Umbuik Mudo and the Magic Flute: A Randai Dance-Drama

Author(s): Kirstin Pauka, Ivana Askovic and Barbara Polk

Reviewed work(s):
Source: Asian Theatre Journal, Vol. 20, No. 2 (Autumn, 2003), pp. 113-146
Published by: University of Hawai'i Press
Stable URL: http://www.jstor.org/stable/1124594 .
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PLAY

UmbuikMudo and the Magic Flute:

A RandaiDance-Drama
IntroductionbyKirstinPauka;
translatedbyIvana Askovic,BarbaraPolk,
KirstinPauka, et al.

Thisfirst English-languagepublicationof a randai play from WestSumatrais based

on the scriptpreparedfor a studentproductionstaged in 2001 at the Universityof
Hawai'i, Mdnoa, byone of thetranslators,KirstinPauka, whoalso introducestheplay
and its staging.
KirstinPauka is associateprofessorof Asian theatreat the Universityof Hawai'i,
Manoa, specializingin SoutheastAsia. Her research
focus is on the theatreof Indonesia. She is theauthorof Theater and MartialArts 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 servesas
editorfor SoutheastAsia for theforthcomingOxford Encyclopedia on Theatre
and Performing Arts. Sheis also a percussionistand drummerwith theKennyEndo
TaikoEnsemble.

Randaiis the popular folk theatre of the Minangkabaupeople

of WestSumatrain which songs, dance, music, martialarts,and acting
are woven together to tell traditional Minangkabautales. The play
UmbuikMudoand theMagicFluteis an adaptationof a traditionalMinangkabaufolk storylong popularizedthroughoutthe region via storytelling and songs. The storywas first adapted for performancein randai theatre in the early 1970s by Chairul Harun, renowned writer,
scholar, and director of randaitheatre. It was further adapted and
translatedfor the first-everEnglish-languageperformanceof randaiin
the United States,as part of the AsianTheatre Programat 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 reliAsian TheatreJournal,vol. 20, no. 2 (Fall 2003). ? 2003 by University of Hawai'i Press. All rights reserved.

Askovicet al.

114

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, aesthetics, and performance traditions of the Minangkabau ethnic group
of the West Sumatran highlands. Randai can be considered the foremost 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(storytelling), and saluangjo dendang (song-and-flute). The latter two traditions 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 Minangkabau: adat (traditional customs) and Islam.2 Randai emerged as a fullfledged 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 possible because the initial Islamization was, as in other regions of Indonesia, 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 movements, randai eventually incorporated elements from the imported
Islamic cultural treasure trove, such as some of its story material, opening 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

A RANDAI DANCE-DRAMA

115

patterns have become the signature feature of randai theatre; they are
performed in a remarkably dynamic manner by slapping special pants
while dancing. The galombangdances 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 performance 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 oratory; in randai each line is accompanied by specific steps and gestures
based on silat, similar to the steps and gestures performed in the circular galombang dance.

Silat is the indigenous type of martial arts found throughout

Indonesia and Malaysia;in the Minangkabau language it is generally
pronounced "silek."In West Sumatra there are twelve distinct silat

FIGURE1. Circular galombangdance with a greeting pose from silat. (Photo:

Tom Levy)

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Askovicet al.

styles, each with several subcategories.4 Traditionally, silat training was

all male. Young boys at the onset of puberty would leave their mothers' 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
silat issues are often central. Randai performers are required to be proficient in silat and typically practice both forms actively. A silat master
is a leading member of each randaigroup, 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.

FIGURE2. MusraDahrizal,masterteacher of randai,during dress rehearsal.

(Photo: Tom Levy)

A RANDAI DANCE-DRAMA

117

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;installation
of a clan chief (datuak);family 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 public 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 teachings. Recently many new plays have addressed the impact of modernization and globalization on traditional Minangkabau society. The circular formation of the presentation of randai is a central structure as
well as an aesthetic feature. It not only emphasizes the village community 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 modernization, 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 Minangkabau cultural life and customs: clan relations, family obligations,
arranged marriages, wedding ceremonies, child education, proper protocol and etiquette, the custom of rantau (temporary migration), religious learning, and silat apprenticeships.
The story of Umbuik Mudo is a popular Minangkabau folktale
well known all over West Sumatra. It addresses status distinctions

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Askovicet al.

between rich and poor, teaches intergenerational etiquette and behavior, and integrates Islamic teachings as well as teachings from traditional 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 Minangkabau 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 heartbroken. 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 Minangkabau 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 version of UmbuikMudo in this production.
Randai in Performance
Randai typically begins with an introductory instrumental piece,
prominently featuring drums and talempongbronze 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

A RANDAI DANCE-DRAMA

119

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, ceremonial speeches, and recitation of proverbs and the Koran. The verbal 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 playingUmbuikMudo. (Photo:Tom Levy)

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Askovic et al.

goreh)vocally cues them to rapidly get up and perform another transition 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 ancestors, spirits, God, teachers, and audience.

