masarakat Singkil. Saat ini, pertujukan ini di pertunjukan di beranda tuan rumah. Secara social pertunjukan ini di pertunjukan untuk menghibur tetamu para pemain sendiri pada pasta-pesata atau upacara-upacara lain. Secara ideology, pertunjukan ini dipengaruhi oleh budaya islam tidak hanya pada ujaran-ujaran tapi juga pada pakaian. (2) Level Makro struktur, menemukan bahwa tradisi Medendang pada masyarakat Singkil Subulussalam dipengaruhi oleh Islam. Hal inidapat dilihat dengan penemuan salam, pantun-pantun, berhubungan dengan Islam. Para narrator menggunakan pantun untuk membuka dan menutup pertunjukan. Beberapa pantun digunakan sebagia strategi mengamankan diri mereka manakala mereka melakukan kesalahan karena mengatakan sesuatu, beberapa yang lain berisi nasihat, penghormatan, bujukan, harapan, sindiran dan lain-lain. Tujuan dari pertunjukan tersebut untuk menghibur dan mengharmati tetamu di pasta tersebut. (3) Struktur Skematik menemukan bahwa pertunjukan tersebut berisi struktur global dan Struktur khusus. Struktur global memperlihat kanujaran pada pantun-pantunnya berisi pembuka, isi dan penutup. Isi pantun berisi penghormatan, sampiran, danisi. (4) struktur mikro atau realisasi medendang dalam teks menemukan perpaduan bentuk lampau dan kekinian dalam teks dendang sebagai ratapan narrator yang menceritakan tentang masalah narrator dulu dan sekarang. Beberapa kiasan juga ditemukan, yaitu; personafikasi, simile, matapordansatir. (5) Beberapa kearivan local juga ditemukan seperti; kebersamaan, penghormatan dan penghargaan kepada orang lain, dan lain-lain.

Kata Kunci: Medendang, Eknis Singkil Subulussalam, Analisis Wacana Kritis.

ACKNOWLEDGMENTS

Praise be to God, the “Almighty”, the “Merciful”, and the “Most

Beneficial” for His Mercy and Beneficial without which the writer would have never been able to complete his thesis in obtaining the degree of Master of

Science in Faculty of Cultural Science University of Sumatera Utara.

The completion of this thesis would have never been possible without the assistance of many people though it would not be possible to mention all, but some deserve a special note of thankfulness for their valuable advice, suggestions, and guidance in the process of writing of this thesis.

The researcher‟s deepest thanks go to the rector of the University of

Sumatera Utara, Prof. Dr. dr. SyahrilPasaribu, DTM7H.,MSc.(CTM).,SP.A(K) who provided him the opportunity to continue his study at the Linguistic Study

Program, Faculty of Cultural Sciences, University of Sumatera Utara (USU).

His truthfully gratefulness also given to Dr. SyahronLubis, MA, as the

Dean of Cultural Science Faculty of Graduate Program of University of Sumatera

Utara, Medan, thanks for his invaluable guidance both in academic and administrative matters.

On this occasion the researcher would like to express his sincerest gratitude to Prof. T. SilvanaSinar, MA, PhD, Assuos. as the chairperson of

Linguistic Study Program, The Faculty of Cultural Science, University of

Sumatera Utara. During the thesis research at the Linguistic Study Program, he has really been fortunate to have her as his second adviser who have guidance to do the research in detailed, critical, and deeply insightful. His truthfully gratefulness also given to Prof. Dr. Robert Sibarani, M.S. as his first adviser who has given him valuable comments, help, guidance to the improvements of the researcher‟s work.

The writer is greatly indebted to all lecturers, tutors and staff of Linguistic

Study Program, The Faculty of Cultural Science, University of Sumatera Utara for the valuable lectures, tutorials, and knowledge during his studies and he would like to express her appreciation to her reviewers and examiners: Prof.

AmrinSaragih, M.A. Ph.D. and Prof. Dr. HamzonSitumorang for the valuable input given to improve his thesis.

His special thank is extended to the Principal of State Senior High School

1 LongkibSubulussalam Aceh, DasarWasisoS.Ag MM. for the golden opportunity provided for him to conduct the study. He would particularly like to thank his wife, RinaDeniwati Koto, S.PdI., and his daughters, SyahrinaRahmah,

YumnaRahmanda, his sons M. HarjaRahmansyah, AbudzarAlghifari and

NajibAdmajafor the care, motivation, support, prayers and love and many others that have been given to him. He would like to thank his family, father, Abdullah

(Alm.),Chairiyah (Almh.) sisters,Dahniar, SitiAisyah, SalmiAnd brothers in law,Junaidi, M. IsakWahyudi, M. SalehWhose love, support, advice and care have helped him more than they can know. His aunt, Sri Anum, Naimah, NurHayati,

UmiSalamh, his uncle Mas‟ud for their care and prays.

Finally, he is also grateful to the following people: Nila Sakura, MbakKar,

Yuni, JufriHidayat, Junaidi, ZulFahmi.

May Allah Bless Us!

Medan, February 2017

The writer,

Armansyah Registration Number: 107009035

TABLE OF CONTENTS

CHAPTER I INTRODUCTION………………………………………. 1 1.1 The Background of the Study………………………….…….. 1 1.2 The Problems of the Study……………………………..…… 3 1.3 The Objectives of the Study………………………………… 4 1.4 The Scope of the Study …………………………………... 4 1.5 The Limitation of the Study………………………………... 4 1.6 The Significance of the Study…………………………….... 5 1.6.1 The Theoretical Significance of the Study…….... 5 1.6.2 The Practical Significance of the Study…...…….. 5

CHAPTER II REVIEW OF LITERATURE……………………….... 6 2.1 The concepts……………………………………………….. 6 2.1.1 Oral Tradition……………………………………………. 6 2.1.2 Local Wisdom……………………………….……………. 9 2.1.3 Medendang Oral Tradition ………………………………. 15 2.1.3.1 The Historical Background of Medendang…….. 15 3.1.3.2 Medendang Tradition ofSubulussalam……….. 17 2.2. Theories……………………………………………………. 19 2.2.1 Performance...... 19 2.2.2 Critical Discourse Analysis………….. …………… 20 2.2.2.1 The Macro Structure …………………… 29 2.2.2.1.1 The Context in Oral Tradition… 30 2.2.2.1.1.1 The Context of Culture.. 30 2.2.2.1.1.2 The Context of Social… 32 2.2.2.1.1.3 The Context of Situation. 33 2.2.2.1.1.4 The Context of Ideology.34 2.2.2.1.2 The Co-text in Oral Tradition…… 34 2.2.2.1.2.1 Paralinguistic………… 34 2.2.2.1.2.2 Kinesics ……………… 36 2.2.2.1.2.3 Proxemics……………… 37 2.2.2.1.2.4 Materials …………… 37 2.2.2.2 The superstructure (Schematic)………. 38 2.2.2.3 The Micro Structure…………………………. 39 2.3 The Construction of Critical Discourse Analysis in Medendang…………………………………………….. 42 2.4 The Relevant Research…………………………….………… 43

CHAPTER III METHODOLOGY…………………………………… 46 3.1 The Research Method……………………………………….. 47 3.2 The Data and Data Resources……………………………….. 47 3.3 The Method of Collecting Data……..……………………….. 48 3.3.1 Library Studies……………………………………. 48 3.3.2 Survey……………………………………………... 48 3.3.3 Observation……………………………………….. 49 3.3.4 Interview…………………………………………… 50 3.3.5 Recording………………………………………… 50 3.3.6 Triangulation……………………………………… 51 3.4 Location and Time of the Study……………………………… 51

CHAPTER IV THE ETHNOGRAPHICAL OF SUBULUSSALAM SINGKIL ETHNIC……………………………………………. 53 4.1 The Ethnography of Kota Subulussalam…………………… 53 4.1.1 The Religion………………………………………… 53 4.1.2 The Language…………………………………………54 4.1.3 The Social life ……………………………………….. 56 4.2 Human Recourses……………………………………………. 56 4.2.1 Education. …………………………………………… 56 4.2.2 Economy…………………………………………… 57 4.2.3 Livelihoods…………………………………………. 57 4.3 The Natural Resources………………………………………… 57 4.3.1 Forest ………………………………………..…….. 57 4.3.2 River ………………………………………………... 58 4.3.3 Plantation…………………………………………… 58 4.3.4 Agriculture…………………………………………… 59 4.4 The Cultural Heritages …………………………………..…… 59 4.4.1 The Performance Arts ………………………………. 60 4.4.2 The Carving Arts ……………………………….…… 60 4.5 The SunatRasul Ceremony in Subulussalam SingkiEthnic …...... 62 4.5.1 The Preparation……………………………………. 62 4.5.1.1 Inviting Moment (Mebagah)…………….. 62 4.5.2 The First Hinay………………………...... 64 4.5.3 The Second Hinay………….………………… 66 4.5.4 The Circumcision Occasion…….………… 66

CHAPTER V THE CONTEXTUAL, CO-TEXTUAL AND TEXTUAL ANALYSIS OF MEDENDANG………….. 68 5.1 The Performance of Medendang...... 69 5.1.1 Inviting The Medendang Group...... 69 5.1.2 Dance Traning for the Mempulei ...... 69 5.1.3 The Medendang Performance ...... 70 5.1.3.1 Pre-Performance ...... 70 5.1.3.2 While Performance ...... 71 5.2 The Contextual of medendang as an Oral Tradition.. 81 5.2.1 The Cultural Context of Medendang……………. 81 5.2.1.1 The Cultural Context of DampengDance.. 82 5.2.1.2The Cultural Context of Alas Dance …….. 85 5.2.1.3The Cultural Context ofSelendayong Dance…………………....………………… 87 5.2.1.4 The Cultural Context ofSilat Dance ……. 88 5.2.1.5The Cultural Context ofDendang……… 89 5.2.1.6 The Cultural Context ofLambei-lambei…. 91 Dance …………………………………….. 5.2.1.7 The Cultural Context ofTonjong………. 92 5.2.2 The Situational Context of Medendang………… 93 5.2.2.1 The Situational Context of Dampeng Dance……………………………………… 94 5.2.2.2 The Situational Context of Alas Dance…... 96 5.2.2.3 The Situational Context of Selendayong Dance……………………………………… 98 5.2.2.4 The Situational Context of SilatDance…. 100 5.2.2.5 The Situational Context of Dendang …… 102 5.2.2.6 The Situational Context of Lambei-lambei Dance…………………………………….. 102 5.2.2.7 The Situational Context of Tonjong……. 103 5.2.3 The Social Context of Medendang……………… 104 5.2.3.1 The Social Context of Dampeng Dance… 104 5.2.3.2 The Social Context of Alas Dance………. 106 5.2.3.3 The Social Context of Selendayong Dance. 107 5.2.3.4 The Social Context of SilatDance………. 109 5.2.3.5 The Social Context of Dendang..………. 110 5.2.3.6 The Social Context of Lambei-lambei Dance…………………………………….. 112 5.2.3.7 The Social Context of Tonjong…………… 113 5.2.4 The Ideological Context of Medendang…………. 114 5.2.4.1 The Ideological Context of Dampeng Dance……………………………………… 115 5.2.4.2 The Ideological Context of Alas Dance…. 116 5.2.4.3 The Ideological Context of Selendayong Dance……………………………………… 117 5.2.4.4 The Ideological Context of SilatDance…. 118 5.2.4.5 The Ideological Context of Dendang……. 120 5.2.4.6 The Ideological Context of Lambei-lambei Dance…………………………………….. 121 5.2.4.7 The Ideological Context of Tonjong… 122 5.3 The Co-text Analysis of Medendang…………… 123 5.3.1 The Paralinguistic of Medendang………. 124 5.3.1.1 The Paralinguistic of Dampeng Dance………………………….. 124 5.3.1.2 The Paralinguistic of Alas Dance… 126 5.3.1.3 The Paralinguistic of Silat Dance… 127 5.3.1.4 The Paralinguistic of Selendayong Dance……………………………. 128 5.3.1.5 The Paralinguistic of Dendang….. 130 5.3.1.6 The Paralinguistic of Lambei-lambei Dance…………………………… 131 5.3.1.7 The Paralinguistic of Tonjong….. 133 5.3.2 The Kinesics of Medendang..………….. 134 5.3.2.1 The Kinesics of Dampeng Dance. 134 5.3.2.2 The Kinesics of Alas Dance……. 137 5.3.2.3 The Kinesics of Silat Dance……. 142 5.3.2.4 The Kinesics of Selendayong Dance. 144 5.3.2.5 The Kinesics of Dendang…………. 145 5.3.2.6 The Kinesics of Lambei-lambei Dance…………………………….. 146 5.3.2.7 The Kinesics of Tonjong…………. 147 5.3.3 The Proxemics of Medendang…………….. 149 5.3.3.1 The Proxemics of Dampeng Dance. 149 5.3.3.2 The Proxemics of Alas Dance….. 150 5.3.3.3 The Proxemics of Silat Dance…. 151 5.3.3.4 The Proxemics of Selendayong Dance.,…………………………. 152 5.3.3.5 The Proxemics of Dendang……… 154 5.3.3.6 The Proxemics of Lambei-lambei Dance…………………………… 155 5.3.3.7 The Proxemics of Tonjong……… 156 5.3.4 The Materials of Medendang………………. 158 5.3.4.1 The Materials of Dampeng Dance.. 158 5.3.4.2 The Materials of Alas Dance…… 159 5.3.4.3 The Materials of Silat Dance…… 160 5.3.4.4 The Materials of Selendayong Dance ……………………………. 166 5.3.4.5 The Materials of Dendang……….. 163 5.3.4.6 The Materials of Lambei-lambei Dance…………………………… 164 5.3.4.7 The Materials of Tonjong……….. 166

5.4 The Textual Analysis of Medendang...... …..... 167 5.4.1 The MacrostructureMedendang ………………… 167 5.4.1.1 The Macrostructure of Dampeng Dance text ...... …… 167 5.4.1.2 The Macrostructure of Alas Dance Text...... ………… 175 5.4.1.3 The Macrostructure of Selendayong Dance Text...... 177 5.4.1.4 The Macrostructure of Silat Dance Text . 180 5.4.1.5 The Macrostructure of DendangText… 182 5.4.1.6 The Macrostructure of Lambei-lambei Dance Text...... 183 5.4.1.7 The Macro Structure of Tonjong Text… 185 5.4.2 The Schematic Structures of Medendang.…….. 173 5.4.2.1 The Schematic Structure of Dampeng DanceText…...... 190 5.4.2.2 The Schematic Structure of Alas Dance Text…...... ……… 196 5.4.2.3 The Schematic Structure of Selendayong Dance Text…...... 198 5.4.2.4 The Schematic Structure of Silat Dance Text...... ……… 205 5.4.2.5 The Schematic Structure ofDendang Text…...... 206 5.4.2.6 The Schematic Structure of Lambei-lambeiDance Text ...... 217 5.4.2.7 The Schematic Structure of Tonjong Text……...... 218 5.4.3 The Realization of Medendang Text linguistically …...... …… 219 5.4.3.1 The Colaburation of Present Tense and Past Tense in the Dendangstory……….. 219 5.4.3.2 The Figure of Language on Medendang.. 220 5.4.3.2.1 The Personification………….. 221 5.4.3.2.2 Hyperbole……………………. 221 5.5 The Local Wisdom or Moral Values of Medendang Semiaotically and Situationally …………………...... …… 221 5.6. Research Finding and Discussion………………………… 222

CHAPTER VI CONCLUSION AND SUGGESTION………...... …… 224 6.1 Conclusion……………………...………………….….…… 224 6.2 Suggestion…………………………………...... …………… 225

REFERENCES………………………………………………….....….. 226

CHAPTER I

INTRODUCTION

1.1 The Background of the Study

Indonesia oral tradition is a culture heritage which has to be saved from the extinction. It contains values and symbols of Indonesian identity. The values are applied as Indonesians‟ way of live. They become the character of Indonesian.

Due to the science and technology development in the world, the societies tend to use new things adopting from what they see and listen as the globalization impact.

The globalization era enables everyone get in formations about everything from everywhere in the world. Gradually they become trend, in a certain period of time they could become a culture. These phenomena affect the Indonesia culture.

Sedyawati in Pudentia (2008:7) said UNESCO and Non-Block propose revitalization of oral tradition is needed in order to revitalize the local value as the

Indonesian national identity.

One of the oral traditions as Indonesia culture heritage is medendang tradition in Subulussalam Aceh Province. Medendang is a tradition of Singkil ethnic, which performs in fun situations such as wedding party, sunat rasul

(circumcision), and welcoming someone who is respected govermantaly by the society. Medendang in Singkil ethnic, is a cultural heritage of Singkil ethnic. It is a kind of oral tradition, and individual narrative as confirmed by Montenyohl

(1993) states "In oral tradition it may include forms as diverse as legend and

Proverb; folktale and belief; myth and personal narrative; riddle, joke, and anecdote”. Medendang is done by some people, which is accompanied by gendang and also tray as an additional music instrument.

Medendang is a spontaneous expression of the peronde (narrator). It is a series performance beginning with dampeng dance, Selendayong dance, Alas dance, Silat dance, Dendang, Lambei-lambei dance and Tonjong. While the dancers are dancing, the narrator who is called perondechants poems, rhymes and oral narrative. After all of the dances are performed, then dendang is performed.

Dendang is a performance talks about the sayer life. It is a kind of lament, the sadness and willingness of the sayer in this world. The lambe-lambe dance is performed at about 03.00 a.m. It is a dance with music and dendang combination to pick the mempulei out from the house to the veranda. It is also combined with poems and rhymes. Tonjong is performed at the end of the the performance.

Tonjong is a series of giving and answering poems and rhymes. It is done by two peronde. They sit face to face. There is a bucket in front of them covered with colorful clothes. The bucket is for placing fried chicken and pulut kuningDampeng dance is performed at the end of the tonjong, so dampeng dance could be called as an opening and closing dance in the medendang performance.

The fact shows this Singkil ethnic tradition is done rarely day by day. It happens because the Singkil ethnic community especially the young generation is reluctant to apply their custom. They prefer to use keyboard in every party. Most of people who know the tradition in the area have already died. Other fact also shows Subulussalam geographical location is very far from the capital of Aceh

Province makes the culture, language and tradition of Singkil are very different from other Aceh ethnic. This condition causes exploration and revitalization of

Singkil ethnic tradition has not been done well by the government.

This research is intended to identify the form of medendang by using

Critical Discourse Analysis. The theory of Critical Discourse Analysis (CDA) to determine and describe how is macro, schematic (superstructure) and microstructure of medendang tradition. Macro structure is a medium that is used by the researcher to find out the relationship between medendang discourses to

Singkil ethnic social life (contextually). Schematic structure is used to find out the structure of medendang text. Microstructure is used to identify the linguistic features of medendang text. Finally, by applying the CDA to the medendang tradition contextually, co-textually and textually, it is known the local wisdoms or values of medendang as Indonesia local culture heritage.

1.2 The Problems of the Study

With reference to the background of the study that has been mentioned earlier, the writer formulates the problems in the form of questions as follows:

1. What are the contextual, co-textual aspects of medendang tradition?

2. How are the macro and schematic structure of medendang text?

3. What local wisdoms or values are semiotically and situationally conveyed in

medendang?

1.3 The Objectives of the Study The objectives of the study are to describe;

1. The contextual, co-textual aspects of medendang tradition.

2. The macro and schematic structure of medendang text.

3. The local wisdom or moral values of medendang semiaotically and

situationally.

1.4 The Scope of the Study

Medendang is performed in three occasions, they are wedding party, sunat rasul(circumcision) party and a show for entertaining special guess. This study is focused on medendang of Subulussalam Singkilethnic in sunat rasul

(circumcision) party in Sultan Daulat Sub region of Kota Subulussalam Aceh province.

1.5 The Limitation of the Study

This research is intended to explore the medendang tradition of Singkil ethnic in Subulussalam Aceh Province. As an oral tradition, medendang uses two languages, Singkil language and Padangnese. Due to the researcher is not the native of the Singkil ethnic and the Informants information may be not clear, it cause a trouble for the researcher to comprehend all of the utterances meaning. He does not know well about the context of the culture. He understands the context of culture since the research was done.

1.6 The Significance of the Study

1.6.1 The Theoretical Significance of the Study The significances of this research theoretically are seen in the following.

1. A source for the reader to know about Singkil ethnic medendang oral

tradition.

2. A source for the reader to know about Critical Discourse Analysis

3. A description of sunat rusul ceremony in Subulussalam Singkil ethnic.

4. A reference for other researchers to condact the similar research.

1.6.2 The Practical Significance of the Study

The finding of the study are expected to be useful for:

1. Other researchers as description about the existence and potential of

Subulussalam Singkil ethnic tradition,

2. Government as a source of culture mapping which could be use to

considermedendang oral tradition exploration and revitalization

Efforts,

3. National document which is used for exploring and revitalizing national

Culture.

CHAPTER II

REVIEW OF LITERATURE

2.1 The Concepts

2.1.1 Oral Tradition

Oral tradition is a literary form it exists before written literature and it is the oldest culture. Danandjaja quoted by Pudentia (2008: 58) states that the term of the oral tradition is synonymous with the oral folklore (verbal folklore). The oral tradition also called oral literature or folk literature, it is spoken as well as an expression of the soul of a cultural community in the midst of life issues Imron, (2003: 86).

Further, he says that there are two forms of oral tradition, namely: oral tradition, which is not in the story form but presented in the form of poetry, which is divided into several types, namely spells, rhymes, proverbs, and others. And oral tradition in story form presented in a form of prose or performing arts.

Oral tradition is usually passed from mouth to mouth, actuating from generation to generation. Vansina, (2006:1) states “Oral traditions are historical sources of a special nature. Their special nature derives from the fact that they are “Unwritten” sources couchedin a form suitable for oral transmission, and that their preservation depends on the power of memory of successive generations of human beings.Oral tradition has several characteristics that distinguishes it from other cultures. According to Sibarani (2012: 43), he says that the characteristics of an oral tradition are; it has activities or events which distinguish it to folklore, it can be watched and enjoyed, it is traditional since originally comes from a particular ethnic, it is inherited for more than three generations, it is delivered from mouth to ear, it is delivered orally, It contains the valuesand cultural norms, it has a specific version of one region to another, it is owned by a special community, it is

Potentially revitalized as culture industry.

Medendangas Subulussalam Singkil Ethnic oral tradition is influenced by some tradition, it is not clear which tradition dominates this oral tradition. Most words of the language is similar with Pakpaknese and they are dialect but most of the poems and rhymes says in Padangnese. In Pakpaknese is also found odong- odong, a kind rhymes which use by the sayer to entertain himself while he is climbing the incense tree in the forest. Incense is a type of aromatic resin of tree.

The rhymes tell about the sayer life and it is sometimes a secret of the sayer life.

The sayer dose not want anybody listen his rhymes. In Singkil ethnic these rhymes are performed in a party. The rhymes which contain about the sayer life perform at midnight from 12.00 o‟clock to 03.00 a.m. Medendang in Subulussalam Singkil ethnic is also influenced by Malay. From the language some words use /r/ as same as /r/ in Malay. Dendang also found in Malay and Padangnese, Acehnese, etc.

They emphasize fantasy, allusions,witty and moral value aspects.

As a culture product, oral tradition contains varieties of matters relating to life and it reflexes the value system, belief, religion, social norms, of the society where the oral tradition is found, it also tells the events how the social dynamics take place. In other words, oral tradition contains local wisdom so it gives the moral values which is useful in community empowerment.Sibarani (2012: 182) said that local wisdom general point are social-welfare and peace. They contain some elements, they are: (1) the culture of hard work: concerning things such as work ethics, work discipline, creativity, innovation, perseverance, patience, and vision of the work,

(2) mutual assistance: includes the concept of togetherness and helpful to do and get things done, (3) concord: includes communal harmony, religious, and inter- ethnic in the concept of multiculturalism and pluralism, (4) the resolution of conflicts: includes management of problem-solving in rural areas especially with regard to customary law (4) Health: includes the concept of preservation of healthy living by utilizing the available resources, (5) the strengthening of identity, national character, and honesty, (6) education, (7) the environment guarding, (8) preservation and cultural innovation, and (10) increasing the welfare

Medendang as cultural product at least contains some local wisdom namely : (1)

Hard work: concerning things such as work ethics, work discipline, creativity, innovation, perseverance, patience, and vision of the work especially the medendang player, (2) mutual assistance: includes the concept of togetherness and helpful to do in performance, (3) concord: includes communal harmony, religious, and inter-ethnic in the concept of multiculturalism and pluralism, It appears as the assimilation of malay, Pakpaknese and Padangnese and Acehnese culture, (4) the performance also does some cultural innovations, and (5) by doing the performance the players are given some money and dinner. It means medendang tradition increase the welfare of the player.

2.1.2 Local Wisdom

Local wisdom consists of two words: wisdom and local. In general, local wisdom can be understood as idea of local that are wise, full of wisdom, good value, which is embedded and followed by the members of the community. Dick

(1998:77) said that values is used as benchmarks for evaluation, justification and legitimating. The term “local wisdom” or “local genius” displayed by Quaritch

Wales cited by Rahyono (2009: 7):

“The sum of the culture characteristic which the vast majority of a people have in common as a result of their experience in earlier life”. The points of the definition are: (1) cultural features, (2) human community as the owner of the culture, and

(3) life experience which produces the cultural features.

Medendang as the local wisdom is human intelligence creation which is owned by a group of people (Singkil ethnic), it is obtained through their life experiences and expressed in their cultural performance. In addition local wisdom is cultural identity of our nation which has some characters. Moendardjito,

Ayatrohedi (1986) cited in Rahardiansyah and Prayitno (2001:61) say the characters of local wisdom are:

“(1) It has ability to stand to the foreign culture impact, (2) it has ability to accommodate the elements of foreign cultures, (3) it has ability to integrate the elements of foreign culture into the native culture, (4) it has ability to control, and gives direction in developing the culture”.

According to Nyoman Sirtha cited in Rahardiansyah and Prayetno (2001:

72): The local wisdom in a society are: values, norms, ethical beliefs, customs, customary law and special rules”. It means that local wisdom in the community includes various life aspects, customs, agrarian cases, society laws, religion, and environment safety. The Local wisdom about a birth, marriage, and death reflects the custom, it is sacred conventionally, but the rules and the steps are made and arranged by the owners of each ethnics, for an example, the marriage tradition in several different ethnic. In addition, there are also local wisdoms in agrarian cases, for example, the tradition of giving an amount of land to a certain sure name

(marga) who marries with a certain woman (boru).

The transfer of the owner‟s right on a certain sure name‟s land has some rules, for example, everything which grows on the land is the right of the first land owner. Local wisdom related to rituals for example: serving the sea ceremony, standingthe rubric of the roofs in building a new house, serving the mountain, etc.

It is a form of dynamic life of the tradition to make the life in a system of rules to arrange the social life of a society.The local wisdom of a society to the environment basically comes from value and religion system which is embraced by the local community. Safaat et.al (2008:6) says about dynamic relationship between the masyarakat adat(traditional community) and the Jagadhita

(universe):

“According to the culture society‟s ideas which apply religiously and magically, the jagaditha (universe) is inhabited by the roh-roh which has duty of maintaining a balance structure, mechanisms and rhythms of nature. If the human‟s behavior becomes greedy, destroys the balance of nature, or they are not closed and harmonious with the rhythms of nature, there will be universe shocks , in the form of earthquakes, volcanic eruptions, epidemics, hurricanes, floods, droughts, storms, landslides, fires, lightning strikes, etc., as a manifestation of the roh-roh anger as thee natural guardian. The local wisdom that belongs to the society behavior is associated with the system of religious and society values in order tomake dynamic life as an individual, society member, as well as the manager of this nature. In the reality, some of relevant local wisdoms are still being used such as the traditional lows to solve simple criminal such as stealing of coconut, paddy, and fighting among the masyarakat adat (traditional society). The problems are solved traditionally based on the local tradition low, the police institution facilitates them. But many of them are not applied any more. Poespowardojo (1986) cited in Rahyono (2009:9) states that the local wisdom has a resistance to the elements that comes from outside and is capable to develop for the future.

Medendang as the way of male express their feeling of love to female teenagers is changed and never done any more this phenomenon is different with

Poespowardojo (1986) said in Rahyono (2009:9), he says that the identity of a society is determined by the strength of local genius and the ability in facing of outside forces. If the local genius is lost or destroyed, the nation personality faded.

He then also formulates the factors that make learning of local wisdom has a strategic position, namely:

“(1) Kearifan lokal merupakan pembentuk identitas yang inheren sejak kecil, (2) kearifan lokal bukan sebuah keasingan bagi pemiliknya, (3) Keterlibatan emosional masyarakat dalam penghayatan kearifan lokal kuat, (4) Pemelajaran kearifan lokal tidak memerlukan pemaksaan, (5) Kearifan lokal mampu menumbuhkan harga diri dan percaya diri, (6) Kearifan lokal dapat meningkatkan harkat dan martabat bangsa dan Negara”. “(1) Local wisdom is an inherent identity-forming since it was small, (2) local wisdom is not a strangeness to the owner, (3) the emotional involvement of the community in appreciating of local wisdom is strong, (4) Learning local wisdom does not require coercion, (5) Local wisdom can foster self-esteem and confidence, (6) Local wisdom can enhance the dignity of the nation”.

Local wisdom is a human‟s attempt using his intellect to act and behave towards something, objects, or events that occur in a particular time.

Rahardiansyah and Prayetno (2001: 72) say that In other words, local wisdom is understood as a person's ability to use his mind in the act or behave as a result of the research to an object, or event that occurred. Specifically, the word “local” shows the interaction space is limited by the system of limited value anyway.Balipos, 4 September 2003 cited in Rahardiansyah and Prayitno (2011:

73) provides information about the functions and meanings of local wisdom, they are: “(1) for the conservation and preservation of natural resources, (2) for the development of human resources, for example relating to the ceremonial cycle life, the concept of kanda pat rate, (3) for custom development, such as Saraswati ceremony, (4) as the belief and worship as in Pandi temple, (5) for advice, belief, literature and taboo, (6) It has social meaning such as the ceremony of communal or relatives integration, (7) the social significance such as agricultural cycle ceremonies, (8) ethics and moral meaning which are embodied in the Ngaben ceremony, (9) Purification ancestral spirits, (10) politics meaning, for example in the ceremony of ngangkuk merana and the power of perton clien”. Based on the description of the functions and meanings above, it seems that local wisdom has many aspects theoretically as well as practically. Therefore

Indonesia which has many ethnics with their many local wisdoms has to be able to defendthe ethnic traditions because they contain of local wisdoms as the culture heritages of Indonesia.

2.1.3 Medendang Oral Tradition

2.1.3.1 The Historical Background of Medendang

Medendang, in Indonesian is a native tradition of Singkil ethnic to express feelings by using music instrument; they are gendang and a tray as an additional music instrument. The music accompany the song which is sung by the narrator.

The medendang rhymes and lyrics contain advice, entertainment, and stories of life. The community of Singkil ethnic callmenadaruntung (fate realizing). It means that medendang is used to warn others with subtle satire about life in the form of rhymes, such as: rhyme counsel or advice to obey the parents, how to socialize in the community, how to be good husbands, wives and son or daughter.

Medendang tradition in cultural anthropology term was the custom of young people in the past. At that time a meeting between a man and woman to get acquainted was still taboo. Marriage was also usually done by an arranged marriage. If it was not by the matchmaking, introductions through rhythm became another alternative to get closer to someone‟s who he is loved. The young men came to the woman‟s house that was stilts. They brought gendang and played it in rhythmic while singing together. Praise song, flattery, satire in the front yard of stage house was intended for women who captured the heart of their intent. Then the young women were making mats while chatting.

Sometimes the women felt the satire, flattered and fascinated by the voice and the lyrics of the song. If the song touched a woman‟s heart, she would come out with the yellow rice. After knowing which man made her amaze and she would throw in the yellow rice. It means that she intended to get closer with the man. This activity was usually carried out before mid night.

The introduction was followed by the activity called main kolong. This tradition was a tradition in whispers between a man and a woman. The man would go to the down of the stage house and knocked it. Usually, she had made slit on the floor of his house. As soon as he heard the man‟s code then she would open the gap. They starteda conversation without knowing by the woman's parents. She would closed tha gap again when they stopped the conversation.

Since Islamic religion taught the tradition of throwing yellow rice as a symbol that a woman likes a man among the singers has been prohibited because it is an act of useless thing. Due to the progress of time, tradition of main kolong is rarely done because it is seldom to find a stage house anymore. Nowadays, there are many modern houses or buildings. Conversation through main kolong has been replaced by conversations by telephone / Mobile phone.

2.1.3.2 MedendangTradition of Subulussalam

Medendang at present is one of the performing arts,Medendang is done by some people accompanied by gendang uning-uningan (ningnong-ningnong), and also a tray as an additional musical instrument. Medendang is showed only on happy event, such as: marriage, sunat rasul, khatam Al Qur‟an. Medendang is an expression of spontaneity of the singer. It is just like what Foley (2005) said that a performance is not a text, no more than an experience is an item or language is writing. The topic of the song also changes depending on the conditions of the community context of the place where the song sung. After recordings are done and then adapted into the text of the manuscript, the Medendang can be identified as a discourse.

Medendang is sung after dampeng dance show. Dampeng dance is a dance of young people in happy rhythmic which is shown in order to welcome the arrival of honor guests in Subulussalam society and also in wedding party, and sunat rasul. In wedding party and sunat rasul the dance is usually performed after

Isha or at about 8.00 pm. There are some kinds of dampengdance: the opening dance, silat, tari piring and some other dances. After dampeng show finishes, all players and dancers will have dinner together, followed by medendang show at

09:00 p.m to 03.00 a.m. early in the morning.

The description above shows there is a shift of medendang in social, economic and norm. The shift in social values refers to medendang tradition that formerly sung by youths, but now it is rare and almost unheard of. The shift in the economy seen as a habit into performance art that can add particular income for the users, especially group of studio. From society norm point of view, medendang. Formerly, medendang was broad norms and carried out by young people especially in communicating but today is something strange because it has been replaced by other communication media.

2.2. Theories

2.2.1 Performance

It is importan to understand the performance of medendang before

analyze it. Allison (2001: 23) says” The performance is a vital dimension

which must be undertood before the role of the traditionin the context can

be understood.Finnegan (1990:134) in Allison (2001:23) articulated a

common feeling among those who have done fieldwork on oral tradition:

When I came back and typed up my trancription I could not understand

why they seemed so lifeless. All the wisdom and art that I thought I had

seen seemed to be gone. Futhermore,Finnegan 1990, cieted by Allison

(2001: 23-24) performance can not be adequatedly described by the

isolated trascription of words on the page; a reader from another culture

needs more information on the following points:

i) Genre: is this well-defined? Is the audience aware of its rules? How a performance conforms to the perceived rules of its genre may give the best indication of local perceptions of success and failure. ii) Non-verbal elements: the performance may be accmpanied by music, or an elaborate language of gesture and body posture by the performer(s) iii) The performer(s): does he or she have a well-defined social status, does this affect perception of the performance? iv) The audience: its participation in and reaction to the performance v) The context: is the performance formally sanctioned ?it is taking place at a time and place considered to be appropriate? Performer(s) The are several strightforward question to investigate.One concerns the performers‟ action whitin the performance.

They may be acting singly; in pair; in a small or large group; interacting or exchanging with other single or collective performers as leader, follower, or equal; overlapping or interchanging with more audience-like roles.

Futhermore she syas: Thera are also question about how performers carry out their role(s): relying mainly on words and gestures, or also exploiting music or dance; purpoting to deliver works by other(human or supernatural); creative or otherwise in the sense of composing during or before tha performance. Futhermore she says “ performers are also of a certain ages, gender, social position, traning, reputation, and competence.

The audience investigation is impotant to understand. Finnegan

(1990: 157) said that the audience and the performer(s) in the performance can be classified into some characters; 1) The degree and form of participant- and of being „audience‟- was a relatively neglected topic which repayed details investigation, by comparing the audience behaviour at a clasiccal concert whether they were separated from the performer(s)

2) The audience and the performer(s) relatively separete, but the audience still takes little or no formal sense od delivering any of the text, 3) General separation between audience and performer(s) but the audience give some active contribution, for example join in singing.

2.2.2 Critical Discourse Analysis

Discourse can be interpreted as an oral and written speech act organized by the proper sequence or logical. In the discourse, each element must have a unit. Each discourse has a theme to be degraded or told in the discourse. Dijk (1998:194) says “In earlier text linguistic, and still among some discourse linguists, a related distinction is made, between „discourse‟ and text. Here discourse is used to refer to the actual, socially display text or talk, and „text‟ to its abstract (e.g. grammar) structures.

The theme is used as a binder for the content of discourse organized, directed and do not deviate here and there. Before writing a discourse, someone must first determine the theme, then the aim of the discourse. This aim related to the form or content of the discourse model.

The theme will be revealed in the discourse of the kind of writing style or what it depends on the goals and wishes of the teller or author. After setting goals, he will make the outline of (genre) which consists of topics that the elaboration of the theme. The topics are arranged systematically. It is made as a guide to write a discourse well by showing the distribution of the elements of composition which are related to the theme. Vass (1992) in

Ibrahim (2009:42) explains the meaning of the discourse as follows:

(1) (generally) utterances, conversation, discussion, (2) discursive presentation of statements equal using a series of thinking, (3) a series of statements or utterances equivalent with statements, (4) form of a series of statements / phrases; which can be either (archeology): Scientific discourse, poetic, religious, ( 5) Behavior managed by rules that leads towards a set or system of statements that linked each other ( various forms of knowledge) medical, psychology, etc.) (Example, in Michel

Foucault‟s work), (6) language as something that is practiced; language speech act (e.g. in Paul Ricoeur‟s work), (7) language as a totality, the whole field of linguistics.

Now days, the analysis of „discourse‟ is not only an analysis about the linguistic units but also the use of the language in the society. Dijk

(1998: 194) says that in contemporary, multidisciplinary discourse analysis is has become either too confusing or absolute- discourse studies now generally analysis discourse as a forms of language use”. It applies two principles, namely the principle of local interpretation and the principle of analogy. The principle of local interpretation is the principle of interpretation based on context, whether linguistic or context and nonlinguistic context.

Nonlinguistic context, which is the local context, is not just a place, but also can be a time, the domain of discourse usage, and participants. Interpretation of the principle of analogy is the principle of interpretation of a discourse based on the same or appropriate previous experience. By using the interpretation analogy, the analyst is able to understand the discourse in relevant context. That means that the analyst does not have to consider all discourse contexts. Dijk (1998:211) said that context is defined as the structure set of all properties of a social situation that are possibly relevant for the production, structures, interpretation and function of text and talk. They are domain, overall interaction and type of speech event, functions, Intention, purpose, date, time, location, circumstance, relevant object, participant role, professional role, social role, affiliation, membership, the social others, social and representations.

CDA looks at the discourse - the use of language in speech act and writing as a form of social practice. Explaining discourse as social practice implies a relationship of dialectic among particular discursive event with the situations, institutions and social structures. A dialectic relationship is a relationship of two paths: discursive events formed by situations, institutions and social structures, but also to form three of them

(Fairclough & Wodak 1997:55) in Ibrahim (2009)

CDA is a social discourse analysis, Dick (1998) says “CDA is a type of discourse analytical research studies primarily the way social power abuse; dominance and inequality are enacted, reproduced and resisted by text and talk in the social and political context. With Such dissident research, critical discourse analysts take explicit position, and

Thus want to understand, expose and ultimately to resist social inequality.”

It studies about the relationship language and social phenomena. In studying discourse, CDA pay attention to all level of discourse. Dick

(1995:18) said that the levels include the grammar (phonology, syntax, semantic), style, rhetoric, schematic organization, speech acts, pragmatic strategies, and those of interaction among others. CDA make a concept of language as a form of social practice and try to make mankind aware of the influence of lead - and forth between language and social structures that normally they do not realize

(Fairclough 1989, Wodak 1989) translated by Ibrahim (2009:239).

Furthermore Dijk (1993:132) explains the purpose of CDA is based on the theoretical foundation:

“Despite the different terms, and comes from a different point of view, most of us are struggling with power, domination, hegemony, inequality and discursive processes of manufacture, concealment, legitimacy and reproduction. And most of us are interested in complex ways that are used by the text and talks to manage the mind and produce agreement on a side, and articulate and defend the rejection and challenges on the other.”

