The Values Of Minangkabau Culture’s Found In The Malin Kundang

THE VA

THE MA

A PAPE

BY

NURHA

REG. NO

DIPLOM

FACULT

UNIVER

MEDAN

2013

ALUES O

ALIN KU

R

AYATI

O. 102202

MA-III EN

TY OF CU

RSITY OF

N

OF MIN

UNDANG

2002

NGLISH

ULTURE

F SUMAT

NANGKAB

STUDY P

E STUDY

TERA UT

BAU CU

PROGRA

TARA

ULTURE’

AM

Approved by

Supervisor,

Drs. Chairul Husni, M.Ed.TESOL. NIP: 195703081984031004

Submitted to Faculty of Culture Study University of Sumatera Utara

In partial fulfillment of the requirements for Diploma-III in English Study Program

Approved by

Head of Diploma III English Study Program,

Dr. Matius C.A. Sembiring, M.A. NIP. 19521126198112 1 001

Approved by the Diploma III English Study Program Faculty of Culture Study, University of Sumatera Utara As a Paper for the Diploma (D-III) Examination

Accepted by the Board of Examiner in partial of the requirements for the D-III Examination of the Diploma-DIII of English Study Program, Faculty of Culture Study, University of Sumatera Utara.

The Examination is held on June 2013

Faculty of Culture Study University of Sumatera Utara Dean,

Dr. Syahron Lubis, M.A. NIP. 19511013197603 1 001

Board of Examiners Signature

1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) 2. Dra. Syahyar Hanum, DPFE (Supervisor)

AUTHOR'S DECLARATION

I, NURHAYATI declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.

No other person’s work has been used without due acknowledgement in the main text of this paper. This paper has not been submitted for the award of another degree in any tertiary education.

Signed : ...……….……….

COPYRIGHT DECLARATION

Name : NURHAYATI

Title of Paper : The Values of Minangkabau’s Culture Found in The Malin Kundang

Qualification : D-III / Ahli Madya Study Program : English

I am willing that my paper should be available for reproduction at the discretion of the Librarian of the Diploma III English Department Faculty of Culture Studies USU on the understanding that users are made aware of their obligation under law of the Republic of Indonesia.

Signed : ...……….……….

ABSTRACT

Malin Kundang is a Kaba came from the province of West Sumatera, Indonesia. Malin Kundang is a stone which resembles a human lying face-down on the land in Air Manis Beach. Malin Kundang tells about a story of a seditious son. According to the local citizens the stone was believed as Malin Kundang who has been condemned into stone because he was disobedient to his mother. In the sea shore of Air Manis Beach there is the Malin Kundang stone and some of his ship equipments which also had turned into stone. They say, those stones were parts of Malin Kundang’s ship. Until now, the truth of this legend is still left doubtful whether it is real or not.

ABSTRAK

Malin kundang adalah Kaba yang berasal dari provinsi Sumatera Barat, Indonesia. Malin kundang adalah sebuah batu yang menyerupai manusia tertelungkup di tanah di pantai Air Manis, Padang, Sumatera Barat. Malin kundang berkisah tentang seorang anak yang durhaka kepada ibunya. Menurut masyarakat sekitar, batu tersebut diyakini sebagai Malin Kundang yag telah dikutuk oleh ibunya menjadi batu karena telah bersikap durhaka pada ibunya. Ditepi Pantai Air Manis terdapat batu Malin Kundang dan beberapa perlengkapan kapalnya, yang juga berubah menjadi batu. Konon katanya, batu-batu tersebut merupakan sisa-sisa kapal Malin Kundang. Sampai sekarang, kebenaran legenda tersebut diragukan apakah nyata atau tidak.

ACKNOWLEDGEMENTS

Bismillahirrahmaanirrahiim.

First of all, I would like to thank and praise to the Almighty God, Allah SWT for blessing and giving me health, strength and ease to accomplish this paper as one of the requirements to get Diploma III certificate from English Department Faculty of Cultural Studies, University of Sumatera Utara. And I present shalawat to prophet Muhammad SAW as my good example in my live and I hope blessing in the beyond. Then, I would like to express a deep gratitude, love, and appreciation to:

 My Parents, Effendi and Ernawati. Number one mother in the world. You are the best. Thank you for your endless supports, advices and prayers for me. I love you very much. I present this paper for you.

 Dr.Matius C.A. Sembiring, MA. As the Head of English Diploma Study Program, who gives me a lot of knowledge.

 Drs. Chairul Husni, M.Ed.TESOL. as my supervisor and Drs. Marzaini Manday, M.SPD. as my reader.

