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 problem to be addressed in this article focuses on postcolonial aesthetics, with talempongkreasi and talempong goyang in West Sumatra as the material object of the study. This phenomenon is examined using the postcolonial theory, relying on qualitative data which is supported by additional qualitative data. The results of the research show that talempong kreasi and talempong goyang in West Sumatra are a product of postcolonialism. Keywords: aesthetics, postcolonial, talempong kreasi, talempong goyang, West Sumatra. INTRODUCTION subject, or the person whose role is to give value Aesthetics is often defined as a sense of perception to the object. or the various kinds of feelings (raso, rasa) aroused The connection between the object and the (Ali, 2011: 1-2; Pramono, 2009: 1; Suryajaya, subject is vital when viewing the topic of aesthetics. 2015: 1). These feelings may offer a certain Aesthetics is not only concerned with the matter sensation or impression to the art observer; in this of beauty but also the matter of feeling or raso. case talempong kreasi and talempong goyang are An interaction between human beings in which the object which leads to this aesthetical perception there is an indication of pleasure is a dialogical and all its complexity. Essentially, an object that is relationship because there is a concern for value – perceived cannot be separated from the role of the a dialectical phenomenon involving the object and DOI: 10.22146/jh.v29i3.27636 245 Humaniora, Vol. 29, Number 3 October 2017 subject concerned. The subject of interest in this provide the accompaniment is to play chords. case is related to the thought concepts of a number To complete the talempong orchestra, additional of leading figures in the field of art education in wind instruments – bansi, sarunai, and saluang postcolonial West Sumatra. Post colonialism is a – are included, as well as a drum. In the case of continuation of colonialism, the impact of which talempong goyang, Asril states as follows: can still be felt even though the colonizers have Talempong goyang is a genre of Minang long since left the country. Thus, postcolonial music with a new kind of packaging and aesthetics discusses the subject that is concerned a ‘pop’ nuance, which is said to have the with an object – in this case talempong – which potential to become an alternative kind of musically has the ability to create a particular music for entertainment in the future in musical taste, or aesthetic, in accordance with the West Sumatra – originating from talempong values and ideology contained therein. kreasi. Talempong goyang offers the According to Boestanoel Arifin Adam, in opportunity not only to accompany dance Minangkabau the term talempong refers to the type and play instrumental pieces and Minang of instruments known as idiophones, which can songs, or dendang, but also to accompany be found in various shapes and sizes, and may be various kinds of pop songs, ranging from made from various different materials, and which “traditional-Minang” pop (songs based on are played by being struck. In a more general traditional non-diatonic Minang songs that understanding, a talempong is a small gong made are usually accompanied by the saluang from a metal alloy which is struck to produce a and have been rearranged as pop songs) to sound (Adam, 1986/1987: 9-10) (Andar, 2017: “standard-Minang” pop, dangdut-Minang, 62). The type of talempong referred to by Adam is dangdut, zapin, zapin-ndut, and Indonesian a traditional talempong ensemble, played by three pop. A number of other instruments are also musicians, each of whom plays two talempong added to produce a richer orchestration. instruments. The talempong is held direnjeang( ) These include two drums (to provide the in the left hand and struck (diguguah) with the rhythms of the tabla), a tambourine, a right hand which holds a special kind of beater drum set, keyboard, bass guitar, accordion, (pangguguah), creating a melody characteristic djembe, as well as the wind instruments of talempong renjeang Minangkabau – which bansi and sarunai as a representation of academics call pacik. Along with the establishment traditional Minang music (Asril, 2012: 11). of the art academy, Akademi Seni Karawitan Indonesia (ASKI) Padangpanjang, in 1966, Talempong kreasi and talempong goyang are a new kind of talempong emerged – which two phenomena that cannot be separated from academics referred to as talempong kreasi, and in the subject concerned. By viewing the concept its subsequent development has become known as of talempong kreasi and talempong goyang, it is talempong goyang. possible to observe the track record of the thought Hanefi states that talempong kreasi consists concept of musicians who “forced” their ideology of one set of talempong instruments to play the to be adopted by talempong in West Sumatra. melody, one set to play the lower accompaniment, A thought concept contains ideological content, one set to play the higher accompaniment, one set ideology works according to the demand of values, of canang to play the lower accompaniment, and and the demand of values makes a person follow one set of canang to play the higher accompaniment his or her desire to act according to the thought [canang are slightly larger than talempong and are concept to which he or she adheres. tuned an octave lower, and have the same function In order to explore this matter more deeply, as the accompanying talempong]. The pitches of the writer uses the postcolonial theory which the canang are one octave below the pitches of the Faruk describes as a set of statements about the talempong (Hanefi, et al., 2004: 67). The pitches of conditions and tendencies of a society that was the talempong and canang are tuned diatonically. once colonized, namely: (1) a society that has been The function of the talempong and canang that 246 Andar Indra Sastra, Nadya Fulzi, Syahri Anton - Postcolonial Aesthetics in Talempong colonized is a society whose thoughts, feelings, source for introducing change (Sztomka, 2008: attitudes, and behaviour are still controlled by viii). Of course, the idea of change cannot be the thought concepts of the colonizer; (2) the separated from the thought concepts of certain colonizers’ power over these thoughts, feelings, people – leading figures, and their set of values attitudes, and behaviour may be stronger and along with its ideological content – after the era last for longer than the duration of their power of colonialism, which hereon will be referred to over the geographical territory of the colonized as postcolonialism. Awareness of the significance society, and may even continue after the colonizer of change forms the basis of the change – or has relinquished power over this geographical transformation – in this case from traditional territory; (3) these conditions and tendencies talempong to talempong kreasi and talempong manifest themselves historically, whether in goyang. The change to become talempong kreasi technology, culture, or highly effective strategies can be divided into two main categories, namely: of power, in particular since the 19th century XIX (1) natural diatonic and (2) chromatic diatonic. (Faruk, 2007: 16). This research relies on qualitative data, which 1. Natural Diatonic is supported by additional quantitative data using a In the 1970s, changes to talempong were also method of participant observation. From this study, made by the late Akhiar Adam. Akhiar Adam the writer wishes to gain a better understanding was the brother of the late Boestanul Arifin of various existing problems through direct Adam, former Director of ASKI Padangpanjang observation and in-depth interviews with a number from 1973 to 1976. The two brothers came of informants. Talempong kreasi and talempong from a family of artists, most of whom had a goyang was chosen as the topic for this research because the writer already has a general picture of Western music education. Information about talempong in Minangkabau and wishes to study the the tuning system (mangkoan bunyi) of Akhiar specific case of talempong kreasi and talempong Adam’s talempong kreasi was obtained from goyang that is found in West Sumatra.