Note Performances "Ladder" Black-White Community Art Padangpanjang

From Acting to Theatre Conception: An Inherent

By Nasrul Azwar

At the Performing Arts Second Year Arts Council in 2002 which was held in West Sumatra, Experimental Theatre, Faculty of Letters Unand KPDTI comes with a performance entitled "Level", the work and the director Prel T.

At that time, Prel T says, "Level" dealt with the concept of engineering experiments is an aesthetic focused on the show. The whole is dominated by the concept of functional pengadegan. Formation sets in addition to static, dynamic as well. So naturally formed through the formation of sets of scenes. The central performance is a space (not field). Fully utilize a number of levels (in various sizes) as the main property.

Performance Notes Datuk Layau

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Element Without Performing Theater

By Nasrul Azwar

Interpretation of the text has become a powerful regional theater director who most absolute. In the area of immense cultural texts, the director of the jungle penetrated the icon, a symbol of cultural and other social bookmarks to be realized in the estimation of space and time in one frame of the stage with creative director accountability.

Interpretation with the title theater often has a tendency actualization thematic with current conditions. Text cultural (tradition) of the underlying footing and foundation become creative director for the spread of a "historiography" of travel time, say, ever since the emergence of a story with an oral tradition to written tradition until the present moment. Long period or epoch-it-looks stunning in a single framework can dimanpatkan stage with a short duration of the story by theater director. Almost all theater groups in Indonesia do not get out of such patterns and interpretations.

Community Theatre Performing Black-White Padangpanjang

Actor (Not) Everything

By Nasrul Azwar

"Our job waiting, waiting Dogot task. That's it. Stomach that's your business. "

"What's it's just a brain, do not wear belly? What Dogot, your brother did not have the stomach but have a brain? So? You're brothers right? Just as the whistle blew builders, artisans selling tickets and ditch digger. Dogot's brother right? If not why did you close-up ?..."

Piece of text at the top looks mediocre. Nothing strange. Similarly, the text of this article.However, he feels very different when the spirit of play is blown into it. He was flesh and soul. So the theater. Such events theater built from the text that "dead" becomes "live" on stage. And this is what distinguishes the significance between the literary text text view theater.

Building a Wall-Julo Bajulo Sea

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By Nasrul Azwar

After my article about the need for the sea wall was built as one form of anticipatory effort founded by tsunami waves along the coast of West Sumatra, published in this newspaper (Singgalang, 22/10/2007), and the next day it says Emeraldy Chatra (Padang Ekspres, 23 / 10/2007), in the same tone, I send short messages to mobile phones Mayor Fauzi Bahar Padang.

A Story of People's Representative

By Nasrul Azwar

My friend told me about one kurenah legislators who come from a district in West Sumatra. Name of representative members of these people, call it DR (HC) Sidi sling. She benefited from the electoral system. Somehow the logic of calculation, Sidi strap suddenly been sat on the loveseat Parliament from the Party, ESQ, call it used to be. Title in his name attached to it, who should not forget to write, no clear history and the history peraihannya. Suddenly there.

My friend's stories like this. Like other agencies, legislators do have the container of the organization to gather fellow legislators. The container name of All-Indonesian Association of Assembly Members (AADSI), call it such. The same was done fellow governors, regents and mayors as Indonenesia. Fortunately, only one president in this country, if more, the association would also emerged.

One time, AADSI hold a meeting in Jayapura, Papua province. All members of parliament are expected to attend in this city. DR (HC) Sidi strap long ago had been preparing his departure. For him, this grand meeting of the most important.

As usual, the parliament secretariat to prepare a makisimal everything, including the selected ticket executive. As many as 25 people leaving council members together in a single plane. Throughout ditampuah angok nose, this is the first time DR (HC) increased persawat Sidi sling. If not a member of the legislature, he probably will never ride patatabang.

With full confidence, and slightly raise my head (be advised members of the legislature), with entourage, DR (HC) Sidi strap down the corridor Minangkabau International Airport. And continue to enter the hatch. His heart was glad. He chooses a chair near the window. Was knocked down in his chair. Same time, a flight attendant approached the DR ((HC) Sidi sling.

The stewardess said: "Dad had to move seat, sir. Dad's supposed to in the executive? "

Instantly, DR ((HC) Sidi sling scold, "No! No! I'm not an executive. I legislature!"

