View
233
Download
0
Category
Preview:
Citation preview
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
1/39
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
2/39
PLAY
Umbuik
Mudo
and the
Magic
Flute:
A Randai
Dance-Drama
IntroductionbyKirstinPauka;
translated
by
Ivana
Askovic,
Barbara
Polk,
Kirstin
Pauka,
et
al.
This
first English-languagepublicationof
a
randai
play from
WestSumatra s based
on
the
script
prepared or
a student
production
taged
in 2001 at the
Universityof
Hawai'i,
Mdnoa,
by
one
of
the
translators,
Kirstin
Pauka,
who
also
introduces
he
play
and
its
staging.
Kirstin
Pauka
is
associate
professor
f
Asian theatreat the
University
f
Hawai'i,
Manoa,
specializing
n
SoutheastAsia. Her research
focus
is on the theatre
of
Indone-
sia.
She
is the author
of
Theater and Martial Arts in West Sumatra:
Randai
and
Silek of the
Minangkabau
(1998)
and the CD-ROM
Randai: Folk
Theatre,
Dance,
and Martial Arts of West
Sumatra
(2002).
As
well,
Dr.
Pauka serves
as
editor
for
SoutheastAsia
for
the
forthcoming
Oxford
Encyclopedia
on
Theatre
and Performing Arts. She s also a percussionist nd drummerwith theKennyEndo
TaikoEnsemble.
Randai
s the
popular
folk theatre of
the
Minangkabaupeople
of
WestSumatra
n
which
songs,
dance, music,
martial
arts,
and
acting
are woven
together
to tell
traditional
Minangkabau
ales.
The
play
UmbuikMudoand
the
Magic
Flute s an
adaptation
of
a
traditional
Min-
angkabau
olk
story ong popularized hroughout
the
region
via
story-
telling
and
songs.
The
story
was first
adapted
for
performance
n
ran-
dai
theatre
in
the
early
1970s
by
Chairul
Harun,
renowned
writer,
scholar,
and
director of
randai
theatre. It
was further
adapted
and
translated or
the
first-ever
English-language
erformance
of
randai n
the
United
States,
as
part
of
the
Asian
Theatre
Program
at
the Univer-
sity
of
Hawai'i's
Department
of
Theatre
and
Dance,
in
February
2001.1
Before
presenting
the
play
I
offer an
overview of
the
cultural and
reli-
Asian
TheatreJournal,
ol.
20,
no.
2
(Fall 2003).
?
2003
by University
of
Hawai'i
Press.
All
rights
reserved.
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
3/39
Askovicetal.
gious
context,
dramatic
text,
and
performance
conventions,
as well
as
comments on the translation process.
Randai
Theatre
and
Its Cultural and
Religious
Context
Randai is one of
many
regional
folk
theatre
genres
of
Indonesia.
It is
firmly
rooted
in the
local
language,
culture, customs,
religion,
aes-
thetics,
and
performance
traditions of the
Minangkabau
ethnic
group
of the West Sumatran
highlands.
Randai
can be
considered the
fore-
most means
of
expression
of
cultural
identity
for the
Minangkabau
people because it integrates three of their oldest, most popular, and
widespread
performance
traditions-silat
(martial
arts),
bakaba
(story-
telling),
and
saluangjo
dendang (song-and-flute).
The
latter two tradi-
tions are fueled
by
a vast
collection of
local
folktales
known as kaba
minang.
Randai
story
material
and
performances
express
and confirm
the
importance
of the
two
pillars
of
society
defined
by
the
Minangka-
bau: adat
(traditional
customs)
and
Islam.2 Randai
emerged
as a full-
fledged dramatic genre at the beginning of the twentieth century, well
after
Islam
was
established in
Sumatra,
but it
incorporates
the
three
performance
traditions
cited
earlier,
which
predate
the
introduction
of Islam
into
West
Sumatra. Silat
was
traditionally
taught
in
a
surau,
or
men's
house.
When Islam
spread
throughout
West
Sumatra,
it was
eventually
taught
alongside
silat in
the
surau.
Despite
the
potential
conflict with
the
orthodox
Islamic
prohibition
of
performance
often
anticipated
by
Western
observers,
randai
developed
and
flourished
after Islam
was
established
in
West Sumatra. Most likely this was possi-
ble
because the
initial
Islamization
was,
as
in
other
regions
of
Indone-
sia,
carried
out
by
followers of
a
mystical
branch
of
Sufi
Islam
that was
tolerant and
open
toward
local
traditions.
This
was
especially
true
when
these
local
traditions
included
mystical
elements
themselves,
as in the
case of
silat,
and
this
tolerance
was
carried over
into
randai.
Alongside
pre-Islamic
stories,
songs,
melodies,
martial
arts,
and
dance
move-
ments,
randai
eventually
incorporated
elements
from the
imported
Islamic
cultural
treasure
trove,
such
as
some of
its
story material, open-
ing
and
closing
prayers,
and
quotes
from
the
Koran
and
other
religious
texts,
as
well
as
general
guidelines
for
proper
etiquette
and
behavior
in
society.
Performance
Features
and
Context
The
visual
and
aural form
of
randai is a
synthesis
of
alternating
dances,
songs,
and
acted
scenes.
Circular
dances
called
galombang
feature
martial
arts
movements
as
well as
a
rather
amazing
and
totally
unique
type
of
pants-slapping
percussion
called
tapuak.
These
tapuak
114
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
4/39
A
RANDAI
DANCE-DRAMA
patterns
have become the
signature
feature of randai
theatre;
they
are
performed in a remarkably dynamic manner by slapping special pants
while
dancing.
The
galombang
dances are
accompanied
by songs
and
flute music.
(See
Color Plate
1.)
The
song
melodies in randai
are
mostly
drawn from a
large repertoire
of
folk
songs
called
dendang.
In
the
past
ten
to
twelve
years,
other
sources have
been
incorporated
into
the
musical
repertoire
of
randai as
well,
particularly
popular Malay
dangdut
tunes. The
lyrics
(gurindam)
in
randai
songs
are
newly
created
for each
play
and
are
often
adapted
on
the
spot
to fit
specific perfor-
mance circumstances. Two singers alternate in delivering the lines so
that
a
seamless
flow
of
sound is achieved.
The
same is true for the
flute
that
accompanies
the
singers,
as the
saluang
is
played using
circular
breathing,3 creating
a
continuous sound. Between
song
numbers,
scenes are
enacted within the circle
and
are
sometimes
accompanied
by
instrumental music
consisting
of
talempong
bronze kettles),
drums,
and flutes. The
acting
style
features a
stylized
line
delivery
in
eight,
nine,
or ten
syllables
derived from
the
storytelling
tradition and ora-
tory;
in
randai each line is
accompanied by specific steps and gestures
based on
silat,
similar to the
steps
and
gestures
performed
in
the
cir-
cular
galombang
dance.
Silat
is
the
indigenous type
of
martial arts found
throughout
Indonesia and
Malaysia;
in
the
Minangkabau language
it is
generally
pronounced
"silek."
n
West Sumatra there are
twelve distinct silat
FIGURE
1.
Circular
galombang
dance with a
greeting pose
from
silat.