 Dr. Syahron Lubis, M.A., as the Dean of Faculty of Cultural Studies, University of Sumatera Utara.

 All lecturers in English Diploma Study Program for giving me advices and lesson of educational study as well as life lesson.

 My Nero Gank, Ufii (always cerewet), Sadrakh (Babafo Crazy), Vana (Imona), Tika (Atun), Anggi (Kakek). Thank you for support, cares and other things that help me to complete this paper. Thank for the nice friendship during our study. I will remember everything that we have soent together. I will miss you all.

 My high school friends, SATIYA. Sari (bebhe), Tika (Kempot), Ayu (Panel). Thank you for your love, care and support.

 My team in UKM rching Band USU. Bang Aidil (Bedelina), Pak Samir, Aul (Sahabat Pena), Ginda, Andri (Gembul), Panji (Ulit), Topan (Pak Sekjen), Syamsul (Mak Enjel), Roihan, Gilang. And all Penghuni Sekret. With them, sad will lost. They always make me laugh. Laugh and joke are always in here. With them, I feel very happy and free. I love them so much.  My SOLIDAS 2010 friends. Good-luck for the next stage of life guys.

 Azmi Bakti and Aris Munandar, who always gave me advices, spiritand big support in completing this paper.

Finally, I do realize that this paper is still far from being perfect. Therefore, I welcome any constructive critics and suggestions towards this paper.

Medan, 2013

The writer,

Nurhayati

102202002

TABLE OF CONTENTS

AUTHOR’S DECLARATION ... i

COPYRIGHT DECLARATION ... ii

ABSTRACT ... iii

ABSTRAK ... iv

ACKNOWLEDGMENTS ... v

TABLE OF CONTENTS ... vii

1. INTRODUCTION 1.1 Background of the Study ... .... 1

1.2 Problem of the Study ... 2

1.3 Purpose of the Study ... 3

1.4Scope of the Study ... 3

1.5Reason for Choosing the Topic ... 3

1.6Method of the Study ... 4

2. THE DESCRIPTION OF THE MINANGKABAU 2.1 The History of Minangkabau ... 5

2.2 The Culture of Minangkabau ... 8

2.3 The Language ... 13

2.4 The Religion ... 14

3. THE EXISTENCE MAIN KUNDANG 3.1 The Story of Malin kundang ... 16

3.2 The Values found Malin Kundang ... 18

4. CONCLUSIONS AND SUGGESTIONS 4.1 Conclusions ... 21

4.2 Suggestions ... 21

REFERENCES ... 22

ABSTRACT

Malin Kundang is a Kaba came from the province of West Sumatera, Indonesia. Malin Kundang is a stone which resembles a human lying face-down on the land in Air Manis Beach. Malin Kundang tells about a story of a seditious son. According to the local citizens the stone was believed as Malin Kundang who has been condemned into stone because he was disobedient to his mother. In the sea shore of Air Manis Beach there is the Malin Kundang stone and some of his ship equipments which also had turned into stone. They say, those stones were parts of Malin Kundang’s ship. Until now, the truth of this legend is still left doubtful whether it is real or not.

ABSTRAK

Malin kundang adalah Kaba yang berasal dari provinsi Sumatera Barat, Indonesia. Malin kundang adalah sebuah batu yang menyerupai manusia tertelungkup di tanah di pantai Air Manis, Padang, Sumatera Barat. Malin kundang berkisah tentang seorang anak yang durhaka kepada ibunya. Menurut masyarakat sekitar, batu tersebut diyakini sebagai Malin Kundang yag telah dikutuk oleh ibunya menjadi batu karena telah bersikap durhaka pada ibunya. Ditepi Pantai Air Manis terdapat batu Malin Kundang dan beberapa perlengkapan kapalnya, yang juga berubah menjadi batu. Konon katanya, batu-batu tersebut merupakan sisa-sisa kapal Malin Kundang. Sampai sekarang, kebenaran legenda tersebut diragukan apakah nyata atau tidak.

1. INTRODUCTION

1.1. Background of the Study

Indonesia is a country which consists of several different Islands and has many provinces in it. In each province, there are many cultures and tribes that inhabit the area, such as: Minangkabaunese, Javanese, Bataknese, Acehnese, Melayunese, Banjarnese, Betawinese, etc. Koentjaraningrat says, “Kebudayaan merupakan seluruh sistem gagasan, tindakan dan hasil karya dalam rangka kehidupan masyarakat yang dimiliki manusia dengan belajar”. It means, culture is an abstraction, while the proficiency level is a manifestation of cultural object that are result of human creation as a creature. These objects are patterns of behavior, language, art, belief, marriage and the norms that apply as limitations of the culture.

