Minang Traditional Art

Indang That Almost Sunk

By Nasrul Azwar

Sun had just shoved his face. Before long, dim light in the center wrapped nagari jejauhan visible from a small mosque which stood upright with age may be the same age that village. People spilled into the flow as if there. Bilal's voice played from the speakers is less manicured.Maghrib entered.

That night, some time ago, the people of Nagari Padang Bintungan, Sabaris Nan District, Kabapaten Padangpariaman, West Sumatra province, around 60 km from the city of Padang-Maghrib has packed the mosque since that is not so big. Community from the nearby village also has seemed to arrive: There is deliberately stopped at lapau (tavern) and some are straight to the mosque. Male-female, old and young, and children, all but one goal: to see the arts baindang.

Nagari Padang Bintungan it was berhelat. They call Alexandrovitch Nagari. That night will be performing arts Indang. There Indang Tigo sagi (three terms) which will play Indang, ie of Nagari Lubuak Sikabu Indang Aluang, Toboh Parupuak from Nagari Toboh Gadang, and Indang Bayua from Nagari Pauh Kamba. Everything from Kapupaten Padangpariaman.

Night keeps moving, soon came over the loudspeakers surau players were singing Indang: Piaman tadanga langang, baindang mangkonyo flax, host Kanduang tadanga sanang, bao tompanglah our bodies. (Pariaman terdengan empty, hence berindang crowded, you sounded pleased, nevertheless bring our bodies).

Thus a small community celebrates art and culture as well as caring for their own way. There's no such ceremonial arts festivals held in the cities. There was no official who spoke with the promise to preserve the culture and art. They support the arts and culture depart from candor and sincerity. There was no material tendencies. Despite the existence of art that tradition under threat of single organ, but he remained strong. Because society as the owner, keeping and shedding of attention.

"Art Indang will still live in societies, although less menyokongnya government. Indang function is to provide Islamic religious teachings, manners, customs and values. Child villages continue to play in surau-AGAT surau and keep their art did not become extinct, "said Umar H Datuak Alaiyah Cumano, one Indang elders and community leaders Bintungan Nagari Padang.

Historically it is mentioned that the presence of art is a manifestation Indang surau education and cultural influence of Islam in Minangkabau. Indang addition, other traditional arts, such as remembrance, litany, Tabuik, salawaik, and dabuih, also not free from the influence of Islam.

Indang artistry is the result of "cultural marriage" Minangkabau with Islamic civilization around the 14th century. Islamic civilization was introduced by Muslim traders who enter from the west coast of Aceh through the islands of Sumatra and then multiply in Ulakan-Pariaman. Cultural marriage to a peaceful process that looks at song Indang, such as stations, iqa'at, avaz, and lute music. Maqam is a trait that can describe the scale, structure intervals, ambitus, and so forth. Iqa'at was the idea of modes or patterns of rhythm on Islamic music, like rhythm patterns contained in lute music. Avaz is a feature of music that is used in Islamic music in the form of a melody that moves freely without the bars. Then modes were combined with music culture Minangkabau (Ediwar Chaniago, 2003).

In early development, the art of music is the wrong instrument Indang development of Islam in society. Questionnaires and cargo in Indang music also feels on ways remembrance, assesses the nature of God, history of the Prophet, and others sebagianya. Pengajian usually sung while sitting cross-legged and mengoyangkan body to the left, right, forward and backward. The chanted recitation was accompanied by instruments rapa'i (small tambourine). At first, the art of using rapa'i Indang large, but because of the development of this art is constantly changing, the teachers in the mosque replace it with a small size. The goal is that children Indang more agile and quick in dancing,

Performing arts Indang divided into groups. Each group consists of 7 players who all men. The player sits cross-legged in bersyaf very tightly, holding one rapa'i, dressed neatly and wearing a sarong. Seven people are called children Indang. Indang child of a teacher-led recitation called builders (builders dikie).