The Translation
The translation of the play offered here is the result of a yearcollaboration
between the Minangkabau teachers, language
long
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 references 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 requirements 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-something 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 ("YoungBamboo"),a Minangkabauyouth
UMBUIK

MUDO'S

FATHER

UMBUIK

MUDO'S

MOTHER

("Golden Hair"), UMBUIK

AUNT RUBIAH,
UMBUIK's
aunt
UMBUIK'S
teacher
JANGUIK,
PANJANG
RAMBUN

PANDEKA

AMEH

CAPEK

S younger

("QuickFighter"),UMBUIK'S

sister

opponent

A RANDAI DANCE-DRAMA

121

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 Janguik: 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 movements and take up the openingformation in three rows. Once the dancers
are in place, the lead singers, seated upstage centerwith the musicians, begin
the opening song, called Dayang Daini.)

Askovicet al.

122

DayangDaini Opening Song

(This is a standard opening song for randai plays. Songs are typically
named aftera Minangkabauplace orpersonand are knownprimarilyby
theirmelody,whichremainsthesamewhilethe lyricschangedependingon
theplay and thesingers.In this song, as in mostothersongsin randai, the
lines of each verseare sharedbetweentwosingers.In addition, the dancers
join in singing the third line of each versewhileslowlymoving througha
sequenceof respectfulgreetingposes.Thesong introducesthestorytitle,pays
respectto the land and ancestorsof the Minangkabau, and welcomesthe
audience.)6
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.
OpeningScene
(The dancersperforma shortfighting sequencefollowed by a circular
galombang dance with lively tapuak [pants-slapping percussion
sequence].Thereaftertheysit in a circleformation.One of thedancerssteps
into the centerto welcomethe audienceand to introducethe main characters of the story,embellishingthe speechwith a few pantun [traditional
poemsor wise sayings] to pay homageto the highlyrefinedMinangkabau
art of oratory.)
MC:Dearest members of the audience! / No need to mention the commoners, / no need to address the noblemen. / Here, we pay equal
respect to all.
We will express our inner feelings / to make sure our message 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,

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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 setsthesceneforthestoryto unfold. Traditionallyspectatorscontinue to arrivethroughoutthe beginningof a randai play and tend to be
rathernoisy, so this song asksfor theirattentionbecausetheplay properis
aboutto begin.This song, as wellas allfollowing songs, is accompaniedby
a circulargalombang dance. Thedancersjoin in therefrainof eachverse.
Betweenversestheyperforma livelyandfast tapuak percussionsequence.)
May we 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 introducesUMBUIKMUDO and his parents having a crucial
discussion. Umbuikhas comeof age so his parentsencouragehim to leave
his home village to seekfurther education and training. This temporary
migration,calledrantau, is a customdeeplyembeddedin Minangkabau
culture.It typicallyinvolves a voluntaryabsencefrom homefor varying
lengthsof timeto seekadvancedtraining and education,economicadvantage, experience,and also adventureand romance.)
MUDO: Oh, alas, my dearest mother, / also my most respected
father. / Why is it you come and bother me, / as I enjoy this marvelous 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

UMBUIK' FATHER: My dear son, Umbuik Mudo, / look at your father

Askovicet al.

124

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 knowledge.
UMBUIKMUDO: 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?
If all that you've conveyed to us / reflects your
of
the
future, my son, / then I feel we shall find a comthoughts

UMBUIK'S

MOTHER:

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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 bridgesthreeyears'time,a commonconventionin randai songs.
In the meantime-as we learnfrom the song-UMBUIK has traveledfar
and studiedwitha prominentsilat master.Theaccompanyinggalombang
danceincludesajurusan, a sequenceof attack-and-defense
movementsthat
illustratesomeof what UMBUIK has learned.This livelysequencealso sets
theappropriatemartialmoodforthefollowingscenebetweenUMBUIK and
his teacher.The tapuak percussionbetweenthe versesof this song is one of
thefastest in the entireplay. The third line of each verseis again sung in
chorusbyall theperformers
including 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.
Scene2
(Scene2 showstheparting of UMBUIKfrom his silat teacherof threeyears.
Silat studiesare traditionallyheld in a surau. The surau has long served
as an institution to educateMinang youth in customs,Islamic teachings,
and silat. Somesurau teachershave gained a reputationfar beyondthe
immediateregion and welcomestudentsfrom far and near; PANJANG
JANGUIK

is such a teacher.)

Askovicet al.

126

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 relationship / 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.
I myself had planned to test you. / To complete
JANGUIK:
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.

