Andar Indra Sastra
Karawitan Department, Performing Arts Faculty, Institut Seni Indonesia Padangpanjang, West Sumatra

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THE GROUP CONCEPT OF BUILDING RASO BATALUN IN THE PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHAN Sastra, Andar Indra
Jurnal Humaniora Vol 27, No 1 (2015)
Publisher : Faculty of Cultural Science Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (626.04 KB) | DOI: 10.22146/jh.6408

Abstract

The goal of this article is to discuss talempong renjeang anam salabuhan as a cultural artefact, in particular focusing on the group concept of building raso batalun in the performance of talempong renjeang anam salabuhan in Luhak Nan Tigo, Minangkabau. Raso batalun in the performance of talempong is the musical expression created by the talempong player through the rhythmic treatment of the talempong. The expression produced in a talempong performance can be understood to reflect the musical ability of the talempong group in its performance of various types of Guguah talempong. A group is the representation of a social concept in Minangkabau society. Some talempong groups are formed on the basis of common goals and interests without any family connections; other groups are formed through family ties; and others are formed based on genealogical connections. A musical unit is built through musical communication between the talempong players through different rhythmic patterns. This musical communication can be achieved when the players in the group have the same level of perception, ability, and sense of musicality. It is this perception and sense of musicality which are the initial foundations on which a talempong performance is built, in accordance with the musical standard of each group. It is believed that a high musical standard will not be reached if the role of a particular player is taken over by another player from outside the group. The group plays an important role in building a musical unit and a musical standard in order to achieve raso batalun.
Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra Sastra, Andar Indra; Fulzi, Nadya; Anton, Syahri
Jurnal Humaniora Vol 29, No 3 (2017)
Publisher : Faculty of Cultural Science Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (847.778 KB) | DOI: 10.22146/jh.27636

Abstract

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.
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 Sastra, Andar Indra
Jurnal Humaniora Vol 29, No 1 (2017)
Publisher : Faculty of Cultural Science Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (670.37 KB) | DOI: 10.22146/jh.22566

Abstract

The goal of this article is to discuss the aesthetics of the three-way pattern in the musical concept of  talempong renjeang (tenteng) and the social system of the people of Luhak Nan Tigo Minangkabau. The musical concept of talempong renjeang is formed by 3 (three) pairs of  talempong: talempong Jantan, talempong Paningkah, and talempong Pangawinan. As the ‘leader’, the talempong Jantan maintains the consistency and integrity of the theme and danyuik (tempo) of the playing, the talempong Paningkah follows the lead of the talempong Jantan using different playing motifs, and the talempong Pangawinan has the role and authority to make the guguah (melody) of the talempong complete – creating a three-way aesthetical pattern. The social system of the people of LuhakNan Tigo was created by three legendary figures, namely Dt. Katumangguangan, Dt. Parpatiah Nan Sabatang, and Dt. Nan Sakelap Dunia (RajoBabandiang). From these three figures, the concept of tali tigo sapilin, tungku nan tigo sajarangan was born (a philosophy of harmony). The method used for the research is based on qualitative data which was collected through observation, interviews, and documentation. The data analysis focuses the talempong renjeang as a musical and the social system of the Minangkabau community which began with two legendary Minangkabau figures. The results of the study show that talempong as a musical system corresponds to, or synchronizes with, the social concept of the people of Luhak Nan Tigo Minangkabau.
ESTETIKA MAIN BUNGO DALAM PENYAJIAN GALOMBANG DUOBALEH DI NAGARI PITALAH KABUPATEN TANAH DATAR Susanti, Meri; Erlinda, Erlinda; Sastra, Andar Indra
Bercadik : Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 1 (2017): Bercadik April 2017 ISSN 2355-5149
Publisher : Institut Seni Indonesia Padang Panjang