CDA is related to social problems in order words, this approach is not related to language and language use exclusively, but with the features of linguistic structures and the social and cultural processes. Thus, the

CDA is interdisciplinary approach. The usage of discourse in the society, it has power of sense. The power in the society is associated with discourse, it uses to persuade, claim, and force someone for example, the advertisement of discourse is used to persuade the reader, the poems of love s used to persuade, make sure and make someone happy.

Culture and society are dialectically related to discourse: society and culture formed by discourse and manage the discourse as well. Every single event of the language usage produces and transforms society and culture, including power relations. The poems as an oral tradition contains of many values which are used by the society to manage the relation among the society. The discourse is also influenced by the society, in order words both of them influence each other.

The use of language can be ideological as well in order to make sure the ideological meaning hidden in the discourse. Discourse is historical and can only understood with the context of Meta meaning,

(Wittgensein, 1984:57), it means the meaning of an utterance depends on its use in certain situation. So discourse is embedded in an ideology history, or culture, and acceptance and social effect. Discourse analysis is interpretative and explanatory. The critical analysis implies the existence of systemic methodology and the relationship between text and social condition. Interpretations dynamic and always open the new formation and context. The discourse as a form of social behavior. It contains the ideology of the group or the members.

Ideologies are the fundamental beliefs of a group and its members.

Ideologies have something to do with systems of ideas, and especially with the social, political or religious ideas shared by a social group or movement. Communism as well as anti-communism, socialism and liberalism, feminism and sexism, racism and antiracism, pacifism and militarism, are examples of widespread ideologies which may be more or less positive or negative depending on our point of view or group membership. Group members who share such ideologies stand for a number of very general ideas that are at the basis of their more specific beliefs about the world, guide their interpretation of events, and monitor their social practices. As systems of ideas of social groups and movements ideologies not only make sense in order to understand the world (from the point of view of the group), but also as a basis for the social practices of group members.

One of the crucial social practices influenced by ideologies are language use and discourse, which in turn also influence how to learn or change ideologies. Much of discourse, especially when speak as members of groups, expresses ideologically based opinions. Ideological ideas by reading and listening to other group members, beginning with parents and peers. Later ideologies is learned by watching television, reading text books at school, advertising, the newspaper, novels or participating in everyday conversations with friends and colleagues, among a multitude of other forms of talk and text.

CDA is associated about research on the testimony of two assumptions about the use of language: that language is compiled and organized socially. This idea on a multi-functional linguistic theory which is embodied in the "systemic-functional linguistic" (Halliday 1978.1985): each text has ideational function, through the representation to the experience. In addition, the text produces social interactions among participants in the discourse and, thus, it also display interpersonal function. At last, the text also has a textual function, the text brings together the separate components into situational contexts.

At the textual level, CDA carries out the analysis form and content.

Instead of form, texture and Fairclough discuss textual organization, relating to the work of Halliday and Hasan (1976). Both aspects-the content and shape texture - cannot be separated,therefore, the shape is part of the contents. A linguistic analysis of text, according to Fairclough, means a phonological analysis, grammar, vocabulary, and semantics, such as cohesion and taking turns in conversation.

Discursive practice level is the relationship between text and social practice. Discursive practices related to the socio-cognitive aspects of the production and interpretation of the text on the one hand, these aspects shaped by social practices and assist in its formation, and the other side is closely related to the textual level: the text produce leave what is called by cues (clue) in a text and interpreter occur based on the textual elements.

Therefore, the analysis discursive practice includes not only proper explanation on how participants interpret and produce texts in an interaction, but also discursive events relationship with the order of discourse that is an issue inters discursiveness Fairclough (1993: 136).

Fairclough (1993) then says that theoretical foundations of CDA is that social structures such as the realization of the class, which is a major concern of sociology, is in a dialectical relationship with social activities and that the text is the main form of social activity (significant). Related text analysis studies based on three text structures, Van

Dijk sees a text consisting of multiple structures / levels which each of

them mutual support. He divided into 3 levels. They are macrostructure,

schematic structure and micro structure. The first is macro structure, itis

the global / common sense of a text that can be observed by looking at the

topic or theme emphasized in the discourse. The second the superstructure.

It is a discourse structure related to text a framework of text, how the parts

are composed into the discourse intently. The third, the microstructures. Is

the meaning of discourse that can be observed from a small committee of a

text that is words, sentences, propositions, clause, paraphrase, and pictures.

The third structure is described as follows:

Macro Structure: Topic/Global meaning of a text that can be observed Of the topic / theme raised by a text

Superstructures (Schematic): Framework of a text, such as the introduction, contain, cover, and conclusions

Micro Structure: Local meaning of a text that can be observed From the choice of words, sentences and style used by a text

2.2.2.1 The Macro Structure

Macro structure is the global / common meaning of text that can be understood by looking at the topic of a text. In other words, the macro-structure analysis is an analysis of a text that is combined with the social conditions at the surroundingin order to obtain a central theme. The theme of a text does not appear explicitly in the text, but included in the text as a whole forms of a coherent unity.

Thus, the theme of a text can be found by reading the text as a whole as a social discourse that can be drawn one as main idea or topic, or ideas developed in the text. Dick (1980) says: “ A macro analysis takes place at several levels: We try to delete irrelevant detail, generalize, and construct global actions, but at the same time we make inferences about the background of the events, the character of the participants involved, the social frame being instantiated, and so on. In other words, macro rules are not simply operating by deletion on given information but often actively try to construct new, more global, information at another level. This may be done by mapping FACT organized propositions onto MACROFACT- organized macro propositions: The rule isolates the participants in the story who are also participants in a macro structural event or action, constructs the macro action, constructs modifiers for the participants (viz., their general characteristics), and finally determines the general situation such as time, place, background, and atmosphere. Next, the MACROFACT is taken as an instantiation of a FACT in known social frames, which provides the global goals, strategies, possible plans, and general preferences of the participants”.

2.2.2.1.1 The Context in Oral Tradition

Medendang as an oral tradition is produced, distributed and consumed by the society of Subulussalam Singkil ethnic. In analyzing of this social product, it is important to analyze the context of the medendang tradition. It is analyzed in order to find out the meaning, sense and purpose of it. Sibarani 2012:324 says”

…sebuah teks tradisi lisan akan berbeda makna, maksud, dan fungsinya tergantung perbedaan konteksnya.” Further explanation, he said that in an oral tradition, it is important to determine the cultural, social, situational, and ideological context.

2.2.2.1.1.1 The Context of Culture

Cultural context determines the purposes of the text used, whether it is used for a ritual, ceremony or entertainment in a social event such as birth, death, circumcision and marriage. Medendang tradition is used only in some happiness events such as entertaining the guests in circumcision and wedding parties, welcoming the governmental guests, and the opening of governmental event ceremonies. Some texts and medendang series performance are different.

The peronde or narrators choose the suitable poems for each event. Some series of medendangperformance could not be also performed if the time is not enough.

This research intents on medendang performance of circumcision party.

Some people of Subulussalam Singkil ethnic still love their traditional art. Some others do not use it at their party any more. They suppose this medendang show is a kind of entertainment, so if they do not use it at their party it does not matter for them. Mostly the medendang performance in circumcision party and wedding party is similar.

The different only on the use of poems. In a circumcision party, the peronde or narrators use the poems to advice the mempule to become good boys, doing their obligations as sons, civil, and the follower of Prophet Muhammad. The narrators also tell a short story to give moral teaching to the mempulei and audiences. The short story tells about the effort of parents in growing their children. On a wedding party the peronde use poems for giving advice to the groom and bride.

2.2.1.1.1.2 The Context of Social

Social context is social condition influences or uses the oral tradition.

Sibarani (2012:325) said that social factors influence and use the oral tradition include the gender differences, the location of performance differences, educational level, age, etc. The clue for the social context is who take part on the text. Who are the producers, distributers, and the consumers of the oral tradition?

It is important to describe the social cognition in which the oral tradition is produced, distributed, and consumed, whether the oral tradition is only performed and watched by male or female also. The comprehension of the social cognition not only identify the meaning, sense, purpose and function of the oral tradition but also the processing of the oral tradition developments from period to period.

2.2.1.1.1.3 The Context of Situation

Context of situaton is focused on the circumstance of the text use. Sibarani

(2012: 326) said that the guiding word of the situational context were when, where and how the text performed or uttered. The description of the time would function to explain the temporal circumstance of the tradition. It could be divided based on the day, they were in morning, at noon, in afternoon or at night. Furthermore he said that the temporal situational context expressed the feeling of sadness, happiness, thank God, and lament.

The description of location explains the location of the performance. It includes the stage, where the tradition is performed. It explains the location of the viewer or audiences, the music band. The description of “how” the performance is performed explains the condition of the performance.Whether they closed to the original one was, it use all of the plot or only some parts of the plot. The comparison of the performance from ere to era is needed to explain the development of the tradition.

2.2.1.1.1.4 The Context of Ideology

Ideology is an understanding, belief, and trend. It is a way of thinking in order to view something by knowledge and feeling consideration. Ideological context refers to the powers which influence and dominate a text. Ideological understanding is a mean of communication to the society where the tradition is placed. By understanding the ideology of a society, it could help the researcher in order to determine the relationship between the text usage and the society. It would make easier to get the purpose of the text usage.

2.2.1.1.2 The Co-text in Oral Tradition

2.2.1.1.2.1 Paralinguistic

Oral tradition as a verbal and non verbal communication expresses meaning and sense to the audience. The study paralinguistic is needed in order to understand the function of the paralinguistic or suprasegmental features. Umberto

(1979:10) says” Paralinguistic is also called suprasegmental Features. It is a study which corroborate linguistic communication and which increasingly appear as institutionalized and systematized”. Furthermorehe cited from Trager (1964) that he subdivides all the sounds without linguistic structure into (a) “ Voice set”

Connected with sex, age, state of health, etc; (b) “Para language” divided into (i) “

Voice qualities” (pitch rang, vocal lip control, glottis control, articulatory control etc.), (ii) Vocalization” in turn divided in to (ii-1)” Vocal characterizers”

(laughing, crying, whimpering, sobbing, whining, whispering, yawning, belching, etc. (ii-2) “ Vocal qualifiers” ( intensity, pitch, height, extent),(ii-3) Vocal segregates” (noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts, etc). Furthermore La barre (1964) cited by Eco (1979:.....) says” Another object of paralinguistic is the study of the language of whistles.

2.2.1.1.2.2 Kinesics

Oral tradition as a culture gives a meaning, senses to the society. By understanding the body motion, it is easier to consider the meaning, sense of the text which is said by the narrators. Sibarani (2012:321) said that in communicating especially in oral tradition by using verbal texts, the players always communicate by using the hands movements, face expression, the bowing of head, body movements and gestures.

The study of body motion is needed to understand what the dancers feel because dance can serve to express many various mention, it is best to understand how the body is set up physically to more serviceability fulfill the variety of action. Furthermore Dena Davida (2011:301) says” Kinesics is the study of body motion as related to the nonverbal aspect of interpersonal communication.

2.2.1.1.2.3 Proxemics

Dena (2011:301) says “The study of proxemics focuses on how individuals create and maintain spatial separation and how these social distance can contribute to the understanding of culture.

2.2.1.1.2.4 Materials

Materials are everything related to the use of text. The producing, distributing and consuming the text in an oral tradition are different with the daily communication.

In the producing, distributing and consuming the text in an oral tradition are needed the players and audiences preparation in performing the performance. The semiotic analysis of materials as an element of co-text has to be done in understanding the purpose, meaning, sense of an oral tradition. By doing this analysis, the efforts of the impartation of an oral tradition could get the target as close as possible.

2.2.1.2 The superstructure (Schematic)

Superstructure is the basic framework of a text which includes the arrangement or sequence or structure of a text element in shaping a coherent unity of form. Dijk

(1998:207) says that “schematic structures or superstructures represent the global furrow of text and talk. Such global discourse forms or schemata are organized by a number of conventional categories, such as introduction and conclusion, opening and closing, problem and solution, premises and conclusion, and so on”.

In other words, it analyzes of the scheme or the superstructure of a text line. Just as a building, a text is also composed by various elements - such as the introduction, contents and the cover should be arranged in such a way, to form a complete and interesting text. Dick (1980:112) says The factors underlying the formation and conventionalization of schemata would be of the following general nature:

(a) the necessity of ordering, organizing information units (propositions), by

functional categories;

(b) the semantic-pragmatic constraints on information distribution (e g.,

presupposition-assertion articulation);

(c) the pragmatic aspects of the discourse: what is the general point or Function

of the discourse as an act for the hearer/reader;

(d) the interactional aspects of speaking, writing, and reading/hearing: how to

start; how to stop; relations between speech participants; etc.;

(c) Cognitive aspects: as previously for information acquisition, plus needs for

expression, evaluation, news, problem solving, suspense, etc”.

2.2.1.3 The Micro Structure

Microstructure is the analysis of a text based the intrinsic features of the text. The elements that pointed to the local significance (local meaning) of a discourse can be extracted from the aspects of semantic, syntactic, stylistic, and rhetoric. Semantic aspects of a discourse include the background, details, intent, presuppositions, and nominalization.

Syntactic aspects of a discourse concern with how the phrase or sentence is prepared to put forward. It includes a form of sentences, coherence, and the selection of a number of pronouns. Figurative aspects of a discourse regarding the choice of words and show of force will be used by the discourse. In regard to the selection of pronouns that are used in a sentence, lexical aspect is closely related to syntactic aspects. Rhetorical aspects of a discourse refer to the tactics and methods used by the other of discourse to give emphasis on the elements highlighted. It includes a graphical appearance, writing, metaphors, and the use of expressions.

Analyzing the structural components of the overall discourse in the case medendang discourse, it can be revealed the makers of medendang discourse social cognition is. Theoretically, this statement is based on the way of looking for a fact that will determine the pattern and structure of the resulting discourse.

Dick in Mazzi 2012: 13-14 also has an analysis model of news text, Macro, micro and schematic. Macrostructure of the news text is defined as its general organization with respect to overall contains as contains as well asits schematic structure: the former denote the sequences of both the general and specific themes dealt with the text, whereas schematic structure concern the structural unit through which the text is built, i.e. headlines, lead and reported events. Micro-structure of news discourse, which Van dick undertake to analyze both the level of semantic relation between undertakes to analyze both the level of semantic relation between preposition, and the form of viewpoint of lexical, syntactic and more generally rhetorical properties of newspaper style.The analysis of medendang discourse by using the CDA theory can be applied as follows:

1. Medendang oral performance is recorded 2. The researcher write down the transcription of the medendang discourse 3. The researcheranalyzes the discourse from the culture, ideology, religious analogy (Makro Structure Analisis) 4. The researcher analyzes the discourse to find out the generic structure of text ( Superstructure analysis) 5. The researcher search the linguistic features which found in the medendang discourse (Micro Structure Analysis)

Dampeng Dance Text Indonesian Translated Version

Peronde 1: Narator 1:

“Ayo… ayo… daa “Ayo… ayo… daa

ayo ale…. o ale…. ayo ale…. o ale….

assalamu‟alaikum” assalamu‟alaikum”

Peronde 2: Narator 2:

“Adenamia Kisak dampeng! “Adenamia putar dampeng!

Ambil umbil pengaduk Ambil pohon umbil pengaduk damagh (kaum beak) damar(Saudara-saudara)

Di situ bambu ku ghebakhkan Di situ bambu ku rebahkan

Dancer and peronde 1: Penari dan Peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Narator 2:

“Gecik adil pegawai adil “ Kepala dusun adil pegawai adil

Disitu badan ku ghebahkan” Di situ badan ku rebahkan”

Makro structure shows that the Singkil ethnic knows the terms of kingdom and it could be proved by some femous kingdom to Singkil ethnic. This structure also shows that Singkil ethnic is influenced by the Malay tradition, the poems is identic with the Malay poems. Superstructure shows the thatmedendang contains of poems which using rhyme. And it also contains narrative generic structure. The

Micro structure shows that medendang discourse uses Singkil ethnic dialect.

2.3 The Construction of Critical Discourse Analysis in Medendang

Basic theory used in this study are Critical Discourse Analysis (CDA) theory by van Dijk (1980) Wodak (1996) and Fairclough (1993). The flow of research can be seen in the picture below:

Medendang Research Finding

Alas dance

Critical Discourse Analysis

Dampeng dance

Selendayong The contextual, co- Macrostructre dance textual aspects of medendang Silat dance

The schematic Dendang Schematic Structure structure medendangtext

Lambei-lambei dance Microstructure Linguistic features of Medendang Tonjong

The moral value of medendang semiotically and situationally

Figure 1.The Flow of Research on by using CDA analysis

Thepicture shows the flow of medendang analysis are analyzed by Critical

Discourse Analysis. Analysis by focusing on the macro and micro structures of medendang. Analysis of macro from context medendang point of view are ideology, social and cultural condition, while the microstructures examined medendang from the standpoint of linguistics such as phonology, morphology, syntax, semantics, metaphor. From the whole circuits of the analysis then drawn to the relationship between the semiotic senseand macro, micro structure of medendang.

2.4 The Relevant Research

There have been many studies that evaluated the oral tradition, whether in the form of journals, thesis‟ even dissertations. A Study of Text and Discourse

Analysis Oral-Mandailing Angkola Marriage Ceremony by Matondang and

Hasibuan (2001) with Spoken Discourse Structure analysis Angkola Mandailing marriage ceremony which consists of:

1. A. Spokesman of the party have a basic need (Suhut) Pangatak Pengetong

(Compiler Event / Protocol)

2. Suhut (who had a party intent)

3. Boru Suhut child (son in law, who had intent)

4. Banana Raut (Son-in-law of Boru)

5. Paralok alok (workshop participants who were present)

6. Hatobangan (customary in Kampung Raja is / Noblemen of Village)

7. Beams Torbing king (King of the village next to adapt)

8. Panusunan Bulung king (King of Kings Traditional / Leadership Session)

Furthermore Fauriana (2009)on her studies Citra Local Politicians in

Political Ads (Discourse Analysis Mardjoko image-Husayn (Marhein) in Political

Advertising on Television Banyumas (BMSTV) on election Banyumas 2008), it is known that the level of the text, which is the first ad campaign Mardjoko-Husein's partner managed to raise the issue of crisis Banyumas citizen about jobs with investments. The coalition of PKB (the party that officially carries them) and that in fact the largest PDIP sympathizers in Banyumas through imaging Achmad

Husein as a child PDIP figures. Third, the ad is successfully imaged Mardjoko as a good and clean. At the level of social cognition in mind the background of advertisement makers implicitly affect the discourse that developed in each of the idea of making the advertisement. Social context in Indonesia considers that the political campaign advertisement into a cultural paradigm is the basis of the importance way in campaign.

Erdian (2008), Erdian's Findings about The Semiotics Analysis of ethnic

Chinese are literature That Died ceremony Sign and signal in the literature of

Chinese Died ceremony has form, function, meaning, context, structure of the language and the literature. And also by using the language of literature of the ceremony the language in the social context can be projected.

Lubis (2010), Lubis's dissertation about the Structure and Communication

Strategies in Courtroom Discourse which apply van Dijk's macro structure theory and Tarone and Faerch and Kapers' concept of communication strategies indicates

That there are five levels of structure in courtrooms discourse namely: opening of trials , litigation (plaintiff), hearing (witness testimony) demands, and verdict

(conviction court. Each level has one sub-level question and answer that is level with various elements, either obligatory or optional, and it is ended with closing remarks. While communication cooperative strategies are applied, non- cooperative, self repair, avoidance, formulaic expression, repetition, reduction, approximation and circumlocution. The turn-taking structure begins and ends with the judge, while the others have their linguistically or none linguistically turns.

CHAPTER III METHODOLOGY

Research methodology is something that tries to discuss the various methods of theoretical concepts, the strengths and weaknesses, then in the scientific work continued with the choice of the method used. . The study is a qualitative study. “Qualitative research includs two tensions at the same time. On the one hand it is directed towards the critical, feminist, post-modern, interpretive, and extensive understanding, but on the other hand it is directed towards a conception of human experience and analysis of post positivist and narrowly defined positive Nelson and friends (1992, hlm.4) in Denzin and Lincoln (1997).

This study gives attention to the natural data of medendang within the social context relation of Subulussalam Singkil ethnic. Then McRoy says “Qualitative research that is concerned with non-statistical methods of inquiry and analysis of social phenomena. It draws on an inductive process in which themes and categories emerge through analysis of data collected by such techniques as interviews, observations, video tapes, and case studies. Samples are usually small and are often purposively selected. Qualitative research uses detailed descriptions from the perspective of the research of participants themselves as a means of examining specific issues and problems under study.

(http://www.uncp.edu/home/marson/qualitative_research)

3.1 The Research Method

Qualitative research uses qualitative methods. The qualitative method is a method that emphasizes quality (the characteristics of the natural data) in accordance with the descriptiveunderstanding and the neutrality of data. Descriptive method is a method in researching the status of a group of people, object, and set of conditions, system of thought or a class of events recent day. The purpose of descriptive research to make the description of medendeng, factually and accurately information about medendang facts, characteristics and relationships between medendang phenomena with Singkil ethnic communities. This is in accordance with the Djajasudarma (1993:16) that the descriptive method is always involved in the questions: (1) why, (2) what the scientific reason for the selection of details, (3) how it happened. He further said that the researcher if the researcher uses a descriptive method the researcher has to describe the characteristics, properties and datadescription through the selection made in the selection phases of the data after the data collected.

3.2 The Data and Data Resources

The data in this research are taken from medendang discourse recording on wedding and sunat rasulparties and interviews with some informants. The informants are classified into two groups namely primer informant group and secunder informants group. Primer informants are the key informants, the ones who involve in the medendang show and the culture observer. Secunder informants are the ones who are interested in the medendang show. 3.3 The Method of Collecting Data

This research appliedseveral stages of data collection, they were: Library studies, survey, observation, interview, recording and triangulation.

3.3.1 Library Studies

Literature study was needed to collect data about the medendangtradition of

Subulussalam Singkil ethnic , the state of Subulussalam society viewed from the aspect of ideology, religion, economics, and culture,by doing the literature study the researcher obtained the information about the Subulussalam Singkil community traditions.

3.3.2 Survey

Survey method was conducted to find and complete data which is already collected including the personal experience study of the researcher (experience survey), community leaders who were considered involved in medendang show

.since, a leader of a community be able present the criteria of his society and he wasconsidered be able to actualizesthe symbols of community identity. The survey was a preliminary study of the Singkil ethnic tradition, because the survey was able to give ideas in collecting the nextmedendang data. The technique was performed by selecting the parties randomly to be asked not only the ones who had been have chosen as an informant but also who had been chosen by object of research. So the survey was a research activities on a particular object to be studied in more detail with other research techniques to generate data validity.

This survey was used to collect general data about the aspects of Subulussalam community life and it was used as the basis for seeking information especially about Subulussalam Singkil ethnic medendang tradition.

3.3.3 Observation

Observation is how to view an event from outside to inside and then describe exactly what is seen Danandjaja, (1984) in Banurea (2007: 30). Observation is not limited to visual sight), but also the experience gained from other senses like hearing, smell and touch. Berutu (2001:69) in Banurea (2007:31) argues that the observations can be categorized into two types, namely:

Open observations is the observation known by the subjects and the subjects give the opportunity to observe. Closed observations, is the observation which is not known by the subject. This research used both of the observation types to get a valid data.

3.3.4 Interview

Interviews are conducted with community leaders who love the medendang tradition of Subulussalam Singkil ethnic. Interviews were conducted to determine the individual's and Societies‟ about the Singkil cultural change of medendang tradition. The next step is to search people who have a special affinity with the informants to interview. This step was taken in order to go deeper ( thick description ), in order to obtain detailed data about the tradition of medendang to reveal the historical, so that it can obtain more data about medendang moral values, views and actions in accordance with the values of life. The Informants were divided into two groups namely: the first group was the primary informant, the ones who love medendangsuch as the players and the men who interested in Subulussalam Singkil ethnic tradition, and the secondary informants are those who are usually watch the medendang show.

3.3.5 Recording

The data collection ofmedendang discourse was got by recording the medendang shows, The recording was done in order to get the pictures and sound of medendang performances at sunat rasul party. From the pictures and sound, the data will be analyzed by using a Pierce‟s Theory Semiotic Analysis andDick‟s

Critical Discourse Analysis.

3.3.6 Triangulation

Triangulation is performed to obtain data reliability. Triangulationis comparing the same data from different informants also makes adjustments to the data from different sources. Thus, the data in this research was obtained from different informants so that the data is meaningful and reliable. This triangulation process was done to get the same point of view about something related to the medendang.

3.4 Location and Time of the Study

The location of the study is in Kota Subulussalam Aceh province. On the

East, Subulussalam is by the Sub region Pakpak Bharat Sumatera Utara Province on the West it is by Sub region of Tapak Tuan Aceh Province. On the South it is by Sub region of Tiga Lingga Sumatera Utara Province and Sub region of Kuta

Cane Aceh Province. Subulussalam has five Sektors (Kecamatan). They are

Penanggalan, Simpang Kiri, Longkip, Roundeng and Sultan Daulat. Most of the society who live in Penanggalan, Simpang Kiri and Longkip are new comer from

Tapak Tuan, Banda Aceh, Karo, Dairi, Kota Cane, and other region of Sumatera

Utara province. Most of the native Singkil live in Sultan Daulat and Roundeng.

This research was started on March 2012 to last of June 2014. By the long duration the researcher got information about the tradition of medendang specifically.

CHAPTER IV

THE DESCRIPTION OF THE RESEARCH

4.1 The Ethnography of Kota Subulussalam 4.1.1 The Religion

Most of the Singkil ethnic society in Subulussalam as one of sub region of

Aceh province are Islam. They adopt Islam fully like what the prophet

Muhammad taught. Especially for Friday praying which is an obligation of male

Muslim, The male Muslim feels guilty if he does not do it for three times, so if he has been absent for doing Friday praying twice, he does it. Even though he works at a long distance, he tries to go home and takes a pray for Jum‟at praying. Most of shops is closed during the pray of Jum‟at is done for about two hours. Singkil society often celebrate Islam celebrations such as Maulid Prophet Muhammad,

For Maulid celebration, Sigkil society divided the period of Prophet Muhammad‟s

Birthday celebration into four, they are Opom, Mangidotawar and Mahapit.

Opom is celebrated in the afternoon, in this celebration the mothers make opom cake. Mangidotawar is celebrated after Opom moon, before entering fasting moon or Ramadhan. Israk Mi‟raz, megang, Maulid Prophet is the celebration of the

Prophet Muhammad's Birthday and Israk Mi‟raz Prophet Muhammad, it is a history of Prophet Muhammad receiving prays from the God.

Wirid yasin is a religious tradition for Singkil ethnic. Wirid for gentlemen is held every Thursday night. In wirid the members read Yasin one of surah of the Holy Koran. This tradition is done door to door of the members by following the schedule that has been arranged. Wirid for ladies is held every Friday afternoon after the men came home from doing Friday fraying. Wirid is held in order to get far a way from bad impact of evil, It is a kind of civil organization. Some churches are found in Subulussalam. Some Christian civil servant works in Subulussalam safely. There are also Christian businessmen there. Most of Christian live in region of Simpang Kanan. It is the first region which is found from Medan. Most of them are Batak Toba, some are Karonese. They earn their living by treading, farming, driving and working as mechanic. There is no religion conflict.

4.1.2 The Language

Singkil ethnic use Singkil language.Singkil language is dialect with

Pakpaknese. Some of them call themselves as part of Pakpak Boang. But some of them do not want to be called it because the word “boang” has negative image in the society boang means „thrown‟ because based on the history, Pakpak Boang were Pakpaknese who do not apply Pakpak tradition so they were thrown. On the other hand, the colonization of Dutch in Dairi does not only for economy but also religion purpose. The Dutch were missionaries, they took Christians of Toba and

Siantar to Dairi. It caused contradiction among the Toba ethnic and Pakpak ethnic. Some Pakpak ethnic which did not like to be colonized ran to

Subulussalam which were influenced by Islam tradition. The influence of Islam make Pakpak ethnic who comes to Subulussalam does not apply their tradition any more. Recent days most Pakpak ethnic who live in Subulussalam call themselves Singkil ethnic. Singkil it self comes from the word Singkil. It is sub region of Aceh Province. After Subulussalam stated as Kota Madya, The government administration is separated from Singkil, but the language, tradition and ethnic is still called Singkil. Singkil language is also called mekade-kade or kampong language. It has many words to say something, for examples: takhik,khukhut, sintak and tegumeans „pull‟. The other example bocokh, cikhis and tembus means „lake out‟.

They are synonym. Some of Singkil words are not used anymore for „you‟ (plural) in original Singkil words are kemin, kemuna and dene. The old Singkilnese politer.

Last time to say „you‟ (singular) is kemuna, recent days is ko. Last time to say

„you‟ (plural) was kemin, but now it is kene.

Anak Jammi language is also mostly applied in the society. The word Anak

Jami means „the comer ones‟. The language is dialect with Malay and

Padangnese. They come from other sub region of Aceh Province and other

Provinces. From the researcher point of view, they are Malay, which separated along the beaches of Indonesia Archipelagos. They use Malay language which is the base of Indonesian. Based on Subulussalam development history, it is as a new sub region separated from Aceh Singkil, Aceh Singkil was part of South Aceh. The capital of South Aceh is Tapak Tuan. It means Tapak Tuan can be called as

Subulussalam‟s grandfather land. On the other hand Singkil sub region can be called as the Father land of Subulussalam. Many civil servants and businessmen come from Tapak Tuan. They use Malay language which is dialect with Anak

Jami language. It is one of logical reason why Anak Jami language also mostly applied in Subulussalam. This assumption is based on the location of Singkil and

Subulussalam which are along the seashore.

4.1.3 The Social life Subulussalam is a small town in Aceh Province. It is a heterogeneous town, but most of the society are Singkil ethnic, there are some other ethnic live in

Subulusslam, they are Gayonese, Javanese, Padangnese, Karonese, Pakpaknese, and Acehnese. Subulussalam as a new sub region separated from Aceh Singkil,

Aceh Singkil was part of South Aceh. The capital of South Aceh is in Tapak

Tuan. So recent days Tapak Tuan is called Subulussalam‟s grandfather land.

Many civil servants and businessmen come from Tapak Tuan. It is one of logical reason why Anak Jami language also mostly applied in Subulussalam.

4.2 The Human Recourses

4.2.1 The Education

Human resources in the area of Singkil ethnic are still left behind

compared with other regions, such as human resources in Java. Only a few

children or parents have high education until senior high school or

university degree. They just get a primary level education. It happens

because they do not realize how important the role of education is. That is

why most of officers and civil servants are not Singkil ethnic people. They

come from other region.

4.2.2 The Economy

The economic level of Singkil ethnic people are still low because

they depend on the other region. Since their livelihoods are farmers, planters, and fishermen, it forces them sell their harvest of farming, rubber,

cocoa, palm or fishes to people in other region which is near to them. They

faces difficulty in distributing or selling them. Besides, they can not be

patient for waiting the harvest of plant trees in a couple of years. This

makes them work in plantation companies for earning money.

4.2.3 The Livelihoods

Most of Singki people‟s livelihoods are farmers, planters, and

fishermen. They plant paddy. Sometimes they crop harvest well and

sometimes fails. It happens because of less care or flooded. Some of them

plant oil palm, rubber, cocoa, coconuts, and areca nut.

4.3 The Natural Resources

4.3.1 The Forest

Natural resources in the region of Singkil ethnic actually very adequate, but because of the level of education that is still low, so the existing natural resources controlled by outsiders because of the ability to manage the natural resource are not capable of such management of forest products.

Since the people‟s low level of economic and the ability of the society, it makes them difficult to manage the existing forest products. Some people sell the land to the foreigners who live in other region just because of money. They do not think further that they can plant any kinds of plantation trees on the land. They do not want to wait any longer until the plants grow well. 4.3.2 The River

One of the natural resources in Subulussalam is the river. That is why some people who live near the river work as fishermen. But they do not want to maintain the cleanliness of the river. Many rivers are polluted. In addition to awareness to keep the river clean, the people also do not know how to maintain or take care of fish in the river due to the taking of fish carelessly by giving poison or poking them. It is not good because besides it can make the river polluted, it can also the fish.

4.3.3 The Plantation

Other natural resources in Subulussalam is plantation. But the management of the plantation has just started around four or five years because the people there are less interested to the plantation. They are generally more concerned with taking forest products such as splitting wood. This wood also results in exports to outside the area. But since the Government of Susilo BambangYudhoyono (SBY) then the uptake of excess wood removed. Since then the community start to gardening up to now. Many owners of gardens does not maximize the management of planting and caring the forest product. The grass grows taller than the plants.

4.3.4 The Agriculture

In addition to natural resources mentioned above there is resources is agriculture.

Some people plant paddy. But sometime their harvest are failed. It happens because of flood and the government gives less attention to drainage. Their rice fields are lack of water. Despite the Government's concern about the lack of drainage, the Government has always helped the community in the form of agricultural purposes ranging, suchas rice seeds, fertilizer, roundup, and so on.But even people who have been helped by the Government but there are also people who are selling these items.

4.4 The Cultural Heritages

Singkil ethnic has many unique traditions. All of the traditions influenced by Islam. The old generation tries to bequeath the tradition to the next generation.

Because of the globalization and modernization, a part of the community do not apply their tradition anymore. Gradually it causes their tradition becomes extinct.Sinkil ethnic is very kind to the guess. It is a tradition to serve the guess as if he were a king. They serve the guess from the bottom of their heart if they served their King. But they are very angry if the guess does not appreciate them.

Shaking hand is a tradition to show their warm greeting and appreciating. Shaking hand to others at a party or meeting formal or informal situation is a tradition for

Singkil ethnic. It is to make their relationship closer. In an invitation for example, the later comer has to give shaking hand to all of the guess who came sooner.

4.4.1 The Performance Arts

Every ethnic has they own way to show up their tradition. Some traditions can not be performed but some others can be watch as a show. Sinkil ethnic rich of performance arts. It is a fact that the existence of Sinkil ethnic tradition has passed long period. Based on the ethnic point of view, Singkil has closed relationship with Pakpaknese in Dairi and Pakpak Bharat sub region, but Singkil ethnic has more performance arts. They are; (1) Dampeng dance, (2) Alas dance, (3) Barat

Dance, (4) Piring dance (5) medendang, (6) Tonjong.

4.4.2 The Carving Arts

Singkil ethnic has carving arts. The media of the carving are wood and coconut.

They make it for they need. They use it as the pepinangen, pepinanganis used to put betel vine. Pepinangan made of wood. The wood name is gecih. It is a soft and light wood. People say it gecih wood. It is easy to carve when it is wet. But if the wood is dry, it is hard. It is carved become dishes such as plate and try. The wide plate or tray is called capah. Last time the Singkil society use capah as plate, recent days it used to put betel vine. There is another carving art from wood. It is used to put cakes or fruits in Maulid celebration. These capah are arranged become layered. Even they are four or three layered but it can be taken by one person because they are light.

Picture 4.1. The carving of coconut as a handicraft

Another carving art is carving of coconut. This carving art is done in every wedding and circumcision party. If the mempulei is one, the carving coconut is one but if there are two, the coconut are two too. The tool to carve the coconut only a small knife. The carving is done at the second hinai. It is the moment when medendang is performed. So while the audience enjoy the show, one of carver works to make the coconut carving.

4.5 The Sunat Rasul Ceremony in Subulussalam SingkilEthnic

4.5.1 The Preparation

Any kind of parties must need preparation before holding the event in order to make the event runs well. When a family wants to have a party, all the family members and the relatives also make preparation before the party day. People who live in Subulussalam, especially in Sultan Daulat, they make good preparation before having the party.

All the family members should consider the appropriate time to make preparation before holding the party. They can not decide the appropriate time before asking all the relatives. It is called ketuk jabu. It means that all the relatives and neighbors are asked to come to the house at night. In ketuk jabu, they discuss about the appropriate time to hold the party. It has some activities, namely:

4.5.1.1 Inviting moment (Mebagah) The family invites the family and the relatives who live quite far from the location of the party. It is a kind of tradition if one of the family members or relatives is asked to invite other families or relatives. For example, A invites families or relatives in one district and B invites families or relatives in other district.

When the party is carried out by means of menghinei or kenduri, everything which can be done during the party is done by not only the families and relatives but also neighbors around. A day before the party day, they makes a work meeting. It discusses about the activities related to the party and who takes the responsibility to work. There are some activities which is done by some committees during the party, namely: (a) Receiving Guest Committee, the purpose of this committee is to receive guests who comes to the party. The person who takes that kind of job is around 40 years or more. (b) The Treasurer Committee, this persons who takes the committee plays an important role because s/he focuses on the material which is in the kitchen, such as rice, sugar, coffee, cigarettes and so on. Usually s/he has close relationship to the host/hostess. (c) Food service Committee, food service committee serves food or drinks to guests who come to the party. The person who handles this committee is around 25 years old or more. S/he should wear polite custom. She should wears sarong tied down if she wears trousers or jeans. (d)

Mekhukat Committee,mekhukat committee is normally given to a woman. She prepares the food which will be served to the quests. The person should have the same experience before. She should be clean in order to make the quests feel disgust to eat the meal that is served. (e) Kitchen or Cook Committee, many persons are involved in this committee, not only young woman and teenagers.

They focus on the meal that are going to be served to the guests. They should have good experience in cooking because meal is one of the main factors in a party.

The meal may not be cooked raw which is called matah or mekat. (f) Lights

Committee, light committee focuses on the light which are used during the party.

The person who handles it should have master about the electricity. He should be by other persons to climb and put the outlet on the wall.

4.5.2 The First Hinai

The first hinai is called menggantung.menggantunghas become Singkil tradition.

It means that the people work together to decorate the stage. It is done in early in the morning until it is finish. There are some steps in facing the first hinai are as follows: (a) Decorating the ceiling of the stage, the persons who handles it decorate the ceiling by closing the clothes in order to make the stage beautiful.

(c)Decoratingstabekh,Stabekh is an activity to wrap half of the stage by using clothes. The clothes is long around ten meters. It encircle the stage around. (d)

Wrapping the pole of the stage, after some parts of the stage are decorated, then the poles of the stage are also wrapped. There are some rules in decorating the stage. For example, the first pillar which is wrapped by using yellow clothes, is for a place of sitting heads of villages or which represent him as the head of the village. The second pillar which is wrapped by white clothes, is for a seat of religious leader of the mosque. The third pillar which is wrapped by red clothes, is for a seat of a leader of the youth. Then the other pillars can be wrapped by using any color.

Picture 4.2, the red pole for sitting the head of youth generation

After menggantung is finished, the event is continued by having meal together which is called makan adat. Everyone who sits at the certain pillar (yellow, white and red pillars) has meal which is served by using big tray. The guests are already allowed to come and it is called bagahen. The host and the hostess welcome the guests which is called hine pekhtama. Then the quests are offered to have the meal and the drink. The guests who come on the first night of first hine pekhtama is fewer than the quests who came on the second night or second hine. The hosts prepared coconut. On the first hineand the second hinecoconut is carved. The coconut is engraved from the outer skin to inner skin. The materials for this occasion are betel, betel nutand gambir, a glass of coffee, cigarettes and a small knife. All the materials are placed on the tray. The person who carves the coconut should have an experience in carving. The water of the coconut is used to water kacar the bridge/groom or circumcision. Then if the hosts/hostess invite entertainer, for example, music players, on the first hine, the music players play the music or sing some songs in front of the quests. Sometimes, they also make religious events, for example dalail khairat, read yasin, Islamic talk. The kitchen and cook committee are not too busy because the quests are still few on the first hine. In contrary, on the second hine the quests are many to come to the party.

4.5.3 The Second Hinay

The second hinay After the first hine finished, then second night or second hine is done. There is an activities at this night the host invite the families, neighbours and serve them by performaing medendang show. The gecik as the representative of the host gives a speech, he hopes this party will be find, the audience could laugh but keep their attitude by having politeness. The gecik hopes the medendang players also be careful in speaking or attitude in order to create a conducive situation at the party. The medendang show is held at this night, dampeng dance, selendayong, alas, silat, dendang, lambei-lambei and tonjong are performed to entertain the guests.