PANJANG

(The dancersperforma shortgalombang dance in preparationfor fighting scene 1, in whichUMBUIK is defeatedbyhis teacher.This silat scene
is accompaniedby talempong and drum music. During the short dialoguesthe musicgets softerand again increasesin volume as soon as the
fight resumes.)
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.
UMBUIK

MUDO:

(Fights 2 and 3follow in which UMBUIK

MUDO performsadvanced silat

moveswith his teacheras a sign that, as a student, he has completedhis

studies.)
Oh, guru, with your greater wisdom, / you can see
the
clearly
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.

UMBUIK

MUDO:

127

A RANDAI DANCE-DRAMA

I will gladly grant your wish. / You are skilled at

and
silat.
/ Even if you had not asked me, / you'd have
scripture
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.

PANJANG

JANGUIK:

TalampongUngganSong
(This song takesus backto UMBUIK 's homeand, hinting at someexciting
news that has arrived, is intended to keep the excitementalive and the
attentionof the audiencehigh. The accompanyinggalombang is joyous
and playful. As in previoussongs, thefiller "dela o tuan ai"12is sung by
bothsingersand dancers.)
Ondemak13/ 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.
Ondemak/ 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.
Ondemak/ The betel nut was by the doorway, / carefully
wrapped in a siriah leaf, dela o tuan ai. / To learn the
name of the visitor, / he called his little sister to the
room, dela o tuan ai.
Scene3
(Scene3 takesplace betweenUMBUIK and hisyoungersister;in it we hear
news aboutan excitingsilat contestto whichUMBUIK is invited. To hold
a contestor tournament[galanggang] in orderto find a husbandfor
daughtersof noblefamilies is a favorite motif in Minang literatureand

Askovicet al.

128

folktales. Thesetournamentsoften include silat competitionsand Koran

recitals,but also cockfightsand gambling.In manyplays, conflictsariseat
such tournaments,whichgives the impetusfor thefurther developmentof
the story.)
little sister, / who's been in my mind
and
There
is
a
/
night
day.
question I hope you'll answer, / if perare
to
haps you
willing
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.

UMBUIK MUDO: Alas, my dearest

Oh, yes, my dearest older brother, / brother of my

flesh and blood. / If that is what you ask me, brother, / please listen 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?

RAMBUN

AMEH:

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.

UMBUIK

Indang Song
(This song takes us to the realm of

PUTI

GALANG'sfamily

and the prepa-

rationsfor thetournament.It providesbackgroundinformationon theevent

and setsa moodoffestivity,expectation,and grandexcitement.
Forthissong
two of the singersand theflute playerleavetheirusual spot on the upstage

129

A RANDAI DANCE-DRAMA

platform. Theymove centerstage inside the circleof dancersto allow the

audiencetofully appreciatethe beautyof this well-lovedMinang song. The
secondandfourth lines of eachversearerepeatedand sung thesecondtime
byall performers,including the dancers.(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 tournamentand a long fighting scene between
and his opponent.The display of silat skills within a randai
play is a crucialfeature and extremelypopular with Minang audiences,
especiallysince manyrandai ensemblesincludefreestylefightingby highly
skilledperformers
in additionto choreographed
setscenes.Audiencesbecome
very lively during thesescenesand shout encouragementto theirfavorite
performer.)
UMBUIK

PANJANGJANGUIK: 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

130

Askovicet al.

learned view, / if the steps I make are the ones most

true. / And now I'm prepared for what I must do.
(Dancersperforma shortgalombang and tapuak sequenceas a transition while PANDEKA CAPEK enters.)
PANDEKA

(ad lib): Umbuik Mudo! For as long as I've known

CAPEK

you, / you have always been late. / Prepare yourself for it to seal

your fate.
(Theyfightaccompaniedbytalempong and drummusic.PUTI GALANG
enters.Distractedbyherbeauty,UMBUIKis kickedin the chestandfalls to
theground defeated.)15
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

GALANG

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.

Fine words here, but short of meaning. / This is a
festival of nobles. / There is no place here for one like you. / It

GALANG

BANYAK:

would be best to leave at once. / Your presence pollutes our customs here, / even down to the clothes you wear.
Unfortunate girl, unlucky youth! / There is no
PANJANG JANGUIK:
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.

A RANDAI DANCE-DRAMA

131

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 dancersperforma shortgalombang and tapuak sequenceas a transition during which a quick change of actorstakesplace. 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

Askovicet al

132

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 melodybelongingto the ratok or sad style.It is
muchslowerthan previoussongs in orderto reflectUMBUIK s moodof desolation andfrustration.)
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.

133

A RANDAI DANCE-DRAMA

Scene5
(Scene5 showsthe deeplove of UMBUIK' S MOTHER for herson and her
willingnessto helphim in this hopelessmatteragainst herbetterjudgment.)
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'S

if that's what you want to know, / I'll tell you

I
feel
so
low.
/ My guru came to our home / to invite me to
why
in
fight 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 Banyak, / 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 propose 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.
UMBUIK MUDO: Mother,

MuaroLabuahSong
(This song is basedon a livelymelodyconveyingtheurgencyof UMBUIK'S
longing and hope, but it also has a sad undertonein anticipationof the
disappointmentthat 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.