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Abstract

ABSTRACT This research aims at revealing the concept of Main Bungo in Galombang Duo Baleh performance in Pitalah village, Tanah Datar district, West Sumatra. Main Bungo is an important aspect of the aesthetics of Galombang Duo Baleh presentation. The constituent elements of Main Bungo concept are movement quality, kiek (technique), raso (feeling), and movement presentation. While philosophical aspects contained in the concept of Main Bungo presentation are acting wisely based on magnanimity, the compactness of living in a group, and the beauty of body movement based on mancak movements. Main Bungo becomes the basic inspiration in Galombang Duo Baleh presentation in Pitalah village. The issue discussed in this article is related to the structural form of Galombang Duo Baleh presentation in Pitalah village, Tanah Datar district, West Sumatra. This research was based on qualitative data by using the methods of observation, interview, and documentation. Research results are: Main Bungo becomes the aesthetic orientation and the basic judgment of whether Galombang Duo Baleh presentation in Pitalah village is good or bad. Keywords: Main Bungo, Galombang Duo Baleh, Pitalah Village
AYUN-AYUN JO GALITIAK: EKSPRESI MUSIKAL DALAM BABIOLA PADA MASYARAKAT KABUPATEN PESISIR SELATAN Kurniawan, Al Wahyu; Sastra, Andar Indra; Nursyirwan, Nursyirwan
Jurnal Ilmu Budaya Vol 14 No 2 (2018)
Publisher : Universitas Lancang Kuning

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4054.168 KB) | DOI: 10.31849/jib.v14i2.1137

Abstract

This analysis entitled ''Ayun-ayun jo galitiak'' musical expression in Babiola in the society of Pesisir Selatan regency. It aims to show the musical expression in that Babiola by formulizing the empirical experience of the respondents. It is a qualitative analysis to explore the form of ayun-ayun jo galatik in the song of Sikambang. Data collecting is done by library research, observation, interview and documentation. The result shows that Ayun-ayun jo galatik has contour melody up and down in slow tempo with free rhythm the musical expression.
Lareh Koto Piliang: Sistem Kekuasaan dan Musik Perunggu Dalam Kajian Konsep Estetika Musikal di Luhak Nan Tigo Mingkabau Sastra, Andar Indra
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 17, No 2 (2016): Agustus 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (724.111 KB) | DOI: 10.24821/resital.v17i2.2220

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This article aims to discover the concept of Lareh Kotopiliang: Power Systems and Bronze Music in a Study of the Concept of Musical Aesthetics in Luhak Nan Tigo Minangkabau. Lareh Kotopiliang is oriented towards a royal or autocratic system of power, in which the primary figure holds the title of Dt. Katumangguangan. A legendary figure, Dt. Katumangguangan is believed to be the one who first implemented this autocratic system of power or leadership. There are two types of bronze music, namely oguang and talempong. From the aspect of performance, there are two different concepts: (1) oguang (a gong ensemble); and (2) talempong bararak (processional music). As an ensemble, oguang is played on top of a frame (rea), with gandang palalu and paningkah, six talempong, and two gongs. Talempong bararak is performed in procession – in declaration of the title of a headman, and musically is made up of three pairs of talempong – talempong jantan, talempong paningkah, and talempong pangawinan. Each of the talempong pairs plays a different rhythmic pattern, and the combination of the three patterns forms the characteristic melody of talempong bararak. The problems addressed in this article are: first, the traditional historiography of Lareh Koto Piliang as part of the trilogy of power in Luhak Nan Tigo Minangkabau; second, Lareh Koto Piliang and the concept of bronze music; and third, the musical concept of talempong bararak.
Lareh Nan Bunta: Power Systems and The Concept of Musical Aesthetics in Talempong Basaua in Luhak 50 Koto Minangkabau Sastra, Andar Indra; Sriwulan, Wilma; Hendri, Yon
Harmonia: Journal of Arts Research and Education Vol 18, No 1 (2018): (Nationally Accredited, June 2018)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v18i1.13280