Passengers who did not catch this one, at its discretion, the flight attendant let alone the DR ((HC) Sidi sling seat was chosen.

DR ((HC) Sidi sling went back look to the left and right, and above. Apparently, he studied all the angles and places from his chair. Seat belts are worn, and when it was he almost shouted to the passengers next to him. With his mother language, DR ((HC) Sidi sling cheered: "Oi relatives, batau juo gup urang patabang ko nan ne yo ride. From ateh patabang ko, yo look sagadang samuik urang urang-nan under tu."

"Tabang square Patabang ko lai, Sir. Still maagekkan masinnyo. Nan musty caliak tu, savannah samuik e, "said the passenger next to him.

"Oooo!"

Finally, after passing three times in transit, the group landed at Sentani Airport, Jayapura. Here they picked up and escorted to the meeting organizer, at a large hotel.

After resting a while, all the guests were treated to dinner. Because the entire Indonesian legislators come from various different religions, of the committee to provide and share the place of religion in accordance with their respective menus.

Manconconglah DR ((HC) Sidi sling while mencingangak near the desk organizer. Then with a soft and friendly language, the committee also asked the DR ((HC) Sidi sling.

"Sorry sir, you Muslim or ..."?

"Who says I am Muslim. My Sidi sling. Padang Pariaman Regent Muslim (meaning Muslim Eunuch), "said DR ((HC) Sidi strap firmly and confidently.

Tapurangah committee mendengan answer these legislators. And he even let DR ((HC) Sidi strap which passed either to the table.

Three-day meeting was held. Participants returned to their places. Many also are extending the day at the most eastern areas this. But, the group DR (HC) Sidi strap straight home as scheduled.

Arriving at the Airport Cengkareng, DR ((HC) Sidi strap seemed in a hurry. My friends are another surprise. Tagageh Bana DR ((HC) Sidi sling at the airport. "Manga tagageh Bana, Mr. Sidi," said one of the entourage.

"Oi you in the Jakarta ngangak Bana ko ma! That pant, lai musty-moldy deck looks brand tu: Baggage, "said DR ((HC) Sidi sling with his hand pointed to an inscription that hung near the entrance." Disuruahnyo bagageh crew! "

All my friends DR ((HC) Sidi sling smiled, but DR ((HC) Sidi sling did not bother. He still hurried.

Anecdotes about members of the legislature is not no social background. At the very least, an indication may be related to the emergence of the obnoxious attitude and also a cynical view of the nature of people's representatives over the years.

The proof, in the daily Singgalang, Wednesday, October 24, 2007, down 3 temperament sickening news of legislators. Two news on page 1 and one 4-page news. The news was essentially related to women. In mid August this year, two members of parliament arrested at a hotel in Bukittinggi. They are accused of using sabu-sabu and doing nasty.

In addition, West Sumatra community Lebaran also created confusion: the majority of legislators in West Sumatra 1999-2004 period (45) people have been declared guilty by law and also rejected kasasinya MA, and already do have legal certainty for panjara thrown in, apparently contradictory with 10 other members; their appeal accepted the Supreme Court, and declared free.

If dideretkan last two years, long dangling dangling temperament legislators in West Sumatra that make people not help wondering: why do things that violate the principle of appropriateness, norms, it conducted?

But, that's the reality. Reality legislators. Representatives elected by the people. It's not impossible, that the anecdote was told by my friend, really happening in this country. If this is so the quality of resources and a mentality that the legislative council: the average same level with DR ((HC) Sidi sling. ***Daily Singgalang, Wednesday, October 31, 2007

Yummy Become a Member of the Board

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By Nasrul Azwar

Become a member of the House of Representatives was exciting. At least, partially funded with state money to live. Not only council member who received a blessing, family and children can also be sprayed. Because there are also some allowances allocated to children and a wife / husband. Morally, other family-out wife / husband and children, social status come up as well. Thus, the domino effect of a successful council seats, are quite large.

Power Politics as Investments

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By Nasrul Azwar

Economistic political culture is a culture which views political power only as an investment. What is on the minds of prospective politicians rather than idealism, but the exchange rate. A prospective politicians are willing to pay hundreds of millions of rupiah because it knew that its investment would pay off bigger. Beside that, socio-economic inequalities also create a political culture in opposition to the equality of political opportunity for the public.

