IDENTITAS KULTURAL: DUA VERSI TARI PIRING MINANGKABAU DI SUMATERA BARAT

Abstract

This research examines two versions of Tari Piring (Plate Dance), they are Bamain Piriang (Playing with Plates) and Tari Piring that has synergy in creating the identity of Minangkabau in continuously. Bamain Piriang is commonly known as pamenan (playing) that had been exist in most of every nagari (places) and belongs to/or played by men in Minangkabau. The movements are originally from pancak and played at the open place without roof called sasaran. Thus, this pamenan is known as traditional dance of Minangkabau. Meanwhile, Tari Piring is the re- invention of pancak and bamain piriang (playing with plates) that being turned into gender issues. Nowadays, Tari Piring is being dominated by women and played on modern stages.

The cultural characteristics of identity that is manifested in symbolically in bamain piriang and Tari Piring are the movements, language, music, and costumes. The symbols are signified as the platform of the cultural expression that is being used for maintaining the identity of Minangkabau. Anya Peterson and Chris Barker were stated that the existence of dance among the society signify the identity and the signs of movements, language, music, and costumes that are expressed through various representations that is being interpreted by people or its performers. The main ideas from both experts are used as analytical tools to examines the signs in Bamain Piriang and Tari Piring that expressing the identity of Minangkabau. Therefore, in order to obtain the details of the data, qualitative methodology is being used by using the technique of collecting of the data such as observations, interviews, and documentations. For collecting the data, the equipment that need to be used are video, camera, and notebook. Furthermore, internet surfing was used to obtain the additional sources and information to complete the research.