4.5.4 The Ceremony of Circumcision

Tepung tawarevent is held in the morning after the second hinei. The child who is circumcised, is watered by using the rimo mungkur water and panger.

After doing it, she/he takes a bath and dressed with clothes Haji. Then s/he is taken home to khatam Al-Quran. Then, menjatoh event is done. It means that the family and the relatives give money to the kid one by one. But some people do not do it anymore because it can embarrassed them.

Picture 4.3 Tepung Tawar events in Circumcision

Tepung tawar is conducted by people who have family relationship and some relatives. The society believes that tepung tawar event can clean the body and avoid the dangerous things. Usually on wedding party, most people cry when the bridge/groom and the parents do the tepung tawar event.

CHAPTER V

THE CONTEXT, CO-TEXT AND TEXT ANALYSIS OF MEDENDANG

5.1 The Performance of Medendang The performance of medendang in Desa Batu-batu Kecamatan

Sultan Daulat Subulussalam Province of Aceh had been planned based on the host invitation a few weeks before it was performed. It is important to describe the general sequences of the performance in order to understand the whole parts of the medendang performance. Before describing the sequences of the medendang performance, it is important to inform some sequences of activities done by the host and the medendang group, they are described as follows:

Graphic 1, the Process of Pre-event of Medendang

5.1.1 Inviting The Medendang Group

Some weeks before the party, the host of the party came to the leader of the medendang group for inviting the group to come to his/her house in order to perform the medendang as the entertainment at that occasion. They did some bargaining. They made some verbal agreement. The leader asked how many night the medendang would be performed, how many dance would be performed, How many mempuei would be circumcised, and when the mempulei could be trained to perform lambei-lambei dance. After getting some agreement, the mempulei was trained. He asked one member of the medendang group to train the mempulei to dance. In the duration of time, the leader also informed the invitation to all of his members.

5.1.2 Dance Traning for the Mempulei

The leader of the medendang group was informed the invitation to the members of the group. The mempulei was trained to dance some dances they wereselendayong, alas, and lambei-lambei dance.. Based on the informant information, sometimes he asked one of the dancer to train th mempulei and they gave a video of the dances to the mempulei. They trained the mempulei for three weeks long, one week for one dance. He trained the dances sucessfully, it was proofed by the performance of the mempulei.

5.1.3 The Medendang Performance

The performance of medendang purposed to entertain the guest in the second night hinai.At Second night hinai, the families, relatives, neighbours came in order to pray the party would be done successfully. The night is also called menjatoh, where some families, relatives, and neighbours came by taking a sack of rice, chickens, etc. They helped the host financially. The performance was begun at about 08.15 p.m. Specifically, The event was divided into three sequences pre-performance and while-performance.

5.1.3.1 Pre-performance

Some activities in pre-performance were some speeches related to the circumstance event. The representative of the host opened the second hinei ceremony. The gecik as the representative of the villagers gave a speech, he wished the party would be held sucessifully. The audience could laugh but kept their attitude by having politeness.The gecik adviced the medendang players to be carefully when speaking, to behave and creat a condusive situationat the party.

Graphic 4. The sequences activities of the audiences in Pre- performance

. While the braking time, after eating the snack, all of the members of the medendang group prepared them selves to do some activities during the spare time. They borrowed two trays for the additional musical instruments, one of the players checked the sounds system. Some of the male players of the medendang wore their suits at home, some others change the suits a few minutes before the dance is performed. All of the female dance wore their suits during the breaking time. The activities of the members of the medendang group was drown in the following graphic:

Graphic 2. The activities of the medendang players in Pre- performance 5.1.3.2 While- performance

The medendang show wasperformed after the activities in the pre- performance were done. Medendang performance wasopened and closed by performing ofdampeng dance. The sequences of the performance was begun with

Dampeng dance, Alas dance Selendayong dance, Silat dance, Dendang, Lambei- lambei danceand thenTonjong, at the last seccion of the tonjong, four dancers danced dampeng dance. . The sequences of the medendang performance is drawn in the following graphic:

Graphic 3. The sequences of the medendang performance

a. The Performance of Dampeng Dance

Dampeng dance was performed by four dancers. The dancers

dance the dance while the narrators were chanting some poems and utter

some orders to lead the performance. The dancers moved around, they

waved their right and left hands, sometimes they squated. While the dancers were dancing, two peronde chanted some poems. The dancers sometimes cheered up. Before dancing the peronde chanted „kisak dampeng!‟ means rotate!

Picture 1. ThePerformance of dampeng dance

The peronde chanted poem as follows, "anak anggang Pak meniti dahan kaum beak ninang, meniti dahan pate dari padi. Anak dagang Pak lembaru datang le gegeh ninang, lembaru datang entah dike salah ajari kami”, (we are new comer, so teach us uncle if we do any mistakes).

Kalau ada jarumku patah kaum beak ninang, jarum ku patah ulang disimpan i bagas piti, Malot nang kata-kata salah Kaum beak ninang, kata ku salah ulang disimpan segen dalam hati. (If there are mistakes in words, not to be saved in heart, but tell them).

The narrators opened the dance by giving introductory poems.

There were some introductory poems. The narrators used a certain poems at the performance. The dancers follow the music and the narrator‟s instruction by dancing. The narrators always make some cheers on the poems, hearing the cheering, the dancers and the audience cheering up also and the situation become cheery. He had a good technique to make a poems comes alive through sound and sight and involvement of the audience. After the narrators told some poems they closed the performance by giving a closing poems. Hearing the poems, the dancers end the dance soon. b. The Performance of Alas Dance

The data of this research show the dance was performed at the center of the audience. The Alas dance was performed at the veranda of the house, where the guests sit around. The dance is only danced by a couple of dancer. They are both males.The narrators open the dance by giving introductory poems as a sign for the dancers for ready to dance. The peronde chants “sogok orange tagak menari” means “be ready for dancing!‟. It is a sign or order to the dancers to be ready for dancing.They might use some kinds of introductory poems with the same intonation and rhyme or cheers in order to match the intonation with the music. The dancers followed the music and the narrator‟s instruction by dancing. The narrators made some cheers on the poems, hearing the cheer, the dancers and the audience cheered up also and the situation become cheery

Picture 2. The Performance of The Alas Dance “Rendah sama rendah, tinggi sama tinggi” means they have to make same movements, if one of the dancer moves low the other one has to move low too. They are average in height. Seperti gasing di lenongkan means „like a gasing is played‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn around.

The peronde said some similar utterances but they were difference in intonation. The first intonation in uttering the utterances was lower than the intonation in the middle of show. The intonation at the last show of

Alas dance was the lowest. So the highest intonation was in the middle of the show. It was made to make the situation happier and the dancer had more spirit. The narrator led the event, but responses readily to the public and leads the audience to experience the dance.After the narrators said some poems they close the performance by giving a closing poems.

Hearing the poems, the dancers end the dance soon. c. The Performance of Selendayong Dance

The best-known situation of the performance was the Selendayong dance Selendayong dance was followed by a story in order to make three in one move together with the drum, the dance, and the tale. After the signwasgiven, the dancers clapped their hands, at the time, the peronde say

“Assalamuaikum Kaum Beak”. (The story is start). The tale took around two hours long. It was about a tale of “. A bad boy and a good boy”.

Picture 3. The Performance of Selendayong Dance

Two dancers dance while one of the narrator or perondewas telling of tales. The music is played sonorously accompanying the dancers, the dancers kept dancing while the narrators telling the tales. The narrator led the event by telling the tales and giving an instruction to the dancers to keep dancing. Terus saudari tegak menari„Terus saudari tegak menari means “You keep standing for dancing‟ Who will be erase from my mine

Siapa kumalot ken siapa ku ue ken means who will be kept”.

The dancers and the narrator are surrounded by the listeners. It was never just a recitation. The voice of the story teller was raised and lowered used as a means of dramatization. The narrator or the story teller did not just sit there, the teller acted out with body gestures, even when the story teller was sitting. Sometimes he stood up, moved around and mimiced parts of the action narrated.

The audience was not just watching. The public was active. It interacted with the teller, and the teller provoked them in the action by giving questions, welcoming exclamations and turning to a song sung by all at appropriate points of the actions. The teller and the public created the tale together. The teller led the event, but responded readily to the public

and led the audience to experience the tale. He tried to frighten, delight,

worry, and put them on tenterhooks. The tale contained moral value for the

audience especially for the children. He had good technique to make a tale

came alive through sound and sight and involvement of the audience. The

passage of the tale is hoped to build the children character in the future

time.

d. The Performance of Silat Dance

The dancers took a special position, they sit on their heels. They acted if they were a cock, they did similar movements. The narrators opened the dance by giving introductory poems as a sign for the dancers for ready to dance. The narrators chanted „sogok orange tagak menari means „be ready for stand for dancing‟. It is a sign or order to the dancer to be ready for dancing. Rendah sama rendah, tinggi sama tinggi means they had to make same movements, if one of the dancer moved lower the other one had to move lower too. They sight were average in height. Seperti gasing di lenongkan means „like a gasing is turned around‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn around.

Picture 4. The performance of Silat Dance e. The Performance of Dendang

Dendang is an original oral tradition comes from Singkil ethnic of

Aceh. It purposes to entertain, seduce, neglect of people. Dendang of

Subulussalam Singkil ethnic. Dendangwas performance at midnight. It was performed by five or six mature men of forties at about 11.30 p.m. to

03.30 a.m. Two men playedgendang. Two men hit the tray as an additional music instrument, two men became the narrators. All of them sit together, they did not dance at all. They lamented one by one. There were not any relations among their story but they told about the same topic. The topic is about their mourning in their life.It was a kind of lament, the sadness and willingness of the teller in this world.

Picture 5. The Performance of Dendang

Dendangas an expression of thought and feeling intended to show up the sadness of the narrators. This sadness was supported by some phrases such as „ menakanken sagu, pisang ‟ means eating sagu, banana,

(5.1.35), „omalam Pak matanomanangis” every night this eyes cry (5.1.35)

„ mendekhitana kakap‟ means suffering in life (5.1.36),‟ nasib mak mende‟ means bad destiny. This data proofed that dendangwas use by the narrators to show up their sadness, inability in order to get relieved feeling.

The narrators mostly sang with closed eyes and seem to be less closely connected with their performance context. They had good technique to make a tale comes alive through sound and sight. They tried to frighten, delight, worry, and put them on tenterhooks. f. The Performance of Lambei-lambei Dance

The mempuleiis assumed if he were a king for one day, so it is important to respect him, one of them was by picking him out from the house to the veranda by using dance. The lambei-lambei dancewas performed at about 04.00 a.m. It was a dance with music and dendang combination to pick the mempulei out of the house to the veranda. It was also combined with poems and rhymes. A flattering for the mempulei who was dancing was given by the narrator.“Kitek tidak gadang pun tidak,

Sedang eloknya bepakaian” means the mempulei is not small or big, he is nice in clothing‟Mempulei is someone who maries or does circumcision.

He wore a traditional suit. This poem says that the suit that he was wearing was fit for him. The build of the mempuleiwas nice to be seen.

Picture 6. The Performance of Lambei-lambei Dance

The gendangs were hit rhythmically, the dancer who wanted picking the mempuleiout came to the door of the house by dancing, and while the peronde was chanting some poems accompanied by music.The long clothes and the plaited mat are reached. They hold shawl, the dancer and the mempulei danced on the plaited mat and long clothes, they were used as the line where the mempulei sit. They were not allowed to touch the floor.Most of the audience at the veranda were sleeping and the guests had not come yet. g. The Performance of Tonjong

Tonjongwas performed after having finished the lambei-lambei dance. Tonjong acts exchange poems by two telles. They sit face to face.

There was a bucket in front of them covered by colorful clothes. The bucket was for placing fried chicken and yellow sticky rice (pulut kuning).

Tonjongis closed by dampeng dance. The dance was danced by four persons. Finally, after closing the performance by dampeng dance, the peronde and all of mendendang players ate the pulut kuning and a fried chicken as their breakfast. One of the poems is as follows:

“Iyo- iyo sijangko iyo, ingek-ingek

Rajo janang menato iyo,

Elok-elok marapule jawi kito

Ingek, ingek-ingek, Lagak eloknyo lambek berhias.” It means” Our mempulai is handsome, He spent long time to have an excellent performance”

Picture 7. The Performance of the Dampeng Dance as The Last Performance

5.2 The Contextual of Medendang as an Oral Tradition

Medendang as an oral tradition is produced, distributed and consumed by the society of Subulussalam Singkil ethnic group. In analyzing of this text, it is important to analyze the contexts of the medendang tradition in order to find out the meaning, sense and purpose of it. This analysis is divided into the context of culture, social, situation, and ideology.

5.2.1 The Cultural context of Medendang

The cultural context ofMedendang tradition determines the purposes of the text used, for a culturalentertainment in a social event circumcision and a wedding ceremony. As a happiness event the guests are entertained in circumcision and wedding parties, welcoming the governmental guests, and the opening of governmental ceremonies. Some texts and the performance of medendang are different. The perondeor narratorschoose the suitable poems for each event. Some series ofmedendang are not performed if the time is not enough. This research intents to analyze the medendang performance of circumcision party. Some people of Subulussalam Singkil ethnic still love their traditional art.

Some others do not use it at their party any more. They suppose this medendang show is a kind of entertainment, so if they do not use it at their party it does not matter for them. Mostly the medendang performance in circumcision party and wedding party is similar. The different only on the use of poems. In a circumcision party, the peronde or narrators use the poems to advice the mempule to become good boys, doing their obligations as sons, civil, and the follower of

Prophet Muhammad. The narrators also tell a short story to give moral teaching to the mempulei and audiences. The short story tells about the effort of parents in growing their children. On a wedding party the peronde use poems for giving advice to the groom and bride.

5.2.1.1 The Cultural Context of Dampeng dance

Dampeng dance as one of medendang performance is the most frequently performed in every events. It becomes traditional danceof Singkil ethnic. The dance is performed and followed by poems. The narrators create a certain poems, raise and low their intonation to crate a life situation. Nowadays, dampeng becomes Singkil Ethnic Tradition. It is performed in two sub region, Kabupaten

Singkil and Kota Subulussalam. It is used to welcome and entertain the guests in some opportunities, such as wedding party, and circumcision ceremonies.

Dampeng dance is performed at night, one or two nights before both of the parties are held. This performance to entertain the families, relatives, friends, neighbors and the village official who come to the house for their own purposes. The family members and relatives come to the house to support the party by giving some kinds of the party needs this tradition is named as menjatoh. It is a tradition to support the host financially by giving money, rice, sugar, cooking oil etc. The committee write all of the goods on a book and it would become the list of the host debt. The host would give the money and goods back when the other family members and relatives hold the same party. The money will be given to the host directly. The host‟s families, relatives, friends and neighbors come as the audiences of the performance. Their coming to appreciate the host invitation. On the other hand, the opportunity is a mean of uniting for the villagers in order to meet and make a social relationship.

Dampeng dance performance is also performed at formal governmental celebrations such as welcoming the governmental functionaries and reading holy

Koran festival opening for Kota Subulussalam Sub region. In these occasions, the performances was performed in the afternoon. There are only some series of medendang performance which are commonly performed, they are Dampeng dance, Silat dance, Alas dance, and Piring danced. Tonjong, Selendayong dance, dendang. On the other handlambei-lambei danced, and Tunjong are not performed. They are not performed because they have special purposes for

Subulussalam Singkil Ethnic especially for wedding and circumcision ceremony.

On the other hand, they take along time in performance..

Dampeng dance is performed at least by four dancers. The dancers move around, they wave their right and left hands, sometimes they squat. While the dancers are dancing, two peronde chant some poems. The dancers sometimes cheer up.

Before dancing is begun the peronde chants „kisak dampeng !‟ means rotate !.

Picture 5.1 Male dampeng dance as an opening dance

The peronde chants poem as follows, "anak anggang Pak meniti dahan kaum beak ninang, meniti dahan pate dari padi. Anak dagang Pak lembaru datang le gegeh ninang, lembaru datang entah dike salah ajari kami”, (we are new comer, so teach us uncle if we do any mistakes). Kalau ada jarumku patah kaum beak ninang, jarum ku patah ulang disimpan i bagas piti, Malot nang kata-kata salah

Kaum beak ninang, kata ku salah ulang disimpan segen dalam hati. (If there are mistake in words, not to be saved in heart, but tell them).

Picture 5.2 Female dampeng dance as an opening dance 5.2.1.2 The Cultural Context of Alas Dance

The word „Alas‟ is not a name of ethnic in Kuta Cane, it is a traditional dance of

Singkil ethnic, in which the dancers who dance the dance must use clothes to cover their hip. The informant explains about the Alas dance is as follows:

INFORMANT QUESTION WRITER EXPLANATION INTERPRETATION

Would you Alas is a name of a place in Alas is a name of a place explain Kuta Cane Sub Region, but and an ethnic in Kuta Cane about Alas in this case, Alas dance Sub Region. Alas dance is a dance ? comes originally from dance which use a cloth, it Singkil ethnic, the word is a kind of shawl which is Alas in this case is a name used to cover the dancers‟ of clothes which is used to hip. cover the dancers‟ hip. They often use the same color of shirt, Alas, and hat.

Picture 5.3 The Alas dancer is prepare himself by putting his clothes on

Alas dance uses the same sign with selendayong and silat dance.

The dancers get a position to the centre of the audience. They take a

special position, they stand. The peronde chants “sogok orange tagak menari” means “Be ready for dancing!‟. It is a sign or order to the dancers to be ready for dancing. “Rendah sama rendah, tinggi sama tinggi” means they have to make same movements, if one of the dancer moves low the other one has to move low too. They are average in height. Seperti gasing di lenongkan means „like a gasing is played‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn around.

The peronde says some similar utterances but they are difference in intonation. The first intonation in uttering the utterances is lower than the intonation in the middle of show. The intonation at the last show of

Alasdance is the lowest. So the highest intonation is in the middle of the show. It is made to make the situation happier and the dancer have more spirit.

5.2.1.3 The Cultural Context of Selendayong Dance

Based on theinformant, Mr Simban Berutu, selendayong is the something that has been added by the Singkil ethnic great – grandfather.

This is the way how to make it become sophisticated. The word ”dayong” means rowing. That is why a person who has trawl at the sea, if the boat sails, so he will pull the net. Selendayong dance is followed by a story in order to make three – one move together with the drum, the dance, and the story. After the command is done, the dancers clapped hands, at the time, the peronde say “Assalamuaikum Kaum Beak”. (the story is start) . The story takes two hours. It can be about legends, the history about the

struggle of Aceh people to Dutch and about the religion.

Picture 5.4 The dancers are dancing while the narrator is telling

an oral narration

5.2.1.4 The Cultural Context ofSilat Dance

Silat is a traditional art of oneselfprotection. It is an original art of Indonesian.

Every ethnic has their own character of the art. Some mature men of Singkil ethnic Subulussalam able to apply the Tiger Silat. The motion-inspired Tiger movement. The sawhorse and the cautious attitude exactly resemble Tiger. Silat is dominated by of Islamic philosophy. To learn Silat arts, a teacher introduces religious values to the students first. As in the tradition, External Silat aims to find the relationship, internaly Silatget closer to Allah, and if something want to harm them it has to be removed firstly. The philosophy is embodied in the phrase,

"Beware sense do not disappear, Makin g floor before collapsing, cleaning before it grows." Next the steps are implemented through the motions of the sawhorses

,alif/, means the fighters stand along with Allah/ “ا " were standing with the letter

lam/ and the next standing/ “ ل “ The second standing resembling the letter

./kha/“ك“ resembles the letter

The great-grandfather of Singkil ethnic modified the silat into a dance. The dancers go to the centre of the audience The dancers come to the centre of the audience. They take a special position, they sit on heel. They act if they were a cock, they do similar movements. The narrators chants„ogok orange tagak menari means „Be ready for stand for dancing‟. It is a sign or order to the dancer to be ready for dancing. Rendah sama rendah, tinggi sama tinggi means they have to make same movements, if one of the dancer move lower the other one has to move lower too. They sight are average in height. Seperti gasing di lenongkan means „like a gasing is turned a round‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn a round.

Picture 5.5 The silat dance is performed by two young dancers

5.2.1.5 The Cultural Context of Dendang

Dendang is anoriginaloral tradition comes fromSingkil ethnic Aceh. It purposes to entertain, seduce, neglectof people. So theyfascinateandfall asleep with the laments said. Thisis theresult of a combination vocal artanddance. The language usedis the language ofSingkil. In performing it culturally, someone has to bring cerana, it is a cup to place the betul nut, with decorativedressingsyellow cloth.

This methodis similar toRanupLampuandance. It use cerana tool. Historically it was only used for wedding ceremony only, but nowadays it is performed for many kinds of ceremony. One of them for the circumcision party.

The data shows theDendang of Subulussalam Singkil ethnic is performed at about

11.30 p.m. to 03.30 a.m. by five or six mature men of forties. Two men playgendang. Two men hit the tray as an additional music instrument, two men as the narrators. All of them sit together, they do not dance at all. They lament one by one. There are not any relations among their story but they tell about the same topic. The topic is about their mourning in their life.Dendang sections which directly express the narrators‟ thoughts and feeling is accompanied by the music.

The narrators mostly sing with closed eyes and seem to be less closely connected with their performance context.

Picture 5.6 Dendang is performed in the darkness

5.2.1.6. The Cultural Context of Lambei-lambei Dance

Lambei-lambei is a dance used for picking the mempulei up from the house to the veranda. This dance is danced by two person. One person is as the one who pick the mempulei and the other one is the mempulei. It is danced at about 04.00 a.m.

Most of the hosts are sleeping and the guests have not come yet. While they are dancing, the peronde chants some poems which are accompanied by music.

The mempulei is assumed if he were a king for one day, so it is important to respect him, one of them is by picking him up from the house to the veranda by using dance. The gendangare hit rhythmically, the one who wants picking the mempulei up comes to the door of the house by dancing. The long clothes and the plaited mat are reached. They hold shawl, the dancer and the mempulei dance on the plaited mat and long clothes, they are used as the line where the mempulei sit.

They are not allowed to touch the floor.

Picture 5.7 Themempulei is picked out from the house to the veranda by using lambei-lambei dance

5.2.1.7 The Cultural Context of Tonjong

Tonjong is performed at about 03.00.a.m. It uses padangnese language. The perondes sit face to face. There is a pulut kuning in the centre of their sit. They chant rhymes, poems alternately. Tonjong closes with dampeng dance. The dance is danced at least by four person. Finally, After closing the performance by dampeng dancing, the peronde and all of mendendang players eat the pulut kuning and a build of pried chicken as their breakfast.

Picture 5.8 Tonjong as a tradition of kingdom

Picture 5.9 Pulut kuning and fried chicken for the medendang

players breakfast

5.2.2 The Situational ContextMedendang

The data of the research is focused on a performance of medendang in a circumcision tradition of Subulussalam Singkil ethnic in Desa Batu-batu

Kecamatan Sultan Daulat Kota Subulussalam, at 3 to 4 of March 2013. Desa

Batu-batu is the nearest desaof Kecamatan Sultan Daulat from Kota

Subulussalam. It takes about fifteen trip by motorcycle or car, or about eleven kilometers from Subulussalam, and six or seven hours from Medan North

Sumatera.

The medendang is performed at the veranda where the audience sit on the mat.

The veranda has been decorated. The ceiling is covered by colorful clothes, it is called langit-langit or tabigh. The poles of veranda is covered by some special colorful clothes. They are red, white, and yellow. The red is place where the leader of youth organization at the village sit. The pole which is covered by the white clothe is place where the imam sit. The pole which is covered by yellow clothe is place where the representative of the officer of the village sit. The audience is families, relatives, neighbors which had been invited by the host.

The performance of medendang starts at about 09.00 P.M to 04.30 A.M. It is used to entertained the audience. Before medendang is performed, all of the audience comeat about 08.15 P.M. The host open the meeting by saying the purpose of the his invitation. Then the speech is continued bythe representative of the audience, usually it is done by the Gecik or the officer of the village. He has a speech ofcongratulatory in relating with the host invitation, in this case, it is the congratulation of circumcision ceremony, The moral passage of the speech for the boys who will do the circumcision are suggestions to do their own obligation as a son, a society, and as the Prophet Muhammad follower as a Moslem perfectly.

Finally, he warns, medendang players in performing and entertaining the guests not to use words, and acts which could make social problem in the village. After the speech of gecik, the ceremony is closed by praying together which is lead by the Imam at the village, and then all of them eating noodles together, as a snack.

5.2.2.1 The Situational Context of Dampeng dance

Dampeng dance is performed at night one or two nights before wedding party or

Sunat Rasul party is held. This performance to entertain the families, relatives, friends, neighbors and the village official who come to the house for their own purposes. The family members and relatives come to the house to support the party by giving some kinds of the party needs this tradition is named as menjatoh.

It is a tradition to support the host financially by giving money, rice, sugar, cooking oil etc. The committee write all of the goods on a book and it would become the list of the host debt. The host would give the money and goods back when the other family members and relatives hold the same party. The money will be given to host directly. The host‟s friends and neighbors come as the audience.

Their coming to appreciate the host invitation. On the other hand, the opportunity is a mean of united for the villager in order to meet and make a social relationship.

Based on the researcher observation, The dampeng dance is performed at about

09.00 P.M., after the geucik and Imam give a speech related to the purpose of the invitation. They also give some advices to the dampeng players and audiences not to talk and act any words which can cause a trouble at the party. The dance is danced in two session, the first session is male dampeng dance and the second is female dampeng dance. Male dancers perform the dance for about ten minutes.

The time is arranged by the narrators. The narrators manage the dance by giving some instruction. Firstly the narrators give a sign to the dancers and the music players to be ready for starting the performance. Hearing the sign, all of the music player and the dancers start the performance.

The data of this research show the dance is performed at the centre of the audience. Dampeng dance generally is performed at the veranda of the house, where the guests sit around. Some of dampeng dance is performed on the stages and some others at the fields. The veranda of the house generally is covered by the wood in order to make the audience sit confidently. Some dampeng dance is performed on the stage, if the stage is large enough for the performance. Some dampeng dances is a colossal dance, it is performed by many dancers at the centre of the field where a governmental ceremony is held.

The narrators open the dance by giving introductory poems. There are some introductory poems. The narrators generally use a certain poems at the performance. They might use some kinds of introductory poems with the same intonation and rhyme in order to match the intonation with the music. The dancers follow the music and the narrators instruction by dancing. The narrators always make some cheers on the poems, hearing the cheering, the dancers and the audience cheering up also and the situation become cheery. After the narrators say some poems they close the performance by giving a closing poems. Hearing the poems, the dancers end the dance soon.

5.2.2.2 The Situational Context of Alas Dance

Alas dance is performed after the performing of dampeng dance. Based on the researcher observation, The Alas dance is danced by the male dancers only but some mempulei is taught to perform the dance at the night. The mempulei is taught to dance some days or weeks before the party. Some parents pay attention to the development of the tradition. The narrators do not give some advices to the dampeng players and audiences by the poems but they cheer some utterances which make the situation cheery. The dance is danced in two session, the first session is danced by the mempulei and the second is danced by the male . Male dancers perform the dance for about ten minutes. The time is arrangeed by the narrators. The narrators manage the dance by giving some instruction. Firstly the narrators give a sign to the dancers and the music players to be ready for starting the performance. Hearing the sign, all of the music player and the dancers start the performance.

The data of this research show the dance is performed at the centre of the audience. Alas dance generally is performed at the veranda of the house, where the guests sit around. Some of Alas dance is performed on the stages and some others at the fields. The veranda of the house generally is covered by the wood in order to make the audience sit confidently. Some Alas dance is performed on the stage, if the stage is large enough for the performance. There are not colossal

Alas dances, the dance is only danced by a couple of dancer. They are moth male.

The narrators open the dance by giving introductory poems as a sign for the dancers for ready to dance. There are some introductory poems. The narrators generally use a certain poems at the performance. They might use some kinds of introductory poems with the same intonation and rhyme or cheers in order to match the intonation with the music. The dancers follow the music and the narrators instruction by dancing. The narrators always make some cheers on the poems, hearing the cheering, the dancers and the audience cheering up also and the situation become cheery. After the narrators say some poems they close the performance by giving a closing poems. Hearing the poems, the dancers end the dance soon.

5.2.2.3 The Situational Context of Selendayong Dance

Selendayong dance is performed after the performing of Silat dance. Based on the researcher observation, The Selendayong danceis not only danced by the male dancers but also by the mempulei. They is taught to performed the dance at the night. They is taught to dance some days or weeks before the party. Some parents pay attention to the development of the tradition. The performance is more cheery when the mempulei dance the dance. The audience appreciate them very much. It could be seen by the cheer of the audience. The mempulei who are about eight to ten years old dance seriously.

The data of this research show the dance is performed at the centre of the audience. Selendayong danceis performed at the veranda of the house, where the guests sit around. Some of Selendayong dance is performed on the stages and some others at the fields. The veranda of the house generally is covered by the wood in order to make the audience sit confidently. Some Selendayong dance is performed on the stage, if the stage is large enough for the performance. There is not colossal Selendayong dances, the dance is only danced by a couple of dancer. They are both male, sometimes the dancers of the dance are both female..

The narrator does not give some advices to the dancers and the audiences by the poems but he tell a story. The story is depend on the host‟s order. While the dancers are dancing the narrator says the oral story. The dance is danced in two session, the first session is danced by the mempulei and the second is danced by the male . The couple of mempulei dance up to the narrators finishes the story.

The narrators manage the dance by giving some instruction. Firstly the narrators give a sign to the dancers and the music players to be ready for starting the performance. Hearing the sign, all of the music player and the dancers start the performance. The narrators open the dance by giving introductory poems as a sign for the dancers for ready to dance. There are some introductory poems. The narrator generally uses a certain poems at the performance. he might use some kinds of introductory poems with the same intonation and rhyme in order to match the intonation with the music. The dancers follow the music and the narrators instruction by dancing. The narrator says the oral story and sometimes he utters some expression to the dancers to keep dancing. There some cheers on the poems, hearing the cheering, the dancers and the audience cheering up also and the situation become cheery. After the narrators say the oral story the narrator closes the performance of Selendayong dance by giving a closing poems. Hearing the poems, the dancers end the dance soon. The dancers perform the dance up to the narrator finishes the story and gives a sign to close the performance.

5.2.2.4 The Situational Context of Silat Dance

Silat dance is performed after the performing of Alas dance. Based on the researcher observation, The Silat dance is danced by the male dancers only but some mempulei is taught to perform the dance at the night. The mempulei is taught to dance some days or weeks before the party. Some parents pay attention to the development of the tradition. The narrators do not give some advices to the medendang players and audiences by the poems but they cheer some utterances which make the situation cheery. The dance is danced in two session, the first session is danced by the mempulei and the second is danced by the male dancers .

Male dancers perform the dance for about ten minutes. The time is arrangeed by the narrators. The narrators manage the dance by giving some instruction. Firstly the narrators give a sign to the dancers and the music players to be ready for starting the performance. Hearing the sign, all of the music player and the dancers start the performance.

The data of this research show the dance is performed at the centre of the audience. Silat dance generally is performed at the veranda of the house, where the guests sit around. Some of Silat dance is performed on the stages and some others at the fields. The veranda of the house generally is covered by the wood in order to make the audience sit confidently. Some Silat dance is performed on the stage, if the stage is large enough for the performance. There is not colossal Silat dances, the dance only danced by a couple of dancer. They are moth male. The narrators open the dance by giving introductory poems as a sign for the dancers for ready to dance. There are some introductory poems. The narrators generally use a certain poems at the performance. They might use some kinds of introductory poems with the same intonation and rhyme or cheers in order to match the intonation with the music. The dancers follow the music and the narrators instruction by dancing. The narrators always make some cheers on the poems, hearing the cheering, the dancers and the audience cheering up also and the situation become cheery. After the narrators say some poems they close the performance by giving a closing poems. Hearing the poems, the dancers end the dance soon.

The informant said that Silat dance historically was a Silat, it is an Indonesian cultural heritage. It is a traditional art of oneself defendant again the enemies. It acts if the one were an animal such as tiger, bat, monkey, snake, etc. On the peace situation, it is changed become a dance and called Silat dance. Last time ago, the dancers used a real sword, some of them act as if he were a tiger. Nowadays, the dancers use a wood sward. Last time ago the dancers used a special uniform with a head cover made from clothes. Nowadays, the dancers do not use a suitable clothes, they use a pan made from jean and the head is covered by kopiah.

5.2.2.5 The Situational Context of Dendang

Dendang of Subulussalam Singkil ethnic is performed at about 11.30 p.m. to

03.30 a.m. by five or six mature men of forties. Two men play gendang and two other men hit the tray as an additional music, instrument, two as the narrator. All of them sit together. They perform it one by one. There are not any relations among their story but they tell about the same topic. The topic is about their mourning in their life.

5.2.2.6 The Situational Context of Lambei-Lambei Dance

Lambei-lambei is a dance to pick the mempulei up from the house to the veranda.

He is picked because on the occasion he were a king. A king has to be respected so somebody has to pick him up by dancing. Lambei-lambei dance is performed after the performing of dendang. It is at about four A.M. Based on the researcher observation, The Lambei-lambei dance is danced by the male dancers only. A mempulei is taught to dance, he is taught to dance some days or weeks before the party. Some parents pay attention to the development of the tradition. By teaching his son the Lambei-lambei dance he wishes he son loves their tradition.

The data of this research show that the dance was performed at about four A.M.

The mempulei used a suit and waited for the dancer picking him up. The dancer danced move to the house from the veranda. Two narrators said some poems related to the mempulei. They were about appreciation to the mempulei. The dancer and the mempulaei danced together. The mempulei‟s father sat at the veranda waiting for the dancer and the mempulei coming. After they reached the position where the mempulei sit, the narrators stopped the poems and the music is stopped too.

5.2.2.7 The Situational Context of Tonjong

Tonjong is performed at about 03.30.a.m. the narrators sit face to face at the centre of the audiences . There is a pulut kuning beside them. It is covered by colorful clothes. They say rhymes, poems alternately. The poems is performed in order to respect the king, commander, ustad and guard who manage the social live at the village. Tonjong closes with dampeng dance. The dance is danced at least by four person. After doing dampeng dance, all of the medendang players eat the pulut kuning and a complete pried chicken as their breakfast.

Based on the informants explanation, every party which entertain the guests by performing medendang has to perform Tonjong to respect the king, commander, ustad and guard. The ones who did not include the tonjong in the performance will be finished with a certain find. This condition become an aspect to contribute the existence of tonjong in the society. On the other hand The data show that only some medendang players in Subulussalam able to perform tonjong. The language, and special poems of the tonjong become two aspects make it is difficult to learn by most of the medendang playersand the societies. The other reason why it is difficult to understand because of the time of the tonjong performance. It is performed early in the morning, so it is only enjoyed by the host of the party.

5.2.3 The Social Context of Medendang

Social context is social condition influences or uses the oral tradition. The social context influence and use the oral tradition include the gender differences, the location of performance differences, educational level, age, etc. The clue for the social context is who take part on the text. Who are the producers, distributers, and the consumers of the oral tradition. It is important to describe the social cognition in which the oral tradition is produced, distributed, and consumed, whether the oral tradition is only performed and watched by male or female also.

The comprehension of the social cognition not only identify the meaning, sense, purpose and function of the oral tradition but also the processing of the oral tradition developments from period to period.

5.2.3.1 The Social Context of Dampeng dance

Singkil ethnic use Dampeng dance to express a pleasure. The dance is danced in a happy situation such as welcoming a special guess in some governmental events, political campaign, and some individual parties such as wedding parties and Sunat

Rasulparties. Dampeng dance is dance by all of the social classes, age, educational levels and genders. The dance is also danced by all level of age. Some parents teach the children to dance the dance. The dampeng dance comes from the culture heritage of Subulussalam Singkil ethnic since last period of time. The society develop the dance for their need. They collaborate the dance to the social condition. The dance is danced by male and female together, since the implementation of the Syari‟at Islam, they separate the male and female dance.

The dance is distributed by all of social elements, school, and societies. At school, the dance is taught to the students and performed for some educational events.

The government performs the dance in some governmental events such as the

Subulussalam Anniversary Day. In the society the dance is performed in some social parties such as political campaign, wedding parties, and Sunat Rasul parties. The dance is performed by male and female separately. The Dampeng dance is consumed by all of the social class. It is watched by all the social level, age, gender and educational level. It is performed at the field, parties so the audiences are all of the societies of Subulussalam. In consuming the dance, the societies realize that the dance comes from their old generation. Some old generation realize the important of the existence of the dance, some of them do not care and some others do not realize that one day the dance could distance from the society. The performance is replaced by the modern performance.

5.2.3.2 The Social Context of Alas Dance

Singkil ethnic use Alas dance to express a pleasure. The dance id danced in a happy situation such as welcoming a special guess in some governmental events, political campaign, and some individual parties such as wedding parties and Sunat

Rasul parties. Alas dance is dance by all of the social classes, age, educational levels and genders. The dance is also danced by all level of age. Some parents teach the children to dance the dance. The Alas dance comes from the culture heritage of Subulussalam Singkil ethnic since last period of time. The society develop the dance for their need. They collaborate the dance to the social condition. The dance is danced by male and female together, since the implementation of the Syari‟at Islam, they separate the male and female dance.

The Alas dance is distributed by all of social elements, school, and societies. At school, the dance is taught to the students and performed for some educational events. The government performs the dance in some governmental events such as the Subulussalam Anniversary Day. In the society the dance is performed in some social parties such as political campaign, wedding parties, and Sunat Rasul parties. The dance is performed by male and female separately.

The Alas dance is consumed by all of the social class. It is watched by all the social level, age, gender and educational level. It is performed at the field, parties so the audiences are all of the societies of Subulussalam. In consuming the dance, the societies realize that the dance comes from their old generation. Some old generation realize the important of the existence of the dance, some of them do not care and some others do not realize that one day the dance could distance from the society. The performance is replaced by the modern performance.

5.2.3.3 The Social Context of Selendayong Dance

Singkil ethnic use Selendayong dance to express a pleasure. The dance is danced in a happy situation such as welcoming a special guess in some governmental events, political campaign, and some individual parties such as wedding parties and Sunat Rasul parties. Selendayong dance is dance by all of the social classes, age, educational levels and genders. The dance is also danced by all level of age. Some parents teach the children to dance the dance. The Selendayong dance comes from the culture heritage of Subulussalam Singkil ethnic since last period of time. The society develop the dance for their need. They collaborate the dance to the social condition. The dance is danced by male and female together, since the implementation of the Syari‟at Islam, they separate the male and female dance.

The Selendayong dance is distributed by all of social elements, school, and societies. At school, the dance is taught to the students and performed for some educational events. The government performs the dance in some governmental events such as the Subulussalam Anniversary Day. In the society the dance is performed in some social parties such as political campaign, wedding parties, and

Sunat Rasul parties. The dance is performed by male and female separately.

The Selendayong dance is consumed by all of the social class. It is watched by all the social level, age, gender and educational level. It is performed at the field, parties so the audiences are all of the societies of Subulussalam. In consuming the dance, the societies realize that the dance comes from their old generation. Some old generation realize the important of the existence of the dance, some of them do not care and some others do not realize that one day the dance could distance from the society. The performance is replaced by the modern performance.

5.2.3.4 The Social Context of Silat Dance

Singkil ethnic use Silat dance to express self protection. Silat dance is danced in a happy situation such as welcoming a special guess in some governmental events, political campaign, and some individual parties such as wedding parties and Sunat

Rasul parties. Last time they use original sword, but now they use sword made from wood. Silat dance is danced by all of the social classes, age, educational levels and genders. The dance is also danced by all level of age. Some parents teach the children to dance the dance. The Silat dance comes from the culture heritage of Subulussalam Singkil ethnic since last period of time. The society develop the dance for their need. They collaborate the dance to the social condition. The dance is danced by male and female together, since the implementation of the Syari‟at Islam, they separate the male and female dance.

