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All Journal Humaniora Gorga : Jurnal Seni Rupa Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Panggung Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Melayu Arts and Performance Journal Humantech : Jurnal Ilmiah Multidisiplin Indonesia Bercadik: Jurnal Pengkajian dan Penciptaan Seni Musik Etnik Nusantara

Andar Indra Sastra

Institut Seni Indonesia Padangpanjang

Author-ID : 2895209

Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Other

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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): June 2018
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

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

The goal of this article is to bring to light lareh nan bunta as a form of representation of the system of democracy Ã¢â‚¬â€œ or power Ã¢â‚¬â€œ 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 Ã¢â‚¬â€œ or dialectic Ã¢â‚¬â€œ 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 Ã¢â‚¬â€œ 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.

Lareh Koto Piliang: Sistem Kekuasaan dan Musik Perunggu Dalam Kajian Konsep Estetika Musikal di Luhak Nan Tigo Mingkabau Andar Indra Sastra
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 17, No 2 (2016): Agustus 2016
Publisher : Institut Seni Indonesia Yogyakarta

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.

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

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.

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

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.

Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra Andar Indra Sastra; Nadya Fulzi; Syahri Anton
Humaniora Vol 29, No 3 (2017)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

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.

ESTETIKA TEKS DENDANG KAMPAR BASIANG: CERMINAN BUDAYA MASYARAKAT AGRARIS DI MINANGKABAU (ANALISIS TEKS) Hendri Koto; Andar Indra Sastra; Asep Saepul Haris
Gorga : Jurnal Seni Rupa Vol 7, No 2 (2018): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v7i2.11033

AbstrakDendang kampar basiang adalah salah satu dendang yang terdapat pada kesenian saluang dendang di Minangkabau. Dendang tersebut dinilai memiliki aspek estetis pada teks yang membangun struktur pantunnya. Dilihat dari frase kalimat sampiran maupun isi, kecenderungan dalam teks pantun dendang kampar basiang memiliki kata maupun kalimat yang mengambarkan fenomena kehidupan masyarakat agraris. Penelitian ini bermaksud untuk menganalisis teks yang terdapat pada dendang kampar basiang yang dihubung-kaitkan dengan aspek sosial masyarakat Minangkabau pada umumnya. Dalam mengkaji fenomena tersebut, digunakan beberapa pendekatan telaah sastra dan estetika paradoks, serta dengan metode kualitatif. Terkait dengan hasil penalaahan teks dendang kampar basiang, maka didapati bahwa dendang tersebut merupakan sebuah cerminan dari kehidupan masyarakat agraris di Minangkabau. Kata Kunci: estetika, agraris, dendang kampar basiang AbstractKampar basiang dendang is a kind of songs in Minangkabau saluang dendang. This Dendang is considered to have aesthetic aspects of the text that build the rhyme structure. Seeing from the sentences phrase ofsampiran, as well as it’s content, the tendency of dendang kampar basiangrhyme has a word or phrase that describes the phenomenon of agrarian society. This research intends to analyze the texts contained inkampar basiang dendang which is related to social aspect of Minangkabau society in general. Several approaches are used to examine this phenomenon, which is literary studies and paradox aesthetic, as well as qualitative methods.In relation to the study about the text of kampar basiang dendang, it has been found that dendang is a kind of reflection about the life of agrarian society in Minangkabau Keywords: aesthetic, agrarian, kampar basiang dendang

PAKAIAN PANGULU DI NAGARI GUNUANG KOTA PADANGPANJANG PROVINSI SUMATERA BARAT Robi Anwar; Andar Indra Sastra; Edward Zebua
Gorga : Jurnal Seni Rupa Vol 8, No 2 (2019): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v8i2.14939

