Maestro Islamidar

Keeping Art Sampelong

By Yusriwal  anda Abel Tasman

Whimpered softly but melodious voice when reciting poetry / song sang to the accompaniment sampelong saluang Bansi is playing. He it is familiarly called Tuen Islamidar by residents of surrounding villages. Tuen born on July 16, 1941 in Nagari Gutters Maua, District Mungka, regency. In the same village he lived to this day. Tuen are the inheritors and guardians of sampelong art, one art Minang tradition that still exists today. Living history is identical with the development of Tuen sampelong itself.

Tuen indeed come from families that bloody art. Her mother is a singer who also sang sampelong clever play drums. Who's the father was a skilled Qari reciting verses from the holy Koran with a good rhythm on the ear. His grandfather was a harp player. Similarly etek and mamaknya.

Sampelong rhythm is the rhythm that is played with similar saluang Bansi. Formerly, sampelong is a kind of music that was sung at the time menggampo dried. We do not wear it sampelong sang. Even if there sampelong rhythmic singing, but the accompanying music is Talempong. New since the year 1965, disposable sampelong sang. Poems / songs sang sampelong more revolves around the bitterness of life, keperihan fate, failure in love, poverty and all other grief. Sampelong lyrics is elegy: edible rice husk seemed, seemed drunk water thorns.

Sampelong, as manifested in Minangkabau Tuen existing before the arrival of Islam into this realm. Sampelong tones are tones of Buddhist songs. This is evidenced by the similarity with the existing tone in Thailand, a nation of culture and art is rooted in the Buddhist religion and also in areas of Palembang who had been a growing place of the Buddhist religion.

Sampelong basirompak different, both devices are used and the song being played. Basirompak played with ordinary saluang with lyric sang songs in the form of evil spells that used to be the bearer instrument of witchcraft. But now, said Tuen, basirompak also be transferred to the art of good value and pleasant to hear.

Since childhood, Tuen already familiar with the music Minang tradition. At the age of six years he has been taught by her grandmother played Talempong. Until today, not only skillful play Tuen Talempong (Talempong pacik) and sampelong singing, but he was also able to play the accordion and pianika. In addition, he also can play music art dikia (Islamic music). No lag, can also chant basijobang Tuen-sang, accompanied by the kind of music that comes from the beat of a matchbox which revolves around Anggun Nan Tongga and Princess Gondoriah. According to Tuen, Basijobang designation comes from the title of Anggun Nan Tungga Magek newborn (be Basijobang).

Tuen, the maestro of art music tradition is married in 1969. Until now he has five children, one of his sons also went on a passed artistic talent. As an artist, since the 1970s Tuen've often appear at events or wedding receptions baralek. He began to look to the broader public the first time on Minangkabau Culture Week in Payakumbuh. Since then, various cultural art performances he often follow. Since a few years later, in every Tuesday night and Saturday night, he performed in Bukittinggi.

Determination and skill in the art to get attention from the government. He was asked to teach in elementary school in his village. However, because only licensed Folk School (primary school), Tuen officially appointed as the official keeper only schools, but its function is as a teacher. In the primary school of 02 Talang Maua, Tuen taught art until recently. But apparently, because of its ability-Tuen would not only teach art, but also taught mathematics and religious education. For religious education materials, Tuen create songs that contain the stories of the lives of the apostles and prophets. He also created a song about the Five Pillars of Islam and Iman. Songs that contain religious education for primary schools is already being produced in the form of cassette tapes.

Days served by Tuen hectic. Wake up every morning. After the prayer he opened the shop and then get ready to leave teaching to school at seven o'clock in the morning. Once home from school around 13:30, Tuen spends his time sitting in the tavern until 10:00 at night. In addition to serving customers, Tuen fill the time by examining the tasks of school pupils. At the same time creating songs with a Tuen continue mendendangkannya. On every Friday night, Tuen train with his group to perform in preparation for tomorrow morning Bukittinggi. Done Asr prayer every Tuesday and Saturday, Tuen prepares to depart to Bukittinggi. Often he would just walk up to Mungka eight miles, from here he boarded a bus to New Bukittinggi

In addition to singing and playing musical instruments, Tuen also have the ability as an academic. He could create a song accompanied by musical notes. The visions that have been disrupted since a young age did not prevent him to create. Like a true artist who also had talent as an academician, Tuen have experience, understanding and knowledge about the rich tradition of art. He is worthy to be a resource that never dry to dig.