Askovicet al.

134

Umbuik's mother had walked a long way / with a message

from Umbuik Mudo, / (2x) to ask for the hand of a
maiden, whose name was Puti Galang Banyak.
At last her journey came to an end, / her forehead covered
with sweat. / (2x) Without even a moment's repose, she
asks the mother of Galang Banyak.
Scene 6
(Scene6 beginswith UMBUIK's MOTHER and AUNT RUBIAH standing outsidethecircle,indicatingthat theyareoutsidea traditionalMinangkabau house, askingfor permissionto entervia a tall staircaseor ladder.
This is one of the staging conventionsof randai. As we have seen, most
scenesare enactedcompletely
within the circleformedbytheseateddancers.
Theareaoutsidethe circleis sometimesused to indicatetravelingor to show
a secondlocation.UMBUIK'S MOTHER is carrying a traditionalcarano
vesselcoveredwith a richlyembroidered
clothunder which the offeringsof
betelnut, siriah leaves, lime, and tobaccoare arranged.As in Scene2, a
carano is a mandatoryceremonialobjectinformal visits, especiallyin one
concerninga marriageproposal.Thefollowing sceneis shortenedconsiderablyfrom theoriginalscenein whichpleasantriesare tradedbackandforth
for a verylong timebeforethe actual reasonfor the visit is revealed.)
MOTHER: Oh, dear mother of Umbuik Mudo, /
BANYAK'S
and Mandeh Rubiah just and good. / Please, come inside the
house at once. / Find fresh water here to cool your feet.
MOTHER:
UMBUIK'S
Esteemed mother of Puti Galang. / We come
here with high expectation. / We've waited here in the yard so
long, / now we accept your invitation.
There is a most important matter / we wish to discuss with
you today. / We are happy to find you at home. / We'll
enter the house if you lead the way.
GALANG

(The dancersperforma shorttapuak sequencewhileseatedas UMBUIK'S

MOTHER and AUNT RUBIAH enter the circle.)
Oh, honored mother of Galang Banyak, / you are so
and
smart. / Already our fatigue has vanished, / our coneloquent
versation now may start. / We set forth upon this journey / blessed
by the father of Umbuik Mudo. / We bring to you a simple request
/ and offer you this special gift.
The box contains ripe betel nut / mixed with tobacco for
us to chew. / Oh, mother of Galang, partake, / so that
our plans we then can make.

AUNT

RUBIAH:

A RANDAI DANCE-DRAMA

GALANG BANYAK'S

MOTHER: Alas, my two respected

135

sisters, / you

who speak with such eloquent words. / If the tree bore its fruit till
ripened, / I may indeed savor its taste.
(The dancersperforma shorttapuak sequencewhile seatedas the actors
meetcenterstage and pantomineeating betelnut 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?
According to our people's customs, / sharing betel nut
must
together /
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.

AUNT

RUBIAH:

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

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 traditional way. / I ask your permission most earnestly / to
learn what Galang Banyak will say.
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.

GALANG BANYAK'S MOTHER:

Askovicet al.

136

(The dancersperforma shortgalombang and tapuak sequenceas a transition while PUTI GALANG enters the circle and her MOTHER leaves.)
BANYAK: Oh, my very dearest aunties,18 / what is the reason
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.
you,
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 withered fruit, / or a peanut dried up in the sun. / He's not
one to get anything done. / Won't study hard and lacks
ambition, / and stumbles through life without a mission.
/ In short, he is just a parasite. / I pity the tree to which
he clings.
GALANG

Alas, young maiden Galang Banyak, / it is not

proper to talk like that. / You need not treat him with derision, /
we came here just for your decision.
GALANG BANYAK: Wait, mother of Umbuik Mudo, / I'm not finished
describing your son. / Umbuik Mudo has grown to manhood / a
leech on the backs of his people, / nourished through the sweat of
others. / His thoughts are narrow and quite dull.
If Umbuik Mudo looks handsome, / it's only due to borrowed clothes. / Even his wealth is not his own, / but
from his father a generous loan. / To buy my anklet,
it's not enough. / Therefore I need not repeat myself. /
Don't waste my time here anymore, / our talk is over.
There is the door.19
UMBUIK'S

MOTHER:

MOTHER: Your words already pain my heart, / there is no

need to carry on so. / It's time for us now to depart / to give your
answer to Umbuik Mudo.

UMBUIK'S

Si Bunsu Babilang Malam Song

(This song is again from the ratok, or sad, categoryof traditionalsongs.