AbstrakPenelitian ini mendiskripsikan tentang bentuk pakaian pangulu. Fokus penelitian ini adalah pakaian pangulu di Nagari Gunuang Kota Padangpanjang provinsi Sumatera Barat. Pakaian pangulu merupakan pakaian kebesaran seorang pemuka adat suatu kaum yang menyandang gelar pangulu. Pakaian pangulu mencerminkan nilai kewibawaan seorang pemimpin yang terlihat secara visual. Metode dalam penelitian ini menggunakan pendekatan kualitatif dengan tipe deskriptif. Teknik pengumpulan data dilakukan dengan studi pustaka, observasi, dan dokumentasi. Penelitian ini membahas tentang bentuk dan makna pakaian pangulu. Hasil tentang pakaian pangulu berupa pakaian adat untuk seorang pemimpin adat di Nagari Gunuang Kota Padangpanjang. Pakaian itu terdiri dari destar/saluak, baju hitam longgar/baju gadang, kain sandang/salempang, celana/sarawa, sarung/sisampiang, ikat pinggang/cawek, keris/karih, tongkat/tungkek. Makna dari pakaian pangulu adalah wibawa seorang pemimpin kaum dalam mengayomi anak kemenakan dan mampu menjadi hakim pada masyarakat.Kata Kunci: pakaian, pangulu, bentuk, makna.AbstractThis study describes the form of pangulu clothing. The focus of this research is pangulu clothing in Nagari Gunuang, Padangpanjang, West Sumatra province. Pangulu clothing is an oversized clothing of an adat leader, a people bearing the title pangulu. Pangulu's clothes reflect the dignity of a leader visually. The method in this study uses a qualitative approach with descriptive type. The technique of data collection is done by literature study, observation, and documentation. This study discusses the shape and meaning of pangulu clothing. The results of the pangulu clothing in the form of traditional clothing for a traditional leader in Nagari Gunuang, Padangpanjang City. The clothes consist of a sash/saluak, loose black clothes/gadang clothes, clothing/salempang cloth, pants/sarawa, sarongs/sisampiang, belts / cawek, keris/karih, sticks/tungkek. The meaning of pangulu's clothing is the authority of a leader of the people in protecting the children of nephews and being able to be judges in the community.. Keywords: clothes, pangulu, shape, meaning.

PEREMPUAN KERINCI SEBAGAI IDE DALAM PENCIPTAAN KARYA SENI LUKIS NIa Daniati; Andar Indra Sastra; Dharsono Dharsono
Gorga : Jurnal Seni Rupa Vol 7, No 2 (2018): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v7i2.10975

AbstrakPerempuan di daerah Kerinci sangat diistimewakan, seperti menarik garis keturunan dari pihak ibu (perempuan) yang disebut dengan sistem matrilineal. Selain menarik garis keturunan dari pihak ibu (perempuan) sistem pewarisan juga datangnya dari kaum perempuan, seperti sko (pusaka) yang berbentuk gelar, tetapi dipakai oleh mamak (saudara laki-laki ibu) dan orang sumendo (suami ibu); dan harta pusaka tinggi; seperti rumah dan sawah dikendalikan oleh perempuan. Perempuan Kerinci selalu menerapkan etika beradat kemanapun pergi, sehingga mereka dihormati dan disegani di dalam masyarakat. Etika beradat perempuan Kerinci yakni “sesuai dengan Icopake.” Icopakeperempuan Kerinci sifatnya lunak atau lemah lembut, seperti malu pada laki-laki, takut pada janji, mulut manih kecindam murah (ketika berbicara lemah lembut tutur katanya dan sopan santun), pandai memilihara diri, rajin mengurus rumah tangga, , dan menurut kata junjungan (suami). Metode yang dipakai dalam penciptaan karya ini observasi, dokumentasi, dan eksperimen. Karya ini menggambarkan tentang kekaguman pengkarya terhadap perempuan Kerinci yang diwujudkan kedalam karya seni lukis dengan menghadirkan berbagai kegiatan yang dilakukan oleh perempuan Kerinci dalam kehidupan sehari-hari. Perwujudan karya menggunakan konsep reinterpretasi yang menggambarkan kembali aktivitas perempuan Kerinci dalam berbagai aspek mulai dari kesawah sampai pada aktivitasnya dalam adat yang diwujudkan ke dalam karya seni lukis dengan gayadekoratif. Kata Kunci:Perempuan Kerinci, kekaguman dan seni lukis AbstractKulouk is one Women in Kerinci regency are very special, such as drawing a bloodline from mother (female) called the matrilineal system. In addition to drawing a line frommother (female) inheritance system also came from women, such as sko (heirloom) in the form of a title, but was used by mamak (mother's brother) and sumendo (mother's husband); and high inheritance, like houses and rice fields controlled by women. Kerinci women always apply ethical ethics wherever they go, so they were respected in society. Kerinci's civilized ethics are "in accordance with the Icopake." Icopake female Kerinci is soft or gentle, such as being ashamed of men, fear of promises, low-priced mouth when she speaks softly and politely), good at choosing herself , diligently taking care of the household, and according to the word lord (husband). The method used in the creation of this work is observation, documentation, and experimentation. This work illustrates the admiration of the artists for Kerinci women who embodied the work of painting by presenting various activities carried out by Kerinci women in their daily lives. The embodiment of the work uses the concept of reinterpretation which re-illustrates the activities of Kerinci women in various aspects ranging from the crater to the activities in adat which are embodied in painting with decorative style.. Keywords:Kerinci’s women, admiration and painting