Indonesia has a cultural diversity is not unusual. The multicultural society included the result of you own work. Adapted to the costumes, the people gave birth to the things that describe their cultures. Indonesia cultural differences in each region make this country more diverse. Cultural is a very broad concept and complex that can be interpreted in various ways. In addition to universal culture, also known as local culture that hold local wisdom. One is the folklore that a local cultural heritage that are transmitted from generation to generation. Folklore in Indonesia there are thousands of stories. Each region in Indonesia has a folklore course a reflection of local culture with a distinctive character. Cerita rakyat adalah sastra tradisional karena merupakan hasil karya yang dilahirkan dari sekumpulan masyarakat yang

masih kuat berpegang pada nilai-nilai kebudayaan yang bersifat tradisional (Dharmojo, 1998:21) the traditonal literature is sometimes refer to as folklore and considered as belonging together. It grows from a strong collective consciousness in the old society.

It should be recognized that folklore is the depiction of a culture of a community in an area. Among the many stories of the people in Indonesia. Malin Kundang folklore is one that is quite well known. Malin Kundang is Kaba or Minangkabau traditional literature of the land. The term Kaba comes from the Arabic word Khabar. In terms of story, it is difference lies in the shape. Tale of the alloy formed sentence and paragraph. While Kaba form rhyme, poem or sing. Story of Malin Kundang has become its own wealth for the people of Padang. Story of Malin Kundang starts from a sad story and poverty held by the characters in it. They have a timeless story that will continue for generations lowered by several by several generations. Lessons are stored in a story Malin Kundang be one factor that makes this story continues to survive today.

1.2. Problems of the Study

Based on the background, the problems are formulated as ;  How is history of Malin Kundang in Minangkabau

 What values are found in Malin Kundang to Minangkabau society  What are the uniqueness of Minangkabau culture

1.3. Purpose of the Study

The purpose of the study is to describe the history, value and uniqueness of Malin Kundang for Minangkabau society. Besides that, this paper is written as one of the requirements to graduate from Faculty of Culture in English Department.

1.4. Scope of the Study

The scope of study has the important purpose in writing a paper. It is used to limit the problem of topic which is more focused on the history, values, and uniqueness of Malin Kundang in Air Manis Beach, Minangkabau.

1.5. Reason for Choosing the Topic

The writer chooses the topic because she is a Minangkabaunese who grows in Minangkabaunese family. In addition, she is very interested in writing this paper to introduce and inform about the values of Minangkabau culture’s found in Malin Kundang tale. Air Manis Beach is a magical and historical place.

1.6. Method of the Study

This paper is written based on a library research. The writer collects the data by reading books which rare relevant to the topic of Malin Kundang and Minangkabau culture. In addition, she also uses browsing internet to find information about Minangkabau’s culture. In the process of writing, she also asks and interviews her family about Minangkabaunese culture.

2. THE DESCRIPTION OF THE MINANGKABAU

2.1 The History of Minangkabau

The Minangkabau ethnic group, also known as Minang (Urang Minang in Minangkabau language), is indigenous to the Minangkabau Highlands of West Sumatra, in Indonesia. Their culture is matrilineal, with property and land passing down from mother to daughter, while religious and political affairs are the responsibility of men (although some women also play important roles in these areas). Today 4 million Minangs live in West Sumatra, while about 3 million more are scattered throughout many Indonesian and Malay peninsular cities and towns. The Minangkabau are strongly Islamic, but also follow their ethnic traditions, or adat. The Minangkabau adat was derived from animist beliefs before the arrival of Islam, and remnants of animist beliefs still exist even among some practicing Muslims. The present relationship between Islam and adat is described in the saying "tradition (adat) founded upon Islamic law, Islamic law founded upon the Qur'an" (adat basandi syara', syara' basandi Kitabullah).

For hundreds of year the roofs of the houses in West Sumatera have been built in the form of buffalo horns, and the people in that part of country call their land Minangkabau, which means “the buffalo wins” or “the buffalo’s victory”. If you ask the people the reason for their houses being built in this way and their country being named as it is, they will tell you this story. About six hundred years ago, the King of

Java sent a messenger to the people in West Sumatera. He wanted to let them know that he was now ruler of all the green islands of Indonesia, and that he would soon take over their land; that it would be better for them to surrender, for if they opposed the King, they would all be killed. Of course the people became greatly alarmed when they heard the message of the powerful King of Java, and their leaders quickly met to decide how they should meet this threat. We must do all we can to avoid war, one said. If there is a battle, think of the death and destruction. We are sure to lose, and then we will be the slaves of this foreign king. We must think of a way not fight. We must outwit those who wish to conquer us.

