KOMITMEN KE-MINANGKABAU-AN DALAM SENI PERTUNJUKAN TARI KARYA SYOFYANI

Abstract

This article examines the Minangkabau elements consistently present in Syofyani's choreography. Syofyani is a choreographer and one of the pioneers of the Minangkabau dance revival in West Sumatra. She grew up and lived within the traditions and cultural environment of Minangkabau. Therefore, her dances always contain symbolic elements that reflect Minangkabau identity. These reflections can be seen, among other things, in the upper designs formed by movement patterns resembling Minangkabau traditional houses. The movements are a blend of pancak and pamenan movements, combined with Malay-influenced motions. Costumes include loose shirts and galembong pants for male dancers, while female dancers wear baju kurung, paired with kodek and headpieces such as takuluak tanduak and sunting. The accompanying music derives from the rhythm of popular Minangkabau songs.

The values conveyed in these dances go beyond entertainment, fostering a sense of solidarity. This refraction demonstrates that the manifestation of Minangkabau elements in Syofyani's choreography is not a direct replica of their real-life counterparts. Instead, Syofyani has interpreted these elements based on her perspective, translating them into physical aspects comprising gestures, body positions, and appearances. Gestures serve as a form of non-verbal communication, delivering messages through movements of the hands, feet, head, and face. There are two types of gestures: conventional gestures, which carry meanings agreed upon within a society, and natural gestures, which reflect spontaneous bodily movements based on feelings or expressions. Body positions relate to human behavioral attitudes within a cultural context, while appearance refers to costumes that align with the dance's content.

The analysis of dance texts is conducted by examining Syofyani’s choreographies, focusing on the symbolic meanings underlying the dance performances. Consequently, hermeneutics becomes essential in interpreting the Minangkabau refractions in the dances. To address this issue, qualitative research methods were employed, characterized by flexibility and adaptability throughout the research process (V. Wiratna Sujarweni, 2021: 22). Qualitative data collection involved observation, interviews, and document studies.