(Photo:
TomLevy)
115
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
5/39
Askovicet
al.
styles,
each with several
subcategories.4 Traditionally,
silat
training
was
all male. Young boys at the onset of puberty would leave their moth-
ers'
houses and live
in the
surau,
or
men's
house,
where
they
received
training
in
silat,
adat,
and Islamic
studies.
Silat,
like
randai,
often uses
a
circular formation
as a
training
tool. All
students are
arranged
in
a
circle of
which the teacher
is also a
part.
All circle
members move
in
unison,
following
the movements
of the
teacher
closely.
The
strong
link
of
randai
to the
indigenous
martial
arts is
evident
in
its continued and
consistent
use of
silat-based movements
and in its
story
material
where
silatissues are often central. Randaiperformers are required to be pro-
ficient in silat and
typically practice
both forms
actively.
A
silat master
is a
leading
member of
each randai
group, acting
as
trainer,
supervisor,
and
choreographer.
(See
Color Plate
2.)
Randai,
growing
out of
the
circular silat
training,
became
part
of the
training
of
boys
in
the surau
and
was
therefore
originally
an all-male theatre
genre.
Since the
1960s,
however,
female
performers
have become
increasingly prominent
in
randai
due
to
the
changing
social and
political
conditions
following
independence
and the consolidation of the
Republic
of Indonesia and
its
education
system,
in
which
training
became more accessible to
women
in
general.
As a
result,
few all-male
randai
groups
remain.
FIGURE
.
Musra
Dahrizal,
master teacher of
randai,
during
dress rehearsal.
(Photo: Tom Levy)
116
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
6/39
A
RANDAI
DANCE-DRAMA
Today
randai theatre
is
very
much alive in
West Sumatra
and
still evolving. In 2002 there were more than 280 active groups in rural
as
well
as urban
regions.
They
are
mainly
amateur
groups
with
varying
degrees
of
proficiency;
some
groups
might
on occasion
perform
several
times a
week,
others
only
a
few times
a
year.
New stories are
constantly
adapted
for
randai
plays.
Randai
festivals
and
competitions
are held
on
a
regular
basis,
which enhances
growth
and
innovation and
contributes
to a
lively
exchange
of
regional
styles.
Besides
festivals,
there
are
other
performance
occasions for
randai:seasonal harvest
festivals;
nstallation
of a clan chief (datuak); amily celebrations such as weddings or school
graduation;
and
religious
and
national
holidays,
such as Idul Fitri
(end
of
Ramadan)
or
Indonesian
Independence
Day. Usually
an
individual,
a
group,
or a
government
office
sponsors performances
and the
pub-
lic is
invited to
attend
for
free.
The
exceptions
are
fund-raising
events,
for
which a modest
ticket
price
is
charged.5
As a
composite
dance-drama
with
music,
dance,
singing, acting,
and
martial
arts,
randai
brings
together
several
distinct
performance
traditions and is closely linked to the cultural and spiritual life of the
Minangkabau
people.
Besides
its
obvious
entertainment
value,
randai's
main
function
is
the
perpetuation
of
cultural
values
by
educating
the
younger generation
about
both
Minangkabau
adat
and Islamic
teach-
ings. Recently
many
new
plays
have
addressed the
impact
of
modern-
ization and
globalization
on
traditional
Minangkabau
society.
The cir-
cular
formation
of the
presentation
of
randai is a
central
structure
as
well as an
aesthetic feature. It
not
only emphasizes
the
village
commu-
nity gathering in a circle to be entertained and educated by a randai
play
but
reinforces the
notion of
equal
standing
among
all
performers
-the
anak
randai
(children
of
randai)-and
spectators.
Despite
mod-
ernization,
the
circle
endures.
The
Text:
Structure
and
Content
A
typical
randai
play
is
episodic,
loosely
structured,
and
based
on
well-known
regional
folktales.
The
story
is
arranged
into
some
parts
that
are
acted
out
in
dialogue
form
and
others that are narrated
through
song lyrics
called
gurindam.
This
system
allows for a
highly
flexible
performance
in
which
improvisation
plays
a
vital
role.
Topics
that
are
recurrent
in
many
randai
plays
are
key
elements
of
Minang-
kabau
cultural
life
and
customs:
clan
relations,
family
obligations,
arranged
marriages,
wedding
ceremonies,
child
education,
proper pro-
tocol
and
etiquette,
the
custom of
rantau
(temporary
migration),
reli-
gious
learning,
and
silat
apprenticeships.
The
story
of
Umbuik
Mudo
is a
popular Minangkabau
folktale
well known all over
West
Sumatra.
It
addresses
status
distinctions
117
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
7/39
Askovicet
al.
between
rich and
poor,
teaches
intergenerational etiquette
and
behav-
ior,
and
integrates
Islamic
teachings
as well as
teachings
from
tradi-
tional adat.
The narrative centers
on Umbuik
Mudo,
a
boy
from
a
poor
family,
who
falls
in
love with
Puti
Galang Banyak,
the
daughter
of
a
rich
family,
and
his
struggle
to
win her
heart.
Many
versions
of
this
story
with
several different
subplots
are
in
circulation in
West
Sumatra.
The
part
of the
story
we selected for
our
production
focused on
the
exciting
events
leading up
to
the
lovers'
meeting,
her
initial
rejection
of him
because of his
poverty,
and
his scheme
to
use a
magic
flute
to
win her love. Our version ended with their
marriage.
But
Minang-
kabau
audiences would
know
that
although
the
couple
shares a
short
blissful
time
together,
ultimately
their
union is
doomed
because
of
the
overpowering
magic
spell
used
by
Umbuik.
The
larger
framework of
this
core
story
concerns
a
quest
for
revenge.
When
robbers
murder
his
father,
Umbuik
sets
out to
avenge
his
father's
death.
His
quest
to
find
the
criminals
propels
him
on
an
extended
journey
full
of
adventures,
one of
which
is his
encounter
with Puti Galang. In the remainder of the story, Umbuik eventually
rejects
her
love
and
she falls ill
from
the
magic
spell
cast
by
the
flute.
When
she
dies of
a
broken
heart,
Umbuik
Mudo,
who
has
gone
back
to
his
quest
to
find
his
father's
murderers,
hears of
it
and is
heartbro-
ken.
Rushing
to her
side,
he
finds
a
shaman
to
bring
her
back
to
life.
Their
union
does not
last
long,
however,
and she
finally
dies.
Umbuik
then
continues on
his
quest
and
ultimately
finds the
murderers.
But
instead of
killing
them
as
he
had
vowed to
do,
he
shows them
mercy
and reforms them with the help of teachings from adat and Islam.
They
repent
and
he
lets
them
go
on
their
way.
Like
other
Minang-
kabau
stories
adapted
for
randai,
this
one is
used
to
impart
teachings
about
adat
and
Islam,
to
entertain,
and
to
tell
a
good
story
full of
magic,
love,
humor,
tragedy,
and
wisdom. A
full
performance
of
the
entire
story
would
take at
least
two
nights
with
four
or
more
hours
each
night.
For a
specific
performance
the
troupe
leader
typically
selects
core
scenes
of
the
story
that fit
the
event
and
transforms
them
into song lyrics and dialogue text, very much as we did with our ver-
sion
of
Umbuik
Mudo in
this
production.
