Folklore: Intangible Cultural Heritage As a Medium to Strengthen The
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Semiotic in Lyrics and Perception of Community of Nagari Suayan on Saluang Ratok Suayan Anguih
Semiotic in Lyrics and Perception of Community of Nagari Suayan on Saluang Ratok Suayan Anguih Hasnul Fikri, Syofiani Syofiani and Lolita Lestari Fakultas Keguruan dan Ilmu Pendidikan, Universitas Bung Hatta, Padang, Indonesia [email protected] Keywords: Semiotic code, people's perception, lyrics, Saluang. Abstract: This research aimed to describe the codes and their meanings that are used in the Saluang Ratok Suayan Anguih lyrics and the perception of Nagari Suayan community on Saluang Ratok Suayan Anguih. This research used descriptive qualitative method, while community perceptions were analyzed using simple statistics. The data of this study are the words in the lyrics of Saluang Ratok Suayan Anguih and responses of informants to questionnaire or interview. Based on data analysis, it is concluded that: First, there are three semiotic codes, namely denotation, connotation, and myth in the lyric. The semiotic codes are used to describe the suffering of people due the fire that hit their country. Second, the younger informants are unfamiliar with the Saluang Ratok Suayan Anguih, while the older ones are more familiar with it. It is because the fire event told in Saluang Ratok Suayan Anguih occurred long-long time ago and this storytelling is getting less and less performed. 1 INTRODUCTION saluangs are found in Nagari Suayan, one of which is saluang Ratok Suayan Anguih (in the next description Literature as a branch of art is an integral part of abbreviated with SRSA). SRSA lyrics is a literary culture. Literature has become part of the experience work created by a saluang singer (pendendang) of human life, both from the human aspect that named Gadih, a native from Nagari Suayan. -
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. -
Peraturan Bupati Kab. Dharmasraya Nomor 12 Tahun 2018.Pdf
SALINAN BUPATI DHARMASRAYA PROVINSI SUMATERA BARAT PERATURAN BUPATI DHARMASRAYA NOMOR 12 TAHUN 2018 TENTANG BESARAN ALOKASI DANA BAGI HASIL PAJAK DAERAH DAN RETRIBUSI DAERAH KEPADA NAGARI TAHUN 2018 DENGAN RAHMAT TUHAN YANG MAHA ESA BUPATI DHARMASRAYA, Menimbang : bahwa untuk melaksanakan ketentuan pasal 97 ayat (4) Peraturan Pemerintah Nomor 43 Tahun 2014 tentang Peraturan Pelaksanaan Undang-Undang Nomor 6 Tahun 2014 tentang Desa sebagaimana telah diubah dengan Peraturan Pemerintah Nomor 47 Tahun 2015, perlu menetapkan Peraturan Bupati tentang Besaran Alokasi Dana Bagi Hasil Pajak Daerah dan Retribusi Daerah kepada Nagari Tahun 2018; Mengingat : 1. Undang-Undang Nomor 38 Tahun tentang Pembentukan Kabupaten Dharmasraya,Kabupaten Solok Selatan dan Kabupaten Pasaman Barat (Lembaran Negara Republik Indonesia Tahun 2003 Nomor 153, Tambahan Lembaran Negara Republik Indonesia Nomor 4348); 2. Undang-Undang Nomor 28 Tahun 2009 tentang Pajak Daerah dan Retribusi Daerah (Lembaran Negara Republik Indonesia Tahun 2009 Nomor 130, Tambahan Lembaran Negara Republik Indonesia Nomor 5049); 3. Undang-Undang Nomor 6 Tahun 2014 tentang Desa (Lembaran Negara Republik Indonesia Tahun 2014 Nomor 7, Tambahan Lembaran Negara Republik Indonesia Nomor 5495); 4. Undang-Undang Nomor 23 Tahun 2014 tentang Pemerintahan Daerah (Lembaran Negara Republik Indonesia tahun 2014 Nomor 244, Tambahan Lembaran Negara Republik Indonesia Nomor 5587); sebagaimana telah beberapa kali di ubah terakhir dengan Undang- Undang Nomor 9 Tahun 2015 (Lembaran Negara Republik Indonesia Tahun 2015 Nomor 269); 5. Peraturan Pemerintah Nomor 43 Tahun 2014 tentang Peraturan Pelaksanaan Undang-Undang Nomor 6 Tahun 2014 tentang Desa sebagaimana telah diubah dengan Peraturan Pemerintah Nomor 47 Tahun 2015 tentang Perubahan Peraturan Pemerintah Nomor 43 Tahun 2014 tentang Peraturan Pelaksanaan Undang-Undang Nomor 6 Tahun 2014 tentang Desa (Lembaran Negara Republik Indonesia Tahun 2014 Nomor 157, Tambahan Lembaran Negara Republik Indonesia Nomor 5717); 6. -
