Delivery Pattern of Character Values in the Legend Group Themed Of
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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. -
The Values of Minangkabau Culture's Found in The
THE VALUES OF MINANGKABAU CULTURE’S FOUND IN THE MALIN KUNDANG A PAPER BY NURHAYATI REG. NO. 102202002 DIPLOMA-III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF SUMATERA UTARA MEDAN 2013 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Chairul Husni, M.Ed.TESOL. NIP: 195703081984031004 Submitted to Faculty of Culture Study University of Sumatera Utara In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dr. Matius C.A. Sembiring, M.A. NIP. 19521126198112 1 001 Approved by the Diploma III English Study Program Faculty of Culture Study, University of Sumatera Utara As a Paper for the Diploma (D-III) Examination UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiner in partial of the requirements for the D-III Examination of the Diploma-DIII of English Study Program, Faculty of Culture Study, University of Sumatera Utara. The Examination is held on June 2013 Faculty of Culture Study University of Sumatera Utara Dean, Dr. Syahron Lubis, M.A. NIP. 19511013197603 1 001 Board of Examiners Signature 1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) 2. Dra. Syahyar Hanum, DPFE (Supervisor) 3. Drs. Marzaini Manday, M.SPD. (Reader) UNIVERSITAS SUMATERA UTARA AUTHOR'S DECLARATION I, NURHAYATI declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. -
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Advances in Social Science, Education and Humanities Research, volume 463 Proceedings of the Eighth International Conference on Languages and Arts (ICLA-2019) Inventory, Identification, and Analysis of Randai Performing Arts Elements for the Development of Minangkabau Theatrical Dance Tulus Handra Kadir1 1 Universitas Negeri Padang, Padang, Indonesia, (email), [email protected] ABSTRACT This article describes the inventory, identification and analysis of elements of Randai performing art for the development of the Minangkabau theatrical dance based on Randai in the context of developing the Minangkabau performing arts. The development of contemporary performing arts, Randai and Minangkabau dance are not able to compete with modern performing arts. On the other hand, Randai has elements of performance that can be used in the development of theatrical dance, as a new form of Minangkabau performing art that combines elements of Randai and dance in Minangkabau. It is expected to be able to keep abreast of developments of contemporary performing arts. Development is based on research conducted qualitatively (the first phase of research) and experimentally (the second phase of research). Qualitative research was used to inventory and analyze data of Randai performance who were unable to compete in the realm of contemporary performing arts as well as inventory and analyze data, especially the elements of the performance that will be used in the development of the Minangkabau theatrical dance. Experimental research was used to create innovative dance that refers to the results of the first phase of research. This research uses an interdisciplinary approach (sociology /anthropology of dance and music, theater, choreography/dance composition, as well as the artistic performances). -
Merantau : Aspects of Outmigration of the Minangkabau People
MERANTAU : ASPECTS OF OUTMIGRATION OF THE MINANGKABAU PEOPLE by Auda Murad A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Demography in the Australian National University Canberra, May 1978. i D E C L A R A T I O N % Except where otherwise indicated, this thesis is my own work. Auda Murad May, 1978 ACKNOWLEDGEMENTS At the preliminary stage of this thesis, the scholar has benefited from the assistance of a number of persons in the Demography Department of Research School of Social Sciences at the Australian National University. My greatest debt of gratitude is to my supervisor, Dr. Peter F. McDonald, Department of Demography, for his supervision of the thesis and for his interest, encouragement, patience and guidance at all times during the period of study. I am also indebted to Dr. V.J. Hull and Dr. David Lucas, in the Department of Demography, for their constructive criticism and comments on various aspects of the thesis so that the study has been improved considerably. I sincerely thank Dr. A. Maude, School of Social Sciences at the Flinders University, who provided some information and data necessary for this study. My thanks also go to Mrs. Pat Ashman, secretary, who has been a help in many respects and typed the final version of my thesis. Finally, I wish to thank the Australian Government for providing me with the Colombo Plan Scholarship which has enabled me to study at the Australian National University. iii ABSTRACT Merantau is a unique form of migration found in the Minangkabau society. -