Randai
in
Performance
Randai
typically
begins
with an
introductory
instrumental
piece,
prominently
featuring
drums
and
talempong
bronze
kettles,
intended
to
alert
audiences
to
the
imminent
beginning
of
the
performance.
The
dancers
enter
the
performance
space
with
silat
steps
as
the
music
is
playing
and
when
they
arrive in
their formation, a salutary opening
118
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
8/39
A RANDAI DANCE-DRAMA
song
is
presented.
From there the dancers
give
a
demonstration of fast
silat moves
culminating
in
tapuak pants
slapping.
From there
they
move into a
circular formation where
they
remain
throughout
the
play.
The
circle frames
the
acting
area
in
which
the
scenes
are
played
out. Between
scenes,
the dancers
move
through
the circular
galombang
dance
sequences
while two
singers
and
a
flute
player
accompany
them
with
songs.
Often the dancers
join
in
singing
the
last
line of a verse
or
a short refrain section. At the end of
each
song,
they
perform
a short
transitional movement
sequence including
a
percussive
tapuakpattern.
After this they sit in a circle and the actors take their places within the
circle to
engage
in
the
dialogue
scenes.
The conventionalized vocal
style
of the actors is
derived from
the
Minangkabau
storytelling
and
song
traditions,
as
well
as from
the refined
verbal arts of
oratory,
cer-
emonial
speeches,
and
recitation of
proverbs
and the Koran. The ver-
bal
delivery
of the
lines
is
accompanied by
stylized
gestures
and
steps
reinforcing
the
spoken
words
in a kind of
sign language
based
on
silat
moves.
At
the
end
of each
scene,
the leader of
the
dancers
(tukang
FIGURE
3.
Fighting
scene: Musra
Dahrizal,
randai
master
teacher from
Indonesia
(right)
with the actor
playing
Umbuik
Mudo.
(Photo:
Tom
Levy)
119
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
9/39
Askovic et al.
goreh)vocally
cues them
to
rapidly get up
and
perform
another
transi-
tion
sequence
with
vigorous
pants
slapping,
which leads into the next
song
and
accompanying
dance. This continues until all
scenes
and
songs
are
performed.
The randai ends with a
dynamic
instrumental
closing
number and a ritual
closing
song
to
pay
respects
to the
ances-
tors,
spirits,
God,
teachers,
and
audience.
The
Translation
The
translation of the
play
offered
here
is the
result of a
year-
long collaboration between the Minangkabau teachers, language
experts,
and cast
members of the
production.
As
with
any
other
Asian
theatre
play
text,
the
major
challenge
of
the
translation is to
stay
as
close
as
possible
to the
original
text in
terms of
meaning
and
poetic
quality
while at the
same time
illuminating
unfamiliar cultural
refer-
ences
embedded
in
the
text
and,
especially,
in
the
proverbs
(pantun).
An
additional
challenge
was
to find the
appropriate
metric
structure
of nine
syllables
per
line;
thankfully
the
Minang
also
take the
liberty
of
using one syllable more or one less, depending on the context. The
song
lyrics
posed
additional
difficulties.
Apart
from
the
listed
require-
ments
of
proper
content,
poetic
quality,
and
length,
stresses
in
the
melody
line
must fall
onto
those
words
that
are most
important
in
terms of
the
message.
These
stressed
words
should
ideally
have
many
vowels so
that the
word
can be
stretched
over
many
notes.
Moreover,
lines
within a
verse
should
have
similar-sounding
endings-some-
thing
much
more
easily
accomplished
in
the
Minang
language
with its
abundance of vowels and similar-sounding suffixes. The selection of
specific
scenes
from the
much
longer
story
is
intended
to
supply
a
single plot
line that
focuses on
specific
Minangkabau
cultural
traits.
It
resulted
in
a
play
two
hours in
length.
UMBUIK
MUDO
AND
THE
MAGIC
FLUTE
CHARACTERS
MASTER
OF
CEREMONIES
(Mc)
UMBUIK
MUDO
("Young
Bamboo"),
a
Minangkabau
youth
UMBUIK
MUDO'S FATHER
UMBUIK
MUDO'S
MOTHER
RAMBUN
AMEH
("Golden
Hair"),
UMBUIK S
younger
sister
AUNT
RUBIAH,
UMBUIK's
aunt
PANJANG
JANGUIK,
UMBUIK'S teacher
PANDEKA CAPEK
("QuickFighter"),
MBUIK'S
opponent
120
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
10/39
A RANDAI DANCE-DRAMA
PUTI
GALANG
BANYAK
("Maiden
of Many
Ornaments"),
a
Minangkabau girl
PUTI GALANG BANYAK'S FATHER
PUTI GALANG BANYAK S
MOTHER
SYNOPSIS
Scene 1:
At the home
of
Umbuik
Mudo's
family
in
Tibarau
village
in
West Sumatra:
Umbuik's
parents
discuss his future
and
education
with him
and send him off
to
study
silat.
Scene
2:
Three
years
later,
in
the
village
of silat
master
Panjang
Jan-
guik: Umbuik has completed his studies and takes leave of his
teacher.
Scene 3:
Back home in
Tibarau:
Umbuik and
his sister
discuss a
silat
tournament
that
will be held to
find a
husband
for
Puti
Galang
Banyak,
the
daughter
of a rich
family.
Scene
4:
At the
silat
tournament
in
the
village
of
Kampuang
Aua:
Umbuik
enters
the
tournament,
but,
distracted
by
Puti
Galang's
beauty,
is
defeated. She
ridicules him in
public,
but he
falls
in
love
with her anyway.
Scene
5:
Back
home in
Tibarau: Umbuik
tells his
mother
about
his
love for
Puti
Galang
and his
defeat at the
tournament.
Scene
6: At
the
home
of Puti
Galang's
family:
Umbuik's
mother
and
his
Aunt
Rubiah
present
the
proposal
for
Puti
Galang's
hand in
marriage,
but
they
are
turned
down and
humiliated.
Scene 7:
Back
home in
Tibarau:
Umbuik
learns
from
his
mother
that
his
proposal
has
been
turned
down.
He
desperately
asks her
to
find
a
special
bamboo
stalk
from
which
he
can
make a
magic
flute
to
charm
Puti
Galang.
Scene
8: In
a
forest
close
to
Puti
Galang's
home:
Umbuik,
playing
the
magic
flute,
puts
a
spell
on
Puti
Galang.
Through
the
beauty
of
the
music she
sees
his
true
self
and
falls in
love
with
him.
Umbuik,
however,
is
reluctant to
trust the
magic
and
undecided he
leaves
her.
Scene 9:
One
year
later
at a
wedding
ceremony
in
Kampuang
Aua:
after
long
wanderings
the
lovers
finally
unite
and
are
married.
Entertainment for
the
wedding
guests
includes
the
famous
Minang
plate
dance and
a
comic
pantomime
routine
depicting
two
young
fishermen
on a
boating
adventure.
(The
play
begins
with
a
fast-paced
percussive
numberfollowed
by
a
slower
talempong
piece
during
which the
dancers
enter
the
stage
with
silat
move-
ments
and
take
up
the
openingformation
in
three
rows.
Once
the
dancers
are in
place,
the
lead
singers,
seated
upstage
center
with
the
musicians,
begin
the opening song, called Dayang Daini.)
121
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
11/39
Askovicet al.
