This article discusses the concept of Pangawinan in the performance of talempong Renjeang Anam Salabuhan in Luhak Nan Tigo Minangkabau. As a concept, there are two different understandings of pangawinan, namely: (1) pangawinan with a small ‘p’, which is the philosophical basis for the formation of a pair of talempong as a musical system – implemented through the methods lipek duo and dipatukakan (doubling and interchanging); (2) Pangawinan with a capital ‘P’, which is used to refer to a pair of talempong, Pangawinan – Paningkah duo. As a musical system, talempong renjeang consists of three pairs of talempong instruments, known as the talempong Jantan, talempong Paningkah or Paningkah Satu, and talempong Pangawinan or Paningkah Duo. This research employed a theoretical concept based on the philosophy tali tigo sapilin, tungku nan tigo sajarangan – a three-way pattern; a trilogy of reasoning in the Minangkabau community. The formation of the three-way pattern begins with a two-way or bipolar pattern, and the third position emerges as a counterbalance to create harmony. The main data were collected through observations, interviews, and documentations. The findings show that the concept of pangawinan in the performance of talempong renjeang anam salabuhan functions to provide a certainty in the creation of the talempong melody (guguah) in order to achieve raso batalun (aesthetical pleasure).Keywords: Indonesia, Luhak Nan Tigo, Minangkabau, pangawinan, talempong renjeang anam salabuhanCite as: Sastra, A.I., Anwar, Od.M. Ibrahim, M.N. (2017). The concept of Pangawinan in the music performance of Talempong Renjeang Anam Salabuhanin Luhak Nan Tigo Minangkabau. Journal of Nusantara Studies, 2(2), 333-347.
The goal of this article is to investigate manapa or batajau in an event to renew social bonds through the performativity of gandang tasa in the Pariaman community. Manapa (a regular social gathering with a performance) is an example of local wisdom that is implemented in a traditional manner with an aesthetical packaging. As a regular social gathering with a performance, manapa gandang tasa is used to establish and renew social bonds between gandang tasa groups from different nagari (villages) in the Pariaman community. In manapa, gandang tasa groups take turns to visit each other and perform a number of their own special pieces as well as other pieces that the groups can play together. The study uses a qualitative method with emphasis on detailed observation of a manapa event. An interpretative analysis is used to reveal the concept of manapa as a formula that can act as a social bond between the Pariaman community. Through an emic approach, the research results show that the performance of gandang tasa in the context of manapa can build unity and togetherness.
AbstrakPerempuan di daerah Kerinci sangat diistimewakan, seperti menarik garis keturunan dari pihak ibu (perempuan) yang disebut dengan sistem matrilineal. Selain menarik garis keturunan dari pihak ibu (perempuan) sistem pewarisan juga datangnya dari kaum perempuan, seperti sko (pusaka) yang berbentuk gelar, tetapi dipakai oleh mamak (saudara laki-laki ibu) dan orang sumendo (suami ibu); dan harta pusaka tinggi; seperti rumah dan sawah dikendalikan oleh perempuan. Perempuan Kerinci selalu menerapkan etika beradat kemanapun pergi, sehingga mereka dihormati dan disegani di dalam masyarakat. Etika beradat perempuan Kerinci yakni “sesuai dengan Icopake.” Icopakeperempuan Kerinci sifatnya lunak atau lemah lembut, seperti malu pada laki-laki, takut pada janji, mulut manih kecindam murah (ketika berbicara lemah lembut tutur katanya dan sopan santun), pandai memilihara diri, rajin mengurus rumah tangga, , dan menurut kata junjungan (suami). Metode yang dipakai dalam penciptaan karya ini observasi, dokumentasi, dan eksperimen. Karya ini menggambarkan tentang kekaguman pengkarya terhadap perempuan Kerinci yang diwujudkan kedalam karya seni lukis dengan menghadirkan berbagai kegiatan yang dilakukan oleh perempuan Kerinci dalam kehidupan sehari-hari. Perwujudan karya menggunakan konsep reinterpretasi yang menggambarkan kembali aktivitas perempuan Kerinci dalam berbagai aspek mulai dari kesawah sampai pada aktivitasnya dalam adat yang diwujudkan ke dalam karya seni lukis dengan gayadekoratif. Kata Kunci:Perempuan Kerinci, kekaguman dan seni lukis AbstractKulouk is one Women in Kerinci regency are very special, such as drawing a bloodline from mother (female) called the matrilineal system. In addition to drawing a line frommother (female) inheritance system also came from women, such as sko (heirloom) in the form of a title, but was used by mamak (mother's brother) and sumendo (mother's husband); and high inheritance, like houses and rice fields controlled by women. Kerinci women always apply ethical ethics wherever they go, so they were respected in society. Kerinci's civilized ethics are "in accordance with the Icopake." Icopake female Kerinci is soft or gentle, such as being ashamed of men, fear of promises, low-priced mouth when she speaks softly and politely), good at choosing herself , diligently taking care of the household, and according to the word lord (husband). The method used in the creation of this work is observation, documentation, and experimentation. This work illustrates the admiration of the artists for Kerinci women who embodied the work of painting by presenting various activities carried out by Kerinci women in their daily lives. The embodiment of the work uses the concept of reinterpretation which re-illustrates the activities of Kerinci women in various aspects ranging from the crater to the activities in adat which are embodied in painting with decorative style.. Keywords:Kerinci’s women, admiration and painting
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 talempong kreasi 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.
