The Concept of Pangawinan in the Music Performance of Talempong Renjeang Anam Salabuhanin Luhak Nan Tigo Minangkabau

Abstract

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.

Lareh Nan Bunta: Power Systems and The Concept of Musical Aesthetics in Talempong Basaua in Lu

“…In his dissertation, Andar Indra Sastra states that in general, nagari which purely retain the tradition of Koto Piliang are more prominent in Luhak Tanah Data, while those who purely retain the tradition of Bodi Caniago are found primarily in Luhak Agam. In Luhak 50 Koto, meanwhile, there is a combination of the two traditions (Sastra, 2015).…”

“…Their thought concepts are used to construct a framework of thought and provide an explanation of the social system -of politics and law -in the community of Luhak Nan Tigo Minangkabau. Meanwhile, studies about talempong from a different perspective have been written by Nadiya Fulzi (2014) and Andar Indra Sastra (2015). The information obtained from these two researchers can be used as secondary and comparative data for writing this article.…”

The Aesthetics of a Three-Way Pattern: The Musical Concept of Talempong Renjeang and The Social System of The People of Luhak Nan Tigo Minangkabau

“…Hajizar in Andar Indra Sastra (2015) states that talempong renjeang as a musical culture is a representation of a social concept. It would not exist in the midst of the community if it was not synchronized with the social concept of the community (Sastra: 215: 160).…”

“…The concept of forming a decision through a process of debate is reflected in the interruption of the pasambahan adat, as described by Dt. Sampono in Andar Indra Sastra (2015): …. Jikok dipandang lah rancak rupo, bilo didangga lah baiak bunyi, lamak gandang mah lah batingkah, kok lamak talempong lah batalun, which means "if we see it, it looks smart, if we hear it, it sounds good, the drum sounds good when it is playing, the talempong sounds good when it achieves batalun (Sastra, 2015: 159).…”

“…According to Dt. Sampono in Andar Indra Sastra (2015), the system of decision-making in the pasambahan adat is in the sound of talempong kato (words), which forms the basis for the leader to make a decision (Sastra, 2015: 159). From this, it can be said that the talempong is not only understood as a kind of music but is also a source of inspiration for making decisions in a traditional forum.…”