Dayang
Daini
Opening Song
(This
is
a
standard
opening song for
randai
plays.
Songs
are
typically
named
after
a
Minangkabau
place
or
person
and are known
primarily
by
their
melody,
which
remains
he same
whilethe
lyrics
changedepending
on
the
play
and the
singers.
n this
song,
as in most
other
songs
in
randai,
the
lines
of
each verseare sharedbetween wo
singers.
n
addition,
the
dancers
join
in
singing
the third line
of
each versewhile
slowlymoving through
a
sequence
f
respectful reetingposes.
The
song
introduces he
story
itle,
pays
respecto the land and ancestorsof theMinangkabau,and welcomeshe
audience.)
Mount
Merapi,
so
high,
and so
grand,
/
in
the heartland
of
Luhak
Nan
Tigo.
/
Minangkabau
is
the name of the
land.
It
came
floating
down from heaven
above.
/
It
touched
the
earth
becoming
a
tale.
/
The
tale is
known as Umbuik
Mudo.
We ask
your forgiveness
a
thousand
times,
/
if
you
find us
wrong
or
at fault.
/
Respect
and
reverence
we offer
you.
The
palms
of
our hands
we
join
together,
/
before our
respected
audience.
/
Randai,
our
magic play,
will now
begin.
Opening
Scene
(The
dancers
perform
a
short
fighting
sequence ollowed
by
a
circular
galombang dance with lively tapuak [pants-slapping percussion
sequence].Thereafter
hey
it
in a circle
formation.
One
of
the
dancers
steps
into
the center o
welcome he
audience
and to
introduce
he main
charac-
ters
of
the
story,
embellishing
he
speech
with a
few
pantun
[traditional
poems
or wise
sayings]
to
pay
homage
o
the
highlyrefined
Minangkabau
art
of
oratory.)
MC:
Dearest
members
of the
audience
/
No need
to
mention
the
com-
moners, / no need to address the noblemen. / Here, we pay equal
respect
to
all.
We
will
express
our inner
feelings
/
to
make
sure
our
mes-
sage
is
conveyed.
/
We
will
now
perform
our
randai
play
/
about
the
young
Umbuik
Mudo
/
and
the
girl
Puti
Galang Banyak.
The
story
of
Umbuik
Mudo
/
takes
place
in
Tibarau
village.
/
Puti
Galang
comes from
Kampuang
Aua,
/
in
a
land
called
Minangkabau.
Minang
people
are
stretching
a
thread,7
/
winding
it
first,
122
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
12/39
A RANDAI DANCE-DRAMA
then
folding
it,
/
folding
it over
again
three times.
/
When stretched, the thread seems
very long,
/ and when
folded
appears quite
short.
/
We
love riddles and
this
was
a test.
/
Take from
our tale what
works
for
you
best.
Children of the
Minangkabau
people
/
decorate their
hair
with durian flowers.
/
Likewise
randai has
spiritual
powers.
/
Relax now
and listen
carefully.
SimarantangSong
(This
song
setsthe
scenefor
he
story
o
unfold.
Traditionally
pectators
on-
tinue
to
arrive
throughout
he
beginningof
a
randai
play
and
tend to
be
rather
noisy,
so
this
song
asks
for
their
attention
because
he
play proper
s
aboutto
begin.
This
song,
as well as
allfollowing
songs,
is
accompanied
y
a
circulargalombang
dance.
The
dancers
join
in the
refrain
of
each
verse.
Betweenverses
they
perform
lively
and
fast
tapuak
percussion
equence.)
Maywe have silence from all of you, / and then we will be
glad
to tell
you
/
a
tale about
Umbuik Mudo.
Umbuik
Mudo
was
enchanted
by
/
the
maiden
Puti
Galang
Banyak,
/
a
lovely
girl
from
Kampuang
Aua.
It
came to
pass,
one
day
his
mother
/
knew her
son was no
longer
a
boy.
/
Her
son
Umbuik
had
become
a man.
Umbuik
was
peacefully
at
play
/
when an idea
bloomed
from
the
earth.
/
And
now his
mother
will call for
him.
Scene 1
(Scene
1
introducesUMBUIK
MUDO
and his
parents
having
a
crucial
discussion.
Umbuikhas
come
of
age
so his
parents
encourage
him
to
leave
his
home
village
to
seek
further
education and
training.
This
temporary
migration,
called
rantau,
is a
custom
deeply
mbeddedn
Minangkabau
culture. It
typically
nvolves a
voluntary
absence
rom
home
for
varying
lengthsof
time
to
seek
advanced
training
and
education,
economic
dvan-
tage,
experience,
nd also
adventureand
romance.)
UMBUIK
MUDO:
Oh,
alas,
my
dearest
mother,
/
also
my
most
respected
father.
/
Why
is it
you
come
and
bother
me,
/
as I
enjoy
this
mar-
velous
day?
Please
father,
try
to
make it
clear,
/
so
that
my
heart will
be
at
peace.
/
Let
me calm
this
agitation,
/
and
let
this
trepidation
cease.
UMBUIK'
FATHER:
My
dear
son,
Umbuik
Mudo,
/
look
at
your
father
123
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
13/39
Askovicet al.
with
open eyes.
/
Look at this
body growing
old,
/
old like an
aged
banana tree, / whose time it is to be cut down.
This is the reason
your
father and mother
/
asked
for
your
presence
here
today.
/
Do not
allow
your
life to
be
shattered
/
upon
the
passing
of
your
father.
Do not let
ill
thoughts
lead
you astray,
or
lose
respect
through
wrongful
deeds.
/
Action is the
measure
of
character, /
so
weigh
every
step
you
take with
care.
Our wisdom
is
that of
Minang people;
/
we as
men
respect
our traditions. / If one day we should encounter / an
adversary
we did not
seek, /
we must not
die before our
time.8
Listen
to one more word of advice.
/
Our customs are
those
of
Minang people,
/
that
give
the
motive force to life.
/
We collect debts
that
are
owed to us.
/
We
keep
our
weapons
clean and
ready.
/
We
find
strength
in
the
power
of the
sun
/
to
oppose injustices
on
earth.
/
That is the message from your father.
UMBUIK
MUDO:
All
these
things
that
my
father advises
/
that are con-
cerned
with how
I
live
/
fill
my
heart with
inspiration.
/
They
shall
be a
compass
for
my
life.
/
My
father's
heart
should be at
peace.
UMBUIK'S
FATHER:
Your last
words,
Umbuik,
my boy,
/
to
my
heart
bring greatest
joy.
/
However,
hear
my
final
advice.
You will
find
much that is
strange
in
this
life,
/
like
the
tree
that dies
and
then bears
fruit.
/
Never
forget
that life on
this earth / is a sacred ocean with wondrous streams.
UMBUIK'S MOTHER:
Listen
to
what
your
mother
now
says.
/
From
childhood
I've
watched
you
through
the
days.
/
Your
body
has
grown, you've
become a
man,
/
but
though
increasingly
tall
you
stand,
/
there is
yet
much
you
do
not
comprehend.
/
Our
family
is
poor
and
is not
noble, /
so
choose the
right
path
to
gain
knowl-
edge.
UMBUIK
MUDO:
I've
heard the
words
now
from
my mother. / The
view
before me
is dark
as
night.
/
There
is a
reason for
all
of this.
