The Values of Minangkabau Culture's Found in The
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Moving History of Middle Sumatra, 1600–
VU Research Portal A moving history of middle Sumatra, 1600-1870 Colombijn, F. published in Modern Asian Studies 2005 DOI (link to publisher) 10.1017/S0026749X04001374 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Colombijn, F. (2005). A moving history of middle Sumatra, 1600-1870. Modern Asian Studies, 39(1), 1-38. https://doi.org/10.1017/S0026749X04001374 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 23. Sep. 2021 Modern Asian Studies 39, 1 (2005) pp. 1–38. C 2005 Cambridge University Press DOI: 10.1017/S0026749X04001374 Printed in the United Kingdom A Moving History of Middle Sumatra, 1600–18701 FREEK COLOMBIJN Royal Netherlands Institute of Southeast Asian and Caribbean Studies (KITLV), Leiden Introduction The history of the early modern Malay world has been told largely in terms of processes of Islamization, the rise and demise of states, European voyages of discovery, trade with China, India and Europe, and colonial conquest. -
Si Ganjua Lalai (Kekuatan Dan Kelembutan Perempuan Minangkabau)
Jurnal Invensi Vol. 2 No. 2 Desember 2017 SI GANJUA LALAI (KEKUATAN DAN KELEMBUTAN PEREMPUAN MINANGKABAU) Fitriani [email protected] Abstrak Karya tari Si Ganjua Lalai merupakan gambaran tentang perempuan Minangkabau yang selain memiliki kekuatan juga memiliki kelembutan. Si Ganjua Lalai adalah ungkapan untuk gadis Minangkabau yang menggambarkan pribadi perempuan Minangkabau yang lembut namun tegas, bijaksana dan bertindak di atas kebenaran. Karya tari Si Ganjua Lalai berawal dari rangsang visual yaitu saat mendapatkan informasi dari cerita Kaba Sabai Nan Aluih berupa pepatah “alua tataruang patah tigo, Samuik tapijak indak mati”. Dari pepatah tersebut memberitahukan bahwa perempuan Minang selain memiliki kekuatan juga memiliki kelembutan. Landasan penciptaan yang digunakan adalah kreativitas dan koreografi. Pendekatan kreativitas digunakan karena penciptaan karya seni tidak lepas dari proses berpikir dan bekerja secara kreatif. Melalui pendekatan inilah cara berpikir dan cara bekerja secara kreatif akan dibangun. Pendekatan kedua adalah koreografi, yang digunakan sebagai landasan dalam mencipta estetika tari yang meliputi gerak tubuh, komposisi, kesatuan dan harmoni, serta aspek-aspek laku dan visual lainnya. Kata kunci: perempuan minangkabau, kekuatan, kelembutan, si ganjua lalai Abstract Si Ganjua Lalai dance work is a picture of Minangkabau women who besides having strength also has tenderness. Si Ganjua Lalai is an expression for the Minangkabau girl who portrays the Minangkabau female personality who is gentle yet firm, wise and acts upon the truth. Si Ganjua Lalai dance work originated from visual stimuli that is when getting information from the story of Kaba Sabai Nan Aluih in the form of the saying “alua tataruang patah tigo, Samuik tapijak indak mati ”. From the saying goes that Minang women in addition to having strength also has a tenderness. -
Songket Minangkabau Sebagai Kajian Seni Rupa: Bentuk, Makna Dan Fungsi Pakaian Adat Masyarakat Minangkabau
Songket Minangkabau Sebagai Kajian Seni Rupa: Bentuk, Makna dan Fungsi Pakaian Adat Masyarakat Minangkabau Oleh Budiwirman Songket Minangkabau Sebagai Kajian SR i ii Budiwirman Songket Minangkabau Sebagai Kajian Seni Rupa: Bentuk, Makna dan Fungsi Pakaian Adat Masyarakat Minangkabau Dr. Budiwirman, M. Pd. 2018 Songket Minangkabau Sebagai Kajian SR iii Undang-Undang Republik Indonesia No 19 Tahun 2002 Tentang Hak Cipta Pasal 72 Ketentuan Pidana Saksi Pelanggaran 1. Barangsiapa dengan sengaja dan tanpa hak mengumum- kan atau memperbanyak suatu Ciptaan atau memberi izin untuk itu, dipidana dengan pidana penjara palng singkat 1 (satu) bulan dan/atau denda paling sedikit Rp 1.000.000,00 (satu juta rupiah), atau pidana penjara paling lama 7 (tu- juh) tahun dan / atau denda paling banyak Rp. 5.000.000.000,00 (lima milyar rupiah) 