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. -
Lareh Nan Bunta: Power Systems and the Concept of Musical Aesthetics in Talempong Basaua in Luhak 50 Koto Minangkabau
Harmonia: Journal of Arts Research and Education 18 (1) (2018), 107-116 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.13280 Lareh Nan Bunta: Power Systems and The Concept of Musical Aesthetics in Talempong Basaua in Luhak 50 Koto Minangkabau Andar Indra Sastra, Wilma Sriwulan, Yon Hendri Institut Seni Indonesia Padangpanjang, Indonesia Received: February 6, 2018. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract The goal of this article is to bring to light lareh nan bunta as a form of representation of the sys- tem of democracy – or power – developed by Dt. Nan Sakelap Dunia. The discussion in this paper uses a qualitative method which is backed up by quantitative data. The data was collected through participant observation, interviewing, discussion, and analysis. The analysis was car- ried out using a descriptive method using theoretical reasoning, with knowledge of aesthetics and art. The results of the research show that conceptually, talempong basaua is a musical reality which represents lareh nan bunta in Luhak 50 Koto Minangkabau. Lareh nan bunta is a synthesis of the influence of power – or dialectic – between lareh kotopiliang (autocracy) and lareh bodicaniago (democracy), each with its own system of leadership. The dualism in the autocratic and demo- cratic systems of power form a balancing power known as lareh nan bunta – a combination of all three existing conceptions. Lareh nan bunta is also reflected in the concept of musical aesthetics in talempong basaua in Luhak 50 Koto Minangkabau. Talempong basaua represents a combination of two musical concepts, namely talempong and the rhythms or irama of dendang (vocal music), which are combined to create a new genre. -
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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). -
The Genealogy of Muslim Radicalism in Indonesia A
The Genealogy of Muslim Radicalism in Indonesia THE GENEALOGY OF MUSLIM RADICALISM IN INDONESIA A Study of the Roots and Characteristics of the Padri Movement Abd A’la IAIN Sunan Ampel Surabaya, Indonesia Abstract: This paper will trace the roots of religious radicalism in Indonesia with the Padri movement as the case in point. It argues that the history of the Padri movement is complex and multifaceted. Nevertheless, it seems to be clear that the Padri movement was in many ways a reincarnation of its counterpart in the Arabian Peninsula, the Wahhabi> > movement, even though it was not a perfect replica of the latter. While the two shared some similarities, they were also quite different in other respects. The historical passage of the Padris was therefore not the same as that of the Wahhabi> s.> Each movement had its own dimensions and peculiarities according to its particular context and setting. Despite these differences, both were united by the same objective; they were radical in their determination to establish what they considered the purest version of Islam, and both manipulated religious symbols in pursuit of their political agendas. Keywords: Padri movement, fundamentalism, radicalism, Minangkabau, Wahhabism.> Introduction Almost all historians agree that Islam in the Malay Archipelago – a large part of which subsequently became known as Indonesia – was disseminated in a peaceful process. The people of the archipelago accepted the religion of Islam wholeheartedly without any pressure or compulsion. To a certain extent, these people even treated Islam as belonging to their own culture, seeing striking similarities between the new religion and existing local traditions. -