/
If
one
wants
to farm
the
land,
/
or
plant
the
seeds in
the
soggy
paddy,
/
or
make the
dry
land
bear his
crop,
/
one
must
have a
very
strong
body.
/
That's
not a
job
I
am
suited
for.
If
I
reflect on it
thoroughly,
/
there's
really
no
job
I
am
fit
to
do.
/
And so
my
father
and
mother I
ask
you,
/
what
job
would
start
my
life
anew?
UMBUIK'S
MOTHER:
If all that you've conveyed to us / reflects your
thoughts
of
the
future,
my
son,
/
then I
feel
we
shall
find a
com-
124
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
14/39
A RANDAI
DANCE-DRAMA
mon
goal.
/
Go now
to find this
sacred
way.
/
Master silat
and
the
way of the world, / pursue them both with
equal passion.
/
Begin
your
studies
at
once,
my
son,
/
so that later
no
regrets
will
come.
Lintau Buo
Song
(This
song bridges
hree
years'
ime,
a
common
onvention n
randai
songs.
In
the
meantime-as we
learn
from
the
song-UMBUIK
has traveled
far
and studied
with
a
prominent
ilat
master.The
accompanying
alombang
dance ncludesajurusan, a sequencefattack-and-defenseovementshat
illustrate ome
of
what
UMBUIK
has
learned.This
lively
sequence
lso
sets
the
appropriate
martial
moodfor
hefollowing
cene
between
MBUIK
and
his
teacher.The
tapuak
percussion
betweenhe
verses
of
this
song
is
one
of
the
fastest
in the
entire
play.
The
third line
of
each
verse s
again sung
in
chorus
by
all the
performers
ncluding
the
dancers.)
And then his
dreams
finally
came
true,
la tuan
oi,9
finally
came true. / Joy filled the heart of, la tuan oi, Umbuik
Mudo.
/
He
learned the
lesson,
la tuan
oi,
of his
father.
/
He
learned
the
lesson,
of his
father,
la tuan
oi,
of his
father.
He was
determined
to find a
guru,
la tuan
oi,
to
find a
guru.
/
The
quest
had
begun,
la
tuan
oi,
for
Umbuik
Mudo,
/
leaving
behind
him,
la tuan
oi,
mother
and
father.
/
Leaving
behind
him,
mother
and
father,
la tuan oi, mother and father.
Then,
at the
house of
his chosen
guru,
la
tuan
oi,
his chosen
guru,
/
truly good
fortune,
la
tuan
oi,
was
awaiting
him.
/
He
studied
silat,
la
tuan
oi,
also
religion.
/
He
studied
silat,
also
religion,
la
tuan
oi,
also
religion.
After
three
years
of
Umbuik's
devotion,
la
tuan
oi,
of
Umbuik's
devotion,
/
he
mastered
silat,
la
tuan
oi,
also
religion.
/
Then
he
was
called,
la
tuan
oi,
by
his
guru.
/
Then
he
was
called
by his guru, la tuan oi, by his guru.
Scene
2
(Scene
2
shows
the
parting
of
UMBUIKfrom
his
silat
teacher
of
three
years.
Silat
studies
are
traditionally
held in
a
surau.
The
surau
has
long
served
as an
institution
to
educate
Minang
youth
in
customs,
slamic
teachings,
and silat.
Some
surau
teachers
have
gained
a
reputation
ar
beyond
he
immediateregionand welcome tudentsfromfar and near;
PANJANG
JANGUIK
is
such
a
teacher.)
125
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
15/39
Askovicet
al.
PANJANG
JANGUIK:
Alas,
Umbuik
Mudo,
my boy,
/
whose
skillfulness
is based on truth. / The time has come that we must talk, / there
is
something
I
wish
to
say
to
you.
If
my
count
is not
mistaken,
/
as
I
judge
the
passing
seasons,
/
it has
been
three
years
now
to
the
day
/
since
you
came
here as
my
dear
student.
One of
God's
eternal
teachings
/
directs
that the
relation-
ship
/
between a
student
and his
teacher
/
is
complete
when
the fruit
is
ripe.
/
Your
studies
with
me have
come
to an end. / What's your opinion on this, my boy?
UMBUIK
MUDO:
Where
the
candleholder
curves,
/
the
burning
candle
curves as
well.
10
These
words
of
my
most
noble
teacher
/
I
shall
receive with
greatest
thanks.
One
favor
will fulfill
me,
/
if
it
is
true
we
soon
shall
part.
/
I
ask
you
for
a
silat
contest.
/
If
you
agree,
then
we
shall
part.
PANJANG
JANGUIK:
I myself had planned to test you. / To complete
your
studies
here
with
me, /
follow me
now to
the
training ground.
/
Since
the
time for
this
is
right,
/join
me
now
for
a silat
fight.
(The
dancers
perform
short
galombang
dance in
preparation
or
fight-
ing
scene
1,
in
which
UMBUIK
is
defeated
by
his
teacher.
This
silat
scene
is
accompanied
by
talempong
and drum
music.
During
the
short
dia-
logues
the
music
gets
softer
and
again
increases
n
volume
as
soon
as the
fight resumes.)
UMBUIK
MUDO:
Oh,
my guru,
you
have
taught
me
well,
/
your
words
ring
true,
loud
as
a
bell.
/
I
train
to
live
and
not
to
kill.
/
Please
show
me
more
examples
of
skill.
PANJANG
JANGUIK:
Umbuik
Mudo,
this
is a
test.
/
Let's
see
if
your
skill
makes
you
the
best.
(Fights
2
and
3follow
in
which
UMBUIK
MUDO
performs
advanced
silat
moves
with
his
teacher
as
a
sign
that,
as
a
student,
he
has
completed
is
studies.)
UMBUIK
MUDO:
Oh,
guru,
with
your
greater
wisdom, /
you
can
see
clearly
the
greater
truth.
/
My
studies
of
silat
are
done
now.
/
I
also
can
read
the
holy
works.11
Before I
turn
away
to
leave
you,
/
I
request
of
you,
my
guru,
/
some
words
to
make
my
pathway
clear.
/
A
message
as
a
sign
of
your
leave,
/
that I am free to
part
with
my
teacher.
126
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
16/39
A
RANDAI
DANCE-DRAMA
PANJANG JANGUIK:
I
will
gladly
grant your
wish.
/
You are
skilled
at
scripture and silat. / Even if you had not asked me, /
you'd
have
my permission
to
depart.
One
word
to send
you
on
your
way:
/
If
you
are held
in
a
strong grip,
/
do not
try
to force
escape.
/
Take a
deep
breath
as
you
wait,
/
then
make a
movement
and
you'll
see,
/
only
then
can
you
break
free.
The best
thing
would
be
now to
say
/
farewell
and take
your
leave at
once.
/
In
this
manner
we
do
part
/
and
to
Allah
we both shall pray / that you depart and reach home
safely.
/
Now,
my
son,
be
on
your
way.
Talampong
Unggan
Song
(This
song
takesus
back
oUMBUIK
's
home
and,
hinting
at
some
exciting
news
that
has
arrived,
is
intended to
keep
the
excitement
live and
the
attention
of
the
audience
high.
The
accompanying
alombang
is
joyous
andplayful.As in previoussongs,thefiller"delao tuan ai"12 s sung by
both
singers
and
dancers.)
