JURNAL GRAMATIKA ISSN: 2442-8485 Jurnal Penelitian Pendidikan Bahasa dan Sastra Indonesia V4.i1 (62-70) E-ISSN: 2460-6316

A REALITY OF LANGUAGE AND LITERATURE AND ITS TRANSFORMATION TO A CREATION OF PERFORMANCE WORKS.

1Maryelliwati, 2Wahyudi Rahmat, 3Edwar Kemal

1Institut Seni Indonesia (ISI) Padangpanjang, 2,3STKIP PGRI Sumatera Barat Email: [email protected] [email protected], [email protected] Submitted :06-01-2018, Reviewed:24-01-2018, Accepted:01-04-2018 https://doi.org/10.22202/JG.2018.V4i1.2422

Abstract 's literary works are many in both oral, handwritten and printed in various printers. This article will illustrate Minangkabau's Minangkabau form of language into Minangkabau literature and its transition into a showpiece. The forms of writing are manifest in literature. The scope of Minangkabau literature is of course a literary work within the Minangkabau region. Minangkabau literature is an indigenous literature, which is a description of feelings, values and thoughts in the level of the proper path that is expressed in inherited by oral or kato-kato or rundiang kato bamisa (eg word- like bracket) of a generation of kegenarasi. Therefore, the research of this library is deemed necessary to describe the existence of its form to be sustainable in accordance with the times. Keywords: Minangkabau Language, Minangkabau Literature, Performing Works Creation

INTRODUCTION Minangkabau language as one of the most important regional languages ​ ​ in the The regional language is usually archipelago whose existence is considered the first language or the mother tongue safe in the times (Maryelliwati and used by the speakers in a regional activity, Wahyudi Rahmat, 2016). The importance in accordance with the culture of the area of the Minangkabau language is not only of ​ ​ the daily user society, so that the seen from the function but also influenced regional language is the image of a by the number of speakers, its spreading, civilization of a culture. Of the many and its role in everyday conversation. regional languages ​ ​ still showing its existence is the Minangkabau language Minangkabau language in addition which has a function as a symbol of can be diraskan existence in the form of culture from , and also as a oral, preservation can also be seen in the means of connecting within the family and form of writing (Rahmat, 2014). The Minangkabau society in the form of forms of writing are manifest in literature. communicating (Job et al, 1993: 13). The The scope of Minangkabau literature is of position and function of Minangkabau course a literary work within the language as mentioned above, makes the Minangkabau region. Minangkabau

