The Reconstruction of Ratok Bawak to Ratok Laher Pangulu Drama: Sentimental Study

Ratok Bawak which has been reconstructed and translated into Ratok Lareh Pangulu Dance Drama which is an actualization of the phenomena that is existed in Ratok bawak ritual. This embodiment was carried out for the preservation and development of the wailing culture, which is owned by nagari Bukik Limbuku Payakumbuh Minangkabau. The embodiment of Ratok Bawak into Ratok Lareh Pangulu is as a form of traditional values into a new form is the result of an interpretation of the culture of Ratok Bawak.


II. Review of Literature
Sentimental is a depiction of feelings from the overflow of emotions felt by humans when experiencing something excessively. Sentimentality triggers feelings that come out due to emotions that overflow in the individual, these emotions occur because of causes that may be acceptable or unacceptable. Clifford Geertz (2000.h 246) said in his research on the culture of cockfighting in Bali that "in the vocabulary of sentiments, such as: fear of risk, despair due to loss, pleasure from victory" 1 . Furthermore what Geertz said that: Clifford Geertz (2000.h 246) said "It is not only risk that is exciting, loss is sad, or victory is satisfying, ordinary tautologies about affection, but that these emotions are exemplified by being built and individuals placed together" 2 .
Based on Geertz's opinion are that forms of sentimental. The expression depicted among the disquiet that arises as a result of the relationship between the three traits, the immediate dramatic form, the content of the metamorphosis and the social context.
Ratok Lareh Pangulu is a place to express sentimental feelings felt by the wives left by their husbands. In accordance with what was conveyed by Geertz regarding sentimentality which was divided into three parts, namely fear of risk, despair because of loss and enjoyment because of victory, this sentimental feeling will be poured in the movements of dance, lamentation, music, setting, fashion, linghting of works Ratok lareh pangulu, to express the sadness of losing a husband.

1 Emotions
According to Walgito (2010.h.59) stated that "Emotion is a condition caused by a certain situation accompanied by an expression so that other people know that someone is experiencing emotions" 3 . Emotions will arise to be felt by someone when experiencing an event that is expected or not, when an individual experiences this event then emotion appears in accordance with what is being experienced. These emotions come from feelings that overflow, as for the description of the emotional forms which have been explained above are: a. Afraid Fear will occur when individuals feel threatened and face problems that occur suddenly and make them feel in danger. Fear will haunt every human being because this fear is a part of human emotions that cannot be avoided. b. Angry Anger occurs when individuals are treated unfairly or unpleasantly in social interactions. Many factors are the cause of anger arising in someone, for example, when someone feels that he is being treated arbitrarily by friends or people in his environment unconsciously anger will arise with his own by it, the individual will feel did not accept the action. c. Happy Happiness occurs when the individual is able to adjust well to a situation, managed to get something that is expected, able to break away from situations that cause anxiety. Examples of happy emotions are happiness, excitement, and fulfillment. d. Sad Daniel (2001.h 39) stated that, "Sadness occurs when an individual is faced with a state of disappointment, loss of a loved one, and experiencing suffering due to injury or illness. Sadness is the opposite of joy, sadness can cause physical reactions such as insomnia, crying, until decreased appetite". 4

III. Research Method
The method is a very important step in research and creation, so that the process of work has a clear and consistent focus. In the process of creating this artwork, a method is needed to realize the artwork. The method used consists of field studies, to find out authentically how the culture of lamenting "Ratok Bawak" that exists in Nagari community Bukik Limbuku. The research began with a literature study, looking for references related to the culture of meratap di Minangkabau, one of which is located in Payakumbuh sub-district, precisely in Bukik Limbuku. Then explored or explored in relation to forms (lamentations, movements, music, equipment, and objects used). Exploration was also carried out in relation to the function and existence of the rats in the owner's culture.
After conducting a literature study, it was continued with observation, interview and documentation. Observation was carried out directly to the place where the culture owner, namely Nagari Bukik Limbuku. Interviews were conducted with several traditional and community leaders, to find out Ratok Bawak. It is hoped that through interviews new insights can be explored. Documentation in the form of videos and photos is needed so that interpretation can be done appropriately. Documentation both videos and photos can be done by reconstructing or presenting the culture of lamenting the "Ratok Rakak" that has been lost, in the life of Bukik Limbuku Nagari community.
The method of creation is done by contemplating and interpreting, reinterpretation is done by re-interpreting of Meratap culture "Ratok Bawak". Especially regarding the form and value contained in it. In the case of works, the concept of work is the area of work in positioning work among existing works, exploitation and reconstruction in this case, Minangkabau traditional dance as a foundation for movement is exploited and reconstructed to produce new forms of work. Exploration and improvisation, including making cultivation, setting music, property, make-up and costumes, are carried out with various alternatives. The exploration of motion is also as a form of work that is related to the content work. In addition, internal music exploration was carried out, in various spaces. Exploration results produce staging material, based on the chosen style of work. Spontaneous improvisation or development is carried out in connection with the formation of dance work as a whole.