As a talented artist academics, Tuen also expressed sharp criticism of the arts college. He considered, the art music tradition was barely growing at an art college, more often just to play that song that's all. He cited Talempong game, simply rotate the Cak Din-din and Tigo Duo. He also lamented, young kids now who are reluctant to continue the artistic tradition that is rooted in his own country.

That's a Tuen, his life continues to flow, he never stopped working. Menakdirkannya history as a true artist, heirs, guardians of tradition and art conservationist.

Transcription of the interview with Mr Islamidar

On May 4, 2002 in Padang Jopang, Twenty-Town Limo District, West Sumatra

Music Such as Human Loving

Interview with Islamidar done by Yusriwal, one of the staff pangajar Andalas University Faculty of Letters (now Yusriwal kerahmatullah has passed away on January 16, 2005 due to accidents). Following the interview.

How do you learn sampelong?

Not intentionally lowered. Just because it is common to all the old folks smarter memankan sampelong instrument, we could have by itself. Origin have the talent, can be clever. As a child, I dininabobokan, lulled by a mother with a song like that (the songs rhythmically sampelong-ed):

Lolok was the darling (darling is sleeping)

Lolok is Lolok (sleep is sleeping). I grew up with a chant like that. It really permeates the soul, so do not need to be studied specifically.

In addition to songs, you also bring a musical instrument sampelong kaba, how to study?

Just to hear it. Listen carpenters tale told, we tried out. Artrinya, not intentional learn or study.

If there are young people who want to learn, how the process to advanced level playing sampelong?

So, too. Just try. If urang old, they were asked to listen to the dam to give criticism. Seprti, it is not specifically taught. Try, ask the parents: "it's good or not."

First, sampelong associated with magical elements. If anyone wants to see, can you show?

Can not. Because, for meaminkannya must be in a team: a handyman sampelong, sang builders, carpenters gasiang (top), and one who played in accordance with the desired effect. If the actor ripped shirt, ripped clothes will be targeted as well. And so on.

Like what poetry used to sampelong magical?

Because never again be played, so many have forgotten. Anyway poem is addressed to a person: kok Lolok please champ (if asleep please wake)/Iko ka kok suruah champion (if you send up here)/suruah ... (tell ...)

There is a special rhythm Pak?

Iyo, umbuik Mudo.

During Mr playing sampelong, Have you used these magical elements?

No, because it is unlawful. It was also the cause of this art is prohibited by the clergy. Now, because of the magical usur been removed, no longer forbidden.

Dad did not learn in particular?

No, but it passed naturally. Those who want to learn to be clever, who do not want to not be clever.

Sampelong making process through the ways and certain stages. Gutters used must be grown in sacred places and so forth. If just learning, whether to follow the ways and certain stages?

No. Sampelong there are two types: special witchcraft and as an ordinary brass. If for the latter, not dperlukan certain stages these procedures. Dgunakan could take the palm or bamboo for bamboo have been used as a drying cloth. Before, if someone died, mourned the dead were used rhythm sampelong: ondeh sonny sonny you sonjo bajalan ei ei (onde children walking in the evening ei). Godang umah nan kamaunyi vain ei son (who's going home gadang inhabiting). The husband had left behind a wife, if bernyayi will use the rhythm. However, people today do not know anymore with these rhythms

In Tolang, whether there are women who are adept at playing sampelong?

There used to be, not now. For regular play, not for witchcraft.

In appearance, can sampelong combined with other instruments?

Only through a drum and is usually on track if the rhythmic joy. Can also convey saga or kaba. Tambourine drum is used. The rhythm of the songs can sampelong diketogorikan:

Sadness:

· Kubang Balambak

· Mudiak Manguih

· Lobuah curvaceous

· Maalau Kobau

· Stone Putiah

· Mudiak Likih

Happy:

· Ontak Tabuang

· Wood Dalok

Special:

· Umbuik Mudo - to simbabau and sjundai

· Puti Talayang - to bring kaba

Umbuik rhythm Mudo:

· Host TUN kotik leap

· Tun kotik long nan ongok

· Step nan behaving batingkah

· Balari batingkah duo nan

· Obuak long nan balakang

· Obuak tagerai in kuduak o ....

