Talempong Pacik Dalam Kehidupan Masyarakat Nagari Bungo Tanjung: Studi Tentang Pola Dan Bentuk Pewarisan

Abstract

AbstrakArtikel ini menganalisis pola dan bentuk pewarisan serta menjelaskan kesenian talempong pacik di Nagari Bungo Tanjuang. Penelitian ini merupakan penelitian kualitatif dengan menggunakan metode deskriptif. Instrumen penelitian ini adalah peneliti sendiri dan dilengkapi dengan media audio visual serta pedoman wawancara dan observasi. Data dikumpulkan melalui wawancara, observasi dan kajian pustaka. Analisis data dilakukan dengan cara mengoleksi, menseleksi, menyajikan dan menguji data serta menyimpulkan. Hasil penelitian menunjukan bahwa, pewarisan dilakukan dengan tiga tipe, yaitu dengan pola pewarisan vertical transmission (pewarisan tegak) kepada anak, pewarisan kepada kemenakan dalam hubungan kekerabatan, pola pewarisan horizontal trasnmission (pewarisan datar) kepada orang yang sebaya dan pola pewarisan diagonal transmission (pewarisan miring) kepada murid diluar hubungan kekerabatan. Proses pembelajaran masih menggunakan oral dan demonstrasi, dimana guru akan mempraktekan cara bermain terlebih dahulu dan akan dicobakan secara langsung kepada murid.Kata Kunci: talempong pacik, pewarisan, pola, bentuk.AbstractThis article analyzes the pattern and inheritance form which explain the existence of talempong pacik art in Nagari Bungo Tanjuang. This study belongs to qualitative research with descriptive method. The main instrument in this research is the researcher himself and equipped by audio visual media and guided interview and observation. Data are gathered by using interview, observation and literature review. Data analysis was done by collecting, selecting, presenting, testing and concluding the data. The result of the research showed that inheritance is carried out in three types; first, the vertical transmission inheritance method (upright inheritance) which is inheritance to children and inheritance to nephew/niece or in kinship; second, horizontal transmission inheritance method (flat inheritance) to coeval people; third, diagonal transmission (oblique inheritance) to other people or to students outside the kinship. In teaching and learning process, oral and demonstration are still used where the teacher practice the way to play it first then followed by the student directly. Keywords: talempong pacik, inheritance, pattern, form.

Tontoang Kayu: Revival Kesenian Tradisional Minangkabau

“…; Pujani (Putu & Pujani, 2009) menjelaskan bahwa perjalanan kesenian reog dari waktu ke waktu mengalami fluktuasi. Siklus pertumbuhan dan keruntuhan dalam artian keterasingan, terpinggirkan, dialami dua kali putaran; Yusman (Yusman, 2019) dalam penelitian menjelaskan bahwa menganalisis pola dan bentuk pewarisan kesenian talempong pacik di Nagari Bungo Tanjuang. Penelitian (Fauzil, 2016) menjelaskan tentang kesenian talempong lagu dendang adalah kesenian tradisional khas Nagari Limbanang Kabupaten Limapuluh Kota.…”

Talempong Pacik As Kinship Solidarity Unifier In Nagari Bungo Tanjuang Batipuh Sub-Disrict Tanah Datar District

“…Daryusti (2011, p. 61) explains that each individual is a member of several community groups. Yusman and Indrayuda (2019) define that the smallest group in Minangkabau according to the maternal or matrilineal system is called kaum (same tribe). Each tribe is led by a clan chief called datuak (pengulu).…”

“…The people in Nagari Bungo Tanjuang show one of the together activities or Alek Nagari, Batipuh District, Tanah Datar Regency, including the head's traditional malewakan gala pangulu (Yusman & Indrayuda, 2019). The village community is cooperative, without seeing people's job, young people, or many people, work hand in hand to organise and raise an event to celebrate the gala for the leader.…”

“…As in playing one of the famous song titles or gua, such as 'Talempong Kubu Rajo' 'Siamang Tagagau' or 'Cak dindin'. Talempong is played by three to five players (Yusman & Indrayuda, 2019). Three players play talempong with the details of each person playing do and mi, the second person plays re and fa, and the third person plays the sol.…”