It is one of the moredifficultsongs to performand often comestowardthe

137

A RANDAI DANCE-DRAMA

end of a randai play. To createtheproperfeeling of this song, the singers

have to emulatethe continuousflow of sound of the saluang flute, which
is playedvia circularbreathing.To accomplishthis, theyhave to minimize
theirbreathpauses so that thefirstline of versecan besung with one breath.
Theaccompanyingdancecontainsanotherlongjurusan, or attack-defense
sequence.)
Oh nan si Bungsu lai babilangmalam, malamnyo malam nan ga
ampeh,20/ His mother sadly returned home, / humiliated
and ashamed. / In the meeting she had failed, / for Puti
Galang had turned her down.
Oh nan si Bungsu lai babilangmalam, malamnyo malam nan ga
ampeh./ On her way she thought of poor Umbuik, / and
how to tell him such bad news. / She hoped to find the
least painful way / to tell her son he had not won her
heart.
Oh nan si Bungsu lai babilangmalam, malamnyo malamnan ga
ampeh./ When she at last reached her house that night,
/ she did not wait to step inside. / He had to find out
what was wrong / and saw sadness in his mother's eyes.
Oh nan si Bungsu lai babilangmalam, malamnyo malam nan ga
ampeh,/ Not able to hold his feelings back, / Umbuik
approached his mother at once. / May we have silence
from all of you, / so we may hear what they have to say.
Scene 7
(In Scene 7 UMBUIK'S MOTHER has the unenviable task of telling the

news to UMBUIKwithoutbreakinghis heart, but her attemptsfail miserably. The sceneis meantto be bothhumorousand sad simultaneously-a
commonfeature of randai plays and a reasonfor theirenduringappeal.)
MUDO: Alas, dearest mother of mine,

/ please forgive me for

Have
met
the
one
inquiring. /
you
you sought? / Have you won
the one I love? / Please, mother, tell me what happened, / so that
my heart can cease to pound. / Good and bad, please tell me all.
/ No need for my mother to hide the truth.

UMBUIK

UMBUIK'S

MOTHER: My dearest son, nursed at my breast, / the only

balm for a mother's heart. / I went there, followed your request /

to ask for the hand of Galang Banyak. / Galang's mother explained
all to me. / Despite our most respectful suit, / I return home with
my hands empty. / Our proposal is too late to bear fruit.
Your most beloved Puti Galang / has already promised to
give her hand. / She has traded tokens with another

Askovicet al.

138

man. / To marry him soon, it is her plan. / Puti Galang

is engaged, it is true, / to a man who lives almost next
door. / It pains me to give this news to you, / but Galang
Banyak is spoken for.
MUDO: Alas, my own mother, what did you say? / Those
UMBUIK
aren't the words of Galang Banyak. / Mother, don't tell such lies
to me. / Tell me the story, please be exact. / All that you've heard,
please reveal, / so that my spirit rests easily. / I need to know what
I am to do. / Now tell the true version of the story.
MOTHER: What my son asks is hard to do, / but now I will
UMBUIK'S
to
give you the truth. / Your mother sees there is no use / in telling
only nonsense to you.
These were the words of Puti Galang: / "If Umbuik Mudo
looks handsome, / it's only due to borrowed clothes. /
Even his wealth is not his own, / but from his father a
generous loan. / To buy my anklet, it is not enough." /
That is what your mother was told.
If those are the words of Galang Banyak, / impossible will they be to forget. / This dispute will last long for me. /
Revenge I will take to my grave. / The anger will last through eternity.
This is what we must now find: / a treatment that will
change her mind. / Something to coax her hesitant
heart. / Please, mother, I do need your help.
Find for me the bamboo that lies / deep in the grove called
Tiger's Eye / guarded by the sacred dragon-snake. / The
snake entwines with this bamboo / from which I'll make
a magic flute. / That is what we must now do. / Go at
once, please, I beg of you.

UMBUIK MUDO:

If that is what you want, my son, / your mother

must set out quite soon. / Before the afternoon is done, / I am
resolved to go without fear / to find for my son this magic bamboo, / to win the heart you hold most dear. / Pray for your mother
as you wait here.

UMBUIK'S

MOTHER:

Palayaran Song
(This song describes the adventures of UMBUIK'S

MOTHER as she

searchesforthe magic bamboostalks. The local beliefin magic is basedon

animistic traditions.It was readilyacceptedinto thefirst wave of mystic
that reachedWestSumatra.Despite
Sufi Islam (via tarikat21brotherhoods)
orthodox
Islamic
that
increasingly
beliefs havespreadsincethePadriReform

139

A RANDAI DANCE-DRAMA

of thefirst thirdof the nineteenthcentury,the beliefin magicis still strong.