Estetika pola tiga: Konsep musikal talempong renjeang dan dinamika keagamaan di Minangkabau Andar Indra Sastra
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 1 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Tulisan ini bertujuan untuk membahas estetika pola tiga yang menjadi ciri khas dalam penyajian talempong renjeang (renjeng atau tenteng). Estetika pola tiga dalam konsep musikal talempong renjeang dibentuk oleh 3 (tiga) pasangan talempong, dan masing disebut sebagai talempong Jantan, talempong Paningkah, dan talempong Pangawinan. Dinamika kehidupan beragama di Minangkabau ditandai konflik antara kaum sufi dan paham modern. Konflik tersebut bermula dari tarekat Syattariyah dan tarekat Naqsyabandiah yang mempersoalkan konsep wildathul wujud dan wildathul suhud. Masuknya pengaruh wahabi, konflik konflik menyulut perang suadara, dan dalam catatan sejarah kemudian lebih dikenal dengan perang padri – secara fisik berkahir pada perjanjian Bukik Marapalam. Perjanjian Bukik Marapalam – momerandum of understanding – melahirkan sebuah konsensus untuk menciptakan perdamaian di antara mereka yang berbeda paham. Konflik tersebut kemudian melahirkan konsep tali tigo sapilin, tungku nan tigo sajarangan (tali tiga sepilin, tunggku yang tiga sejarangan) – keharmonisan. Metode yang digunakan berbasis data kualitatif dan diperoleh melalui observasi, wawancara, dokumentasi, dan analisis data. Analisis data fokus pada talempong renjeang sebagai satu sistem musikal dan dinamika kehidupan bergama dalam masyarakat Minangkabau yang bermula dari perbedaan paham keagamaan antara tarekat Syattariyah dan tarekat Naqsyabandiyah. Hasil yang diperoleh dari penelitian ini adalah bahwa talempong sebagai sistem musikal sejalan dengan dinamika keagamaaan masyarakat Minangkabau. ABSTRACTThis article is intended to discuss the aesthetics of three-patterned talempong which its characteristic is in the presentation of ranjeang talempong (renjeng or tenteng). Aesthetics of three-patterned talempong in ranjeang talempong musical concept are formed by 3 (three) pairs of talempong. Each of them called as Jantan talempong, Paningkah talempong, and Pangawinan talempong. The dynamics of religious life in Minangkabau is marked by conflict between Sufis and modern Islamic concept. The conflict begins when Syattariyah “tarekat” and Nasqsyabbandiah ”tarekat” question the concept of wildatul wujud and wildathul suhud. The influence of conflict induced by the Wahhabi has sparked off a civil war, that in the historical record has been known as Paderi war – and that was physically ended in an Agreement of Marapalam Hill. This agreement spawned a consensus to bring peace among those who have different understandings. This conflict has spawned one concept of tali tigo sapilin, tungku tigo sajarangan (unity in diversity, three pillars of leadership) - harmony. Method used builds upon the qualitative data obtained through observation, interviews, documentation, and data analysis. Data analysis are focused on renjeang talempong as a musical system and the dynamics of religious life in Minangkabau society that began with diffrent religious understanding between Syattariyah :tarekat” and Nasqsyabandiah “tarekat”. The result of this study is talempong as a musical system that is in accordance with the dynamics of relegious of Minangkabau society.

ESTETIKA MAIN BUNGO DALAM PENYAJIAN GALOMBANG DUOBALEH DI NAGARI PITALAH KABUPATEN TANAH DATAR Meri Susanti; Erlinda Erlinda; Andar Indra Sastra
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 1 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

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

Co-Authors Asep Saepul Haris Dani Aulia Rahman Dani Dharsono Dharsono Ediwar Ediwar Edward Zebua Elizar Elizar Erlinda Erlinda Erlinda Fitri Rahmah Fitria Fitria Fitria Fitria Hendri Koto Hendri, Yon Kharisma Kharisma M. Arif Anas Marzam Marzam Meri Susanti Meri Susanti Mirnawati Mirnawati Muhammad Hadi Habib Nadya Fulzi NIa Daniati Otto Sidharta Rafiloza Rafiloza Rahman, Surya Rasmida Rasmida Robby Suhendra Robby Suhendra Robi Anwar Sahrul Sahrul Sahrul, Sahrul Sidharta, Otto Surya Rahman Syahri Anton Taufik Imran Wilma Sriwulan Wilma Sriwulan Yon Hendri Yusril, Yusril

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