<![CDATA[The women who play Calempong is the source of inspiration for the study to objectify their experiences as Calempong players in Nagari Unggan. This research is also the result of music compositions and performance patterns analysis which were understood from the practice of female traditional musicians in Nagari Unggan.” The research used qualitative method to understand the phenomenon of the dynamic of changing process in the role of musicians especially through women’s experiences or the players. Both experiences in the performances and the musical experiences from Calempong compositions that have been played. The types of data used in this research are both primary and secondary data. Primary data were obtained by observing Calempong live-performance executed by the women, starting from the stage of preparation for the show to the after-show stage of the performance. Then, an interview was conducted with the women players, coach of group performance, niniak mamak, alim ulama, cadiak pandai, bundo kanduang, kapalo mudo, and other related informant. Calempong in Nagari Unggan become a sample in order to identify any possibility of woman emancipation or subordination, by placing her position as Calempong player which determined by the men of Nagari Unggan. The expected output of this research is to discover social and musical dynamic of traditional percussion musician who has territorialize value, as the result the goal of placing women on ‘The Calempong performance as women domestication medium in Nagari Unggan” can be achieved as the potential of Minangkabau Women.]]>
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