Maestro Ruslis Marzuki Saria

Maestro Literature from West Sumatra

By Abel Tasman

 

My Imagination is a monasteries and I am its monk. My imagination is a monastery and I was the friars. The phrase from John Keats that the figure quoted was in a very appropriate essay describes the creative process as a poet. That's just a Rush Marzuki Saria. He seemed destined to become a poet who puts the imagination as a very broad sphere for the birth of his poetry works.

Rusli Marzuki Saria who familiarly called Papa is known as a poet-humanist whose work could not be released from the treasury of Indonesian literature in the last 50 years. His poems were published in various media that exist in Indonesia since the 1950s. He also often appeared in various stage poetry readings at berbabagai city in the homeland.

Maestro Manti Menuik

Tradition of Caring Art Minang with Courtesy

By Abel Tasman/DKSB

 

His name is Manti Menuik. Male. 81-year-old. That night, March 19, 2005, at the Cultural Park Theatre Closed West Sumatra, the Minangkabau tradition of performing arts maestro that was held by the Arts Council of West Sumatra (DKSB) IV in Performing Arts in 2005, he appeared to still tough to play silek jalik, dance Adok, and Tan relapse, one of Minangkabau traditional arts that are still there today. He was one of his heirs. Manti expertise silek jalik Menuik play, dance Adok, and Tan relapse, the Minangkabau traditional arts made him a figure of the long-awaited audience. Manti Menuik present that night as one of Minangkabau art maestro maestro of the three people who specially invited DKSB, namely Islamidar and UPIAK Palatiang.

Maestro Yusaf Rahman

Contemporary Art Music Runner Minang

By Sondri BS/Tim DKSB

Yusaf Rahman, born on June 4, 1933, in Muaro Labuah, West Sumatra. Small kampong called Kampung Lurah Labuah Muaro Market (now known as Market Muaro Labuah). Yusaf, the eldest child of twelve children. Her father, a registered nurse (registered nurse first class) and also a violinist. His mother named Badariah also adept at playing the lute, although in those days women rarely able to play a musical instrument.

Blood art that's both parents are inherited. Talents which later expanded into a self-taught learning. Yusaf try to use their own musical instruments without a teacher. Although previously studied at the Faculty of Agriculture, ability, insight, and knowledge in the field of musical composition, no doubt. The music he loves.

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.

Maestro Sawir Sutan Mudo

Mak Sawir The "King Bagurau"

As an artist tradition in this sphere, he kept his deep concern current conditions of culture, customs, and traditions of Minangkabau. He considered, in broad Minang remarkable deterioration. Concern was expressed over the full sampiran warnings; "Jaan until the damaged deck nangkhododoh kapa, binaso wood deck builders, custom deck pangulu damaged, the road deck urang dialiah ago. (Do not let the damaged vessel caused by a captain, because the builders of timber destroyed, damaged customary for princes, the path is shifted one pass).

Maestro Inyiak Upiak Palatiang

Minang Traditional Arts Carers

His name Inyiak Upiak Palatiang. Women. She was already 105 years old. That night, March 19, 2005, at the Cultural Park Theatre Closed West Sumatra, in the performing arts maestro Arts Council of West Sumatra IV in Performing Arts, he became "stars." Inyiak Upiak Palatiang expertise in the art and tradition of Minangkabau silat sonority singing voice sang creations, made him a figure of the long-awaited audience.

Maestro Arby Samah

Originator of Abstract Sculpture

ABSTRACT words appear one by one. Question marks appear slowly. Starting from the small of the back. Question Mark stopped behind the letter K, for a moment and then continued to grow forward split screen.

Abstract. That's the first word that appears in the head when this artist names mentioned. As if, when the abstract dictionary is opened, this former student of ISI Yogyakarta was the first diurutan.

Pertunjukan di Indonesia: Sebuah Abstraksi

Oleh Indra Utama

Bilamana kita bersepakat dengan Richard Schechner (2002:2-19) yang menyatakan bahwa pertunjukan (performance) mesti dipahami sebagai spectrum yang luas daripada rangkaian kesatuan aksi manusia, seperti upacara, permainan, olahraga, pertunjukan popular, pertunjukan seni, dan penampilan kehidupan sosial sehari-hari sebagai profesional, gender, bangsa, dan lain-lainnya, maka diskusi tentang pertunjukan pun akan menjadi lebih luas karena ianya berkait dengan aksi dan perilaku manusia yang memiliki hubungan intercultural antara sesamanya. Dengan demikian, pertunjukanpun akan menjadi bidang kajian yang menarik pula karena dapat mengintegrasikan persoalan-persoalan teater dan antropologi, folklore dan sosiologi, sejarah dan performance theory, kajian gender dan psikoanalisis, serta performativity dan peritiwa pertunjukan itu sendiri.