A Study of Minangkabau Tradisional Dance in Tanah Datar)
Advances in Social Science, Education and Humanities Research, volume 301 Seventh International Conference on Languages and Arts (ICLA 2018) MINANGKABAU DANCE MOVEMENT BASED ON ABS-SBK VALUE (A Study of Minangkabau Tradisional Dance in Tanah Datar) Afifah Asriati1 and Desfiarni2 1 Universitas Negeri Padang, Padang, Indonesia, [email protected] 2Universitas Negeri Padang, Padang, Indonesia, [email protected] Abstract Minangkabau dance is now increasingly existing. It is used and functions in many formal and informal events, both government and traditional events in various forms of tradition, as well as creations. It is also performed by both men and women, either in acrobatic motion using magic or not. On the other hand, the alim ulama and cerdik pandai are active in implementing the Adat Basandi Syarak Syarak Basandi Kitabullah (ABS-SBK). This philosophy means culture should be based on religion and religion should be based on Al-Quran. This article aims to inventory the appropriate movements of the Minangkabau dance based on the ABS- SBK value. This research is a qualitative study using documentation and interviews as techniques for collecting data. It is concluded that some dances still use the element of magic which is contrary to the ABS-SBK value. Keywords: Minangkabau Dance, movement based, ABS-SBK value. Introduction Basically, a dance communicates cultural values that are espoused by its supporters and functions as cultural expressions (Asriati: 2000). Philosophically, cultural values are included in the traditional philosophy known as Adaik Basandi Syarak, Syarak Basandi Kitabullah (culture should be based on religion and religion should be based on Qoran). This is commonly called ABS-SBK in Minangkabau. -
Matrilineal Inheritance and Migration in a Minangkabau Community R. J
M atrilineal Inheritance and M igration in a M inangkabau Community R. J. Chadwick Minangkabau and Marantau The matrilineal and uxorilocal Minangkabau population of West Sumatra is composed of about five hundred self-contained communities called nagari. These communities are geographically discrete, largely endogamous, and formerly self-governing.1 Each nagari has a specific ecological and economic adaptation according to its situation at home2 and pro duces a specific adaptation to city life among its very large emigre population. Migration from one's home nagari to another area is called marantau. Marantau is an ancient trend among the Minangkabau,3 is intrinsic to immemorial social process, and is functionally implicated in the social structure of villages in the homeland. But even in the 1 During my first fieldwork in Minangkabau, Koto Anu, the community I researched, did not constitute an ad ministrative unit in its own right. Together with a distant neighbor, the nagari Koto Apo, it was one part of an artificially created administrative unit, the kenegarian of Kaduo Koto (the two settlements). Under Dutch rule, it constituted one of the six communities in a different administrative unit, the lareh of Anam Koto (six settle ments). Neither lareh nor kenegarian were perceived as having any sociological relevance for Koto Anu people. (Like Koto Anu, the names Koto Apo, Kaduo Koto, and Anam Koto are pseudonyms.) The Village Law of 1979 (see Tsuyoshi Kato, "Different Fields, Similar Locusts: Adat Communities and The Village Law of 1979 in Indo nesia" Indonesia 20:89-114) constituted Koto Anu as a minimal administrative unit (desa) for the first time in liv ing memory and thus redressed the situation for Koto Anu people, at least. -
Rumah Gadang As a Symbolic Representation of Minangkabau Ethnic Identity