The Silat dance is distributed by all of social elements, school, and societies. At school, the dance is taught to the students and performed for some educational events. The government performs the dance in some governmental events such as the Subulussalam Anniversary Day. In the society the dance is performed in some social parties such as political campaign, wedding parties, and Sunat Rasul parties. The dance is performed by male and female separately.

The Silat dance is consumed by all of the social class. It is watched by all the social level, age, gender and educational level. It is performed at the field, parties so the audiences are all of the societies of Subulussalam. In consuming the dance, the societies realize that the dance comes from their old generation. Some old generation realize the important of the existence of the dance, some of them do not care and some others do not realize that one day the dance could distance from the society. The performance is replaced by the modern performance.

5.2.3.5 The Social Context of Dendang Singkil ethnic use Dendang to express a sorrow. The dendang is lamented at mid night in some governmental events and some individual parties such as wedding parties and Sunat Rasul parties. Dendang is lamented by all of the social classes, educational levels and genders, but dendang mostly lamented by old men. Most dendang sayer learns dendangby talent. The Dendang comes from the culture heritage of Subulussalam Singkil ethnic since last period of time. The society develop the dendang for their need. They collaborate the dendang to the social condition. The dendang is lamented by male and female together, since the implementation of the Syari‟at Islam, they separate the male and female dance.

The Dendang is distributed by all of social elements. At school, the dendang is not taught to the students and it is not performed for some educational events. The government performs the dendang in some governmental events such as the

Subulussalam Anniversary Day, and in dendang competition which is held by the government. The dendang is competed by groups of dendang in Subulussalam.

The special events is held to keep the existence of dendang in Subulussalam. The committee of the competition is Majelis Adat Aceh of Subulussalam. In the society the dendang is performed in some social parties such as wedding parties, and Sunat Rasul parties..

The Dendang is consumed by all of the social class. It is watched by all the social level, age, gender and educational level. It is performed at the field, parties so the audiences are all of the societies of Subulussalam. In consuming the dendang, the societies realize that the dendang comes from their old generation. Some old generation realize the important of the existence of the dendang tradition, some of them do not care and some others do not realize that one day the dendang could distance from the society.

5.2.3.6 The Social Context of Lambei-lambei Dance

The Lambei-lambei dance comes from the culture heritage of Subulussalam

Singkil ethnic since last period of time. The society develop the dance for their need. They collaborate the dance to the social condition. Mempulei were a king on the reception day. Singkil ethnic use lambei-lambei dance to express a salute to the mempulei .Ambei-Ambei dance is used to pick the mempulei from the house to the veranda, sitting and waiting the guests who come to the party. The mempulei is thought to dance the lambei-lambei dance by one of themedendang player some weeks or days before the reception day. They perform the dance early morning on the reception day. Lambei-lambeidance is danced by all of the social classes, age, educational levels and genders. The dance is also danced by all level of age.

The lambei-lambeidance is distributed by all of social elements, school, and societies. The dance is taught to the young generation and performed for some events such as Sunat Rasul party. The government does not perform the dance in some governmental events such as the Subulussalam Anniversary Day. The dance is only performed on the special moments, it is performed on the party which perform medendang show, wedding parties or Sunat Rasul parties. The lambei- lambei dance is consumed by all of the social class. It is watched by all the social level, age, gender and educational level. Some old generation realize the important of the existence of the dance, some of them do not care and some others do not realize that one day the dance could distance from the society.

5.2.3.7 The Social Context of Tonjong

The Tonjong comes from the culture heritage of Singkil ethnic of Subulussalam since last period of time. The society develop it for their need. They collaborate it to the social condition. Singkil ethnic use Tonjong to express a salute to the kingdoms of Singkil ethnic in Subulussalam. Tonjonghistorically is a kingdom tradition, The representative of king, commander, guards ulama sit and say some poems. Nowadays the representatives are only two person. They sit in front of the mempulei, hosts and audiences and say the poems. The poems are divided into four purposes. The king, commander, guards and ulama. They perform the tonjong early morning on the reception day. Tonjong is performed by all of the social classes, age, educational levels and genders.

The Tonjong is distributed by all of social elements, school, and societies. The dance is taught to the young generation and performed for some events such as

Sunat Rasul party. The government performs the tonjong at some governmental competition of tonjong held by Majelis Adat Aceh of Subulussalam. Tonjong is only performed on the special moments, it is performed on the party which perform medendang show, wedding parties or Sunat Rasul parties. The Tonjong is consumed by all of the social class. It is watched by all the social level, age, gender and educational level. Some old generation realize the important of the existence of the dance, some of them do not care and some others do not realize that one day the dance could distance from the society. 5.2.4 The Ideological Context

Ideology is an understanding, belief, and trend. It is a way of thinking in order to view something by knowledge and feeling consideration. Ideological context refers to the powers which influence and dominate a text. Ideological understanding is a mean of communication to the society where the tradition is placed. By understanding the ideology of a society, it could help the researcher in order to determine the relationship between the text usage and the society, it would make easier to get the purpose of the text usage.

The are some ways to see thehegemonyof medendang powerin society, the researcher use 2shaft, namely: the antagonistandprotagonist. Protagonist is a statement of the stick holder in comprehending the issues or profile of medendang fromthe variousaspectsto supportthe issues or profile of them is important to develop in the society. Antagonistsis the statement against the issue or profile of the research objects, on the on the hand they do not hold thehegemony. The analyzing ideological context of medendang is needed in order to determine the condition of medendang in the society.

5.1.4.1 The Ideological Context Dempeng Dance

Historically, dampeng dance comes from the devils dance. Mr. Simban Berutu explains that dampeng history was from the devil. At First, drum which was from

Mecca brought by Sheikh Abdul Qadir Zailani. After that, there was a tree grew at the center of marine, the wood was called melenggang raya. The flowers of the tree was itching. If someone touched it, the body would feel itchy, reddish like a tomato. Whenever the gendang was played in downtown of Mecca, the genies and devils gathered around the tree, then the wind blew around the tree. The genies and the devils were very interested on the sound. There is no reason why it is cited by the Singkil ethnic great grandfather.

Some of the society realize that dampeng dance is a tradition which has to be saved. It is a local heritage of their great grandfather. Some of medendang groups is formed in order to anticipate the extinct of the tradition. The government does some effort in order to save the tradition, the dampeng dance is performed in every ceremonial events, some competition is made to motivate the young generation top learn the dance, some uniforms of dampeng dance is given to the schools in order to used by them in performing traditional dance. On the other hand some Singkil ethnic do not interested on the dampeng dance, this fact is proved by not all of the Singkil ethnic perform the dampeng dance in their party.

Some of them suppose the dampeng dance is not needed to be performed in a party.

5.1.4.2 The Ideological Context of Alas Dance

There are some differences Selendayong to Alas dance. Alas dance comes originally from Singkil ethnic. The word Alas in this case is a name of clothes which is used to cover the dancers‟ hip. The dancers often use the same color of shirt, clothes, and head cover. The dance is followed by poems said by the narrators. The narrators make the poems based on the situation they see at that moment. The condition of the audience, situation influence the narrators thinking at that occasion. Sometime the poems have moral values but sometime they are kidding, sindiran etc.

Some of the society realize that alas dance is a tradition which has to be saved. It is a local heritage of their great grandfather. Some of medendang groups is formed in order to anticipate the extinct of the tradition. The government does some effort in order to save the tradition, the alas dance is performed in every ceremonial events, some competition is made to motivate the young generation to learn the dance, some uniforms of alas dance is given to the schools in order to used by them in performing traditional dance. On the other hand some Singkil ethnic do not interested on the alas dance, this fact is proved by not all of the

Singkil ethnic perform the alas dance in their party. Some of them suppose the alas dance is not needed to be performed in a party. Some poems hurt the heart of the audience, even though it just a kidding.

5.1.4.3 The Ideological Context of Selendayong Dance

Subulussalam Singkil ethnic use boat as a mean of transportation. Before the road for connecting Subulussalam To Dairi, Kota Cane is build, most of the singkil ethnic live at the rever bank, they use river as transportation line and the market center, they sold and bought goods at the river by using boats. Most of the society who live by the river earn they money by trawling fish use boats, some of them earn their life by gardening or farming. They use boat for carrying the oil-palm, wood, vegetables, etc. Since the Aceh Independent Front complication, most of them move from the bank of the rever to the centre of the town. The tradition of rowing the canoe is modificated become a dance called

Selendayong dance. The word ”dayong” means rowing. Based on the informant,

Mr Simban Berutu, actually, selendayong is a term that has been added by the

Singkil ethnic great – grandfather. This is the way how to make it become sophisticated. The activity is done by the one who has trawl at the sea, he rows the boat, he throws andpulls the net.The rowing canoe activity is applied on the dance, the dance is danced by two dancers, while the two dancers dance the selendayong dance, the the narrators tell stories. Most of the stories are influenced by Islamic tradition, because most of the Singkil ethnic of Subulussalam are moslems. The stories are about the affort of parents in taking care their children since they are baby. Some stories are about the kingdoms, because historically there are some kingdoms known by Singkil ethnic of Subulussalam.

5.1.4.4 The Ideological Context of Silat Dance

The informant said that silat dance historically was a silat, it is an Indonesian cultural heritage. It is a traditional art of oneself defendant again the enemies. It acts if the one were an animal such as tiger, bat, monkey, snake, etc. On the peace situation, it is changed become a dance and called silat danced. Last time ago, the dancers used a real sword, some of them act as if he were a tiger. Nowadays, the dancers use a wood sward. Last time ago the dancers used a special uniform with a head cover made from clothes. Nowadays, the dancers do not use a suitable clothes, they use a pan made from jean and the head is covered by kopiah.

Some of the society realize that silat dance is a tradition which has to be saved. It is a local heritage of their great grandfather. Some of medendang groups is formed in order to anticipate the extinct of the tradition. The government does some effort in order to save the tradition, the silat dance is performed in every ceremonial events, some competition is made to motivate the young generation to learn the dance, some uniforms of silat dance is given to the schools in order to used by them in performing traditional dance. On the other hand some Singkil ethnic do not interested on the silat dance, this fact is proved by not all of the

Singkil ethnic perform the silat dance in their party. Some of them suppose the silat dance is not needed to be performed in a party. Some poems hurt the heart of the audience, even though it just a kidding. Some parents suppose learning silat or silat dance make their children like to fight and waste the time for the children in rewinding their school lesson at home.

5.1.4.5 The Ideological Context of Dendang

Singkil ethnic use Dendang to express a sorrow. The dendang is lamented at mid night in some governmental events and some individual parties such as wedding parties and Sunat Rasul parties. Dendang is lamented by all of the social classes , educational levels and genders, but dendang mostly lamented by old men. Most dendang sayer learns dendangby talent. The Dendang comes from the culture heritage of Subulussalam Singkil ethnic since last period of time.

Subulussalam government care much about the development of dendang as the local heritage. Some competition of dendang is held by the government, organizations, and institutions to motivate the dendang groups of Subulussalam develop their competence in performing it. Some people of Singkil ethnic invite the medendang group to entertain the audiences in his parties. On the other hand, Some people of Singkil ethnic Subulussalam do not interest on the tradition. They do not like the language used in the dendang, sometimes the narrators say some negative words in order to make the situation alive.

5.1.4.6. The Ideological Context of Lambei-lambei Dance

Lambei-lambei is a dance to pick the mempulei up from the house to the veranda.

He is picked because on the occasion he were a king. A king has to be respected so somebody has to pick him up by dancing. Lambei-lambei dance is performed after the performing of dendang. It is at about 04.30 A.M. Based on the researcher observation, The Lambei-lambei dance is danced by the male dancers only. A mempulei is taught to dance, he is taught to dance some days or weeks before the party. Some parents pay attention to the development of the tradition.

By teaching his son the Ambei-ambei dance he wishes he son loves their tradition.

Two narrators said some poems related to the mempulei. They were about appreciation to the mempulei. The dancer and the mempulei danced together. The mempulei‟s father sat at the veranda waiting for the dancer and the mempulei coming. After they reached the position where the mempulei sit, the narrators stopped the poems and the music is stopped too. This tradition is influenced by the culture of the Singkil ethnic. There are 16 kingdoms in Singkil before the coming of Dutch in Aceh. This condition causes some habitual of the kingdoms is applied in the daily life of the ethnic.

5.1.3.7 The Ideological Contextof Tonjong Tonjong is done at about 04.30 a.m. the peronde sit face to face There is a pulut kuning beside them. They say rhymes, poems alternately. The poems are said for four level of social strata in the kingdoms.The poems is performed in order to respect the king, commander, ustad and guard who manage the social live at the village. Tonjong closes with dampeng dance. The dance is danced at least by four person. After doing dampeng dance, all of the medendang players eat the pulut kuning and a complete pried chicken as their breakfast. Based on the informants explanation, every party which entertain the guess with medendang has to perform Tonjong to respect the king, commander, ustad and guard. The ones who did not include the tonjong in the performance will be finished with a certain find. it is amount of money (21 perak) plus one pepinangan of betel.

The Tonjongis lines of poems and rhymes. They are performed by two people face to face. They say it in turns, face to vace. There are pulut kuning and in the middle of them. in Subulussalam. The Subulussalam Singkil ethnic recognize four terms, rajo (king), panglima (commander) pangapit (religious leader), sinterem

(guards). Recent days the king is symbolized by yellow color, the commander is symbolized by red. The white color symbolizes of ustad and another colors for the guards.

5.2 The Co-text Analysis of Medendang

Medendang as an oral tradition transfers value, sense and meaning to the audiences. They are transferred not only by context and text but also by the co- text. Understanding the co-text of medendang tradition is needing to get the whole elements of analysis. The co-text analysis would help the researcher in interpretation the text. There are four co-text elements of medendang;

(1)Paralinguistic, it is the Oral tradition as a verbal and non verbal communication expresses meaning and sense to the audience. They are (a) “ Voice set”

Connected with sex, age, state of health, etc; (b) “Para language” divided into (i) “

Voice qualities” (pitch rangee, vocal lip control, glottis control, articulatory control etc.), (ii) Vocalization” in turn divided in to (ii-1)” Vocal characterizers”

(laughing, crying, whimpering, sobbing, whining, whispering, yawning, belching, etc. (ii-2) “ Vocal qualifiers” ( intensity, pitch, height, extent),(ii-3) Vocal segregates” (noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts, etc). Another object of paralinguistic is the study of the language of whistles.(2)kinesics,it is the study of body motion as related to the nonverbal aspect of interpersonal communication of the medendang performance. (3) proxemics, focuses on how individuals of the medendang players create and maintain spatial separation and how the social distance can contribute to the understanding of culture (4) materials, they are everything support the performance of the medendang.

5.2.1 The Paralingustics of Medendang

Medendang as an oral tradition is a verbal and non verbal communication. To consider the meaning and the sense, it is important to analyze the paralinguistic of the medendang, The analysis of the paralingustic are foccused on some aspects, they are (a) “ Voice set” Connected with sex, age, state of health, etc; (b) “Para language” divided into (i) “ Voice qualities” (pitch rangee, vocal lip control, glottis control, articulatory control etc.), (ii) Vocalization” in turn divided in to (ii-1)” Vocal characterizers” (laughing, crying, whimpering, sobbing, whining, whispering, yawning, belching, etc. (ii-2) “ Vocal qualifiers” ( intensity, pitch, height, extent),(ii-3) Vocal segregates” (noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts, etc).

Another object of paralinguistic is the study of the language of whistles

5.2.1.1 The Paralinguistic of Dampeng Dance

Dampeng dance is followed by poems said by the narrators. The paralinguistic distribution of the narrators‟ verbal and non verbal communication in order to find out the meaning and sense are described as follows:The table show the data poems is said by men, their age are more than 40 years old, they are at a good condition. There are pitch range and articulatory control. There is no vocal lip control, glottis control. For Vocalization especially Vocal characterizers, it is found laughing, and There are not found crying, whimpering, sobbing, whining, whispering, yawning, belching. For Vocal qualifiers it is found intensity and there are not found pitch, height, extent. There are not found Vocal segregates includes noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts. The whistles is also not found in the data.

No The Paralinguistic Details Data Aspects

a Voice set Sex men

age > 40

State of health fine

b Para language

i. Voice qualities Pitch range Vocal lip x control

Glottis control x

Articulatory control ii. Vocalization ii.1. Vocal Characters laughing crying x

whimpering x

sobbing x

whining x

whispering x

yawning x

belching x

ii.2 Vocal intensity x qualifiers

Pitch height x

extent ii.3 Vocal Noises of segregates tongue x And lips which accompany interjection

Noises of tongue x And lips which accompany nasalization

Noises of tongue x And lips which accompany breathing

Noises of tongue x And lips which accompany interlocutory

Noises of tongue x And lips which accompany grunts

c Whistles x

5.2.1.2 The Paralinguistic of Alas Dance

Alas dance is followed by poems said by the narrators.The table show the data poems is said by men, their age are more than 40 years old, they are at a good condition. There are pitch range and articulatory control. There is no vocal lip control, glottis control. For Vocalization especially Vocal characterizers, it is found laughing, and There are not found crying, whimpering, sobbing, whining, whispering, yawning, belching. For Vocal qualifiers it is found intensity and there are not found pitch, height, extent. There are not found Vocal segregates includes noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts. The whistles is also not found in the data. The paralinguistic distribution of the narrators‟ verbal and non verbal communication in order to find out the meaning and sense are described as follows:

No The Paralinguistic Details Data Aspects

a Voice set Sex men

age > 40

State of health fine

b Para language

i. Voice qualities Pitch range Vocal lip x control

Glottis control x

Articulatory control

ii. Vocalization

ii.1Vocal laughing Characters

crying x

whimpering x

sobbing x

whining x

whispering x

yawning x

belching x

ii.2 Vocal intensity x qualifiers

Pitch height x

extent ii.3 Vocal Noises of segregates tongue x And lips which accompany interjection

Noises of tongue x And lips which accompany nasalization

Noises of tongue x And lips which accompany breathing

Noises of tongue x And lips which accompany interlocutory

Noises of tongue x And lips which accompany grunts c Whistles x

5.2.1.3 The Paralinguistic of Silat Dance

Silat dance is followed by poems said by the narrators. The table show the data poems is said by men, their age are more than 40 years old, they are at a good condition. There are pitch range and articulatory control. There is no vocal lip control, glottis control. For Vocalization especially Vocal characterizers, it is found laughing, and There are not found crying, whimpering, sobbing, whining, whispering, yawning, belching. For Vocal qualifiers it is found intensity and there are not found pitch, height, extent. There are not found Vocal segregates includes noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts. The whistles is also not found in the data.The paralinguistic distribution of the narrators‟ verbal and non verbal communication in order to find out the meaning and sense are described as follows:

No The Paralinguistic Details Data Aspects

a Voice set Sex men

age > 40

State of health fine

b Para language

i. Voice qualities Pitch range Vocal lip x control

Glottis control x

Articulatory control ii. Vocalization

ii.1Vocal laughing Characters

crying x

whimpering x

sobbing x

whining x

whispering x

yawning x

belching x

ii.2 Vocal intensity x qualifiers

Pitch height x

extent ii.3 Vocal Noises of segregates tongue x And lips which accompany interjection

Noises of tongue x And lips which accompany nasalization

Noises of tongue x And lips which accompany breathing Noises of tongue x And lips which accompany interlocutory

Noises of tongue x And lips which accompany grunts

c Whistles x

5.2.1.4 The Paralinguistic of Selendayong Dance

Selendayong dance is followed by poems said by the narrators. The table show the data poems is said by men, their age are more than 40 years old, they are at a good condition. There are pitch range and articulatory control. There is no vocal lip control, glottis control. For Vocalization especially Vocal characterizers, it is found laughing, and There are not found crying, whimpering, sobbing, whining, whispering, yawning, belching. For Vocal qualifiers it is found intensity and there are not found pitch, height, extent. There are not found Vocal segregates includes noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts. The whistles is also not found in the data.The paralinguistic distribution of the narrators‟ verbal and non verbal communication in order to find out the meaning and sense are described as follows:

No The Paralinguistic Details Data Aspects a Voice set Sex men

age > 40

State of health fine b Para language

i. Voice qualities Pitch range Vocal lip x control

Glottis control x

Articulatory control

ii. Vocalization

ii.1Vocal laughing Characters

crying x

whimpering x

sobbing x

whining x

whispering x

yawning x

belching x

ii.2 Vocal intensity x qualifiers

Pitch height x

extent ii.3 Vocal Noises of segregates tongue x

And lips which accompany interjection

Noises of tongue x And lips which accompany nasalization

Noises of tongue x And lips which accompany breathing

Noises of tongue x And lips which accompany interlocutory

Noises of tongue x And lips which accompany grunts

c Whistles x

5.2.1.5 The Paralinguistic of Dendang

Dendang is an expressing of the narrator‟ feeling. The table show the data poems is said by men, their age are more than 40 years old, they are at a good condition.

There are pitch range and articulatory control lip control, glottis control. For Vocalization especially Vocal characterizers, it is not found laughing but There are found crying, whimpering, sobbing,yawning, There is not be found whining, whispering and belching. For Vocal qualifiers it is found intensity and there are not found pitch, height, extent. There are not found Vocal segregates includes noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts. The whistles is also not found in the data.The paralinguistic distribution of the narrators‟ verbal and non verbal communication in order to find out the meaning and sense are described as follows:

The Paralinguistic

No Aspects Details Data

a Voice set Sex men

age >40

State of health fine

Para language

b

i. Voice qualities Pitch range Vocal lip control

Glottis control Articulatory control ii. Vocalization ii.1Vocal Characters laughing x

crying

whimpering

sobbing

whining whispering x

yawning belching x ii.2 Vocal qualifiers intensity

Pitch height extent

Noises of tongue

And lips which accompany ii.3 Vocal segregates interjection x

Noises of tongue

And lips which accompany nasalization Noises of tongue

And lips which accompany breathing Noises of tongue

And lips which x accompany interlocutory

Noises of tongue

And lips which accompany grunts c Whistles x

5.2.1.6 The Paralinguistic of Lambei-lambei Dance

Lambei-lambei dance is followed by poems said by the narrators.The table show the data poems is said by men, their age are more than 40 years old, they are at a good condition. There are pitch range and articulatory control. There is no vocal lip control, glottis control. For Vocalization especially Vocal characterizers, it is found laughing, and There are not found crying, whimpering, sobbing, whining, whispering, yawning, belching. For Vocal qualifiers it is found intensity and there are not found pitch, height, extent. There are not found Vocal segregates includes noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts. The whistles is also not found in the data.The paralinguistic distribution of the narrators‟ verbal and nonverbalcommunication in order to find out the meaning and sense are described as follows:

No The Paralinguistic Details Data Aspects

a Voice set Sex men

age > 40 State of health fine b Para language

i. Voice qualities Pitch range x

Vocal lip x control

Glottis control x

Articulatory x control

ii. Vocalization

ii.1Vocal laughing Characters

crying x

whimpering

sobbing

whining whispering x

yawning x

belching x

ii.2 Vocal intensity x qualifiers

Pitch height x

extent x

ii.3 Vocal Noises of segregates tongue x And lips which accompany interjection Noises of tongue and lips x which accompany nasalization

Noises of tongue x And lips which accompany breathing

Noises of tongue x And lips which accompany interlocutory

Noises of tongue x And lips which accompany grunts

c Whistles x

5.2.1.7 The Paralinguistic of Tonjong

Tonjong dance is followed by poems said by the narrators. The table show the data poems is said by men, their age are more than 40 years old, they are at a good condition. There are pitch range and articulatory control. There is no vocal lip control, glottis control. For Vocalization especially Vocal characterizers, it is found laughing, and There are not found crying, whimpering, sobbing, whining, whispering, yawning, belching. For Vocal qualifiers it is found intensity and there are not found pitch, height, extent. There are not found Vocal segregates includes noises of the tongue and lips which accompany interjection, nasalization, breathing, interlocutory, grunts. The whistles is also not found in the data.The paralinguistic distribution of the narrators‟ verbal and non verbal communication in order to find out the meaning and sense are described as follows:

No The Paralinguistic Details Da Aspects ta

a Voice set Sex me n

age > 40

State of health fin e

b Para language

i. Voice qualities Pitch range Vocal lip x control

Glottis control x

Articulatory control

ii. Vocalization

ii.1Vocal laughing Characters

crying x

whimpering x

sobbing x

whining x whispering x

yawning x

belching x

ii.2 Vocal intensity x qualifiers

Pitch height x

extent ii.3 Vocal Noises of segregates tongue and lips x which accompany interjection

Noises of tongue and lips x which accompany nasalization

Noises of tongue and lips x which accompany breathing

Noises of tongue and lips which x accompany interlocutory

Noises of tongue and lips which x accompany grunts c Whistles x 5.2.2. The Kinesics of Medendang

Medendang as an oral tradition is a verbal and non verbal communication. To consider the meaning and the sense, it is important to analyze the kinesics of the medendang. It is the study of body motion related to the nonverbal aspect of interpersonal communication of the medendang performance.

5.2.2.1The Kinesicsof Dampeng dance

Dampeng dance is a dance consist of at least four dancers, The dancers move around, they wavetheir right and left hands, sometimes they squat. While the dancers are dancing, two peronde chant some poems. The dancers sometimes cheer up. Historically was from the devils. They heard drum so they wanted to know where the sound were from and what sound was that. In this case, the dampeng dancers make small and large circle. After that, there was a tree grew at the center of marine. The wood is called the wood of melenggang raya. The genies and devils gathered around the tree. It is the reason the motion of the dancers move around. When the drum was struck in downtown Mecca, then the wind blew around the tree. The genies and the devils were very interested of the sound (That is why some ulama forbid drums). Hearing the sound, the genies and devils said the words "yooo ayo danga” Let us all watch, see what happened on the land. Before dancing is begun the peronde chants „kisak dampeng !‟ means rotate !. The description of the body motion of the dampeng dance is described as follows:

N Pictures Figures Descriptions o

The position of medendang performance is in the center of the

audience. the music instruments players are

symbolized by The players rectangles, the of narrators are symbolized by the musical triangles, the dancers are

symbolized by the Instrument circles and the The audiences are dancers symbolized by the dashes. After The hearing the narrators narrators voice and the music

sounds, the Audiences dancers walk around apposite to the watch hand. 2

The dancers spin and squat on the heels. Both of the palm facing the audiences symbolized greeting

3

The dancers stand up and start dancing. The right and left hand are swung to the left and right, to the in front and the back, They wave their hands. The movements symbolize the coming of the genies and devils who spin happily whenever hearing the sounds of gendang

4

The dancers stand up and start dancing. The right and left hand are swung to the left and right, to the in front and the

back, They wave their hands. The

movements symbolize the coming of the genies and devils who spin happily whenever hearing the sounds of gendang.

5

They move around, step to the in front and to the back, pull

back their step make a large circle. The steps to in front and to the back symbolize the expression of curiosity

6

Then the move, step, wave their right and left hands to in front and to the back follow the watch hand.

7

After spin, making a small and a large circle, the dancers clap

their hand and then

8 The dancers spin and squat and say “ Ade namia” means this is the gendang, the source of sound.

9

The dancers squat for some times. The first when the narrator says “ Assalamu‟alaiku m” Then when the narrators say “

Taon tahta”, next when the narrators and the dancers says ” adenamia” The last when the narrator closing the performance of dampeng dance by saying “assalamu‟alaiku m”.

5.2.1.2 The Kinesics of Alas Dance

Alas dance is a traditional dance of Singkil ethnic. It is called Alas because of the dancer suit. Both of them have to use the clothes for covering their hip. The dance is danced by a couple of dancers male and female. Since the application of Syariat

Islam in Aceh Province, the dance is danced by two male or two female. The dance is full of smooth movements of hands, body, palm and legs rotation. The narrators say some poems while the two dancers are dancing. The narrators chant

“sogok orange tagak menari” means “Be ready for dancing!‟. It is a sign or order to the dancer to be ready for dancing. “Rendah sama rendah, tinggi sama tinggi” means they have to make same movements, if one of the dancer moves low the other one has to move low too. They are average in height. Seperti gasing di lenongkan means „like a gasing is played‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn around. Specifically the kinesis description of the Alas danced is described as follow:

N Pictures Figures Descriptions o

The Alas dance is danced by two dancers. The position of the dancers are the circles on the figure. The players

of musical instruments are symbolized by the rectangles, the narrators are

symbolized by the The players triangle and the of audiences are symbolized by the musical dashes. The dancers bow to Instrument greet each other before starting the The dance. dancers

The narrators

Audiences

The dancers move sitting on their heels, raise their left hands, turn their left and right wrist and swing them smoothly.

They show up their capability to attract his/her pair.

The dancers put back their palms on the floor, bow to greet each other.

The dancers move again, sitting on their heels, raise their right hands swing them to the left, turn their left and right wrist and swing them smoothly. This movements symbolize they affort to attract each other

Swing their right hand to the right and turn their body to the right. turn their left and right wrist and swing them smoothly

Put their down their palm on the floor, bow to greet each other.

They stand up. After greeting each other and the audience the two dancers stand up to start the next dancing.

One dancer swing his left hand from the left to the right. He move down and prepare to hop. One other dancer pays attention and waits his turn.

The first dancer hop

After the first dancer perform his movement, he does the same movement. Swing his hands from the back to in front.

They are at the same position. The dancers have been attracted each other. They wave their hands and turn their wrist smoothly

They cross their each other and touch hands each other. They swing their hands again and prepare to hop

They hop and step around. They swing their right hands to the left and move down

They cross their left legs to the right legs, open their right hands to the right and the left hands to the left 180º softly. They swing their body up and down.

They move up again and step. Their turn their palm smoothly.

They hold they hands each other

They make a step in front, squat, and put their right palm to the floor.

They still squat, move up their hand 180º, face their right and left hands to the audience, bow indicating greeting.

They end the dance.

5.2.1.3 The Kinesics of Silat Dance

The narrator chants sogok orange tagak menari means „Be ready for stand for dancing!‟. It is a sign or order to the dancer to be ready for dancing. Rendah sama rendah, tinggi sama tinggi means they have to make same movements, if one of the dancer move lower the other one has to move lower too. They sight are average in height. Seperti gasing di lenongkan means „like a gasing is turned a round‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn a round. The motion of the dance is as follows:

N Pictures Figures Descriptions o

The dancers comes to the center of the audience. They do some preparation for dancing. The Alas dance is danced by two

dancers. The position of the dancers are the circles on the figure. The players The of musical players of instruments are musical symbolized by the rectangles, the narrators are Instrument symbolized by the The triangle and the dancers audiences are symbolized by the The dashes. The narrators dancers bow to greet each other Audiences before starting the dance.

The dancers take the first step for

dancing aggressively.

The dancers give greeting to their

left audiences by facing their palms

The dancers turn their body to the right

The dancers face their palm to the right audiences symbolizing greeting

One dancers hit the other dancer‟s head by his arm. The other dancer parry with his arm, upper his head

One dancer make a straight to the other dancer. The other dancer make a dodge, the dancer who made a straight turn around quickly.

The two dancers squat and face their palm to the audience for giving greeting and the dance is end.

5.2.1.4 The Kinesics of Selendayong Dance

Selendayong comes from the word ”dayong” means rowing. It is an activity of a person who rows the canoe. He has trawl at the river or sea. He pulls the net.

Selendayong dance is followed by a story in order to make three – one move together with the drum, the dance, and the story. After the command is done, the dancers clapped their hands, at the time, the peronde say “Assalamuaikum Kaum

Beak”. (The story is start) . The story takes two hours. It can be about legends, the history about the struggle of Aceh people to Dutch and about the religion. The meaning and the sense of the motion is described in the following table:

N Pictures Figures Descriptions o

1

The Selendayong dance is danced by two dancers. The

dancers come to the center of the audience and clap their hand. The

position of the dancers are the circles on the figure. The players of musical The instruments are players of symbolized by the musical rectangles, the narrators are symbolized by the Instrument triangle and the The audiences are dancers symbolized by the The dashes. The narrators dancers bow to greet each other before starting the Audiences dance.

2

The dancers take the first step of dance by take one

step in front After they get signal from the narrators

and the melody of the music.

3

The dancers wave their right and left

hands and turn around.

4

They dance while the narrators say the oral story.

5

They take one step in front, take a stick on the floor.

6

They keep swing the stick, they row the peddle. Dancing until the narrators finish his story.

7

The dancers finish the dance after the narrator give a sign.

5.2.1.5 The Kinesics of dendang

Dendang is an original oral tradition comes from Singkil ethnic Aceh. It purposes to entertain, seduce, neglect of someone. So the person fascinated and fall asleep with the laments said. This is the result of a combination vocal artanddance. The language usedis the language of Singkil.

N Pictures Figures Descriptions o

1 A dendang is not a dance performance. It is a performance of oral story. All of the musical instrument players sit, the narrators do

too. The players of musical instruments are symbolized by the rectangles, the narrators are The symbolized by the players of triangle and the musical audiences are symbolized by the dashes. The Instrument dancers bow to greet each other The before starting the narrators dance.

Audiences

5.2.1.6 The Kinesics of Lembei-lambei Dance

The data show that the dance is performed at about 03.00 A.M., this condition become one aspect why the dance is not watched by most of audiences, especially by the children, but the mempulei is thought to dance the dance before the ceremony is held. The kinesics of the lambei-lambei dance is describe as follow:

N Pictures Figures Descriptions o

1

The Lambei-lambei dance is danced by

two dancers. One of them is the mempulei and one other the man who dance for picking

the mempulei up. The dancer comes to the house, he begin to dance in front of the house. The position of the

dancers are the circles on the figure. The players of musical instruments are

symbolized by the The rectangles, the players of narrators are symbolized by the musical triangle and the audiences are

symbolized by the Instrument dashes. The The dancers bow to dancers greet each other before starting the The dance. narrators

Audiences

2

The dancer dance, comes in to the

house. The mempulei take one step to start dancing.

3

The dancer open his arm largely to cover the mempulei. The mempulei swing his

hand, turn around.

4

They keep around, take one step towards the

veranda.

5

After reaching the place to sit, the

dance is finish.

5.2.1.7 The Kinesics of Tonjong

Tonjong is performed at about 03.30.a.m. the narrators sit face to face at the center of the audiences. There is a pulut kuning beside them. It is covered by colorful clothes. They say rhymes, poems alternately. The poems is performed in order to respect the king, commander, ustad and guard who manage the social live at the village. Tonjong closes with dampeng dance. The dance is danced at least by four person. The kinesics of the tonjong performance is described as follow:

No Pictures Figures Descriptions 1

The narrators sit face to face at the center of the audiences. Most of the audiences are

sleep. There is a pulut kuning beside

them. It is covered by colorful clothes. They say rhymes, poems alternately The players of

musical

Instrument

The dancers

The narrators

Audiences

The pulut kuning

and pepinangan

After finishingtonjong, four mature men come to the center of the audience, they perform dampeng dance.

There is pulut kuning at the center of the dance. After finishing the dance, they eat the pulut The players kuning and the of fried chicken as musical their breakfast.

Instrument

The dancers

The narrators

Audiences

The pulut kuning

and pepinangan

5.2.3 The Proxemics of Medendang

5.2.3.1 The Proxemics of Dampeng Dance

Dampeng dance is a dance consist of at least four dancers, the dancers move around, they wavetheir right and left hands, sometimes they squat. While the dancers are dancing, two narrators chant some poems. The dancers sometimes cheer up. The narrators chant „kisakdampeng !‟ means rotate !. The dancers begin to dance by moving around. Then the narrators continue their poems by giving greeting poem, respecting poems, appolozaiing poems. The poem is used as follows, "anak anggang Pak meniti dahan kaum beak ninang, meniti dahan pate dari padi. Anak dagang Pak lembaru datang le gegeh ninang, lembaru datang entah dike salah ajari kami”, (we are new comer, so teach us uncle if we do any mistakes). (If there are mistake in words, not to be save in the heart, but tell them)

The data above show the proxemics of the dampeng dance that the narrators try to save themselves whenever they do any mistakes during the performance the audiences forgive them. The poem above is used as a speech act in order to get safety from everything during the performance. There are cheery from the dancer.

This phenomena show that the responsibility to make the show cheery not only do by the narrators but also the dancers. The audience who enjoy the performance is allowed to cheer. This phenomena show the condition of cheery is for all of the ones who watch the performance, the host, the leaders of the village, the societies, and the members of the medendang group.

The narrators, the dancers and the audiences cheer is some occasion. They cheer to show their happiness, appreciation and interest on the performance. This phenomena show the close relation between the dampeng dance performances to the society. This condition stimulate the development of the oral tradition. The narrators appreciate the audience by giving some introductory poems, the dancers appreciate the audience by giving greeting using their body language and the society cheer, clap their hands and dance to appreciate the performance.

5.2.3.2 The Proxemics of Alas Dance

The data show the proxemics of the Alas dance to the societies. The narrators appreciate the audiences by giving greeting “Assalamu‟alaikum” at the beginning and the end of the Alas dance performance. The narrators, dancers and audiences cheer in some occasions. This phenomena show that the responsibility to make the show cheery not only do by the narrators but also the dancers. The audience who enjoy the performance is allowed to cheer. This phenomena show the condition of cheery is for all of the ones who watch the performance, the host, the leaders of the village, the societies, and the members of the medendang group.

The narrators, the dancers and the audiences cheer is some occasion. They cheer to show their happiness, appreciation and interest on the performance. This phenomena show the close relation between the Alas dance performance to the society. This condition stimulate the development of the oral tradition. The narrators appreciate the audience by giving some introductory poems, the dancers appreciate the audience by giving greeting using their body language and the society cheer, clap their hands and dance to appreciate the performance.

5.2.3.3 The Proxemics of Silat Dance

The data show the proxemics of the Silat dance to the societies. The narrators appreciate the audience by giving greeting “Assalamu‟alaikum” at the beginning and the end of the Silat dance performance. The narrators appreciate the audience by giving some introductory poems, the dancers appreciate the audience by giving greeting using their body language and the society cheer, clap their hands and dance to appreciate the performance. The narrators, dancers and audiences cheer in some occasions.

This phenomena show the condition of cheery is for all of the ones who watch the performance, the host, the leaders of the village, the societies, and the members of the medendang group. It means the responsibility to make the show cheery not only do by the narrators but also the dancers. The audience who enjoy the performance is allowed to cheer. The narrators, the dancers and the audiences cheer is some occasion. They cheer to show their happiness, appreciation and interest on the performance. It show the close relation between the Silat dance performance to the society. This condition stimulate the development of the Silat dance as an oral tradition.

5.2.3.4 The Proxemics of Selendayong Dance

Proxemics focuses on how individuals create and maintain spatial separation and how these social distance can contribute to the understanding the Selendayong dance as a culture. The data show the proxemics of the Selendayong dance to the societies that the Selendayong dance is performed freely, understood by the audiences who interested to learn the dance. The narrators appreciate the audience by giving greeting “Assalamu‟alaikum” at the beginning and the end of the

Selendayong dance performance. The narrators appreciate the audience by giving some introductory poems, the dancers appreciate the audience by giving greeting using their body language and the society cheer, clap their hands and dance to appreciate the performance. The narrators, dancers and audiences cheer in some occasions.

This phenomena show the condition of cheery is for all of the ones who watch the performance, the host, the leaders of the village, the societies, and the members of the medendang group. It means the responsibility to make the show cheery not only do by the narrators but also the dancers. The audience who enjoy the performance is allowed to cheer. The narrators, the dancers and the audiences cheer is some occasion. They cheer to show their happiness, appreciation and interest on the performance. It show the close relation between the Selendayong dance performance to the society. This condition stimulate the development of the

Selendayong dance as an oral tradition.

5.2.3.5 The Proxemics of Dendang focuses on how individuals create and maintain spatial separation and how these social distance can contribute to the understanding of dendang as a culture. The data show the proxemics of the dendang to the societies. The dendang is performed freely, understood by the audiences who interested to express thei feeling by dendang. The narrators appreciate the audience by giving some greeting “Kaum Beak” means the respectful ladies and gentlemen. The audiences who enjoy the tradition is allowed to express their feeling at the show. Some old men who live far from the show come to attend the show in order to apply their hobbies expressing feeling by using dendang. They are not paid.