Onde
mak13 A
devoted
man,
Umbuik
had
mastered
/
the
sacred
arts,
focused on
his
word,
dela o
tuan
ai.
/
He
completed
all
his
studies
/
and
asked
permission
from
his
guru,
dela o
tuan
ai.
Onde
mak
/
It
was
granted,
he
went on
his
way.
/
He
then
returned home to his village, dela o tuan ai. / Sweet
memories
came
of his
mother.
/
He
walked
on,
thinking
only
of
her,
dela
o
tuan ai.
Onde
mak
Later on
Umbuik
reached
his
home,
/
as
the
sun
was
leaning
to
the
west,
dela o
tuan
ai.
/
As
he
came
in,
a
gentle
sunbeam
/
rested
upon
a
bundle
of
siriah,14
dela o
tuan
ai.
Onde
mak
The
betel
nut
was
by
the
doorway,
/
carefully
wrapped
in
a
siriah
leaf, delao tuan ai. / To learn the
name
of
the
visitor,
/
he
called
his
little
sister
to
the
room,
dela o
tuan
ai.
Scene
3
(Scene
3
takes
place
between
UMBUIK
and
his
younger
ister;
n it
we
hear
news
about
an
exciting
ilat
contest
o
which
UMBUIK
is
invited. To
hold
a
contest
or
tournament
[galanggang]
in
order
to
find
a
husband
for
daughters
of
noble
families
is
a
favorite
motif
in
Minang
literature
and
127
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
17/39
Askovicetal.
folktales.
These tournaments
often
includesilat
competitions
nd
Koran
recitals,but also
cockfights
nd
gambling.
In
many
plays,
conflicts
ariseat
such
tournaments,
which
gives
the
impetus
or
the
further
development
f
the
story.)
UMBUIK
MUDO:
Alas,
my
dearest
little
sister,
/
who's
been
in
my
mind
night
and
day.
/
There is a
question
I
hope you'll
answer,
/
if
per-
haps
you
are
willing
to
say.
Rambun
Ameh,
my
dearest
sister, /
when
I
returned
home
from the countryside, / I climbed up to the house and
entered,
/
and took a
good
look
around inside.
/
I
saw
some
offerings
by
the
door.
/
What
is
the betel nut
doing
there?
Has
someone
brought
us
an
invitation?
/
Now
perhaps you
can
elucidate, /
so
I
don't
have
this
nagging question.
/
And
now,
my
dear
sister,
please
explain.
RAMBUN
AMEH:
Oh,
yes,
my
dearest older
brother,
/
brother of
myflesh and
blood.
/
If
that is
what
you
ask
me,
brother,
/
please
lis-
ten
well,
the
news is
good.
While
you
were
at the river
bathing,
/
your
silat
master
did
come
here.
/
He
told
to us his
heart's
intentions
/
that
for
his
plan
the
time is
near.
He
plans
to
hold a
tournament.
/
This
betel nut is
to let
you
know.
/
Dear
brother,
he
invites
you
to
fight
/
You
should
gather your
things
and
go.
The tournament lasts seven
days
/ to find a husband for
Galang
Banyak.
/
It's
wise to
accept
this
invitation,
/
and
quickly
send
a
confirmation.
/
What,
now,
is
my
brother's
intention?
UMBUIK
MUDO:
If
what
you
say
is
indeed
true,
/
it is
clear
now
what
I
must do.
/
When the
day
and
hour
have
come,
/
I'll
go
there as
an
army
of one.
And
now, my
dear
sister, please listen. / First I will change
my
clothes,
/
while
you
make
us a
cup
of
coffee.
/
Please,
off
you
go
now
to
the
kitchen.
Indang
Song
(This
song
takes
us to
the
realm
of
PUTI
GALANG'sfamily
and the
prepa-
rations
for
the
tournament.
t
provides
background
nformation
n the
event
and
setsa
mood
offestivity,
xpectation,
nd
grand
excitement.
or
this
songtwo
of
the
singers
and
the
lute
player
eave
their
usual
spot
on
the
upstage
128
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
18/39
A RANDAI DANCE-DRAMA
platform.
They
move
center
stage
inside the
circle
of
dancersto allow the
audience o
fully appreciate
hebeautyof this well-loved
Minang song.
The
secondand
fourth
lines
of
each verseare
repeated
nd
sung
the second
ime
by
all
performers,
ncluding
thedancers.
(See
Color
Plate
3.)
The
whole
family
of
Puti
Galang,
/
(2x)
after
long
debate,
they
all
agreed.
/
At
last a final decision
was made.
/
(2x)
A
celebration was
planned
in
her
name.
The
invitations were
delivered
/
(2x)
to all the
people
throughout the land. / When the day had come for the
celebration,
/
(2x)
the arena
was
open
to
everyone.
Thousands had
come
from
far and near
/
(2x)
to
witness
this
joyful
event.
Mother and Father
with
pounding
hearts,
/
(2x)
longing
to
see
Galang
find
her match.
Umbuik
Mudo had
come
quite
late,
/
(2x)
the event
already
on its third
day.
/
In the
crowd
he met his
wise
guru. / (2x) Between the two a discussion took place.
Scene4
(Scene
4
features
a silat
tournament
and a
long
fighting
scene
between
UMBUIK
and his
opponent.
The
display of
silat
skills within
a randai
play
is a crucial
feature
and
extremely
opular
with
Minang
audiences,
especially
ince
many
randai
ensembles
nclude
freestylefighting
by
highly
skilled
performers
n
additionto
choreographed
et
scenes.
Audiences
become
very
lively
during
these
scenesand
shout
encouragement
o their
favorite
performer.)
PANJANG
JANGUIK:
Alas,
Umbuik
Mudo,
my boy,
/
I
am
glad
that
you
have
finally
come.
/
But
why
have
you
arrived
so
late?
/
It
has
been
three
days already,
/
and
many games
have
been
performed.
/
The
gongs
and
drums
were
all
played,
as
well,
/
together
with
the
flute
and
song,
/
and
the
four-stringed
fiddle,
too.
/
The
many
dances
have been
performed.
/ All that excitement is over now.
Listen
to
me
now,
my
son.
/
I
will call
for
Pandeka
Capek.
/
Soon
you
will
have a
silat
fight.
/
Let
this
contest
gladden
our
hearts.
/
What
is
your
opinion
of
this?
UMBUIK
MUDO:
Although
I
have
arrived
here
late,
/
if
my
teacher
wishes I
shall
start.
/
Now
let
me
try
a
silat
fight
/
to
show how
well
I
have
learned this
art.
Before
the
sun
reaches its
greatest height, /
I'll
try my
best
to
succeed
in
this
fight.
/
I
ask,
my
guru,
for
your
129
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
19/39
Askovicet
al.
learned
view,
/
if the
steps
I
make are the ones
most
true. / And now I'm prepared for what I must do.
(Dancers
perform
a
short
galombang
and
tapuak sequence
as a
transi-
tion while PANDEKA CAPEK
enters.)
PANDEKA CAPEK
(ad
lib):
Umbuik
Mudo For as
long
as I've
known
you,
/
you
have
always
been
late.
/
Prepare yourself
for it to
seal
your
fate.
(Theyfight
accompanied y
alempong
and drummusic.
PUTI
GALANG
enters.