· Dimano lobuah golong nan

· Sir there is balari

The post Dima nan · hemp lord there is Tibo

· Hancua luluah in stem Agam

Puti rhythm Talayang:

Ado kapado one day, Puti Talayang, Inyo bakato bakeh kakaknyo, nan banamo the Ganjo Erah, "the elder Ganjo Erah Oi ei kak ...., POI POI is Kito bath, ethane Tigo sumua Rono ka."

Kato MandongaDistricts baitu nan, so manyauik e Ganjo erah, "Adiak e Puti Talayang ... ..."

For the tale, that's all rhythm. People will focus on the story rather than the rhythm. Do not wear any rhythm instruments keep it that way.

Bagamana public response?

Now, art is not so enthused. Has become a rare commodity. There is no interest from the community to develop or learn. Can be said of their interest is dead.

Is this art never taught in school?

Where Bagiaman want to teach elementary school children? Curriculum for does not exist. Time devoted to the arts is only two hours to four subjects: the art sound, visual, dance, and crafts. Teaching the children the traditional art is not difficult. He sampelong scales do re mi. Regions in the archipelago which has some similarities with sampelong is: Dayak, Toraja, Tengger, Kubu, and Semang (Malaysia). This tone dipengaurhi by the Buddhist religion. After Islam came in, he still lived in rural areas. In Thailand I menumukan also the same rhythm. Unintentionally I've heard on the radio there, accompanied by a rhythm track like this.

Are there any differences with the barrel scales sampelong pelog and Selendro?

Sampelong tone similar to Selendro, only two tones that fell a quarter (1 / 4). Appliances tone do re mi sol He, She and the noodles down a quarter. Selendro distance between He and do meetings, because he rarely sampelong turu and the noodles down. Pelog: mi fa sol do the du, far cry different than sampelong. Pasaman diatonic cadence, than diatonic, sampelong not have the tone and fa.

Since when do you like music?

If you like the music, probably since the birth. Why? Still strong in my recollection, may still be a year old, Pobo (brother) alone may not remember, when I married Mak Etek Kutea, I slept on her back, a pillow on the left side, fabric on the right side, a gramophone didupkan: tong tong kak-kak piles, trash piles kak-kak ton (imitating the sound of tambourines beaten)/talipuak layua dondam nan, lai Tolang children now (to sing).

Kinah singers and Naimah. I have remembered even though I'm still one year of age. Began playing traditional music age of 5 (five) or 6 (six) years. At that time my hand is guided by the late Andek (grandmother).

Who first taught you anything?

Mandiang Andek, mother's mother.

If the parents?

Our whole family may be regarded as a musician family: Pak Etek dikia builders, Mother player of stringed, lute Etek carpenters, Talempong player grandfather, grandmother talompok player, violinist father. As a result, music to us is not something foreign.

What instruments can you play?

Traditional tools that I mastered is Talempong, Drum. Krang controlled blower, but if the drum, any type, can I play. Traditional art I could play the accordion, harmonium, and pianika.

How do you respond to the Minangkabau music now?

Minangkabau music today: the creator gave birth to good music, but audiences are not taste like good music, but want a good rocking. Consequently sad song is played with less cheerful music. If the song is sung Zalmon, we are hearing does not feel pain is in the song. So the creator of the desired target is not reached. That's what causes the songs did not survive. As with the Minangkabau song first. Payuang dance song for example, never berubah.Makin processed the better.

You can read music, while musicus tradition no one could ...

You do not be angry with me. ASKI (now STSI) can not process the musical notes. School what it is (high tone). Should have all the notes: Talempong with music, drum notes could be made baloknya. Graduate ASKI given musical notes, can not read. Academy What a name like that. Music academy graduate but could not read music.

With whom do you first learn musical notes?

First of all with Syahril, in Koto Kociek, son of my uncle. After the start can, I go on his own. It continues when I meet with Nizam, Mr. Cap (Rachman Yusaf-red), and several others.

Why do you feel the need to learn musical notes?

To make it easier to accept and deliver the music. Whatever you hear I can save in the form of musical notes, even though it just hears the sound of drums for example. If you can not can not write musical notes how the sound of drums, misanya: tumtak not tum-tum no, no no-no tum tum. How to write a sound like that if you do not use musical notes. If the numeral is not going to be.

So far we are besotted by the Long Nose, The Netherlands. Those who teach us so blind with numeral notation. In other countries, not one person wearing the numeral. The Americans put on musical notes plus the code for a motive. Thus the American musical notes is very flexible. If used for vocal use vocal code, to use the code drum drum, and so on.

