Popularitas Tari Piring Sebagai Identitas Budaya Minangkabau

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Popularitas Tari Piring Sebagai Identitas Budaya Minangkabau Popularitas Tari Piring sebagai Identitas Budaya Minangkabau Indrayuda Universitas Negeri Padang Jl. Prof. Dr. Hamka Air Tawar Padang 25131 ABSTRACT This article aims to explain the existence of Tari Piring dance as a culture identity of Minang- kabau people, both the people who live in the origin area and outside the area. Tari Piring dance is a traditional cultural heritage of Minangkabau people which is used and preserved by Minangkabau people in their life so that it becomes culture identity of Minangkabau people. As the identity of Minangkabau people, Piring dance is able to express att itudes and behaviors as well as the charac- teristics of Minangkabau people. The dance can serve as a refl ection of social and cultural life style of Minangkabau society. Through Tari Piring performance, the outsider can understand Minangkabau people and their culture. Tari Piring, therefore, is gett ing more adhere to the social life of Minang- kabau people in West Sumatra and in the regions overseas. In the spirit of togetherness, Minang- kabau society preserves the existence of Piring dance as the identity and cultural heritage up to the present time. Keywords: Piring Dance, Minangkabau culture ABSTRAK Artikel ini bertujuan untuk menjelaskan keberadaan Tari Piring sebagai identitas bu- daya masyarakat Minangkabau, baik yang berada di daerah asal maupun di daerah peran- tauan. Tari Piring merupakan warisan budaya tradisional masyarakat Minangkabau yang digunakan dan dilestarikan oleh masyarakat Minangkabau dalam kehidupannya sehingga menjadi identitas budaya Minangkabau. Sebagai jati diri masyarakat Minangkabau, Tari Piring mampu mengungkapkan sikap dan prilaku serta karakteristik orang Minangkabau. Tari Piring dapat berperan sebagai cerminan dari corak kehidupan sosial budaya masyara- kat Minangkabau. Melalui pertunjukan Tari Piring, masyarakat luar dapat memahami orang Minangkabau dan budayanya. Oleh karena itu, sampai saat ini Tari Piring semakin melekat dengan kehidupan sosial masyarakat Minangkabau di Sumatera Barat maupun di daerah perantauan. Dengan semangat kebersamaan, masyarakat Minangkabau mampu mempertahankan keberadaan Tari Piring sebagai identitas dan warisan budayanya hingga masa kini. Kata kunci : Tari Piring, budaya Minangkabau PENDAHULUAN na jumlah populasi terbanyak dari suku Suku bangsa Minangkabau merupakan bangsa Minangkabu hidup dan mene- bagian dari suku bangsa Melayu nusan- tap tinggal di daerah perantauan. Hal ini tara, yang mendiami bagian tengah pu- telah mereka mulai jauh sebelum zaman lau Sumatera. Suku bangsa Minangkabau kemerdekaan Indonesia, bahkan sebelum dikenal juga dengan suku perantau, kare- adanya bangsa kolonial menjajah nusan- Panggung Vol. 23 No. 3, September 2013 271 tara (Indonesia). Kenyataan ini ditandai safah tersebut, dapat dipahami bahwa adat dij umpai banyaknya perantau suku bangsa dan budaya Minangkabau tidak akan mati Minangkabau berperan aktif di daerah ran- (punah), yang terjadi adalah suatu proses tau seperti pre-siden pertama Singapura adaptasi dan sinergitas dengan perubahan Yusuf Ishak, dan Zubir Said yang mencip- zaman, sehingga budaya Minanangkabau takan lagu kebangsaan Majulah Singapu- secara substansi dapat menyesuaikan diri ra, bahkan Raja Agung pertama Malaysia dengan zaman yang menaunginya. Oleh adalah keturunan Perantau Minangkabau. sebab itu, sampai saat ini keberadaan kese- Selain itu, banyak di antara mereka yang nian sebagai bagian dari kebudayaan ma- berjasa dalam pra kemerdekaan Indonesia sih tetap bertahan sebagai identitas budaya yang semuanya besar di perantauan. masyarakat atau suku bangsa Minangka- Rantau bagi mereka bukan berarti bau, baik di daerah asal maupun di rantau. hanya tempat mencari kehidupan semata, Tari Minangkabau sebagai bagian dari akan tetapi rantau bagi orang Minangka- kebudayaan Minangkabau, merupakan bau adalah tempat bertarung dan mem- warisan dan identitas budaya suku bang- perdalam ilmu pengetahuan, bahkan tem- sa Minangkabau, yang hidup, tumbuh, pat memperluas pengaruh politik dan dan berkembang di berbagai nagari (nege- kebudayaan. Sehingga mereka banyak ri) di Minangkabau Sumatera Barat. Tari yang memiliki pengaruh dalam masalah Minangkabau secara tradisi digunakan sosial budaya dan politik di perantauan. dalam berbagai acara ritual adat dan sosial Namun, kehidupan mereka di perantauan oleh masyarakat Minangkabau, sehingga tidak dapat dipisahkan begitu saja dengan tarian berperanan dalam berbagai corak sikap dan perilaku serta adat dan budaya kehidupan masyarakat di Minangkabau, dari derah asalnya, yaitu tanah (ranah) seperti untuk menghibur masyarakat, ba- Minangkabau, sehingga dimanapun mere- gian dari upacara adat, dan sebagai media ka merantau, perilaku dan karakteristik pendidikan tradisional serta sebagai inte- serta adat dan budaya Minangkabau selalu grasi sosial dalam kehidupan masyarakat melekat dalam diri mereka (Emral Djamal, Minangkabau (Indri Mayangsari, 2012: 23). 