Certainanimals and plants, musical instruments,weapons,and certain
householdobjectswith magic powers arefrequentfeatures of traditional
Minangfolktales,novels,and randai plays. Theoveralltoneof this melody
is veryemotional,foreshadowingthepowerand dangerof the magic to be
summoned.As in previoussongs,thefillersin thelast twolines of eachverse
are sung bysingersand dancersin unison.)
Oh, malang lai, yoi, yoi. / Umbuik's mother had gone right
away. / She walked into the dark rainforest, / desperately
searching in every place. / The sweat and tears poured
down her face. / She looked for the right piece of bamboo, yoi, malang lai. / She looked for the right piece of
bamboo, yoi.
Oh, malang lai, yoi, yoi. / She pressed on, though her journey
was long. / The mountains were high, but she had to
climb. / The bamboo grove was thick, but she went on. /
She was close to the sacred temple, / the sacred grove
called Tiger's Eye, yoi, malang lai. / The sacred grove
called Tiger's Eye, yoi.
Oh, malang lai, yoi, yoi. / She finally got to the temple. / She
made an offering of incense / and prayed for a blessing
from her god. / Her prayers were answered right away. /
She found the bamboo she was looking for, yoi, malang
lai. / She found the bamboo she was looking for, yoi.
Oh, malang lai, yoi, yoi. / Umbuik's mother brought the
bamboo home. / She quickly gave it to Umbuik Mudo. /
He started to make the magic flute. / And when the
magic flute was complete, / he took a breath and began
to play, yoi, malang lai. / He took a breath and began to
play, yoi.
Scene8
(At the beginning of this scene, GALANG BANYAK is slowly moving

around theperimeterof the circleto indicatethat she is walkingin theforest,far awayfrom whereUMBUIKis playing the magicflute. As she hears
theflute music, she is drawn closerand closerto the sourceof the sound
until she sees UMBUIKand stepsinside the circle.)
GALANG BANYAK: Oh, please, do answer my question, sir. / Forgive

me, sir, for being a bother. / What kind of flute is this you play, /
which drew me here to you today?

Askovicet al.

140

The tunes I hear are so enchanting / they pierce my heart,

confuse my feelings. / My heart aches, my mind's at sea, /
from listening to your melody. / Please, sir, I am most
eager to hear, / what beautiful music can this be?
MUDO:
Galang Banyak, my dearest lady, / is this the way that
would
you
greet me? / Only because I play this flute, / because it
reminds you of my fate?
When I recall my great misfortune, / my heart drops like a
stone in a well. / "If Umbuik Mudo looks handsome, /
it's only due to borrowed clothes." / Alas, misfortune
descended on me / and that which was given is now
returned.
"Even my wealth is not my own, / but from my father a
generous loan. / To buy your anklet it's not enough." /
Yes, poverty matters more than the man, / that is my
answer to your question. / Are you happy with it, my
dear Galang?

UMBUIK

FIGURE

Levy)

4. Umbuik Mudo playing the magic flute in Scene 8. (Photo: Tom

PLATE1. Randai dance-drama: Circular galombangdance with silat steps. (Photo: Tom Levy)

U4
PLATE2. Hasamawi, master teacher of randai music, during rehearsal of UmbuikMudo and
theMagicFlute. (Photo: Tom Levy)

3. Singers and flute player enter the circle to perform the song "Indang" in Umbuik
Mudo and theMagicFlute. (Photo: Tom Levy)
PLATE

4. Two comedians perform a boat pantomime during the final celebration in

Scene 9 of UmbuikMudo and theMagicFlute. (Photo: Tom Levy)

PLATE

5. Entrance to the Royal University of Performing Arts in Phnom Penh. Note the
shrine to Maha Eysei, guardian of the arts, and the statue ofJayavarman VII on an elephant.
(Photo: Catherine Diamond)

PLATE

PLATE 6. Young students learning classical dance at the Royal University of Performing Arts
in Phnom Penh. (Photo: Anna Lindroth)

rn%\ll8i
PLATE 7. The Takeo province performance of Preah Thong and NeangNeak in the Chaktomuk
Theatre (2002). The ham ron is performed not in traditional dress but in local costume.
(Photo: Catherine Diamond)

8. Folk dance troupe rehearsing on Sovanna Phum's truck stage in Cambodia.

(Photo: Catherine Diamond)

PLATE

A RANDAI DANCE-DRAMA

141

to mention all of this. / Now my heart is

touched.
A
/ gentle rain now clears the mist, / an omen that
deeply
bodes well for us.
Now let me admit what you well know, / that I have wronged
you in the past. / I ask you now to forgive me, please, /
and hope that you will still love me.
Please accept my sincere regret. / This plea I make to
Umbuik Mudo. / May this apology pay my debt. / To
you, I give myself heart and soul.