2. Barangsiapa dengan sengaja menyerahkan, menyiarkan, memamerkan, mengedarkan, atau menjual kepada umum suatu Ciptaan atau barang hasil pelanggaran Hak Cipta atau Hak Terkait sebagaimana dimaksud dalam ayat (1), dipidana dengan pidana penjara paling lama 5 (lima) ta- hun dan/atau denda paling banyak Rp 500.000.000,00 (li- ma ratus juta rupiah). iv Budiwirman Dr. Budiwirman, M. Pd Songket Minangkabau Sebagai Kajian Seni Rupa Penerbitan dan Percetakan. CV Berkah Prima Alamat: Jalan Datuk Perpatih Nan Sabatang, 287, Air Mati, Solok Email: [email protected]; [email protected] Editor, Nasbahry C., & Rahadian Z. Penerbit CV. Berkah Prima, Padang, 2018 1 (satu) jilid; total halaman 236 + xvi hal. ISBN: 978-602-5994-04-3 1. Tekstil, Songket 2. Seni Rupa 3. Pakaian Adat 1. Judul Songket Minangkabau Sebagai Kajian Seni Rupa Hak Cipta dilindungi oleh undang-undang. -
LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 ISSN: 0304-2294 Observation of Multimodal of Bersanding in Malay Wedding Visual Images in North Sumatra
LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 Observation of Multimodal of Bersanding in Malay Wedding Visual Images in North Sumatra T. Thyrhaya Zein*, T. Silvana Sinar, Rohani Ganie Fakultas Ilmu Budaya, Universitas Sumatera Utara, Jl. Dr. T. Mansur No. 9, Padang Bulan, Medan, North Sumatera 20222, Indonesia. Correspondence author: [email protected] Issue Details Abstract Issue Title: Issue 2 Received: 25 April, 2020 This study aims to identify the interpersonal multimodality represented in the visual im- Accepted: 22 May, 2020 Published: 30 June, 2020 agery of selected traditional Malay wedding ceremonies. It analyzed eight visual images Pages: 15 - 33 of a selected stage during the wedding ceremony in North Sumatra. The data were col- lected through a documentation technique and analyzed using interactive model analysis. Copyright © 2020 by author(s) and These results showed that the visual images were captured when photographic technol- Linguistica Antverpiensia ogy was not as developed as today. They presented the participants mostly from the frontal angle, without involving eye line to the viewer, and with the entire figure and distance around it, indicating a far social distance. Furthermore, the multimodal perspec- tive was presented in various lower, higher or eye-level, angles, which vary the distribu- tion of power with the viewer. These images showed low modality, printed in mono- chrome, and did not represent the actual colors in reality. However, this factor was not changed as the color representation in the photograph was still limited at the time. Also, it contrasts mainly with photographs captured before 1953, as their angle and social dis- tance of color images appear more diverse and intimate respectively. -
Talempong Kreasi and Talempong Goyang in West Sumatra
HUMANIORA VOLUME 29 Number 3 October 2017 Page 245–255 Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra Andar Indra Sastra, Nadya Fulzi, Syahri Anton E-mail: [email protected] ABSTRACT The aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. -
B. Barendregt the Sound of Longing for Homeredefining a Sense of Community Through Minang Popular Music
B. Barendregt The sound of longing for homeRedefining a sense of community through Minang popular music In: Bijdragen tot de Taal-, Land- en Volkenkunde 158 (2002), no: 3, Leiden, 411-450 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/23/2021 02:24:12PM via free access BART BARENDREGT The Sound of 'Longing for Home' Redefining a Sense of Community through Minang Popular Music Why, yes why, sir, am I singing? Oh, because I am longing, Longing for those who went abroad, Oh rabab, yes rabab, please spread the message To the people far away, so they'll come home quickly (From the popular Minangkabau traditional song 'Rabab'.) 