Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra

https://doi.org/10.22146/jh.v29i3.27636

Andar Indra Sastra(1*), Nadya Fulzi(2), Syahri Anton(3),

(1) Institut Seni Indonesia Padangpanjang
(2) ISI Padangpanjang
(3) ISI Padangpanjang
(*) Corresponding Author

Abstract


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.

 

Keywords: aesthetics, postcolonial, talempong kreasi, talempong goyang

                 and West Sumatra. 


Full Text:

PDF


References

REFERENCES Adam, Boestanuel Arifin, (1986/1987). “Talempong Musik Tradisional Minangkabau”. Research Report. ASKI Padangpanjang. Ali, Matius, (2011). Estetika Pengantar Filsafat Seni. Yogyakarta: Sanggar Luxor. Dasilva, Fabio (1984). The Sociology of Music. Indiana: University of Notre Dame Press. Faruk, (2007). Belenggu Pasca-Kolonial: Hegemoni & Resistensi Dalam Sastra Indonesia. Yogyakarta. Pustaka Pelajar. Jennifer Anne, Fraser (2007). ”Packaging Ethnicity: State Institutions, Cultural Entrepreneurs, and The Professionalization of Minangkabau Music in Indonesia”. Dissertation. University of Illinois at Urban-Champaign. Hanefi, et al. (2004). Talempong Minangkabau Bahan Ajar Musik dan Tari. Bandung: P4ST UPI. Hastanto, Sri, (2012). Ngeng & Reng: Persandingan Sistem Pelarasan Gamelan Ageng Jawa Dan Gong Kebyar Bali. Surakarta: ISI Press. Hauser, Arnold, (1974). The Sociology of Art. Chicago: The University of Chicago Press. Kayam, Umar, (1990). Transformasi Budaya Kita dalam Menerawang Masa depan Ilmu Pengetahuan, Teknologi dan Seni Indonesia. Pub. ITB. Kuntowijoyo (1987). Budaya dan Masyarakat. Yogyakarta: P.T. Tiara Wacana. Laksono, Joko Tri, (2008), ”Menelusuri Karya dan Karsa Manthou’s Sebagai Seniman dan Pecipta Campursari in Resital Jurnal Ilmiah Seni Pertunjukan, Volume 9 No. 2 – December 2008, 87-101. Muchtar, Asril. ”Dilematika Perkembangan Ansambel Talempong Minangkabau”. Paper presented at World Music Seminar in Ethnomusicology Department. Institut Seni Indonesia (ISI) Yogyakarta, 31 March 2012, page 5, (2012). Said, Edwar (2010). Orientaslime: Menggugat Hegemoni Barat dan Mendudukan Timur Sebagai Subjek. Translation by Achmad Fawaid. Yogyakarta: Pustaka Pelajar. Santoso, Budi (2003). Identitas dan Poskolonialitas di Indonesia. Yogyakarta: Pub. Kanisius. Suryajaya, Martin (2016): Sejarah Estetika. Jakarta Barat: Gang Kabel. Sastra, Andar Indra, (2017). 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. Jurnal Humaniora 62. Sztompka, Piotr (2008). Sosiologi Perubahan Sosial, Translation by Alimandan. Jakarta: Prenada Media Group. Peursen, Van (1976). Strategi Kebudayaan. Yogyakrta: Penerbit Kanisius. Pramono, Kartini, (2009). Horizon Estetika. Yogyakarta: Kahfi Offset Fakultas Filsafat Universitas Gadjah Mada. Informants: Asril Mucthar (age 54), PhD in Art Studies; Lecturer on Karawitan Study Program Institut Seni Indonesia (ISI) Padangpanjang. Alfalah, (age 45), Master of Arts; Lecturer on Karawitan Study Program Institut Seni Indonesia (ISI) Padangpanjang. Hajizar, (age 56), Master of Arts, Art Observer; Lecturer on Karawitan Study Program Institut Seni Indonesia (ISI) Padangpanjang. Murat St. Saidi, retired teacher from Sekolah Menengah Kejuruan (SMK) 7 Padang.



DOI: https://doi.org/10.22146/jh.v29i3.27636

Article Metrics

Abstract views : 594 | views : 320

Refbacks

  • There are currently no refbacks.




Copyright (c) 2017 Humaniora

Humaniora indexed by:

SHERPA RomeoEBSCOCrossref DOAJ (Directory of Open Access Journal) Bielefeld Academic Search Engine (BASE) Indonesian Scientific Journal Database (ISJD) Indonesian Publication Index (IPI)  CORE Google Scholar Indonesia One Search WorldCat  LIVIVO Copac JIST   Academic Resource Index (ReasearchBib)  Harvard Library  Electronic Journals Library Columbia University Libraries Leiden University Libraries University of Saskatchewan-Canada Gent University Library Boston University Library Western Theological Seminary University of Oxford The University of Sheffield The University of Manchester   TOCS Journal UK 

web counter View My Stats

Copyright of Humaniora (ISSN 0852-0801 (print), ISSN 2302-9269 (online))

 Creative Commons License