IV. Discussion
Ratok Lareh Pangulu is a work of art in the form of dance drama. This dance drama is an embodiment of Ratok Bawak architecture and has a complex idea, ideas, values, norms and regulations, is a cultural embodiment as a conflict that is patterned by humans in society, as well as the embodiment of culture and human work. As a result of human's work or symbolization, it is something mysterious and has an important position as not supporting culture in Minanagkabau community, in especially Bukik Limbuku Nagari. In addition, Ratok Lareh Pangulu is also an aesthetic expression which becomes a place to instill sentimental values in the ritual of Ratok Bawak.
Sentimental values is accepted by Penghulu's mother are those that are accepted in relation to the children's responsibilities as fathers and husbands, this can be seen in the lament below: The meaning of the lament is the mother's concern for the fate of the people left by the prince, both herself as a mother, as well as children and wife. Maternal concerns can also be seen in the following laments: The lament has meaning is like worry, fear of risks and almost despair, after the death of a child. Mother's anxiety is in living a childless life which has been a place to complain, children who have been watching and caring for her.
The fear of the risk felt by the prince's wives is the uncertainty of not being able to live because the prince as a life support is gone. Life support here is not only related to matter alone, but also relates to affection, attention, as stated in the following laments. The sentimental meaning contained in the lament above is the sadness of the wife left by the husband, there is no longer a place to complain, because so far it has always been spoiled and lived happily. Worry about his fate after being left dead by her Worries felt by the wife how to give answers to children, if the child asks for the whereabouts of his father, while the child is still small. The wife is worried that if the children feel the longing for her father, where will be longing be released. The wife begged and asked for help from God in order to treat a heart that was sad and sad. Wailing wives associated with these concerns can be seen in the laments below. Meaning in English (Oops ... Oops ... Oops ... duh in me Where will I go There is no place to complain Oi who is used to being taught is happy Oi who used to be taught to be spoiled deh Where is now I lost to sleep Missing who didn't come back Missing who didn't meet again) The meaning of the lament illustrates how unhappy when the husband left, as well as the victory felt by the young wife over the other Penghulu wives, because so far they have always been spoiled and loved by their husbands. During their lives with their husbands they have never been told to work and are always adequately supported, so that when a husband dies, a sense of worry arises, because no one is spoiling and giving love. Listening to the lamentation of her husband's young wife which contained complaints, the other wives reminded them not to lament over their husbands, as stated in the following lamentation. "ondeh diak indak usah diratok-i juo, rilakanlah nan alah pai" 12 (ondeh deck, don't mourn too, let go already). Listening to the words of the other wives, the young wife responded with her lament as follows: "kalau jo uni iyolah, uni indak marasoan apo nan ambo rasokan, ambo nan disayang dan dimanjo" 13 . (If the uni / brother is iyalah, uni does not feel what is I feel, I am loved and pampered). In these mourning lamentations, it is implied that young wives are trying to show, that their husbands love themselves more than love for other wives. From these lamentations there is a meaning of the battle of feelings for the wives left behind.
Ratok bawak is also used as an event to raise the self-esteem of each wife. With a lament issued that was listened to by guests who came, both penghulu and the wider community. It is hoped that from his wailing, it will be known by many people, which wife is the closest and most loved by the prince. It becomes a pride for a wife if other people know that during their life as a married man, a husband always treats him well, attentive and affectionate.
There are several themes of meaning, which relate to sentimentality related to sadness, victory, fury of anger, narcissistic, virility, status competition, excitement and submission. this is done by describing almost all of the community's experiences of Ratok bawak ritual. In addition to sadness and fear, sentimentality in the culture of wailing Ratok bawak there is also a sense of status competition, virility narcissism, and excitement, which was born into the work of Ratok Lareh Pangulu. Virility narcissistic is reflected in the wives of the princes who lamented him. Virility narcissistic is illustrated if the prince is a husband figure who is loved and loved by women with the status of the prince's wives, who can provide children as offspring of the prince. Whereas the competition for status is implied by the lamentation of one of the prince's wives which contains the expression that he is the wife most loved, loved and pampered, as if to convey to Nagari community what he feels in the hope of being able to raise his status and prestige as a special wife in the eyes of the people:  Traditions and sentimental values found in the culture of Ratok Bawak that have been lost in the community. In order to preserve the culture of Ratok, reconstructions are carried out, so that people know the culture they have. The results of the reconstruction are analyzed and interpreted, then transformed into dance works, as a form of actualization of Ratok Bawak.
The transformation of sentimental forms and meanings into the works of Ratok lareh pangulu, is not a process of deviation but a process of transforming can be something new, and is a reality of the challenge of the concepts of eternity, which can be understood and understood by art connoisseurs.

V. Conclusion
Ratok bawak is a wailing culture that was present when the headman passed away. This culture was later lost due to the strong understanding of Bukik Limbuku Payakumbuh nagari community on the teachings of Islam. Ratok bawak contains sentimental values both felt by the mother, and felt by Penghulu wives. The reconstruction of the lost ratok ratok, which has sentimental values such as sadness, victory, fury of anger, narcissistic, virility, status competition, excitement and submission, is then transformed into the work of Ratok Lareh Pangulu. The actualization form of Ratok Ratak into Ratok Lareh Pangulu is also accompanied by transforming sentimental values contained in the rhythm of Ratok Bawak, so that fear of risk, despair due to loss and enjoyment of victory, related to excessive emotions can be transformed to the audience.