International Journal of Social Science and Humanity, Vol. 5, No. 1, January 2015 Rumah Gadang as a Symbolic Representation of Minangkabau Ethnic Identity Elda Franzia, Yasraf Amir Piliang, and Acep Iwan Saidi the people of Minangkabau bring their culture and tradition Abstract—Minangkabau is one of the ethnic groups in to their new land. Indonesia. This ethnic group is usually known by rumah makan Tradition is always becoming the base of the Minangkabau padang or traditional food stall with spicy and delicious food in culture. People whose travel always looking for their ethnic it, or by the people’s specific choice of earning their living such as being a seller or entrepreneurs. On the other hand, every group’s society. People need to be rooted to their culture. It ethnic group has a symbol or other visual identity use for their constructs their identity. Therefore the traveler is still identification. Rumah Gadang, the traditional house of connected to their villages and clan, and the traveler is always Minangkabau, is one of the symbolic representations of find the way to go back home. Minangkabau’s self identity. The unique visual form of Rumah Identity related to the cultural characteristic of the ethnic Gadang can be seen in many visual identities of Minangkabau’s people in daily basis, such as for rumah makan padang’s logo, group. Rumah gadang is the traditional house of stall’s identity, corporate identity, or as a virtual identity and a Minangkabau ethnic people. The modernization and profile picture in social network site such as Facebook. This globalization have transferred the rumah gadang into the phenomenon is becoming the visual language in Indonesia’s symbolic position of people’s tradition. -
The Politico-Cultural Dimension of Tabuik Piaman Performance in West Sumatra
THE POLITICO-CULTURAL DIMENSION OF TABUIK PIAMAN PERFORMANCE IN WEST SUMATRA A s r i l Doctoral student, Graduate School, Indonesia Institute of the Arts, Yogyakarta Abstract This article aims to discuss about performance of Tabuik Piaman from the perspective of cultural policy of the West Sumatra Province and Pariaman District. Tabuik Piaman as a ritual tradition of Muslims Syi’ah has long been a cultural heritage and colossal ritual by Muslims Sunni community in Pariaman district. For the Pariaman people, Tabuik Piaman ceremony has become a space expression of social and cultural community. Each execution of the ceremony is their responsibility. However, the potential and strength of this ceremony was not much gotten serious attention by the government, especially before the early 1980s. In the period of the mid-1960s to late 1980s, Tabuik Piaman just become an arena of influence scrambling by political parties to attract their supporters, then Tabuik Piaman encountered the period of tragic - labeled as "black sheep" riots trigger. Consequently, execution of the ceremony is often discontinued. Although in the mid-1960s the West Sumatra provincial government issued policy concept about “self-esteem restoration”, in order to rebuilding cultural identity especially Minangkabau, and local traditions in each region. In the early 1980s, the government of Pariaman viewed Tabuik Piaman performances as a very positive opportunity to be revived. Government tried to make a policy to create Tabuik Piaman as media publications, promotion, and agent of "identity" as well as a carrier of economic and tourism sectors. Then, the Tabuik Piaman ceremony was changed to tabuik tourism. -
1 BAB I PENDAHULUAN A. Latar Belakang Rumah Gadang
1 BAB I PENDAHULUAN A. Latar Belakang Rumah Gadang merupakan rumah komunal masyarakat Minangkabau, rumah ini juga disebut dengan nama lain oleh masyarakat setempat dengan nama Rumah Bagonjong atau ada juga yang menyebut dengan nama lain dengan Rumah Baanjuang. Oleh karena itu, baik dari gaya, hiasan bagian dalam dan luar serta fungsi sosial budaya Rumah Gadang mencerminkan kebudayaan dan nilai ke- Minangkabauan. Rumah Gadang berfungsi sebagai rumah tempat tinggal bagi anggota keluarga satu kaum, yang mana merupakan perlambangan kehadiran satu kaum dalam satu nagari, serta sebagai pusat kehidupan dan kerukunan seperti tempat bermufakat keluarga kaum dan melaksanakan upacara. Bahkan sebagai tempat merawat anggota keluarga yang sakit. Rumah Gadang biasanya dibangun di atas sebidang tanah milik keluarga induk di dalam suku atau kaum yang secara turun temurun dan hanya dimiliki atau diwarisi kepada perempuan pada kaum tersebut. Di halaman depan Rumah Gadang biasanya terdapat dua buah bangunan rangkiang, yang digunakan untuk menyimpan padi. Kata “Gadang” dalam bahasa Minangkabau artinya besar. Maka Rumah Gadang biasa memiliki ukuran besar dan sering digunakan untuk menyelesaikan urusan besar, seperti musyawarah adat dan upacara perkawinan. Rumah Gadang memiliki bentuk seperti rumah panggung dan persegi panjang. Lantainya terbuat 2 dari kayu. Atapnya menonjol dan mencuat ke atas. Biasanya dicat dengan warna coklat tua. Arsitektur Rumah Gadang yang unik ini menjadi daya tarik tersendiri bagi wisatawan yang melihatnya. Rumah Gadang menurut adat dimiliki oleh kaum perempuan yang akan terus diwariskan oleh seorang ibu kepada anak perempuannya di bawah kewenangan pemimpin kaum atau suku yang lazim disebut Mamak Kaum. Berdasarkan adat Minangkabau, setiap Rumah Gadang didiami oleh keluarga besar pihak istri yang terdiri atas nenek, anak-anak perempuan dan cucu perempuan. -