There were many proposals, and finally one was set forth that was accepted by all the people as being the best possible way to defeat the enemy. The messenger from Java was told to submit this proposal to his King. Rather than face war, with the destruction it would bring to both sides, the people of West Sumatera proposed that each side, instead of fighting themselves, should bring a buffalo to the field of battle. The buffalo would then fight each other, and the outcome of their battle would determine the future course of affairs. If the buffalo of the Javanese King won, then the people of West Sumatera would surrender and become his subjects. If the buffalo of the people of West Sumatera won, than the Javanese king would make no further attempt to conquer them and they could continue to live as free men. And so it was agreed.

The king of Java sent his men to search all over his island kingdom for the most powerful buffalo they could find. They found one, and brought him to their

camp in West Sumatera, where they took care of him until the day of battle should arrive. All the people of West Sumatera had heard about the buffalo of the King of Java and they come to seen in all their lives. It was so strong and so large and so fine that the sight of it made them more dismayed and more discouraged than ever. Again they come up with ideas and plans, then rejected them all as useless. Finally, when they were nearly desperate, one of the rejoice. One of the men had a new buffalo calf, which he took from its mother. Another villager fastened sharp pieces of iron on the tips of the calf’s horns. They waited three days, and then went to the messenger of the King of Java, telling him that they had found a buffalo and were ready for battle. The next morning the King’s men brought their fine strong buffalo to the battle field, and at the same time the villagers led their little calf to meet the enemy. The air was filled with the loud rough laughter of the King’s soldiers when they saw the calf of the West Sumatera standing so helplessly on the wide open field.

For a moment nothing happened. It was as though the great buffalo of the King and the small helpless calf on the villagers were looking each other over before each decided what to do. Then the calf began to run. He had been kept from his mother for three whole days, and he was very hungry. To him, the big buffalo standing across from his looked just like his mother, and he ran straight to the large animal. Pressing his nose against the underside of him, searching for milk. As he nuzzled, the sharp-pointed pieces of iron on his horn pierced the belly of the buffalo, and with a roar of paint the great beast began to run across the field. The little calf ran after him, and the enthralled spectators watched the scene; the big buffalo running

with ever greater difficulty, blood flows from his wounds, the little calf determinedly catching up with him. Then the King’s buffalo fell, and as the little calf drew near him, a great shout went up from the people of West Sumatera gathered to watch the battle. “Minangkabau! Minangkabau! Minangkabau!” (The buffalo wins! The buffalo is victorious!).

The King and his soldiers said no a word. Then quietly, they left the battle field, and were never seen again. The villagers put a wreath of flowers around the neck of the little buffalo calf and led him to his mother. The people of West Sumatera were still free. And that is why the houses and the headdress of the people are made to look the buffalo horns, and why their land is called “Minangkabau” or “The Buffalo’s Victory”.

2.2 The Culture of Minangkabau

The Minangkabau who predominate along the coasts of Sumatera Utara and Sumatera Barat, interior Ria, and northern Bengkulu province in the early 1990s numbered more than 3,5bmillion. Like the Batak, they have large corporate descent groups, but unlike the Batak, the Minangkabau traditionally reckon descentmatrilinelly. In this system, a child is regarded as descended from his mother, not his father. A young boy, for finance, has his primary responsibility to his mothers’ and sister’s clans. In practice, in most villages a young man will visit his wife in the evenings but spend the days with his sister and her children. It is usual for married sisters to remaining their parental home. According to a 1980 study by

anthropologist Joel S. Kahn, there is a general pattern of residence among the Minangkabau in which sisters and unmarried lineage members try to live close to one another, or even in the same house.

Landholding is one of the crucial functions of the suku (female lineage unit). Because Minangkabau men, like Acehnese men, often migrate to seek experience, wealth, and commercial success, the women's kin group is responsible for maintaining the continuity of the family and the distribution and cultivation of the land. These family groups, however, are typically led by a penghulu (headman), elected by groups of lineage leaders. With the agrarian base of the Minangkabau economy in decline, the suku as a landholding uni has also been declining somewhat in importance, especially in urban areas.Indeed, the position of penghulu is not always filled after the death of the incumbent, particularly if lineage members are not willing to bear the expense of the ceremony required to install a new penghulu.