Rhetoric and Figure of Speech Minangkabau Locality in Kaba Rancak Di Labuah by Datuak Panduko Alam and Anggun Nan Tongga by Ambas Mahkota
Jurnal Kata : Penelitian tentang Ilmu Bahasa dan Sastra Volume: 3, Nomor, 2 Tahun 2019 E-ISSN: 2502-0706 Open Access: http://ejournal.kopertis10.or.id/index.php/kata RHETORIC AND FIGURE OF SPEECH MINANGKABAU LOCALITY IN KABA RANCAK DI LABUAH BY DATUAK PANDUKO ALAM AND ANGGUN NAN TONGGA BY AMBAS MAHKOTA RETORIK DAN MAJAS LOKALITAS MINANGKABAU DALAM KABA RANCAK DI LABUAH KARYA DATUAK PANDUKO ALAM DAN ANGGUN NAN TONGGA KARYA AMBAS MAHKOTA Rio Rinaldi Fakultas Keguruan dan Ilmu Pendidikan, Universitas Bung Hatta, e-mail: [email protected] Article history: Abstract This paper aims to describe the rhetoric and figure of speech Received Minangkabau locality in kaba Rancak di Labuah by Dt. Panduko Alam and 09 September 2019 Anggun and Tongga by Ambas Mahkota. This type of research is descriptive Received in revised form qualitative. The data in this study are in the form of words that indicate the 12 Oktober 2019 concept of rhetorical style consisting of style of affirmation and opposition; majas consisting of comparative style and satire Minangkabau locality. The Accepted source of data in this study is the kaba Rancak Labuah by Dt. Panduko Alam 27 Oktober 2019 and Anggun and Tongga by Ambas Mahkota in Minangkabau language. Available online From the results of identification and classification of the finding data, Oktober 2019 language style shows the language, community, and culture of the Minangkabau. Language identity refers to local ways of delivering, using Keywords: diction and vocabulary so that it is unique to the cultural identity of a Rhetoric; Figure; Speech Of Minangkabau community. To express an idea directly, the use of diction and Minangkabay, Kaba. -
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. -
The Prism Ke Aniani- ‘O Paka
University of Hawai‘i at Mānoa Fall 2011 ¯ Issue 1 The Prism Ke Aniani- ‘O paka Welcome Message From Our Chancellor Aloha! I welcome you partnering effectively Like a prism which dis- perses light into a spec- to the first issue of The with our global com- trum of colors, the name Prism, created by the munity to solve chal- of our e-newsletter - The Office of International lenges we all share. Prism - was chosen to and Exchange Pro- symbolize a unit that grams (OIEP) with the Please enjoy reading disperses information assistance of other UH The Prism to keep up- about the many diverse Mānoa departments. dated on the wonderful International programs The Prism is a quarter- diversity that your uni- at UH Mānoa. ly e-newsletter that will versity has to offer. A special mahalo to the highlight news of inter- Also, please provide Hawai‘inuiākea School national activities from input on activities in of Hawaiian Knowledge our numerous and di- your lives that we can for suggesting the name verse international share with our interna- Ke Aniani ‘Ōpaka, which programs. The articles can enjoy a multicul- tional ‘ohana. translates as “The Glass in The Prism are tural global experience Prism.” meant to inform you in a Hawaiian place of With warm aloha, and spark an interest learning. As the world in “all things interna- becomes ever more tional.” interconnected, international education Soo-Yeon Lyuh Our UH Mānoa cam- plays an increasingly Virginia S. Hinshaw pus is a place where important role in build- Chancellor Haegeum Concert students and faculty ing relationships and Friday, October 28, 2011 7:30 p.m.