With the rapid notation we can play an instrument and quickly determine the high or low a tone.

About music education in schools, whether our music curriculum that wrong?

No. In the curriculum 75, numeral hardly taught anymore. However, in practice is still taught numeral. In addition, the publisher of the book. They do not understand the music but the music book, written notation but not the numeral.

Teachers teaching numeral mixing with musical notes. Curriculum intent is that the numbers are used only marks the finger numbers, not to read.

Can someone who does not know can learn numeral notation?

Could, even with the numbers of people who are blind can, too. If you already know the motive could be anywhere: to give vocal vocal code, to drum dum and do not give. Another problem is, there is a value that is not the same between musical notes with a numeral. If given both his protege gets confused. Score points on the same numeral with the note values while at the musical notes worth half a point.

According to you is there a link between exposure to address the living?

A lot. Playing in a group, for example, we must ensure unity, how can we collectively raised. This will reduce if not completely eliminate the selfish attitude. That's what we in bernasyarakat.

Then discipline. We must obey the rules. Lag slightly, the tone will be key. Ktukan should fit, should not be more or less.

In this discipline, how many beats errors can be tolerated?

Can not tolerate even a thousandth of a knock.

You can accordions, pianika, both are not the Minangkabau musical instrument? Why would you want to play it? Are there any musical influences into Minangkabau traditional music?

There. Accordion has long been in use in the music traditions of the Minangkabau. Gamad accordion and stringed wear. Accordion is no longer an instrument but semi-modern or semi modern or tradition in Minangkabau. Accordion music brings a lot of having Islamic. Qasida songs and lute can not be performed with Saluang.

If you want to learn piano?

No. For what I learn piano? This tool can not be used for traditional music. Again, because my hand was able to tradition, is not flexible to be able to play the piano again. Talempong Composition I kinda weird, is located in the middle of a high tone, while the piano, the low tone on the left and right high notes. My Talempong tone composition: do mi sol fa re He's du piano tones while re do mi fa sol du He's.

Talompong tone composition as it allowed me to play the melody quickly. Another group are now many are using structure talompong like that.

Anyone who had studied with you?

If at home, yes the children in my village, the teachers at the Padang. There was also a stranger, there are Americans now marry people of Yogyakarta and stayed there and David from Australia.

Where do you ever perform?

In Indonesia, for example, at the Taman Mini Indonesia Indah (TMII) several times, at the Taman Ismail Marzuki (TIM) several times, and in Surabaya. Abroad, for example in Malaysia 9 (nine) times, in Europe 5 times: Dutch, Greek, German, and Spanish. In Asia other than Malaysia, has appeared Brunei, Singapore and Japan.

You say that sampelong are a relic of Buddha. There are other indications, besides the music that can be said to be relics of Buddha?

There. Lots of them. For example: unauthorized pray that does not burn incense; if people die must diperaingati 3 days, 7 days, 21 days, up to 100 days; believe in magic places; afraid of the big trees; the name of a country like Biaro; magic mantra used.

In connection with this mantra, antra I still remember my grandmother often read: handu sonsang, Quran sonsang, barih isilam, manuriuh katarayo. Bose came ongkau of AUA, AUA bosea home ongkau ka onkau of baringin come home ongkau ka sati sati baringin if ongkau indak POI, you konai oath deck Bataro Teacher

Who's Bataro Teacher?

Other things can also be seen in people who are piturunan (trance). Usually they like to sing delirious:

urang gunuang

urang gunuang

urang gunuang

urang gunuang

nan dwell Piobang

nan basarang in katapian Godang

Tibo is our Pulo

(Chanted)

His tone was not the do re mi He, was a Buddhist. In fact, people who get this day-a day pituruan can not sing at all. If the order again, he can not repeat it again. (Abel Tasman and the late Yusriwal)

Bios

Name: Islamidar

Place and Date of Birth: Nagari Gutters Maua, District Mungka, regency, West Sumatra, July 16, 1941

Occupation: elementary school guard who functioned as an art

Education: School People

Experience of Work and Art

·         In Indonesia, for example, at the Taman Mini Indonesia Indah (TMII) several times, at the Taman Ismail Marzuki (TIM) several times, and in Surabaya.

·         Abroad, for example in Malaysia 9 (nine) times, in Europe 5 times: Dutch, Greek, German, and Spanish. In Asia other than Malaysia, has appeared Brunei, Singapore and Japan.