GALANG BANYAK: No need

MUDO: Well, my beautiful Galang Banyak, / I hear your words

both sweet and clear. / Yet there is something that makes me think
/ perhaps your words are not sincere.
And if your original words were true, / you can withdraw
what you just said. / Misery forever is now accepted. / If
I fall again, it will be expected.
You see, there is one difficulty: / Galang descends from
nobility. / Far better for you to turn away. / It's futile to
discuss this more today.
Galang Banyak likes to be praised, / a lovely flower,
wrapped in jewels, / while misfortune I feel each day. /
With me would you really want to stay?
Forget about me and let me go. / Oh, Galang, I bid you
farewell. / I will always remember you kindly. / If my
words hurt you, please forgive me.

UMBUIK

BANYAK: As I listen to you speak such words, /

my heart
trembles, weak with fear. / The difficulty that you mention / matters not in my intention.
You talk about your bad fortune, / but I hope to ease your
pain. / I was in error, now I ask / Umbuik to take me
back again.
If there is a goal that you pursue, / I will help with all I
have. / If only you will keep me with you / until we share
a common grave.
I am drunk with sweet fantasies, / hopes spill from my heart
without cease. / Please, sir, tell me that you love me, /
before I lose control completely.

GALANG

MUDO: As I hear Galang's laments, / no one knows how I

also grieve. / Your offer here is kindly meant, / but your goodness
alone is no reprieve.
I know that my own fate is the worst. / In happiness I shall

UMBUIK

Askovicet al.

142

never succeed. / This ill fortune cannot be reversed. /

The beach stays alone when the ocean recedes.
No wonder now my heart is restless, / the strong grip holding it has now relaxed. / These words of yours would give
me joy, / but from you now seem only a ploy. / Sadly, a
man must reject your love.
It hurts me now to hear you speak. / Your words
cause me confusion and pain. / I'm begging you to hear my plea,
/ so that I do not weep in vain.
That which I long for in my heart, / I beg you, Umbuik, to
consider. / It seems my heart is tightly bound / with love
for you that is newly found.
With tears in my eyes I am begging you. / Oh, why are you
so hesitant? / You yourself have taken my heart. / I can
be claimed by no other man. / How sad if no one shall
take my hand.

GALANG BANYAK:

UMBUIKMUDO: Oh, Galang, your words sound sweet, / answers far

from your former contempt. / All that you say, dear sister, to me,
/ I feel to the depths of my own heart.
If received in the depths of my being, / your words will
open my wounds anew. / I will feel awash in the deepest
sea. / But if Galang wishes it to be, / I will call to you in
my dreams, / and in dreams you will answer me.
All these years I've studied silat / mean nothing if I can't
have you. / But since you change your mind so quickly, /
please give me time to think this through.
SitiJauhari Song
(In this last song of theplay, eachsingersings a line whileall the dancers
join in singing thefiller in each line. It is a livelytune, althoughthe content is rathersad.)
No agreement, la tuan oi, was reached by the two. / So they
both went, la tuan oi, their separate ways. / Devastated, la
tuan oi, was Puti Galang.
Galang Banyak, la tuan oi, longed to be with him. / So hard
it was, la tuan oi, to conceal her love. / It was not long, la
tuan oi, before she fell ill.
Hundreds of cures, la tuan oi, were tried in vain. / Only one
thing, la tuan oi, could heal Galang's pain. / Galang
needed, la tuan oi, Umbuik's love.

143

A RANDAI DANCE-DRAMA

Umbuik Mudo, la tuan oi, had wished in his dreams / to be

together, la tuan oi, with Puti Galang / to celebrate, la
tuan oi, their undying love.
Scene 9
(A shortwrapupsceneto bringthe storyto a closewith a happyending.)
MC:My friends, you know we have the powers / to continue this story
for hours.22/ There were robbers, there was crime! / Unfortunately
we have no time.
But they got married, though Umbuik was late. / So go
shake their hands and congratulate.
(The dancersget up and congratulatethe wedding couple.All are then
seatedupstagecenter.)
MC: And for your enjoyment a very rare thrill, / our dancers with their

plate dancing skill.

(A tari piring orplatedanceis performedbytwoof thedancersfor thewedding guestsand the actual randai audienceas well.)

FIGURE5. Closingsong performedby both masterteachersfrom Indonesia.

(Photo:EdyUtama)

Askovic et al.

144

MC: My friends from Padang have just one wish, / to show you how to
catch a fish.