2010: 43). Secara universal seluruh nagari (nege- Suku bangsa Minangkabau dikenal se- ri) di Minangkabau memiliki tari tradisi- bagai salah satu dari suku bangsa Melayu onal, yang juga menjadi kebanggaan dari nusantara yang kukuh mempertahankan masyarakat nagari itu sendiri. Setiap nagari identitas dan warisan budayanya. Meski- (negeri) berusaha untuk memajukan bu- pun masa kini zaman telah berubah dan daya tari dalam kehidupan masyarakatnya. kebudayaan semakin universal dalam ra- Dalam membudayakan tari tradisional se- nah global, masyarakat atau suku bangsa tiap nagari melibatkan unsur pemangku Minangkabau tidak begitu saja melepas- adat, pemerintah, dan segenap lapisan ma- kan identitas budayanya, yang sekaligus syarakat, sehingga keberadaan tari tersebut sebagai jati diri mereka. Seperti dalam betul- betul mengakar dan menjadi budaya ungkapan falsafah Minangkabau “adaik bagi masyarakat setempat. dipakai baru kain dipakai usang, ancak-ancak Dari berbagai banyak tari tradisional dipabarui”. Artinya adat Minangkabau ti- yang terdapat di Minangkabau, Tari Pi- dak pernah usang dan selalu baru apabila ring merupakan icon dan identitas budaya dipakai, sementara kain kalau dipakai akan masyarakat Minangabau secara umum. usang. Selain itu, agar dia tetap rancak (can- Dapat dipastikan setiap nagari (negeri) di tik), perlu diperbarui. Dengan merujuk fal- Minangkabau membudayakan Tari Piring Indrayuda: Popularitas Tari Piring 272 dalam kehidupannya. Tari Piring adalah di Minangkabau pada umumnya terletak tarian masyarakat Minangkabau secara di daerah pesisir pantai bagian barat pu- universal. Oleh sebab itu, di nagari mana- lau Sumatera, yang dikenal dengan daerah pun akan dapat dij umpai pertunjukan Tari Banda Sapuluah (Kabupaten Pesisir Selatan Piring yang dilakukan oleh masyarakat se- sekarang), Padang, Pariaman, dan Pasaman tempat. Barat sampai ke Pantai Aia Bangih (Rahuda Perbedaan Tari Piring antara nagari yang Thaib, 2009: 23). satu dan yang lainnya hanya terletak pada Kedua wilayah luhak dan rantau ini gaya memainkan dan struktur penyajian- merupakan pusat pembudayaan Tari Piring nya. Dahulu sampai masa kini Tari Piring di Minangkabau sampai saat ini. Menurut menjadi pernyataan identitas suku bangsa Ismar Maadis (2002 : 31), Tari Piring di dae- Minangkabau, yang tidak dij umpai pada rah luhak dan rantau sama-sama tumbuh suku Melayu lainnya di Nusantara, kecu- dan berkembang dari sasaran (perguruan) ali dilakukan dan dibudayakan oleh suku pencak silat. Sasaran (perguruan) pencak perantau Minangkabau itu sendiri seperti silat merupakan tempat awal mulanya di Negeri Sembilan dan daerah lainnya di pembudayaan Tari Piring di kedua wilayah Nusantara. tersebut. Sehingga Tari Piring merupakan Fenomena yang terjadi dalam kehi- pamenan pandeka (permainan pendekar). dupan masyarakat Minangkabau baik di Setelah masuknya penjajah kolonial ke perantauan seperti di Negeri Sembilan Ma- Minangkabau pada awal abad ke 16, Tari laysia, Medan, dan Kepulauan Riau, Tari Piring telah menjadi permainan masyara- Piring merupakan icon identitas mereka kat secara umum. Dan mulai saat itu Tari sebagai orang Minangkabau perantauan. Piring diperkenalkan dan diperuntukan Setiap acara yang bersifat sosial dan pesta bagi masyarakat umum di luar sasaran pen- perkawinan, Tari Piring hadir dalam peristi- cak silat, sehingga Tari Piring menjadi tari wa tersebut. Sebaliknya di daerah asal yaitu rakyat Minangkabau. Sumatera Barat, berbagai ivent budaya dan Setiap wilayah memiliki ciri khas Tari kegiatan yang bersifat adat bahkan kepari- Piring tersendiri. Letak geografi s ternyata wisataan, menggunakan dan memfungsi- mempengaruhi bentuk dan gaya Tari Pi- kan Tari Piring sebagai icon acara yang di- ring. Tari Piring yang ada, tumbuh dan ber- maksud. Pada gilirannya keberadaan Tari kembang di daerah luhak (darek) cenderung Piring menjadi icon bagi berbagai kegiatan mempunyai gerakan yang bervolume le- dan ritual adat oleh masyarakat atau suku bar, dan posisi badan cenderung mem- bangsa Minangkabau. bungkuk dengan pola langkah dan kuda- kuda yang agak lebar. Adapun Tari Piring yang tumbuh dan berkembang di daerah Kawasan Pusat Pembudayaan dan Beberapa rantau pesisir, cenderung gerakannya ber- Tari Piring yang Populer di Minangkabau volume agak kecil dan sedang. Pola lang- kah yang dilakukan agak pendek-pendek Kawasan wilayah Minangkabau dike- jangkauannya. Posisi badan dalam menari nal dengan daerah luhak (darek) dan ran- adalah tegak dalam kuda-kuda yang tidak tau. Daerah luhak merupakan daerah asal terlalu rendah. suku bangsa Minangkabau (pusat Kerajaan Kedua gaya Tari Piring tersebut menjadi Minangkabau),
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