The Minangs are the world's largest matrilineal society; properties such as land and houses are inherited through female lineage. Some scholars argue that this might have caused the diaspora (Minangkabau, "merantau") of Minangkabau males throughout the Maritime Southeast Asia to become scholars or to seek fortune as merchants. However, the native Minangkabaus agreed that this matrilineal culture is indeed the result of (not the reason for) diaspora. With their men travelling out of the country for unspecified time (with possibility of some of them not returning home), it is only logical to hand the land and property to those who do not have to leave it: The women. This also ensures the women's (meaning: mothers of the future generations')

welfare and hence ensuring their offsprings welfare. Besides, native MinangKabaus argue that "Men can live anywhere and hence they do not need a house like women do". The concept of matrilineal can be seen from the naming of important museums such as "The house where Buya HAMKA was born" by Maninjau Lake. It has never been and never will be Buya HAMKA's house because it was his mother's house and passed down only to his sisters. Another museum in Bukit Tinggi was called by the locals: "Muhammad Hatta's Mom's house" where you will see that Muhammad Hatta (the Indonesia's Independence Proclamator) only had a room outside of the house, albeit attached to it.

As early as the age of 7, boys traditionally leave their homes and live in a surau (a prayer house and community centre) to learn religious and cultural (adat) teachings. When they are teenagers, they are encouraged to leave their hometown to learn from schools or from experiences out of their hometown so that when they are adults they can return home wise and 'useful' for the society and can contribute their thinking and experience to run the family or nagari (hometown) when they sit as the member of 'council of uncles'. This tradition has created Minang communities in many Indonesian cities and towns, which nevertheless are still tied closely to their homeland; a state in Malaysia named Negeri Sembilan is heavily influenced by Minang culture because Negeri Sembilan was originally Minangkabau's territory.

Increasingly, married couples go off on merantau; in such situations, the woman's role tends to change.When married couples reside in urban areas or outside

the Minangkabau region, women lose some of their social and economic rights in property. One apparent consequence is an increased likelihood of divorce.

1. Ceremonies and Festivals

Minangkabau ceremonies and festivals include:

 Turun mandi – babby blessing ceremony

 Sunat Rasul – circumcision ceremony

 Baralek wedding ceremony

 Batagak pangulu – clan leader

Inauguration ceremony. Other clan leaders, all relatives in the same clan and all villagers in the region are invited. The ceremony lasts for seven days or more.

 Turun ka sawah - community work ceremony

 Manyabik – harvesting ceremony

 Hari Rayo – Islamic festivals

 Manta pabukoaan – sending food to mother-in-law for Ramadhan

 Tabuik – Muslim celebration in the coastal village in Pariaman

 Tanah Ta Sirah – Inaugurate a new clan leader (Datuk) when the old one died in the view hours (no need proceed batagak pangulu, but the clan must invite all clan leaders in region).

 Mambangkik Batang Tarandam – Inaugurate a new leader (Datuk) when the old one died in the pass 10 or 50 years and even more, must to do Batagak Pangulu.

2. Performing Arts

Traditional Minangkabau music includes saluang jo dendang which consist of singing to the accompaniment of a saluang bamboo flute, and talempong gong chime music. Dance includes the tari piring (plate dance), tari oayung (umbrella dance) and tari indang (also known as ending or badindin). Demonstration of the Silat martial art is performed. Pidato adat are ceremonial orations performed at formal occasions.

Randai is a folk theater tradition which incorporates music, singing, dance, drama and the silat martial art. Randai is usually performed for traditional ceremonies and festival, and complex stories may span a number of nights. It is performed as a theatre in the round to achieve an equality and unity between audience member and the performers. Randai performance is a synthesis of alternating martial arts dance, song, and acted scenes. Stories and delivered by the acting and singing and are mostly based upon Minangkabau legends and folktales. Randai originated early in local martial arts, storytelling and others performance traditions. Men originally played Male and female characters in the story but, since 1960s, woman have participated. 3. Cuisine

Rendang is a dish which is considered to be characteristic of Minangkabau culture. It is cooked 4-5 times a year. Other characteristic dishes include Asam Padeh, Soto Padang, Sate Padang, Dendeng Balado. Food has central role in the Minangkabu ceremonies which honor religious and life-cycle rites. Minangkabu food is popular among Indonesia and restaurants are presents throughout Indonesia. Nasi