Distracted
by
her
beauty,
UMBUIK
s kicked
n the chest
andfalls
to
the
ground
defeated.)
5
GALANG
BANYAK:
His
skill,
it
would
seem,
has
abandoned
him,
/
and
a kick
to the
chest becomes his
prize.
/
Our
champion gets
what
he
deserves,
/
because he
did not
control his
eyes.
While
hunting
in
a level
field, /
a
grasshopper's
kick
brings
the deer to
doom.16
/ Your training has brought no
results,
/
just
like
a
flower that
does not
bloom.
Do not
forget
your
destiny.
/
Look
hard into
the
mirror of
fate.
/
Only
a
guest
at this
contest for
glory,
/
you
should
not
have
hopes
unrestrained,
/
for
only
hopes they
shall
remain.
UMBUIK
MUDO:
Puti
Galang, you
blooming
flower,
/
these
angry
words
betray your
power.
/
You
needn't
use
such
words.
I
fear
/
in
the end
they
will
bring regretful
tears.
/
You've uttered words of
bleak
disdain.
/
These
accusations
bring
only pain.
/
Cruel
words
a
sharp
weapon
can
become,
/
and
wound
a man
who is
not
numb.
Though
I'm
a
man of
meager
means,
/
and
bracelets are
for
those
with
funds,
/
if
the
bracelet's
short,
it
will
not
reach.
/
Such
riches are
of
use to
no one.
GALANG
BANYAK:
Fine
words
here,
but
short of
meaning.
/ This is a
festival of
nobles.
/
There is
no
place
here
for
one like
you.
/
It
would be
best
to
leave at
once.
/
Your
presence
pollutes
our
cus-
toms
here,
/
even
down
to
the
clothes
you
wear.
PANJANG
JANGUIK:
Unfortunate
girl,
unlucky youth
/
There is
no
need
to
speak
like
this
/
Stop
this
discussion
here
at
once,
/
before
your
words
turn
into
tears.
I
have
listened
to
your
conversation,
/
not
worthy
of
your
education.
/
Your
words
are
filled with
vanity,
/
insolent
and with no
charity.
130
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
20/39
A
RANDAI
DANCE-DRAMA
Night
follows
day
as
day
follows
night,
/
and human
life
has
dark and light. / We must all
accept
what fate has
wrought,
/
so do
not
speak
without clear
thought.
UMBUIK MUDO:
My guru,
who
gives
these
teachings
to
me, /
anger,
it's
true,
can
only
be
wrong.
/
My
thoughts
now,
they
are
most
alarming.
/
Galang Banyak spoke
truth
all
along.
My
silat
was
poor,
I
must
confess.
/
Truth
filled the
words
Galang expressed.
/
To
quickly
resolve
this
painful
mess,
/
it's
best I head for home
in
haste.
(The
dancers
perform
short
galombang
and
tapuak sequence
s a
tran-
sition
during
which a
quick change of
actors
takes
place.
All exit
except
PUTI
GALANG.
Her
FATHER enters
the
circle.)
GALANG
BANYAK'S FATHER:
Alas,
my daughter
Galang Banyak,
/
whom friends
and
family
know
as kind.
/
The
words that I
just
heard show a lack / that could cause us to change our minds.
You are
still
very young
now,
that
is
true,
/
but still
you
should not
speak
that
way.
/
Suppose your
life turns
down and
you
/
feel the
pain
you've
inflicted
today.
/
Our life
is like a
wheel
that
rolls,
/
one
time on
top,
one
time
below.
/
If
a
change
comes,
it
won't wait.
/
We can
never
escape
our fate.
Heed
these words
spoken
by your
father, /
think
and
act
in
a
positive way. /
If
your fine character's sullied, daughter,
/
you
yourself
will
suffer
one
day.
GALANG
BANYAK:
Please
give
me
your
pardon,
dear
father.
/
Appar-
ently
I
have
been
at
fault.
/
As
for those
recent
words of
mine,
/
clearly
I
did
not
think
them
through.
/
I
only
meant
by
words to
test
him, /
I'm
sorry
they
came out
on a
whim.
/
I've seen
he is
skillful
at silat.
/
This
unlucky
man
does
tempt
my
heart.
/
It
appears
his skill
is
not
yet
solid,
/
his
thrust
is
betrayed
by
a
glance
of his eyes.
When
I
saw him
struck
by
a
sudden
kick,
/
my
thoughts
became like
those
of a
child.
/
I
only
intended to
tease
Umbuik,
/
not to
taunt
him
with
words
defiled.
Clearly
he
did
not
grasp
my
meaning;
/
now
I
am
struck
by
my
father's
anger.
/
I
plead
with
you
to
forgive
me,
father, /
for
surely
I
am
the
one
at
fault.
GALANG
BANYAK'S FATHER:
Alas,
my daughter Galang Banyak,
/
the
eyes
of
many
saw
your
mistake.
/
We
were
in
the
midst of
a
party
131
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
21/39
Askovicet
al
for
you.
/
Perhaps
you
only
wanted to
tease,
/
but an attitude
like
that is poor.
Furthermore, child,
your
father
must
say,
/
when
you
seek
for
direction
in
life,
/
the
holy
books of
our
ancestors
say:
/
let nature be
your
guide
in
life.17
Model
yourself
on the
clove flower.
/
Growing
only
on
a
simple
tree,
/
in
time this
flower
becomes
a
spice,
/
that
needn't
preen
for all
to see.
/
If
she falls in a
gust
of
wind,
/
many
men will seek
to find her.
/
Young
and
old desire this flower. / She is very difficult to get.
This is the
character
you
must
assume, /
the
attitude
of
a
precious
heirloom.
/
No
matter
where or
when one
sees
you,
/
what
they say
cannot
demean
you.
GALANG
BANYAK:
My
father's
words
I
ponder
on,
/
I
understand
all
that
you
say.
/
Day
and
night
I
will
try
this
on,
/
and
never shall I
forget today.
/
The
words
you spoke
have made me
glad,
/
no
more
shall
my
father's
heart be sad.
GALANG
BANYAK'S
FATHER:
Alas,
my
dear
child,
who has
blundered,
/
a
pity your
father can't
take
more
time.
/
These
words
you've
said
give
me
peace
of
mind,
/
for
now
let's leave bad
thoughts
behind.
Now,
off
to the
kitchen
you go,
/
I've
neglected
the
fields
and
buffalo.
/
There
is
still
so
much
that
is
left to
do,
/
later on
we
will talk
this
through.
Rang
Talu
Song
(This
song
is
sung
to
a
melody
belonging
o the
ratok or
sad
style.
It
is
muchslower
han
previous
ongs
in
order
o
reflect
UMBUIK
s
mood
of
des-
olation
and
frustration.)
After the
meeting,
after
the
meeting,
his
guru
sent him
away.
/
Disappointed
by
Umbuik's
defeat,
/
Humiliation
and shame were all he knew.
His
soul
was
restless,
his
soul
was
restless,
his
heart
full of
sorrow.
/
Sweet
Galang
was
constantly
on
his
mind.
/
He
had
no
hope
of
expressing
this
love.
On
his
return,
on
his
return,
Umbuik
sat
alone
at
home,
/
the
words
of his
guru
echoing
in
his
mind.