62 Jurnal Gramatika - STKIP PGRI Sumatera Barat JURNAL GRAMATIKA ISSN: 2442-8485 Jurnal Penelitian Pendidikan Bahasa dan Sastra Indonesia V4.i1 (62-70) E-ISSN: 2460-6316 literature is an indigenous literature, which media of creation. A painter will scratch is a description of feelings and thoughts in his brush with a canvas, a keographer with the level of the proper path which is his dance, a composer with his music and a expressed in Minangkabau language director will create events from his script. inherited by oral or kato-kato or rundiang kato bamisa (multifarious word-talk) of a A text is sometimes only generation of kegenarasi (Maryelliwati, interesting if it is not only read, but needs 1995: 29). to be interpreted with beauty to be heard and seen. In other words the aesthetics is The oral tradition as a wealth of attached until the text is displayed in the Minangkabau cultural literature is one of form of meaningful performances. In the the most valuable forms of cultural Minangkabau language study and expression, not only to preserve the Minangkabau literature changes in the cultural values ​ ​ of a traditional society, form of performances became a necessary but also to become the cultural root of a form for an art worker, but certainly did new society. In the sense, oral tradition can not abandon any values ​ ​ that existed in be the source of a new cultural creation ) the Minangkabau language or literature. According to Amir in Gayatri (2006), Therefore it is necessary to elaborate the mention that  (Esten, 1999: 105 given its Minangkabau and Minangkabau function in society, the Minangkabau oral Minangkabau forms of transformation into tradition in terms of its existence is the form of performing arts, so that the grouped into three, which is threatened values ​ ​ and functions of a culture can with extinction due to the development of survive well. the society to the loss of function and its The several forms of language and role, Secondly, the variety of oral tradition literature that exist in Minangkabau are that survives from extinction by making still many peminatnya is as follows: adjustments and developments so as to get the greeting from the society 3. Third, the 1. Petatah Petitih variety of oral tradition that has not changed at all as it relates to traditional Petitih petitih or petitih maxim ceremonies, such as customary pantun and (Djamaris, 2003: 32) is a sentence or pasambahan, commonly found in phrase that contains a deep, broad, precise, ceremonies of events, death, and subtle and figurative. In an oral tradition welcoming guests. society, the proverb petitih or expression that contains the doctrine, the very The pattern of Minangkabau important view of life departs from nature society's conception either in daily life or where they are or in terms of the natural in literature seems to be built through custom of the mine to be a teacher (nature observations of the natural phenomenon in developed into a teacher). which they live. Reality is one of the main sources of every idea of ​ ​ an art creator 2. Pidato dan Pasambahan from the many ideas that lie in this world. Customary speech and The idea is then actualized in various encroachment are one of Minangkabau's 63 Jurnal Gramatika - STKIP PGRI Sumatera Barat JURNAL GRAMATIKA ISSN: 2442-8485 Jurnal Penelitian Pendidikan Bahasa dan Sastra Indonesia V4.i1 (62-70) E-ISSN: 2460-6316 oral and extant literary genres of literature of language is the mantra. Mantra is to date. This is because Minangkabau spoken verbally by one person for the people who still use it in every ceremony purpose of bringing good or evil to someone. Mantra is the oldest literature in the archipelago. Mantra is the oldest oral literature, this is in line with the opinion of Usman (2006: 36) which menytakan that mantra is a type of oral literature whose existence is considered the most elderly in the world. As one form of culture in Indonesia, the existence of the mantra is now almost forgotten and even almost extinct because of its function that is feared by the community, but in fact the such as in marriage, death, eating, drinking mantra has an important role in the form of and so forth. Sambah means giving that defending a cultural form such as a spell respect. for treatment. Teeuw (1992: 7) mentions 3. Pantun that the mantra is a type of oral literature that was first known to man. Pantun in general is also known to rhyme a-b-a-b. Ie two sampiran and two 5. Legend contents. In Minangkabau, pantun is very Legend is a prose of the people popular with every kalanagan community. who cut down in the midst of society. The A very visible haunt is when they bagurau legend is not only an ordinary folklore, but or joke among their circles. Pantun it it is also a dispensation of cultural and includes pantun children kaulamuda, social moral values ​ ​ that reflect its solace, loneliness, kesangsian, and so forth.

Djamaris (2003: 18) mentions that Rangkoto (1980) managed to collect a kind of Minangkabau pantun which was then published in a collection of Minangkabau pantun. Pantun is collected as many as 195 titles and themes themed ethics, people, history, custom institutions, customs parable, adata ceremony and so forth.

4. Mantra society.

Language as a means of In Minangkabau so many legends communication, used by every human live and flourish in the midst of being to interact with other people Minangkabau society, usually every area regardless of the form of the form of of the area in Minangkabau has their delivery of either oral or written. One form legend respectively. But many known as 64 Jurnal Gramatika - STKIP PGRI Sumatera Barat JURNAL GRAMATIKA ISSN: 2442-8485 Jurnal Penelitian Pendidikan Bahasa dan Sastra Indonesia V4.i1 (62-70) E-ISSN: 2460-6316 the legend of , Ikan Sungai for kaba it has the allure of woven kaba it Janiah, Pagaruyuang, Lake Maninjau, in the form of stories and given the name Legend od Dareh River, Padangpanjang kaba (Udin, 1987: 17). and so forth. 7.

Randai is a traditional 6. Kaba Minangkabau drama or theater that has lived and long developed from a period of The word kaba is the same as time in every tribe in Minangkabau. "news", so it may also mean "news". But Randai in Minangkabau used to play in the as a term he points to a kind of traditional gadang home or open field where the bias Minangkabau oral literature. Kaba is is where the community gather or lyrical prose. This form is retained when it berkeramaian. Randai is one of the most is published in book form. complex of Minangkabau traditional arts, Unity is not a sentence and not a played in groups by forming a line. Its unity is a lengthy pronunciation circle/legaran with a dance accompaniment. consisting of two equal parts. A unity will be observed by other entities with the same pattern, resulting in the repetition or alignment of the structure. In various phrases the term kaba is often preceded by the term curito (story) so it is always called curito kaba (news story) (Navis, 1982: 243).