Padang restaurants, named after the capital of West Sumatera, are known for placing a variety of Minangkabau dishes on a customer’s table with rice and billing only for what is taken. Nasi Kapau is another restaurant is another restaurant variant which specializes in dishes using offal and tamarind to add sourness to the spicy flavor. 4. Architecture

Rumah gadang (big house) or rumah bagonjong are the traditional homes of the Minangkabau. The architecture, construction, internal and external decoration and the functions of the house reflect the culture and values of the Minangkabau. A rumah gadang serves as a residence, half family meetings and for ceremonial activities. The rumah gadang is owned by the woman family who live there ownership is passed from mother to daughter. The houses have dramatic curved roof structure with multi tiered, upswept, gables. According to Minangkabau tradition, the roof shapes was meant to mimic the horn of buffalo. Shuttered windows are built into walls incised with profuse painted floral carvings. The term rumah gadang usually refers to the larger communal homes. However, smaller single residences share many of its architectural elements.

5. Oral traditional and literature

Minangkabau culture has a long history of oral traditions. One is the pidato adat (ceremonial orations) which are performed by panghulu (clan chiefs) at formal occasions such as weddings, funerals, adoption ceremonies, and panghulu inaugurations. These ceremonial orations consist of many forms including pantun, aphorisms (papatah-paptih), proverbs (pameo), religious advice (petuah), parables

(tamsia), two-line aphorisms (gurindam), and similes (ibarat). Minangkabu traditional folktales (kaba) consist of narratives the present the social and personal consequences of either ignoring or observing the ethical teachings and the norms embedded in the adat. The story teller (tukang kaba) recites the story in poetic or lyrical prose while accompanying himself on a rebab.

A theme in Minangkabau folktales is the central role mothers and motherhood has is Minangkabau society, with the folktales rancak di Labueh and Malin Kundang being two examples. Rancak diLabueh is about a mother who acts as teacher and adviser to her two growing children. Initially her son is vain and headstrong and only after her perseverance does he become a good son who listens to his mother. Malin Kundang is about dangers of treating your mother badly. A sailor from a poor family voyages to seek his fortune, becoming rich and marrying. After refusing to recognize his elderly mother on his return home, being ashamed of his humble origins, he is cursed and dies when a storm ensues and turns him along with his ship to stone. The said stone is in Air Manis beach and is known by locals as Batu Malin Kundang. Other popular folktales role of the woman in Minangkabau society. In the Cindua Mato _{epic the woman is a source of wisdom, while in the} Sabai na Aluih _{she is more} a doer than a thinker. Cindua Mato (Staring Eye) is abot a traditions of Minangkabau royalty. The story involves a mythical Minangkabau queen, Bundo Kanduang, who embodies the behaviors prescribed by adat. Cindua Mato, a servant of the queen, uses magic to defeat hostile outside forces and save the kingdom. Sabai nan Aluih _(The genteel Sabai) is a about girl named SAbai who avenges the murder of her father by a

powerful and evil ruler from a neighboring village. After her father’s death, her cowardly elder brother refuses to confront the murderer and so Sabai decides to take matters into her own hands. See seeks out the murderer and shoots him in revenge.

2.3. The Language

The Minangkabau language (Baso Minangkabau) is an Austronesian language belonging to the Malay Linguistic sub group, which in turn belongs to the Malayo-Polynesian branch. The Minangkabau language is closely related to the Negeri Sembilan Malay language used by the people of Negeri Sembilan, many of which are descendants of Minangkabau immigrants. The language has a number of dialects and sub-dialects, but native Minangkabau speakers generally have no difficulty understanding the variety of dialects. The differences also exist. Minangkabau dialects are regional, consisting of subtle differences which can be detected by native speakers. The Padang dialect has become the lingua franca for people of different language regions.

The Minangkabau society has a diglossia situation, whereby they use their native language for everyday conversations, while the Indonesia language is used for most formal occasions, in education and in writing, even to relatives and friends. The Minangkabau language was originally written using the Jawi script, an adapted Arabic alphabet. Romanization of the language dates from the 19th century, and a standardized official orthography of the language was published in 1976.