1. Introduction: Changing mediascapes and emerging regional metaphors Traditionally each village federation in Minangkabau had its own repertoire of musical genres, tunes, and melodies, in which local historiography and songs of origin blended and the meta-landscape of alam Minangkabau (the Minangkabau universe) was depicted.1 Today, with the ever-increasing disper- sion of Minangkabau migrants all over Southeast Asia, the conception of the Minangkabau world is no longer restricted to the province of West Sumatra. 1 Earlier versions of this article were presented at the 34th Conference of the International Council of Traditional Music, Nitra, Slovakia, August 1996, and the VA/AVMI (Leiden Uni- versity) symposium on Media Cultures in Indonesia, 2-7 April 2001. Its present form owes much to critical comments received from audiences there. I would like to sincerely thank also my colleagues Suryadi, for his suggestions regarding the translations from the Minangkabau, and Robert Wessing, for his critical scrutiny of my English. -
Memahami Indonesia Melalui Sastra Buku 7: Indonesia Daiam Centa Rakyat Kementerian Pendidikan Dan Kebudayaan Republik Indonesia
e REPUBL ESA Sen Bahan D p ama Kebahasaan Pendu ng Pem _ laJaran Bahasa Indonesia bagl Penutur Asmg BIPA) Memahami Indonesia Melalui Sastra Buku 7: Indonesia daiam Centa Rakyat Kementerian Pendidikan dan Kebudayaan Republik Indonesia Seri Bahan Diplomasi Kebahasaan Pendukung Pembelajaran Bahasa Indonesia bagi Penutur Asing (BIPA) SAHABATKU INDONESIA Memahami Indonesia Melalui Sastra Buku 7: Indonesia dalam Cerita Rakyat Badan Pengembangan dan Pembinaan Bahasa 2018 Seri Bahan Diplomasi Kebahasaan Pendukung Pembelajaran Bahasa Indonesia bagi Penutur Asing (BIPA) Sahabatku Indonesia Memahami Indonesia Melalui Sastra Buku 7; Indonesia dalam Cerita Rakyat Pengarah Penyuntmg Dadang Sunendar Eri Setyowati Emma L.M. Nababan Penanggung Jav/ab Emi Emilia Redaksi Andi Maytendri Matutu Penyelia Larasati Deny Setiawan Apip R. Sudradjat Penyusun Naskah Desain dan Ilustrasi Sampul Maman S. Mahayana Evelyn Ghozalli Dewi Mindasari Penelaah Suminto A. Sayuti Ilustrasi Isi Dendy Sugono Noviyanti Wijaya Hak Cipta © 2018 Dilindungi Undang-Undang Badan Pengembangan dan Pembinaan Bahasa Kementerian Pendidikan dan Kebudayaan Republik Indonesia Katalog dalam Terbitan PB 899.218 4 Mahayana, Maman 8. MAH Sahabatku Indonesia: Memahami Indonesia melalui Sastra. Buku 7: s Indonesia dalam Cerita Rakyat/ Maman S. Mahayana; Eri Setyowati,Emma L.M. Nababan (penyunting). Jakarta: Badan Pengembangan dan Pembinaan Bahasa, Kementerian Pendidikan dan Kebudayaan,2018.7 jil.; 21 cm. ISBN 978-602-437-572-0 (jil.7) KESUSASTRAAN INDONESIA - KEMAMPUAN SASTRA KESUSASTRAAN INDONESIA -
Gandang Tasa: the King of Processional Music in Minangkabau
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.83, 2020 Gandang Tasa: The King of Processional Music in Minangkabau Yunaidi Asril ⃰ Karawitan Department, Faculty of Performing Arts Institut Seni Indonesia Padangpanjang Abstract Gandang tasa is a genre of traditional percussion music that continues to dominate various traditional and religious processions in Minangkabau, West Sumatra. Its musical power rests only on the performance of the rhythmic patterns of the gendang and tasa , which are played simultaneously and in an impulsive manner. The music is loud, energetic, and played in an open arena, either in the form of a procession or in an outdoor performance. The goal of this article is to discuss the dominant role of gandang tasa in various traditional and religious ritual processions in the Minangkabau community. The research method is a case study which focuses on the presence of gandang tasa in various ritual processions. The research results show that the loud, energetic character of the music, and the musical power of the rhythmic patterns played by the gandang tasa have led this music to dominate traditional and religious ritual processions in Minangkabau. Keywords : gandang tasa, king of processional music, energetic, Minangkabau DOI: 10.7176/ADS/83-02 Publication date: July 31st 2020 1. Introduction The people of Minangkabau have a variety of traditional music that is used in different traditional and religious ritual processions. Some ensembles, such as talempong, gandang oguang, gandang sarunai, gamad, katumbak, and gandang katipik , are used only for traditional ritual processions. Other ensembles are used solely for (Islamic) religious rituals; these include rabano , pano , and other similar genres using the frame drum. -