From the above statement it is clear that randai serves as a socio-cultural media of society and socialization of cultural ethnic that is as a function of entertainment, educational function, social function and social criticism (Maryelliwati, 2007). In Minangkabau, once every kampuang had one team of randai. Usually one group of randai is 14 to 25 people. They practiced it for quite a long time so the funny term was just a tooth that did not sweat when people Kaba is a folklore beside fairy tales, wished. saga, and other stories. Kaba's story was 8. never conveyed by using poetry. In order

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Indang is a traditional Islamic matters relating to this research. This drama performing arts scene in Padang method is said to be a method of Pariaman. It is usually taught in surau- description because the results of his surau that exist in every Korong in that research later in the form of a description area of society. Djamaris (2003: 184) also of a state, event, and interpret the object in explained that after the show was held in accordance with what it is. The source of surau-surau, then in the next development this research data is a lie that looks at the is done in the open like a field or building language, literature and art form of performances or alek or wedding creation that has been cultivated and party. produced based on the interpretation of the performing masterpiece. Always an odd numbered player played by men and in its development RESULTS AND DISCUSSION played also by women. In parantang the story uses poetic poetry. Indang A change will be felt if something performances accompanied by rhythmic is different from the previous one. That musical instruments called repa'i difference does not only occur in small (Djamaris, 2003: 184). numbers, but also occurs on a large scale. A change can run slowly or quickly. These changes can vary because the community is a dynamic society. Some of the factors that affect change sometimes support and agree on the flexibility of the change. These factors make changes in a form that is maintained over time. Sometimes these factors also resist change because it will destroy an original form into a new form. The existence of Minangkabau oral cultures, languages ​ ​ and literature seems to be changing from time to time. RESEARCH METHODOLOGY These changes indicate the In this research, research method tremendous influence of the times, even used is description method. This method is most of these changes can not be felt by a method of reading carefully, young people who only inherit a new form understanding each content with the of change in their lives. The younger overall reading technique, listening to each generation seemed blinded by the new reading and then recording it in the data civilization and blinded the great old corpus. This is in accordance with opinion civilization they had not yet felt. The form, (Rahmat, 2017) which states that these nature and nature traits are meted out to all methods and techniques use the method of aspects of life to be a teaching and a reading by understanding each of the worldview. contents of the whole and recording

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The Minangkabau community appears to be broader, encompassing embraces the concept of nature as a manuscripts, appearances on stage and teacher. Furthermore, the teachings and drama as art consisting of the main worldviews are cited in the proverbs of elements in the drama of plot, character, petitih, advice, mamangan and thimbles chart or story content, resolution and (Navis in Octavian, 2013: 59). In an oral decision (Tambayong, 1981). In search of tradition society, the proverb petitih or a source of inspiration for the creation of a expression that contains the doctrine, the work, can come from anywhere. It can very important view of life. Everything is come from the process of imagination, delivered orally and then delivered through information, nature or life experience. various media one of them through Artwork is an enrichment of knowledge literature, performances and so forth. which is a form of beauty with a stage The oral Minangkabau literature is a form medium which is a reflexity of the of folklore that is lived and passed down performing arts to the art community or from generation to generation in the not. The reflexity of the performing arts to traditional, unwritten form and the the arts and non art community has made possibilities of missing, extinct or altered the stage as a medium for the delivery of that will inevitably exist in the turmoil of messages and meaning as one of the human life. Much of the oral literature that methods of achieving the truth which is persists or persists in the changing times knitted with philosophical aesthetic values. has undergone many changes. Such phenomena of change also affect the The things that can be done in the existence of Minangkabau literature. background process of the creation of works can start from fantasizing. Contempt Reality is one of the main sources for a writer or creator of a work is a of every idea of ​ ​ an art creator from process of looking for ideas, whether they the many ideas that lie in this world. The are imaginary, fantasy, inspiration and idea is then actualized in various media of emotion in the values ​ ​ of society. creation. A painter will scratch his brush After the imaginary process, the next thing with a canvas, a keographer with his dance, to do is to write the ideas into cool form, a composer with his music and a director can be images, symbols, symbols or even will create events from his script. A text is be in the form of a draft of a story. sometimes only interesting if it is not only read, but needs to be interpreted with In theater arts, the director and beauty to be heard and seen. In other directing is a movement of discourse that words the aesthetics is attached until the influences the dramaturgy that develops in text is displayed in the form of meaningful the situation of a particular time. A performances. director first looks for a script that is lifted onto the stage. The basic principles of a In the Indonesian encyclopaedia, theater originated from the play script meaningful performances are given the made by the author of the script and then term dramaturgy or the art of staging or applied by the director in the form of drama. This dramaturgian perspective theater performances. The manuscript is