2.4 The Religion

Since about the sixteenth century, the Minangkabau have followed Islam of the Sunni sect; however, the practice of Islam have only been strictly adhered to since about the eighteenth century. Previous to Islam, the Minangkabu followed their adapt, or customary beliefs. The adapt is based on the maternal influence that the Minangkabau emphasize. This is the main difference of the Minangkabau compared to other religions: they have an emphasis on woman that most Islamic cultures do not have, and they have combined their maternal influences with their Islamic beliefs. Their customary religion was a form of animism, in which each person has two souls, one real soul and one semangat. The semangat is used to explain illness, because when a person is ill, it means an evil spirit has overtaken their semangat. The adapt is sometimes referred to as the relationship between humans and nature. As early as the seventh century, Muslim traders brought Islam to the Minangkabau. During the times of the Crusades, local rulers wanted to attract Muslim until about the eighteenth century, when they were strongly influenced by the Wahhabi movement in Mecca, the holy city of Islam. This movement sought to remove societal such as opium. From this point on, the Minangkabau have been very strict in their Muslim beliefs, however their adat has been incorporated into their religions as well.

3. THE EXISTENCE OF MALIN KUNDANG

3.1 The Story of the Legend

Malin Kundang is a tale originated from the province of West Sumatra, Indonesia. Malin Kundang legend tells about a child who is rebellious to his mother and is therefore condemned to stone. A form of rock on the sweet water beach, Padang, said to be the remains of the ship Malin Kundang.

At one time, there is a family of fishermen in the coastal region of West Sumatra. Because the financial condition of the family concern, the father decided to make a living in the country by wading across a vast ocean. Malin's father never returned to his hometown so that her mother had to replace the position of Malin’s father to make a living. Malin was a bright child but a bit naughty. He often chase chickens and hit them with a broom. One day, when Malin was chasing chickens, he tripped over a stone and a stone hit his right arm injury. Injury had become a trace in hand and could not lost. Feeling sorry for his mother who worked hard for a living to raise themselves. Malin decided to wander in order to become wealthy after

returning to his hometown someday. Initially his mother did not agree, considering her husband also never returned after going to wander. However, Malin insisted that eventually he would be willing to go wander with a merchant ship. During his stay on the ship, Malin Kundang learn a lot about seamanship to the crew that had been experienced.

Along the way, suddenly Malin Kundang ships were attacked by pirates. All merchandise traders who were on the ship seized by pirates. Most of the crew and people on the ship were killed by the pirates. Luckily, Malin Kundang hide behind a small space enclosed by the timber that he was not killed by the pirates. Malin Kundang floated amid sea, until the host ship stranded on a beach. With the remaining power, Malin Kundang walked to the nearest village from the beach. Malin village where villagers stranded was very fertile. With tenacity and perseverance in work, over time Malin had become a very rich. He had many fruit merchant ships with the children of more than 100 people. After becoming rich, Malin Kundang married a girl. The news of Malin Kundang was by his mother. He mother felt grateful and very happy his son had been successful. Since then, his mother went to the harbour, waiting for her who might return to his hometown.

After a long marriage, Malin and his wife made a voyage accompanied by and many bodyguards. Malin’s mother saw two people standing on the deck of the ship. She believed that were Malin Kundang and his wife. Mother’s Malin headed toward the ship. Once close enough, she saw the scar right hand person, to make sure, sheapproached Malin Kundang. She said "Malin Kundang, my son, why do you go so long without sending any news?". To see old woman dressed in tattered and dirty hug, Malin Kundang became angry even though he know that the old lady was his mother. He was embarrassed when his wife know about that. Getting such treatment, Malin Kundang’s mother was very angry. She did not expect him to be and rebellious child. Because of mounting anger, his mother cursed Malin, "Oh God, if he my son, I

curse he becomes a stone. Not long after Malin Kundang went on sailing again, the storm destroyed the ship master of Kundang. After that Malin Kundang body slowly became rigid and in time they finally shaped into a rock. Until now Batu Malin Kundang can still be seen at a beach called Air Manis beach, in the southern part of Padang, West Sumatera.

3.2 The Values of Malin Kundang

The values is also called the price, the interpretation or award attached to an object. The value is an abstract and not concrete. Value is only be considered, understood, and internalized. Malin Kundang conveyed many core values of Indonesia culture. The most important value the story was loyalty to one’s parents. In the story, Malin kundang abandoned his family. There are two kinds of value in Malin Kundang. These two values are: Moral value and Religion value. Moral value, in this story, the action Malin Kundang immoral and inhuman, such as his actions reflected a seditious his mother. If Malin Kundang is an moral and humane that he certainly would not offend his mother. Religious value, in this story, there are religious value are violated by Malin Kundang. Religion commands to all the children to respect both parents, and also glorify mother.

In today's life, these values are still valid as moral values that teach us to behave tenderly toward parents and religious values that tell us to always pray parents, begging forgiveness for his sins. As a Muslim in the modern we know that in Islam disobedience to parents is one of the major forms of sin. But still at the present

time there are children who violate those value. Like disappointing his parents expectations, behave rude to his mother and father, made anxious parents, parents grieved, even to a child who reportedly through various media killed his parents.