The data show that even though it is a midnight show, the audience who enjoy the tradition comes to enjoy and participate to the performance without be paid. The responsibility to make the show success not only do by the narrators but also by the audiences who enjoy the performance. The narrators and the audiences lament together in some occasion. They lament to show their sadness of their life. It shows the close relation between the dendangperformance to the society. This condition stimulate the development of the dendang as an oral tradition. 5.2.3.6 The Proxemics of Lambei-lambei Dance

Proxemics focuses on how individuals create and maintain spatial separation and how these social distance can contribute to the understanding of Lambei-lambei dance as a culture. The data show the proxemics of the Lambei-lambei dance to the societies. The Lambei-lambei dance is performed freely, understood by the audiences who interested to learn the dance. The narrators appreciate the audience by giving some introductory poems, the dance is taught to the children who become the mempulei at that party. It show the close relation between the Lambei- lambei dance performance to the society. This condition stimulate the development of the Lambei-lambei dance as an oral tradition.

The data show that the dance is performed at about 03.00 A.M., this condition become one aspect why the dance is not watched by most of audiences, especially by the children, but the mempulei is thought to dance the dance before the ceremony is held. On the other hand the condition of cheery is for all of the ones who watch the performance, the host, the leaders of the village, the societies, and the members of the medendang group. It means even though this is an early morning show, the responsibility to make the show cheery not only do by the narrators but also by the dancers and audiences. The audience who enjoy the performance is allowed to cheer. The narrators, the dancers and the audiences cheer is some occasion. They cheer to show their happiness, appreciation and interest on the performance.

5.2.3.7 The Proxemics of Tonjong Proxemics focuses on how individuals create and maintain spatial separation and how these social distance can contribute to the understanding of tonjong as a culture. The data show the proxemics of the tonjong to the societies that the tonjong is performed freely, understood by the audiences who interested to tonjong. The narrators appreciate the audiences by giving greeting

“Assalamu‟alaikum” at the beginning and the end of the Alas dance performance.

Tonjong is performed at about 03.30.A.M. the peronde sit face to face. The tonjong is said by using Padangnese language, there are a pulut kuning covered by colorful clothes and pepinangan beside them. They say rhymes, poems alternately. Tonjong closes with dampeng dance. The dance is done at least by four persons. The narrators say some poems while the dancers are dancing. After doing dampeng dance, the narrators eat the pulut kuning and the fried chicken together as their breakfast.

The data show that only some medendang players in Subulussalam able to perform tonjong. The language, and special poems of the tonjong become two aspects make it is difficult to learn by most of the medendang players and the societies. The other reason why it is difficult to understand because of the time of the tonjong performance. It is performed early in the morning, so it is only enjoyed by the host of the party. The young generation of medendang players should study the tonjong poems in order to developed the show. This condition shows even though it is performed early in the morning, it possible to learn by all of the societies in Subulussalam. It means there is a close relation between the tonjongperformance to the society. This condition stimulate the development of the tonjong as an oral tradition.

5.2.4 The Materials of Medendang

5.2.4.1 The Materials of Dampeng Dance

Dampeng is the first and the last dance in a medendang performance. It consists of at least four dancers, The dancers move around, they wavetheir right and left hands, sometimes they squat, rotate, and clap their hands. While the dancers are dancing, two narrators says some poems. The dancers sometimes cheer up. The materials are found in the dampeng dance performance are described clearly as follow:

NO PICTURES DESCRIPTION

Dampeng dance is danced by male and female dancers. The dance is danced at least by four persons. Some times it is danced by five pereson, seven or more. The dancers use a special suits.

The suits for the Male dancers use peci, a traditional hat of indonesia for covering their head. Their clothes are colourful. Green, yellow,blue, etc. Communly they use the same colour of shirts.

Nowadays, the dancers use different colour of shirts and pans. They use short shirts, they use jeans. But they always use clothes for covering their hip. The female dancers use vails for covering their hair. They always use long

shirt, coulourful dresses. Red, yellow, orangee,green or blue.

There are two narrators in every dampeng dance performance. The narrators cheer to make the situation cheery. The

narrators are fourties men. They do not use special suits. They use peci or lobe for covering their head. The narrators sit beside the players of musical instruments. There are four players of musical instruments. Two of them hit the gendang with their palms and stiks and two others hit two trays with two stiks. They do not use a specialsuits either. They use free suits, long or short shirts, colourful shirts, pans and peci or lobe.

5.2.4.2 The Materials of Alas Dance

The Alas dance is the second dance of the medendang performance. The dancers go to the center of the audience. They take a special position, they sit on heel.

They act if they were a cock, they do similar movements. The penghulu ronde utters sogok orange tagak menari means „Be ready for stand for dancing!‟. It is a sign or order to the dancer to be ready for dancing. Rendah sama rendah, tinggi sama tinggi means they have to make same movements, if one of the dancer move lower the other one has to move lower too. Before doing the performance, the medendang groups have to prepare the materials for the performance. The materials of the Alas dance are described as follow:

NO PICTURES DESCRIPTION

Alas dance is danced by male and female dancers. Last time, the dance is danced by a

couple, since the application of

Syari‟at Islam, the dance is dance by two males or two

females The dancers use a special suits. The suits for the Male dancers use peci, a traditional hat of Indonesia for covering their head. Their clothes are colorful. Green,

yellow, blue, etc. Commonly they use the same color of shirts. Nowadays, the dancers use different color of shirts and pans. They use short shirts, they use jeans. But they always use clothes for covering their hip.

There are two narrators in every Alas dance performance. The narrators cheer to guide the performance and make the situation cheery. The narrators

are forties age men. They do not use special suits. They use peci or lobe for covering their head. The narrators sit beside the players of musical instruments. There are four players of musical instruments. Two of them hit the gendang with their palms and sticks and two others hit two trays with two sticks. They do not use a special suits either. They use free suits, long or short shirts, colorful shirts, pans and peci or lobe.

5.2.4.3 The Materials of Silat Dance

Silat is a traditional art of self-protection. It is an original art of Indonesian. Every ethnic has their own character of the art. The dancers go to the center of the audience. They take a special position, they sit on heel. They act if they were a cock, they do similar movements. The narratorsutters sogok orange tagak menari means „Be ready for stand for dancing!‟. It is a sign or order to the dancer to be ready for dancing. Rendah sama rendah, tinggi sama tinggi means they have to make same movements, if one of the dancer move lower the other one has to move lower too. They sight are average in height.

N PICTURES DESCRIPTION O Silat dance is danced by male only. Last time, the dancers use a real sword, Nowadays they use sword made from wood. The dancers use special suits. The suits for the Male dancers use peci, a traditional hat of Indonesia for covering their head. Their clothes are colorful. Green, yellow, blue, etc. Commonly they use the same color of shirts. Nowadays, the dancers use different color of shirts and pans. They use short shirts, they use jeans. But they always use clothes for covering their hip.

There are two narrators in every Silat dance performance. The narrators cheer to guide the performance and make the situation cheery. The narrators are forties age men.

They do not use special suits. They use peci or lobe for covering their head. The narrators sit beside the players of musical instruments. There are four players of musical instruments. Two of them hit the gendang with their palms and sticks and two others hit two trays with two sticks. They do not use a special suits either. They use free suits, long or short shirts, colorful shirts, pans and peci or lobe.

5.3.4.4 The Materials of Selendayong Dance

Selendayong comes from the word ”dayong” means rowing. A person who has trawl at the sea or by a canoe in the river always rows the canoe and pulls the net.

This activity is modificated become a dance. Selendayong dance is followed by an oral. The oral story is said by the narrator and followed by music. The materials is needed during the dance performance is as follows:

NO PICTURES DESCRIPTION Selendayong dance is danced by male only. The dancers use a special suits. The suits for the Male dancers use peci, a traditional hat of Indonesia for covering their head. Their clothes are colorful, green, yellow, blue, etc. Commonly they use the same color of shirts. Nowadays, the dancers use different color of shirts and pans. They use short shirts, they use jeans. But they always use clothes for covering their hip.

There are two narrators in every Selendayong dance performance. The narrators tell an oral story while the dancers are dancing. They cheer to guide the performance and make the situation cheery. The narrators are forties men. They do not use special suits. They use peci or lobe for covering their head. The narrators sit beside the players of musical instruments. There are four players of musical instruments. Two of them hit the gendang with their palms and sticks and two others hit two trays with two sticks. They do not use a special suits either. They use free suits, long or short shirts, colorful shirts, pans and peci or lobe.

5.3.4.5 The Materials of Dendang

Dendang is performed at about 11.30 p.m. to 03.30 A.M. by five or six mature men of forties. Two of them as the ones who play gendang. two as the one to hit the tray as an additional music instrument and two as the narrators. All of them sit together. They say their feeling one by one. There are not any relations among their story but they tell about the same topic. The topics are about their mourning in their life. The materials is found in dendang performance as follow:

NO PICTURES DESCRIPTION There are six mature men in the data. Two of them are the narrators and four of them are the musical instrument players. The musical instruments are two gendang and two tray. They

lament in the darkness. Two narrators lament about their life. They talk about their sadness. Every narrators have their own sadness.

5.3.4.6 The Materials of Lambei-lambei Dance

Lambei-lambei dance is danced in order to pick the mempulei up from the house to the veranda. This dance is danced by two person. One person is as the one who pick the mempulei, he is one of the dancer from the medendanggroup and the other one is the mempulei. The host and the group of medendang have to prepare same materials before the dance is performed. The materials are needed in performing the lambei-lambei dance is described as follow:

NO PICTURES DESCRIPTION Lambei-lambei dance is danced by two persons, the mempulei and one of the medendang player. Last time, the dance is use to welcome the king. Nowadays since the mempulei were a king, he is picked by using a dance called lambei-lambei dance. The dancers use a special suits. The suits for the mempulei dancer use a hat, a traditional hat of kingdoms, it is a triangle clothes for covering their head. The clothes are colorful. Green, yellow, blue, etc. The old man uses different color of shirts and pans. he uses short shirts, he uses jeans. But he always uses clothes for covering their hip.

There are two narrators in every lambei-lambei dance performance. The narrators cheer to guide the performance and make the situation cheery. The narrators are forties age men. They do not use special suits. They use peci or lobe for covering their head. The narrators sit beside the players of musical instruments. There are four players of musical instruments. Two of them hit the gendang with their palms and sticks and two others hit two trays with two sticks. They do not use a special suits either. They use free suits, long or short shirts, colorful shirts, pans and peci or lobe. The mempulei is assumed that he were a king on that day, so he is not allowed to walk on the floor. The mat and a long clothes is used for him to dance on.

5.3.4.7 The Materials of Tonjong

Tonjong is performed at about 03.30.a.m. It usespadangnese language. The narrators sit face to face. There is a pulut kuning beside them. They chant rhymes, poems alternately. Tonjong closes with dampeng dancing. The dancing is danced at least by four person. Some materials have to prepare before performing the dance. The materials is needed in performing the dance is explained as follow:

NO PICTURES DESCRIPTION

The narrator sit face to face. There are pulut kuning, and fried chicken covering by colorful clothesand pepinangan. There are two

narrators in every lambei- lambei dance performance. The narrators cheer to guide the performance and make the situation cheery. The narrators are forties age men.

They do not use special suits. They use peci or lobe for covering their head. The narrators sit beside the players of musical instruments. There are four players of musical instruments. Two of them hit the gendang with their palms and sticks and two others hit two trays with two sticks. They do not use a special suits either. They use free suits, long or short shirts, colorful shirts, pans and peci or lobe. The mempulei is assumed that he were a king on that day, so he is not allowed to walk on the floor. The mat and a long clothes is used for him to dance on.

5.4 The Textual Analysis of Medendang

5.4.1 The Macro Sructure of Medendang

Medendang as an art performance represent the Subulussalam

Singkil ethnic tradition in whole way of life. The ideology of Singkil

ethnic is described in the words of the medendang. The knowledge, the

belief, opinion, emotion, and habit are represented in text of medendang

which is chanted by the narrator.

5.4.1.1 The Macrostructure of Dampeng Dance Text Dampeng dance is a dance consists of at least four dancers, The

dancers move around, they wave their right and left hands, sometimes they

squat. While the dancers are dancing, two peronde says some poems. The

dancers sometimes cheer up. Before dancing is begun the peronde says

„kisak dampeng !‟ means rotate !.

The greeting is Assalamu‟alaikum because most of Subulussalam

Singkil ethnic are Moslem and this tradition totally influenced by Islam.

Assalamu‟alaikum means May God give you safety. The audience answers

Wa‟alaikumsalam warohmatullah wabarokatu, means and may God give

you safety, mercy and blessing. This kind of greeting always uttered when

a person wants to have a speech in an occasion, a person who wants to get

into house or a building, and it could be a farewell greeting.

The First Dance

No Dampeng Dance Text Indonesian Translated Version

(1.1) Peronde 1: Narator 1:

“Ayo… ayo… daa “Ayo… ayo… daa

ayo ale…. o ale…. ayo ale…. o ale….

assalamu‟alaikum” assalamu‟alaikum”

Peronde 2: Narator 2:

“Adenamia Kisak dampeng ! “Adenamia putar dampeng !

Ambil umbil pengaduk Ambil pohon umbil pengaduk damagh (kaum beak) damar Di situ bambu ku ghebakhkan (Saudara-saudara)

Dancer and peronde 1: Di situ bambu ku rebahkan

“Ada taon tahta” Penari dan Peronde 1:

Peronde 2: “Ada taon tahta”

“Gecik adil pegawai adil Narator 2:

Disitu badan ku ghebahkan” “ Kepala dusun adil pegawai adil

Di situ badan ku rebahkan”

Gecik is someone who pointed by the society in that area by a kind of public election. The point of the poem is to honor the gecik and society servant in that area. The word ghebahken „laying on‟ also a kind of expectation of the society to have a fair gecik and society servant in solving the problem among the society.

Macrostructure: This poem is a great honor for gecik and society servant.

Gecik adil pegawai adil, di situ badan ku ghebahkan

„ I lay my body on gecik and society servants who are fair‟

After giving a great honor to gecik and society servant, honor also given to the audience who was attending the party. The audience are the host‟s family, relatives, partners, and neighbors. It uses to appreciate all guests as the audience where the performance is performed.

No Dampeng Dance Text Indonesian Translated Version

(1.2) Peronde 1: Peronde 1:

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “ Peronde 2: Peronde 2:

“Adenamia “Adenamia

Surindan tumbuh di kualo Surindan tumbuh di kuala

Tumbuh ureknya di pulo Tumbuh akarnya di pulau banyak” banyak” Dancer and Peronde 1: Dancer and Peronde 1: “Ada taon tahta” “Ada taon tahta” Dahulu sembah pada raja Dahulu sembah pado rajo Kemudian sembah orange banyak Kudian sembah orange banyak”

Macrostructure: This poem is a great honor for the audience.

Dahulu sembah pado rajo, Kudian sembah orange banyak

„Firstly respectful to the king, next respectful to the audience‟

Nini mamak is a brother of someone‟s mother. In Minangkabau nini mamak is someone who has to be respectfully. Singkil ethnic society do not use nini mamak to call their uncle, but it finds in the poem. It is a proof that this tradition is influenced by Minangkabau tradition. Devil‟s book indicating that what will the peronde says sometimes it is not good, because some poems or words is a kind of allusion to woman. It is a kind of joking.

No Dampeng Dance Text Indonesian Translated Version

(1.3) Peronde 1: Peronde 1:

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “ Peronde 2: Peronde 2:

“Adenamia “Adenamia

Anak kucing makam cabun Anak kucing makam macan

Mandi betimpo kulit lokan” Mandi betimpa kulit lokan”

Dancer and peronde 1: Penari and Narator 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Narator 2:

“Minta ampun ninik mamak “Minta ampun paman

Kami membuka kitab setan” Kami membuka kitab setan”

Macrostructure: This poem is an apologizing for nini mamak.

Minta ampun ninik mamak, Kami membuka kitab setan

„ Asking forgiveness to uncle, we open devil‟s book‟

This poem is commonly used in order to ask forgiveness to the audience meanwhile someone having a speech. This poem suggests the audience to interrupt directly if the narrator doing some mistakes in words or performance.

However, generally, there is not interruption from the audience, because all of the audience understand that what the narrator say is a kind of playful.

No Dampeng Dance Text Indonesian Translated Version

(1.4) Peronde 1: Narator 1:

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “

Peronde 2: Narator 2:

“Adenamia “Adenamia Kalau ada jarum ku patah Kalau ada jarum ku patah

Jangan simpan dalam peti” Jangan simpan dalam peti”

Dancer and peronde 1: Penari dan Naratot 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Narator 2:

“Kalau ada kataku salah “Kalau ada kataku salah

Jangan disimpan dalam hati” Jangan disimpan dalam hati”

Macrostructure: This poem is an apologizing to the audience.

Kalau ada kataku salah, Jangan disimpan dalam hati

„If I have mistake please forgive me‟

This poem is a kind of trick used by the peronde to overcome the critic from the audience if he does any mistakes in word or performance. It is a reference for him to ask forgiveness.

No Dampeng Dance Text Indonesian Translated Version

(1.5) Peronde 1: Peronde 1:

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “

Peronde 2: Peronde 2:

“Adenamia “Adenamia

Anak anggang meniti dahan Anak anggang meniti dahan

Kalau patah ganti padi” Kalau patah ganti padi”

Dancer and peronde 1: Dancer and peronde 1: “Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“Kami ini lembaru datang “Kami ini yang baru datang

Dimana salah ajari kami” Dimana salah ajari kami”

Macrostructure: This poem is an open heart of the narrator to be criticized.

Kami ini lembaru datang, Dimana salah ajari kami

We this just come, where wrong teach we

„ we are new comer, if we are wrong please teach us‟

The first dance performance is closed by a greeting ”Assalamu‟alaikum”.

After the peronde says it, the male dancers stop their dances and walk out from the audience. Then the performance is continued by the female dance performance.

No Dampeng Dance Text Indonesian Translated Version

(1.6) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia Ayo ale ale adenamia

Assalamu‟alaikum” Assalamu‟alaikum

The Second Dance

This poem shows if Theperonde loved the dancers and he express it if he flattered the lady. He says that he loves her fully, there is no other girls in his heart. Hearing it the audience who understand the meaning laugh and the dancers feel happy and smile.

No Dampeng Dance Text Indonesian Translated Version

(1.7) Peronde 1 Peronde 1

“Ayo… ayo… daa “Ayo… ayo… daa

ayo ale…. o ale…. ayo ale…. o ale….

Peronde 2: Peronde 2:

“Adenamia Kisak dampeng “Adenamia putar dampeng

Sekek padi lima kupang Sukat padi lima kupang

Tidak tarendang rindang lai” Tidak tarendang rindang lagi”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde2: Peronde2:

“Bulek atiku pada puan “Bulat hatiku pada puan

Tidak bersimpang-simpang Tidak bersimpang-simpang lagi” lai”

Macrostructure: a poem of feeling love expression

Bulek atiku pada puan, Tidak bersimpang-simpang lai

„ my heart focused only for you lady, there is no girl except you‟

This poem shows that the peronde compliment the young lady, he says that the lady was so beautiful, her beauty was famous so every body knows it, even the ones who far away from the other mountain.

No Dampeng Dance Text Indonesian Translated Version

(1.8) Penghulung runde 1 Penghulung runde 1 “Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“adenamia “adenamia

Tinggi bukitnya mandiangin Tinggi bukitnya Mandiangin

Diajar anak main kudo” Diajar anak main kuda”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“Sayo sepantun kilek cermin “Saya sepantun kilat cermin

Dibalik gunung nampek juo” Dibalik gunung nampak juga”

Macrostructure: a poem of praise to a girl

Sayo sepantun kilek cermin, Dibalik gunung nampek juo

„ I am similar with mirror light, It is visible even behind the mountain‟

The poem express togetherness, It is a close relationship like a glass with water. They need each other. Wherever the glass goes the water follows to serve.

No Dampeng Dance Text Indonesian Translated Version

(1.9) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“adenamia “adenamia

Jiko adik pai ke alas Jika adik pergi ke Alas Kirimi kami buah antimun” Kirimi kami buah mantimun”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“Jiko adik menjadi gelas “Jiko adik menjadi gelas

Kami menjadi air minum” Kami menjadi air minum”

Macrostructure: a poem of togetherness

Jiko adik menjadi gelas, Kami menjadi air minum

„If you (young lady) becomes the glass, we will become the water‟

The poem express the effort of the peronde to get the young lady. He fight if he sailed for one year long and hoped he would be able to get his future where he could find and get the young lady as his wife.

No Dampeng Dance Text Indonesian Translated Version

(1.10) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“adenamia “adenamia

Ikan bernama siga dumba Ikan bernama siga dumba

Songsong manongsong Songsong manyongsong pagok janggi” pagok janggi” Dancer and peronde 1: Dancer and peronde 1: “Ada taon tahta” “Ada taon tahta” Peronde 2: Peronde 2:

“biar setahun ditapung “Biar setahun ditapung ombak, ombak asal bergantung saoh besi” Asal bergantung saoh besi”

Macrostructure: a poem of effort to get the young lady

biar setahun ditapung ombak, Asal bergantung saoh besi

„ although one year long hit by wave, the anchor can be hang‟

The poem express the effort of the peronde to get the young lady. After hearing that the girl has engaged with someone, the peronde effort to get the young lady back. He fought by pedal the sea. If it were so far, he would sail it.

No Dampeng Dance Text Indonesian Translated Version

(1.11) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale pulong me kaum Ayo ale ale pulong me kaum beak” beak” Peronde 2 Peronde 2 “pulong me kaum beak “pulong me kaum beak Anak pune dua sekandang” Anak pune dua sekandang” Dimakan buah jabi-jabi” Dimakan buah jabi-jabi” Dancer and peronde 1: Dancer and peronde 1: “Ada taon tahta” “Ada taon tahta” Peronde 2: Peronde 2: “ Terkabar adik bertunangan “ Terkabar adik bertunangan Tak dapat ku dayung kulayari”

Tak dapat ku dayung kulayari”

Macrostructure: a poem of effort to get the young girl

Terkabar adik bertunangan, Tak dapat ku dayung kulayari

„I heard that you have engaged, I can not pedal I will sail‟

The poem expresses that the peronde lost his eve. After fighting by pedal and sail Sea, he failed and did not know where he could find the girl. His failure expressed in the poem only the ocean is around, it proofs that finally he could not find where the young lady was.

No Dampeng Dance Text Indonesian Translated Version

(1.12) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“ cincin bernamo Guntur sari “Cincin bernamo Guntur sari

Suaso sajo di kelingking” Suasa saja di kelingking”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“Hilang dimano kami cari “Hilang dimano kami cari

Lautan sajo berkeliling” Lautan saja berkeliling”

Macrostructure: a poem of loosing his eve

Hilang dimano kami cari,Lautan sajo berkeliling

„ losing where we can look for, only the ocean is around‟

No Dampeng Dance Text Indonesian Translated Version

(1.13) Assalamu‟alaikum Assalamu‟alaikum

Macrostructure: a closing greeting

This greeting close the dampeng dancing performance, the dancer then goes out from the show area one by one by forming a queue.

5.4.1.2 The Macrostructure of Alas Dance Text

The dancers get position to the centre of the audience. They sit on heel.

They act if they were a cock, they do similar movements. The peronde chants

“sogok orange tagak menari” means “Be ready for dancing!‟. It is a sign or order to the dancer to be ready for dancing. “Rendah sama rendah, tinggi sama tinggi” means they have to make same movements, if one of the dancer moves low the other has to move low too. They are average in height. Seperti gasing di lenongkan means „like a gasing is played‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn a round. The peronde says some similar utterances but they are difference in intonation. The first intonation in uttering the utterances is lower then the intonation in the middle of show. The intonation at the last show of Alas dance is the lowest. So the highest intonation is in the middle of the show. It is made to make the situation happier and the dancer have more spirit.

No Alas Dance Text Indonesian Translated Version

(2.1) Peronde Peronde

Sogok orange tagak menari Tegap orange tagak menari

rendah sama rendah rendah sama rendah

tinggi sama tinggi tinggi sama tinggi

bagai ayam menantang lawan bagai ayam menantang lawan

tanggisik pulang mandi tanggisik pulang mandi

bage gasing di lenongkan seperti gasing di putarkan

hop bale-bale daaaaaaaa 2x hop bale-bale daaaaaaaa 2x (berdiri) (berdiri)

Sogok orange tagak menari

„ The men are ready standing for dancing

rendah sama rendah

„They are similar low‟

tinggi sama tinggi

„They are similar tall‟

bagai ayam menantang lawan

„ They were a cock challenged their opponent‟

tanggisik pulang mandi „ The duck comes from the pull‟

bage gasing di lenongkan

„ It like a gasing is turned around‟

hop bale-bale daaaaaaaa !

Alas dance for Singkil ethnic society is a very important skill to learn.

Because it is a symbol of guarding someone to himself. The movements of the dance can be used as the basic movements of fighting in a certain situation. This tradition is a kind of pride for parents who has son. The son who are going to be mempulai practice it before the ceremony and perform it to the audience.

5.4.1.3 The Macrostructure of Selendayong Dance Text

The dancers get to the centre of the audience. They take a certain position, they stand . The peronde chants sogok orange tagak menari means „Be ready for stand for dancing!‟. It is a sign or order to the dancer to be ready for dancing.

Rendah sama rendah, tinggi sama tinggi means they have to make same movements, if one of the dancer move lower the other one has to move lower too.

They sight are average in height. Seperti gasing di lenongkan means „like a gasing is turned a round‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn a round.

No Selendayong Dance Text Indonesian Translated Version

(3.1) Peronde Peronde Sogok orange tagak menari Tegap orange tagak menari

rendah sama rendah rendah sama rendah

tinggi sama tinggi tinggi sama tinggi

bagai ayam menantang bagai ayam menantang lawan

lawan tanggisik pulang tanggisik pulang mandi mandi seperti gasing di putarkankan bage gasing di lenongkan hop bale-bale daaaaaaaa 2x hop bale-bale daaaaaaaa 2x berdiri. (berdiri)

Macrostructure: a sign to be ready for dancing

Sogok orange tagak menari

„ The men are ready standing for dancing

rendah sama rendah

„They are similar low‟

tinggi sama tinggi

„They are similar tall‟

bagai ayam menantang lawan

„ They were a cock challenged their opponent‟

tanggisik pulang mandi

„ The duck comes from the pull‟

bage gasing di lenongkan

„ It like a gasing is turned around‟

hop bale-bale daaaaaaaa ! The poem (3.2) tells about someone‟s spirit of hero who are ready to die in order to save his master, they are in journey to go to the king. This is a kind of moral value for a guard who should be ready to die as defender of his kingdom.

No Selendayong Dance Text Indonesian Translated Version

(3.2) Eeeeeeee kaum beak Eeeeeeee kaum beak

buang batu tumbuh kelapo buang batu tumbuh kelapa

asal sampek dikaki puan asal sampai dikaki puan

buangkan aku tidak mengapo buangkan aku tidak mengapa

asal selamek kerajo tuan asal selamat keraja tuan

Macrostructure: The spirit of hero

buangkan aku tidak mengapo, asal selamek kerajo tuan

„ It is ok if you throw me (to the sea) in order to save you (master) to the

king‟

There is no relationship between the poem (3.2) with (3.3). The poem above tells about an advice to someone who wants to go somewhere. The advice says that God and Prophet Muhammad will follow him wherever he goes. The words „Allah‟ and „prophet‟ shows that this poem influenced by Islam.

No Selendayong Dance Text Indonesian Translated Version

(3.3) Tinggi mesajik labuhan aji Tinggi terdapat labuhan haji

Nampak nandare kayu aro Nampa anak dara kayu aru

Barange kemano abang pai Barange kemana abang pergi

Allah jonabi memeliharo Allah dan Nabi memelihara

Barange kemano abang pai, Allah jonabi memeliharo

„ wherever brother go, Allah and Prophet save you‟

The poem (3.4) is different with poem (3.2)and (3.3). It is free of rhymes, there is not clothesline, all of the lines are contain of the poem. It is a kind of cheering to make the dancing show more alive and fun. On the other hand, it is a sign for the dancers to keep dancing (line one), a flattering for the dancers that all of them are beautiful (line two) and a sign for the dancers that they have to keep they hand waving coincidentally.

No Selendayong Dance Text Indonesian Translated Version

(3.4) Terus saudari tegak menari Terus Saudara tegak menari

Siapa kumalot ken siapa ku ue Siapa ku tidakkan, siapa ku iyakan ken Cantik-cantik semua . Mende-mende khatana Lampai-lampaikan tangan kanan Ambe-ambeken tangan kemuhun Ikutkan tangan kiri Ikutken tangan kembikhang hentakkan serentak dengan kaki Sentetken serentak dengan nehe

Macrostructure: A flattering and sign for the dancers.

Terus saudari tegak menari

„ You keep standing for dancing‟

Siapa kumalot ken siapa ku ue ken

„Who I say no who I say yes‟

Mende-mende khatana „The people says they are beautiful all

Ambe-ambeken tangan kemuhun

„ wave your right hand‟

Ikutken tangan kembikhang

„ followed by your left hand‟

Sentetken serentak dengan nehe

„Move them coincidently withn your feet !‟

Macrostructure: The oral narration text .

Text (3.5.1) to (3.5.4) consist of good values for a kid. The narrator asks the mempulei to apply the good values in his life in order to be a good kid, especially his attitude to his parents. (3.5.5) to (3.5.12) is an oral narration text.

It is a moral teaching for the mempulai. There are two oral narration, the first talks about a bad boy and the second talks about three good boy. The bad oral story said about one of Imam‟s kid who has a bad attitude, he always asked for much money from his parents every morning before leaving for school. He use the money for buying goat glue. The narrator wants to explain that Imam‟s kid could become a bad boy if he could not teach good values to his kid. This phenomena happens everywhere. On the other hand The narrator tries to give moral teaching to the mempulei by using good story. The story talked about three kind boy who were kind to their parents. One day, when they had journey in a mountain a trapped in a cave, the hole of the cave was closed by a big stone. they pray to Allah by the name of their parents. Because of their kindness to their parents, the stone could be moved by three of them. The narrator tries to give two differences story, good and bad characters. He persuaded the kid to cheat the good character. 5.4.1.4 The Macrostructure of Silat Dance Text

The dancers go to the centre of the audience. They take a special position, they sit on heel. They act if they were a cock, they do similar movements. The penghulu ronde chants sogok orange tagak menari means „Be ready for stand for dancing!‟. It is a sign or order to the dancer to be ready for dancing. Rendah sama rendah, tinggi sama tinggi means they have to make same movements, if one of the dancer move lower the other one has to move lower too. They sight are average in height. Seperti gasing di lenongkan means „like a gasing is turned a round‟. Gasing is a toy made of wood or bamboo provided with nail or pointed wood which can be turned round with a rope. Its movement always at one place. It means the movements of the dancers also at one point and turn a round.

No Silat Dance Text Indonesian Translated Version

(4.1) Sogok orange tagak menari Tegap orange tagak menari

rendah sama rendah rendah sama rendah

tinggi sama tinggi tinggi sama tinggi

bagai ayam menantang bagai ayam menantang lawan

lawan tanggisik pulang tanggisik pulang mandi mandi seperti gasing di putarkankan bage gasing di lenongkan hop bale-bale daaaaaaaa 2x hop bale-bale daaaaaaaa 2x berdiri

Macrostructure: a sign to be ready for dancing

Sogok orange tagak menari „ The men are ready standing for dancing

rendah sama rendah

They are similar low

tinggi sama tinggi

They are similar tall

bagai ayam menantang lawan

„ They were a cock challenged their opponent‟

In the Silat dance Theperonde says some similar utterances but they are difference in intonation. The first intonation in uttering the utterances is lower then the intonation in the middle of show. The intonation at the last show of Alas dance is the lowest. So the highest intonation is in the middle of the show. It is made to make the situation happier and the dancer have more spirit.

5.4.1.5 The Macrostructure of DendangText

Dendang of Subulussalam Singkil ethnic is performed around 11.30 p.m. to 03.30 a.m. by five or six mature men of forties, three of them play gendang, one hits the tray as an additional music instrument, two as the narrators. All of them sit together. There are not any relations among their story but they chant about the same topic. The topic is about their mourning, sorrows, expectations, satires in their life.

Macrostructure: An oral recount story of the narrators‟ life.

The word “miskin” means poor is found in (5.1.8), (5.1.9), (5.1.12),

(5.1.13), (5.1.14), (5.1.16), (5.1.28), (5.1.30), (5.1.38), (5.1.39), (5.1.43).

Dendangas an expression of thought and feeling intends to show up the sadness of the narrator. This sadness is supported by some phrases such as „ menakanken sagu, pisang ‟ means eating sagu, banana, (5.1.35), „omalam Pak matanomanangis” every night this eyes cry (5.1.35) „ mendekhitana kakap‟ means suffering in life (5.1.36),‟ nasib mak mende‟ means bad destiny. This data proofs that dendang is use by the narrator to show up their sadness, inability in order to get relieved feeling.

„ wake up dik, I wish you are always be healthy, your soul is fine, you have much gold.. I have called you for 300 hundreds time, but no feedback, I enjoy myself. We will be together there Brothers‟. The sentences chanted by the narrator. The sentences show that the narrator wanted a widow in the house woke up. The fact show that there were a woman who threw beras kuning to the narrators in some minutes. It was a symbol of interest. A widow who is interested on the dendang words throws beras kuning to the narrators. The condition made the narrator were happy and make them chants the dendang until early in the morning. So the situation at the party is interesting and the party tools which would be used for tomorrow is safe.

“ Kekemmo kona kekem tukhanggg diiiik katuuuuu…ah tah ai katu.Ideh-ideh moda diiiik elallaaaahhhh juah bekhngiiiiiiss tendiiiiiii kune pendiloooo elallaaaaahh eha eeeeet mas megumuullll nina katuu.Leeeee katu katigo khatus senina kali aduh-aduh sayang,eeeeeee memangat sendikhi mo kepeeeeeee Adooooooo namia nengggg kitan mepulung mekaum beeeeeeeeee adooooooo deeeeee “ (5.1.2)

5.4.1.6 The Macrostructure of Lambei-lambei Dance Text

No Lambei-lambei Dance Text Indonesian Translated Version (6.1) Itek tigo anggang pun tigo Itik tiga anggangpun tiga

Makanan anak Kelumpayan Makanan anak kelumpayan

Kitek tidak gadang pun tidak Kecil tidak besarpun tidak

Sedang eloknyo bepakaian Sedang eloknya berpakaian

Macrostructure: A flattering for the mempulei who is dancing.

Kitek tidak gadang pun tidak, Sedang eloknya bepakaian

Small not big not, nice in clothing

„The mempulei is not small or big, he is nice in clothing‟

Mempulei is someone who maries or does circumcision. He wears traditional suit. This poem says that the suit that he is wearing are fit for him. The build of the mempulei is nice to be seen.

No Lambei-lambei Dance Text Indonesian Translated Version

(6.2) Tinggi bukitnyo Mandiangin Tinggi bukitnya Mandiangin

Makanan anak kelumpayan Makanan anak Kelumpayan

Sayo sepantun kilek cermin Saya sepantun kilat cermin

Dibalik gunung Nampak juo Dibalik gunung Nampak juga

Macrostructure: A flattering for the mempulei

Sayo sepantun kilek cermin, Dibalik gunung Nampak juo

I like reflection mirror, behind mountain see can

„I were mirror reflection, It can be seen from behind the mountain‟

While the mempulei was dancing, the peronde said this poem. He tried to expressed such a kind of flattering. The poem says that the young beautiful dancers are so beautiful, they beautiful such a reflection of mirror light which can be seen even it is from

No Lambei-lambei Dance Text Indonesian Translated Version

(6.3) Alang tingginyo nyiur gading Sungguh tingginya nyiur gading

Sampek tali layang-layang Sampai tali laying-layang

Alang sunginyo rancak kinin Sungguh sangat cantik anda

Sampai kelangit bayang-bayang Sampai ke langit terbayang-bayang

Macrostructure: A flattering for the mempulei

Alang sunginyo rancak kinin, Sampai kelangit baying-bayang

How very nice you, till sky the refelction

„How nice you are, the beauty are reflected to the sky

It is the third flattering expression. The poem says that the mempulaei is very nice to be seen, his traditional suit is fit, his reflection can be seen from far a way behind the mountain, and now it were reflected to the sky. Sky is the furthest direction from the world.

No Lambei-lambei Dance Text Indonesian Translated Version

(6.4) Tutung dahan kian batang Potong dahan sampai batang

Satu pateh dua cabangnyo Satu patah duabatangnya

Apo tandonyo uningku Apa tandanya saudri dating datang Satu langkah dua lenggoknya Satu langkah duo lenggoknya

Macrostructure: A playful Apo tandonyo uningku datang, Satu langkah duo lenggoknya

What sign lady my come, one step two away

„ what is the sign lady come, She has one step and two sways‟

After expressing the flattering expression to the mempulei, suddenly a woman passed by. Spontaneously the peronde said the poem. The peronde who had just seen a woman switch his poem. It is such an allusion to the woman who had just passed by. It is a kind of playful to make the situation fun. Usually after hearing this such poem, the audience say eeeeda, heeeh or yaaaa etc.

No Lambei-lambei Dance Text Indonesian Translated Version

(6.5) Ikan beghnamo sisik lailan Ikan bernama sisik lailan

Jaghak terpanggang dari api Jarak terpanggang dari api

Bungo setangkai permainan Bunga setangkai permainan

Itu penghancur dalam hati Itu penghancur dalam hati

Macrostructure: A playful

Bungo setangkai permainan, Itu penghancur dalam hati.

Flower a playful, it destruction in heart

„It is a flower of playful, it make destruction in his heart‟

The peronde who had just seen a woman switch his poem to make a playful. In his last poem he said that the woman who had just passed by was so nice, because in her one step there were two sways. Her passing by make disturb his concentration.

5.4.1.7 The Macro Structure of Tonjong Text Tonjong is done at about 03.00.a.m. the peronde sit face to face. There is a pulut kuning in the centre of their sit. They say rhymes, poems alternately.

Tonjong closes with dampeng dancing. The dancing is done at least by four person. After doing dampeng dancing, the peronde eat the …and complete pried chicken as their breakfast.

INFORMANTS WRITER QUESTIONS EXPLANATION INTERPRETATION

What is Tonjong? Tonjong is poems, rhymes The Tonjongis lines of of flattering to a queen. Last poems and rhymes. They time tonjong was did by a are performed by two king, a commander, a guard, people face to face. They and ustaz. They sat face to say it in turns, face to vace. face. There was a beautiful There are pulut kuning and woman in the centre of their in the middle of them. The sit. The beautiful woman‟s poems are said for four name Ender Dewi. Now level of social strata in the days, the woman is replaced kingdoms in Subulussalam. by pulut kuning and a complete fried chicken to The Subulussalam Singkil respect all of the peronde ethnic recognize four terms, who have perform dendang rajo (king), panglima from 08.pm to 06.am at the (commander) second hinay party. pangapit(religious leader), sinterem (guards). Recent days the king is symbolized by yellow color, the commander is symbolized by red. The white color symbolizes of ustad and another colors for the guards.

Based on the informants explanation, every party which entertain the guess with medendang has to perform Tonjong to respect the king, commander, ustad and guard. The ones who did not include the tonjong in the performance will be finished with a certain find. At the last of this performance, the members of the medendang group eat the pulut kuning together (Picture13).

No Tonjong Text Indonesian Translated Version

(7.1) Iyo- iyo sijangko iyo, ingek- Iyo-iyo sijangko iyo, ingat-ingat ingek Raja Janang menato iyo Rajo janang menato iyo Elok-elok mempulai melayu kita Elok-elok marapule jawi kito Ingat, ingat-ingat ingek, ingek-ingek Lagak menawannya lambat berhias Lagak eloknyo lambek berhias.

Macrostructure : A praise to the mempulai

Elok-elok marapule jawi kito, Lagak eloknyo lambek berhias

“Our mempulai is handsome, He took a long time to have an excellent performance”

These two lines of rhymes were said by the narrator. These rhymes were for the two mempulai who had been picked up by the dancer, by using ambei- ambei dance. After picking them up, These series of tonjong rhymes were performed. The two mempulai set with their father and grandfather. The word

“rajo” was for the mempulai who was imagined that they were a king for a day.

They used traditional clothes.