Abstract

The goal of this article is to bring to light lareh nan bunta as a form of representation of the system of democracy – or power – developed by Dt. Nan Sakelap Dunia. The discussion in this paper uses a qualitative method which is backed up by quantitative data. The data was collected through participant observation, interviewing, discussion, and analysis. The analysis was carried out using a descriptive method using theoretical reasoning, with knowledge of aesthetics and art. The results of the research show that conceptually, talempong basaua is a musical reality which represents lareh nan bunta in Luhak 50 Koto Minangkabau. Lareh nan bunta is a synthesis of the influence of power – or dialectic – between lareh kotopiliang (autocracy) and lareh bodicaniago (democracy), each with its own system of leadership. The dualism in the autocratic and democratic systems of power form a balancing power known as lareh nan bunta – a combination of all three existing conceptions. Lareh nan bunta is also reflected in the concept of musical aesthetics in talempong basaua in Luhak 50 Koto Minangkabau. Talempong basaua represents a combination of two musical concepts, namely talempong and the rhythms or irama of dendang (vocal music), which are combined to create a new genre.
SORAK RANG BALAI: DENDANG SEBAGAI REPRESENTASI DAN IDENTITAS METODE PROMOSI DALAM BUDAYA DAGANG MASYARAKAT MINANGKABAU Rahman, Surya; Sidharta, Otto; Sastra, Andar Indra
Bercadik : Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 2 (2017): Bercadik Oktober 2017 ISSN 2355-5149
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (111.211 KB)

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ABSTRAK Tulisan ini bertujuan untuk membahas tentang bagaimana peran dan ciri khas sorak dalam perdagangan di Minangkabau. Sorak rang balai merupakan sebuah media ungkap yang digunakan oleh pedagang dalam transaksi jual beli yang hanya dilakukan oleh masyarakat Minangkabau. Sorak rang balai ini merupakan sebuah cara promosi yang unik, dimana pedagang di Minangkabau berdendang-dendang dalam mempromosikan dagangannya. Konsep musikal dalam dendang pada sorak rang balai yaitu lirik atau syairnya berisikan tentang jenis, kualitas, dan juga harga barang yang diperdagangkan. Hari balai yang terjadi dalam sekali sepekan ini, merupakan hari dimana pada umumnya para pedagang berlomba-lomba dalam mempromosikan dagangannya dengan cara berdendang. Kompleksitas metode perdagangan ini menjadi ciri khas dan identitas dalam kebudayaan masyarakat Minangkabau. Kata kunci: Sorak Rang Balai, Balai, Promosi Unik, Identitas, Ciri Khas.
BENTUK AKULTURASI ESTETIKA ISLAMI DAN MUSIK POPULER DALAM PERTUNJUKAN SALAWAIK DULANG GROUP ARJUNA MINANG Suhendra, Robby; Ediwar, Ediwar; Sastra, Andar Indra
Bercadik : Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik Oktober 2016 ISSN 2355-5149
Publisher : Institut Seni Indonesia Padang Panjang

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Abstract

ABSTRACT This writing aims at revealing the acculturation of Islamic aesthetics and popular music in salawaik dulang performance. Salawaik (salawat) literally means praise or adulation toward Prophet Muhammad SAW; dulang is a bronze vessel commonly used as means of serving drinks or as big plate in the ceremony of makan bajamba. Salawaik dulang is religious song that uses dulang as rhythm arranger and also functions as music instrument in salawaik dulang performance. Problem discussed in this writing is religious values packed together with popular music in salawaik dulang performance. Keywords: acculturation, Islamic aesthetics, popular music, salawaik dulang 
KARAKTER PUTRI KENANGA DALAM LAKON KEANGKUHAN KARYA JONHAR SAAD DALAM PERTUNJUKAN DULMULUK DI PALEMBANG Fitria, Fitria; Sahrul, Sahrul; Sastra, Andar Indra
Bercadik : Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 1 (2016): Bercadik Vol.3 No.1 April 2016 ISSN 2355-5149
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (103.07 KB)

Abstract

ABSTRACT Character is temperament or habit. According to psychologist, character is a system of belief and habit that leads on an individual’s action. If knowledge about someone’s character can be known, how that someone will behave in certain conditions can also be known.The story of Princess Kenanga’s arrogance was started with the story of King and Queen of a country who had a very beautiful and smart daughter whose name’s Princess Kenanga. The beauty of this princess was renowned throughout the country but unfortunately this princess had arrogant and haughty natures.Princess Kenanga in the play “Keangkuhan (=Arrogance)” had evil characteristics because in her every appearance, she showed bad attitudes such as speaking harshly and doing action that’s not supposed to be done by a princess toward her folk and people. In the story of play “Keangkuhan (=Arrogance),” Princess Kenanga act abusively toward her folk.Keywords: Arrogance, Dulmuluk, Theater