Randai
Randai in the history of Minangkabau legend says he was played by the people of the community Pariangan Padang Panjang when it managed to capture the deer out of the sea. Randai in Minangkabau an art which is played by several people, groups or teams, which in this randai brought no story, like the story Cindua Mato, Malin Deman, Anggun Nan Tongga, and other folklore.
The main character numbered one, two, three or more dependent than the story presented, and in bringing the main character or act it is circled by the other members that aims to revitalize berlansungnya event.
Now this is something foreign Randai for young Minangkabau, this is due to the shifting orientation of art or hobby of generation. Randai contained Pasisie and Darek areas (mainland).
At first Randai is a medium to convey folk tale or story or poem with couplets sung and galombang (dance) which comes from the Minangkabau silat movements. but in its development Randai adopted the style characterizations and dialogue in modern plays, such as the Dardanela and Tonil in the early 20th century.
So, Randai is a medium to convey stories of the people, and less appropriate if Randai called Theatre Minangkabau tradition even in its development Randai adopting storytelling or theater or theatrical dialogue.
"Before randai be developed at this theater, a longtime dance randai. Dance randai maintained in college that teaches martial arts Ulua Ambek particularly in coastal regions (Padang Pariaman.) No wonder dances Minang adult contemporary, there is a pattern of motion and patterns of dialogue like randai.
Dance Function Randai
For entertainment the people are being held at the folk festival or Eid. To strengthen the sense of ketradisian also give perfection to Minangkabau tradition itself, a means of aspiration and Media Information.
Aesthetic and uniqueness of Dance Elements Randai
Randai derived from words meaning writing or circular merandai a roomy area to look for something missing. There are various versions of the truth about the origin of this randai. Structure offerings randai berkonsepkan silat dance interspersed element of singing folk songs and accompanied muzik caklempong, tambourine, salung and gong. Randai often present to the party harvesting rice, perkahwinan ceremonies and other customs.
Witnessed by hundreds of pairs of eyes, 12 young men and women dressed in traditional Minangkabau in a circle in the middle of the arena. Five other players, sitting on the edge of the arena. The players randai (child randai) moving in a circle, and often do randai waves simultaneously, which is based on martial arts movements or art martial arts.
"Hep ... ta ...," came the cry of one of them (builders gore), coupled with tapuak galembong (pat pants) that said behavior-beat out. Each child has his own style randai in motion and pat specially-designed pants have a deep pisak, resulting in the sound at various times tapped, but in unison. "Hep ... ta ... Dugudung-not-dik-dung." The story is lifted from kaba Kasiah Putuih Dandam Not It (Love Drop Revenge Not Already) was begun, there was dialogue and acting. Then followed saluang and sang (singing), violin, Kayat, rattle and calti.
Randai children look full of charm and fun. Approximately three-hour spectacle that often makes the audience (all ages, from kids, teens, adults, to grandparents) laughed merrily. Dialog pause, son randai return air-hepta-hepti accompanied by sung narrative (couplets) and accompanied saluang. The story rolling, tells the girls (Sari Banilai) rejected parents' wishes (Datuk Tumanggung Tuo) marriage to Datuk Tumanggung bako-niece named Malendo Tuo-Alam.
By mamaknya, Lelo Manjo, Sari Banilai married to a former school friend, rambun Sati. Datuk vengeful Tumanggung Kayo and Natural Malendo nephew was turbulent. When Sari Banilai moved to the city of Medan, the home he left behind were burned by Malendo Nature. Desire sifter / mamak to save "Sako and Pusako" was lost, as it follows the will of the passions.
Art randai no less intense and amazing other dances. What's interesting and admirable, characterization randai figures are not disclosed in appearance through makeup, but delivered through cormorant (couplets). Then, the music other than pat galembong, also clapping, foot tap, tap elbows, fingers passage, beat feet, and shouts of "hep ... ta ... ti ... hai" by artisan gore, and singing or sang by the players while doing the movements galembong.
Randai art as theater people in Minangkabau quite popular in various circles. It is often displayed on special occasions such as a harvest festival, celebration marriage, celebration batagak prince, and other people's parties. He added that, if we look at the main elements of randai, like dance randai called bagalombang, the randai-randai a more classical arts in general is a movement or martial arts creatively prepared, and accompanied with songs sang that there is a lot of in Minangkabau society, because it is part of a tradition of art and culture such as music and sang saluang, or art as bakaba said, barabab, and basijobang.
"Because the Minangkabau culture is a dynamic culture, open to innovation, the development randai today is quite different. There are elements of movement and music which was adapted into the randai, which generally comes from Malay songs (dancing), even from dangdut music. these new idioms including randai adapted to make the show remains relevant to the development of society and era.
During the New Order era art randai nearly drowned, after a reign of villages was replaced by the village government. Now, with the return to a system of government nagari, art randai re-grow. All villages have at least 10 randai group.
Another interesting tradition is randai, collective spirit and supporting public participation tradition. Organization and management of randai relying on the spirit of togetherness. Randai communities where it grows, feel obliged to maintain and develop it. Without their support-including financial-impossible randai can flourish. Until now performing more social activities, unless there is a change in the ownership pattern of organization or group of individuals who have started there today.
Interestingly when randai in play players can interact directly with the request as long as the selection of poems and rhymes to put the money in the middle of a circle of players.