67 Jurnal Gramatika - STKIP PGRI Sumatera Barat JURNAL GRAMATIKA ISSN: 2442-8485 Jurnal Penelitian Pendidikan Bahasa dan Sastra Indonesia V4.i1 (62-70) E-ISSN: 2460-6316 the basic ideas worked on in the form of closely related to the nature of thought dialogue between characters, then the which is the basis of thinking of every relationship between events on the miter human being. According Arifin (1980) to can be understood and digested, so that the work on a concept or idea, it takes several show and the audience becomes a unity levels, namely the stage of discovery of that can bring the values ​ ​ or messages ideas and the formation of concepts, and meaning as one method of achieving deepening, appreciation and interpretation the side aesthetic truth. of manuscripts and roles in the concept or idea. The social phenomenon of society that has tendency of thematic Good manuscripts when the pengaktualisasian from social condition, manuscript is rich with new ideas, whether culture, economy, religion and even from a philosophical point of view, social, politics become inspiration in show tetaer cultural, political and not plagiarism. A born from creative process of dramaturg good script, can also be seen through its (author of drama) and director. The author literary value, the language it uses, fresh, and the director must first know the clichéed or not. According to Bowskill (in phenomena or the nature of the theater. If a Arifin, 1980), mentioning that a good director makes an interpretation of a drama script should meet the following criteria: script, then a drama writer not only executes an interpretation of human life, 1. Able to spark human joy and but must also understand life itself. fears that will blend in with the excitement and fear that is in the The theater that has been directed, audience. has been in the position of a creative idea 2. Gives a wealth of soul or mind, or an effective main point and will become frees human from prejudices and a reality. It becomes an education for the gives a sense of calm and power of the level of intelligence and pleasure. entertainment facilities for the art 3. Create situations that require connoisseur. If an art that reflects life, then answers, encourage imagination it can bring practical guidance in the real and provide intense, powerful life of the audience. This method will be a and powerful experiences. reasoning method in understanding acting 4. Not making statements. The honestly, sincerely and simply so that the manuscripts pose difficult or theater that has been directed to be in the unanswered questions in the position of an effective creative idea will manuscript. become a reality. 5. The dialogues are good, the language is easy to express the Writing a drama script is complex, feeling that the theme and the because after all the wild form of a thought, value contained can be realized there must be a rule in the process of its and felt. creation. The drama script which is the result of the source of creation is always

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6. When read repeatedly and dug Secondly, colleagues and colleagues who continuously, will lead to clearer have been willing to be friends of understandings in the text. discussion and share references on the 7. The manuscript must extract issues studied. Third, a family that always truths from one's sight. Must be provides motivation so that researchers can original, broad, deep and complete this research on time and on the appropriate. parties that may not be mentioned one by one. Hopefully this research can add No matter how good a drama is, insight and useful for the development of but if you do not pay attention to the science. correct structure in accordance with the intrinsic truth of a human being, it will be BIBLIOGRAPHY difficult to see the manuscript as a good script. Arifin, Max. 1980. Teater, Sebuah Perkenalan Dasar. Ende-Flores: Offset Arnoldus CONCLUSION Ayub, Asni dkk. (1993). Tata Bahasa Based on the above analysis, it can Minangkabau. Jakarta: Pusat be concluded that in various forms Pembinaan dan Pengembangan Minangkabau language and Minangkabau Bahasa. Depdikbud. folk literature can be processed or adapted into a form of performing art is a form of Djamaris, Edward. 2003. Pengantar Sastra preservation. Minangkabau languages Rakyat Minangkabau. Jakarta: Obor ​ ​ and literature, Minangkabau dukes and local art performances in Esten, Mursal. (1999). Desetralisasi Minangkabau, all contain values ​ ​ so Kebudayaan. Bandung: Angkasa. that any form of change produced will not alter the content produced in various forms Gayatri, Satya. (2006). Formulaik Dan of engagement, whether in the form of Fungsi Dalam Pertunjukan Teater dance, theater or painting depending on the Tradisional Tupai Janjang. Laporan point of view of the practitioner the work. Penelitian. Padang: Fakultas Sastra

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