Tulisan ini bertujuan untuk membahas estetika pola tiga yang menjadi ciri khas dalam penyajian talempong renjeang (renjeng atau tenteng). Estetika pola tiga dalam konsep musikal talempong renjeang dibentuk oleh 3 (tiga) pasangan talempong, dan masing disebut sebagai talempong Jantan, talempong Paningkah, dan talempong Pangawinan. Dinamika kehidupan beragama di Minangkabau ditandai konflik antara kaum sufi dan paham modern. Konflik tersebut bermula dari tarekat Syattariyah dan tarekat Naqsyabandiah yang mempersoalkan konsep wildathul wujud dan wildathul suhud. Masuknya pengaruh wahabi, konflik konflik menyulut perang suadara, dan dalam catatan sejarah kemudian lebih dikenal dengan perang padri – secara fisik berkahir pada perjanjian Bukik Marapalam. Perjanjian Bukik Marapalam – momerandum of understanding – melahirkan sebuah konsensus untuk menciptakan perdamaian di antara mereka yang berbeda paham. Konflik tersebut kemudian melahirkan konsep tali tigo sapilin, tungku nan tigo sajarangan (tali tiga sepilin, tunggku yang tiga sejarangan) – keharmonisan. Metode yang digunakan berbasis data kualitatif dan diperoleh melalui observasi, wawancara, dokumentasi, dan analisis data. Analisis data fokus pada talempong renjeang sebagai satu sistem musikal dan dinamika kehidupan bergama dalam masyarakat Minangkabau yang bermula dari perbedaan paham keagamaan antara tarekat Syattariyah dan tarekat Naqsyabandiyah. Hasil yang diperoleh dari penelitian ini adalah bahwa talempong sebagai sistem musikal sejalan dengan dinamika keagamaaan masyarakat Minangkabau. ABSTRACTThis article is intended to discuss the aesthetics of three-patterned talempong which its characteristic is in the presentation of ranjeang talempong (renjeng or tenteng). Aesthetics of three-patterned talempong in ranjeang talempong musical concept are formed by 3 (three) pairs of talempong. Each of them called as Jantan talempong, Paningkah talempong, and Pangawinan talempong. The dynamics of religious life in Minangkabau is marked by conflict between Sufis and modern Islamic concept. The conflict begins when Syattariyah “tarekat” and Nasqsyabbandiah ”tarekat” question the concept of wildatul wujud and wildathul suhud. The influence of conflict induced by the Wahhabi has sparked off a civil war, that in the historical record has been known as Paderi war – and that was physically ended in an Agreement of Marapalam Hill. This agreement spawned a consensus to bring peace among those who have different understandings. This conflict has spawned one concept of tali tigo sapilin, tungku tigo sajarangan (unity in diversity, three pillars of leadership) - harmony. Method used builds upon the qualitative data obtained through observation, interviews, documentation, and data analysis. Data analysis are focused on renjeang talempong as a musical system and the dynamics of religious life in Minangkabau society that began with diffrent religious understanding between Syattariyah :tarekat” and Nasqsyabandiah “tarekat”. The result of this study is talempong as a musical system that is in accordance with the dynamics of relegious of Minangkabau society.
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