Hoerijah Adam dan Spirit Minangkabau dalam Tari (Respons Tulisan Gus RY)

OLEH Indra Utama, Koreografer, Dosen STSI Padangpanjang, sekarang mahasiswa Program PhD pada Universitas Malaya, Malaysia

Setidaknya, ada tiga hal penting yang bisa dipetik dari apa yang dilakukan Hoerijah Adam berkait kehidupan tari Minangkabau dewasa ini: Pertama, meneguhkan kembali tari Minangkabau yang semula berasaskan gerak tari Melayu kepada tari Minangkabau yang sebenarnya, yaitu pancak (silat) Minangkabau. Kedua, menggunakan secara sadar nilai-nilai Islam dan adat Minangkabau dalam karya tarinya. Ketiga, menempatkan posisi perempuan Minangkabau sebagai manusia yang punya hak untuk ikut berpartisipasi dalam pembangunan (baca: kesenian) tanpa melepaskan identitasnya sebagai perempuan Minangkabau.

Menggugat Afrizal Malna

OLEH Indra Utama, Koreografer, Dosen STSI Padangpanjang, sekarang mahasiswa Program PhD pada Universitas Malaya, Malaysia

Afrizal Malna (penyair, budayawan) datang ke STSI Padangpanjang, membawa satu kelompok tari dari Yogya dan menampilkan tiga koreografi Fitri Setyaningsih tanggal 10 Nopember 2007. Pertunjukan itu bertajuk “Pidato Bunga-Bunga”, sebagai rangkaian pergelaran tiga kota (Medan, Padangpanjang, dan Bandung) dari program hibah seni Yayasan Kelola.

Koreografer Muda Sumatra Barat: Berkarya Tanpa Panutan

OLEH Indra Utama, Koreografer, Dosen STSI Padangpanjang, sekarang sedang belajar di Universiti Malaya

Pada masyarakat tradisional Minangkabau, kata tari diartikan sebagai laku olah gerak dan rasa. Masyarakat Minangkabau menyebutnya dengan kata pamenan. Ianya memiliki akar gerak kepada ilmu beladiri pancak (Indra Utama, 2001:71-80; Edi Sedyawati, 1998:72; Sal Murgiyanto, 1991:276; O’ong Maryono, 1998:9; Mohd. Anis Md Nor, 1986:26).

Nagari Koto Anau dan Tari Mancak

OLEH Indra Utrama, mahasiswa Program PhD University of Malaya

Nagari Koto Anau terletak di kaki Gunung Talang. Berada pada ketinggian 1500 meter dari permukaan laut dengan topografi daerah berbukit-bukit dan lurah terjal yang dalam. Secara geografis letak nagari ini terlihat unik. Bentuknya mengerucut bagaikan piramid, kucuik ka ateh kambang ka bawah. Nagari ini digerayangi air bandar yang berliku mengikut letak rumah penduduk yang tidak tertata. Bandar air itu disebut ula lidi mambalik Koto. Hampir tidak ada halaman rumah yang tidak dialiri air bandar yang jernih ini.

Nagari Koto Anau memiliki air terjun pada beberapa dinding lurahnya. Masyarakat Koto Anau menyebutnya dengan kata timbulun tujuah salirik. Di salah satu Jorongnya terdapat mata air panas yang sering dipakai untuk mandi. Nagari Koto Anau memang kaya dengan aliran air. Bahkan sempat dimanfaatkan sebagai pembangkit energi listrik. Bekas pembangkit listrik itu masih ada sampai saat ini. Mungkin bisa dianggap sebagai monumen dari kejayaan Nagari Koto Anau masa lalu.

Di bagian tengah Nagari, dengan tanjakan yang lumayan tajam, terdapat jalan raya yang menghubungkannya dengan beberapa nagari tetangga dan Kota Solok. Jalan raya itu selalu dilalui bus menuju perkampungan di pinggiran Danau Kembar. Bunyi raungan mobil mendaki jalanan selalu membelah keheningan Nagari Koto Anau yang damai. Letak ataupun posisi jalan itu bagaikan sisiran rambut belah di tengah. Jalan raya ini dinyatakan dengan kiasan sega rambuik mambalah banak.