/
He
simply
sat
quietly,
dwelling
upon
his
loss.
Lost in
his
thoughts,
lost
in
his
thoughts,
Umbuik
sat
with
his eyes closed / until his mother asked him what was
wrong.
/
Let
us
listen
closely
to
what
they say.
132
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
22/39
A RANDAI
DANCE-DRAMA
Scene
(Scene
5
showsthe
deep
ove
of
UMBUIK'
S
MOTHER
for
herson
and
her
willingness
o
help
him
in this
hopeless
matter
against
her
betterjudgment.)
UMBUIK'S
MOTHER:
Alas,
my
dear son
Umbuik Mudo.
/
Bent like
a
beast
that
to
slaughter
does
go,
/
reveal to
your
mother
why
her
dear son
/
sits with brow
furrowed since
coming
home.
Did someone insult
you
while
you
fought?
/
So that
you
sit
all
lost
in
thought? /
Did an
adversary
defeat
you,
son?
/
Or a rich
man's
wager weigh
you
down?
UMBUIK
MUDO:
Mother,
if
that's
what
you
want to
know,
/
I'll
tell
you
why
I
feel
so low.
/
My
guru
came to
our home
/
to invite me
to
fight
in
the
silat
game.
/
I
was
urged
to
join
though
I
was late.
/
I'd
only begun
to
make
my
way,
/
and as I turned to
step
to the
left,
/
the
blood
stood
still
within
my
chest.
/
As
I
saw Puti
Galang
Ban-
yak,
/
I
forgot
that
my
opponent
stood before
me.
/
His foot
landed against my chest. / And as she saw me losing the fight, /
from
Galang
came
words of utter
spite.
And
though
that's the
way
the
story goes,
/
still
Galang
managed
to steal
my
heart.
/
Though
I
can't reach
what
I'm
hoping
for,
/
it feels
like I'm
holding
it
in
my
hand.
I
want
you
to take
my
proposal
to
her,
/
to
the
beautiful Puti
Galang Banyak.
/
Truly
I
believe we
are a
good
match.
/
I
ask
that
you
bring my
request
to
her.
/
That is all
that I
am asking of you. / Please, mother, go there at once.
UMBUIK'S
MOTHER: If
that
is
what
my
son
pines
for,
/
please
do
not
worry
anymore.
/
This
heartache
must
not
bring you
low.
/
To
pro-
pose
this
match,
let
your
mother
go.
Be
patient
now,
my
son,
and soon
/
we'll
hope
to
see this
flower bloom.
/
If
we find
good
fortune
before
us,
/
both
families
may
then
rejoice.
Here we
have
said
enough
for
today.
/
Tomorrow
I
go
to
ask for her hand, / to get the answer for which we pray.
Muaro
Labuah
Song
(This
song
is
basedon
a
lively
melody
onveying
he
urgency
f
UMBUIK'S
longing
and
hope,
but it
also
has a
sad
undertone n
anticipationof
the
disappointment
hat
willfollow.)
Finally
an
agreement
was
reached.
/
Umbuik's
mother
went
on her way. / (2x) As long as his wish would come true,
he
was
willing
to
patiently
wait.
133
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
23/39
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
24/39
A
RANDAI
DANCE-DRAMA
GALANG
BANYAK'S MOTHER:
Alas,
my
two
respected
sisters,
/
you
who
speak
with such
eloquent
words.
/
If the tree
bore its fruit
till
ripened,
/
I
may
indeed savor
its
taste.
(The
dancers
perform
a short
tapuak sequence
while seated as the
actors
meetcenter
stage
and
pantomine
eating
betel
nut
together.)
Oh,
my
dear
sisters,
you
both
I
thank.
/
The
betel
nut
is
already
gone.
/
We
have
enjoyed
our
friendly
chat, /
now
let us
get
to the heart of the matter.
Tell me
what is
on
your
mind
/
in
the
tradition
we
all
hold
dear.
/
Please
speak freely
now,
be
so
kind,
/
what
is
it
that
is
on
your
mind?
AUNT
RUBIAH:
According
to
our
people's
customs,
/
sharing
betel nut
together
/
must
precede
our
conversation.
/
I
will now
convey
our
purpose.
/
As
our
people's
saying goes,
/
our
sister
owns
a
beautiful
flower.
/
We came
here to seek
this rose.
It's
long
been
our
greatest
hope
/
that
your
daughter,
Puti
Galang,
/
to our
son,
Umbuik
Mudo,
/
agrees
in
marriage
to
give
her
hand.
That
is the
deepest
desire at
heart.
/
Their
fate
will
depend
upon
Allah.
/
Now,
dear
sister,
it is
your
turn
/
to
consider
your
feelings
in
this
matter.
/
Do
you
agree,
we
hope
to learn.
GALANG
BANYAK'S
MOTHER:
Alas,
my dearest elder sisters, / whose
wisdom
is
the wisdom
of
truth.
/
Our
thoughts,
it
seems,
are
much
the
same,
/
but the
answer
depends
on
Puti
Galang.
Two
glasses
must be
similarly
filled,
/
two
measures must
weigh
the
same.
/
If
like one
family
we all
shall
be,
/
Galang
herself
must
yet
agree
/
If
fate
does
indeed
endorse
this
plan,
/
together
we
shall
all
rejoice.
/
If
that in
fact
should
be
her
choice.
UMBUIK'S
MOTHER:
We are
happy
to
wait
right
here
/
for
Galang
Banyak's
arrival.
/
Please,
call
her
now
so we
may
hear,
/
her
words
will
make
the
future
clear.
Let
us
pose
our
question
clearly
/
according
to the
tradi-
tional
way.
/
I
ask
your
permission
most
earnestly
/
to
learn
what
Galang Banyak
will
say.
GALANG
BANYAK'S
MOTHER:
For
hope
to
become
reality,
/
you
must
please wait here patiently. / I shall now look for Galang Banyak /
and
send
her
to
answer
what
you
have
asked.
135
8/18/2019 Umbuik Mudo and the Magic Flute a Randai Dance-Drama
25/39
Askovic
et al.
(The
dancers
perform
short
galombang
and
tapuak
sequence
s
a
tran-
sition
while
PUTI GALANG
enters the circle and her
MOTHER
leaves.)
GALANG
BANYAK:
Oh,
my very
dearest
aunties,18 /
what is the
reason
you
called for me?
/
The blood
pulses wildly
in
my
chest.
/
I
beg
you,
let me
know
at
once, /
so that
my
heart can
be at
rest.
UMBUIK'S MOTHER:
Galang Banyak,
most
respected
and
good,
/
the
brightest
flower the
village
does
grow.
/
Our
fervent
dream
is
if
we
could
/
marry
Galang
with Umbuik
Mudo.
/
We await
your
answer ...
GALANG
BANYAK
(cutting
in):
If
you
came to
ask for
my
hand,
/
you
came in
vain to
visit me.
/
Your
dream
will remain
only
a dream.
/
The
road
you
travel is
slippery.
Clearly
it's not
appropriate
/
for a
goose
to
be
married
to
a
swan.
/
It will
only
leave a
bitter
taste
/
undesirable
to
anyone.
As for
your
son,
Umbuik
Mudo,
/
he
looks
most like a
with-
ered fruit, / or a peanut dried up in the sun. / He's not
one to
Recommended