In Alexandrovitch held in Nagari Nagari Padang Bintungan it, appearing three arts groups Indang from different villages. They will compete for two nights. Before beginning, each group takes its position by forming a triangle. Each group sat cross-legged and lined with street squeeze right thigh on his left thigh. The three groups did Indang opensuse or dryly-satiric various problems that occurred when the performance took place. One third Indang appearances, this group is called sapanaiak.

Indang number of players of each group of approximately 8 to 22 people. One person dhikr and other handyman odd sat lined up in front of the handyman's remembrance. In their Indang art is called, high school builders, carpenters slick, pangga artisans, and craftsmen crossbar. In addition, there are also Tuo Indang. Tuo Indang responsible for maintaining the overall safety of members of the players both physically and mental. Each presentation begins with basmalah Indang always pray to unite ourselves to God Almighty. So with that also, Indang players must be able to explain and at the same time running with the correct teachings of Islam.

Many opinion shifting artistic presence in the mosque in Minangkabau Indang due to the introduction of secular education system in the Minang realm. Surau no longer the only option for people to taste education. The presence of madrasas and schools are adopting the Western curriculum, drastically shifts the surau function. Furthermore, the existence Indang arts and other arts as well.

Indang art that originally loaded with grain which bernapaskan syari Islam, the story of the Prophet, and also praises to God Almighty, try shifting the load on customs issues, social, political, and economics. Art Indang adjust itself with the growing conditions. However, due to adjustments that appeared two camps: the first camp while maintaining breath Indang in accordance with Islam and his show at the mosque, mosque, while the second did the show outside the mosque and is often laden matters relating to keduniawiaan.

The emergence of two patterns Indang it does not necessarily become dikotomik, actually enriches the arts in the region who raised at Padangpariaman. And finally to the development of arts Indang significans. It can be seen the number of groups in the villages that grew Indang.Alexandrovitch village of Padang village community held Bintungan Indang followed by 12 groups from various villages in Padangpariaman.

Apparently, art is not the kind of art Indang rigid. Originally engaged in the surau Indang-surau has now entered public spaces, and had crossed into surrounding areas, such as the province of Riau, North Sumatra, and many others.

Now, Indang which continues to move in Padangpariaman villages, and people continue to take good care, can be understood as a cultural trip "successful". However, the matter will be another when local governments (especially the Department of Tourism) Indang interpret as a wealth of tradition that must be sold to hotels for the consumption of local or foreign tourists.The trend of tourism policy offices throughout Indonesia, it seems that way.

Indang art, and other traditional arts are also available in all corners of the country, may experience the fate of "bad luck" and live in the land of the greedy blood sucking art tradition.Growing phenomenon in West Sumatra province, especially at the level kaputaten and towns, arts tradition fostered, given the assistance to tourism interests. Including traditional arts Indang. Art Indang packaged for a new audience tastes, the show adapted to the taste of tourists, and this is proven, for example, when the Government of West Sumatra province of West Sumatra Cultural Week held on 27 November to 3 December 2006.

In the Culture Week, all counties and cities in West Sumatra, sending contingents of their art.With this in mind the usual bureaucrats permeated the culture, arts tradition presented to the center of which was considered as a tourist audience, with less understanding of the concept and the aesthetic arts tradition itself. In fact, art has a tradition of aesthetic conceptions and the cosmos itself, which is required in the life of art. This difference will be seen clearly when we see the living traditions of art and displayed in the area and supporting the community with a tradition of art displayed in the celebration at hotels or other space.

Middle road of course remain. Celebration of art and tradition can still be brought into the space outside it, but this requires the handling and wisdom in the tradition of art itself. Cultural bureaucrats, and government in general, must understand this reality. Conception of culture and tourism in a harmonious relationship must be built without destroying one of them. This is already a concern many parties, but that often happens is that a waiver of these concerns. If it was like, yes just wait and cultural destruction of our identity. And greeting H Umar Datuak Alaiyah Cumano, one Indang elders and community leaders Bintungan Nagari Padang, find justification. "Indang who supported us, not someone else ."***