Mengenal Cerita Rakyat Indonesia)
UNIVERSITAS INDONESIA USULAN PEMBUATAN PROGRAM CHAT SHOW MENTARI (MENGENAL CERITA RAKYAT INDONESIA) TUGAS KARYA AKHIR (TKA) Diajukan sebagai syarat untuk memperoleh gelar Sarjana Sosial jurusan Ilmu Komunikasi Fakultas Ilmu Sosial Ilmu Politik CHRISTIAN MAXIUS DOTULONG 0806322501 FAKULTAS ILMU SOSIAL DAN ILMU POLITIK JURUSAN ILMU KOMUNIKASI PROGRAM STUDI JURNALISTIK DEPOK JANUARI 2012 Usulan pembuatan..., Christian Maxius Dotulong, FISIP UI, 2012 HALAMAN PERNYATAAN ORISINALITAS Tugas Karya Akhir ini adalah hasil karya saya sendiri, dan semua sumber baik yang dikutip maupun dirujuk telah saya nyatakan dengan benar. Nama : Christian Maxius Dotulong NPM : 0806322501 Tanda Tangan : Tanggal : 11 Januari 2012 ii Usulan pembuatan..., Christian Maxius Dotulong, FISIP UI, 2012 HALAMAN PENGESAHAN Tugas Karya Akhir ini diajukan oleh: Nama : Christian Maxius Dotulong NPM : 0806322501 Program Studi : Ilmu Komunikasi Judul TKA : Usulan Pembuatan Program Chat Show Mentari (Mengenal Cerita Rakyat Indonesia) telah berhasil dipertahankan di hadapan Dewan Penguji dan diterima sebagai bagian persyaratan yang diperlukan untuk memperoleh gelar Sarjana Reguler pada Program Studi Ilmu Komunikasi Fakultas Ilmu Sosial Ilmu Politik Universitas Indonesia. DEWAN PENGUJI Pembimbing : Dra. Endang Setiowati, M.Si ( ) Penguji Ahli : Dodi Mawardi, S.Sos ( ) Ketua Sidang : Dra. Rosy Tri Pagiwati, MA ( ) ditetapkan di : Depok tanggal : 11 Januari 2012 iii Usulan pembuatan..., Christian Maxius Dotulong, FISIP UI, 2012 KATA PENGANTAR Tidak ada kata yang pantas selain ucapan syukur kepada Yang Maha Kuasa, Tuhan Yesus, yang telah memberikan kekuatan kepada saya untuk menyelesaikan perjuangan menyusun Tugas Karya Akhir ini. Setiap ide, gagasan, kalimat, kata, bahkan tiap huruf yang tertulis di Tugas Karya Akhir ini hanya dapat tertuang seijin- Nya. Terima kasih, Tuhan Yesus! Tugas Karya Akhir ini adalah kontribusi saya untuk dunia nyata. -
Minangkabau Is Also Known As Minang and Padang and Is Widespread Among the Indonesian Archipelago
1. Description 1.1 Name(s) of society, language, and language family: The language of Minangkabau is also known as Minang and Padang and is widespread among the Indonesian archipelago. It’s spoken in west central Sumatra among other areas. It has many dialects and it’s classification, from most general to most specific, is Austronesian, Malayo-Polynesian, Malayo-Sumbawan, North and East, Malayic, and finally Malay.1 1.2 ISO code (3 letter code from ethnologue.com): min1 1.3 Location (latitude/longitude): The Minangkabau homeland is bordered by the Malay homelands of Riau and Jambi to its east, the Batak homeland to its north, and the Kerintji homeland to its south. The Indian Ocean lies to the west. 1.4 Brief history: The Minangkabau society was significantly changed in the nineteenth century after the Dutch government replaced the Dutch East India Company. The Paderi Wars, which began as a local Minangkabau adat traditionalists and Islamic fundamentalists, which led to the development of a more intensive colonial administration. A new and more elaborate hierarchy of administrative districts and leadership positions were defined. Schools provided Western education that was necessary for obtaining these positions and a new type of Minangkabau elite was produced. A rapid expansion of commercial agriculture happened at the beginning of the twentieth century.2 1.5 Influence of missionaries/schools/governments/powerful neighbors: The Acehnese were dominant sea traders along the west coast of Sumatra, and their homeland is north of the Batak homeland, and they had a very strong Islamic influence on Minangkabau culture. The culture was also strongly influenced by Malay and Javanese trading empires during the fifth and sixth centuries. -