(A boat-fishingpantomimesceneis performedbytwo of the dancers.[See

Color Plate 4.] Afterwardall the dancersand actorsget up and ceremoniously walk around theperimeterof the stage area to indicatea wedding
parade thoughthe village.A final dance and ritualfarewellareperformed
accompaniedbythe closingsong sung in theMinang language bythe two
masterteachers.All dancersand actorsexit.Music continuesand then concludeswith a final drumsection.)
NOTES
1. The play was adapted for the production by Musra Dahrizal and
A first draft translation was kindly provided by Ivana Askovic. SubUtama.
Edy
the
translation was further refined in collaboration with students of
sequently
an advanced Indonesian-language class at the University of Hawai'i (INDO
301) under the supervision of Laine Berman. Refinement of the translated
script continued until late into the training process with additional help from
Barbara Polk. It reached its final form during the last weeks of rehearsal in
collaboration with the actors and musicians. Song lyrics were translated and
adapted by the musicians Made Mantle-Hood, Ken Lawrence, Frances Mammana, and Kelly Melson.
2. A third pillar, the Indonesian government, was added to this basic
concept after independence, but it plays a comparatively minor role in randai
performance. If performances are commissioned by government agencies,
government messages will be incorporated into a play-guidelines concerning family planning, directives about the importance of community service for
large irrigation projects, and so forth.
3. The difficult technique of circular breathing requires the flute
player to draw breath through the nose while exhaling through the mouth
into the flute. Essentially breath is stored in the mouth and throat and exhaled
slowly and steadily into the flute while quick breaths are taken through the
nose. This technique enables the flute player to produce the desired continuous sound of the saluang flute.
4. Several of these styles were selected as the basis for the various
dances in our randai production to give students and audience a sense of the
broad range of silat types that are practiced in West Sumatra.
5. Fund-raising performances of randai are a phenomenon of the last
ten or fifteen years. They are used along with other gotong-royong
(mutual assistance) events to raise money for such projects as new irrigation systems and
improvement of school buildings.
6. Information on the cultural background and performance conventions is given here before the relevant scenes or songs. Comments on the

A RANDAI DANCE-DRAMA

145

translation, adaptation, or particular pantun poems and metaphors are given

in the notes. The verse is indicated by slashes. Each new stanza begins on a
separate line.
7. This pantun means that one can adjust the length of a thread to fit
the need-that is, a story can be stretched or condensed according to the performance occasion.
8. This proverb refers to one of the central rules of silat and by extension illuminates the understanding of proper conduct in Minang society:
One does not seek out confrontation; but if one is attacked, one has the
responsibility to use self-defense.
9. "Latuan oi "is a filler, sung by all performers, loosely meaning somelike
thing
"hey, sir!"We decided to retain the Minang language here for color
and sound.
10. Umbuik uses a pantun to pay his teacher a compliment: his character has been shaped well by the teachings imparted.
11. Here Umbuik refers to his studies of the Holy Koran and other
Islamic teachings. Our guest instructors decided to focus on the silat aspect
of Umbuik's education because they found it to be more exciting and more
easily accessible for a Western audience than recitations of passages from the
Koran.
12. Another filler, along the lines of "hey, hey, sir, listen!"
13. "Ondemak"is another filler that we have retained in the Minang
language. It also functions as an important cue for the dancers to start the
galombangdance.
14. Siriah leaves, betel nuts, lime, and tobacco, when presented
together in a caranovessel, always accompany official visits or invitations of
import. That the vessel is still there indicates to Umbuik (and to a Minang
audience, of course) that an important visitor or message has been received
at his home.
15. In other versions of this story and depending on the performance
occasion, the contest is a Koran recital. Umbuik does well in it until the sound
of his beautiful voice attracts Puti Galang. When he sees her he is captivated
by her beauty and falls silent. When she asks him to repeat his recital, he cannot remember any of the lines and remains tongue-tied. She ridicules him for
his failure and departs.
16. This pantun makes no sense in Minang, either, which quickly illustrates for a Minang audience that Puti Galang Banyak has no grasp of the
refined Minang language and is not yet sufficiently educated about traditional
proverbs and their proper use. Throughout her scenes she uses extremely
rude language and shows no respect toward her elders and peers. Our guest
teachers related the story that in one of the first performances of this play in
West Sumatra the spectators became so upset with her disrespectful language
and behavior that they started to throw rocks at the actress.
17. This line refers to a central teaching of silat and applies to basic
Minang custom in general: nature is the best teacher in all matters. Using
diverse metaphors of flowers, he goes on to elaborate on the qualities of a

146

Askovic et al.

proper Minang maiden. In the original this lecture is about four times as long.
We decided to include only a taste of it in our version.
18. It is common for youngsters to address older people as aunt,
mother, or father, even if they are not related. Here it is a sign of respect, not
an indication of relationship.
19. The rude words of Puti Galang are accompanied by even ruder
gestures with the left hand. The left hand is considered unclean and should
never be used to point at people or refer to them.
20. The opening line of this song is evocative of a lover waiting in the
We
retained it in Minang at the recommendation of the teachers
night.
because of the sound of the words.
21. Tarikatis the Indonesian/Malay name for Sufi brotherhoods.
22. Minang audiences know there is alwaysmore to a kaba-based story
than is actually presented in a randai play. As mentioned in the introduction,
the Umbuik-Galang story is a subplot of Umbuik's adventures while on a
quest to find the murderer of his father. If there is no continuation of the
larger story on a subsequent night, the wedding is a suitable end to the story.