Empat Koreografer Minangkabau: Dibaca dalam Teks Matrilineal dan Patrilineal

Abstract

Artikel ini membahas empat koreografer Minangkabau yaitu Gusmiati Suid, Huriah Adam, Syofyani Bustamam, dan Syahril dari perspektif matrilineal dan patrilineal. Teks matrilineal tidak hanya dipandang dari sisi genealogis, tetapi juga dari sudut pandang budaya. Berdasarkan penelitian disimpulkan bahwa partisipasi perempuan di luar wilayah domestiknya terbias dalam seni tari. Perempuan tidak dinantikan hanya untuk menyemarakkan dengan tebaran pesona keindahan ragawi. Ia mampu menjadi sumber ide dan tema, pelaku, pencipta, pengatur, dan penyelenggara, atau sarana mobilitas seni pertunjukan. Keempat koreografer lahir dan dibesarkan di Minangkabau akan tetapi berkiprah di tiga wilayah yang berbeda. Gusmiati Suid di Jakarta, Huriah Adam di Sumatera Barat, Syofyani di Padang, dan Syahril di Padangpanjang. Sebagai koreografer yang lahir dan dibesarkan dalam kultur Minangkabau tentu keempat koreografer ini ikut merasakan betapa dilematis posisi perempuan dalam masyarakat Minangkabau.

This article discusses about four choreographers of Minangkabau, among others are Gusmiati Suid, Huriah Adam, Syoyani Bustamam, and Syahril seen from the perspective of matrilineal and Patrilineal. The matrilineal text cannot only be seen from the genealogical side but it can be viewed from the cultural standpoint. Based on the research result it can be concluded that women participation outside their domestic area is also biased in dance performing arts. Women are not only expected to embellish with their scattering of physical enchanting beauty. They can be the source of ideas and themes, the actress,the creator,the manager, and the event organizer, or the mean of performing arts mobility. These four choreographers were born and grown up in Minangkabau, however, they have actively expanded their career in three different places. Gusmiati Suid’ s career is in Jakarta, Huriah Adam is in West Sumatra , Syoyani is in Padang, and Syahril is in Padangpanjang. As the choreographers born and grown up in Minangkabau’s culture, they definitely feel the dilemmatic sense of women position in Minangkabau society.