Understanding Principal Values of Minangkabau's Outmigration In
REVIEW OF INTERNATIONAL GEOGRAPHICAL EDUCATION ISSN: 2146-0353 ● © RIGEO ● 11(4), WINTER, 2021 www.rigeo.org Research Article Understanding Principal Values of Minangkabau’s Outmigration in Indonesia Misnal Munir1 Moses Glorino Rumambo Pandin2 Universitas Gadjah Mada, Yogyakarta, Indonesia Universitas Airlangga, Surabaya, Indonesia [email protected] [email protected] 1Corresponding Author: E-mail: [email protected] Abstract Outmigration is a unique characteristic of the Minangkabau people who can be found in almost all regions of Indonesia. Historically, the Minangkabau migrants have coexisted peacefully with local communities in which they settle, and there is no record of conflict between the Minangkabau migrants and local inhabitants. This study attempted to determine the values espoused by this nomadic community. The study was grounded in literature study approach of philosophical hermeneutics and utilized methodical elements, such as description, induction deduction, synthesis analysis, and heuristics. The study also applied observation, and interviews with the Minangkabau migrants. The findings revealed that the culture of this ethnic group explicitly encourages young people to venture abroad. The ethical values that form the basis of the outmigration’s of the Minangkabau community are affirmed by the adat (local) proverbs that prescribe strong work ethics, mutual respect, and an understanding of the local culture to which they outmigrate. Keywords outmigration, principle, outmigration-values, Minangkabau To cite this article: Munir, M; Pandin, M, G, R. (2021) Understanding Principal Values of Minangkabau’s Outmigration In Indonesia. Review of International Geographical Education (RIGEO), 11(4), 127-137. doi: 10.48047/rigeo.11.04.10 Submitted: 02-02-2021 ● Revised: 16-04-2021 ● Accepted: 26-05-2021 © RIGEO ● Review of International Geographical Education 11(4), WINTER, 2021 Introduction The cultural traditions of the Minangkabau people are rich in values derived from indigenous wisdom. -
1 Orang Asli and Melayu Relations
1 Orang Asli and Melayu Relations: A Cross-Border Perspective (paper presented to the Second International Symposium of Jurnal Antropologi Indonesia, Padang, July 18-21, 2001) By Leonard Y. Andaya In present-day Malaysia the dominant ethnicity is the Melayu (Malay), followed numerically by the Chinese and the Indians. A very small percentage comprises a group of separate ethnicities that have been clustered together by a Malaysian government statute of 1960 under the generalized name of Orang Asli (the Original People). Among the “Orang Asli” themselves, however, they apply names usually associated with their specific area or by the generalized name meaning “human being”. In the literature the Orang Asli are divided into three groups: The Semang or Negrito, the Senoi, and the Orang Asli Melayu.1 Among the “Orang Asli”, however, the major distinction is between themselves and the outside world, and they would very likely second the sentiments of the Orang Asli and Orang Laut (Sea People) in Johor who regard themselves as “leaves of the same tree”.2 Today the Semang live in the coastal foothills and inland river valleys of Perak, interior Pahang, and Ulu (upriver) Kelantan, and rarely occupy lands above 1000 meters in elevation. But in the early twentieth century, Schebesta commented that the areas regarded as Negrito country included lands from Chaiya and Ulu Patani (Singora and Patthalung) to Kedah and to mid-Perak and northern Pahang.3 Most now live on the fringes rather than in the deep jungle itself, and maintain links with Malay farmers and Chinese shopkeepers. In the past they appear to have also frequented the coasts.