Randai in the history of Minangkabau legend says he was played by the people of the community Pariangan Padang Panjang when it managed to capture the deer out of the sea. Randai in Minangkabau an art which is played by several people, groups or teams, which in this randai brought no story, like the story Cindua Mato, Malin Deman, Anggun Nan Tongga, and other folklore.
The main character numbered one, two, three or more dependent than the story presented, and in bringing the main character or act it is circled by the other members that aims to revitalize berlansungnya event.
Now this is something foreign Randai for young Minangkabau, this is due to the shifting orientation of art or hobby of generation. Randai contained Pasisie and Darek areas (mainland).
At first Randai is a medium to convey folk tale or story or poem with couplets sung and galombang (dance) which comes from the Minangkabau silat movements. but in its development Randai adopted the style characterizations and dialogue in modern plays, such as the Dardanela and Tonil in the early 20th century.
So, Randai is a medium to convey stories of the people, and less appropriate if Randai called Theatre Minangkabau tradition even in its development Randai adopting storytelling or theater or theatrical dialogue.
"Before randai be developed at this theater, a longtime dance randai. Dance randai maintained in college that teaches martial arts Ulua Ambek particularly in coastal regions (Padang Pariaman.) No wonder dances Minang adult contemporary, there is a pattern of motion and patterns of dialogue like randai.
Dance Function Randai
For entertainment the people are being held at the folk festival or Eid. To strengthen the sense of ketradisian also give perfection to Minangkabau tradition itself, a means of aspiration and Media Information.
Aesthetic and uniqueness of Dance Elements Randai
Randai derived from words meaning writing or circular merandai a roomy area to look for something missing. There are various versions of the truth about the origin of this randai. Structure offerings randai berkonsepkan silat dance interspersed element of singing folk songs and accompanied muzik caklempong, tambourine, salung and gong. Randai often present to the party harvesting rice, perkahwinan ceremonies and other customs.
Witnessed by hundreds of pairs of eyes, 12 young men and women dressed in traditional Minangkabau in a circle in the middle of the arena. Five other players, sitting on the edge of the arena. The players randai (child randai) moving in a circle, and often do randai waves simultaneously, which is based on martial arts movements or art martial arts.
"Hep ... ta ...," came the cry of one of them (builders gore), coupled with tapuak galembong (pat pants) that said behavior-beat out. Each child has his own style randai in motion and pat specially-designed pants have a deep pisak, resulting in the sound at various times tapped, but in unison. "Hep ... ta ... Dugudung-not-dik-dung." The story is lifted from kaba Kasiah Putuih Dandam Not It (Love Drop Revenge Not Already) was begun, there was dialogue and acting. Then followed saluang and sang (singing), violin, Kayat, rattle and calti.
Randai children look full of charm and fun. Approximately three-hour spectacle that often makes the audience (all ages, from kids, teens, adults, to grandparents) laughed merrily. Dialog pause, son randai return air-hepta-hepti accompanied by sung narrative (couplets) and accompanied saluang. The story rolling, tells the girls (Sari Banilai) rejected parents' wishes (Datuk Tumanggung Tuo) marriage to Datuk Tumanggung bako-niece named Malendo Tuo-Alam.
By mamaknya, Lelo Manjo, Sari Banilai married to a former school friend, rambun Sati. Datuk vengeful Tumanggung Kayo and Natural Malendo nephew was turbulent. When Sari Banilai moved to the city of Medan, the home he left behind were burned by Malendo Nature. Desire sifter / mamak to save "Sako and Pusako" was lost, as it follows the will of the passions.
Art randai no less intense and amazing other dances. What's interesting and admirable, characterization randai figures are not disclosed in appearance through makeup, but delivered through cormorant (couplets). Then, the music other than pat galembong, also clapping, foot tap, tap elbows, fingers passage, beat feet, and shouts of "hep ... ta ... ti ... hai" by artisan gore, and singing or sang by the players while doing the movements galembong.
Randai art as theater people in Minangkabau quite popular in various circles. It is often displayed on special occasions such as a harvest festival, celebration marriage, celebration batagak prince, and other people's parties. He added that, if we look at the main elements of randai, like dance randai called bagalombang, the randai-randai a more classical arts in general is a movement or martial arts creatively prepared, and accompanied with songs sang that there is a lot of in Minangkabau society, because it is part of a tradition of art and culture such as music and sang saluang, or art as bakaba said, barabab, and basijobang.
"Because the Minangkabau culture is a dynamic culture, open to innovation, the development randai today is quite different. There are elements of movement and music which was adapted into the randai, which generally comes from Malay songs (dancing), even from dangdut music. these new idioms including randai adapted to make the show remains relevant to the development of society and era.
During the New Order era art randai nearly drowned, after a reign of villages was replaced by the village government. Now, with the return to a system of government nagari, art randai re-grow. All villages have at least 10 randai group.
Another interesting tradition is randai, collective spirit and supporting public participation tradition. Organization and management of randai relying on the spirit of togetherness. Randai communities where it grows, feel obliged to maintain and develop it. Without their support-including financial-impossible randai can flourish. Until now performing more social activities, unless there is a change in the ownership pattern of organization or group of individuals who have started there today.
Interestingly when randai in play players can interact directly with the request as long as the selection of poems and rhymes to put the money in the middle of a circle of players.
