Abstract
This article reveals the changes in form and style of the Randai performance performed by the Minangkabau’s diaspora in Malaysia. The novelty of this research is the study of changes in forms and styles in Randai carried out by the Malaysian Minangkabau diaspora. The disconnection of socio-cultural communication and the long distance between Minangkabau and Peninsular Malaysia impacts the shift in forms and styles of Randai in the Minangkabau diaspora. This research was conducted qualitatively by designing research works such as pre-field studies, by collecting preliminary data based on a diffusion approach. In the field stage, the informants were selected by snowball sampling. The interview and observation instruments were designed based on the performance structure and performance procedures. Researchers conducted data analysis using the techniques recommended by Spradley, namely: (1) domain analysis, (2) taxonomic analysis, (3) componential analysis, and (4) discovering cultural themes. The study results revealed that the forms and styles were caused by mixing cultures between the diaspora and the Malaysian Malays. These changes were done so that the local community could accept Randai. In addition, Randai can be easily learned and cultivated by the Malay Malays and easily expressed by the Malaysian community and the Minangkabau diaspora as the perpetrators of Randai. These changes occur through a process of adaptation and acculturation. The implication of this research is the emergence of a new Randai model, namely Randai, which refers to local culture, both from the aspect of the story, Silat style, and music, as an identity and tradition for the Malaysian Minangkabau diaspora for the future.
Highlights
The issue of Randai Minangkabau art has been written by many experts and researchers at various universities both in Indonesia and abroad
There is a piece of information from Malaysian about Randai figures that Randai has undergone acculturation. This event happened due to the cultural contact between the Minangkabau Diaspora with the indigenous people of Malaysia and with another diaspora such as Bugis and Sumatran Malays. This acculturation process resulted in various forms of Randai performances, both from the aspect of the story, which was adapted from contemporary stories in the Minangkabau Diaspora community and traditional Malaysian society
There has been a change in the form and style of presentation, such as the presentation procedure and the existing presentation model that includes elements of Malay drama, as well as the inclusion of modern drama influences in Randai performances such as those produced by JKKN in Kuala Lumpur
Summary
The issue of Randai Minangkabau art has been written by many experts and researchers at various universities both in Indonesia and abroad. One of the distribution areas of the Minangkabau ethnic group in Malaysia, anthropologically for Diaspora communities wherever they migrate, always include their culture, so that Randai grows and develops in Malaysia today. Arif Mundayat (2016) explained that there is a large distance difference between West Sumatra and Malaysia and the acculturation of the Minangkabau Diaspora with other ethnic groups in Malaysia, it is suspected that there will be a change in the style of Randai performances (Guntoro, 2020) and (Kaesthi, 2014). The novelty of this research is to reveal the existence of Randai as part of the cultural arts of the Minangkabau Diaspora community in Malaysia, which cultural researchers have not widely studied. Randai researchers generally question cultural identity, performance structure, music and movement in Randai, educational valuesin Randai, and all of that is studied in the socio-cultural life of the local community (Minangkabau in West Sumatra).
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