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Lareh Nan Bunta: Power Systems and the Concept of Musical Aesthetics in Talempong Basaua in Luhak 50 Koto Minangkabau

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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. Keywords: Lareh nan bunta; Power; Aesthetics; Talempong basaua; 50 Koto; Minangkabau How to Cite: Andar Indra Sastra, Wilma Sriwulan, Yon Hendri. (2018). 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), 107-116. doi:http://dx.doi.org/10.15294/harmonia.v18i1.13280 INTRODUCTION This tradition consistently mentions two functionaries of the law, Dt. Parpatiah Nan Lareh Nan Bunta represents the dia- Sabatang and Dt. Katumangguangan, who lectic of a conflict between the ideologies according to legend quarreled about the of two legendary Minangkabau figures, government system to be enforced after namely: Dt. Katumanggungan and Dt. Par- the era of Adityawarman. Their disagree- patiah Nan Sabatang. According to legend, ment led to the establishment of two poli- these two figures were involved in a con- tical and legal systems – systems of leader- flict of ideology, especially after the end ship – namely Kalarasan Kotopiliang headed of Adityawarman’s reign of power (1347- by Dt. Katumangguangan and Kalarasan 1375) in Minangkabau. Christine Dobbin Bodicaniago headed by Dt. Parpatiah (Dob- states that from this time on, the history of bin, 1992). These two sources of law initi- Minangkabau entered into an oral traditi- ated the conflict between the followers of on – known by the local people as tambo. Parpatiah and Katumangguangan, and Corresponding author: Jln. Bahder Johan No. 35 Padangpanjang –Sumatra Barat, 27128 E-mail: [email protected] 107 108 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 107-116 each district (nagari) in Luhak Nan Tigo different legal tradition – known as lareh or Minangkabau has since had a tendency to laras. Limo Kaum is the central point for all follow the leadership of one of these two nagari which follow the Kalarasan Bodicania- traditions. V Rifai (2007), as quoted by Ju- go system. Sungai Tarab, meanwhile, is the naidi in Harmonia, states that leadership central point of the rival tradition – Lareh is the process of influencing, motivating, Kotopiliang (Dobbin, 1992) – both of which and improving the behavior of people in are found in Luhak Tanah Data. Mochtar an organization [community] in achieving Naim states that the conflict between these the goals of the group and their culture (Ju- two figures led to a kind of phratry dua- naidi, 2017). lism which up to the present day conti- Politics and law are related to a go- nues to colour all areas of life and culture vernment system, which in turn is oriented in Minangkabau. To the outside, and in all towards the system known as kalarasan (a intents and purposes, the Minangkabau customary government system), and this community is united, but on the inside, its refers back to these two legendary figures. social and cultural system displays dialec- Andar Indra Sastra in Humaniora states that ticism, dichotomy, and bipolarity (Naim, these two figures established the two go- 1983). This bipolarity in the conflict of the vernment systems that were subsequently two different ideologies led to the emer- followed by every district (nagari) in Mi- gence of a third figure, Rajo Babandiang, nangkabau. Dt. Parpatiah Nan Sabatang’s who took the initiative to integrate the two government system was known for its con- conflicting systems to create a third sys- cept of mambusek dari bumi (bursting from tem, known as Lareh Nan Bunta or Lareh the earth), which was more democratic in Nan Panjang. Over the course of time and nature. In this system, decisions were made as a result of the migration of some mem- by a government by process of deliberati- bers of the Minangkabau community, a fu- on. Dt. Parpatiah Nan Sabatang’s govern- sion between the two traditions began to ment system is also commonly referred appear in some nagari. In his dissertation, to as Lareh Bodicaniago (Andar, 2017). Dt. Andar Indra Sastra states that in general, Katumangguangan with his Kalarasan Ko- nagari which purely retain the tradition of topiliang established an autocratic govern- Koto Piliang are more prominent in Luhak ment system which nevertheless retained Tanah Data, while those who purely retain an element of deliberation and discussion. the tradition of Bodi Caniago are found Decisions were only discussed by officials primarily in Luhak Agam. In Luhak 50 at the highest level, while lower officials Koto, meanwhile, there is a combination of and the general public had to accept the re- the two traditions (Sastra, 2015). sults of the decisions made by those higher This ideological conflict has also in- up in rank. This Kalarasan Kotopiliang style fluenced the formation of a musical concept of government is known symbolically as which aesthetically is worth discussing in manitiak dari ateh (dripping down from the more detail. Musically, the significance of top) which means instructions are given this concept can be seen in the music sys- from the highest level (Andar, 2017). In ot- tem that was created, both from bronze her words, the government system of Dt. music (talempong) and from the concept of Katumangguangan was oriented towards vocal music. This new form of talempong the system of a monarchy; and from this music promotes the concept of basaua. The time onward, the two systems that were concept of basaua is a talempong playing based on different ideologies became in- technique which produces different melo- volved in the conflict. dies from those used in the performance of The conflict described between these talempong bararak (played in procession) two figures led to the implementation of and talempong duduak (played while sea- these two systems in every nagari. Accor- ted). ding to Christine Dobbin, each imposes a Numerous studies related to the po- Andar Indra Sastra, Wilma Sriwulan, Yon Hendri, Lareh Nan Bunta: Power Systems ... 109 wer system in Minangkabau have been viewing the informants. The data obtained carried out, amongst others by Christine from the interviews with informants was Dobbin (1992); Muchtar Naim (1983); A.A. divided into two sections, first about the Navis (1986); Taufik Abfullah (1987); and concept of lareh nan bunta in the social Zuryadan Zubir (2010). Their thought con- system of the Luhak 50 Koto community; cepts are used to construct a framework of and second, related to the performance of thought and provide an explanation of the talempong basaua, including: the number of social system – of politics and law – in the players and musical concept of talempong community of Luhak Nan Tigo Minangka- – polong, tongah and tingkah, each holding 2 bau. Meanwhile, studies about talempong (two) talempong. The polong plays talem- from a different perspective have been pong 2 and 4; the tongah plays talempong written by Nadiya Fulzi (2014) and Andar 1 and 3, and the tingkah plays talempong 5 Indra Sastra (2015). The information ob- and 6. tained from these two researchers can be In addition to interviews, documen- used as secondary and comparative data tation was also made through audio-visu- for writing this article. The research results al and visual media. This was needed to related to music as the material object ori- complement the other data and strengthen ginate from the knowledge or thought con- the argumentation that this event really cepts of talempong basaua artists in Luhak is taking place and is in accordance with 50 Koto, Minangkabau. its context. Equally important in connecti- on with the documentation is the re-ena- METHOD ctment of a talempong basaua performance in accordance with its context – for the A qualitative method was chosen for purposes of the analysis. The data analysis this research since it was considered sui- was carried out inductively – in accordance table and relevant for the focus of study. with the nature of the qualitative research. The researcher was the main instrument The researcher constructed an emic way responsible for the collection of data about of thought to provide an explanation. The the material object – talempong basaua in explanation was strengthened with a theo- Luhak 50 Koto (Kabupaten 50 Kota).
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