Estetika pola tiga: Konsep musikal talempong renjeang dan dinamika keagamaan di Minangkabau
DOI:
https://doi.org/10.33153/dewaruci.v14i1.2535Keywords:
estetika pola tiga, konsep musikal, talempong renjeang, dianamka kegamaan, MinangkabauAbstract
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.Downloads
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Informan:
Dt. Sampono (58 th). Wiraswasta, Tuo telempong Nagari Pitalah Bungo Tanjuang Luhak Tanah Data.
Hajizar, (56 th). Magister Seni, Pengamat seni, Pengajar Program Seni Karawitan Institut Seni Indonesia (ISI) Padangpanjang.
Gindo Putiah. (48 th). Ahli Madia, Pengkarya, Pengamat Seni, Alumni ASKI Padangpanjang.
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