No Tonjong Text Indonesian Translated Version

(7.2) Kain putih berambu kuning Kain putih berambu kuning

Ingek-ingek, o ingek-ingek Ingat-ingat, o ingat-ingat orange raja orange rajo Kain kuning berampu kuning ingat- Kain kuning berambo kunig ingat pakaian anak raja-raja. ingek-ingek perkayanen anak rajo-rajo.

Macrostructure : a praise to the king

Kain putih berambu kuning , Ingek-ingek, o ingek-ingek orange rajo

Kain kuning berambo kunig ingek-ingek perkayanen anak rajo-rajo.

“The white clothes with yellow tufts, remember-remember o remember the king

The Yellow clothes with yellow tufts, remember-remember the son‟s of the king”.

The mempulai used yellow clothes. They set in the veranda and listen to the tonjong. The narrator said that the mempulai used yellow clothes it is to praise the king. Before Subulussalam was colonized by the Dutch, there were many small kingdoms in Subulussalam. The kingdoms were joined with another kingdoms in Aceh to fight the Dutch. These historical background makes the

Subulussalam Singkil ethnic recognize four terms, rajo (The king, The commander, The panglima, panghapit, sinterem.

No Tonjong Text Indonesian Translated Version

(7.3) Cincin bungo setangke leh Cincin bunga setangkai Bung….

Ingek-ingek o onggkok , Ingat-ingat onggok, Sembilan Sembilan permatonya permatanaya Rendah-rendah tinanaman Rendah-rendah ditanam Tumbuh sepuluh delimo aso Tumbuh sepuluh delima asa Paangek-angek panjang ureknyo ke kualo Pengingat-ingat panjang akarnya ke

Lelo batangnya ke udaro kuala

Bang-ang tangnyon perak Menjulur batangnya ke udara cabang suaso daunnya malam berkilauan. Batang perak cabang suasa

Jange-jang andenya candai nya Daunnya malam berkilauan halus berkilat-kilatan Sangat indah pucuknya halus

Engek-engek. berkilau-kilau

Angek-angek adong Ingat-ingat

Karenang labah bersarnag di Ingat-ingat Nek bungkuknyo. Sehingga lebah bersarange di

bungkuknya.

Macrostructure :The expectation for the mempulai

“Cincin bungo setangke leh, Ingek-ingek o onggkok , Sembilan permatonya Rendah-rendah tinanaman, Tumbuh sepuluh delimo aso, Paangek-angek panjang ureknyo ke kualo Lelo batangnya ke udaro, Bang- ang tangnyon perak cabang suaso daunnya malam berkilauan. Jange-jang andenya candai nya halus berkilat-kilatan‟ Engek-engek.Angek-angek adong Karenang labah bersarnag di bungkuknyo”.

“ A ring with bound of flower decoration , It has nine diamond, It is

planted lowly, There are ten of growing delima, The root is long to the

see, the trunk to the air, the trunk is silver, the branch is gold, the leaves is

shining at night, the tip of the leaf is soft and shining. Grandma, The bees

nest under the bent”

It is an expectation for the mempulai. The mempulai is expected to become a delima (rose-apple fruit). Long root is symbolized of having long thinking. The trunk grows to the air is symbolized to be able to survive in life. The trunk is silver, the branch is gold and the leaves is shining are symbolized of well performance. The bees nest under its bent means that the mempulai useful for many persons.

No Tonjong Text Indonesian Translated Version

(7.4) Si angek-angek amang Si ingat-ingat ibu

Kaik ku maik sinantupei Kait mengkait si

Kajar kumajar angin Kejar mengejar memetik-metik dahan memitik-mitik dahan Punai menimang-nimang buah Punai menimang-nimang buah Buahnya intan bergantung

Buahnya intan bergantung, Bunganya putih berkarange bungonya putih berkarangean Ingat-ingat abang

Angek-angek ogek Dicabanganya

Berlingkar dibatangnya ular, Cabang ernama waliyullah berllik dicabangnyo Empatpuluh empat terjauh dari mara Cabang bak namo bahaya. Bisek eeee Waliyullah, amekpuluh ampek terjauh dari maro bahayo. Bisek eeee

Macrostructure : The expectation for the mempulai

“Kajar kumajar angin memitik-mitik dahan, Punai menimang-nimang buah, Buahnya intan bergantung, bungonya, putih berkarangean, Angek- angek ogek, Berlingkar dibatangnya ular, berllik dicabangnyo

Cabang bak namo Waliyullah, amekpuluh ampek terjauh dari maro bahayo.Bisek eeee”

“The wind blows the branches, The pigeon rocks the fruits, the fruits is a

laying diamond, the coronet flowers are white. The snake enlaces on its branches, The branch is named waliyullah forty four is stayed a way from

the danger”.

The expectation for the mempulai. The wind, the pigeon symbolizes the temptation of a nice life. The snake symbolizes the bad risk in this life. The branch of waliyullah is the God‟s protection to the mempulai.

No Tonjong Text Indonesian Translated Version

(7.5) Dayang-dayang turunkan Dayang-dayang turun tujuh leh tujuh leh Eeee ingat-ingat, Eeee ingek-ingek , Pucuknya halus tujuh itu Candenyo halus tujuh itu Kain putih berambu kuning Kain putih berambu kuning Kain terpasang pada galah Kain tersampang pado galah Ambil sehelai di pajangkan Ambil sehelai dipertendengken Namu tercinta pada Allah Adat yang muda diperdampingkan Namun tercinto pada Allah Allah dampeng ingat-ingat dampeng Adat simudo diperdampingkan Allah dampeng enge-enge dampeng

Macrostructure: A commitment to use Islam as the way of life and tradition

rules is applied after it.

“Namun tercinto pada Allah, Adat simudo diperdampingkan, Allah dampeng enge-enge dampeng”

“ Loving Allah is the first, The culture which is younger is accompanied. Allah dampeng “ This is the last rhyme of tonjong performance. This line tells that Singkil ethnic applies Islam fundamentally. The culture is applied at the second level as their way of life. The culture has to be matched with the Islam. Then the narrator said “Allah dampeng”, After that two mature men joined and danced with the two narrators. They danced “dampeng”. The music accompanied the danced, it closed the performance. After that they ate the pulut kuning and fried chicken as their breakfast.

5.4.2 The Schematic Structures of Medendang

Van Dick in Mazzi (2012:13-14) says “…whereas schematic structure concern the structural unit through which the text is built. In a newspaper for example, it is headlines, lead and reported events”. The Schematic structure of the medendang show is as follow:

Medendang Shows Description

Dampeng dance The data shows that Dampeng dance is danced twice, firstly the male and secondly the female dancers.

Alas dance Commonly the Alas dances are danced by the professional dancer, but sometimes the mempuleies dance one or two dance. In this data the mempulaies dance two dances, namely: Alas dance and Selendayong dance.

Selendayong dance Selendayong dance is accompanied by some poems and oral narratives story. Silat dance Silat dance is danced by two male dancers. They dance if they were fought each other.

Snack After all dances are performed, all of the dances go back to their sit to take a rest. The meal is served to the all of the ones who are at the party, thenv they eat it together.

Taking a rest While the perondes are taking a rest, the dances who most of them are teenager go home.

Dendang performance Dendang is not a dance, performed by five or six mature men of forties . threeas the ones who play gendang. One as the one to hit the tray as an additional music. instrument, two as the narrator. All of them sit.

Ambei-abei dance Ambei-ambei dance is accompany by poems and rhymes. It is a dance to pick the mempulei up from the house to sit in veranda. After picking up the mempulei by dancing.

Tonjongdance Ambei-ambei dance is accompany by poems and rhymes. It is a dance to pick the mempulei up from the house to sit in veranda. After picking up the mempulei by dancing.

5.4.2.1 The Schematic Structure of Dampeng DanceText

From the data (1.1-1.13) , there are eleven poems which accompanies dampeng dance. Poems 1.1 to 1.5 accompanies the male dancers and poems 1.6 to

1.13 accompanies the female dancers. From The table below, It can be seen that the Schematic of dampeng is divided into two, Male and female dampeng dance.

The general Schematic structure of poems in male dance is Opening greeting

>< Appreciation >< Permission >< Apologizing ><

Apologizing >< Closing greeting. The poems in female dance shows that they are narrative poems. The narration is begun with the poem (6) says that the sayer loved his girlfriend fully. Then in poem (7) he gives the reason why he loves the girl. It says that he loved her because of her beauty. In poem (8) he try to flatter the girl by saying if the girl were the water, he would be the glass. In poem (9) the he shows his seriousness by saying he would sail for one year in order to come to the girl. The complication rises when he knows that the girl has been engaged.

Finally, in poem (10) he feels sorry because he can not find the girl. The story is a sad ending story.

The specific schematic structure shows that the structure is Order (sign)

>< clothesline >< Cheering >< Contain. Order (Sign) is a cheering ofperonde 1 to peronde 2 to prepare clothesline. It is a kind of space for peronde 2 to thing what the clothesline of the poem. After the peronde 2 says the clothesline of the poem the dancers and the peronde 1 cheers up by saying “ ada taon tahta”

It is used to give any space for the peronde 2 to be ready says the contain of his poem. Contain is the point of what peronde 2 wants to say. On the other hand the high intonation of order (sign) and cheering also to make the show fun. The poems structures are as follow:

The First Dampeng

Global Specific

No Text Schematic Structure Schematic Structure

1.1 Peronde 1: Opening greeting Order (Sign)

“Ayo… ayo… daa

ayo ale…. o ale….

assalamu‟alaikum” Greeting

Peronde 2: Appreciation Clothesline

“Adenamia Kisak dampeng

Ambil umbil pengaduk damagh (kaum beak)

Disitu bambu ku ghəbakhkan

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“Gecik adil pegawai adil

Disitu badan ku ghebahkan”

1.2 Peronde 1: Appreciation Order (Sign) “Ayo ale ale o ale

Ayo ale ale adenamia “

Peronde 2: Clothesline

“Adenamia

Surindan tumbuh di kualo

Tumbuh ureknya di pulo banyak”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Contain

Peronde 2:

Dahulu sembah pado rajo

Kudian sembah orange banyak”

1.3 Peronde 1: Permission Order (Sign)

“Ayo ale ale o ale

Ayo ale ale adenamia “

Peronde 2: Clothesline

“Adenamia

Anak kucing macam cabun

Mandi betimpo kulit lokan”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“Minta ampun ninik mamak

Kami membuka kitab setan”

1.4 Peronde 1: Appoligizing Order (Sign)

“Ayo ale ale o ale

Ayo ale ale adenamia “

Peronde 2: Clothesline

“Adenamia”

Kalau ada jarum ku patah

Jangan simpan dalam peti”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“Kalau ada kataku salah Jangan disimpan dalam hati”

1.5 Peronde 1: Appologizing Order (Sign)

“Ayo ale ale o ale

Ayo ale ale adenamia “

Peronde 2: Clothesline

“Adenamia

Anak anggang meniti dahan

Kalau patah ganti padi”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“Kami ini lembaru datang

Dimana salah ajari kami”

Penghulung runde 1 Closing Greeting Greeting

“Ayo ale ale o ale

Ayo ale ale adenamia

Assalamu‟alaikum”

The Second Dampeng

1.6 Peronde 1 Orientation Order (Sign)

“Ayo… ayo… daa

ayo ale…. o ale….

Peronde 2: Clothesline

“Adenamia Kisak dampeng

Sekek padi lima kupang

Tidak tarendang rindang lai”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde2: Contain

“Bulek atiku pada puan

Tidak bersimpang-simpang lai”

1.7 Penghulung runde 1 Orientation Order (Sign)

“Ayo ale ale o ale

Ayo ale ale adenamia”

Peronde 2 Clothesline

“adenamia Tinggi bukitnya mandiangin

Diajar anak main kudo”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“Sayo sepantun kilek cermin

Dibalik gunung nampek juo”

1.8 Penghulung runde 1 Orientation Order (Sign)

“Ayo ale ale o ale

Ayo ale ale adenamia”

Peronde 2 Clothesline

“adenamia

Jiko adik pai ke alas

Kirimi kami buah antimun”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“Jiko adik menjadi gelas

Kami menjadi air minum”

1.9 Penghulung runde 1 Orientation Order (Sign)

“Ayo ale ale o ale

Ayo ale ale adenamia”

Peronde 2 Clothesline “adenamia

Ikan bernama siga dumba

Songsong manongsong pagok janggi”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“biar setahun ditapung ombak

Asal bergantung saoh besi”

1.10 Penghulung runde 1 Complication Order (Sign)

“Ayo ale ale o ale

Ayo ale ale pulong me kaum beak”

Peronde 2 Clothesline

“pulong me kaum beak

Anak pune dua sekandang”

Dimakan buah jabi-jabi”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

“ terkabar adik bertunangan

Tak dapat ku dayung kulayari”

1.11 Penghulung runde 1 Resolution Order (Sign)

“Ayo ale ale o ale

Ayo ale ale adenamia”

Peronde 2

“adeamia Clothesline

cincin bernamo Guntur sari

Sesue sajo di kelingking”

Dancer and peronde 1: Cheering

“Ada taon tahta”

Peronde 2: Contain

Hilang dimano kami cari

Lautan sajo serkeliling”

1.12 Assalamu‟alaikum Closing greeting Greeting

5.4.2.2 The Schematic Structure of Alas Dance Text

The data shows that in Alas dancing the perende chants the same utterances for many times. The first they are as a sign or order for the two dancer to get ready it is a preparation. The next as the cheering to make the dancing alive and fun it is done while dancing. The intonation of the peronde is higher. For closing the dancing performance, the Peronde make his tone lower after the dancers make a sign that they would stop the dancing.

The general structure of the utterances is Preparation >< While dancing

>< Closing. The specific schematic structure shows that in preparation there are two greeting. The dancers do two different movements of greeting. While the dancers are dancing, the peronde chants the utterances for some times. They are cheering to make the show alive and fun. At the end of the Alas dance, the peronde chants last utterances with lower intonation as a sign for the dancers to end the dance, it is a closing greeting.

Global Specific

No Text Schematic structure Schematic

Structure

2.1 Preparation (before Greeting 1

Sogok orange tagak dancing) menari

rendah sama rendah

tinggi sama tinggi

bagai ayam menantang lawan

tanggisik pulang mandi

bage gasing di lenongkan

hop bale-bale daaaaaaaa.

2.2 Sogok orange tagak Greeting 2 menari

rendah sama rendah

tinggi sama tinggi

bagai ayam menantang lawan

tanggisik pulang mandi

bage gasing di lenongkan

hop bale-bale daaaaaaaa.

2.4 Sogok orange tagak While dancing Cheering menari

rendah sama rendah

tinggi sama tinggi

bagai ayam menantang lawan

tanggisik pulang mandi

bage gasing di lenongkan

hop bale-bale daaaaaaaa.

2.5 Sogok orange tagak Closing Close greeting menari

rendah sama rendah

tinggi sama tinggi

bagai ayam menantang lawan

tanggisik pulang mandi

bage gasing di lenongkan hop bale-bale daaaaaaaa.

5.4.2.3 The Schematic Structure of Selendayong Dance Text

Selendayong dancing is a dancing which danced by two male dancers.

The dancing followed by musical instruments such as: gendang and trays. The dancing also accompanied by oral performance such as poems, rhymes and oral narration. It is begun with order utterances which is chanted by the peronde as a sign of preparation forthe dances. They are (3.1) utterances. After the dancers dance, the peronde says some poems (3.2) to (3.3). The audience‟s attention goes to the peronde poems while the two dancers are dancing. Then the peronde says some lines of rhymes for the dancers (3.4). They are an order to the dancers to keep dancing while he is telling an oral narrative text. The General schematic structure of Seledayong text is Opening greeting >< Brainstorming >< Oral narration >< Closing. In opening greeting, the peronde chants the (3.1) to (3.4) utterances. (3.1) utterances as the first greeting. It is a sign for the two dancers to do preparation for dancing..Ice breaking. It is a way of peronde to get the audience‟s attention before he tells his oral narrative. The brainstorming data shows that the peronde says two poems and some lines of rhymes. The poems is used to get the audience‟s attention. The first poem says about a heroic spirit of a bodyguard who is ready to die. He is ready to be thrown to the sea in order to save the king. The second poems is about a wishing of a young girl. She pray to the God and the prophet (Muhammad) to accompany her lover wherever he goes.

Then the data shows the third part of the selendayong text. They are two oral narratives. The schematic structure of the first oral narrative text is Orientation >< Complication [Moral teaching massage] >< Resolution >. The data show that the narrator cut the story in the complication section by giving moral teaching massage ‘ulang begidi lumakh paaak‟ means Do not cheat his attitude

Son !, then he continues his story. The schematic tructure of the second oral narrative is Orientation>< Complication>< Resolution. The data shows that the schematic structure of the text in selendayong dancing can be shown as follows :

Global Specific

No Text Schematic structure Schematic Structure

(3.1) Opening Greeting Greeting 1

Sogok orange tagak menari

rendah sama rendah

tinggi sama tinggi

bagai ayam menantang

lawan tanggisik pulang mandi

bage gasing di lenongkan

hop bale-bale daaaaaaaa 2x

(3.1)

Sogok orange tagak Greeting 2 menari

rendah sama rendah

tinggi sama tinggi bagai ayam menantang lawan tanggisik pulang mandi bage gasing di lenongkan hop bale-bale daaaaaaaa 2x

(3.2) Brainstorming Salutation

Eeeeeeee kaum beak

Poem of a loyalty buang batu tumbuh kelapo Clothesline asal gamek dikaki puan

buangkan aku tidak Contain mengapo asal selamek keraju tuan

Poem of a wishing Tinggi mesajik labuhan aji Clothesline Nampak nandare kayu aro

Barange kemano abang paghi Contain

Allah jonabi memeliharo

(3.4)

Terus saudari tegak Command menari (pujian) Siapa kumalot ken siapa ku ue ken Command

Mende-mende kerina katana Command

Ambe-ambeken tangan kemuhun

Ikutken tangan kembikhang

Sentetken serentak dengan nehe

Aadenah hakhapen emak Oral Narration Orientation da pak kutenahi khaja ninangg okadengo wan tenah mu bang ku wan cuwa mo pekhatiken tenah ku bamu pekhtama da pak ulang mo pekhnah melawan daa paaak yang kedua pak kutenahi ulang penjawapen mi bapak mekhanak da inaaang onahan paaak kutenahi ulang ko penjawapen mi inang mekhanak mu da paak luakh biasa pak siksana inang mekhanak da paak kin nai sekepitik nina inang mekhanak sada khoma poda mekhasa leeeeee

(3.5.2)

Oda pak telu bulan sepulu wakhi opayah pak kundul salah medalan gegoh ninang sekhikna bapak mekhanak sesakiten usahana da yaaah asa kene da pak malot tekhasa mangan paaak imsa kukataken kune ulang jawab bapa mekhanak ulang jawab inang mekhanak mu da paaak leeeeeee ee ulanh lumakh penjawapen da yaaaah go keca nan lepas sunat bak sembahyang mu nan gukhuken ikut lumakh bapak sembahyang da yaaah maaalot ne lot lima pak simendena sada inang sada bapak telu deholi dua lebekhu

(3.5.3) mend eke pak mesiajakh- ajakhen lumakh da pak tenah ku bamu kadah tah bonen nai ca kita simbak paak go tua nenek mu paak soh tua da yaaahh enget giak pak tenah ku sumbahyang lumakh pak kekhajoken ikut-ikut bapak mekhanak tah mike bapak mekhanak da yaah sada memampat doa ayat ayah ninang tapi pak muda malot sembahyang ulang hakhap pak bang lembang deket tanoh memido ampun dosa mi inang malot ampun dosa mi baapak megimo pa mendekhitana inang mekhanak omalot tentu inang medem da paaak peah dapak metempi kuli syang ate mekhanak ulang giak anak tangis bekhat pe tahan ken sada gundukh sada bekhngiiin sada cimun pak sada wakhi da yaaah enda pak peah menganggun

(3.5.4) ooo khaja ni tukhaaang jaga mo inang mekhanak imbang I bapak mekhanak tempi ke lebe anak enda aku laaaaa eeeelaaaaa leeee anak ninang aaaaangaaaaa le anak metuah ninang paaaak eeee jaga da pak inang gegoooh aaalah naaaaangaaaaa aaagegoh ninaaaa sa lepas daaa paaaak endaaaa patek da pak mendekhita da ayah ku kataken dai ulang penjawapen lemakh mi inang da yaaaa begen mopak susah payah na pepulungken kaum beak na da yaah teguhken pekhaten mu en tana pekhtama dayah khami- khami inang bapa mekhanak selama kita henden da yah telu kali di akhak-akhak ken malm hine pekhtama pedua kaliken da pak pekawin mu petelu kaliken manek hakhapen diakhak- akhaken mo mi kubukh o habis hakhapen da paaak muna nokhok kona pak sembahyang kade begehken pate pak ulang penjawapen lot da pak kin

(3.5.5) Oral Narration Orientation jaman dahulu kala oo sada (Bad moral) pak tuan imam angkat na dahulu kala da pak dapet Complication mo telu-teluna daholi da pak

Tetapi anak tuan imam sikedep na mak tanggung patuh na tapi sada anak dai mak tanggung jahil na ayah lako pak sekolah kata anak tuan khajen da oewaktu jaman dahulu oda sekel sekolah disukhuh tuan khajenda enda sahabat telu-telu na lako lau deket sekolah bangku kepeng paaak dua puluh lima khibu muna malot bekhe kona kepeng ulang aku laus sekolah

(3.5.6)

ulang begidi lumakh Moral Teaching paaak Massage

bekhekena mo kepeng enda ia pe laus lako sekolah simbak mia pak sada took o singgah kita sahabat katana ia pe singgah kepe menokong Resolution lem cap kambing olalu mo ia medalan lalu mengisap lem cap kambing

medepak mo nina gampakh enggo mabuk da yaaah tading mo lanjakh lem na.

(3.5.7) Oral Narration Orientation tading lebe cekhita laus (Good Moral) kita mi cekhita uan na sejak madeng sunat kikha- kikha bage konei belenna ,,,,, keca medem emak na lanjakh mo ia di khabana buat mo lae sada gelas mi emak na sada mi bapak na sikhamina mo sa enget emak nenda sa lapokhkena lako sekolah enget keca emak na dai da yah kune sa begen da yah asa laus aku pak sekolah enda mo kata anak khajenda sesapuna genggukhung gomo anak pekhana malot betoh na mela maaak kade anak ninang kata inang laus aku mak medalan – dalan khebat sahabat kata anak naenda we pak tenah ku ulang ke mekhubat endam kata emak na daiia pe laus medalan humbuk mo sabat laus kita sabat medalan-dalan ia pe laus medalan kikha-kikha dua jam khoh sahabat na mendahi inang bapak mekhanak o kadang ia go soh mi sapo malot jumpa inang mekhanak lanjakh anak na enda sibuk .

(3.5.8)

Sa tohko lumakh da paak lot kepel di laut lot kepel di datas kata Allah doa inang mekhanak malaikat poda mehalang da paak aaa soh dapak sekhik na dekah da mak medem bak inang na kipasina bapak na enbak emak na semadeng enget bapak khabak emak na o khoh mo sidua sabat na dai saaabat laus kita sahabta mikekhangen medalan sabat katam sabat na sidua dai mekade kita mikekhangen saabat emak ku tading bak bapak ku o asa laus aku mak sekolah katamo anak khajenda.o malot kita dekah sabat kata adong ku kahia sabta embah mi pekan subulussalam endam tenah adong ku kepeng adenah di kekhangen buue go keca dapet kita kekhangen bee kepeng kita kantongi sabat laus kita me pajak subulusslam begen umpana pendek cekhita pitu tahun ge bak emak ku sahabat kata anak tuan enda sa ia pe lalu medem bak emak bapak na buat na lae dua gelas bainna gembakh emak na pesayang na ia mi bapak inang da yaah

(3.5.9) sampek laus medalan naek gunung tukhun gunung simbak mo sada deleng datas aaa muda go ko dapak sekolah datas tekhidah pak bah kitab ahekh cekhita kuenda ilmu da meguna yaah go soh mi deleng datas idah mo sada guha mebelang babah guha lubang na gelap da paak guha enda luakh biasa lot bak khebak kayu mebelen soh mi bagas ia megelupukh pebelenna ia pe cucuk me guha asa toh kona nahan da paak dosa mi inang mi bapak

(3.5.10) ia pe cucuk telu-telu na mi bagas guha go cucuk telu- telu na akahpna oda bagas kepek tong mebelang go cucuk khata kekhina tah dikem kiten sabat mak ku tahan bokhgoh na o tangis mo anak khajenda

(3.5.11) o paak selamat kami paaak ya allah ya tuhan ku selamatken kami maak sahabat na si dua ndai kade giak betoh kam sa bisa kita luakh mi dalan na dai khebak kita sahabat o katam mo anak khajenda da paaak oooooo kade tanda na sabat kekikha inang mekhanak sabaat kata anak khajenda tekhkabul doa anak mi inang begi mang doa bapak mi anak na asa mekabul ningku dai cua kam da sabat doa mi allah sekhta mi inang na ia pe sembahyang dua khakaat siap ia sembahyang lalu iam pe medoa ya Allah ya tuhan ku ya allah ya aallah doa ken emak ku tah go giak ia galang sohken doa ken mi bapak bak mi ibu bekhkat ken kam ya Allah doa anak mi inang ia pe lepas mendoa o cua mo sahabat dengan ijin tuhan tekhidah cituk tekhang enda mo doa inang mi anak ndai

(3.5.12)

cuba mo sekali nai sabat asa kita mi luakh kata mo sbat na dai asa pendek mo cekhita pido anak tuan imam dai allah ya rasulullah ya rahman ya rahim ise nahan da pindah ulang lupa allah aaaa asa ia pe gesekh nah duduk na nai lako mi luakh telu- teluna dahi na lestun – lestun mi sapona idah na mo mak na tong da medem

asa pendek moda cekhita Resolution

puaso sepanjang galah Clothesline

usah di aso panjang lailan

supaya selamek dari dosa

usah kato salah disimpan Contain

kaumm..ssaalumu‟alaikum

5.4.2.4 The Schematic Structure of Silat Dance Text

In Silat dancing the peronde chants the uterences above for many times.

The first they are as a sign or order for the two dancer to get ready. The next as the cheering to make the the silat dancing alive and fun and the last is as closing.

The differences are on the tones. The schematic structure of Silatdancing as follows : Sign (Oder)>

Global Specipic No Text Schematic Schematic Structure Structure

Sogok orange tagak Sign (Oder) menari rendah sama rendah tinggi sama tinggi bagai ayam menantang lawan tanggisik pulang mandi

bage gasing di lenongkan hop bale-bale daaaaaaaa.

(Middle Intonation)

Sogok orange tagak Cheering menari rendah sama rendah tinggi sama tinggi bagai ayam menantang lawan tanggisik pulang mandi

bage gasing di lenongkan hop bale-bale daaaaaaaa.

(High intonation)

Sogok orange tagak Closing menari rendah sama rendah tinggi sama tinggi bagai ayam menantang lawan tanggisik pulang mandi bage gasing di lenongkan

hop bale-bale daaaaaaaa.

(Low intonation)

Sogok orange tagak menari

rendah sama rendah

tinggi sama tinggi

bagai ayam menantang lawan

tanggisik pulang mandi

bage gasing di lenongkan

hop bale-bale daaaaaaaa. 8x

5.4.2.5 The Schematic Structure of Dendang Text

Dendang is a kind of recount text. But in dendang not all of the events in past but some in present time. Dendang also a series of problem with no solution.

The peronde retell about himself. The data shows that dendang schematic structure are :Orientation>< Series of past and present events >< reiteration.

Orientation in narrative or recount text is a general the background of the first actor at the story, What were the actor?, when did the story happen?, where did it happen?, and sometimes how were the actors‟ character?. After the researcher search about the orientation, the researcher realizes that dendang which retell the narrator experience himself does not tall where and when the story happened. The narrator talks about him, and what he felt and what he feels. The next structure are

Series of past and present events. It is a part of the narrator life experience. The experience can be past time and present time. The last structure is reiteration.

There is no solution or conclusion of the story. The narrator stops dendang because of the time is over. It is nearly 04. a.m. He close it with a poem as follows: usah terkato da senina bepanjang kalam lae kini sudah malam „ you do not talk anymore, It has been late. The schematic structure as follows:

No Text Schematic Structure

Ooo laaa leeeeee Eeee kune Ola lee ee le Orientation Aaaaaaaa

Ocek anek mo tesukut-sukutken Mak pekhnak mekhate senang seninaaa Ai katu Sakhek penguek tukhang to tala

Enmo ia masana Le mepulung kaum beak Seeekhatus nai

Enda mo ia katana

(5.1.1) Series of past and present events Aaaaaaaaa….panjang umukh diiik pagit dakhoh…inang…….Olah….olahh..lee…..denah lee………..Olaa…….mukhah kahjikiki pagit dakhoh panjang umukh da tukhanggg…

(5.1.2)

Kekemmo kona kekem tukhanggg diiiik katuuuuu…ah tah ai katu.Ideh-ideh moda diiiik elallaaaahhhh juah bekhngiiiiiiss tendiiiiiii kune pendiloooo elallaaaaahh eha eeeeet mas megumuullll nina katuu.Leeeee katu katigo khatus senina kali aduh-aduh sayang,eeeeeee memangat sendikhi mo kepeeeeeee Adooooooo namia nengggg kitan mepulung mekaum beeeeeeeeee adooooooo deeeeee (5.1.3) enang leeeeee umiiiii mengandung badanasekhiiiik endamo iaaa bageeee laaaaa leeeeee anggun jolah katooooo elallaaaaaah tading

(5.1.4)

Ko nemu lee……akee….n daaa..emmmm cek bage lawe…anak mak mekhadong bee….. katuu……aduh-aduh sayang.kongi sikhaja ninaaang ceeeeek bah jambu tasak adenah lemakh ko ku pema,manjakh…..ahti isok manjadi tawakh di tepungggg.. taaaa……..wakh.

(5.1.5)

Go ko dike tukhangg……..otah da senina otahda da dilungkip sa da dua metik tekhutung sada kumenasib ulang monengek lumakh dua bage sitakhutung muda beeeee.Olaaaaaah…olah leee…… juah bekhngis kita khata kekhi na leeee.oo dendangg lenandee..eeeee. Allaaaah malum pediiii……..k o tukhang silae kombiiih malumen deng da pecekhok mu tukhangggg olah anak lemak ninaa….ng da eee……eeeee laaaailahailallah eeee……eeeeee gom leja mendilo-dilo tukhanggggg olaaa….. olaah lee……eeee elaeee……

(5.1.6)

Allah be dik ujung kalam asa panjang giam umukh mmu be tukhanggggg…..aii meluuuuu……ek moleee…..da seninaa….lee cee… madang mekaum leee…….mikem mo aku lako tukhaaaa…….nggg…. beee……tah odak nengnek tekataken aku ayah le beeee dibaco tukhang khata nyooo….dilopada nimu sekalii….be tukhaaaaaaanggg eee…..sekhindam tukhang anak pekhdagang sa tandang mee….ngakhak aaa…leeee……..adoo…na goko bana lee…..obeeee…alekom salamm…..mikem mo anak cee…aibeeeee masah mo atemu tukhangg…masah mo atemu le dii….k beeeee anak pekhenteh ninanggg…..posniate kene khatana lenaaaa……ng ceeeee oceeeeee….assalamualaikuuuuuuuummmm

(5.1.7) saaa….lammm aaaa…aobeee…..ningku kaum beak ooooo tuhan kuu..emmmmm ledaahh adang barange mekaum dagang ootukhang lembakhuuu…oodii….kk tipuuuuukh..laaadiiikk asa jabi-jabi kepakhen si pea bung-bung kamen be mintak sentabi sekhta menadah untunggg.

(5.1.8)

Kaum beaaaa…k leeee… olah leeee……ngeeee……eee oodiiik tekhet be khata kekhina tukhaaaangggg…oo dendangggg tading mekgiba leeeee..obeeee nandung isen beee..idek-idek mobe khajani tukhaaangg….ooola uuuuujangggg olabek da seninaaaaa endam sukut-sukuten khaja ninaangg….ceeee….. adoooooh tekhasam dik lungun eee…..apeeeek eee….ah taaa……uuuuuueken moooo diiiik pecidukhken lemakh sintahat leee diiiiiiik..

(5.1.9)

Olaaaaah..olahh leeeee….tekhet be khata kekhina tukhaaaanggg…olaaaaaa dabe ujan ngo labek sintahat tukhang katanken kaum beaaaaakk…macem mana ken kiteee…nn suuuuuuuuuukhunggg giak dii….kk ingin ate ku tukhaaaangg…kunem pemain da diiiikk bage untung keeeenn…bagi ngoooooo… beee.. ooocek cituk peeee makaannnn aduh-aduh sayaangg.eee tah malot tabooh dendang aleeeee siso adeh poda kiteeeennndaaa….aaaaa… leeeee….ooooo doooooonah leeee…. Olaaa…..aaaa..

(5.1.10)

Senina berbun goo lape astakhfikhulaa beeee… masah mo ate muuu..beee…eeee ooooongoooo tahunn..tana khebak anggun jolaahh da tukhaaa..ng mikem mo andalken le diiikkk…kadang mekhate beeee….katuuu…uuuuubeee emmmmm tiap tahun kakap mak berbungo le ceeeekk ai cek senina kadooo.. naaahh imbang biasa ko beeee..eee setangke poda seninaaa emmmmm ceekk menjaaaakhhhh adee setangke podaa berbuah menjadiii..emmmm eeeee….buuuu..uuuuahh.. ooo ulang ko bohong tukhaaanggg…ootang batang sabut tukhang bang tingeeeek kempu bakongenn atengken mesangkut tapi kadehken badan ngo go tua gegooh ninang ooleee ngeeeeek.

545

(5.1.11)

Katuuu….oooooo….ooo ledah suuuu… uuukhung le diiii…iiik ladeeeee ….leeee..pulung mekaum kiteee…..eeeennn ulang bohong leee lanjaaakhh aaa…. Tah ulang ko lumakh bohongg…giak bee…eeeee..emmmm lee katu naek moaken

(5.1.12) seninaa..oooo….ooooooooo licintakhing mo pengenget ku da tukhaangg…eeeeeee gom keca dik ntahat di untung tah oda ngo kalak tekhenget oo eee..eeeee..na oooodaa leeee daaaalam sada masana khajana ni tukhanggg….aaaa beeeeee aaa soh mooo.oooo diiii….iik eeengaa leeeee…eeee aiiii bah giaaaannnn mikem mo aku daaaaa…aaaa mikem mo aku mengande segen beee…eeee… daa selilit akuen

(5.1.13) seninaaaa seeeelingkaaaaakhh seninaaa…aaa ca kadeh ken mo beeeee olah leeeengeeee tidok bage akuen le ceeeeekkk eengeeee sakhuuuuuuuu….. miskin ku be katuu bee seuntung dagaaakhh simiiiiiiskinn oda tangisen seninaaa.aaaa cikala mendabe medugun-dugun sakhek bena bun banana sayat masana bonen kiten mepulung-pulung mesekhak segen sudahna kepek bee.eeee….aaaa olah leee….eeeee… obeeeee…eeee tekhenget ngo selakhi tukhaaaangggg be ai senina.

(5.1.14)

Ooo dendaaaaaaang leenandee…engeee… enande ulang ko giak bohong sisegen aaa….diik aaaaa….aaa..mendee endamia macammm lot poda bekhentiii aaaaaa…aaaa neeeeng kahia leeeee katuuuu…….uuuuuu leeee….eeeeeee.. endamia simiskin seninaaa..aaangaaa olaaaaa olaaaah leeeeeee aadeeh naaaah leeeee……eeee kaum beaaaaaakkk ate mende aku biung nasib seninaaaa kanduuuuuuung

(5.1.15) ooolaahh leeee oleeeeee ……aaaaaaa… anak ntahat ninaaaaa….aaaanggg akuenda da tukhaaaang kengken batang bukhukkk ceeeeeeee….eeekk bee.begim pana senina pekhtalinta nang endam pulung mekaum kene da tukhang leeee kudok beeeee medem na kepe tunduh-tunduh naaa leeee..eeeeee aaaalooooo deeeeeee aaaaleeeeee ketaateen duniaaa iyooo maktanggung nasib ku ceeeeee…eeeeekkk

(5.1.16)

Sudaaaaa….aaaaa lamooooooo aiiii seninaaaaaa tidak da tukhaaaaaaaangggggg go soh ntasak ni galuh ceeee…eeeekkk ia le katuuuu sudah lamo le kaum beaaakkkkuuuu ate duuu diiiiiiiilooo.mada-mada na leeee seninaaaa tidok le kauumm beaaaa…..aaaaaak lepaaaa..aaaaaaaak oanak ntahat ninanggg menasibkuda seninaaaaa tidok panah da bekhatiiii saaaaa…aaaanang noto na leeeeee sandek tukhang ndot-ndot cupeng-peng cupeng –peng kayu ni kalak mak kecaken mekepeng lako poda mi kalak kami enda seninaaaa…aaaaa aolahdeeeeeeeee le diiiiiik

(5.1.17) go ntuan kami khatanan beeeee ai katu odendang selamat ya tuhan kuuuuuu onande endamia macamna pedagang seninaangaaa lee inaaaaang mengido senninaaa tahbalik tah bandung anak ceeeeeekkkk ah naaaaaang leeee oolah tanda mekaumm da diiiiiieeeeeekk

(5.1.18)

Kaum mbeaaaaaaakkkk aeya beee engeeeeee…eeeeee orange tak dikh diiieeeeeeekkk mikem poda kakap megunaaaa leeeengeeeeeeekkk ooolaaaah olaaaaahhhh deeeee…eeee adeh lee…..eeeee….eeeee oolaaaaa…aaaaaa Kaum beak kampong terbuyung sa medatee mike seninaaa..aaangaaaann seninaaaa..aaa leeceeeeengeeeekk waaaa iaa leeeeee o mike ngo anak da cee……..eekkk khisi sesegen da katuuuu iseng beee sikuhakhaapken da tukhaaangg be ledah beee iii da naangg taaaa o katu

(5.1.19)

Seninaaaaa maco manek tebilaaaang kaum beaaak eee si jujukh cinakh ngo pekhani taa tadingo gegoh naa aaaaa leeeeee…eeee aaaleeeee naaaang leeee…eee olaaaaaa…aaaaa akencek kekhano untung iseng ceek ngo akan ku diloo sesegen aaaaa leeeee lateeeer buaaaat ooo naaaa leeee..eee o nggomko dike da diiikk leee khajani tukhaangg omasah poda ate kamen leeeee daaa

(5.1.20)

Go terbuang aken da ninaaa..aa kekhaaaanoo bangkua giak sada beeee ooo…oooooo go masana tukhangggg kaum beaaak dengarken giak segen ndeee..eee le saaa..aaaa ado cekhitonyo da ceeee aken dengarken sajoo segen cukhiiiito elalaaaa olaaaaa..aaa suka makmukh dok kalak gosong teladang kudok dik metambah makmukh kepek meniksa badan senina kanduuuuunggg aaaa ooolah beeeeee….eee

(5.1.21) sada macam poda pndaaaangen da naaaaaaaangg leee oo dendangg panjang giak umukh da diiingiiiikk nande nahan be khajin kita simbak khajani tukhaaangg aaallah sedekah ko diiiik jandooo piga mang anak manuk mu tukhaaang oo laaangaaaa diiiiikk oo tukhaaaaangg diiii ngeee..eeeengeee metambah kepe gaya mu da diikk

(5.1.22) oolah –olah leeee.eeee..eeee Allah panjang sapuluh bee khajani tukhaangg aiiiiii beee taliiii..tolemko giak ndesing da diiiikk olah leee elaaaaa…aaa imbang biasa koleeeeeeh kam lee pekhongkot niate tukhaaaanggg leeee tuhu kata niiii olah ceeeeekk tersangkuek taliii tukhang laaayaaang aduh-aduh saayaaangg olayang paen toleko ndesing khaja ni tukhaang leeee tambah tua tambah gaayaaa mbekhunaa leeee….eeeeeengeeeee olah beeee tukhang jakhi sapuluh asa hampekh pada bonen ulang giak jais lumakh beeee..eee o tukhaaangg beeee oooo hak panjang giaaak umukh beee cepalakh menggekhaken lumakh diiiiikkk

(5.1.23)

Elaaaa..aaaa oooo anak mesangkut ninaaaangggggg…ah tah nggg konen dik kami hakhapken be tukhaaaaaaaanggg leeeeeee mmmmm oo kaka obe jakhi saaaaaa…aaaa puuuuu..uuluuh o beeeeee mamitok dai tukhang mmmm dik mmmmm menyooooooo tu a panjang giak umukh leeeee odangko tama tukhang maminto dai kasiiiiih dengan saaaaaaaayang asa lae sianjo –anjo dik lae si teneng-teneng kawin kepe khebak jando tah lot mekhateni senaang anak muda ceeeeeek ola ceeeeek aaaaa olah leeeeee odiiiiiiiik iiik koneng kami khakhapken tukhaaaaang

(5.1.24) lee odendangggg dike sapota da diiiiiiiiiikk enandung kona naing dik mikekhken khajani tukhaaaaangg medet beeeeee ngeeee tukhang tagakh di juuuulu gomko bana cecekhem pe beee ooola madam ko tama leeee diiiiiiingiiiiiiikk kamen beee….eengeeeeeee…eeee madam mo diiiik golot kin kepe mi bamu tukhaaaaanggg oolaaaaaaah oolaaah deeeeeeee…eee daaa leee…eeeeeeeee olah leeee….eeeee sitimukh jati seninaa tah mike mo aku diiiikkk

(5.1.25) eeengeeeee leeee padooooo..oooooo masah mo ate mu tukhaaaaaanggg khatana salah bamu lee diiiikk masana da beeeeee mende na da khajiki mu tukhaaaanggg lee ninaaaa tengah-tengaaah aaangin lee sooo…ooo laten pate ngoo be mendekhitana le ceeeeekk adeeee ngeee ngooo ntoogo pekhaten jaandooo

(5.1.26) leee…eeeee aaa doooo. Koneng diiikk malot tama tukhaaangg aken beeee baek lah mati seninaaa cukup mendekhitaaa daa ceeeeekkk ngeee padoooo makne metetogoh sesegen tukhaaangg kune nga aken da beeeee mendekhitana seninaaaangaaa

(5.1.27) oooooo aa tiap tahun kakap mekhumpuk nakan leee…eeeek daaa olaaaaa pado idoooop aken baek laaaah aaaa ngaaaa..aa maaaati aiii bahgian le seninaa ngaaaaa menaaa ngaaangaaa… gung tahat diuntung da ceeeek menanggung aken pekhaaa ngaaaangaaa aaaa saaaaan olaaaa ngaaaaa.aaa mada anak ninang cek mulai nokhok cendekh kengkakhan gong tadingken khentua o.