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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.com10/04/2021 09:38:53AM 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. -
A Study of Musical Facts in Talempong Goyang Ensemble at Minangkabau – West Sumatera
Asian Journal of Applied Science and Technology (AJAST) (Open Access Quarterly International Journal) Volume 2, Issue 2, Pages 1141-1149, April-June 2018 The Hybrid Identity on Music: A Study of Musical Facts in Talempong Goyang Ensemble at Minangkabau – West Sumatera Dolly Nofer1, Titis Srimuda Pitana2 and Dwi Susanto3 1Student at Master Degree Program of Cultural Studies, Postgraduate Faculty of Sebelas Maret University, Surakarta – INDONESIA. 2,3Lecturer at Master Degree Program of Cultural Studies, Postgraduate Faculty of Sebelas Maret University, Surakarta – INDONESIA. Email: [email protected] Article Received: 27 February 2018 Article Accepted: 29 April 2018 Article Published: 22 June 2018 ABSTRACT The purpose of this research is to find a hybrid identity in music art of Talempong Goyang in Minangkabau, West Sumatra. This analysis is based on the absence of genealogical awareness among the younger generation of the music. Many Minangkabau people are now unaware of the fact of the hybrid identity that is actually owned by Talempong Goyang music. The new Minangkabau generation, considers Talempong Goyang music as an original music or traditional music passed down by their ancestors. This research is used descriptive-qualitative method. In qualitative research, the intensive data obtained from the field is shown descriptively based on contextual categories or relationships, referring to the framework or system of thinking in this study. The data connected with Talempong Goyang (“shake” Talempong) context, cannot be separated from the process of interpretation involves the frame of researchers. It is to present an objective understanding of the reality that occurs in the symptoms studied. The result of this research is a hybrid process in Talempong Goyang music performance. -
The Existence of Bagurau Tradition on Instagram
The Existence of Bagurau Tradition on Instagram E Meigalia1, Y S Putra2 {[email protected], [email protected] } 1,2 Universitas Andalas Padang, Indonesia Abstract. Bagurau is a Minangkabau oral tradition that existed long before media technology developed as it is today. Of the many oral traditions that have disappeared and can no longer survive in this era, it still survives. Even this tradition is present in various social media that are now. This article explains the form of bagurau tradition of survival in the era of media technology with a focus on observations on Instagram social media. For this reason, qualitative methods are used with data collection techniques through observation on Instagram media. Based on these studies, bagurau is one of the popular Minangkabau oral traditions. Even some accounts make this tradition a superior content that not only increases the popularity of the account but also adds money to the entry. Keywords: Bagurau, Instagram, Minangkabau, Oral tradition, Social media 1. INTRODUCTION Today's social media has become a necessity for the community. Perrin [1] explained that from 2005 to 2015, social media users continued to show improvement. It also has an impact on various aspects of people's lives. Correspondingly, O, Keeffe [2] states that activities on social media today are common to the community, especially for children and adolescents. The use of social media continues to grow into the business world. Social media is not only used as a medium of communication and interaction but also can be a business tool [3] [4]. The use of social media as a means of business has resulted in the emergence of various content on social media.