4. CONCLUSIONS AND SUGGESTIONS

4.1 Conclusions

After having discussions about the existence of Malin Kundang, it can be concluded :

 Malin Kundang is a seditious son who has been condemned by his mother to stone.

 Malin Kundang is a legend created by Minangkabau community in Air Manis beach.

 Malin Kundang has two values: Moral value and Religion value 4.2 Suggestions

 Don’t disobedient to parents, especially to our mother. Disobedient to parents, especially the mother is reprehensible behavior and is prohibited by religion. Recall that Heaven is under the mother's feet. Therefore, good behavior and gentle mother was against us.

 Don’t apply and say rude towards our mothers who gave birth to us. Let us emulate the attitude and character Kundang that rebuked his mother, and said the words that offend his mother. Remember that a mother had conceived us for about nine months in the womb. A mother has struggled to risk their lives for giving birth to this earth.

REFERENCES

Dharmojo, dkk. 1998. Sastra Lisan Ekagi. Jakarta : Pusat Pembinaan dan

Pengembangan Bahasa

Koentjaraningrat. 2002. Kebudayaan Mentalitas dan Pembangunan. Jakarta : Gramedia

Ranjabar, Jacobus. 2006. Sistem Sosial Budaya Indonesia (Suatu pengantar). Bandung : Ghalia Indonesia

Mal

M

lin Kundang

Malin Kunda

APPEND

g stone in A

ang stone w

DICES

Air Manis be

while lying-f

each Padang

face down g

curse he becomes a stone. Not long after Malin Kundang went on sailing again, the storm destroyed the ship master of Kundang. After that Malin Kundang body slowly became rigid and in time they finally shaped into a rock. Until now Batu Malin Kundang can still be seen at a beach called Air Manis beach, in the southern part of Padang, West Sumatera.

3.2 The Values of Malin Kundang

The values is also called the price, the interpretation or award attached to an object. The value is an abstract and not concrete. Value is only be considered, understood, and internalized. Malin Kundang conveyed many core values of Indonesia culture. The most important value the story was loyalty to one’s parents. In the story, Malin kundang abandoned his family. There are two kinds of value in Malin Kundang. These two values are: Moral value and Religion value. Moral value, in this story, the action Malin Kundang immoral and inhuman, such as his actions reflected a seditious his mother. If Malin Kundang is an moral and humane that he certainly would not offend his mother. Religious value, in this story, there are religious value are violated by Malin Kundang. Religion commands to all the children to respect both parents, and also glorify mother.

In today's life, these values are still valid as moral values that teach us to behave tenderly toward parents and religious values that tell us to always pray parents, begging forgiveness for his sins. As a Muslim in the modern we know that in

time there are children who violate those value. Like disappointing his parents expectations, behave rude to his mother and father, made anxious parents, parents grieved, even to a child who reportedly through various media killed his parents.

4. CONCLUSIONS AND SUGGESTIONS

4.1 Conclusions

After having discussions about the existence of Malin Kundang, it can be concluded :

 Malin Kundang is a seditious son who has been condemned by his mother to

stone.

 Malin Kundang is a legend created by Minangkabau community in Air Manis

beach.

 Malin Kundang has two values: Moral value and Religion value

4.2 Suggestions

 Don’t disobedient to parents, especially to our mother. Disobedient to parents, especially the mother is reprehensible behavior and is prohibited by religion. Recall that Heaven is under the mother's feet. Therefore, good behavior and gentle mother was against us.

 Don’t apply and say rude towards our mothers who gave birth to us. Let us emulate the attitude and character Kundang that rebuked his mother, and said the words that offend his mother. Remember that a mother had conceived us for about nine months in the womb. A mother has struggled to risk their lives for giving birth to this earth.

REFERENCES

Dharmojo, dkk. 1998. Sastra Lisan Ekagi. Jakarta : Pusat Pembinaan dan

Pengembangan Bahasa

Koentjaraningrat. 2002. Kebudayaan Mentalitas dan Pembangunan. Jakarta : Gramedia

Ranjabar, Jacobus. 2006. Sistem Sosial Budaya Indonesia (Suatu pengantar). Bandung : Ghalia Indonesia

Mal

M

lin Kundang

Malin Kunda

APPEND

g stone in A

ang stone w

DICES

Air Manis be

while lying-f

each Padang

face down g