(5.1.28)

Belen ngen aken belen menakan ken sagu belen belen menakanken galuh gong pe belen meeegedang mak penah mekhate senaaaang anak muda paaangaaaak ooolah deeeee obeeee menasib anak pedagang seninaaaa odendaaangg eee nandeeee enandong le seninaaa panjang giak umukh beeee aaangaaaaaa…aaooo aii aken beeeeiiiii oooongooooo endam pekhpanasingsing ko diiiingiiikk olaaaa.aaaa olah leee….eee aaadehnah leeeee paliiing gegahen

(5.1.29)

Konaaa gooo..oongoooo aiii koneeeee elallaaaah oooo..ooo hendi hapo mu diiiingiiiiik da eeeeeek daaaaa duolakito seninaaa menaaanti o tukhaangg asa lot nenanti ta bagi da diiiik lee gong kooo na bohong maknek enget ko sikahia leeeeee go kona bohong tukhaaaang aaaaooo senina beee pekhuntungen tading keca diiiingiiiik aiii katu cek usangaaaooooo giak diiiik maaasaaaanaaaa leeee elallaaaah ooooongoooooo khanggung-khanggung giak beeee katu ninaaa usaha ni kakap go menda be di takhuuuuuuh ken eeee lalaaaa ojatuh mo senninaaa

(5.1.30) eee bangunn e jatuh mangun le dik air kemanooooaaa ku leeee daaa go ca ko segen tukhang meeedakan tadingken giak kekhus simeseng –meseng nah tongkol peee anak pedagang obe aku tukhang sisegen menakhai asa be tungkakhang muuu ninanggg olaaaaa..aaaa olah deeeee dooo tahat di pekhuntuuuungen da beeee akeeen odendang untung ta le diiiiik en ambing da tukhaaangg tah lot nan khebak medem da beeee laaaaa…aaaa ngaaa lee diiiikkk silot na kita bagi leee naaaangg olaaa olah dooooo deee ooo naaaadoooo ooolaaaaa

(5.1.31) bapak pinggan landaaaasenta mikem kami le diiiikk pinggaaaaaan batu ida tukhaaaanggg leee tekhet khatanaa tukhaaaanggg masa kahia khuni leee miken dik kucekhitaken tukhaaaangg be olah naaaanggg landasenn bekhtali –tali tekhet ngo aku ngo aku khatana leee ate mu sekupul khekhet le beeekh goh muu oooleeeee adoooo laaaaaa tukhang tinggal halaman tah mikem kami diiiik madamo beeeengeiiiii tinggaaaaaaal kampong

(5.1.32) ooolaaa diiiieeeiiiiieee omike mo anak le ceeeengeeeeek kuembah lako da tukhang sa kene giak ulang bohong leeeeedah olah naaaang tinggal kampong khuni da tukhaang tah tinggal haaaaalaaaaman odang tangisen seninaa lee tinggal bapak meeekhaanaaak tapiiiian tah oda ngo ke tekhenget da diiik tapian tukhang tampek maaaaaandii ca kadehken seninaaa ledaaaaaa sakhik seda tukhaaaangg

(5.1.33) cadangen belen –belen dik kayuna putus kepe adangen mengenget ken mendukhung di tanah khuni beeee olaaah deeee tah odang ke dik tekhenget masa khuni di tukhaaaangg be olaaa mikem pedagang nan diikk madeng saatna khajani tukhang naaasib maaak mende endah mia macam naa sintahat da diiik aaah laaa kameeeeendah leengeee katuuuu leeeeeoooo eeeee nandeee tah kune kabakh

Traskip Dendang 546

(5.1.34)

Kabakh sesegen diiingiiiik olaaaaaa ooolah leee…eee aaaa deh nah leeeeeengeeee dikhaaanto panjang saniat-niatken umukh panjang seninaaaaa aaaleeee katuuuu kebunnn ninaa leeee ai seninaaaangaaaooo kamenda da tukhaaaang dok ko melakhat na ceeeeek dik ai katu seninaaaa tanem asem paaak khimooo ai ooooo omak endam simiskiiin –miskin o khajani tukhang deeeeeengee tah bege dik takhuk ninggalang ni anak ta gapa-gapa aaa leeeeee aadeh nah leeee ngaaaa seninaaa ketak diuten gadang sohkedep ku naing mendekhita seninaaa leeeee datooo ngoooo..ooo ukhooonggg aiiii koceeengeeeeek kahia seninangaaa

(5.1.35) menakanken sagu ni diiik kaum beeeaak terbuang dagang diiiik taaaaaaa..aading aaa da tukhaaang setiap kaum beak ku ceeek maaaaaalam anak ntahat ninang menasib omalam pak matono menaaaaangiis eelalaaaa go kecam be mahakh wakhi sesegen be ulang kono kabakh –kabakh mi kaum simbelang diiik olah-olah deeeeengeeek dendang ta nandeeee nande endamia macam na okhajani tukhang eeeeengeee tukhang ate melue tah ndaoh segen pedalan beee aahhhh neeeeng giak leh ooolah mike mo aku diiiikkk kame leeengeee aaa eeee kahia da sennina buet ngo si malot na diiik ooolaaaaah oolah deeee adeh nah leee obeeee kampak pun tidok da tukhang tah mike maku diiik imda seninaaa leeee beliiiii moooo kuneng mo anak mu da paaak

(5.1.36) mendekhitana kakap beee maknek metogoh sesegen leeee da senninaaaangaaa aambikken galah pejuluuk o jantung be sennina buen ngo simalot na bee leee tah kune lain kepe ate meekauuum leeee aaaleeee deeenaah leee olah deeeengeee aken dik bapak pun tidok mikem naing mo segen tandang mengande tukhaaang aleeeee ibu tidoooookng aaleeee go tedoh menenggo inang da ceeeeeeekk kuneng bahgian senninaaanggaaa belen-belen dikhanto kalak da deeee da ai ceek ibu tidok baaaapak puuunnnn oo tiiiiiidook leeee mikem mengande nan leee ngeee

(5.1.37) lee baaaaaaadaan bagantung le cek kemano badan nahan be akan obekh……gaaaaaannnntung aiii olaaangaaa mada kalak tukhang mekhetong kepeng na bue mekhetong sapo na mbelen mekhetong tanoh na mbelang mada aken mekhetong senina nasib mak mende dekahenn dikhantoooo kalak anak muda ceeeeekk aaa ooolah leeee senninaaaangaaa kaum pe go jais beee da oodendangg kuneng bahgian lee ceeekk engee nandung khasai bamu khatana badan dekhsaaaa aaalllahngaaa diiiikk onandeng senninaa

(5.1.38) kuli malot ku tukhaaang aaah nenggggg olaaaaahh diiik okeceeeeeekk aaaaa ooooongoooo..oo tana beeee..tekhet nga ku khatana lediiiiikkk oolahhngaaa oolah leeee deeeeenah eeeee kona giak ulang jais nan diiiiik aken beee pate khumbiuna tukhaaaang tekhenget lee diiiiikk naa leeeee ahnaaaaa kuli malot da ceeek mende lagu mu tukhaaaanggg oo ulang ko giak bohong da diiikk ulangi aku be naaaang payah kepek mekhetong malot tukhaaaang leeee laaa tidok pernaaah beertaaali okhajani tukhaaaang kadang odango mekhate senang khajani tukhaaang eeee..eeee nget lupaken giak beee imbang biasa aaaa leeengeee adooo tekhet aku belegen beee …eeengeee ken cek tedunio be tukhaaang da menasib ku lea diiiikk cucuuungguuu eeeeek sudaaaa ngaaa lamooo

(5.1.39) mada-madaaaana leeeengee omikem sintahat le ceeeeekk kepek mengande segen maaaakk ngaaa mengemoken bekhtek melehe tukhaaaaaanggg leee olaaaaa sib ku sintahat oo pak daaalam dooonio la ela oooooo eeeee tah tidok bage akuen le ceeeekk eeengeee le paaaak o tidok penaaah lecek bekhati saaaaanang eee laaaah oooo daaa asam ledik simoootong jojong beee siiliiipaat kajang kidah kecak badan mu sekhik gonjong kepek metegu galang pekhembah mu leediiiikk olaaaa oooolaaah leeeee eeengeeeekngeeek mendena pesinanggel mu le tukhaangaaa leee dendaaaang lee naaandee ai maak onande sennina tah mengande ngo aku ceeeek cituk ko diingeeeeek kukusongo ko piga mang nomokh ate mu tukhang eeee ingin ate ku tukhaang da eeeeengeee…eeee iiiieee

(5.1.40) gom dekah ko ku anagn-angan ken kahia leeee olaaaah olaaah leeee ngeeee olaaaa apak simpaaang ampek endamia macam gegoh ninaaaangg leeee aiiiiiing leee bangku giak sada nengggg dapet giak beeee elelaaaa mikem pedagang leee kasileng le khajani tukhaaangg leeee ikan jinalo kaum beak bee baaaaloo empek en pada ok be nimu sekaaaalii be tukhaaang eeengee

(5.1.41) opayah dok ken kalak tukhang megooonjong gaaaalang leeee adooo palana salah mi bamu lee diiikkk olah deee kaum beak bakhutang banyak asa diik ulang le matuaahhhh beee awaaang oo sasengeeet aken ceeeeeekkk madang mekaum beee tading be khebak tolong mu tukhaaang leee aiii awak sasen be bakhuuuutangggg baanyaak beeee o tolong kaum beaaak bicaaangaaaakho ntahat ninang ditakhuh kendaaa..oooopeten aaa asa ku tabah jagong dik gedang tongkoh na penading-nading kampong uluk khebak teedoh na bee diiikk olaaaa ooolah deeee obe tekhenget be aleng gegoh kahia beee

(5.1.42) odendangggg kuneng pendilo ku tukhang tepuk sebelah taangan khajani tukhang ta eee malum pecekhok mu lee diiiikkk ahh naaang balom ooolaangaaa ooooda eeeet kune ngoo pemahan tekhet ngo diiik khaaaataaanaaa leengee oolaaa olaaah leeee deeenaaah leee bage dibekhek ken da diiik uuu bee ulang dikhica seninaaa oo juah bekhngis beee ngee cituk pe jadi ngo beee kodiiik go diate air tukhang aaaooo licin sennina tah kade tolong mu beeee aaa leeee suluh mi sokhga jakhi maaaaaniis daa leeeee eeeelah leeengeee o tukhaaaaang

(5.1.43) salengkah alam sa ulang ko boooohong inaaaang beeeengee leee kenget nan dekah nandeeengeee mende lagu mu beee eee akuen deeee aiiii saleleeee ampek kan tukhang salengkaaaaalaaaan aiiii aaaangaa ootidak khajaniiiiiinang sa ukhuuuuuuun nasib kuda tukhaaang sa untung dabe daaaagang allaaaah miiiiiiiskin aaaaeeelaa kadeng da tukhang pal- palen kadeng be dik pil-pilen paaahat di babooo lante

(5.1.44) kadeng tukhang siman palakhen bage anak pedagang kadeng be dik siman ambilen go giak go giak ntahat ulang giak pehang ke le adiiiiiik olaaaaah oooolah deeee oooo emas megumul ninang leeee o dendang soh sedih na tukhang endam masana le kukadeh ken sada ku tukhaaang taaaluuuu beeee diiiikk eee cituk beee cituk pe khokot ate mu jadi leenaangg aaaalee kahia leeee diiiieeeiiikk

(5.1.45) uuuu jakhang tekhidah kasih sayang mu lenaaaaaang oooolaaaa eeeee sintahaaat beee ooo sekhing tekhenget khata-khatana khajani tukhaaaang senciiiiikhaaaaaak omikem pedagang tukhaaang uutang ate tuhuu le diiiiikk sa lot dalan tekhengeeet leeeda olah naaaaanggg aaa sesuei saaaaajooo dikaaaaangaaalinting mike anak nahan khajani tukhaaang ee metahun-tahun pe nahan dagang tekhenget pecekhook leee aadeenaaaaa. usah selado senina si tanam lae eeee obeee reiteration pisang suaso ate talam usah terkato da senina bepanjang kalam lae kini sudah malam olaaaa usah tokato senina bekato lain kini sudah malam baok peperangeen da buah sinangka wakhi bilang ta tah untung tah mada dipedalanen tah sukhung mo dikhasa dipedangg iiiiiiii adolah luluk da seninaku adolah baku tah tuhu tah malot.

5.4.2.6 The Schematic Structure of Lambei- lambei Dance Text

Lambei-lambei is a dance to pick the mempulei out from the house to the veranda. This dance is danced by two person. One person is as the one who pick the mempulei and the other one is the mempulei. It is danced at about 04.00 a.m.

While they are dancing, the peronde says some poems followed by music. After the researcher searches the poem, the schematic structure of ambei-ambei dancing poem is The praise poems >< The playful poems. The detail of the poems is as follows:

Global Specific Lambei-lambei Dance No Text Schematic structure Schematic Structure

(6.1) Itek tigo anggang pun The praise for the tigo mempulei

Makanan anak Kelumpayan

Kitek tidak gadang pun tidak

Sedang eloknyo bepakaian

(6.2) Tinggi bukitnyo Mandiangin

Makanan anak kelumpayan

Sayo sepantun kilek cermin

Dibalik gunung Nampak juo

(6.3) Alang tingginyo nyiur gading

Sampek tali layang- layang

Alang sunginyo rancak kinin

Sampai kelangit bayang- bayang

(6.4) Tutung dahan kian A playful poems for batang a woman who passed by accidently Satu pateh dua cabangnyo

Apo tandonyo uningku datang

Satu langkah duo lenggoknya

(6.5) Ikan beghnamo sisik lailan

Jaghak terpanggang dari api

Bungo setangkai permainan

Itu penghancur dalam hati

5.4.2.7 The Schematic Structure of Tonjong Text

Tonjong text is performed early in the morning at about 04.30. It is to close the show by uttering poems and dance. The global schematic structure finds tonjong is poems, the poems Opening>

Global Specific

No Tonjong Text Schematic structure Schematic Structure

(7.1) Iyo- iyo sijangko iyo, opening ingek-ingek

Rajo janang menato iyo

Elok-elok marapule jawi kito

ingek, ingek-ingek

Lagak eloknyo lambek berhias.

(7.2) Kain putih berambu kuning

Ingek-ingek, o ingek- ingek orange rajo

Kain kuning berambo kunig ingek-ingek perkayanen anak rajo- rajo.

(7.3) Cincin bungo setangke contain leh

Ingek-ingek o onggkok , Sembilan permatonya

Rendah-rendah tinanaman

Tumbuh sepuluh delimo aso

Paangek-angek panjang ureknyo ke kualo

Lelo batangnya ke udaro

Bang-ang tangnyon perak cabang suaso daunnya malam berkilauan.

Jange-jang andenya candai nya halus berkilat-kilatan

Engek-engek.

Angek-angek adong

Karenang labah bersarnag di bungkuknyo.

(7.4) Si angek-angek amang

Kaik ku maik sinantupei

Kajar kumajar angin memitik-mitik dahan

Punai menimang-nimang buah

Buahnya intan bergantung, bungonya putih berkarangean

Angek-angek ogek

Berlingkar dibatangnya ular, berllik dicabangnyo

Cabang bak namo Waliyullah, amekpuluh ampek terjauh dari maro bahayo. Bisek eeee

(7.26) Dayang-dayang Closing turunkan tujuh leh

Eeee ingek-ingek ,

Candenyo halus tujuh itu

Kain putih berambu kuning

Kain tersampang pado galah

Ambil sehelai dipertendengken

Namun tercinto pada Allah

Adat simudo diperdampingkan

Allah dampeng enge- enge dampeng

5.4.3 The Realization of MedendangText linguistically 5.4.3.1 The Collaboration of Present Tense and Past Tense in Dendangstory

The researcher supposes these are unique phenomena. The social purpose of the medendang story is to entertain the listener or audience, but it is not a narration or recount text, The stories do not have resolution to say they are narrations , most the sentence in stories are complications. The stories do not also have re-orientation as recount , all of the stories are about the sequences complications of the narrators. The stories are not in past time events, because they are the problem which is facing by the narrator now.

(5.1.5)

aaa olah olaaaah leeeee la eeeeee teringat semuanya dik dulu kemana Lah kami ceee dari dulu meminta ceeee olaaaa sudah rupanya nasib tinggal dalam ingatan leeee la saudara inilah dia masanya leee kemana meminta diiik di rantau orange tinggal diik.

“ aaa olah olah leeee la lee It is remembered all dear, Last time where we would becee

Asking from last time ceee olaaaIt is a faith, leaving in the memory leeee la

Audience this is the time leee wehere will ask Dear, Living in other hometown.

leeeola olaaah leeee kemana selalu meminta –minta saudara pun tidak ada leee berbulan-bulan aku menunggu dulu rupanya sudah habis harapan saudaraaa mudah-mudahan panjang umur mu badan lama tidak jumpa leee diiiiik aku melihat cincin di jari manis mu sudah rupanya kamu dipinang leeee teringat aku semuanya diiik le dendang ola olah leeee apakah kamu tidak ingat makan bersama. “ leeeole olaaah leee Where will (always) ask, (I) have no relatives leee I waited for months, There was no expectation Audience, (I) wish for your long life Dear. I have been never seen you for long time Dear. I saw a ring in your ring finger, you had been engaged leeee. I remember all

Deardendangola olah leee Did‟t you remember eating together?

5.4.3.2 The Figure of Language Phenomena on Medendang Text

A figure of speech is the use of a word or a phrase, which transcends its literal interpretation. It can be a special repetition, arrangeement or omission of words with literal meaning, or a phrase with a specialized meaning not based on the literal meaning of the words in it, as in idiom, metaphor, simile, hyperbole, personification, or synecdoche.

5.4.3.2.1 The Personification

personification means attributing or applying human

qualities to inanimate objects, animals, or natural phenomena.

“Ikan beghnamo sisik lailan

Jaghak terpanggang dari api

Bungo setangkai permainan

Itu penghancur dalam hati”

5.4.3.2.2 Hyperbole Use of exaggerated terms for emphasis. The narrator use

this figure of language to show respectfulness to the head of the

village and the workers at the village.

“Gecik adil pegawai banakh

Disitu badan ku ghebahkan”

„ The wise head of village and the kind works

I will lay my body to them..

5.5 The Local Wisdom or Moral Values of Medendang

Medendang as an oral performance combined with dances and music contains some local wisdom or moral values semiotically and situationally, it is a kind of local wisdom for the Singkil ethnic society. The local wisdom is adopted from medendang could be proofed by the tradition of tonjong which has to be performed in every performance to respect four terms, rajo (king), panglima

(commander) pangapit (religious leader), sinterem (guards). Recent days the king is symbolized by yellow color, the commander is symbolized by red. The white color symbolizes of ustad and another colors for the guards. Every poles of veranda at a party should be covered by the colourful clothes.

5.6 Research Finding and Discussion

1. There are seven performance in medendang show. They are dampeng

dance, alas dance, selendayong dance, silat dance, tonjong, lambei-lambei dance, and tonjong. The medendang dance is opened by dampeng dance

and closed by dampeng dance.

2. The context analysis searches the culture, situational, social and ideology

aspect of medendang. Culturally the medendang performance was used for

some purposes; entertain the king, audiences, and themselves in some

kingdom in Singkil region. Situationally, It is performed in the veranda of

the host‟s house. Socially it is performed to entertain the guesses and the

players themselves in parties and some other ceremonies. Ideologically, It

is influenced by the Islam, not only the utterances but also the customs.

3. Macrostructure level finds that the Medendang tradition of Subulussalam

Singkil ethnic is influenced by Islam, it could be seen by finding greeting,

poems is related to Islam. It shows that the narrators use some poems to

open and close the performance. Some poems are used as a strategy to

save them whenever they do mistake of saying something, some others

contain advice, salutations, persuasions , praises, satires etc. Tonjong is a

performance in Padangnese,it proofs the close relationship between

Singkil and Padangnese.

4. Schematic structure finds that the show consist of twostructures, global

structure and specific structure. The global structure shows the utterances

of the poems consist of opening, contain and closing. The contain poems

are about apology, appreciating, satire, allusion. The specific structure of

the poems consist of salutation, Clothesline and contain.

5. Micro Structure finds the collaboration past and present form in Dendang

text as the narrator‟s laments which tells about the complication of the narrators at past and present time. Some figures of speech are also found

as the linguistic features of the medendang text, they are personification,

similes, metaphors. and satires.

6. The research finds various topics of the medendang text such as: a honor,

apology, loving expression, a praise, moral values, wishes, and complain

about the destiny.

7. Some local wisdom or moral values are found in medendangperformance

such as: politeness, togetherness, democracy, admiration, spirit of working

hard, etc.

CHAPTER VI

CONCLUSION AND SUGGESTION

6.1 Conclusion

Based on the research finding, it is concluded as follows :

1. There are seven performance in medendang show. They are dampeng

dance, alas dance, selendayong dance, silat dance, tonjong, lambei-lambei

dance, and tonjong

2. The context analysis searches the culture, situational, social and ideology

aspect of medendang. Culturally the medendang performance was used for

some purposes; entertain the king, audiences, and themselves in some

kingdom in Singkil region. Situationally, It is performed in the veranda of

the host‟s house. Socially it is performed to entertain the guesses and the

players themselves in parties and some other ceremonies. Ideologically, It

is influenced by the Islam.

3. Macrostructure level finds that the Medendang tradition of Subulussalam

Singkil ethnic is influenced by Islam. Some poems are used as a strategy

to save them whenever they do mistake of saying something, some others contain advice, salutations, persuasions , praises, satires etc. Tonjong is a

performance in Padangnese,it proofs the close relationship between

Singkil and Padangnese.

4. Schematic structure finds that the show consist of twostructures, global

structure and specific structure. The global structure shows the utterances

of the poems consist of opening, contain and closing. The contain poems

are about apology, appreciating, satire, allusion. The specific structure of

the poems consist of salutation, Clothesline and contain.

5. Micro Structure finds the collaboration past and present form in Dendang

text as the narrator‟s laments which tells about the complication of the

narrators at past and present time. Some figures of speech are also found

as the linguistic features of the medendang text, they are personification,

similes, metaphors. and satires.

6. The research finds various topics of the medendang text such as: a honor,

apology, loving expression, a praise, moral values, wishes, and complain

about the destiny.

7. Some local wisdom or moral values are found in medendangperformance

such as: politeness, togetherness, democracy, admiration, spirit of working

hard, etc

6.2 Suggestion

Based on the research finding, it is suggested :

1. Other research conduct similar research by the native of singkil ethnic in order

to find other finding deeply. 2. Further exploration is needed to be combined with anthropology in order to get

holistic findings. There are many other traditions of singkil ethnic which have

to be revitalized, to save them from the distinct.

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APPENDIX

Appendix A : The First Dampeng Dance Text

No Dampeng Dance Text Indonesian Translated Version

(1.1) Peronde 1: Narator 1:

“Ayo… ayo… daa “Ayo… ayo… daa

ayo ale…. o ale…. ayo ale…. o ale….

assalamu‟alaikum” assalamu‟alaikum”

Peronde 2: Narator 2:

“Adenamia Kisak dampeng ! “Adenamia putar dampeng !

Ambil umbil pengaduk damagh Ambil pohon umbil pengaduk damar (kaum beak) (Saudara-saudara) Di situ bambu ku ghebakhkan Di situ bambu ku rebahkan Dancer and peronde 1: Penari dan Peronde 1: “Ada taon tahta” “Ada taon tahta” Peronde 2: Narator 2: “Gecik adil pegawai adil “ Kepala dusun adil pegawai adil Disitu badan ku ghebahkan” Di situ badan ku rebahkan”

No Dampeng Dance Text Indonesian Translated Version

Peronde 1: Peronde 1: (1.2) “Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “

Peronde 2: Peronde 2:

“Adenamia “Adenamia

Surindan tumbuh di kualo Surindan tumbuh di kuala

Tumbuh ureknya di pulo Tumbuh akarnya di pulau banyak” banyak” Dancer and Peronde 1: Dancer and Peronde 1: “Ada taon tahta” “Ada taon tahta” Dahulu sembah pada raja Dahulu sembah pado rajo Kemudian sembah orang banyak Kudian sembah orang banyak”

(1.3) Peronde 1: Peronde 1:

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “

Peronde 2: Peronde 2:

“Adenamia “Adenamia

Anak kucing makam cabun Anak kucing makam macan

Mandi betimpo kulit lokan” Mandi betimpa kulit lokan”

Dancer and peronde 1: Penari and Narator 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Narator 2:

“Minta ampun ninik mamak “Minta ampun paman

Kami membuka kitab setan” Kami membuka kitab setan” No Dampeng Dance Text Indonesian Translated Version

(1.4) Peronde 1: Narator 1:

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “

Peronde 2: Narator 2:

“Adenamia “Adenamia

Kalau ada jarum ku patah Kalau ada jarum ku patah

Jangan simpan dalam peti” Jangan simpan dalam peti”

Dancer and Narrator 1: Penari dan Narator 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Narator 2:

“Kalau ada kataku salah “Kalau ada kataku salah

Jangan disimpan dalam hati” Jangan disimpan dalam hati”

(1.5) Peronde 1: Peronde 1:

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia “ Ayo ale ale adenamia “

Peronde 2: Peronde 2:

“Adenamia “Adenamia

Anak anggang meniti dahan Anak anggang meniti dahan

Kalau patah ganti padi” Kalau patah ganti padi”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2: No Dampeng Dance Text Indonesian Translated Version

“Kami ini lembaru datang “Kami ini yang baru datang

Dimana salah ajari kami” Dimana salah ajari kami”

(1.6) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia Ayo ale ale adenamia

Assalamu‟alaikum” Assalamu‟alaikum

Appendix B : The Second Dampeng Dance Text

No Dampeng Dance Text Indonesian Translated Version

(1.7) Peronde 1 Peronde 1

“Ayo… ayo… daa “Ayo… ayo… daa

ayo ale…. o ale…. ayo ale…. o ale….

Peronde 2: Peronde 2:

“Adenamia Kisak dampeng “Adenamia putar dampeng

Sekek padi lima kupang Sukat padi lima kupang

Tidak tarendang rindang lai” Tidak tarendang rindang lagi”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde2: Peronde2:

“Bulek atiku pada puan “Bulat hatiku pada puan

Tidak bersimpang-simpang lai” Tidak bersimpang-simpang lagi”

(1.8) Penghulung runde 1 Penghulung runde 1 No Dampeng Dance Text Indonesian Translated Version

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“adenamia “adenamia

Tinggi bukitnya mandiangin Tinggi bukitnya Mandiangin

Diajar anak main kudo” Diajar anak main kuda”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“Sayo sepantun kilek cermin “Saya sepantun kilat cermin

Dibalik gunung nampek juo” Dibalik gunung nampak juga”

(1.9) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“adenamia “adenamia

Jiko adik pai ke alas Jika adik pergi ke Alas

Kirimi kami buah antimun” Kirimi kami buah mantimun”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“Jiko adik menjadi gelas “Jiko adik menjadi gelas

Kami menjadi air minum” Kami menjadi air minum”

(1.10) Penghulung runde 1 Penghulung runde 1 No Dampeng Dance Text Indonesian Translated Version

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“adenamia “adenamia

Ikan bernama siga dumba Ikan bernama siga dumba

Songsong manongsong pagok Songsong manyongsong pagok janggi” janggi”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“biar setahun ditapung ombak “Biar setahun ditapung ombak,

Asal bergantung saoh besi” asal bergantung saoh besi”

(1.11) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale pulong me kaum Ayo ale ale pulong me kaum beak” beak” Peronde 2 Peronde 2 “pulong me kaum beak “pulong me kaum beak Anak pune dua sekandang” Anak pune dua sekandang” Dimakan buah jabi-jabi” Dimakan buah jabi-jabi” Dancer and peronde 1: Dancer and peronde 1: “Ada taon tahta” “Ada taon tahta” Peronde 2: Peronde 2: “ Terkabar adik bertunangan “ Terkabar adik bertunangan Tak dapat ku dayung kulayari” No Dampeng Dance Text Indonesian Translated Version

Tak dapat ku dayung kulayari”

(1.12) Penghulung runde 1 Penghulung runde 1

“Ayo ale ale o ale “Ayo ale ale o ale

Ayo ale ale adenamia” Ayo ale ale adenamia”

Peronde 2 Peronde 2

“ cincin bernamo Guntur sari “Cincin bernamo Guntur sari

Suaso sajo di kelingking” Suasa saja di kelingking”

Dancer and peronde 1: Dancer and peronde 1:

“Ada taon tahta” “Ada taon tahta”

Peronde 2: Peronde 2:

“Hilang dimano kami cari “Hilang dimano kami cari

Lautan sajo berkeliling” Lautan saja berkeliling”

(1.13) Assalamu‟alaikum Assalamu‟alaikum

Appendix B : The Alas Dance Text

No Alas Dance Text Indonesian Translated Version

(2.1) Peronde Peronde

Sogok orang tagak menari Tegap orang tagak menari

rendah sama rendah rendah sama rendah

tinggi sama tinggi tinggi sama tinggi

bagai ayam menantang lawan bagai ayam menantang lawan

tanggisik pulang mandi bebek pulang mandi

bage gasing di lenongkan seperti gasing di putarkankan

hop bale-bale daaaaaaaa 2x hop bale-bale daaaaaaaa 2x (berdiri) (berdiri)

Appendix C : The Selendayong Dance Text

No Selendayong Dance Text Indonesian Translated Version

(3.1) Peronde Peronde

Sogok orang tagak menari Tegap orang tagak menari

rendah sama rendah rendah sama rendah

tinggi sama tinggi tinggi sama tinggi

bagai ayam menantang bagai ayam menantang lawan

lawan tanggisik pulang bebek pulang mandi mandi seperti gasing di putarkankan bage gasing di lenongkan hop bale-bale daaaaaaaa 2x hop bale-bale daaaaaaaa 2x berdiri. (berdiri)

(3.2) Eeeeeeee kaum beak Eeeeeeee kaum beak

buang batu tumbuh kelapo buang batu tumbuh kelapa

asal sampek dikaki puan asal sampai dikaki puan

buangkan aku tidak mengapo buangkan aku tidak mengap

asal selamek kerajo tuan asal selamat keraja tuan

(3.3) Tinggi mesajik labuhan aji Tinggi terdapat labuhan haji

Nampak nandare kayu aro Nampa anak dara kayu aru

Barang kemano abang pai Barang kemana abang pergi

Allah jonabi memeliharo Allah dan Nabi memelihara

(3.4) Terus saudari tegak menari Terus Saudara tegak menari

Siapa kumalot ken siapa ku Siapa ku tidakkan, siapa ku iyakan ue ken Cantik-cantik semua katanya. Mende-mende kerina katana Lambai-lambaikan tangan kanan Ambe-ambeken tangan kemuhun Ikutkan tangan kiri

Ikutken tangan kembikhang Goyangkan serentak dengan kaki

Sentetken serentak dengan nehe

No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

(3.5) (3.5.1)

A lot mo sada ceghita, anakna Ada sebuah cerita, Putranya satu, sada, bapakna kaya meninggal bapaknya kaya, meninggal bapaknya No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

bapakna ia kisen harta Kerajona ia mendapatkan harta. Kerjanya menjudi,menyabung,go odak lot berjudi, menyabung, sudah tidak ada ne Khata kalah bapakna dai lagi harta ayahnya tersebut dijudikenna.Tading sada sapo dijudikannya, Tinggal satu rumah bekas emakna maka diusir tempat ibunya, maka diusirlah ibunya anakna mo emakna laus sapo dari rumah tersebut. Maka setelah nai.Maka laus emak na ndai di pergi ibunya dari rumah itu, judikenna sapo dai,Laus mo dijudikannya rumah itu. Pergi ibunya emakna menumpang dikaki lima tersebut menumpang dikaki lima , kaum beak.Tiap wakhi tiap orang kaya. Siang malam ia bekhngin tangis menangisi menangis, menangisi nasibnya nasibna.

(3.5.2)

Nasib menkhanak.Malot mangan makne Nasib anak, tidak ada makan dan mekhidi,bekasnape di mandi, tempatnya pun di kolong tungkakhang sapo kalakIse rumah orang. Siapa makan bekas- mangan tongkekh-tongkekh na bekasnya dimakan. Meminta makan Mengido nakan kalak mangan orang tidak ada yang member sebab malot bekhe kalak sebab ia ia sombong. Ayahnya kaya, karena sombong,bapakna kaya,sebab meninggal ayahnya habis dibuatnya meninggal bapakna habis bainna harta dijudikannya, habis sehingga ia hakhta dijudikena habis menjadi melarat. sehingga main ia melakhat.

(3.5.3)

Habis minggu meganti bulan Habis minggu bergati bulan, habis Habis bulan meganti tahun. bulan berganti tahun, begitu lama ia Dekahna ia medem di tidur di teras orang. tungkakhang kalak. Semenjak idi mulai mo terenget ia Sejak itu mulailah ia teringat mengahabisken harta penading menghabiskan harta peninggalan bapak na ndai mike poda bapaknyatersebut. Tak ada lagi meguna mekaum beak kepe. gunanya Saudara-saudara. Akhirnya No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

Ahekhna ia pe mepikekh, kade ia pun berfikir apa pikirnya? Pergi pikekhenna ?laus aku mekhento aku merantau ke hutan mencari ibuku mi khambah menulus emak ku agar aku pamit meminta izin kepada asa kusahuti emak ku laus ibuku pergi merantau. mekhanto.

(3.5.4) Lalu ia pun berangkat mencari Lalu ia pe mendalan menulusi ibunya. Ditakdirkan Tuhan ia pun emakna. Tekedekhken Tuhan berjumpa dengan ibunya tadi, iape jumpa bak emakna dai dilihatnyalah ibunya tadi sudah Idahnamo emakna dai enggo tergeletak di teras rumah orang gampakh anah tungkakhang merasa lapar, merasa haus, merasa kalak Mekhasa melehe,mekhasa lemas. Datang anaknya tadi bertanya mongas,mekhasa lemas Khoh kepada ibunya:” Ibu aku mau pergi anakna ndai mengkiseken merantau, izinkanlah, telah susah emakna.Kata anakna“Mak aku payah engkau mendidik dan laus mekhanto izinken susah membesarkanku sampai sekrang.” payahmu mendidik pebelenken Ibunya menjawab, ” Ibu izinkan aku sampe begen”Sahut kamu pergi merantau tetapi ingat emakna“ku izinken kona pak ibumu begini menderita” “ laus mekhanto,tetapi enget aku Insyaallah” kata anaknya.” Ku inang mu begenmo mendekhita do‟akan ibu sehat-sehat, do‟akan aku ”“insya Allah” Kata anakna: Ku selamat di perjalanan ya Bu.!” Kata do‟a ken kona mak sehat-sehat anaknya tadi. “ Di jauhkan dari mara Do‟a ken aku selamat di bahaya, dijauhkan dari penyakit, pedalanen da mak kata anakana terima kasih ya Bu..” kata anaknya, dai. Di daohken dakhi makha,di lalu ia pun perg ke hutan lebat. daohken dari penyakit Terima

kasih da mak kata anakna lalu iape tekhus laus mikekhangen belen.

(3.5.5)

Cekhita emakn, Emaknape mendo‟a: “selamat koda anak Cerita ibunya, ibunya pun berdoa No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

ku,Ya Allah daohken mo makha “Selamat kamu ya anakku, ya Allah bahaya Di kekhangen belen jauhkanlah anakku dari marabahaya anak ku, pedaohmo penakit di hutan besar, jauhkanlah penyakit Dibadan anak ku dan bukaken di badan anakku dan bukakanlah mo khezeki anak ku Sembue- rezeki anakku sebanyak-banyaknya”. buena imo do‟a emak sianak Itulah doa Ibu si anak tadi. ndai.

(3.5.6)

Dekhita sianak di kekhangen belen. Habis wakhi meganti Derita sianak di hutan besar. Habis minggu,habis minggu meganti hari berganti minggu, habis minggu bulan, habis bulan meganti berganti bulan, habis bulan berganti tahun mehabisken waktu tahun menghabiskan waktu dipedalanen ahekhna iape soh diperjalanan, ia pun sampai ke bawah mi tekhuh deleng si paling datas bukit yang paling tinggai tidak ada Malot nenge gegohna ie pe lalu lagi tenaga ia pun lalu tertidur. Lalu medem. Lalu khohmo sada datanglah anak perempuan dalam Anak legekhu bagas nipina mimpinya namanya Ender Dewi gelakhna Ender Dewi “mekade “sedang apa kamu disini,” kata ko senda kata lebekhu bagas perempuan dalam mimpinya tadi. nipina ndaiitengenna ise Dilihatnya siapa yang berbicara ini simencekhok enda nina. “aku” katanya “aku” kata perempuan tadi. kata si lebekhu enda, “aku mo “Akulah yang menjaga bukit tinggi simenjaga deleng datas enda ini, bangkitlah kamu supaya kita Keke ko asa laus kita pergi mendaki bukit ini”. Kata Putri menangkih deleng en.” Kata Ender Dewi “ disanalah mahligaiku Putri Ender dewi “sadenah agar kamu kutolong, doa ibumu mahligeku asa kona kutolong, terkabul sudah padamu. “Aku “Tidak do‟a emak mu mekabul enggo sanggup bangun ini”. kata si mikin. bamu Malot aku sanggup keke Lalu diambilnya lah air seteguk lalu en”. “goh pudi ku” kata si ia minum, biar naik mendaki bukit miskin-miskin”. Lalu tinggi. Sesampainya di bukit tinggi dibuatnamo lae sada deguk diberi putri Ender Dewi ia makan, bakhu ia mo minumen, bisa naik minum, terus mandi, sesudah itu ia pun menangis teringat ibunya. menangkih deleng soh midatas deleng dibekhe putri Ender No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

Dewi ia managan Minum,tekhus mekhidi sesudah idi iape tangis tekhenget mi emak na.