Semua rumahgadang di Koto Anau menghadap ke Gunung Talang. Gunung Talang diyakini sebagai sumber rejeki, dan aliran rejeki itu diteruskan ke bawah, yaitu ke Kota Solok. Kiasannya berbunyi tikalak madok ka hilie, manurun ka balai lurah. Mendampingi keberadaan rumahgadang itu, di Koto Anau banyak terdapat surau dalam berbagai ukuran, namun hanya satu surau yang bertahan memelihara kesenian tradisinya, yaitu Surau Sikumbang Ateh Balai.

Orang muda Koto Anau terkenal sundek panaiak darah, namun suko didagang nan tibo. Tidak mudah takicuah karano baso, bukan pulo mudah tatipu karano budi. Watak sundek panaiak darah ini, mungkin pengaruh dari masyarakatnya yang suka makan daging. Hampir setiap waktu makan selalu tersedia masakan daging dalam berbagai corak masakan. Sekalipun demikian mereka suka menerima tamu. Ada perasaan ikhlas ketika menerima si anak dagang. Terkait dengan itu, diperantauan, mereka umum bekerja di berbagai rumah potong daging. Sebuah profesi khusus yang dibawa dari kampung halamannya.

Masyarakat selingkaran luar dari nagari ini sangat mengenal karakter orang Koto Anau. Kalau berbicara selalu menggunakan tiga kata untuk menunjukkan keberadaan dirinya, yaitu aden, awak, dan kito. Watak dan karakter demikian tetap terpelihara sampai sekarang, utamanya bagi orang muda laki-laki yang pernah belajar silat.

Bagi orang muda laki-laki Koto Anau, belajar silat adalah sebuah kewajiban. Jangan mengaku orang Koto Anau kalau tidak pandai bersilat. Terselip perasaan malu jika tidak pernah belajar silat agak sajamang. Apalagi silat yang berkembang di Koto Anau diyakini lahir dari bumi daerahnya. Ianya disebut dengan Silek Si Kayu Kasah dan Silek Si Cabiak Kapan. Silek jenis ini bukanlah silek tontonan, ianya dipakai hanya untuk beladiri saja. Namun untuk keperluan silek tontonan, ahli silat Koto Anau telah pula menciptakan khusus dengan nama Silek Harimau Campo. Ketiga bentuk materi ilmu beladiri ini merupakan pusako rang Koto Anau. Mereka menyebut Harimau Campo sebagai pamenan mato, Si Kayu Kasah pamenan nan saganggam, dan Si Cabiak Kapan pamenan nan sabinjek.

Mengikut aktivitas ilmu beladiri ini, di Koto Anau muncul pula produk budaya lain yang sedarah, yaitu Mancak jo Ambek-Ambek, Talempong sarato Momong, Pupuik Galundi jo Batang Padi, dan Tari Piriang. Aktivitas ini merupakan olah gerak dan rasa sebagai satu bentuk materi permainan anak nagari. Bahasa Minangkabau menyebutnya dengan kata pamenan anak nagari.

Khusus pamenan Mancak, gerakannya seirama dengan silek yang menjadi asasnya. Antara keduanya ibarat saudara kandung yang sedarah. Ciri-cirinya terletak pada kekuatan kaki ketika menapak di bumi, dengan posisi lengan melengkung di sisi kedua badan. Sekilas bentuknya seperti harimau hendak menyerang. Untuk itulah silek itu dinamakan Harimau Campo.

Kata Mancak adalah berawal dari tingkah laku anak-anak yang bermain, bergelut, atau bercanda pura-pura berkelahi dengan menggunakan gerakan pencak. Orang Koto Anau menyebutnya dengan kata bamancak yang artinya bermain mancak atau pancak. Namun Sal Murgiyanto menyatakan kata mancak atau pancak diambilkan dari kata ancak, yang berarti bagus dan menarik (Sal Murgiyanto. 1991:276).

Tari Mancak adalah tari tradisi Koto Anau. Tidak ada Tari Mancak lain selain yang ada di Koto Anau. Demikian claim masyarakat Nagari Koto Anau terhadap produk budayanya yang satu ini. Terbersit satu semangat untuk mengidentifikasi diri sebagai orang Koto Anau melalui kebanggaannya terhadap tari tradisinya itu. Dan memang, semua orang Koto Anau bangga akan produk budayanya ini. Bahkan terlihat nyaris fanatik. Hal tersebut akan tampak ketika terjadi dialog tentang keberadaan Tari Mancak dengan masyarakat Nagari Koto Anau. Akan terasa bagaimana kebanggaan itu adanya. Mereka bicara penuh semangat.

Seiring berjalan waktu, Mancak pun semakin terkonsep sebagai manifestasi kehidupan masyarakatnya. Semua bentuk gerakannya mencerminkan kehidupan masyarakat pemiliknya, dan ianya difungsikan dalam berbagai keperluan memeriahkan upacara nagari, seperti baralek pengangkatan penghulu, manaiak rumahgadang, memeriahkan hari raya, maulid Nabi Muhammad SAW, dan lain sebagainya. Untuk itu, struktur daripada gerak Mancak pun mengikut kepada tuntutan seni pertunjukan, yaitu mulai dari gerak Pasambahan Pembuka, Titi Batang, Timpo, Kaluang, Suduang Daun, Sauik, Cacah Baro, Tupai Bagaluik, Tumpu, Jinjiang Bantai, Suntiah Taruang Bauwok, dan Pasambahan Penutup. Semua ragam gerak itu, kalau diamati dengan seksama, maka akan ditemukan makna yang tersirat daripada bentuk gerakannya. Makna demikian adalah cerminan dari watak dan karakter masyarakat Koto Anau, juga berisikan ajaran yang sejalan dengan adat salingka nagari Koto Anau.

Adalah Yahya Rasyid Malin Marendah, 72 tahun, pewaris terakhir Tari Mancak dan semua produk kebudayaan ini. Pak Yahya telah lebih dari 50 tahun melakoni kehidupan sebagai seniman tradisi tanpa henti, yaitu mulai dari usia muda belia sampai saat sekarang. Beliau pernah mewakili Sumatera Barat pada Festival Tari Rakyat di Jakarta, juga melatih Tari Piring untuk 350 orang anak pada acara penutupan MTQ ke XIII Tingkat Nasional di Kota Padang. Mungkin, mengingat pengabdiannya yang tiada henti dalam memelihara produk kebudayaan di Koto Anau, sepantasnya pemerintah menganugerahkan tanda jasa kebudayaan kepada beliau.

Berhadapan dengan Pak Yahya, akan terlihat sebuah kesahajaan. Sosok manusia arif yang telah banyak menggeluti asam garam kehidupan, terlebih dalam membina kehidupan seni tradisi daerahnya.

Koto Anau saat ini masih berada di sana, di kaki Gunung Talang yang terlihat semakin kokoh. Memahami Koto Anau adalah memahami budaya Koto Anau. Mulai dari mengenal keadaan daerahnya, keadaan masyarakatnya, sistem sosialnya, adat istiadatnya, sistem kepercayaan, dan keseniannya. Pemahaman demikian lazim didapat melalui pendekatan antropologi ataupun sosiologi, dan metode yang sesuai untuk memahami budaya Koto Anau tersebut adalah melalui participant observer. Artinya, Nagari Koto Anau adalah sumber ilmu. Ilmu untuk menjadikan kita paham untuk apa kita hidup di atas  dunia ini.*

Bukittinggi, 25 Maret 2008

 

Liminitas Masyarakat Minangkabau dan Ekspresi Kegelisahan Kreativitasnya (Catatan untuk Prof Dr Mahdi Bahar)

OLEH Indra Utama, Koreografer, Dosen STSI Padangpanjang, dan sedang belajar di Universiti Malaya 

Pengaruh introduksi teknologi baru di tengah kehidupan masyarakat, yang diiringi dengan semakin meningkatnya taraf pendidikan (formal maupun informal, langsung maupun tidak langsung, sengaja maupun tidak disengaja), kesehatan dan ekonominya, telah meyeret bangsa Indonesia kepada perubahan yang tidak terbayangkan sebelumnya (Sjafri Sairin, 2002). Perubahan tersebut merupakan akibat dari meningkatnya sistem pengetahuan dan gagasan yang dimiliki masyarakat, yang didapatnya dari berbagai macam sarana dan fasilitas, dan bermuara menjadi sebuah kekuatan yang tidak tampak (invisible power), serta berpotensi menjadi pendorong daripada sikap dan perilaku manusia sebagai saluran ekspresi kegelisahan kreativitasnya.