(3.5.7)

Sesudah idi go dekah ia mekhidi mecekhok mo putri dai“go ko Sesudah itu sudah lama ia mandi. piga tahun mekhanto” lalu Bicaralah si putri tadi “sudah berapa dijawabna “go sepuluh tahun tahun kamu merantau” lalu jawabnya dekahna Aku mekhanto”.lalu “sudah sepuluh tahun lamanya aku dikise tole oleh putri“kade dapet merantau”. Lalu ditanya lagi oleh ko go hasil mu”. Lantas dijawab siputri “Apa sudah kamu dapat na “kade poda”. “trus kade penghasilan kamu. Lantas pangan ko begi dekahna”,trus dijawabnya “Ku makan daun-daun dijawabna “ku pangan bulung – kayu. Setelah mendengar pengakuan bulung kayu bak tokal-tokal.” si miskin si putri pun merasa iba dan setelah megehken pengakuen apa kata Putri Ender Dewi “ Inipun simiskin-miskin en si putri pe ku beri sebagian kekayaanku mekhasa masah ate dan kade kepadamu kata siputri.” Jawabnya kata putri ender dewi “Endape “Insya Allah”. “Cobalah kamu kubekhe leba bamu kekayaen ku berdiri, lihatlah kesana dan kesini”. Ia enda kata si putri.”. Jawabna pun berdiri dilihatnyalah emas satu “Insya Allah” “cuba kona bukit habis besar, habis kecil. cender, tengen mingkehe bak “Ambillah yang sanggup-sanggupnya mengkulu.” ia pe cender idah na kamu membawa pulang, tetapi ada mo emas sada deleng habis pesanku, jangan kamu benci pada belen habis kedep. “Lako buat si ibumu. Ibumu sudah susah luar biasa sanggup-sanggupna ko merawat kamu sampai besar. “Insya merembah-embah balik, tetapi Allah”. “Kemana aku pulang, aku tenah ku lot, ulang ko jais mi tidak tau lagi jalanku. “Datanglah emakmu. Emakmu susah luar kamu kemari pejamkan matamu, biasa enggo mengasuh kona soh minta kepada Allah sampaikanlah belen.” “Insya Allah, kade mike aku ke kampung ibuku”. aku balik, makne kutoh dalan ku”. “ghoh kona mi senda pecengken matamu, pido mi

Allah huapken aku mi kampong No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

emak ku. Berkat do‟a emak ku.”

(3.5.8)

Bukana mo matana, enggo soh ia mikampong emakna, tetapi soh di pasigh mbelang… malot ne ia terenget, maka ia pe medem, ghoh mo balik putri ndai mengataken “Enda mo Dibukanyalah matanya, sudah sampai kampong mu kin hore malot ia di kampong ibunya, tetapi sampai pake pasikh tapinmu enda. Enda di pasir lebar tidak ada lagi ia mo pake pasir, imo asamak teringat, maka ia pun tidur. nenge di enget kona pema lebe Datanglah kembali Putri tadi send. mengatakan “Inilah kampungmu dulu hore tidak ada pakai pasir, itulah makanya kamu tidak lagi teringat (3.5.9) lagi, tunggulah disini”.

Sada wari sada berngin dai enda sekel roh raja lako menokor emas mu enda.” Berat emas na ndai telu puluh kilo, sesegen ghohmo kepel raja, raja luar

negeri ndai lako menokor emas jam waluh sesegen soh mo kepel Satu hari satu malam lagi, ini mau raja enggo setentang , bak datang raja mau membeli emasmu simiskin-miskin, kepel raja pe ini”. Berat emasnya tadi tiga puluh makne bisa medalan, ghapet mo kilo, pagi-pagi datanglah kapal raja, nai tepi pantai raja pe susur raja luar negeri tadi mau membeli simbak ia sada jelma, anak-anak emas jam delapan pagi sampailah si dasa mas telu puluh kilo khoh kapal raja sudah sejajar dengan si raja kiseken “kade enda anak- miskin, kapal raja pun tidak lagi bias anak jawab anak-anak” malot ku berjalan, rapatlah dari tepi pantai raja toh gelarna “Enda gelarna enda” pun turun ia bertemu satu orang, kata ghaja emas, bere kona ku anak-anak yang punya emas tiga tokor? “bamu” muna sesue puluh kilo datang raja tanyakan “Apa hargana “ sedike hargana bain ini anak-anak”. Jawab anak-anak No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

kona sada kilo, aku malot ku toh “aku tidak tau namanya”. “ini hargana, kona sambin bain namanya ini” kata raja “emas”, kamu hargana kata raja. “Bangku beri aku beri? “samamu”. “kalau keghina masmu en, kubuat kona sesuai harganya”. “Berapa kamu buat maen kela ku, kuserahken bamu harganya sekilo”. “Aku tidak tau kerajaenku asa dapet cocok do‟a harganya”. Kamu saja yang membuat emakna me anakna. Diembah harganya. Kata raja “Samaku semua raja mo mekepelna me luar emasmu ini, aku ambil kamu jadi negeri, soh meluar negeri me menantuku, kuserahkan padamu sapo raja, dinikahkena anak raja kerajaanku”. Agar dapat sesuai doa putri vetno bulan, ditenggo raja ibunya kepada anaknya. Dibawa mo segala ghakyatna rajalah kekapalnya ke luar negeri, menaksiken pernikahen anak na sampai keluar negeri ke rumah raja, bak menerahken kerajaena. dinikahkannya anak raja Retno Bulan, dipanggil rajalah semua rakyatnya menyaksikan pernikahan (3.5.10) anaknya dan menyerahkan kerajaannya. Go ia jadi raja enggo sempat lot anakna dua malot ne emakk na bari mecerok mo deberuna “mi lakina go mo sempat dua anakna malot perna sebut kona emakkmu, laus mo kita mendahi emak kadang entah lot den umurna” enggo metahun-tahun diajak deberuna mendahi emak si dahuli en. Aghirna ia pe laus Sesudah ia menjadi raja sudah sempat pada satu saat. Pitu bulan ada anaknya dua tidak ada lagi ingat sepuluh wari di perdalanen go ibunya. Bicaralah istrinya kepada soh setentang bak bekas emakna suaminya “Sudah sempat dua en, ghoh emakna dilo tahkona anaknya tidak pernah kamu sebut ngi pak”. Mecerok debeghuna ibumu, pergilah kita mengunjungi ibu “bang, lot da sogha tedengkoh mungkin masih ada umurnya”.. bangku mendilo kona.” jawab Sudah bertahun-tahun diajak istrinya lakina “ulang dengkoh ken kona mengunjungi ibu suaminya. Akhirnya idi, suagha setan”. Maka ia pun pergi pada suatu saat, tujuh kepelna tenang cituk-cituk maka bulan sepuluh hari di perjalanan kepelna leneng, matemo telu sudah sampai sejajar dengan tempat No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

bapakna bak anakna geluh na ibunya ini, datang ibunya panggil debeghuna, debeghu enda “Apakah kamunya itu nak?”. Bicara menangkih di tiang kepel, roh istrinya “bang, ada suara terdengar mo ombak mebelen diembah samaku memanggil kamu. Jawab ombak kepel en mi tepi ia pe suaminya “Jangan kamu dengarkan bangkit mi daghat jumpa mo ia itu suara setan, maka kapalnya tenang bak meghtuana ndai langsung sedikit-dikit tenggelam, matilah tiga dipelukna, diperidina, dibuatna bapaknya dengan anaknya, istrinya mo tokal-tokal galuh, hidup. Perempuan ini memanjat di diberekena mo mi mertuana. tiang kapal, datanglah ombak besar di bawa ombak kapal ini ke tepi ia pun

bangkit ke darat. Jumpalah ia dengan (3.5.11) mertuanya tadi langsung di peluknya, dimandikannya, diambilkannyalah Enggo mertahun maka simbak jantung pisang, diberikannya kepada mo sada kalak menjaring mertuanya. mengamet ikan, ghoh mo debeghu ennda ndai kiseken “dike nai kona” “aku diluar negeri nai.” “denoh sapo raja luar negeri” “bekune asa ko soh mi senda pitu bulan pedalanen”

“aku kesasar, dikeghangen enggo mo malot nengek ketoh Sudah bertahun maka jumpalah satu dalan arahna maka capai mo aku orang menjaring mengambil ikan, me senda malot mo ne ketoh datanglah perempuan ini tadi dalan ku balik. “ Sekel kona tanyakan “Dari mana kamu ?” “Aku balik” idi mo kata-kata debeghu dari luar negeri”. “Dekat rumah raja “sekel ?” kata si pengamet ikan. luar negeri?”. “Kenapa kamu sampai “mula sekel kona balik disini tujuh bulan sampai perjalanan”. menjawek ko sembahyang enget “Aku tersesat di hutan”. “Sudahlah ko dua rakaat, pido mi Allah asa aku tidak tau lagi jalanku pulang”. kona balik,” maka sipengamet “Kamu mau pulang?”. Itulah kata- ikan sembahyang dua (2) rakaat, kata perempuan. “mau” kata dipidona mi Allah”. Balik mo sipengambil ikan, kalau kamu mau aku ya Allah mendahi ibu bapak pulang berwudhu‟lah sembahyang ku bak anak istri ku”,ia pe dua rakn‟at, maka sipengambil ikan pecengkena matana dibukana sembahyang dua raknat, dimintanya matana enggo soh ia mi kepada Allah “Pulanglah aku ya No Selendayong Dance Text Indonesian Translated Version (Meola-ola)

sapona”. Allah mendatangi ibu ayahku dan anak istriku”. Ia pun memejamkan (3.5.12) matanya, dibukanya matanya sudah Ceghita bak raja, bapak sideberu sampai ia dirumahnya. enda.Muna simbak ko anak ku idi, berangkat kita nan mendahi, insya Allah ia pe berangkat, soh diembah mo anakna rebaken

mertua sidebeghu enda langsung soh mi sapo raja maka diurusna mo simende-mendena sampai akhirna.

Cerita dengan raja, ayah si perempuan ini. “Kalau-kalau bertemu anakku itu, nanti kita berangkat menjemput”. Insya Allah ia pun berangkat sampai dibawalah anaknya bersama mertua si perempuan ini langsung sampai ke rumah raja, maka diurusnyalah sebagus-bagusnya sampai akhir hayatnya.

Appendix D : The Silat Dance Text

No Silat Dance Text Indonesian Translated Version

(4.1) Sogok orang tagak menari Tegap orang tagak menari

rendah sama rendah rendah sama rendah

tinggi sama tinggi tinggi sama tinggi

bagai ayam menantang bagai ayam menantang lawan

lawan tanggisik pulang mandi tanggisik pulang mandi bage gasing di lenongkan seperti gasing di putarkankan

hop bale-bale daaaaaaaa 2x hop bale-bale daaaaaaaa 2x berdiri

Appendix E : The Dendang Text

No Dendang Text Indonesian Translated Version

(5.1) (5.1.1)

Ooo laaa leeeeee Eeee kune Ola Oooooo laaaaa leeeee Eeeeee lee ee le Aaaaaaaa bagaimana Ola lee ee le Aaaaaaaaa Ocek tidak lagi dapat diceritakan Ocek anek mo tesukut-sukutken Tidak pernah marasa senang Mak pekhnak mekhate senang saudaraaaa Ai katu seninaaa Ai katu Sakhek penguek dik to lala Ini lah Sakhek penguek tukhang to tala sudah masanya

Enmo ia masana Le mepulung Le kumpul bersaudara Seratus lagi kaum beak Seeekhatus nai Inilah dia semuanya

Enda mo ia kharina

(5.1.2) Le saudara mndengarkan cerita- Le senina megehken sukut- cerita ladeeee sedang pesta iniiiii sukuten ladeeee sedang kendukhi kemana kita lupa endaaaaa aiiiiledaaaaaa mikem Laaaaa bermacam-macam yang kita lenang laaaaa mebage-bage untuk diingat leeolah leeeee simain engeten leeeeee oalah dendanggg aaakinaaan tuhan leeee manek tesuku-sukutken meminta alaaaa masanya saudaraaa leee le dendang aaa kinaaaan olaaa oalaah leeeee le tuan saudara tuhan mengido aalaaa masana la ndeee kaum beaaak enda mia masana katuuuu olaaa olah leeee le khaja ni tukhanggg la ndeee No Dendang Text Indonesian Translated Version

(5.1.3)

Begen kin pana kaum mm mepulung kaum beakkkk mada- madana sakahatus nai seninaaaa Begini rupanya kumpul bersaudara enda mia khasanta aaa ndeee dengan adanya seratus lagi saudara aleeeeee manangis lee kaum inilah dia yang kita rasakan aa baekkkk ndeee nandeeee la ndeeee aleeee menangis lah saudara pakkk sekhing nai main engeten ndeeee la pak sering untuk diingat katu seninaa mudah-mudahen saudara mudah-mudahan nanti berubah nasib,oo teringat semuanya nahan mekhubah nasib,ooo katu tekhenget khatana lee masa kit mepulung ala mesekhak senina olaaa olah

(5.1.4)

Leeeeee enda mia masana katu kune kin pana asa begen

pengidon badan leeee kaum beak nasib mak mendeeee ah Leeee masa kita berkumpul jadi naaaaang katu olaaaaaaa leeee berpisah saudara olaaa olah leeeeee olah leeeeee kune mo beeeeee inilah dia masanya bagaimana inang pulung mekaum kene supaya bisa begini permintaan badan senina leee saudara nasib yang tidak baik ah naaaaang katu olaaaa leeee olah

leeeee bagaimana beeee maaak kumpul bersaudara kalian saudara

(5.1.5)

aaaa olah olaaaah leeee la eeeee tekhenget khatana khajani aaa olah olaaaah leeeee la eeeeee tukhanggg khuni mike mo kami teringat semuanya dik dulu kemana ceeeek khuni nai mengande Lah kami ceee dari dulu meminta No Dendang Text Indonesian Translated Version

ceeee olaaaaaa gomo saib da ceeee olaaaa sudah rupanya nasib diiiik tading mo bagas engeten tinggal dalam ingatan leeee la leeee la senina enda masana saudara inilah dia masanya leee leeeee omike mengande diiik di kemana meminta diiik di rantau khanto kalak tading diik orang tinggal diik.

(5.1.6)

Menasib anak muda maaak aiiii ooo go kin pana begi khasannnn olaaaa seguntung dai asa seguntung mudah-mudahen Nasib anak mu buuuu aiiii oooo mende mo untung nahan senina sudah rupanya begini yang dirasakan eeee gom cukup dai khasan dai olaaa tinggal sepotong sepotong leeee o dendang leeee nande mudah-mudahan berubah nasib nanti tekhenget khata-khatana le olah saudara eeee ibuuuu teringat olah leeee begi kinpana nasib semuanya lee ola olah leeee begini seninaaaa oo diik ulang payah su rupanya nasib saudara oo diiik tukhang simak mekaum jangan terlalu susah dik yang tidak memiliki saudara Dek.

(5.1.7)

olah leeeee olenaang mepulung makaum leeeebeee mak mekaum tukhangggg beli mobe julunai olaaah ulang dikhica leeee tah olah leeeee olenangg kumpul dik kaum beak leeee kahia leeee saudara leeeee bu saudara biarlah sia jakhen le besannnn mike mo dari hulu olaaah jangan diceritakan kulenaken giak leeeeda leeeee leee tah dik saudara leeee dulu leeee ngeeeeek leeee ola leeee aken saling menasehati le besann beee di kandung cukup kemanala aku harus membagi nasib menderita ini leeeeda leeee ngeeeek leee ola leeee aku ini di kandung sungguh menderita

(5.1.8)

Enggo mobee leee mada-madana leee anak lemah lenaaang dari No Dendang Text Indonesian Translated Version

kedep aku di kandung mak penah sisenangna ulang dikhica lee tukhangg senina kunekin Sudahlah leee anak lemah ini ngopana nasib leeee masa kehia lenangg dari kecil aku dikandung leeeeee olaaaa olah leeee mike tidak pernah merasa senang jangan mo aku le sininaaaaa mak lagi diceritakan leee diik bagaiman tecekhitaken nasibkeeen adooooo nya nasib leee masa dulu beee ola beeee aken cee begi kin pana olah leeee kemana aku saudara tidak pengidon badan lee o anak tahat dapat diceritakan nasib ku ini lenaaaaa mekaum pe kadang adooooo beeee aku ini ceee begini malot rupanya permintaan badan le o anak miskin lenaaaa bersaudara pun kadang tidak ada.

(5.1.9)

Aken katuuuu endam masana leee kaum beaak laaaaa manek

tetawaken kaum beaaak ola olah leeee gokin kin ngo salah sukhat senina o dendang bekune ngo bahgian mu badannnn o masah Inilah masanya leee saudara laaaa mo atemu leee inaaaaaang tidak bisa tertawakan saudara ola diiiiiiik senang atemu tukhang olah leeeee sudah rupanya salah ola olah leeeee tekhenget suratan badan o dendang bagaimana kekhina beeee endamia macam nya permintaan mu badan o tukhang o khajani tukhang a kasihanilah saudara ola olah leeee leeeee kune pemain leeee manek teringat semuanya beeee inilah dia tetukhiken ado ola olahhhh macam nasib diiik aaa leeee leeeeeee mike mo aku leee bagaiman diperbuat leee tidak dapat sombong kak khatana diceritakan kemana lah aku sombong semuanya.

(5.1.10)

Diiik bekhek ko ngo sa kujalo leee badan pe go tua leeeee badan mikem sintahat le diik

ulang su kalak mak keca mekepeng bak kaum pe bohong seninaaaaaa go mo daoh No Dendang Text Indonesian Translated Version

pedalanen sesinaa ola leeeee ate melui aaa mike mo aku le Diik ada kamu nerika makanya aku terima le badannn pun sudah tua kemanalah simiskin le diiik jangan kan orang kalau tidak mempunyai (5.1.11) uang dengan saudara pun sombong saudaraa sudahlah jauh perjalanan Ceeeek ola ola leeeee tekhenget saudara ola leeeee hati yang sakit selalu katu go mo saib katu aaa kemana lah aku aaaaadeeeee diiiiik leee bahgiaaan geluh le katuu metambah kepe bohong mu tukhang olaaaa sibage aken le ceeee leeee sinina mak penah mekhate senang tukhangg kune kin ngo pana sa begen pengidon Ceee ola ola leeeee teringat selalu badan kahia leeeee cincin kuning sudah habis harapan aaaadeeee diiiik di jakhi tah di cakhi pe tah oda leeee nasib hidup, bertambah ngo tepangan nasib mu badann rupanya orang bohong diiiik ola leeee odango tepengandeken yang seperti aku ini tidak pernah leeeee khaja ni tukhang mike mo merasa senang bagaimana rupanya sudah naaa begini permintaan badan dahulu leee cincin tunangan di jari entah di cari pun entah tidak termakan nasib mu badan leeeee tidak dapat selalu (5.1.12) meminta-minta leeee tuan rajaa Olaaaa ola leeeeeeee aaaa leeeee kemana aku harus pergi manuk bukhek manuk kelabu badan sekhik mancakhi jabu le seninaaaaa go tahat kaum pe bohong leeee habis hakhapen da diiiik tahat keca untung tah odango kalak tekhenget le tukhanggg oo kuli tahat ku le naaa mekaum pola kedep nai Olaaaa ola leeeeee aaaaa leee badan tading melumang deeee habis susah mencari istri leee seninaaa masana leee tah oda ngo kak sudah miskin saudara pun sombong tama mekaum bak akeeeen leeee habis harapan diiiik miskin badan tidak ada yang perduli leee saudara oo gara-gara miskin ku leee No Dendang Text Indonesian Translated Version

naaa saudara dari kecil jadi anak miskin habis harapan leee entah (5.1.13) tidak ada yang mau jadi saudara ku

Lee oal olaa leeeee inang mekhanak kune mo mendoken pait mekhulisken lasam leeee nasib melumang olaaaa olah leeeeeee kune bahgian mu badann mikem mengande diiik tekhenget khatana leeee seninaaaaaa endamia masana Leeeee ola ola leeee bagaiman seninaaaa leeee diiiiiiik daaaa dibilang olaaa olah leeee bagaiman dapet-dapet cituk kalak bagian mu badannn kemana melupaken akuu leedaaa mak meminta teringat semuanya tepedemken mikekhken untung saudaraaa inilah dia masanya leee saudaraaa leeee diiik daaaa dapat – dapat sedikit orang melupakan aku (5.1.14) ledaaaa tidak dapat tertidurkan memikirkan nasib dibadan Leee ola olaaah leeeee senang

atemu beee olaaa olah leeeee mike mo mengandeeee makaum pe malot tukhangggg mada- madana lee kune pemain tukhang mekhbulan-bulan aku menema

kahia go kepe habis hakhapen leeee kaum beakkkkk panjang Leeeola olaaah leeee kemana selalu giak umukh mu leeekahasai meminta –minta saudara pun tidak bamu badannnn dekah mak ada leee berbulan-bulan aku simbak le diiiik kidah cincin di menunggu dulu rupanya sudah habis jakhi manis mu go ko kepe harapan saudaraaa mudah-mudahan tepinang leeeee tekehet aku panjang umur mu badan lama tidak khatana tukhang le dendang ola jumpa leee diiiiik aku melihat cincin olah di jari manis mu sudah rupanya kamu dipinang leeee teringat aku

semuanya diiik le dendang ola olah (5.1.15) leeee apakah kamu tidak ingat makan bersama Leeeeeeee mak enget ko mangan mekhumpuk le khajani No Dendang Text Indonesian Translated Version

tukhanggg nasib go tuhu le ceeee gomo masana ledaaaaaa sa

lot main engeten katuuuuu kune pemain gomasana leeeee kuhakhap ulang ko lupa masa kehia ndeeee susah senang leee Leee saudara sudah suratan badan menasib anak mu le ayaaaaaaaah leeee sudah masanya agar ada untuk diingat bagiman harus dibuat sudah Ee mike mo aku mengande leeee nasib leeee aku berharap agar kamu tebuang aku le senina mi jangan lupa masa dulu ndeeee susah khantoooo tekhet aku bamu senang leeeee bernasib anak mu ceeee olaa leeeeeee ola leee paaaak kemana aku harus meminta nandeeee bohong ke khatana leee leee terbuang aku lee saudara di tekhet masa kahia le diiiiik o rantau orang teringat aku bersama tading lejana le diik sa lot dik mu mahan engeten eeee bakhu mo aku sadakh tentang di untung cee olaa leee ola ndeee sombong ke kuuuu leeeeee nimu kahia aku semuanya leee teringat masa dahulu segalana tukhanggg o tading lee diiiik o tinggal capeknya diik sintahat inanggg manek main agar ada untuk diingat eeee barulah seselen kuli malot leee kuli tahat aku sadar tentang nasib ku leeee ku le tukhangg mata capet mak kamu bilang dulu akulah segalanya tama medem kuli hamuk naaa diiik o tinggal si miskin maaak tidak leee bisa di sesalkan gara-gara miskin leee karna miskin ku leee

(5.1.16)

Usah tolado senina si tanam lae eeee obeee pisang suaso ate talam usah terkato da senina

bepanjang lae kini sudah malam olaaaa usah tokato senina bekato lain kini sudah malam baok peperangen da buah sinangka wakhi bilang ta tah untung tah

mada dipedalanen tah sukhung mo dikhasa dipedangg iiiiiiii Usah salado saudara si tanam adolah luluk da seninaku adolah baku tah tuhu tah malot. lae eeee obe pisang suaso No Dendang Text Indonesian Translated Version

ate talam usah terkato

ya saudara berpanjang lae kini sudah malam

olaaa uasah tekato saudara bekato lain kini sudah malam bawa peperangan si buah nangka hari bilang tatah untung entah tidak diperjalanan entah jadi nya dirasa dipedang iiii adola luluk ya saudara adola baku tah benar entah tidak.

Appendix F : The Ambei- ambei Dance Text

No Ambei- ambei Dance Text Indonesian Translated Version

(6.1) Itek tigo anggang pun tigo Itik tiga anggangpun tiga

Makanan anak Kelumpayan Makanan anak kelumpayan

Kitek tidak gadang pun tidak Kecil tidak besarpun tidak

Sedang eloknyo bepakaian Sedang eloknya berpakaian

(6.2) Tinggi bukitnyo Mandiangin Tinggi bukitnya Mandiangin

Makanan anak kelumpayan Makanan anak Kelumpayan

Sayo sepantun kilek cermin Saya sepantun kilat cermin

Dibalik gunung Nampak juo Dibalik gunung Nampak juga

(6.3) Alang tingginyo nyiur gading Sungguh tingginya nyiur gading

Sampek tali layang-layang Sampai tali laying-layang

Alang sunginyo rancak kinin Sungguh sangat cantik anda

Sampai kelangit bayang-bayang Sampai ke langit terbayang-bayang

(6.4) Tutung dahan kian batang Potong dahan sampai batang Satu pateh dua cabangnyo Satu patah duabatangnya

Apo tandonyo uningku datang Apa tandanya saudri dating

Satu langkah duo lenggoknya Satu langkah dua lenggoknya

(6.5) Ikan beghnamo sisik lailan Ikan bernama sisik lailan

Jaghak terpanggang dari api Jarak terpanggang dari api

Bungo setangkai permainan Bunga setangkai permainan

Itu penghancur dalam hati Itu penghancur dalam hati

Appendix G : The Tonjong Text

No Tonjong Text Indonesian Translated Version

(7.1) Iyo- iyo sijangko iyo, ingek- Iyo-iyo sijangko iyo, ingat-ingat ingek Raja Janang menato iyo Rajo janang menato iyo Elok-elok mempulai melayu kita Elok-elok marapule jawi kito Ingat, ingat-ingat ingek, ingek-ingek Lagak menawannya lambat berhias Lagak eloknyo lambek berhias.

(7.2) Kain putih berambu kuning Kain putih berambu kuning

Ingek-ingek, o ingek-ingek Ingat-ingat, o ingat-ingat orang raja orang rajo Kain kuning berampu kuning ingat- Kain kuning berambo kunig ingat pakaian anak raja-raja. ingek-ingek perkayanen anak rajo-rajo.

(7.3) Cincin bungo setangke leh Cincin bunga setangkai Bung…. No Tonjong Text Indonesian Translated Version

Ingek-ingek o onggkok , Ingat-ingat onggok, Sembilan Sembilan permatonya permatanaya Rendah-rendah tinanaman Rendah-rendah ditanam Tumbuh sepuluh delimo aso Tumbuh sepuluh delima asa Paangek-angek panjang ureknyo ke kualo Pengingat-ingat panjang akarnya ke

Lelo batangnya ke udaro kuala

Bang-ang tangnyon perak Menjulur batangnya ke udara cabang suaso daunnya malam Batang perak cabang suasa berkilauan. Daunnya malam berkilauan Jange-jang andenya candai nya halus berkilat-kilatan Sangat indah pucuknya halus

Engek-engek. berkilau-kilau

Angek-angek adong Ingat-ingat

Karenang labah bersarnag di Ingat-ingat Nek bungkuknyo. Sehingga lebah bersarang di

bungkuknya.

(7.4) Si angek-angek amang Si ingat-ingat ibu

Kaik ku maik sinantupei Kait mengkait si

Kajar kumajar angin memitik- Kejar mengejar memetik-metik mitik dahan dahan

Punai menimang-nimang buah Punai menimang-nimang buah

Buahnya intan bergantung, Buahnya intan bergantung bungonya putih berkarangan Bunganya putih berkarang Angek-angek ogek Ingat-ingat abang Berlingkar dibatangnya ular, berllik dicabangnyo Dicabanganya

Cabang bak namo Waliyullah, Cabang ernama waliyullah No Tonjong Text Indonesian Translated Version

amekpuluh ampek terjauh dari Empatpuluh empat terjauh dari mara maro bahayo. Bisek eeee bahaya. Bisek eeee

(7.5) Ee ingek-ingek Ee ingat-ingat

Batang bak namo tiang aras Batang bernama tiang aras

Kulik baknamo kalun bidei Kulit bernama tiang aras

Getah bak namo manaikan Getah bernama menaikan kiyong kiyong Ingat Iyong, berpagar Ingek iyong, berbangsi kiri kanan sebuah kolam kiri kanan sebuah kolam dibawahnyo, ocek dibawahnya, ocek

kolam bak namo telago jinggo Kolam bernama telaga jingga

ikan seekor didalamnya Ikan seekor didalamnya bernama baknamo Sikudidi Sikudidi

sisiknyo ameh rante suaso le Sisiknya emas rantai suasa le ingat- ingek-ingek si ingek ingat si ingat sisiknya ameh sir ante suaso Sisiknya emas rante suaso katukagen anak modo bangsawan puteri Ender Dewi Kutukan anak muda bangsawan tunangan datuk diudaro Putrid Ender Dewi tunangan datuk sampai sakinan belum jugah di udaro Allah bising, ngek belum sudah. Sampai sekarang belum juga Allah

kabulkan, ngat belm sudah.

(7.6) Mogek sutan di bubun le… Duduk sultan disinggasana le

Ingek-ingek Ingat-ingat

Memerintah dibandar satu Memerintah di Bandar Saturday

Disingek-ingek merintah Diingat-ingat memerintah dibandar dibandar Satu Satu No Tonjong Text Indonesian Translated Version

Diam di kampong sukur baniat Diam di ampung syukur berniat

Lelo mak lelo swah janang. Lelo mak lelo sawah sepatak

(7.7) Diingek-ingek le mak leloh Diingat-ingat la mak leloh

sawah janang dalam kelambu sawah sepatak dalam kelambu sutro merah dapat disember orang mudo diingek-ingek o sutera merah dapat direbutkan orang ongek muda ingat-ingat o ingat orang modo dari pariaman pandai memetik orang muda dari Pariaman pandai

suaronyo nyaring sampai awan memetik

o gek suara nyaring sampai suaranya nyaring sampaiawan keawan rupa baik lagi pun baik sangat arif bijaksano. Duru oh abang suaranya nyaring sampai kumis kucing kapitan cino cino ke awan

mangkok dilipek didepan jadi rupa baik lagipun baik sangat arif umpamo bijaksana. Seperti kumis kucing jadi umpamo leh.. kapten Cina-cina

Mangkok dilipat di depan jadi

Umpama

Jadi umpama leh.

(7.8) Malaikek bermain-main leh Malaikat bermain-mail leh

Ingek-ingek o ongekongek Ingat-ingat o ingat Bang

Turun ke bumi memupuk Turun ke bumi memupuk bunga bungo Ayam kinantan putih permainan Ayam putih kinantan suci permaian anak Zainal Anak Zainal Abidinsyah No Tonjong Text Indonesian Translated Version

Abidinsyah, Syah Aceh Bandar Khalifah

syah telu Aceh Bandar khalifah Ujung raja ujung rajo Arasnya tinggi tempat bemain Arusnyo tinggi tampek bermain sadiokalo, leh ingek-ingek O Sedia kala, Leh ingat-ingat o ingat ingek orang kiramek , hidup- Orang keramat hidup-hidup hidupan Tempat berniat dikala pagi Tmpek berniek barang pagi

(7.9) Oo diujung lidah berdawat di O diujung lidah berdawat di ujung ujung lidi berkitab lidi berkitab Di tapak tangn maksutan benamo Sultan Alamsyah Ditapak tangan sultan bernama Sultan Alamsyah rajo mak rajo menteri adil. Angak-ngah.. Raja di raja menteri adil. Ingat

Adil hukumnya kitabullah Ingat petang dibaco duo kali Adil hukumnya Kitabullah pantang Rengah ate ala terusek dibaca dibaca dua kali imam Josikabo Lega hati telah tersurat dibaca imam Johan berdaulat dari aceh mendarek lalu ke minang kabo josikabo ingek lah Johan berdaulat dari Aceh mendarat ke Minangkabo Lalu ke minang kabau ingatlah

Keminang kabau

(7.10) Usah di tengok rante panjang Usah dilihat rantai panjang

Ingek-ingek ingek Ingat-ingat ingat

Anak nelayan berbatang nyiur Anak nelayan berbatang nyiur No Tonjong Text Indonesian Translated Version

Usah disanggul rambut panjang Usahdisanggul rambut panjang

Ketike adinda tidur, adinda Ketika adinda tidur, adinda tidur tidur, Tidur melentang keperahu ingat Tidur melentang ke perahu ingek… Batu perpandang tidak tau

Batu berpandang tidak tau.

(7.11) Sabi namonyo, namonyo Sabi namanya-namanya

ke udaro tali patah tigo Keudara tali patah tiga

Udeh lamo hurufnyo Sudah lama hurufnya

hilang tidak boleh dibaco Hilang tidak boleh dibaca

leh leh

(7.12) Tulang-tulang bakong pagi Tulang-tulang bakong pagi

Ingek-ingek angah-angah Ingat-ingat, ingat-ingat

Abur taburi biji bayam Abur taburi biji bayam

Ulang-ulangike kampong kami Ulang-ulang kampong kami

tanyo-anyokan kembali Tanya-tanyakn kembali

(7.13) Pucuk sijali sijali le Pucuk sijali jail le

pucuk sijawijawi mudo Pucuk sijawi-jawi muda

Tanyo-tanyokan jalan melinteh Tanya-tanya jalan melintas

soh Pagi kembali pulo. Dating pagi kembali pula

Le leh ingek-ingek . Le leh ingat-ingat

(7.14) Si unde onan I pakan angek- Si ibu berjualan di pecan ingat-ingat angek Batang sirih ditepi rawa No Tonjong Text Indonesian Translated Version

Batang sirih di tepi payo Si ibu disuruh dating

si unde disuruhkan datang Membawa sirih

Membawakan sirih cucikan anak banyak kakinyo

cuciken anak banyak kakinyo sianak baik hatinya, jika baik

Sianak baik hatinyo,jiko baik suruhkan dating le suruhkan datang le ingat-ingat Ingek-ingek

(7.15) Ninjo-ninjo ke Pariaman le Meninjau-ninjau ke Pariaman ingat- ingek-ingek Ingat Dimakan kulit kerbo, Dimakan kulit kerbau indah cerito jaman-jaman Indah ceritajaman-jaman cerito dari Minangkabo. Ingek- ingek Cerita dari Minang Kabau. Ingat-

selero dimakan kulit kerbo ingat

turung dari Sipagaruyung le ho Selera dimakan kulit kerbau ingek-ingek. Le ho ingek Turun dari Sipagaruyung le. Ho

Ingat-ingat le ho ingat

(7.16) Sibungsu pandai berbilang Sibungsi pandai berbilang malam malam Malam ini malam ketigo rigo-ngo Malam ini malam ketigo rigo- ngo Puteribulan lebarkan pandan

Puteri bulan lebarkan pandan Orang jauh kakak mendapatkan adik

Orang jauh kakak meraih adik Semula habis emas sabungkan nyawa Memula habis ameh sambungkan nyawo

No Tonjong Text Indonesian Translated Version

(7.17) Sibungsu pandai berbilang Sibungsi pandai berbilang malam malam Malam ini malam keampat Malam ini malam ke ampek Bagai di tokok lalu diperapat bagai di papek lalu diperampek Gigi sibungsi baik diperapat

Gigi sibungsu baik diperapek Jari memangko atasdada le

Jari memangku ku ateh dado le

(7.18) Sibungsu pande berbilang Sibungsi pandai berbilang malam malam Malam ini malam kelima Malam ini malam kelimo Lima lima buah delima Limo-limo buah delimo Tumbuh bijinya ditepi kali Tumbuh gulinyo tepi kali Harga gigi sebanyak lima Harga gigi sekati limo Harga lenggok Sembilan tahil. Hargo galengang sembilan takhil le

(7.19) Sibungsu pande berbilang Sibungsi pandaiberbilang malam malam Malam ini malam keenam Malam ini malam ke enam Buku garam pecah terendam Buku garam pecah terandam Dibawah buku benteng Dibawa buko benteng Sepantun air diatas talam Sepantun air di ateh talam Tidak boleh pembasuh muka tidak boleh pembasuh moko le..

(7.20) Sibungsu pande berbilang Sibungsu pandaiberbilang malam malam Malam ini malam ketujuh Malam ini malam ketujuh Labuhan haji parang kesusuh Labuhan haji parang kesusuh No Tonjong Text Indonesian Translated Version

Terpasu simerdendang Terpasu si pendendang

hati sibungsu tak kan rusuh Hati sibungsu takkan rusuh

melihat sanggul nan terdendeng Melihat sanggul nan terdendang

(7.21) Sibungsu pandai berbilang Sibungsu pandai berbilang malam malam Malam ini malam kedelapan Malam ini malam kedelan Anak lipan diatas papan Anak lipen diateh papan Papan dibalik kumbang jatuh Pan dibalik kumbang jento leh Jika buah boleh dimakan Jako buah boleh dimakan Jika bunga permainan mata leh Jako bungo permainan mato.leh

(7.22) Sibungsu pandai berbilang Sibungsu pandai berbilang malam malam Malam ini malam kesembilan Malam ini malam kesembilan, Anak lailan kapala lailan Anak lailan kapalo lailan Lebat putih kepala naga lebek puteh kepalo nago Gigi sibungsu baik berperikan gigi Sibungsu baik berperikan Jari memangku atas dada Jari memangku ateh dado

(7.23) Sibungsu pandai berbilang Sibungsu pandai berbilang malam malam Malam ini maam kesepuluh Malam ini malam kesepuluh Sepuluh adu sagu sebatang Sepuluh adu sagu sebatang Rata peluh kujuga sembuh Rateh puluh kujuo sembuh

(7.24) Bungsu pande berbilang malam Bungsu pandai berbilang malam

Malam ini malam kesebeleh Malam ini malam kesebelas

Ayamnya turun seekor No Tonjong Text Indonesian Translated Version

dimakan kiciang Ayamnya turun seekor dimakan

Hati siape yang takkan pedih kucing

Melihat rambut makanan Hati siapa yang tak kan sedih guntiang Melihat rambut makanan gunting

(7.25) Bungsu pande berbilang malam Bungu pandai berbilang malam

Malam ini malam ke dua beleh Malam ini malam ke dua belas

Anak ayam turun duabeleh Anak ayam turun dua belas

Mati satu disame elang Mati satu disambar elang

Hati siape yang tak kan pedih Hati siapa yang tak kan pedih

Bagaikan rumput makanan Bagai rumput makanan gunting leh guntiang leh..

(7.26) Dayang-dayang turunkan tujuh Dayang-dayang turun tujuh leh leh Eeee ingat-ingat, Eeee ingek-ingek , Pucuknya halus tujuh itu Candenyo halus tujuh itu Kain putih berambu kuning Kain putih berambu kuning Kain terpasang pada galah Kain tersampang pado galah Ambil sehelai di pajangkan Ambil sehelai dipertendengken Namu tercinta pada Allah Namun tercinto pada Allah Adat yang muda diperdampingkan Adat simudo diperdampingkan Allah dampeng ingat-ingat dampeng Allah dampeng enge-enge dampeng

Appendix H. The Local Haritage of Subulussalam Singkil Ethnic Picture

Picture 1. The Coconut Craving of Subulussalam Singkil Ethnic.

Picture 2. The colorful pilars which has a specific symbol.

Picture 3. The Tepung Tawar Tradition of Subulussalam Singkil Ethnic

Picture 4. The Dampeng Male Dance Picture

Picture 5. The Dampeng Female Dance Picture.

Picture 6. The Silat Dance Picture which was Performed by the Mempulei.

Picture 7. The Selendayong Dance Picture which was danced by the mempuleis

Picture The Selendayong dance. ( A dance which is accompanied by oral

Picture .. The situation while the dendang was performed at mid night

narrative story)

Picture 10. The Ambei-embei dance ( A dance to pick the mempulei up from the house to the

veranda)

Picture 11. The Tonjong (A final performance to close the series of shows)

was performed at about 04.30 p.m.

Picture 12. A Triangulation Tonjong history and meaning

Picture 13. The Pulut Kuning and Fried Chicken for Serving the Medendang Players